Lyrics:

EDVARD GRIEG (1843-1907) AND CAMILLE SAINT SAENS (1835-1921)
PLAY THEIR OWN COMPOSI TIONS IN 1905

The first thirty years of this century was a period during
which the development of sound recording - both from an
acoustic, electrical and mechanical point of view – was
enormous. During the twenties the gramophone became an
instrument able to reproduce all kinds of music and
speech, especially after electric recording had been
introduced. Before then it had been extremely difficult to
reproduce certain musical instruments on discs.

The piano belongs to this category, and .the imperfect
technique of the period is the reason why so very few
recordings made by the eminent piano masters from the
beginning of our century have been preserved on discs, but
these great pianists have left us other interesting
evidence of their technical skill on the piano rolls:
perforated paper rolls on which the exact touch, dynamic
and all other technicalities (functions) are indicated.
These rolls meticulously reproduce the pianist's
performance, when they are played-back on a socalled
'reproducing piano'. Today probably very few people know
that there are different types of mechanical pianos. The
ordinary type was meant for entertainment at home or at
restaurants, while the reproducing type predominantly was
sold to wealthy families, who were genuine music-lovers
and consequently wanted a faithful reproduction. In 1904
the first reproducing piano appeared on the market in
Germany. It was called Welte-Mignon. The following year
the Hupfeld firm introduced their DEA, an even more
ingenious design, which according to the pianists
reproduced their performances minutely. Later on, i. e.
ten years afterwards, the United States manufactured such
pianos, and the two best known were DUO-ART and AMPICO.
The German Welte-Mignon was also manufactured and sold in
the United States, while the sale of DEA pianos remained
insignificant in Europe.

These fantastic pianos are pneumatic, a large flywheel
attached to an electric motor controls a system of
bellows, which provide the necessary vacuum. On the paper
roll each single touch is indicated by perforations, which
vary in length according to the period each key is to be
pressed down. The shading of the performance is regulated
by a combination of marginal perforations on each side of
the roll, and these perforations govern the intensity of
the pneumatics, the more vacuum, the more forceful the
individual touch, and the intensity can be varied within
fractions of seconds.

There is no doubt that pianists preferred to reproduce
their music on the piano roll in preference to gramophone
disc, because they felt that the piano roll offered a
wider scope. In the gramophone studios the artists were
told to limit their performances to certain minutes in
order to fit the side of each disc. Very soft piano
passages were left out, because the scratching would drown
them, the use of the forte pedal had to be limited and
extra powerful performances were taboo in order to avoid
overload.

During the late twenties the gramophone became so popular
that the manufacture of mechanical pianos was cut down
drastically, and after 1930 only a few reproducing pianos
were built, and then mostly on special order. For more
than 30 years none bothered about or took an interest in
the fate of these fantastic instruments. However, during
the last few years private collectors in the United States
and in Europe have begun to realize the tremendous
importance of these old pianos, and those enthusiasts have
initiated through restorations, which in most cases are
extremely time consuming.

In 1905 the two eminent composers and pianists Edvard Grieg
(1843-1907) and Camille Saint-Saens (1835-1921) recorded
some of their own compositions on the Hupfeld DEA. You can
hear the result on this disc. No comments are added co the
individual performances, they each tell their story of a
bygone period, which suddenly has come to life again
thanks to the reproducing piano. The Hupfeld DEA
instrument, which has been used for these recordings is a
Ronisch piano built in 1914. The instrument was completely
restored in 1970, and it belongs to a private Danish
collection of musical instruments - the Mechanical Music
Museum.

Claes O. Friberg

Principal PLP 1017
RECORDED AT MECHANICAL MUSIC MUSEUM, DENMARK 18. JANUARY
1971, SOUND: MOGENS PACHT

American Mechanical Musical Instruments

Many years ago 'Mr. Ed' McDonald felt that a part of the
musical culture of two continents was headed for
extinction. This prompted him to begin his collection of
mechanical musical instruments from bygone days.
Today 'Mr. Ed' possesses one of the World's largest and
finest collections of selfoperated mechanical musical
instruments; some well over 100 years old. Many of these
instruments were originally found in dance halls, saloons,
candy stores, and merry-go-rounds. Some required complete
restoration, having been found literally 'in pieces'. Many
of 'Mr. Iid's' instruments were built in Europe, found
their way to America and finally into this magnificent
collection.

Under the direction and drive of 'Mr. Ed', the Olde Tyme
Musical Museum recreates the moods and tastes of an
enchanting bygone era. Relive a portion of the Gay 90s'
and the Roaring 20s' as you enjoy the ingenuity and
artistry of generations from the past.

AMERICANA RECORDING STUDIOS recorded this album on
location, using its mobile facilities, and with great
pride presents this unusual Stereo/Mono album for the
listeners' pleasure.