During his hiatis from MGM in 1953, Rozsa transported his family to Rapallo, Italy, where he rented a sumptuous villa in which he would write his violin concerto. The inspiring magnificence of his surroundings gave voice to Rozsa’s lyrical muse. He had intended to write only the first movement of the concerto, as Heifetz had requested, but completed the entire work in just six weeks. Upon the family’s return to America, Rozsa delivered the manuscript to Emmanuel Bay who offered it to Heifetz for his approval. Heifetz contacted Rozsa, telling him that he did, indeed, like the completed work, suggesting that they get together again in four weeks, after the violinist had returned from his current concert tour. Six months elapsed without a word from Heifetz, and Rozsa assumed that he had lost interest in their collaboration. At the suggestion of fellow artists, Rozsa was encouraged to offer his work to other violinists. Before anyone else had an opportunity to accept or decline the invitation, however, Heifetz telephoned. Rozsa, perhaps inappropriately, assumed that the caller was not the great solist at all but, rather, his friend and fellow composer Bronislau Kaper playing a practical joke on him. Consequently, when Heifetz contacted him by telephone, Rozsa replied “If you’re Heifetz, I’m Mozart.” After recovering from what the composer considered one of the most embarrassing moments of his career, discussions proceeded. Heifetz wished to make some minor changes and edits, and Rozsa happily agreed, working together toward a finalized version of the concerto. Heifetz telephoned Rozsa, excitedly, late in 1955, telling him that he was at last going to perform the concerto at a premiere performance in Dallas, Texas. The performance occurred on January 15 th, 1956, with Walter Hendl conducting The Dallas Symphony Orchestra. At the conclusion of the performance, Heifetz called Rozsa to the stage where both were greeted by a standing ovation. The reviews were mostly exemplary, and Rozsa was delighted with the response from both critics and audience participants alike. Later that year, Heifetz recorded the concerto, reprising his earlier performance with Walter Hendl and The Dallas Symphony Orchestra. For the recording, as was his practice, Heifetz performed each movement three times, consecutively, without interruption. He, himself, then decided which of the three performances would permanently adorn the final recording, and album release. The Heifetz recording has remained the standard by which all other recordings and performances have been judged. Rozsa, himself, conducted the concerto ten or fifteen times in live concert over the course of years, always adhering to the standard and tempo established by Heifetz.