For decades, Fritz Kreisler left the music world under the misapprehension that he had found compositions by Cartier, Couperin, Dittersdorf, Padre Martini, Porpora, Pugnani, Stamitz or Vivaldi in monasteries and castle archives and arranged these himself for violin and piano. He left questions as to the original sources unanswered. At sixty, he publicly and freely admitted that he had played a superb joke around thirty years before: he had concealed most of his own works behind the names of masters of the 17th and 18th centuries. Many of these initially controversial compositions have become staples for violinists today.
