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================================ Kreisler:La Precieuse (in the style of Couperin) (Mono) *Michael Raucheisen piano ================================ Related information: Elgar's Violin Concerto continued: These two recordings typify the two contrasting approaches to the work that have existed ever since: Sammons and Wood, in a brisk performance, take just over 43 minutes to play the work; Menuhin and Elgar, in a more overtly expressive reading take almost 50 minutes. Other recordings of the monaural era include those by Jascha Heifetz (1949) and Alfredo Campoli (1954). Both these performances are in the Sammons/Wood tradition, taking, respectively, approximately 42 and 45 minutes. Many modern stereo recordings favour the slower approach of Menuhin and Elgar. Menuhin himself in his stereo remake in 1965 was slightly quicker (just under 48 minutes) than he had been in 1932, but Pinchas Zukerman in his two studio versions took a little over 50 minutes in his first recording and a little under 49 in his second. Both of Nigel Kennedy's recordings play for nearly 54 minutes. Itzhak Perlman's is slightly faster, at just over 47 minutes; and Dong-Suk Kang's takes under 45 minutes. A recording released in 2006 used a text based on Elgar's manuscript score rather than the published version. Philippe Graffin, the soloist who performed the manuscript score, counted more than 40 places where the published version differs from Elgar's original. The changes are thought to have been suggested by Kreisler to make the solo part more effective.[9] (Reviewing the CD in June 2006 The Gramophone's critic Edward Greenfield observed, 'some that the differences are very small...I have to confess that had I not been told, I might have appreciated only two of them'.) Selective discography Mono recordings Marie Hall/orchestra/Sir Edward Elgar (cut version acoustically recorded) Albert Sammons/New Queen's Hall Orchestra/ Sir Henry Wood Yehudi Menuhin/London Symphony Orchestra/Sir Edward Elgar Jascha Heifetz/London Symphony Orchestra/Sir Malcolm Sargent Alfredo Campoli/London Philharmonic Orchestra/Sir Adrian Boult Stereo recordings Yehudi Menuhin/New Philharmonia Orchestra/Sir Adrian Boult Pinchas Zukerman/London Philharmonic Orchestra/Daniel Barenboim Hugh Bean/Royal Liverpool Philharmonic Orchestra/Sir Charles Groves Kyung-Wha Chung/London Philharmonic Orchestra/Sir Georg Solti Ida Haendel/London Philharmonic Orchestra/Sir Adrian Boult Itzhak Perlman/Chicago Symphony Orchestra/Daniel Barenboim Nigel Kennedy/London Philharmonic Orchestra/Vernon Handley Dong-Suk Kang/Polish National Radio Symphony Orchestra/Adrian Leaper Pinchas Zukerman/St Louis Symphony Orchestra/Leonard Slatkin Nigel Kennedy/City of Birmingham Symphony Orchestra/Sir Simon Rattle Hilary Hahn/London Symphony Orchestra/Sir Colin Davis Philippe Graffin/Royal Liverpool Philharmonic Orchestra/Vernon Handley (original Elgar score) James Ehnes/Philharmonia Orchestra/Sir Andrew Davis Notes ^ David Dubal, in The Essential Canon of Classical Music, North Point Press, New York, 2001 ^ The Independent, 21 March 2006 ^ Michael Stegemann, notes to Deutsche Grammophon CD 445 564-2 ^ Ibid. ^ Michael Kennedy, notes to EMI recording CDM7 63795 2 ^ Michael Kennedy, op cit ^ The Gramophone November 1989 ^ Fred Gaisberg, Music on Record, Robert Hale, London 1946 ^ The Independent, op cit External links Violin Concerto was available at the International Music Score Library Project. Violin Concerto in B minor, Op. 61 (1905--10) Retrieved from "http://en.wikipedia.org/wiki/Violin_Concerto_%28Elgar%29" http://en.wikipedia.org/wiki/Violin_Concerto_%28Elgar%29 ================================ *Note:Support the artist, their families and their legacy by purchasing their music. Author: tHEnOOSEsWINGS Keywords: Fritz Kreisler Precieuse Violin Added: June 28, 2008

Michael Rabin an the Philharmonia Orchestra conducted by Sir Adrian Boult Recorded in 1957 Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Author: MichaelRabinMemoriam Keywords: rabin mendelsshon heifetz perlman stern kreisler elman hassid gitlis classical Added: June 12, 2008

Michael Rabin an the Philharmonia Orchestra conducted by Sir Adrian Boult Recorded in 1957 Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Author: MichaelRabinMemoriam Keywords: rabin mendelsshon heifetz perlman stern kreisler elman hassid gitlis classical Added: June 12, 2008

