A whole disc of
Heifetz transcriptions? A whole disc of
Heifetz encores would be more accurate. With every work either a breathless display of rampant virtuosity or of shameless display of rank sentimentality or both at the same time, this is disc so consistently amazing that it's ultimately exhausting. One or two or maybe even three tracks are astounding; more than that may be too much. It's not at all the performers' fault. Young Korean violinist
Su Yeon Lee clearly has the technique to play anything that
Heifetz could play, from détaché sixty-fourth note runs to spiccato triple-stops to pianissississimo glissandos double-stops, and pianist
Michael Chertock keeps pace with her every measure of the way. It's that the music is so quintessentially virtuosic that the sheer of intensity of the program can be numbing if heard all at once. Try
Lee's supersonic tempo in Rimsky-Korsakov's Flight of the Bumble Bee or her sensual textures in
Debussy's Prélude à l'après-midi d'un faune or her exquisite vibrato in Foster's "Jeanie with the Light Brown Hair." Or try her insouciant tone in
Prokofiev's March from The Love for the Three Oranges or her cool soto voce in Gluck's Dance of the Blessed Spirits or her hushed intimacy in Deep River or her unbridled passion in Dinicu's Hora Staccato. But unless you're prepared, don't try them all: it could wear you out. Although it is abundantly clear
Lee can do anything
Heifetz could do technically, it will be necessary to hear her in longer works before determining if she can do anything
Heifetz could do interpretatively. Still, as an impressive introduction to an outstanding young violinist, this disc certainly serves a purpose. Naxos' sound is clean and clear, but not particularly present.