In 1927, at a music evening to welcome Prokofiev to Odessa, Oistrakh played the Scherzo movement from the First Violin Concerto in front of the composer. Prokofiev, who was the guest of honor at the time, sat in the front row. As I played, his face grew darker and darker. At the end, there was a round of applause from the audience, but he did not participate in the applause. Instead, he strode onto the stage without paying attention to the noise and excitement of the audience. He immediately asked the pianist to give him his seat, sat down and turned to me. Say, 'Young man, you're not playing at all like you're asked to do. 'He began to express and explain to me the character of his music. It was so terrible...

Many years later, when I had become a close friend of Prokofiev, I once mentioned to him the scene of the Odessa concert. To my surprise, he remembered everything and many details - the exact content of the program, the number of encores, Chiszko, who performed "The Ugly Duckling" with him at the banquet, and the 'unfortunate young man'. This man, as he appears, is so 'reproached' by the author. 'Who do you think this young man is? 'When he found out that this person was me, Prokofiev was obviously embarrassed. --'oh! What did you say! 'I saw immediately what an affable man he was.

In the summer of 1927, Oistrakh was invited to Kiev to perform Glazunov's Violin Concerto. Under the author's personal command, he and the orchestra performed this masterpiece twice, achieving brilliant success. Glazunov greatly appreciated his artistic treatment. This year, Oistrakh met in Brussels two senior masters who had a major influence on the formation of his style. After listening to Kreisler's concert, he wrote in his diary: Kreisler's performance left an everlasting impression on me. His extraordinary talent and profound performance conquered the entire audience! Around the late 1920s, Oistrakh first heard Kreisler on a record and immediately saw a new world in the art of violin performance. He played a large number of various pieces, deliberately imitating some of the extraordinary Viennese's unique playing techniques: finger rubbing, gliding expressions and sighing recitations. But, above all, these exercises helped him master subtle color variations and an extraordinary skill in telling the story of his compositions. Many people can do large-scale productions passably or even well, but they can't do sketches well. The root cause is that the content of the sketch is clear. If the expressiveness is not enough, it will be difficult to give the audience a clear impression, and it will sound like an etude.

Therefore, those who really want to reach the peak of performance art will not fail to pay attention to sketches, which are a severe test of expression ability. Oistrakh's later ability to express such rich and delicate thoughts and feelings in large-scale works is closely related to his tempering at this time. Another influence is the non-personalized tendency of performance advocated by Szigeti, which requires performers to embody the composer's intention as the highest purpose and opposes performers interpreting works with too strong personal characteristics. Its positive effects are self-evident, but In the subsequent development, this resulted in the negative effect of having superb skills but being too domineering in musical personality.

In June 1938, Miaskovsky's Violin Concerto came out. This was the first example of Oistrakh's performing arts inspiring the creative impulse of the great composer. This is a lyrical masterpiece with a distinct personality and rich melody. Music flows freely under the exquisitely designed structure. Especially the second movement seems to be looking back at the stable and happy past years. A feeling of melancholy and regret passes through the author's heart. Miaskovsky is an undervalued composer. His inner world Subtle and sensitive, he may not be as bold as Shostakovich to speak out against the injustice of the times. But he hinted at injustice in his own euphemistic way, and had the infinitely good attitude of an old man at sunset. You can choose the version of this work by violinist Fegin, whose performance is very warm (record number: OlympiaOCD134). During the Great Patriotic War, Oistrakh went to the rear and front lines with patriotic enthusiasm to perform condolences. In 1942, he came to besieged Leningrad to give a concert. Soldiers, workers, sailors and residents came to hear his performances. After experiencing countless hardships, the Soviet people gained so much comfort from music at this time! An air raid siren sounded during the performance, but no one left the concert hall. After the song was played, there was thunderous applause. At the end of the performance, it was announced on the spot that Oistrakh was awarded a national award. At this time, cheers resounded throughout the hall. This is the best reward for the artist's labor.

In 1945, when the war was over, Oistrakh collaborated with Menuhin, the first American violinist to visit the Soviet Union after the war, to perform Bach's Double Violin Concerto in Moscow. This was a huge event at the time and had a strong response. Oistrakh's career prospered. In 1958, he recorded the prestigious Beethoven Violin Concertos in Paris with the Orchester Fran?aise de Radio, conducted by Cluitin. This is warm, slow, stretched playing. Oistrakh was a very easy-going man, taking his time and savoring Beethoven's romantic journey. The French band complements it with its lazy national character. Neither the recording nor the performance of this record was as good as rumored.

Beethoven's works, "Complete Violin Sonatas" recorded by Oistrakh and pianist Oberlin are even more worth listening to. The beginning of "Sonata No. 10 in G major" is sad and sad, with a Gypsy flavor, which is quite the original intention of the collaborator (this work was originally dedicated to a Gypsy violinist, but Beethoven later had an quarrel with him because of a girl. It was transferred to Rhodes). "Sonata No. 8 in G major" is warm and genial, it is two kind people who are easing your worries.

Oistrakh's interpretation of Russian, especially Soviet violin works is authoritative. His audio and written materials serve as models for later generations of violinists to study and figure out.