Leopold Godowsky: Study  No. 4  [v.2 'Ignis Fatuus', In Am] after Chopin Etude  Op. 10, No. 2. 
Kasper Bach - Pål Eide 1998 on a live midi. Recorded by permission into audio by VViljanen Feb 26, 2023 from playback of the original live-midi, using a modelled Biüthner grand, revoiced and modified, and the rec. setup made by VViljanen.
Photo: Leopold Godowsky, Albert Einstein and arnold Schönberg 
NYPL Digital Collections - The New York Public Library

Leopold Godowsky arr. of Chopin Etude Op. 10 no.2 (ver.2 in D Flat)

Godowsky: Study No 4 on Chopin Op.10-2 . v.2 'Ignis Fatuus'. Kasper P. Bach & Pål Eide 1998. RecVV

.S.Bach: Präludium & Fuge C-Dur. WTK I No.1. BWV846. - Reproduced and recorded by VViljanen June 29-July 28 (upd), 2023 on sequences made by H.Fesefeldt (1942-20219) 2015, from playback of  revised versions made  by VV, using on their rec a modeled Blüthner Model 1 grand, revoiced, reconfigured, and the rec. setups made by VV. 
Any kind of commercial use prohibited.
Photo: JSB monument detail at Leipzig Thomaskirche.

Prelude & Fugue in C Major, WTK I No.1

J.S.Bach: Präludium & Fuge C-Dur. WTK I Nr.1.  BWV846. Reprod. & rec. by VV on seq of H.Fesefeldt

J.S.Bach Präludium und Fuge Cis Dur. WTK No 3. BWV848. Reprod. by VV 30.6.2023 on a slight revision of a seq made by by HF 2015.
- Harm Fesefeldt(Jan 21, 1942 - June30, 2019) in Memoriam.
Photo: Johann Sebastian Bach, detail of monument at Leipzig Domkirche
Any kind of commercial use of this track is prohibited

J.S.Bach: Präludium Und Fuge Cis Major. BWV848

J.S.Bach: Präludium & Fuge Cis Dur. WTK I -3.  BWV848. Reprod.VV2023 on Seq. of H.Fesefeldt (2015).

J.S.Bach: Präludium und Fuge Es-Dur, WTK Nr 7, BWV852. Reprod.VV July 11, 2023 on seq.by H.Fesefeldt (1942-2019). Recorded by VV fr. playback of the slightly revised sequence, using a modelled Blüthner Model 1 grand, revoiced and reconfigured, and the rec. setup made by VV.
Photo: J.S.B. statue detail at Leipzig  Domkirche.
Any kind of commercial use of this track is prohibited.

J.S.Bach Präludiun Und Fuge Es - Dur, WTK Nr 7, Bwv852. Reprod.VV 2023 on seq.by H.Fesefeldt

J.S.Bach: Präludium und Fuge Es-Dur. WTK Nr 7. BWV852

Beethoven: Trio Op.11 for Piano, Clarinette & Cello. Mvt II.Adagio. Transcription for two pianos. 
Transcribed & reproduced by VV2023 on a reading/rendition into a sequence of H.Fesefeldt (1942-2019) ca 2010.
Photo by VV 2022
Any kind of commercial use is prohibited.

Beethoven: Trio Op.11: mvts II-III 'Gassenhauer Trio. Transcription for two pianos

Beethoven: Trio Op.11 ''Gassenhauer Trio'. II.Adagio. Transcription for two pianos

J.S. Bach: Sonata C-moll f. Violin & Klavier BWV 1017. Transcription for pianoduo / three staves.
 The work is in four movements:
I. Largo - II.Allegro - III.Adagio - IV. Allegro
Reproduced by VViljanen 18-19(rec.upd...) Dec 2023 on/after a  reading/rendition into a seguence by H.Fesefeldt c.2010, using on its recording a modeled pair of Blüthner grands, revoiced, reconfigured, and the rec. setup made by VV

J.S. Bach: Sonata C-moll f. Violin & Klavier BWV 1017. Transcription for piano duo

