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DISCID=570e8506
DTITLE=Jascha Heifetz with Boston Symphony Orchestra - Charles Munch C
DTITLE=onducting 1959 / Beethoven, Mendelssohn: Violin Concertos (Hybr
DTITLE=id SACD)
DYEAR=2004
DGENRE=Classical
TTITLE0=Beethoven: Concerto - 1 : Allegro, Ma Non Troppo
TTITLE1=Beethoven: Concerto - 2 : Larghetto
TTITLE2=Beethoven: Concerto - 3 : Rondo: Allegro
TTITLE3=Mendelssohn: Concerto - 1 : Allegro molto appassionato
TTITLE4=Mendelssohn: Concerto - 2 : Andante
TTITLE5=Mendelssohn: Concerto - 3 : Allegretto non troppo; Allegro mol
TTITLE5=to vivace
EXTD=Beethoven, Mendelssohn: Violin Concertos (Hybrid SACD)\nJascha He
EXTD=ifetz with Boston Symphony Orchestra - Charles Mnch Conducting\n
EXTD=2004 BMG Classics\n\nRCA Living Stereo LP Originally Released 195
EXTD=9\nCD Edition Released May 19, 1998\nHybrid SACD Edition Released
EXTD= September 14, 2004\n\nAMG EXPERT REVIEW: \n\nAmazon.com essentia
EXTD=l recording\nRCA has coupled, recoupled, and re-recoupled their H
EXTD=eifetz recordings in just about every conceivable incarnation, ma
EXTD=king it very difficult and confusing for the collector to purchas
EXTD=e the best of them in a simple and straightforward way. This "Liv
EXTD=ing Stereo" reissue, however, really does offer the best sound so
EXTD= far, and the performances are second to none. Heifetz's Mendelss
EXTD=ohn has always led the field: for lightness, athleticism, grace, 
EXTD=and virtuosity, it's unsurpassed. In a work that many violinists 
EXTD=take for granted, Heifetz's high-powered approach really does rem
EXTD=ind us what great music this really is and how it responds to a v
EXTD=iolinist with a real sense of bravura. The coupling--a superb Bee
EXTD=thoven concerto--provides a real antidote to so many modern perfo
EXTD=rmances that mistake slowness for depth. If any disc deserves to 
EXTD=be called "essential," this one does. --David Hurwitz \n\nAMAZON.
EXTD=COM CUSTOMER REVIEW\nDecent recordings, but not the best, Septemb
EXTD=er 22, 2005\nReviewer: HYPOCRiTE (Ontario, Canada)\nAlthough well
EXTD= played, people who are considering buying this thinking it's the
EXTD= best rendition of both these concertos should pass. \n\nIn the M
EXTD=endelssohn, Heifetz seems to lack a certain emotional element tha
EXTD=t should be present in the piece. As others have mentioned, there
EXTD= are other recordings out there that should be listened to first 
EXTD=before hailing this as the best thing since sliced bread. The Kyu
EXTD=ng Wha Chung rendition is still slightly faster than most people 
EXTD=decide to take this peice, however, the lyrical melodies are stil
EXTD=l present (I would also reccoment the Chung recording to anyone w
EXTD=ho hasn't had a chance to listen to it). If you're looking for a 
EXTD=very passonaite recording of this concerto, try the Vengerov. Alt
EXTD=hough it's not for everyone, you can hear the heart and soul he's
EXTD= pouring into the piece as he plays it. \n\nThe Beethoven lacks i
EXTD=n similar ways that the Mendelssohn did. Although it is not nearl
EXTD=y as passionate as the previous concerto, there is still an eleme
EXTD=nt of movement that needs to be felt. Heifetz fails at this parti
EXTD=ally because of how fast he plays this, and how everything just s
EXTD=eems to "zing" by. Although the highly technical passages are pla
EXTD=yed nicely, much of the rest is just too disappointing. For peopl
EXTD=e looking for a better recroding, I reccomend the Francescatti or
EXTD= the Schneiderhan recordings of this piece, which caputre the moo
EXTD=d and phrasings much better than Heifetz has done here. \n\nOvera
EXTD=ll, if you're looking for another decent rendition of the Mendels
EXTD=sohn and Beethoven out of the oodles of recordings out there, the
EXTD=n this CD is for you. If you are looking to purchase the best pos
EXTD=sible recoding in one go, you should probably pass on this CD and
EXTD= try some of the other ones I've outlined above.\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nA classic, but not in the same league with the bes
EXTD=t, January 31, 2005\nReviewer: Jeff Melson (Fort Lauderdale, FL)\n
EXTD=Unquestionably, this is a classic performance of the Beethoven co
EXTD=ncerto, but it is by no means its "greatest recording," as some c
EXTD=ontinue to suggest. As usual, Heifetz brings his awesome virtuosi
EXTD=ty, his incredible technique and precision, to the table, but he 
EXTD=is just too cool and detached in the moments where a certain spir
EXTD=tualism and poetry are required. Of course, these criticisms of H
EXTD=eifetz's playing are pracitically cliches at this point; they've 
EXTD=been made a thousand times before and are even acknowledged to so
EXTD=me extent by many of his fans (though these people are likely to 
EXTD=spin it as, not "coldness" but "classical poise and restraint"). 
