Carl Flesch (1873-1944)

Carl Flesch

by José Sánchez-Penzo (this precious material is no longer available on carl-flesch.de)

Carl Flesch
Violin Virtuoso and Pedagogue
“Carl Flesch’s achievements as a performing virtuoso were as impressive as his powers as a teacher. Out of his vast repertoire encompassing practically all styles – from Baroque to twentieth century – his performances of concerti by Bach, Beethoven and Brahms stood out with an inimitable authority that made them uniquely inspiring”
Szymon Goldberg

1 Personal Data

• Born in October 9, 1873 in Wieselburg (Moson),
Hungary. 1
• He is given the name Károly 2
• Married to Bertha Josephus-Jitta
• Children: Johanna, Friedrich, Carl
• Adopted German nationality in 1930 retaining the Hungarian
• Is deprived of the German nationality in 1935
• Died in November 15, 1944 in Lucerne, Switzerland

Notes:
Moson was combined 1939 with the neighbouring towns Magyaróvár and Lucsony being Mosonmagyaróvár the new name.
Until 1905 Flesch spelled his name ‘Karl’. Afterwards he changed it to ‘Carl’.
The Mrs Fejes Music Foundation was established upon private initiative by the Municipality of Mosonmagyaróvár in 1990 to foster the memory of the town’s native Carl Flesch.

2 Professional Data

2.1 Teachers:

Back, Adolf – Vienna (1883 – 1885)
Maxintsak, Josef – Vienna Conservatoire (1885 – 1886)
Grün, Jakob – Vienna Conservatoire (1886 – 1890)
Sauzay, Eugčne – Paris Conservatoire (1890 – 1894)
Marsick, Martin – Paris Conservatoire (1890 – 1894)

2.2 Pupils:

Flesch’s success and importance as a pedagogue can be better gauged while looking at the – albeit not nearly as complete – list of leading violinists whom he taught or advised.

It should be pointed out that the number of Flesch’s pupils during his long career amounted many hundreds, if not more than thousend. Hence only some of them can be mentioned here. Incidentally, it is worth mentioning that Flesch was less interested in producing prodigies than in enabling average talents to reach their fullest potential.

Birth and death dates, as well as carreer data, are stated as far as known.

Albore, Lilia d’
Berkova, Frances (b 1906)
Boer, Willem de
Brainin, Norbert (b. 1923)
Leader of the Amadeus Quartet
Bredo, Icilio (1919-1996)
Briselli, Iso1
Calame, Blaise
Gimpel, Bronislav (1911 – 1979)
Concertmaster
Radio Königsberg Orch. (1929 – 1931)
Götheborg Symphonic Orch. (1931 – 1937)
Los Angeles Philh. Orch. (1937 – 1941)
NBC Symphony Orch. (1949 – 1950)
New England Quartet.(1968)
Teaching appointments
Master classes at the Musikhochschule Karlsruhe (1959 – 1960)
Professor at the University of Connecticut (1967 – 1973)
9th Prize Wieniawski Competition in 1935
Gitlis, Ivry (b 1922)
Professor at the European Conservatory in Paris (1995)
Goldberg, Szymon (1909 – 1993)
Concertmaster at the
Philharmonic Orch. Dresden (1925 – 1929)
Philharmonic Orch. Berlin (1929 – 1934) 2
Head of the
Netherlands Chamber Orch. (1955 – 1979)
Guest conductor of the London Symph. Orch.
Teaching appointments at the
Juilliard School of Music, New York
Curtis Institute, Philadelphia
Manhattan School of Music
Haendel, Ida (b 1924)
7th Prize at the Wieniawski Competition in 1935
Sibelius Prize in 1982
Hassid, Josef (1923 – 1950) 3
Honigberger, Erna (d 1973)
Anne-Sophie Mutter’s first teacher.
Jamieson, Nannie
Jenkins, Tom (1910 – 1957)
Leader of the BBC Palm Court Orchestra
Juda, Jo (1909 – 1976?)
Concert master at the Concertgebow Orchestra
Professor at the Sweelinck-Conservatoire in Amsterdam
Krasner, Louis (b. 1903) 4
Kulenkampff, Georg (1898 – 1948) 5
Leidensdorf
Lichinsky
Mendes, Bram
Minghetti, Lisa
Moodie, Alma (1900 – 1943) 6
Teaching appointment at the State Academy of Music, Frankfurt
Neveu, Ginette (1919 – 1949)
1st Prize at the Wieniawski Competition in 1935
Neamann, Yfrah (b 1923)
Odnopossoff, Ricardo (b 1914)
1st Prize at the Vienna Competition in 1932
2nd Prize at the Ysaye Competition in 1937
Concertmaster at the Vienna Philharmonic Orchestra
Teaching appointments
at the Musikhochschule in Vienna
at the Hochschule f. Musik in Stuttgart
taught Josef Sivó
Parnes, Sascha (b 1919) 7
Leader of the Israel Symphony Orch.
Pelliccia, Arrigo (b 1912)
Concert master of the Pomeriggi Musicale, Milano
Soloist of the Virtuosi di Roma
Teaching appointments
Napoli Conservatoire (1939 – 1959)
Accademia Nazionale di Santa Cecilia, Roma
Riesenfeld, Paul
Röntgen, Joachim (1906 – 1989)
Concertmaster in Winterthur
Teaching appointment at the Royal Conservatory of Music in The Hague.
Romano, Corrado
Rössner
Rosenblith, Eric 8
Concertmaster
Indianapolis Symphony Orch.
San Antonio Symphony Orch.
Teaching appointments
Faculty of the Hartt School
Faculty of Longy School of Music
Visiting Professor at the University of Kansas/Lawrence
Professor at the New England Conservatory
Rostal, Max (1905 – 1991) 9
Concertmaster
Philharmonic Orch. Oslo
Teaching appointments
at the Hochschule f. Musik Berlin
at the Guilhall School London
at the Bern Conservatoire
at the Cologne Conservatoire
taught members of the Amadeus Quartet
Schneeberger, Hansheinz (b 1926)
Concertmaster
NDR Symphonic Orch., Hamburg (1958 – 1961)
Teaching appointments
Biel Conservatoire
Bern Conservatoire
Music Academy Basel
Schwarz, Boris (1906 – 1983) 10
Straumann, Bruno
Stucki-Piraccini, Aida
Teaching appointment at the Winterthur Conservatoire
Anne-Sophie Mutter’s main teacher.
Stucki, Jürg
Swaap, Sam (b 1889)
Concermaster at the Residentie-Orchester, Den Haag
Szeryng, Henryk (1918 – 1988)
1st Prize at the Paris Conservatoire in 1937
Taught at the Music School of the University Mexico City
Temianka, Henri (1906 – 1992)
3rd Prize at the Wieniawski Competition in 1935
Leader of the BBC Scottish Orch.
First violinist of the Paganini Quartet
Conductor of the California Chamber Symphony
Thomán, Maria (1899 – 1948)
Totenberg, Roman (b 1911)
Teaching appointment in Boston, USA
Vollmer, Berta
Professor at Cologne
Weissmann, Diez (b 1900)
Wolfsthal, Josef (1899 – 1931)
Concertmaster at the Staatsoper Berlin
Professor at the Musikhochschule Berlin 11
Zilzer, Ibolyka
Mendelssohn Prize 1930/31
Notes:

