Added: 3 years ago
From: Gesundheitsschadlich
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  • what ever. this guy 'jasha'? thats randy watson, 'dat boy good' leave him and the conductor alone and just enjoy this piece. btw i love the bassoons at 3:05

  • idolo Jascha !!!!!

  • ave

    merci pour le partage de ce moment inoubliable

    fred from france

  • Wonderful performance and clear recording sound, thanks for posting!

  • The 1940 recording with Toscanini kills this draggy boring stuff.

    watch?v=tp9BZQWlMjM&feature=re­lated

    Much better!!!

  • @SatchmoSings

    Have you actually nothing better to do than stuff your shitty opinions down everyones throat? I can see that all of your comments on this video are about the same thing.

    Dude, I understand that you have a difficult time being able to impress people in real life. However, what you are doing here is plain pathetic..

  • @daywalker81 I have expressed an opinion A) I'm not a big fan of the Munch reign at the BSO and B) that the earlier recordings by Heifetz both in regard to the Beethoven AND Brahms violin concertos are preferable, not because Heifetz plays better but because of the orchestral accompaniment.

    The orchestral part of a concerto is also something to be considered in a performance, not just the soloist.

    Obviously a miserable patheticness, such as yourself, can't comprehend this.

  • I prefer the 1940 one with Tosacanini.

  • I remember in 'black and white days' an American Organ player playing on umpteen keyboards and us kids in raptures over his skills. It had nothing to do with music as such. Heifetz (and Glen Gould for that matter) were absolute brilliant technical players and liked to 'show off ' their skills by playing far too fast. But they don't quite get away with it. Beethoven would be outraged as he was creating emotional 'art ' and not writing for show-offs and clever-dicks ' But you have your choice.

  • Heifetz and Gould play at proper tempo. The others play too slowly because they don't have the chops to play at speed. Beethoven himself was a staggering virtuoso who had a habit of breaking keyboards. I think he would be enraptured by Heifetz, particularly given Beethoven's love of the Bel Canto sound.

  • Beethovens violin concerto with Jascha Heifetz, the Boston Symphony Orchestra & Charles Munch conducting:

    The best there is. A miracle and at the same time a priceless treasure.

  • Its the best recording, I'd say Pinchas Zukerman is a close second though, I saw PInchas do a live performance of this concerto, and it was pretty spectacular.

  • @HarrySchneider

    You are not and will never know what Beethoven wanted, and every violinist has their style and if Heifetz's technique is good enough he can play this fast, at least i feel comfortable listening to this one.

  • How is this "unlistenable"? This is amazing, and you have no idea what Beethoven wanted so before you make such claims you should consider that your opinion is just that, an opinion.

  • try  Kogan

  • Heifetz is a legend. unbeatable.

    good recording by the way

  • absolutely

  • does anyone know if theres a video of heifetz playing the kriesler version? or does anyone have it?

  • Enjoyed this very much!!! Thank you!

  • Marvelous, and superbly partnered by Much and the Boston Symphony; Leinsdorf ruined this great orchestra, which has never recovered.

  • No, Leinsdorf didn't ruin the orchestra, though they were indeed a much different sounding orchestra under his leadership. It was Ozawa who ruined it ever so gradually through his semmingly never ending tenure.

  • I often wondered if the Board of the BSO was out to lunch by constantly rehiring Ozawa, who drove it into the ground; but I still say the decline started with Leinsdorf. A certain excitement and spontaneity went out of the great group; Munch maintained the superb standard set by Muck and Koussevitzky, and was incomparable in French music.

  • @billyguns2 Munch was a sloppy and dull conductor and a definite "down" after Koussevitzky; Leinsdorf was a big improvement over Munch.

  • @SatchmoSings "Sloppy" and "dull" are most certainly terms I would not use to describe the many thrilling performances i heard with Munch and the BSO; even Herbert Von Karajan liked to play Munch's recording of LA MER as a demonstration of amazing tempi and atmosphere, and his studio recordings of DAPHNIS ET CHLOE and many other French masterpieces are marvelous, not to mention the incandescent playing of the orchestra,

  • @billyguns2 If you think Munch was a good conductor, that's your business; I don't.

    I have "Daphnis et Chloe" (and it wasn't recorded in a studio; it was recorded in Symphony Hall) and I don't find it a particularly inspired performance at all.

    Indeed, in "going over" all the major conductors who had careers, I put Munch and Ormandy at or near the bottom.

  • @SatchmoSings "STudio" recordings is a generic term for any recording that was not recorded in a live performance; semantics. {erhaps I should have said "commercially released" recording; is that better? No, Munch wasn't in the same overall league as Furtwangler, Toscanini, Klemperer, Karajan, Reiner, Stokowski, Beecham, Weingartner, Szell and a few others, but I find him better and more interesting than many conductors of today.

  • @billyguns2 Thank you for your fair-minded and even-tempered response.

    Now then, to change the subject slightly, what do you think of the 1940 Toscanini-Heifetz recording of this work?

    (It was done in a large radio [now TV] studio, not Carnegie Hall.)

  • magnificent as usual, but it's a pity he didnt play the kriesler version of the cadenza.

  • @nstaylor21 Try the 1940 recording with Toscanini.

  • absolute perfection, as always!!

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