A meaningful and brilliant tribute to a great artist from one who has the making of one. A joy from start to finish.

On his PENTATONE debut album Hommage à Horowitz, pianist Maxim Bernard revives Vladimir Horowitz’s legendary 1986 Moscow concert with a programme containing gems by Scarlatti, Mozart, Schubert, Schumann, Chopin, Liszt, Moszkowski, Scriabin and Rachmaninoff. While Horowitz’s wife Wanda Toscanini called the Moscow concert the summit of her husband’s career, Maxim Bernard sees it as “a defining moment of his existence, in which charm, elegance, poetry and bravura are marvelously brought together.” Bernard compares Horowitz’ carefully curated musical program to the way one prepares a gourmet meal, and aims to give it a second wind, presenting it from a new angle, in light of his own personality. Maxim Bernard is a versatile musician who adores challenges, and is praised for his original ideas and innovative thematic concert programs.

REVIEW:

This well-presented tribute to Horowitz concentrates on pieces favored by the master. There are several photographs of the pianist, and notes are supplied for each of the works. There is no real background on the pianist. I’d prefer to think of that as humility. Also missing is any mention of the piano. I suspect it is a Steinway since Horowitz usually performed on one. 

The recital begins with three Scarlatti Sonatas in gentle, predominantly lyrical performances. This is followed by Mozart’s Sonata, K330, played with admirable expression and control. A sequence of Etudes by Rachmaninoff and Scriabin show tonal quality of considerable beauty, as does Schubert’s Impromptu D 945:3. At this point I released my critical faculties to luxuriate in the sheer beauty and comfort emanating from my speakers. Bernard makes little attempt to imitate Horowitz’s playing. He is his own man, and the sheer listening satisfaction elicits a smile from my sometimes stoic expression. Two Liszt pieces including the Petrarch Sonata 104 are followed by two Chopin Mazurkas and the ever popular Polonaise in Aflat. All are stylistically correct, and fully met my expectations with a natural use of rubato and brilliantly executed embellishments. Three of Horowitz’s favorite encores complete the program with style: Schumann’s `Traumerai’, Moszkowski’s `Etincelles’ and Rachmaninoff’s Polka de W. R. Nothing is pushed beyond virtuosic limits, but all comes together in a meaningful and brilliant tribute to a great artist from one who (on the basis of what is heard here) has the making of one. A joy from start to finish.

-- American Record Guide