Born in Odessa, Briselli was taken by Flesch to Philadelphia as a 10-year-old boy. There, he was supported and eventually adopted by the manufacturer Samuel Fels and his wife. Fels was member of the board of trustees of the Curtis Institue of Music, where Flesch taught from 1924 to 1928.
Goldberg was, at 20 years of age, one of the youngest leaders of the Berlin Philharmonic Orch. He resigned in 1934 although Furtwängler made every effort to persuade him to stay. Goldberg had a long-standing duo partnership with Lili Kraus and later with Radu Lupu.
According to Kreisler and Szigeti, Hassid was one of Flesch’s most gifted pupils and one of the most talented players of the 20th century. Unfortunately he died after an operation at 27 years of age. Having in mind a famous violinist at the time, Kreisler said once to Flesch: “A (mentioning a world-renowned contemporary violinist) is born every 100 years, a Hassid every 200 years”.
Krasner was in fact not a Flesch pupil but consulted him in order to master technical problems of the Alban Berg concerto he commissioned and premičred.
Kulenkampff was in fact not a Flesch pupil but consulted him from time to time. One of the highlights of his career was the performance of the rediscovered Schumann Concerto in 1937. He succeeded Flesch at the Lucern Conservatoire.
During the inter-war years Moodie was regarded as the foremost female violinist. Many composers, for instance Krenek and Pfitzner, dedicated concertos to her.
Flesch compared Parnes with the young Kreisler.
Rosenblith is the author of a new English translation of ‘The Art of Violin Playing’.
Rostal was regarded as the successor of Carl Flesch as a teacher.
Boris Schwarz became also one of the foremost American musicologists.
Wolfsthal was the youngest ever appointed professor of the violin at the Berlin Hochschule für Musik.

2.3 Some of the Musicians Flesch Performed with:

Alsen, Elsa 1
Andreae, Volkmar – conductor (1879 – 1962)
Baumgartner, Rudolf (b 1917)
Bauer, Harold – piano (1873 – 1951)
Becker, Hugo – cello (1863 – 1941)
Boult, Sir Adrian – conductor (1889 – 1983)
Casals, Pablo – cello (1876 – 1973)
Castro, Orobio de – cello
Chevillard, Camille – conductor (1859 – 1923)
Dinico, Demeter – cello
Eisner, Bruno – piano (1884 – 19??)
Enescu, George – violin (1881 – 1955) 2
Feuermann, Emanuel – cello (1902 – 1942)
Friedberg, Carl – piano (1872 – 1955) 1
Furtwängler, Wilhelm – conductor (1886 – 1954)
Gabrilowitsch, Ossip S. – piano (1878 – 1936)
Gérardy, Jean – cello (1877 – 1929)
Godowsky, Leopold – piano (1870 – 1938)
Goehr, W. – conductor
Grünfeld, Heinrich
Heifetz, Jascha – violin (1901 – 1987) 3
Hofmann, Joseph (1876 – 1957)
Hollmann, Josef (1852 – 1927)
Ivogün, Maria – singer
Kaufman, H. – piano
Kreisler, Fritz – violin (1875 – 1962) 1
Kreutzer, Leonid – piano (1884 – 1953)
Lamond, Frederick – piano (1868 – 1948)
Lamoureux, Charles – conductor (1834 – 1899)
Liachowsky, W. – piano
Marsick, Martin – violin (1848 – 1924)
Milstein, Nathan – violin (1904 – 1992) 3
Mengelberg, Willem – conductor (1871 – 1951)
Ney, Elly – piano (1868 – 1959) 1
Nikisch, Arthur – conductor (1855 – 1922)
Piatigorsky, Gregor – cello (1903 – 1976)
Pfitzner, Hans – piano (1869 – 1949)
Petri, Egon – piano (1881 – 1962)
Pugno, Raoul – piano (1852 – 1914)
Reger, Max – piano (1863 – 1916)
Richter, Hans – conductor (1843 – 1916)
Riebensahm, Erich – piano
Röntgen, Edvard – cello (1902 – 1969)
Röntgen, Joachim – violin (1906 – 1989)
Röntgen, Julius sen. (1855 – 1932)
Röntgen, Julius jun. (about 1881 – 1950)
Rostal, Max – violin
Ruhrseitz, K. – piano
Salmond, Felix – cello (1888 – 1952)
Sarasate, Pablo de (1844 – 1908)
Sargent, Sir Malcolm – conductor (1895 – 1967)
Schnabel, Arthur – piano (1882 – 1951)
Scholz, Wilhelm – piano
Schwarz, Rudolf – piano
Strasfogel, Ignaz – piano
Szell, George – conductor (1897 – 1970)
Szigeti, Joseph – violin (1892 – 1973)
Thibaud, Jacques – violin (1880 – 1953) 2
Vecht, van der – viola
Notes:

