Donald Gabor had established his major LP-label Remington, in 1950, he was the
man who exploited its growing catalog to the full. Not only by changing and improving
the covers in order to give the records a new appeal and thus stimulating the
sales, but also by releasing the same recordings on his other labels like Merit,
Etude, Webster, Pontiac, Plymouth and Masterseal. A few Masterseal releases were
already listed in 1951. But these were the early, luxurious gatefold editions
Prawy as the producer. The other labels are first listed in the September
1953 Schwann LP Catalogue. The other important guide in those days, 'The Long
Player', only listed the Remington recordings.
way to stimulate sales of his classical recordings was by producing series aiming
at specific target groups: children, students, educators and collectors. This
idea materialized in a special series like
Violinist's Edition supervised by Theodore and Alice Pashkus, and in the 'Music
Plus! Series', edited by famous musicologist Dr. Sigmund Spaeth. Later Spaeth
also supervised the 'Music Appreciation Library' for Gabor's Palace label. Above
at right the cover of the issue of Hen Gates and his Gaters which was released
earlier on Masterseal MSLP 5005 together with songs from jazz musicians recorded
in the 1940s also issued on Plymouth P12-144. (See for the interesting history
of the Hen Gates and his Gaters Masterseal recording
wino rip blogspot.
Gabor himself had many original ideas, he also copied ideas from others. The name
Music Appreciation Library was inspired by the existence of the Music Appreciation
Recordings of the Book of the Month Club. And since 1952 David and Josef
Josefowitz of Concert Hall operated their record subscription series named
Musical Masterpiece Society and that with great success.
is an advertisement of the Book of the Month Club's Series with the recording
of the 6th Symphony of Tchaikovsky (Pathétique) conducted by Leonard Bernstein,
and the release of Prokofiev's Classical Symphony (with an analysis by Thomas
Sherman) and Britten's Young Person Guide to the Orchestra (narrated by Alfred
another series entitled "From the Private Collection of Don Gabor", sofar only
two editions have been found, the one of "The Musical Life of Ludwig van Beethoven"
and another of "The Musical Life of Peter Ilich Tchaikovsky". The labels say "produced
by Otto Rado". Otto Rado was one of the designers of covers for several of Gabor's
LP releases. The issues have different labels, Musirama, Masterseal and a blue
silver label with no specific label name. Apparently they were all pressed in
More issues "From the Private Collection of Don Gabor" LP recordings
with dramatizations with posh speaking voices a la John Gielgud may surface eventually.
from the start,
Gabor wanted that Remington was a label to be reckoned with. He not only
saw the necessity of quality artwork for the covers, but found that the liner
notes were important as well. In the first year there were lists of available
recordings printed on the back of the covers. But soon informative liner notes,
mostly written by noted critics and journalists (and as is suggested in some cases
by Don Gabor's cousin George Curtiss), explained the music. A writer for early
releases was Herman Neuman.
the looks of the covers improved, Gabor hired famous critics and musicologists
like Dr. Sigmund Spaeth, John W. Freeman and Irving Kolodin, along with
other writers and music critics who were either newcomers or already had established
their names in the world of newspapers, magazines and the recording industry:
Louis Biancolli, Betty Reinman, Max de Schauensee, Irving Sablosky, Jerome
Boehm (most of the time spelled Bohm), Bertram Stanleigh, Herbert Weinstock,
Jack Urbont, Sheldon Soffer and Jay S. Harrison.
Despite the valuable and professional
work of these writers, sometimes their names would not be printed on the back
of a cover. Much later the liner notes were replaced by listings of other Remington
records accompanied by quotes from critics and reviewers. This was especially
the case when Remington records had become a commodity of department stores and
petrol stations and the label had lost its credibility with the serious collector
important musicologist and writer was Dr. Sigmund Spaeth (April 10, 1885,
Philadelphia - November 12, 1965, New York). Spaeth started off as a folklorist
collecting American songs. He published his findings in 'Read 'Em and Weep' and
'Weep Some More, My Lady'. He is also the author of 'History of Popular Music
in America', 'The Common Sense of Music', 'The Importance of Music', and 'Stories
Behind the World's Greatest Music'.
