Ok this is truly magical. Heifetz brings such an astonishing array of skills to this: - very careful articulation, tempo and dynamics, that allows him to play with different narrative voices - folk violin, solo virtuoso, concertante ensemble, and true concerto. - such precise distribution of dryness and richness: cautious portato here, lush portamento there, full glissando over there, staccato like bullets here - unfolding the themes and harmonic riches piece by piece, not dropping it all at once - such coiled power, unleashing dynamic and tempo differences just as required, no more - no hideous rallentando, lugubrious andantes, lame rubato for 'fake romantic' effect - just carefully presented phrasing and speed On and on. This is great.
I was going to say the same thing in WAY less specific terms - thank you! His range of expression on his instrument is unparalleled, as is showcased in the third movement of this.
Like the Conus Violin Concerto, the Vieuxtemps Concerto No. 5, and the Carmen Fantasy by Waxman, Heifetz "owns" this concerto. The solo violin introduction in the 1st movement would deeply move the great Aaron Rosand. Heifetz's tonal luster and beauty is other worldly and unsurpassed even to this very day. Thank you for sharing this recording.
No one can match that magical sound. One of a kind. Brilliant and beautiful--INDEED!! There are some wonderful violinists out there, truly wonderful, but Heifetz is in his own amazing category. No one comes close.
It's impossible to imagine a violinist with a better sound for this particular piece than that of Heifetz. This recording sounds as if it was lifted directly from a 1930s film reel. If I'm not mistaken, I believe Korngold wrote this specifically for Heifetz, and I think this one of his absolute best recordings.
Korngold wrote this for Bronislaw Huberman at the violinist's request. However, Huberman found the piece too difficult - for good reason (it is considered to be more difficult than the Tchakovsky violin concerto). Huberman insisted on various changes to be made, and because they weren't, he never performed it. Heifetz was a close neighbour of Korngold's and, being kept well-informed of its progress, told Heifetz that he would perform it instead, if Huberman didn't. In addition to this classic RCA Victor studio recording, Heifetz also recorded it live. Both recordings are still available, but this RCA recording has never been absent from the catalogue. Until the 1970s, very few violinists had performed this concerto, with only one other recording it. Since then, the work has become part of the standard repertoire, with almost all of the famous violinists now including it in their repertoire. I have most of the recordings available, and although I like Perlman's recording very much, I think that only Kavakos's DVD performance is worthy of comparison. I can't imagine anyone surpassing Heifetz's recording in terms of style, tempi, tone or technique. It's a great pity that Aaron Rosand never got to record this piece, as it is apparently his favourite concerto, as played by Heifetz.
@@SebnF7 Funny how often a great composer writes a concerto for somebody, and the dedicatee doesn't perform it. Rachmaninoff, for instance, wrote his 3rd Piano Concerto for Josef Hoffman, one of the best pianists in the world, who said it "wasn't for" him and never played it in public. Glad somebody else was up to the challenge!
@@matthewzisi300 You are right. It has happened far too often. I don't mind if, like with the Korngold, another musician adopts the work neglected, just so long as we get the chance to hear it. Much worse is when a piece is never performed, and I feel sorry for the composers who have had this happen to them.
Couldn’t agree more with everyone’s assessment of this performance’s distinction. Hard to choose between this and the live 1947 New York Philharmonic version (with the wonderful Efrem Kurtz conducting) - both are wonderful, though it’s amazing to hear Heifetz in ‘thoroughbred racehorse’ mode performing live (such accuracy and passion at tremendous speed). Of course this isn’t the only way to perform it - I love James Ehnes’ version - and naysayers will decry the fact that Heifetz performs this faster than anyone on record (that I know of). But that speaks to his superhuman abilities as a musician in addition to his choice of tempi. I believe his attack is tempered with the right amount of lightness (see the finale) and repose (the second movement Romance). And it works perfectly for this piece. In short, the version by which all others are - and probably forever will be - judged.
A violinist’s practicing guide: (MAY CONTAIN SPOILERS) 0:07 Opening 1:11 Pg. 2 1:30 Keep breathing 2:25 Phrasing time 3:47 String Xings 4:35 Mini cadenza 5:45 Recap here we go 6:28 wut rhythm?? + schmaltz take II 7:08 Go for the kornGold 7:27 Schnell!
Lennart I must thank you for tickling my curiosity to discover Ray Chen. I remember a little verse. Every day, in every way, Things are getting better and better. I am 92. During the jast 30 years there has been an explosion in the number of virtuoso instrumentalists in the world. If you have made up your mind about something it takes an internal explosion to change your opinion. Perhaps rather than change it one should just broaden it. I must agree that Ray Chen sound is different; yes 'better'. How useless to compare two perfect things. How lucky we are to be able to tune in on youtube to so much excellence.
