Oistrakh played this better than anybody. I received the LP in 1959 via the Columbia Record Club with Ormandy conducting. It wasn't the LP I ordered. But when I heard it, I kept it. His performance is legendary. The second movement with the double stops is amazing.
This is about the most beautiful violin playing I've ever heard. And I'm an avid violin fan. I'm rendered speechless by its emotional, musical and technical perfection. My favorite violinist ever.
I have purchased other recordings of this concerto and seen live performances but this is the absolute tops to my taste. This man had control of the romance and the bombast. What a gorgeous recording and are we lucky to have it always.
I stopped everything and I just listened to this whole performance. May your soul rest in peace David Oistrakh and Thank you for your God given talent to speak so eloquently to those who had/have the ear to listen.
After all these different recordings by different violinists, I was pushed back to stay with the performance by Heifetz since I believe he is the violinist this concerto written for, and no others can compete so far.
What a Master! please stop arguing about Ferras and Oistrakh, enjoy their talent and soul, and praise God, Fate or Mankind for creating such geniuses. Then, enjoy also being able to appreciate this beautifulness while others are gaga-ing.
Oistrakh is totally moved by the music here including, in a perfectly non-histrionic way, physically. A great example of this is his body movement and foot-work at 3:33 in preparation for the entry at 3:38. He really was at his prime in 1966. A few years before, I heard him play the Beethoven and Tchaikowsky concertos with same marvellous physicality and colossal authority as here. His encores were the Mozart Rondo and, finally, the slow movement from Bach's minor Concerto. I was in tears.
As good as Oistrakh is, Ferras's rendition is way closer to God, has the pathos required for such divine music. I would go as far as saying Ferras adds more to what even Sibelius himself intended.
Oistrakh is every bit as moving; The difference is that he is aggressive, and the tone and vibrato he pulls out of these simple sections is staggering.
This was a very great musician. Sincere, technically polished and so expressively musical. What a pity these old recordings were not better balanced. Often the orchestra cannot be heard, making it hard to hear the harmony behind the soloist.
Only for this second movement and Sibelius could've been called the greatest composer in the 20th century!! But he created so much more music that contributed to this position!
I'm here to learn how to better use the bow, I'm a professional cellist.....Oistrakh was the GIANT of the Violin.....(And now at the end of this I'm in tears,,,)
yeah, it's just chords (double-stops) but instead of changing from note to note together as is usual, the top note changes first, then the bottom note, etc. The way it's written is just two melodic lines that happen to be played together. Hope that makes sense, lol.
He moves in the same way with great effect throughout the outer movements too. For example, in the 3rd movement where in his preparation, beginning 6:40, for his entry at 6:51 for the conclusion. Vengerov, Bell and Hahn should stop and learn from Oistrakh here: the first two about how not to contort histrionically and unmusically; the third about the need to be moved at least somewhat by the music before putting bow to string. Perhaps to sing it a little first, to unfreeze oneself a bit.
Funny thing is, maybe someone can play this good, but they wouldn't have the time to say so on youtube. Lol, that person would be practicing right now.
in this movement ..... favourite part is from 3.39 ...........I REALLY LOVE his tune all through and of cource phrasing is so SO BEAUTYFUL ..... ...........
Marie Opsahl Today I remembered how much I love this recording, in particular the part that you mention. It always makes me shiver. Oistrakh really transmitted his mastery and musicality in this recording. Masterpiece.
Oistrakh played this better than anybody. I received the LP in 1959 via the Columbia Record Club with Ormandy conducting. It wasn't the LP I ordered. But when I heard it, I kept it. His performance is legendary. The second movement with the double stops is amazing.
This is about the most beautiful violin playing I've ever heard. And I'm an avid violin fan. I'm rendered speechless by its emotional, musical and technical perfection. My favorite violinist ever.
David Oistracht is the greatest violinist of the 20th century.
I have purchased other recordings of this concerto and seen live performances but this is the absolute tops to my taste. This man had control of the romance and the bombast. What a gorgeous recording and are we lucky to have it always.