Spaeth was one of the composers who wrote music for the movies 'Show Boat' and
'The Trespasser', and he wrote the score for 'The Magic Flame'. These films were
made when 'the talkie' was launched. He himself appeared in the movie 'Frankie
Spaeth is quoted on the back of several Remington-covers: 'Across the country,
Remington's low priced long play classical high fidelity records are staging a
full scale cultural invasion.'
At around the age of 66, Dr.
Spaeth started his involvement with Remington Records writing the liner notes
for several recordings. An example is R-199-87 with Tchaikovsky's Nutcracker
Suite and 1812 Festival Overture performed by the Austrian Symphony Orchestra
conducted by Kurt Wöss.
notes also appear on Masterseal MSLP 5012 with Scheherazade by Rimsky-Korsakov.
That release mentions Kurt Wöss as the conductor while the recording is the
one by Karl Rucht and the RIAS Symphony Orchestra.
cover of Masterseal MSLP 5008 has Spaeth's notes for Beethoven's Symphony
No. 5 and Schubert's Symphony No. 8, mentioned as conducted by Kurt Wöss.
The recording was later re-released in a Masterseal cover as Remington R-199-246
No Remington disc with this coupling conducted by Wöss could
be found. Beethoven's Fifth was released on a 10" disc (R-149-9) with the
Salzburg Mozarteum Orchestra conducted by Hans Wolf and Schubert's Eighth Symphony
was originally a recording with conductor H. Arthur Brown (R-149-15). The name
Wöss seems a convenient substitute, especially after Brown had fallen from
also wrote the notes for these discs:
R-199-94 - Bartok plays Bartok
- Bela Bartok at the piano.
Palace M-601 -Tchaikovsky: Romeo and Juliet
Overture, Grieg: Peer Gynt Suite No. 1, said to be conducted by Kurt Baumann,
but these are in fact the recordings conducted by Kurt Wöss and H. Arthur
Spaeth's notes from Remington
releases were reprinted on various other Masterseal albums. Before
the exploitation of the full Masterseal catalogue had started, Don Gabor had
asked Sigmund Spaeth's collaboration to set up the Remington Music Plus!-Series.
Existing recordings from the Remington catalog were selected and Dr. Spaeth wrote
the liner notes. He also read his own commentaries and introductions which were
recorded and put at the end of each record side explaining the history and form
of the compositions. The cover states:
is a special recording in the series Music Plus, selected by Sigmund Spaeth whose
voice is heard in recorded comments on each number. These comments appear on additional
bands towards the center on each side. For home use it is suggested that the music
always be played first, after which Dr. Spaeth's remarks can peruse a second hearing
and be reviewed from time to time as desired. For schools, colleges, clubs and
broadcasts the introductory material should naturally preface the playing of each
selection, adding the printed backgrounds if needed. In order to simplify such
public performances, an accurate timetable is appended, covering the Spaeth comments
as well as the music itself.
are twenty recordings in Volume I. Whether there was also a Volume II
is not sure.
1 (The labels bear the reference numbers MP-100-1 to MP-100-20):
Symphony No. 1 - MP-100-1 - H. Arthur Brown.
Beethoven: Symphony 6
- MP-100-2 - Kurt Wöss.
Dvorak: Symphony No. 5 (9) - MP-100-3
- George Singer, conductor.
Mendelssohn: A Midsummer Night's Dream
- MP-100-4 - H. Arthur Brown
Tchaikovsky: Festival Overture + Nutcracker
- MP-100-5 - Kurt Wöss.
Johann Strauss: Overtures and Waltzes
- MP-100-6 - conductor Kurt Wöss.
Franck: Symphony in D - MP-100-7
- Hans Wolf conducting.
Haydn: Military + 88th Symphony - MP-100-8
- conductors Fritz Weidlich and Paul Walter.
Wagner: Arias + Piano
Sonata - MP-100-9 - Astrid Varnay and pianist Felicitas Karrer.
Capriccio Espagnol + Coq d'Or - MP-100-10 - with conductors Ernst Melich and
Debussy: Prélude a l'apres midi d'un faune + Preludes
- MP-100-11 - Jean Morel conducting; Edward Kilenyi, pianist.
Moments Musicaux + Symphony 8 - MP-100-12 - Jörg Demus piano; H. Arthur Brown.
Mozart: Eine kleine Nachtmusik + Symphony No. 35 - MP-100-13
-Fritz Weidlich and Hans Wolf conducting.
