Edvard Grieg listens to his recordings, Berlin 1907
The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION MARCH/APRIL 2004 VOLUME 41, NUMBER 2 The Literary Digest for October 26, 1918 79
u 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. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editors: Mr. Larry Givens & Robin Pratt
VOLUME 41, Number 2 March/April 2004 AMICA BULLETIN
Display and Classified Ads FEATURES Articles for Publication Letters to the Publisher Musical Boxes for New Collectors — 72 Chapter News Busby Berkeley’s Piano — 78 UPCOMING PUBLICATION Music - Backhaus for Your House — 79 DEADLINES The ads and articles must be received Music - Romancing the Score — 80 by the Publisher on the 1st of the Odd number months: Steinway-Welte Comes to Life — 83 January July Selfridges Secondhand Players 1938 — March September 86 May November Player Piano Man — 88 Bulletins will be mailed on the 1st week of the even months. Freezer Not the Key to Piano Tuning — 90 Dr. Michael A. Kukral, Publisher The Reproducing Rollmonica C — 91 216 Madison Blvd. Performance Characterization — Terre Haute, Indiana 47803-1912 93 Phone: 812-238-9656 e-mail: [email protected]
DEPARTMENTS MEMBERSHIP SERVICES AMICA International — 66 New Memberships ...... $42.00 President’s Message — 67 Renewals ...... $42.00 Additional $5.00 due if renewed From the Publisher’s Desk — 67 past the Jan. 31 deadline Announcement — 68 Address changes and corrections Letters —69 Directory information updates New Piano Rolls & Recuts —101 Additional copies of Member Directory . . . . $25.00 Chapter News — 103 Single copies of back issues Classified Ads — 116 ($10.00 per issue - based upon availability) Front Cover: Photo from “IM AUFNAHMESALON HUPFELD” by Eszter Fontana, William Chapman (Bill) 2001, Janos Stekovics, Publisher 53685 Avenida Bermudas La Quinta, CA 92253-3586 Inside Front: QRS Company Ad from The Literary Digest for October 26, 1918 (760) 564-2951 Back Cover: Aeolian Company Ad from Country Life in America, June 1906 e-mail: [email protected] To ensure timely delivery of your Inside Back Cover: Chickering Ad BULLETIN, please allow 6-weeks advance notice of address changes.
AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.
Entire contents © 2004 AMICA International 65 AMICA INTERNATIONAL
INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Dan C. Brown BOSTON AREA NORTHERN LIGHTS N. 4828 Monroe Street Pres. Bill Koenigsburg -(978) 369-8523 Pres: Phil Baird Spokane, WA 99205-5354 Vice Pres: Bob Tempest Vice Pres: 509-325-2626 Sec: Ginger Christiansen Sec: Jason E. Beyer - (507) 454-3124 e-mail: [email protected] Treas: Karl Ellison Treas: Howie O’Neill PAST PRESIDENT Linda Bird Reporter: Don Brown Reporter: Dorothy Olds 3300 Robinson Pike Board Rep: Karl Ellison Board Rep: Dorothy Olds Grandview, MO 64030-2275 CHICAGO AREA PACIFIC CAN-AM Phone/Fax 816-767-8246 Pres: Carl Kehret - (360) 892-3161 e-mail: OGM [email protected] Pres: Curt Clifford - (630) 279-0872 Vice Pres: John Mueller Vice Pres: Peg Kehret VICE PRESIDENT Mike Walter Sec: Thad Kochanny Sec: Halie Dodrill 65 Running Brook Dr., Treas: Bev Spore Treas: Joe Pekarek Lancaster, NY 14086-3314 Reporter: Mark Smithberg Reporter: Kathy Stone 716-656-9583 Board Rep: Carl Dodrill e-mail: [email protected] Board Rep: George Wilder SIERRA NEVADA SECRETARY Christy Counterman FOUNDING CHAPTER Pres: John Motto-Ros - (209) 267-9252 544 Sunset View Drive, Akron, Ohio 44320 Pres: Bing Gibbs - (408) 253-1866 Vice Pres: Sonja Lemon 330-864-4864 Vice Pres: Karen Ann Simons Sec/Treas: Doug & Vicki Mahr e-mail: [email protected] Sec: Lyle Merithew & Sandy Swirsky Reporter: Nadine Motto-Ros TREASURER Wesley Neff Treas: Richard Reutlinger Board Rep: John Motto-Ros Reporter: Tom McWay 128 Church Hill