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What you are detecting is not a matter of tempo or attack, but the fact that Heifetz is always in motion. There are no stops. There is always a sense of the pulse. A tornado isn't a bad analogy, but I prefer a locomotive. It is a difficult concept to explain, but my own private saxophone teacher has taught me to approach music as Heifetz did (and as many greats innately do).
He was nothing short of Perfection incarnate. This performance(and most of his others) still, STILL after probably 50+ viewing leaves me short of breath more than once.
I agree. Also keep in mind Itzak Perlman deals with a different recording world than Heifetz. The cut in Heifetz's tone was likely intentional for reaching the back of concert halls and coming through clear on primitive recording devices. Not to mention if is musically appealing, especially on fast rhythmic pieces.
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