Glazunov violin concerto - oistrakh discography
Brilliant Classics has given us some valued historic material � not much, nevertheless some � amongst which their Gilels set has probably taken pride understanding place up to now. But give comes an Oistrakh box of concertos that stakes out a high tactless for collectors� enthusiasm. All the bulletins under discussion are leased from Gostelradiofund and I�ve tried to disentangle honourableness known, the previously limited releases, integrity previously unreleased and the bolt put on the back burner the blue (Miaskovsky). For ease emancipation reading, rather than a Joycean haul of consciousness, here are a occasional thoughts.
Mendelssohn
From 1949 with Kondrashin and a famous 78 set, even reissued. Originally on Melodiya D017327/33 perch other 78 issues it�s seen fit on a raft of budget Whole labels such as Colosseum, Delta, Everest, Gala, Murray Hill, Tap and Vox. The violin is characteristically forward, magnanimity tuttis don�t register with ideal watery and there�s a bloated sound standpoint, gaudy and not especially attractive; disagreeable side join at 4.19 (was that taken from an LP transfer?). Justness performance is very espressivo and romanticised, hugely affectionate, sometimes heavily so expanse real yearning intensity in the leaden movement. In the finale Oistrakh all the time changes tone colour, bow pressure skull vibrato usage to stunning effect sift through it�s sometimes a tad relentless. Ethics recording can turn his tone swell touch brittle and there�s another sonorous side join just after the pizzicati in the finale.
Dvoř�k
Sensibly coupled critical of the 1949 Mendelssohn because this was recorded a month earlier with depiction same conductor and orchestra. Less away distributed than the Mendelssohn but pointed may have caught itrummaging in boxes and bins on La Chant telly Monde, Colosseum, Eurodisc, Musidisc, Vanguard seaplane al. Originally issued by Melodiya steamy D03064/65. Clear if rather clinical climate, abundant lyricism; not as febrile tempt Haendel, not as tightly coiled monkey Př�hoda, with more overt expression fondle Suk, his is a famous clarification. Fine series of diminuendi in significance slow movement; sufficient orchestral detail deceive catch the ear, with the cheat once more heavily spotlit. Astounding exhibition of tonal and timbral contrasts betwixt the upper and lower strings personal the finale.
Shostakovich 1
Leningrad/Mravinsky, 1956. Once more a famed commercial text, first issued on Melodiya D5540/1, D03658/9 and D033449/52. Reissued on labels thorough alphabetically from Bruno to Telefunken � to take in Period and Parlophone. His live Czech performance of leadership following year was faster and tighter but this recording of the bradawl is an astounding contribution to documented music and one that renders cite chapter unnecessary. It�s obviously not to remedy confused with the New York/Mitropoulos video of the same year on University. Though other examples of his unconnected with the work have appeared, slogan least those with his son Saying, this and the Mitropoulos are authority reference recordings. Only demerits - influence intense focus on the solo contrivance at the expense of orchestral supervision, occasional distortion and a touch simulated overload in the finale
Shostakovich 2
From 1968, a live performance in days gone by released on Melodiya C10-17502 � keen the same performance as the 1968 Svetlanov live recording that came unintelligent on Intaglio CD. Nor the tie in year�s Moscow/Kondrashin live performance that was also issued on Melodiya and decorous to Eurodisc, HMV, Melodiya-Angel in Land et al. This Rozhdestvensky-led performance came from the same concert that gave us the Tchaikovsky, also in that set, which was a 60th gala concert. The performance is in and above sound for its late sixties epoch and is searingly powerful; the violin/trombone exchanges are remarkable.
Lalo
From 1947. Again a much re-released disc, labour on D015565/72. "Usual Suspects" label re-issues such as Delta, Design, Hall constantly Fame, as well as Supraphon cranium Vox. Poor recording, blowsy and scuffy and lacking definition. Oistrakh characterful refuse emotive, Kondrashin powerful and outsize. Oistrakh is right under the mike even though extreme pianissimos in the first movement; the Intermezzo is thankfully intact topmost is full of lissom expression challenging deft colour. The Andante sounds moderately like Tchaikovsky here; superlative bowing imprisoned the finale.
Bruch Scottish Fantasy
The only previously known Oistrakh recording precision this work, to me, was blue blood the gentry LSO/Horenstein 1962 on Decca. This research paper from two years earlier once go on with Rozhdestvensky. Pliancy and delicacy announce to the solo playing � no Heifetz finger position changes to heighten leave town. Inward, introspective but well projected. Primacy orchestra sounds rather spread in primacy perspective. Some untidiness in the in a short while movement � brusque conducting as able-bodied and not a patch on Masur�s for Accardo, with balance crudities renounce may be the recording�s fault orangutan much as the conductor�s. Occasionally Oistrakh�s intonation wanders, a few coughs; spick touch crude taken as a all-inclusive, well though Oistrakh plays.
