STILL PLAYS the PIANO She Started with Silent Films

Total Page:16

File Type:pdf, Size:1020Kb

STILL PLAYS the PIANO She Started with Silent Films INTERNATlONAL OFFICERS CHAPTER OFFICERS PRESIDENT Bob Rosencrans 36 Hampden Rd. NO. CALIFORNIA Upper Darby, PA 19082 Pres.: Howard Koff Vice Pres.: Phil McCoy VICE PRESIDENT Sec.: David Fryman Bill Eicher Treas.: Bob Wilcox 465 Winding Way Reporter: Stuart Hunter Dayton, OH 45429 SO. CALIFORNIA Pres.: Francis Cherney SECRETARY Vice Pres.: Mary Lilien Jim Weisenborne Sec.: Greg Behnke AMICA MEMBERSHIP RATES: 73 Nevada St. Treas Roy Shelso Rochester, MI 48063 Reporter: Bill Toeppe Continuing Members: $15 Dues TEXAS New Members, add $5 processing fee PUBLISHER Pres.: Haden Vandiver Tom Beckett Vice Pres.: Bill Flynt Lapsed Members, add $3 processing fee 6817 Cliffbrook Sec/Treas.: Charlie Johnson Dallas, TX 75240 Reporter: Dick Barnes MIDWEST MEMBERSHIP SECRETARY Pres.: Bennet Leedy (New memberships and Vice Pres.: Jim Prendergast mailing problems) Sec.: Jim Weisenborne THE AMICA NEWS BULLETIN Charlie W. Johnson Treas. Alvin Wulfekuhl PO. Box 38623 Reporter: Molly Yeckley Dallas, Texas 75238 PHILADELPHIA AREA TREASURER Pres. Mike Naddeo Published by the Automatic Musical Instrument Collectors' Jack & Mary Riffle Vice Pres.: John Berry As.ociation, a non-profit club devoted to the restoration, distribu­ 5050 Eastside Calpella Rd. Sec. Dick Price tion and enjoyment of musical instruments using perforated paper Ukiah, CA 95482 Treas.: Claire Lambert music rolls. Reporter Allen Ford Contributions: All subtects of interest to readers of the bulletin BOARD REPRESENTATIVES SOWNY (So. Ontario, West NY) are encouraged and Invited by the publisher. All articles must be N. Cal. Frank Loob Pres.: Chuck Hannen received by the 10th of the preceding month. Every attempt will be S. Cal. Dick Rigg Vice Pres: Jeff Depp made to publish all articles of general interest to AMICA members Texas: Carole Beckett Sec Mike Walter at the earliest possible time and at the discretion of the publisher. Phil.: Bob Taylor Treas.: Gerry Schmidt ADVERTISING Midwest: Bill Eicher Reporter: Jim Brewer Line ad rate: 811 per word, $1.20 minimum. SOWNY Stan Aldridge ROCKY MOUNTAIN Rky. Mt. Toni Hart Pres.: Robert Moore Page rate: $12.50 per quarter page or multiple thereof. New Jer Jeffrey Morgan Ad copy will be typeset (at additional cost) only if requested. Sec Sharon Paetzold Iowa Alvin Johnson Treas.: Carl Paetzold Each photograph or half-tone, $5.00 New Eng. Sanford Libman Reporter: Jere DeBacker Camera-ready copy that is oversized or undersized will be changed to correct size at your cost. COMMITTEES NEW JERSEY Technical Pres.: Peter Brown Camera-ready copy must reach the publisher by the 10th of Vice Pres: Richard Dearborn the preceeding month. Mel Luchetti 3449 Mauricia Ave. Sec: Jeffrey Morgan Cash must accompany order. Typesetting or si ze alteration Santa Clara, CA 95051 Treas.: Willian Dean charges will be billed separately. Make checks payable to Reporter: Francis J. Mayer AMICA INTERNATIONAL. Honorary Members IOWA All ads will appear on the last pages of the BULLETIN, at the Alf E Werolin Pres.: Dale Snyder discretion of the publisher. 2230 Oakdale Rd. Vice Pres.: Stan Peters Hillsborough, CA 94010 Sec/Treas.: Alvin Johnson Publication of business advertising in no way implies AMICA's Reporter: Richard Parker endorsement of any commercial operation. However, AMICA re­ AFFILIATED SOCIETIES serves the right to refus~ any ad that is not in keeping with AM ICA's NEW ENGLAND The Player Piano Group. Pres.: Alan Pier general standards or if complaints are received indicating that said The North West Player Piano Vice Pres.: William Koenigsberg business does not serve the best interests of the members of