VLADIMIR HOROWITZ AT CARNEGIE HALL—THE PRIVATE COLLECTION • Vladimir Horowitz (pn) • RCA 754604, mono (50:10) Live: New York 1945–1950


SCHUMANN Phantasie in C. BALAKIREV Oriental Fantasy, “ Islamey.” CHOPIN Barcarolle. LISZT (arr. Horowitz) Légendes: St. Francis de Paul Walks on Water


This latest treasure trove from the recorded legacy of Vladimir Horowitz, all previously unreleased recordings, is of performances recorded live in concert at Carnegie Hall between 1945 and 1950. (A similar collection of recorded performances, with different repertoire, was released by RCA in the mid 1990s.) The present discs were donated to the Yale Music Library by Horowitz and his wife, along with a wide variety of other valuable archival materials such as concert programs, scores, correspondence, and the like. The interesting background to this CD is that Horowitz hired a private company to record his Carnegie Hall concerts during those five years, apparently for his own use, and would listen to them on occasion. Eventually, they were forgotten, and given to Yale by Horowitz as part of the archive. The restoration of most of the originals has been remarkably successful.


The music world is a great deal richer for having access now to this collection. While some of the works on this disc were favorites of Horowitz, and performed and recorded on other occasions, there are two indisputably important and unique additions here: arrangements by Horowitz of Liszt’s “St. Francis de Paul Walks on Water” from Légendes , and Balakirev’s fabled “Islamey.” Although he performed them in concert, they were never recorded for commercial release. (Actually Horowitz performed “Islamey” during only one concert season, 1950, and the present performance dates from that time.) As most pianists are well aware, “Islamey” is considered one of the most technically demanding works in the keyboard repertoire—in other words, a perfect vehicle for Horowitz. Both the Liszt and Balakirev are absolutely stunning; the sheer technique involved—the tricky fast repeated notes, the cascades of runs and other fast passages, the accuracy of leaps, the control of dynamics—reveal Horowitz at the very peak of his career, demonstrating his absolute supremacy over the keyboard. The same must be said for his beautiful performance of Chopin’s Barcarolle, in which the pianist’s legendary singing right hand and judicious use of rubato create a haunting landscape.


The Schumann Phantasie was one of Horowitz’s favorite works; it was on the program at his 1965 Carnegie Hall “comeback” concert following a 12-year absence from the concert stage, and was issued by Columbia shortly after. The Phantasie heard here was recorded in April 1946, unfortunately accompanied by a good bit of noise from the original lacquer surfaces. Horowitz’s treatment of the first movement is truly like a fantasy, sounding dreamlike and spontaneous. It is a beautiful performance, even though in the treacherous coda of the second movement Horowitz seems to succumb to an attack of nerves, begins to rush, and actually loses it briefly before the final measures, with a memory slip and some wrong notes. But magically, the worst over, he plays the last movement with transfixing tenderness and beauty of sound.


This CD may constitute the final hidden treasures from Horowitz’s recorded legacy; but even if some new treasures are discovered, this one is a must for serious collectors.


FANFARE: Susan Kagan


This is prime Horowitz on staggering, fearless form..."

The second of three releases culled from Vladimir Horowitz's mid-1940s/early-1950s Carnegie Hall recitals offers alternative views of two works long familiar from his commercial discography, along with two showpieces otherwise unavailable in the Horowitz canon. The Schumann Fantasy is a classic example of Horowitz's genius for transforming the composer's busy, often thick textures into lean, translucent, and provocatively contoured sonorities. However, an unsettled quality emerges from the pianist's small yet persistent speed-ups and slow-downs within phrases that he would shape more simply in his 1965 comeback recital. Listeners following the score also will notice booming added octaves, plus a deletion of 19 measures from the second movement that's clearly intentional--not a memory lapse. Horowitz's similarly affetuoso approach to the Chopin Barcarolle flows better here than in his 1957 studio recording, notwithstanding the overly aggressive and tight-fisted coda.

Listeners familiar with Liszt's St. François de Paule marchant sur les flots will notice quite a few textual emendations that ultimately draw more attention to the pianist than the composer. That said, this is prime Horowitz on staggering, fearless form, as he also is throughout Balakirev's Islamey. Simon Barere may be unmatched for sheer speed, yet Horowitz's virtuosity is more expressive in its focused articulation, motoric momentum, and shrewd pedaling. He also omits a few bars here and there. Although words cannot adequately mirror the Horowitz experience, David Dubal's vibrant, refreshingly frank booklet notes come pretty darn close.

--Jed Distler, ClassicsToday.com

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Also Available: Volume 1 - Vladimir Horowitz At Carnegie Hall - The Private Collection - Music of Mussorgsky & Liszt.

This second release from the Yale archive recordings captures Vladimir Horowitz in his golden prime, playing his signature repertoire in concert at Carnegie Hall, where he celebrated the milestones in his career. Horowitz employed an engineer to make 78-rpm recordings of his Carnegie Hall concerts in this period, and he used them to review and judge his performances. Most of these mono recordings were originally contained on 12 and 16-inch acetate discs. They have been impeccably mastered, with the sound restored, from new transfers made in the Yale archives. Significant press accompanied the original announcement of the donation of these recordings to Yale, where Horowitz performed often through the years and was assistant fellow of Silliman College.

The second Private Collection release includes four works that take the listener deep into the heart of the Romantic age – Schumann’s Fantasy in C Major, Op. 17; Chopin’s lilting Barcarolle, Op. 60; Liszt’s evocative musical meditation Legende No. 2 – St. Francis de Paule Walking on the Waves; and one of the most demanding pieces ever written for solo piano, Russian composer Mily Balakirev’s breathtaking steeplechase Islamey.

- Carnegie Hall Presents Series from Sony Masterworks