My father was a violinist in the NY Philharmonic from 1946 to 1979. He heard all the greats of the time, and he thought that Heifetz was in a class by himself.
Oh my, my jaw just dropped ! The first recording in particular was so out of the world. His sound really rings between every note and trill. He plays it with some serious warmth and emotion. He also plays the first one very patiently, with a controlled tempo. That passage at 1:26 -- I can hear the bow bounce on every note! In the second recording, you can see how many changes he's made to his sound production (and also the sound of the Guarneri that differs from the Tononi of the earlier one.)
I have always enjoyed the fact that on the early recording the microphone cannot quite catch the high harmonic B naturals.we know he is there and down he comes like an alien craft out of the clouds.totally brilliant.
The absolute best of the best!The spiccato,the vibrato,the staccato,the double stops and not to mention the pizzicato and the perfect artificial harmonics make for a sensational and truely breathtaking performance!!! Thanks a million JaschaHeifetz1902,it seems we share a passion!
Coming back to this so many years later, the first recording is really the best I've ever heard of this piece by anyone, unbelievable control and intonation and tasteful phrasing. Heifetz teenage recordings are a world wonder - just astonishing.
One can argue taste in specific pieces, or whether a particular violinist may have played one selection better, but one thing is certain: There have been many astoundingly good pianists and cellists and flutists in the recorded history of classical music. But no soloist was so clearly better than anyone else who ever played his classical musical instrument in terms of all aspects of virtuous playing - be it volume of sound, beauty of tone, top speed, perfection of every note, or nearly any other measure that one can think of - than Heifetz was among the field of violinists. Fritz Kreisler's reported remark to other esteemed violinists after hearing him play live for the first time, "We may as well break our fiddles across our knees," was an apt assessment indeed.
i think the first one is much better. the second one is not bad by any means, quite good actually. the first one just sounds much more controlled, in tune, clean, has much better bowing. its interesting that he recorded it better when he was younger.
It sounds just so much more in control and cleaner - there's a certain ease and absolute control in the old one. And very tastefuly played, he even has put in some nice rubatos. I guess the sound quality of the 2nd recording is just harsh. Many of Heifetz teenage recordings are absolutely the best I've ever heard of him. Later on his sound gained a fiery intensity and more color, but also became a little angrier and edgier.
Absolutely fantastic. Brilliant intonation. Although it has not got the daring of Perlman who played one section backwards - which for some reason people misinterpret as a mistake! I prefer this version though. Thanks for uploading.
I rarely use superlatives, but Heifetz was THE BEST. The only other violinist who comes this close was Eugene Fodor. Fodor had the pyrotechnical ability to play absolutely ANYTHING. Heifetz was his teacher for a brief time; until Fodor broke Heifetz's dress code. Watching Heifetz's Master Classes makes me wonder how a guy like Joshua Bell, who thrills fans with gyrations & constipated faces, got so popoular.. Heifetz, as heard here, seemed too good to be mortal.
Cannot agree with you more on Joshua Bell -- I simply cannot bear watching/hearing him play, too much gyration and too slow in everything attempting to be *emotional*. oh hell no!
i would also agree... i'm not a pro, but i miss heifetz' precision in the second one... but maybe its just not a "perfect" recording... or i'm simply wrong.
In all the different players recordings of Lutins I mischievously wonder if a Goblin is dancing ----do the laws of gravity still apply , or should it be like a speeded up Benny Hill sketch ? A serious and frivolous question at the same time .
Bunga Mentari And Perlman would be the first to tell you that himself. One renowned violinist tells the story of being unusually nervous before a performance and confiding to a companion that he was worried about making a mistake. He friend told him "There are probably dozens of violinists in the audience who could play this concerto without a single mistake and no one would pay a dime to hear them do it"
I agree on the technical aspect, but I personally enjoy listening/watching Perlman play more because of how much enthusiasm and joy he makes playing music.
Heifetz was a genius, and I love these recordings. However, this was not one of his signature pieces; if it were, he'd be playing with his usual flare at twice the tempo and twice the soul. This is a piece Vengerov has played constantly since adolescence. In his documentaries, this is a common background, and if he were to pick a theme for himself, this would be it. This is the only piece that Vengerov will ever play better than Heifetz; in all other aspects, Heifetz is king.
It depends upon the way in which you practice. If you practice regularly (like every day) with great intention and concentration, you could do it it less than 10 years. Or consult Christian Li!
