Duo-sonatas with Emanuel Bay (Mozart's K378, K424 and K454; Grieg's Op 13) are securely violin-dominated, while Primrose joins Heifetz for wonderfully supple accounts of Mozart's B flat Duo and Halvorsen's ingenious arrangement of Handel's harpsichord Passacaglia. The last track of all whisks Heifetz away from his chamber colleagues to Republic Studios Sound Stage 9 and the LA Philharmonic for what is perhaps the most sensational recording he ever made: Sinding's Suite, Op 10. Play the Prelude or the Adagio and tell me, honestly, is there anyone today who can play like that?Reuse content
Heifetz's Mozart sorts the critics from the curmudgeons, the connoisseurs of great string-playing from the fatuous "fast means facile" brigade. Who could justifiably grumble at this sublime account of the great E flat Divertimento, with Heifetz bowing the sweetest cantilena, while Feuermann on cello and Primrose on viola answer in like vein? And I'd like a pound for each Handelian who outwardly professes "period performance" preferences while secretly relishing this luscious account of Sonata No 15, with its glowing vibrato, gipsy-style slides and dazzling array of colours. How would Handel have reacted? Probably with "Hold it, Jascha, while I write you another 20"!