Kreisler, Friedberg, Alsen, Ney and Flesch appeared on the same program of a charity concert on board of an ocean liner in April 24, 1924.
Enescu , Thibaud and Flesch played in a concert in memory of their teacher Marsick in 1933.
Before an invited audience.

2.4 Instruments:

Flesch owned at least a dozen instruments. Only some of them are listed below. He had to sell the Brancaccio 1725 Strad in 1928 when he lost all his money at the New York stock exchange. The instrument was bought by Franz von Mendelssohn, banker and amateur violinist, and was destroyed during an allied air raid on Berlin.

Violin by Storioni
Violin by Goffriller
Violin by Guadagnini
Violin by Pietro Guarneri
Brancaccio 1725 Strad

3 Chronology Carl Flesch

by
J. Sánchez-Penzo
1873, Oct. 9: Flesch is born in Wieselburg (Moson), Hungary. His father, who belonged to an old and renowned Jewish family, was military physician at Wieselburg.
1878: When 4 years and 11 months of age he starts school.
1879: Shortly before his 6th birthday he begins to receive violin lessons from a saddler who played this instrument each Sunday in the church. A short time later Flesch upgrades receiving violin lessons from the fire-brigade’s bandmaster.
1883: His mother brings him to Vienna, where he firstly receives lessons by Adolf Back for 2 years Flesch will later consider as lost years.
1883, Dec. 31: First public appearance at Wieselburg playing Alard’s ‘Faust Fantasy’.
1885: He plays to Josef Hellmesberger sen., at that time director of the Vienna Conservatoire. His opinion of Flesch’s playing was rather discouraging. Jakob Grün was then consulted. He recommended him to attend Josef Maxintsak’s class and promissed to take Flesch into his own class a year later.
1885 (Autumn): Flesch enters Josef Maxintsak’s class.
1886 (Autumn): Flesch enters Jakob Grün’s class.
1890 – 1894: Studies at the Paris Conservatoire, where he finishes with the Grand Prix. While being in Sauzay’s class, he occasionally takes private lessons with Marsick, who succeeded Sauzay at the conservatoire two years later.
1895: First appearances in Vienna. In two successful and acclaimed concerts he performs works by Paganini, Bach, Saint-Säens and other composers.
1896 (Autumn): Successful Berlin debut with a similar programme as in Vienna. As a result of the 2 Berlin concerts he gets several engagements for appearances in Halle, Leipzig, Budapest, Prague and Strassbourg.
1897 – 1902: Professor at the Bucarest Conservatoire and musician at the court of the Romanian Queen Elisabeth (Carmen Sylva).
1902 – 1903: Flesch returns to Berlin.
1903: Flesch is appointed as professor of the Amsterdam Conservatoire becoming the successor of the Joachim pupil Bram Eldering.
1903 – 1908: He teachs in Amsterdam, where he continues developing as pedagogue and soloist. He creates a concert cycle performing chronologically works for violin solo from 17th to 20th century. The concert cycle takes place in Berlin in 1905.
1906: He marries Bertha Josephus-Jitta, who belonged to one of the most distinguished Jewish families in the Netherlands at that time.
1908: Flesch and his family move to Berlin, where he gives private lessons and builds a duo with Arthur Schnabel. Later on Jean Gérardy joins them to build a trio.
1914: During his America tour Flesch performs in 25 cities in the USA and makes his first recordings.
1914: Gérardy leaves the trio being succeeded by Hugo Becker. Until 1921 the members are Flesch (violin), Becker (cello), and Schnabel (piano). In 1921 Schnabel leaves the trio. He is succeeded some years later by Carl Friedberg.
1920: Flesch founds a society for helping indigent musicians with the name ‘Hilfsbund für deutsche Musikpflege’.
1921: 12 weeks master class at the Musikhochschule Berlin.
1923 – 1924: Concert tour in the USA.
1924 – 1928: He teachs at the Curtis Institute in Philadelphia, as head of the violin department, and gives privat lessons in Baden-Baden, Germany.
1928: He is appointed to the Musikhochschule in Berlin, where he teachs during the winter months. In summer he gives private lessons and helds courses mainly in Baden-Baden. It is the latter which led to the current Baden-Baden Flesch Akademie, which is intended to perpetuate the tradition.
1930: The Flesch family adoptes the German nationality retaining the Hungarian as well.
1934, Sept. 30: Flesch leaves the Musikhochschule Berlin.
1935, June 20: The Nazis deprive Flesh and his wife of the German nationality. A short time later they leave Germany and emigrate to London.
1939, Sep.: At the very beginning of the war Flesch and his wife live in London. He gets several Dutch engagements and receives the permission to go to Holland with his wife, where they both remain.
1940, May: Germany occupies the Netherlands. Flesch is denied by the German occupation authorities to return to London or leave Holland.
1942: Géza von Kresz and Ernst von Dohnanyi as well as the Hungarian goverment help Flesch and his family move from Den Haag to Budapest.
1943, April: Flesch and his wife arrive in Lucern, Switzerland, where he had been offered a teaching post through the good offices of the conductor Ernest Ansermet. Some days later he starts giving master-classes at the Conservatoire
1944, Nov. 15: Flesch dies in Lucerne, Switzerland