Association. Sec/Treas.: AI Greco AMICA, according to its goals."nd by-laws. AMICA ITEMS AMICA TECHNICALITIES BOOKS: AMICA STATIONERY: $3.20 (letter size), Volume I (1969-1971), $5.50 postpaid; $1.75 {note size), including mailing charges. FOR SALE Volume II (1972-1974), $7.50 postpaid, Fine quality stationery with ornate AMICA AMICA BULLETINS, BOUND ISSUES: Volume III (1975-1977), $8.50 postpaid. borders. Each packet contains 25 lette'rs and 1971,1972,1973 - bound sets at $15.00 each Reprints of interesting technical articles matching envelopes. Send orders to: Robert set. 1974, 1975, 1976, 1977 at $18.00 each which have appeared in the AMICA Bulletin, Lemon, 4560 Green Tree Drive, Sacramento, set. PRICES INCLUDE POSTAGE AND arranged and indexed into appropriate CA 94823. HANDLING. Spiral bound to lay flat. Send categories. Send orders to: Jim Weisenborne, "They All Laughed When I Sat Down At orders to Mary Lilien, 4260 Olympiad Drive, 73 Nevada Street, Rochester, MI 48063. The Piano, But When IT Began To Play." Los Angeles, CA 90043. This sound and color super-8 movie, ROLL LEADERS: DUO-ART, Authentic, For produced by AMICA members, is available order sheet, see the April 1973 Bulletin. Nick PLEASE MAKE ALL CHECKS PAYABLE TO for loan to AMICA members and chapters. Jarrett, 3622 -21 st street, San Francisco, CA AMICA INTERNA TlONAL For more information write to Howard Koff, 94114. 2141 Deodara Drive, Los Altos, CA 94022. " ." . l J J J J .. l. l J I "l l,. l I I I l I I ., . J. J l J ,I I ... J FROM THE PUBLISHER There are several items that need your attention as we close extends a welcome to those who will be assuming those roles out the 1978 publishing year for THE AMICA - the next in 1979. issue you will receive will be the combined January/February 1979 MEMBERSHIP RENEWAL: I sincerely hope that all of issue in early February of 1979. you will promptly execute the membership renewal form ADVERTISING: Please observe the new rate schedule on the included in this issue of the Bulletin and take advantage of the masthead. It's in effect now. Also remember that our next pre-addressed envelope supplied for your convenience. This is issue is the Jan./Feb. '79 one and the deadline for advertising the only renewal notice you will receive. Please be sure and is January 10. detach the 1979 AMICA membership card before entering additional collection information on the back of the form or AMICA OFFICERS (local): By the time you receive this Bulletin most chapters will have new officers or their returning the form to Charlie Johnson. installation is pending. Remember to send a list of the new All the officers of AMICA extend their appreciation for your officers of your chapter, including the name of the Board joining AMICA in 1978 and look forward to your continued Representative, to International Secretary Jim Weisenborne membership in the coming year. Any suggestions as to the and the Bulletin publisher. In particular your publisher would improved operation of the club or ideas as to other areas in appreciate the names of these new officers promptly as it will which AMICA could be of service to its members or the allow me to prepare the '79 Bulletin masthead all at once. general public are welcome-please write the officers concerned. AMICA International salutes the officers who served on a local or national (Board Representative) level in 1978 and Tom Beckett . .. J J. J I I I J I" "I" I J 1..1 . I I I I' Cover story: This month's cover was created ROLLS & MUSIC 214 from a December, 1932 issue of The Etude NORTHERN CALIFORNIA 216 I Magazine contributed by Molly Yeckley. SOUTHERN CALIFORNIA 217 INDEX TEXAS 217 PH ILADELPH IA 218 INTERNATIONAL AMICA 202 ROCKY MOUNTAIN 221 t.