RCA海菲兹全集，第4卷/共46卷。 On January 9, 1937, the audience at Heifetz's Carnegie Hall recital heard not only a great performance of a Bach partita (B minor) but also a work new to most of them ("scarcely overplayed in New York" read my notice) with which they were, clearly, enchanted: the Sonata in A of Gabriel Faure. What it needed was—as this recorded counterpart demonstrates— exactly what it got: "immaculate tone and taste" in the Andante, a "swift and luminous" treatment of the Scherzo, and a "vigorous, finely colored treatment of the finale." Serge Koussevitzky shared with Heifetz a profound appreciation of the place Sergei Prokofiev occupied in the musical heritage of the country that was the birthright of all three. Koussevitzky and Heifetz, together with the Boston Symphony Orchestra, gave the Second Concerto a central role in enlarging the recognition of Prokofiev's writing for the violin. It was, for 1937, a sensational "first" and so far beyond challenge that it remained for years without a duplication. One could hardly refer to their recording a little later of the Brahms concerto as an encore; it was, rather, a return to the scene of a triumph, and it aroused a flow of adrenalin that characterizes the greatest of collaborations. There were, in fact, four collaborators: soloist, conductor, orchestra and Symphony Hall itself, in which the recording was made. This volume also includes the Brahms A Major Sonata, which was among the several sonatas that appeared frequently on Heifetz's recital programs in the mid-'30s, and the orchestral versions of Sarasate's Zigeunerweisen and Saint-Saens's Havanaise. At the time these two pieces were often heard with piano but rarely recorded with orchestra. Heifetz recorded both with piano, in 1919 and 1924 respectively, and the performances heard here are the first of his two recordings of the works with orchestra. Finally, there is the first of his two recordings of Saint-Saens's Introduction and Rondo Capriccioso. The violinist's partner in the Brahms sonata is Emanuel Bay, his accompanist for 20 years, from 1934 until 1954. The concerted works are conducted by John Barbirolli, a frequent Heifetz collaborator in the '30s both for recordings and concerts in England—and for New York Philharmonic appearances when he was the orchestra's music director. —Irving Kolodin