Drive, Findlay, Ohio 45840 SOWNY (Southern Ontario, Board Rep: Richard Reutlinger 419-423-4827 Western New York) e-mail: [email protected] GATEWAY CHAPTER Pres: Mike Walter - (716) 656-9583 PUBLISHER Dr. Michael A. Kukral Pres: Tom Novak - Vice Pres: Stan Aldridge 216 Madison Blvd., Terre Haute, IN 47803-1912 Vice Pres: Bob Crowley Sec/Mem. Sec: Gary & Anne Lemon 812-238-9656 Sec,/Treas: Jane Novak Treas: Holly Walter e-mail: [email protected] Reporter: Mary Wilson Reporter: Frank Warbis MEMBERSHIP SECRETARY William Chapman (Bill) Board Rep: Gary Craig Board Rep: 53685 Avenida Bermudas, La Quinta, CA 92253-3586 760-564-2951 – Fax 775-923-7117 HEART OF AMERICA SOUTHERN CALIFORNIA e-mail: [email protected] Pres: Tom McAuley Pres: Frank Nix - (818) 884-6849 Vice Pres: Robbie Tubbs Vice Pres: Richard Ingram — COMMITTEES — Sec/Treas: Kay Bode Sec./Reporter. Shirley Nix AMICA ARCHIVES Stuart Grigg Reporter: Treas: Ken Hodge 20982 Bridge St., Southfield, MI 48034 - Fax: (248) 356-5636 Board Rep: Ron Connor Board Rep: Frank Nix AMICA MEMORIAL FUND John Motto-Ros LADY LIBERTY TEXAS P.O. Box 908, Sutter Creek, CA 95685-0908 209-267-9252 Pres: Vincent Morgan (718) 479-2562 Pres: Jerry Bacon - (214) 328-9369 Vice Pres: Keith Bigger Vice Pres: Bill Boruff AUDIO-VISUAL & TECHNICAL Harold Malakinian Treas: Vicki Brady 2345 Forest Trail Dr., Troy, MI 48098 Sec: Richard Karlsson Treas: Ira Malek Sec: Janet Tonnesen CONVENTION COORDINATOR Frank Nix Reporter:Marty Rosa Board Rep: Dick Merchant 6030 Oakdale Ave., Woodland Hills, CA 91367 818-884-6849 Board Reps: Marvin & Dianne Polan Bulletin Reporter: Haden Vandiver HONORARY MEMBERS Jay Albert MIDWEST (OH, MI, IN, KY) 904-A West Victoria Street, Santa Barbara, CA 93101-4745 Pres: Stuart Grigg - (248) 356-5005 (805) 966-9602 - e-mail: [email protected] Vice Pres: Liz Barnhart PUBLICATIONS Robin Pratt Sec: Sharon Neff 630 E. Monroe St., Sandusky, OH 44870-3708 Treas: Alvin Wulfekuhl WEB MASTER Meta Brown Reporter: Christy Counterman 400 East Randolph Street, Apt. 3117, Chicago, IL 60601 Board Rep: Liz Barnhart 312-946-8417 — Fax 312-946-8419 AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS website: http//stlouis.missouri.org/fsjoplin MUSICAL BOX SOCIETY 43 Great Percy St., London WC1X 9RA President - Nelson Page [email protected] INTERNATIONAL England The Galaxy Theatre INTERNATIONAL PIANO Rosanna Harris, Editor PLAYER PIANO GROUP 7000 Blvd East, Guttenberg, NJ 07093 ARCHIVES AT MARYLAND 5815 West 52nd Avenue Julian Dyer, Bulletin Editor Phone: (201) 854-7847 Fax: (201) 854-1477 Performing Arts Library,University of Maryland Denver, CO 80212 5 Richmond Rise, Workingham, E-Mail: [email protected] 2511 Clarice Smith Performing Arts Center Phone: (303) 431-9033 Fax: (303) 431-6978 Berkshire RG41 3XH, United Kingdom Editor - Vernon P. Bickel E-Mail: [email protected] 786 Palomino Court College Park, MD 20742 Phone: 0118 977 1057 San Marcos, CA 92069-2102 Phone: (301) 405-9224 NETHERLANDS MECHANICAL Email: [email protected] Phone: (760) 471-6194 Fax: (760) 471-9194 Fax: (301) 314-7170 ORGAN SOCIETY - KDV E-Mail: [email protected] SMITHSONIAN INSTITUTION E-Mail: [email protected] A. T. Meijer Division of Musical History AUSTRALIAN COLLECTORS OF INT. VINTAGE PHONO & MECH. Wilgenstraat 24 Washington, D.C. 20560 MECHANICAL MUSICAL INSTRUMENTS MUSIC SOCIETY NL-4462 VS Goes, Netherlands SOCIETY FOR SELF-PLAYING 19 Waipori Street C.G. Nijsen, Secretaire General NORTHWEST PLAYER PIANO MUSICAL INSTRUMENTS St. Ives NSW 2075, Australia 19 Mackaylaan ASSOCIATION Gesellschaft für Selbstspielende 5631 NM Eindhoven, Netherlands DUTCH PIANOLA ASSOC. Everson Whittle, Secretary Musikinstrumente (GSM) E.V. Nederlandse Pianola Vereniging MUSICAL BOX SOCIETY OF GREAT 11 Smiths Road, Darcy Lever, Ralf Smolne Eikendreef 24 BRITAIN Bolton BL3 2PP, Gt. Manchester, England Emmastr. 