David Oistrakh is considered the premiere violinist of mid-20th century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartók. Oistrakh's violin studies began in 1913 with famed teacher Pyotr Stolyarsky. Later he officially joined Stolyarsky's class at the Odessa Conservatory, graduating in 1926 by playing Prokofiev's First Violin Concerto.
The German violinist Tanja Becker-Bender burst onto the recording scene with a dazzling set of Paganini’s Caprices which thrilled the critics. She appears here in a second disc for Hyperion with her compatriot, Markus Becker, who has made two acclaimed recordings for the label. Erwin Schulhoff: jazz enthusiast, sometime Dadaist, surrealist and committed communist. These are some of the labels that spring to mind for this extraordinary figure, but Schulhoff was a more complex and wide-ranging musician than any neat tags suggest. This Prague-born prodigy had an intensive training rooted in the Austro-German tradition from before the age of ten, and later studied with Max Reger and Fritz Steinbacher. His music is impossible to pin down stylistically – even at a particular stage of his career. His music for violin is often outrageously virtuosic and never less than fascinating.
…The opera is very much worth hearing—and owning (though I wish MD&G had supplied an English translation of the libretto). The performances are for the most part on target. (…) So I guess this must be a qualified recommendation, but a recommendation nonetheless, given the quality of D’Albert’s music.
…The opera is very much worth hearing—and owning (though I wish MD&G had supplied an English translation of the libretto). The performances are for the most part on target. (…) So I guess this must be a qualified recommendation, but a recommendation nonetheless, given the quality of D’Albert’s music.
…The opera is very much worth hearing—and owning (though I wish MD&G had supplied an English translation of the libretto). The performances are for the most part on target. (…) So I guess this must be a qualified recommendation, but a recommendation nonetheless, given the quality of D’Albert’s music.