The anonymous design for 1898 depicts an LP in a number of pieces, probably alluding to the fact that the original shellac records had been fragile objects, liable to shatter if dropped on the floor – as seems to have happened here. The development of vinyl records from 1948 onwards had introduced a much more stable sound carrier to the market, revolutionising the music industry once again. The choice of this self-mocking cover for a commission from the label founded by the inventor of both the gramophone and the record says much about the confidence of those responsible, and about Kagel’s desire to expand the very concept of music.
The premiere of 1898 took place on 18 September 1973, at a gala anniversary event hosted by Polydor International GmbH – DG’s parent label at the time – at Hamburg’s Congress Centrum. Various print materials relating to this celebration have survived in the collection of a DG employee, including one of the paper gift bags in which copies of the 1898 album were given to all those attending. These bags were adorned with stickers representing the commemorative gold coins that had been specially minted for presentation to a select group of recipients.
A number of speeches were made before the music began. Among the prominent guest speakers were actor Peter Ustinov, Werner Vogelsang (President of Polydor International), Gustav Heinemann (President of West Germany), Hans-Werner Steinhausen (DG’s long-time Technical Director), Oliver Berliner (grandson of Emil Berliner) and, representing the artists, conductor Karl Böhm. Given the sheer quantity of legendary recordings Böhm had made for the label, after signing an exclusive contract in 1953, it is not surprising that he was chosen to speak on behalf of a family of outstanding artists.
Carl-Heinz Mann covered the event in an article for the Hamburger Abendblatt. In addition to his vivid description of the Kagel premiere, one sentence in particular may elicit knowing smiles from today’s readers: “President Heinemann ventured the prediction that the vinyl record would be in no danger of competition.” Given that in our own time the rapid increase in consumption of disembodied music via streaming is, paradoxically enough, accompanied by a vinyl boom which is pushing pressing plants to the limits of their capacity, we have to admit he was absolutely right.
