Below is a list of compositions by Fritz Kreisler sorted by genre.
Below is a list of compositions by Fritz Kreisler sorted by genre.
| External audio | |
|---|---|
 You may listen to Fritz Kreisler's Liebesfreud - (Love's Joy) and Liebesleid (Love's Sorrow) performed by Fritz Kreisler on violin in 1943 here on archive.org |
(I. Allegro energico ma non troppo; II. Andante doloroso; III. Allegro molto)
| Title | Publ. date | Remarks |
|---|---|---|
| Allegretto in the style of Boccherini | 1910 | falsely attributed to Luigi Boccherini |
| Allegretto in the style of Porpora | 1913 | falsely attributed to Nicola Porpora |
| Andantino in the style of Martini | 1910 | falsely attributed to Giovanni Battista Martini |
| Aubade Provençale in the style of Couperin | 1911 | falsely attributed to Louis Couperin |
| Aucassino and Nicolette, Medieval Canzonetta | 1917 | |
| Berceuse Romantique (Romantic Slumber-song), Op. 9 | 1916 | |
| Caprice Viennois, Op. 2 | 1910 | |
| Cavatina | 1933 | |
| Chanson Louis XIII et Pavane in the style of Couperin | 1910 | falsely attributed to Louis Couperin |
| La Chasse, Caprice in the style of Cartier | 1911 | falsely attributed to Jean Baptiste Cartier |
| Concerto in C major in the style of Vivaldi | 1927 | falsely attributed to Antonio Vivaldi; also for violin and string orchestra with organ ad lib. |
| Episode | 1965 | |
| Fantasie | written in 1883; unpublished | |
| La Gitana | 1917 | Arabo-Spanish gypsy song of the 18th century |
| Grave in the style of W.F. Bach | 1911 | falsely attributed to Wilhelm Friedemann Bach |
| Gypsy Caprice | 1927 | |
| Liebesfreud (Love's Joy) | 1905 | No. 1 of Alt-Wiener Tanzweisen ; falsely attributed to Joseph Lanner [1] |
| Liebesleid (Love's Sorrow) | 1905 | No. 2 of Alt-Wiener Tanzweisen ; falsely attributed to Joseph Lanner [1] |
| Malagueña | 1937 | |
| Marche Miniature Viennoise (Miniature Viennese March) | 1925 | |
| Menuet in the style of Porpora | 1910 | falsely attributed to Nicola Porpora |
| Polichinelle (Sérénade) | 1917 | |
| Praeludium and Allegro in the style of Pugnani | 1910 | falsely attributed to Gaetano Pugnani |
| La Précieuse in the style of Couperin | 1910 | falsely attributed to Louis Couperin |
| Preghiera in the style of Martini | 1911 | falsely attributed to Giovanni Battista Martini |
| Retrospection | 1945 | from String Quartet in A minor |
| Romance, Op. 4 | 1910 | |
| Rondino on a Theme of Beethoven | 1915 | based on an unused theme by Beethoven, from the rejected final movement of the Wind Octet in E-flat major (1793), later used as theme in the Rondò for violin and piano in G major WoO 41 [2] - dedicated to Mischa Elman (1905) |
| Scherzo | 1945 | from String Quartet in A minor |
| Scherzo in the style of Dittersdorf | 1910 | falsely attributed to Carl Ditters von Dittersdorf |
| Schön Rosmarin | 1905 | No. 3 of Alt-Wiener Tanzweisen ; falsely attributed to Joseph Lanner [1] |
| Shepherd's Madrigal | 1927 | old German (18th century) melody |
| Sicilienne and Rigaudon in the style of Francœur | 1910 | falsely attributed to François Francœur |
| Song, Op. 7 | ||
| Syncopation | 1926 | |
| Tambourin Chinois , Op. 3 | 1910 | |
| Tempo di Minuetto in the style of Pugnani | 1938 | falsely attributed to Gaetano Pugnani |
| Toy Soldier's March | 1917 | |
| Variations on a Theme by Corelli in the style of Tartini | 1910 | falsely attributed to Giuseppe Tartini |
