S0464. JASCHA HEIFETZ: Concerto in D (Tchaikovsky), w.Süsskind Cond.; Concerto in e (Conus), w.Solomon Cond.; Concerto in D (Korngold), w.Wallenstein Cond.; Zigeunerweisen (Sarasate), w.Steinberg Cond. (Germany) Naxos 8.111359, recorded 1950-53. Transfers by Mark Obert-Thorn. - 747313335923
“…this is Heifetz, and time and again his phrasing and command of larger paragraphs – especially in the Tchaikovsky and Korngold – cause one to catch the breath, so inimitably right and irresistible is his playing. Tully Potter’s notes are a model of informed lucidity.”
- Robert Matthew-Walker, CLASSICAL RECORDINGS QUARTERLY, Spring, 2011
"This classic recording features Jascha Heifetz in the kind of repertoire that fitted him like a glove: virtuoso Romantic music, including his only recordings of the ravishing violin concertos by Julius Conus and Erich Korngold. Tchaikovsky’s ever-popular Violin Concerto, of which this 1950 recording is the favourite of many of his fans, receives an ecstatic and seemingly effortless interpretation. Heifetz’s aristocratic playing also imbues the hyper-romantic spirit of Sarasate’s ubiquitous Zigeunerweisen with both dignity and familiarity with the true gypsy style."
“Some listeners found [Heifetz] profound, noble and aristocratic, while others considered him cold, emotionless, and superficial. The recurring criticism that he played without emotion prompted Heifetz to hire a publicist in 1935, but he never shook the image. In 1940, music critic Virgil Thomson wrote a notorious review entitled ‘Silk Underwear Music’ which accused Heifetz of ‘empty elegance’ and said his ‘machine-tooled’ performances had ‘no musical or emotional significance’. This, despite acknowledging Heifetz' ‘silken tone’, ‘famous double stops’, and ‘true pitch’. No, Heifetz' conception of music was ‘embarrassingly refined’, hence the reference to silk underwear.”
– Christopher M. Wright (referencing Thomson‘s notorious 1940 ‘Silk Underwear Music’ review).