34:I[5696,["352","static/chunks/352-3ee02a3105c218db.js","4166","static/chunks/4166-8ca60d5be3e3329a.js","6874","static/chunks/6874-98a7f8268e192452.js","5784","static/chunks/5784-415ddf12556d8261.js","7399","static/chunks/7399-26b15dbcfe6c3d55.js","3063","static/chunks/3063-7cbe9e548a8d185f.js","6164","static/chunks/6164-e17a771cf2d83f17.js","253","static/chunks/253-da62e547742b6bee.js","1215","static/chunks/1215-07120a8c77b23d78.js","5607","static/chunks/5607-9fccc14341fbf147.js","1357","static/chunks/1357-5bc874ef60c161b5.js","9164","static/chunks/9164-5de9886fbddf12ff.js","6252","static/chunks/6252-11d0c66f47fdb9a4.js","3204","static/chunks/3204-78d351b909301190.js","1201","static/chunks/app/(storefront)/(main)/products/%5Bhandle%5D/page-2e981b797054cfa0.js"],"default"] 35:T575,

The historic recording of David Oistrakh playing Dmitri Shostakovich’s Violin Concerto under Dimitri Mitropoulos on Columbia ML5077 remains gripping for its combination of severity and raw emotional force: Oistrakh’s tone is broad yet unsentimental, shaping the Nocturne with brooding patience and unleashing fierce, almost defiant energy in the Scherzo and Burlesque, while Mitropoulos drives the orchestra with taut, urgent focus that heightens the concerto’s bleak drama; the Passacaglia builds inexorably toward a cadenza that feels less like virtuoso display and more like psychological confession, and although the mono sound shows its age, the interpretive intensity and unmistakable sense of collaborat

HAYDN / GARDINER | SCHOPFUNGSMESSE/HARMONIEMESSE (2CD)

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