| Viennese Rhapsodic Fantasietta | 1948 |
| Original composer | Title | Publ. date | Remarks |
|---|---|---|---|
| Albéniz, Isaac | Malagueña | 1927 | original for piano: Op. 165, No. 3 |
| Tango in D major | 1927 | original for piano: Op. 165, No. 2 | |
| Bach, Johann Sebastian | Gavotte in E major | 1913 | original title Gavotte en rondeau from Partita No. 3 , BWV1006 for solo violin |
| Prelude in E major | 1913 | original from Partita No. 3 , BWV1006 for solo violin | |
| Balogh, Ernő | Caprice antique | 1924 | |
| Dirge of the North | 1924 | ||
| Brahms, Johannes | Hungarian Dance No. 17 in F minor | original for piano 4-hands | |
| Berlin, Irving | Blue Skies | 1927 | |
| Brandl, Johann | The Old Refrain (Du alter Stephansturm) | 1905 | traditional Viennese popular song |
| Chaminade, Cécile | Sérénade Espagnole | original for piano | |
| Chopin, Frédéric | Mazurka No. 23 in D major, Op. 33, No. 2 | 1923 | original for piano |
| Mazurka No. 45 in A minor, Op. 67, No. 4 | 1915 | original for piano | |
| Corelli, Arcangelo | La Folia, Op. 5, No. 12 | original for violin and cembalo | |
| Sarabande and Allegretto | 1913 | ||
| Dawes, Charles Gate | Melody in A major (1912) | 1912 | |
| Dvořák, Antonín | Humoresque | 1906 | original for piano: Op. 101, No. 7 |
| Indian Lament in G minor | 1914 | original for violin and piano: Larghetto of Sonatina, Op. 100 | |
| Negro Spiritual Melody | 1914 | from the Largo of the New World Symphony , Op. 95 | |
| Songs My Mother Taught Me | 1914 | original for voice and piano: Když mne stará matka spívat , Op. 55, No. 4 | |
| Slavonic Dance No. 1 in G minor | 1914 | original for piano 4-hands: arranged from Slavonic Dances , Op. 46, No. 2 and Op. 72, No. 1 (ded. Achille Rivarde [4] ) | |
| Slavonic Dance No. 2 in E minor | 1914 | original for piano 4-hands: Op. 72, No. 2 | |
| Slavonic Dance No. 3 in G major | 1914 | original for piano 4-hands: Op. 72, No. 8 | |
| Slavonic Fantasie in B minor | 1914 | original themes from Songs My Mother Taught Me Op. 55 No. 4 and 4 Romantic Pieces Op. 75 | |
| Falla, Manuel de | Danse espagnole | 1926 | Danza I (from Act II Scene I) of the opera La vida breve |
| Foster, Stephen | Old Folks at Home (Swanee River) | 1925 | original for voice and piano |
| Friml, Rudolf | La Danse des demoiselles, Op. 48 | ||
| Gärtner, Eduard | Aus Wien (Viennese Melody) | 1915 | |
| Glazunov, Alexander | Sérénade espagnole, Op. 20, No. 2 | original for cello and orchestra | |
| Gluck, Christoph Willibald | Mélodie (Dance of the Blessed Spirits) | 1913 | original from the 1774 version of Orphée et Eurydice |
| Godowsky, Leopold | Nocturnal Tangier | original for piano: from Triakontameron (1919) | |
| Grainger, Percy | Molly on the Shore (Irish reel) | 1924 | original for string quartet or string orchestra |
| Granados, Enrique | Danse espagnole (Spanish Dance No. 5) in E minor | 1915 | original for piano: No.5 Andaluza from Danzas españolas, Op. 37 |
| Handel, George Frideric | Ombra mai fu, Largo | from the opera Serse | |
| Haydn, Joseph | Gott erhalte unseren Kaiser | 1915 | Austrian National Anthem |
| Hungarian Rondò | 1945 | original from Piano Trio in G major, Hob.XV:25 'Gypsy' | |
| Heuberger, Richard | Midnight Bells | 1923 | from the operetta Der Opernball (1898) |
