Classical

Heifetz - Castelnuovo-Tedesco-Fauré-Vitale (1957)

2015-06-16T15:51:32Z

Heifetz - Castelnuovo-Tedesco-Fauré-Vitale (1957)


1. Vitali – Chaconne
2. Castelnuovo-Tedesco - The Lark

Faure - Sonata No. 1 , in A , Op. 13
3. I. Allegro molto
4. II. Andante
5. III. Allegro vivo
6. IV. Allegro quasi presto

Jascha Heifetz – violin
Richard Ellsasser – organ (1)
Emanuel Vay – piano (2)
Brooks Smith – piano (3-6)

It is not clear exactly how this demonic and exacting series of bravura variations came to be attributed to Italian Baroque composer Tommaso Antonio Vitali (1663-1745). There can be no doubt at all that Vitali had no hand whatever in the writing of this Chaconne, since scholars have found nothing even remotely similar to it within Vitali's catalog of authenticated works. Moreover, any suggestion that this might be a lost Vitali composition can be similarly dismissed, for there are not even any demonstrable stylistic affinities between the Chaconne and other pieces that have been reliably ascribed to Vitali, in particular a series of 12 sonatas for violin and keyboard. The Chaconne first came to the attention of violinists when it was published as Vitali's work in a collection of pieces (Die Hoch Schule des Violinspiels) edited by the virtuoso and close friend of Mendelssohn, Ferdinand David, and issued in 1867. What is known is that the stern and majestic G minor theme was extensively revised and made progressively more difficult in each successive variation, transforming it into a gripping tour de force of staggering technical difficulty. For this reason, it was selected as the opening work on the bill when Jascha Heifetz presented his debut recital at Carnegie Hall, and indeed, one could hardly imagine a more impressive curtain-raiser. It is just as unclear whether David (who was highly regarded for his advocacy of Baroque music, largely ignored throughout the nineteenth century) wrote the Chaconne himself or possibly assembled it from a variety of motifs by obscure figures of the high Italian Baroque. But this convoluted puzzle doesn't end there. Another violin virtuoso, Frenchman Léopold Charlier, produced an alternative -- and if possible, even more taxing -- edition in 1911. Charlier not only enhanced the technical demands of the violin part, but also made significant improvements and added new harmonizations to the piano part, whilst reordering the sequence of the variations so that they become progressively more complex as this astounding piece unfolds. --- Michael Jameson, Rovi

In Florence in 1926 Castelnuovo-Tedesco met Heifetz, who said he had been stimulated by Spalding to play the piece entitled Capitan Fracassa and asked to have the concerto sent to him. After hearing Heifetz perform the concerto in Paris the following year, within ten days Castelnuovo-Tedesco wrote The Lark, dedicated ‘To Heifetz, the lark that sings at heaven’s gate’. --- Tully Potter, naxos.com

Fauré contributed two violin sonatas, separated by 40 years, of which this one is by far the best known, and may be said to have initiated the line. Florent Schmitt correctly wrote that its appearance "marks a red-letter day in the history of chamber music." Each movement has at least one achingly lovely lyrical theme. The passionate first theme is shared by both instruments (piano and violin are treated as partners throughout the work, rather than as soloist and accompaniment). The second movement, Andante, is reticent, almost shy, in character, with a fine melody for violin. The Scherzo is light-hearted in its outer sections, but lyricism returns in its central section, or "trio." Finally, the last movement is dramatic and emotional, yet even here there is an interlude with a lovely romantic theme. --- Joseph Stevenson,Rovi

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Jascha Heifetz - Heifetz Showpieces (1997)

2009-10-23T10:06:07Z

Jascha Heifetz - Heifetz Showpieces (1997)


01. Edouard Lalo - Symphonie espagnole, Op. 21: Allegro non troppo
02. Symphonie espagnole, Op. 21: Scherzando: Allegro molto
03. Symphonie espagnole, Op. 21: Andante
04. Symphonie espagnole, Op. 21: Rondo: Allegro
05. Camille Saint-Saëns - Havanaise, Op. 83: Allegro e lusinghiero
06. Havanaise, Op. 83: Allegro
07. Havanaise, Op. 83: Allegro mo non troppo
08. Pablo de Sarasate - Zigeunerweisen, Op. 20: Moderato
09. Zigeunerweisen, Op. 20: Lento
10. Zigeunerweisen, Op. 20: Un poco più lento
11. Zigeunerweisen, Op. 20: Allegro molto vivace
12. Ernest Chausson - Poème, Op. 25
13. Camille Saint-Saëns - Introduction and Rondo Capriccioso, Op. 28: Andante William
14. Introduction and Rondo Capriccioso, Op. 28: Allegro ma non troppo
15. Introduction and Rondo Capriccioso, Op. 28: Più allegro

