{"product_id":"kreisler-plays-violin-concertos-1915-1945-pasc737","title":"KREISLER plays Violin Concertos (1915-1945) - PASC737","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Concerto for 2 Violins\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRUCH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKREISLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto (in the style of Vivaldi)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePAGANINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e(arr., Kreisler) Violin Concerto in One Movement\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1915-1945\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 27:33\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Kreisler\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin State Opera Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVictor String Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductors: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Landon Ronald, Eugene Goossens, Leo Blech, Eugene Ormandy, Donald Voorhees\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReview578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe reading from Kreisler is predictably magnificent. He actually played chamber music with Brahms so we are hearing real authenticity here578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eHave you missed one of the major musical anniversaries of 2025? Viennese violinist Fritz Kreisler, born 150 years ago, a major recording artist in the acoustic and electrical ages. Historic remastering experts Pristine Classical celebrate with Kreisler's complete recorded concerto repertoire, and where there are repeats, they've gone with the earlier ones from the 1920s, confident that Mark Obert-Thorn's restorations of Kreisler in his prime can compensate for the recording technology.\u003c\/p\u003e\u003cp\u003eWe end up with a portrait of one of the first 'moderm' violinists, from ther Bach Double with Efram Zimbalist in 1915 - the first violin concerto recording ever made - to Kreisler's own concerto in the style of Vivaldi in 1945, aged 70, his technique diminished but not the powerful charm of his playing. Old-fashioned Mozart from 1924, the Bruch Concerto from the test pressings Kreisler gave to Elgar, plus tantalising movements of Tchaikovsky and Lalo recorded with piano. We leap into the electrical age with Beethoven and Mendelssohn in Berlin in 1926, and fiery Brahms a year later. Remarkably good sound, and a fitting tribute to one of the greats. ****\u003c\/p\u003e\u003cp\u003eRecord collectors in the pre-LP days were brought up to hold certain creeds dear. Pablo Casals for Bach, Artur Schnabel in Beethoven, Cortot for Chopin’s Preludes and Ballades, Rubinstein for the Nocturnes and Scherzi; yes, it could get rather complicated! The great Fritz Kreisler was the senior of all these greats and his Beethoven and Brahms concerti in the HMV catalogue were self-recommending. Record aficionado, engineer and music lover Mark Obert-Thorn has worked on the Kreisler concerto records before but never as effectively and with such great results as here in this new set published by Pristine to coincide with the sesquicentennial of the great violinist.\u003c\/p\u003e\u003cp\u003eBorn in 1875, his huge talent on the violin was spotted early and he was admitted to the Vienna Conservatory at the age of seven. As part of his studies, he took classes in composition with Bruckner. At the age of ten, he won a scholarship to study in Paris where alongside working with some inspiring violinists he took further theoretical study with Delibes. In his teens, he toured America before returning to Austria. As with many child prodigies, he was pulled away from music at times in his late teens, flirting with medicine for a while. By his early twenties, however, Fritz Kreisler was back in the zone and ready to establish himself on the concerto circuit around Europe.