Compositions/Transcriptions List
It is not surprising that many 20th-century pianists were also composers, transcribers, and creators of their own cadenzas. Figures like Cziffra, Gould, Moiseiwitsch, Kempff, Richter, Nikolayeva, and Hofmann—to name a few—frequently performed their own works and transcriptions in concert.
Vladimir Horowitz was no exception. During his early years, under the guidance of Felix Blumenfeld, he was deeply immersed in composition. Badly, many of his original works from 1911–1925 remain undercovered or lost. As his career as a virtuoso pianist flourished in Europe, he naturally gravitated away from composing. Later, he became more private about his creative output. However, historical records—such as the 1932 Carnegie Hall trio performance with Piatigorsky and Milstein—confirm that he performed original works, including his Violin Sonata, unfinished cello works, and various piano pieces in rehearsal.
After moving to the West, Horowitz ceased composing original works. Consequently, what remains of his creative legacy are largely captured in concertography, his own recordings, and his sophisticated transcriptions.
It is worth noting that many of Horowitz's transcriptions and editorial modifications remain undocumented. For instance, Horowitz famously played the left hand of Scriabin’s Etude Op. 8 No. 12 quite differently, yet this is rarely labeled as a formal "transcription." In this archive, I have limited the entries to those widely recognized as transcriptions, acknowledging that his editorial hand touched countless other works.
As of 2026, seven pieces by Horowitz have been published by Schott Music under The Horowitz Edition.
Vladimir Horowitz was no exception. During his early years, under the guidance of Felix Blumenfeld, he was deeply immersed in composition. Badly, many of his original works from 1911–1925 remain undercovered or lost. As his career as a virtuoso pianist flourished in Europe, he naturally gravitated away from composing. Later, he became more private about his creative output. However, historical records—such as the 1932 Carnegie Hall trio performance with Piatigorsky and Milstein—confirm that he performed original works, including his Violin Sonata, unfinished cello works, and various piano pieces in rehearsal.
After moving to the West, Horowitz ceased composing original works. Consequently, what remains of his creative legacy are largely captured in concertography, his own recordings, and his sophisticated transcriptions.
It is worth noting that many of Horowitz's transcriptions and editorial modifications remain undocumented. For instance, Horowitz famously played the left hand of Scriabin’s Etude Op. 8 No. 12 quite differently, yet this is rarely labeled as a formal "transcription." In this archive, I have limited the entries to those widely recognized as transcriptions, acknowledging that his editorial hand touched countless other works.
As of 2026, seven pieces by Horowitz have been published by Schott Music under The Horowitz Edition.
1. Original Compositions
Danse Excentrique (a.k.a Moment Exotique)
-1920-1921
Behind story: There is some dispute whether this work is transcription or not, because one of the RCA victor recording releases was labeled as ‘Demeny/Horowitz: Danse Excentrique’. There is no clue about ‘Demeny’, but most people think of it as a Horowitz’s alias.
-1920-1921
Behind story: There is some dispute whether this work is transcription or not, because one of the RCA victor recording releases was labeled as ‘Demeny/Horowitz: Danse Excentrique’. There is no clue about ‘Demeny’, but most people think of it as a Horowitz’s alias.
Etude-Fantasie in F flat major, Op. 4 ‘Les Vagues’
-1914-1919
Behind story: This piece is a rare piece that has a manuscript by Horowitz kept in Yale University. The manuscript score scan files are collected by lots of collectors, including me.
Etude-Fantasie in F flat major, Op. 4 ‘Les Vagues’
-1914-1919
Behind story: This piece is a rare piece that has a manuscript by Horowitz kept in Yale University. The manuscript score scan files are collected by lots of collectors, including me.
Une Conte, Op. 14
-1919-1920
Fragment Douloureux, Op. 14
-late 1910s-early 1920s
Behind story: I don’t know how they got the score, but Schott Music had published this work in 2022.
Prelude in F major, Op. 9, Presto
Tableau Musical
Behind story of the 4 pieces above: They are known as composed from the conservatory years, early 1920. They were kept in Horowitz’s private collection, and after his death, Wanda gave the score to her friend.