4 Publications Carl Flesch
by
J. Sánchez-Penzo
Two of Flesch’s books have been released some time ago and are now available:
The original (German) edition of Violin Fingering: its Theory and Practice published – for the first time – and enhanced with a comprehensive introduction concerning Flesch’s last years (1928 – 1944) by Prof. Dr. Kathinka Rebling, musicologist and violin pedagogue of Berlin, in 1995.
This work can be considered as a dictionary of all fingering situations. It’s quite amazing and admirable how Flesch could compile so many examples from the whole violin literature in spite of his other activities as outstanding soloist and pedagogue.
Publisher: Peter Lang, Frankfurt/Main. ISBN: 3-631-46281-6.

A modern English re-translation of The Art of Violin Playing, Book One by Prof. Eric Rosenblith, former Flesch pupil and now Professor at the New England Conservatory, in March 2000. This new re-edited and re-translated issue with a foreword by Anne-Sophie Mutter is based on the second German edition of 1929, which included a number of new elements and revisions (by Flesch himself) not added to the 1939 English issue. It is truly remarkable how current Flesch’s thinking is more than 75 years after its initial publication. In spite of the costs its production entailed, the publishers considered it worth to issue a fresh translation so that understanding the wisdom and concepts contained in Carl Flesch’s book is no longer hampered by rather archaic language mannerisms and expressions.
Publisher: Carl Fischer, New York. ISBN 0-8258-2822-8.

4.1 Books and Articles:

Urstudien für Violine
Engl.: Basic Studies for Violin
Ries & Erler, Berlin, 1911
German French & English: Peters, Leipzig 1934 1

Etüden-Sammlung für Violine
Engl.: Studies and Exercises for Violin
Wilhelm Hansen, Copenhagen – Leipzig, 1921
Die Kunst des Violinspiels
Engl.: The Art of Violin Playing
Ries & Erler, Berlin, 1923/1928
Engl. edition: Carl Fischer, Boston/Mass., 1924-1930 2
Engl. re-issue: Carl Fischer, Inc., New York, 20003
Ital. edition: Curci, A. Milan, 1953
Pol. edition: Krakow, 1964
Russ. edition: (Vol. I) K. Fortunatow, Moscow, 1964

Das Scalensystem 4
Engl.: Scale System
Ries & Erler, Berlin, 1926
Engl. edition: Boston/Mass. 1924-1930
Ital. edition:Milan 1953
Pol. edition: Krakow, 1964

Das Klangproblem im Geigenspiel
Engl.: Problems of Tone Production in Violin Playing
Ries & Erler, Berlin, 1931
Re-issue: Peters, Leipzig – Berlin 1934?
Engl. edition: Carl Fischer, New York, 1934 5

Die Hohe Schule des Fingersatzes
Engl.:Violin Fingering: its Theory and Practice
Original Manuscript, 1943
Ital. edition: Milan, 1960
Engl. edition: New York, 1966
Germ. edition: Peter Lang,
Frankfurt am Main – Berlin – Bern – New York – Paris – Wien, 1995 6

Erinnerungen eines Geigers
Engl.:The Memoirs of Carl Flesch
Atlantis Verlag, Zürich, 1960/1961
Engl. edition: Rockliff, London 1957
reprinted by Da Capo Press, New York, 1979

Einzel- oder Klassen-Unterricht
Engl.:Individual or Classroom Teching?
Article appeared in the 51st yearly report of the Musikhochschule Berlin 7
Berlin, 1929
Wie soll man üben?
Engl.:How should you practice?
Article appeared in: ‘Der fortschrittliche Geigenlehrer’
Publisher: W. Blobel, Bonn.
Les six sonates pour Violon seul de J.S. Bach
Engl.:On the Bach solo sonatas and partitas
Lecture given at the Victoria Hall, Geneva, on 10 June 1944
Published in Flesch, C. F.: “And do you also play the violin?
Meisterweisen
Leipzig, 1931
Sinnsprüche
Zürich, 1934
Zeitgenössisches Studienmaterial für die Geige
Article appeared in: ‘Die Musik’
Berlin, Febr. 1939
Escape in Iowa
Article appeared in: ‘Die Vossische Zeitung’ of 8 May 1926
Notes:

