Jascha Heifetz was primarily an RCA Victor artist, but the US company was in poor condition during the 1930s depression, and encouraged some of its more famous performers to record for the affiliated HMV label. So it was that Heifetz made his first concerto records in London. On the face of it the choice of Barbirolli as Heifetz's conductor in eight recordings was curious, for Barbirolli's expressive style was surely at odds with that of the brilliant virtuoso. But it was a partnership which worked well, and one reason for this is that the pre-war Heifetz, on this evidence at least, played with more heart and spontaneity than he did in later years.
It has been fascinating to compare Heifetz's three recordings of the Tchaikovsky concerto—the one reissued here plus the early post-war version with Walter Susskind and the Philharmonia (HMV mono BLP1012, 5/53—nla), and the currently available 1957 recording with Reiner and the Chicago Symphony Orchestra (RCA GL85264, 1/86). In the two later recordings Heifetz shows his familiar silvery tone and immaculate technique. His playing is by no means cold, but he seems to have composed his interpretation before the event. In 1937, he took more risks and his tone was richer in quality. His technique was just as secure, but the performance as a whole is less sure-footed because there is a more spontaneous vein of expression.
Heifetz did not record Vieuxtemps's Fourth Concerto again, and he gives this pleasant and mellifluous showpiece a superb performance. The other works he did record again after the war. Wieniawski's more substantial Second Concerto (in a slightly cut version) is very well played, as are Saint-Saens's delightful shorter pieces, while Heifetz responds joyfully to the melodic inspiration and charm of Glazunov's Concerto. In all these works Barbirolli supports Heifetz admirably. Sarsate's piece in gipsy style forms a suitably brilliant climax to this collection.
It would seem from the evidence of minimal surface noise that the transfer engineers have been able to use original masters rather than commercial pressings. They have indeed obtained very good results, since the sound, particularly that of the soloist, is very clear, if a little dry.'