Michael Rabin an the Philharmonia Orchestra conducted by Sir Adrian Boult Recorded in 1957 Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher. Rabin's father was a violinist in the New York Philharmonic, and his mother a Juilliard-trained pianist. When he was a year old, Rabin was able to beat perfect time, and at three he demonstrated his possession of perfect pitch; by five he was studying the piano, and not long after, while visiting a doctor whose hobby was the violin, Rabin took up a miniature version of the instrument that was in the office and began tuning and playing it, refusing to return it. His father began teaching him the instrument soon after, but before their fifth lesson, the elder Rabin realized that his son's musicianship exceeded his own. Ultimately Rabin studied with Ivan Galamian, the future teacher of Itzhak Perlman and Pinchas Zukerman. Rabin made his first professional appearance in 1947, at age ten, with the Havana Philharmonic under Artur Rodzinski, performing the Wieniawski Concerto No. 1. He made his recording debut two years later, on the Columbia Masterworks label, with a set of 11 of Paganini's Caprices for solo violin. The following year came Rabin's Carnegie Hall debut, at age 13, with the Vieuxtemps Concerto No. 5, in a performance that had him hailed in The New York Times as "already an accomplished artist...play[ing] with real grace and beauty of tone." No less a figure than the conductor George Szell declared Rabin the greatest violin talent that had come to his attention in the previous 30 years, and Dimitri Mitropoulos called Rabin "the genius violinist of tomorrow." In the 1950s, Rabin signed with Capitol-EMI, for which he recorded the most important part of his legacy, including the Paganini Violin Concerto No. 1, the first and second violin concertos of Wieniawski, and the Tchaikovsky, Mendelssohn, and Glazunov concertos. At the end of the 1950s, Rabin suddenly cut short his recording career, for reasons that were never clear. He continued to perform regularly in concerts around the world, and even made broadcast recitals during the 1960s revealed his talents undiminished. There were accounts of his emotional instability, and an unstable personal life -- he had a rough time adjusting to the change from child prodigy to adult virtuoso, though his talent showed no signs of abatement; during the late '60s there were stories of chronic drug use; he also displayed some unusual neuroses, including a fear of falling off the stage, but none of that should have affected his recording career while leaving his concert career intact. In any case, Rabin never entered a recording studio again after 1959, and in 1972, while still in the prime of his life died in a fall when he slipped on a parquet floor and struck his head on a chair Author: MichaelRabinMemoriam Keywords: rabin mendelsshon heifetz perlman stern kreisler elman hassid gitlis classical Added: June 12, 2008

Jeff Kreisler served as executive editor on the spoof newspaper My Wall Street Journal, which went on sale at newsstands and via Amazon.com on Tuesday (April 15, 2008). Comedians and satirists from The Onion, The Daily Show and even anonymous workers from the Wall Street Journal took part in this enterprise, which shows what Rupert Murdoch's future WSJ might look like. For more on this and the interview, visit http://www.thecomicscomic.comAuthor: thecomicscomic Tags: Jeff Kreisler My Wall Street Journal editor satire comedy comedians parody spoof publication newspaper lampoon Rupert Murdoch Posted: 17 April 2008 Rating: 5.0 Votes: 1

Looking for a nice quiet spot to interview satirist Jeff Kreisler, we run into comedian Tom Shillue, who advises us to head to a hotel rooftop nearby. Todd Barry also makes an unexpected visit to our conversation, held on the sidewalk outside Comix nightclub near 9th Avenue and West 14th Street in Manhattan.Author: thecomicscomic Tags: Tom Shillue Todd Barry Jeff Kreisler comedians comedy interview advice New York City Posted: 17 April 2008 Rating: 0.0 Votes: 0

World renowned violinist Anne Akiko Meyers performs Fritz Kreisler's Recitativo & Scherzo for violin. Kreisler's sole extant opus for solo violin (and also one of just a handful of pieces to which he actually did apply opus numbers), the Recitativo and Scherzo, Op. 6 is one of his most colorful and appealing short works. Unlike so many of his best-known pieces, it is neither arrangement nor adaptation, nor did Kreisler ever try to pass it off as another composer's work. On the contrary, it is pure Kreisler. Anne Akiko Meyers spins her own interpretation on this classic piece... a few minutes' worth of dramatic musical rhapsody and fireworks that come as a pleasant surprise to the listener. Author: billtownsend Keywords: Fritz Kreisler Recitativo Scherzo violinist Anne Akiko Meyers classical Opus Heifitz Menuhin 183 stern bill townsend Added: February 15, 2008

Music video by Joshua Bell [Violin] performing Tambourin Chinois: Stereo with Kreisler, Fritz [Composer] (C) 2006 Decca Music Group Limited Author: universalmusicgroup Keywords: Joshua Bell [Violin] Tambourin Chinois Classical Decca Kreisler Fritz [Composer] Added: February 15, 2008

