intro and rondo cap chords instead of false harmonics?

May 30, 2005 at 04:34 AM · hi i'm learning this piece and have noticed on heifetz's and several other recordings, the performers don't play the false harmonics after the big scale and before the short orchestral tuttis in but instead play chords/double stops. does anyone know what these chords are for the 2 different times? thanks

Replies (3)

May 30, 2005 at 05:17 AM · I think the double stops and chords are far more convincing an answer to the dramatic scale than the relatively weak harmonics that Saint-Saens originally wrote. I play double stops of F# over D, then G# over D, then an a minor chord of A,E,C,A. After the second scale I play double stops of top line (E string): F,F#,G,G# with bottom line (A string) of D,D,D,D, and then the same a minor chord. Haven't checked the Heifetz record to see hear whether it's note for note the same, but it's the same general idea.

May 30, 2005 at 07:48 AM · Yes I absolutely agree with you Oliver on the chords being more convincing especially if you are going to play this with orchestra. I think Heifetz was the one that started this trend, now you hear lots of people playing it that way. From hearing the recordings a gazillion times I'm pretty sure those are the exact notes that Heifetz did. He also I think started the trend of doing the e-major scale an octave higher than notated the second time the passage repeats on the 1st line of the 3rd page.

May 30, 2005 at 10:57 PM · yeah he does do the scale an octave up the second time, and some other players have done that as well.

i think the harmonics can be convincing if they're played right, but it requires tight vibrato and a particular sharp accent in my mind to make it come out enough.

but i like the chords too, i dunno.

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