J.S. Bach: I. Largo - 'Sicilienne' . Sonata Nr.4  c-moll f.v&k. BWV 1017 . Transcr. f. pianoduo

Sherman Myers: BUTTERFLIES IN THE RAIN. Frank Milne 1933 On Ampico 214581.
Reproduced by VV Jan 2024 from digitally simulated original reconstructed piano roll.
Basic info* of the original piano roll:
BUTTERFLIES IN THE RAIN
Roll Number: 214581, 214581
Composer/Creator: Reeves, Myers
Pianist: Milne
Roll System: Ampico
Country: US
Date: October, 1933
Category: popular, salon, song
Original Price: n/a
Notes: With words
*Info source: The Player Piano Group web page (by permission)

Sherman Myers: BUTTERFLIES IN THE RAIN. Frank Milne 1933 On Ampico 214581

Amy Beach: The Fairy Of The Fountain. Augusta Schnabel-Tollefsen  1920's on Ampico 54314.
c Recorded for educational and pedagogical purposes by VViljanen Jan 27, 2024, and ANY KIND OF COMMERCIAL USE IS PROHIBITED.
Photo: Augusta Schnabel-Tollefsen (1885-1955), the pianist of Trio Tollefsen in the midst in 1910's.
Amy Beach (1867-1944)was an American composer and pianist of Scottish descent. She was the first successful American female composer to make a name for herself in music. Most of her compositions and performances have been done under the name of Mrs. HHA Beach.
Amy Marcy Cheney was born as a child of a distinguished New England family . She was a prodigy who was said to be able to sing forty songs as a one-year-old. She learned to read herself at the age of three and composed three simple rolls when she was four. She received her first lessons from her mother when she was six, and a year later she gave her first recitals . She played works by Händel , Beethoven , Chopin , as well as her own works. In 1875 her parents moved to Boston, where they were advised to register Amy at a European conservatory. Instead, they chose to have her take classes in Boston, and they first hired Ernst Perabo, and later Carl Baermann. When she was fourteen, Amy got her only official composition training from Junius W. Hill, with whom she studied harmony and counterpoint for a year . Apart from that one year, Amy Beach did not have any lessons and taught herself everything especially by studying classical pieces, such as Bach's Wohltemperiertes Klavier .
In 1883 she made her professional debut in Boston: she played Chopins Rondo in E and Moscheles ' concert in g minor. Shortly thereafter she performed as a soloist with the Boston Symphony Orchestra . After her marriage in 1885 with Dr. Henry Harris Aubrey Beach - a Boston surgeon who was 24 years older than she - agreed to limit her performances to one public recital a year and donate the proceeds to a charitable cause. Responding to the wishes of her husband, she devoted herself to composing. Her first major success was the Mass in E major , in 1892 by the Handel and Haydn Societywas carried out. The well-received execution of this mass led to Beach from then on being counted among America's most important composers. She composed the Jubilate dedicated to the Woman's Building at the World's Columbian Exposition . [1]
After her husband died in 1910, she toured Europe as a pianist and she played her own compositions at the concerts. She was determined to acquire a reputation both as a pianist and as a composer. In 1924 she returned to America where she spent most of her time on the MacDowell Colonyin Peterborough (New Hampshire). In 1915 she wrote the "Ten Commandments for Young Composers", which included many of her theses for self-study. Later, Amy Beach moved to New York, where she became the virtual house composer of St. Bartholomew's Episcopal Church. She used her status as the most important female composer of America to promote the career of young musicians; she was also at the head of various organizations, such as the Society of American Women Composers, of which she was the first president. Heart failure led to Beach withdrawing in 1940, until her death in 1944.
**Augusta Schnabel-Tollefsen (Augusta Tollefsen, née Schnabel, 1885 - 1955).
Info* of the original piano roll:
LA FES DE LA FONTAINE (THE FAIRY IN THE FOUNTAIN) "Les Reves De Columbine" Op. 65, No. 1
Roll Number: 54314, 54314G
Composer/Creator: Beach
Pianist: Tollefsen
Roll System: Ampico
Country: US
Date: n/a
Category: classical
Original Price: $1.75
*Info source: The Player Piano Group web page (by permission)

