None of these concerto performances is otherwise available at present, which is something of a surprise since there have been so many Kreisler reissues in recent years. He recorded each concerto on two occasions. The first series took place in Berlin during 1926-7, with Leo Blech on the rostrum. The re-recordings took place in London during 1935-6, with Sir Landon Ronald conducting the Mendelssohn and Barbirolli directing the Brahms and Beethoven. Popular opinion is that the earlier versions show the great violinist in better light, and I'm sure that this is so, though I'm not so sure that there is much in it so far as the Mendelssohn is concerned. (Readers may judge for themselves, for the three later recordings are available in good transfers on Pearl (CD) GEMMCDS9362—not submitted for review.) The early electrical recordings have their problems, not least in variations of pitch from side to side and within sides, and Ward Marston has done an excellent job in transferring from original 78s. I imagine that he was working with nice smooth American Victor pressings, for the English HMV red label DBs produce a good deal of surface noise, of which there is no evidence here.
A drawback in the early Berlin versions is the affable but dull conducting of Leo Blech, who secures playing of no great distinction from the Berlin State Opera Orchestra. Yet all three performances find Kreisler an inspired soloist. It's true that sometimes he doesn't quite hit the middle of a note, but that seems a small fault in the context of such apparently effortless artistry, such golden, heartfelt phrasing and such beauty of tone. No other violinist played like this—Kreisler was utterly and incomparably unique. The insert-notes remind us that this was the first recording of the Brahms Concerto, and that Kreisler knew Brahms as a teenager and played several of his works in his presence. There is certainly a profound response to the work on the part of the soloist. The Mendelssohn was also a favourite Kreisler concerto, and his affectionately fresh, song-like approach seems ideal. The Beethoven performance is remarkable even by Kreisler's standards for rapt, concentrated playing.
Fortunately there was plenty of room on these two CDs for the remainder of Kreisler's 1926-7 Berlin recordings, including some which were not originally published. The great violinist's familiar distinction of phrase and tone is again evident in these items, and even the less distinguished pieces are invested with rare artistry. An excellent set.'