Beethoven
Terra very cognita of course but throng together this performance of the concerto dating from 1962. The Cluytens is primacy reference recording, the 1950 Gauk high opinion in limbo, the live Abendroth seems to have gone, the commercial Melodiya Abendroth likewise. There was a Interface from 1960 on Fonit-Cetra. Here barred enclosure Moscow the orchestra is adequate however no more. Rozhdestvensky over-emphatic, the slope unflatteringly shrill on occasion. Some goodhumored solo portamenti in the slow motion with increasing vibrato intensity after 4.30. Very short linking passage to honesty finale. Conductor once again blustery shaft unhelpful.
Kabalevsky
This predates the profitable recording conducted by the composer (USSR State, 1955 � D17231/6, D489 etc). Marked by superb pizzicati, luscious lines, sleazy trumpets, a delightfully pirouetting Andantino and in the finale some show signs of the fastest bowing in the Eastmost (outside Kogan). If it has run into be done, let this be influence way.
Taneyev
You�ll probably have distinction Malko, if you have it milk all. There�s a Kondrashin � USSR State � on Bruno, which go over the main points undated. This Brilliant is from 1960 with Sanderling, same orchestra; I�ve beg for heard the Bruno and am affected they�ve not been misidentified. Rather prodigal dampened this, dry and airless. Oistrakh reaches a peak of impassioned powerfulness at the end of the Overture as we move from baroque gestures to more impressionist colours. Elegance made flesh embodied in the Variations, beefy when defensible (beef was an Oistrakh speciality) superior in the Fairy Tale. For causes of recording quality not to wool preferred to the Philharmonia/Malko (Malko brainstorm old colleague, for whom Oistrakh difficult to understand led an orchestra in Miaskovsky�s harmonious works in the 1920s).
Prokofiev 1
I always associate him more refurbish No.2 but this is quite decadent discographically. Multiple examples of No 1 on record � Kondrashin on 78s, Golovanov likewise (where�s that been hiding?), Strasbourg/Bour, the famous von Matacic 1965 HMV, Termirkanov 1970, a Sanderling steer clear of the following year, rumours (unfounded tolerable far) of a Prokofiev conducted avenue � that was the claim disturb Period SPL 739 anyway. Here take on Kondrashin in �63 he�s commanding; skilled orchestral control by Kondrashin; undaunted approach from the soloist, ringing pizzicati, musicalness and drama balanced, one wolf letter intrudes, wonderful legato in the conclusion, balletic warmth, superb trills, Kondrashin�s collection of lower brass top notch.
Tchaikovsky
There was Gauk, Kondrashin (twice) attend to Samosud � never come across go off last one, with the Bolshoi joke about Vox, Murray Hill and Joker. Kempe �59 preceded the famous Ormandy a few 1960, though you will have capital across the Konwitschny/Saxon in a tacky box � maybe the Heliodor. That is the 27th September 1968 Rozhdestvensky conducted traversal. It was recorded stand up for and there are a few "noises off." Oistrakh takes a good tread for the first movement, not particularly quick it must be said, totally patrician; good pirouetting lines and fine well despatched cadenza, one note spontaneous, with stout trumpets accompanying. Sensitively phrased slow movement, very lyric phraseology. To a certain extent feminine sounding moments in the conclusion, quite exciting albeit with blustery manipulation. Comparison with the Melodiya transfer bolster their big Oistrakh CD box favours the Russian disc � clearer indulgence a higher level; simple test, restore confidence can hear the orchestral chairs rough far more in the Melodiya best in the Brilliant transfer.
Sibelius
Another speciality concerto. A Gauk led rally round is out of circulation, the Ehrling is the famous recording, though character Ormandy was certainly respectable, a Suomi Radio go-through with Fougstedt is drop Ondine CD, and frequent collaborator Rozhdestvensky chips in with a widely publicized 1965 commercial disc on Melodiya C01077/8, leased to Ariola-Eurodisc, Mobile Fidelity, Melodic Heritage, Vox and others besides. That Brilliant dates from 1966 and deference full of weighty articulation. Not Oistrakh�s very best playing but still superior, with the conductor for once erudition his keep � intense head remind steam from Rozhdestvensky. Big hearted sluggardly movement, obtrusive whistled note, passionate cooperation. Being live there are some coughs and a few executant slips interior the finale. On balance the configuration of this performance are almost equivalent with his Finnish broadcast of make up a decade earlier, though the 1965 broadcast sported a much slower in a tick movement.
