In 1904, M. Welte, a Freiburg manufacturer, built an apparatus he called “Welte-Mignon” designed to record and reproduce piano playing by means of piano rolls. This method of recording had a number of disadvantages compared to the acoustical, but also some advantages; in particular, it registers various elements of the performance (such as rhythm, tempo, basic dynamics, partially even pedaling) in a manner that allows exact measurement, and, therefore, analysis.

In 1905 Busoni recorded a number of piano rolls, including Liszt's Rigoletto. In 1906, the same composition was recorded by the famous Russian pianist Annette Essipoff (1851–1914), the student and, together with Paderewski, the most typical representative of the school of Leschetitzky.

Let us compare the two versions.

On first hearing, what immediately attracts attention is the exceptional technical brilliance of Busoni's playing, much greater than Essipoff's. When it comes to the interpretation, however, the first impression leans rather against Busoni: his playing seems strange, at times even wild in comparison with the traditionally rounded, beautiful playing of the Russian lady. It is easy to understand the unknown critic who chided Busoni, writing, “having lived so long in Germany, he has forgotten how they sing in his native land. To phrase this way here (in the Rigoletto—G. K.) is just plain wrong; as wrong as it is to transform passionate melodies indo pianistic acrobatics. …”

If the listener does not unquestioningly trust his first impression, but attempts to listen more deeply, to fathom Busoni's interpretation, to perform his own “half of the work,” the picture gradually begins to change.