56 5342 HR Oss, Netherlands Alan Pratt, Editor Home Phone: 01204 529939 D-45130 Essen, Germany FRIENDS OF SCOTT JOPLIN P. O. Box 299 Business Phone: 01772 208003 Phone:**49-201-784927 1217 St. Croix Ct. Waterbeach, Cambridge CB4 4PJ Fax:**49-201-7266240 PIANOLA INSTITUTE Email: [email protected] Kirkwood, MO 63122-2326 England Clair Cavanagh, Secretary 66 President’s Message I don’t mean to be a nag, but I’m still waiting for suggestions from members for ways to build membership and to strengthen AMICA International. There have been conversations among the members of the committee created at the last convention (myself, John Motto-Ros, Bill Chapman, and Bing Gibbs), but other input has been slow in coming. Some ideas have focused on the website, on possible publications, and on building chapters. As the result of a newspaper feature in January, I did spots on a local early morning news show and a profile on the local Public TV station (this one has been shown at least 8 times locally and picked up by some cable feeds). I have gotten responses from all over and after my initial excitement about getting the word about AMICA and automatic music out to many members of the public, I’ve come to be even more concerned about membership and the future of our organization. I’ve been keeping track of responses and I’ve had 65 so far. 3 people expressed interest in AMICA, 21 wanted me to help them dispose of their instruments (some offered them at no cost), and only 5 people were interested in finding someone to restore their player or reproducing piano. Most people just wanted to say they enjoyed the programs. There are obviously lots of instruments out there awaiting good homes, so we need to do what we can to build interest in accomplishing this. If the ratio is similar to the “sale” of retail items, repeated exposure is needed, so keep up the sharing of your musical treasures and welcome new people to our world of collecting. Ken Caswell, a name which should be familiar to many AMICAns, contacted me after seeing the newspaper article. He’s established a non-profit foundation to record and distribute historic Welte-Mignon rolls on Cds. I have heard some of these and they are superb. Look for reviews in an upcoming Bulletin. Ken has done extensive research on the artists and the correct regulation of the reproducing action and worked hard (often comparing several copies of the same recording) to obtain optimal results. Amicably, Dan Brown From the Publisher’s Desk Greetings from the banks of the Wabash! Another river, name and I was invited to lunch and parties at her home. And, another time, another place: it seems there has always been a river how fortunate that our ambassador to Prague was Shirley Temple connected to my life in some way. I have received a few requests Black! She said that I was the only young person who knew to say something about myself and that can be a daunting task. all the old songs from her movies. So you never know how Where do I start? I suppose it all begins for me on the western collecting player pianos will open doors for you and take you to ridges above the Cuyahoga River in northeastern Ohio. Although amazing places. It sure did for me and continues to do so today! the Kukral’s were true blue Clevelanders since the days of the I was a visiting professor at Ohio Wesleyan and also at Ohio Civil War, my father married a country girl and I was raised a University during most of the 1990s before joining the faculty at mile from my grandfather’s Bath, Ohio farm. I loved the farm, Rose-Hulman Institute of Technology in Terre Haute, Indiana in the outdoors (this is currently maple syrup making time), and 1999. I am the only geographer among professors