One of Horowitz's most rewarding discs. I don't like the remastering work here much either, but it's still a first-rate recording. The first issue had a more authentic sound. Audiophile concerns, however, are the least important aspect attending a recording like this. The playing is stupendous in every way - magisterial and lighthearted at once! For all his natural Russian bluff (something essential to his art, and hardly a disparaged excess), Horowitz is ultimately a color man, and a singer when he plays; his Scarlatti in fact owes everything to the opera, so layered with detail, and delight of the 'first' voices. When I hear Horowitz's Chopin, I often think of Guiomar Novaes- not the same movement of sound, but the same ideal of singing in the playing. The 'L'Adieu' is perfect art here, the kind Horowitz never failed to honor with his Chopin. A good deal of what we truly love about Horowitz's playing is of course the pianos he uses, why not say it?! HE would! This recording at the Met illustrates that principle in beautiful proportions; the sound of the instrument (I suspect it's the one from his home?) is a constant joy throughout the recording, especially on the first issue CD. The second half of the program here is both ambitious and safe (I think the programming finer on the Moscow concert), but it's the Scarlatti that means the most; those sonatas like a row of little jewelled houses living under the sun are each a testament to the greatness of this man's pianistic art. Not only that, Horowitz was an enormously cultured man of constant individuality; the elegance of a legacy comprised of uncompromising musical taste and consummate daring speaks louder than the shadow of an almost savant facility. I think he was one of music's rare beings - this recording so testifies. Don't wait.