The three works from Book I of Debussy's Etudes are performed spotlessly, with less use of the sustaining pedal that is customary with these pieces.

Horowitz was one of Prokofiev's early champions, and gave the American premiers of the so-called War Sonatas (6, 7, and 8) and made the world premiere recording of the Seventh Sonata. Horowitz posted the first copy of that recording to Prokofiev, who sent in return a signed copy of the score, inscribed "to the miraculous pianist from the composer." Unfortunately, Prokofiev was never able to hear these recordings of the two short excerpts from his Cinderella Suite. But, one feels he would have echoed the same sentiment.

Horowitz also knew Poulenc, who so admired the pianist that the composer dedicated several works to him. The two short works performed here are played with a simple elegance and restraint which belies the idea that only Frenchmen can play French music.

During the late 1940s, Horowitz performed Dmitri Kabalevsky's music extensively giving the American premiers of the Second and Third Sonatas. Horowitz performed several of the preludes from Op. 38, and one of those traversals are included here. The pianist conveys their diverse moods with total authenticity. Horowitz' performance of the Second Sonata, recorded at that work's American premiere, goes beyond mere stunning virtuosity to an abandon which borders on insane. His performance of the first movement's march has an almost brutal drive and power, while the finale is staggering in its barely contained exuberance. Hearing this performance, one understands Toscanini's contention that Horowitz was the worlds greatest pianist, "because what he can do is superhuman." (In 1986, during his Russian tour, Horowitz visited the aging composer, who died one year later.)

It was Toscanini who introduced Samuel Barber to Horowitz, in the 1930s, and they remained friends until the composer's death in 1981. This recording is of Horowitz' performance of the New York premiere of Barber's Excursions, Op. 20 (No. 3 is missing because Barber couldn't complete it on time). No. 1 is played in a straightforward fashion, with no fluctuation in tempo, giving the lie to those who said Horowitz could not play directly. The second Excursion finds VH uncomfortable with its' "slow Blues" idiom. But he soon recovers for the "hoe-down" rhythm of no. 4. The harmonic piquancy of the piece has the audience giggling at the work's conclusion

The sound varies considerably, from the faded Barber to the nearly pristine Prokofiev. Horowitz played some of these recordings relatively often, while others he apparently ignored. Since Horowitz' copies of these recordings are the only ones known to exist, we have to accept them, surface noise and all. At least we have the comfort of knowing the scratches were made by the Maestro himself.