| Hughes, Herbert | I saw from the beach (Irish melodies, Vol 6, nº12) | original melody by Thomas Moore, arranged for violin, voice and piano | |
| Korngold, Erich Wolfgang | Tanzlied des Pierrot | 1920 | from the opera Die tote Stadt , Op. 12 (1920) |
| Krakauer, Alexander | Im Paradies (Paradise) | 1922 | Viennese folk-song |
| Leclair, Jean-Marie | Tambourin | 1913 | original from the Violin Sonata No. 3 in D major, Op. 9, No. 3 "Tombeau" |
| Lehár, Franz | Serenade from Frasquita | 1927 | from the operetta Frasquita |
| Liliuokalani | Aloha Oe | 1925 | Hawaiian melody |
| Logan, Frederic Knight | Pale Moon, Indian Love Song | 1923 | |
| Mendelssohn, Felix | Lied ohne Worte: May Breezes | 1913 | original for piano: Op. 62, No. 1 (1844) |
| Mozart, Wolfgang Amadeus | Rondo | 1913 | original for orchestra from the Haffner Serenade , K.250/248b |
| Ethelbert Nevin | The Rosary (1898) | 1917 | |
| Owen, Elwyn | Invocation | ||
| Paderewski, Ignacy Jan | Melody | 1923 | original for piano: Op. 16, No. 2 |
| Paraphrase on Paderewski's Famous Menuet | 1917 | original for piano: Op. 14, No. 1 | |
| Paganini, Niccolò | La Campanella (The Bell), Op. 7 | original for violin and orchestra | |
| Caprice No. 13 in B♭ major | 1913 | original for violin solo | |
| Caprice No. 20 in D major | 1913 | original for violin solo | |
| Caprice No. 24 in A minor | 1913 | original for violin solo | |
| Moto Perpetuo in C major, Op. 11 | original for violin and orchestra | ||
| Le Streghe (The Witches' Dance), Op. 8 | original for violin and orchestra | ||
| Theme and Variations: I Palpiti, Op. 13 | original for violin and orchestra | ||
| Theme and Variations: Non più mesta, Op. 12 | original for violin and orchestra | ||
| Poldini, Ede | Poupée valsante (Dancing Doll) | 1924 | No. 2 from Marionettes, 7 Piano pieces |
| Rachmaninoff, Sergei | Daisies | original for voice and piano: Маргаритки, Op. 38, No. 3 (1916) | |
| Polka Italienne | original for piano | ||
| Preghiera (Prayer) | 1940 | original from the Piano Concerto No. 2 | |
| 18th Variation from Paganini Rhapsody | original for piano and orchestra | ||
| 6 Romances, Op. 4: No. 3, V molchan'i nochi taynoy (When night descends) | for voice, violin and piano; English version by Edward Agate | ||
| 6 Romances, Op. 4: No. 4, Ne poy, krasavitsa, pri mne (Oh, cease thy singing, Maiden fair) | for voice, violin and piano; English version by John McCormack | ||
| 15 Romances, Op. 26: No. 7, K detyam (To the children) | for voice, violin and piano; English version by Rosa Newmarch | ||
| 15 Romances, Op. 26: No. 10, U moyego okna (Before my window) | for voice, violin and piano; English version by Rosa Newmarch | ||
| Rameau, Jean-Philippe | Tambourin | 1913 | from the opera Les fêtes d'Hébé |
| Ravel, Maurice | Habanera (Rapsodie espagnole: 2nd movt.) | 1928 | |
| Renk, Fritz | To a Pickaninny | 1924 | |
| Rimsky-Korsakov, Nikolai | Fantasy on Two Russian Themes, Op. 33 | original for violin and orchestra: Фантазиа на русские темы | |
| Song of India (Chanson hindoue) (1897) | 1919 | from the Opera Sadko | |
| Hymn to the Sun | 1919 | from the Opera Le Coq d'Or | |
| No.1 Danse orientale | 1922 | from Scheherazade | |
| No.2 Chanson arabe | 1922 | from Scheherazade | |
| Roeder, Edward | Wooden Shoe Dance, Op. 2 | 1923 | |
| Schelling, Ernest | Irlandaise | 1928 | |
