Sibelius, Prokofiev: Violin Concertos

1. Violin Concerto, for violin & orchestra in D minor, Op. 47
Composed by Jean Sibelius
Performed by Slavonica Philharmonia with Bruno Zwicker
Conducted by Carlo Pantelli

2. Violin Concerto No. 2 in G minor, Op. 63
Composed by Sergey Prokofiev
Performed by Slavonica Philharmonia Conducted by Henry Adolph

Tracks:

Allegro Moderato
Adagio Di Molto
Allegro Ma Non Tanto
Allegro Moderato
Andante Assai
Allegro Ben Marcato
Moderato
Andante Sostenuto
Tempo I
Allegro

Customer Reviews:

Perfect Sibelius.......2005-12-29

The word I used to describe how I feel about Heifetz's Sibelius, although ostentatious in it's literal meaning, is somewhat frowned upon in it's artistic meaning. Most listeners want "explosive" or "deeply moving", but "perfect"? That is precisely the point of my review. First off, one must understand that most violinists, save a select few, can even play through the first movement of the Sibelius without major miscues; many few can accomplish the following and still hold true to it's interpretation. In the case of Heifetz, technicality was not a problem, which can be said for just about every single piece he's ever played.

I believe Heifetz was a man who above all respected the composers. He also understood the art of "withholding". What do I mean? Unlike the plebeian approaches of most modern violinists, Heifetz knew that contrast is attained not only through more, but also less. 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. Concomitant 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 withheld first movement and a sweet second movement, Heifetz bursts open the doors in the third playing with unbelievable speed and liveliness. The concerto climaxes towards the end as 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; one would not have been able to tell the difference in significance between the minor skirmishes of the opening movement, and the heroic triumph of the closing measures.

In the case of the Sibelius, Heifetz knew that this was a different composer with different intentions than the formal Brahms and the powerful Beethoven. This was a piece in which emotionalism and improvisation were required; although both would need to come in the context of the piece. The well-known and well-accepted myth that Heifetz does not know how to play with feeling is one of absolute ignorance. Such unfounded criticism needs to be challenged and defeated. The first movement includes some of the highest peaks ever brought forth from the romantic movement. Many other violinists tend to slow down during the more challenging measures due to technical inadequacy, or in the words of musicians with no ear: "playing with feeling." Heifetz brings the romantic ideas of Sibelius to astronomical heights not by slowing down, but by utilizing different techniques to exploit the wide range of tones his Stradivarius offers. For example, during the second movement, the first explosion of deep emotion comes with the violin take a the theme higher and higher with the orchestra following. Heifetz plays the theme on the G-string with extremely rapid vibrato; most other violinists would play the theme on the D-string to attain the clear strong tone and try conjure some form of emotion by playing it at a slower tempo. Heifetz plays the measure in the higher position so it sounds almost as if the violin is weeping with passion, a tone one must hear to understand.

Then of course, there is the 3rd movement, often imitated, never duplicated. Most violinists will start out strong with the main theme and maintain the same speed and energy for a while. But this movement shows no mercy on technical mediocrity. Sooner or later, the violinist will bow to the towering requirments of the movement, and will slow the tempo. This is not true for Heifetz. Even in the most difficult measures, one will not be able to find one moment in which he loses control. And unlike others, Heifetz doesn't need to overextend any passages to cover-up for a lack of technical/musical confidence.

Before I end, a word about Walter Hendl who directed the Chicago Symphony in place of an ill Fritz Reiner. One of the more less-known characteristics of Heifetz playing, was he actually preferred lesser-known conductors to well-known ones such as Maestro Reiner. This was so he could impose his musical ideas on the orchestra with less tension. THe Sibelius is a good example of this. However, the technical differences between a Hendl led orchestra and a Reiner led one, is sadly obvious. The tempo is at times uneven and the orchestra unbalanced. This however should not be of any importance when considering whether to purchase this album. It is Heifetz's statement, not Hendl's, that should be considered.

Nice package, exemplary sound and solid performances.......2005-05-25

This is my first foray into the reissued RCA Living Stereo hybrid SACD disks that have gotten a lot of publicity in recent months. Others in the batch of releases include some Rubinstein piano concertos, French music by Charles Munch and some of Fritz Reiner's orchestral specialties in Chicago.

This CD features legendary fiddler Jascha Heifitz mated to three different conductors and orchestras doing the Sibelius, Prokofiev No. 2 and Glazunov concertos. Heifitz was closely linked with the first two, less so with the third one. He does them all quite well here in sound that is as good as advertised, at least based on what my equipment tells me.

