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In Reply to: RE: Scottish Fantasy posted by pbarach on November 05, 2016 at 14:18:42
(MRDA.)
JM
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I find both his Bruch and Hindemith a bit leaden, thick and sluggish. His famous Mozart Sinfonia Concertante as well.
I bought both because of their legendary status and "audiophile" pedigree, but finally admitted to myself that Grumiaux's Scottish on Philips is IMHO far more transporting.
I bought the Bernstein/Stern Barber Violin Concerto and one day, I happened to try the flip-side of the Lp, which of course is contains the Hindemith, and to my surprise, I found it far more electric, incisive and muscular than the famous Oistrakh/Horenstein.
Same with the Mozart, poor Loveday and Co on Argo is infinitely more charming.
Again, such discoveries/revelations went against all beliefs I held dear as an Lp collector, but I must report honestly.
I've been listening to these repeatedly for decades (except for the Loveday, I'll have to track that down) and for me Oistrakh wins and by a very large margin.
Being "incisive and muscular" was Stern's game, and as you say it worked very well with Hindemith (Bartok and Prokofiev too). But for me there is a lack of variety to his macho approach that eventually tires me out. Oistrakh OTOH has utter command over a wide variety of approaches and from Bach and Vivaldi to Mozart and Beethoven to Saint-Saens and Chausson to Brahms and Tchaikovsky to Sibelius and Hindemith to Prokofiev and Shostakovich, he is able to sound like a specialist in each style.
of great performance and great sound quality (for its day).
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