Amy Beach The Fairy Of The Fountain.. Augusta Schnabel - Tollefsen 1920's On Ampico 54314

Amy Beach: La Fée de la fontaine. Augusta Schnabel - Tollefsen 1910's On Ampico 54314

Arcangelo Corelli: Sonata Op.5 no 12 "La Folia" 'PER VIOLINO E BASSO, O CEMBALO'.  Transcribed  and reproduced for two pianos by VViljanen Jan 31, and Feb 4 (...upd'd), 2024, on ground of a slightly...and then more modified reading into a sequence of H.Fesefeldt (1942-2019) fr. ca 2010, using on its recording a pair of modeled grand pianos, revoiced, reconfigured, and the rec. preset made by VV.
Photo: Arcangelo Corelli (1653-1713)
Any kind of commercial use of this track is prohibited.

Arcangelo Corelli: Sonata Op.5n12 'La Folia'. Transcription for two pianos

Arcangelo Corelli: 'La Folia'. Sonata Op.5 no 12. Transcription for two pianos

Arcangelo Corelli: 'SONATA PER VIOLINO E BASSO, O CEMBALO' E Major Op. 5 No 11.
Transcribed and reproduced for piano duo by VViljanen Feb 1, 2024 on ground of score reading into a sequence made by H.Fesefeldt (1942-2019) ca 2010. A pair of grand pianos were used on recording, revoiced, reconfigured, and the rec. preset made by VV,
Image: Arcangelo Corelli 1653-1713) on score cover page from yr 1795
Any kind of commercial use of this track is prohibited.

Corelli: Sonata per Violino e Basso, o Cembalo. Op. 5 No 11. Transcribed for two pianos

Corelli: Sonata per Violino e Basso, o Cembalo. Op. 5 No 11. Transcription for piano duo

Arcangelo Corelli: Sonata F Major  Op.5 No 4.
The work is in five movements:
1. Adagio. 2. Allegro. 3. Vivace. 4. Adagio. 5. Allegro.
 Transcribed & reproduced for piano duo by VV Feb 10, 2924. Recorded on a pair of modeled grand pianos, revoiced, recongured, and the rec. setup made by VV, as well as the articulations, and tempos of the work. The reading of the score into a sequence, made by H.Fesefeldt (1942-2019, a German nuclear physics researcher, and music software developer), was used as source material for this transcription workout.
Photo: Arcangelo_Corelli portrait by Hugh Howard (1697)
Any kind of commercial use of this track is prohibited.

Arcangelo Corelli: Sonata F Major  Op.5 No 4- Transcription for piano duo.

Arcangelo Corelli: Sonata F Major  Op.5 No 4. Transcription for piano duo

Arcangelo Corelli: Sonata G Major Op.5 no 5. 
The work is in four movements:
1. Adagio. 2. Vivace. 3. Adagio. 4. Vivace.
Transcribed for two pianos by VV Feb 11-12(-rec.upd.), 2024. Reproduced on a reading/sequence of H.Fesefeldt (1942-2019) fr. ca 2010, however modifying it quite 'ad libitum' on articulations, tempos, ornaments and dynamics. A pair of modeled grand pianos was used on its recording, the instruments revoiced, reconfigured, and the rec. setup made by VV.
Any kind of commercial use of this track is prohibited.

Arcangelo Corelli: Sonata G Major Op.5 no 5. Transcribed for two pianos

Arcangelo Corelli: Sonata A Major Op.5 no 6. 
The work is in five movements:
1.Grave. 2.Allegro. 3.Allegro. 4.Adagio. 5. Allegro.
Transcribed and reproduced  for two pianos by VV Feb12-14, 2024, on a reading/sequence of H.Fesefeldt (1942-2019) fr. ca 2010, however modifying it quite 'ad libitum' on articulations, tempos, ornaments and dynamics. A pair of modeled grand pianos was used on its recording (the work being written on three staves), the instruments revoiced, reconfigured, and the rec. setup made by VV.
Any kind of commercial use of this track is prohibited.

