Brahms: Violin Concerto; Violin Sonata No. 3
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EMI has two Oistrakh recordings -- which to choose?
For decades I've cherished Oistrakh's 1960 Brahms concerto on EMI, not least for Klemperer's noble accompaniment. I was a bit shocked to see the company pick this later (1969) version, which, to be honest, I'd never heard of, as their "great recording." But a review challenged anyone who thought the Klemperer was greater to hear the Szell, and here I am.
By 1969 Szell was in declining health, and the razor-sharp discipline of the Cleveland Orch. was giving way to a softer, rhythmically more relaxed approach. Experienced listeners will be surprised to find that Szell adopts Klemperer's tempos within a few seconds in each movement. EMI's sound isn't exemplary in either recording, with digital glare in Oistrakh's upper register and some ear fatigue from over-brightness. In all fairness, I am far more a Klemperer fan than a Szell fan, but I lsitened with as much objectivity as I could.
Is it disappointing to say that the cntest is a draw? Like many great musicians, Oistrakh remained faithful to an interpretation once he was settled on it, and in this case the chief difference is that he is more tender and rapt in the slow movement for Klemperer (indeed, it's the greatest rendition I've ever heard), more robust and forceful in the finale for Szell. Attacks are often more slashing in the Szell. The later recording places both soloist and orchestra closer to the mic, which adds to the visceral impact.
Perhaps it may come down to the fillers. On the Klemperer we get a lovingly romantic, but not plodding Mozart Sinfonia concertante with Oistrakh on viola and his son Igor on violin. Here we have Brahms's greatest violin sonata, the third, in a 1955 mono recording that puts Oistrakh in front but buries his pianist, Vladimir Yampolsky, seemingly in another room. Despite this absurd separation, both musicians give a fine account of the work, as good as it gets, in fact.
In all, devotees of either the Szell or Klemperer recording will hear something fine. My allegaince to the Klemperer remains steady becasue of that mesmerizing Adagio.
A warm and sunny interior that is quite beautiful...
It was always difficult for me to warm up to the music of Brahms. His music is very "thick" as they say, even though it does fall under the category of "Romantic" it doesn't have the raw passion and sweeping effects of the Wagnerian school; nor the frills of the French school; or the sad and soulful quality of the Russian composers. Brahms worked in Classical, pure music forms, but he also used a very heavy, German, idiom.
With that being said, no collection of "Classical" music is complete without Brahms' Violin Concerto. It is outstanding, and underneath all of the heavy and thick German craftsmanship, is indeed a warm and sunny interior that is quite beautiful. So beautiful, in fact, that this Violin Concerto is the basic template for most subsequent Violin Concertos (Bruch, Elgar, Barber, ect.).
David Oistrakh and George Szell are excellent here. While the Russian Oistrakh brings soulfulness; the cool Hungarian Szell brings well-balanced support.
Comparisons: Stern/Ormandy; Sonnenberg
It could scarcely be any more beautiful...
What a musicianship! What perfection!
Szell's orchestral accompaniment is every bit as spotless, transpareant, and involved as Oistrakh's full-bodied, pitch-perfect, astoundingly powerful solo interpretation.
The sound is particularly lush and broad; far more enjoyable than some of the more recent, glassy digital recordings (Vengerov/Barenboim, i.e.).
Doubtless one of Brahms' supreme musical achievements; here given a priceless performance of the highest musical calibre.
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