The Historic Return: Carnegie Hall 1965; The 1966 Concerts

The Historic Return: Carnegie Hall 1965; The 1966 Concerts

The Historic Return: Carnegie Hall 1965; The 1966 Concerts
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Composer: Johann Sebastian Bach
Composer: Ferruccio Busoni
Composer: Frederic Chopin
Composer: Claude Debussy
Composer: Franz Joseph Haydn
Composer: Franz Liszt
Composer: Moritz Moszkowski
Composer: Wolfgang Amadeus Mozart
Composer: Robert Schumann
Composer: Alexander Scriabin
Performer: Vladimir Horowitz
Edition: Music CD
CD Release Date: 1994-06-14
Music Label: Sony
Soundtracks:
Music CD 1
  1. 1. Preludio, quasi improvvisando. Tempo moderato
  2. 2. Intermezzo. Adagio
  3. 3. Fuga. Moderamente scherzando, un poco umoristico
  4. 1. Durchaus phantastisch und leidenschaftlich vorzutragen
  5. 2. M??ig. Durchaus energisch
  6. 3. Langsam getragen. Durchweg leise zu halten
Music CD 2
  1. 1. Tema. Andante grazioso e variazioni
  2. 2. Menuetto - Trio
  3. 3. [Rondo] alla Turca. Allegretto
Music CD 3
  1. 1. Allegro
  2. 2. Adagio
  3. 3. Finale. Presto

Music reviews of The Historic Return: Carnegie Hall 1965; The 1966 Concerts

Music Review: How Live is Live?
Rating: 5 Stars

This is not a review per se. My review is posted under the "Live and Unedited" version of the 1965 concert. But I wanted to correct a few errors which have been circulated in regard to this recording.

First, the corrections used on the original version of "Horowitz at Carnegie Hall" were not made at a "patch session at Carnegie a few days" after the concert. Columbia's engineers had already recorded Horowitz's rehearsals and used that material for the editing.

Second, the editing in the album was neither as extensive as some have suggested, nor as insignificant as others state.

Here is a (mostly) complete list of the patches on the original album, which have been removed from "Live and Unedited":

Bach-Busoni: Preludio: Measures 2-12 and parts of the coda (Horowitz, by the way, does not play the ossias at bars 8, 10, and 12); Intermezzo: Small patches at bars 7 and 11; Fugue: Several edits between bars 97 and 110, and again in the coda.

Schumann Fantasy: 1st Movement: patches at 7:32 and 10:21; 2nd Movement: small patches at 2:44 and 4:32, and a series of patches in the coda 6:58-7:39; 3rd Movement: No edits.

Scriabin: Sonata No 9: No Edits. Poem in F-sharp: Patch from 2:16-2:26

Chopin: Mazurka: Small edit at 2:02; Etude: Patched sections from 1:27-1:33 and 2:15-2:20; Ballade: Small edits at 2:04 and 4:52, at least four patches in the coda.

None of the encores were edited.

It should be pointed out that the editing of supposedly "live" recordings is more commonplace than the recording industry will admit. Although not generally aknowledged, Arthur Rubinstein's 1961 Carnegie Hall Highlights album was patched, and most live recordings today are actually compilations from several performances.

Whether you choose this patched version, or "Live and Unedited" the 1965 return concert contains some stunning piano playing. Can anyone imagine the pressure Horowitz was under on that day? To prove you have not just retained your original greatness, but have deepened and become even greater cannot have been easy. The new, unedited version of the concert is not a revelation, but serves as a reminder of Horowitz's all too human frailty.

Description of The Historic Return: Carnegie Hall 1965; The 1966 Concerts

Sony's series documenting Horowitz's mature career offers many indispensable items, including "live" (with studio touchups) recordings of his mid-1960s return to the concert stage after a prolonged hiatus. The Bach-Busoni is a dazzling opener, followed by a titanic Schumann Fantasy in C amply illustrating Horowitz's total identification with the composer. The performance abounds with tightly controlled nervous energy, precise articulation, and gorgeously shaded timbres. A crisp Haydn Sonata, a marvelously shaded Scriabin, a poetic Schumann Traumerei, and more are all indispensable. Not to be missed: the pregnant pauses and crackling tension of the Chopin G-minor Ballade. --Dan Davis

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