It’s wonderful how Kreisler’s short pieces for violin and piano continue to hold a fascination for violinists and listeners. Other sentimental salon pieces of a century ago may seem dated, but Kreisler’s combination of clever violinistic detail, imaginative, richly harmonic accompaniments and melodic memorability give items like Caprice viennois and Schön Rosmarin an almost classical status.

Violinists also have the master’s incomparable recordings to inspire them and act as models; James Ehnes doesn’t attempt the uncannily close imitation of Kreisler’s manner that Leonidas Kavakos achieved, but his playing sits very well with the music – real brilliance in the Corelli Variations, the Praeludium and Allegro, and the ‘Francoeur’ Rigaudon, and charm and grace whenever there’s an opportunity. Comparing some of these performances with the composer’s own, there’s no doubt that Kreisler plays with more freedom, more extravagantly varied gestures, and is generally more compelling. But if Ehnes, one of the most polished of today’s violinists, is a less bold interpreter, this isn’t something you notice as a fault – I was more aware of his beautiful tone, delicate touches of sensuality, and relaxed virtuosity – all essential qualities for a Kreisler performer.

Is it worth hearing Kreisler’s version of the Devil’s Trill? Yes, if only for the sake of the cadenza, quite wonderfully played here. And it’s good to hear the unaccompanied Recitative and Scherzo-caprice – showing Kreisler in a slightly more serious mood. The talented James Ehnes completes the disc by playing the piano; the Petite Valse, new to me, is another attractive Kreisler rarity.