Recorded in 1929. Reginald Paul, piano
Found at The AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) which was established on 1 April 2004, supported by a 5-year grant of just under £1m from the Arts and Humanities Research Council. http://www.charm.kcl.ac.uk/...
During 1897, Elgar first became acquainted with A J Jaeger, the Novello's employee who became Nimrod of the Enigma Variations. From the start, they were frank in their exchange of views. In October 1897, Elgar, who by this time already had a number of comparative successes under his belt, wrote to Jaeger bemoaning the lack of financial reward he had received for his works. To those who knew Elgar, such melancholic moods were not uncommon and perhaps not to be taken too seriously, although they did reflect the parlous financial existence of a composer at that time.
Within ten days of his letter to Jaeger, Elgar sent Novello's a short piece for violin and piano which he called Evensong, although he suggested to Novello's that they might prefer the name Vespers. In the event, believing that French titles sold better, they published it as Chanson de Nuit. Elgar no doubt regarded it as little more than a pot boiler, a quick way of earning much needed funds, although the work contains a depth of sincerity and emotion not commonly found in pot boilers then or since.
In March 1899, shortly after completing the orchestration of the Enigma Variations, Elgar sent Novello's another short piece for violin and piano. He claimed to have recently rediscovered and completed it, having originally intended it as a companion piece to Evensong. He therefore suggested to Novello's that they publish it as Chanson de Matin, which they did.
In January 1901, Elgar sent Novello's orchestral arrangements of the two works. This helped accelerate their rising popularity and it is in this form that they are usually heard today. Chanson de Matin in particular retains a wide public affection out of all proportion to the effort it must have taken Elgar to produce it. But, while there is no denying the direct appeal of its pure melody, it is Chanson de Nuit that is in many ways the better, more carefully constructed composition. It has, however, largely been eclipsed by the popularity of the former.
Edited from Wikipedia article:
Arthur Catterall (1883 -- 1943) was one of the best-known English classical violinists of the first half of the twentieth century.
In 1893 he was accepted as a Boarder at St Bede's College, Manchester, during this time he also studied at the Royal Manchester College of Music under Willy Hess in 1894 and under Adolph Brodsky in 1895.
In 1909 Catterall became leader of the promenade concerts at the Queen's Hall. In 1907 he was appointed Professor of violin at the Royal Manchester College of Music (a post he held for many years) and became leader of the Hallé Orchestra, where he remained until 1925. In 1913 he obtained the 'Baillot-Pommereau' 1694 instrument by Antonio Stradivarius, and in September of that year performed the Violin Concerto BV 243 of Ferruccio Busoni with the Queen's Hall Orchestra under Henry Wood. He later gave the English premiere, also at a prom, of the (1911-1912) Violin concerto of Samuel Coleridge-Taylor, which had been dedicated to Maud Powell
In addition to his orchestral and teaching work, Catterall was active in chamber music throughout his career. He led the Catterall Players, an ensemble for chamber performance. In 1910 founded and led a string quartet under his own name. Catterall also played in a Trio called The Manchester Trio
In 1929, Catterall became the founding leader of the BBC Symphony Orchestra. When the orchestra first appeared in full strength (115 players), on October 22, 1930, at the Queen's Hall in its inaugural concert with the Flying Dutchman overture, Brahms' Fourth Symphony, the Saint-Saëns cello concerto (with Guilhermina Suggia) and Ravel's Symphonic Fragments from Daphnis et Chloé, under Adrian Boult, Catterall led the orchestra.
He was memorably associated with the cellist Antonia Butler in a prom performance at the Queen's Hall of the Brahms double concerto in August 1940. After an air-raid warning was heard and the audience was obliged to remain indoors, the musicians improvised an all-night concert.
Arthur Catterall Cup for violin or viola concerto performance is competed for in the Feis Ceoil.