Album out now: María Dueñas, Gustavo Dudamel, Simón Bolívar Symphony Orchestra of Venezuela "Homage to Heifetz"

Album out now: María Dueñas, Gustavo Dudamel, Simón Bolívar Symphony Orchestra of Venezuela "Homage to Heifetz"

María Dueñas releases her new album Homage to Heifetz on 28 August 2026. It pays tribute to Jascha Heifetz, whose recordings have shaped the Spanish violinist since childhood, and pairs – as Heifetz once did – Korngold’s Violin Concerto with Lalo’s Symphonie espagnole. The programme was recorded at London’s Abbey Road Studios with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela (the orchestra of Venezuela’s internationally renowned El Sistema music education programme, of which Dudamel is Music & Artistic Director).

On the album, Dueñas also revisits a tradition from the Golden Age of the violin: contrasting major violin concertos with arrangements of short, popular pieces. Alongside Debussy’s La fille aux cheveux de lin in an orchestral version, she recorded miniatures by Debussy and Ponce with pianist Itamar Golan. For Estrellita, La chevelure and La plus que lente, Dueñas played the 1731 “Heifetz, Piel” Stradivarius, once owned by Jascha Heifetz.

The Allegro non troppo from Lalo’s Symphonie espagnole is already available to watch HERE.

“Having a role model is so important,” says Dueñas, “someone who is a constant source of inspiration.” For her, that role model is the Lithuanian-born Jascha Heifetz (1901–87), especially through his interpretations of Lalo and Korngold from the early 1950s. Heifetz was renowned for his virtuosity, his sound and the clarity of his interpretation. He is considered one of the greatest violinists of the 20th century.

Gustavo Dudamel – himself an excellent violinist – is also a source of inspiration for María: “Beyond being a fantastic musician, he’s a wonderful human being, someone whose feet are on the ground. This is what gives his music-making such soul.” They have appeared together live, among other projects, in the world premiere and further performances of Gabriela Ortiz’s Altar de cuerda (“Dueñas was wholly captivating” – The New York Times).

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