I have this Heifetz recording in my collection, but I'm hooked on the David Oistrakh recording with Eugene Ormandy and The Philadelphia Orchestra from around 1959 now on the Sony label. It is truly a GREAT concerto.. THANKS DAVE !!!!!
Shame Milstein didn’t record it. I’d add in Gitlis and Horenstein as a damn good choice. Recorded in 1955, it was a breakthrough recording for Gitlis. His early recordings are way less ‘gipsy’ than his later ones.
I agree that Oistrakh is a bit better, but Dave is entirely correct in citing the Heifitz as the reference. Heifitz put this work on the proverbial map.
I'm glad you chose that one because it is a SLAM DUNK! One thing ONLY Heifetz does, that I believe Sibelius would have adopted had he thought of it, seconds before the concerto ends the violin soloist plays a scale up and down the same way, twice. Heifetz realized that taking the second scale just a couple of notes higher would create a more thrilling climax. And it works! I'm surprised that, so far as I know, no other recording artist has taken that idea and used it.
Unquestionably Heifetz will probably remain the reference for the next 100 plus years. I have always wondered why Reiner wasn't the conductor for this particular work? Perhaps he didn't want anything to do with conducting Sibelius? Who knows? You are correct Dave, this recording is the reference, but there are other great ones out there, especially as it applies to the orchestral contribution. For me, it's Oistrakh and Ormandy until I draw my last breath, but I still take out the Heifetz from time to time. It's a classic. Thanks!
When I was old enough to spell Sibelius I was already captivated by this 'voice' from hearing his music on the wireless and borrowed signature tunes. (eg: Sky at Night, BBC) This sound was like the voice of God to a wee boy. I was getting into the symphonies when, "hey, he wrote a violin concerto" Our city's premier record store ordered up a vinyl copy... Kyung Wha Chung, Andrew Previn conducting. The opening bars, even on a Dansette player, just blew me away. I didn't know if she was the greatest soloist. I knew from the album cover she was visibly adorable- that and the music, I became an obsessive, really in need of help. When I grew up , I found Sib's concerto the most recorded in the West. And I liked so many of them. I heard many live performances, even one where the soloist, lost it and fell apart. Excruciating.But the music still sounds like the first time, 50 odd years later.
Do we need a modern reference? I became a Heifetz addict at college and listened to this recording so often. I was impressed by Hilary Hahn. I’d resisted Incase she broke my Heifetz spell.
you've done it again. really like this one. of course with heifitz you expect all the notes to be there, but it was just the same to hear all of the notes played so well, clearly, with heifitz' special interpretation. bravisimo. Thanks!!!!!
I’m so glad you mentioned Dylana Jenson. I’ve been in contact with her for some years. I discovered her as a young teen on an old rerun of the Johnny Carson show on METV (in a hilarious bit, Jack Benny played her violin) and became very curious. Since then, I bought her recording of the Sibelius, and with Ormandy as “accompanist”, was quite favorably taken by the performance. Then, I learned of her lot….wanting to marry, and having the Strad taken from her because of it. Reminded me a lot of Abbie Conant with Celibidache in Munich. It sucked to be a woman player in classical music.
Have you heard the Camilla Wicks recording? There is something so warmly lyrical about her performance that makes it very special. I’ve always loved this Heifetz recording. But I have always loved his 1935 recording with Beecham even more.
There is a RCA 2 disc set called "Artists of the Century: Jascha Heifetz" that includes this Sibelius concerto recording plus the reference recording of the Brahms VC with Reiner/Chicago, the Tchaikovsky VC with Reiner/Chicago, Bach's Chaconne, Bruch's Scottish Fantasy, the Glazunov VC and Gershwin's 3 preludes for violin and piano.
For all his technical perfection, Heifetz has never ranked high on my list of wonderful violinists. His renditions of numerous pieces lack imperfections and idiosyncrasies that I prefer in more expressive interpretations. Heifetz sounded, to my ears, cold and mechanical. Someone below also mentioned the extraordinarily good performance of Kyung Wha Chung as a notable contrast, and I couldn't agree more.
@@Xingqiwu387 If you don't think Heifetz could play with emotion and soul, listen to his 1940 recording of the Beethoven concerto with Toscanini and the NBC. Under the discipline of Toscanini, Heifetz tears into the piece with amazing passion and intensity.
@@mgconlan You've clearly exaggerated my comment. At no point did I say that Heifetz could not play with emotion and soul. That said, however, simply compare his renditions of the Sibelius concerto or of the Bach sonatas with those of our contemporary artists and you, too, will see the mechanical perfection at the expense of soulful, irregular, idiosyncratic, imperfect, HUMAN version. His mechanical, metronomic precision has always left me cold. De gustibus....
@@Don-md6wn We see eye to eye and hear ear to ear. I've never understand the obsession so many have with Heifetz. Other, more human, artists have been far more to my liking.
