A sound gateway to the Palace: every recording carries its source, performer, rights information and interpretive status.
All twenty recordings are stored locally by the portal. Each has its own source record, rights statement and a clear distinction between period context and the documented history of Inczew.
| Number | Composer | Work | Recording |
|---|---|---|---|
| SG‑001 | Frédéric Chopin | Polonaise in A major, Op. 40 No. 1 | CC0 |
| SG‑002 | Ludwig van Beethoven | Minuet in G major, WoO 10 No. 2 | public domain |
| SG‑003 | Frédéric Chopin | Waltz in A minor, B. 150 | CC0 |
| SG‑004 | Wolfgang Amadeus Mozart | Piano Sonata No. 14 in C minor, K. 457 | CC0 |
| SG‑005 | Frédéric Chopin | Nocturne in E minor, Op. posth. 72 No. 1 | CC0 |
| SG‑006 | Carl Philipp Emanuel Bach | Solfeggietto H. 220 | PD |
| SG‑007 | Ruggero Leoncavallo | No! Pagliaccio non son! | public domain |
| SG‑008 | Giacomo Puccini | Donna non vidi mai | public domain |
| SG‑009 | Stanisław Moniuszko | Prząśniczka | public domain |
| SG‑010 | Augusto Gentile | Flor de fango | public domain |
| SG‑011 | John Philip Sousa | The Stars and Stripes Forever | public domain |
| SG‑012 | Piotr Czajkowski | Walc z Jeziora łabędziego | public domain |
| SG‑013 | Al Jolson, Vincent Rose i Buddy DeSylva | Avalon | public domain |
| SG‑014 | Osmán Pérez Freire | Ay, ay, ay | public domain |
| SG‑015 | melodia tradycyjna · słowa Robert Burns | Auld Lang Syne | public domain |
| SG‑016 | Harry Dacre | Daisy Bell | public domain |
| SG‑017 | Ángel Villoldo | El Choclo | Public Domain Mark 1.0 |
| SG‑018 | Perry Bradford | Crazy Blues | domena publiczna |
| SG‑019 | W. C. Handy | St. Louis Blues | domena publiczna |
| SG‑020 | James Scott | Kansas City Rag | CC BY-SA 3.0 |
Sliding out a sleeve never starts sound. Playback begins only after an explicit choice in the audio player.
Twenty recordings are ready for deliberate playback.
Presented as musical context for the period, not as evidence of performance at Inczew.
Performance: Luis Sarro · duration: 5:38 · source: Musopen / Wikimedia Commons · recording licence: CC0 1.0. Source and licence record →
Presented as musical context only, not as evidence that it was performed or heard at Inczew.
Performance: Peter Johnston · duration: 2:24 · source: Musopen / Wikimedia Commons · composition and recording: public domain, Public Domain Mark 1.0, Wikimedia VRT confirmation. Source and rights record →
A 2014 performance by Aya Higuchi, presented as context for domestic music-making, not as evidence of performance at Inczew.
Performance: Aya Higuchi · duration: 2:11 · source: Musopen / Wikimedia Commons · recording: CC0 1.0 Universal · composition: public domain. Source and rights record →
A 2010 performance by La Pianista, presented as period context only, not as evidence that it was performed or heard at Inczew.
Performance: La Pianista · duration: 4:14 · source: Wikimedia Commons · recording: CC0 1.0 Universal · composition: public domain / Public Domain Mark 1.0. Source and rights record →
A performance by Peter Johnston, presented as period context only, not as evidence that it was performed or heard at Inczew.
Performance: Peter Johnston · duration: 3:57 · source: Musopen / Wikimedia Commons · recording: CC0 1.0 Universal · composition: public domain. Source and rights record →
A performance by Nieb, presented as period context only, not as evidence that it was performed or heard at Inczew.
Performance: Nieb · duration: 1:04 · source: Wikimedia Commons · recording: public domain (PD-self) · composition: public domain. Source and rights record →
Enrico Caruso sings the aria from Pagliacci in a Victor recording made around 1910. It is presented as an authentic document of early recorded sound, not as evidence that it was heard at Inczew.
