The Kreisler Collection 1921-25
View record and artist detailsRecord and Artist Details
Composer or Director: Charles Gates Dawes, Antonín Dvořák, Leopold Kozeluch, Nikolay Rimsky-Korsakov, Fritz Kreisler, Johannes Brahms, Richard Strauss, Edvard Grieg, John F(rancis) Larchet, Ernö Balogh, Richard (Franz Joseph) Heuberger, Pyotr Ilyich Tchaikovsky, Fryderyk Chopin, Frantisek Alois Drdla, George Bass, Charles Wakefield Cadman, Ernest Seitz, Erich Wolfgang Korngold, Queen of Hawaii Liliuokalani, Edouard(-Victoire-Antoine) Lalo, Joseph Haydn, Ignacy Jan Paderewski, Ede Poldini, Carl Friedberg, John Openshaw, George Frideric Handel, Traditional, Eduard Schütt, Sergey Rachmaninov, Cyril (Meir) Scott, Frederick Knight Logan, Johann Sebastian Bach, Victor August Herbert, (George) Percy (Aldridge) Grainger, A. Walter Kramer, Johann Brandl
Label: Biddulph
Magazine Review Date: 9/1993
Media Format: CD or Download
Media Runtime: 138
Mastering:
Acoustic
ADD
Catalogue Number: LAB068/9
Tracks:
| Composition | Artist Credit |
|---|---|
| (16) Waltzes, Movement: No. 15 in A flat |
Johannes Brahms, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Johannes Brahms, Composer |
| Lyric Pieces, Book 3, Movement: No. 6, To the Spring (An den Frühling) |
Edvard Grieg, Composer
Carl Lamson, Piano Edvard Grieg, Composer Fritz Kreisler, Violin |
| Melody |
Charles Gates Dawes, Composer
Carl Lamson, Piano Charles Gates Dawes, Composer Fritz Kreisler, Violin |
| Souvenir |
Frantisek Alois Drdla, Composer
Carl Lamson, Piano Frantisek Alois Drdla, Composer Fritz Kreisler, Violin |
| Aucassin and Nicolette, 'Canzonetta medievale' |
Fritz Kreisler, Composer
Carl Lamson, Piano Fritz Kreisler, Composer Fritz Kreisler, Violin |
| Toy Soldier's march |
Fritz Kreisler, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Fritz Kreisler, Composer |
| (The) Golden Cockerel, '(Le) Coq d'Or', Movement: Hymn to the Sun |
Nikolay Rimsky-Korsakov, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Nikolay Rimsky-Korsakov, Composer |
| Scheherazade, Movement: The Young Prince and Princess |
Nikolay Rimsky-Korsakov, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Nikolay Rimsky-Korsakov, Composer |
| Scheherazade, Movement: Festival at Baghdad The Sea The Shipwreck |
Nikolay Rimsky-Korsakov, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Nikolay Rimsky-Korsakov, Composer |
| Pale moon |
Frederick Knight Logan, Composer
Carl Lamson, Piano Frederick Knight Logan, Composer Fritz Kreisler, Violin |
| (2) Pieces, Movement: Lotus Land |
Cyril (Meir) Scott, Composer
Carl Lamson, Piano Cyril (Meir) Scott, Composer Fritz Kreisler, Violin |
| Cherry ripe |
Cyril (Meir) Scott, Composer
Carl Lamson, Piano Cyril (Meir) Scott, Composer Fritz Kreisler, Violin |
| Mazurkas (Complete), Movement: No. 23 in D, Op. 33/2 (1837-38) |
Fryderyk Chopin, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Fryderyk Chopin, Composer |
| Miscellanea, Movement: Mélodie in G flat |
Ignacy Jan Paderewski, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Ignacy Jan Paderewski, Composer |
| (Der) Opernball, 'Opera Ball', Movement: Im chambre separée |
Richard (Franz Joseph) Heuberger, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Richard (Franz Joseph) Heuberger, Composer |
| Entr'acte |
A. Walter Kramer, Composer
A. Walter Kramer, Composer Carl Lamson, Piano Fritz Kreisler, Violin |
| Love sends a little gift of roses |
John Openshaw, Composer
Carl Lamson, Piano Fritz Kreisler, Violin John Openshaw, Composer |
| (The) world is waiting for the sunrise |
Ernest Seitz, Composer
Carl Lamson, Piano Ernest Seitz, Composer Fritz Kreisler, Violin |
| Symphony No. 96, 'Miracle', Movement: Menuetto |
Joseph Haydn, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Joseph Haydn, Composer |
| Concerto for Violin and Orchestra, Movement: Canzonetta: Andante |
Pyotr Ilyich Tchaikovsky, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Pyotr Ilyich Tchaikovsky, Composer |
