Kreisler is “reassuring” within the sense that as you cue the “needle” in place you might be completely comfy realizing what you might be about to listen to. Evaluate to, say, Ricci, who might elevate eyebrows.
I by no means heard Oistrakh “stay” however the live performance movies I’ve seen have in widespread with Nathan Milstein’s stage demeanor and comportment, which I did see, a conveyed feeling of consolation that “that is going to go very properly.” Evaluate to, say, Salerno-Sonnenberg, who visually appears to be like like something can occur (though she will play fantastically).
So sure I do suppose there are “reassuring” violinists.
In relation to 10″ 78s which I imagine that is, one by no means is aware of whether or not the performers are actually taking their most well-liked tempos or not. However the youthful Kreisler was not susceptible to wallow in sluggish tempos.
No supply out there to me says that this association is by Kreisler, however Kreisler was fairly able to improvising (and transposing) off a piano discount for the opera itself, so maybe one might name this a Kreisler association, however not revealed as such. He recorded many brief works, together with well-liked songs of his day, for which no revealed preparations appear to have existed.
Schott has revealed the Tanzlied for violin and piano, and Detlef Hahn has recorded it as half of what’s billed as the entire Korngold music for violin and piano. Additionally it is out there as sheet music for cello and piano. Korngold himself organized a few of his items as brief works for violin and piano and my hunch is that the revealed variations are Korngold’s work.