David Oistrakh Beethoven Concerto Violin Op 61 USSR Moscow Vinyl LP Record VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. David Oistrakh Beethoven Concerto Violin Op 61 USSR Moscow Vinyl LP Record VG+ Record Grade per Goldmine Standard: VG+ BEETHOVENVIOLIN CONCERTOIN D major; OPUS 61DAVIDOISTRAKHviolinistMoscow State Symphony OrchestraALEXANDER GAUKconductorFranz Clement was, by unanimous contemporary consent, oneof the great violinists around the turn of the nineteenth century.It was for him that Beethoven composed the Violin Concertoin D (Op. 61). Clement (1780-1842). who was born and diedin Vienna, had been an authentic Wunderkind. At the age of4 he was already playing the violin, and three years later hewas before the public. The life of a touring virtuoso followed.From 1802 to 1811 he was conductor at the Theater an der Wien(where he also appeared as violin soloist). Il was during thisperiod that Beethoven came to know him well.Many musicians were staggered by Clement’s natural gifts.Ludwig Spohr, himself one of the supreme violinists of the dayand a fine composer, relates that Clement, after hearing two re-hearsals and a public performance of a long oratorio, was ableto reproduce sections of it on the piano without missing a singleharmony. Since Spohr composed the oratorio in question, hisaccount can be taken in complete trust. Clement also — so goesthe story — made a piano reduction of Haydn’s Creation frommemory, without ever having seen the score; and this arrange-ment was so good that Haydn accepted it for publication. Hisviolin playing has been described as ’‘not vigorous, nor his tonevery powerful: gracefulness and tenderness were its maincharacteristics. His technical skill appears to have beenextraordinary. His intonation was perfect in the most hazard-ous passages, and his bowing of the greatest dexterity. . . .”Thus Grove's Dictionary.Beethoven noted on the manuscript of his score: Concerto parClemenza pour Clement, primo violino e dirretore al theatro aVienne dal L. v. Bthin., 1806. This was a joke; Beethovenalways was fond of puns. The evening of Dec. 23 was the occa-sion of the premiere; and, according to a contemporary ac-count, Clement played the concerto at sight. This would appearto be unbelievable. Not even Clement could have been such agood sight reader; and Beethoven’s manuscripts generally werea collection of blots, scratches, erasures and indecipherablescrawls.The year 1806 was one of Beethoven’s prime periods. Aroundthis time the three Rasouniovsky quartets were completed; sowas the Fourth Symphony. The Violin Concerto appears tohave been well received, though of course there were severalcritics who took the opportunity of telling Beethoven how tocompose. One of them was a man named Johann NepomukMoser, who gave grudging admiration to some of the writing:“The judgment of connoisseurs is unanimous; its many beau-ties must be conceded.” But, continued Moser, “it must also beacknowledged that the continuity is often broken completely,and that the endless repetitions of certain commonplace pas-sages may easily become tedious to the listener. It is to be saidthat Beethoven might employ his indubitable talents morefittingly by giving us Mich works‘as the first symphonies in Cand I), the charming Septet in E Rat, the ingenious Quintet inD major and more of his earlier compositions, which will alwaysplace him in the first rank of composers. It is to be feared,however, that if Beethoven continues upon this path he andthe public will fare badly.”Beethoven broke precedent in the Violin Concerto by openingthe work with four solo taps of the kettle drum. Sure enough,one critic had words to say about the “Concerto for KettleDrum.” What with one thing and another, the concerto was notplayed loo often in Beethoven's day. Tp virtuosos of his timethe music must have imposed some strong technical problems.And it was (and remains) a very long concerto. Not many ex-ceed it in playing time; and none had, when it was composed.It remained for the great romantic violinists, notably JosephJoachim, to make the Beethoven Violin Concerto one of thegreat vehicles.Shortly after finishing the work. Beethoven transcribed it forpiano solo and orchestra. Why. goodness knows. In its form as apiano concerto, the music never turns up in public performance,and its neglect is deserved.Beethoven worked hard on the Violin Concerto. He was slowcomposing it. and the final manuscript has a large number ofcorrections and emendations. Though the solo part is difficult,the writing is not virtuosic as such. There are few flashy effects,nor are there any of the formulas that so attracted the com-poser* of virtuoso violin concertos. Rather the solo part is cun-ningly devised to fit into the orchestral scheme of things with-out losing any of its own character.“Sweet” is the word to describe the concerto. There is some-thing ineffably gentle and nostalgic about the melodic content.This is not the heaven-storming Beethoven. It is a reflectiveBeethoven who. throughout the concerto and especially in theslow movement, achieves an unsurpassable lyricism. The slowmovement, a Larghetto, opens with a quasi-religious atmos-phere before the violin sings its pure song of joy. And evenin the last movement, where Beethoven so often pitches every-thing out of the window, there is a more restrained and subtlequality that one generally encounters.An additional note to the Violin Concerto: at the first per-formance the program also contained music by Mehul, Cheru-bini. Mozart and Handel, and concluded with a free fantasiaplayed by the great Clement. This fantasia, a set of variations,was performed by Clement mil umgekehrter Violine — with hisviolin upside down. LP482

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End Time: 2023-12-17T01:29:07.000Z

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