\u003c\/p\u003e\u003cp\u003eKreisler played in the greatest concert halls of the world and in 1910 he premiered the Elgar Violin Concerto which had been written for him. At the outbreak of war in Summer 1914, he was commissioned into the army of the Austro-Hungarian Empire and served near Lviv (then Lemberg) in Galicia, fighting the Russians. He was bayoneted and discharged. It had been indeed, quite an eventful career when in 1915, Kreisler relocated to New York (at that stage the US were neutral in the European conflict).\u003c\/p\u003e\u003cp\u003eThat year in the Victor studios in Camden, New Jersey, he played in the first ever concerto recording, a Bach work, with fellow violinist Efrem Zimbalist. Zimbalist was Kreisler’s junior by 14 years and the husband of the soprano Alma Gluck (an adorable voice). Zimbalist was trained in the school of Leopold Auer (alumni includes Elman, Heifetz and Milstein). The three sides containing Bach’s concerto for two violins and “orchestra” are obviously acoustically recorded. The process involved the musicians crowding around a large horn, the other end of which, in response to sonic vibrations was cut laterally a master disc. The acoustic process, which worked well for singers and reasonably for mid-frequency instruments, was not so great with higher or lower frequencies. The violin’s timbre was always problematic.\u003c\/p\u003e\u003cp\u003eThe two soloists blend really well together despite their differing temperaments. There is just too much portamento for me especially in the slow movement. They are joined by a string quartet in place of the orchestral accompaniment. Although, not strictly fair in this case, as it is a much later electrical recording (and is uncut), English Columbia recorded in 1937 a version with Hungarians Joseph Szigeti and Carl Flesch (his only major recording). That version made in London with Walter Goehr is my favourite version on 78s. It is available on a Naxos CD transferred by the same Mark Obert-Thorn (review) or in a later Pristine transfer by him. Ward Marston is responsible for the HMV’s of Menuhin and Enescu also on Naxos, a very famous pre-war version of the work. It is good to have this new tidied up version of the Kreisler\/Zimbalist Bach Double though, it is an important historic document.\u003c\/p\u003e\u003cp\u003eThere are more acoustics to come, but they date from a good deal later and the sound is much better. In 1924, at HMV Hayes, Kreisler made Mozart’s Violin Concerto No. 4 in D. The following year the recording industry started recording electrically (microphones). This set of four 12-inch records (HMV DB 815\/8) was soon deleted in the mad-dash to get records out in the new format. Copies are thus rare and Pristine have found some really nice sources here. Kreisler is elegance personified. His phrasing is exquisite and the violin is captured remarkably well. Obviously, Kreisler remade the record electrically in 1939, again in London for HMV. That time, they managed to squeeze it onto six sides. In between, Joseph Szigeti (as Kreisler’s main competitor on record, you’ll see his name a few more times in this review) recorded it with Sir Thomas Beecham’s new LPO in 1934 for Columbia. It is a lovely version.\u003c\/p\u003e\u003cp\u003eSince Mark Obert-Thorn originally worked on these Kreisler records for Naxos 25 years ago, the technology available to transfer engineers has improved markedly. For Pristine he used a de-clicking software that allowed him to edit the sources within specific frequency bands. This means that extraneous noises and bumps from the studio or the pressing can be removed without touching the musical picture at all. He also used a snazzy module to eliminate swish from those rapidly spinning shellacs. Mark estimates that in the next record of the Bruch concerto he manually removed at least 1600 swishes (21.5 minutes of music x 78 revolutions per minute = 1677). That’s what I call job commitment!