1. Oistrakh has three performances of the work recorded: in 1947, in 1966, and the present recording. The earliest sees the technically most reliable playing, and the 1966 performance (pirated by the major label Philips, who withdrew from the copyrights after a brief release) has the sound presented to its full splendor, which is rather necessary to do justice to Oistrakh’s output. What is special about the recording in 1955 is its staggering tempo, almost to the verge of technique limits, yet under the control of the masters’ hands, as if there is still more room for the shaping of music to deform in flexible elegance.
2. The motive for Oistrakh to adopt such a quick tempo was possibly originated in absolute artistic sensitiveness (to variant performing circumstances, physically and culturally speaking). Oistrakh, an exceedingly generous and humble man in spirit, brought to Japan, where he was treated with uncommon flattering manners that was almost incomprehensible to the western cultures, simply all his best. It was eager for the maestro to exert the magic to its most astonishing.
3. What a pure intonation, lucidity in the doubles, swifting changing of positions, and incomparable bowing techniques. However above all, there is the musicality projected onto a virtuoso piece, making music out of incoherent blocks.
“…the best knowledge of the physical laws of sound” Howard Taubmen.