Fritz Kreisler Playing Chausson Poem - Part 1
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- Опубліковано 21 січ 2010
- Fritz Kreisler playing the Chausson Poem with the Bell Telephone hour conducted by Donald Voorhees.
(recorded live from a radio broadcast on 1/19/1948)
No one has ever heard it played like this....
@windstorm1000 He's 73 here. Most violinists--with the exception of Milstein--lose a great deal of control by this age. (Even Heifetz retired at 72) Plus, the accident naturally brought on even more debilitation.
My father, a top violinist, heard him play at Carnegie Hall in 1950 and was forever saddened by the spectacle.
Gorgeous. So expressive.
No-one could use rubato like Kreisler. Reading the comments below ... what Kreisler could do expressively is just soul-touching, completely regardless of any minor technical insecurities.
This violin concert is a except great in its way. Wonderful flowed bows, fantastic melodies. Chausson was a espacially master of the composers.
If Kreisler didn't play violin he could had another career as a movie star or model--he's easily the best looking performer/composer of all time. You can see this in this picture of him in his later years.
Caesar Romero could have played him, or Efrem Zimbalist Jr.
He looks like Omar Sharip
well...good or bad, I never thought this recording existed..I like hearing Fritz do this, for sentimental reasons
Thanks much!
Some people were old when they recorded. Even Heifetz stopped playing at older age, wich is just smart, but not necessary. I enjoy this recording. One can learn from that sound. Also I read Kreisler did always some bad concerts here and there because he didn't practiced much. But at his best his concerts left even the great russians like milstein and horowitz in awe. He can be incredible brilliant and his musicality is probably beyond our both horizon. Don't judge from one recording... never!
Heifetz retired because his hand was damaged. Otherwise he would play longer.
Eine Rundfunkaufnahme aus dem Jahr 1948 mit dem 73jährigen Kreisler. Die geistig-seelische Intensität ist in ihrer Schönheit hypnotisierend, atemberaubend. Der geigentechnische Ablauf sicher, das Vibrato zu früheren Aufnahmen etwas langsamer. Kreisler wurde mit Ole Bull verglichen und dieser wiederum mit Paganini. Eine Größenordnung eigener Art ?
Kreisler here is at about the same age as Primrose was when I studied with him; there are strong similarities, in that, at moments, one still hears a very great master-and may learn important things that can’t be taught by anyone else. Of course he is an ailing old man here; those who judge his work by this recording are missing the point starkly. Against my better judgment, I actually approve of Voorhees’s decision, money-grubbing motive or not, to record him.
Too bad this is Kreisler past his prime, and after being run over by a truck while
absent-mindedly crossing the street. I'd loved to have heard him play this in his vigor and strength, say early 40's. I can only imagine the power and lyricism. This piece was perfect for his style. Once he played it in Paris; his colleague, Jacques Thibaud was so overcome, he stood in the audience and before he could catch himself, gushed audibly, "Ohhh....que magnifique!!'
There are still flashes of genius!
magic...
the honesty of this interpretation trumps all technical shortcomings. It's so sad to see music degraded by those who judge based solely on 'convention'. intonation is a means to an end, it is not THE end. Heifetz and Milstein were very great but so were the early masters; in many ways they were able to convey more than the big 20th century buffs.
But, the Kreisler recording is superior from a technical point of view as well.
He's got more technique and mastery than any of the others. Why doesn't anyone notice that?
O.K. There might be a few sloppy things here and there. But, when the going gets really tough, he does amazing, sensational things, that no other violinist does.
I definitely agree, people train themselves to pass judgement solely based on a few developed criteria (i.e. intonation) and end up deafening themselves to the beauty of the rest of the performance as a result; akin to myopia for the ears.
This is VERY late in his career, after his automobile accident--a time when he was pushed by his aggressive wife to keep performing, DO NOT judge Kreisler by any of the recordings from the late 40's--early 50's. His contemporaries were very saddened to hear him still performing. Rather tragic actually.
the sun doesn't set on intonation. if one thinks the old masters recordings sound terrible, it reveals more about them and their inability to connect with the higher order musical ideas that transpire through their playing
"Thank you very much for this recording. And about "problems with intonation" and his recordings in 1940s - it seems that his recordings of 1942-1946 are very good with intonation aspect, and also are more deep emotional, it´s not his recordings of 1910s - recordings of 40s maybe not so fast-virtuoso when he demostrated his high speed in technique like 30 yrs ago, but very good in conceptional side, technically, with unique sound - no worse than his early playing, but rather simply different from it. Here - maybe it can be his age and accident of 1941 (in some sources it was the information that after that he began slow lost his hearing), yes, but, maybe it is problems of recording - voice and violin recordings very depend from quality of recording technics ?"
@windstorm1000 thank providence he became a musician!!!!!!!!!!!
Whatever the shortcomings of this recording, and there are many, I think it's the only recording of Kreisler playing the Poeme. The Poeme was premiered by Ysaye in 1896 and 1897. Kreisler, at that time 21-22, was studying medicine, but he came back to the violin in 1899. Ysaye and Kreisler were close friends. I think a lot can be learned from Kreisler's interpretation, phrasing especially. About the middle of the piece, for some reason, he goes fractionally flat. He's not so much out of tune with himself, but with the orchestra. In the doublestop section starting 6:49 he has serious intonation problems. At 7:40, after the orchestra tutti, he comes in practically at pitch. After that he goes flat again, unfortunately. Then it cuts off ... does the ending exist?
@maxreger100 what happened? did the car accident alter his hands/arms, eye coordination???
You don't have to play violin in order to "deserve" the right to critique someone else's performance. The critique should be evaluated on its own. You've made a stupidest comment possible.
Too long intro~