Castelnuovo-Tedesco : The Lark
Jascha Heifetz (violin), Richard Ellsasser (organ), Emanuel Bay and Brooks Smith (piano)
RCA LM 2074
Analogphonic Records : LP 180 gram
Brand New and Sealed Record
Contents & Details
Tomaso Antonio Vitali (1663-1745) :
A1 - Chaconne (transcription for violin and organ by Ottorino Respighi)
Mario Castelnuovo-Tedesco (1895-1968) :
A2 - The Lark
Gabriel Faure (1845-1924) :
B - Sonata No. 1 In A, Op. 13
Recorded in August 4, 1950 (A1) with Richard Ellsasser, December 1, 1953 & March 30, 1954 (A2) with Emanuel Bay, December 15 & 16, 1954 (B) with Brooks Smith.
"Vitali’s Chaconne is almost as old as the violin itself. Originally written for violin and figured bass, it was rescued from oblivion by this German violinist, Ferdinand David, who edited it for violin and piano and published it in 1867; few violinists since that time have omitted it from their repertory. But we must confess to never having heard Respighi’s transcription of it for violin and organ. It is magnificent! Victor's jacket notes states that this transcription “… explores the technical possibilities of the violin beyond the limits known in Vitali’s time." But in the hands of Heifetz, this display piece becomes a thing of great beauty, and the depth of the resplendent organ accompaniment makes the work almost symphonic. Castelnuovo-Tedesco's The Lark is a first recording; although it is a pleasant enough work, it may well be the last recording of it. Many violinists have essayed Faure's Sonata No. 1 on LP discs, and Heifetz’ is as good as any, better than most." — The New Records
Jascha Heifetz (1901 - 1987) style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempi, and superb bow control coalesced to create a highly distinctive sound that makes Heifetz's playing instantly recognizable to aficionados. Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like "a tornado" because of its emotional intensity; he also said that Heifetz preferred to be recorded relatively close to the microphone. Heifetz owned the 1714 “Dolphin” Stadivarius, the 1731 "Piel" Stradivarius and the 1742 “ex-David" Guarneri del Gesù. He played on gut strings, saying that it was important in rendering an individual sound.
The "golden age" of recordings was from 1950 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.
This Analogphonic record was mastered from the original Deutsche Grammophon master tapes by Rainer Maillard, using pure analogue audiophile equipment, cut at Emil Berliner Studio Berlin, and pressed at Pallas GmbH in Germany.