Interleaved with a Dutch translation by A. J. Zijderlaan
English text by Frederick H. Martens.
English text by Eric Rosenblith.
Transcripted for viola, cello and doublebass and published by Ries & Erler, Berlin in the first half of the 1990s. The viola transcription was made by M. Rostal.
English text by Gustav Saenger.
Published and enhanced with a comprehensive introduction concerning Flesch’s last years by Kathinka Rebling.
Official name: ’51. Jahresbericht der Staatlichen Akademischen Hochschule für Musik in Berlin’
4.2 Musical Works Edited or Transcripted by Flesch:
Bach, J. S.: Solo Sonatas and Partitas for Violin (BWV 1001 – 1006)
Beethoven, L. v.: Violin Concerto in D major, op. 61 (with Flesch Cadenzas)
Beethoven, L. v.: Romance vln. & orch. in G major op. 40
Beethoven, L. v.: Romance vln. & orch. in F major op. 50
Brahms, J.: Violin Sonatas Op. 78, 100, 108 (Schnabel/Flesch)
Grieg, E.: Norwegian Dance Op.35 No.2 arr. for violin and piano by Flesch
Haendel, G. F.:
Sechs Arien von G. Fr. Händel für Violine mit Klavierbegleitung
herausgegeben von Carl Flesch
Klavierbegleitung von Bruno Eisner
Verlag von Ries & Erler – Berlin
Gebet (Prayer)
“Verleih uns Herr zu schirmen uns heut vor aller Sünd”
from the “Dettingen Te Deum”
Pastorale
“Am klaren Bach im stillen Tal klagt der Hirt”
from “Solomon”
Lamento
“Wer ruft die Seel’ zurück vom Tod”
from “Esther”
Jubal’s Harf
“O, hätt’ ich Jubal’s Harf’und Mirjam’s süßen Ton”
from “Josua”
Aria
“Es weidet seine Herde, ein guter Hirte”
from “Messiah”
Marsch
“Hier perlt der Nektar schäumend”
from “Choice of Hercules”
Haydn, J.: Violin Concerto No. 1 in C major (with Flesch Cadenzas)
Kreutzer, R.: 42 Etüden
Lotti, A.: “Arminto” Pur dicesti arr. as “Aria in A” by Flesch
Mendelssohn, F.: Violin Concerto in E minor, op. 64
Mozart, W. A.: Violin Concerto in G major, (K 216) (with Flesch Cadenzas)
Mozart, W. A.: Violin-Sonatas (Flesch/Schnabel)
Nardini, P.: Violin Sonata in D major
Paganini, N: 24 Caprices, op. 1,
Paganini, N: Violin Concerto No. 1 in D major op. 6, (with Flesch Cadenzas)
Reger, M.: Violin Sonata C minor Op. 139 Largo
Sinding, C.: Suite in A minor, op 10
Tchaikovsky, P.: Violin Concerto in D major op. 35 (with Flesch Cadenza)
Tchaikovsky, P.: Souvenir d’un lieu cher, op. 42, No.2, Scherzo (Vln. & piano)
Tchaikovsky, P.: Souvenir d’un lieu cher, op. 42, no.3, Melodie (Vln. & piano)
Titl, A. E.: Serenade arr. by C. Flesch
Most of the list of musical works written and edited by Flesch was compiled by Cheniston K Roland, Violin Historian of Liverpool.

5 Recordings Carl Flesch

by
J. Sánchez-Penzo
The data for the sections 5.1 and 5.2 was compiled by Cheniston K. Roland, Violin Historian of Liverpool.

5.1 Discography

An Introduction to the Discography of Carl Flesch by Cheniston K. Roland

We are fortunate that of all the great violin pedagogues, who have recorded, the largest legacy that we have inherited is that of Carl Flesch.

It is even more fortunate perhaps for us that his recording years (1905 – 1936) spill over into the electrical process.

This is indeed historically very fortunate when we consider that we only have two sides of a 78rmp recorded by Leopold Auer made at the advanced age of 75. Auer’s 1927 recording was never issued commercially, having been made as a gift for his pupils on his birthday.

Carl Flesch first made records for the Odeon Company in Amsterdam in 1905. For these recordings he did not use his own violin. In his book “The Memories of Carl Flesch” first published in 1957, when writing of this recording session, he states that he used a Stroh violin with a metal horn.

In 1914 Flesch was engaged by Thomas Edison to record five discs on the advanced Edison Diamond Disc process. Unfortunately after Flesch had played what he thought would be the titles he himself would like to record, Edison had other ideas. Edison chose the pieces to be recorded on the basis of what would probably be the most commercially successful recordings, namely those that would be big sellers. However, Flesch did manage to record one piece of music, which he had originally intended. It transpired that one of Edison’s favourite pieces was Schubert’s “Ave Maria.” During their conversations Flesch had discovered that Edison could not tolerate octaves because of his impaired hearing – so the piece was recorded without the octaves. Carl Flesch was to record a further 40 sides during his association with the Edison Company.
When the company folded Flesch’s discs disappeared from the market brought about by the fact that they were manufactured specifically to be played on the Edison Diamond Disc gramophone, which also gradually disappeared when manufacture ceased. Now we have to rely on private collections to supply copies of Flesch’s recordings when making new compilations.

In 1914 Flesch was engaged by Thomas Edison to record five discs on the advanced Edison Diamond Disc process. Unfortunately after Flesch had played what he thought would be the titles he himself would like to record, Edison had other ideas. Edison chose the pieces to be recorded on the basis of what would probably be the most commercially successful recordings, namely those that would be big sellers. However, Flesch did manage to record one piece of music, which he had originally intended. It transpired that one of Edison’s favourite pieces was Schubert’s “Ave Maria.” During their conversations Flesch had discovered that Edison could not tolerate octaves because of his impaired hearing – so the piece was recorded without the octaves. Carl Flesch was to record a further 40 sides during his association with the Edison Company. When the company folded Flesch’s discs disappeared from the market brought about by the fact that they were manufactured specifically to be played on the Edison Diamond Disc gramophone, which also gradually disappeared when manufacture ceased. Now we have to rely on private collections to supply copies of Flesch’s recordings when making new compilations.

In the early days of gramophone recordings time limitations restricted the length of the music. The music had to be around 2 to 2.5 minutes (10 inch) and 3.5 to 4.0 minutes (12 inch). When the double-sided 12-inch record came on the market around 1916, artists were able to record longer works. This eventually lead to the concerto recordings. The first complete concerto recording, of Mozart’s Violin Concerto in G K218, played by Jelly D’Aranyi was issued by the Vocalian Company in 1924.