Waltz in F minor
-1920s
Behind story: There is a 1928 piano roll recording of this piece. Also this work is published by Schott music, but not sure it is based on the piano roll or the original manuscript.
Une Conte, Op. 14
-1919-1920
Fragment Douloureux, Op. 14
-late 1910s-early 1920s
Behind story: I don’t know how they got the score, but Schott Music had published this work in 2022.
Prelude in F major, Op. 9, Presto
Tableau Musical
Behind story of the 4 pieces above: They are known as composed from the conservatory years, early 1920. They were kept in Horowitz’s private collection, and after his death, Wanda gave the score to her friend.
Waltz in F minor
-1920s
Behind story: There is a 1928 piano roll recording of this piece. Also this work is published by Schott music, but not sure it is based on the piano roll or the original manuscript.
Une Conte, Op. 14
-1919-1920
Fragment Douloureux, Op. 14
-late 1910s-early 1920s
Behind story: I don’t know how they got the score, but Schott Music had published this work in 2022.
Prelude in F major, Op. 9, Presto
Tableau Musical
Behind story of the 4 pieces above: They are known as composed from the conservatory years, early 1920. They were kept in Horowitz’s private collection, and after his death, Wanda gave the score to her friend.
Waltz in F minor
-1920s
Behind story: There is a 1928 piano roll recording of this piece. Also this work is published by Schott music, but not sure it is based on the piano roll or the original manuscript.
Une Conte, Op. 14
-1919-1920
Fragment Douloureux, Op. 14
-late 1910s-early 1920s
Behind story: I don’t know how they got the score, but Schott Music had published this work in 2022.
Prelude in F major, Op. 9, Presto
Tableau Musical
Behind story of the 4 pieces above: They are known as composed from the conservatory years, early 1920. They were kept in Horowitz’s private collection, and after his death, Wanda gave the score to her friend.
Waltz in F minor
-1920s
Behind story: There is a 1928 piano roll recording of this piece. Also this work is published by Schott music, but not sure it is based on the piano roll or the original manuscript.
Prelude in D major
Behind story: This rare manuscript is kept in Yale University, and thanks to Yale, they posted it online, so everyone can see the manuscript of this rare composition.
Behind story: This rare manuscript is kept in Yale University, and thanks to Yale, they posted it online, so everyone can see the manuscript of this rare composition.
2. Transcriptions
Anonymous: God Save the Queen/King
Behind story: Horowitz played this transcription for Prince Charles at 1982 May 22. Maybe the transcription was composed in 1982.
Mendelssohn/Liszt: Wedding March and Variations
-1946
Behind story: Horowitz played this transcription for Prince Charles at 1982 May 22. Maybe the transcription was composed in 1982.
Mendelssohn/Liszt: Wedding March and Variations
-1946
-Shorter version for encore
-Shorter version for encore
Behind story: He used this title in his program book. Also in his encore, he played a shorter version.
Bizet: Variations on a theme from Bizet’s opera ‘Carmen’
-1924
-1926
Bizet: Variations on a theme from Bizet’s opera ‘Carmen’
-1924
-1926
-1928
-1928
-1942
-1942
-1956
-1956
-1967
-1968
-1977
-1978
Youmans: Tea for Two
Behind story: He played this piece in a CBS studio in 1962, and in the early 1970s, CBS engineers listened to that recording with some of their friends. But the nephew of one of the engineers sent a letter to Horowitz that he and the engineers listened to that recording. Horowitz was very mad about this, and he ordered CBS to destroy that unpublished private tape. He plays a small excerpt in his 1985 ‘Last Romantic’ Documentary
Liszt: Hungarian Rhapsody No. 2, S244/2
-1952
-1967
-1968
-1977
-1978
Youmans: Tea for Two
Behind story: He played this piece in a CBS studio in 1962, and in the early 1970s, CBS engineers listened to that recording with some of their friends. But the nephew of one of the engineers sent a letter to Horowitz that he and the engineers listened to that recording. Horowitz was very mad about this, and he ordered CBS to destroy that unpublished private tape. He plays a small excerpt in his 1985 ‘Last Romantic’ Documentary
Liszt: Hungarian Rhapsody No. 2, S244/2
-1952
Liszt: Hungarian Rhapsody No. 6, S244/6
-1944
-1944
Liszt: Hungarian Rhapsody No. 13, S244/13
-1969
Liszt: Hungarian Rhapsody No. 15, S244/15
-1948
-1949
-1950
Liszt: Hungarian Rhapsody No. 13, S244/13
-1969
Liszt: Hungarian Rhapsody No. 15, S244/15
-1948
-1949
-1950
Behind story: There are 3 recordings of this transcription, and 2 outtakes from the cadenza to the ending. Each 5 recordings has a different version of the transcription.
