The recent cultural exchange that gave us concerts by several Russian musicians has also produced a number of outstanding records. In true communist fashion, violinist David Oistrakh has avoided the usual monopolism and recorded for almost every label. Some of his records have been reviewed here; by this time it is possible to look back on and evaluate his entire output. His recent Angel recording of Prokofief's First Violin Concerto stands out as one of the best examples of Oistrakh's technical virtuosity, rich tone, and great musicianship. An early Prokofief work, the concerto finds the composer in a lyrical mood and is one of the few entirely successful concerti of this century. (Angel 35243)

One of the composers who have come to America from abroad, Bohuslav Martinu has achieved a large measure of recognition in this country. His Czech origins shine through his music more in his melodies than in his harmonies or forms, which are modern in convention yet somewhat Baroque in spirit. He is a prolific composer, and his many pieces include mediocre works along with decidedly more successful ones. Westminster has just put out a record that illustrated both facets of his talent. The Concerto Grosso is a fine piece of music, with incisive themes and strong rhythmic drive. But its companion on the same record, the Serenade for Orchestra, seems hastily written and rather uninteresting. (WL 18079)

A new recording of Charles Ives' Third Symphony has been issued by Vanguard. Ives was an American Pioneer who has become the most influencial of domestic composers although he stopped writing over thirty years ago. His music is still too "modern" for many listeners, as he was an experimenter in polytonality, tone-clusters, and polyrhythms. The Third Symphony is one of his most accessible works, and the new recording brings out its surprisingly quiet beauty. Ives is one of the few composers who is American is spirit without being self-conscious about it, and he deserves attention as our first great composer. (Vanguard 468)