Arcangelo Corelli: Sonata A Major Op.5 no 6. Transcribed for two pianos

Corelli Sonata in D Major  Op.5 No 1. Transcribed for two pianos.
Movements: 
Grave – Allegro – Adagio (D major, 35 bars)
Allegro (D major, 61 bars)
Allegro (D major, 30 bars)
Adagio (B minor, 43 bars)
Allegro (D major, 50 bars)
Reproduced by .VV Feb 14, 2024. As a source material, a reading into a sequence fr. year  ca 2010, by H. Fesefeldt (1942-2019, a German nuclear fhysics reasearcher and music software developer) was used, with my own modifications applicated to articulations, ornamentation, dynamics, and tempos. A pair of mofeled grand pianos was used on tecording. The instruments were revoiced, reconfigured and the rec. setup made by VV
Any kind of commercial use of this track is prohibited.

Corelli Sonata No 1 Op.5. Transccribed for two pinos

Arcangelo Corelli: Sonata in D Major Op.5 No.1. Tanscribed for pianoduo

Corelli  Sonata E minor Op.5 no.8 for violin & b.c.
1. Preludio - Largo.
2. Allemande - Allegro.
3. Sarabande - Largo.
4. Gigue.
Transcribed for pianoduo &
Reproduced by VV Feb 18, 2024 on a reading into a sequence by H.Fesefeldt (1942-2919) ca.2010. A pair of modeled grand pianos was used on recording, the instruments revoiced, reconfigured, and the rec. setup made by VV. The basic interpretation was by HF, but the ornamentation of the first movement was 'improvised by me, of course trying to keep the Italian baroque style.
Any kind of commercial use of this track is prohibited.

Arcangelo Corelli:  Sonata E minor Op.5 no. 8. Transcribed for pianoduo

Arcangelo Corelli:  Sonata E minor Op.5 no. 8 for violin & b.c. Transcribed for pianoduo

J.S.Bach: Prelude & Fugue in C# Minor WTK Nr.4. BWV873..
Reproduced into a audio recording by VV 2024 on a reading into a sequence by H.Fesefeldt (§942-2019, a German nuclear physics researcher and music sofware developer). A pair of slightly differently setup modeled grand pianos was used, revoiced and reconfigurated , and the rec setup made by VV.
Any kind of commercial use of this track is prohibited.

J.S.Bach: Prelude & Fugue in C# Minor WTK II Nr.4 BWV873.

J.S.Bach: Prelude & Fugue in C# Minor. WTK II Nr.4. BWV873.

Gabriel Fauré: Andante - mvt. 2 fr. Sonata no.1 for piano & violin Op. 13. Arranged & reproduced for 2 Pianos.by VV Feb 26, 2024 on a modified sequence material made by H. Fesefeldt 81942-2019) ca.2010. - A pair of modeled grand pianos revoiced, reconfigured, and the rec.setup made by VV, was used on recording.
Picture: Midview of Portrait (1898) of Gabriel Fauré (1845-1924) by American artist John Singer Sargent w. charcoal & pencil.
Any kind of commercial use of this track is prohibited.

Release date:
26 February 2024
P-line:
℗ VVRecs 2024

Gabriel Faure: Andante from Sonata Op.13 for p&v - mvt 2. Arr. for Pianoduo by VV

Brahms: III. Allegro Molto Moderato. From 'Rain Sonata' Op.78 for piano & violin. Transcribed & reproduced for 2 Pianos by VV on a sequence/reading of H.Fesefeldt (1942-2019) fr yr. ca 2010.

Brahms: III. Allegro Molto Moderato. Fr. 'Rain Sonata' Op.78. Transcribed For 2 Pianos

Brahms: III. Allegro Molto Moderato, of 'Rain Sonata' Op.78. Transcribed For 2 Pianos

Brahms: 'Rain Sonata' Op.78. I.Vivace ma non troppo. Transcribed & produced for pianoduo by VV Mar 5, 2024 on/after a sequence/reading  of H.Fesefeldt (1942-2019) rom ca 2010, but modifying its tempos, articulations and dynamics quite much  after my own preferences.
Photo: Detail of cover page Aimez-vous Brahms? (Do you like Brahms?), a novel by Françoise Sagan 1959
Any kind of commercial use of thistrack is prohibited.

