And we have a recording of Brahms, arguably even more precious then of Liszt (well maybe not in technical skill), and of the Hungarian Rhapsody at that!
God these old recordings have such a magic about them... listening to someone who was recorded over 100 years ago is simply amazing! It's like traveling back in time
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus! John 3:16 Romans 6:23❤😊❤❤
Late 1880's Edison System recordings were done on white wax. This was not the insoluble soap composition of browb wax cylinders but rather was a mixture of cerasin ( a type of hard paraffin wax) which was white. They have a sort of muffled sound which I found out, when as a child, I made recordings on paraffin coated cylinders--you get a similar sound.
The sound-quality of the first record is extraordinarily good; it could easily date from the early 1920s. What a pity the Brahms cylinder of 1889 and the Mapleson opera recordings of 1901-03 are so much less well preserved! - I would guess that the piece played by 'Miss Eyre' is a study by somebody like Czerny, Henselt or Heller.
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus! John 3:16 Romans 6:23❤😊
These Piano recordings were recorded with a long curved horn that opened over the grand piano. The scraping sounds are because at the time these records were made the playback and cutting stylus were made of metal, and the grooves were square instead of U shaped as records of the later part of 1889. The playback stylus was kind of rigid on these and if you adjusted them too hard down they would cut into the song a little. The recording diaphragms were thin glass.
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus! John 3:16 Romans 6:23❤😊
Hello! At 2:00 they play Boulanger's March by A. H. Rosewig. It was published in 1887 by The National Music Co. It was brand new! Fantastic! Sincerely, David
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus! John 3:16 Romans 6:23😊❤❤
MY !!!GOD!!!!! Absolutely fantastic.Extraordinary.Over 130 years ago.I wish more recordings from that period were found.My wish is to hear Franz Liszt play.....did they ever record him?????
Caroline Locke I think that's most classical pianists' fondest wish, to find a recording of Mr. Liszt, but it's highly unlikely, given that he passed away in 1886, and the first commercial audio recordings were made in 1888. Of course, Mr. Edison had invented the phonograph in the late 1870s, so it's not completely impossible, but I seriously doubt that there was much, if any, recording happening between then and 1888. But- the experts can please correct me on this. Happily, many of Mr. Liszt's piano students DID record (some in quite good fidelity), so we can at least listen to them. Also, of course, there are neat recordings like this one. If you want to hear a classical pianist who was so good he was Frikkin' SCARY, then check out the recordings of Mr. Josef Hofmann, especially those made in the 1910s and 1920s... he was utterly remarkable and his technique was supernatural. I doubt Mr. Liszt could have played technically very much better than Mr. Hofmann, although he was probably/*arguably* a better composer and improvisor (again, this is arguable).
No one can know for certain as Liszt wasn't recorded ... But keep in mind this anecdote from the Russian composer and pianist, Alexander Silotti. Silotti studied with Anton Rubinstein and then later took masterclasses with Liszt. At a banquet given in Rubinstein's honour he was acclaimed to be the greatest living pianist. Rubinstein stood up angrily and said, 'How can you say this when Liszt is sitting here? He is the general and we other pianists are all merely corporals beside him.' Silotti knew this story and had a chance once to put it to the test. He heard Rubinstein play a magnificent recital of Beethoven sonatas and rushed back to tell Liszt how great it had been. He remarked especially on Rubinstein's great performance of the Moonlight Sonata. Liszt, who had a special attachment to this piece, got up and played the same work. Silotti says that, in full knowledge of what he was saying, that Liszt's performance on the tired, beaten up piano in a carpetted room was as superior to Rubinstein's as Rubinstein's was to other pianists. Now, Josef Hoffman was a great prodigy and also studied with Rubinstein. HE remarked to his students that Rubinstein was a titanic pianist, compared to whom everyone else were mere pygmies. So if Rubinstein was much greater than Hoffman, and Liszt far superior to Rubinstein ... then we can't really say that Liszt played worse than Hoffman.
