Heifetz's unequalled combination of silky legato, classically contained phrasing and technical dexterity found its perfect match in the Concertos of Max Bruch. The G minor recording was the first of two that he made with Sargent and it is, if anything, even finer in its lyric generosity than the 1962 remake. Bruch’s Second Concerto and Spohr’s Eighth were both recorded (as were the Beethoven Romances) in Hollywood, and are the violinist’s only recordings of either work. He exhibits superb control of the former’s long-breathed narrative, and of the latter’s operatic intensity of expression.