I bought this both before and after I converted to 5.1 SACD. The recording is wonderful in SACD and almost as good in traditional stereo. In particular, the timpani underpinning of the Prokofiev accompaniment by Munch and the Boston Symphony is quite thrilling. So to is the backup by Hendl and the Chicago Orchestra in the Sibelius.

However, a better recording can also show flaws that perhaps weren't as obvious before. In the waning moments of the Sibelius opening movement, there is a time -- maybe 5-6 bars in duration -- where Heifitz, Hendl, the symphony and one of its principal woodwind players seem to be missing connections by a half-beat or so. This is a minor quibble and will do little to discourage enjoyment of this otherwise fine issue.

As to the performances, the Sibelius is an example of Heifitz's searing tone and remarkable bowing. The accompaniment by Hendl and the CSO is a bit more severe than some of the more romanticized accounts but fully in sync with Heifitz direction.

I've heard accounts of the Prokofiev that concentrated more fully on the music's dreamy legato. In this version Heifitz and Munch seem more attuned the the spiky nature of Prokofiev's creation while maintaining a marginal aloofness, as if they are old juveniles having fun with the 20th century creation. It works fine both ways and this is a good one.

Heifitz and Hendl, this time with the RCA Symphony Orchestra, seem more romantically engaged in the slight 18-minute concerto by Glazunov. This romantic trip through lightweight Russian music is a fitting end to a wonderful CD brought up to 21st century speed by the new technology of SACD.

This issue is handsomely packaged in a durable CD case and includes the original LP notes plus other notes by Joseph Wechsberg from 1959. There are also notes on the history of Living Stereo and some chatter on technical details, plus a separate set of notes on SACD and how it works.

Wechsberg's notes begin: "There can be no doubt today (1959) that Jascha Heifitz is the greatest violinist of our generation. When all is listened to and said and done, Heifitz' supremacy as fiddler and musician emerges as one of the few unchallenged facts of our clouded musical age."

There is still little debate today (2005) about the first half of Wechsberg's thesis -- that Heifitz is the greatest fiddler. His tone, technique, bowing and sound continue today to blow away most competitors and this splendid sounding CD reinforces his greatness as a player.

But as an artist? Well, there's the rub. The performances on this CD are very good but I have heard more artistic renderings of the Sibelius and can imagine more committed versions of the Prokofiev. The legend of Heifitz was, generally speaking, of his stature as a player, where he continues to be without parallel.

But his artistic approach to the music he played has been questioned for many years. Lots of listeners -- especially those that more fully appreciate the Oistrakh-Vengerov approach -- will prefer other fiddlers in these works.

I don't belong to either camp and appreciate players with all viewpoints. I found this CD to be well worth the $12 list price. The sound puts it into direct competition with today's best new DDD recordings, something you couldn't say about past issues. For collectors that have yet to sample the legend of Heifitz, this would be a good starting point.

Outstanding.......2005-04-02

These performances by Heifetz are amazing. Heifetz owned the Sibelius concerto all his life (and was the first to really standardize it as one of the great concertos beside Beethoven's Mendelssohn's Brahms's and Tchaikovsky's). The disc is worth the price simply for the Sibelius, yet you also get two outstanding performances of the Prokofiev and Glazunov as well. The sonics are spectacular; it sounds as if these masterpieces were recorded yesterday. Heifetz was the undisputed master of the bow, and this disc proves it; it is a must for all lovers of music.

Average customer rating:

Underpriced
Superb survey of one of the all-time greatest violinists

Violin Concertos [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009VI51G
Release Date: 2005-06-28

Customer Reviews:

Underpriced.......2006-12-19

It is incredible to me that I was able to purchase ten discs of probably the single greatest violinist of the century tackling immortal masterpieces for less than the cost of a utility bill.

You are thinking, "where's the catch?" Well, there is none. The transfers are excellent, the performances, of course, are superb. The only corner-cutting to be found was in the packaging, but even that was more than sufficient.

All these riches made me greedy, though. I wish there was Bartok 2 as well as 1, same with Szymanowski. I wish there was Khatchaturian. But how spoiled I am to be complaining! There is so much here to be enjoyed, from the crags of Szymanowski and the peaks of Beethoven to the cool, dark valleys of Chausson. If you only ever buy one violin box set, buy this one.