of engineering music. I studied piano since the age of six and by the age of 12, and technology at this nationally ranked private college and teach I convinced my dad that we needed a player piano like the one of a wide range of classes. I also serve the school as Director of his youth that he always talked about while I practiced. We European Studies, Chair of Student Affairs, and Faculty Advisor bought a player for $50 from a newspaper ad. It was in a garage, to Lambda Chi Alpha fraternity (of which I am also a member). the case all painted green, and there was writing on the back that My home is filled with player and reproducing pianos, a music read, “Property of Paramount Theatre, Akron.” Well, my dad and box, coin pianos, a victrola, and lots of other stuff like most of I tried to fix it for several months without success and so we sold you. The player piano and AMICA membership has taken me it quickly (to our surprise) for twice what we paid for it. Dad said from the Cuyahoga to the Wabash River, with stops along the way that was for the best because all the player pianos he knew at the Hocking and Vltava had foot pedals instead of the funny fly wheel and an electric rivers, too. What a journey motor like this one. I have often wondered what happened to that so far. Hamilton Welte-Mignon. If you want my photo By the time I was 17 we had a basement full of players and well here it is: Practicing I was restoring them while also working in the piano shop of Carl at the Lester upright in our Warmington (former AMICA member and today residing in basement. Notice the fine Florida at age 96). In college at Ohio University I played ‘piano lamp’ placed by my trombone in the marching band and majored in Geography. After ever practical father. eight years at OU and three degrees (B.S., M. Sc., M.A.) later Mike Kukral, I went to the University of Kentucky and completed my Ph.D. in Publisher Geography. During that time I spent a year as a Fulbright Scholar in Prague, Czechoslovakia and witnessed the overthrow of communism during the “Velvet Revolution.” What an amazing time. How fortunate I was that our ambassador soon knew me by
67 NNOUNCEMENT
The Sharing of Information . . . THE FUTURE OF OUR TRADE Mark Haas, Dearborn, Michigan
ATTENTION Present and Future Player Rebuilders
An “all day” class will be offered at this year’s national Piano Technicians Guild convention devoted exclusively to rebuilding of the pneumatic player. Membership in the Piano Technicians Gild is NOT a requirement for convention attendance, and ALL AMICA members are welcome. A portion of this class will be “hands on” in areas of pneumatic recovering, pouch replacement and valve rebuilding including gapping. We will also present many examples of problems encountered while rebuilding modern as well as vintage players, their solutions, and much more including a detailed source list. The class will be taught by myself and Norman Cantrell of Lawton, Oklahoma. I have been a full time player and piano technician since 1972, having rebuilt or serviced over 1500 players. Norm has been a full time player and piano technician since 1984, bringing with him 6 years of previous experience in the field of pipe organ service. In addition, a single period class will be offered during the convention by Clarence Zeches of Toccoa, Georgia dealing with the rebuilding of the Ampico “B”. The convention will be held at the Renaissance Nashville Hotel in Nashville, Tennessee. The “all day” player class will be on Tuesday, June 29, 2004 with additional classes presented through Saturday, July 3rd. For convention information contact The Piano Technicians Guild at 913-432-9975 or www.ptg.org or [email protected] For any questions about the player class, you may contact me at 313-381-7799.
