Waxing lyrical: Observations on recording onto wax disc
In December 2024, we were presented with an opportunity to make wax disc (gramophone) recordings using the processes developed at the turn of the 20th century. We recorded both our emulations (imitations) of original wax disc recordings that exemplify bel canto expressive practices and extrapolations of repertoire annotated with expressive markings by two important pedagogues of the 19th century – Manuel García II and Domenico Corri. Recording on to wax disc gave us next level appreciation for these sounds on early recordings – comparison of our emulation recordings with the originals allows us to assess the extent to which the sounds on early are truly expressive effects, not masked by the age or quality of the older recording technique.
The recordings took place at the University of Surrey UK, where exploration of wax cylinder recording to investigate historical technologies and performance styles is taking place in earnest. Project supervisor Dr Inja Stanović, Future Senior Fellow, and Director of Performance, at Surrey University presents unique workshops to experience a gramophone recording session in action and facilitate opportunities for performers and scholars to explore past performing practices
How does it feel to record songs and arias (with piano accompaniment) onto wax discs? What expressive practices of the initial performance can be heard on playback and how do these sound by comparison with microphone recordings of the same performance? Were elements of performance modified to suit the wax disc recording process? Do the results sound like us?
These questions and several others will be the focus of attention by researchers on the Australian Research Council funded Discovery Project The shock of the old: Rediscovering the sounds of bel canto 1700–1900. In early December 2024, sopranos Claire Burrell-McDonald and Anna Fraser, and pianist Neal Peres Da Costa were invited by Inja Stanovich (University of Surrey) to record ten wax discs of vocal works annotated with profusions of bel canto expressive practices by the celebrated pedagogues Manuel García II and Domenico Corri. The experience was absolutely thrilling, but also eye and ear opening. In situ we listened back to test recordings, and made adjustments to both physical positioning and sound projection in order to get the ‘best’ possible result.
Did we perform differently to ‘normal’ (modern) recording circumstances? And if so, how did this impinge on our expressive practices. To what extent does the wax recording capture our musical intentions?
We have had a sneak preview of one of the recordings and it sounds beautiful, charming, and antique: as if we had made the recording back in the early 1900s. In this study we will interrogate our suite of recordings and make observations about how our experience of wax disc recording might help us understand and to some extent extrapolate the chiaroscuro sound worlds of singers and pianists on early recordings.
Francesco Morlacchi (1784–1841): “Morir ciel qual concento” from Teobaldo ed Isolina (1834)
Anna Fraser, soprano and Neal Peres Da Costa, fortepiano. Recorded: Dec 9, 2024, University of Surrey, UK.
Anna Fraser, soprano and Neal Peres Da Costa, fortepiano. Recorded: Oct, 2024, University of Sydney, Australia.
Annotations by Manuel García II from Ecole de Garcia, Traité Complet de l’art du Chant en 2 parties (Part 2) (Paris: L’auteur, 1847).
W.A. Mozart (1756–1791): “Voi che sapete” from Le Nozze di Figaro (1786)
Anna Fraser, soprano and Neal Peres Da Costa, fortepiano. Recorded: Dec 9, 2024, University of Surrey, UK.
Adelina Patti, soprano. Recorded: Dec 1905.
Annotations by Domenico Corri (1746–1825) overlaid with emulation annotations from the 1905 Adelina Patti (1843–1919) recording (NB: Sir Charles Mackerras (1925–2010) in the 1950s acquired this copy of Corri’s ornamented version from Austrian-English musician, journalist, broadcaster, Fritz Spiegl (1926–2003), Charles Mackerras, edited by Simeone and Tyrell, The Boydell Press (2015).
Johann Anton André (1775–1842): “Sehnsucht” from Lieder und Gesänger mit Begleitung des Piano-forte Vol.3 Op.39 (1818)
Anna Fraser, soprano and Neal Peres Da Costa, fortepiano. Recorded: Dec 9, 2024, University of Surrey, UK.
Anna Fraser, soprano and Neal Peres Da Costa, fortepiano. Recorded: Feb, 2025, University of Sydney, Australia.
W.A. Mozart (1756–1791): “Sull’aria” from Le Nozze di Figaro (1786)
Claire Burrell-McDonald, soprano, Anna Fraser, soprano and Neal Peres Da Costa, pianoforte. Recorded: Dec 10, 2024, University of Surrey, UK.
Marcella Sembrich, soprano and Emma Eames, soprano. Recorded: 1908.
Emulation of the 1908 recording of Marcella Sembrich (1858–1935) and Emma Eames (1865–1952).
Domenico Cimarosa (1749–1801): “Chi per pietà” Recitative from Il sacrifio d’Abramo (1786)
Claire Burrell-McDonald, soprano and Neal Peres Da Costa, fortepiano. Recorded: Dec 9, 2024, University of Surrey, UK.
Claire Burrell-McDonald, soprano and Neal Peres Da Costa, fortepiano. Recorded: Dec, 2024, University of Music and Performing Arts Vienna, Austria.
Annotations by Manuel García II from Ecole de Garcia, Traité Complet de l’art du Chant en 2 parties (Part 2) (Paris: L’auteur, 1847)
J.S. Bach (1685–1750): ‘Bist du bei mir’ from Notenbuch der Anna Magdalena Bach (1725)
Claire Burrell-McDonald, soprano and Neal Peres Da Costa, fortepiano. Recorded: Dec 9, 2024, University of Surrey, UK.
Marchesi: teacher and student. Recorded: 1906.
Emulation of 1906 recording of Mathilde Marchesi (1863–1940).
Joseph Haydn (1732–1809): ‘Sympathy’ (1794-95)
Claire Burrell-McDonald, soprano and Neal Peres Da Costa, fortepiano. Recorded: Dec 9, 2024, University of Surrey, UK.
Claire Burrell-McDonald, soprano and Neal Peres Da Costa, fortepiano. Recorded: Oct, 2024, University of Sydney, Australia.
Johannes Brahms (1833–1897): Liebeslieder Waltzes Op.52 (1868)
4. ”Wie des Abends schöne Röte”
Claire Burrell-McDonald, soprano and Anna Fraser, soprano.
Inja Stanović and Neal Peres Da Costa, pianoforte.
Recorded: Dec 10, 2024, University of Surrey, UK
Irene Kedroff, soprano, Marie-Blanche de Polignac, alto.
Dinu Lipatti and Nadia Boulanger, pianoforte.
Recorded: February 20, 1937; March 12, 1937; January 22, 1938 Salle Gouin, Paris.
7. ”Wohl schön bewandt war es”
Anna Fraser, soprano, Inja Stanović and Neal Peres Da Costa, pianoforte.
Recorded: Dec 10, 2024, University of Surrey, UK.
Irene Kedroff, soprano, Dinu Lipatti and Nadia Boulanger, pianoforte.
Recorded: February 20, 1937; March 12, 1937; January 22, 1938 Salle Gouin, Paris.
13. “Vögelein durchrauscht die Luft”
Claire Burrell-McDonald, soprano and Anna Fraser, soprano.
Inja Stanović and Neal Peres Da Costa, pianoforte.
Recorded: Dec 10, 2024, University of Surrey, UK.
Irene Kedroff, soprano, Marie-Blanche de Polignac, alto.
Dinu Lipatti and Nadia Boulanger, pianoforte.
Recorded: February 20, 1937; March 12, 1937; January 22, 1938 Salle Gouin, Paris.