I can't have a violinist's perspective, because I can't play that thing! It doesn't help that I have meathooks and only a 3/4 scale to steal from the kids, but on a full size, I'd still suck.
Anyway, from the guitarists' POV, you have to work the opposite way, remove yourself from chords and really try to bring out the counterpoint in the middle voices.
Anyway, some of this is bound to be historical, when you have a violinist who defined a standard for half a century (or more), you have to react, whether in the same or the opposite direction. I'd venture everybody was trying to be Paganini before Heifetz, but that's just a wild guess.
It's funny when you take an instrument that is truly a machine like pipe organ, and make that expressive, and somehow a violin piece comes out the opposite.
Are you familiar with this story:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
Now, that is a pretty crap feed (says something about the importance of recording quality though!), but it's obviously a very different Bach than Heifetz. It's a personal, beautiful, sonorous, happy Bach. Oh, how I wish I had caught that myself, but I had already moved from DC, and that wasn't my station.
I wonder what reaction Heifetz would get? Given that DC is a strange town, talking and eye contact on the Metro is verboten, and busking is technically illegal . . . and this stop would mostly be government employees, who are good at following rules (especially the ones that govern their personal leave

) and making sure they are adhered to . . . Would a man whose playing is a law unto itself demand their attention? Sadly, we shall never know