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100.1.8.70
In Reply to: RE: The later Hendl stereo version posted by andy evans on June 08, 2016 at 09:04:18
While Heifetz continued to perform in public occasionally until around 1972 and to record until a shoulder operation in 1975, he essentially retired from full time performing in the late 1950s. IME, most of his records after 1960, while still outstanding, lack the rock steadiness of his youth. The Glazunov was recorded in 1963.Edit: However, any decline of Heifetz was minimal compared to that of Joseph Szigeti, for example. Apparently suffering from chronic arthritis or other serious physical ailment, one can hear a major loss of motor control by 1950, when he was in his late 50s.
Edits: 06/10/16Follow Ups:
since he had such rock solid technique and flawless intonation, and was praised to the skies by Bartok and Prokofiev, among others, for his performances of their music (and neither was exactly lightness and sunshine when it came to evaluating other musicians).
He made a few painful stereo records at the very end, and was struggling by the early 1950s, obscuring his earlier glories. Milstein called his 1942 live recording of the Kreutzer Sonata with Bartok the best ever.
Maybe that remark by Milstein was true at the time he made it too. These days, I might prefer Repin/Argerich or Pouty Lips with Tiberghien in the Kreutzer. ;-)
(Or, best and most unbelievable of all, Repin and Lugansky in a live Carnegie Hall performance. I've got it on a 24/48 DVD-Audio which someone - one of the perpetrators! - kindly sent to me, but I'd guess that it's no doubt floating around in the various pirate locales on the internet too!)
in the Brahms concerto with MTT and the SFSO. He can play, not surprising his Kreutzer Sonata was that good.
Safe to say Szigeti's and Bartok's 1942 effort has been surpassed at this point. Funny, I've read neither was satisfied with the recital. But I agree, it was a landmark event.
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