Customer Reviews

Tchaikovsky & Mendelssohn: Violin Concertos

5 star:		(18)
4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

Not much can be said about this CD that has not already been pointed out. Heifetz if at the peak of a musicians life in that he is in his fifties. At that age his technical skills are still at their extreme peak. He also has all those valuable years of experience behind him. So having said that, these recordings are the perfect example of the perfection of Heifetz. At the end of the 3rd movement of the Tchiakovsky after the orchestra begins coda, Heifetz plays the flying ricochet double stops with the most perfect sound I have yet to hear. Everyone else sounds like they are just making it and smudge the section up. But Heifetz makes it ring so clearly. As for the Mendelssohn, the whole work from beginning to end is of complete musical perfection. Most definately the best recording of the e minor concerto to date. In agreement with the previous reviews, the sound is excellent on these recordings. Also, to maybe clarify if you are confused, the Tchaikovsky on this CD is the same recording as the on that comes coupled with the Brahms in living stereo. Buy this CD.

In my opinion, this is the greatest rendition of the Tchaikovsky Violin Concerto that I've ever heard. Heifetz plays the first movement very fast, but every note is audible and clean. There are literally moments where my jaw drops each time I listen to this recording. It would be hard to imagine a more technically and musically superb version of this wonderful concerto, although there are many other good versions (Milstein's in particular is great as well).

The Mendelssohn is great, and like all of Heifetz's work, it's pretty much perfect. While it is great, I wouldn't name this as my favorite version. Hilary Hahn's Mendelssohn is equally good and the sound quality is considerably better (because Heifetz's was recorded a long time ago), so Hahn's is my preferred Mendelssohn.

This disc is a must have. Because of the sound quality of the disc, I would not place this Mendelssohn as my top choice because they are other versions that are technically similar with better sound quality. The sound quality on this CD isn't bad (it's actually pretty good), but it's not as good as modern recordings. The Tchaikovsky is so spectacular, however, that even with better sound quality recordings out there, Heifetz still remains my top choice. Enjoy!

To listen to Heifetz is such an intense pleasure: the intensity of his sense of beauty is unheard of in the entire recorded musicology except Dohnanyi at the piano, (Moriz Rosenthal, Rachmaninov, Cortot or Sofronitsky are very close). We don't simply call this music making for right at the same time, it's also poetry and drama in the highest form. It's the beauty of life at it's apex. Having heard Heifetz, one has no doubt that music has taken over the function of religion: it's such a consolation to one's heart and soul.

There could be no grumble or whatesoever about his Tsaichovsky, save and except the point that he adopts the Auer's revision. To say Heifetz is cold or that he played with virtuosity for vituosity's sake is the gravest mistake ( albeit that occasionally there is some justification for this when he was young), for he was so impassioned here that he could bring you to tears, along with the utmost awe, even with a single phrase and at times almost with a single strike of his bow...

Having said that, I'm not sure if Heifetz had done too great a job as what had Lizst had done in his own recital: at first it seems common or even casual, and then slowly it turns with the beauty of the second movement which keeps flashing back giving deeper meaning to the earlier part that starts to draw the audience in...

Come and listen for the beauty of it, or else you don't know what a whole world you have missed.

This disk features arguably the two greatest concertos ever written for the violin performed by the hands-down greatest violinist of the twentieth century and recorded in the absolute peak of his career. It really doesn't get much better than this for music lovers. If we all lived in a fair world, which we don't, performances on disks would be priced according to the amount of beauty and power it contains, not how recent it was released or supply-demand. Having said that, when it comes to these two recordings, 16 bucks doesn't seem like that great of a reach anymore.

I've listened to many recordings of both concertos, but out of Perlman, Milstein (second best), Stern, Oistrakh, Menuhin, and ect., Heifetz stands out on top in both. People will always say that the first movement of the Tchaikovsky is played too quickly, but I believe this is only so because no other violinist is ABLE to duplicate this kind of speed, hence Heifetz's recording being separated from the rest. I could certainly understand why a slower tempo is desired if the performer was tripping over the difficult passages and turning the movement into a mudslide, but that is certainly not the case with Maestro Heifetz; in fact, the opposite is true.