Iian Neill That is wonderful. I heard a similar story about Liszt playing the "Moonlight" which goes into more detail about his touch, tone etc, but of course it's still writing. However I don't doubt he was a phenomenon. With that 19th-century sensibility and the warm, mellow pianos of his day I am not sure any pianist alive today could touch him musically. Technically, there are so many wizards who have come up in the past 60 years, and some of them make beautiful interpretations, but it would not be the same thing. Too different. Apples and oranges. And-it seems a lot of pianists today are used to playing modern pianos with high tension scales and a glassy metallic sound. Not quite the Sam either, and while switching instruments seems easy enough, one also needs to switch their musical sensibility to tailor it to the instrument, not an easy feat.
There certainly have been rumors! Rumors have long circulated that there had been a cylinder recording of Liszt made in 1885 or 1886 “Only to be mentioned in whispers!” Quoted by Alan Walker, however nothing of this has ever come up, at least not yet. I read that New York Times music critic Harold Schonberg searched Europe for 3 years for this mystical Liszt recording but nothing showed up. Technically, Liszt could have recorded as there were cylinders in 1886, albeit not nearly as accessible or as popular as they became in 1888 and after but who knows, maybe, just maybe, that precious recording is sitting in someone’s attic or hidden somewhere out there! Or it could be that we were not meant to hear Liszt’s playing, for that we leave to our imagination, which adds to the great mystique of Liszt’s playing and a striving for a higher communication with music.
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus! John 3:16 Romans 6:23❤😊❤❤
Ha, play that waltz ALL the time for ballet class. It’s the “À Toi” Waltz by Emil Waldteufel. Amazing to hear it basically in the era it was written (1880).
There are 4 songs on the video 0.00 piano (fast tempo) - don't know title 1.00 piano Wedding March (has small piano playing errors) composer Felix Mendelsshn (published 1842) 1.56 piano and flute - A H Rosewig - Boulanger's March - published 1887 2.31 piano and banjo - classical piece by composer Sigismund Thalberg - opus 45 Theme Et Etude - published c1841 I presume the piano player in each case is the unknown Miss Eyre There is a photo of a man - It is Henri Gouraud who became a colonel (coronel) in 1907. And general in 1911. en.wikipedia.org/wiki/Henri_Gouraud_(general)#Early_life So I doubt he had much to do with the 1888 recording (when he was just 21) At 2.31 on the video is the mention of Miss Eyre. It would be good to find out the role of Miss Eyre and of Henri Gourard and the unknown flute and banjo player of tunes 3 & 4
The Gouraud involved here is George Edward Gouraud (1842-1912) hence ca. 46 at the time of the recording. He made the 1888 recording of Arthur Sullivan's 'The Lost Chord' (presented to the public 14th August 1888) and speaks the introduction to Sullivan's letter to Edison (recorded 5th October 1888 as Gouraud mentions). In 1890, he recorded Florence Nightingale. (All information taken from Wikipedia.)
I had not heard these before. This Miss Eyre does sound like the same person as in the recording I posted. She seems to have had a decent technique -but here again she is still astoundingly foursquare, earthbound and dull in interpretation though. Lovely to hear this - and how the nice new (?) 19thC piano coped with and produced the repeated notes. Thanks.
Bedankt voor het zenden, Rolf! Ik ben het wel met d60944's kritiek eens, deze dame is niet bijzonder interessant om naar te luisteren, maar ze heeft een "fatsoenlijke" vingertechniek ;-) Op zo'n 19e eeuws lichter spelend instrument (ik neem even aan dat het een vleugel is en geen piano) moet het repeteren wel makkelijker gegaan zijn dan op veel moderne vleugels - op de een of andere manier mankeert er vaak iets aan het mechaniek waardoor e.e.a. niet makkelijk zo gaat...groeten, E.
Gouraud was Thomas Edisons associate responsible for recording the earliest surviving wax cylinders of music in The Crystal Palace in the summer of 1888.