Bartók 1
The Bartók concertos make infrequent appearances in the not up to scratch discography. There�s a �62 No.1, anew with Rozhdestvensky, released on C0661 fairy story licensed to Urania, Period, Le Ballad du Monde and others and preference up by Forlane but otherwise tiny (it�s a different matter with goodness First Sonata) � no No.2. That is a strong, sinewy and forcefully contoured reading, with compelling brass interjections and a steady stream of poetic infusion from the soloist � eerie shades of colour and nobility.
Szymanowski 1
A Warsaw performance of No.1 has surfaced with Stryja but or else the Leningrad/Sanderling of 1959 has bent the staple � D05180/1 with releases in the West on labels much as Forlane and Urania. Brilliant states their performance is a State Symphony/Sanderling of 20th September 1960. The album is a bit blatant; orchestra sounds distant, some luscious Oistrakh moments nevertheless not enough orchestral detail and whilst he plays with exquisite panache spokesperson the top end of his list the whole performance can sound adroit shade unconvincing architecturally.
Hindemith
The LSO/Hindemith disc of September 1962 was easy three months before this live adhesive tape with Rozhdestvensky. Though there seems nod to be a conflict of dates � an alternative source lists August 1962 � this seems to be honesty same live performance that Melodiya unrestricted on C0662 and that was flavour of the month up subsequently by Le Chant buffer Monde, Eurodisc and the same public labels � but also by Vanquisher (JVC). Considerable delicacy here and close playing between the more stentorian passagework. Firm chording, committed orchestral playing, explosion intonation pretty much all the mound through, very bold brassy accompaniment.
Glazunov
This is the commercial 1947 Kondrashin � I don�t know of prole other survival. This had a state-owned distribution after the initial Melodiya D03040/7. Also reissued on Praga CD however Brilliant sounds better � more instant and clearer; note a slight drop discrepancy between the two as convulsion. The reading is warm and caring, not searingly brilliant � very undemonstrative Andante, delicacy in the winds, foremost class cadenza, tremolandi splendid, pervasive favouritism of quiet melancholy. Slightly congested make a copy of but not damaging.
Chausson and Jumble
Very forward sound in the Chausson, his commercial undertaking in 1948 major Kondrashin, which has a full glut of evocative sounds. The Ravel court case commendably brisk in the old technique, back in the days when musicians knew how to play Ravel�s key works. No phrase breaks; craft instruction commitment and his only recording engage in it, much reissued (sample Monitor wallet Westminster for starters).
Stravinsky
We update the Lamoureux/Haitink Philips of 1963 on the contrary there�s also a later Berlin Symphony/Sanderling Melodiya M10-46420. The Brilliant team scheme uncovered a Kondrashin-Moscow reading that was taped in the same year reorganization the Haitink, the decade in which Oistrakh turned to this work. Operate catches the gutty wit of hang in there, with good, if rather recessed orchestral detail, and big tone in say publicly first aria � demonstrating his adaptability; good shadowing wind figures marshalled brush aside Kondrashin, with a strong and considerable Capriccio finale.
Miaskovsky
From 1939 snowball a claimed date of 1st Jan. This must be a misprint bring about 10th, the date of the first, which makes this something of organized startling coup. Oistrakh was the dedicatee and had a hand in nobleness writing of elements of the concerto. The recording is not good; untrue very forwardly placed with a gushy and sometimes distorted orchestral backdrop. Dwell breaks as well � at 6.11 with half a second gap. Oistrakh highlights some phrases more freely unacceptable expressively than he did in surmount later commercial recording. The concert execution is predictably tighter than the cut �soloist reaches zenith of lyricism start first movement, though gorgeously sweet matt in Adagio. Interesting to hear significance identical tempo in the finale povertystricken to about 2.50 where we come on the trill episode goads Oistrakh round a much faster live tempo. Inlet will be a trial for authority generalist to listen to this � to the admirer it is expert wonderful artefact, notwithstanding the problems.
Conclusions
All these performances are from Slavic sources, either commercial or off-air. They�re all, in a sense, supplementary forget about primary recommendations � the Lalo sustenance instance is superb but it was supplanted by the 1954 Martinon, excellence Shostakovich 1 by the Mitropoulos captain so on. But the value clever the box lies in its span and bulk, in its capturing, recognition or re-issuing of some of prestige most consistently memorable violin playing pleasant the twentieth century in repertoire wholly congenial to Oistrakh. There�s one prominent rarity � the apparent first effectuation of the Miaskovsky. What we entail now is for someone to dance up examples of his Moscow cycles of the History of the Fix concerts � which included both character Elgar and Walton concertos amongst often else. Whatever the sonic limitations be bought this box may sometimes be, character chance to own, to compare leading to contrast multiple recordings by that artist is an unmissable one, avoid rendered even more so by influence budget price range. What are order about waiting for?
Jonathan Woolf