Tag: David Oistrakh

Title: David Oistrakh, Mstislav Rostropovich, The Cleveland Orchestra, George Szell – Brahms: Violin Concerto, Double Concerto (1969/2023)
Genre: Classical
Format: SACD ISO

Two absolute masterpieces featuring Oistrakh’s exquisite Brahms, further refined through his collaboration with Szell, have been remastered with respect for the original masters. Newly remastered from the original analog master tapes in the country of origin. Includes new liner notes. Two historical recordings of Brahms from May 1969 have been remastered. Oistrakh’s violin concerto was his second stereo recording, following the 1960 recording with Klemperer and the French National Radio Orchestra (reissued in June 2019 as TDSA108 in this series), and it is a true masterpiece with a deeper, more eternal brilliance. These recordings, including the double concerto with Rostropovich, are historical recordings that represent these pieces, built on the solid support of Szell. The master was digitized at 192kHz/24bit from the original analog master tape in the home country, and mastering was performed separately for the SACD layer and CD layer. New commentary included. A must-have for your collection. Oistrakh’s Brahms with Szell is one of the most ideal recordings of this piece and is considered a masterpiece among masterpieces, on par with Nouvé in terms of historical significance. This piece has been recorded many times since the monaural era, and many consider this final session recording to be the best of them all. The Double Concerto with Rostropovich was also Oistrakh’s second stereo recording (the previous recording from 1956 was conducted by Galiera with Fauré on cello, and was reissued in June 2021 as TDSA193). This recording is also a monumental masterpiece and stands at the forefront of evaluations of the piece.

These two tracks are a golden pairing. Originally recorded together, they are ideal for CD release in terms of both content and recording conditions. These recordings have been reissued many times as famous recordings. In particular, the violin concerto has been released in the past as a commercially available SACD hybrid disc by another company, so many people probably already own it. One thing that has become clear through this project is that as EMI recordings become more famous, the condition of the masters becomes more stringent. At EMI, which preserves 2-channel analog master tapes, it has been confirmed that the condition of the tapes changes depending on how many times they have been used, so there were initial concerns about the condition of the master for this recording. Nevertheless, the decision to reissue it this time was made with the aim of preserving the best possible quality, taking into account the sound quality of the previous release. The timing of this release was chosen because it allows for high-resolution conversion at 192kHz/24bit, exceeding the previous commercial release’s 96kHz/24bit, and because the latest mastering effects are expected to be applied. While there are differences between 96/24 and 192/24, and even higher specifications exist, the sound quality of string instruments does not necessarily improve with higher specifications. This is a complex issue and varies depending on the source material. Additionally, considering the need to bring out the intricate resonance of the orchestra, we judged this to be the best approach. This project is based on the original analog master tapes, with adjustments kept to a minimum while prioritizing balance. While it is not an archival-style opera recording, I believe the content prioritizes musicality. There is no need to explain the performance itself. Each piece is a mature performance, and the high-quality sound allows the solo instruments to shine brilliantly, creating a truly breathtaking experience. The subtle nuances can be felt in the details, and we hope that it will resonate with listeners even more than before. For this release, we used a flat master created by digitizing the original 2-channel analog master tape from the home country at 192kHz/24bit, and performed the latest mastering. The master tape had a natural sound quality that reflected its age. Therefore, we focused on preserving the original balance and prioritized musical considerations in the mastering process. This has improved the clarity of the instruments’ spatial relationships and depth, and the enhanced localization allows you to enjoy the performance stress-free. Additionally, the booklet includes new text by Satoshi Otsu. The jacket design features the violin concerto. In this series, the SACD layer aims for extended high frequencies, soft nuances, high resolution, and a rich soundstage, while the CD layer seeks a cohesive, solid sound with a tangible presence. The CD itself has high potential, and we recommend enjoying it as an SACD hybrid disc that combines the best of both formats. This 51st installment of the Definition Series will release two titles.

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