Search - Johannes Brahms, George Szell, Cleveland Orchestra :: Brahms: Violin Concerto; Violin Sonata No. 3

A truly great recording of the century

Marc Haegeman | Gent, Belgium | 02/14/2004

(5 out of 5 stars)

"Very few discs deserve more to be listed as « Great Recordings of the Century » than this one. And yet, we aren't really short on outstanding recordings of the popular Brahms Violin Concerto in the current catalogue. Very few, though, can offer the same sense of purpose as David Oistrakh and George Szell joining forces and talent. Very few can rival the nobility, the grandeur and the sheer beauty of timbre of Oistrakh's violin playing (arguably, cutting here his best recording of the Brahms Concerto), or the well-judged balance, razor sharp precision and awesome clarity of the Cleveland Orchestra as conducted by Szell. Very few, finally, sound as fresh, eloquent and focused as this one, 35 years after date.The coupling, Brahms 3rd Violin Sonata, which has Oistrakh joined by Vladimir Yampolsky dates from 1955 (in mono) and is a highly enjoyable extra, if not entirely in the same league as the Concerto. But for the Concerto, though; one doesn't need to look any further - indispensable!"

EMI has two Oistrakh recordings -- which to choose?

Santa Fe Listener | Santa Fe, NM USA | 04/09/2008

(5 out of 5 stars)

"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."

It could scarcely be any more beautiful...

Pupil | Malkuth | 04/12/2007

(5 out of 5 stars)

"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."