Mozart: Eine Kleine Nachtmusik / Tschaikowsky: Symphonie No. 5

Used as we are to hearing David Oistrakh direct classical and baroque music from the violin, many of us are less aware that he was also an accomplished symphonic conductor. Orfeo's booklet refers to memorable Brahms in Vienna (the symphonies and Deutsches Requiem), but live performances of Mahler and Tchaikovsky inspired parallel accolades elsewhere. This CD of a concert from the 1972 Salzburg Festival is therefore an instructive reminder of a great violinist who almost became a great conductor. I say 'almost' advisedly: although Oistrakh's highly cultivated musicianship translated well from bow to baton, his technical excellence didn't... quite. There are odd moments here where detail fails to register as it should, the most conspicuous lapse being in the Andante cantabile of the Symphony, where the strings accompaniment to the clarinet melody (track 5, at 5'27'') obstinately refuses to find its proper ground. A minor blip, perhaps, but one that is musically misleading. In other respects, though, this is a most dignified performance. The Viennese players respond generously to what is in effect a beautifully considered interpretation. Oistrakh negotiates the first movement's oscillating tempos and dynamics without a hint of hysteria, yet—both here and in the finale—he makes his points without labouring them, and keeps a keen ear on where the music is going. Speeds are generally well chosen, and most of the Andante cantabile is extremely moving, especially at key climaxes. Perhaps the score's lighter, more delicate passages—such as the Valse's effervescent middle section—would have benefited from more precise pointing, and greater weight of tone might have lent the fuller climaxes more impact. But the latter shortcoming may well be due to rather bass-light sound, and, in any case, a relative lack of cosmetic refinement is more than compensated for by intelligent and sympathetic musicianship. Add a quietly stylish Eine kleine Nachtmusik, and you have an altogether satisfying concert. But does it justify being issued at full-price? I think not.'