There is certainly
no chance of Beethoven’s extended first
movement to his Violin Concerto sprawling
under Heifetz’s fingers. His famed technique
fully intact, and with Munch his willing
Leporello, Heifetz unleashes a remarkably
fiery view of this concerto. Perhaps
that is reflected in his choice of cadenza
(Auer/Heifetz), a cadenza that marries
display, conceit, drama and virtuosic
nonchalance in equal measure. True,
perhaps he does not always let the music
breathe where expected, but this may
be because he’s saving the more interior
emotions for the Larghetto. Again, here,
the speed may be faster than expected
(but it is after all Larghetto, not
Largo) but this really is a meeting
of minds. Heifetz soliloquises marvellously
towards the end before embarking on
a suave finale. There is an unfortunate
drop in tension towards the end, and
Heifetz is markedly too forward around
the bassoon tune (around 3’30) but those
caveats apart this is a magnificent
reading. The cadenza in the finale is
Joachim/Heifetz.
Mendelssohn takes less
well to driven performances, yet it
has to be admitted there is real excitement
here that one rarely finds elsewhere.
The ‘molto appassionato’ part of the
first movement directive is taken at
face value, to great effect. Heifetz
reminds us of his knack of making the
cadenza a highpoint musically as well
as technically (not many musicians can
claim this). The slow movement is a
real andante, marked by a refusal to
dawdle. Heifetz plays as if improvising
(and trace of abrasive tone) and the
entire seven minutes flows as if in
one breath. The bridge passage between
the last two movements (an ‘Allegretto
non troppo’) is most effective, acting
as a foil for the high-jinks of the
Allegro molto vivace. And very lively
it is, too, with all parties concerned
exhibiting quicksilver responses. A
vital rhythmic awareness permeates every
bar.
One of the highlights
of this series.
Colin Clarke
Jascha Heifetz (violin) 
RCA RED SEAL LIVING STEREO SACD 82876 61391 2
[62’05] 
