دیوید اویستراخ – مجموعه دیوید اویستراخ در پراگ (David Oistrakh)

Artist: David Oistrakh
Title: David Oistrakh in Prague
Year Of Release: 1999
Label: Praga
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 06:44:19

 Tracklist:
Disc 1
1. Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': l. Allegro
2. Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': ll. Adagio molto espressivo
3. Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': lll. Scherzo: allegro molto
4. Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': lV. Rondo: allegro ma non troppo
5. Sonata For Piano And Violin No. 1 In G Major, Op. 78: l. Vivace ma non troppo
6. Sonata For Piano And Violin No. 1 In G Major, Op. 78: ll. Adagio
7. Sonata For Piano And Violin No. 1 In G Major, Op. 78: lll. Allegro molto moderato
8. Sonata For Piano And Violin No. 3 In D Minor, Op. 108: 1. Allegro
9. Sonata For Piano And Violin No. 3 In D Minor, Op. 108: ll. Adagio
10. Sonata For Piano And Violin No. 3 In D Minor, Op. 108: lll. Un poco presto e con sentimento
11. Sonata For Piano And Violin No. 3 In D Minor, Op. 108: lV. Presto agitato

Disc 2
1. Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: l. Allegro moderato
2. Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: ll. Scherzo - Trio (Presto)
3. Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: lll. Andantino
4. Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: lV. Allergo vivace
5. Variations On The French Song 'La bergere Celimene' In G Major K 359 - 374a: Thema. Allegretto - Variations l - Xll
6. Piano Trio In B Flat Major Op. 99 D 898: l. Allegro moderato
7. Piano Trio In B Flat Major Op. 99 D 898: ll. Andante un poco mosso
8. Piano Trio In B Flat Major Op. 99 D 898: lll. Scherzo. Allergo molto - Trio
9. Piano Trio In B Flat Major Op. 99 D 898: lV. Allegro vivace - Presto

Disc 3
1. Violin Concerto In A Minor, Op, 53, B 108: Allergro ma non troppo
2. Violin Concerto In A Minor, Op, 53, B 108: Adagio ma non troppo
3. Violin Concerto In A Minor, Op, 53, B 108: Finale: allegro giocoso
4. Sonata For Violin And Piano No. 2 In G Major, Op. 13: Lento doloroso - Poco allegro - Allegro vivace
5. Sonata For Violin And Piano No. 2 In G Major, Op. 13: Allegretto tranquillo
6. Sonata For Violin And Piano No. 2 In G Major, Op. 13: Allegro animato
7. Violin Concerto In A Minor Op. 82: Moderato - attaca
8. Violin Concerto In A Minor Op. 82: Andante sostenuto- attaca
9. Violin Concerto In A Minor Op. 82: Allegro

Disc 4
1. Sonata For Violin And Piano No. 1, Op, 21, Sz. 75: Allegro appassionato
2. Sonata For Violin And Piano No. 1, Op, 21, Sz. 75: Adagio
3. Sonata For Violin And Piano No. 1, Op, 21, Sz. 75: Allegro
4. Hungarian Folksongs: No. 28. Parlando (Feher Lazslo); No. 18. Andante non molto (Nagyvaradi kikotobe): No. 42 Allegro vivace (Hazasodik a tucsok); 33. Andante sostenuto (Csillagok, scillagok szepen ragyokjatok); No. 38. (Tiz litero bennem van)
5. Hungarian Folksongs: No. 28. Parlando (Feher Lazslo); No. 18. Andante non molto (Nagyvaradi kikotobe): No. 42 Allegro vivace (Hazasodik a tucsok); 33. Andante sostenuto (Csillagok, scillagok szepen ragyokjatok); No. 38. (Tiz litero bennem van) (Cont.)
6. Hungarian Folksongs: No. 28. Parlando (Feher Lazslo); No. 18. Andante non molto (Nagyvaradi kikotobe): No. 42 Allegro vivace (Hazasodik a tucsok); 33. Andante sostenuto (Csillagok, scillagok szepen ragyokjatok); No. 38. (Tiz litero bennem van) (Cont.)
7. Sonata for Violin and Piano: Allegretto
8. Sonata for Violin and Piano: Blues
9. Sonata for Violin and Piano: Perpetuum mobile
10. Tzigane: Lento - Moderato - Allergo

