1935 Fritz KREISLER MOZART Violin CTO No 4 K 218 Malcolm Sargent London Phil 78

$

26

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A series of great  classical orchestral and instrumental performances by major conductors, composers and instrumentalists.

  

DM-623 EXQUISITE recording of  MOZART Violin CTO No 4 K 218 with Fritz Kreisler, Violin, and the Landon Ronald and the London Philharmonic Orch under Malcolm Sargent

3x  12" pre war gold label Victor 78 rpm records with great lyre style  matching album and booklet

Condition:

EXCELLENT, close to pristine, needs cleaning, album like new,

plays EXCEPTIONALLY QUIET

A CHOICE COPY

Kreisler was a supremely natural player who could go a whole week without looking at his violin, then pick it up and fiddle as if he had been practising for hours. Part of his special quality stemmed from his hands. æHe had soft pads on his fingertips, which appeared to be unique,Æ recalled the Australian violinist Daisy Kennedy. He developed the silvery vibrations of the Franco-Belgian players such as Ysa e and Massart into a warm, sensuous vibrato that he applied to every phrase, virtually overlapping it from note to note. This way of ækeeping the left hand aliveÆ was a revelation to his rivals and admirers alike, at the turn of the century. One admirer was Lionel Tertis, who adapted the Kreisler vibrato to the viola; Pablo Casals was already working on similar lines to create a new cello sound, and so, within a decade or so, the entire approach to playing stringed instruments began to change. Another Kreisler speciality was extracting different colours from the violin, by playing particular notes in unusual positions, an ability he used to create the most delicate effects in the many short pieces in his repertoire. In these delicious trifles, most of them written or arranged by himself, he demonstrated his natural command of tempo rubato, fine intonation ù his double stops were legendary ù and economical bowing. He kept the bow hair exceptionally tight (not even loosening it between performances) and varied the pressure: at one moment the bow seemed glued to the string, at another it moved with the deftness he had learnt in Paris.

The first recording to be completed was MendelssohnÆs Concerto in E minor. Like the others it featured the London Philharmonic, one of the two best orchestras in the British capital, along with the BBC Symphony Orchestra, and on the podium was Sir Landon Ronald, KreislerÆs regular partner in his concerts at the Royal Albert Hall. Now virtually forgotten, Ronald (1873-1938) played the same r(le in the early days of recording in England as Bruno Seidler-Winkler did in Germany. Pianist, composer, arranger, conductor and general facilitator, he was the kind of jack-of-all-trades who was indispensable in the pioneering days. The great singers of the time performed and recorded his unpretentious songs and he knew everyone in the musical world. He had previously worked with Kreisler in the studio for the acoustic Mozart Concerto in D major (Naxos 8.110921). He does his usual professional job here, introducing a few rhetorical flourishes of his own but generally concentrating on supporting his soloist. Kreisler himself is in fine fettle, his interpretation not quite as easeful as a decade earlier, and showing a little circumspection in the more virtuosic passages, but memorable in the lyrical episodes, especially the slow movement.

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