the cover of R-199-144
Dances 'old' and 'new'
HALO 50296 Albert Spalding plays a recital with pianist Jules Wolffers
and announces Maleguena and Pièce en forme de habanera
for more violinists:
World Violinists Links.
Spalding was not only the first, but one of the few American violinists
to attain a reputation of world importance. He was a composer of note,
author of two books and, in two wars, undertook extremely important
and delicate missions abroad."
are the first lines of Albert Spalding's biography on the back of
R-199-144, the recording of Spalding's performance of Violin
Concerto in D Major, Op. 61 of Ludwig van Beethoven, performed with
the Austrian Symphony Orchestra conducted by Wilhelm Loibner. These
lines describe in a nutshell the personality and character of this
famous American violinist, composer, author and - in times of war
- intelligence officer.
Albert Spalding died on the 26th of May 1953 when dressing up for
dinner, the music world lost "the first great instrumentalist this
country has produced" as Walter Damrosch had described Spalding several
years earlier. And Fritz Kreisler had said, in a tribute to Albert
Spalding, in 1951: "He never fails to play on the heart strings of
the listeners (...)."
truth of Fritz Kreisler's words is evident in Spalding's Remington
recording of the Beethoven Concerto. His ease and naturelness, which
show that he masters the instrument and the essence of the music -even
at a high age- are remarkable. It is the same quality that can be
found in Enrico Mainardi's cello playing of the Bach Suites, for instance,
and above all in the performances of Bach's Sonatas and Partitas played
edited by R.A.B., taken from the back of an early REMINGTON
was born on August 15th 1888, in Chicago. His father was J. Walter
Spalding, a well-to-do businessman and a partner in the known sporting
goods firm. His mother was a pianist and a contralto. After initial
studies in Chicago, young Albert spent most winters in Europe with
his family in Florence. Already at the age of 14 he graduated at the
continued studying in New York with Juan Buitrago, and in Europe
with Ulpiano Chiti in Florence, and with Augustin Lefort
in Paris. He was one of only three foreign born students to be admitted
to the Paris Conservatory, the other two being Fritz Kreisler
from Austria and Eugene Ysaye from Belgium.
It was in Paris where Spalding made his debut in 1905 and his superior
talent and style were immediately recognized by the great and famous
of those days. He met Saint-Saëns and played for the great
Joseph Joachim in Berlin. When on tour in Finland, Spalding
met with Jean Sibelius.
During World War I 26 year old Spalding enlisted in the army and was
active in the secret service. After the war he returned to the US
and married. Mary Vanderhoef Pyle.
In the nineteen twenties and thirties he traveled to the world's famous
concert halls to perform Bach, Beethoven and Brahms with the great
conductors and orchestras of that era. He was invited by Ernst von
Dohnányi to perform in Budapest and was admired for his soulful
playing. By the end of the nineteen forties he was to meet Dohnányi
again in Florida, and together they recorded for the Remington label.
an article with the heading "Violinist or Fiddler"
published in The Etude Music Magazine of November 1934, Albert Spalding
talks to R.H. Wollstein about the obligation of the artist to present
those works of which he believes that the hearers will enjoy as much
as he himself will. He also talks about what distinguishes the style
of one violinist from that of another.
vibrato is, perhaps, the most personal element of the violinist's
playing, the most important factor influencing the character
of his tone, in giving it individuality. Just as the great
master-painters can be recognized without the signature on
their canvasses, by distinctions of line and composition,
so, I believe, our great violinists can be distinguished by
the peculiar quality of their vibrato." - Albert Spalding
World War II broke out Spalding again enlisted in the army. After
the war he picked up his bow to concertize and to teach. In 1947 he
retired. His farewell concert took place in the Lewisohn Stadium in
New York where he played before an audience of 20.000 people. After
retiring he gave masterclasses at the University of Florida at Tallahassee
during the winter months.