Oïstrakh is my favourite bear, so powerful and exquisite. He knew the real master is the music. So far from the present time show business...
I stopped everything and I just listened to this whole performance. May your soul rest in peace David Oistrakh and Thank you for your God given talent to speak so eloquently to those who had/have the ear to listen.
David Oistrakh's Sibelius is authentic, without artificial flavor, and that is the way it should be. After all, he reaches far greater depth.
Simply Beautiful.
After all these different recordings by different violinists, I was pushed back to stay with the performance by Heifetz since I believe he is the violinist this concerto written for, and no others can compete so far.
wow, gorgeous
What a Master!
please stop arguing about Ferras and Oistrakh, enjoy their talent and soul, and praise God, Fate or Mankind for creating such geniuses. Then, enjoy also being able to appreciate this beautifulness while others are gaga-ing.
Best comment I ever read mainly about the part were you said people should stop gagaing 😊
Oistrakh is totally moved by the music here including, in a perfectly non-histrionic way, physically. A great example of this is his body movement and foot-work at 3:33 in preparation for the entry at 3:38. He really was at his prime in 1966. A few years before, I heard him play the Beethoven and Tchaikowsky concertos with same marvellous physicality and colossal authority as here. His encores were the Mozart Rondo and, finally, the slow movement from Bach's minor Concerto. I was in tears.
As good as Oistrakh is, Ferras's rendition is way closer to God, has the pathos required for such divine music. I would go as far as saying Ferras adds more to what even Sibelius himself intended.
Oistrakh is every bit as moving; The difference is that he is aggressive, and the tone and vibrato he pulls out of these simple sections is staggering.
Ferras is number one this particular mvt.. Oistrakh fans you should check it out.
This was a very great musician. Sincere, technically polished and so expressively musical. What a pity these old recordings were not better balanced. Often the orchestra cannot be heard, making it hard to hear the harmony behind the soloist.
Only for this second movement and Sibelius could've been called the greatest composer in the 20th century!! But he created so much more music that contributed to this position!
I'm here to learn how to better use the bow, I'm a professional cellist.....Oistrakh was the GIANT of the Violin.....(And now at the end of this I'm in tears,,,)
waw
Oistrahk had =.-( amazing trills
Oistrakh is a king, Sibelius is the God.
it's not beautiful, it's perfect!
yeah, it's just chords (double-stops) but instead of changing from note to note together as is usual, the top note changes first, then the bottom note, etc. The way it's written is just two melodic lines that happen to be played together. Hope that makes sense, lol.
Damn, he bows so well you can hear slight overtones throughout the entire performance.
Ferras is king on this one.
can i try to upload it in better qualitty?
He moves in the same way with great effect throughout the outer movements too. For example, in the 3rd movement where in his preparation, beginning 6:40, for his entry at 6:51 for the conclusion.
Vengerov, Bell and Hahn should stop and learn from Oistrakh here: the first two about how not to contort histrionically and unmusically; the third about the need to be moved at least somewhat by the music before putting bow to string. Perhaps to sing it a little first, to unfreeze oneself a bit.
marsik stradivarius
as well as mine at 6:11
Beautiful. I have a snippet of the solo score of the beginning melody. I can email it to anyone who is interested. Just message me.
Dennis brain interview
is he playing a strad here??
personally i think this recording has NOTHING on the ferras interpretation
@mountainenergei1 Nothing in all caps? "Ferras has NOTHING of the intensity achieved here"
Funny thing is, maybe someone can play this good, but they wouldn't have the time to say so on youtube. Lol, that person would be practicing right now.
in this movement ..... favourite part is from 3.39 ...........I REALLY LOVE his tune all through and of cource phrasing is so SO BEAUTYFUL ..... ...........
Marie Opsahl Today I remembered how much I love this recording, in particular the part that you mention. It always makes me shiver. Oistrakh really transmitted his mastery and musicality in this recording. Masterpiece.
SIGH.....all i can say to a comment like this...... BIG SIGH.....
Ouch, he's pretty heavy on the vibrato at some parts. Good playing, but I don't like it.