\u003c\/p\u003e\u003cp\u003ePerhaps the motivation to work so diligently by hand on the Bruch Violin Concerto No. 1 may have been due to the legendary status of that record. It exists in only one known copy in the whole world. The six sides were never approved for release, the metals scrapped and the test copies given by Kreisler to Elgar. They now reside at Yale. I compared this transfer with the Naxos and it is far cleaner now. The tiny groove slip (2:22) seems vanished now too. Kreisler’s lovely warm subtle vibrato and his magical rubato is well caught and the seemingly easeful manner of his bowing is a marvel to hear. Kreisler played the Bruch 2 regularly in concert as well as its more popular cousin. There was never any realistic chance that HMV would have risked the expense of recording that however. In fact, Kreisler never remade the first concerto in the electric era, making this unique version all the more special.\u003c\/p\u003e\u003cp\u003eThe other complete works on this set are all electrics and Pristine present the three classic concertos by Beethoven, Mendelssohn and Brahms in their first Berlin versions. Connoisseurs of the violinist always did prefer these earlier records to their remakes. For me personally, with these electrically recorded 78s, it is as if a window has been opened and I can now experience the Kreisler sound as it really was with no recession and with all the frequencies audible.\u003c\/p\u003e\u003cp\u003eKreisler’s Beethoven came out on HMV DB 990\/5 (11 sides with a Bach solo as filler). It is a generously paced performance. Leo Blech is in no rush at all leading his Berlin Staatsoper forces in an account 45 minutes in length. Kreisler sounds completely relaxed and his playing is effortless. Truly this is the art which conceals art. Listen to his quiet phrasing of the passages beginning at 12:35. His bel canto style seduces one, as if a spell has been cast and any aversion you may have to the odd sweep or slide here and there, soon transfigures into a moment that brings a little twinkle to your eye. Kreisler played this concerto numerous times under the baton of Mahler. I doubt he would have been immune to this magic either.\u003c\/p\u003e\u003cp\u003eThe cadenzas are Kreisler’s own and listeners will be familiar with them even if you weren’t aware of their authorship (we even get the little one at the end of the slow movement). His rendition of the first of them in this record is immense and must be heard, and what about those trills? The larghetto is pure Viennese class; a sublime, beautifully shaped song of tenderness. You wouldn’t get away with the portamento these days but we can forgive him with playing of this quality. The old Penguin Guide praised its “rapt, Elysian quality”. The finale is all you would expect it to be.\u003c\/p\u003e\u003cp\u003eThis recording, like the Mendelssohn that follows it, is nearly 99 years old now. Allowances do need to be made; there is some overloading, especially in tutti passages and the bass booms at times. In so many places however, one more often is left marvelling at how well these old records come over in these remasterings. Kreisler’s HMV remake of 1936 was made with the LPO and Barbirolli (review) . The sound is undoubtedly finer and Sir John was always extremely proud of it. I do love it and will not give away my preference for now. The 1926 Berlin version has for sure, never sounded better than here in this new set. In 1932 Szigeti’s rival version on Columbia LX 174\/8 was recorded neatly onto 10 sides. Bruno Walter collaborated on that one with a pick-up London orchestra (review) .\u003c\/p\u003e\u003cp\u003eThe Mendelssohn concerto came out on HMV DB 991\/1000 (7 sides with May Breezes as a little bonus). Throughout this work I was stuck by the softness of Kreisler’s tone. He always kept his bow hair incredibly tight and some say he only used three-quarters of the bow length, keeping it in constant motion and avoiding undue pressure. His fingertips too were said to be like soft pads. He certainly sustains a beautiful line in this work, which evidently meant so much to him. It is a well-considered reading in the romantic tradition with a wonderful finale. Like the Beethoven and Brahms, he remade it for HMV as technology improved (Elgar would have done the same with some of his early electricals I am sure, had he lived). The sound is possibly even better in this work than in the Beethoven, woodwind cuts through more and the surface noise is almost nothing. Pristine have done a sterling job. Szigeti’s version was made with the LPO and Beecham in 1933. You really need that version as well.