|ORCHESTRA: Variations for Piano and Orchestra; Poème Elégiaque (for violoncello and orchestra) ; Pour Les Funerailles d'un Marin Breton; Fantasie Orientale (for violin and orchestra); Symphony.|
|CHAMBER MUSIC: Sonata for Violin and Piano; Trio; Suite Ancienne.|
|Pieces for piano; songs, etc.|
Sordet Dominique. Douze Chefs d'Orchestre.
WALLINGFORD RIEGGER, one of the important personalities in the school of "younger American composers," was born in Albany, Georgia, on April 29, 1885. His mother was well-known locally as a pianist in Indianapolis; his father had been a concertmaster of a small orchestra in the same city at the age of fourteen, and later a choir director at one of the leading churches. After their marriage they moved to southern Georgia, where two sons, Wallingford and Harold, were born. The family returned North in 1888, and at an early age both children were given instruction on the violin. In 1899, the father moved his business to New York, the family following in 1900.
Wallingford was persuaded to change from the violin to the 'cello in order to make possible a string-quartet within the family circle. For several years there were weekly rehearsals during which time' the volumes of Haydn, Mozart and Beethoven became well- worn.
In 1904, Wallingford received a scholarship at Cornell University where he remained only one year, before deciding to take up music as his vocation. He was enrolled at the Institute of Musical Art, from which he was graduated in 1907 after having studied under Alwin Schroeder and Percy Goetschius. He then went to Berlin to study at the Hochschule, where he specialized in the violoncello and took intensive courses in composition, counterpoint and conducting.
In 1910, Riegger returned to New York, where he married Rose Schramm, a former high-school acquaintance. He then obtained a position as 'cellist with the St. Paul Symphony Orchestra, with which he remained three years. In June 1914, he returned to Germany to gain experience as a conductor of orchestra. He was given a post as assistant to the conductor of the Stadttheater of Wiirzburg, where he remained until the outbreak of the war. He was then offered a conductorship at the Luisentheater at Königsberg, which he held one year. Thence he went to Berlin to conduct the Blüthner Orchestra, where he acquired a repertoire of thirty symphonies, besides overtures and other works, all of which he conducted without a score (at that time a rather unusual procedure), constantly revealing an amazing knowledge of the works.____________________