| Old French Gavotte |
Carl Friedberg, Composer
Carl Friedberg, Composer Carl Lamson, Piano Fritz Kreisler, Violin |
| (3) Morceaux |
Eduard Schütt, Composer
Carl Lamson, Piano Eduard Schütt, Composer Fritz Kreisler, Violin |
| (7) Marionnettes |
Ede Poldini, Composer
Carl Lamson, Piano Ede Poldini, Composer Fritz Kreisler, Violin |
| Molly on the shore |
(George) Percy (Aldridge) Grainger, Composer
(George) Percy (Aldridge) Grainger, Composer Carl Lamson, Piano Fritz Kreisler, Violin |
| Dirge of the north |
Ernö Balogh, Composer
Carl Lamson, Piano Ernö Balogh, Composer Fritz Kreisler, Violin |
| (Die) tote Stadt, Movement: Mein Sehnen, mein Wähnen (Pierrotlied) |
Erich Wolfgang Korngold, Composer
Carl Lamson, Piano Erich Wolfgang Korngold, Composer Fritz Kreisler, Violin |
| Serse, 'Xerxes', Movement: ~ |
George Frideric Handel, Composer
Carl Lamson, Piano Fritz Kreisler, Violin George Frideric Handel, Composer |
| Souvenir de Hapsal, Movement: No. 3, Chant sans paroles |
Pyotr Ilyich Tchaikovsky, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Pyotr Ilyich Tchaikovsky, Composer |
| Chansonette |
George Bass, Composer
Carl Lamson, Piano Fritz Kreisler, Violin George Bass, Composer |
| (Der) Liebe Augustin |
Johann Brandl, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Johann Brandl, Composer |
| Orange Blossoms |
Victor August Herbert, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Victor August Herbert, Composer |
| Caprice viennois |
Fritz Kreisler, Composer
Carl Lamson, Piano Fritz Kreisler, Composer Fritz Kreisler, Violin |
| Caprice antique |
Ernö Balogh, Composer
Carl Lamson, Piano Ernö Balogh, Composer Fritz Kreisler, Violin |
| Legend of the Canyon |
Charles Wakefield Cadman, Composer
Carl Lamson, Piano Charles Wakefield Cadman, Composer Fritz Kreisler, Violin |
| Symphonie espagnole, Movement: Scherzando (Allegro molto) |
Edouard(-Victoire-Antoine) Lalo, Composer
Carl Lamson, Piano Edouard(-Victoire-Antoine) Lalo, Composer Fritz Kreisler, Violin |
| (La) Ritrovata Figlia di Ottone II |
Leopold Kozeluch, Composer
Leopold Kozeluch, Composer |
| Paraphrase on two Russian folksongs |
Fritz Kreisler, Composer
Carl Lamson, Piano Fritz Kreisler, Composer Fritz Kreisler, Violin |
| Aloha Oe |
Queen of Hawaii Liliuokalani, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Queen of Hawaii Liliuokalani, Composer |
| Symphony No. 9, 'From the New World', Movement: Largo |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Carl Lamson, Piano Fritz Kreisler, Violin |
| (4) American Indian songs, Movement: From the land of the sky-blue water |
Charles Wakefield Cadman, Composer
Carl Lamson, Piano Charles Wakefield Cadman, Composer Fritz Kreisler, Violin |
| I saw from the beach |
Traditional, Composer
Edwin Schneider, Piano Fritz Kreisler, Violin John McCormack, Tenor Traditional, Composer |
| (15) Songs, Movement: No. 7, To the children (wds. Khomyakov) |
Sergey Rachmaninov, Composer
Edwin Schneider, Piano Fritz Kreisler, Violin John McCormack, Tenor Sergey Rachmaninov, Composer |
| (15) Songs, Movement: No. 10, Before my window (wds. Galina) |
Sergey Rachmaninov, Composer
Edwin Schneider, Piano Fritz Kreisler, Violin John McCormack, Tenor Sergey Rachmaninov, Composer |
| (4) Lieder, Movement: No. 4, Morgen (wds. J H Mackay: orch 1897) |
Richard Strauss, Composer
Edwin Schneider, Piano Fritz Kreisler, Violin John McCormack, Tenor Richard Strauss, Composer |
| Padriac the Fiddler |
John F(rancis) Larchet, Composer
Edwin Schneider, Piano Fritz Kreisler, Violin John F(rancis) Larchet, Composer John McCormack, Tenor |
| Anna Magdalena Notenbuch, Movement: He shall feed his flock |
Johann Sebastian Bach, Composer
Carl Lamson, Piano Fritz Kreisler, Violin Johann Sebastian Bach, Composer |
Author:
