Praeludium and Allegro [5'05]
Syncopation [2'12]
Schön Rosmarin [2'07]
Liebesleid [3'46]
Liebesfreud [3'11]
Polichinelle [1'40]
Tambourin chinois Op 3 [3'56]
Mélodie Ballo from Orfeo ed Euridice Christoph Willibald, Ritter Von Gluck (1714–1787), arr Fritz Kreisler [3'24]
Toy Soldiers’ March [1'53]
La chasse [2'01]
Caprice viennois Op 2 [4'00]
Allegretto after Boccherini [3'17]
Danse espagnole from La vida breve Manuel De Falla (1876–1946), arr Fritz Kreisler [3'25]
Mazurka in in E minor Slavonic Dances Op 72/2 Antonín Dvorák (1841–1904), arr Fritz Kreisler [4'42]
Marche miniature viennoise [3'15]
Recitativo and Scherzo Op 6 [4'58]

solo violin:
Recitativo:
Lento con espressione [2'47]
Scherzo:
Presto e brillante [2'11]
Sonata in G minor ‘Il trillo del Diavolo’ Bg5 Giuseppe Tartini (1692–1770), arr FrITZ Kreisler [15'58]

Hyperion is delighted to welcome award-winning violinist Jack Liebeck to the label, together with his frequent collaborator, Katya Apekisheva.

Liebeck presents a selection of music by ‘revolutionary player and the epitome of the Viennese violinist’, Fritz Kreisler. Some of Kreisler’s works have a dubious genesis. He programmed his own pieces in recitals; but in about 1905 he started passing some off as works by composers of the past, even writing a ‘Vivaldi’ concerto. He continued this practice. In 1934 he instructed his American publisher, Carl Fischer, to list his so-called ‘Classical Manuscripts’ as his own compositions in the 1935 catalogue; but this change was pre-empted when the New York Times critic, Olin Downes, was asked to give a lecture-recital with Yehudi Menuhin and started investigating the origins of the Praeludium and Allegro. Kreisler admitted it was his own work and his deception made front-page news worldwide. The Praeludium and Allegro (Classical Manuscript No 5, attributed to Gaetano Pugnani) is Kreisler’s ?nest achievement. When playing it at the Paris Opéra in 1923, Kreisler saw Vincent d’Indy wag a ?nger at him from the front row and thought he had been found out. Afterwards d’Indy told him: ‘Pugnani would not have played the Allegro in that tempo.’

This selection includes Kreisler’s absurdly virtuosic arrangement of ‘The Devil’s Trill’ by Tartini: Kreisler’s edition, incorporating a realization of the ?gured bass as well as ?ngerings and phrasings, provides a fearsome cadenza involving triple- and quadruple-stopping as well as two- and three-note trills.