David Oistrakh & Lev Oborin  -  Beethoven   (3-Doremi 7807/09)
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David Oistrakh & Lev Oborin  -  Beethoven   (3-Doremi 7807/09)
S0063. DAVID OISTRAKH & LEV OBORIN: The Ten Sonatas for Violin and Piano (Beethoven). (Canada) 3-Doremi 7807/09, Live Performances, 18 May, 15, 16 & 19 June, 1962, Salle Pleyel, Paris. Final Copy! - 723724609020


"The complete set of Beethoven violin sonatas presented here is a set of LIVE PERFORMANCES given by David Oistrakh and Lev Oborin in Paris in 1962. It is not the studio recording of the Beethoven sonatas they made in the same year and which was released by Philips and other labels. This live set is marked by its superior, highly intense music making and a magic appeal that makes it clearly preferable to the one made in the studio. Here is David Oistrakh with the great pianist Lev Oborin who was the 1st prize winner of the first Chopin competition in Warsaw (1927), and Aram Khachaturian dedicated to him his piano concerto of 1936. Oborin began his close artistic collaboration with Oistrakh in 1935, and their long association in concerts and recordings, as duo partners and in the David Oistrakh Trio, lasted throughout their lives."

- Ned Ludd

“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 Bartók. In 1937 the Soviet government sent him to Brussels to compete in the International Ysa˙e 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