ITEM DESCRIPTION:
This beautiful 4 LP box set from Philips (835 245/248 AY, Dutch pressings, red / silver labels, booklet included, stereo) features David Oistrakh’s peerless readings of the complete Beethoven Violin Sonatas, recorded with long-time collaborator, pianist Lev Oborin – recorded in the warm acoustics of Le Chant du Monde Studios, Paris during May and June 1962, a landmark cycle even 55 years later.
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This particular Philips issue is very attractive, consisting of a heavy cloth box with gilt lettering and a full-size, heavy-paper 20-page booklet, with striking photographic portraits of the artists and extensive notes (uncredited) on the music, provided in both German and English.
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The Dutch engineers afforded the veteran duo with uncommonly fine sound, the violin perfectly distanced from the microphone and its balance with the piano in optimum measure. Unlike so many collaborations captured on disc, this is one of equals, with Oborin consistently matching Oistrakh in imagination. Indeed, not unlike Eugene Istomin, Oborin
was at his finest in chamber music and remains fully equal to Oistrakh’s artistry throughout all ten sonatas – an inspired musical partnership that was a model of its kind.
Thus, included are all 10 of Beethoven's Violin Sonatas:
No. 1 in D Major Op. 12 No. 1
No. 2 in A Major Op. 12 No. 2
No. 3 in E-flat Major Op. 12 No. 3
No. 4 in A minor Op. 23
No. 5 in F Major Op. 24 'Spring'
No. 6 in A Major Op. 30 No. 1
No. 7 in C minor Op. 30 No. 2
No. 8 in G Major Op. 30 No. 3
No. 9 in A Major Op. 47 'Kreutzer'
No. 10 in G Major Op. 96
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Of the Philips CD re-issue of these recordings, the erudite critic Michael Jamison wrote for ClassicsToday:
"With the return of these stereo recordings by David Oistrakh and Lev Oborin (made in Paris in 1962), many collectors will find an automatic first choice. This new Philips set presents these accounts in fine digital transfers and has the benefit of having all 10 sonatas placed sequentially across four CDs. The performances are exceptionally fine, sometimes not as dramatic as Schneiderhan's (DG), it's true, but always intensely musical and natural. For example, compare Oistrakh's reading of the darkly urgent C minor work (Op. 30 No. 2) with Schneiderhan's and you'll find an altogether more comfortable ride, without the sometimes fussy dramatic overlay. That owes something to Oborin's greater restraint, an impression also bolstered by the aural perspective of the recordings in which the players are positioned considerably apart, with violin to the left and piano to the right. Okay, it's not really ideal, and some listeners will find this extreme balance annoying, but it's a small price to pay considering the caliber of these performances.
"In the epic "Kreutzer" sonata Oistrakh plays majestically and thoughtfully, the slow movement being beautifully inflected without losing its tight rhythmic control. On balance Oistrakh probably comes closest to Grumiaux's style of playing, with its tonal purity and dignity, though the iron-fisted austerity of Schneiderhan's DG performances remains impressive. What you don't need in Beethoven, however, is the inflammatory but often clumsy rhetoric that Szeryng sometimes produced, and in this regard Oistrakh can't be faulted, for these are readings of the highest sophistication. Finally, there are also very special qualities in Oistrakh and Oborin's classically concise readings of the earlier sonatas, particularly the three Op. 12 works and the Op. 30 group. What you'll find here is a duo that devotes minute attentiveness to every passing detail, along the way conveying a powerful feeling of joyfulness and discovery. This is essential listening, and not just for violin devotees: this set belongs in everyone's collection!"
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As much a tribute to Oistrakh as to Beethoven, this beautiful set remains a great rarity.
Incidentally, for these sessions, Oistrakh played his 1702 Stradivarius 'La Fontana'.
CONDITION – PLEASE READ CAREFULLY:
The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.
The condition of the cloth box is VERY GOOD. There is some discoloration, particularly to the spine, as well as general wear and aging. However, there are no corner breaks, bends, seamsplits, owners' markings, or other defects, and the box remains extremely solid, the gilt lettering perfectly legible and all very handsome in appearance – overall, a very good collector's copy.
The condition of the full-size, heavy-paper 20-page booklet is NM – a fine collector's copy.
The condition of the 4 LPs is near-MINT. Although the surfaces are not absolutely silent (and thus I have rated it NM vs. MINT) these are fine copies and playback is superb. If you must have flawless surfaces, then please do not buy this set – these rate as NM collector's copies.
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REFUNDS:
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