For those wondering the name of the first song, which. I have for years, it’s the second song in this video ruclips.net/video/fKPj8hev8V8/видео.htmlsi=LUXY00AaWDohT8DZ
Gouraud never sung or played an instrument. His forte was being a spokesman and making speeches -and ,apparently, on better machines than the public was being offered for purchase .
Well, cylinders have a wow and flutter caused by the cylinder naturally distorting into a kind of oval or egg shape on the mandrel, and so they usually sound a bit weird because the pitch is constantly shifting slightly. Once you get past that and realize it's the recording technology rather than the musicians, you can listen past it. However, that flautist was certainly quite a bit off pitch. You must also remember that some of the early recording artists were professional musicians, but many were amateurs and their skill level varies. With that in mind, be glad we have these amazing documents of little musical slices of life of these few musicians in the actual era. It is a hell of a lot better than nothing, and some of the things they play are amazing.
Search for: Gouraud, George Edward, 1841-1912. He was the one who made these recordings. They are well documented. I enhanced the sound of the recordings. In a way, thank you ;-)
@@otterhouse of course, i have heard of George Gouraud. Perhaps Edison should have used him more! I am amazed that these recordings are as good as they are, particularly the fidelity and room echo captured in the recording! I have uploaded Berliners and zonophones etc from 10 years later that sound worse!
Sound recording was possible in Liszt's lifetime and he was actually given the chance to record, but Liszt said that he was not going to record on something that sounded so bad. Debussy felt the same way, which is why he did all his recording on piano rolls. Piano rolls weren't an option for Liszt or I am sure he would have used them.
JCO2002 It doesn't sound that bad to me. Try to filter out the pitch change from the cylinder. I have heard pianos that were really out of tune on old and new recordings and this isn't so bad. Also, I wonder if this could be a square piano.
This is actually exceptionally good sound quality being from 1888
It is almost certainly an original recording and not a dubbing.
The fidelity would be quite good if it was new. About cassette level sound quality for new cylinders or discs
@@goofyahhslimjackson1942 that's just not true lol, unless you're talking microcassette
Or Is It 1898
@@cheesemanthe2ndI disagree. I honestly believe that 78rpm records are the best sounding medium in existence.
2 years earlier and we could hear Liszt play today...
well let's feel glad we can actually hear Rachmaninov
And we have a recording of Brahms, arguably even more precious then of Liszt (well maybe not in technical skill), and of the Hungarian Rhapsody at that!
@@MrSanjayV Hungarian Dance in G minor, that is.
check this:) ruclips.net/video/DMJwfIxFWhw/видео.html
@@MrSanjayV I think Liszt is more valuable in melody and emotion than actual virtuosity. I don’t like that the focus goes to the technical skill.
God these old recordings have such a magic about them... listening to someone who was recorded over 100 years ago is simply amazing! It's like traveling back in time
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus!
John 3:16
Romans 6:23❤😊❤❤
Late 1880's Edison System recordings were done on white wax. This was not the insoluble soap composition of browb wax cylinders but rather was a mixture of cerasin ( a type of hard paraffin wax) which was white. They have a sort of muffled sound which I found out, when as a child, I made recordings on paraffin coated cylinders--you get a similar sound.
Nice
The sound-quality of the first record is extraordinarily good; it could easily date from the early 1920s. What a pity the Brahms cylinder of 1889 and the Mapleson opera recordings of 1901-03 are so much less well preserved! - I would guess that the piece played by 'Miss Eyre' is a study by somebody like Czerny, Henselt or Heller.
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus!
John 3:16
Romans 6:23❤😊
@@christianweatherbroadcasting Amen brother!
@@christianweatherbroadcastingUnrelated, but still good statement
Amazing to hear this quality of music all these years.
fantastic! I collect cylinders and phonograph record, listening to these recordings from 1888, they was doing something right back then :)
People must have been amazed by this.
These Piano recordings were recorded with a long curved horn that opened over the grand piano. The scraping sounds are because at the time these records were made the playback and cutting stylus were made of metal, and the grooves were square instead of U shaped as records of the later part of 1889. The playback stylus was kind of rigid on these and if you adjusted them too hard down they would cut into the song a little. The recording diaphragms were thin glass.
