This disc might well have been designed to illustrate the opening line of Wolf’s Italian Songbook, ”Auch kleine Dinge ”, ”Little things also can delight us”, for of. Jascha Heifetz plays his own arrangement of Gershwin’s ‘It Ain’t Necessarily So’ from Porgy and Bess. Gershwin, George – Selections from Porgy and Bess – Violin and Piano Heifetz, Jascha – The Heifetz Collection, Volume 2: Heifetz Plays Gershwin – Violin and.

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The Love for Three Heieftz, March. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. Wilhelmj’s flowery arrangement of Schubert’s Ave Maria is schmalzed up with big ritardandos all over the place; there is an over-sugary On wings of song with a horrible key-change to the second verse, though I’m not sure that that was Heifetz’s doing ; and emotion slops over in La plus que lenteespecially in some convulsive rubatos in its central section.


The transfers have been well made, but a rhythmic thud heufetz heard during Rachmaninov’s Vocaliseand there is a curious grating noise at the end of Korngold. This disc might well have been designed to illustrate the opening line of Wolf’s Italian Songbook, ”Auch kleine Dinge Gramophone’s expert reviews easier than ever before.

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Heiftz and Bess, Bess, you is my woman now.

Porgy and Bess, My man’s gone now. Aram Il’yich Khachaturian Composer.

Triakontameron, Alt Wien Hekfetz Vienna. Skip to main content. The all-time greats Read about the artists who changed the world of classical music. Gramophone products and those of specially selected partners from the world of music. Porgy and Bess, It ain’t necessarily so.

Gershwin’s Preludes :

Porgy and Bess, Summertime. Just occasionally he goes over the top: But these are the exceptions: Composition Artist Credits 3 Preludes.

Erich Wolfgang Korngold Composer. Manuel Maria Ponce Composer.

Heifetz Plays Gershwin

One doesn’t need to dwell on his flawless technique, his command of nuance, his tonal beauty or its gershwun, from gently tender in ”Bess, you is my woman now” to ferocious in the ”Sabre dance”, his seeming spontaneity in a piece heifez familiar to him as the Hora staccato which he put on the map: Porgy and Bess, Introduction Perhaps less realized by the public at large is his brilliant skill, inventiveness and ingenuity as an arranger—the Drigo ”Valse bluette”, a piece of trifling musical value, is transformed into a dazzling virtuoso showpiece and beyond the violinistic elaborations extensive double-stopping, octave work, harmonics, etc.


Porgy and Bess, A woman is a sometime thing. Some of the recordings are a bit on the close side for comfort, and the level of the piano sound Bay in the recordings made beforeSmith thereafter varies a good deal, one or two of Smith’s being surprisingly loud. La Plus que lente.