Beethoven* / David Oistrakh* / Orchestre National De La Radiodiffusion Française* / André Cluytens ‎– Violin Concerto In D Major, Op. 61

Label:
Columbia ‎– SAXO 2315
Format:
Vinyl, LP, Album, Stereo
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

Violin Concerto In D Major, Op. 61
A Allegro Ma Non Troppo
Arranged By [Kadenz] – Fritz Kreisler
B1 Larghetto
B2 Rondo (Allegro)
Arranged By [Kadenz] – Fritz Kreisler

Credits

Notes

Stereo Version of 33CX 1672

Other Versions (5 of 63) View All

Cat# Artist Title (Format) Label Cat# Country Year
SAX 2315 Beethoven* / David Oistrakh* / Orchestre National De La Radiodiffusion Française* / André Cluytens Beethoven* / David Oistrakh* / Orchestre National De La Radiodiffusion Française* / André Cluytens - Violin Concerto In D Major, Op. 61(LP, Album) Columbia SAX 2315 UK 1960 Sell This Version
AA-8030 Beethoven* / David Oistrakh* / Orchestre National De La Radiodiffusion Française* / André Cluytens Beethoven* / David Oistrakh* / Orchestre National De La Radiodiffusion Française* / André Cluytens - Violin Concerto(LP, Album, RED) Angel Records AA-8030 Japan 1968 Sell This Version
LPSV-VSM-313 David Oïstrakh* / Orchestre National De La Radiodiffusion Française* David Oïstrakh* / Orchestre National De La Radiodiffusion Française* - Beethoven Concerto Pour Violon Et Orchestre(LP) Jugoton LPSV-VSM-313 Yugoslavia Unknown Sell This Version
SXLP 30168, OC 047-90905 Beethoven* / David Oistrakh* / Orchestre National De La Radiodiffusion Française* / André Cluytens Beethoven* / David Oistrakh* / Orchestre National De La Radiodiffusion Française* / André Cluytens - Violin Concerto In D Major, Op. 61(LP, Album, RE) His Master's Voice, His Master's Voice SXLP 30168, OC 047-90905 UK Unknown Sell This Version
SAX 2315 Beethoven* / David Oistrakh* / French National Radio Orchestra* / André Cluytens Beethoven* / David Oistrakh* / French National Radio Orchestra* / André Cluytens - Violin Concerto(LP, Album, Red) Columbia SAX 2315 UK 1965 Sell This Version

Reviews

Add Review

Miss.i.onsellit

Miss.i.onsellit

April 26, 2012
edited over 6 years ago
This is posted as a comment not a review !Due to the lack of published data on the sequence of pressings and their versions in Australia, I pass this information on , drawn from close inspection of Several copies of this issue, and after comparing them with corresponding UK Issues.
Matrix numbers on Australian pressings are the same as 1st edition UK pressed SAX 2315 (YLX 1006-2 and YLX 1007-16)
Due to the low volumes pressed in Australia, compared to the UK, those matrix numbers were used throughout life of the Australian release. First Label Turquoise and Silver right through to the last 'Magic Notes' label Australian Issue had those Matrix numbers.
Only the very first UK pressings had those low stamper matrix numbers. The last of the UK Turquoise labels had an updated stamper -6 / -20 which have not been seen by me yet in Australia.
First issues in Australia had no raised lip edge (Flat edge in the style of the earliest 33CX pressings. ) and the cover for those ones had an Australian version of the radiowaves stereophonic sticker on the jacket in white with blue radiowaves rather than the UK stereophonic sticker in a similar design in metallic gold and red radio waves.
Cover is unique to Australia as a painted "Impressionistic" style head of David Oistraikh in black and white, with 3 overlayed silhouettes of a violin Bridge, block printed over the portrait. Earliest flat edge pressings were the first off the stamper, and the cover of those seemed to always have the stereophonic radio waves sticker, later issues did not have the round radio waves sticker. Ealiest jackets that seemed to match the flat edge pressing were flipback and the block printed violin bridge over Oistrakhs left cheek was dark purple. Later issues changed to a lighter rose colored bridge, and were later, not flipback.
having listened to both UK Stampers, and three different versions of the Australian pressing (flat edge early, Raised lip early and the last thin vinyl magic notes issue.) It would seem the earliest flat edge pressing Australian issue has a fuller tone and best representation of Bass response. Compared directly to an english -6/-20 turquoise label pressing, the UK pressing had a shallow and 'tinny' tone. Apologies to the UK pressing fans that thought it was the best sounding. I have sold a couple of the early flat edge pressings to overseas collectors of SAX pressings and their response to me was they agreed about the fuller tone, more of a 'LIVE' performance feel of the Earliest Australian pressing.