Amazon.com Review
In this post-Heifetz age, in which virtuoso violin playing is identified with perfection of execution, it is difficult to comprehend that within living memory the reigning king of violinists was a man who detested practice, loved to drink and gamble, was benignly casual about the truth when it suited him--sometimes passing off his own music as the obscure work of little-known 18th- and 19th-century composers, or embellishing anecdotes--and felt that too-precise execution of a musical work robbed it of its soul. Indeed, this would seem to be the profile of some legendary jazz player, not a giant of the classical repertory. Yet Fritz Kreisler--a onetime piano prodigy whose first career sputtered out after he lost the novelty of youth--as an adult dominated the practice of the violin during the years between the two world wars. His expressive and emotional style of playing enabled him to make contact with audiences in a way that earlier masters of the 19th century could not. Sadly, as related here by Amy Biancolli, the public remembers Kreisler today more for his pleasing violin compositions than his influence on performance technique, even if some of the greater violinists know better.
This well-written, positive biography is intended to remedy that neglect. It puts Kreisler's place in history and his importance in terms of performance practice into greater perspective. Though she is not entirely able to put the reader emotionally in touch with the vanished milieu of imperial Vienna, Biancolli does provide a well-rounded, late-20th-century perspective on the career of the great violinist, and includes an excellent discography to help the reader become better acquainted with the performances of this likable figure. --Sarah Bryan Miller
From Publishers Weekly
Kreisler (1875-1962) is probably better known today as the composer of a handful of ineffably charming little violin pieces than as the towering virtuoso he was in the first half of the century. The emerging recording industry made him one of the most admired and popular violinists of his day and, until a nearly fatal street accident in 1941 that began his gradual decline, colleagues and public alike thought his golden tone and liquid phrasing supreme. Biancolli's biography, the first since the standard by Kreisler's friend Louis Lochner, is a notably sympathetic and well-researched one?and it has the inestimable advantage that Kreisler's wife, the domineering Harriet, who had absolute veto power over Lochner's book, is no longer around. Many people therefore have their say about her, concluding that though she indeed made life difficult for the charming but essentially lazy and diffident Kreisler, she did keep his career firmly in order. Kreisler was a legendary figure, representative of the last days of the Austro-Hungarian Empire: he tried, unsuccessfully, for an early virtuoso career, served as an Austrian officer during WWI, and, though he was at least half-Jewish, he presented himself as a lapsed Catholic. Biancolli, music critic for the Albany Times Union, has done a scrupulous job of examining the reality and many legends around him and also his impact. Although he was eventually eclipsed by the cold perfectionism of Jascha Heifetz, who became the chief influence on the current generation of violinists, there were many, like Nathan Milstein, Yehudi Menuhin and David Oistrakh for whom Kreisler represented, as Isaac Stern wrote, "the unashamed enjoyment of being moved by the music." Pictures, discography.
Copyright 1998 Reed Business Information, Inc.