Jascha Heifetz – violin
RCA Victor Orchestra
Izler Solomon – conductor (12)
William Steinberg – conductor

Recording 1951 – 1952

A dazzling display of violinistic fireworks tempered with heart and soul. Every note is played with meaning and conviction. The myriad tone colors Heifetz paints with his bow are unmatched by any other violinist whose recordings of these pieces I've heard. The searing intensity and heartfelt passion of the Chausson Poeme will leave you emotionally exhausted! The performance of Zigeunerweisen has all the elan and sparkle one could hope for and the Havanaise is played with arresting beauty of tone and perfection of technique. The longest work on this CD, Lalo's Symphonie Espagnole, is played from beginning to end with Spanish flare and fire and never sounds repetitive or insipid. The four movements recorded hear possess charm and vigor in every phrase. The music flows effortlessly - one knows one is in the presence of genius. One of the very best CD's of violin music available! --- "rjm26", amazon.com

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Jascha Heifetz - Mario Castelnuovo-Tedesco Howard Ferguson Karen Khachaturian Françaix (1989)

2009-10-23T10:09:15Z

Jascha Heifetz - Mario Castelnuovo-Tedesco Howard Ferguson Karen Khachaturian Françaix (1989)

Mario Castelnuovo-Tedesco - Concerto for violin & orchestra No. 2 "I Profeti", Op. 66
1. Grave E Meditative 'Isaiah' 
2. Espressivo E Dolente 'Jeremiah' 
3. Fiero E Impetuoso (Ma Sostenuto E Ben Marcato Il Ritmo) 'Elijah'

Howard Ferguson - Sonata for violin, No. 1, Op. 2
4. Molto Moderato 
5. Allegro Furioso 
6. Quasi Fant 

Jean Françaix - 	Trio for violin, viola & cello in C
7. Allegretto Vivo 
8. Scherzo: Vivo 
9. Andante 
10. Rondo: Vivo 

Karen Khachaturian - Sonata for violin & piano in G minor, Op. 1
11. Allegro 
12. Andante 
13. Presto 

Jascha Heifetz, violin 
Joseph de Pasquale, viola (3rd work) 
Gregor Piatigorsky, violoncello (3rd work)
Lillian Steuber, piano (2nd, 4th works) 
Los Angeles Philharmonic 
Alfred Wallenstein, conductor

We come now to more modern fare, and firstly to a very colourful, immediately enjoyable work in Castelnuovo-Tedesco's Second Violin Concerto, written for Heifetz in 1933. This work is sub-titled I profeti (''The Prophets'') and the names of Isaiah, Jeremiah and Elijah head its three movements. Heifetz clearly relishes the score's attractive lyricism, and Wallenstein's conducting is full of personality too. The 1954 stereo recording is more than adequate. Howard Ferguson wrote his First Violin Sonata in 1931, when he was 23. This is a gently flowing, somewhat reflective piece, apart from a brief central Allegro furioso movement, to which Heifetz responds with alacrity. Elsewhere his rather sharp-toned, virtuoso approach tends to be somewhat at odds with the work's nature, and a rather close 1966 recording does not help. He is more suited to the early Sonata of Karen Khachaturian, who is Aram Khachaturian's nephew. On the evidence of this work, like his uncle, Karen writes in an outgoing, vigorous, uncomplicated style, which Heifetz plays in a cheerful, extrovert fashion. The recording was made at the same sessions as the Ferguson sonata. Francaix's String Trio is a typically brief, slight, but cleverly written piece, and here Heifetz and his two colleagues relax to give a delightfully spry, pithy performance, which is matched with a good 1964 recording. . . .

