S0711. DAVID OISTRAKH, w. Mravinsky Cond. Leningrad Phil.: Violin Concerto #1 in a (Shostakovitch), Live Performance, 29 Oct., 1955 (Played by the dedicatee & creator; World Premiere); w. Franz Andre Cond. Belgian Radio & TV Phil.: Concert Suite in g, Op.28 (Taneyev), Live Performance, 1950. (Canada) St Laurent Studio YSL T-509. Transfers by Yves St Laurent.
“As many know, Shostakovich wrote two violin concerti. But his work list suggests two separate versions of the First, the Op.77 and the Op.99. The Violin Concerto #1 was originally completed in 1948, but withheld for seven years by the composer, owing to the oppressive climate for artists in the Soviet Union at the time. Any new work might have drawn the wrath of Stalin and his cronies in the arts. Shostakovich returned to the score in 1955 and then assigned the higher opus number to it. Actually, the only documented change he made came not as a result of second thoughts, but as a matter of consideration for the soloist. During rehearsals in 1955, the virtuoso violinist David Oistrakh requested of Shostakovich that the opening statement of the fourth movement's main theme be given to the orchestra, so that the soloist could take a rest following the long cadenza which leads right into the finale, and Shostakovich agreed to make the change."
- Robert Cummings, allmusic.com
“David Oistrakh is considered the premiere violinist of the mid-twentieth century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartok. In 1937 the Soviet government sent him to Brussels to compete in the International Ysaye Competition, where he took home first prize. With his victory in Brussels, Soviet composers began to take notice of their young compatriot, enabling Oistrakh to work closely with Miaskovsky and Khachaturian on their concerti in 1939 and 1940, respectively. In addition, his close friendship with Shostakovich led the composer to write two concerti for the instrument (the first of which Oistrakh played at his, and its, triumphant American premiere in 1955). During the 1940s Oistrakh's active performing schedule took him across the Soviet Union but his international career had to wait until the 1950s, when the political climate had cooled enough for Soviet artists to be welcomed in the capitals of the West.
Throughout his career David Oistrakh was known for his honest, warm personality; he developed close friendships with many of the leading musicians of the day. His violin technique was virtually flawless, though he never allowed purely physical matters to dominate his musical performances. He always demanded of himself (and his students) that musical proficiency, intelligence, and emotion be in balance, regardless of the particular style. Oistrakh felt that a violinist's essence was communicated through clever and subtle use of the bow, and not through overly expressive use of vibrato. To this end he developed a remarkably relaxed, flexible right arm technique, capable of producing the most delicate expressive nuances, but equally capable of generating great volume and projection."
- Blair Johnston, allmusic.com
“Each of these disks, from Canadian engineer Yves St Laurent� [feature] St Laurent's natural transfer � made without filtering, like all his dubbings � it is easy to listen to, despite the surface noise.�
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011