Dmitry Sitkovetsky: The Golden Age of Violin

"Though each one could hardly be more different from the other, Fritz Kreisler, Jascha Heifetz and Yehudi Menuhin were, in my opinion, the most influential violinists of the 20th century. They were also the most influential in the recorded history of the 20th century, and therefore also happened to be the violinists I heard the most, and who influenced me personally the most while I was growing up in Russia – pretty far away from where they were at the time.

I’ve grouped the recordings in this list into threes. First come all three players in the first movement of the Mendelssohn concerto, and it's possible to compare them just on how they play the first page. With Kreisler it’s about his sound, its special warmth and humanity, and there was always a wonderful grace about his playing – it goes directly to your heart. You notice immediately the difference in the pulse and in the inner intensity when Heifetz starts: it could only be Heifetz! And then of course Menuhin had a very different technique to Heifetz and Kreisler: he was under the influence of Enescu, his teacher, who had a very special way of articulating with a bow, and a built-in portamento that was incredibly expressive.

The next group starts with the second movement of the Schumann Concerto, in probably the greatest track Yehudi ever put down. That is absolutely the voice of God! There’s something completely otherworldly about it, touching and moving; that was an amazing quality which he always had, even when he was not at his best form. With Heifetz again, I could have picked a number of recordings, but I think the 'Introduction and Rondo Capriccioso' is about the most perfect recording of any piece.

And then of course Kreisler. And it’s very interesting how he, even for me, can be full of surprises. We think we know Kreisler, but then the we come to the next piece in which we compare all three: Bach Sonatas and Partitas, the violinist’s Bible. Here Kreisler gives the most complete performance. There’s no place to hide, you’re totally by yourself. For fourth set of three, each plays a sonata: Brahms, Beethoven and Schubert. Again Kreisler wins, I think, although he does play it with the greatest pianist certainly of that time, if not the whole century – Sergei Rachmaninoff.

The next six have two tracks by each of the artist and starts off with the Bach Double Concerto with Menuhin and Enescu: a very important historical recording where you can hear him with the teacher who was so influential. The Elgar concerto is an interesting piece. It was actually written, of course, for Kreisler, and he probably played it once or twice, but didn’t make a big case for it. Albert Sammons had recorded it, and then of course came 16-year-old Yehudi to play for Elgar, that famous recording session with the 10-minute rehearsal beforehand, where Elgar said, “that’s fine, see you tomorrow, I’m off to the races!” I was under the serious influence of the Heifetz recording, though, the first time I learned it.

The Korngold, meanwhile, has one of the most extraordinary beginnings of any concerto, when it’s played like Heifetz – I think it’s absolutely out of this world. And listen to Heifetz in the second movement of the Lalo 'Symphonie Espagnole' as well! What he does in terms of taking time, really quite drastically, then giving it back: it's a masterpiece of performance.

I end with ensembles. There’s Heifetz with Piatigorsky, who was part of his musical family, then the wonderful String Quartet by Kreisler, which is so well written, and beautifully performed. He was such a complete musician, Kreisler. Finally: Cole Porter. It’s quite clear that Menuhin didn’t improvise a single number, that everything was written out for him. But this is simply a wonderful document of two different worlds combining and having a great time!"