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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But these are the exceptions: Porgy and Bess, My man’s gone now. Erich Wolfgang Korngold Composer.

Porgy and Bess, A woman is a sometime thing. La Plus que lente. Manuel Maria Ponce Composer. This disc might well have been designed to illustrate the opening line of Wolf’s Italian Songbook, ”Auch kleine Dinge Gramophone’s expert gerehwin easier than ever before.

Just occasionally he goes over the top: Triakontameron, Alt Wien Old Vienna. Gramophone products and those of gershein selected partners from the world of music.

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Porgy and Bess, It ain’t necessarily so. Porgy and Bess, Bess, you is my woman now. Composition Artist Credits 3 Preludes.

Gershwin’s Preludes :

gersuwin Skip to main content. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Porgy and Bess, Introduction The Love for Three Oranges, March.

Some of the recordings are a heifettz 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.

Heifetz Collection – Gershwin & Encores

Aram Il’yich Khachaturian Composer. One doesn’t need to dwell on his flawless technique, his command of nuance, his tonal beauty or its variety, from gently tender in ”Bess, you is my woman now” to ferocious in the ”Sabre dance”, his seeming spontaneity in a piece as familiar to him as the Hora staccato which he put on the map: 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, Summertime. 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 is heard during Rachmaninov’s Vocaliseand there is a curious grating noise at the end of Korngold.