Mullova presents the work with simplicity of gesture. The dance origin is apparent in her performance and contributes to the unified affect she achieves. The lightness of her bowing technique, leaving “space” between notes, is particularly fitting for the cathedral in which she plays. The prevailing mood is one of calmness.

The perfection and elegance of Szeryng’s performance belies the difficulties of the work. He maintains a natural rhythmic flow that connects the emerging ideas with inevitability.

Perlman lets us know at the outset that he will not eschew brilliance. What a heroic opening! He groups the variations logically and with conviction. His sound is consistently beautiful. But one never loses sight of his virtuosity.

Heifetz and Milstein made these recordings late in their lives, and, unfortunately, their virtuosity is not always in evidence. Heifetz is unsteady rhythmically and rash in his bow strokes. Romantic excesses include portamento and seemingly unmotivated tempo changes. He said, “Take one.” I hope there was a “Take two.”

Milstein feels free to be expressive with detail and to shift speed with such frequency that he conveys little sense of the structure of the whole.

By contrast, the remaining performers, Hahn and Fischer, recorded these versions early in their careers – Hahn in her mid teens, Fischer at about 21. Hahn projects a spaciousness and majesty throughout, as though her violin were 9 feet long and her bow infinite in length. Within this broad conception, she manages to shape every phrase with compelling expression without ever detracting from the monumental edifice of the whole.

Fischer’s interpretation is soulful from the start. With gorgeous sound, she makes a heartfelt lamentation of the work. The moods she discovers evolve one after another, without exaggeration, without calling attention to her amazing technique. Whereas Hahn’s quadruple stops are sometimes percussive, Fischer’s melt into being.

If I am fortunate enough to know that my death is imminent, I hope to die with Fischer’s Chaconne playing. As I don’t expect to go anywhere after my demise, her Chaconne would be my glimpse of “heaven.”

Hank Z.

What ever happened with those people who read your ‘blog’ & promised to send you music for your to comment on it?

Where is Victor’s piece?