Deutsche Grammophon proudly presents 42 of its greatest ever recordings for violin, from its matchless catalogue of the finest violinists of the last 75 years. Fritz Kreisler began it all for the company by recording a series of his own compositions and arrangements. 31 violinists grace 111 The Violin, with recordings from the early 1900s to 2012.
Along with his friend Caruso, Fritz Kreisler (1875–1962) was one of the superstars of the early gramophone era. He was “the master musician among the violinists of the day” (New York Times); he died 50 years ago (29 January 1962). As a composer, he is famous for his Viennese-style melodies, such as Liebesfreud and Liebesleid, for his notorious pieces “in the style of” various 18th-century masters (which he passed off as their original works, claiming to have rediscovered them in old manuscripts), and for his arrangements of well-known works by other composers.
Seit der Gründung im Jahr 1981 ist es der Wunsch des Ensembles, dem Publikum mit kontrastreichen Programmen die vielfältigen Ausdrucksmöglichkeiten der Bläserbesetzung näherzubringen.
Mit brillanten Arrangements Strauß'scher Kompositionen knüpft "Art of Brass" an die im 19. Jahrhundert übliche Praxis an, bekannte Kompositionen für die damals sehr beliebten Freiluftkonzerte mit Militärmusiken zu bearbeiten. Die Werke von Johann Strauß Sohn und seiner Zeit, sowie die Weiterentwicklung der wienerischen Musik bis hin zu Fritz Kreisler werden hier in unprätentiösen, kammermusikalischen Bearbeitungen realisiert, die auf bodenständigen Traditionen beruhen.
A Fritz Kreisler recording can always be recognized by the violinist's beefy, baritonal sonority, inimitable portamento, and communicative warmth. Most of the repertoire here consists of the short, encore pieces that prevailed in the era of 78rpm records, many penned or arranged by Kreisler, who was always on the lookout for memorable tunes.
Recording of a missing internationally renowned French violinist Christian Ferras (Le Touquet, 1933-1982) with an album, the last recording he made for Deutsche Grammophon label in December 1968, published in 1969 and reissued on CD in 1988, six years after his death. He is accompanied by pianist Jean-Claude Ambrosini. From Ferras said he was a passionate and instinctive artist who never investigated especially how he had to touch the works he played, but preferred to do itas he felt, trusting his instinct and his own personal taste. The repertoire of this album is sufficiently representative of his style and includes a series of 17 themes to enjoy the romance of classical violin.
While not technically awful, Jascha Heifetz's 1955 recording of Brahms' Violin Concerto with Fritz Reiner conducting the Chicago Symphony is still close to unbearable. By 1955, Heifetz's once sinewy tone had tightened, his once supple technique had hardened, and his once warm interpretation had grown cold. With the never sinewy, supple, or warm Fritz Reiner, Heifetz creates a performance of Brahms' lyrical masterpiece that grates on the sensibilities.