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Jascha Heifetz 8.111380 bk Heifetz 40s_vol2_EU:8.111380 bk Heifetz 40s_vol2_EU 10-08-2011 13:00 Pagina 1 replaced the indisposed Pablo Casals in a Berlin 1972, he grew increasingly reclusive; and he died in with the mute. We hear good rhythm and excellent trills Spanish Dance were both in Heifetz’s recital repertoire ADD Philharmonic subscription concert, playing the Los Angeles on 10th December 1987. in the Dance by Alexander Krein (1883-1951), best- at this time (the Zapateado, which actually originated Tchaikovsky Concerto under Arthur Nikisch. He gave Whereas our first volume of the Heifetz Deccas known member of a clan of Russian Jewish musicians. with Mexican Indians, was hijacked by Flamenco Great Violinists • Heifetz a further Berlin concert and Nikisch invited him to included much popular fare, reflecting the material he And finally we have four bonuses, from V-Discs made dancers). Soon after the Dohnányi recording, the Bell 8.111380 Leipzig, where he performed Bruch’s G minor gave the troops on USO tours, this second tranche is for distribution to the armed forces. The Dohnányi, part Telephone Hour conductor Donald Voorhees wrote that Concerto on 12th February 1914. In Vienna he played much more classical in character – even if, like Track of a series that the composer recycled in various Heifetz ‘makes it a point to know every note in the the Mendelssohn under Vassily Safonov and he 1, it is classical at one remove. Mario Castelnuovo- instrumentations, is required to be played ‘alla selection he is playing, in addition to his own. He loves developed steadily through the early years of the Great Tedesco was an Italian composer whom Heifetz zingaresca’, in gipsy style. The Schubert, which in its to fiddle, his rehearsals are a treat, and he goes on for War. He missed the chaos of 1917 but caused his own championed from the early 1920s. When he moved to piano version tests the player’s cantabile, rather loses its hours. We often have to call a halt, reluctantly. In fact, I October Revolution that year with his historic New the United States to escape Mussolini’s anti-Semitic point when played on a sustaining instrument – and the never heard him play a bad note’. York début at Carnegie Hall. In 1920 he made his laws, Heifetz continued to help him and the most arrangement includes a most un-Schubertian Tully Potter JASCHA HEIFETZ London bow with two Queen’s Hall concerts which spectacular outcome of their collaboration was this modulation! Sarasate’s sultry Romanza and heel-tapping were so successful that he returned the same year – brilliant paraphrase on Figaro’s opening cavatina from MINIATURES • 2 playing the Elgar Concerto with the composer present. The Barber of Seville. Note Heifetz’s superb He also visited Paris and Berlin; and in 1921 he toured harmonics. Dvofiák’s Humoresque, a piano piece, is Australia. In 1925 he took U.S. citizenship and in 1926 often heard on the violin in transcriptions by Wilhelmj he played in Palestine. In 1939 he premièred the or Kreisler but for his only mature recording, Heifetz Franz Schubert Walton Concerto in Cleveland. In 1947 he made his own version with prominent double-stops: it reintroduced himself to London with the Beethoven is elegantly played with nice rubato. Godowsky’s piece Also available Johannes Brahms and Tchaikovsky Concertos at the Royal Albert Hall, distils a mood of nostalgia; the Ravel, which began life before the Queen and an audience exceeding 6,000. as a wordless vocalise, gets a sinuous rendering; and Camille Saint-Saëns After the 1946-47 season, he took a twenty-month the Debussy pieces are delightful: the Golliwog, break from the concert hall. In 1949 he played for returning to its roots in America, struts with fine President Truman and President Chaim Weizmann of rhythm and the other two, both utilising the mute, are Pyotr Il’yich Tchaikovsky Israel in New York and again offered Londoners the lovely. Waves at Play, by the American violinist- Elgar, also recording it. When he played the composer Edwin Grasse (1884-1954), conveys its Claude Debussy Tchaikovsky at Lewisohn Stadium in July that year, fluidity through rapid runs played ‘on the string’. 20,000 people were in the audience and 1,000 had to Whereas the two Prokofiev pieces display Heifetz’s Maurice Ravel be turned away. Heifetz became one of the first soloists trenchant rhythm, the Preludes by Shostakovich are to play at the new Royal Festival Hall in London, in contrasted: the first, transcribed by violinist Dmitry Sergey Prokofiev May 1951, and visited London again in June 1953 and Tsyganov, the composer’s closest chamber music November 1954. In April 1953 he made his second colleague, is muted and very beautiful; the second tour of Israel but insisted on breaking a twenty-year features almost nonchalant spiccato and staccato. Two Dmitry Shostakovich ban on German music by programming Richard pieces take Heifetz back to his beginnings in the Strauss’s Sonata, saying: ‘There are only two kinds of Russia of the Tsars: Rimsky-Korsakov’s aria is given a music – good music and bad music.’ Following his true vocal quality, while the Tchaikovsky, a violin-and- Jerusalem recital, a fanatical young man attacked him piano original, is insouciantly delivered with with an iron bar, injuring his right arm. Heifetz then trademark Heifetz staccato. The pieces by Chopin, toured Italy and Europe, shrugging off his pain. In Brahms and Schumann showcase the violinist’s Jascha Heifetz 1959 he performed for the United Nations General immaculate double-stopping (like the Gluck, a Kreisler 8.111379 Milton Kaye and Emanuel Bay, Piano Assembly but in the 1960s he began to confine himself standard, the Chopin and Schumann are Heifetz’s only mainly to the West Coast of America; chamber music recordings of these items). The Swan from The also loomed larger in his life, through the Heifetz- Carnival of the Animals is given subtleties not Piatigorsky Concerts. Having given his last concert in contemplated by Saint-Saëns, including being played Recorded 1944-1948 8.111380 5 6 8.111380 8.111380 bk Heifetz 40s_vol2_EU:8.111380 bk Heifetz 40s_vol2_EU 10-08-2011 13:00 Pagina 2 Jascha Heifetz (1900-1987) Fryderyk Chopin (1810-1849): Ernő Dohnányi (1877-1960): Jascha Heifetz (1900-1987) Miniatures • 2 % Nocturne in E flat major, Op. 55, No. 2 ¡ Andante rubato (arr. Kreisler) 4:53 Miniatures • 2 (Original 1944-48 Recordings) Original 1944-1948 Recordings (arr. Heifetz) 3:55 (from Ruralia Hungarica, Op. 32a) Gioachino Rossini (1792-1868): Edwin Grasse (1884-1954): Decca DL 8521, mx 73201 V-Disc 471, mx D5-TC-228-1B Virtually throughout his career, Jascha Heifetz through, they recorded it then and there. Five weeks 1 Figaro 5:18 8 Waves At Play (arr. Heifetz) 1:40 (30th November 1945) (29th January, 1945) recorded for the Victor Talking Machine Company and later Heifetz gave the première of his latest (paraphrase by Mario Castelnuovo-Tedesco (Wellenspiel) its affiliates or successors. The one major aberration commission – a concerto by Louis Gruenberg Johannes Brahms (1833-1897): Franz Schubert (1797-1828): on Largo al factotum from Il barbiere di Siviglia) Decca DL 8521, mx 73185 occurred in 1944-46, when he was contracted to incorporating two spirituals and a foxtrot in its second ^ Hungarian Dance No. 7 in A major ™ Impromptus D. 899: No. 3 (arr. Heifetz) 4:00 Decca 29153, DL 9760, mx 72445-A (29th November 1945) American Decca (his very first and very last records movement – with the Philadelphia Orchestra under (arr. Joachim) 2:03 V-Disc 547, mx D5-TC-1343-1B (17th October 1944) were also made for other labels). It was an unsettling Eugene Ormandy. From April to May 1945 Heifetz and Sergey Prokofiev (1891-1953): Decca 24131, DL 9780, mx 73206 (3rd September 1945) time anyway, with the United States at war and Heifetz Bay were on a USO tour of the European theatre, Antonín Dvořák (1841-1904): 9 March (arr. Heifetz) 1:29 (1st December 1945) ‘doing his bit’ by touring overseas for the United experiencing the euphoria of VE Day and the distress 2 Humoresque, Op. 101, No. 7 (arr. Heifetz) 3:34 (from The Love for Three Oranges) Pablo de Sarasate (1844-1908): Services Organisation, visiting army camps, bivouac of the discovery of the death camps. They took part in Christoph Willibald Gluck (1714-1787): Decca 23384, DL 9780, mx 72448-A Decca DL 8521, mx 73194 £ Romanza andaluza, Op. 22, No. 1 4:02 areas, replacement depots and even the front lines. In the first American entertainment for their Russian & Mélodie (arr. Kreisler) 2:55 (17th October 1944) (29th November 1945) V-Disc 848, mx USS 1006 addition, since August 1942 the American Federation allies and despite a bout of illness and the vicissitudes (Dance of the Blessed Spirits from (16th February 1948) of Musicians had been operating a recording ban; and of their impromptu recitals, Heifetz returned to New Leopold Godowsky (1870-1938): Sergey Prokofiev (1891-1953): Orfeo ed Euridice) although Heifetz was not in the union, he was unable York full of praise for the GIs. ‘Their interest in good 3 Viennese (arr. Heifetz) 3:45 0 Masks (arr. Heifetz) 2:01 Decca 24130, DL 9780, mx 73202 Pablo de Sarasate (1844-1908): to make records. In the 1943-44 season he toured music increased enormously,’ he told the press. ‘Some (Wienerisch – Impression No. 12) (from Romeo and Juliet) (30th November 1945) ¢ Zapateado 3:17 Central and South America for the USO with his usual of my best audiences were soldiers who had just come Decca 23385, DL 9780, mx 72457-A Decca 24130, DL 9780, mx 73195 (Danza Española No.
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