Oistrakh: Brahms Violin Concerto - Lied Der Zeit (rare pre-Eterna DDR release)

$

88

ITEM DESCRIPTION:

This beautiful and very rare pre-Eterna gatefbold LP from VEB Lied der Zeit · Schallplatten · Berlin (LPM 1015, thick East German pressing, white/blue label, mono – no stereo edition exists) features David Oistrakh’s glorious account of Brahm’s Violin Concerto in D Major Op. 77, recorded in the rich acoustics of the Jesus-Christus-Kirche, Berlin on 16 February 1954 with Franz Konwitschny conducting the Staatskapelle Dresden – a landmark recording.

Wrote the critic in his review for the July 1955 issue of The Gramophone: “The eleventh version of the Brahms violin concerto is at the same time the beginning of reduplication where soloists are concerned, for it is Oistrakh's second recording of the work to be released during the past six months. This is, in fact, where I came in—even though both conductor and orchestra are different. So, too, is Oistrakh different. The faults enumerated in December, 1954, when A.P. reviewed the Monarch disc, are now less noticeable, and some have disappeared altogether. Such rhythmic aberrations as remain are confined largely to the finale, where the Hungarian 'element’ absorbs them beautifully, enriching the gay and impetuous movement to the full. There is still an appreciable slowing-down of tempo at the tranquillo after the first movement's cadenza, but this is really a question of tradition, just like the unmarked but universally adopted slowing-down at the G minor section in the first movement of Beethoven's Violin Concerto. I do not find it at all disturbing.

“The orchestral support in this new disc is first-rate, and Konwitschny inspires the already splendid Dresden players to a degree of excellence that I have rarely witnessed previously. The string tone is round and silky, the woodwind blend well and have a fine standard of intonation, while the brass and timpani add power to the tutti without throwing the ensemble out of balance. On one or two occasions the balance between soloist and orchestra might have been slightly improved: the woodwind solos behind the violin's arpeggiated passage beginning at I (102), for example. In the finale, the acoustic, otherwise warm and eminently suitable, seems a little too large for the tempo. These blemishes, however, fade into insignificance when the value of OIstrakh's contribution is considered. His approach is wholly and undeniably masculine; and in this I think he follows the line first suggested by Walter Niemarin, in his biography of Brahms: "Just as Spohr, Mendelssohn and Bruch may be said to have composed - the feminine romantic German violin concertos, so Brahms may be said to have written the masculine one ".

There is much to admire in the smaller details of Oistrakh's performance; the nutty flavour of the G string, the noble cantilena, the cunning and colourful use of non vibrato, and the absence of unnecessary pontamenli. But the larger aspects of his interpretation are even more remarkable. He possesses a fine grasp of mood and meaning, moulding his phrases to the contour of the background; standing out from it, yet fitting perfectly and flawlessly into it.

“On re-playing the Martzy-Kletzki disc, I found small points to worry about: sour notes like the octave c-natural at I (364) and the f-natural at 11(35). The hemiola (which Oistrakh brings out so splendidly) is missed by Martzy at 1(206), and her playing of the tranquillo e grazioso at 1(312) is, to my mind, rather tame. Admittedly, she is not as tame as Stern, who plays the passage in sharply-divided dactylic fashion, nor is she as temperamental as Ferras, who is the only one to use the Kreisler cadenza. Incidentally, Milstein uses his own cadenza, which I find rather poor.

“To sum up, I am certain that Oistrakh has greatly improved on his Monarch recording ; and I have no hesitation in recommending this excellent example of DGG's fine and well-balanced productions. It will give lasting pleasure to all who admire this great concerto, and who are connoisseurs of great violin-playing.”

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the gatefold jacket is GOOD- (Note: This is towards the lower end of my grading scale). This is the type of gatefold jacket that opens at the top – that is the ‘spine’ is at the top of the jacket vs. the side. There has been a fairly professional looking tape repair to this upper spine. In addition, there is bumping at corners, edgeweaer, creasing, and some small tears to the front panel. On the plus side, there are no seamsplits or owners' markings and the whole remains extremely solid and striking in appearance – in all, still a decent copy.

The condition of the LP itself is VERY GOOD. There is occasional light surface noise and a few scattered tics, but in general the playback is superb, with a big open sound. However, if you require a flawless or near-MINT copy, then please do not buy this LP. Overall, this rates as a very good collector's copy.