\u003c\/p\u003e\u003cp\u003eNearly a year later, Kreisler was back with Blech and the Staatsoper musicians to lay down the Brahms Violin Concerto. This was released by HMV on 5 records (DB 1120\/4, 9 sides with a Schumann Romance filler). Blech’s orchestra have a bit more fire in their belly than in the previous year’s sessions. The sound however is not as fine as in the Mendelssohn, the grooves sound a little less clean to me. You may hear this particularly in the cadenza. The reading from Kreisler is predictably magnificent. He actually played chamber music with Brahms so we are hearing real authenticity here. The playing is relaxed yet what nobility there is. The rhapsodic beauty of Brahms’ writing after the first movement cadenza, before the coda, is just to die for.\u003c\/p\u003e\u003cp\u003eThe Berlin Staatsoper had a very fine principal oboe in the late 1920s (but read on for more on that). Kreisler follows his solo in the adagio with violin playing that exemplifies how his style was so revolutionary to contemporaries. Every phrase glows with a soft vibrato that came from his left hand constantly moving and responding to the music. Casals played his cello in this way too. Nowadays, music colleges teach this as standard but it was novel at the time. Kreisler is exquisite in the slow movement and sparkles in the finale.\u003c\/p\u003e\u003cp\u003eIn the case of the Brahms, I will declare a preference for the later performance with Barbirolli (1936). Much more contemporaneous with this Berlin version though was Szigeti’s on Columbia. As a boy of Lancashire and a lifelong Hallé man, I cannot neglect the chance to promote it. Sir Hamilton Harty recorded this with the great Szigeti in the Free Trade Hall in 1928. It is for me sui generis for this work. The adagio features oboist Alec Whittaker (a legendary player and man; he even got one over on Toscanini once when he visited the BBC SO in the 30s). You-know-who transferred it for Naxos in 2002 and later for Pristine (review) . The original 5 shellac set is one of my prized possessions.\u003c\/p\u003e\u003cp\u003ePristine include two later concerto recordings made in America for Victor. In 1936 in Philadelphia with Eugene Ormandy, Kreisler recorded a Paganini set based on his first concerto with all the reworkings done by Kreisler himself. The sound is tremendous with real concert hall ambience. From 1945 we hear a little concerto composed by Kreisler himself in the style of Vivaldi. The violinist had been involved in a serious car accident a few years earlier and was still wobbly. I cannot hear any deterioration in his technique but keener ears might.\u003c\/p\u003e\u003cp\u003eThe 3 CD set also includes a couple of tiny, might-have-been morsels I have never heard before. They are both acoustics and will please completists. Perhaps Mark Obert-Thorn might be persuaded to return to those remade electrics of Kreisler for Pristine one day. Don’t forget as well that Fritz Kreisler made records of all the Beethoven sonatas for a society issue in the mid-30s (review) . For now, I am mightily glad to have had this opportunity to hear the immortal artist in his prime in these stunning new transfers. You should try and do likewise.\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilip Harrison\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC737.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThis release celebrates the 150th anniversary of the birth of Fritz Kreisler\n(February 2, 1875 –January 29, 1962) by presenting his complete repertoire\nof violin concertos recorded for release on disc. While he was to remake\nthe Mozart, Beethoven, Mendelssohn and Brahms works in London during the\nlatter half of the 1930s, the earlier versions offered here are generally\nconsidered to be his best.