Violin Recitals

The violin recital had a less systematic canon than that for the piano. While there were close equivalents between the two institutions — Bach solos for each one, for example — violinists tended to be somewhat later in their focus and had a less strict sense of programming. In 1910, for example, Mischa Elman (1891—1967) gave an early recital with an interesting avoidance of the chronology that was so common among pianists:

Programme 19 Concert by Mischa Elman

Programme from the Centre for Performance History, Royal College of Music

Putting Brahms in so early, followed by Goetz, and ending with the Lalo (a quite fascinating composer, indeed) was a pattern not found often among pianists. One wonders if he performed all of the Brahms, since this late it was still common to have only one or two movements from a concerto.

Fritz Kreisler (1875—1962) took an idiosyncratic approach to transcription. He put together a brilliant blend of traditional virtuosity, focus upon early music, and a sentimental touch that drew large and loyal fans. Here is an example of his programming from 1909:

Programme 20 Concert by Fritz Kreisler, Quenn's Hall, 5 March 1909

Programme from the Centre for Performance History, Royal College of Music

By this time the citation of birth and death dates was done more often than not in programs that offered pieces by less well-known composer prior to 1800. It is interesting here to see the first half and much of the second all early music or Kreisler himself, followed by Paganini as mid-point and Karl Goldmark (1830—1915) and Leone Sinigaglia (1868—1944) as moderns.

Chamber music concerts continued to blur with recitals in this period. The ‘Sonata Recital’ given by Joseph Joachim (1831—1907) and Leonard Borwick (1868—1925) in 1906 has the strict canonic programming more typical of chamber music than the piano or violin recital:

Programme 21 Recital by Joseph Joachim, 10 May 1906

Programme from the Centre for Performance History, Royal College of Music