Liszt: Hungarian Rhapsody No. 19, S244/19
-1962
Liszt: Hungarian Rhapsody No. 19, S244/19
-1962
Liszt: Impromptu (Nocturne) in F sharp major, S191
-1985
Liszt: Ehemals, S186/10 from 'Weihnachtsbaum Suite, S186'
-1988-1989
Liszt: Legendes, S175, No. 2, St François de Paule: Marchant sur les flots, S175/2
-1947
Liszt: Impromptu (Nocturne) in F sharp major, S191
-1985
Liszt: Ehemals, S186/10 from 'Weihnachtsbaum Suite, S186'
-1988-1989
Liszt: Legendes, S175, No. 2, St François de Paule: Marchant sur les flots, S175/2
-1947
Liszt Ballade No. 2 in B minor, S171
-1981
Liszt: Etudes d’execution transcendante d’apres Paganini No. 5, S140/5
-1981
Liszt: Etudes d’execution transcendante d’apres Paganini No. 5, S140/5
Liszt: Grandes etudes de Paganini No. 2, S141/2
Behind story: This transcription was mislabeled by RCA victor as Busoni Transcription, and people know that this is a busoni version. But actually, the 1930 recording shows that Horowitz played with the original Liszt version and added some changes from Busoni version. So this is a mix version of Liszt and Busoni version by Horowitz.
Behind story: This transcription was mislabeled by RCA victor as Busoni Transcription, and people know that this is a busoni version. But actually, the 1930 recording shows that Horowitz played with the original Liszt version and added some changes from Busoni version. So this is a mix version of Liszt and Busoni version by Horowitz.
Liszt: Scherzo und Marsch, S177
-1967
Liszt: Vallée d'Obermann, S160/6 from Années de pèlerinage: Premiere annee, Suisse, S160
-Probably 1966
Liszt: Piano Concerto No. 2 in A major, S125
-1926
Liszt/Busoni: Mephisto Waltz No. 1, S514
-1979 Live
-1979 Live+Studio
Mussorgsky: Pictures at an Exhibition
-1947
-1967
Liszt: Vallée d'Obermann, S160/6 from Années de pèlerinage: Premiere annee, Suisse, S160
-Probably 1966
Liszt: Piano Concerto No. 2 in A major, S125
-1926
Liszt/Busoni: Mephisto Waltz No. 1, S514
-1979 Live
-1979 Live+Studio
Mussorgsky: Pictures at an Exhibition
-1947
Mussorgsky: By the River (Water) in C sharp major, No. 6 from 'Bez Solntsa'
-1947
-1947
Sousa: The Stars and Stripes Forever
-1944 March
Behind story: He made this transcription to celebrate becoming a US citizen. There is a recording of his World Premier in this transcription.
-1944 March
Behind story: He made this transcription to celebrate becoming a US citizen. There is a recording of his World Premier in this transcription.
Saint-Saëns/Liszt: Danse Macabre
-1941
-1941
Balakirev: Islamey, Fantasie Orientale, Op. 18
Brahms: Variations on a theme by Paganini, Op. 35
-early 1930s
Chopin: Etude in C minor, Op. 25 No. 12
-1988-9
Behind story: This work was recorded by CBS in 1989, and one of the engineers from Sony Classical listened to this recording and made a score by ear, and the score is collected by some collectors, but not me.