Superb survey of one of the all-time greatest violinists.......2005-08-28

We haven't been exactly short on releases by the great David Oistrakh, whether in the LP days or on CD. The trouble was that his recorded legacy - one of the most extensive in history by any violinist - has been made accessible through a multitude of labels, often in a haphazard fashion, and even more often for a very short time. The arrival of this new 10 CD-box has to be saluted for its effort to group a splendid selection of live recordings by Oistrakh made in the USSR between 1939 and 1968 with the Moscow Philharmonic, the Leningrad Philharmonic and the USSR Radio Symphony Orchestra, with some of the foremost conductors of the day (Alexander Gauk, Kirill Kondrashin, Gennady Rozhdestvensky, Kurt Sanderling).

Undoubtedly, collectors will already have the majority of the recordings presented here (although a lot is no longer available), but this box covers all the great concertos and as a survey of the art of "King David" it is presently unbeatable.

The sound quality is variable, of course, but totally acceptable regarding the age of some of the documents.

Sibelius, Prokofiev, Glazunov: Violin Concertos

Average customer rating:

The Best of the Best
The Best Available Recording of the Sibelius Concerto
Perfect Sibelius
None other
And I usually dislike Heifitz...

Sibelius, Prokofiev, Glazunov: Violin Concertos

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000003FIQ
Release Date: 1995-08-15

Tracks:

Concerto, Op. 47, In D Minor: Allegro moderato
Concerto, Op. 47, In D Minor: Adagio di molto
Concerto, Op. 47, In D Minor: Allegro, ma non tanto
Concerto No. 2, Op. 63 In G Minor: Allegro moderato
Concerto No. 2, Op. 63 In G Minor: Andante assai
Concerto No. 2, Op. 63 In G Minor: Allegro ben marcato
Concerto, Op. 82, In A Minor: Moderato
Concerto, Op. 82, In A Minor: Andante sostenuto
Concerto, Op. 82, In A Minor: Tempo I
Concerto, Op. 82, In A Minor: Allegro

Amazon.com

Daniel Heifetz put the Sibelius Violin Concerto on the map, and though there have been many great recordings of the work since this one, this is the version to have if you must limit yourself to a single performance. The couplings are equally fine, and equally brilliantly played. Heifetz was one artist whose standing was confirmed every time he picked up his instrument. He was the finest violinist of his day, period. Though not always the greatest interpreter of every piece he played, when music and artist meshed, as they do here, the result was the stuff of legend. --David Hurwitz

Customer Reviews:

The Best of the Best.......2007-04-07

I have been studying the violin for over 45 years. Whenever someone asks me about Heifetz, I get them this CD. It is breath-taking in its artistry and depth. There's nothing more to say....

The Best Available Recording of the Sibelius Concerto.......2007-01-12

Jasha Heifitz (1900-1987) is often considered the greatest violinist of his time. He may be the greatest who ever lived. I submit this recording in evidence of the latter. The Sibelius concerto is one of the most difficult to play violin concertos ever written. Sibelius was a violinist himself and left this piece as a challenge to all concert violinists to come. Listen to any violinist's recording of this piece and then listen to Heifitz. There will always be some part that a performer will struggle over in this piece. Heifitz actually makes it sound easy to play and at a faster tempo! You also get Prokofiev's No. 2 and Glazunov's concerto here and Heifitz makes them sound easy too. He was a wizard with the bow.

Perfect Sibelius.......2005-12-29

The word I used to describe how I feel about Heifetz's Sibelius, although ostentatious in it's literal meaning, is somewhat frowned upon in it's artistic meaning. Most listeners want "explosive" or "deeply moving", but "perfect"? First off, one must understand that very few violinists have the God-given ability to play through the first movement of the Sibelius without major intonational miscues; fewer can accomplish that and still hold true to it's interpretation. In the case of Heifetz, technicality was not a problem.

I believe Heifetz was a man who above all respected the composers. He also understood the art of "withholding". What do I mean? Unlike the plebeian approaches of most modern violinists, Heifetz knew that contrast is attained not only through "more", but also "less". 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; one would not have been able to tell the difference in significance between the minor skirmishes of the opening movement, and the heroic triumph of the closing measures.

In the case of the Sibelius, Heifetz knew that this was a different composer with different intentions than the formal Brahms or the powerful Beethoven. This was a piece in which emotionalism and improvisation were required, although both would need to come in the context of the piece. The well-known and well-accepted myth that Heifetz does not know how to play with feeling is one of absolute ignorance. Such unfounded criticism needs to be challenged and defeated. The first movement includes some of the highest peaks ever brought forth from the Romantic Period. Many other violinists tend to slow down during the more challenging measures because of technical inadequacy, or in the words of the ignorant: "playing with feeling." Heifetz pours out waterfalls of sentimentality in the first and second movement, not by slowing down, but by utilizing different techniques to exploit the full range of tones available in a Stradivarius violin. For example, during the second movement, the first outpour of deep emotion comes with the violin taking the theme higher and higher with the orchestra following. Heifetz plays the theme on the G-string with a rapid vibrato. Most other violinists would play it on the D-string to attain the clear strong tone and try to make up the emotionalism with a slower tempo. Heifetz plays the measure in a high position so it sounds almost as if the violin is literally weeping, a tone one must hear with the heart, not understand with the mind.