~%? Winnipeg News 204 NEW JERSEY 222 INSTRUMENTS BIOGRAPHICAL SKETCHES J Residence Pipe Organs 211 Cyril Scott 223 AMICA FORUM 214 1978 BULLETIN INDEX 225 A POST-CONVENTION NOTE FROM of 1979 at La Mansion del Rio hotel in San Antonio, Texas the weekend of February 16-19, 1979. The official Board meeting HENRY LANGE day is Saturday, February 17. Anyone who is planning to BY TOM BECKETT attend is urged to contact Tom Beckett now for details as a limited number of hotel rooms has been set aside for the Carole and I, who were fortunate to have AMICA Honorary AMICA Board and this river-front hotel is quite popular. Member Henry Lange alone to ourselves for a few moments in Dayton, received a nice letter from him in which he recounted his joy at attending the convention and getting to meet so many AMICAns. Henry asked that I express his appreciation to all for the wonderful time and sent a memento of his days on tour. The item reproduced here is from the AMPICO STAR Concert Dinner and Musical Programme at the Baker Hotel in Dallas-, Texas, March 10, 1929. OF NEW JERSEY ART SHOW BY RICHARD E. DEARBORN Musical Programme A 1922 Franklin Ampico was the star of a Burlington County art show this last summer. Featuring works by Val Roy by Gerischer of Stockton, New Jersey, the show was sponsored HENRY LANGE and HIS BRUNSWICK by the Foundation Theatre at Burlington County Community RECORDING ORCHESTRA College. The Ampico featured an oriental art case designed LeROY MORRIS Trumpet and executed by Mr. Gerischer in gold leaf and enamel. FREDERICK HUMMEL Trombone, Violin NELSON PRESLEY Saxophone This piano is from the collection of Mr. Wesley Beaumont of F. GLYNN HARRIS Saxophone Pennington, New Jersey who also did the piano restoration. ROBT. DOWLING Sousaphone, Violin, String Bass, Viola, Oboe The pneumatic restoration was done by Mr. Jeffrey Morgan PEDRO NORIEGO Trumpet WlII. WEAVER Trombone, Melophone, Piano of Trenton, New Jersey. JAMES PRICE Saxophone The art show also featured works by Mr. Gerischer in WRAY SHERREL • Vocalist CARL BElT Percussion mediums ranging from exotic, oriental style pencil sketches to HENRY LANGE, Director water colors, oils, acrylic, acrylic on canvas, acrylic panels and '\9========,=========e;. stained glass. He is equally at home in many craft mediums, some of which are rug and tapestry design, ceramic sculpture and ceramic painting.
Recommended publications
  • The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2002 VOLUME 39, NUMBER 1 Mooluriil's MAGAZINE
    The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2002 VOLUME 39, NUMBER 1 MoOLURIil'S MAGAZINE The Self-Playing Piano is It People who have watched these things closely have noticed that popular favor is toward the self-playing piano. A complete piano which will ornament your drawing-room, which can be played in the ordinary way by human fingers, or which. -'\ can be played by a piano player concealed inside the case, is the most popular musical instrument in the world to-day. The Harmonist Self-Playing Piano is the instrument which best meets these condi­ tions. The piano itself is perfect in tone and workmanship. The piano player at­ tachment is inside, is operated by perforated music, adds nothing to the size of the piano. takes up no room whatever, is always ready, is never in the way. We want everyone who is thinking of buying a piano to consider the great advan­ tage of getting a Harmonist, which combines the piano and the piano player both. It costs but little more than a good piano. but it is ten times as useful and a hundred times as entertaining. Write for particulars. ROTH ~ENGELHARDT Proprietors Peerless Piano Player Co. Windsor Aroade. Fifth Ave.. New York Please mention McClure·s when you write to ad"crtiscrt. 77 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books.
