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Excerpts
The Welte-Mignon Recording Process in Germany: Mark Reinhart
A century ago, the player piano was changed forever when Edwin Welte and Karl Bockisch introduced
the Mignon, later called the Welte-Mignon, to the public. For the first time, a fully automated piano
was introduced which played with a full range of dynamics. Today some people have argued the merits of
whether or not the system actually reproduced the performances but whatever the actual reliability, the
audience which heard these for the first time stood in amazement that anything of this nature was possible.
Keyboard recording has been known since at least 1746. In a description quoted in 1982/3 in Das
Mechanische Musikinstrument, a series of pencils were affixed to a keyboard while a moving web of
paper traveled past an array of styli. It should be noted that this recording process was for the
purpose of making a graphical representation of the notes played, as a means of determining a written
score for the music. This was a field that received much attention from inventors. Many people
attempted to develop a process whereby keyboard performance could be translated into a printed
score. This was not initself intended for automatic playing, but was nevertheless a precursor to
the automatic recording and playback technology to come.
The recording process for the Welte-Mignon was a closely guarded secret. There exists some
documentation from the time of recording, as well as published accounts by Richard Simonton, Sr., who
visited Freiburg and interviewd Welte and Bokisch shortly after the Second World War. Edwin and
Karl photographed the recording sessions and used these photographs in their advertising leaflets
and catalogs. The studio session photos offer some evidence of the recording process. In the 1905
photograph of Raoul Pugno, Edwin Welte is pictured sitting at the recording machine, with the roll
take up spool clearly showing. In the 1905 photo of Erno von Dohnanyi, Karl Bockisch sits at the
recording device, and there appears to be a portion of paper roll wound on to the take up spool. Both
of these session photos were taken at the Leipzig studio of Hugo Popper. By 1907, the session photos
show the addition of a box atop the recording machine with large holes in the side. The purpose of
this additional unit was never disclosed. What can be gathered from this photographic evidence is
that the recording process was an evloving one, and apparently changed over time as improvements
were developed. This would be a logical expectation since, just as Edwin Welte and Karl Bockisch
made improvements to the Welte-Mignon player, they likewise would have made improvements to the
recording machine.
The Early Recordings for the Welte-Mignon: Denis Hall
The story of the recording of the first reproducing piano rolls, those for the Welte-Mignon, the
earliest system, seems so improbable that it almost reads like fiction. At the beginning of the
twentieth century, the concept of a piano which could play by itself, and reproduce not only the
notes, but all the subtleties of touch and phrasing, was a complete novelty, and yet this was the
achievement of two young men, still in their twenties, Edwin Welte and his brother-in-law, Karl
Bockisch. Welte and Bockisch worked for the firm M. Welte u. Soehne, which had been producing musical
clocks and mechanical pipe organs since 1832. These latter instruments were operated by pinned
barrels up until the 1880s, but after that paper rolls were used. So the young men were equipped
as well as anyone at that time with the right technology to develop a self-playing
piano. Nevertheless, they still needed the imagination to want to produce such an instrument. How
they achieved this is told elsewhere.
Many Welte-Mignon rolls show a date on the label which is, almost certainly, the recording
date. These dates start to appear regularly from 19 January 1905. By that time, roll numbers had
already reached #168. Prior to that, the one name which dominates the listing is that of Eugenie
Adam-Benard, a shadowy figure who is thought to have been a local Freiburg musician, possibly a
music teacher, and a friend of Welte or Bockisch. At any rate, she must have been a remarkably
patient lady to have played time and again for the young inventors, to have enabled them to
present a respectable library of music with which to launch the instrument. We do not know when
she first played for the Mignon, but by 21 June 1904, she had recorded roll #104 (Liebestraum
No. 2/Liszt). In the most comprehensive Welte-Mignon roll listing so far, that by Charles Davis
Smith (The Welte-Mignon: Its Music and Musicians), there are gaps in the early sequence, presumably
titles which only survived for a very short time, or may never have been issued. Since there are
some blocks of numbers missing, it is also possible that other pianists may have made recordings
which have been lost. Frau Adam-Benard's rolls are variable, some compromised by Welte's and
Bockisch's inexperience in roll editing, but even the best of them show that she was hardly a
world-class pianist. She was, nevertheless, good enough for a selection of her recordings to have
remained in the catalogue right up to the end in 1932.
During the 16 months between January 1905 and April 1906, no less than 1109 titles were
recorded, a remarkable achievement by any standards. One wonders how all this activity could have
been crammed into such a short time. An analysis of the dates on the roll labels starts to show
how it was done. By months, the numbers of pianists attending looks like this:-
| 1905 | January | 10 | | 1906 | January | 0 |
| February | 4 | | February | 18 |
March | 5 | March | 1 |
April | 11 | April | 1 |
May | 5 | | |
June | 3 |
July | 0 |
August | 0 |
September | 13 |
October | 17 |
November | 15 |
December | 11 |
Breaking down the statistics another way, the recording team was active in Leipzig during the following dates:-
| 1905 | January | 19-23 | 5 days |
| February | - | |
March | 3-9 | 7 days |
April | 2-10 | 9 days |
May | 7-8 and 19 | 3 days |
June | 10 | 1 day |
July | - | |
August | - |
September | 10-16 and 21-27 | 14 days |
October | 10-30 | 21 days |
November | 8-11 and 20-30 | 15 days |
December | 1-13 and 23 | 15 days |
1906 | January | - | |
| February | 6-19 and 27 | 15 days |
March | 15 | 1 day |
April | 17 | 1 day |
During the total period of 464 days, which includes weekends and public holidays, they recorded
on 97 days. At busy times, they even managed to record more than one artist on a single day.
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