Rachmaninoff: Piano Sonata No. 2 in B flat minor, Op. 36
-1943
-1953
-1968
-1979
-1982
Behind story: Horowitz made this transcription as a present of Rachmaninoff’s 70th birthday in 1943. Badly, Rachmaninoff died 3 days before his birthday. Horowitz had Rachmaninoff’s own permission to edit this piece, and after the edit, Rachmaninoff was very pleased about the transcription. Also, the 1953 version of the transcription has the manuscript based on Rachmaninoff's 1913, 1931 versions first edition score, and Horowitz mixes those two score in one. This manuscript is kept in Yale University. It is marked as 1953 version as Horowitz's writing, but it is not sure that Horowitz changed that editing after of the score or not.
-early 1930s
Chopin: Etude in C minor, Op. 25 No. 12
-1988-9
Behind story: This work was recorded by CBS in 1989, and one of the engineers from Sony Classical listened to this recording and made a score by ear, and the score is collected by some collectors, but not me.
Rachmaninoff: Piano Sonata No. 2 in B flat minor, Op. 36
-1943
-1953
-1968
-1979
-1982
Behind story: Horowitz made this transcription as a present of Rachmaninoff’s 70th birthday in 1943. Badly, Rachmaninoff died 3 days before his birthday. Horowitz had Rachmaninoff’s own permission to edit this piece, and after the edit, Rachmaninoff was very pleased about the transcription. Also, the 1953 version of the transcription has the manuscript based on Rachmaninoff's 1913, 1931 versions first edition score, and Horowitz mixes those two score in one. This manuscript is kept in Yale University. It is marked as 1953 version as Horowitz's writing, but it is not sure that Horowitz changed that editing after of the score or not.
Schubert/Tausig: Marches Militaires No. 1 in D flat major, D. 733 Op. 51 No. 1
-1985
Stravinsky: Russian dance, K012 No. 1 from 'Petrushka'
-1931
-1985
Stravinsky: Russian dance, K012 No. 1 from 'Petrushka'
-1931
Moszkowski: Etude in F major, Op. 72 No. 6
-1945
-1945
Moszkowski: Etude in A flat major, Op. 72 No. 11
-1949
-1949
-1965
Moszkowski: Characteristic Piece No. 6 in B flat major, Op. 36 'Etincelles' from 'Huit morceaux caractèristiques, 8 Characteristic Pieces'
-1951
Moszkowski: Characteristic Piece No. 6 in B flat major, Op. 36 'Etincelles' from 'Huit morceaux caractèristiques, 8 Characteristic Pieces'
-1951
Mendelssohn: Etude in A minor, Op. 104b No. 3
-1967
Schubert/Liszt: Soirées de Vienne No. 6 in A minor, Valses-caprices d'après F. Schubert, S427/6
-1985
Schubert: Moments Musicaux No. 3 in F minor, D. 780 Op. 94 No. 3
-1985
Tchaikovsky: Dumka in C minor, Op. 59
-1967
Schubert/Liszt: Soirées de Vienne No. 6 in A minor, Valses-caprices d'après F. Schubert, S427/6
-1985
Schubert: Moments Musicaux No. 3 in F minor, D. 780 Op. 94 No. 3
-1985
Tchaikovsky: Dumka in C minor, Op. 59
Mozart: Piano Sonata No. 11 in A major, K. 331/300i: III. Rondo alla turca. Allegretto
-1988
Behind story: Horowitz made a double note version of the Turkish March in 1988 and even recorded it.
Smith: The Star Spangled Banner
-1942
Behind story: He composed this transcription because of World War II, and played as the opening of his recital until the war ended. After it, he played for President Jimmy Carter in the White House in 1978.
-1988
Behind story: Horowitz made a double note version of the Turkish March in 1988 and even recorded it.
Smith: The Star Spangled Banner
-1942
Behind story: He composed this transcription because of World War II, and played as the opening of his recital until the war ended. After it, he played for President Jimmy Carter in the White House in 1978.
3. Cadenza
Cadenza for the Clementi: Piano Sonata in C major, Op. 33 No. 3 'Sonata quasi Concerto': II. Adagio e cantabile con espressione
-1976
Cadenza for the Clementi: Piano Sonata in B flat major, Op. 24 No. 2 or Op. 47 No. 2: I. Allegro con brio
-1950
-1976
Cadenza for the Clementi: Piano Sonata in B flat major, Op. 24 No. 2 or Op. 47 No. 2: I. Allegro con brio
-1950