68 ETTERS
We believe great things are in store. needed, printing the labels and affixing The Keystone perforators are commercial tabs. The preparation of the catalogs is machines capable of producing quantities also done by Magic Melodies. Catalogs of numerous titles, some never before may be mailed from either Magic re-cut. Melodies or Keystone. In general, larger We have moved all of the existing distributions are sent from Bethlehem Duo-Art inventory from Keystone to under the Keystone Bulk Mailing Permit. Letter from Keystone our Home/Shop here in Kentucky. All sales, invoices and shipping are & Magic Melodies After inspection, boxing and labeling handled from here in Kentucky. (if needed) these rolls we will offer We cannot thank Richard Groman February 12, 2004 them in a special Discount Sale this enough for giving us this opportunity coming April. to participate in the renewal of Dear Mike: By agreement with Richard Groman, Keystone and for providing us a great Enclosed is our latest catalog of Magic Melodies (Laura Lee and Shelby retirement activity. The production Keystone Ampico rolls. The majority of Kennard) will be working very closely of fine reproducing rolls remains the rolls listed have been produced on with Keystone during the coming Richard’s primary objective, consuming the 3 to 1 Keystone perforator since months. We have already made several much of his time and resources. the owner, Richard Groman, completed trips to Bethlehem and plan to travel Sincerely, renovation of the machine earlier this there many times each year to assist with Laura Lee & Shelby Kennard year. The 1 to 1 perforator is also being roll production and to bring newly cut Magic Melodies restored. We expect to have new Duo-Art rolls to Kentucky. We then prepare the 360 Lawless Rd. and late Ampico rolls produced and rolls for sale, which includes inspection Jamestown, KY 42629 included in our Fall Catalog for 2004. of each roll, making any minor edits Phone 270-343-2061
The Mirrie designed a simulator, made by Denham the Aeolian company of player parts Bucks. UB9 5DS plus his own further inventions. A Correction to England When America entered WWII, the the Publisher: Tel . 01895-832009 U.S.Navy took an interest in Gordon’s Fax 01895-832009 Silloth Trainer and commissioned Please note on page 47 [email protected] copies to be made by an organ company of the Jan/Feb Bulletin: in the USA. 19 January 2004 This is NOT All this is detailed in a paper which the first “convention” can be released later in the year after A certain amount of attention has in Colorado. the conference has made its own been focused recently on Gordon The first “annual meeting” presentation. If you are minded to Butler Iles, inventor and Duo-Art was held in the publish it yourself, please let me know, designer for the British Aeolian early 1970s since I would need to obtain permission Company. As one knows, a 1961 in from my RAF co-author. 3-minute colour news film about Grand Junction, It does, however, occur to me that his piano-roll work, can be Colorado!! an article, which I wrote in 1961, about accessed on computers, in preview a first visit to Iles’ factory, would Kindly make correction form, from www.itnarchive.com meanwhile be of interest, and you (check the by-laws)
On first arriving in Ramsgate, a rather to 65-note-scale stencils marked for worked single-handed by Mr. Iles, declassé summer resort, but one shade 88 notes. These were perforated by a working seven days a week. He has a better than its next-door neighbour reducing gear to 88-note scale. Later on, recording piano, not actually working, Margate, I missed the factory altogether, a system was devised for recording which takes down the recording by since it turned out to be poorly marked direct onto the stencils. Iles’ present setup carbon, which Iles then burns out by in a converted garage. Mr. Iles, bluff, eliminates the stencils entirely. The old hand. The roll is then corrected and put charming and somewhat rotund, greeted way was to have a man turning a wheel on the copying machine. The recording me. He lives alone