Abstract
Chantal was a relatively short-lived Belgian company (1918–1932) based in Ghent, founded by Julien and Albert Moeremans. Once a popular company, Chantal produced 28about 4,000 titles, mostly with the company’s band and dance orchestra. One of the recording artists for Chantal was Charles Heylbroeck (1872–1945), a famous horn teacher at the Ghent Royal Conservatory and a prominent figure in the Belgian Belle Epoque. Closely connected to violinist Eugène Ysaÿe (1858–1931) and composer Robert Herberigs (18861974), Heylbroeck’s legacy is still present in the institution, once proud of its rigid educational system which preferred non-virtuoso, highly expressive and often symbolistic repertoire. This paper presents a practice-based research case-study, in which the author (together with Jeroen Billiet, a horn player from Royal Conservatory of Brussels) reconstructed Heylbroeck’s recordings and produced a new 10-inch disc of the same suite of pieces. Findings shed light on early recording practices, along with insights into romantic playing practices, styles and recording techniques of the early 20th century. More broadly, this paper points out a long-standing gap in our contemporary understanding of mechanical recording sessions, and the extent to which performing musicians adapted their practice when recording with mechanical technologies.