\u003c\/p\u003e\u003cp\u003eKreisler’s first concerto recording, the Bach “Double”, made a month before\nhe turned forty, has the distinction of being the first violin concerto\nrecording ever made. Only slightly cut to fit three 12-inch 78 rpm sides,\nit was much more complete than the only previous attempt at a concerto\nrecording, Wilhelm Backhaus’ 1909 version of the Grieg, which had been\nslashed to two sides. Although the work was then hardly known, it seemed a\nperfect fit for the limitations of the time: it was short, and could be\nrecorded nearly complete with minimal forces. The one-to-a-part string\nquartet backing even had the advantage, in hindsight, of having rather HIP\nproportions. Partnering Kreisler here was the 25-year-old Russian-born,\nAuer-trained Efrem Zimbalist, whose style made for an interesting contrast\nwith Kreisler’s Viennese tradition.\u003c\/p\u003e\u003cp\u003eIt would be nearly a decade before Kreisler returned to the studio for\nanother concerto recording, which turned out to be two within the course of\na month. Sir Landon Ronald’s backing for the Mozart seems\noverly-romanticized by today’s standards, but matches Kreisler’s\nportamento-laden solo performance – beautiful, if more than a little\nanachronistic. The Bruch Concerto fares better from the violinist’s\napproach, which makes it doubly regrettable that it remained unissued until\nthe 1970s. The only surviving test pressings of the set, given by Kreisler\nto Elgar, are now housed in Yale University, which was the source used for\nthe present restoration.\u003c\/p\u003e\n\u003cp\u003eFollowing these recordings are two frustrating “might-have-beens”:\nmovements from the Tchaikovsky Concerto and Lalo’s \u003ci\u003eSymphonie espagnole\u003c\/i\u003e which\nwere recorded with piano accompaniment and which, like the Bruch Concerto,\nwere never issued, possibly for the same reason. The Lalo was recorded the\nmonth after the Bruch, just as electrical recording was beginning to take\nhold; and the hope might have been that Kreisler would get around to\nrecording the entire works using the new technology, which unfortunately\nnever occurred.\u003c\/p\u003e\n\u003cp\u003eThe Beethoven and Mendelssohn concertos were made almost exactly two years\nlater, at the end of 1926 in Berlin. Although electrical recording was now\nthe norm, the practice of reinforcing the timpani and string basses using a\ntuba to support the lower frequencies on early playback devices continued,\nas can be heard in the Beethoven, particularly during the opening of the\nfirst movement and just after the third movement cadenza.\u003c\/p\u003e\u003cp\u003eNevertheless, and despite the somewhat recessed placement of the orchestra,\nthe new technology captured a great deal of detail and presence. Blech’s\naccompaniment is leisurely on both concertos; but this pays dividends in\nKreisler’s performance, particularly in the first movement section of the\nBeethoven starting around 12:27, where time seems to stand still during\nKreisler’s plaintive, \u003ci\u003esehnsucht\u003c\/i\u003e-filled playing. The Brahms from eleven\nmonths later was the last recording Kreisler made with Blech. While from a\ntechnical standpoint the sound is less clean and clear compared to the 1926\nsessions, the performance itself is quite fiery and intense.\u003c\/p\u003e\u003cp\u003eKreisler’s next concerto sessions, delayed due to the ensuing Depression,\nmoved to London, where he remade the Mendelssohn under Ronald in April,\n1935, and the Beethoven and Brahms under Barbirolli in June, 1936. In\nDecember of the latter year, he was in Philadelphia for Eugene Ormandy’s\nfirst recording session with the orchestra to which he had been named\nco-conductor with Stokowski. On the program was Kreisler’s arrangement of\nthe first movement of Paganini’s First Concerto into a self-contained single\nmovement work. Victor’s relative inexperience at the time with concerto\nrecording was actually an advantage here, as Kreisler was not\nspotlight-miked, but recorded with the same balance as he would have been\nheard by an audience in the Academy of Music. Kreisler’s arrangement turns\nthe work into the kind of delightful Viennese confection he might have\ncomposed from scratch himself.\u003c\/p\u003e\u003cp\u003eKreisler made one more concerto recording in London (a remake of the Mozart,\ndone with Malcolm Sargent in February, 1938) before focusing the remainder\nof his recording activities in America. His last concerto set was made in\nMay, 1945 when he was seventy years old, with his frequent collaborator from\u003ci\u003e\nThe Telephone Hour\u003c\/i\u003e radio program, Donald Voorhees, conducting.