Old fashioned, but still good at a budget price

Press, 7 October 1985, Page 10

Old fashioned, but still good at a budget price

Classical records review

ALLAN FRANCIS

BEETHOVEN. Violin Concerto in D major Opus 61 played by the USSJI. State Orchestra, conducted by Alexander Gauk. Solo violin, David Oistrakh. MAESTRO MASTERS SH-812. BEETHOVEN. Sonatas for Violin and Piano Numbers 5 in F major Opus 24 and nine in A major Opus 47 played by Aaron Rosand, violin, and Eileen Flissler, violin. MAESTRO MASTERS SH-822.

In the 1950 s Alfredo Campoli was one of the star violinists of the decade and as such became almost unassailable. This particular quality was inherited by David Oistrakh in the 19605. He, in turn, tried (only partly successfully) to hand it on to his son, Igor. In each case, the star status has been gradually eroded by some of the emerging violinists. The effect has been a diminishing of popularity of the older hands and a corresponding awareness of the new. No sooner had Oistrakh settled into his exalted position than newcomers were niggling at the base of his authority. The great Russian violinist had at least three successful recordings of the “Beethoven Violin Concerto” to his credit, as well as one which featured his son, Igor, under David’s conducting. The review cassette prob-

ably comes from the 19505. It would be the first of Oistrakh’s personal trilogy and possibly not the least. On the debit side, one has to cope with less than firstclass sound quality; the violin tone is vvirey and lacks resonance; the orchestral sound is rather coarse. To mark this re-issue it must be acknowledged that the high quality of Oistrakh’s playing is the reason for its survival. The passage of time has quite rightly put the whole issue in true proportion. So many of those who usurped his authority at the time have themselves disappeared into the cupboard of forgotten memones. .

This particular interpretation is not one of the soloist’s reckless ventures that became his hallmark in later years; more a case of “steady as she goes.” The slow movement is sweet-toned and carefully laid out; the outer movements are equally religiously studied, though not in the tedious manner of Schneiderhan, or Chung. This one will satisfy requests for one of Oistrakh’s versions just when the last

copies have disappeared completely from most retailers’ shelves. Especially at the price, it should give a satisfying account of one of the all-time greats. Those also wishing to fill a need in standard repertoire could do a lot worse than get the “Spring” and “Kreutzer” Sonatas on the second cassette, at the same luxurious price. This one suggests the older, noble style of Gru-miaux-Haskil versions, without, however, the equality that partnership implied. The balance here favours the pianist, with Aaron Rosand playing a reasonably competent second fiddle. The over-all sound quality is generally better than the Oistrakh cassette, with both instruments being clearly defined.

Old fashioned though it is, the results are satisfying, complementing the newer versions from that redoubtable pair, Perlman and Ashkenazy on HMV. It certainly would riever replace the latter in either sonata, but, equally certainly, it is the best available budget price cassette of these works.

DEBUSSY/RAVEL. String Quartets in G minor and F major, played by the Melos Quartet. WORLD RECORD CLUB issue from DG 2531 203.

The Melos players give

the impression here that they are better tuned to these pieces . than Mozart from about the same time.

There are four riyal versions in the current catalogue, but it is doubtful whether any can match fully the abundant qualities T of the Melos players here. ~ In the slow passages, the -' ’ Suartet get a refined sound .1 lat is faithfully reproduced <« by the technicians from the German studios. At the a* same time, it never falls into the plastic quality that - some American recordings 2' achieve. i