Disc 5
1. Violin Concerto No.1 In D Major Op. 19: Andantino - andante assai - Prokofiev
2. Violin Concerto No.1 In D Major Op. 19: Scherzo. Vivacissimo - Prokofiev
3. Violin Concerto No.1 In D Major Op. 19: Moderato - Allegro moderato: Moderato - Piu tranquillo - Prokofiev
4. Five Melodies For Violin And Piano Op. 35b: Andante - Prokofiev
5. Five Melodies For Violin And Piano Op. 35b: Lento, ma non troppo - Prokofiev
6. Five Melodies For Violin And Piano Op. 35b: Animato, ma non allegro - Prokofiev
7. Five Melodies For Violin And Piano Op. 35b: Allegretto leggero e scherzando - Prokofiev
8. Five Melodies For Violin And Piano Op. 35b: Andante non troppo - Prokofiev
9. Sonata For Violin And Piano No. 1 In F Minor Op. 80: Andante assai - Prokofiev
10. Sonata For Violin And Piano No. 1 In F Minor Op. 80: Allegro brusco - Prokofiev
11. Sonata For Violin And Piano No. 1 In F Minor Op. 80: Andante - Prokofiev
12. Sonata For Violin And Piano No. 1 In F Minor Op. 80: Allegrissimo - Andante assai, come prima - Prokofiev

Disc 6
1. Violin Concerto No. 1, Op. 77 In A Minor: Nocturne: moderato
2. Violin Concerto No. 1, Op. 77 In A Minor: Scherzo: allegro
3. Violin Concerto No. 1, Op. 77 In A Minor: Passacaglia: andante - cadenza; Burlesque: allegro con brio
4. Violin Concerto in D minor: Allegro con fermezza
5. Violin Concerto in D minor: Adante sostenuto
6. Violin Concerto in D minor: Allegro vivace

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.

With his victory in Brussels, Soviet composers began to take notice of their young compatriot, enabling Oistrakh to work closely with Myaskovsky and Khachaturian on their concertos in 1939 and 1940, respectively. In addition, his close friendship with Shostakovich led the composer to write two concertos for the instrument (the first of which Oistrakh played at his, and its, triumphant American premiere in 1955). During the 1940s Oistrakh's active performing schedule took him across the Soviet Union but his international career had to wait until the 1950s, when the political climate had cooled enough for Soviet artists to be welcomed in the capitals of the West.

The remaining decades of Oistrakh's life were devoted to maintaining the highest possible standards of excellence throughout an exhausting touring schedule (he returned to the U.S. six times in the 1960s), and he began a small but successful sideline career as an orchestral conductor. His death came suddenly in Amsterdam in 1974, during a cycle of Brahms concerts in which he both played and conducted. Oistrakh's unexpected death left a void in the Soviet musical world which was never really filled.

Throughout his career David Oistrakh was known for his honest, warm personality; he developed close friendships with many of the leading musicians of the day. His violin technique was virtually flawless, though he never allowed purely physical matters to dominate his musical performances. He always demanded of himself (and his students) that musical proficiency, intelligence, and emotion be in balance, regardless of the particular style. Oistrakh felt that a violinist's essence was communicated through clever and subtle use of the bow, and not through overly expressive use of vibrato. To this end he developed a remarkably relaxed, flexible right arm technique, capable of producing the most delicate expressive nuances, but equally capable of generating great volume and projection.

As a teacher, David Oistrakh maintained that a teacher should do no more than necessary to help guide the student toward his or her own solutions to technical and interpretive difficulties. He rarely played during lessons, fearing that he might distract the student from developing a more individual approach, and even encouraged his students to challenge his interpretations. Perhaps the best evidence of the Oistrakh's gift for teaching is that he felt that he gained as much from the teaching experience as his students did. ~ Blair Johnston