\u003c\/p\u003e\u003cp\u003eEarlier in his career, Kreisler had become somewhat infamous for his\n“musical forgeries” of works attributed to then little-known Baroque\ncomposers which were in fact his own concoctions, a practice which he had\nbegun in an attempt to avoid filling his recital programs with his own name,\nand which he had owned up to in 1935 to the amusement of many and the\noutrage of some (mainly critics). His 1927 concerto originally credited to\nVivaldi we now know sounds very little like the Italian composer, although\nthat familiarity postdates even this late recording. Although Kreisler’s\ntechnique was beginning to falter at this stage in his career (as can be\nheard on some of his radio recordings of the time), especially after his\ninjuries due to a 1941 car accident, he acquits himself well in this final\nconcerto performance on disc.\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003ci\u003eMark Obert-Thorn\n\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eKREISLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003eplays Violin Concertos\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDisc 1: Acoustic Recordings, 1915 – 1925\n(69:39)\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Concerto in D minor for two violins, BWV 1043\u003cbr\u003e\u003c\/span\u003e1. 1st Mvt. – Vivace (3:48)\u003cbr\u003e2. 2nd Mvt. – Largo ma non tanto (4:59)\u003cbr\u003e3. 3rd Mvt. – Allegro (4:57)\u003cbr\u003e\u003cb\u003eEfrem Zimbalist\u003c\/b\u003e, violin 2 \/\u003cb\u003e String Quartet\u003c\/b\u003e (Howard Rattay, violin 1;\n\u003cb\u003ePasqualli Bianculli\u003c\/b\u003e, violin 2; \u003cb\u003eJohn Fruncillo\u003c\/b\u003e, viola; \u003cb\u003eRosario Bourdon\u003c\/b\u003e, cello) conducted by \u003cb\u003eWalter\nB. Rogers\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 January 1915 in the Victor Studios, Camden, New Jersey ∙\nMatrices: C 15560-4, 15561-3 \u0026amp; 15562-2 ∙ First issued on Victor 76028\/30\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eViolin Concerto No. 4 in D major, K218\u003c\/span\u003e (\u003ci\u003eCadenzas: Kreisler\u003c\/i\u003e)\u003cbr\u003e4. 1st Mvt. – Allegro (9:11)\u003cbr\u003e5. 2nd Mvt. – Andante cantabile (8:32)\u003cbr\u003e6. 3rd Mvt. – Andante grazioso – Allegro ma non troppo (8:37)\u003cbr\u003e\u003cb\u003eOrchestra \u003c\/b\u003econducted by \u003cb\u003eSir Landon Ronald\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1-2 December 1924 in the HMV Studios, Hayes ∙ Matrices: Cc 5396-2,\n5397-1, 5398-3, 5399-1, 5400-1, 5401-2, 5408-1 \u0026amp; 5409-1 ∙ First issued\non HMV DB 815\/8\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRUCH \u003c\/b\u003eViolin Concerto No. 1 in G minor, Op 26\u003cbr\u003e\u003c\/span\u003e7. 1st Mvt. – Introduction: Allegro moderato (7:20)\u003cbr\u003e8. 2nd Mvt. – Adagio (7:32)\u003cbr\u003e9. 3rd Mvt. – Finale: Allegro energico (6:38)\u003cbr\u003e\u003cb\u003eOrchestra \u003c\/b\u003econducted by\u003cb\u003e Eugene Goossens\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29-30 December 1924 and 2 January 1925 in the HMV Studios, Hayes ∙\nMatrices: Cc 5508-3, 5509-1, 5510-3, 5511-3, 5512-7 \u0026amp; 5513-4 ∙ Unissued\non 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eViolin Concerto in D major, Op. 35\u003cbr\u003e\u003c\/span\u003e10. 2nd Mvt. – Canzonetta (4:02)\u003cbr\u003e\u003cb\u003eCarl Lamson\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24 January 1924 in the Victor Studios, Camden, New Jersey ∙ Matrix:\nC 29401-2 ∙ Unissued on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLALO \u003c\/b\u003eSymphonie espagnole in D minor, Op. 21\u003c\/span\u003e\u003cbr\u003e11. 2nd Mvt. – Scherzando (3:57)\u003cbr\u003e\u003cb\u003eCarl Lamson\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 February 1925 in the Victor Studios, New York City ∙ Matrix: C\n31947-3 ∙ Unissued on 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDisc 2: Electric Recordings, 1926 (71:41)\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto in D major, Op. 61 \u003c\/span\u003e(\u003ci\u003eCadenzas: Kreisler\u003c\/i\u003e)\u003cbr\u003e1. 