David Oistrakh and Hans Pischner - Bach Sonatas BWV 1014-1019 (2016)

Tracklist
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01. J.S. Bach: Sonata For Violin And Harpsichord No.1 In B Minor, BWV 1014- 1. Adagio
02. J.S. Bach: Sonata For Violin And Harpsichord No.1 In B Minor, BWV 1014- 2. Allegro
03. J.S. Bach: Sonata For Violin And Harpsichord No.1 In B Minor, BWV 1014- 3. Andante
04. J.S. Bach: Sonata For Violin And Harpsichord No.1 In B Minor, BWV 1014- 4. Allegro
05. J.S. Bach: Sonata For Violin And Harpsichord No.2 In A, BWV 1015- Version For Violin And Piano
06. J.S. Bach: Sonata For Violin And Harpsichord No.2 In A, BWV 1015- Version For Violin And Piano
07. J.S. Bach: Sonata For Violin And Harpsichord No.2 In A, BWV 1015- Version For Violin And Piano
08. J.S. Bach: Sonata For Violin And Harpsichord No.2 In A, BWV 1015- Version For Violin And Piano
09. J.S. Bach: Sonata For Violin And Harpsichord No.3 In E, BWV 1016- 1. Adagio
10. J.S. Bach: Sonata For Violin And Harpsichord No.3 In E, BWV 1016- 2. Allegro
11. J.S. Bach: Sonata For Violin And Harpsichord No.3 In E, BWV 1016- 3. Adagio ma non tanto
12. J.S. Bach: Sonata For Violin And Harpsichord No.3 In E, BWV 1016- 4. Allegro
13. J.S. Bach: Sonata For Violin And Harpsichord No.4 In C Minor, BWV 1017- 1. Siciliano (Largo)
14. J.S. Bach: Sonata For Violin And Harpsichord No.4 In C Minor, BWV 1017- 2. Allegro
15. J.S. Bach: Sonata For Violin And Harpsichord No.4 In C Minor, BWV 1017- 3. Adagio
16. J.S. Bach: Sonata For Violin And Harpsichord No.4 In C Minor, BWV 1017- 4. Allegro
17. J.S. Bach: Sonata For Violin And Harpsichord No.5 In F Minor, BWV 1018- 1.
18. J.S. Bach: Sonata For Violin And Harpsichord No.5 In F Minor, BWV 1018- 2. Allegro
19. J.S. Bach: Sonata For Violin And Harpsichord No.5 In F Minor, BWV 1018- 3. Adagio
20. J.S. Bach: Sonata For Violin And Harpsichord No.5 In F Minor, BWV 1018- 4. Vivace
21. J.S. Bach: Sonata For Violin And Harpsichord No.6 In G, BWV 1019- 1. Allegro
22. J.S. Bach: Sonata For Violin And Harpsichord No.6 In G, BWV 1019- 2. Largo
23. J.S. Bach: Sonata For Violin And Harpsichord No.6 In G, BWV 1019- 3. Allegro
24. J.S. Bach: Sonata For Violin And Harpsichord No.6 In G, BWV 1019- 4. Adagio
25. J.S. Bach: Sonata For Violin And Harpsichord No.6 In G, BWV 1019- 5. Allegro

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. Performances of the Glazunov concerto in Odessa and Kiev in 1927, and a 1928 debut in Leningrad (Tchaikovsky concerto), gave Oistrakh the confidence to move to Moscow. He made his premiere there in early 1929, but the event went largely unnoticed. In 1934, however, after several years of patiently refining his craft, Oistrakh was invited to join the Moscow Conservatory, eventually rising to the rank of full professor in 1939. Soviet composers began to take notice of their young compatriot, enabling Oistrakh to work closely with Myaskovsky and Khachaturian on their concertos in 1939 and 1940, respectively. In addition, his close friendship with Shostakovich led the composer to write two concertos for the instrument (the first of which Oistrakh played at his, and its, triumphant American premiere in 1955). The remaining decades of Oistrakh's life were devoted to maintaining the highest possible standards of excellence throughout an exhausting touring schedule (he returned to the U.S. six times in the 1960s), and he began a small but successful sideline career as an orchestral conductor. His death came suddenly in Amsterdam in 1974, during a cycle of Brahms concerts in which he both played and conducted. Oistrakh's unexpected death left a void in the Soviet musical world which was never really filled. Throughout his career David Oistrakh was known for his honest, warm personality; he developed close friendships with many of the leading musicians of the day. His violin technique was virtually flawless, though he never allowed purely physical matters to dominate his musical performances. He always demanded of himself (and his students) that musical proficiency, intelligence, and emotion be in balance, regardless of the particular style. Oistrakh felt that a violinist's essence was communicated through clever and subtle use of the bow, and not through overly expressive use of vibrato. To this end he developed a remarkably relaxed, flexible right arm technique, capable of producing the most delicate expressive nuances, but equally capable of generating great volume and projection. As a teacher, David Oistrakh maintained that a teacher should do no more than necessary to help guide the student toward his or her own solutions to technical and interpretive difficulties. He rarely played during lessons, fearing that he might distract the student from developing a more individual approach, and even encouraged his students to challenge his interpretations. Perhaps the best evidence of the Oistrakh's gift for teaching is that he felt that he gained as much from the teaching experience as his students did.

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