Spalding is the composer of two violin concertos, a string quartet
and various pieces for violin and piano. The liner notes on R-199-144
state that he wrote in all sixty works for the violin, twenty-five
for piano, thirty for voice, four for chamber ensembles, and four
for full orchestra.
Albert Spalding also wrote two books, one is his autobiography "Rise
to follow", which was first published in 1943.
he made his Remington recordings, Albert Spalding recorded in his
early days for Edison (vertical engraving system) and later for Victor.
He made the bulk of his recordings in the shellac era. The 1942 and
1948 editions of 'The Gramophone Shop Encyclopaedia of Recorded Music'
no Edison recordings are mentioned. Only the following Victor
recordings are listed:
du Diable Vert - 10" - Victor V-12914
Händel: Sonata Op. 2 No. 9 with William Primrose (viola)
and André Benoist (piano) - Victor V-18241
Mozart: Sinfonia Concertante in E flat major with William Primrose
(viola) New Friends of Music, Fritz Stiedry conductitng - Victor 4
12" VM 838
Spohr: Concerto for Violin No. 8, Op. 47 (In Form einer Gesangsszene)
with the Philadelphia Orchestra conducted by Eugene Ormandy - Victor
2 12" VM 544
Spalding: Dragon Fly, A study in Arpeggione (unaccompanied)
- Victor 10" V-12914
Spalding: Wind in the Pines with André Benoist - Victor
Spalding Transcriptions: Valse/Waltz Op. 69 No. 2 (Chopin)
- Victor V 1703; and "Hark, Hark, the Lark" (Schubert) -
Tartini: Devil's Trill (Il Trillo del Diavolo) with André
Benoist (piano) - Victor 1x12" & 1x10" V-14139 &
Spalding was not under contract with a major label, Don Gabor arranged
to make recordings with Spalding at the end of the nineteen forties
and later when Laszlo Halasz had become Remington's Recording Director
and was going to supervise recordings in Europe, the rare opportunity
presented itself to make recordings with the great violinist in Vienna,
Mr. Halasz's first assignment so to speak.
of Albert Spalding published in the Record Section of High Fidelity
Magazine of September-October 1953
recordings of the Beethoven and Brahms concertos were made in 1952
in the Brahms Hall (Brahmssaal) of the Musikverein in Vienna, where
also English DECCA (US London) made quite a number of recordings.
These recordings were the first to be done in the MUSIRAMA
technique using the multiple microphone placement.
could say that, despite his age, Spalding's performances are strong
in character. He plays with determination and sensitivity - especially
in the second movement of the Beethoven Concerto - and his Brahms
is virtuosic and passionate. And Wilhelm Loibner is an able conductor.
It is not sure whose cadenzas Spalding plays in the concertos. They
are probably his own.
Making recordings in Vienna - "the fountain-head of music"
- and in the Brahmssaal, had given him great joy, he said afterwards
when visiting the Remington office in New York.
Paul Affelder reviewed the Brahms recording in High Fidelity
Magazine of September-October 1953:
it does not say so on the jacket, this disk was undoubtedly issued
as a memorial to the eminent American violinist, Albert Spalding,
who died suddenly May 26. His last musical likeness shows him
as a sincere artitst, with a
style anda tone warmer than I ever remembered having heard from
him on the concert stage. Unfortunately, it also perpetuates some
faulty intonation, something something else I cannot recall having
heard from him." Be that as it may, it is one of the very few
recordings that Spalding left behind, and as such, will be welcomed
by his many admirers. As a performance of the Brahms Concerto, it
cannot match the magnificent old Heifetz-Koussevitzky-Boston Symphony
version on Victor, but considering the low price, it is not a bad
buy. Watch out, however, for bad tracking throughout this disk.
also noticed "some faulty intonation". The true collector
of old recordings of violin music will certainly show understanding.