Heifetz was without doubt a uniquely gifted artist. It has been a very rich experience for me to explore these five discs, and I can do no more than give them the highest possible recommendation. -- Gramophone, arkivmusic.com

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Jascha Heifetz - The Decca Masters Vol.2 (1988)

2011-02-07T19:23:55Z

Jascha Heifetz - The Decca Masters Vol.2 (1988)


1.Gershwin - Three Preludes - No. 1 1:33  
2.Three Preludes - No. 2 2:50 
3.Three Preludes - No. 3 1:13   
4.Foster - Old Folks At Home 3:18   
5.Gardner - From The Canebrake 1:34 
6.Bennett - Hexapoda - Gut Bucket Gus 2:02   
7.Hexapoda - Jane Shakes Her Hair 1:04   
8.Hexapoda - Betty And Harold Close Their Eyes 1:42   
9.Hexapoda - Jim Jives 1:00 
10.Hexapoda - Till Dawn Sunday 1:47   
11.Foster - Jeannie With The Light Brown Hair 2:57   
12.Gershwin - Summertime 1:48   
13.A Woman Is A Sometime Thing 1:49  
14.My Man's Gone Now 3:52  
15.It Ain't Necessarily So 2:30   
16.Tempo Di Blues 2:53   
17.Bess, You Is My Woman Now 3:02   
18.Herbert - A La Valse 1:40   
19. Benjamin-Primrose - Jamaican Rumba 1:36   
20.Dyer - Florida Night Song 2:55   
21.Trad. - Deep River 2:23   
22.White - Levee Dance 3:03   
23. Trad. Irish melody, arr. Crowther - Gweedore Brae 3:10   
24. Weill-Frankel - Moderato Assai 2:20   
25.Berlin - White Christmas 3:20   
26.Goddard - Jascha Heifetz & Bing Crosby: Lullaby 3:14   
27. Lohr-Teschemacher - Jascha Heifetz & Bing Crosby: Where My Caravan Has Rested

Jascha Heifetz (violin)
Emanuel Bay (piano)
Milton Kaye (piano)
Bing Crosby (vocals)

A child prodigy, Russian-born violinist Jascha Heifetz gave his first public performance at age five. Six years later, he was enrolled in the St. Petersburg Conservatory, and two years after that he presented his first formal concert. Fleeing Russia after the 1917 Revolution, he reestablished his reputation with several world tours in the early '20s, finally settling down in Beverly Hills in 1925. Being in such close proximity to Hollywood, it was perhaps inevitable that he would be peripherally involved in the film industry. In addition to a handful of short subjects, he starred in 1939's They Shall Have Music, producer Sam Goldwyn's well-meaning attempt to bring culture with a capital "C" to the masses. Eight years later, Heifetz was one of a myriad of concert artists who made guest appearances in Carnegie Hall. In addition, he was married for 17 years to silent screen star Florence Vidor. Touring as a soloist until 1974, Jascha Heifetz also taught gifted music pupils at the University of Southern California-Los Angeles from 1962 to 1972. ---Hal Erickson, Rovi

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Jascha Heifetz – Brahms Mozart Bach (1987)

2012-02-26T19:56:14Z

Jascha Heifetz – Brahms Mozart Bach (1987)

Brahms
1. Concerto for violin, cello & orchestra in A minor ('Double'), Op. 102: Allegro 	
2. Concerto for violin, cello & orchestra in A minor ('Double'), Op. 102: Andante 	
3. Concerto for violin, cello & orchestra in A minor ('Double'), Op. 102: Vivace non troppo 	

Mozart
4. Sinfonia concertante for violin, viola & orchestra in E flat major, K. 364 (K. 320d): Allegro maestoso 
5. Sinfonia concertante for violin, viola & orchestra in E flat major, K. 364 (K. 320d): Andante 	
6. Sinfonia concertante for violin, viola & orchestra in E flat major, K. 364 (K. 320d): Presto 	

Bach
7. Concerto for 2 violins, strings & continuo in D minor ('Double'), BWV 1043: Vivace 	
8. Concerto for 2 violins, strings & continuo in D minor ('Double'), BWV 1043: Largo ma non tanto 
9. Concerto for 2 violins, strings & continuo in D minor ('Double'), BWV 1043: Allegro

Jascha Heifetz – violin
Erick Friedman – violin
Thornton Lofthouse – harpsichord
Gregor Piatigorsky – cello
William Primrose – viola

New Symphony Orchestra of London
RCA Victor Orchestra
Victor Orchestra
Malcolm Sargent, Izler Solomon, Alfred Wallenstein – conductor

Here is a magnificent album from RCA Victor. (09026-63531-2) re-releases three "Living Stereo" recordings of Jascha Heifetz playing with three other stars of the strings in a generous program of a Baroque, a Classical, and a Romantic concerto for two players.