Alas, with Carl Flesch we do not have a commercial recording of a major violin concerto other than the Bach Double with Joseph Szigeti. We do have the Mozart and Handel violin sonatas recorded in 1936 in Paris, that are some of the best examples we have of Flesch’s playing. My own favourite recording of Carl Flesch is the 1929 recording of the Handel March that I consider to be some of the most perfect playing available on record.

Recordings of Carl Flesch have appeared on many LPs and CDs. It is interesting to note that Flesch’s recordings have been constantly re-issued in one form or another mainly in Russia and Japan where in both countries he has remained very popular with violin aficionados.

But perhaps the most important re-issue so far is the three CD set of Symposium Records (1987) “CARL FLESCH HISTORICAL RECORDINGS 1905 – 1936.” These CDs contain many recordings from the Raymond Glaspole collection with additional material and the private recordings of his father provided by Carl F Flesch. Cheniston K Roland (Violin Historian) provided advice and encouragement. In the booklet included with this CD set there is a foreword by Sir Yehudi Menuhin. The booklet also has contributions from many of Carl Flesch’s outstanding pupils. Details of these CDs are listed at the end of the Discography.

The live recordings listed circa 1936, we must consider a bonus, the sound quality is of no matter. If some enterprising violin collector had not had the forethought to make these recordings the violin world would have been deprived of hearing Carl Flesch the concerto player. There are so many violinists of the past who were only able to record short pieces for the gramophone. In his recordings it is clear we are hearing a master demonstrate the true architecture of a great concerto performance. As styles change performances like these have gradually faded and are now seldom heard on the concert platform. A contributing factor is of course that many of Flesch’s pupils have gradually passed on to the great heavenly conservatoire where it is hoped they still perform according to the principles of their great pedagogue Carl Flesch.

Composer/Work Accompanied/Label
Anonymus
The Foggy, foggy dew American folksong
H. Kaufman pf
Edison Diamond Disc 82327
Bach, Johann Sebastian (1685 – 1750)
Concerto in D minor for 2 violins BWV 1043
J. Szigeti vln
Orchestra con’d W Goehr
LX659/60
rec. 30/8/1937
Bach, Johann Sebastian (1685 – 1750)
Partita No. 1 in B minor for solo vln BWV 1OO2
Sarabande (5th mvt)

Odeon RX67780
Bohm, Carl (1844 – 1920)
6 Pieces, Op. 314 for vln & pf
No. 2. Cavatina in D
with piano
Edison Diamond Disc 82348
Brandl, Johannes (1760 – 1837)
Der Liebe Augustin (The old refrain)
Du alter Stefansturm
arr. vln & pf by Kreisler
Liachowsky pf
Edison Diamond Disc 82321
rec. 1924
Dawes, Charles Gates (1865 – ?)
Melody in A (1912) vln & pf
with piano
Edison Diamond Disc 82346
rec. 1926
Dobroven, Issay Alexandrovich (1894 – 1953)
Hebrew Melody vln & pf
Ignanz Strasfogle piano
HMV EJ438
rec. 1929
Dvorák, Antonín (1841 – 1904)
8 Slavonic Dances, Op. 46
Slavonic dance No.2 in E
arr. by Kreisler
with K. Ruhrseitz pf
Edison Diamond Disc 80878
Dvorák, Antonín (1841 – 1904)
8 Slavonic Dances, Op. 46
Slavonic dance No.7 in C
arr. vln & pf
W. Liachowsky
Edison Diamond Disc 82311
rec 1924
Ernst, Heinrich Wilhelm (1814 – 1865)
Elegie in C, Op. 10 vln & pf
with piano
Edison Diamond Disc 82348
Falla, Manuel de (1876 – 1946)
7 Canciones populares españolas (1914)
No.1: El paño moruno
arr. vln & pf by Kochanski
with piano
Edison Diamond Disc 80894
Falla, Manuel de (1876 – 1946)
7 Canciones populares españolas (1914)
No.4: Jota
arr. vln & pf by Kochanski
with piano
HMV EW68
Falla, Manuel de (1876 – 1946)
7 Canciones populares españolas (1914)
No.4: Jota
arr. vln & pf by Kochanski
with piano
Edison Diamond Disc 80894
Falla, Manuel de (1876 – 1946)
7 Canciones populares españolas (1914)
No.4: Jota
arr. vln & pf by Kochanski
with Ignaz Strasfogl pf
Jap Victor JE 18
rec. 1929
Faure, Gabriel (1845 – 1924)
Berceuse, Op. 16
vln & pf arr. by Kochanski
with piano
Polydor (68059 rec 1/4/24)) 65983
Faure, Gabriel (1845 – 1924)
Berceuse, Op. 16
vln & pf arr. by Kochanski
with piano
HMV EW68
Fiorillo, Federigo (1755 – after 1822)
36 Étude – Caprices, Op. 3 solo vln
Caprice No.28, in D
arr. vln & pf by Randegger
with W. Liachowsky pf
Edison Diamond Disc 82313
Franck, César (1822 -1890)
Panis angelicus (1872)
arr. vln & orch.
with P. De Haan-Manilarges & orch.
Odeon 30263
(rec 30/1/24)
Gärtner, Eduard (1862-1918)
Aus Wien
arr. vln & pf by Kreisler
with H. Kaufman pf
Edison Diamond Disc 82330
rec. 1924
Grieg, Edvard (1843 – 1907)
4 Norwegian Dances, Op. 35
No.2: Norwegian dance in A
arr. vln & pf by Flesch
with K. Ruhrseitz pf
Edison Diamond Disc 82349
Grieg, Edvard (1843 – 1907)
4 Norwegian Dances, Op. 35
No.2: Norwegian dance in A