EXTD=Even so, though, I suggest that you listen to a few other version
EXTD=s of the Beethoven concerto (Menuhin/Furtwangler, Perlman/Giulini
EXTD=, Schneiderhan/Jochum, Walter/Francescatti -- just to name a few)
EXTD= and then return to this one and see if you remain satisfied. If 
EXTD=you are a big Heifetz fan, then I suggest getting his earlier rec
EXTD=ording with Toscanini and the NBC Symphony Orchestra (available o
EXTD=n Naxos). It's not the greatest version. As was often the case wh
EXTD=en Toscanini was at the helm, the tempo is too driven. But Heifet
EXTD=z's playing has a still-somewhat-cool yet otherworldly depth of f
EXTD=eeling about it (a Gramophone reviewer called it a "looking at th
EXTD=e stars" quality) that is less present in this reading. \n\nThe M
EXTD=endelssohn here is, I'm afraid, even less successful. The finale 
EXTD=is certainly exciting, taken about as fast you'll ever hear it, b
EXTD=ut basically this is a performance on autopilot, a comparatively 
EXTD=tepid run-through. I'd point you to Stern/Ormandy, Menuhin/Furtwa
EXTD=ngler, Milstein/Abbado, Perlman/Previn, and Zukerman/Bernstein, a
EXTD=mong others, for readings that really capture the concerto's grea
EXTD=t sparkle and warmth. \n\nBottom Line: Certainly worth hearing an
EXTD=d maybe even worth owning for comparative purposes, but there are
EXTD= better versions of these concertos.\n\nAMAZON.COM CUSTOMER REVIE
EXTD=W\nSparkling Mendelssohn, speedy Beethoven, June 11, 2004\nReview
EXTD=er: James P. Sheehan (Baltimore, MD USA)\nHeifetz's tempo seems a
EXTD= little rushed in the first movement of the Beethoven -- not beca
EXTD=use he can't handle it, but because it doesn't really help the pi
EXTD=ece. By the time he gets to the third movement, however, the mome
EXTD=ntum pays off. The familiar Beethoven bum-pa-dums, almost bombast
EXTD=ic in some versions, become ironic counterpoint. Heifetz's skill 
EXTD=gives the composer's thematic variations here a very welcome, fol
EXTD=ksy playfulness. And his touch is so light, yet so authoritative,
EXTD= that the violin's final, almost inconsequential utterance seems 
EXTD=to upstage the heavy, formal orchestral thump.\nBut it's the Mend
EXTD=elssohn that really earns the five stars here for me. After heari
EXTD=ng this recording, I have to say that almost every other version 
EXTD=I've heard now sounds somewhat cloying and insincere. Heifetz has
EXTD= been described as distant and stiff -- and compared to many youn
EXTD=g violinists, that may be true. But in a piece of this magnitude,
EXTD= trying to wring emotion from every phrase is a reckless and ill-
EXTD=fated endeavor. Heifetz's connection to the music is virtually un
EXTD=shakable. He does not mask lapses in concentration as sudden mood
EXTD= changes. There are no lapses in concentration (well, very few) -
EXTD=- which is likely why many people find his playing "unemotional."
EXTD= The concerto emerges as a whole piece, not broken up by arbitrar
EXTD=y dramatic interjections. His virtually incomparable playing reve
EXTD=als its beauty and delight as he pursues the purity of the musica
EXTD=l form with a dedication few others can match. Thank God he doesn
EXTD='t waste his time trying to provide us with an "emotional roadmap
EXTD=."\n\nAMAZON.COM CUSTOMER REVIEW\nHeifetz lets us hear Beethoven 
EXTD=as it was meant to be heard, October 31, 1999\nReviewer: A music 
EXTD=fan\nJascha Heifetz approach to the Beethoven Concerto is an un-c
EXTD=erebral reading. By that I mean that all other violinists get sen
EXTD=timental about this work. That is understandable as the music is 
EXTD=of tremendous beauty. However, when one becomes sentimental or em
EXTD=otional, they inadverdantly infuse their own musical ideas (regar
EXTD=dless of the fact that they claim that they are letting the music
EXTD= speak). I know that Heifetz has strong emotional ties for this p
EXTD=iece (he wants us to feel the music as it was written, this is ap
EXTD=parent), but he does not let that interfer with his delivery of B
EXTD=eethoven's message. The tempi can be ruined by a cerebral interpr
EXTD=etation. This speaks to me in many other interpretations. I canno
EXTD=t appreciate the music when I can sense that the artist seems to 
EXTD=be playing slowly because they are so caught their own interpreta
EXTD=tion of the music. That feels like an egotistical display of emot
EXTD=ion. Heifetz is a true musician. Because Heifetz will not display
EXTD= an emotional reading of this piece, we can hear Beethoven's musi
EXTD=c with all of the peaks and valleys that the composer intended. W
EXTD=e cannot feel the emotion if it is evident that the artist has be
EXTD=aten us to it.
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