Then of course, there is the 3rd movement, often imitated, never duplicated. Most violinists will start out strong with the main theme and maintain the same speed and energy for a while. But this movement shows no mercy on technical mediocrity. Sooner or later, the violinist will bow to the towering requirments of the movement, and will slow the tempo. This is not true for Heifetz. Even in the most difficult measures, one will not be able to find one moment in which he loses control. And unlike others, Heifetz doesn't need to overextend any passages to cover-up for a lack of technical/musical confidence.

Before I end, a word about Walter Hendl who directed the Chicago Symphony in place of an ill Fritz Reiner. One of the more less-known characteristics of Heifetz playing, was he actually preferred lesser-known conductors to well-known ones such as Maestro Reiner. This was so he could impose his musical ideas on the orchestra with less tension. THe Sibelius is a good example of this. However, the technical differences between a Hendl led orchestra and a Reiner led one, is sadly obvious. The tempo is at times uneven and the orchestra unbalanced. However, this should not be of any importance when considering whether to purchase this album. This is Heifetz's statement, not Hendl's.

None other .......2004-11-09

This was my first Sebelius experience and because of this album I haven't been satisfied with none other. The experience was overwhelming.

And I usually dislike Heifitz..........2002-09-08

Most of the time I have heard Heifitz recordings, I dislike him. He always seems to me as if his playing is the unwinding of a spring that's overtightened; one doesn't feel that he's living each note.

But this CD changed my mind.

I'm a violinist, and I played this CD to a violinist friend asking him to identify it. He identified the Sibelius from the very first 2 notes. (It is so, so beloved). Within 10 notes he knew the violinist was 'old school'. Within 20 he guessed Heifitz.

We both marvelled at the accuracy of his double stops and his spicatto is unmatched.

Tracks:

Andantino - Andante Assai
Scherzo. Vivacissimo
Moderato - Allegro Moderato - Moderato - Piu Tranquillo
III. Alla Gavotta In G Minor
IV. Andantino In G Minor
V. Commodo In E Flat Major
VI. Allegro In G Minor
Allegro Moderato
Adagio Di Molto
Allegro, Ma Non Tanto

Average customer rating:

Sibelius, Valen: Violin Concertos

Manufacturer: Biddulph Records
ProductGroup: Music
Binding: Audio CD

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Violin Concertos [Box Set]

Manufacturer: Brilliant
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Binding: Audio CD

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Average customer rating:

Solid performances of Two Disparate Concerti

Sibelius & Prokofiev: Violin Concertos

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00000DNQP
Release Date: 2000-12-26

Tracks:

I: Allegro Moderato
II: Adagio Di Molto
III: Allegro Ma Non Tanto
I: Allegro Moderato
II: Andante Assai - Allegretto - Andante Assai
III: Allegro, Ben Marcato

Customer Reviews:

Solid performances of Two Disparate Concerti.......2006-03-26

EMI continues to select releases (this CD is due for re-issue on the budget label) that challenge the usual pairing of works. This recoding made in 1992 has been neglected by the media and the public for reasons that remain unclear.

Frank Peter Zimmermann is an accomplished violinist who seems more bent on digging into expanding his repertoire rather that courting his audiences. What results on this well recorded CD are very solid performances of difficult works. The Sibelius Violin Concerto in D minor is performed with attention to the dramatic sweep of the work, which is not to say Zimmermann does not find the beauties inherent on the work or is less than able to straddle all the hurdles of this concerto. His collaboration with Mariss Jansons conducting the London Philharmonia Orchestra
is well conceived and the two artists feel in agreement with the vision of the work.

Sergei Prokofiev's Violin Concerto No. 2 in G minor is perhaps less challenging than the Sibelius but is does require the thinking man's approach that Zimmermann and Jansons obey well. This may not be the most romantically inclined performance on record but is one well performed and has more transparency than many other versions.

Recommendation: when the budget series issue is released this will be a 'must have' for the standard collection of works for violin and orchestra. Grady Harp, March 06