A deeply hidden disc

In 2008, to commemorate the centenary of David Auystrahe's birth, EMI released a 17-panel CD called "The Complete Recordings of David Oiststrahe at EMI." Both CD1 and CD2 have Beethoven's Triple Concerto for Piano, Violin and Cello in C major, Op. 56. The second is a recording of David playing the violin, Lola Sr. cello, Licht playing the piano, and Karajan conducting the Berliner Philharmonic in 1969, which is very familiar to the philharmonic, and "Penguin" is rated three stars and ranks first in the major charts. And the recording on CD1 is the deeply hidden disc I'm talking about here, David Oystrakla violin, Knusevitskila cello, Lev Opolen playing the piano, Sir Malcolm Sargent conducting the Philharmonic Orchestra concerto.

David Oistrakh is well known to everyone, the top violinist of the Soviet Union, not much to say. Sviatoslav Knushevitsky, a well-known former Soviet cellist in Rostropovich, died young in 1963 at the age of 55. Lev Oberin, a partner of David O'Isstrach, often shared the stage and recorded a full beethoven violin sonata together at PHILIPS Classics. All three were born in 1908, the same age, and the group of three of them was the first Trio Celestial Regiment of the Soviet Union. This was followed by a second trio of David, Rahelo and Ligt. Sir Malcolm Sargent, more than a decade older than the three musicians, was Britain's premier conductor after the war, a world-class conductor. The Philharmonia Orchestra was an emi-funded orchestra after the war, originally designed for recording records and later became independent.

This Beethoven Triple Concerto on CD1, which is not seen on the average chart, is the most passionate version I have ever heard. Because Beethoven wrote this piece for the Duke of Rudolf, who had difficulty mastering the difficult piano, the piano part of the song was not heavy and the difficulty was not high, and the violin and cello were the protagonists, especially the cello.

The sonata-style first movement, allegro in C major, follows the rules, there is no strong contrast between the main and sub-themes, there is no fierce dramatic conflict in the unfolding part, the counterposition and polyphony are basically between the major and violin, and the piano is obviously accompaniment. The highlight is the ending cello quick bow plate. The second movement descends to A major wide plate, trilogy. The theme of the first part is first presented in the high part of the cello, which is a singing melody like a cry, a top lyrical romanticism, which uses the cello to the extreme. When the violin is repeated, the mood is much calmer, and this theme cannot be done on the violin like a cry. By the time the piano is repeated, the subject is disfigured and fragmented. The theme of the middle part of the trilogy is also a lyrical melody, but there is no emotional ups and downs, which contrasts with the theme of one part. The third movement is a melody in the style of Polish dance music in C major. After the peace of the first movement, the lyricism of the second movement, and the music entering the enthusiastic allegro by the third movement, the whole mood reaches a climax. The warm dance of the melody theme alternates, intersperses and overlaps between the violin and the cello, just like the male and female pair dances in the country square, the appearance of the piano is the accompaniment dance, the band is the group dance, and the whole is a carnival scene after the harvest. Each interlude is not small, and the tonal mode changes a lot, like changing the characters of the dance. Finally, the orchestra and the solo part work together to push the music to the climax of the whole song.

The appearance of Soviet musicians on the global charts had a climax after the October Revolution, which abruptly ended with the departure of pianist Horowitz, cellist Piatigorsky, and violinist Milstein. It was not until many years after the war that the Soviet Union sent musicians on tour to Europe. The most famous of these is the three-man group of David, Knusevitsky and Oberlin. This CD1 is the historical recording of emi studios they worked with EMI on a 1958 tour in the UK. David and Knusevitsky played with great passion, especially the cello. The orchestra under the command of Sir Sargent is also enthusiastic. At that time, EMI was in full swing, and vacuum tube stereo recording technology was already at its peak. The solo in the front and the band in the back are all delicate, and the sound field is extremely wide and far-reaching. The dynamic range of the recording is very large, which is the effect of the CD remixing, and the original rough bakelite record is probably much worse. The vacuum tube is slowly exploding and the long aftersound is prominent, which is completely different from the sharp sound effect of the transistor. The sound and sound quality of this CD is definitely Everest in the recordings of the late 1950s and early 1960s. This CD also features Beethoven's famous "Grand Duke Trio."

The second in this set of commemorative CDs is the David, Rahull and Licht editions at the top of each chart. In contrast to CD1, CD2's recording of Lao Luo's cello lacks a little passion, and the gap is presented in the theme of the second movement. Knusevitsky's performance will bring you to tears, and Lao Luo does not have this emotional investment. Knusevitsky's performance makes you think that he will fall to the ground and vomit blood and die after playing, which is really passionate. And his playing is very deep, and Lao Luo is somewhat dazzling. Well, Oberlin is certainly a little inferior to Ligt, but fortunately it is not significant here. Karajan's style of conduct is more calm, and Knusevitsky's style is more passionate.

In short, I recommend that you are interested in finding this CD to enjoy, not in vain to love the music.