During the stir created by Kreisler’s first performance of Elgar’s Violin Concerto in London, in November 1910 (a furore comparable to a Shostakovich première in our days though minus plane-transported microfilm and five-figure broadcast fees!), I was impressed chiefly by the fact that it was a Viennese who transmitted the Englishness of Elgar to England and to the rest of the world; this angle seemed to me to enhance the achievement.