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Spalding and Dohnányi play the three Brahms Violin Sonatas - PACM078

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Spalding and Dohnányi play the three Brahms Violin Sonatas - PACM078-CD
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Albert Spalding, violin
Ernö Dohnányi, piano
Recorded in 1951

Producer and Audio Restoration Engineer: Mark Obert-Thorn
Cover artwork based on a photograph of Albert Spalding
Additional processing for Ambient Stereo issue versions only by Andrew Rose
Special thanks to Frank Forman, Richard A. Kaplan, Donald Manildi and the International Piano Archives at the University of Maryland (IPAM) for providing source material

Total duration: 67:21
©2011 Pristine Audio.


"America's greatest native-born violinist" brilliant in Brahms

Legendary, long out-of-print recordings return in new Obert-Thorn transfers


  • BRAHMS Violin Sonata No. 1 in G major, Op. 78 [notes / score]
    Recorded in 1951 in New York City
    First issued on Remington R-199-84

  • BRAHMS Violin Sonata No. 2 in A major, Op. 100 [notes / score]
    Recorded in 1951 in New York City
    First issued on Remington R-199-49

  • BRAHMS Violin Sonata No. 3 in D minor, Op. 108 [notes / score]
    Recorded in 1951 in New York City
    First issued on Remington R-199-49

    Albert Spalding
    Ernö Dohnányi piano

FLAC Downloads includes PDF scores of all three works in their first edition



Notes on the recordings:

These legendary recordings, featuring America's greatest native-born violinist and the famous Hungarian composer/conductor/pianist, have not been generally available since the demise of the Remington label over half a century ago. Multiple copies of each of the two LPs containing the sonatas were assembled for transfer. The First Sonata came from one of Remington's later, black-and-gold label vinyl pressings, featuring quieter surfaces than the original, red label issues, which seemed to have been pressed on a noisier hard plastic-like material. (The odd noise during the slow movement appears to be the banging of a radiator in the studio. There is also a momentary pitch fluctuation in the original master during this movement.)

Although I had two copies of the disc with the Second and Third Sonatas available on the later pressings, I found that both had a noticeable pitch wobble, even when the discs were perfectly centered. This was probably due to either the master tape or the disc cutting table turning at an uneven speed. Since the red label pressings did not exhibit this flaw, they were used for those works, despite their greater surface imperfections.

Mark Obert-Thorn



Click here to view additional notes


Albert Spalding

Biographical notes from Wikipedia


Albert Spalding (August 15, 1888 - May 26, 1953) was an American violinist and composer.



Spalding was born in Chicago, Illinois, in 1888. His mother, Marie Boardman, was a contralto and pianist. His father, James Walter Spalding, and uncle, Hall-of-Fame baseball pitcher Albert Spalding, created the A.G. Spalding sporting goods company.

Spalding studied the violin privately in New York City and Florence, and at the conservatories in Paris and Bologna; the latter graduated him with honors when he was fourteen. Following his debut in Paris on June 6, 1906, he appeared successfully in London and Vienna. His first American appearance as soloist came with the New York Symphony on November 8, 1908. A year later he soloed with the Dresden Philharmonic Orchestra when that orchestra toured the United States. In 1916, he was recognized as a national honorary member of Phi Mu Alpha Sinfonia, the national fraternity for men in music. During World War I, Spalding served in the U.S. Army Air Corps and would eventually be awarded the Cross of the Crown of Italy.

Not long after his return to the United States, he married Mary Vanderhoef Pyle on July 19, 1919, in Ridgefield, Connecticut. French violinist Jacques Thibaud and Andre Benoist, Spalding's accompanist, provided the music for the ceremony. In 1920, Spalding appeared on the European tour of the New York Symphony. In 1922, he became the first American violinist to appear with the Paris Conservatory Orchestra; a year later he was the first American to serve on a jury at the Paris Conservatory, helping to award prizes to the graduating class of violinists. In February 1941, he premiered the violin concerto of Samuel Barber.

Upon the United States' involvement in World War II, Assistant Secretary of State Adolf Berle successfully urged Spalding to accept an assignment with the Office of Strategic Services. He was posted to London, for six weeks, and then served in North Africa, until he was ordered to Naples where he was attached to the Psychological Warfare Division of SHAEF. In 1944, Spalding gave a legendary concert to thousands of terrified refugees stranded in a cave near Naples during a bombing raid.

Following a concert in New York on May 26, 1950, Spalding announced his retirement from the concert stage. Thereafter, he taught master classes at Boston University College of Music and, in winter months, at Florida State University in Tallahassee. He died in New York in 1953, at the age of 64.

He was a National Patron of Delta Omicron, an international professional music fraternity.



Spalding wrote several musical compositions including a suite for orchestra, two violin concerti and a String Quartet in E Minor. He also wrote an autobiography, Rise to Follow, published in 1946. His novel about Giuseppe Tartini, A Fiddle, a Sword, and a Lady, appeared in 1953.



Individual 78 RPM sides and album sets

During the 78 era, when the maximum capacity of a single ordinary record side or cylinder was less than five minutes, Spalding recorded extensively for Edison Records, with some issues on cylinders and many more on diamond discs. Most featured short works or encore pieces that could fit on a single record side. These recordings were all by the acoustical process, as well as vertically-cut, through 1925, but he made his first electrical recordings in 1926 for Brunswick Records using that company's problematic "Light-Ray" system. After his unsatisfactory experience with Brunswick, Spalding went back to Edison and made a very few electrical Edison "Needle Cut" lateral recordings in late 1928. These were much better recorded than Spalding's Brunswicks, but were issued only for a very short time -- from August to November 1929 -- and are exceedingly rare today. Following the Edison company's demise in November 1929, he recorded a handful of more extended works broken across multiple sides for RCA Victor Records.

Long playing records

Spalding's role as a leading Edison artist secured him representation on the first long-playing records: Edison's commercially ill-fated long-playing diamond discs, introduced in 1926, which were capable of playing up to 20 minutes per side at 80 RPM. Because, like all material on these pioneering records, his selections were dubbed from standard diamond disc masters, they represented the same short pieces in his standard catalogue.

At the end of his life, Spalding again appeared on LP records, this time budget issues by small labels, but performing more substantial fare. Particularly of note are his accounts of the Beethoven and Brahms violin concerti recorded for Remington Records in Vienna, Austria's Brahms Hall in 1952, his last recording sessions. In both, Wilhelm Loibner conducted an ensemble billed as the Austrian Symphony Orchestra. For the same company Spalding earlier recorded the three Brahms violin sonatas with pianist Ernő Dohnányi; selected Brahms Hungarian Dances with pianists Dohnányi and Anthony Kooiker, who toured with Spalding for four years; and a collection of music by Tartini, Corelli, and J.S. Bach, some in his own arrangements, with Kooiker. A recital of short pieces issued on the Halo label, with accompanist Jules Wolffers, captures Spalding's voice as he announces two of the works.


Notes from





CD covers to print:
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PACM078 cover

CD-writing cuesheet (save as .cue):
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Cue sheet

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