Vladimir Horowitz (1903-1989) is considered one of the greatest pianists of the 20th century, known particularly for his technique, use of tone color and the excitement of his playing. His performing style frequently involved vast dynamic contrasts, with overwhelming double-fortissimos followed by sudden delicate pianissimos. Schumann’s Tocatta races nobly. Chopin’s Etude No. 3 contains one of his loveliest melodies, while his “Black Key” Etude dances and sparkles, and the “Revolutionary,” is fiery and defiant. Scriabin’s Etude in D-sharp Minor shouts dramatic pathos. Moskowski’s Etude No. 11 is a brilliant exhibition of melodic flight covering the entire keyboard. Schumann’s Arabesque is chaste and sings simplicity. Schubert’s Impromptu in G-flat Major voices lyricism. Scarlatti’s two Sonatas express gaiety with an undertone of tragedy. The Mozart Rondo alla Turca is gallant. Rachmaninoff’s G-sharp Minor Prelude is pensive and lonely. The Scriabin Etude in C-sharp Minor is eloquently sad. Chopin’s “Heroic” Polonaise is a call to arms, proud and majestic. Debussy’s Serenade for the Doll, written for his daughter, is a simple lullaby. Rachmaninoff’s Etude-tableaux in C Minor is serene. Debussy’s L’Isle joyeuse is carefree and sensual. Schumann’s Träumerei (Dream), one of the best-known “classical pieces,” conveys tender innocence. Horowitz’s Variations on Themes from Bizet’s Carmen is one of the showpieces that helped establish his reputation.