| Schubert, Franz | Ballet Music No. 2 | 1913 | from Rosamunde von Cypern |
| Impromptu in G-flat major | 1913 | original for piano: Op. 90, No. 3, D.899 | |
| Moment musical in F minor | 1913 | original for piano: Op. 94, No. 3, D.780 | |
| Schumann, Robert | Romanze in A major | 1913 | original for oboe and piano: Op. 94, No. 2 |
| Scott, Cyril | Lotus Land | 1922 | original for piano: Op. 47, No. 1 |
| Tartini, Giuseppe | Fugue in A major | 1913 | |
| Sonata in G minor "The Devil's Trill" | original for solo violin (with figured bass accompaniment), Violin Sonata in G minor, B.g5; the Cadenza is composed by Kreisler | ||
| Tchaikovsky, Pyotr Ilyich | Andante cantabile | 1925 | from String Quartet No. 1 in D major, Op. 11 (1871) |
| Chanson sans paroles in F major | 1924 | original for piano: No. 3 from Souvenir de Hapsal , Op. 2 (1867) | |
| Humoresque | 1926 | original for piano: No. 2 from 2 Morceaux, Op. 10 (1871) | |
| Scherzo | 192? | original for violin piano: No. 2 from Souvenir d'un lieu cher, Op. 42 (1878) -Revised & Edited by Kreisler- | |
| Traditional | Farewell to Cucullain (The Londonderry Air) | 1922 | old Irish melody |
| Russian Folk Songs (2) | 1925 | Paraphrase on "Volga Boatman's Song" and "A Folk Song" | |
| Weber, Carl Maria von | Larghetto | 1913 | from Violin Sonata No. 1 |
| Wieniawski, Henryk | Caprice in A minor | 1913 | originally for violin solo or violin duet: No. 4 from 8 Études-Caprices, Op. 18 |
| Caprice in E♭ major "Alla salterella" | 1913 | originally for violin solo: No. 5 from L'Ecole Moderne, Op. 10 |
NiccolòPaganini was an Italian violinist and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions and have served as an inspiration for many prominent composers.
In music, a cadenza is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing virtuosic display. During this time the accompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a fermata in all parts. A cadenza will usually occur over either the final or penultimate note in a piece, the lead-in, or the final or penultimate note in an important subsection of a piece. It can also be found before a final coda or ritornello.
The Violin Concerto in D major, Op. 61, was written by Ludwig van Beethoven in 1806. Its first performance by Franz Clement was unsuccessful and for some decades the work languished in obscurity, until revived in 1844 by the then 12-year-old violinist Joseph Joachim with the orchestra of the London Philharmonic Society conducted by Felix Mendelssohn. Joachim would later claim it to be the "greatest" German violin concerto. Since then it has become one of the best-known and regularly performed violin concertos.
Eugène-Auguste Ysaÿe was a Belgian virtuoso violinist, composer, and conductor. He was regarded as "The King of the Violin", or, as Nathan Milstein put it, the "tsar".
Friedrich "Fritz" Kreisler was an Austrian-born American violinist and composer. One of the most noted violin masters of his day, and regarded as one of the greatest violinists of all time, he was known for his sweet tone and expressive phrasing. Like many great violinists of his generation, he produced a characteristic sound which was immediately recognizable as his own. Although it derived in many respects from the Franco-Belgian school, his style is nonetheless reminiscent of the gemütlich (cozy) lifestyle of pre-war Vienna.
