A special record by its nature. Andantino creates a wary, mystical mood — a surreal atmosphere that keeps you in suspense until the very end of the concert.
RTU RSFSR 618-57 – the record is similar to the TU-1kl of the early 1950s — all the music in the palm of your hand. The Oistrakh’s violin is crystal clear, rhythmically and dynamically adjusted, melodic. Kondrashin’s orchestra is also on its top.
Young Menuhin and Oystrakh are inimitable, Oystrakh has a unique interpretation of Scriabin. Kreisler is amazingly good at showing the despair of the second part of Brahms's concerto, Tchaikovsky of 1946 Przygoda is as expressive as it could be. Oistrakh-Yampolsky-Oborin’s 1950s recording quality are no longer as beautiful as prewar ones, but Oistrakh's violin still sings excellent, especially in the "Reflection". Goldstein is an example of a great Soviet recording of the 1930s, unfortunately the record has some cracks.
The great violinists of the early 20th century: melancholic Vasa Prihoda, refined Misha Elman, Jan Kubelik – the great phrasing master, the effortless-bow of Erika Morini and the pedantic style of Eugen Ysaye. Together with Kubelik sings unforgettable Nellie Melba.
Little Yasha Heifetz was able not only to show off at unattainable for others tempo, but had a quite sofisticated taste and sounded beautifully. It is well audible on Ave Maria and Spanish dance. Common remasterings are often dull this moments but here you can feel it as good as it should be.
For every lover of violin music it is impossible to avoid this album, Brahms – Szigeti's concerto blossoms with unusual colors. Record is not immediately discloses its pros, but the violin sounds quite well from the very beginning. The first side has some cracks.
This record made strong impression in analogue but after digitization the orchestra suffered greatly – the dynamics were smoothed, the clear tone weakened. The soloists on the first side recorded too quietly, starting from the second side the balance had been corrected. Something wrong happened with Victor's equipment on the last side: strange HF resonance appeared and the violin began to sound with distortions. Despite all this, what genuine emotions are audible in the record, how open and emotionally clean Thibault's violin sounds!
Menuhin plays very beautifully, his pre-war records belong to the gold fund of violin music. In the recording we hear the typical, somewhat covered and colorated sound of Victor, the set is prefabricated: the first part is a reissue of the 1940s, the second and third parts – the Japanese first press of the 1930s. The losses of The Victor reissue are not as great as they were in Columbia and Decca, although in analog the quality deterioration was obvious, after the digitizing it almost fades.
Re-released in the late 1940s with losses and superficial noises, Columbia had a series of such reissues albums, such as Chopin Godovsky's Nockturne and Bach Szigeti's solo partitas – both frank spoilage. But even in this form it is clear that the interpretation of bush's concerts is one of the best, and maybe the best – impressive delicate brass, not breaking into a cry and not lost in chorus, precise rhythm and good overall impression. The orchestra plays as a single organism, conducting above all praise.
Amelita Galli-Kurchi and Lucretia Bori are so good that even in copies they still full of life and emotions, I doubt that in our time there are stars of this magnitude – digital recording and mic singing does not contribute to this. Obukhova and Chaliapin perform the famous elegy on an equal footing, it is difficult to give preference to someone, although, after all, it is Chaliapin. Partly because Obukhova is not so clearly recorded.