Also this was from 1888. I'm sure some damage must have happened
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus!
John 3:16
Romans 6:23❤😊
The piece being played beginning at about 2'32'' is the second part of Sigismund Thalberg's "Theme Originale et Etude" Op.45
Michael McDowell you are an inspiration!
Hello! At 2:00 they play Boulanger's March by A. H. Rosewig. It was published in 1887 by The National Music Co. It was brand new! Fantastic! Sincerely, David
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus!
John 3:16
Romans 6:23😊❤❤
as a musician for 25 years i am moved by these early recordings...
Ok
Thanks for posting. Sounds better than some of my 45's from the 1960's!
MY !!!GOD!!!!! Absolutely fantastic.Extraordinary.Over 130 years ago.I wish more recordings from that period were found.My wish is to hear Franz Liszt play.....did they ever record him?????
Caroline Locke I think that's most classical pianists' fondest wish, to find a recording of Mr. Liszt, but it's highly unlikely, given that he passed away in 1886, and the first commercial audio recordings were made in 1888. Of course, Mr. Edison had invented the phonograph in the late 1870s, so it's not completely impossible, but I seriously doubt that there was much, if any, recording happening between then and 1888. But- the experts can please correct me on this. Happily, many of Mr. Liszt's piano students DID record (some in quite good fidelity), so we can at least listen to them. Also, of course, there are neat recordings like this one. If you want to hear a classical pianist who was so good he was Frikkin' SCARY, then check out the recordings of Mr. Josef Hofmann, especially those made in the 1910s and 1920s... he was utterly remarkable and his technique was supernatural. I doubt Mr. Liszt could have played technically very much better than Mr. Hofmann, although he was probably/*arguably* a better composer and improvisor (again, this is arguable).
No one can know for certain as Liszt wasn't recorded ... But keep in mind this anecdote from the Russian composer and pianist, Alexander Silotti. Silotti studied with Anton Rubinstein and then later took masterclasses with Liszt. At a banquet given in Rubinstein's honour he was acclaimed to be the greatest living pianist. Rubinstein stood up angrily and said, 'How can you say this when Liszt is sitting here? He is the general and we other pianists are all merely corporals beside him.' Silotti knew this story and had a chance once to put it to the test. He heard Rubinstein play a magnificent recital of Beethoven sonatas and rushed back to tell Liszt how great it had been. He remarked especially on Rubinstein's great performance of the Moonlight Sonata. Liszt, who had a special attachment to this piece, got up and played the same work. Silotti says that, in full knowledge of what he was saying, that Liszt's performance on the tired, beaten up piano in a carpetted room was as superior to Rubinstein's as Rubinstein's was to other pianists. Now, Josef Hoffman was a great prodigy and also studied with Rubinstein. HE remarked to his students that Rubinstein was a titanic pianist, compared to whom everyone else were mere pygmies. So if Rubinstein was much greater than Hoffman, and Liszt far superior to Rubinstein ... then we can't really say that Liszt played worse than Hoffman.
Iian Neill That is wonderful. I heard a similar story about Liszt playing the "Moonlight" which goes into more detail about his touch, tone etc, but of course it's still writing. However I don't doubt he was a phenomenon. With that 19th-century sensibility and the warm, mellow pianos of his day I am not sure any pianist alive today could touch him musically. Technically, there are so many wizards who have come up in the past 60 years, and some of them make beautiful interpretations, but it would not be the same thing. Too different. Apples and oranges. And-it seems a lot of pianists today are used to playing modern pianos with high tension scales and a glassy metallic sound. Not quite the Sam either, and while switching instruments seems easy enough, one also needs to switch their musical sensibility to tailor it to the instrument, not an easy feat.
There certainly have been rumors!