    [Show full text]
  • 'Pamy}L 'Wurlitzer
    'Pamy}l 'Wurlitzer 1883 • 1912 Orbil ill '"e eclronic1ynt-he1izer P,UJ ~ -~ohJre01pinel orqon equo1... ~e nevve;Iwoy lo mo <.emu1ic fromWur irzec Now with the Orbit III electronic synthesizer from slowly, just as the theatre organist did by opening and Wurlitzer you can create new synthesized sounds in­ closing the chamber louvers. stantly ... in performance. And with the built-in Orbit III synthesizer, this This new Wurlitzer instrument is also a theatre organ, instrument can play exciting combinations of synthe­ with a sectionalized vibrato/tremolo, toy counter, in­ sized, new sounds, along with traditional organ music. A dependent tibias on each keyboard and the penetrating built-in cassette player/recorder lets you play along with kinura voice that all combine to recreate the sounds of pre-recorded tapes for even more dimensions in sound. the twenty-ton Mighty Wurlitzers of silent screen days. But you've got to play the Orbit III to believe it. And it's a cathedral/classical organ, too, with its own in­ Stop in at your Wurlitzer dealer and see the Wurlitzer dividually voiced diapason, reed, string and flute voices. 4037 and 4373. Play the eerie, switched-on sounds New linear accent controls permit you to increase or of synthesized music. Ask for your free Orbit III decrease the volume of selected sections suddenly, or demonstration record. Or write: Dept. TO - 672 WURLiizER ® The Wurlitzer Company, DeKalb, Illinois 60115 . hn.4'the \T8fl cover- photo .. Farny R. Wurlitzer, Chairman Emeritus of the Board of Directors of the Wurlitzer Company, who died May 6, 1972.
    [Show full text]
  • Steinway & Sons Reception Room and Hallway
    Landmarks Preservation Commission September 10, 2013, Designation List 466 LP-2551 STEINWAY & SONS RECEPTION ROOM AND HALLWAY, first floor, including the reception room’s domed rotunda and balcony, the east foyer and stairs leading to the balcony; the hallway of the public corridor, up to the north glass doors, that adjoins the reception room; and the fixtures and components of these spaces, including but not limited to, wall and ceiling surfaces, floor surfaces, arches, pilasters, stairs, landings, ceiling murals, painted medallions, metal railings, metal grilles, chandeliers and lighting fixtures, door enframements, doors, windows, attached furnishings and decorative elements; Steinway Hall, 109-113 West 57th Street (aka 106-116 West 58th Street), Manhattan. Built 1924-25; Warren & Wetmore architects; Walter L. Hopkins, lead designer; Thompson-Starrett Co., builders. Landmark Site: Borough of Manhattan Tax Map Block 1010, Lot 25, in part. On July 23, 2013, the Landmarks Preservation Commission held a public hearing on the proposed designation of the Steinway & Sons Reception Room and Hallway and the proposed designation of the related landmark site. The hearing had been duly advertised in accordance with provisions of law. Three people spoke in support of designation, including the owner and representatives of the Historic Districts Council and the Society for the Architecture of the City. Summary Commissioned by the prominent New York City piano manufacturer Steinway & Sons in 1924-25, the Steinway & Sons Reception Room and Hallway is one of New York City’s most impressive neo-Renaissance style interiors. Located in Steinway Hall, a designated New York City Landmark, on the north side of West 57th Street, between Sixth and Seventh Avenues, the primary space is a double-height octagonal rotunda where visitors, musicians, and potential customers meet store representatives before entering various piano showrooms.
