The Pulitzer Prize-winning author of The Great Pianists offers a definitive biography of piano virtuoso Vladimir Horowitz, complete with never-before-published quotes from Horowitz himself. A superb and wonderfully readable musical assessment of Horowitz's explosive talent and his unique contribution to the cultural life of the 20th century. Photographs. Discography.

The pianist's life through the disastrous effects of the Russian revolution on his family, his early European triumphs, his marriage, his friendships, his sexual conflicts, his retirements.

"Explosively passionate, this story of forbidden love and unmet potential is ... for anyone who’s ever felt the ineffable power of music." —Aja Gabel, author of The Ensemble The Piano Student is a novel about regret, secrecy, and music, involving an affair between one of the 20th century’s most celebrated pianists, Vladimir Horowitz, and his young male student, Nico Kaufmann, in the late 1930s. As Europe hurtles toward political catastrophe and Horowitz ascends to the pinnacle of artistic achievement, the great pianist hides his illicit passion from his wife Wanda, daughter of the renowned conductor Arturo Toscanini. Based on unpublished letters by Horowitz to Kaufmann that author Lea Singer discovered in Switzerland, this is a riveting and sensitive tale of musical perfection, love, and longing denied, with multiple historical layers and insights into artistic creativity.

(Book). Evenings with Horowitz details a special friendship between two musicians. The book is a vivid account of their mutual passion for music and the piano. It reflects the struggles and triumphs of Vladimir Horowitz, a flaming genius who was also insecure and fearful of old age and the loss of his powers. In his conversations with the author, the Maestro reveals the agony and the ecstasy of a pianist's career and his love and awe for the great composers whose music he played. "Dubal, broadcaster, concert pianist, and faculty member at Juilliard, draws upon his knowledgeable background to produce a fascinating portrait of the brilliant and electrifying pianist Vladimir Horowitz ... Discussions ensued on repertoire, stylistic interpretations, tastes of audiences, other famous pianists, favored composers, and even such non-musical topics as care of animals, modern-day presidents, and American youth. Dubal provides a rare and intimate glimpse of Horowitz and illustrates the precariousness of accommodating the temperament of a genius." Library Journal

Surveys the careers and personalities of the great pianists from Clementi and Mozart to the present day.

Mohr's humor and personal perspective on the lives of Rubinstein, Horowitz, and other artists mix music lore with quiet faith.

In the early 20th century, with Russia full of intense social strife and political struggle, Vladimir Yevgenyevich (Ze'ev) Jabotinsky (1880–1940) was a Revisionist Zionist leader and Jewish Public intellectual. Although previously glossed over, these years are crucial to Jabotinsky's development as a thinker, politician, and Zionist. Brian Horowitz focuses on Jabotinsky's commitments Zionism and Palestine as he embraced radicalism and fought against antisemitism and the suffering brought upon Jews through pogroms, poverty, and victimization. Horowitz also defends Jabotinsky against accusations that he was too ambitious, a fascist, and a militarist. As Horowitz delves into the years that shaped Jabotinsky's social, political, and cultural orientation, an intriguing psychological portrait emerges.

A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”