Broadcast in 1957 on the BBC Home Service
Transferred from a private acetate 12" LP recording
Restoration and remastering by Andrew Rose at Pristine Audio, April 2008
Cover artwork based on a photograph of Albert Sammons
Total duration: 29:46
Download ID: 435414/5
A Pristine Audio Natural Sound XR restoration
Scroll down for PDF covers and cue-sheet download
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sample section:
Sir Adrian Boult presents a tribute to the violinist Sammons
Rare 1957 BBC radio broadcast unearthed
This XR-remastered recording is available in mono and Ambient Stereo. For more information on Ambient Stereo click here.
Notes on the programme and its restoration:
In this radio programme, broadcast on the BBC Home Service in late 1957, Boult looks back at the life of one of the greatest British violinists, Albert Sammons, who died on 24th August of that year, through reminiscences and recordings. Sammons had retired from the concert stage a decade earlier through
ill health, and thus these recordings date largely from his heyday in the 30's and 40's.
The examples chosen include major English violin concertos, which both Sammons and Boult championed throughout their careers - the Delius concerto was written for Sammons, who performed it with Boult for its première recording. We also hear Sammons alongside another stalwart of the era, the violist Lionel Tertis, in Mozart's Sinfonia Concertante, before exploring the chamber music of Fauré and Rubbra and an arrangement of a Dvorak song.
The programme is presented as broadcast, including opening and closing announcements, as recorded onto a specially made double-sided acetate LP disc, apparently cut by the MSS Recording Company Ltd of Colnbrook, Buckinghamshire, England (typed white paper labels cover the original MSS label, but the writing underneath is just discernable). In restoring this I've dealt with much of the surface noise on the record, though some remains at times, and have endeavoured to 'dust off' Sir Adrian's spoken introductions with some re-equalisation. The musical excerpts remain largely as broadcast, and include two minor dropouts present on the LP copy, though I have tackled some of the nastier sections of the original 78rpm discs used to make the programme.
Contents and musical examples:
Introduction and ELGAR: Violin Concerto
DELIUS: Violin Concerto
MOZART: Sinfonia Concertante (a Pristine Audio remaster of this recording is available here)
FAURE: Violin Sonata No. 1
RUBBRA: Violin Sonata No. 2
DVORAK: Songs My Mother Taught Me
Conclusion
Sir Adrian Boult
excerpt from biographical notes at Wikipedia
Sir Adrian Cedric Boult CH (8 April 1889 – 22 February 1983) was an English conductor.
Boult was born in Chester and educated at Westminster School and Christ Church, Oxford. As a schoolboy, he was introduced to the world of music by a family friend, Frank Schuster, who was a friend of Edward Elgar and introduced the young Boult to the composer around 1905.[1]
He completed his musical education at the Leipzig Conservatory where he learnt to conduct by watching the eminent Hungarian conductor Arthur Nikisch. He sang in choral festivals and at the Leeds Festival of 1913, where he went to watch Nikisch conduct, and made the acquaintance of George Butterworth and other British composers.
During World War I he was employed at the War Office, and whilst there in 1918 planned a series of concerts with the London Symphony Orchestra, which included several important recent British works: Gustav Holst's The Planets, of which he gave the first private performance, A London Symphony by Ralph Vaughan Williams, of which he gave the first performance of the revised version, and Elgar's Symphony No. 2 which had fallen into neglect. Elgar wrote to him and said he felt sure the future of his music was safe in Boult's hands. In this way Boult laid the foundations for a long career as a champion of twentieth century English music. As one example, Vaughan Williams dedicated Job, A Masque for Dancing to Boult in the mid-1930s, several years after the actual première of the work.
Albert Sammons
excerpt from biographical notes
Albert Sammons (23 February 1886 – 24 August 1957) was an English violinist.
An extensive article on Sammons' life and career, written by Albert Cooper, was published in The Strad magazine in August 1986, and is reproduced in full at the Cooper Collection website here. This is a short extract from the aforementioned article:
That Sammons effortlessly dominated other English violinists is an undisputed fact. The London critic Montague Nathan went so far as to say that ‘Sammons was absurdly afraid of being thought a genius’. At heart Sammons was certainly a romantic; listening to his recordings of the Bruch and Elgar concertos leaves no doubt. Of the many salon pieces recorded, Elgar’s Salut d’amour and the Kreisler arrangement of Dvoraks’s Humoreske are also good examples. These simple but delightful melodies are enhanced by a tone that is both sensuous and beguiling.
On 7 December 1954, the Albert Hall was filled to capacity for the Albert Sammons Testimonial Concert under the auspices of the London Music Circle in the presence of Her Royal Highness The Duchess of Gloucester. Sir Arthur Bliss, Master of the King’s Music, paid tribute to Sammons for his services to music. Many fellow colleagues paid tribute to Sammons in the concert programme and these included Kreisler, Menuhin, Oistrakh, Max Rostal, Manoug Parikian, Thomas Matthews, Alfredo Campoli, Alan Loveday, Hugh Bean, David Martin, Lionel Tertis, Casals and Szigeti. The latter wrote:
Albert Sammons’s lovely playing in the Delius Concerto, has sterling musicianship and fraternal attitude when we played the Bach double Concerto together at one of the Courtauld-Sargent Concerts, the insight which his ‘Secret of Violin Technique’ gave me into his self-searching as applied to violinistic problems, these few experiences were sufficient for me. The generosity of his gesture in welcoming back our great Fritz Kreisler to London just after World War 1 is typical of the good comrade Albert Sammons. And it brings back to mind perhaps our very first encounter in 1909. We were sitting in adjoining rows at a Kreisler recital in Queen’s Hall when I felt a tap on my shoulder, between two movements of some contemporary sonata, and heard Sammons whispering to me ‘It’s that tone of his we come to hear, isn’t it? It doesn’t much matter what he’s playing!’ Albert Sammons paid handsome tribute to Kreisler on that memorable afternoon some ten years later, and it is good to think that the fine artist and generous colleague, Albert Sammons, should have tribute paid him tonight by those assembled here, who remember with gratitude the beauty and poetry of his music making.
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