This is not an historical recording: quite the opposite. Tacets tube-only recording technique, renowned for their crystal clarity and spaciousness, score another triumph here. Yet the music is heard in the original interpretations, accurate to within a hairs breadth. The key to the mystery is that the original performer was present at the recent recording session, but not physically. As if by time machine, the music is heard played on a modern Steinway, without the loss of sound quality usually inevitable with historical recordings. Never has music stored in the Welte-Mignon system sounded so "right" and so well. And because the mechanism of the Welte-Mignon system has recently been meticulously adjusted by the leading expert, Hans W. Schmitz, it is now possible to get to know the interpretations of yesteryear really well - and the results are sometimes unexpected. The Welte-Mignons treasures are only now systematically unveiled - by Tacet - because at last the necessary requirements have been met. The Welte-Mignon "player-piano" and its reproduction mechanism were invented in 1904.
Selections:
Danzas Espanolas Op. 37
1. No. 10 Danza triste G-Dur No. 2778 (Welte-Mignon Catalogue No.)
2. No. 7 Valencia o Calesera G-Dur No. 2779
3. No. 5 Andaluza e-Moll No. 2780
4. Goyescas, Primera Parte No. 3, El Fandango de Candil
(Dance By Candlelight) No. 2785
5. Valses poeticos Op. 10 No. 2781
6. Piece de Scarlatti No. 2782
7. Goyescas, Primera Parte No. 4 Quejas o la Maja y el Ruisenor
(The Lady and the Nightengale) No. 2786
Selections:
Danzas Espanolas Op. 37
1. No. 10 Danza triste G-Dur No. 2778 (Welte-Mignon Catalogue No.)
2. No. 7 Valencia o Calesera G-Dur No. 2779
3. No. 5 Andaluza e-Moll No. 2780
4. Goyescas, Primera Parte No. 3, El Fandango de Candil
(Dance By Candlelight) No. 2785
5. Valses poeticos Op. 10 No. 2781
6. Piece de Scarlatti No. 2782
7. Goyescas, Primera Parte No. 4 Quejas o la Maja y el Ruisenor
(The Lady and the Nightengale) No. 2786
