Brahms / Tchaikovsky: Violin Concertos

Brahms / Tchaikovsky: Violin Concertos

Brahms / Tchaikovsky: Violin Concertos
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Composer: Johannes Brahms
Composer: Pyotr Il'yich Tchaikovsky
Conductor: Fritz Reiner
Orchestra: Chicago Symphony Orchestra
Performer: Jascha Heifetz
Edition: Music CD
Format: Hybrid SACD - DSD, Original recording remastered
CD Release Date: 2005-07-26
Music Label: RCA
Soundtracks:
  1. Violin Concerto in D major, Op. 77: Allegro non troppo
  2. Violin Concerto in D major, Op. 77: Adagio
  3. Violin Concerto in D major, Op. 77: Allegro giocoso, ma non troppo vivace
  4. Violin Concerto in D major, Op. 35: Allegro moderato
  5. Violin Concerto in D major, Op. 35: Canzonetta: Andante
  6. Violin Concerto in D major, Op. 35: Allegro vivacissimo

Free Music Notes for Brahms / Tchaikovsky: Violin Concertos

Free Music Review: Legendary performances in sound that shows what's going on
Hit: 5 Stars

While I believe the Brahms violin concerton is the "Emporer" of violin concertos -- principally for its well-developed architecture -- I never cared much for Heifitz's version of the concerto. Although his early stereo recording with the Chicago Symphony and Reiner was played up to his standard, I always thought their collaboration produced an impatient recording, as if they couldn't get it finished quickly enough.

What a difference SACD makes! Now, when I listen to this work, I have a much different reaction. Hearing Heifitz located on the stage just a few steps from where Reiner is leading his band, this now sounds to me more impassioned than ever before, as if the chemistry between the two highly driven performers and the virtuoso orchestra resulted in a fast reading that was driven by a burning passion and not impatience.

So what happened; does the SACD recording show a different reality or did I just get older and appreciate the greatness of these performers more in my maturity?

I think both things happened. I know I appreciate Heifitz a lot more in SACD than I ever did in stereo and the sound on this SACD -- especially when I listen with headphones -- brings dimension to the recording that never existed before. It also shows the level of detail Reiner required from his orchestra and its ability to meet his technical demands.

I enjoyed the Tchaikovksy concerto that is mated with the Brahms here but less so. The chemistry doesn't seem to be the same between the partners, who were both high profile literalits in mid 20th century. Their collective insistence on literalism probably took some of the Slavic character away from the Tchaikovsky concerto, making it another top European concerto from the late Romantic period instead of an individual opus.

I listened to Heifitz's SACD recording of the Sibelius concerto after hearing the Tchaikovksy. There, Heifitz delivered a more characterful and intense performance that projected the icy Scandanavian nature of the composer. This is the element I think the Tchaikovsky concerto lacks -- the overwhelming passion of the emotionally charged and conflicted Russian composer.

Still, this is a great CD replicated in up to the minute super audio sound that usesof all three forward speakers without surround sound. RCA tells us in its technical packaging that the third speaker is a come and go proposition in SACD reissues because that's the way they were recorded. I noticed the middle channel in use every time I got next to the speaker in this recording.

This should appeal to music historians, fans of the two concertos, musicologists and audiophiles that want to know what three-channel recordings sounded like in the early days of stereo. Even this slight misgiving I have about the Tchaikovsky, this CD powerfully appeals to me.
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