Favorite Heifetz recordings

[Jo498]

For some of us the "coldness" makes some repertoire (like Bruch, Glasunov, Tchaikovsky concertos, also the Franck quintet and some other chamber music) particularly attractive, because most other interpretation are soppy and/or overblown.

[Cosi bel do]

It would be good if we can avoid generalizations and comment on specific recordings.

If you don't like Heifetz's recordings, say so briefly (once) and leave the thread to those who can suggest recordings that others might want to hear.

I don't expect to love every recording by any performer.  I don't find it useful to dwell on the performances that are misses for me or to hear at length about performances that someone else dislikes.  I get much more value from hearing about performances that other like.

I think I said quite clearly, and repeatedly, that I like Heifetz and his recordings. And I have made comments on specific recordings. More than you have, actually.

[Cosi bel do]

For some of us the "coldness" makes some repertoire (like Bruch, Glasunov, Tchaikovsky concertos, also the Franck quintet and some other chamber music) particularly attractive, because most other interpretation are soppy and/or overblown.

Yes, that's an argument I can understand and even agree with. Because as I said, even this neat/cold/impatient playing has something pleasant in itself. That might also be why he remains frequently such a great introductory performer to many of these pieces.

[Jo498]

Of the recordings I have heard and or know somewhat well, I am usually not bothered by the comparative coolness and "impatience"/speed. More often it is Heifetz dominating the ensemble (as in some chamber music)
Even a recording I do find "misguided" (way too fast and too cool) as the Schubert quintet is quite interesting, because it is a rather unique approach. I do not know of any comparably lean and classicist recording of this piece.

[Old Listener]

I think I said quite clearly, and repeatedly, that I like Heifetz and his recordings. And I have made comments on specific recordings. More than you have, actually.

You made a suggestion to others in general about what they should not post.  I made a different suggestion about positive content of posts.  My post was prompted by yours but it was not directed to you.

I used a few favorite Heifetz recordings that came to mind to illustrate a point.

[Daverz]

This one

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Have to admit that for the big Classical and Romantic pieces, Heifetz is not my goto guy, but his sound seems perfect for these more "modern" works.

[xochitl]

im not a big fan of Heifetz' romantic recordings but his Bach sonatas & partitas give me a warm n fuzzy feeling (i know, not what you'd expect...and my reference is Tetzlaff I). it's like the relentless perfection and rhythmic rigidity liberate the music from the more mundane aspects of terrestrial life and just present you the purity of the music.  same with his beethoven concertos

[Cato]

If I had the time and technology, a "blind comparison" with recordings by Heifetz, Stern, Oistrakh, and other violinists from the first half of the 1900's would be fun.

I wonder if the "cool" or even "cold" label for Heifetz came from his supposed lack of facial emotion while playing.  If one did not know this label for Heifetz, would that affect one's judgment of a recording of his?

[Cosi bel do]

Well, when you listen to CDs, you don't see his face...
Also, violinists are not usually very facially expressive. It's difficult to move anything else than eyebrows when playing the violin...

Otherwise, I do agree such a comparison would be great. I could do it when I'll have more time, but I don't see that happening in the near future. Also, I'm not sure a big romantic hit of a concerto would be very interesting for such a comparison. But it might be the only possibility if we want to assemble all "big names" (Heifetz, Menuhin, Stern, Oistrakh, Ferras, Neveu, Morini, Szeryng, Grumiaux, Milstein, possibly Kogan, Martzy... well, is there any other choice than Brahms ?)
I think it would be interesting to throw a few more recent soloists in the competition too (at least Mutter, Hahn, Vengerov, Kremer, Repin, Shaham, Fischer, Faust, Perlman...)

[The new erato]

Very Buster Keaton

[Pat B]

If I had the time and technology, a "blind comparison" with recordings by Heifetz, Stern, Oistrakh, and other violinists from the first half of the 1900's would be fun.

