Norman Schwartz wrote:

>OTOH the Heifetz sounds as it is being played by a very accurate and
>proficient robot.   ...

In light of Norman Schwartz's observations, it is interesting to compare
two recordings of the Brahms Violin Concerto:

   Brahms: Violin Concerto in D Major, Op. 77
   Khachaturian: Violin Concerto (1940)
      Henryk Szeryng (violin), Antal Dorati, London Symphony Orchestra (1964)
           Mercury  434 318-2
and
   Brahms: Violin Concerto in D Major, Op. 77
   Brahms: Alto Rhapsody, Op. 53*
   Brahms: Variations on a Theme by Haydn, Op. 56aİ
      Henryk Szeryng (violin), Pierre Monteux, London Symphony Orchestra (1958)
           *Shirley Verrett, Men of the Temple University Chorus,
           *İThe Philadelphia Orchestra, Eugene Ormandy
           RCA  6716-2-RG

which are made by the same soloist and orchestra, but different conductors
and recording companies.

I find the Dorati recording on Mercury superior in both sound and
interpretation.  The Monteux recording on RCA is notable in my mind for
strange phrasings.  I am an avid Monteux enthusiast and collector, so the
quirkiness of this performance came as a real surprise (and disapointment).
Perhaps some pressure from the RCA producer was responsible? Perhaps that
explains the second recording six years later?

Donald L. Gunter, Ph.D.
Dept. of Medical Physics and Diagnostic Radiology
Rush-Pres. St. Luke's Medical Center