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.

Copyright Cheniston K Roland (Violin Historian) 1999

5.2 Non Commercial Off The Air Recordings

Copyright Cheniston K Roland (Violin Historian) 1999

5.3 CD Set: Carl Flesch Historical Recordings 1905 - 1936

5.4 CD Set: La Storia Discografica del Violino