# Composers: Max Bruch, Paul Hindemith
# Orchestra: London Symphony Orchestra
# Conductors: Jascha Horenstein, Paul Hindemith
# Vinyl (1962 / 2013)
# Number of Discs: 1
# Format: Flac
# DR Analysis: DR 13
# Label: Decca | SXL 2400
# Size: 1.26GB (24/96) + 352MB (16/44.1)
# Recovery: 5%
# Scan: yes
# Servers: File Factory / File Post
The third album in the second Decca Sound 6LP box set.
Thanks to all who donated toward the purchase of this box set!
From the label:
Cut at Abbey Road Studios by Sean Magee. Pressed at Optimal in Germany and limited to 3,000 copies!
In the late 1940s, the pioneering Decca recording engineers perfected a new set of microphone techniques that allowed the full range of frequencies to be fully heard by listeners for the first time, and the term ‘full frequency range recording’ was launched. It was a major revolution in sound quality, and the beginnings of high fidelity. Perfected with the birth of stereo in the mid-1950s, Decca’s ‘Full Frequency Stereophonic Sound’ became a worldwide hallmark of sonic excellence and a golden age of classical recorded music was born.
The Analogue Years presents six LPs on 180-gram vinyl from those celebrated international recordings that emerged from the London-based record label in that pre-digital era.
This disc, coupling David Oistrakh’s magical and magisterial performances of Bruch’s Scottish Fantasia and Hindemith’s Violin Concerto is as close to ideal as is imaginable. Listen just to the last few bars of the Introduction to Bruch’s Fantasia — the physical sense of Oistrakh’s ineffably beautiful tone is palpable. The performances themselves are superlative — Jascha Horenstein leads the London Symphony in a detailed accompaniment for Oistrakh’s expressive performance of Bruch’s Fantasia, and Paul Hindemith himself leads the LSO in an aggressive accompaniment for Oistrakh’s muscular performance of his own concerto — but anyone with the slightest interest in the art of recording owes it to themselves to hear this disc. – James Leonard, allmusic.com
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. – speakerscornerrecords.com
David Oistrakh’s superbly poised and eloquent performance of the Hindemuth came as an absolute revelation to me. With the LSO playing at the tip of their form, and with Hindemuth himself showing a surprising sensitivity (his subtle handling of the slow movement’s opening is almost Beechamesque), this performance must be regarded as definitive. The performance of the Bruch is superlative, with Oistrakh, the LSO, and Horenstein really making a banquet of it… I cannot imagine finer. The recordings have a satisfying balance between soloist and orchestra, with Oikstrakh not too obtrusively near, and both are excellent. – Gramaphone
Scottish Fantasia, Op. 46
01 – Introduction (Grave) / I. Adagio Cantabile
02 – II. Allegro
03 – III. Andante Sostenuto
04 – IV. Finale (Allegro Guerriero)
Violin Concerto (1939)
05 – Mässig Bewegte Halbe
06 – Langsam
07 – Lebhaft
David Oistrakh – violin
Osian Ellis – harp
There is 10 seconds of silence between tracks 4 and 5.
Recording location: Walthamstow Assembly Hall, 13 & 14 September 1962 (Hindemuth), 24 September 1962 (Bruch)
Recording producer: Erik Smith
Recording engineers: Alan Reeve (Bruch), Arthur Lilley (Hindemuth)
First released as SXL 6035 in 1962
All vinyl is cleaned on a VPI 16.5
Technics SL1200-MK5 (modified)
– Rega RB300 arm with RB700 wiring
– Michell Tecnoweight
– SoundSupports armboard
– Trans-Fi Audio Reso-Mat
Shure V15VxMR (with Jico stylus)
SimAudio Moon 110LP preamp
Native Instruments Audio4DJ USB interface
Processing: Sound Forge 10, ClickRepair (manual mode only)
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