Liszt: Hungarian Fantasia
+ Les Preludes - MP-100-14 - Edward Kilenyi / Felix Prohaska and George Singer.
Chopin: Waltzes - MP-100-15 - Edward Kilenyi, piano.
- MP-100-16 - Erasmo Ghiglia.
Schumann: Piano Concerto - MP-100-17
- Céliny Chailley-Richez piano, Robert Heger conducting.
Messiah - MP-100-18 - Joseph Messner, conductor
Bach: Prelude No. 15
& 16 + Partita 6 - MP-100-19 - Jörg Demus, pianist
Don Juan + Rosenkavalier Waltzes - MP-100-20 - H. Arthur Brown, conductor.
Magazine of September 18, 1954, announced that Remington had started the distribution
of the records in the Music Plus! series, although some Nos. 1, 13, 16 and 18
were already released in July 1953.
MP-100-17 from the MUSIC Plus!- series. Céliny Chailley-Richez, pianist,
performing Schumann's Concerto in A minor Op. 54 with the Austrian Symphony Orchestra,
Robert Heger, conductor (uninterrupted performance), followed by recorded themes
from the score with comments spoken by Dr. Sigmund Spaeth. The liner notes explain
the recording and advertisements were published in Schwann Record Catalog. Below
the advertisement for the Series mentioning Beethoven's Emperor.
is an advertisement announcing the Series in the Schwann Long Playing Record Catalog:
much of the same material was used for another series under the title 'Music Masters
Appreciation Records'. An example is the recording of the Remington recording
of the Hungarian Fantasia with pianist Edward Kilenyi and conductor Felix Prohaska,
now coupled with Les Preludes (also by Liszt) conducted by George Singer. This
recording with commentary by Sigmund Spaeth on MP-100-14, became Vol. 6 of Music
Masters. It was obviously easier to reissue the same material again and again
than procuring new performances recorded in a higher technical quality.
Born in New York City in 1928, graduated at the
Phillips Academy (Andover) and received a BA in English at Yale College. He followed
private studies in music theory, counterpoint, harmony and piano. In the summer
of 1948, when he turned twenty, he was a member of the composition class at Tanglewood
in Lennox, Massachusetts, with Darius Milhaud as teacher. Freeman is a composer
of chamber music and vocal chamber music. Known is his Suite for Wind Orchestra
which was recorded under the direction of Johannes Somary. His First String
Quartet as performed by the Koeckert Quartet, recorded in Germany, was meant
to be released on a MUSIRAMA disk but this never happened as the contract with
Bertelsmann had been canceled. Tom
Null discovered the recording when searching the archives with Remington tapes
and released the recording on Varèse-Sarabande VC81046 (See
W. Freeman co-authored 'The Golden Horseshoe', and 'Toscanini', he wrote 'Metropolitan
Opera Stories of the Great Operas' (Vol. 1& 2) and translated Guiseppe Tarozzi's
'Puccini'. He was a music critic and a reviewer for Opera News and, from 1960
until 2000, served as an Associate Editor of that magazine. In 1993 he was awarded
the Belmont Medal by the Metropolitan Opera Guild.
He was in his mid twenties
when he wrote the liner notes for many a Remington release.
W. Freeman wrote the liner notes for:
R-199-3 Grieg: Piano Concerto - Felicitas Karrer, pianist / Kurt Wöss.
R-199-7 Beethoven: Symphony No. 6 - Austrian Symphony / Kurt Wöss.
R-199-20 Tchaikovsky: Violin Concerto - Michèle Auclair / Kurt Wöss.
R-199-96/3 A name of a cover artists or of a writer of a commentary was
sometimes (mostly unintentionally) omitted on a release. I suspect that the liner
notes for Mozart's Requiem (conducted by Joseph Messner) were written by Freeman.
R-199-103 Verdi: Rigoletto Vocal Highlights - Ivan Petroff with the Orchestra
of the Maggio Musiale Fiorentino, the chorus of Teatro Communale / Erasmo Ghiglia
R-199-104 Puccini: La Bohème Vocal Highlights.
Verdi: Requiem - Austrian Symphony / Gustav Koslik (re-released around 1958 in
a Masterseal cover as Remington R-199-238)
R-199-106 Dvorak: Slavonic
Dances Op. 46 - Austrian Symphony / George Singer.
