Cortot plays Schumann Symphonic Etudes (1929)

In this recording almost every side was recorded at a different speed, so almost all pitches had to be corrected (i.e. lowered). My assumption is that the discs, some of them containing quite long takes, were recorded at somewhat slower speeds to get more music stored on them. The result is that most sides were to high-pitched on playback. I guess, it did not seem a problem then, since listenere were free to adjust the playback speed to their liking. German 78 rpm record. Electrola, recorded 6 and 19 March 1929, C Studio, Small Queen’s Hall, London. Alfred Cortot, piano. Symphonische Etuden op.13 und op. posth. (Schumann). DB1325/26/27 | 2-05733/34/35/47/48/49 (2-05748 recorded 6 March, all others 19 March) -no special cleaning of disc -transferred from the original 78 rpm record at 78 rpm, turntable: Audio Technica AT-LP120XUSB, cartridge: Shure V15 Type IV (at the very end of disc 2 (Var. 4 op. posth.) due to better tracking of partial disc damages: Shure M75 Type D), needle: Thakker VN 78 E, 65 µm (at end of disc 2: Thakker N 75-3, 65 µm), conical/spherical, 2.5 g tracking force. Turntable speed adjusted to correct pitch. -analogue mono conversion -analogue RIAA compensation using Behringer FBQ800 equalizer (2 times sequential mono to get more than 12 dB effect) -analogue noise reduction and equalization by ear to obtain more natural sound using Behringer FBQ3102HD Ultragraph Pro equalizer (2 times sequential mono to get more than 12 dB effect) -A/D conversion using Zoom H2 recorder as interface at 44100 Hz -Audacity at 44100 Hz/32 bit float: -removal of -50 dB background noise in signal chain (24 dB, 6 sens., 3 bands) -declicking/decrackling with ClickRepair (Wavelet, declick: 10, decrackle: 50, automatic: all, pitch protection off, reverse) -Audacity at 44100 Hz/32 bit float: -check/correct pitch again (corrected pitch for discs 2-4+6) -normalisation to 0 dB -merge discs -no spatial enhancement, left pure mono -rendering of video using KDEnlive