Anyone listening to this admirable set will gain an accurate impression of David Oistrakh’s overall playing style, his poise, composure, interpretative finesse, velvety tone and highly sophisticated musicianship. Various of the works programmed are - or have been - available in alternative Oistrakh recordings (the Tchaikovsky and Brahms concertos in around six versions apiece), but Melodiya’s selections are, in general, judiciously chosen.

Born in Odessa in 1908, David Oistrakh became one of the greatest violin legends of the 20th century. In 1946 Prague was among the first destinations of his post-war foreign tours. From that time on he would repeatedly return to the city as a violinist and conductor. Owing to his technical mastery and exquisitely warm tone, Oistrakh became an insuperable interpreter of grand Romantic concerti. Serving as a case in point is Brahms’s Concerto in D major, a work of extreme technical difficulty, recorded in Prague with the Czech Philharmonic Orchestra, conducted by Antonio Pedrotti.

The air on Mt. Olympus must have been something like that in Berlin’s Jesus-Christus-Kirche when, in September 1969, the threesome of Richter, Oistrakh and Rostropovich joined Herbert von Karajan for this majestic recording of Beethoven’s underrated Triple Concerto. That there could have been such a meeting of the minds in this gathering of greats is difficult to believe, until one remembers that the three soloists were frequent collaborators who all spoke the same musical language, and after years in the trenches knew each other and their conductor very well. As one would expect, the solo work of the three Russians is brilliant and deeply musical. But just as delightful is the way they adjust from solo to ensemble roles and play together, with perfect unanimity, in the duet and trio passages. Karajan and the Berliners provide a monumental accompaniment, weighty, powerful, and rich in tone. The recording, one of the best from EMI in this venue, has been remastered in exemplary fashion and is impressively detailed and vivid.

Ongoing David Oistrakh’s newly remastered discography, with his iconic Mozart recordings with the Berliner Philharmoniker, conducted by himself from the violin. During these sessions, he teamed up with his son Igor in the beautiful Sinfonia concertante (at the viola), and the rare Concertone for two violins and orchestra.

This re-mastered album focuses on concertos for multiple instruments, highlighting top-class collaborations in the greatest pieces of the repertoire: Brahms’ Double (with Pierre Fournier), and Beethoven’s Triple (with Lev Oborin and Sviatoslav Knushevitsky).

Over 40 years of collaboration between Eugene Ormandy and the Philadelphia Orchestra is among the most dazzling and longest connections in the history of classical music. In this unique edition, all mono recordings from the period from 1944 to 1958 appear on 120 CDs for the Columbia label. They also reflect an important section of record history in the changing cover design. Ormandy, a master of orchestral brilliance and timbres and also appreciated as an excellent companion, created the famous "Philadelphia Sound" with his orchestra.

Following up on the success of Sony Classical’s recent large-scale Ormandy collections – his monaural discographies with the Minneapolis Symphony and Philadelphia orchestras – the label now presents the conductor’s stereo recordings from Philadelphia containing all recordings released from 1958 to 1963 (plus some fillers from later years) Eugene Ormandy took over the music directorship in Philadelphia from Leopold Stokowski in 1938 and held the position for 42 years. During that time his name and the orchestra’s became inseparable as he cultivated and further developed the voluptuous sound that originated with his predecessor.

Classic recordings of Tchaikovsky's orchestral music, focused around the symphonies, ballet suites, concertos and overtures. Recordings from 1962-1992, from Moscow Philharmonic Orchestra, Pentatone, Musical Concepts, Melodiya and Mercury.

David Oistrakh is considered the premiere violinist of mid-20th century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartók. Oistrakh's violin studies began in 1913 with famed teacher Pyotr Stolyarsky. Later he officially joined Stolyarsky's class at the Odessa Conservatory, graduating in 1926 by playing Prokofiev's First Violin Concerto. Performances of the Glazunov concerto in Odessa and Kiev in 1927, and a 1928 debut in Leningrad (Tchaikovsky concerto), gave Oistrakh the confidence to move to Moscow. He made his premiere there in early 1929, but the event went largely unnoticed. In 1934, however, after several years of patiently refining his craft, Oistrakh was invited to join the Moscow Conservatory, eventually rising to the rank of full professor in 1939. Meanwhile, Oistrakh was gaining success on the competition circuit, winning the 1930 All-Ukrainian contest, and the All-Soviet competition three years later. In 1935 he took second prize at the Wieniawski competition. In 1937 the Soviet government sent the now veteran violinist to Brussels to compete in the International Ysaÿe Competition, where he took home first prize.

David Oistrakh is considered the premiere violinist of mid-20th century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartók. Oistrakh's violin studies began in 1913 with famed teacher Pyotr Stolyarsky. Later he officially joined Stolyarsky's class at the Odessa Conservatory, graduating in 1926 by playing Prokofiev's First Violin Concerto. Performances of the Glazunov concerto in Odessa and Kiev in 1927, and a 1928 debut in Leningrad (Tchaikovsky concerto), gave Oistrakh the confidence to move to Moscow. He made his premiere there in early 1929, but the event went largely unnoticed. In 1934, however, after several years of patiently refining his craft, Oistrakh was invited to join the Moscow Conservatory, eventually rising to the rank of full professor in 1939.

Kirill Kondrashin is one of the few Russian conductors to celebrate an international career, next to Eugen Mravinsky, Igor Markewisch and Jascha Horenstein. In 1943 he became principal conductor at the Bolshoi theatre, an institution so important for Soviet musical life, to which he would belong for 13 years. In 1956 he was appointed chief conductor of the Moscow Philharmonic. This position opened doors for him internationally and Kondrashin was able to accept tour invitations from western countries.

One of the greatest violinists of his time and a characteristic representative of the Russian school of violin playing, David Oistrakh (1908-1974) was a towering international figure in the middle decades of the 20th century. He had one of the most rich and noble tones ever created by a violinist and a technique to match his interpretive gifts.

The album "David Oistrakh - Great Violin Sonatas by Franck, Brahms, Beethoven, Mozart…" is a compilation featuring the masterpieces of the renowned violinist David Oistrakh. It includes sonatas by four major composers of classical music: César Franck, Johannes Brahms, Ludwig van Beethoven, and Wolfgang Amadeus Mozart. This album highlights Oistrakh's exceptional interpretation of these significant works, making it a valuable collection for classical music enthusiasts.

The recently released album "David Oistrakh - Great Violin Concertos by Mozart, Beethoven, Bruch, Lalo, Brahms" showcases the masterful performances of the legendary violinist David Oistrakh. This compilation features some of the most celebrated violin concertos by these renowned composers, providing a rich listening experience of classical masterpieces.
David Oistrakh, a Soviet violinist known for his expressive playing and technical proficiency, brings his distinctive style to each piece, making this collection a valuable addition for classical music enthusiasts.

L'un des plus grands violonistes du XXe siècle, né à Odessa le 20 septembre 1908 et décédé à Amsterdam le 24 octobre 1974, David Oïstrakh connaît une renommée internationale après avoir remporté le prestigieux Concours Eugène Ysaÿe, futur Concours Reine-Élisabeth de Belgique, en 1937. Connu en Union soviétique où il est formé dès son jeune âge par Piotr Stoliarski, il suscite une attention grandissante pour son aisance à aborder tous les répertoires, de Bach à Bartok ou Glazounov. En 1939 et 1940, Miaskovski et Khatchatourian lui dédient des oeuvres, comme le feront son ami Chostakovitch puis Prokofiev.