Interesting! Well, if you perform intentionally without dynamics, the player piano is certainly a valuable artistic choice in its own right. More like a harpsichord, in a way.
But I'll point out that the YouTube performance you linked to isn't a player piano at all -- it's an actual recording, which Gershwin overdubbed to be two pianos.
While player pianos that could incorporate dynamics existed, I'm not sure they were common, and I'm also not clear if there were any that incorporated playtime "per note" dynamics as opposed to generally "overall" dynamics that were added in via a separate mechanism.
But nevertheless yes -- there did exist some player pianos that had the capability of being more expressive than the normal single-volume ones!
>I'm also not clear if there were any that incorporated playtime "per note" dynamics
This[0] is a reproducing piano recording Ravel made in the 20s and was recorded from a Duo-Art piano in the 60s. Hearing Ravel play his own stuff a few years ago radically changed my idea of how Ravel's music should sound. (Pianist, I'd been playing Ravel for a couple of decades before that) This[2] has Prokofiev playing his own music.
"Many famous composers from around the world played their own works for the reproducing piano: Edvard Grieg, 1906 in Leipzig; Alexander Scriabin, 1910 in Moscow; Gabriel Fauré, c. 1913 in Paris; Nikolai Medtner, c. 1925 in New York."[1]
"This video is a practical demonstration and overview of how the Aeolian Duo-Art pneumatic reproducing player piano works, including how the system plays expressively by controlling the loudness of notes played with perforations on the roll."[3]
The YouTube link you referenced is an actual recording -- the notes are all distinctly different dynamics, and there's plenty of background hiss. It's a real recording, full of life, on a real piano, and genuinely overdubbed. It's not "a little crummy" -- to the contrary, it's an invaluable historical record.
On the other hand, the "Gershwin Plays Gershwin" album is a genuine player piano, but the Rhapsody in Blue is totally different -- it has zero dynamics, everything is exactly the same volume. [1] It's interesting to hear, for sure -- but more as a historical curiosity, since no pianist would ever perform everything at the same volume unless limited technologically. Your original link is Gershwin's full interpretation. In contrast, his player piano version is nothing like what he would have performed live, but rather adapted to the technological limitations.
But I'll point out that the YouTube performance you linked to isn't a player piano at all -- it's an actual recording, which Gershwin overdubbed to be two pianos.
While player pianos that could incorporate dynamics existed, I'm not sure they were common, and I'm also not clear if there were any that incorporated playtime "per note" dynamics as opposed to generally "overall" dynamics that were added in via a separate mechanism.
But nevertheless yes -- there did exist some player pianos that had the capability of being more expressive than the normal single-volume ones!