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Excerpts
Debussy and Welte: Roy Howat
The Pianola Journal has sometimes made history by printing first musical editions
of pieces composed and initially notated for the pianola, This article is about a
counterpart to that, the first systematic use - as far as I know - of piano rolls to help
establish an accurate edition of music already well known.
Debussy recorded fourteen piano pieces for Welte: La soirée dans Grenade from
the Estampes of 1903 (roll no. 2735), D'un cahier d'esquisses of early
1904 (roll 2734), the six pieces of his Children's corner of 1908 (roll 2733), the
humorous waltz La plus que lente of 1910 (roll 2736), and five Preludes from Book 1
of 1909-10 (three on roll 2738 and two on roll 2739). Already this raises a question of
what, if anything, went under the serial numbers 2737 and 2740-1, for which no rolls were
ever issued. Was there more Debussy? Unfortunately no answer is known, and the archives
that might have told us seem to have long vanished.
Another question is recording date. It is often assumed Debussy recorded in 1913, the
year some of these rolls were issued, and the date written on his eulogy to Edwin
Welte (see facsimile opposite), but various factors suggest a little earlier. In
particular, had Debussy recorded in 1913 he'd surely have included something from his
second book of Preludes, completed early that year. Also, the techniques of preparing a
roll (see Rex Lawson's comments on this in The Pianola Journal no. 5, page 33) suggest
that Debussy's rehearing of a roll would more likely have been considerably after he
recorded it. So we can probably conclude between 1910 and 1912 - probably nearer 1912, for
it would seem unlikely for Welte to sit on such prime unpublished material for longer than
necessary.
For many years, both as pianist and as a researcher of Debussy's music, I'd been
interested by the rolls, both for what they revealed (or at least implied) of Debussy's
performing habits, and for some musical differences from the printed editions. The most
radical difference was a succession of tempo changes in the prelude La Cathédrale
engloutie not marked in the printed score or Debussy's manuscript (of which more
below); there were also many others, mostly added or omitted chords and notes and changed
figurations and harmonics. I was already using some of them in my performances - at least
as far as I could discern them from the Telefunken LP transfers, which were then my only
source for what the rolls contained,
A Note on the Technique of Recording: Reginald Reynolds
Very many pianists perform at the AEolian Hall, in London, leaving no trace of those
delightful sounds with which they have charmed their audience during a brief recital; yet
fortunately other and greater pianists have found their way to the top storey of the
AEolian building, and there discovered a means of perpetuating their interpretations for
all time.
In a secluded room stands a Weber grand piano, in tone and in outward appearance not
different from the usual model, nor does the touch betray the magic power beneath the
keys. Upon closer inspection the secret is partially revealed by the electric cable which
can be seen coming from beneath the instrument; and if it were possible to trace this back
into the piano, there would be found 160 wires, half of them leading to specially devised
contacts under the keys, the remainder running to positions near the point where the
hammers strike the strings, while the cable itself passes through the wall of the
room, coming out into a sound-proof chamber, in which is installed the amazing mechanism
that constitutes the Duo-Art recording apparatus. Here the other ends of the wires are
attached to electro-magnets, which operate the punches in the powerful perforating
machine, each punch corresponding with each key of the piano. The pianist plays - the
punches perforate - the record is produced!
This method of recording ensures absolute accuracy of reproduction, the length of the
perforations being determined by the period for which the key is held down. Thus staccato
notes produce little round holes about 1-32 of an inch in diameter, a tribute to the
agility of the fingers and also to the rapidity of the recording punches which are working
at 4,000 pulsations per minute. The rhythm is determined by the spacing of the
perforations in the music roll as it passes through the recording machine at a uniform
speed (usually 8 feet in one minute), and this spacing is in exact accordance with the
interval between the notes played by the pianist, so that when the music roll is placed
upon a Duo-Art piano, and caused to play at the same speed, there must result an exact
reproduction of all the most subtle nuances of rhythm.
Similarly the touch of the pianist is recorded and reproduced; still by means of
perforations in the music roll, in conjunction with the most ingenious mechanism, both in
the recording machine and in the Duo-Art piano. By the use of only 8 "dynamic controls" no
less than 32 variations of touch can be produced, extending over the whole range of finger
power, from the lightest pianissimo to the strongest accent, and in combination with the
well-known "Themodist" device ("Pianola" patent) the melody is differentiated from the
accompaniment, each having its own free modulation of tonal effect.
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