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Ludwig van BEETHOVEN (1770–1827)
Violin Sonata No. 1 in D major Op.12 No.1 (1798) [21:20]
Violin Sonata No. 3 in E flat major Op.12 No.3 (1798) [18:32]
Violin Sonata No. 10 in G Op. 96 (1812) [27:14]
David Oistrakh
(violin), Sviatoslav Richter (piano)
rec. Moscow, 6 May 1970 DOREMI
DHR7800 [67:14]
Oistrakh
and Richter performed together as a duo for the first time
in 1967. Their relatively late association was cemented by
recordings of Brahms and Franck, ones that attest to their
mutual understanding even given that Richter often performed
with Kagan. Oistrakh’s sonata partner was Oborin and another
frequent associate Yampolsky.
This
is the tenth in Doremi’s series devoted to the violinist
and is devoted to a recital given by the two musicians in
Moscow in May 1970. For the record Oistrakh had recorded
the Op.21 No.1 sonata with both pianist colleagues named
above in 1954 and 1962; there’s a live 1962 Oborin as well.
Op.12 No.3 fared equally well; Yampolsky in 1955 and Oborin
in 1962 with another live performance in the same year. Oddly
there is only the 1962 Oborin of Op.96 and a live recording,
invariably with the same pianist from the same year. So of
course we are in a sense spoiled for choice with more and
more live performances becoming available all the time – hence
there may need to be some adjustment to the above in the
light of recent caches of material.
The
sound quality in the 1970 recital was rather tubby with Oistrakh
too far from the microphone. The frustrating balance is a
feature of the recital as a whole and not even Oistrakh’s
big tone can compensate for the loss of optimum balance between
himself and Richter. Oistrakh tended to take a deliberate
tempo for Op.96, though it sounds to me – maybe a quirk of
the balance inequality – that Richter tends to lead. The
violinist opens up his tonal reserves in the slow movement
though he’s too often covered by Richter, another product
one assumes of the balance question. The mien is generally
patrician and reserved. But the highlight for me was the
puckish, agile and witty Scherzo, a real feast of interplay
and alertness.
Oistrakh’s
grazioso muscularity is heard to its full in the opening
movement of the D major and there’s real fire and personality
in the second movement variations – some superbly stentorian
playing from both men here. Oddly enough the opening of
the D major sounds a touch more hissy than its companion
sonatas and the sound a bit more open. In any case the performance
has equal strengths. It’s vibrant and dynamic.
Given
the state of the discography one would point readers to the
commercial set of the sonatas with Oborin. This one has some
piano-centred imbalance that skews ensemble. But without
doubt as a formidable meeting of colleagues it has specialist
appeal.
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