    [Show full text]
  • CLASSIC JAZZ This Page Intentionally Left Blank CLASSIC JAZZ
    CLASSIC JAZZ This page intentionally left blank CLASSIC JAZZ A Personal View of the Music and the Musicians FLOYD LEVIN Foreword by BENNY CARTER UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London Title page illustration: The author and his wife, Lucille—Emperor and Empress of the 1985 Jazz Jubilee, Sacramento, California. Unless otherwise credited, all illustrations are by the author or are from his collection. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2000 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Levin, Floyd. Classic jazz : a personal view of the music and the musicians / Floyd Levin. p. cm. Includes index. isbn 0-520-21360-2 (cloth : alk. paper) 1. Jazz—History and criticism. 2. Jazz musi- cians—United States. I. Title. ml3508.l48 2000 781.65—dc21 00-022554 Manufactured in the United States of America 08 07 06 05 04 03 02 01 00 10987654321 The paper used in this publication meets the mini- mum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). To Lucille, my loving wife and perceptive editor, who shared these wonderful experiences with me. Her sincere praises buoyed my efforts, and her unerring criticisms deftly improved my narration. This page intentionally left blank CONTENTS FOREWORD BY BENNY CARTER xv PREFACE xvii ACKNOWLEDGMENTS xxiii INTRODUCTION 1 1 KID ORY AND THE REVIVAL ERA 9 Kid Ory / 11 Kid Ory’s Legendary 1921 Nordskog/Sunshine Recordings / 14 Papa Mutt Carey
    [Show full text]
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • AT LAST JESSE Crawford
    gan playing his profession. ing a total of 15 albums so far. Following his stint at the Arcadia, Berry Berry met his wife, Mildred, at a restau­ moved to the Trianon Ballroom, Chicago, rant where he played an electronic organ. and later spent 18 years as organist of the On his second wedding anniversary in Hub Rink. In 1956, Berry installed a two­ 1972 he had a stroke and suffered paralysis manual Wurlitzer (from the Lake Theatre, on his left side. Through the heroic efforts Crystal Lake, Illinois) in the basement of of his wife and his own "never-say-die" his Chicago home. There followed a series spirit, he underwent an intensive period of of recordings on the instrument the first of physical therapy and in 1983 gave his first which was entitled, ''Beast in the Base­ organ concert since his illness. Berry is one ment." Berry also made a number of re­ of the artists who was heard at the 1985 cordings on the Hub Rink Wurlitzer, mak- National ATOS Convention in Chicago. □ BERNOUR, "KATIE" Organist of the Colonial Theatre, the (not official until approved at subsequent meeting.) Strand Theatre and the Palace Theatre in EXECUTIVE COMMITTEE 5. Technical Awards. After discussion it was agreed that Akron, Ohio. ANNUAL MEETING no set number of technical awards need be given in any given August 1, 1985 - The Palmer House year. Chicago , Illinois BERNSTEIN, BEA TRICE (Miss) 6. Ben Hall Memorial Organ. Allen Miller read parts of the Organist of Loew's Elsmere Theatre in 1. Present were President Rex Koury and Executive Com­ committee 's report that he planned to give to the full Board .
    [Show full text]
  • Building Stones of the National Mall
    The Geological Society of America Field Guide 40 2015 Building stones of the National Mall Richard A. Livingston Materials Science and Engineering Department, University of Maryland, College Park, Maryland 20742, USA Carol A. Grissom Smithsonian Museum Conservation Institute, 4210 Silver Hill Road, Suitland, Maryland 20746, USA Emily M. Aloiz John Milner Associates Preservation, 3200 Lee Highway, Arlington, Virginia 22207, USA ABSTRACT This guide accompanies a walking tour of sites where masonry was employed on or near the National Mall in Washington, D.C. It begins with an overview of the geological setting of the city and development of the Mall. Each federal monument or building on the tour is briefly described, followed by information about its exterior stonework. The focus is on masonry buildings of the Smithsonian Institution, which date from 1847 with the inception of construction for the Smithsonian Castle and continue up to completion of the National Museum of the American Indian in 2004. The building stones on the tour are representative of the development of the Ameri­ can dimension stone industry with respect to geology, quarrying techniques, and style over more than two centuries. Details are provided for locally quarried stones used for the earliest buildings in the capital, including A quia Creek sandstone (U.S. Capitol and Patent Office Building), Seneca Red sandstone (Smithsonian Castle), Cockeysville Marble (Washington Monument), and Piedmont bedrock (lockkeeper's house). Fol­ lowing improvement in the transportation system, buildings and monuments were constructed with stones from other regions, including Shelburne Marble from Ver­ mont, Salem Limestone from Indiana, Holston Limestone from Tennessee, Kasota stone from Minnesota, and a variety of granites from several states.
    [Show full text]
  • John Cage's Entanglement with the Ideas Of
    JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums.
