Customer Reviews

Brahms / Tchaikovsky: Violin Concertos

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While I believe the Brahms violin concerton is the "Emporer" of violin concertos -- principally for its well-developed architecture -- I never cared much for Heifitz's version of the concerto. Although his early stereo recording with the Chicago Symphony and Reiner was played up to his standard, I always thought their collaboration produced an impatient recording, as if they couldn't get it finished quickly enough.

What a difference SACD makes! Now, when I listen to this work, I have a much different reaction. Hearing Heifitz located on the stage just a few steps from where Reiner is leading his band, this now sounds to me more impassioned than ever before, as if the chemistry between the two highly driven performers and the virtuoso orchestra resulted in a fast reading that was driven by a burning passion and not impatience.

So what happened; does the SACD recording show a different reality or did I just get older and appreciate the greatness of these performers more in my maturity?

I think both things happened. I know I appreciate Heifitz a lot more in SACD than I ever did in stereo and the sound on this SACD -- especially when I listen with headphones -- brings dimension to the recording that never existed before. It also shows the level of detail Reiner required from his orchestra and its ability to meet his technical demands.

I enjoyed the Tchaikovksy concerto that is mated with the Brahms here but less so. The chemistry doesn't seem to be the same between the partners, who were both high profile literalits in mid 20th century. Their collective insistence on literalism probably took some of the Slavic character away from the Tchaikovsky concerto, making it another top European concerto from the late Romantic period instead of an individual opus.

I listened to Heifitz's SACD recording of the Sibelius concerto after hearing the Tchaikovksy. There, Heifitz delivered a more characterful and intense performance that projected the icy Scandanavian nature of the composer. This is the element I think the Tchaikovsky concerto lacks -- the overwhelming passion of the emotionally charged and conflicted Russian composer.

Still, this is a great CD replicated in up to the minute super audio sound that usesof all three forward speakers without surround sound. RCA tells us in its technical packaging that the third speaker is a come and go proposition in SACD reissues because that's the way they were recorded. I noticed the middle channel in use every time I got next to the speaker in this recording.

This should appeal to music historians, fans of the two concertos, musicologists and audiophiles that want to know what three-channel recordings sounded like in the early days of stereo. Even this slight misgiving I have about the Tchaikovsky, this CD powerfully appeals to me.

The violini is the most difficult instrument to record, and when digital sound came in during the Eighties, music lovers were dismayed by the edgy, glassy harshness of violin recordings, both solo and orchestral. Compared to the warmer, more natural sound of the best LPs, the advent of CDs was a huge step backward. Upgrades into 20-bit and 24-bit technology improved matters somewhat, but only now, with SACD, are we back to violin recordings that don't make you wince.

This classic pairing of Brahms and Tchaikovsky concertos with Heifetz and Reiner was always in good sound, despite the early recording dates, 1955 and 1957 respectively (the Tchaikovsky being the far superior one sonically). I bought this hybrid SACD to play in normal two-channel CD format, and it is impeccable. There is still a hint of wiriness in Heifetz's tone in the Brahms, but the Tchaikovsky sounds completely natural. Heifetz is far from my favorite violinist, but he deserves the best sound possible, and for the time being at least, he has it.

Tchaikovsky aspired to be the Russian Beethoven. More than any other pairing, Heifetz and Reiner understand this and perform the violin concerto accordingly. With admirable virtuoso playing by the Chicago Symphony and sound that is very accurate for Orchestra Hall at the time this recording was made, this is an astonishing document. As a bonus, you will enjoy Conti's reference to the concerto's first movement in his music for "The Right Stuff," Reiner/Chicago make this abundantly clear. No other recording of this concerto comes remotely close to the power of this one. And Heifetz, unlike the majority of other famous violinists, plays all the notes, in tune, in tempo, including the last two (no falsetto here)! A fitting testament to the Orchestra Hall performances I saw with Heifetz performing; my personal favorite and a real barn-burner.

Heifetz' high octane performance of the Brahms violin concerto has long been praised by critics and listeners alike for his technical command and unsurpassed warm & full-bodied tone and control of color. While he blitzes through the score, there are ample moments where he displays subtle nuance and sensitivity. The ending of the first movement is for me one of the most magical harmonic progressions Brahms ever created with this beautiful sustained descending violin notes shimmering above the orchestra.

The slow movement benefits from the Chicago Symphony's wonderful oboe soloist. You don't hear such a distinguished sound from today's homogenized orchestras. This recording remains a classic and is genuinely aided by the SACD technology. There was always a bit of clipping heard in loud passages on this 1955 recording but the SACD remastering adds some clarity and edge to those once blurred passages.