Spalding recorded for Remington "Hungarian Dances" by Brahms,
Sonatas by Bach, Sonatas by Corelli and Tartini, accompanied by pianist
Anthony Kooiker. And with Ernst von Dohnanyi he played
the Three Brahms Sonatas. All of these recordings are cherished by
the true collector of historical performances of great violinists.
Spalding's Remington recordings:
Tartini: Sonata in G minor, Corelli: Sonata in A, Sonata
in D "La Folia" (arr. Spalding) and Bach: Prelude in F Sharp
Minor (arr. Spalding) with Anthony Kooiker, piano
Brahms: Hungarian Dances with
Sonata No. 2 in A major, Op. 100 ("Thun") for Violin and
Piano, and Sonata No. 3 in d minor Op.108 for Violin and Piano with
Ernst von Dohnanyi, pianist.
Sonata No. 1 ("Regen") Op. 78 with Ernö Dohnányi, piano
(The liner notes, written by Edward Tatnall Canby, suggest that these
performances with Spalding were recorded in the fall of 1949 when
Dohnanyi came to New York when visiting the United States, just before
he took up the post of professor at the Florida School of Music, Talahassee.)
Coupled with Hungarian Dances Nos 8,9 ans 17, with Anthony Kooiker
at the piano from the selection of R-199-24. The cover was designed
by Alex Steinweiss.
Beethoven: Violin Concerto in D major, Op. 61, with the Austrian
Symphony Orchestra and
Violin concerto in D major Op. 77, with the Austrian Symphony Orchestra
and Wilhelm Loibner.
On the Bearac Reissues
website one can read:
"(...) on R-199-144 (Beethoven) the introductory soft timpani taps
were cut off (a gross negligence even for Remington standards!) and
we had to restore them from later in the piece, otherwise your Beethoven
would open on the oboe tune."
when transferring the Beethoven to the digital domain, the technician
certainly must have taken the soft tapping for some sort of rumble
or surface noice in the record. In the Remington pressings of Spalding's
Beethoven Concerto which I have heard, the soft tapping of the timpany
is definitely not eliminated.
Added in February
2018: Bearac Reissues have stopped their services. They had a special
Remington Series which was relatively popular with visitors of The
In 1980 Tom Null released the performance of the Brahms Concerto in
Remington Series on his Varèse-Sarabande
The liner notes give the following information about this recording:
Released in 1953 as Remington records R-199-145, this performance
and the simultaneously-taped Beethoven, represent the only
non-78 RPM concerto recordings made by Albert Spalding in
what were, in fact, his last recording sessions. This release
is the first to utilize the original 30 inches-per-second
mastertapes - Remington's practice having been to produce
their records from 15 i.p.s. copy. The added clarity provided
by working from the well-preserved mastertapes has been further
"focused" through the application of modern equalization mastering
techniques. This was one of the label's first recordings to
employ the "Musirama" multiple microphone (four) technique.
This "close up" sound admirably captures Spalding's tone and,
conversely, also reveals various extraneous orchestral noises,
someone's (soloist's or conductor's) occasionally tapping
foot, and some bad moments of ensemble and intonation. The
latter maybe partly acounted for by the headlong intensity
of the performance and by the apparent fact that each movement
was recorded complete in one "take". - Tom Null
Spalding can also be witnessed on ALLEGRO 1675 with Bach's
Chaconne (from Solo Partita 2), and Beethoven's Kreutzer Sonata with
Jules Wolffers at the piano. His unrestrained playing - a tradmark
of the violinist - was also engraved on HALO 50296 on which
he announces Malagueña and Pièce en forme de habanéra
(Ravel). The accompanist on that recording is also Jules Wolffers.
On ALLEGRO ELITE 4118 the same gems can be found: Claire de
Lune, Ave Maria, The Londonderry Air, Habanera, and Hungarian Dances
Nos. 1, 2, 8, 9 by Brahms. A bootleg of the Halo recording? Or vice
Text (c) Rudolf
A. Bruil. Page first published June 21, 2002