Historical Recordings and Performance Practice Listening

Listening to historical sound recordings so as to absorb the most musical information imparted in the groves requires a few levels of consideration and setup. Quite often there is more music on the recording than the listener is hearing because of some less than adequate factor in playback. This not only can cause the listener to miss valuable aspects of a performance on record, but even to misinterpret or misunderstand what is being heard. 

Although all romantic music performance practitioners are welcome to hear recordings at a place such as the Yale collection’s studio, the feasibility of that for so many is obviously limited. Most people, rather, listen to historical recordings remotely. In such cases, there are certain things to keep in mind and account for to hear everything on the recording.

Five types of historical recordings

There are five basic groups of historical recordings that are of particular value to the romantic music performance practitioner: acoustical recordings, electrical recordings, transcription discs, test pressings, and private recordings. These categories by and large exist on disc formats (with the exception of cylinders), while more recently, LPs, CDs, and digital files provide for historical reissues (while formats such as reel-to-reel tapes, cassette tapes, and DAT tapes are outdated). Here is each group summarized using an historical lens:

Acoustical recordings appear near the end of the 19th century in two contrasting formats: cylinders, which were associated with Thomas Edison, and flat discs, which were associated with Emil Berliner. In the first decade of the 20th century, Edison experimented with flat discs and eventually yielded to them. Acoustical recordings were produced mechanically and characterized by the use of the cone (or “horn”) to capture sound vibrations in the recording process with a cutting stylus responding to those vibrations, making grooves in the master recording. Generally these discs existed in 7-inch, 10-inch, and 12-inch shellac formats, single and eventually double sided; most were laterally cut (in terms of the grooves), but some were vertically cut as well. They generally played at 78rpms, though often, depending on the record label especially, these recordings could play slower or even faster. Acoustical classical recordings favored singers accompanied by pianos or instrumental ensembles, but also included solo instrumentalists, and eventually works for groups of musicians. The ensembles, both solo and accompanimental, were reconfigured according to the recording circumstances. Much smaller in size than a full orchestra, these particular multi-instrument recordings featured arrangements that put the tuba on the bass line and transferred many melodies to the clarinet, both of which were more easily picked up by the recording horn. Innumerable acoustical recordings were made and sold throughout the world. An artist such as tenor Enrico Caruso, 1873-1921, is heard only on acoustical recordings.

An Edison cylinder and 7-inch Berliner

In the early 1920s, electrical recordings began to take over. Instead of a cone, microphones were used to capture the music, and electricity was applied throughout the recording process. The most noticeable difference was the enhanced audio fidelity that resulted. As well, regular orchestras could be used with no need to transcribe the instrumentation for smaller, more specialized ensembles. At this point, 10-inch and 12-inch shellac double-sided recordings were the format of choice. Several artists, such as pianist Sergei Rachmaninoff, 1873-1943, and soprano Amelita Galli-Curci, 1882-1963, recorded both acoustical and electrical recordings, while many others younger in age only recorded electricals. 78 rpms was the preferred speed, though many recordings still played faster or slower.  

In the late 1920s (and especially expanding into the 1930s), radio broadcasts of live performances and programs could be captured on electrical transcription discs. These recordings, usually 12-inch, 14-inch, or 16-inch, were distributed for rebroadcast, but also could serve as keepsakes for the performing artists. The Metropolitan Opera began recording its broadcasts in the mid 1930s. Special events such as world fair concerts were even recorded outdoors, as in the early 1940s. The discs generally played at 78 rpms early on, but eventually could also play at 33 rpms. It is not uncommon to encounter a transcription disc that plays with the stylus starting at the label and going to the outer rim. Most discs were made with lacquer, which can exist over glass or aluminum in some cases, though there exist fully aluminum transcription discs as well.

Lacquer peeling off a glass base

Test pressings are another beneficiary of the electrical age. These are unpublished takes of a recording session by an artist or group of artists. Before splicing and editing was a possibility, each recorded version of a piece could be distributed to the executives and performers to decide which one to publish. They were produced for temporary use, similar to transcription discs, which is why many have deteriorated beyond playability. Numerous others still exist, however, and reveal a great deal about performance artistry, including consistency and inconsistency from one take to the next, common or uncommon mistakes, and so on. These play at the same speed as the released commercial version, often 78 rpms, though sometimes a bit slower or faster. The Yale collection, for example, has several test pressings in the late 1920s of pianist Moriz Rosenthal, 1862-1946, playing works by Chopin and Liszt, some of which were published and others that were not. Early test pressings, often called “acetates,” were made like transcription discs, and later on (past the point of this discussion) they were made of vinyl for LPs.