I hadn't listened to thing recording in a long, long time. Went to the slow movement, and that last two minutes gave me goosebumps and made my toes curl.
Heifetz is the incarnation of Mozart ideal of an instrument player when he said that the more similar to the voice is the performance, the better. Heifetz has been always my number one violinist.
Probably so. His Sibelius and Mendelssohn with Beecham are on par I think...and his Rosza is pretty awesome. And don't neglect his Tzigane with Wallenstein!!
No one ever played it as well; not by a long shot. Other violinists make it sound like incidental music. Heifetz makes it sound like it was meant to be; a solo. I believe it was dedicated to him with his tonality in mind. An incredible performance.
It was dedicated to Alma Mahler, wife of the long dead Gustaf Mahler. He asked another violinist to premier it but he declined, so he asked Heifetz who agreed and it has been his since then. It has been gaining in popularity in recent years, judging by the number of recordings on you tube, and I love it.
The entire first movement is like the most surreal dream you've had in your life. The end of the first movement 7:23 is almost as if someone is talking to you inside the dream. You realize that something is off while talking to them. they then mention "finally realized you are dreaming." This ends everything into a fantastic chaos to lead to 7:35 where the dream starts collapsing as you are returning back to reality to wake up in a frenzy at 7:51
Agreed, except for his Sibelius recording with Beecham. The intonation alone is superhuman, dead centre on every single note, which is partly (but not only) why the tone is so amazing despite the age of the recording. For example the incredibly sweet high note at around 2:10, or the passage at around 5:50.
Lennart Hammel In exactly what respect. A short unannotated comment is not worthy of your presumably ears knowledgable ears. To put it another way why did you not tell the world where to find this better recording. And the reason you formed your opinion. If you cannot do this please do not comment at all.
@@john-patrickdickson9663 Alright, you want my honest opinion? Don't be to hard to me im german and my english isn't the best. Anyways let's get right into it. First of all, i don't owe you an explanation why i think that Ray is better, and if you think so you're on the wrong platform. If you want to seriously discuss opinions you shouldnt go in the youtube comment section, instead go to a fandom website or whatever. But because im a nice person you're getting my explanation. I've listened to both, Heifetz and Ray Chen and i think they're both one of the top interpretations of this masterpiece. When i listen to Heifetz i think, wow thats a great piece of music but compared to Ray Chen it just sounds like faded. I don't feel as many emotion like i do when i listen to Ray Chen. Of course he is still very young and doesn't have as much experience in playing the violin like Heifetz did but i still think that he has a huge potential and his interpretation of Korngold's Violin Concerto was a like a peak of it. So don't get me wrong but i just think that everything evolves just like playing the violin and maybe that's one reason why Chen's more modern Interpretation is way better in my eyes. Have a nice day.
There's an RCA CD that teams this with Heifetz' rendition of the Rozsa concerto, and of Waxman's 'Carmen Fantasy'. The whole disc is a joy from start to finish.
Espectacular Concierto , es una Obra Maestra que el Gran Jacha Heifetz Violinista excepcional aborda con una extraordinaria ejecución , haciendo uso de su brillante talento e interpretando el Concierto con un elevado Virtuosismo , brindándole al mundo una Magistral Interpretación .Su impresionante y fabuloso sonido lo hace por siempre inigualable . Gracias miles de veces por compartir este Maravilloso Video , interpretación que todos los Violinistas deben escuchar .
It would be a movie about the ultimate triumph of the Jews in creating Israel, where formerly tormented people could find peace. It would be centered on a Jewish family.
Listening to this lovely sound-world - now older than Korngold, I remember how high youthful dreams soared, and realise how little I've achieved. Dangerously beautiful....