Brahms: 'Rain Sonata' Op.78. I.Vivace Ma Non Troppo. Arr. for Piano Duo

Brahms: 'Rain Sonata' Op.78. I.Vivace ma non troppo. Arr. for pianoduo

Brahms: 'Rain Sonata' Op.78. II.Adagio. Arr. for two pianos.
Transcribed & reproduced by VV Mar 5, 2024 on a sequence/reading of H.Fesefeldt (1942-2019) fr.ca.2010.
Photo: Young Johannes Brahms.
Any kind of commercial use of this track is prohibited.

Brahms: 'Rain Sonata' Op.78. II.Adagio. Arr. for two pianos

Beethoven: Präludium & Fuge F-dur für zwei Violinen, Viola & Violoncello (Hess 30). Transcribed  & reproduced for pianoduo by VV Mar 6,2024 of a sequence/reading of H.Fesefeldt(1942-2019) fr.ca.2010.

Beethoven: Präludium & Fuge F-dur  (Hess 30). Transcribed for pianoduo

J.S.Bach: Contrapunctus VI à 4 in Stylo Francese. From Die Kunst der Fuge BWV 1080/6. 
Adapted & reproduced for Piano by VV Mar 14, 2024, on ground of a reading into a sequence done by H.Fesefeldt (1942-2019) ca.2010. The instrument setup, as well as the rec preset were set by VV. - The tempos, and the articulations & ornaments  of the basic material were reviewed and modified by VV.

J.S.Bach: Contrapunctus 6 à 4 In Stylo Francese. From Die Kunst der Fuge BWV 1080/6.

J.S.Bach: Contrapunctus VI à 4 in Stylo Francese. BWV 1080/6.  Arr. for Piano

J.S.Bach: Contrapunctus VIII à 3 of 'Die Kunst der Fuge' (BWV 1080/8) - Triple Fugue. Reproduced for piano by VV Mar30, 2024(-v.12...), on/after a now reviewed score for string quartett.- The tempos, articulations, ornaments, and the 'rhythmic-feel', instrument/sound setup, as well as the rec. setup, were freely selected & set and adapted by VV.
Photp: JSB Denkmal, Eisenach (a detail)
Any kind of commercial use of this track is prohibited

J.S.Bach: Conrapunctus 8 à 3 (BWV 1080 - 8) - Triple Fugue. Arr. for piano

J.S.Bach: Contrapunctus VIII à 3. BWV 1080/8.  Adapted for piano

.J.S. Bach: Canon alla  Ottava - BWV1080/Contrapunctus XII.
Movements: (1.) Canon - (2.) ...alla Ottava
 - Adapted & reproduced by VV Mar21, 2024  for piano, on/aftern a reading/sequence for string quartett, made by H.Fesefeldt 2002. H.F was a German nuclear physics researcher, and music sofware developer, who lived in 1942-2019.
The instrumentation, articulations, ornaments, tempos,the 'rhythmic feel', and the rec preset were  now set by VV.

J.S.Bach> Canon alla Ottava, adapted for piano

.J.S. Bach: Canon alla  Ottava. Contrapunctus XII.  BWV1080. Adapted for piano

J.S. Bach: Contrapunctus XIX (a, b & c) On The Name B.A.C.H 
(BWV 1080 - 19). Adapted & reproduced for piano by VV Mar 22, 2024.

J.S. Bach Contrapunctus XIX (a, B & C) On The Name B.A.C.H (BWV 1080 -XIX)

J.S. Bach: Contrapunctus XIX (a,b&c) On The Name of B.A.C.H (BWV 1080 -XIX)

J.S.Bach: Contrapunctus 11 à 4 - Quadruple Fugue.
Die Kunst der Fuge BWV 1080 / 11.
Reproduced and adapted Mar 27, 2024 by VV for piano, from the score for string quartette. 
Phrases, ornaments, tempos and dynamics were set by VV, as well as the intrument/sound configuration, and  the rec. setup.

