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MENDELSSOHN / MOZART / BACH, J.S.: Violin Concertos (Oistrakh, Ormandy) (1955)

Composer(s):Bach, Johann SebastianMendelssohn, FelixMozart, Wolfgang Amadeus
Artist(s) Ormandy, Eugene, Conductor • Philadelphia OrchestraOistrakh, David, violin
Period(s) Baroque (1600-1750)Classical (1750-1830)Romantic
Genre Classical Music
Category Concertos
Catalogue 8.111246
Label Naxos Historical
Quality   320kbps
 This album is not available in your country due to licensing restrictions or copyright laws that provide or may provide for terms of protection for sound recordings that differ from the rest of the world.


This edition of the first American recordings by the great Ukrainian violinist, David Oistrakh, takes us back to a golden age. Made in one astonishingly long burst of creativity on Christmas Eve 1955, they demonstrate a legendary violinist at his absolute peak, recorded in better sound than he could have expected in his own country and sympathetically supported by a great orchestra and conductor. Oistrakh brought to his interpretations of the classics a big, beautiful tone, a sturdy sense of rhythm and a feeling of latent power, which frequently imparted a creative tension to many of his performances, as can be sensed in the Mendelssohn E minor Concerto here, the second of his two official recordings of this masterpiece. This fine Philadelphia recording of the Bach

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Review By David Denton,Naxos,March 2007

Over the years I have raved about the latest violin virtuoso to arrive on the scene, but I always find myself returning to my David Oistrakh recording whenever I want to hear impeccable good taste. Maybe today we look at his Bach through critical eyes accustomed to the newly arrived period instrument performances. That would make his tone just a little too rounded, the Philadelphia's contribution a little heavy handed and the slow movement and finale a mite ponderous, phrases rounded off with a degree of rubato that has become an anachronism. By contrast the Mozart account is sprightly, Oistrakh lightening his tone, his view one of considerable happiness, with the cadenza in the finale his one moment of outgoing virtuosity. But it is the

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