|
|
Download Now!!!
Songs | Albums | Album Arts
Song: | Etude nr.: 4, Les Cloches de las Palmas from six etudes, op. 111 |
Album: | Mekaniske musikinstrumenter | Genres: | |
Year: | 2000 |
Length: | 217 sec |
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.
Download Now!!!
|
Copyright © 2020 Zortam.com. All Rights Reserved.
|