David Oistrakh – Beethoven Violin Concerto in D Major conducted by André Cluyten ( 180g LP)

Label: The Electric Recording Company ERC 068

EMI Columbia – SAX2315 – 180 Gram Virgin Vinyl – AAA 100% Analogue

300 Numbered Limited Edition – Iconic ” Holy Grail ” Recordings

BEETHOVEN Violin Concerto in D, Op.61 David Oistrakh,  Orchestre National de France, André Cluytens Recorded in STEREO

Cut from the Original stereo master tapes through all valve Lyrec/Ortofon system.

David Oistrakh was one of the preeminent and most renowned Soviet violinists of the 20th century.

Born in Odessa, Ukraine (then the Russian Empire), on September 30, 1908 he began his studies of the Violin at the age of five. He was a pupil of eminent Soviet pedagogue Pyotr Stolyarsky and studied for a number of years at the Stolyarsky School before entering the Odessa Conservatory in 1923. It was during this time that he became close friends with another great Odessian born violinist, Nathan Milstein.

Oistrakh moved to Moscow in 1927 and commenced teaching at the Moscow Conservatory in 1934 where he was awarded the role of professor in 1939. During his long and distinguished career Oistrakh received many accolades including the Stalin Prize in 1943, People’s Artist of the USSR in 1953, and the Lenin Prize in 1960.

The Belgian-born French conductor André Cluytens was highly regarded for his interpretations of German/Austrian repertoire, having conducted the Beethoven symphony cycle with both the Berlin Philharmonic and Paris Conservatoire Orchestra, where we went on to become principle conductor. Other notable engagements include his famous performance of Wagner’s Tannhäuser at the Bayreuth Festival 1955.
He was the very first conductor of French nationality to conduct at the Bayreuth, again showing his natural and open minded attitude to the Germanic musical form.Beethoven’s masterpiece; the highly coveted violin concerto is firmly accepted as one of his greatest compositions.
It was in fact Beethoven’s only concerto written for the Violin. Composed in just a few weeks in the Winter of 1806 it was premiered immediately after completion on 23 December the same year with Austrian violinist Franz Clement. Interestingly the debut performance of the violin concerto was not well received, and it disappeared into obscurity for many years until revived by the now legendary Hungrian violinist, Joseph Joachim in 1844 with the London Philharmonic Society conducted by Felix Mendelssohn.
Oistrakh’s balance of technicality and romanticism in his delivery is played to perfection. Cluytens, being one of the greatest Beethoven interpreters conducts the perfect backdrop with the Orchestre National De La Radiodiffusion Française; solid and dignified rather than flashy, allowing space for Oistrakh violin to ascend majestically.

“Both these great players have left fine sets of cadenzas to the concerto. David Oistrakh plays those by Kreisler on the present record. The cadenzas by Beethoven to the concerto were designed for the adaptation as a piano concerto which he made in 1807, and dedicated to von Breuning’s wife. The first movement cadenza was scored for piano and obbligato drums – it has been transcribed in our own time for violin and drums by Max Rostal.” – from liner notes by William Mann

“David Oistrakh’s strong, aristocratic reading on HMV Concert Classics is a fine one. The EMI recording is undoubtedly superior, with a spacious acoustic and warm, resonant orchestral tone. The reading is characteristically assured, the soloists’s phrasing and sense of line impeccable.” — Penguin Record Guide.

The wonder of Oistrakh’s playing is his huge, golden tone. The notes truly pour off his violin like honey. More importantly he devoted his abundant technical skills to musical expression rather than to mere showmanship. This concerto is, of course, conceived to showcase the violinist and Oistrakh certainly brings off that aspect of the piece. However, he also turns in a committed, passionate performance of great expression. There is wonderful phrasing and intonation throughout. – EnjoytheMusic Review

Recording first published 1959