Of course it’s the reference and no one else could have put this great concerto into the accepted repertoire; but I prefer other recordings and am going to listen to “the dark and stormy “ Mullins; exactly how I like the VC and not something Heifetz brings to it.
Thank you for this video and amazing channel - what amazing quality and discussion! I wonder what you think of the Jascha Heifetz Complete Album Collection?
The Sibelius concerto fills my own top spot for the most beautiful work for violin composed in the last 150 years. As with all Heifetz performances, he was technically flawless with perfect intonation. My problem with the Heifetz rendition is the lickity-split tempo of the first movement, marked allegro moderato, in a range of 54 - 60 (half-note). Heifetz performed the famous ciaconne from Bach's second unaccompanied Partita No. 2 at an even more blazing tempo, making it for my taste very unattractive, compared to Perlman's version for example. My own favorite performances of this most beautiful 20th-century concerto are those of Midori and Vengerov. (Cats are divine!)
@@DavesClassicalGuideCatty Rumor Needing Confirmation or Denial Dept: That Heifetz was displeased that Ray Still’s beautiful oboe solo in mvnt 2 of the Brahms VC had threatened to turn the piece into an oboe concerto.
In the 1940s and 50s Heifetz had an ironclad clause in his contract that when he appeared, his concerto must always be the last thing on the program. I would guess that Reiner didn't take to having his programs dictated to him. Therefore, no concert, no recording. Let Hendl do it.
Heifetz especially asked RCA to hire Reiner for this recording. They knew each other for ages and had a pretty good relationship. Moreover they already played this concerto in Pittsburgh years earlier. But RCA scheduled the recording session from 10th to 12th of January 1959, when Reiner was already engaged for a mid-season vacation. No need to mention how upset Reiner was about the situation. Hendl, as the associate conductor, just grabbed his chance.
I just saw Vengerov perform the Sibelius live with the Taiwan Symphony Orchestra. It was fantastic. My first live performance of this concerto.
The Viktoria Mullova recording with Qzawa/BSO also has a great Tchaikovsky Violin Concerto with it.
I also love her Shostakovich 1 recording.
I have this Heifetz recording in my collection, but I'm hooked on the David Oistrakh recording with Eugene Ormandy and The Philadelphia Orchestra from around 1959 now on the Sony label. It is truly a GREAT concerto.. THANKS DAVE !!!!!
I definitely prefer Oistrakh's version over that of Heifetz.
@@Xingqiwu387 YES INDEED !!!!!
I grew up with the Oistrakh also…but I’ll take a listen to Mr. Heifetz
Shame Milstein didn’t record it. I’d add in Gitlis and Horenstein as a damn good choice. Recorded in 1955, it was a breakthrough recording for Gitlis. His early recordings are way less ‘gipsy’ than his later ones.
I agree that Oistrakh is a bit better, but Dave is entirely correct in citing the Heifitz as the reference. Heifitz put this work on the proverbial map.
I'm glad you chose that one because it is a SLAM DUNK! One thing ONLY Heifetz does, that I believe Sibelius would have adopted had he thought of it, seconds before the concerto ends the violin soloist plays a scale up and down the same way, twice. Heifetz realized that taking the second scale just a couple of notes higher would create a more thrilling climax. And it works! I'm surprised that, so far as I know, no other recording artist has taken that idea and used it.
Unquestionably Heifetz will probably remain the reference for the next 100 plus years. I have always wondered why Reiner wasn't the conductor for this particular work? Perhaps he didn't want anything to do with conducting Sibelius? Who knows? You are correct Dave, this recording is the reference, but there are other great ones out there, especially as it applies to the orchestral contribution. For me, it's Oistrakh and Ormandy until I draw my last breath, but I still take out the Heifetz from time to time. It's a classic. Thanks!
My personal choice too. Grand stuff!
There is a live recording of Reiner conducting Sibelius 5-unidiomatically-on CZcams. Who knows if it’s legit though
I think Cho Liang Lin’s version became the modern reference alongside the Heifetz version.
No, it didn't.
When I was old enough to spell Sibelius I was already captivated by this 'voice' from hearing his music on the wireless and borrowed signature tunes. (eg: Sky at Night, BBC) This sound was like the voice of God to a wee boy.
I was getting into the symphonies when, "hey, he wrote a violin concerto" Our city's premier record store ordered up a vinyl copy... Kyung Wha Chung, Andrew Previn conducting. The opening bars, even on a Dansette player, just blew me away. I didn't know if she was the greatest soloist. I knew from the album cover she was visibly adorable- that and the music, I became an obsessive, really in need of help. When I grew up , I found Sib's concerto the most recorded in the West. And I liked so many of them. I heard many live performances, even one where the soloist, lost it and fell apart. Excruciating.But the music still sounds like the first time, 50 odd years later.
Do we need a modern reference? I became a Heifetz addict at college and listened to this recording so often. I was impressed by Hilary Hahn. I’d resisted Incase she broke my Heifetz spell.
you've done it again. really like this one. of course with heifitz you expect all the notes to be there, but it was just the same to hear all of the notes played so well, clearly, with heifitz' special interpretation. bravisimo. Thanks!!!!!