Freund plays music of Johannes Brahms: Sonata in F minor Op. 5. and Intermezzi
Op. 117 No. 2 and Op. 116 No 2.
R-199-111/2 Rossini: Stabat Mater
- Salzburg Mozarteum / Josef Messner.
R-199-143 Recital and Encores
- Pierre Luboshutz and Genia Nemenoff.
R-199-160 Saint-Saëns: Carnival
of Animals, Tchaikovsky: Swan Lake - RIAS Symphony / Jonel Perlea.
Liszt: Piano Concerto No. 1 and Todtentanz - Edward Kilenyi, RIAS Symphony / Jonel
R-199-170 Léhar: The Merry Widow, Strauss: One Night in Venice
- RIAS Symphony Orchestra / Gerhard Becker.
R-199-178/3 Verdi: Aida
(the complete recording) - Teatro la Fenice / Franco Capuana
Millöcker: The Beggar Student - RIAS Symphony Orchestra / Gerhard Becker.
Paris Album 12 Liszt: Hungarian Rhapsodies, Brahms Hungarian Dances - RIAS
Symphony / Karl Rucht.
Masterseal MSLP 5010 Mendelssohn: Midsummer
Night's Dream, Debussy: Afternoon of a faun
- Kurt Wöss, but these works are probably conducted by H. Arthur Brown and
Jean Morel respectively.
Masterseal MSLP 5014
Dvorak: New World Symphony - Austrian Symphony / George Singer. It is not clear
if the same liner notes had already been printed on the back of later editions
of R-199-4 (Dvorak's 5th Symphony (9th) with George Singer) and replaced
the notes written earlier by Herman Neuman.).
was a writer on music and provided
program notes for opera companies. He also compiled catalogs like 'The American
Record Index' and 'The Catalogue of Opera on Records'. Lebov
wrote the liner notes for the Cosi fan tutte recording on R-199-117/3.
Ellen A. Lebow
translated many libretti and also the libretto for 'Cosi fan tutte' which was
included in the box with the mention that it was a special printing for Remington
Neuman (Conductor, Director of Music
of WNYG, Municipal Broadcasting System of New York City) wrote the notes for the
early release of R-199-4 of Dvorak's 5th (9th) Symphony with George Singer.
Kolodin (January 21, 1908 - April 29, 1988) was the prolific author who is known
for 'The Opera Omnibus', 'The New Guide to Recorded Music', 'The Guide to Long
Playing Records' and many other reference books on music and records. He was a
reviewer for Saturday Review. He is also known for his writings for the RCA-label
and in particular for the Rubinstein Chopin-recordings. He had a rather clean
and analytical style of judgment and was never overly enthusiastic but always
restrained in a somewhat intellectual manner, to such an extent that several artists
did not like his reviews of their performances.
Kolodin was already a well
known critic and musicologist when he was asked to write for - at least three
- Remington Musirama releases with the technically and interpretively better recordings.
Kolodin's hand are the notes for Mascagni's 'Cavaleria Rusticana' with
Teresa Apolei, Pina Geri, Antonio Spruzzola Zola, Piero Campolonghi, Letizia Del
Col and the 'Teatro la Fenice' conducted by
George Sebastian on R-199-175/2.
Kolodin wrote the notes for the release of Prokofiev's 2nd Piano Concerto
Bolet and Thor Johnson on R-199-182 which was a première recording;
apart from the 3rd only the 1st and occasionally the 5th concertos were played.
And from his hand is the text on the inside of the box of the Turandot
recording with Gertrude Grob-Prandl, Antonio Sprùzzola-Zola, Norman Scott,
Renata Ferrari-Ongaro, Angelo Mercuriali, Mariano Caruso, and Marcello Rossi,
Franco Capuana conducting the 'Teatro la Fenice' (Venice Opera Company) on the
Kolodin at the end of
the nineteen forties.
(Photograph courtesy William P. Gottlieb)
many a Remington cover a quote from an article by Irving Kolodin in the Saturday
Review is printed:
"Listen to the Remington-sponsored discs in a rapidly
growing catalogue selling at less than half of what is considered 'normal' LP
rates. Remington is worth every penny asked."
