A special record by its nature. Andantino creates a wary, mystical mood — a surreal atmosphere that keeps you in suspense until the very end of the concert.
Continue reading “Prokofiev Violin Concerto No.1 – Oystrakh-Gauck, 1955 LP Rip”
Violin
Prokofiev Violin Concerto No.1 – Oystrakh-Kondrashin, 1957 LP Rip
RTU RSFSR 618-57 – the record is similar to the TU-1kl of the early 1950s — all the music in the palm of your hand. The Oistrakh’s violin is crystal clear, rhythmically and dynamically adjusted, melodic. Kondrashin’s orchestra is also on its top.
Continue reading “Prokofiev Violin Concerto No.1 – Oystrakh-Kondrashin, 1957 LP Rip”
Violin Electric recordings, 78rpm shellac rip
Young Menuhin and Oystrakh are inimitable, Oystrakh has a unique interpretation of Scriabin. Kreisler is amazingly good at showing the despair of the second part of Brahms's concerto, Tchaikovsky of 1946 Przygoda is as expressive as it could be. Oistrakh-Yampolsky-Oborin’s 1950s recording quality are no longer as beautiful as prewar ones, but Oistrakh's violin still sings excellent, especially in the "Reflection". Goldstein is an example of a great Soviet recording of the 1930s, unfortunately the record has some cracks.
Continue reading “Violin Electric recordings, 78rpm shellac rip”
Violin acoustic recordings, 78rpm shellac rip
The great violinists of the early 20th century: melancholic Vasa Prihoda, refined Misha Elman, Jan Kubelik – the great phrasing master, the effortless-bow of Erika Morini and the pedantic style of Eugen Ysaye. Together with Kubelik sings unforgettable Nellie Melba.
Continue reading “Violin acoustic recordings, 78rpm shellac rip”
Jascha Heifetz acoustic recordings, 1917-1920 78rpm shellac rip
Little Yasha Heifetz was able not only to show off at unattainable for others tempo, but had a quite sofisticated taste and sounded beautifully. It is well audible on Ave Maria and Spanish dance. Common remasterings are often dull this moments but here you can feel it as good as it should be.
Continue reading “Jascha Heifetz acoustic recordings, 1917-1920 78rpm shellac rip”
Brahms Violin Concerto – Joseph Szigeti, Hamilton Harty – 1928 78rpm shellac rip
For every lover of violin music it is impossible to avoid this album, Brahms – Szigeti's concerto blossoms with unusual colors. Record is not immediately discloses its pros, but the violin sounds quite well from the very beginning. The first side has some cracks.
Continue reading “Brahms Violin Concerto – Joseph Szigeti, Hamilton Harty – 1928 78rpm shellac rip”
Brahms Double Concerto – Thibaud, Casals, Cortot – 1929 78rpm shellac rip
This record made strong impression in analogue but after digitization the orchestra suffered greatly – the dynamics were smoothed, the clear tone weakened. The soloists on the first side recorded too quietly, starting from the second side the balance had been corrected. Something wrong happened with Victor's equipment on the last side: strange HF resonance appeared and the violin began to sound with distortions. Despite all this, what genuine emotions are audible in the record, how open and emotionally clean Thibault's violin sounds!
Continue reading “Brahms Double Concerto – Thibaud, Casals, Cortot – 1929 78rpm shellac rip”
Mozart violin concerto #3 – Yehudi Menuhin, Georges Enesco – 1935 78 rpm shellac rip
Menuhin plays very beautifully, his pre-war records belong to the gold fund of violin music. In the recording we hear the typical, somewhat covered and colorated sound of Victor, the set is prefabricated: the first part is a reissue of the 1940s, the second and third parts – the Japanese first press of the 1930s. The losses of The Victor reissue are not as great as they were in Columbia and Decca, although in analog the quality deterioration was obvious, after the digitizing it almost fades.
Django Reinhardt and Stefane Grappelly, 1935-1938 Decca personality series 78prm shellac rip
The post-war reissue, to estimate the loss of reissue clarity you can compare it with Honeysuckle Rose and Night and Day on the Ace Of Club vinyl, losses are definitely great. Well, Django himself – one of a kind, no one except him could not and can not extract from the acoustic guitar such a dense and expressive sound. The same can be said about Grappelli's graceful violin, as if created for a swing.
J.S.Bach — Concerto in A minor— Guberman, Dobroven — 1934 78rpm shellac rip
A prefabricated set of records from the 1930s, the first record sounds clearer. The orchestra is written so-so, the violin is amazing. Guberman is considered not only a virtuoso, but also a great interpreter.
Continue reading “J.S.Bach — Concerto in A minor— Guberman, Dobroven — 1934 78rpm shellac rip”