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David Oistrakh biography: Performer

January 16, 2012 at 7:25 AM

Oistrakh - born musician with exceptional natural talent. Can a normal kid to stop their antics from the fact that he threatened not to go with my mother in the theater and did not hear the orchestra, the sound is literally fascinated?
"I was three and a half years old when my father brought home a toy fiddle," playing "with which I am very happy fancies himself a street musician... I thought not and could not be happier than go from house to house with a violin ".
Dream come true pretty soon. Touring journey Oistrakh - concerts soloist, began when he was barely 16 years old. His first and only music teacher called David F. eminent violin teacher - Peter Stolyarsky, creator of the famous schools - this factory talents. The teacher, in turn, recalled that his best pupil "with childhood showed exceptionally brilliant and almost breakneck speed along the road of mastering a difficult violin playing".

"When I think of myself in those years, it seems to me that I was playing quite freely and fluently, tonally pure. But

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David Oistrakh

David Oïstrakh was one of the supreme violinists of our era. For me it's this simple: in terms of originality of sound, instrumental mastery, force of musical personality, there is the young Yehudi Menuhin and there is David Oïstrakh, and after that, all the others, who can as a matter of fact be counted on the fingers of two hands. Just as with the voice, there is in the nature of the violin an element of mythical, if not mystical, resonance which accounts for the fact that there exists a radical demarcation line between an extraordinarily limited number of very "great" violinists, unanimously recognised as such, and a quantity of admirable virtuosi of lesser vintage. That demarcation line hangs on a single word: sound, for indeed it is sound which immediately distinguishes the '"great" violinist. There is an unmistakeable Oïstrakh sound, just as much as there is a Menuhin, Heifetz or Milstein sound - as there was a Kreisler or Ysaÿe sound in a previous era - to the point that it is instantly recognisable, should the bow of any one of these magnificent mas

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By Sasha Margolis

When rising star Nathan Milstein left the young Soviet Union for parts West in the mid-1920s, it was the latest in a series of departures by Russia’s top violinists. Mischa Elman was long gone. Jascha Heifetz made his exit in the middle of the 1917 Revolution. Leopold Auer, who taught all three, pulled up stakes in 1918, saying work in Russia had become impossible. Milstein’s leaving must have felt like a final indignity.

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Luckily for Russian violin playing, David Oistrakh was just coming of age. With his effortless technique, enormous tone always ready to blossom into ravishing sweetness, and profound musicianship with extraordinary sensitivity to detail, Oistrakh rose to become a linchpin of Soviet musical culture at home, and one of its most prominent faces abroad. For all that, he was endearingly humble and unassuming in manner, and beloved the world over.

Oistrakh was born in 1908 in Odessa, and studied for thirteen years there with Pyotr Stolyarsky, before moving to try his luck in Mo