Perhaps the least well-known recordings in this collection are those where Kreisler plays the piano for his cellist brother. Hugo Kreisler died at the early age of 44, having pursued a career mainly as an orchestral musician with the Philadelphia Orchestra and then with the Vienna Philharmonic Orchestra. His records show him to have been an accomplished player, with a good tone and technique, but though he plays with some personality he lacks Fritz's ability to make second-rate music sound magical. Nevertheless, there's still much to enjoy in his selection, especially the unusual items from his elder brother's Apple Blossoms, and Fritz was clearly a very able pianist.
The trio records are something of an acquired taste. The arrangement of Wagner's Prize Song is a horror, and in the other pieces there is often a sentimental, Palm Court-ish quality which wouldn't be there, I suspect, if just one string instrument had the stage. But again, these examples of Kreisler's playing are not at all well known. Most of Fritz's solo records have been transferred from 78rpm on several occasions, but as always it is good to welcome them back, for no violinist has ever played with such distinction of phrase or such golden tone-quality. This unique sound even comes clearly through the five 1904 G&T recordings, where Kreisler already seems quite relaxed before the recording horn. The 1911 series is sheer delight, too, with the violinist at the age of 35 very much in his prime.
Kreisler's contribution to the Mozart concerto is on a high level, but the performance as a whole gives limited pleasure. The orchestra is given a gallumphing, reinforced bass on the acoustic recordings, which sounds horrible in Mozart. I suspect this effect would be less noticeable if Ronald, usually an excellent accompanist, had not conducted in such a plodding fashion. Too much top has been taken off the recording, and a better sound generally could have been achieved with more sensitive equalization.
I have also heard more effective transfers of the Bruch, which sounds rougher than it should. Here Goossens conducts admirably, however, and Kreisler's playing is a constant delight. This was the only time he recorded the concerto. The sessions took place just before the change to electric recording, and the performance was not issued on 78. It survived only in test pressings given to Elgar by the violinist: these precious 78s now rest secure in Yale University's archive.
In general, transfers throughout this set are adequate, but could give Kreisler (and his brother) more tonal bloom. And I do wish that Biddulph would identify pieces more adequately and quote record and matrix numbers. Collectors who buy this set will no doubt wish to take note of the details at the head of this review, which have been researched by members of Gramophone's staff.'