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Kreisler, Fritz. (1875–1962). Original Photograph at the Piano.

Unusual vintage press photograph of the great violinist playing the piano. Laid down to rigid card backing and with a few pieces of tape to outer edges, some pencil markings on the verso, otherwise in fine condition.  5 x 6 inches (13 x 16.5 cm).

Undoubtedly one of the greatest violinists of all time, Kreisler was also a pianist of extraordinary abilities with Paderewski once stating, “I’d be starving if Fritz had taken up the piano, How beautifully he plays!” Nathan Milstein mentioned seeing Kreisler at a party playing background music. Milstein recounted, “[Kreisler] sat down and played a waltz. Turning to me in delight, he said, “Nathan, this is my life. Here’s what I love: good light music, the divine waltzes of Strauss, Lanner…” And suddenly he began improvising on the theme from the slow movement of Brahms’s violin concerto. I had never heard a more astonishing improvisation in my life! It mixed different styles: Beethoven, and something from the Russian symphonies, and Bierdermeier, all so cleverly crafted that you couldn’t tell from where he too what. I listened in awe, holding my breath.”

Kreisler, Fritz. (1875–1962) Original Photograph at the Piano

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Kreisler, Fritz. (1875–1962). Original Photograph at the Piano.

Unusual vintage press photograph of the great violinist playing the piano. Laid down to rigid card backing and with a few pieces of tape to outer edges, some pencil markings on the verso, otherwise in fine condition.  5 x 6 inches (13 x 16.5 cm).

Undoubtedly one of the greatest violinists of all time, Kreisler was also a pianist of extraordinary abilities with Paderewski once stating, “I’d be starving if Fritz had taken up the piano, How beautifully he plays!” Nathan Milstein mentioned seeing Kreisler at a party playing background music. Milstein recounted, “[Kreisler] sat down and played a waltz. Turning to me in delight, he said, “Nathan, this is my life. Here’s what I love: good light music, the divine waltzes of Strauss, Lanner…” And suddenly he began improvising on the theme from the slow movement of Brahms’s violin concerto. I had never heard a more astonishing improvisation in my life! It mixed different styles: Beethoven, and something from the Russian symphonies, and Bierdermeier, all so cleverly crafted that you couldn’t tell from where he too what. I listened in awe, holding my breath.”