1st Mvt. – Allegro ma non troppo (24:03)\u003cbr\u003e2. 2nd Mvt. – Larghetto (10:26)\u003cbr\u003e3. 3rd Mvt. – Rondo: Allegro (10:20)\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e conducted by \u003cb\u003eLeo Blech\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14-16 December 1926 in the Singakademie, Berlin ∙ Matrices: CwR\n631-1A, 632-2, 633-1A, 634-4A, 635-2, 636-3A, 637-2A, 638-2, 639-3A, 640-2\n\u0026amp; 641-2A ∙ First issued on HMV DB 990\/5\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eViolin Concerto in E minor, Op. 64\u003cbr\u003e\u003c\/span\u003e4. 1st Mvt. – Allegro molto appassionato – Presto (12:10)\u003cbr\u003e5. 2nd Mvt. – Andante (7:48)\u003cbr\u003e6. 3rd Mvt. – Allegretto non troppo – Allegro molto vivace (6:52)\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003c\/b\u003e conducted by\u003cb\u003e Leo Blech\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9-10 December 1926 in the Singakademie, Berlin ∙ Matrices: CwR\n614-2A, 615-1A, 616-1A, 617-1A, 618-2A, 619-2A \u0026amp; 620-3 ∙ First issued on\nHMV DB 997\/1000\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDisc 3: Electric Recordings, 1927 – 1945\n(66:12)\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto in D major Op. 77\u003c\/span\u003e (\u003ci\u003eCadenzas: Kreisler\u003c\/i\u003e)\u003cbr\u003e1. 1st Mvt. – Allegro ma non troppo (20:50)\u003cbr\u003e2. 2nd Mvt. – Adagio (7:48)\u003cbr\u003e3. 3rd Mvt. – Allegro giocoso ma non troppo (8:14)\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra \u003c\/b\u003econducted by \u003cb\u003eLeo Blech\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21, 23 \u0026amp; 25 November 1927 in the Singakademie, Berlin ∙\nMatrices: CwR 1355-3, 1356-3, 1357-1, 1358-4, 1366-2, 1367-4, 1368-2, 1369-3\n\u0026amp; 1376-5 ∙ First issued on HMV DB 1120\/4\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003e PAGANINI \u003c\/b\u003e(arr. Kreisler) Concerto in One Movement\u003cspan style=\"font-size: 14px;\"\u003e (17:32)\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e(\u003ci\u003eArranged from the first movement of Violin Concerto No. 1 in D major, Op.\n6\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e conducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 in the Academy of Music, Philadelphia ∙ Matrices:\nCS 03149-1, 03150-1, 03151-2 \u0026amp; 03152-2 ∙ First issued on Victor 14420\/2\nin album M-361\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eKREISLER \u003c\/b\u003eViolin Concerto in C major\u003c\/span\u003e (\u003ci\u003ein the style of Vivaldi\u003c\/i\u003e)\u003cbr\u003e5. 1st Mvt. – Allegro energico ma non troppo (4:49)\u003cbr\u003e6. 2nd Mvt. – Andante doloroso (4:04)\u003cbr\u003e7. 3rd Mvt. – Allegro molto (2:52)\u003cbr\u003e\u003cb\u003eVictor String Orchestra \u003c\/b\u003econducted by \u003cb\u003eDonald Voorhees\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 May 1945 in the Lotos Club, New York City ∙ Matrices:\nD5-RC-949-2A, 950-2 \u0026amp; 951-2A ∙ First issued on RCA Victor 11-9264\/5 in\nalbum M-1070\n\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eFritz Kreisler\u003c\/b\u003e, violin\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\nProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Ward Marston and the Yale Collection of Historical Sound\nRecordings (Mark Bailey, director) for providing source material\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 3hr 27:33\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC737.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC737.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064738672730,"sku":"rrf1789304121362","price":17.36,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064738705498,"sku":"xxe1789304121363","price":19.42,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/kreisler-plays-violin-concertos-1915-1945---pasc737_1.jpg?v=1789304128","url":"https:\/\/vestorawear.shop\/products\/kreisler-plays-violin-concertos-1915-1945-pasc737","provider":"My Store","version":"1.0","type":"link"}