Edward Issler (1855–1922)
Edward Issler (1855–1922) is known as one of the earliest studio pianists in the history of American recording. As the leader of Issler's Orchestra, he was an important figure who shaped early commercial recording culture. The dawn of wax cylinder recording would be incomplete without his presence.
By Book published by Schultz & Gasser – Men of Newark, 1904, Public Domain, Link
Issler was born in 1855 in Newark, New Jersey, to a family of German immigrants. He learned piano from an early age and is said to have earned a living as a local music teacher at a young age. In the late 19th century, musical culture was very thriving in the German community in America, and young musicians were nurtured through church music and local dance bands. Issler also gained experience in this field, playing in theater orchestras and small dance hall ensembles.
Recording pianist
In the late 1880s, the Edison Laboratory was conducting extensive recording tests in preparation for commercializing phonograph technology, and needed a small orchestra suitable for recording. From around 1888, Issler began visiting Edison's lab and participating in test recordings as a piano accompanist. In 1889, he officially organized a small orchestra under the name "Issler's Orchestra," and took on the role of exclusive recording engineer. This group was composed with the understanding that it would be listened to on the home phonographs of the time, and skillfully combined instruments with different ranges and timbres, including piano, cornet, flute, clarinet, and xylophone.
Issler's Orchestra's recordings ranged from waltzes, polkas, marches, and operetta excerpts. One of their most famous recordings is "Fifth Regiment March," recorded in 1889 and now part of the National Recording Registry of the Library of Congress. Brown wax cylinders of the time were difficult to duplicate, so the same piece had to be played multiple times to create numerous cylinders. Therefore, the technical proficiency and consistency of Issler and his orchestra were crucial in building their credibility in the recording industry.
Skillful arrangement and performance
Issler was not only a skilled performer, but also an accomplished arranger, devising ingenious ways to recreate complex orchestral pieces within a limited ensemble. Recording technology at the time had significant limitations in volume and frequency, so performers had to adjust dynamics to accommodate physical constraints, such as playing close to the recording horn. Issler personally directed these on-site aspects, and is said to have been the prototype of the "music director" and "producer" roles that would later emerge in recording studios.
In the 1890s, Issler's Orchestra recorded for several companies in addition to Edison, including the U.S. Phonograph Company and the Columbia Phonograph Company. As the music market expanded, Issler became extremely busy in the recording world, and it is estimated that he produced thousands of cylinders.
Business and trade unionism
At the same time, Issler was also a strong advocate for musicians' rights. At the time, recordings were almost mass-produced, musicians' working conditions were harsh, and compensation was unstable. Issler was involved with the local Newark Musicians' Union, and in 1900 he became its president. Around this time, large wind bands and orchestral recordings were on the rise, and the role of Issler's Orchestra gradually came to an end. He himself retired from the forefront of recording around 1900, and continued to work as a local musician, while leaving a significant mark on the world of recording.
Issler passed away in 1922 at the age of 67, but his achievements as a dedicated recording pianist laid the foundation for the later profession of studio musician. His efficient recording with small ensembles, his arranging ability, his role as a musical director in charge of managing the studio, and his efforts to improve working conditions for musicians were groundbreaking in the late 19th century, when recording technology was still in its infancy.
Although Issler's name is not widely known, his recordings, preserved in internet archives and university libraries across the United States, are important to researchers as valuable historical documents that tell the story of the acoustic culture of the early days of Edison. His work can also be seen as the origin of many session musicians and music producers working in modern recording studios.