The thing about the beloved Jascha Heifetz is that while yes his technique stands at the apex of virtuosity but that in my opinion isnt what makes Jascha Heofeitz my favorite violinist. It is his tone....... The best thing about bowed instruments is that they have the most articulation out of any intrument. Jascha Heifetz while having amazing technique in all areas THE WAY HE PLAYS WITH HIS BOW IS SOMETHING MAGICAL😭 JASCHA HEIFETZ TONE IS WHAT MAKES HIM JASCHA HEIFETZ COMPARES TO ANY OTHER VIOLINIST THAT AT LEAST IVE HEARD, NO ONE HAS COME CLOSE TO THE SHEER WARMTH THAT JASCHA HEIFETZ GIVES OFF. ITS ALMOST AS IF HE ISNT EVEN PLAYING A VIOLIN WHEN HE PLAYS A VIOLIN ITS SOUNDS DIFFERENT😭 (yes im aware of what tourte bows, Tier 1 rosin, a stradivarius, tier 1 strings, a world renown hall and a amazing audio recording team with the best mics and audio correction can do.) But other violinists have these things yet his tone is still unrivaled (actually maybe by oistrak) people Jascha Heifetz 😤🙏🙏🙏😤
You are absolutely correct and I agree with you . Heifetz hold the bow as none other. Very unique way to produce the sound. And he uses pure gut strings for A and D strings. To make clean tone with these strings he had to hold the bow quite firm.
Heifetz's peculiar tone is in part due to his using yellowish pure gut for A and D strings. It creates tone the metal strings can't. Also when he play fast spiccatos the gut string makes more rough tone. It's very hard to produce even just a clean sound. Thus it's more amazing of Heifetz's skill. I tried those gut strings while I was student of him.
@@망히-z9z Woooow amazing! i never thought id have a conversation with one of his students I believe my teacher's theacher was taught by Heifeitz so that kinda puts me in the teaching line lol
@@IEEMAZ_Convoluted_14.2.8.5 As I mentioned, originally the motif was crafted for the film Juarez (1939). Korngold's Violin Concerto was published in 1945.
@@IEEMAZ_Convoluted_14.2.8.5 The Score for Juarez was also composed by Korngold... He did not steal anything just in case that is what you understood. Yes, he did take that motif and developed it for his Violin Concerto. In fact, this concerto is mostly a combination of motifs from his film scores. For instance, the other predominant motif in the Moderato Nobile is the Main Theme from Another Dawn (1937), and you can also hear selections from The Prince and The Pauper (1937) at the Finale.
This is one of my favorite concertos and I have known the piece for quite a while. I knew that Heifetz premiered it but I first heard it on RU-vid in the recording with Hilary Hahn, who I love. I have read that Hilary's sound is closest to Heifetz but until tonight I didn't realize how close they sounded. My first impression is that Heifetz has a slight harsher tone to his playing and that Hilary's tone is more pure, but I also find that I like them both. I am pleasantly surprised.
Of course it was written for him, but it's also one where his tense, astringent style works perfectly. Almost everyone else makes it sound sappy. Pity that Heifetz only had this one mode of approach: he could never relax, it always had to have a knife edge. Relax in this piece and it turns into mush. Man, when he and the piece agreed, he was incomparable. He's especially effective in the slow movement: instead of the insipid romantic interlude it could be--and usually is--his fiery tone keeps red hot and mysterious. I go so back and forth on Heifetz🤷♂️
Actually, it was written for someone else, but he wouldn't play it. Korngold showed it to Heifetz and Heifetz played the premier performance. This is the best recording I have heard. I am a big fan of Hilary Hahn and I have heard she plays like Heifetz, she plays similarly but he is still the King.
Korngold was a frequent guest at the Mahler household as a youngster. Korngold's father was the leading music critic in Vienna and a Mahler supporter. Heifitz helped Korngold write the concerto telling Korngold that it wasn't nearly as difficult as it should be. Themes are all borrowed from his movie music. Love it.
@@markrubin9449 The last movement is very similar to the music from "BABE". A movie about a New Zealand or Australian sheep farmer that had a pig that would control his sheep. It is a very funny movie, one of my favorites. I believe the trailer is on RU-vid.
what annoys me is that teachers dont allow advanced students to try and speak with the bow and paint these beautiful colors. a lot of the emphasis is on big sound. big tone, big projection, and play in tune with good rhythm.
this is actually in my top 10 brst melodys of all time at least orchestraal that shit literarly sounds like an ignition into something fantastically uncomprehendable😭 like an entire worlds being illuminated by a beutiful light😭 like an idea so perfect that it could change the balance of the world😭😭
@Fred Virtuoso - As a thoroughly un-modern musician, I have never found it necessary to find music intellectually interesting: just beautiful will do for me.
@Fred Virtuoso The one thing Heifetz was not, in fact could not be given his character, was sentimental. He drives through every phrase and is very clear where he is going, but also puts well chosen nuance in every single note. Given your name, presumably you could record the cadenza of the Korngold, would love to hear what 'standard' you can achieve.
@@nickyork8901 That "virtuoso" is blowing smoke....or smoking something...or maybe he should smoke something and start listening to something other than himself
