Word: oistrakh
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...recent cultural exchange that gave us concerts by several Russian musicians has also produced a number of outstanding records. In true communist fashion, violinist David Oistrakh has avoided the usual monopolism and recorded for almost every label. Some of his records have been reviewed here; by this time it is possible to look back on and evaluate his entire output. His recent Angel recording of Prokofief's First Violin Concerto stands out as one of the best examples of Oistrakh's technical virtuosity, rich tone, and great musicianship. An early Prokofief work, the concerto finds the composer in a lyrical...
Once, so the story goes, a Soviet commissar visited Violinist David Oistrakh in Odessa, looked into a cradle and sternly ordered, "Make that boy as good a violinist as his father." For a while it looked as if nothing like that could ever happen. David Oistrakh was already on his way to being one of the world's finest fiddlers, and young Igor showed signs of detesting violin sounds from the time he started making them at the age of six. But they kept his bow to the catgut. At 18 he entered the Moscow conservatory, became a master...
...played César Franck's Sonata in A with half-closed eyes focused on his finger board, his lips compressed, mouth working. It was an impressive, boldly colored performance. The next work, Bach's knuckle-busting G Minor Sonata, is a test for any violinist. Violinist Oistrakh seemed to anticipate it with both distaste and fear and played as if to get it over with. It was, however, the evening's only disappointment. After works by Prokofiev, Szymanowski and Saint-Saëns, the audience dissolved in cheers...
First Violinist Helmut Heller of the Berlin Philharmonic Orchestra was one of the many professionals in the crowd. Said he: "Igor Oistrakh is a virtuoso performer reminiscent of Heifetz. I have heard the boy several times, and it is clear to me that he has not reached his father's stage of development. The son plays largely from the subconscious; the father has succeeded in ennobling his art by playing consciously without sacrificing those qualities of the subconscious that enrich his playing...
Backstage, Igor Oistrakh anxiously asked Soviet friends, "How did the sound come across?" When he was assured that the acoustics were adequate, he smiled in relief, packed up his 1751 Guadagnini fiddle and left for Moscow, and some more lessons from father...