Reissued for the first time on CD, the virtues and shortcomings of these 1958 performances elicit qualified admiration from these quarters. Following a low-voltage introduction, Horenstein launches into the C Minor Symphony’s first movement proper, taking great care to clarify the antiphonal brass writing, while imposing a few awkward ritards that impede the movement’s gathering momentum. By contrast, the Andante Sostenuto sings with unaffected simplicity and suppleness, and so does the unnamed violin soloist. The third movement begins beautifully. Few other conductors bring out the solo horn underneath the dominant clarinet melody. The rhythm, however, bogs down as the note values quicken. Similarly, the final movement’s tricky tempo changes come off by the skin of Horenstein’s teeth, losing steam in the flabby coda (no match for the exultant power Toscanini and Furtwängler brought to these closing bars). The Baden-Baden Radio Orchestra is on better form here than many of their other encounters with Horenstein. Both conductor and orchestra shine throughout most of the Haydn Variations: a vivid, detailed reading let down by a leaden, enervated finale. Sonics are fine, but not outstanding for their vintage, with slight congestion at loud tuttis. But listeners curious about Horenstein’s Brahms First should investigate his 1962 London Symphony recording, gorgeously remastered on a Chesky CD. The interpretation is better integrated, and boasts superior engineering and orchestral playing throughout.
