℗ ℗ 1962 Decca Music Group Limited
 

Bruch: Scottish Fantasia; Hindemith: Violin Concerto

David Oistrakh, London Symphony Orchestra, Jascha Horenstein

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Scottish Fantasy, Op.46  
1.1
1. Adagio cantabile
Max Bruch; David Oistrakh; London Symphony Orchestra; Jascha Horenstein
8:40
1.2
2. Scherzo - Allegro; Adagio
Max Bruch; David Oistrakh; London Symphony Orchestra; Jascha Horenstein
5:18
1.3
3. Andante sostenuto
Max Bruch; David Oistrakh; London Symphony Orchestra; Jascha Horenstein
7:43
1.4
4. Finale (Allegro guerriero)
Max Bruch; David Oistrakh; London Symphony Orchestra; Jascha Horenstein
9:23
Violin Concerto  
1.5
1. Mässig bewegte halbe
Paul Hindemith; David Oistrakh; London Symphony Orchestra; Paul Hindemith
9:25
1.6
2. Langsam
Paul Hindemith; David Oistrakh; London Symphony Orchestra; Paul Hindemith
9:43
1.7
3. Lebhaft
Paul Hindemith; David Oistrakh; London Symphony Orchestra; Paul Hindemith
10:25
Total Playing Time    60:37
Originally recorded in 1962 by Decca Records, this classic recording features the conducting talents of Jascha Horenstein & Paul Hindemith accompanied by the London Symphony Orchestra. The works on this record are splendid examples of 19th and 20th century virtuoso concertos and if not for their great difficulty they would surely be performed more often. Also features one of this century's finest violinists: David Oistrakh. Oistrakh's performance here is a complete revelation. Hindemith's concerto has never before blossomed into such rewarding lyricism. Even the orchestral contribution under the composer himself is strikingly passionate and with the soloist to provide many moments when the ear is ravished by the beauty of phrasing and inflection, the listener has much to enjoy.

The recording is one of the very finest ever made of the combination of solo violin and orchestra. The Oistrakh/ Horenstein performance completely displaces its competitors. It is marvellously well recorded - Oistrakh has never sounded so real on a disc before - and the reading owes nearly as much to the conductor as the soloist. The expansive dignity of the opening of the brass sets shows immediately how fine the orchestral contribution is going to be and Oistrakh's playing throughout is ravishing, raising the statue of the work immeasurably. The slow movement is especially memorable.
176.4 kHz / 24-bit PCM – Decca Music Group Studio Masters

Tracks 1-7 – contains high-resolution digital transfers of material originating from an analogue master source

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