J.S.Bach: Contrapuntus 11 a 4  (BWV 1080 - 11) - Quadruple Fugue. Adapted for piano

J.S.Bach: Contrapunctus 11 à 4  (BWV 1080 - 11) - Quadruple Fugue. Adapted for piano

J.S.Bach:.Choral 'Wenn wir in höchsten Nöten sein'. Cantus firmus in canto. BWV  !080-21 / BWV668a. Adapted for piano by VV 30.3.2024 of 'Kunst der Fuge' score for a string quartett BWV 1080 - 21, the basic melody of this originally being Choral  BWV 668.
The articulations, phrases & tempos set here by VV.
Photo: detail of manuscript the end of the last fugue of 'Der Kunst der Fuge', being his last one handwritten there by JSB himself, before getting blind, for some months before his death. Choral BWV 668 was added there after his death by his sons.

J.S.Bach:.J21. Choral 'Wenn Wir In Höchsten Nöten Sein'. Cantofermo In Canto. BWV  !080 / 668a. Adapted for piano

J.S.Bach:  Wenn wir in höchsten Nöten sein'  Cantus firmus in canto. BWV1080-21 / BWV668a

J.S.Bach Prelude & Fugue A Minor. BWV 543. E.Robert Schmitz 1925 .On Ampico 65043. Recorded by VViljanen Apr2, 2024 from playback of the digitally simulated reconstructed original reproducing piano roll Ampico 650543. Instrumental & rec. setups were set by VV.
Photo: Detail of JSB Denkmal at Leipzig Domkirche.
Any kind of commercial use of this trackis prohibited.

J.S.Bach Prelude & Fugue A Minor. BWV 543. E.Robert Schmitz 1925 .On Ampico 65043

J.S.Bach Prelude & Fugue A Minor. BWV 543. E.Robert Schmitz 1925 On Ampico 65043

Andrae Crouch: Blood Will Never Lose Its Power**.  Arranged & reproduced for pianoduo by VV Apr 14-19, 2024. - Articulations, dynamics & 'rhythmic-feel' etc. were set by VV, as well as the recording sessions, using a pair of modeled grand pianos, which were revoiced, and reconfigured, as well as the rec. setup made by VV. - Key: Ab Major.
Photo: Andrae Crouch (1942-2015)/Christianity Today.
**Lyrics:
"The blood that Jesus shed for me
Way back on Calvary
The blood that gives me strength
From day to day
It will never lose its power
It reaches to the highest mountain
It flows to the lowest valley
The blood that gives me strength
From day to day
It will never lose its power
It soothes my doubts and calms my fears
And it dries all my tears
The blood that gives me strength
From day to day
It will never lose its power
It reaches to the highest mountain
It flows to the lowest valley
The blood that gives me strength
From day to day
It will never lose its power"

(ANY KIND OF COMMERCIAL USE OF THIS TRACK IS PROHIBITED)

Andrae Crouch: Blood Will Never Lose Its Power.Adapted for piano duo

Andrae Crouch: Blood Will Never Lose Its Power. Adapted for pianoduo

J.S.Bach: III.Allegro assai fr. Concerto Am for Three violins, Viola & b.c. BWV1041c. Arr. for 3 pianos. Reproduced by VV Apr.16, 2024.

J.S.Bach: III.All. assai fr. Concerto Am for Three violins, Viola & b.c. BWV1041. Arr. for t3 pianos

J.S.Bach: III.All. assai fr. Concerto Am for Three violins, Viola & b.c. BWV1041. Arr. for 3 pianos

J.S.Bach: I. Allegro moderato from  Concerto A minor for three violins, viola & cello. Transcribed & reproduced  for three pianos by VViljanen Apr 20, 2024.

J.S.Bach: I. Allegro moderato from  Concerto A minor for three violins, viola & cello. Transcribed for three pianos

J.S.Bach: Concerto for 3 Violins, Viola &Cello. Transription for 3 pianos.

