At Carnegie Hall: Private Collection - Haydn & Beethoven

Vladimir Horowitz (Performer) | Format: Audio CD

Product Details

• Performer: Vladimir Horowitz
• Audio CD (January 5, 2010)
• Number of Discs: 1
• Label: SONY CLASSICS
• ASIN: B002WBYDIA
• In-Print Editions: MP3 Download
• Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #185,765 in Music (See Top 100 in Music)

Editorial Reviews

This third release of unissued Carnegie Hall performances by Horowitz (1945-48) features pieces both instantly recognizable and often overlooked. He reveals the beauty of Haydn's Piano Sonata No. 62 in E Flat Major , then puts his own sublime stamp on Beethoven's immortal Waldstein and Moonlight piano sonatas!

Customer Reviews

Most Helpful Customer Reviews

7 of 7 people found the following review helpful:

4.0 out of 5 stars Horowitz the Classicist, January 7, 2010

By 

Hank Drake (Cleveland, OH United States) - See all my reviews
(TOP 1000 REVIEWER)    (VINE VOICE)   

Amazon Verified Purchase

This review is from: At Carnegie Hall: Private Collection - Haydn & Beethoven (Audio CD)

For this installment of recordings from Vladimir Horowitz's Private Collection, the fifth in the series that started in the 1990s, Sony/BMG is focusing on repertoire from the Classical era. Again, the recordings are taken from Carnegie Hall recitals the pianist had recorded at his own expense.

Horowitz first recorded Haydn's Sonata in E-flat (No. 52 or 62 depending on which listing you use) in 1932, the first recording of this work ever made. The performance remains a benchmark recording of this piece, played with feline grace and in perfect Classical style, and demonstrates Horowitz as a great Haydn interpreter - which was not always the case with his Mozart. In a second recording, from a 1951 Carnegie Hall concert, the Sonata is given a more overtly virtuoso treatment and is played on a larger dynamic scale. Some details in the score, such as the rests in the final movement, which were scrupulously observed in 1932, are ignored in 1951. This performance, from 1948, is midway between the two in terms of interpretation. Certain details of the opening Allegro, such as the handling of turns, are unique to this performance. The lovely Adagio is played at a flowing tempo (more of an Andante) but it works here. There are many hair raising moments in the final Presto, which features incredibly balanced rapid passagework played without pedal. The third movement rests are observed the first time the theme is played, but ignored in the final repetition.

The performance of Beethoven's Waldstein Sonata is from 1945. The first movement is played in a straightforward manner, with none of the fussiness that mars his two studio recordings of this work, but the repeat in this movement is omitted here. The central Adagio, which serves as an introduction to the third movement, is offered with an unforced lyricism. The third movement is played at a very fast tempo, quite different from either of his more spacious studio recordings. Horowitz carefully observes Beethoven's dynamic markings and there is a great deal of rhythmic verve throughout the movement. As was his usual practice, Horowitz has replaced Beethoven's octave glissandi with presto and staccato octaves (Rubinstein also did this), so this performance is not strictly by the book.

There is a remarkable lack of atmosphere in the first movement of the Moonlight Sonata, from a 1947 concert. The coloring for which Horowitz was justly famous is sadly missing here, as is the poetry of his 1956 recording of the work. The allegretto goes at a jaunty clip, which is not what was intended and differs markedly from the pianist's three studio recordings. As in his 1946 and 1972 studio recordings, Horowitz ignores the sforandi at the top of the ascending phrases in the third movement - which robs the finale of much of its turbulence. He observed them in his 1956 recording, which remains the high mark for Horowitz's performances of this work. While one doesn't want to appear ungrateful for the effort undertaken to issue this historical performance, I must question the wisdom of this Moonlight's release, as it does nothing to broaden our knowledge of Beethoven or Horowitz.

Jon Samuels has done his usual fine job of restoring these recordings from Horowitz's own copies - the only ones known to exist. Thankfully, there is no over filtering, and while there is a bit of surface noise at points, the disc remains eminently listenable.

2 of 3 people found the following review helpful:

4.0 out of 5 stars VLADIMIR HOROWITZ: MASTER PIANIST PLAYS BEETHOVEN AND HAYDN AT CARNEGIE HALL, January 7, 2010

By 

RBSProds "rbsprods" (Deep in the heart of Texas) - See all my reviews
(TOP 500 REVIEWER)    (VINE VOICE)   

Amazon Verified Purchase

This review is from: At Carnegie Hall: Private Collection - Haydn & Beethoven (Audio CD)

Four Overall Stars! Five MASTERPIECE Stars for Vladimir Horowitz; Three and a half Stars for the sound! Horowitz, one of classical music's most brilliant virtuosos gives a masterful reading of sonatas by Franz Joseph Haydn and Ludwig van Beethoven at Carnegie Hall in New York City in the prime of his career in the 1940's played before appreciative audiences. This is the third in the series of recordings released by Sony from the personal recordings bequeathed by Horowitz to the Yale University archives: along with Vladimir Horowitz At Carnegie Hall-The Private Collection: Mussorgsky & Liszt and Vladimir Horowitz at Carnegie Hall: Private Collection:Schumann,Chopin,Liszt & Balakirev. Although the variable sound quality allows Horowitz's prowess to be clearly heard, there is audible hiss at times that competes with the music, especially the first movement of Hadyn's "Moonlight" Sonata and other slower movements. At other times the sound is crystal clear.

The 'best of the best' begins with Haydn's autumn-like and sometimes humorous Sonata No. 62 For Piano In E-Flat Major, (Hob. XVI:52). Haydn uses the old English nursery rhyme round "3 blind mice" several times in the Allegro movement, and disguised throughout the sonata, as a jumping off point for much more complex and invigorating sections. This simplicity of the sonata's grand opening is contrasted with the later complexity presented to the pianist, especially in the formidable Presto movement, which is notable for Horowitz's flawless time management and control of dynamics. Beethoven's Sonata For Piano In C-sharp Minor, No. 14, Op. 27, No. 2, the so-called "Moonlight Sonata", gets a wondrous, nuanced reading by Horowitz. From the reverential opening given to the very popular Adagio sostenuto movement to the sprightly 2 minute Allegretto, this simply sets the stage for the awesome Presto Agitato movement with it's pell-mell passages, dramatic breaks, and very emotional slower expositions: it is a masterful performance that gets a rousing ovation from the audience. Saving the very best for last, Beethoven's "Waldstein" sonata (Sonata For Piano In C Major, No. 21, Op. 53) is the 'pièce de résistance' performance of this CD and thankfully the noise is tolerable. Horowitz is superb in all aspects, especially showing he can bring on the kinetic firepower, which is demanded by Beethoven throughout with heavy requirements on sustaining lines with the left hand. These are wonderful performances by one of the greatest classical pianists in his prime playing music for the ages, amid noise that is audible, but even so these performances demand to be heard and take their place among this virtuoso's most cherished works. They also demand more remastering work. Ironically, it still gets my Highest Recommendation, even though I rate it at Four OVERALL Stars. Don't think twice, get it! (This review is based on an Amazon.com MP3 album download:100 minutes:13 seconds)