As good as Jascha Heifetz is in these audios, I believe current recording technology favors this later version, by an astonishing 11-year old - Christian Li - who wasn't even born while Heifetz was alive! I think Christian Li has a very spritely tempo that is actually better paced, rather than too fast. - ruclips.net/video/NAuZM8hgq_I/видео.html - or viewed from a different camera angle that displays the facile fingering ruclips.net/video/UyloZl2MfgU/видео.html - Theses videos capture a spectacular, mesmerizing energy in Christian's eyes and body that I don't think even Heifetz can match. (But it was this Heifetz video that I first came across and caused me to be entranced by the music piece.]
i'm not a musician, but what i hear is that in the second one he can reach the highest notes (somewehere almost in the end of it) while in the first one he cannot...
No! The first recording is more than 100 years old and no wonder that those highest notes have been washed out today, with the technique of those days!
I think he kinda plays like a robot and there isn't really a lot of emotion in his playing. Not just in this instance though. Its kinda hard to have emotion in that lol
Видеоклипы
This is one of the rare pieces that its harderder to play it slowly.
I guessuess you are right.
My eyesight is going. I thought you wrote 'this is one the rare pieces my hairdresser can play slowly.
If you can play it fast you can play it slowly
My father was a violinist in the NY Philharmonic from 1946 to 1979. He heard all the greats of the time, and he thought that Heifetz was in a class by himself.
Oh my, my jaw just dropped ! The first recording in particular was so out of the world. His sound really rings between every note and trill. He plays it with some serious warmth and emotion. He also plays the first one very patiently, with a controlled tempo. That passage at 1:26 -- I can hear the bow bounce on every note!
In the second recording, you can see how many changes he's made to his sound production (and also the sound of the Guarneri that differs from the Tononi of the earlier one.)
I have always enjoyed the fact that on the early recording the microphone cannot quite catch the high harmonic B naturals.we know he is there and down he comes like an alien craft out of the clouds.totally brilliant.
The absolute best of the best!The spiccato,the vibrato,the staccato,the double stops and not to mention the pizzicato and the perfect artificial harmonics make for a sensational and truely breathtaking performance!!!
Thanks a million JaschaHeifetz1902,it seems we share a passion!
Coming back to this so many years later, the first recording is really the best I've ever heard of this piece by anyone, unbelievable control and intonation and tasteful phrasing. Heifetz teenage recordings are a world wonder - just astonishing.
what do you think of Christian Li's version?
@@bee4590 Christian li doesn’t come close to Heifetz
this is signature Heifetz.
I can't breath when he plays
One can argue taste in specific pieces, or whether a particular violinist may have played one selection better, but one thing is certain: There have been many astoundingly good pianists and cellists and flutists in the recorded history of classical music. But no soloist was so clearly better than anyone else who ever played his classical musical instrument in terms of all aspects of virtuous playing - be it volume of sound, beauty of tone, top speed, perfection of every note, or nearly any other measure that one can think of - than Heifetz was among the field of violinists. Fritz Kreisler's reported remark to other esteemed violinists after hearing him play live for the first time, "We may as well break our fiddles across our knees," was an apt assessment indeed.
i first heard this on a Itzhak Perlman recording. I've loved it ever since and have played other violinists versions. Thanks for the post
heifetz now at number one, hadelich number two in my list
Perfection with no equal!! Thanks Heifetz
Disciplined notes. Bravo
Una LOCURA: iimpresionante
Such control
i think the first one is much better. the second one is not bad by any means, quite good actually. the first one just sounds much more controlled, in tune, clean, has much better bowing. its interesting that he recorded it better when he was younger.
I don't understand why everyone prefers the older version.
Uku Toots it’s kinda hard to hear the violin in the new one
It sounds just so much more in control and cleaner - there's a certain ease and absolute control in the old one. And very tastefuly played, he even has put in some nice rubatos. I guess the sound quality of the 2nd recording is just harsh.
Many of Heifetz teenage recordings are absolutely the best I've ever heard of him. Later on his sound gained a fiery intensity and more color, but also became a little angrier and edgier.
Absolutely fantastic. Brilliant intonation. Although it has not got the daring of Perlman who played one section backwards - which for some reason people misinterpret as a mistake! I prefer this version though. Thanks for uploading.