Kreisler-Rachmaninoff: Liebesleid played by Rachmaninoff 1923, on Ampico piano roll 62103. which scanned and converted into a digital form by Terry Smythe et al,, and audio-recorded (by permission)in 2015 by VViljanen, and the rec. updated 19 May 2017 from the digitized copy of the original reproducing piano roll.
ANY KIND OF COMMERCIAL USE PROHIBITED.
Photo: Sergei Rachmaninoff 1873-1943
Info* of the original roll:
LIEBESLIED (LOVE'S SORROW) "alternating roll with silent sections Weiner Tanzweisen" (Old Viennese Dance Melodies) No. 2
Roll Number: 62103, 62103H
Composer/Creator: Kreisler, Rachmaninoff
Pianist: Rachmaninoff
Roll System: Ampico
Country: US
Date: June, 1923
Category: classical, popular
Original Price: $2.00
* source: from The Piano Player Group web page (by permission)

Kreisler-Rachmaninoff: Liebesleid. Sergei Rachmaninoff in 1923, on Ampico 62103

Sergei Rachmaninoff plays in 1928 his Elegy Op.3 No.1, on Ampico 69253. 
Recorded in 2016, and the rec updated 4 Oct 4, 2017 and Feb 2, 2023 by VViljanen (by permission)from a digitally simulated reconstructed original reproducing piano roll, using on its playback a modelled concert grand, Bechstein 1896 grand morphed with Petrof Mistral 284,  revoiced, reconfigured and setup by VV.
COMMERCIAL USE PROHIBITED. 
Basic info* of the original piano roll:
ELEGIE (ELEGY) Op. 3, No. 1
Roll Number: 69253, 69253H
Composer/Creator: Rachmaninoff
Pianist: Rachmaninoff
Roll System: Ampico
Country: US
Date: October, 1928
Category: classical
Original Price: $2.00
*Info source: The Player Piano Group web page (by permission)

Rachmaninoff: Elegy Op. 3 No 1. Sergei Rachmaninoff 1928 on Ampico 69253

Sergei Rachmaninoff plays in 1923 his Lilacs Op.21 No.5, on Ampico piano roll 61761.
Recorded in 2016, and the rec updated 14 Dec 2017  by VViljanen (by permission)from the digitized copy of the original reproducing piano roll with virtual Grand Bluethner Model One, tone/sound modified/re-designed by VV.
COMMERCIAL USE PROHIBITED. 
Basic info of the original piano roll:
LILACS transcription
Roll Number: 61761, 61761H
Composer/Creator: Rachmaninoff
Pianist: Rachmaninoff
Roll System: Ampico
Country: US
Date: March, 1923
Category: classical, popular
Original Price: $2.00

Rachmaninoff: Lilacs Op. 21 No 5. Sergei Rachmaninoff 1923 on Ampico 61761

Sergei Rachmaninoff plays in 1925 Gluck-Sgambati: Melodie (Orfeo ed Euridice), Ampico 64921.
Recorded in 2016 (and the rec updated 25 Sep 2017) by VViljanen (by permission)from the optically digitized  copy of the original reproducing piano roll.
ANY KIND OF COMMERCIAL USE PROHIBITED. 
Photo: Sergei Rachmaninoff 1873-1943
Basic info* of the original piano roll:
MELODIE D minor
Roll Number: 64921, 64921H
Composer/Creator: Gluck, Sgambati - (Christoph Willibald (Ritter von) Gluck (1714-1787))
Pianist: Rachmaninoff
Roll System: Ampico
Country: US
Date: September, 1925
Category: classical
Original Price: $2.00
*Info source: The Piano Player Group web page (by permission).

Gluck-Sgambati: Melodie from 'Orfeo ed Euridice'. Sergei Rachmaninoff  1925 on Ampico 64921

Johannes Brahms: Capriccio in B Minor Op. 76 No 2. Arthur Rubinstein on Duo-Art 6596.
Recorded 6 Mar, 2018 by VViljanen (by permission)from reconstructed and digitally simulated original reproducing piano roll.
ANY KIND OF COMMERCIAL USE PROHIBITED.
Photo: Arthur Rubinstein  (1887-1982) with his wife
The basic info* of the original piano roll:
CAPRICCIO, Op. 76, No. 2 in B-minor from "Eight Clavierstucke"
Roll Number: 6596, 65969
Composer/Creator: Brahms
Pianist: Rubinstein 
Roll System: Duo-Art
Country: US
Date: February, 1923
Category: classical
Original Price: $2.25
*source: from The Piano Player Group web page (by permission)


