Beethoven – Kreutzer Sonata, Polyakin – Diakov, 1938 shellac Rip


A set of five 78 records, reissue of the 1950s: gorgeous version of the sonata, there is a lot of lovely nuances in the playing of both, Polyakin and Diakov. The connoisseurs of the subtleties of violin sound will be excited.

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Prokofiev violin concerto №1 – Szigeti-Beecham, 1935 Shellac Rip

Argentine Columbia, a 1940s reissue. A great version of the concert, the sound is soft, expressive though somewhat muffled and smoothed. Shigeti plays impeccably.

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Prokofiev Violin Concerto №2 – Heifetz, 1938 – Shellac Rip


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.

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Prokofiev Violin Sonatas – J. Szigeti, 1950 LP Rip

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…

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A. Machavariani – Violin Concerto, 1952 LP Rip


The concert is full of southern temperament and harmonies, Wyman performs it just magnificently, it is a pity that it was recorded so little. The label is TU-1kl 33: the orchestra is dynamic though distorted and harsh, the solo violin tells amazing stories! The recording was originally made in pieces of 3.5 minutes – the beginning of the first part, the entire second part except the last 3.5 minutes and the end of the final part recorded noticeably worse.

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Beethoven – Violin Concerto, D. Oystrakh 1952 LP Rip


TU-1kl 33 with a small red apple – the first Soviet LP records with surprisingly contradictory sound: the orchestra is clamped, sharp, while the solo instruments are clear, clean and with incredibly subtle intonations. Oystrach and his Stradivarius are in great shape on this record, they are a single whole, creating a musical narrative, interesting from beginning to the end. Oystrakh starts playing from the third minute and no longer lets anybody go off.

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