Very late, David Oistrakh has been granted the opportunity to tour to the western hemisphere of the world. Until that time, his art was only known by his recordings on LP-disc; these were mainly produced by the labels "Melodya", a Russian label, and "Eterna" of Eastern Germany.

David Oistrakh had the opportunity to play at the Vienna Musikverein not earlier than 1956 (June, 21st.). As a conductor he had his first appearance in 1966 (May, 24th.).
Earlier concerts at the "Wiener Konzerthaus" are found here....

The double concerto by Bach was also recorded by David and Igor Oistrakh on LP records. The precision if their play, the richness of sound and their stylistic authenticity deserve special attention. The difference in tempest between father and son became apparent: As soon as Igor Oistrakh took more liberty of tempo or agogic, the raise of the eyebrow of the father put things back to his style or tempo. The interpretation was not affected by a too big sound of David O. who displayed so many shades of his tone, what could be mentioned was the "classic" interpretation of Bach in that concert, as opposed to the modern, but baroque interpretations of toady's Baroque ensembles,playing old instruments and bows and striving to the "original" sound. At the time of this concert, the interpretation of <Oistrakh was considered the most valid of the time.

May 26th, 1966: Concert of the Berliner Staatskapelle conducted by Otmar Suitner:
Beethoven: Große Fuge in B-Major, op. 133
Beethoven: Concert op. 61, soloist: David Oistrakh
Reger: Variations and Fuge for orchestra, op. 132

These two concerts in Vienna could be considered as the "Visit-card" of D. Oistrakh; his playing was characterized by his great tone, which he could even raise over the orchestra at the forte passages. The cadenza of the concerto by Beethoven was played with incredibly strong an clear sound, which caused my friend, Gustav Kuhn, to state:
"this was the violin concerto by David Oistrakh".
Being a little bit exaggerated, there is some truth in his statement; he related to the extraordinary dominating of the soloist, who on the other hand did never collide stylistically with the nature of either concert.

May26th, 1968: Solo-Recital, accompanied by Frieda Bauer.
Program:
Schubert: Duo in A-major, DV 574;
Prokofieff: The rarely played Sonata Nr. 1 in f-minor, ( devoted to D. Oistrakh );
in the second part:
Tartini: Sonata "Devils-trill"
Ravel: Sonata in G-major.
The audience achieved to hear the following extras:
L. Janacek: Ballade;
Bartok: Hungarian folk tunes;
Locatelli: "Das harmonische Labyrinth".

The memory of this concert left D. Oistrakh dominating over Frieda Bauer, an excellent pianist, however not at the level of a partnership such as D.O. with S. Richter, or Gidon Kremer with Martha Agerich. D. Oistrakh displayed a multi-colored intense Prokofieff, in a full range from ppp to ff, especially in the second movement which was never heard before. Ravel was given in excessive emotional interpretation, especially the Blues introduction of the second movement.
The cadenza of the "Devils-trill" can be best described as an orgy of sound.
The top link leads to the review at "Die Presse"; nothing can be added to this statement.

May 22nd 1970: Solo-Recital with Frieda Bauer at the piano.
Program:
Bach: Sonata in A-major, BWV 1015;
Schostakowitsch: Sonata op. 134 (1968);
Beethoven: Kreutzer-Sonata
Encores:
Schubert: from the Sonata op. 162
Brahms: Scherzo in c-minor
Beethoven: Sonata op.30/3 (allegro)

June 11th, 1972: Concert at the Musikverein in Vienna:
Vienna Philharmonic Orchestra conducted by Claudio Abbado
Brahms: Concerto op. 77
Bruckner: 1. Symphony in c-minor

August 20th, 1972:
David Oistrakh and Sjatoslav Richter:
Program:
Brahms: Sonata Nr. 2 in A-major;
Bartok: Sonata Nr. 1;
Prokofieff: Sonata Nr. 1 in f-minor