The recording of the Rozsa Concerto is available in several pairings with other concertos, so you should look around and find the one most suitable to your needs.
Since meanwhile two other recordings have come to my notice, I am obliged to say at the start that neither McDuffie nor Khitruk is as happily congenial to the work (especially in its virtuosic moments) as Heifetz, despite a far superior recording technology for both those albums. Heifetz was of course the dedicatee, since he commissioned the concerto. And there can be no doubt of his command as a violinist. Heifetz's brand of virtuosity seems tailor made here--a statement that could be turned around that the concerto is tailor made for him! He was probably attracted to its melodiousness and its (modestly) adventurous harmonic textures. As an Hungarian composer, Rozsa also find plenty of opportunity for exotic rhythms and excited turmoil, both for the fiddle and the orchestra. Indeed it is astonishing how little resonance this fine concerto has found among other violinists! I would like to hear Perlman playing it, but it may be too late now.
At any rate, I recommend it and this recording without reservation. Hendl at the helm of the Dallas Symphony provides a commensurate orchestral backing, and the sound, although it reflects its age, is decent in quality and sufficiently transparent for you to hear all the complex strands of the instrumental writing.
The Double Concerto is of also a classic by now, and once again McDuffie (with Harrell) enter in competition. They do relatively well, I think - but the work is by no means as demanding as the other. On the other hand, I think that any album with Piatigorsky participating is a must for serious collectors.
You will wonder by now when Korngold and Waxman come up for consideration. Let me say tht Heifetz being the star of this album, they are brilliantly played. One thing I will add, however, about the self-evident movie connection: When Korngold returned to serious composition, the Hollywood character of episodes in both the Symphony and the Violin Concerto stick out like a sore thumb. It makes those works sound incoherent, therefore ridiculous qua serious concert music. Not so with Rozsa. His concerted compositions do not betray their affiliation because the integration is so successful that the works hang together as authentic classical forms. Waxman's work is interesting in contrast to the better known Sarasate Fantasy, but ultimately trivial and derivative.
On these grounds I'm inclined to see the Rozsa work as the chief interest of this album. The rest is more for pleasure and curiosity. My sense about Rozsa is that sooner or later it will become a mainstream concerto, for there is a little more to it than just pleasure.