|  | | | Customer Reviews: | | | Average Customer Review:
Write an online review and share your thoughts with other customers.
2 of 2 found the following review helpful:
Brahms Violin Concerto - Second Movement Jan 02, 2008
Let me start off by saying that I absolutely adore any and everything that Heifetz plays. I have 3 recordings of his Brahms, 3 recordings of his Beethoven, 4 recordings of his Tchaikovsky, countless more of his Hora Staccato and Girl with the Flaxen Hair. The making of this CD was one of the very few times in history that such high level of musicality was given proper due by the sound engineering. So whether you agree or not with what I have to say in the next few paragraphs, I'd still highly recommend picking this disk up for historical reference.
As a devoted Heifetz listener, I am outraged every time someone comes along and points out his supposed lack of musicality. Nowadays, the popular course of action among Heifetz-haters is to acknowledge the virtuosity he displays in showpieces just so they could turn around to denigrate the musicality that he displays in classics without seeming biased. After years of thoughtful listening and detailed comparison, I honestly believe that one would either have to be either malicious in intent or just plain ignorant to deny the overwhelming power of Heifetz's playing. At the forefront of the criticism is the accusation that he simply plays too fast. I believe that it's human nature to prefer the tempo of one's first hearing over the different many different tempi which may come from later hearings. For example, if I listen to Menuhin's rendition of Elgar's violin concerto at 50 minutes and then listen to Heifetz's rendition at 41 minutes, it's only natural for me to feel that Menuhin chose the "right" tempo and Heifetz the "wrong" tempo when the truth is that musicians of Menuhin's and Heifetz's caliber have poured so much thought and consideration into their respective interpretations that what comes out of their playing must have intelligence and purpose behind it. When this realization is taken into consideration, Heifetz's musicality becomes a lot more evident. The trouble for most people is that he plays so much faster than other violinists that it takes time for the average listener to adjust to his quick reflexes. But like most things in life, if we are patient with it, it will eventually pay off.
The second movement of Brahms' violin concerto is one of the most transcendently beautiful pieces of music ever written. It would be absolutely impossible for a violinist who lacks musical intelligence to do justice to this movement. Closing one's eyes or contorting one's face while playing doesn't do anything to make the music any more sincere. When listening to it, all artificiality is stripped away, the musicality and expression is laid bare for the listener to judge. It is one of the most revealing pieces of music for violinists to play. I've heard so many versions of this movement that I've just about lost count; among them are interpretations by Hahn, Shaham, Perlman, Oistrakh, Kremer, Szeryng, Mutter, Stern, Milstein, and just about anyone else you wanna throw up there. But in all my years of listening, I have never heard anyone play this movement like Heifetz. His sound is like a sharp sword that cuts the atmosphere between string and microphone while searing the ears and hearts of listeners. Every shift and slide is executed with perfect taste, every note is played with dead-accurate intonation. Although this movement has been traditionally interpreted as a peaceful movement, Heifetz injects blistering passion into the music. At about 6 minutes into the movement, he absolutely loses it. The supreme musician of the 20th century, the violinist of violinists who always seemed to be in control of his playing becomes so deeply immersed in the music that for a few moments, the sound doesn't come from the Stradivarius, from Heifetz, or from Brahms, but from the divine voice of God. It isn't everyday that we're given the opportunity to hear a musician with the talent and intelligence of Heifetz turn into an utter child at the hands of such heavenly music. All I can say is that it truly is something that you have to experience for yourself to understand, my words come up well short of what I feel when I listen to this music. And the best part is, that's just 1 movement.
11 of 12 found the following review helpful:
Supremely gratifying Dec 02, 2004
This is one of the most satisfying combinations of classical performances on any currently or previously available cd. For many years I have owned and thoroughly enjoyed the original shaded dog and Soria series lps respectively of this Brahms Violin and Double Concerto. I have never agreed with those who have criticized Heifetz for being a "cold" violinist. I'll admit that there are times when he can be abrupt but I wouldn't categorize him as being characteristically unemotional. As for this Brahms Violin Concerto with Reiner, I've always considered it to be one of the finest ever committed to disc---a patrician performance combining technical excellence with a wonderful musical presence. I continue to enjoy the Double Concerto with Piatigorsky even more, essentially because both soloists display an engaging instrumental interplay replete with moments of sweep, reflectiveness and autumnal glow. And no, I do not agree with those who feel conductor Wallenstein offers mediocre support. Rather, he provides an orchestral backdrop that very nicely complements both violinist and cellist. To this day, I have never heard a better Brahms Double (though I've also liked Schneiderhan/Starker/Fricsay and Szeryng/Starker/Haitink). These are marvelous works, featuring two of the finest musicians of the "Golden era". Treat yourself or someone else who is likely to appreciate this special offering.
|
| | |