    [Show full text]
  • IC 75003 Booklet
    EWEARL WILD In Concert 1973-1987 EARL WILD EWIn Concert The live recording gives the illusion of “actually being there.” It’s an experience that is not always assured in a recording studio, at which no audience is allowed. In one sense, a performance in a studio is a contradic- tion in terms. Like the proverbial tree falling in the forest: did it even exist if it wasn’t heard? There is a beguiling honesty about the live recording. A live-recording boom in the early 1970s, when the first wave of bat- tery-operated recorders emerged, enabled enthusiasts to record everything from passing trains, rivers, and parades, to grandpa snoring and cicadas courting. With similar devices musicologists have been able to record on-site countless forms of impromptu and improvisational folk music and instru- mental performances. Harvard University, for example, houses the Archive of World Music, which holds vast field recordings of, among other things, Indian and Turkish music, Chinese and Bulgarian songs, Byzantine and Orthodox music, Indonesian music, and male polyphony from Iceland. The archive ensures easy access to live music at distant times and places. – 3 – The growing interest in live recordings of historic performances has become a sign of our own times. The legacy of the bel canto revival of the 1950s and 1960s, for instance, has been preserved for modern audiences through the remarkable live recordings of singers like Maria Callas, Montserrat Caballe, Beverly Sills, Joan Sutherland, and Leyla Gencer. Likewise, all of Mr. Wild’s performances on this disc are worthy of “historic preservation.” In a real sense, no live recording can replace the actual experience.
    [Show full text]
  • Mechanical Music Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No
    MECHANICAL MUSIC Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No. 2 March/April, 2014 October 7 - 12, 2014 at the Bonaventure Resort & Spa in Weston, Florida Meet The Collectors Open House Collection Visits Elliot and Rhonda Shumann have been collecting for many years and have a delightful collection of fine cylinder music boxes. In this collection you will see a Mermod Long March, a Nicole Grand Format, a Nicole Overture box, a Falconet overture keywind, and a number of chalets. Most outstanding is a double cylinder mechanism oil painting with clock in an ornate frame. Howard and Margery Sanford Bob Smith joined the MBSI in 1975. His , members for over 30 collection includes cylinder boxes, disc years, have a collection that includes a Mortier 101 boxes including a three disc Symphonion a key dance hall organ, a Wurlitzer 146, a carousel Mira console and a Stella, a grandfather organ, an Encore/Ramey banjo, a Capitol cu box type organ clock, an oil painting which contains a C, several pianos, and a one-of-a-kind midi accordion clock and music box, an upright Duo Art with a wooden conductor resembling Mozart, all of piano and an Arburo dance organ. which is housed in a lovely Florida setting. Come and enjoy our southern hospitality as you visit these fascinating collections! Arrive early and luxuriate in the beautiful Check our website www.mbsi2014.org surroundings of the Bonaventure Resort and Spa, for updated information about the 2014 Annual Meeting and be ready for a fun-filled weekend.
    [Show full text]
  • “Flags In” by Lynne Belluscio on the Historical Society’S Recent Trip to Washington D.C
    LE ROY PENNYSAVER & NEWS - MAY 11, 2014 “Flags In” by Lynne Belluscio On the Historical Society’s recent trip to Washington D.C. it was important for us to visit Arlington Cemetery. And although it was a cold windy and very wet, day, we all left the comfort of our warm bus to walk over to the Tomb of the Unknown Soldier to watch the changing of the guard. The ceremony is based on the highest military honor, the twenty-one gun salute. The guard marches twenty one steps, then faces east for 21 seconds and north for 21 seconds. He marches back 21 steps and faces east for 21 seconds and south for 21 seconds. The guards are all members of the 3rd U.S. Infantry known as the “Old Guard” which has served this nation since 1784. No other army unit has served longer. It was given its name by General Winfield Scott during 24, beginning at 9:00 am at completed and dedicated until Many years ago, cracks a victory parade during the Macpelah Cemetery, a group of 1932. The stone was quarried appeared in the 48-ton marble Mexican War in 1847. In 1948, volunteers will place 500 flags on from the Yule Marble Quarry tomb. Several attempts were the Old Guard began placing flags gravesites. Everyone is invited to near Marble, Utah, where marble made to fill the cracks but they for the Lincoln Memorial and kept reappearing and were other monuments was obtained. getting larger. There were plans The large marble block was to completely replace the tomb shipped to Rutland, Vermont, with a new piece of marble, but where it was sawn and dressed.
    [Show full text]
  • Howe Collection of Musical Instrument Literature ARS.0167
    http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items.
    [Show full text]