This is the inner pamphlet inside a box set of 2 LPs from 1969, 65 years after its premier which was conducted by Mahler 18 October of 1904 in Cologne . Still sounds good and has some great poetry.
yours is EMI, mine is Angel. It is a US version indeed.
This Speakers Corner reissue still has a vintage sound, but the playing is so extraordinary, that you can’t stop listening through 4 sides of the record. Doing this right now with some whiskey on hand. Not in the sweet spot, on the sofa. He’s still the best.
http://www.theaudiobeat.com/music/horowitz_carnegie_hall_lp.htm
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I really enjoy(ed) her recitals. Great balance of power and beauty to her playing.
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Jed Distler described his Schubert-Liszt Ständchen “the most exquisite in captivity”, which, of course, it is.
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Yes he’s fantastic. I forgot I also have the digital hires version and the rehersal sessions of the Carnegie concert.
Unfortunately the Speakers Corner AAA vinyl sounds in no way richer, just the louder passages reveal more attack and details of the piano‘s string decay.
But those CBS recordings are definitely not really audiophile in any way unfortunately.
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This was my first introduction to Scarlatti sonatas, and still wonderfully thrilling with tremendous drive. A studio recording and sounds just right.
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For those interested in avant-garde contemporary classical, this redbook recording of George Crumb’s “A Haunted Landscape” is pretty incredible.
EDIT: I should add it’s on Qobuz, but for some reason I’m unable to post working links this evening.
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Streaming this on Tidal. Really good. Includes works by Jóhannsson and his friend and collaborator Víkingur Ólafsson.
I have a couple of AR’s LPs. Great performer.
I’m heartened to see recordings by artists like Rubinstein and Horowitz championed. I’m afraid that many times these days our interest isn’t even piqued unless the recording is made with the latest and greatest technology, with super hi-res hi-fi bona fides as long as our arms, which leads many to avoid older recordings, thinking the experience won’t be as engaging or satisfying. And that’s a crime when it comes to artists like these two, or Heifetz, or Oistrach, or Menuhin, or any number of genuine masters.
I’m telling a bit of a tale on myself by saying this, but I find I have to be on guard against that attitude myself. I still struggle with it on some older recordings, particularly those in mono. Back in the late '80s and early '90s I splurged on the then-new CD releases of Toscanini and the NBC Orchestra, buying the boxed sets of his Beethoven and Brahms symphony cycles, only to find I couldn’t get past the hooded, nasal recorded sound. They sat in my collection, unplayed, for many years before I finally sold them.
What can I say? I was raised a full decade and half a continent distant from the kid who grew up in Brooklyn with his ear pressed up against a radio, worshiping the scratchy radio broadcasts from the Met. 
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Enjoying this now.
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I think we are living in an age of great releases and re-releases of great musicians and performances, incredible sound systems, and a lot of amazing young talent as well. We are really fortunate.