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.
Argentine Columbia, a 1940s reissue. A great version of the concert, the sound is soft, expressive though somewhat muffled and smoothed. Shigeti plays impeccably.
The TU-1kl 33 album, Gilels sounds much more interesting than its later editions on Melody. The orchestra looks weaker in the background of the piano.
Excellent for 1966 solid, musically balanced record. The impression of Henryk Szeryng with Rojdestvenskiy is very good. For some reason the LP recorded a tone above the key and the pitch had to be re-tuned with a tuning fork. Quite strange.
1945 re-issue, the sound is intelligible, dense but sharp in the upper middle and somewhat clamped. The violin sings even on the reissue, Heifetz is in vain reproached in coldness.
Audiophile Lo-Fi! Szigeti differs from his colleagues by unusual, harsh sound production and broken, accented phrasing, and it is always interesting to listen to him. The sonatas are recorded with surprising musicality, the first one is better balanced, the second sounds more clear and sharp. The andante of the second sonata stands out with its melodic sound, it seems that you can look directly into the soul of Szigeti, or maybe Prokofiev, who knows…
Sofronitsky plays a little softer than Prokofiev, but his charisma is not inferior.
Prokofiev's game is impressive – convincing and, oddly enough, melodic.