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Great Violinist Albert Spalding and Andre Benoist Piano on early pressing:
Rec Numb | 82062-R | 82062-L |
Take | B | B |
Title | NOCTURNES (FrTdTric Chopin) [2 in Eb op.9,2] (arr.: Pablo de Sarasate) | Spanischer Tanz 8 in C (Pablo de Sarasate, op.26,2) |
Artist | Albert Spalding (vn), (p) | Albert Spalding (vn), (p) |
Recorded | 1913.08.14 | 1913.08.14 |
Place | NYC | NYC |
EXCELLENT MINUS unworn shiny and glossy, no lamination cracks or damage. L side has a dull area last 7 mm, R side has an etched run on BLANK RIM and slight browning of the very last groove. THESE DO NOT SOUND, plays VERY QUIET lightest breathing, SUPERB VIOLIN TONE
THE VIOLIN AND ITS MUSIC
VOLUMES have been written on the violin, the “king” of the orchestra. There has been more romance centered in the violin, probably, than in any other instrument. The origin of the violin goes back to the very dawn of civilization itself. According to tradition, in the time of the king of Ceylon, called Ravana, about five thousand years before the Christian era, the ravanastron, the most ancient prototype of bowed instruments, was invented. It possessed all the elements, in a primitive form, of the modern violin—catgut strings, bridge, resonant box, neck, pegs and the bow. If you should desire to see what this instrument looked like, hunt up some Chinaman who has one of his native fiddles, and you will get an idea of the ravanastron.
So far as we are able to trace the work, historically, the Arabs and Persians were the people who developed the crude fiddle of India into an instrument more nearly resembling the physical form of our violin. The rehab, as their violin was named, arrived in Europe some time during the Middle Ages, and was experimented upon by many instrument makers. Then, in the Seventeenth Century and the early part of the Eighteenth, came the glorious line of master violin makers, headed by Amati, Stradivarius and Guarnerius, whose artisanship has never been equalled, and probably never will be surpassed.
Apparently, the form of the modern violin is beyond improvement. Since the day of Stradivarius, only non-essential alterations have been made in the instrument and these consist chiefly in the strengthening of certain parts such as the bass-bar, and in the thinning and lengthening of the neck to meet the demands of modern left-hand technique. The violin is made of about seventy separate pieces of wood. Of this number, sixty are built permanently into the structure, while the rest are merely “fittings.” The belly is made of some such soft wood as pine, the bridge and back are both of hardwood, the former generally maple, the latter either maple of sycamore. The length of the body of the instrument varies slightly, according to make. In the finest “Strad” specimens, it is, as nearly as possible, fourteen inches.
On the technique of violin playing, Albert Spalding, the leading American virtuoso, holds interesting ideas. In a recent interview he said:
“My candid opinion about technique is that it is just the same today as it was two hundred years ago. I can hardly see where the essential innovation has come into violin playing since the six sonatas of Bach were written. Whoever can play those works is fully equipped to undertake any modern piece. I can think of only one man who has added anything to the scope of violin execution in the last one hundred years, and that is Paganini.”
Besides Spalding, you will find a number of famous violinists playing on Edison Re-Creations: Vasa Prihoda, Carl Flesch, Joel Belov, Isidore Moszkowitz, Mischa Viólin, Marta de la Torre and Carmine Fabrizio. There is also the work in popular vein of Rae Eleanor Ball.
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