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At Carnegie Hall: Private Collection - Haydn & Beethoven

Vladimir Horowitz Audio CD
4.3 out of 5 stars  See all reviews (3 customer reviews)

Price: $10.18 & FREE Shipping on orders over $35. Details
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MP3 Music, 9 Songs, 1 Digital Booklet, 2010 $9.99  
Audio CD, 2010 $10.18  

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Sonata No. 62 For Piano In E-Flat Major, (Hob. XVI:52): I. Allegro 5:41$0.99  Buy MP3 
listen  2. Sonata No. 62 For Piano In E-Flat Major, (Hob. XVI:52): II. Adagio 4:27$0.99  Buy MP3 
listen  3. Sonata No. 62 For Piano In E-Flat Major, (Hob. XVI:52): III. Finale - Presto 4:08$0.99  Buy MP3 
listen  4. Sonata For Piano In C Major, No. 21, Op. 53,''Waldstein'': I. Allegro Con Brio 8:04$0.99  Buy MP3 
listen  5. Sonata For Piano In C Major, No. 21, Op. 53, ''Waldstein'': II. Introduzione.Adagio Molto - Attacca 3:46$0.99  Buy MP3 
listen  6. Sonata For Piano In C Major, No. 21, Op. 53, ''Waldstein'': III. Rondo: Allegretto Moderato - Prestissimo 8:42$0.99  Buy MP3 
listen  7. Sonata For Piano In C-Sharp Minor, No. 14, Op. 27, No. 2, ''Moonlight'': I. Adagio Sostenuto 6:06$0.99  Buy MP3 
listen  8. Sonata For Piano In C-sharp Minor, No. 14, Op. 27, No. 2, ''Moonlight'': II. Allegretto 1:49$0.99  Buy MP3 
listen  9. Sonata For Piano In C-Sharp Minor, No. 14, Op. 27, No. 2, ''Moonlight'': III. Presto Agitato 7:20$0.99  Buy MP3 


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"On revient toujours..." For most Europeans, Vladimir Horowitz had remained for many years an American legend. Then in 1982 he returned to London to give his first concerts there in over 28 years and in 1985 traveled to Milan and Paris for his first recitals on the continent in over 30 years. In autumn 1985 Horowitz re-established contact with Hamburg, where his international career ... Read more in Amazon's Vladimir Horowitz Store

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Frequently Bought Together

At Carnegie Hall: Private Collection - Haydn & Beethoven + Vladimir Horowitz At Carnegie Hall-The Private Collection: Mussorgsky & Liszt + Vladimir Horowitz at Carnegie Hall – Private Collection: Schumann, Chopin, Liszt & Balakirev
Price for all three: $31.74

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Product Details

  • Performer: Vladimir Horowitz
  • Audio CD (January 5, 2010)
  • Number of Discs: 1
  • Label: SONY CLASSICS
  • ASIN: B002WBYDIA
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #288,443 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

4.3 out of 5 stars
(3)
4.3 out of 5 stars
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Most Helpful Customer Reviews
8 of 8 people found the following review helpful
4.0 out of 5 stars Horowitz the Classicist January 7, 2010
Format:Audio CD|Verified Purchase
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.
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3 of 4 people found the following review helpful
Format:Audio CD|Verified Purchase
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.
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5.0 out of 5 stars In a Class By Himself December 15, 2012
Format:MP3 Music|Verified Purchase
There may well be no other concert career in the 20th Century as singular and fabled as that of Vladimir Horowitz. No other artist played as astonishingly large a repertoire in his youth, fled Russia with his savings in his shoes, exploded in a substitute performance of the Tchaikovsky Concerto in Hamburg, took the rest of Europe by storm, drove his Carnegie Hall audiences wild at his debut, retired only to reappear, created an unparalleled body of piano works which exploit instrumental technique like no other, pushed the Rachmaninoff Third Piano Concerto into the repertoire, and was followed by audiences who would stand outside all night in the rain, in hopes of buying tickets to his performances. To hear Vladimir Horowitz live made one instantly realize how little studio recordings captured his real essence. That was my reaction upon hearing him in the 1970's.

Many people are aware that Horowitz had his Carnegie Hall recitals recorded for his own purposes, and since his death, a small body of his performances has been made available in Vladimir Horowitz--The Private Collection. These performances should be immediately grabbed while they are available, not because they possess great sound quality--they don't--and not because the interpretations of the works in question will be to everyone's liking--they are not. They are, however, astonishing performances documenting a singular career in the history of the piano that any library of recordings must contain.
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