Fritz Kreisler's art does not travel comfortably into the 1990s, it's far too angst-free for our troubled age, too unequivocally sincere and lacking in cynicism. And yet it is the most wonderful violin playing imaginable, the sound of an old-world craftsman tending to every note as if it were holy writ, and no matter whether it is solo Bach or a popular song by Victor Herbert. The 48 recordings here, most of which were made via the horn rather than the microphone, are as many testimonies to an inimitable voice, one that even Kreisler's contemporaries revered and envied. The selections cover a four-and-a-half year chunk of his long-term contract with Victor and present him in surprisingly wide-ranging repertory. But don't start with the opening track, Brahms's fifteenth Waltz which, although rich-toned and robust, is not the equal of other selections. I'd advise dipping first into track 3, one of two recordings that Kreisler made of a Melody in A by former US Vice-President Charles G. Dawes (and strangely reminiscent of a much later pop song, It's all in the game) then to 8 and 9, which present cleverly turned extractions from the middle movements of Rimsky-Korsakov's Scheherazade.
Cyril Scott's rather dour transcription of Cherry ripe turns up twice, the second time in lieu of Kramer'sEntr'acte, which is missing on the early pressings of the set (subsequent ones have been corrected). The other duplication (the Dawes Melody) is a second recording while a number of items were subsequently remade by Kreisler (often more than once) via the electrical recording process. Haydn and Bach are represented in tasteful arrangements, so are Chopin, Paderewski (his beautiful Melodie, Op. 16 No. 2), Tchaikovsky and Korngold (Pierrot's Dance Song). Then there are Kreisler's own pieces, movements from Tchaikovsky's Concerto and Lalo's Symphonie espagnole that were never issued on shellac, five songs with McCormack (made for HMV in a single day) and a transcription of Grainger's Molly on the Shore that suggests Kreisler would have been as at home in a Gaelic dance festival as in the Mendelssohn Concerto.
As to comparisons between these recordings and those that the violinist made later, little need be said other than that the earlier discs often reveal a surer and stronger left hand (you can sometimes actually hear his fingers press on the finger-board) and a flood of tone that, like Caruso's—or indeed McCormack's—was miraculously accommodated by the recording horn. And the transfers are among Ward Marstons's best, clean originals have been used (although the HMVs are noticeably noisier than most of the Victors), and there is no evidence of electronic 'doctoring'. Time spent with these CDs is time allocated to the most profound variety of nostalgia. It's the sort of playing that conjures up some long-forgotten, Utopian world where kindness and gracious manners reigned where all was well and every violinist sounded like Fritz Kreisler.'
Cyril Scott's rather dour transcription of Cherry ripe turns up twice, the second time in lieu of Kramer's
As to comparisons between these recordings and those that the violinist made later, little need be said other than that the earlier discs often reveal a surer and stronger left hand (you can sometimes actually hear his fingers press on the finger-board) and a flood of tone that, like Caruso's—or indeed McCormack's—was miraculously accommodated by the recording horn. And the transfers are among Ward Marstons's best, clean originals have been used (although the HMVs are noticeably noisier than most of the Victors), and there is no evidence of electronic 'doctoring'. Time spent with these CDs is time allocated to the most profound variety of nostalgia. It's the sort of playing that conjures up some long-forgotten, Utopian world where kindness and gracious manners reigned where all was well and every violinist sounded like Fritz Kreisler.'
The Kreisler Collection 1921-25
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