I’m so glad you mentioned Dylana Jenson. I’ve been in contact with her for some years. I discovered her as a young teen on an old rerun of the Johnny Carson show on METV (in a hilarious bit, Jack Benny played her violin) and became very curious. Since then, I bought her recording of the Sibelius, and with Ormandy as “accompanist”, was quite favorably taken by the performance. Then, I learned of her lot….wanting to marry, and having the Strad taken from her because of it. Reminded me a lot of Abbie Conant with Celibidache in Munich. It sucked to be a woman player in classical music.
Have you heard the Camilla Wicks recording? There is something so warmly lyrical about her performance that makes it very special. I’ve always loved this Heifetz recording. But I have always loved his 1935 recording with Beecham even more.
Yes, I have heard it .
There is a RCA 2 disc set called "Artists of the Century: Jascha Heifetz" that includes this Sibelius concerto recording plus the reference recording of the Brahms VC with Reiner/Chicago, the Tchaikovsky VC with Reiner/Chicago, Bach's Chaconne, Bruch's Scottish Fantasy, the Glazunov VC and Gershwin's 3 preludes for violin and piano.
For all his technical perfection, Heifetz has never ranked high on my list of wonderful violinists. His renditions of numerous pieces lack imperfections and idiosyncrasies that I prefer in more expressive interpretations. Heifetz sounded, to my ears, cold and mechanical. Someone below also mentioned the extraordinarily good performance of Kyung Wha Chung as a notable contrast, and I couldn't agree more.
@@Xingqiwu387 If you don't think Heifetz could play with emotion and soul, listen to his 1940 recording of the Beethoven concerto with Toscanini and the NBC. Under the discipline of Toscanini, Heifetz tears into the piece with amazing passion and intensity.
@@Xingqiwu387 I'm not huge fan of Heifetz either for the same reasons. That 2 disc set is the only thing I have of him.
@@mgconlan You've clearly exaggerated my comment. At no point did I say that Heifetz could not play with emotion and soul. That said, however, simply compare his renditions of the Sibelius concerto or of the Bach sonatas with those of our contemporary artists and you, too, will see the mechanical perfection at the expense of soulful, irregular, idiosyncratic, imperfect, HUMAN version. His mechanical, metronomic precision has always left me cold. De gustibus....
@@Don-md6wn We see eye to eye and hear ear to ear. I've never understand the obsession so many have with Heifetz. Other, more human, artists have been far more to my liking.
Of course it’s the reference and no one else could have put this great concerto into the accepted repertoire; but I prefer other recordings and am going to listen to “the dark and stormy “ Mullins; exactly how I like the VC and not something Heifetz brings to it.
Mullova! Autocorrect strikes again!
Same here! I haven't heard the Mullins recording either, but will promptly try to track it down.
Thank you for this video and amazing channel - what amazing quality and discussion! I wonder what you think of the Jascha Heifetz Complete Album Collection?
Yes! I have always thought Heifetz owns this concerto. His harmonics are sublime.
It's the rising arpeggios where he whacks the top E harmonic like cracking a whip. Nobody makes it sound so devilish as Mr H.
The Sibelius concerto fills my own top spot for the most beautiful work for violin composed in the last 150 years. As with all Heifetz performances, he was technically flawless with perfect intonation. My problem with the Heifetz rendition is the lickity-split tempo of the first movement, marked allegro moderato, in a range of 54 - 60 (half-note). Heifetz performed the famous ciaconne from Bach's second unaccompanied Partita No. 2 at an even more blazing tempo, making it for my taste very unattractive, compared to Perlman's version for example. My own favorite performances of this most beautiful 20th-century concerto are those of Midori and Vengerov. (Cats are divine!)
Why for this project was not hired Fritz Reiner…who knows?
Probably because they would have killed each other.
@@DavesClassicalGuide I guess you are right..Besides jokes, you think they were not complementary? Not a good match in terms of musical thinking?
@@DavesClassicalGuideCatty Rumor Needing Confirmation or Denial Dept: That Heifetz was displeased that Ray Still’s beautiful oboe solo in mvnt 2 of the Brahms VC had threatened to turn the piece into an oboe concerto.
In the 1940s and 50s Heifetz had an ironclad clause in his contract that when he appeared, his concerto must always be the last thing on the program. I would guess that Reiner didn't take to having his programs dictated to him. Therefore, no concert, no recording. Let Hendl do it.
Heifetz especially asked RCA to hire Reiner for this recording. They knew each other for ages and had a pretty good relationship. Moreover they already played this concerto in Pittsburgh years earlier. But RCA scheduled the recording session from 10th to 12th of January 1959, when Reiner was already engaged for a mid-season vacation. No need to mention how upset Reiner was about the situation. Hendl, as the associate conductor, just grabbed his chance.