Historical Recordings from the Beginning of the 20th Century 

That historical recording of the Liszt Liebestraum is magnificent

The way Lamond makes the melody sing on the piano - it is so human, so touching. Incredible.

Magnificent content, you're in that little part of RU-vid that is truly worthwhile and educative.

“Inégalité” is my new favorite word for describing someone’s playing

Even Leopold Mozart wrote about it... the accompaniment stays steady while the soloists is flexible around it

For the Grieg example, part of the reason for the quicker tempo may be due to the recording format. At that time, commercial cylinder records were two minutes long, and I've had the impression that musicians, singers and speakers would hurry their performances along a bit as a result.

The modern recordings sound lifeless compared to the older ones. There is an excellent quality, long video on RU-vid called "Debussy plays Debussy" that challenges the veracity of every modern recording I've heard. The rhythmic freedom of the melody from the accompaniment is particularly striking. Thanks

I was pleased when you used Judy Garland as an example at the end; the whole time you were talking about the relative freedom of the melody in the old recordings, I was thinking of how modern pop and rock singers were so much freer compared to the band in exactly the same way, how much vocal "scooping" they do that's basically in the same universe as a portamento, and how discretionary their vibrato is. We treat classical music nowdays as a sort of Procrustean bed, and it's really a terrible shame. It sucks a lot of the life and fun out of the music when it's just immaculate recitation.

Last year I started using nylgut strings on my classical guitar, to possibly get closer to what the composer actually heard and meant. Ok, then I move to a 432 =A because well, because actual gut wouldn’t take 440. Well, then I move to A=415 because of Bach. Now, at 67, I’ve cut my nails, moving toward gut, varying my tempo, sloppily playing my melody and throwing caution to the wind as far as modern classical guitar interpretation goes. Suddenly I’m free of my earthly bounds and I can just play. God I love this!

Wow, I never realized how most current music have a static tempo. It's become so common place I haven't even thought about changing tempos mid song. Really opened my eyes, great video!

What a fabulous video. I am constantly baffled when I see people on RU-vid denigrating historical practices and period instruments. How shallow and ignorant they are. Thank you for your work. Nga mihi nui

That historical Liszt Liebestraum recording blew my mind. They clearly didn't view the written score as set in stone as we do.

I know a violist who is playing without the neck support for 19th- and 20th-century music; (just like historicist performers do, placing more weight on the left hand); he was inspired by some of the great violinists and violists of the earlier part of the 20th century. Quite a different technique yet perfectly manageable for post-baroque music: another example of something which we think only was done so many 100 years ago - and yet, some great musicians of the 20th century applied it to all their playing! As to the tempo: such a fascinating observation when one starts comparing several recordings of the same piece throughout the 20th century, and notice that they become slower and slower... Thank you for making this video! It's very important for all musicians to stay reminded of the fact our performance practice even changes drastically in a relatively short time and that we should always stay critical of all things we tend to take for granted.

What I'm taking from this is the fact that I find a lot of beauty in all renditions of these pieces. They emphasize different things and I find beauty in all of it.

Interesting video. To me the comparisons clearly indicate that the period examples demonstrate a focus on melody and an almost vocal approach to instrumental solo performance. Later musicians being more influenced by 20th century composers seem to be stricter with tempo rhythm and note value, and have lost some of the phrasing ability of the older performers. As for Judy Garland, an example of an absolutely natural musical instinct fully embracing the freedom of vocal phrasing. I've yet to hear a more pleasing performance.

I really love the explanation of how Judy Garland sang "Somewhere over the rainbow" in 1939. The graphics make the non-synchronisation very clear. I love this record even more now!

Fascinating. I never knew that there was such a discrepancy between modern and historical performance practice for music from as recent as the 19th century.

For a completely different sound than we hear today, check out Debussy himself playing Clair de Lune.

Malcolm Bilson talked about a lot of what we hear in his brilliant lecture “knowing the score”. Everyone should watch it.

Having some experience studying flamenco, I got the practice of waiting the singer hit the main notes before delivering the chords, because in flamenco is usual for the singer to play a little bit with improvisation and fluctuation, so we have to wait. It's just so satisfying to hear these recordings and notice that discipline and excellency hadn't to be shown on a regular tempo performance, but with interpretation. It seems to me as a more artistic approach. For trivia, I just accompanied a friend of mine on a Brazilian Popular Music-based show where when we were rehearsing, I never got the accompaniment on the same beat as her, because it became really natural for me and the music wasn't a dance-type, with a light flow. She went desperate asking me to stop doing that because it was making she think she was out of tempo haha

We often assume we have a clearer overview of Romantic music performance practice then we have for Renaissance and Baroque one, but this video proves so it often isn't, and that still in the XIX Century the playing style was in lots of ways closer to that of the previous Centuries than it is in our mind.

The Carmen example is stunning, the modern performer changes her voice quality depending on the register. The 1930s singer is consistent.

