ABSTRACT
The Heifetz arrangement of the Prelude for violin and piano reveals much about the violinist's interpretative approach to the piece. To provide context to this exploration of the arrangement, reference are made to two other Prelude arrangements, those by Schumann and Kreisler. Fabian and Ornoy discovered that Heifetz's unwavering interpretative approach, as seen here in relation to the Prelude, also applied to other movements from the solo works. The manner in which Heifetz in his score emphasises structurally important changes suggests that he was inherently aware of the underlying structure of the piece. Heifetz's consistency in performance and on record has been identified throughout his repertoire. Fingerings in Heifetz's Prelude edition suggest or imply the use of portamento. Other elements of Heifetz's way of playing the Prelude that fit this characterisation include the dramatic dynamic effects and the flamboyant ascent to the stopped final note with vibrato.
