I wasn't alive when this was recorded, but it's hard to imagine how big of a deal it was to see these two perform together during this era. I don't think we have anything that compares these days.
Absolutely the two best musicians who ever lived. The flawlessness, the speed, and the perfection of this just further demonstrates that Heifetz and Feuermann have no peer.
This is the December 1939 recording, one of the two Heifetz recordings of the Brahms Double. (The other was with Piatigorsky in May 1960.) Both recordings are off-the-charts magnificent. No other pairing could match the level those two recordings attained.
Don’t forget the Milstein/Piatigorsky recording. It comes very close to the Heifetz/Feuermann and Heifetz/Piatigorsky. I like to hear this 3 recordings after each other.
Actually Rostropovich is amazing and unique. I found Oistrakh more on the "trying" side in the recording, until a moment when sheer energy of Rostropovich finally lifted David Fiodorovich spirits from under everfrozen tundra. I was surprised to have to find it. Rostropovich made this performance somewhat unusual by risqué strokes. Yet he found a way to bend over sharp attacks on strings, visually associated with electronic guitar, into authentically classic strokes.
( continued ) It worth going back to Gregorian song - singing, alma mater of classic. Bell talls is as traditional to sonoric sacrifice as somber tunes. Classic has many faces. Not in “two faced” sense, but in that it’s an opposite of routine. Brahms, as no other composer, fused into tradition and then transcended it. Rostropovich, through his sheer intellect uncanny intuition and honed technique, built quite an architecture in this masterpiece.
@mauibobwills According to the CD liner notes, this is Feuermann. This is the mono 1939 recording. The 1960 RCA recording with Piatigorsky is in considerably better stereo sound.
One way to tell that this is the 1939 Heifetz-Feuermann recording and not the 1960 Heifetz-Piatigorsky version comes in the cello cadenza very early in the first movement. There is a four-note pizzicato chord. Feuermann plucks the four notes simultaneously. Piatigorsky rolls the chord as an arpeggio from the bottom up. Both methods are convincing and thoroughly artistic. I personally prefer Feuermann's method of playing that chord, but that is simply personal taste.
Excellent ear. For those who wish to know exactly where that Feuermann chord is here (the one that Piatigorsky tightly rolls in his recording), it's at 0:54.
@mauibobwills Absolutely not Piatigorsky. I have exactly that recording and have heard it dozens of times. Also, Feuermann plays far more aggressively and his tone is not as deep.
@paulostroff99 I meaned that both interpreters are on the same artistry; Rostropovich's interpretation(with Oistrach) I don't like ,but Oistrach's playing yes. Feuermann here is above Rostropovich..
I wasn't alive when this was recorded, but it's hard to imagine how big of a deal it was to see these two perform together during this era. I don't think we have anything that compares these days.
Absolutely the two best musicians who ever lived. The flawlessness, the speed, and the perfection of this just further demonstrates that Heifetz and Feuermann have no peer.
@@2planksand2wheels92 they're great too! It's been a long time since I heard their recording.
@@2planksand2wheels92
Slightly boring
Agree.
Best interpretation of Brahms - Double Concerto!!!
This is a classic performance that will most likely never be equaled. TY musicianth for posting.
Ein Erweckungserlebnis! Hoffentlich hören das sehr viele hoffnungsvolle Nachwuchsmusiker! So muss man´s machen!
Feuersturm auf innerste Haut
Wonderful Performance ! Thank you for posting !
This is the December 1939 recording, one of the two Heifetz recordings of the Brahms Double. (The other was with Piatigorsky in May 1960.) Both recordings are off-the-charts magnificent. No other pairing could match the level those two recordings attained.
Don’t forget the Milstein/Piatigorsky recording. It comes very close to the Heifetz/Feuermann and Heifetz/Piatigorsky. I like to hear this 3 recordings after each other.
Fantastic!A good Duo,Heifetz avec Feuermann!
Actually Rostropovich is amazing and unique. I found Oistrakh more on the "trying" side in the recording, until a moment when sheer energy of Rostropovich finally lifted David Fiodorovich spirits from under everfrozen tundra. I was surprised to have to find it. Rostropovich made this performance somewhat unusual by risqué strokes. Yet he found a way to bend over sharp attacks on strings, visually associated with electronic guitar, into authentically classic strokes.
And possibly ever will be.Best wishes.
( continued ) It worth going back to Gregorian song - singing, alma mater of classic. Bell talls is as traditional to sonoric sacrifice as somber tunes. Classic has many faces. Not in “two faced” sense, but in that it’s an opposite of routine. Brahms, as no other composer, fused into tradition and then transcended it. Rostropovich, through his sheer intellect uncanny intuition and honed technique, built quite an architecture in this masterpiece.
@mauibobwills According to the CD liner notes, this is Feuermann. This is the mono 1939 recording. The 1960 RCA recording with Piatigorsky is in considerably better stereo sound.
One way to tell that this is the 1939 Heifetz-Feuermann recording and not the 1960 Heifetz-Piatigorsky version comes in the cello cadenza very early in the first movement. There is a four-note pizzicato chord. Feuermann plucks the four notes simultaneously. Piatigorsky rolls the chord as an arpeggio from the bottom up. Both methods are convincing and thoroughly artistic. I personally prefer Feuermann's method of playing that chord, but that is simply personal taste.
Excellent ear. For those who wish to know exactly where that Feuermann chord is here (the one that Piatigorsky tightly rolls in his recording), it's at 0:54.
A legendary performance chopped off before the end of the movement by TH-cam - again. :-(
@thechillybeanie I believe this is from Dec. 21, 1939.
you are right paul...
Feuermann titanesque ......
@82224561 -Good is an insult .These two giants were the best that ever were.
Paul Ostroff Absolutely!!!
Ich verstehe und teile ihre Begeisterung, aber nach allgemeinem Urteil die beste Version ist jene von Navarra Suk
@mauibobwills Absolutely not Piatigorsky. I have exactly that recording and have heard it dozens of times. Also, Feuermann plays far more aggressively and his tone is not as deep.
when was this recorded? thanks :D
Chilly Beanie It was recorded in 1939.
@paulostroff99 I meaned that both interpreters are on the same artistry; Rostropovich's interpretation(with Oistrach) I don't like ,but Oistrach's playing yes.
Feuermann here is above Rostropovich..
It must be Piatigorsky!!
Such morons on YT
Definitely the 1939 recording. no doubt
There was no other recording of the double by the two soloists here.