Biancolli is known for his collaboration with
Kirsten Flagstad which resulted in 'The Flagstad Manuscript'. Other books of his
'The Mozart Handbook' (1975), 'Masters of the Orchestra from Bach
to Prokofiev' (1969) and 'The Analytical Concert Guide' (Doubleday). He was also
the co-author, with Robert Bagar, of 'The Concert Companion'. He was a music critic
for The New York World-Telegram and Sun. And then he wrote liner notes for RCA
Biancolli wrote the liner
notes for these Remington editions:
R-199-124 Keyboard Masters of Old
Vienna (Schubert, Mozart, Lanner, Strauss) - Hilde Somer, pianist.
R-199-126 Kreisler Encores played by violinist Michèle Auclair and pianist
Otto Schulhof - coupled with Ballet Music by Delibes (excerpts from Naila, Coppélia
and Sylvia performed by the Austrian Symphony Orchestra conducted by Max Schönherr.
R-199-129 Bizet L'Arlesienne Suite No. 1, Nicolai: Overture to The Merry
Wives of Windsor, Mendelssohn: Overture to Ruy Blas.
Borodin: Overture and Polovetsian Dances from Prince Igor, Mussorgsky: A Night
on Bald Mountain, Rimsky-Korsakoff: Capricio Espagnol - Austrian Symphony / Gustav
R-199-135 Mozart: Sonata in A Major, Haydn: Sonatas Nos. 1
and 7 - Leonid Hambro, piano.
The MUSIRAMA emblem
on the Hambro recording is not printed on the cover but glued in the lower right
corner. This would suggest that this is not a real Musirama recording. But the
quality of the pressing is identical to the earlier Musirama recording of Michèle
Auclair (R-199-126) and the later Musirama pressings. It is obvious that this
is one of the discs instigated by Laszlo Halasz after he had become Recording
Director. Remington R-199-135 was already released in the spring of 1953.
Debussy: La boite a joujoux (The Box of Toys) - RIAS Symphony Orchestra conducted
by Jonel Perlea.
Tatnall Canby -
musician and musicologist, author of numerous articles for
Harper's Bazar, Saturdays Review and Audio Magazine, and he contributed also to
other record labels like Westminster and Nonesuch - wrote liner notes for:
R-199-79 featuring cellist Gaspar Cassado in Haydn's Concerto No. 1, Op.
101 coupled with Mozart's Symphony No. 35, K 385, both conducted by Hans Wolf.
R-199-84 Albert Spalding (Violinist) and Ernst von Dohnanyi (Pianist) perform
Johannes Brahms: Sonata No. 1 and Hungarian Dances Nos. 8, 9 and 17.
R-199-203 Tchaikovsky: Francesca
da Rimini, Theme and Variations - RIAS Symphony Orchestra / Anatole Fistoulari
R-199-209 Hindemith: Matthis der Mahler, Schumann: Manfred Overture, Von
Weber: Euryanthe Overture - Hamburg Philharmonic Orchestra / Leopold Ludwig.
Schumann: Symphony No. 2 - RIAS Orchestra / Otto Matzerath
de Schauensee (Rome, December 5, 1899
- July 24, 1982 in Philadelphia, PA) was Music Editor of the Philadelphia Evening
Bulletin and wrote The Collector's Verdi and Puccini. (1978). Despite the fact
that opera was apparently his main subject, he did write the program notes for:
R-199-138 Bruckner: Symphony No. 3 - Zoltan Fekete.
Berlioz: Symphony Fantastique - RIAS Symphony Orchestra / George Sebastian.
music critic of Chicago Daily News is the author of 'American Music' and 'What
They Heard: Music in America, 1852-1881'. He wrote the notes for
Biro's recording of Contemporary Piano Composers (Bartok, Kodaly, Kabalevsky)
A quote from a review by Sablosky in the Chicago Daily
News of Simon Barere's Carnegie Hall recording of the Liszt Sonata (R-199-85)
was printed in the 1953 Remington Records Catalog: "... fantastic, diabolical
virtuosity seldom met and never before, to my knowledge, captured thus on records."
Sheldon Soffer studied
composition and later took an interest in conducting and took up the post of assistant
conductor of the Provincetown Symphony Orchestra. From his experiences he had
the idea to represent musicians and artists and founded Sheldon Soffer Management
in 1965. He wrote the liner notes for R-199-174 with Wagnerian Favorites
performed by the RIAS Symphony conducted by Georges Sebastian, and the notes for
Jorge Bolet's recording of Chopin's Four Scherzi on R-199-161.