Rumors have long circulated that there had been a cylinder recording of Liszt made in 1885 or 1886 “Only to be mentioned in whispers!” Quoted by Alan Walker, however nothing of this has ever come up, at least not yet. I read that New York Times music critic Harold Schonberg searched Europe for 3 years for this mystical Liszt recording but nothing showed up. Technically, Liszt could have recorded as there were cylinders in 1886, albeit not nearly as accessible or as popular as they became in 1888 and after but who knows, maybe, just maybe, that precious recording is sitting in someone’s attic or hidden somewhere out there! Or it could be that we were not meant to hear Liszt’s playing, for that we leave to our imagination, which adds to the great mystique of Liszt’s playing and a striving for a higher communication with music.
wow, this pianist played these pieces so wonderfully and we don't even know their name. what a shame.
Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus!
John 3:16
Romans 6:23❤😊❤❤
....and to think that all music ever performed more than a few years before this recording was made, is now imprisoned in the history of silence!
:(
Good comment
Ha, play that waltz ALL the time for ballet class. It’s the “À Toi” Waltz by Emil Waldteufel. Amazing to hear it basically in the era it was written (1880).
Thanks for uploading this historical recording!
El mix de canciones más antiguo que he visto. Felicidades
Heeey, le deberían poner "19th century's megamix" jejeje, muy al estilo de los mixes en RUclips.
@@LGJoe88 jajaja buena idea Bro... Saludos desde el Perú
imagine walking into a saloon and hearing this play in the wild west :P
We are listening to this as we are sitting in the parlor of a BnB in Cape May built in 1878 . How Cool this is. Thanks for posting this.
This sounds absolutely wonderful!
There are 4 songs on the video
0.00 piano (fast tempo) - don't know title
1.00 piano Wedding March (has small piano playing errors) composer Felix Mendelsshn (published 1842)
1.56 piano and flute - A H Rosewig - Boulanger's March - published 1887
2.31 piano and banjo - classical piece by composer Sigismund Thalberg - opus 45 Theme Et Etude - published c1841
I presume the piano player in each case is the unknown Miss Eyre
There is a photo of a man - It is Henri Gouraud who became a colonel (coronel) in 1907. And general in 1911.
en.wikipedia.org/wiki/Henri_Gouraud_(general)#Early_life
So I doubt he had much to do with the 1888 recording (when he was just 21)
At 2.31 on the video is the mention of Miss Eyre.
It would be good to find out the role of Miss Eyre and of Henri Gourard
and the unknown flute and banjo player of tunes 3 & 4
The Gouraud involved here is George Edward Gouraud (1842-1912) hence ca. 46 at the time of the recording. He made the 1888 recording of Arthur Sullivan's 'The Lost Chord' (presented to the public 14th August 1888) and speaks the introduction to Sullivan's letter to Edison (recorded 5th October 1888 as Gouraud mentions). In 1890, he recorded Florence Nightingale. (All information taken from Wikipedia.)
If they had lived another 124 years they could have recorded me!
Sounds great !
Excellent!
I agree. If you can get thru the noise to the performance and make it out, I, too, can ignore the poor sound quality.
Uit het jaar dat Duitsland drie keizers had. Prachtig toch dat we nog geluid uit die verre periode terug hebben.
stunning
I had not heard these before. This Miss Eyre does sound like the same person as in the recording I posted. She seems to have had a decent technique -but here again she is still astoundingly foursquare, earthbound and dull in interpretation though. Lovely to hear this - and how the nice new (?) 19thC piano coped with and produced the repeated notes. Thanks.
Bedankt voor het zenden, Rolf!
Ik ben het wel met d60944's kritiek eens, deze dame is niet bijzonder interessant om naar te luisteren, maar ze heeft een "fatsoenlijke" vingertechniek ;-)
Op zo'n 19e eeuws lichter spelend instrument (ik neem even aan dat het een vleugel is en geen piano) moet het repeteren wel makkelijker gegaan zijn dan op veel moderne vleugels - op de een of andere manier mankeert er vaak iets aan het mechaniek waardoor e.e.a. niet makkelijk zo gaat...groeten,
E.
Gouraud was Thomas Edisons associate responsible for recording the earliest surviving wax cylinders of music in The Crystal Palace in the summer of 1888.
