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  • Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Quick View

    $34.99
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    Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner)

    Max Bruch's Scottish Fantasia is a late-Romantic work which is seldom found on concert hall programmes today. One realises after listening to the piece for the first time that the composition proves to be at least as solid and artistic as all the other works of the composer.



    The London Symphony Orchestra, conducted by Jascha Horenstein gives a sonorous interpretation of the melancholic which, according to Bruch, depicted an aged minstrel who, while gazing upon the ruins of an ancient keep, ponders over the splendid days gone by. The well-known slender but warm timbre of David Oistrakh's violin is well suited to this music which was inspired by Scotland.
    David Oistrakh demonstrates his versatility in this performance of Hindemith's Violin Concerto, written in 1939, where he effortlessly mesmerises the audience with breakneck cascades of scales. With many years of experience in the performance of modern music, the London Symphony Orchestra, led by the composer himself, prove that they are a match for this work.



    This DECCA recording offers first class interpretations of two great masterpieces from differing eras that have been acclaimed widely and have reached far beyond the circle of Oistrakh fans.



    Musicians:



    • David Oistrakh (violin(/li>
    • London Symphony Orchestra

    • Jascha Horenstein and Paul Hindemith (conductor)




    Recording:October 1962 at the Walthamstow Town Hall, London by Arthur Lilley and Alan Reeve

    Production: Erik Smith





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Jascha Horenstein conducts the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Prokofiev: Violin Concertos Prokofiev: Violin Concertos Quick View

    $22.99
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    Prokofiev: Violin Concertos

    One of the 20th century's greatest violinists, David Oistrakh named Sergei Prokofiev among his close friends. This album features the composer's two contrasting violin concertos - the audacious No. 1, completed in 1917, and the more restrained No. 2, composed in 1935, shortly before Prokofiev returned to Russia.
    1. Violin Concerto No. 1 in D Major, Op. 19: I. Andantino
    2. Violin Concerto No. 1 in D Major, Op. 19: II. Scherzo (Vivacissimo)
    3. Violin Concerto No. 1 in D Major, Op. 19: III. Moderato - Allegro moderato
    4. Violin Concerto No. 2 in G Minor, Op. 63: I. Allegro moderato
    5. Violin Concerto No. 2 in G Minor, Op. 63: II. Andante assai
    6. Violin Concerto No. 2 in G Minor, Op. 63: III. Allegro ben marcato
    David Oistrakh
    $22.99
    Vinyl LP - Sealed Buy Now
  • Sibelius: Violin Concerto (Speakers Corner) Sibelius: Violin Concerto (Speakers Corner) Quick View

    $34.99
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    Sibelius: Violin Concerto (Speakers Corner)

    Not always do composers of instrumental works take the playability of their ideas into consideration. Jean Sibelius - himself an excellent violinist - must have been aware of the enormous challenges to the soloist, but he did not, however, envisage that the première of his violin concerto would be badly received due to the inadequacy of the violinist. That his op. 47 would become a showpiece of romantic violin repertoire is certainly not only due to the first-class soloists of our time, but also thanks to the work's broad and expressive melodies. In the short introduction of the second movement, the leaping intervals of the violin - as though from nowhere - develop into a broad symphonic dialogue with a late-romantic inflection, which is unleashed to create an emotional climax in the 20-bar main theme of the second movement. Seemingly purposely written for the nimble fingers of the world-class violinist, David Oistrakh and the evenly matched Philadelphia Orchestra present a superbly virtuosic and powerful rendering right up to the rousing finale. As an encore we hear The Swan Of Tuonela sing its tender, sublime song in a substantial solo on the cor anglais.

    Musicians:



    • David Oistrakh (violin)
    • Philiadelphia Orchestra conducted by Eugene Ormandy



    Recording: December 1959 and January 1960 at Broadwood Hotel, Philadelphia (PA)

    Production: Howard Scott



    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

    1. Allegro Moderato
    2. Adagio Di Molto
    3. Allegro Ma Non Tanto
    4. The Swan Of Tuonela, Op.22
    David Oistrakh
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven Triple Concerto (Awaiting Repress) Beethoven Triple Concerto (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Beethoven Triple Concerto (Awaiting Repress)

    Oistrakh, Rostropovich and Richter join the Berlin Philharmonic Orchestra conducted by Herbert von Karajan for a truly legendary recording event!


    EMI waited many years to get these legendary artists together for this recording and the result was one of the greatest recordings this work has ever received.


    Produced by Peter Andry and pressed on 180g Audiophile Vinyl.


    This latest issue has been newly cut at EMI's Abbey Road Studios from the original stereo EMI Master tapes.


    Even in these days of star-studded casting on record, the line-up for this latest version of the Triple Concerto is nothing short of breathtaking. So breathtaking I was worried that my expectations would run ahead of all possible achievement. But not so. This is a marvelous performance that will clearly remain a classic for years to come. - Edward Greenfield, Gramophone, September 1970


    Features:
    180g Audiophile Vinyl

    Cut from original EMI Master Tapes at EMI's Abbey Road Studios

    Features original album artwork, including original insert of notes


    Musicians:

    David Oistrakh, violin

    Sviatoslav Richter, piano

    Mstislav Rostropovich, cello

    Berlin Philharmonic Orchestra

    Herbert von Karajan, conductor


    This title is not eligible for discount.

    Ludwig van Beethoven (1770-1827)
    Triple Concerto
    Concerto for Violin, Cello and Piano in C Major, Op. 56
    1. Allegro
    2. Largo
    3. Rondo alla Polacca
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Mozart - Sinfonia Concertante (Speakers Corner) Mozart - Sinfonia Concertante (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Mozart - Sinfonia Concertante (Speakers Corner)

    "Now I am going to compose a Sinfonia concertante", wrote Mozart to his father, quite unsuspecting that his contribution to this hybrid of concerto and symphony would not bring the immediate approval and success to which he was accustomed. But opinions have changed drastically since then, especially since the Sinfonia concertante K. 364 has far greater depth to it than its title suggests. The wealth of melodic ideas, subtly allotted alternately to the soloist and the orchestra, testifies to the fact that this is one of Mozart's mature orchestral masterpieces which he composed while in Vienna.



    The superb performers in this DECCA recording guarantee that the listener will not only enjoy the deceptive merriment of the outer movements but will be deeply moved by the sad Andante. What bad luck for rival performances! But when father and son take up their bows, this is the recording to beat all recordings!



    On the B side, the Duo for Violin and Viola, K. 423 is a welcome bonus since it offers a wonderful opportunity for a display of virtuosity and counterpoint. And of course the old question pops up once again as to who is the better master of his instrument: father or son? The answer is simple: neither the one nor the other! - Both, of course!



    Musicians:



    • David and Igor Oistrakh

    • The Moscow Philharmonic Orchestra

    • Kyrill Kondrashin (conductor)




    Recording: September 1963 at DECCA Studio No. 3 in West Hampstead, London by Kenneth Wilkinson

    Production: Erik Smith und Ray Minshull





    About Speakers Corner



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    Wolfgang Amadeus Mozart
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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