I have owned this recording since it first came out and I wore out two LP's. I am not Karajan's greatest fan but here he is in the repertoire he does best and he has three soloists who all thoroughly deserve the epithet "great". The tempi are spot on. The playing of Oistrakh and Rostropovich in the slow movement still takes my breath away. Throughout the three soloists empathise and play together perfectly and in the final movement with real playfulness. I have never tired of this recording in the near 40 years I have owned it. The CD coupling with the Brahms is a sensible one and it is well played. Oistrakh remains my favourite violinist not just for his richness of tone but for his breadth of repertoire. Rostropovich was, arguably, the ... Read More:
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What a wonderful collection - truly a definitive archive of one of the century's greatest artists. Oistrakh's combination of power and serenity, with that individual unmistakeable sound make this a must-have for anyone who enjoys listening to the violin. Even more so if you play - to hear just what the instrument is capable of. In particular, the accounts of the Beethoven and Brahms concertos are the finest I have ever heard. Recordings can be cold - you have to play a bit safe - but these recordings have all the magic of a live performance.
I had a number of these recordings on LP - if anything, the sound is better on these CDs and for the huge number of recordings - what a bargain.
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This is a magnificent performance of an incredible violin concerto - without a doubt, a must have. I like it so much that I have also brought another performance of the same piece by Oistrakh, this time with Otto Klemperer conducting.
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This is a magnificent performance of an incredible violin concerto - without a doubt, a must have. I like it so much that I have also brought another performance of the same piece by Oistrakh, this time with Otto Klemperer conducting.
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Oistrakh penetrates Shostakovich's first violin concerto in a way nobody else does, the sheer depth, the excitement, the desolation, and it's decoming a cliche with Oistrakh but THE DEMONIC INTENSITY, it could almost have been written for him, which of course it was. The only choice with Shostakovich's first is which of the many Oistrakh recordings do you go for. Well I know most people would say if you want authenticity you have to have Mravinsky and the Leningrad Philharmonic, but in a 20th century work, what is authenticity! I've listened to the 1957 Praga recording 'in Prague' which, as usual, is badly recorded, but also a little, well, and I know it's not a real word 'un-driven' by Mravinsky with the Czech Philharmonic; and I've still got the 1956 recording ... Read More:
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Everything here is of the highest level of excellence. Oistrakh was the complete violinist - technically impeccable, capable of great beauty of phrasing and tone, subtly colouring and shading the music, and with a fine sense of line and structure. It's all here in these classic performances from 1954 to 1962. My own preferences are for the Brahms and Tchaikovsky on the second CD, but the Bach, which has stood in the catalogue ever since it was released, I think, is excellent and the Beethoven likewise. The sound is fine and the performances are well supported by the various orchestras and conductors.
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Everything here is of the highest level of excellence. Oistrakh was the complete violinist - technically impeccable, capable of great beauty of phrasing and tone, subtly colouring and shading the music, and with a fine sense of line and structure. It's all here in these classic performances from 1954 to 1962. My own preferences are for the Brahms and Tchaikovsky on the second CD, but the Bach, which has stood in the catalogue ever since it was released, I think, is excellent and the Beethoven likewise. The sound is fine and the performances are well supported by the various orchestras and conductors.
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Everything here is of the highest level of excellence. Oistrakh was the complete violinist - technically impeccable, capable of great beauty of phrasing and tone, subtly colouring and shading the music, and with a fine sense of line and structure. It's all here in these classic performances from 1954 to 1962. My own preferences are for the Brahms and Tchaikovsky on the second CD, but the Bach, which has stood in the catalogue ever since it was released, I think, is excellent and the Beethoven likewise. The sound is fine and the performances are well supported by the various orchestras and conductors.
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Everything here is of the highest level of excellence. Oistrakh was the complete violinist - technically impeccable, capable of great beauty of phrasing and tone, subtly colouring and shading the music, and with a fine sense of line and structure. It's all here in these classic performances from 1954 to 1962. My own preferences are for the Brahms and Tchaikovsky on the second CD, but the Bach, which has stood in the catalogue ever since it was released, I think, is excellent and the Beethoven likewise. The sound is fine and the performances are well supported by the various orchestras and conductors.
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Everything here is of the highest level of excellence. Oistrakh was the complete violinist - technically impeccable, capable of great beauty of phrasing and tone, subtly colouring and shading the music, and with a fine sense of line and structure. It's all here in these classic performances from 1954 to 1962. My own preferences are for the Brahms and Tchaikovsky on the second CD, but the Bach, which has stood in the catalogue ever since it was released, I think, is excellent and the Beethoven likewise. The sound is fine and the performances are well supported by the various orchestras and conductors.
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