[Chapter 16. The Honor Roll of Recorded Chopin. Originally published in Saturday Review, 27 February 1960.]

p.80 . . . I have also included one of the first Chopin discs ever made (1907)—an Etude played by the unpredictable Pachmann, who is most compelling here. If historical circumstances alone would not justify such an inclusion, certainly the performance merits it. The fidelity is astonishing for the early 1900s. . . . p.83 [Chopin Etude] Op. 25 No. 9. Earliest Pachmann: G&T of 1907! APR 5531. [As can be seen from the discography on this site, Pachmann recorded at least seven other Chopin items in 1907.]
[Chapter 18. Liszt: His Piano Works on Records (1903-1961). Originally published in Saturday Review, 23 December 1961]

p.98 I begin by listing Liszt's exponents who first introduced certain seldom-performed works. . . . Pachmann left an elegant and sparkling reading of Liszt's Mazurka [brillante] on an unreleased Victor, c.1911, the work itself having been composed just after Chopin's death.
[Chapter 28. How Live is "Live"? Originally published in Saturday Review, 27 October 1962.]

p.173 The idea of the artist playing in the relaxed atmosphere of his home—if any recording session can be relaxing—was not born in the LP era; it originated much earlier. In the summer of 1928, Francis Planté was recorded at his residence in the French countryside, and a dozen years earlier Vladimir de Pachmann had entertained visiting machines in his home in England.
[Chapter 30. The Labyrinth of Chopin Ornamentation. Originally published in The Juilliard Review, Vol. V, No. 2, Spring 1958.]

p.185 The first consideration will be given to the artists whose interpretations may have been closer to Chopin's tradition. The oldest Chopin performer of renown who recorded on shellac was Pachmann (b. 1848), although the less eminent Chopin exponents, Planté (b.1839) and Diémer (b.1843) did make recordings. Pachmann could easily have heard Mikuli and Mathias while already a mature pianist himself. . . .

p.196 The next curious and contradictory case is that of the Nocturne, Op. 27 No. 2 (Lento sostenuto), where bar 16 has the mordent symbol over a minor third preceded by an identical third of thirty-second value (ex. 16). . . . The recorded renditions of this Nocturne completely confirm this theory [of a wrong metronome mark]. Among the older generation of pianists, Pachmann plays the mordent on the beat, striking the bass note shortly before the mordent begins. His speed: dotted quarter = 32 (!) or dotted quaver = 64 (48 for an undotted quarter, if you accepted the first alternative for Chopin's metronomic notation). At this rate, to be sure, anticipation is not too difficult, either. . . . [This can be studied in Pachmann's Augener edition (see the bibliography on this site); his playing of the mordent is clearly written out together with his fingering, but the Metronome mark is simply reproduced from the original editions.]

p.199 The concluding and perhaps most unusual example to support an anticipation combines both pianistic and musical motivations. It is the Impromptu in A-flat, where the confusing accented mordent symbol greets us in the opening note in the right hand (ex. 21). . . . p.200 The recorded pianists present two approaches to the Impromptu's mordent: 1. On the beat, as a triplet—only Pachmann, at a speed of 148. [Footnote 10 on page 203, prepared by the editor, cites only Pearl 9840 and Dante HPC 61 (Pearl is here equivalent to Opal); either the footnote is incomplete or Holcman studied only Pachmann's 1911 recording of this work. Pachmann recorded it again in 1915 (Dante HPC 65), playing the mordent in the same way but now playing the first bass note a quarter-note ahead. He recorded it once more in 1923 for a Duo-Art roll (Everest LP X-921), again playing the mordent in the same way and again playing the bass note a quarter-note ahead.] 2. Off the beat . . .