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Alexander Glazunov & Artur Lemba Today Playing Their 1910 Interpretations Selected Works by Glazunov

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Alexander Glazunov & Artur Lemba Today Playing Their 1910 Interpretations Selected Works by Glazunov CYAN MAGENTA GELB SCHWARZ The Welte Mignon Mystery Vol. XIX Alexander Glazunov & Artur Lemba today playing their 1910 interpretations Selected works by Glazunov TACET-T203_Seite_1 TACET-T203_Seite_1 The Welte Mignon Mystery Vol. XIX TACET 181: Edwin Fischer Impressum Alexander Glazunov & Artur Lemba Recorded: 2012 today playing their 1910 interpretations Instrument: Steinway D Tuning and maintenance of the piano: Selected works by Alexander Glazunov Paul Stöckle 1 Prélude op. 49, 1 Des-Dur (Welte Mignon Catalogue No. 1937) 2:25 Welte-Vorsetzer-Technik: Hans - W. Schmitz 2 Prélude op. 25, 1 D-Dur (No. 1938) 4:06 Technical equipment: TACET 3 Sonate Nr. 1 b-Moll op. 74, II. Satz: Andante (No. 1939) 6:49 Für die Aufnahme wurden freundlicherweise Rollen zur Verfügung gestellt von: Raymonda. Ballet op. 57 Hans - W. Schmitz, Stuttgart 4 Prélude et la Romanesca, Prélude et Variation, Entre-acte (No. 1940) 5:56 5 Valse fantastique et Variation I, Hymne (No. 1941) 6:19 Translations: Michael Babcock (English), 6 Entre-acte, Variation III et IV (No. 1942) 6:03 Stephan Lung (French) Photo 1 : Welte Mignon Catalogue Ruses d’amour (Pastorale Watteau). Ballet op. 61 TACET 200: Swinging Welte Photos 2, 3, p. 24 : Jochen Trabant 7 Recitatif mimique, Gavotte, Sarabande (No. 1944) 4:52 Photos 4, 5, 6: Welte Mignon Catalogue Les Saisons. Ballet op. 67 Booklet layout: Toms Spogis 8 L’été: Barcarolle et Variation (No. 1945) 3:54 Cover design: Julia Zancker 9 L’automne: Petit Adagio (No. 1946) 3:37 Recording: Andreas Spreer Alexander Glazunov, piano Produced by Andreas Spreer ( complete Welte recordings except missing No. 1943 ) c 2012 TACET Sonate Nr. 2 e-moll op. 75 p 2012 TACET bl I. Satz: Moderato (No. 2156) 7:35 bm II. Satz: Scherzo (No. 2157) 6:05 bn III. Satz: Allegro (Finale) (No. 2158) 7:50 bo Valse de concert D-Dur op. 47 (No. 1990), transcription Felix Blumenfeld 8:43 Artur Lemba, piano ( complete Welte recordings ) 2 23 TACET-T203_Seite_2 TACET-T203_Seite_23 Further Welte Mignon releases: Carlo Zecchi today playing all his What is a Welte Mignon? 1926 interpretations · TACET 160 This is not an historical Enrique Granados today playing all his recording: In 1904, at a time when the recording and 1913 interpretations · Selected works by Vladimir Horowitz today playing all his reproduction of music were still in their quite the opposite. TACET’s recording tech- Granados · TACET 139 1926 interpretations · TACET 138 infancy, the German fi rm of M. Welte & Söhne niques, renowned for their crystal clarity came up with a sensational invention. It had and spaciousness, score another triumph Felix Mottl today playing all his 1907 Debussy and Ravel today playing all their pioneered a procedure which could record here. Yet the music is heard in its original interpretations · Selected works by Wagner 1912 interpretations · TACET 166 and reproduce “all the subtleties of a pianist’s interpretations, accurate to within a hair’s- TACET 135 ( 2 CDs ) performance”, which it patented under the breadth. And the mystery is that the origi- Theodor Leschetizky today playing his name of “Welte-Mignon”. By means of per- nal performer was present at the recent Richard Strauss today playing all his 1907 1906 interpretations · TACET 177 forated strips of paper the playing of famous recording session, but not there in person. interpretations · Selected works by Strauss pianists could be reproduced authentically He is heard playing on a modern Steinway, TACET 137 Opera Composers: Leoncavallo, and entirely automatically. When the Mignon without the loss of sound quality usually Humperdinck and others today playing was demonstrated for the fi rst time, the press Frédéric Chopin: Études inevitable with historical recordings. Seen Dead or Alive ? their 1905 – 13 interpretations of own hailed it as the latest wonder of the world. op. 10, op. 25. Various artists playing 1904 – works · TACET 178 as a whole, the Welte Mignon player piano The mechanism, driven as if by an invisible 1928 and P. Orth playing today · TACET 140 is reminiscent of a kind of time machine. hand, was built into pianos, both upright and Mahler, Reinecke, Grieg today playing Moreover, never before has music stored in grand, by famous makes such as Steinway, Max Reger and Frieda Kwast-Hodapp all their 1905 / 06 interpretations of own and the Welte Mignon system sounded so “right” Bechstein and Blüthner. In the so-called today playing all their 1905 / 1920 other works · TACET 179 and so good. And because the mechanism of “Vorsetzer” or “push-up” version ( photo 1 ) interpretations Selected works by Reger the Welte Mignon system has recently been a cabinet was installed in front of a piano on TACET 152 Josef Lhévinne today playing his 1906 / meticulously adjusted by the leading expert, whose keyboard it played with its felt-cov- 1911 European interpretations · TACET 180 Hans-W. Schmitz, it is now possible to get ered wooden