This Eterna Edition CD is one of a series featuring reissued
mono and analogue recordings from the former East German state-owned
record label. There are 30 CDs available and these include a
number of names that were active on the Soviet side of the Iron
Curtain and even today are still little known such as the conductors:
Franz Konwitschny, Heinz Rögner, Otmar Suitner and Max
Pommer. On the original Eterna Edition LP were the Mendelssohn
and Wieniawski concertos recorded in 1956 played by soloist
Igor Oistrakh and the Gewandhaus-Orchester Leipzig under Franz
Konwitschny. Added here as a bonus item is the Bach Double
Concerto from 1957 performed by Igor Oistrakh and David
Oistrakh. We are not given any other information about its origins;
has it been released before? A nice touch is that the series
uses the cover designs taken from the original Eterna LP sleeves.
Although I have received a brief press release from Eterna Edition
I know little else of the recording as the booklet notes are
entirely in German.
Igor Oistrakh and especially his father David Oistrakh were
both noted violin virtuosos. The Jewish father and son were
both born in Odessa, Ukraine which for the vast majority of
their lives was part of the Soviet Union. Moravian conductor
Franz Konwitschny spent most of his adult life working behind
the Iron Curtain in East Germany. Konwitschny conducts the Gewandhaus-Orchester
Leipzig - the same orchestra in which he started out as a fledgling
violist.
Mendelssohn worked closely with the eminent violinist Ferdinand
David during the composition of the E minor Violin Concerto.
Right up to the time of the première he continued to
make various modifications to the score. It seemed inevitable
that the Concerto would emerge as a serious musical essay.
It is acknowledged as one of the great masterworks of classical
music,achievingtremendous popularity both in the
recording studio and the concert hall. The Gewandhaus and Konwitschny
prove understanding partners for the assured Igor Oistrakh.
Although high on expression to compete with the very finest
available versions I would have preferred extra vigour. Oistrakh’s
timbre is in a sweeter, lighter style and more in the manner
of a Menuhin compared to my preferences for the weightier versions
from Mutter/Karajan, Chung/Dutoit and Mullova/Gardiner. Oistrakh’s
playing of the second movement Andante is captivating
and the buoyant themes of the ebullient Finale are taken
at a brisk pace.
A former student at the Paris Conservatoire Polish born Henryk
Wieniawski is best remembered today as a distinguished violin
virtuoso. Although a composer of worth he wrote virtually exclusively
for the violin. Compiling a catalogue of his scores has proved
a long and extremely difficult task. In recent years Wieniawski’s
two violin concertos have remained under the radar. I certainly
cannot remember ever having seen any of the pair on a concert
programme. It is thought that Wieniawski’s Violin Concerto
No. 2 in D minor was commenced in 1856. The work had to
wait until 1862 for its première which was held in St.
Petersburg with the composer as soloist. With its long lyrical
lines Igor Oistrakh creates an air of mystery in the opening
Allegro moderato. Containing a lovely languid melody
in the Romance I especially enjoyed the mood of the intensely
romantic yet brief central section. Oistrakh is in his element
with the demands of the unashamedly virtuosic Rondo,
Finale. It’s a striking movement in the Hungarian
Zingaresca (Gypsy) style so favoured by Paganini. In
the alternative accounts of the Violin Concerto No. 2
few equal the unforced virtuosity of the 1990 performance by
Gil Shaham with the LSO under Lawrence Foster on Deutsche Grammophon
431 815-2 (c/w Violin Concerto No. 1).
It seems likely that Bach’s Concerto for Two Violins
in D minor, BWV 1043 was a product of the time he was kapellmeister
to his royal employer Prince Leopold at Cöthen between
1717 and 1723. There was no sacred choral tradition at Cöthen
meaning that Bach had more scope for composing instrumental
music; a number of which were concertos for solo instruments
described as being in the manner of Vivaldi. This much loved
Double Concerto has always been a favourite and Igor
and David Oistrakh demonstrate their affinity for Bach’s
wonderfully lyrical and attractive writing. Throughout their
interplay was mightily impressive and the opening Vivace
was buoyantly played and not too briskly. In the wonderfully
attractive Largo the Oistrakhs convey the beautiful melodies
quite serenely. The beauty of performance continues in the Allegro
with fresh and lively playing of considerable character. In
the Bach Double Concerto I have long admired the classic
1962 account played by David and Igor Oistrakh with the Royal
Philharmonic Orchestra under Eugene Goossens. Most impressively
played and very well recorded the Oistrakh account in digitally
re-mastered stereo has worn its years extremely well on Deutsche
Grammophon 449 844-2 (c/w Violin Concertos, BWV 1041,
1042, Orchestral Suite No. 4, BWV 1069).
All three concertos were recorded in mono some 55 years ago
at the Kongresshalle, Leipzig. The Mendelssohn and Wieniawski
scores, although sounding slightly one dimensional, have a cool
vivid sound that one’s ears quickly adjust to. However,
the Bach sound wasn’t quite as satisfying. It seems to
have been recorded at a different level and some volume adjusting
is necessary. More pronounced is the one dimensional effect
and the sound wasn’t quite as clear. These fine Oistrakh
performances provide a partial insight into the work that was
happening on the East German side of the Iron Curtain. I believe
there are far superior recordings available of each work and
consequently I have doubts as to who this disc will appeal to.
Michael Cookson
Masterwork Index: Mendelssohn
concerto ~~ Bach
Double concerto
Igor Oistrakh (violin); David Oistrakh (violin - Bach)