Gsuspended4thMusic he did play it backwards, that was no mistake, but he missed the note(s)
I rarely use superlatives, but Heifetz was THE BEST. The only other violinist who comes this close was Eugene Fodor. Fodor had the pyrotechnical ability to play absolutely ANYTHING. Heifetz was his teacher for a brief time; until Fodor broke Heifetz's dress code. Watching Heifetz's Master Classes makes me wonder how a guy like Joshua Bell, who thrills fans with gyrations & constipated faces, got so popoular.. Heifetz, as heard here, seemed too good to be mortal.
Cannot agree with you more on Joshua Bell -- I simply cannot bear watching/hearing him play, too much gyration and too slow in everything attempting to be *emotional*. oh hell no!
Ha, one piece where Mr. Heifetz would not or could not outrace the rest of the world!
would.
Also, the first one sounds like it has more power.
DE beste ooit !!!
Inderdaad!
The second version does not sound like Heifetz - it sounds a little tentative in places and the tone is rather thin. Is it a Decca recording?
i would also agree... i'm not a pro, but i miss heifetz' precision in the second one... but maybe its just not a "perfect" recording... or i'm simply wrong.
In all the different players recordings of Lutins I mischievously wonder if a Goblin is dancing ----do the laws of gravity still apply , or should it be like a speeded up Benny Hill sketch ? A serious and frivolous question at the same time .
The first recording proves Heifetz was Ling Ling's teacher...
8:05 :)
Perlman played this with mistakes...Heifetz did this perfect
Bunga Mentari And Perlman would be the first to tell you that himself. One renowned violinist tells the story of being unusually nervous before a performance and confiding to a companion that he was worried about making a mistake. He friend told him "There are probably dozens of violinists in the audience who could play this concerto without a single mistake and no one would pay a dime to hear them do it"
Is that your measure of an excellent violinist?
Besides, Perlman had a mistake in that specific performance because he tried to do some reverse position changing on purpose as a showman move/joke
I agree on the technical aspect, but I personally enjoy listening/watching Perlman play more because of how much enthusiasm and joy he makes playing music.
hope to see his playing..
In the first one he was 17
It's too easy just one month of study 11 hours a day👍👍
I thought this guy is just as good but his intonations were clearer and more understandable. Yehudi Menuhin
Heifetz was a genius, and I love these recordings.
However, this was not one of his signature pieces; if it were, he'd be playing with his usual flare at twice the tempo and twice the soul. This is a piece Vengerov has played constantly since adolescence. In his documentaries, this is a common background, and if he were to pick a theme for himself, this would be it. This is the only piece that Vengerov will ever play better than Heifetz; in all other aspects, Heifetz is king.
Do you not know that he was 17 when this recording was made?
Actually, he was only 16 at that time.
Version 2 I like more
how play this? I need 10 years of studys in my violin?
ten years may (may) lay the groundwork.
It depends upon the way in which you practice. If you practice regularly (like every day) with great intention and concentration, you could do it it less than 10 years. Or consult Christian Li!
Funny, I remember Heifetz played this one much faster.
Slide on double harmonics, my god
Alas, he indeed plays like god, but he is not god.
I’m pretty sure he missed a part right before the end, did anyone else notice that? Of course the playing is amazing though!
It's a part that Bazzini removed himself
The recording doesn't capture the highest notes
As good as Jascha Heifetz is in these audios, I believe current recording technology favors this later version, by an astonishing 11-year old - Christian Li - who wasn't even born while Heifetz was alive! I think Christian Li has a very spritely tempo that is actually better paced, rather than too fast. - ruclips.net/video/NAuZM8hgq_I/видео.html - or viewed from a different camera angle that displays the facile fingering ruclips.net/video/UyloZl2MfgU/видео.html - Theses videos capture a spectacular, mesmerizing energy in Christian's eyes and body that I don't think even Heifetz can match. (But it was this Heifetz video that I first came across and caused me to be entranced by the music piece.]
really? i always found heifetz's phrasing was fine. Haha, yes this piece is difficult to phrase
من رواية تركي ال الشيخ
وانا بعد👍😁
ونا بعد
i'm not a musician, but what i hear is that in the second one he can reach the highest notes (somewehere almost in the end of it) while in the first one he cannot...
No! The first recording is more than 100 years old and no wonder that those highest notes have been washed out today, with the technique of those days!
I think he kinda plays like a robot and there isn't really a lot of emotion in his playing. Not just in this instance though. Its kinda hard to have emotion in that lol
Absolutely not.
I completely disagree.