SHOSTAKOVICH: Violin Concerto No. 1 in A Minor, Op. 99; TCHAIKOVSKY: Violin Concerto in D Major, Op 35 – David Oistrakh, violin/ New York Philharmonic/ Dimitri Mitropoulos (Shostakovich)/ Philadelphia Orchestra/ Eugene Ormandy – Sony Classical

by | Jul 24, 2007 | Classical Reissue Reviews | 0 comments

SHOSTAKOVICH: Violin Concerto No. 1 in A Minor, Op. 99; TCHAIKOVSKY: Violin Concerto in D Major, Op 35 – David Oistrakh, violin/ New York Philharmonic/ Dimitri Mitropoulos (Shostakovich)/ Philadelphia Orchestra/ Eugene Ormandy

Sony Classical Great Performances 88697-00812-2,  71:37 ****:

Russian violinist David Oistrakh (1908-1974) made his US debut on the last weekend of 1955, playing a series of three concerts in New York through January 1; collectors know of the Mozart A Major Concerto and Shostakovich A Minor Concerto he performed with Dimitri Mitropoulos (1896-1960) of which live broadcast inscriptions exist. The commercial inscription of the Shostakovich Concerto (2 January 1956) was only the fourth performance of the work in history, the first two having been given in Russia under Mravinsky, and the score then having been rushed to Mitropoulos, who had been making a sensation with Tenth Symphony. The Violin Concerto has been available prior, coupled with the Cello Concerto No. 1 on Sony Masterworks Heritage MHK 63327.

After the extended gloomy Adagio that opens the work, the raucous and acerbic Scherzo brings a decidedly Stravinskian bite with woodwind duets into the proceedings. Mitropoulos is free to blaze forth, Prometheus Unbound, while Oistrakh strikes up a moto perpetuo Devil’s Dance. The crux of the A Minor Concerto is the haunting F Minor Andante in the form of a Passacaglia in which Oistrakh and Mitropoulos sing with mutual ardor. One might read into it a sigh of political and spiritual relief over having found refuge in the West. The cadenza with tympani pedal remains a poignant moment, as does Oistrakh’s plaintive intonation. The concluding Burlesca returns to the bravura world of the fiery, impish scherzo, the Shostakovich sarcasm obsessively blended with hints of Bartok.

The Tchaikovsky Concerto (12 December 1959) is a stereo recording with all the lush Philadelphia trimmings, Oistrakh in opulent form for the most idiosyncratic Russian violin concerto. The second subject receives the super-size treatment, the whipped cream smack in the middle of the borscht. Philadelphia woodwinds and brass usher forth their alternately militant and balletic figures with relish to spare. The Philadelphia cellos and basses are no slouches, either. A thoroughly rapt cadenza, and then flute and solo violin and orchestra meander persuasively back to the inflamed recapitulation.  The orchestral opening to the Canzonetta sounds like a scene from The Sleeping Beauty ballet. Strong playing and urgings of archaic night move us to the Allegro vivacissimo with blasting chords from the orchestra.  Wonderfully rich tone from Oistrakh; even his pizzicati glow. The edition is cut, but the tempi are so slow that the movement plays out as if it were a conceived as a display piece for Oistrakh on Columbia Records. The last repetition of the rondo theme is pure bravura, the cork out of the genie’s bottle.

— Gary Lemco
 

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