The Tchaikovsky is quite exciting but not in the same league as the Brahms in comparison with all its competition. If you prefer a more relaxed and romantic approach to the Brahms, then I'd recommend the Perlman-Guilini recording also made in Chicago. Oistrakh also recorded it with Klemperer on EMI as did Milstein with the Philharmonia, both at budget prices. I think anyone who admires this piece should hear more than one recording. It lends itself to many approaches.

To me this simply is the Tchaikovsky version to have, particularly in the now improved sound quality. Probably the same could not be said about the Brahms, but the Tchaikovsky alone is well worth the cost of the SACD.

This couples two of the big four violin concertos (the others being Beethoven and Mendelssohn). For many years I've owned the various incarnations of the 1955 Heifetz Brahms, from LP to CD to this one. The LP was good, then the first 1980's CD incarnation was dreadful--so bad that I think the engineers made a fundamental equalization error. Later in the 80's it reappeared on CD with the good sound of the LP restored. This transfer is pretty wonderful. Heifetz's sound is a bit closely miked, and as a result could sound, as another reviewer called it, wiry. To me (I play the violin) the wiriness is just the brilliance and sizzle of horsehair on the string you hear when you're playing a violin.

This Brahms shows off why other violinists, even the greatest, remain in awe of Heifetz. Example 1: after the cadenza in the 1st movement, he plays the final iteration of the main theme, high up on the top string, with a vibrance and beauty of sound that no other violinist I have heard can duplicate. Most moving. Example 2: the entire second movement and for much the same reason. Superb placement and architecture of the musical line, delivered with aplomb, no technical insecurity whatever, and with glorious tone. Heifetz obviously thought deeply about this movement and delivers a matchless account of it. I recognize that some will find the whole concerto somewhat fast. I did too, but now everybody else sounds draggy.

I am less happy with the sound of the Tchaikovsky. Yes, this is the best incarnation available of Heifetz's 1957 recording, but to me it still sounds a bit dry and boxy. That said, there are still those spots where other players can't touch him. The man had an unrivaled ability to maintain vibrance and beauty of sound in very rapid passages, all the way up to the very highest notes. There are a number of places in the 1st movement that show this gift to great advantage.

So buy it. Worth owning!

These are two very exciting performances of these well known works; both the Brahms and the Tchaikovsky sparkle with virtuosity and musicianship.

The Brahms was recorded in February of 1955 in two-track, and the Tchaikovsky was recorded in April of 1957 in three-track. It would appear that at some point between those two dates the RCA engineers had shifted over to three-track recordings. It seemed to me that the three-track sound was ever so slightly smoother. I can't point my finger at my speakers as all three front speakers have identical drivers. This was most noticeable to me in the smoothness of the sound of Heifetz's violin in the three-track recording of the Tchaikovsky. Not to say that the Brahms' was objectionable but the Tchaikovsky was just a little smoother.

The soundstage in the two-track Brahms is so smooth and wide that I could have sworn the center-channel was being utilized but it wasn't. Mr. Heifetz's violin was solidly anchored in the center and the soundstage for the orchestra was just perfect. The re-mastering, and the transfer to Direct Stream Digital finally permitted the center-track to be properly utilized as the visionary RCA engineers had hoped; I really hope the original RCA engineers are able to join with us in the enjoyment of this technology!

From a musical perspective, Heifetz, Reiner, and the Chicago Symphony Orchestra turn in very exciting performances. In the Brahms' Heifetz's first movement cadenza is a violist's showpiece. Reiner, as usual, doesn't ever let things drag and reminds me a little of Arturo Toscanini in that regard. The Tchaikovsky is also played with drama and excitement and wraps up the disc leaving the listener feeling "Wow, that was really good playing."

During more than three decades, Jascha Heifetz was (If I may) the most famed violinist the world ever had. His fame acquired status of legend all around the planet. The internatonal stages,themost famed conductors and the most consecrated soloists of those ages invited him to recordand to perform.

His unerring technique,his acurate tune and vibrant fingering meant the absolute perfection.

His Brahms still remains as one of the top versions ever made.His Tchaikovsky is good but I rather choice his version of the 35. My favorite choice is Leonid Kogan.

Don't let to acquire this one. It's a must have.

This SACD is one of six in this RCA series that I own. Like the others, its audio quality is superlative. All of these re-issued, re-engineered Living Stereo albums reveal just how high the recording standards were 50 years ago. This recording is from my parents time and its possible my father might have had the original LP. (It was his infectious interest in "high fidelity" audio that got me hooked.) Now I get to hear and enjoy these excellent artists whose musical accomplishments are often legendary.