I wonder if some of the early faster tempi were a direct result of the time limitations of the recording media (wax cylinders and 78rpm discs)... we know from the early recordings by several jazz masters that they had sometimes to alter the tempi of works to get them to fit on a "side".

In the Tchaikovsky at the beginning the modern rec seemed to lacked the energy the old one had

You have great production values that are just on-point and help so much. Thank You !

Love your exposition and all the hostorical recordings! Thank you! Regards from Spain.

You are so terribly right! I used to be a choir director, and when working on symphonic works with instrumental ensembles, the influence from my collection of old records would shine through, and my, oh my, how much I was bothered for this. The so-called "historically correct" musicians were the most unmusical, stubborn and difficult to work with.

Your videos are truly fascinating. I have watched about ten of your videos over the past two days, and I can't tell you enough how the insights have changed the way I look at music.

Fascinating - thank you so much for these valuable insights, these old recordings sound fresh and inspiring!

It is such happy knowledge that there are persons taking care and loving old music and making all these beautiful things come alive and be known to newer generations. Thank you heartily.

Thank you very much for this glimpse in the world of historical recordings. Lots to learn as always. A sensation of tender peace lingers.

Always fascinating, informative, and fun. Thank you, Elam!

Bravo, Mr. Rotem--this is fascinating material and beautifully presented, and I'm looking forward to learning from Early Music Source's other videos.

This was so interesting to watch. Thanks for sharing it and also for adding the captioning!

Wonderfully clear and up to the point observations. I love your videos, but this one is the best! My favorite line is that the note lenght was more dictated by the text then by the written value! Love it!

What a great way to make this information so accessible! Thank you so much for your work.

The analysis of this if fantastic. Bravo

Thanks for the great SERVICE to music this channel provides

Your videos are so WONDERFULLY produced, with not just clever effects, but they are also so helpful in understanding the music. The overall effect of the videos is not only informative, but you dissect and analyze the music in a way that gets to the truth of the music, so the effect is that it's really MOVING... Bravi and thank you...

Bravo! Excellent analysis. What a treasure

Thank you so much for this utterly wonderful perspective.

The consistent quality of Elam’s work is enough to refresh the soul.

questi vostri video sono tutti straordinari! complimenti These videos are amazing! congratulations! and thanks

Great work! Thanks, Elam...

Fantastic presentation- a paradigm for others beyond the realm of music. Examples are carefully chosen and commentary is specific, yet neutral. Bravo!

Your video productions are really exceptional and o course for sharing your profound knowledge !

One of the main differences between 1933 and now, is the quality of brass sections in orchestras. The Chicago Symphony Orchestra under the direction of Fritz Reiner in the 40s onwards served to redefine this. Although not focus of the presenters point, you can hear the difference before the Tchaikovsky clip ends.

Congratulations! This is a wonderful Site, and the contents are portentously interesting. Please keep it coming!

beautiful gramophone matching precious recordings! Thank you for sharing such treasure!

What a wonderful video. This has always been an interest of mine. I often sit and chuckle when overhearing a discussion between musicians about 'what the composer wanted', or an argument over the tiniest detail in a piece, when in reality, the solution can or could be as varied and free as we hear in the examples you provided. It seems we have lost the sense of individuality that once existed in musicianship. A shame really.

Those early vocal recordings are absolutely lovely!

You are doing a great service, man! I absolutely love this video! When I listen to it, I get back my faith in humanity, and sincerely believe that we are not here in vain. Keep up this wonderful work, please!👍❤️

Thanks again for this, always erudite and captivating... !

Just wonderful to hear others who have made these observations. I specialise in both 1920s jazz and dance band music, and in light / salon music and your observation are all exactly on point (although variation in tempo is less relevant in popular dance music). I believe there was a perception that was common in the 1940s and 50s that music of these historical performance techniques were "bad taste" and a conscious move away from playing in this way was made - at least in the jazz, popular and light music music styles. I'm glad you also mentioned vibrato. There is a huge variance in how most modern players approach vibrato to how it was performed in recording of the 1930s and earlier. In jazz and and dance band music the entire tonal landscape changed dramatically in the early 1940s. Part of this is due to a conscious move to have a "modern sound". Instruments themselves evolved to give a different ideal sound to that of the 1930s, 20s or teen before that (in my opinion each of these eras had its own ideal sound for each instrument in the jazz/popular world). So saxophones made in the 1920s are often described as sounding stuffy (especially when played with the type of mouthpieces they were built to use) and not able to play loudly enough by more modern standards. Brass bore sizes and expected dynamic ranges changed quite substantially. Playing styles (including the way in vibrato was applied, but also phrasing, portamento, tempo etc) and the music itself was evolving to something quite different and in my opinion much the poorer for these changes.

I have just discovered about this wonderful site- thank you very much for sharing your knowledge with ordinary people - like me- who can gradually acquire a better understanding of music

This is amazing! I have always enjoyed historical recordings.

Grazie, come sempre.

Thanks Elam, you did a fantastic job here. Another interesting feature is the agogic significance of hairpin signs (cresc. with accel., dim. with rit.) in the Barbirolli recording. I have seen this feature being linked to Johannes Brahms's performances, mostly on written evidence.

