Word: kreisler
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Dates: during 1981-1981
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...BEAT Kreisler playing Kreisler. Maybe he developed his individuality from giving up the violin in his teens, joining the army and studying to become a doctor. Maybe it was his training at Vienna and the Paris Conservatoire before he was 12. In any event, the charm of Mintz's recording of the three pieces mentioned disappears in the others' lack of diversity in phrasing and tone color. Mintz sometimes plays too fast, too strong or too rubato. Some of his accents and tenutos (notes slightly lengthened for effect) are either too numerous or unnatural. Mintz' basically solid performance will give...
...some of the Kreisler compositions, Mintz's heavy style works. The Russian's Zigeuner-Capriccio (Gypsy caprice) sounds Bohemian, with good articulation and flashy slides. Mintz knows--or so it is said--what it is like to wake up and forget that he is not in his own bed. On the other hand, the recording of Kreisler's arrangement of the Albeniz Tango is no reason to get the butter. Mintz plays it as oversentimentally as the Glasunow...
...piece that sounds American--Kreisler's Syncopation--sounds like Scott Joplin's "Ragtime." Mintz plays it well, but exerts too much pressure in spots...
...would have liked to hear Praeludium and Allegro (written in the style of Pugnani), Schon rosmarin or the cadenz to the Beethoven Concerto instead of the numerous Kreisler arrangements of other composers' works. The other pieces on the record are not worth the time or money. Any performance of Kreisler pieces (except Eugene Fodor on RCA Red Seal, 1977), will capture the flavor of this sentimentalist. Perlman plays a great Praeludium and Allegro...
...although Kreisler became the richest musician ever performing his pieces, it is unlikely Mintz will do the same...