Similar to test pressings, private recordings are unpublished. They also can be extremely rare and hard to obtain, the most difficult to find of any of the other recording types mentioned. Whereas they may contain music, as often they include interviews, family messages, discussion at social gatherings, special announcements and greetings, field work, and an array of informational snippets. These are not only historical but still are being made in abundance. Those older recordings that are on disc generally are made of lacquer and were designed for impermanence (even if they have survived to today), mostly playing at 78 rpms or thereabouts. Very likely the contents on these recordings will be one of a kind.

The listening setup

The easiest way to listen analytically to historical recordings is to rely on expertly made digital transfers (in WAV format) by reputable recording engineers and companies, such as Marston Records (Marston audio transfers currently are only available in CD format, but soon will be downloadable). Extraordinary care and research goes into making these transfers. Also, perhaps a step down from WAV file transfers and CDs, are the high quality streaming files provided by reputable sources such as The Great 78s Project (curated by George Blood) and the files posted on a site such as the Discography of American Historical Recordings (DAHR). Yet another option are those institutions such as Yale that will make digital transfers of 78s on request (Yale provides 30-day streaming access, though other arrangements can be made under special circumstances).

Youtube videos, and the like, can be extremely unreliable, depending who made them. At the very least, the audio quality will be reduced (unless heard on a different platform such as Bandcamp, which maintains higher-quality transfers). These publicly posted, largely homemade, transfers can be fraught with problems, such as the wrong listening speed and pitch (which is also a problem on certain LP reissues), excessive noise reduction (which also diminishes the musical sound), the wrong stylus, dubious audio quality, original ensembles replaced by modern orchestras (which happens a lot with Caruso transfers), zero noise reduction where some is merited, and much more. All these things can blur and lessen the sound of articulation, diction, and other stylistic effects. These recordings may be sufficient for basic entertainment, but not for analytical study.

Listening to historical recordings in order to extract the most detailed musical information from them requires either high-fidelity speakers and/or earphones (the latter being the less expensive option). Laptop built-in speakers are insufficient, as are average desktop computer speakers. Earbuds in most cases also are not enough, as opposed to earphones that cover and insulate the ears.

Audioengine, for instance, makes quality laptop/desktop speakers that will serve the digital files listening experience well, including the HD6, A5+, and HD3 models, which support tabletop listening (all three speakers have amplifiers of varying specifications built into the left speaker). These speakers are also ideal for giving presentations in seminar rooms (the HD3s are especially portable). There are other companies that make similarly impressive speakers as well.

Audioengine A5+ left speaker

To upgrade the audio quality beyond computer speakers, a Digital-Analog Converter (DAC) will allow digital files to play on an analog stereo system. This is ideal for close listening, assuming a high-quality audio setup. A variety of DACs are available at a range of prices (the best being just over $1,000 US), and, once installed, they will require nothing more than the turn of a knob or pressing the right button.

Digital-analog converter (DAC)

If the romantic music performance practitioner desires to listen to the source recordings themselves, this laudable and perfectly possible goal becomes more detailed and complex. It also goes beyond the scope of this essay other than a few suggestions and observations. The stereo system will require an amplifier and preamplifier or a high-quality integrated amplifier with turntable possibilities (this should not be an issue). McIntosh is an undisputed leader in audiophile amplification components, though there are less expensive options. Ideally there would be two turntables, one set up for LPs (and 45s), the other for 78s – otherwise, as 78s and LPs use different cartridges and styli, the listener will frequently have to switch one for the other. Also the turntable dedicated to 78s must have notch by notch speed adjustment and be able to accommodate 16” transcription discs for the sake of some radio broadcast recordings. Of course, so as not to place wear on the 78 if frequent play is expected, an audio component that allows for the digitization of the recording will be necessary, either onto CD-R or to a digital file. This also means obtaining the recordings themselves and building the collection, which is an endless task (though it can be done in conjunction with collecting digital files and LP or CD reissues). 

Audio components, including McIntosh pre-amplifier and amplifier, with two turntables

Turntable setup for 78 rpm recordings

Head shell, cartridge, and stylus for 78 rpm recordings

As a final note, it is highly instructive to listen to 78s played on original phonographs or gramophones (though the discs themselves should be copies and not valuable, since repeated playback will cause wear). Hearing the 78s as they did at the beginning of the 20th century creates a strong connection and even bond with that period. It can open further avenues of awareness and understanding, but it does not provide the means for close, analytical listening for the sake of performance practice study. Modern and sophisticated audio components are best for that.

Early 1920s non-electric phonograph