I wonder if the "cool" or even "cold" label for Heifetz came from his supposed lack of facial emotion while playing.  If one did not know this label for Heifetz, would that affect one's judgment of a recording of his?

To me, "cold" is not really the right word (though it's more apt for him than for the Emerson Quartet, who have received the same label).

FWIW I (correctly) named him in last year's blind comparison of the Mendelssohn finale. I wasn't certain since the engineering wasn't as spotlit as I remembered, but in hindsight I should have been more confident: no other violinist would get away with charging through it with so little regard for the orchestra. But, that's probably the easiest movement of his recordings for me to identify.

[Cato]

To me, "cold" is not really the right word (though it's more apt for him than for the Emerson Quartet, who have received the same label).

FWIW I (correctly) named him in last year's blind comparison of the Mendelssohn finale. I wasn't certain since the engineering wasn't as spotlit as I remembered, but in hindsight I should have been more confident: no other violinist would get away with charging through it with so little regard for the orchestra. But, that's probably the easiest movement of his recordings for me to identify.

Yes, quite true!   I am (and have been from early on up) a Heifetz fan.

This could be part of the source of the "cold" reputation:  a story about him and Leonard Bernstein at rehearsal (I no longer recall the source, possibly a biography, possibly a record jacket).

Bernstein says at the start of the rehearsal: "So, Jasch!  What tempo do we want for this section?"

Heifetz (obviously insulted): "Mister Bernstein, YOU will follow ME!"   

[Karl Henning]

That's our Yashenka!

[North Star]

Yes, quite true!   I am (and have been from early on up) a Heifetz fan.

This could be part of the source of the "cold" reputation:  a story about him and Leonard Bernstein at rehearsal (I no longer recall the source, possibly a biography, possibly a record jacket).

Bernstein says at the start of the rehearsal: "So, Jasch!  What tempo do we want for this section?"

Heifetz (obviously insulted): "Mister Bernstein, YOU will follow ME!"   

Heifetz might have had a bit of an ego..
http://www.wpr.org/million-dollar-trio

Rubinstein reported later that Heifetz was particularly perturbed by the billing in the concert programs because Rubinstein's name always came first, followed by Heifetz and then Piatigorsky. Heifetz wondered why the billing couldn't rotate so that each of them would be mentioned first at one time or another.

"I don't mind," Rubinstein supposedly replied, "but as far as I know, all trios are written for piano, violin, and cello, and traditionally one advertises the names of the players in exactly that Heifetz argued that he had seen some trios for violin and cello with piano accompaniment."

Rubinstein doubted it, Heifetz insisted. Rubinstein lost his temper, "Jascha," he shouted, "even if God were playing the violin, it would be printed Rubinstein, God, and Piatigorsky, in that order!" When RCA printed the record jackets, the names of Rubinstein and Heifetz appeared side by side on the top line, but the two never performed together again.

[Karl Henning]

I remember that story of Rubinstein, I just forgot which violinist was being put in his place.  (Sorry, Yashenka!)

[prémont]

im not a big fan of Heifetz' romantic recordings but his Bach sonatas & partitas give me a warm n fuzzy feeling (i know, not what you'd expect...and my reference is Tetzlaff I). it's like the relentless perfection and rhythmic rigidity liberate the music from the more mundane aspects of terrestrial life and just present you the purity of the music.  same with his beethoven concertos

Almost what I would say about Tetzlaff.

[king ubu]

Very Buster Keaton

o'course!

[Drasko]

Tchaikovsky with Barbirolli
Sibelius with Beecham
Korngold any
Bruch Scottish Fantasy any

[Mandryka]

Almost what I would say about Tetzlaff.

Yes I can see that, but Tetzlaff isn't rigid. At least not in the second Bach recording.

[prémont]

Yes I can see that, but Tetzlaff isn't rigid. At least not in the second Bach recording.

Yes, and this was the reason why I wrote:

Almost what I would say about Tetzlaff.