Wonderful work you've done.. Thanks for all the education for us music lovers..

Fascinating, and most instructive.

I don't know who the presenter is on these videos, but I really like him. The information is so clear and so interesting. I have just started watching Early Music Sources, and I'm absolutely hooked. Wonderful observations about wonderful art by someone who understands and cares.

I loved this! Thank you.

I did not expect to be so enlightened, even from the first comparison. Thank you!

That was FANTASTIC as always. A bit surprising considering that this week I was listening to old recordings too. What about piano rolls and barrel organ "recordings"?

And now, you've made me nostalgic.

I enjoy your page very much. Interesting, educational and delivered in attractive form👍

Magnificent content indeed, so clear and helpful to understand the researches of musicians committed to romantic music !!!! congratulations

Big hugs from São Paulo, Brazil! This chanel is a great deal!

Fantastic, really enjoyed this very much!

These are exceptional presentations; even as a profane music lover I watch them with the utmost interest! The poster is blessed with such a musical talent and the unbiased, dispassionate tone of the lecture makes the listening very enjoyable even for people who may disagree with some of the musical remarks.

Wonderful research and presentation, and a real contribution to today's musical art. Well-chosen facts can be wonderful things ...

Wow I am gonna start playing like using this style and hearing these really help me understand what is happening. That introduction and rondo capriccio stunned me! Thank you so much for this video

Great videos. I look forward to exploring them all. What seems clear is that performance practice changes relatively quickly in some ways. Makes deducing anything about really early practice quite tricky I guess.

THANK YOU for such a wonderful program. THIS MUST BE EDUCATION for ALL musicians and audiences...to show how much FREER performers were...even as they WERE closer , and indeed directly linked to the music of the times...much more "authentic" in fact...because they EMBODIED what the composers expressed as people OF their times...and in the traditions which were all part of one long line of expression.

Thank you so much, great video.

One of the best videos I've seen!

Wonderful! Thank you for sharing

Very well done, thank you!

Many thanks for your fantastic videos and for sharing eye-opening precious knowledge!

Such a nice channel. Glad I discovered it. Hope to explore more. Loved this video. Was familiar with some of the old recordings, the Lamond, the Grieg, the Supervia. The Barbirolli was very nice. The oboe was so expressive. Although we didn't hear the orchestra play much, toward the end of the segment, we could hear the unity of the orchestra, a feature that was common to orchestras of all qualites in those days. Today not so much. Enjoyed Judy Garland. Thank you.

Wondrous! Thanks once again!

Gosh, I come to RU-vid to be entertained but sometimes I end up getting an education into the bargain! Thank you so much for the superb content and presentation.

Wonderful video!

Fascinating and insightful.

The Liszt recordings particularly stood out to me. The first brought tears to my eyes. In the second, I was looking forward to another beautiful performance enhanced by high quality modern recording technology, but I felt... nothing. Incredible video highlighting differences between time periods!

Excellent, thank you!

Amazing videos!

Thank you for sharing! very interesting !

It was a special feature to include popular music on this approach on music interpretation. I think there is a lack of examples of popular music, mass media music and, above all, folk music inside the world of music speculation. Thanks so much for the quality of your videos. They are inspiring. I'm a music language teacher from Brazil, working at University of Rio Grande do Norte Music School.

I like very much the look and quality of your video. Well done!

Historical recordings are true charming!

Muito obrigado por este vídeo excelente e muito inspirador. O vosso canal é maravilhoso!

Genius video. Thanks very much.

I'm a total ignorant in what comes to the technicalities of music but I love to learn about them, even when I have to look up the definitions of the terms being used, which I know nothing about yet:-). I've just learned about your channel from a musician who's a dear web buddy of mine and I'm grateful for his suggestion cause you're incredibly knowledgeable and, as a true sage should be, you're also unpretentious, sharing your incredible knowledge with gracious humbleness and a captivating tone. Thank you for one more enriching and truly delightful video! Ahava rabah from this Brazilian ben anussim:-) P.S.: I'd love to see a video by you about Babra Streisand's amazing recording of 1977 album 'Classical Barbra', though, of course, I also loved your appraisal of the iconic Judy Garland singing the unforgettable song Over the Rainbow!

Thank you for sharing it was great

In a word, nowadays we move closer and closer to the way a midi file plays on a computer 😛

Excellent, as usual.

This was phenomenal. Blew my mind and helped me grasp so much about music, which I have never studied formally. Thank you, thank you. Please do more of these.

I love this video. I have been listening to these early performances since the early 1980's. I don't go to piano performances anymore. Stop going 20 years ago. Just not musical enough for me and lacking in feeling. I was familiar with the Grieg recording, but it was good to hear again, after not hearing it for quite some time. And I love Conchita Superbia and Patti. What a pleasure to hear them again. I didn't recognize the violinist, but she was wonderful too. Can't wait to explore your website.

Awesome video. Thank you very much