An unusual but fascinating format for reissuing historical recordings; I can thoroughly recommend these discs as an easy way of experiencing many different trends and undercurrents in the art of performance 60 or so years ago.

The Kreisler/Rupp Spring Sonata demonstrates all the virtues and peculiarities of their celebrated Beethoven set. Kreisler’s uniquely warm, expressive tone (not as fully captured here as on the recent Naxos transfers of all 10 sonatas) is matched by an unfailing grasp of the emotional tone of each passage, emerging despite rhythmic eccentricities and a cavalier attitude to Beethoven’s markings. Rupp’s sensitive playing is rather distantly recorded, and he’s not such a characterful pianist as his rivals on these discs.

Goldberg and Kraus are much faster and lighter in the outer movements – the finale has the two-in-a-bar feel implied by the time signature. The Adagio is slower, more solemn and mysterious than Kreisler/Rupp’s, the Scherzo is engagingly witty. By comparison, Milstein and Balsam are disappointing, for all their crisp articulation and virtuosity. The recording, close and boxy, is partly to blame, but the performance has a workaday character that doesn’t do justice either to these usually inspiring players or to Beethoven.

The Kreutzer recording by Kreisler and Rupp is one of their most successful; the spirited finale, especially, generates a spontaneously joyful feeling, and in the Andante Kreisler produces many memorabe phrases. Kulenkampff and Kempff benefit from a realistic balance, with very good piano sound. Kempff’s precise technique makes the most of all the faster passages, but overall this is a slightly pale performance, Kulenkampff lacking the drive and spirit of the other violinists.

Szigeti and Bartók’s live performance is poorly recorded, with some distortion. But what a performance it is! Bartók’s old-fashioned technique of playing the left hand before the right is used with such imagination it becomes an important expressive resource, and the outer movements have a powerfully dramatic atmosphere, dark and intense. Busch and Serkin, by contrast, seem controlled and restrained. But their wonderful ensemble and wholehearted but entirely natural way of fulfilling all Beethoven’s expressed intentions, creates an effect that’s just as strong.