He is joined by Erick Friedman in Bach's "Concerto in D minor for Two Violins" (New Symphony Orchestra of London, Sir Malcolm Sargeant cond.), by William Primrose (viola) in Mozart's "Sinfonia Concertante in E flat, K. 364 (RCA Victor Symphony Orchestra, Izler Solomon, cond.), and by Gregor Piatigorsky in Brahms' "Concerto in A minor for Violin and Cello" (RCA Victor Sym. Orch., Alfred Wallenstein, cond.) A British critic praised the teamwork between the soloists and conductor in the Brahms when that LP first appeared and noted the brisk tempos. While some might prefer the more leisurely approach of other recordings, nothing can detract from this one which seems just right on its own terms.

The recording dates are 1956, 1960, 1961 respectively and the sound was top of the line for that period. Obviously you are going to purchase this for the playing of the four soloists. There are many rival recordings of each of these pieces, but I doubt very much if you will find all three together and so masterfully played. By the same token, the inclusion of a double concerto from each of the three musical eras makes this a valuable teaching aid to boot. --- F. Behrens "Frank Behrens" (Keene, NH USA)

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Korngold & Rozsa -Violin Concertos; Waxman - Carmen Fantasy (1997)

2009-10-23T10:07:42Z

Korngold & Rozsa -Violin Concertos; Waxman - Carmen Fantasy (1997)

Erich Wolfgang Korngold - Concerto, Op.35 in D
1. Moderato nobile  7:55
2. Romance 07:13 
3. Finale; Allegro assai vivace 06:43 

Miklós Rózsa - Concerto, Op.24
4. Allegro non troppo ma passionato (rec.1956) 11:24
5. Lento cantabile 07:38 
6. Allegro vivace 07:56 

Miklós Rózsa - Sinfonia concertante, Op.29
7. Tema con variazioni - Theme (rec.1963) 01:20 
8. Tema con variazioni - Variation I	 01:07 
9. Tema con variazioni - Variation II 	01:14 
10. Tema con variazioni - Variation III 	00:49 
11. Tema con variazioni - Variation IV 	02:14 
12. Tema con variazioni - Variation V	 01:13 
13. Tema con variazioni - Variation VI 	01:29 
14. Tema con variazioni - Variation VII 	01:42 

15. Franz Waxman - ''Carmen'' Fantasy (rec.1946) 09:30 

Jascha Heifetz – violin
Gregor Piatigorsky – cello (7-14)
Los Angeles Philharmonic
Alfred Wallenstein – conductor (1-3)
Dallas Symphony Orchestra
Walter Hendl – conductor (4-6)
RCA Victor Orchestra
Donald Voorhees – conductor (15)

The Rózsa violin concerto is one of my favorite pieces and this is, beyond all doubt, the best recorded performance of this far-too-neglected work. I do have one quibble with Maestro Heifitz's performance: he rushes the central theme of the middle movement a bit; I would love to have heard him "sing" it a bit more, at a slighltly slower tempo -- a bit more tenderness and longing -- because it is such a moving melody.

The other pieces on this disc are also wonderful, especially the Korngold. I respectefully disagree with the earlier reviewer about the Korngold being too cliché and corny, but as the old Romans said, "De gustibus non disputandum est."

If you are a Heifitz fan, or these three great masters of film music, you can't go wrong with this CD. --- Donald M. Campbell, amazon.com

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Sibelius Prokofiev Glazunov – Violin Concertos (2010)

2014-01-08T17:17:37Z

Sibelius Prokofiev Glazunov – Violin Concertos (2010)

	Violin Concerto In D Minor, Op. 47 (26:43)
1 		Allegro Moderato 	13:37 	
2 		Adagio Di Molto 	6:18 	
3 		Allegro Ma Non Tanto 	6:48 	
  	Violin Concerto No. 2 In G Minor, Op. 63 (23:12)
4 		Allegro Moderato 	9:02 	
5 		Andante Assai 	7:59 	
6 		Allegro Ben Marcato 	6:11 	
  	Violin Concerto In A Minor, Op. 82 (18:56)
7 		Moderato 	3:59 	
8 		Andante Sostenuto 	3:24 	
9 		Tempo I 	6:04 	
10 		Allegro 	5:29 	