arr. vln & pf by Flesch

Polydor 62471, 67532
Grieg, Edvard (1843 – 1907)
4 Norwegian Dances, Op. 35
No.2: Norwegian dance in A
arr. vln & pf by Flesch
with R. Bauman pf
Edison Diamond Disc 80889
Händel, Georg Friedrich (1685 – 1759)
From the “Choice of Hercules”
Air: “There the brisk, sparkling nectar drain”
arr. vln & pf as “March” by Flesch
with Ignaz Strasfogl pf
HMV EW67 (rec 1929)
Händel, Georg Friedrich (1685 – 1759)
From the oratorio “Solomon”
Air: “Beneath the vine”
arr. vln & pf as “Pastorale” by Flesch
with R.Bauman pf
Edison Diamond 80893
(rec, 21/3/1928)
Händel, Georg Friedrich (1685 – 1759)
Violin Sonata No.13 in D major vln & pf by
Allegro (2nd mvt)
with piano
Odeon RX67782
Händel, Georg Friedrich (1685 – 1759)
Violin Sonata No.5 in A major vln & pf
with F Dyck pf
Polydor 67178?
(90006 rec 25&26/11/36)
Händel, Georg Friedrich (1685 – 1759)
From the “Dettingen Te Deum”
No. 17: “Gebet”
arr. as “Gebet” (Prayer) vln & pf by Flesch
with R. Bauman pf
Edison Diamond Disc 80889
Händel, Georg Friedrich (1685 – 1759)
From the “Dettingen Te Deum”
No. 17: “Gebet”
arr. as “Gebet” (Prayer) vln & pf by Flesch
with Ignaz Strasfogl pf
HMV EW67 (rec 1929)
Heuberger, Richard (1850-1914)
Der Opernball, Op. 40
Im chambre separee
arr. vln & pf as “Midnight bells” by Kreisler
with H. Kaufman pf
Edison Diamond Disc 82330
rec. 1924
Hubay, Jenö (1858 – 1937)
Scènes de la Csárda vln & pf
No. 3: Hejre Kati, Op. 32
with R. Bauman pf
Edison Diamond Disc 47001
(rec 24/3/28 Electric)
Kreisler, Fritz (1875 – 1962)
Rondino on a theme by Beethoven vln & pf
with K.Ruhrseitz
Edison Diamond Disc 80865
rec. 1926
Kreisler, Fritz (1875 – 1962)
Rondino on a theme by Beethoven vln & pf
with piano
Polydor 65984, 68058
Lotti, Antonio (1666 – 1740)
Arminto – pasticcio
Pur dicesti
arr. by Flesch as “Aria in A”
with R. Bauman pf
Edison Diamond Disc 80893
rec. 1926
Lotti, Antonio (1666 – 1740)
Arminto – pasticcio
Pur dicesti
arr. by Flesch as “Aria in A”
with R. Bauman pf
Polydor 65983, 68057
Lotti, Antonio (1666 – 1740)
Arminto – pasticcio
Pur dicesti
arr. by Flesch as “Aria in A”
with R. Bauman pf
Odeon RX67780
Martini, G. B. (1706 – 1784)
Sonata, in F Op. 2 /12
Gavotte
arr. by Burmester
with piano
Odeon RX67787
Mendelssohn Bartholdy, Felix (1809 – 1847)
Songs without words, Op. 62
No. 25 in G “May breezes”
arr. by Kreisler
with W. Liachowsky pf
Edison Diamond Disc 82321
rec 1924
Mozart, Wolfgang Aamadeus (1756 – 1791)
Violin Sonata in B flat, KV 378, vln & pf
with F. Dyck pf
Polydor 67179/80,
90004/5
Paganini, Niccoló (1782 – 1840)
Caprices, Op. 1, solo vln
Caprice No.20 in B flat
with piano
HMV EJ438
Pierné, Gabriel (1863 – 1937)
Serenade in A, Op. 7
arr. vln & pf
with piano
Odeon 2060, 30383,
S004X, RX67778
Rubinstein, Anton Gregoryevich (1829 – 1894)
Soirees de Saint-Pétersbourg, Op. 44
No.1: Romance in E flat
arr. vln & pf
with piano
Edison Diamond Disc 82346
rec. 1926
Sarasate, Pablo de (1844 – 1908)
Danzas españolas, Op. 21
No.1: “Malagueña”
with H. Kaufman pf
Edison Diamond Disc 82327
(rec 1/4/24)
Schubert, Franz (1797 – 1828)
Gesänge
No.6: Ave Maria, D 839
arr. vln & pf by Wilhelmj
with piano
Edison Diamond Disc 82063
Schumann, Robert (1810 – 1856)
Kinderszenen, Op. 15 pf
No. 7: Träumerei
arr. vln & pf
with piano
Odeon 2060,30383,
8004X,RX67779
Smetana, Bedrich (1824 – 1884)
From my Homeland
No. 2: Andantino
K Ruhrseit piano
Edison Diamond Disc 80865
rec. 1926
Tartini, Giuseppe (1692 – 1770)
Violin Sonatas, Op. 1
Sonata No.10 in g: “Didone abbandonata”
Largo (3rd mvt)
with piano
Odeon 8005X, RX67787
Tartini, Giuseppe (1692 – 1770)
Violin Sonata in g minor “Devil’s Trill”
Larghetto affettuoso (1st mvt)
with piano
Odeon 8006X,
(RX67792 rec 1905)
Tchaikovsky, Pjotr I. (1840 – 1893)
Violin Concerto in D, Op. 35
Canzonetta (2nd mvt)
with piano
Edison Diamond Disc 80878
(rec 20/11/26)
Tchaikovsky, Peter (1840 – 1893)
Serenade mélancolique in b flat, Op. 26
arr. vln & pf by Wilhelmj
with piano
Polydor 65984, 68060
Tenaglia , Antonio Francesco (1650-?)
Have pity, sweet eyes
arr. as “Aria in F’ by F. Ries
with piano
Odeon 8006X
(RX6779 rec 1905)
Titl, Anton Emil (1809-1882)
Serenade
arr. vln & pf by Flesch
with W. Liachowsky pf
Edison Diamond Disc 82313
Vieuxtemps, Henri (1820 – 1881)
Morceaux de salon, Op. 22, vln & pf
No 3: Rêverie
with R. Bauman pf
Edison Diamond Disc 47001
(rec 23/3/28 electric)
Vieuxtemps, Henri (1820 – 1881)
Salonstücke, Op. 32, vln & pf
No.2: Rondino
with H. Samuels pf
Edison Diamond Disc 82072 (rec 9/4/1914)
Weber, Carl Maria (1786 – 1826)
Violin Sonatas, Op. 10
Violin Sonata No.1 in F:
Romanze (2nd mvt)
arr. as “Larghetto” by Kreisler
with W. Liachowsky pf
Edison Diamond Disc 82311
rec. 1924
Weber, Carl Maria (1786 – 1826)
Violin Sonatas, Op. 10
Violin Sonata No.1 in F:
Romanze (2nd mvt)
arr. as “Larghetto” by Kreisler
with piano
Polydor 62471, 67531
Wieniawski, Henri (1835 – 1880)
Légende, Op 17
with K. Ruhrseitz pf
Edison Diamond Disc 82349
Wieniawski, Henri (1835 – 1880)
Mazurkas, Op. 19
No.2 in D: “Dudziarz”
with H. Samuels pf
Edison Diamond Disc 82072
(rec 7/4/1914)
Wieniawski, Henri (1835 – 1880)
Mazurkas, Op. 19
No.2 in D: “Dudziarz”
with piano
Odeon 30382,
8005X, RX67788
Copyright Cheniston K Roland (Violin Historian) 1999