Performance: Enrico Caruso · duration: 3:19 · recording: Victor, c. 1910 · status: Public Domain Mark 1.0; free of known copyright restrictions according to Wikimedia Commons. Source and rights record →
Enrico Caruso sings the aria from Manon Lescaut in a Victor recording made on 24 February 1913. The historical recording introduces a vocal shelf alongside the modern piano performances.
Performance: Enrico Caruso · duration: 2:52 · recording: Victor, 1913 · status: Public Domain Mark 1.0; free of known copyright restrictions according to Wikimedia Commons. Source and rights record →
A Polish domestic song from a songbook published around 1890. This digital rendition of the score documents the repertoire of home music-making. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Odtworzenie zapisu nutowego · duration: 0:57 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
A tango recorded for Odeon in Buenos Aires in 1918, with Gardel accompanied by guitarist José Ricardo. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Carlos Gardel i José Ricardo · duration: 2:51 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
A historical brass-band performance conducted by the composer and recorded by Edison in November 1909. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Sousa's Band · duration: 4:28 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
An orchestral HMV recording made on 22 July 1933 under John Barbirolli. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: London Philharmonic Orchestra · John Barbirolli · duration: 4:24 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
A jazz standard in Al Jolson’s historical 1920 recording. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Al Jolson · duration: 2:58 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
A vidalita recorded in Buenos Aires in 1919 by Carlos Gardel and José Razzano. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Carlos Gardel i José Razzano · duration: 3:00 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
A 1910 phonograph recording of the traditional song, performed by Frank C. Stanley. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Frank C. Stanley · duration: 2:22 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
Edward M. Favor’s 1894 performance, preserved on an Edison brown wax cylinder. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Edward M. Favor · duration: 2:15 · status: public domain / Public Domain Mark 1.0 according to Wikimedia Commons. Source and rights record →
A tango performed by the Buenos Aires City Band in a 1907 recording. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Banda Municipal de Buenos Aires · duration: 2:34 · status: Public Domain Mark 1.0. Source and rights record →
Mamie Smith’s landmark 1920 record, regarded as the first commercial blues recording by an African-American singer. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Mamie Smith and Her Jazz Hounds · duration: 3:31 · status: domena publiczna. Source and rights record →
A 1921 recording of W. C. Handy’s standard by the Original Dixieland Jazz Band with Al Bernard. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Original Dixieland Jazz Band i Al Bernard · duration: 3:10 · status: domena publiczna. Source and rights record →
A modern performance of James Scott’s ragtime, shared under a free attribution and share-alike licence. It is presented as period context, not as evidence that it was heard at Inczew.
Performance: Gnissah · duration: 2:51 · status: CC BY-SA 3.0. Source and rights record →
This concise timeline follows the changing ways in which sound was preserved and heard. It describes the history of technology; it does not claim that any of these devices stood at Inczew Palace.
Édouard-Léon Scott de Martinville traces vibrations on a smoked surface. The marks cannot yet be played back, but recorded sound begins as a physical trace.
The phonograph writes sound into tinfoil wrapped around a cylinder and plays it back. A fleeting voice can now outlive the moment in which it was spoken.
Emile Berliner's gramophone disc is easier to reproduce than a cylinder. Recordings become objects to collect, catalogue and share.
Microphones and amplifiers capture a broader range of dynamics and detail. Recording begins to resemble the modern studio process.
Magnetic tape enables editing; the 33⅓ rpm LP and 45 rpm single reshape domestic listening and the idea of the album.
The compact disc makes digital playback a household technology. Files, portable players and streaming later separate listening from a physical carrier.
Interpretive rule: every recording in this portal remains separately identified by performer, source and legal status. Playback never begins automatically.
Record sleeves slide out visually, but sound never starts automatically. Playback follows an explicit visitor choice. Future shelves will contain oral history, field recordings and carefully licensed music.
OPEN THE PUBLIC RECORDINGS AND RIGHTS REGISTER →GO TO THE CINEMA ROOM →OPEN THE 3D PALACE →