I believe Heifetz was a man who above all respected the composers. He also understood the art of "withholding". What do I mean? Here is a perfect example. In the first movement of the Mendelssohn, Heifetz has been infamously accused of playing the main theme using harmonics and flying through the movement with zero sentimentality. This demonstrates ignorance and a strong lack of respect on the modern generation. With the rise of 20th Century music (most of which Heifetz detested), appreciation for professionalism declined and indulgence in emotionalism became commonplace. Heifetz understood that there is no payoff, no climax to any piece of music, unless there is patience and sensitivity. After a slightly withheld first movement and a sweet second movement, Heifetz bursts open the doors in the third playing with more liveliness and accuracy than any other violinist can. The concerto climaxes towards the end when Heifetz passionately pounds through the main theme one last time then finishes with a flourish. This epiphany would not have been possible had he sentimentalized the whole concerto, as many violinists do nowadays.

As with most listeners, I often conjure up my own opinions on how certain concertos should be played based on my first hearing. After that first hearing, all others are labeled as inaccurate interpretations. I've found out through years of listening that there are only two musicians for which this does not apply: Heifetz and Rubinstein. Even if my first impression has already been set, it is they who play the concertos the way they were meant to be played. My advice on the Tchaikovsky and Mendelssohn is if you have nevered listen to these, listen to Heifetz first, after doing so, all other versions will pale in comparison. If you have already formed first impressions on how to interpret these concertos, give Heifetz a chance. I've found that just about every other violinist (save Milstein) seem to play with AWFUL intonation after listening to Heifetz.

Without echoing what has all ready been said this has to be one of the all time great recordings of the Tchaikovsky. Be aware, however, that this is the Heifitz arrangement of the work with certain passages are cut where the composer had them repeated. Irregardless, the performance has to be at least 10,000 volts of sheer energy and electricity combined with some of the greatest violin playing heard.

Listen to the final movement if you need proof. The tempo is very fast but muscianship is never sacrificed.

A pity that Heifitz, a close friend of Arthur Rubinstein's, refused to also work under Reiner after the infamous Rubinstein/Reiner clash during the Rachmoninoff 2nd Piano Concerto session. Reiner always had the capability of demanding and getting the best from his ensemble and those who were soloists under his baton. One can only speculate what subsequent recordings might have been like had Reiner been the conductor for both great muscians. A pity.

As others have said: do not be fooled by that 1957 recording date. Even in its original LP format it was great - in CD it is fabulous!

If you want to get a feel for who Jascha Heifetz really was, as a musician and as a virtuoso, this recording is a must-have. Yes, as many listeners have noted, Heifetz tends to play his opening Allegro's extremely fast. However, you can hear every single note despite the mind-blowing speed. The combination of incredible technique and flawless intonation and tone-color make Heifetz, in my opinion, among the top three violinists who ever played. This recording is the best classical CD in my collection and a necessity for any Heifetz fan or serious collector.

I can only echo the other reviewers. This is an awe-inspiring recording. Heifitz is, of course, a legendary virtuoso who grabs the listener immediately and doesn't let go. The Chicago Symphony under Reiner provides a powerful, equally gripping accompaniment under Reiner in the Tchaikovsky. Don't let the performance date (1957) or the ADD rating hold you back -- this music sounds wonderful on CD.

In my opinion, a must have.

I've heard many renditions of Mendelssohn's violin concerto which sound mostly like a herd of dancing hippos or like funeral dirges. Heifetz plays it in the right tempo and to perfection!

I have both the vinyl(mono) & CD. I have heard this recording countless times and I am still not tired of it. Heifetz played this piece to perfection. I don't have say anymore about his impeccable technique. He takes a fast tempo and captures the mood, especially in the 3rd movement. He doesn't take the usual 1st repeat in the 1st movement, but not much is lost. Fritz Reiner & CSO accompanied him well. By the way, his teacher was Leopold Auer, the great Russian violinist who knew Tschaikowsky and initially said this work to be unplayable.

Jascha Heifetz remains to this day Unequalled in his artistry, interpretation and pure eloquence. This CD is an OUTSTANDING recording, and one which can not be topped by anyone in any way.