ABSTRACT
Drawing on a representative sample of eleven Prelude recordings from the set of 136, this chapter builds on the general findings from previous chapters in order to examine particular aspects of interpretative approach in greater detail. As listed in table 10.1, the representative recordings cover many aspects of the recorded performance tradition already identified, and the list includes all four of Heifetz’s recordings. To discover more about these representative recordings, it is first necessary to divide each one into smaller parts, similar to how Bowen divided up symphony recordings by their individual movements.1 The analytical overview of the Prelude in chapter 1 provides a useful template for dividing the Prelude into eight parts. As listed in table 10.2, each part is described as a percentage of the entire piece. These percentages make it possible to compare recordings of any duration to this theoretical point of reference.
