Polish Dance Scharwenka / Frank Goede (1889)
On May 24, 1889, the recording book of a recording experiment by A. Theo. E. Wangemann in Berlin included a piece called "Polish Dance Scharwenka" (The First Book of Phonograph Records). The "Scharwenka" referred to here is Franz Xaver Scharwenka (1850–1924), a German-Polish pianist and composer from the late 19th century. Scharwenka was very popular in Europe at the time, and was especially known for his series of works called "Polish Dances (Polnische Tänze)". His masterpiece, Polish Dance No. 1 in E-flat minor (Op. 3, No. 1), is particularly famous and loved by many performers as a virtuoso piano piece (Grove Music Online). This piece was often performed in salon concerts and as an encore piece, and was arranged for violin and wind ensemble at the end of the 19th century. Since the composition number is not listed in the recording book, it is not possible to determine which dance number Frank Goede performed, but the most commonly performed pieces are No. 1 and No. 2.
Reasons for selecting this song as a test recording
Szarwenka's Polish Dances are characterized by lively rhythms and lyrical melodies. No. 1 in particular has a powerful opening rhythm and includes technically fast passages in the second half, making it ideal for demonstrating the performer's skill (Feaster 2007). In 1889, it was difficult to record the original piano pieces on wax cylinder recordings, so they were often arranged for melodic instruments (piccolo, violin, flute) and recorded. The recording book does not contain the performance form, but since piccolo and marches were recorded on the same day, it is highly likely that Frank Goede performed a shortened arrangement for wind instruments. Since phonographs at the time were not good at recording low frequencies, flamboyant melodic pieces with prominent high notes were very effective as recording demos. In addition, when performing for European royalty and aristocrats, ethnically rich pieces like Polish Dances were easy for audiences to enjoy as demos, which suited Wangemann's purpose in recording them.
Significance in early recording culture and current status
This recording, like many of Wangemann's Berlin recordings, was not intended for commercial sale, but as a technical demonstration to show the capabilities of the Edison phonograph in Europe. It is therefore believed that the wax cylinder on which it was recorded no longer exists due to reuse and deterioration (Welch & Rogers 1994). However, the fact that the title "Polish Dance Scharwenka" remains in the recording book is a valuable testimony of how works by famous European composers were used for recording tests in the early days of the phonograph. Scharwenka's works were very popular at the time, and were often featured on disc recordings by Victor and Odeon in the early 20th century, but Wangemann's test recording is one of the oldest wax cylinder recordings made before that time. This recording is a valuable historical document that shows the connection between European salon music and early recording culture, and is often referenced in studies of the history of recording technology.