Jascha Heifetz – violin
Chicago Symphony Orchestra (1-3)
Boston Symphony Orchestra (4-6)
RCA Victor Symphony Orchestra (7-10)

Walter Hendl – conductor (1-3, 7-10)
Charles Munch – conductor (4-6)

This Heifetz recording of this Prokofiev concerto is one of the finest performances and recordings of anything ever done, and in this splendid new digital reincarnation critical sonic details come through with added clarity, e.g., the pp bass drum notes. Heifetz and Munch attain the Haydnesque almost robot-like andante assai accompaniment in the slow movement contrasting vividly with the melting sweetness of the violin line. Most importantly, in all of these re-mastered Heifetz recordings the violin tone is greatly enriched to the benefit of Heifetz’s reputation. Surprisingly, for an artist who recorded as much as he did, microphones were not kind to Heifetz’s tone. On many commercially released recordings, Heifetz sounds astringent, gritty, sour, even false; but here we hear what he really sounded like and the real beauty and complexity of his tone is made clear on recording at last for those of us who could never hear him play live up close.

Rozhdestvensky and Perlman do a beautiful job with this work also, warmer, sweeter, more rhapsodic, a smoother surface throughout. Timings on the first and second movement are 12% longer. Some will like the performance better although the recording quality, while excellent for CD, cannot compare with the SACD.

In the Sibelius Concerto Heifetz is competing with himself; his 1935 recording with Beecham remains a monument, a standard not yet surpassed; however, that primitive recording distorts the overall orchestral sound as well as leaving many details inaudible. Real connoisseurs will need both recordings to truly appreciate Heifetz’ accomplishment. Wisely not attempting to better Heifetz, other violinists move in other directions. Mutter and Previn give us hair-tearing, tear-jerking, foot-stomping gypsy passion. Eidus goes them even one further; his first two movements are gut-wrenching, heart-rending, but he actually can’t manage the rapid leaps and double-stops in the finale. Kavakos gives us the "original" 1903 version, as much like the familiar 1905 version as Mussorgsky’s original Boris is like the Rimsky-Korsakov version. When you think you’ve heard everything in this concerto, then listen to the earlier version, hear Sibelius’ creative mind in action, and thus deepen your understanding of the artistic decisions he eventually made in comparison with his original inspirations. Kraggerud and Engeset give a very capable, very individual reading on a surround sound DVD-Audio. Another worthy version I have enjoyed is by Tossy Spivakovsky and Tauno Hannikainen on Everest, and classic account by Julian Sitkovetsky (father of Dimitri) also deserves mention.

In the notes to the Perlman recording, the annotator says that the Violin Concerto is "... generally regarded as Glazunov’s most brilliant and effective composition." That may have been a true statement in 1989, however no one who has heard a good recording of the Fifth Symphony (Polyansky, or Fedoseyev) or the First Symphony (Järvi) could possibly agree with it. It is interesting that some passages clearly inspired Prokofiev in his Second Violin Concerto. Although sensationally popular in Russia, Glazunov is only now becoming known in the West. The Violin Concerto has been familiar for a long time, but we have many treasures yet to discover, and when that has occurred, the Violin Concerto will probably move down a few notches in the list.

In the Glazunov Concerto the "RCA Victor Symphony Orchestra" would likely be either the 20th Century Fox or MGM Studio orchestra, or maybe members of both, first-rate musician friends of Heifetz’s, come just down the street from the studios to the hall. In spite of the exceptional recording quality, Heifetz’ emotionality here leaves me relatively unaffected; it seems artificial, calculated; but, be that as it may, Heifetz’ performance of the cadenza is a stunning musical achievement you won’t want to miss hearing. Perlman gives us authentic emotion and drama. Fischer, on a Pentatone surround sound SACD, gives us a clear, straightforward but sensitive reading without sentimentality and makes the dramatic structure of the work more evident. Overall, I prefer both Perlman and Fischer to Heifetz in this concerto.

However, the recording of the accompaniments in all cases is clearly superior on the RCA to the others, even to the newer surround sound recordings. You will hear new details in the orchestral parts. With these rich detailed recordings it is easy enough to generate convincing rear channel information from a quality surround sound processor. --- Paul Shoemaker, musicweb-international.com

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