fi nger-like actuators ( photo 2 ). Ernst von Dohnányi today playing all to know the interpretations of yesteryear Welte & Sons produced their Welte Mignons his 1905 interpretations · TACET 145 Edwin Fischer today playing his 1923 really well – and this may lead to unexpected in limited numbers and at exorbitant prices. (1909 ?) interpretations · TACET 181 insights. The Welte Mignon’s treasures are Thanks to sophisticated advertising these Artur Schnabel today playing his only now systematically unveiled – by TACET soon began to appear in the music rooms of 1905 interpretations · TACET 146 Swinging Welte – George Gershwin – because at last the necessary requirements the aristocracy and high society as well as in and others today playing their 1907 – 1928 have been met. The Welte Mignon “player- Elly Ney today playing her 1906 interpretations · TACET 200 those of industrialists and men of property. It piano” and its reproduction mechanism were interpretations · TACET 158 was also to be heard in the lounges of grand invented in 1904. More information: www.tacet.de hotels and in the saloons of ocean liners ply- Camille Saint-Saëns today playing all Ulrich Oesterle ing between Hamburg and New York. his 1905 interpretations · Selected works By the outbreak of the First World War by Saint-Saëns · TACET 159 some 2500 titles had been recorded, drawn 22 3 TACET-T203_Seite_22 TACET-T203_Seite_3 predominantly from the classical repertoire. Tableau chronologique d’ Alexandre Glazounov The postwar years brought a new albeit short-lived boom. In well-to-do circles new 1865 * 10 aout à St. Pétersbourg dances such as the shimmy, the one-step, the 1877 Cours de piano chez Narziss Jelenkosvki, Professeur au Conservatoire. tango-milonga and the Boston waltz were all 1880 – 81 Cours particuliers chez Nikolaï Rimski-Korsakov the fashion thanks to revues and musicals. 1882 29 mars: première de la Première symphonie à St. Pétersbourg Welte & Sons was obliged to respond to this 22 aout: la Première symphonie est aussi jouée à Moscou new trend, with the result that their studios 1882 Première du Premier quatuor à cordes à St. Petersbourg now made fewer recordings with concert 1884 Voyage en Europe avec Mitrofan P. Belaieff (entre autre chez Liszt à Weimar) pianists: the last were Vladimir Horovitz late 1885 Fondation des ‹ Concerts symphoniques russes › et de la Maison d’édition Belaieff in 1926 and Rudolf Serkin in 1928. Hans von Bülow dirige la Première symphonie de Glazounov à St. Pétersbourg 1887 Glazounov complète avec Rimski-Korsakow l’opéra inachevé de Borodine Le Prince Igor The growing threat of a worldwide depres- 1889 Visite et concerts lors de l’Exposition Universelle de Paris sion and the introduction of improved, i.e. 1895 « Invité d’honneur » de la Société musicale impériale de Russie electrically recorded, gramophone records 1897 15 mars: Glazounov dirige le fiasco de la première de la Première symphonie and wireless broadcasting meant that Welte de Rachmaninov à St. Pétersbourg Mignon’s exclusive products were soon for- 1899 Professeur d’instrumentation au Conservatoire de St. Pétersbourg gotten. Production ceased in 1932. Photo 1: Welte Mignon “Vorsetzer” 1905 Première du concerto pour violon in position at the piano 1905 – 28 Directeur du Conservatoire (nominalement jusqu’en 1930) Musical reproduction and 1907 Première de la Symphonie No. 8; Docteur honoris causa the Welte piano roll • Welte-Mignon-Vorsetzer am Flügel • Welte Mignon « Vorsetzer » au piano de l’Université de Oxford et de Cambridge 1912 Titre d’honneur « Professeur émérite » ( appareil s’adaptant devant l’instrument ) In contrast to pianola rolls, which were 1917 Croix de la Légion d’honneur de France already well known, those made by Welte & 1922 Titre d’honneur « Artiste national » lors du quarantenaire comme compositeur Sons, with their exclusive recording technique, where pedals are activated. When a roll is 1923 Membre de l’Académie des Beaux Arts de Berlin created the fi rst-ever opportunity in the his- played, all these tracks of perforations are 1928 Glazounov, après un voyage comme membre du jury lors d’un concours de composition tory of music to capture a pianist’s “live” read pneumatically with underpressure from Schubert à Vienne ne rentre pas en Union Soviétique ; il s’installe à Paris à partir de 1928, performance, save it, and then play it back below by a tracker bar. All the subtleties of a nombreuses invitations comme chef d’orchestre invité en Europe et Amérique du Nord on an instrument. pianist’s performance are recorded digitally 1929 – 30 Tournée aux Etats-Unis à partir d’automne: dirige à Detroit, Chicago, Boston, New York Welte piano rolls are punched rolls of ( i. e. by a perforation or none, as appropriate ) 1932 Composition d’un quatuor pour saxophones pour la Garde Républicaine de Paris paper resembling perforated strips in which so that the apparatus can reproduce them Rencontre avec le saxophoniste soliste danois Sigurd Raschèr every note of the keyboard has its exact on the keyboard thanks to its pneumatically 1933 Membre correspondant de l’ Académie des Beaux Arts de Paris counterpart ( see photo 3 ).
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