Strong yet sensitive, David Oistrakh was certainly the greatest Russian violinist of the middle years of the twentieth century. Although his technique was nearly supernatural, it was his tone that elevated him above any other violinist of his time. Oistrakh's tone was incredibly full and rich, but it was also unbelievably sweet and tender. Oistrakh's ability to play even the most difficult passages perfectly made him great, but his ability to make even the most difficult passage with a singing tone made him one of the all ...
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Strong yet sensitive, David Oistrakh was certainly the greatest Russian violinist of the middle years of the twentieth century. Although his technique was nearly supernatural, it was his tone that elevated him above any other violinist of his time. Oistrakh's tone was incredibly full and rich, but it was also unbelievably sweet and tender. Oistrakh's ability to play even the most difficult passages perfectly made him great, but his ability to make even the most difficult passage with a singing tone made him one of the all-time greatest.Oistrakh's 1956 recital for EMI, called "The Devil's Trill," displays his technique in some of the most virtuosic works in the repertoire. And, supernaturally, Oistrakh plays every trill perfectly in not only Tartini's The Devil Trill Sonata, but in every absurdly difficult work on the disc. His sustained line in Ysa˙e's Extase is a masterful demonstration of bowing and his spiked lines in de Falla's Jota is an unprecedented proof of transcendental digital dexterity. But...
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