5.2 Non Commercial Off The Air Recordings

Composer/Work Accompanied/Rec. Date
Beethoven, Ludwig v. (1770 – 1827)
Violin Concert in D major op 66
Lucern Orchestra
Conducted P Klezki
c. 1943
Brahms, Johannes (1833 – 1897)
Violin Concerto in D major op 77
Rotterdam Philharmonic Orchestra
Conducted E Flipse
17th February 1939
Flesch, Carl (1873 – 1944)

Talk given in French during the interval of the Beethoven Violin Concerto

c. 1943
Saint-Saëns, Camille (1835 – 1921)
Havanaise op 83
Scottish Sympnony Orchestra
Conducted G Szell
c. 1937
Suk, Josef (1874 – 1935)
Fantasie in G minor op 24
Scottish Sympnony Orchestra
Conducted G Szell
c. 1937
Copyright Cheniston K Roland (Violin Historian) 1999

5.3 CD Set: Carl Flesch Historical Recordings 1905 – 1936

Carl Flesch Historical Recordings 1905-1936
Symposium Records 1032/3/4.
A Track Title
1 – 11 Beethoven: Violin Concerto in D major Opus 61
12 – 14 Mozart: Violin Sonata No. 10 in B flat major KV 378
B Track Title
1 – 4 Brahms: Violin Concerto in D major Opus 77 (commencing at bar 111)
5 Suk: Fantasie for Violin and Orchestra in G minor Opus 24
6 Saint-Saens: Havanaise Opus 83
C Track Title
1 Tenaglia, arr. Ries: Aria in F minor: “Begl’occhi mercé!”
2 Tartini: Sonata in G minor:”The Devil’s Trill”, 1st mov.
3 Fiorillo, arr. Randegger: Caprice No. 28 in D major
4 Wieniawski: Mazurkas, OP. 19:No. 2, Dudziarz
5 Vieuxtemps: Salonstücke, Op. 32: No. 2, Rondino
6 Tchaikovsky: Concerto in D major, Op. 35: 2nd mov.
7 Ernst: Élegie in C minor, OP. 10
8 Hubay: Scénes de la Csárda, Op. 32: No. 4, Hejre Kati
9 Vieuxtemps: Morceaux de Salon, Op. 22: No. 3, Réverie
10 Sarasate: Danzas Españolas, Op. 21: NO. 1, Malagueña
11 Fauré: Berceuse, Op. 16
12 Anonymous, arr. Alexander: The foggy, foggy dew
13 Händel, arr. Flesch: Solomon: “Beneath the vine” (“Pastorale”)
14 Händel, arr. Flesch: Dettingen Te Deum: “Verlieh uns Herr, zu schirmen …” (“Prayer”)
15 Händel, arr. Flesch: The Choice of Hercules: “There the brisk, sparkling nectar drain” (“March”)
16 Paganini: Caprice in B flat, Op. 1, No. 20
17 Speech

5.4 CD Set: La Storia Discografica del Violino

La Storia Discografica del Violino 1 – La Scuola Ungherese Libro I: Joachim/Auer/Hubay/Flesch
Recordings made from 1903 to 1936
Istituto Discografico Italiano – IDIS 276
Track Title
… …
10 Haendel: 10. sonata op. 1, n. 14 in La maggiore, Adagio – Allegro – Largo – Allegro
Felix Dyck, pianoforte
11 Haendel: Preghiera
Ignaz Strasfogel, pianoforte
12 Haendel: Marcia
Ignaz Strasfogel, pianoforte
13 Paganini: Capriccio n. 20 in Re maggiore
Ignaz Strasfogel, pianoforte
14 Fauré: Berceuse, Op. 16
Ignaz Strasfogel, pianoforte