Hot Stamper Pressings Featuring the Violin
Superb Recordings with Jascha Heifetz Performing
This is a Super Hot Stamper Two-Pack that comprises a White Dog RCA original for side one and a Red Label reissue for side two, for the simple and obvious reason that the “bad” sides of each of these LPs are not nearly as good as the “good” sides. When you play the weaker sides you will no doubt appreciate why we felt it was appropriate to bundle two very different records together to make a truly SUPERB one.
If you’ve suffered through the horrendously sour and screechy recordings Heifetz and Piatigorsky are known for in audiophile circles — LDS 2513 and LDS 6159 — you will be glad to know that the two good sides here sound NOTHING like them. (Reversing your polarity on LDS 6159 helps but it can’t fix sound that’s that bad.)
Side One – Record One – Violin Concerto No. 5
At least A++, hard to fault. We played a stack of violin concerto records and this was one of the big winners of the day. It’s got more energy, better presence, more solid imaging and is much more enjoyable!
Side Two – Record Two
At least A++ again, and the kind of sound for this piece by Turina for piano, violin and cello that no White Dog we’ve heard could touch. Big space and extended highs, but still rich and full-bodied. It’s clear and rich, a Golden Age combination we love.
The concerto is scored for two oboes, two horns and strings.
The aperto marking on the first movement is a rare marking in Mozart’s instrumental music, but appears much more frequently in his operatic music. It implies that the piece should be played in a broader, more majestic way than might be indicated simply by allegro.
The first movement opens with the orchestra playing the main theme, a typical Mozartian tune. The solo violin comes in with a short but sweet dolce adagio passage in A Major with a simple accompaniment in the orchestra. (This is the only instance in Mozart’s concerto repertoire in which an adagio interlude of this sort occurs at the first soloist entry of the concerto.)
It then transitions back to the main theme with the solo violin playing a different melody on top of the orchestra. The first movement is 10-11 minutes long.
The rondo finale’s main theme is a typical Mozartean theme, but the contrasting sections feature loud passages of Turkish music that have caused some to call this the “Turkish Concerto”.
Trio No. 1