The Heifetz Collection, Volume 21 - Walton & Gruenberg Concertos

On this CD:

1. Violin Concerto
Composed by William Walton
Performed by London Philharmonia Orchestra with Jascha Heifetz
Conducted by William Walton

2. Concerto for violin & orchestra, Op 47
Composed by Louis Gruenberg
Performed by San Francisco Symphony Orchestra with Jascha Heifetz
Conducted by Pierre Monteux

Tracks:

Concerto For Violin And Cello, Op. 102: Allegro
Concerto For Violin And Cello, Op. 102: Andante
Concerto For Violin And Cello, Op. 102: Vivace non troppo
Concerto, Op. 61: Allegro, ma non troppo
Concerto, Op. 61: Larghetto
Concerto, Op. 61: Rondo: Allegro

Tracks:

Concerto in B Minor: Andante tranquillo
Concerto in B Minor: Presto capriccioso alla napolitana
Concerto in B Minor: Vivace
Concerto For Violin, Piano, & String Quartet, Op.21 In D: Decide; Calme; Anime
Concerto For Violin, Piano, & String Quartet, Op.21 In D: Sicilienne: Pas vite
Concerto For Violin, Piano, & String Quartet, Op.21 In D: Grave
Concerto For Violin, Piano, & String Quartet, Op.21 In D: Tres anime
Gavotte, Op.32, No.3
March, Op.12,No.1 In F Minor
Etude-tableau, Op.39, No.2 In A Minor
Daisies, Op.38, No.3
Oriental Sketch, Op.2, No.2

Customer Reviews:

WRONG ITEM.......2002-08-01

It's marked wrong volume.On the picture you have vol.5,not vol.4

Fast........2001-06-29

Yes. He did play fast. Yes, he played every note. Yes, he is in tune. But as the previous reviewer notes (with 5 stars nonetheless), the Beethoven has to be the most emotionally detached ever recorded. Is this following "the composer's intentions"? Given the other works Beethoven wrote during the same period, it seems extremely unlikely.

This is a "radical, off-the-wall" rendering, rather than a traditionalist one. No amount of technique can cover up for that fact. And the reality is it is not even very musical. Listen to the divinity of the Menuhin/Furtwangler recording, or that of Kreisler, or even, much more recently, Hilary Hahn's, and one easily sees that Heifetz is way off base. Yes, I admire his technique, greatly, but it is technique used for no discernible or serviceable purpose. It is a waste of talent, or not worth listening to more than once.

The Ultimate Violinistic Reference for All of Us!.......1998-09-18

My comments will emphasize the value of the concerto recordings:

1. BEETHOVEN Concerto in D. The old Victor 78 set (which sounded harsh and tinny) had a large diamond on the cover, and this reissue is indeed a gemstone, since its sound quality has been immeasurably improved! But the interpretation is one of the more severe and emotionally detached on records. I understand that 2 years ago, Seth Winner, the Toscanini archivist, discovered alternate takes of the first movement that may well be slower and more expressive than the approved sides used for this recording: watch the skies for them! Until then, be sure to acquire this set and not a cheezy bootleg fake-stereo from an unofficial source. I found this transfer, in a careful A-B comparison, to be identical to that contained in Vol 41 of the Toscanini Collection on RCA / BMG.

I must note that Josef Krips played the concerto once with Heifetz, and came backstage afterwards in a state of awe and astonishment. "He played EVERY NOTE...every single one!" said the amazed conductor, who was used to the usual violinistic tactic of skittering around in the fast passagework to cover up uneven playing. Here, too, every note is played -- honestly and with perfect judgment for values and dynamics -- and it is a glorious experience.

2. BRAHMS Double Concerto. Heifetz and Feuermann are of one mind in this classic and highly controlled interpretation, the antithesis of the heart-on-sleeve Walter / Francescatti Sony CD recording from 1959. Yet Ormandy and his Philadelphians are a shade stolid compared to other versions with Toscanini, Reiner, Fricsay, or Furtwaengler.

3. WALTON: Violin Concerto. This 1942 premiere recording of the great concerto commissioned by Heifetz features the Cincinnati Symphony led by the esteemed and highly- talented British conductor Eugene Goossens. This excellent- sounding record has always been my all-time FAVORITE version of the piece, dating back to my own copy on 78s. It surpasses Heifetz' 1950 remake, and just about every other of the dozens of alternative interpretations I have audited.

4. CHAUSSON: Concerto. This chamber work is a unique item in the repertoire, and has been recorded many times in memorable versions. The Heifetz sounds clear and clean, but is typical of his small ensemble performances: a bit fleet and unfeeling, sailing along with surface perfection in place, but lacking in more reflective qualities. Yet this was a phonographic classic, and has been well transferred in this all- mono honest restoration.

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