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Johannes Brahms: Capriccio in B Minor Op. 76 No 2. Arthur Rubinstein 1923 on Duo-Art 6596

My warmest thanks to everyone stopping by for listening to my  'REVIEW   OF THE PAST TIME PIANISTS' INTERPRETATIONS ON THE HISTORICAL PIANO ROLLS, and also to a small LIST of MY MODEST OWN RENDITIONS, all of the latter representing a variety of piano music & some pipe-organ classics, - and  TO THE Growing LISTS OF (just lately done and reproduced)  TRANSCRIPTIONS OF VARIOUS CHAMBER MUSIC CLASSICAL PEARLS FOR TWO PIANOS.
A HEADSET IS RECOMMENDED for optimal sound experience!
This kind of 'touching' on these old pre-sound-rec. era works by the great performers of the past, and giving my sound to these old 'punch rolls',  makes me feel  deep humbleness, .and I wish that this modest attempt to bring these  performances alive will satisfy you listening to them!
To introduce myself...
I am a Finnish M.D., PhD. and Hand Surgeon (now retired), previously when young with 10 years of professionally orientated piano studies at Turku Conservatory in 1965-1975, partly  along with medical University studies. 
The digital sound techniques have become very familiar to me already from 1980's along with my university research work  
and my musical activities.
As continuation to my musical and professional experience, I have, during the last few years of my retirement, adopted a music historical challenge
to bring the past time major and minor pianists, prior to sound-recording era, onto the same 'start line' with the present pianists, by making their presentations, played onto 'punch rolls' i.e. piano rolls, audible with modern digital techniques. This wouldn't be possible without the pioneering  efforts of Richard Stibbons, Wayne Stahnke, Terry Smythe, Warren Trachtman, Spencer Chase, and others, who developed the optical digitizing techniques of the piano rolls, and digitized them.

The main part of my recordings here in SC consists of selection recorded by me from optically digitized piano-rolls** (from 1910's on or earlier, classical and 'vintage era'). These recordings of mine are not and will not be commercially unavailable. - The rolls were first optically scanned and converted into a digital form by diverse operators** (see also to the info of each piece). The pieces here were partly (minor part) picked from various open net sources, publicly available, but mainly from the huge archive (n=ca.5000) of digitized copies copies of the original reproducing piano rolls, made available to me by one of the pioneers of roll digitizing tehchniques (willing to keep anonymous), and then recorded from this archive mainly with virtual grand piano (called by me 'Bluethner Model One') modified/re-designed by me, as well as the rec settings. 
Also a minor selection of my own renditions among my records can be found here, included on my playlist 'Bach Goes Virtual', the name of the list telling something about the techniques used for getting the end result... The list includes various organ works by J.S.Bach and others, and also a few piano renditions of mine. Then there are included also various pieces which have been in my repertoire, but here played mainly by the  'guest' great players of the past (before the sound recording era).
MY MOST HUMBLE THANKS TO THE NOBLE DONOR  OF THIS INVALUABLE PIANO ROLL MATERIAL FOR MY USE!!!
My Sincere Thanks also to The Player Piano Group, UK, for providing me their permission to use the information about the piano rolls collected and provided on their web page ( https://rolls.playerpianogroup.org.uk ),  and for simplifying my short historical presentations of these renditions on their re-publication here!
AND LAST BUT NOT LEAST, MY MOST HUMBLE THANKS TO EVERYONE  OF YOU FOR LISTENING, AND FOR YOUR 'LIKES' & COMMENTS !
YOUR LISTENING & FEEDBACK IS TRULY APPRECIATED..!!.
Use of good headphones or speakers will make your music experience more enjoyable!
Best wishes, all the best
Veikko
These recordings are not commercially available, and ANY KIND OF THEIR COMMERCIAL USE IS PROHIBITED.

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