Funny Money business comedy for the week ending 1-19-08 Author: funnymoneylive Keywords: Funny Money Business comedy humor satire iphone jeff kreisler gm boobs cramer apple itunes Added: January 20, 2008

Fritz Kreisler: Caprice Viennoise Live from the Progetto Argerich. Lugano 2004. Biography Praised by musicians, audiences, and music critics as a rising "tour de force" in the classical music scene, Géza Hosszu-Legocky's critical acclaim culminated with the nomination of two Grammy® Awards, including the "Best Classical Music Album 2005" and "Best Chamber Music Recording 2005" for his recording of the Schumann Violin Sonata in A minor and other chamber music works with an all-star cast including Martha Argerich, Maxim Vengerov, Lilya Zilberstein, and Gabriela Montero on EMI Classics recorded in 2004. In 2003, he released his first EMI Classics recording performing traditional Hungarian Gypsy music with his ensemble "The 5 DeVils". Known for his passionate and fiery interpretations of classical, jazz, and Hungarian gypsy music, he first made his public debut at the age of 9 on Austrian Television "ORF". Since then, he has performed with the National Hungarian Orchestra of Budapest and performed in Argentina, France, Germany, Spain, Japan, Italy, and the USA. As a guest soloist, he has been invited to perform with the major orchestras and ensembles throughout the world including the Orchestre Philharmonique de Radio France with Myung-Whun Chung, NHK Orchestra in Tokyo with Charles Dutoit, and the Kremerata Baltica with Gidon Kremer. His regular chamber music partners include Martha Argerich, Gautier Capucon, Renaud Capucon, Nelson Freire, Ivry Gitlis, Ida Haendel, Gabriela Montero, Vadim Repin, and Giorgia Tomassi. He continues to perform regularly at the top music festivals around the world including Aspen Festival (USA), Beppu Festival (Japan), Buenos Aires Festival (Argentina), Ludwigsburg Festival (Germany), Lugano Festival (Italy), Ruhr Piano Festival (Germany), Saratoga Festival (USA), Taipei Festival (Taiwan), Verbier Music Festival (Switzerland), and many others. In 1999 and 2000, he performed in sold-out concerts at the prestigious Verbier Festival with Roby Lakatos and Friends which also included artists such as Ida Haendel, Vadim Repin, and Sayaka Shoji. In 2003, he was invited by the Violin Festival in Cassis (France) to perform with Martha Argerich, Ruggiero Ricci, and Ivry Gitlis. At the 2005 Saratoga Festival, Géza made his recital debut with Martha Argerich to thunderous standing ovations. He continues to perform in recitals and concerts in the world's most renowned concert halls including Salle de Pleyel (Paris), Teatro Color (Buenos Aires), Théâtre des Champes Elysees (Paris), and Auditorium du Louvre (Paris). 2001 was a year of significant attention for Géza. He was among only the selected few young artists from around the world invited to participate in the prestigious Dorothy Delay Symposium and Master Classes at the Juilliard School of Music in the class of violinist Robert McDuffie. Upon hearing him, McDuffie immediately engaged him to perform at the Aspen Music Festival in an international concert broadcast on NPR, reaching over three million listeners worldwide. Offstage, Géza has made a cameo appearance as a gypsy violinist in Francois Girard's 1998 Academy-award winning film The Red Violin. In 2001, he and Martha Argerich were profiled in Georges Gachot's feature film Conversations Nocturnes. This documentary was exhibited at the world's major international film festivals, including the Cannes Film Festival and won numerous awards including the PRIX ITALIA 2002 Documentary on "Music and Arts". In addition to classical music, Géza has a passion for performing traditional Hungarian gypsy music and created his award-winning ensemble "The 5 DeVils" and have performed at the major festivals in South America and Europe. Géza was born in 1985 and is a top honours student at the Vienna Academy of Music. His teachers and coaches have included Ruggiero Ricci, Ivry Gitlis, Ida Haendel, Tibor Varga, Dora Schwarzberg, and Marina Sokorova. He holds a dual Swiss and American citizenship and currently resides in Lausanne, Switzerland. For more information, you are welcome to visit Geza's Official Home Page here: http://gezahosszulegocky.com/home.html Author: GezaHosszuLegocky Keywords: hosszu legocky tomassi kreisler caprice viennoise violinist encore heifetz hassid menuhin rabin elman classical world music folk Added: January 15, 2008

(11-6-07) Today, Wallstrip conquers new territory: All-Time Lows. And who is our captain on this voyage? You guessed it...Donald Trump: Trump Entertainment Resorts Inc. (TRMP)