2:28
For those wondering the name of the first song, which. I have for years, it’s the second song in this video ruclips.net/video/fKPj8hev8V8/видео.htmlsi=LUXY00AaWDohT8DZ
Magical
If you play it at 0.75 speed the tempo is right and it sounds better besides.
1:00 that Wedding March is unlike what I've ever heard. Liszt came to my mind when I heard this.
I heard some wedding music here.
O.o
yea me too !!
The piece is called “Wedding March.”It’s composed by Felix Mendelssohn.
@ferociousgumby I think they would have been more amazed to hear you have been listening to them on a "website" in the year 2011... :-)
I feel the same way.
What's the name of the first song playing I would love to to know ❤️
Gouraud never sung or played an instrument. His forte was being a spokesman and making speeches -and ,apparently, on better machines than the public was being offered for purchase .
There are 4 songs on the video.
OH MY! if liszt lived for another 2 or 3 more years they could have recorded him!!
oh tanks alot
yeah the first sound recording with the phonautograph is very creepy because its an unusual date for sound recording :s
What is the first song?
Just to say in Dutch that I agreed with your words below! ;-)
Anyone know the name of the piece that Miss Eyre is playing?
had the phonograph in 1888 already have a motor? the wired object looks like a battery for the motor. was this actually a battery?
Im listening to history :)
Are these on white wax (yellow paraffin) cylinders?
could you send the lossless/raw audio files from this? thanks.
Is someone having a fist fight in the background?
this is really from 1888? wow
If only the Brahms recording was of this clarity!
Oooh I see my name, but don't know why.....!
La puchaaaaaaa!!!!
La marcha nupcial???
what song is he playing @ 1:39
Could it be Clara Schumann?
Where were these records found?
Does Yeat have competition?
Saloon piano
Moritz Moszkowski maybe?
what’s the first song?
The second song in this video ruclips.net/video/fKPj8hev8V8/видео.htmlsi=LUXY00AaWDohT8DZ
Does this only sound creepy to me?
Burger KING Yes.
Yes only you. Its someone playing the piano and the vibrations are being captured on wax.
Well, cylinders have a wow and flutter caused by the cylinder naturally distorting into a kind of oval or egg shape on the mandrel, and so they usually sound a bit weird because the pitch is constantly shifting slightly. Once you get past that and realize it's the recording technology rather than the musicians, you can listen past it. However, that flautist was certainly quite a bit off pitch. You must also remember that some of the early recording artists were professional musicians, but many were amateurs and their skill level varies. With that in mind, be glad we have these amazing documents of little musical slices of life of these few musicians in the actual era. It is a hell of a lot better than nothing, and some of the things they play are amazing.
Sorry, but i dont think there is any possible way that this an 1888 original recording. The sound quality and fidelity is way too good for then.
Search for: Gouraud, George Edward, 1841-1912. He was the one who made these recordings. They are well documented. I enhanced the sound of the recordings. In a way, thank you ;-)
@@otterhouse of course, i have heard of George Gouraud. Perhaps Edison should have used him more! I am amazed that these recordings are as good as they are, particularly the fidelity and room echo captured in the recording! I have uploaded Berliners and zonophones etc from 10 years later that sound worse!
What a pity Franz Liszt died 2 years earlier.......He could have been recorded had he lived a few years longer...
Sound recording was possible in Liszt's lifetime and he was actually given the chance to record, but Liszt said that he was not going to record on something that sounded so bad. Debussy felt the same way, which is why he did all his recording on piano rolls. Piano rolls weren't an option for Liszt or I am sure he would have used them.
@@sarahkraus8247 Fascinating! Do you have a spruce in hand where I could read about Liszt’s decision against recording?
Cool stuff, but the piano is out of tune, or perhaps poor temperament.
JCO2002 It doesn't sound that bad to me. Try to filter out the pitch change from the cylinder. I have heard pianos that were really out of tune on old and new recordings and this isn't so bad. Also, I wonder if this could be a square piano.
Gouraud app. never sang or played an insttument. All he did was make windy speeches.