Word: oistrakh
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Dates: during 1960-1969
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SYMPHONY NO. 4, BRUNO WALTER AND THE NEW YORK PHILHARMONIC (Odyssey); RAFAEL KUBELIK AND THE BAVARIAN RADIO SYMPHONY (Deutsche Grammophon); DAVID OISTRAKH AND THE MOSCOW PHILHARMONIC (Angel/Melodiya). This seraphic, fairy-tale score is the best introduction to Mahler. Bruno Walter's 23-year-old classic recording is rechanneled for stereo, with less bass than the original mono, but more polish in the middles and highs. Those who want a modern recording will like Kubelik's lithe and luminous version. The interpretation by Violinist-turned-Conductor Oistrakh is, unfortunately, unsympathetic and at times eccentric...
...most recent major work of Russia's foremost composer, Dmitry Shostakovich, is the Violin Concerto No. 2 (1967). Soviet Virtuoso David Oistrakh has already performed it in a few cities in the U.S. and Europe, but most Westerners have not heard...
...clear as ever-embarrassingly so at times-and some of his melodic writing in the first movement is downright dull. But the elegiac sweep of the middle adagio movement and the jauntiness of the finale compensate admirably for these shortcomings. The concerto is not quite a masterpiece, but Oistrakh and the Moscow Philharmonic under Conductor Kiril Kondrashin perform it as though it were...
...change, deserved the title of special. CBS led the parade with S. Hurok Presents-Part II, and the indefatigable impresario produced a musical program of a quality that television has not achieved in years. Pianist Artur Rubinstein performed Beethoven's Concerto in G Major, Violinist David Oistrakh played Bach's Concerto in A Minor, and the Bolshoi Ballet danced a segment of Act II of Giselle. Throughout the 90-minute show, both music and ballet were presented on their own terms-without the usual TV camera tricks and, more important, without commercial interruption. In the 60-second intermissions...
...musical segments, CBS Director William Graham focused almost exclusively on Oistrakh and Rubinstein, dollying and zooming around them with gentle art, highlighting the dexterity of their finger work and the rapt expressions of two of the craggiest and most variable countenances in all the performing arts. In the Bolshoi segment, he gave the home viewer the same kind of steady, pictorial flow that is available from a good theater seat...