TEST PRESSING UNPUBLISHED? TAKE 1 1937 ALBERT SPALDING Violin DANSE DU DIABLE

$

26

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A series of great Violin, Piano and Orchestra records on rare labels, from 1902 Monarch to 1940 War Germany recordings.

Here SPALDING AND BENOIT on rare LATE Victor recording

TEST PRESSING Matrix 010054-1 with a big "NO" circled, a rejected pressing?

Gaspard Cassado Danse du Diable Vert

 with Andre Benoist Piano

oversized 10 3/8" 78 rpm record w patterned back

 Condition: VERY GOOD PLLUS PLUS unworn, rubbed, plays E- very very quiet rare ticks

STILL A SUPERB COPY

Albert Spalding was not only the foremost American Violinist of this century, but in all probability the greatest instrumentalist this country has ever produced. In addition to the fame he established in the world's finest musical centers, he was also a pioneer in bringing the finest classical music of Bach, Beethoven, and Mozart to all States of the Union.

        Spalding was born in Chicago, August 15, 1888, where his father had joined with his older brother, Albert, in the formation of A.G. Spalding and Brothers sporting goods company. The older Spalding had been a baseball immortal as pitcher and is included in the hall of fame at Cooperstown, New York. The boy's mother, Marie Boardman, was a fine contralto and an excellent pianist. Albert was fascinated with the family Steinway as soon as he could walk. In 1895, when he was but seven, he received at his request his first violin for Christmas. In 1895 the Spaldings had come to spend their winters in Florence, where Albert commenced his violin studies with Ulpiano Chiti. At the age of fourteen he entered the competition at the world-famous Bologna Conservatory for the degree and title "Professor of Music." The boy passed the examination with 48 points out of a possible 50. Only once in the history of the Conservatory had a fourteen year old youngster achieved similar success. His name? Wolfgang Amadeus Mozart.

        In the summer months, when the Spalding family returned to America, Albert's studies continued with Juan Buitrago, an old Spaniard. In Paris, he had two years of supplemental study with Lefort of the French National Conservatory. At 16, with Lefort conducting, he made his concert debut playing the Saint-Saens Concerto in B minor, Beethoven's Romance in F and the famous and difficult Bach Chaconne. Immediately thereafter, he appeared in support of the celebrated soprano, Adelina Patti. "Young man," the aging singer exclaimed, "you'll do."

        A tour of the French provinces followed. At this period the veteran composer, Saint-Saens was so impressed with Spalding's artistry that he appeared with the boy in a joint recital in Florence. England was next on list and through Saint-Saens' recommendation, Spalding was engaged by Hans Richter, eminent conductor and friend of Wagner, for appearances with the London Symphony Orchestra. Spalding this visited Joseph Joachim, the foremost violinist of the 19th century after Paganini. The veteran, already past the three-quarter century mark, refused to accept the young man as a pupil. He told him that his course was already charted and that he should proceed as he had begun.

        In 1908 Spalding was ready to return to his own country. There he was engaged by Walter Damrosch to be soloist with the New York Symphony Orchestra. Immediately after the debut Spalding launched his first concert tour of America, over 60 appearances, many of them with symphony orchestras. At this time, he was heard by Thomas A. Edison who pronounced his tone to be the purest of any living violinist after testing it on his scientific equipment. Spalding signed a contract which remained in effect 20 years to record for Edison. In this period, he made over 100 records, both on cylinder and flat disc.

        In the following years, the Career most successfully launched, the violinist appeared with ever-increasing success in Holland, Belgium, Germany, Austria, and in 1910, in Russia. Finland (where he met Jan Sibelius), Norway, Sweden, and Denmark all fell under the violinist's spell, but the advent of the first world war forced the cancellation of the initially planned South American tour. Instead, Spalding enlisted in the Army and was assigned to a Lieutenant Fiorello La Guardia, a young congressman. Spalding soon received a commission and saw service in England, Italy, and secret service work in Spain. After the end of the hostilities the virtuoso returned to his violin and played some 20 concerts in Italy. His return to the United States was marked by his marriage to Mary Pyle of New York City, on July 19, 1919.

        In the spring of the following year, the violinist returned to Europe touring with Damroach and the New York Symphony. Soon after he became interested in the new field of radio, becoming a musical pioneer in the 1920s by playing a series of classical music concerts on the then-novel medium. European and American tours continued with a yearly average of 100-120 recitals on the 2 continents. At the invitation of Ernest Dohnanyi, Spalding went to Budapest where the audiences were so enthralled with with his playing of the Brahms Hungarian Dances they sought to invent a Hungarian ancestor for him as the only explanation for his mastery of Hungarian style.

        Thirty-five years after his historic debut, World War II broke out. In March 1944, Spalding again enlisted. He spent six weeks in London during the height of the blitz and then flew to North Africa. From there he was ordered to Naples where he was attached to the Psychological Warfare Division. Moving with the Army to Rome when it was liberated, he became known as "Papa of the Partisans" by a grateful Italian public because of his "Major Sheridan" radio directives. Within a short time, the violinist became a national hero and was credited with the saving of thousands of American and Italian lives. During this phase, he completely abandoned the violin, playing only once -- during an aerial bombardment of Naples. Noticing the near panic of the thousands of terror-stricken refugees huddled in a cave, Spalding borrowed a violin from a symphony musician he observed in the crowd. As the first the tones of Beethoven Concerto floated unaccompanied through the shelter the cries and moans ceased instantly. By the time the concerto was ended, peace, calm and quiet had been brought, if only for a brief space, to the wretched and unhappy people. Persons present on that occasion have written and stated that they had never heard such a great performance nor had they ever seen the power of music so convincingly illustrated.

        At the end of the war Spalding again picked up his instrument. After several years of concertizing he decided to retire from the taxing routine of a full concert season. His farewell public concert at Lewisohn Stadium with the New York Philharmonic was attended by more than 20,000 persons.

        While he had retired as an active concert artist, Spalding made it clear that he had not retired from music. Among other activities, he accepted a post as Professor of Violin at Boston University College of Music where he directed master classes for three years, as well as having a master class in the University of Florida at Tallahassee during the winter months. It was during the summer months that Spalding devoted much time to his compositions which, among many other works, resulted in a String Quartet the violin cycle -- etchings -- many songs and violin and piano pieces. He also wrote two books, one an autobiography "Rise to Follow" published by Holt in 1943 and a historical romance "A Fiddle, A Sword, And A Lady" dealing with the life of Tartini, also published by Holt, in 1953.

        As part of his work at the Boston University Spalding played several recitals for faculty and students which were tape recorded for teaching and reference purposes. Boston critics and invited members of the general public stated that never had they heard the great master to better advantage. All the superb musicianship the unfailing intuition, the phenomenal technique, the warm, rich singing tone, the intelligent and solid interpretations were in evidence for these audiences.

        It is from these concerts, the last of which came just eleven days before his sudden passing in New York on May 26, 1953, that the present recordings were made. These are the only candid recordings available of the great artist as heard under concert conditions. Boston University and Mary Pyle Spalding have kindly made the tapes available for general distribution. Proceeds from the records benefit the Albert Spalding Memorial Fellowship established at Boston University in 1955 by a group of the violinist's admirers and friends. 

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