James Ehnes, is a Canadian concert violinist and violist.
The International Fritz Kreisler Competition is a violin competition dedicated to the memory of violinist and composer Fritz Kreisler.
The Violin Concerto No. 1, Op. 6, was composed by Niccolò Paganini in Italy and dates from the mid-to-late 1810s. It was premiered in Naples on the 31st of March 1819.
The Violin Concerto No. 2 in B minor, Op. 7, was composed by Niccolò Paganini in Italy in 1826. In his Second Concerto, Paganini holds back on the demonstration of virtuosity in favor of greater individuality in the melodic style. The third movement of Paganini's Second Concerto owes its nickname "La Campanella" or "La Clochette" to the little bell which Paganini prescribes to presage each recurrence of the rondo theme. The character of the bell is also imitated in the orchestra and in some of the soloist's passages featuring harmonics. The outcome is a very transparent texture, with the rondo theme having hints of musical qualities associated with Romani music. This movement has served as the basis of compositions by other composers, such as the Étude S. 140 No. 3 "La campanella" by Liszt, and Strauss I's Walzer à la Paganini Op. 11.
La Chasse, French for The Hunt, may refer to:
Wolfgang Amadeus Mozart began his series of preserved piano concertos with four that he wrote at the age of 11, in Salzburg: K. 37 and 39–41. The autographs, all held by the Jagiellonian Library, Kraków, are dated by his father as having been completed in April and July of 1767. Although these works were long considered to be original, they are now known to be orchestrations of sonatas by various German virtuosi. The works on which the concertos are based were largely published in Paris, and presumably Mozart and his family became acquainted with them or their composers during their visit to Paris in 1763–64.
Émile Sauret was a French violinist and composer. Sauret wrote over 100 violin pieces, including a famous cadenza for the first movement of Niccolò Paganini's First Violin Concerto, and the "Gradus ad Parnassum" (1894).
A musical hoax is a piece of music composed by an individual who intentionally misattributes it to someone else.
August Winding was a Danish pianist, teacher and composer.
Váša Příhoda was a Czech violinist and minor composer. Considered a Paganini specialist, his recording of the Violin Concerto in A minor by Dvořák is still praised.
L'arte del violino is a noteworthy and influential musical composition by Italian Baroque violinist and composer Pietro Locatelli. The twelve concerti were written for solo violin, strings, and basso continuo and were published in 1733 as the composer's third opus. The virtuosic style and artistry present in the work strongly influenced violin playing in the 18th century and cemented Locatelli's reputation as a pioneer of modern violin technique.
Ossy Renardy was an Austrian classical violinist, who made a major impression in Europe before migrating to the United States at age 17. There he made the first complete recording of any version of the 24 Paganini Caprices. He became an American citizen and served in the US Army in World War II, giving almost 500 concerts for the troops. He returned to the concert stage after the war, but only five years into his adult career he was killed in a car crash in New Mexico, at the age of 33. He left a number of recordings.
Manuel Quiroga Losada was a Spanish violinist. He was described by music critics as "the finest successor of Pablo de Sarasate", and he is sometimes referred to as "Sarasate's spiritual heir". Enrique Granados, Eugène Ysaÿe and other composers dedicated compositions to him. Violinists Ysaÿe, Fritz Kreisler, George Enescu, Mischa Elman and Jascha Heifetz, as well as composers such as Igor Stravinsky and Jean Sibelius, held Quiroga's artistry in great regard. Portuguese cellist Guilhermina Suggia described his playing of Tartini's Devil's Trill Sonata as "marvellous and flawless".
The so-called Violin Concerto No. 7 in D major, K. 271a/271i, may have been completed by Wolfgang Amadeus Mozart on 16 July 1777 in Salzburg. It has been called the Kolb Concerto.