试听
目录
| # | 曲目 |
|---|---|
|
1 |
String Quintet No.2 in G Major,Op.111_I.Allegro non troppoma con brio |
| 2 | String Quintet No.2 in G MajorOp.111_II.Adagio |
| 3 | String Quintet No.2 in G MajorOp.111 III.Un poco allegretto |
| 4 | String Quintet No.2 in G MajorOp.111 IVVivace ma non troppo presto |
| 5 | Souvenir de FlorenceOp.70 I.Allegro con spirito |
| 6 | Souvenir de FlorenceOp.70 II.Adagio cantabileecon moto |
| 7 | Souvenir de FlorenceOp.70IIl.Allegro moderato |
| 8 | Souvenir de FlorenceOp.70 IV.Allegrovivace |
| 9 | Srnade mlancoliqueOp.26(Remastered) |
| 10 | Serenade for String OrchestraOp.48 II.Valse(Remastered) |
专辑简介
Info for Brahms: Quintet No. 2 in G Major, Op. 111 – Tchaikovsky: Souvenir de Florence, Op. 70; Sérénade mélancolique, Op. 26 & Serenade in C Major, Op. 48 – Heifetz Remastered
He was universally acclaimed as the violinist of the century. But for many, that wasn’t enough. Even his harshest detractors had to admit that Jascha Heifetz (1900 – 1987) Jascha Heifetz, on RCA LP LM-2382 had the greatest technique in history (and the few recordings of his concerts prove that his precision wasn’t a studio fabrication). Even more amazing, his fabulous talent was fully formed by the time of his first teenaged records, cut weeks after his sensational 1917 Carnegie Hall debut. Just listen to how effortlessly he tosses off Bazzini’s fiendishly difficult \”Ronde des Lutins\” with breakneck speed, staggering technique and attitude galore.
In art, as in politics, radical youths mellow in middle age and gravitate toward a more conservative middle ground, but not Heifetz. Rather than embrace mellow maturity, Heifetz maintained throughout his half-century career the fleet precision of his initial fame.
Most artists dream in vain of fending off technical decline. Heifetz, though, faced the opposite problem. Many violin devotees accuse Heifetz of never evolving a distinctive personal vision. Indeed, it has become fashionable to flail Heifetz for an emotional reticence at odds with the heart-on-sleeve style we normally expect of our fiddlers. But instead of damning him for what he wasn\’t (and never pretended to be), it seems far better to hail him for seizing upon a unique personality and never straying. Throughout his career, Heifetz projected his sensational technique and pure tone with affirmative athletic confidence. Even in his last performances, he sounds like the most youthful violinist on record.
Violinists often consider concertos The Heifetz Collection, volume 11 (stereo concertos)to be their primary showcase, and rightfully so – there’s something especially thrilling to hear a lone violin holding its own against the onslaught of a full orchestra or set off against the various instrumental choirs, each with its distinctive timbre.
Beginning with the Brahms in February 1955, Heifetz began to rerecord the most popular concertos in then-new stereo technology. All are now available in 24-bit. They all are magnificently played and well-recorded and supercede earlier mono versions.
Digitally remastered