D. Boehm (Bohm)
Jerome Bohm was a critic for The New York Herald Tribune.
R-199-165 Schumann: Carnaval, Chopin: Short Pieces - Edward Kilenyi
R-199-180 Schumann: Symphony No. 1 ("Spring") - Otto Matzerath
Tchaikovsky: Symphony No. 2 - Cincinnati Symphony Orchestra / Thor Johnson.
R-199-197 Tchaikovsky: Concerto No. 1 - Conrad Hansen / Wolfgang Sawallisch
(On Masterseal MSLP a long paragraph of the original liner notes was left out.).
R-199-201 Sibelius: 5th Symphony - RIAS Symphony Orchestra / Jussi
R-199-205 Variations on a Theme by Haydn (Brahms) - Wolfgang
Sawallisch conducting. Coupled with Tragic Overture (Brahms), Academic Festival
Overture (Brahms) with conductor Otto Matzerath.
Rumanian Rhapsodies Nos. 1 and 2, Villa-Lobos: Choros No. 6 - Georges Enesco and
R-199-208 Delibes: Sylvia and Coppélia -
3, 1921- January 25th, 2003) started as a music critic and was a reviewer
for a magazine like Audio. He
had a creative mind. He
wrote a critical essay on Frank Zappa. In the 1960s he worked for
the American Standards Association. Famous is his parody "Safety
Code and Requirements for Dry Martinis". He ultimately moved
on to work at the Institute of Electrical and Electronics Engineers
(IEEE) before retiring in 1986. He passed away on January 25th, 2003.
He wrote the liner notes for one of the Musirama recordings made with
the RIAS Symphony in Berlin:
R-199-164 Brahms: Piano Concerto No. 2 - Edward Kilenyi / Jonel
Weinstock (1905-1971), author of
'Music as an Art' and 'Tchaikovsky, Handel and Chopin: the Man and
His Music' wrote the notes for:
R-199-134 Flamenco - Carlos Montoya, guitar, and Lydia Ibarondo,
R-199-139 Songs of Spain - Lydia Ibarrondo and pianist Miguel
R-199-140 Baritone Mack Harrell: Recital and Encores, with
Brooks Smith at the piano.
R-199-171 Carlos Montoya - Spanish Gypsy
critic of the New York Herald Tribune, wrote noteworthy
articles. From his hand are Talk with Stravinsky: Composer Discusses His
Music, New York Herald Tribune, 21 December 1952; "Robert Craft and
His Unique Life", 20 December 1959; and many more. Quotes from his articles
can be found in many a biography of composers and musicians. He contributed to
the Book of the Month Club on The Messiah (Handel), Salome and Elektra (Richard
Strauss), and La voix humaine (Francis Poulenc).
S. Harrison wrote the notes for these Remington Records:
Scarlatti, Bach and Couperin by harpsichordist Sylvia Marlowe.
Couperin by Sylvia Marlowe, harpsichord.
Wagnerian Overtures - RIAS Symphony / Georges Sebastian.
Offenbach/Rosenthal: Offenbachiana - RIAS Symphony Orchestra / Manuel Rosenthal.
R-199-188 Brant, Glanville-Hicks, Rudhyar - Jonel Perlea.
R-199-181 Light French
Opera Overtures by Suppé, Auber, Adam and Maillart. RIAS Symphony conducted by
Darack, music critic of the Cincinnati
Enquirer and program annotator or the Cincinnati Orchestra (1952-1961).
He wrote the program notes for Thor Johnson's recording of Dvorak's
4th (8th) Symphony on R-199-168.
Templeton wrote the notes for his own recording
of Improvisations on R-199-158. Note: There is no author mentioned on the
cover of his recording of Gershwin's Concerto in F.
Spalding wrote the notes for his own recording
of the Brahms Violin Concerto with Wilhelm Loibner (R-199-145), as is indicated
VC 81059 which contains the re-release. This is not an invitation to assume that
Albert Spalding also wrote the liner notes for the issue of his recording of the
Beethoven Violin Concerto with the same conductor on R-199-144. These are
probably written by any contributor like John W. Freeman, Irving Kolodin, Sigmund
Spaeth, or just one of those other writers mentioned above. The recording of the
Beethoven Concerto was released after Albert Spalding had died.
Rudolf A. Bruil - Page first published June, 2002 and updated.