The Tchaikovsky offers more of the same, although in this case the brevity (just under 30 minutes) has more to do with a small cut than with speed. From soloist and orchestra alike, this is a note-perfect performance in a vivid recording, about which more later. Heifetz provides his own cadenza, which is suitably virtuosic but not alien to the Brahms style. The Brahms has great drive-Heifetz and Reiner get through it in 35 minutes-but this never comes at the expense of Heifetz’s singing tone. Little need be said about these justly famous performances from 19. Heifetz retired 35 years ago, but his style is still very much with us. Just think about Itzhak Perlman, whose entire career has been an effort to play like Heifetz (to the extent of appropriating the more oddball elements of his repertoire) while being loved like Kreisler. Of course that’s turned out to be utterly false the Heifetz blend of fire and ice has been tremendously influential since then, and the somewhat more romantic elements of his playing are coming back into vogue (not that, in his maturity, Heifetz was given to romantic extremes). In the very early days of Fanfare, one critic dismissed Heifetz as a relic, soon to be ignored. Info for Brahms & Tchaikovsky: Violin Concertos
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