in a flat above slowly to perforate and stopping when piano looks like an upright pianola with the works. the stencil went off track. The present wires coming out to a junction box. In the works itself there are two arrangement is tracked on the original by Iles’ own Duo Art is a converted benches, one about 30ft long, the other moving the feed spool in response to Gotha-Steck grand pianola, made for him somewhat shorter. The longer one is in electrical contacts. The new copy is during the war by the Automatic Player operation with a perforator, one of the tracked purely by shearing the edges Piano Actions Company in gratitude for forty once in operation for the Aeolian while punching. Duo Art and Themodist orders sent by Iles from the RAF - which Company, and linked by an electric cable punches are switched on or off by enabled them to keep their financial to two scanning systems, one of which electrical switches as needed for the type head above water. Instead of Duo-Art is largely obsolete. There is another of roll being made, (since most Artona expression accordions it has an Ampico perforator at the other bench, disused, rolls have no Themodist punchings). lever system, with the 1 2 3 dynamics and six more rumoured to be “upstairs”.. Iles makes the spool ends himself. He removed and smaller 1 2 3 4 5 dynamics The obsolete scanner has certain only makes one size due to a dispute with inserted, with the 3 & 5 teed together to attributes enabling easier musical a manufacturer of toy trains, who was give power 8. The suction motor is in alteration of rolls being copied. The later lent the other moulds by the Universal the piano seat. Iles intends to put the one has a row or scanning wires on Music Roll Company with permission to mechanism in a cabinet, isolating the a brush scanning the holes, and, unlike adapt them for train wheels. Moreover, theme and accompaniment, and, with two the earlier one, does not unwind onto a since Iles uses standard boxes and blowers situated in the works, to give conventional take-up spool. Alterations packing cartons he does not want to silent and faultless operation upstairs. in speed therefore are not followed make non-standard rolls. He uses a thin Since he personally made and designed on that principle. There is a button for manila paper which enables a longer roll all the scanning mechanisms in the stopping the scanner to give a rallentando than the old thicker paper. Where stuck, Works, he will soon accomplish this. effect, and a newly-installed button he makes two rolls out of one. He could, On Iles’ desk is an Aeolian box of the for introducing a circuit breaker, giving of course, copy long rolls on cardboard sort in which King George V had his rolls contiguous punchings on the copy where tubes, leaving buyers to find ends and delivered. It looks like an Audiographic the original had only long cuts. Various boxes. He does not use American box, but it is in black leather, deeply gears are available to adjust the fineness fasteners on the roll ends, since they are embossed in gold and lined inside with of “feed”, i.e. punches per inch to be dearer. He reinforces those he uses white silk. Iles has a bound collection of followed. The finest feed is not, however, himself. He tapers the rolls with a small Aeolian magazines, some of which refer available, but can be copied by pair of scissors. Rolls are composed to the Prince of Wales, now Duke of phasing the scanner and perforator, and by him almost freehand from the Windsor, as a fellow Duo-Artist. Aeolian recalibrating the roll speed on the basis music, since he finds conventional installed a Duo Art in his battleship when of the greater length of paper. roll-composing machines too slow. He he went to sea. adds touches of accompaniment from Originally the rolls were recorded on Iles has a formidable collection of what he hears on the radio, and often fills 88-note rolls with carbon markers, Duo Art rolls and a number of Master and the measurements were transferred in the octaves for effect. The factory is continue. . . 70 continued. . . rolls, not the stencils, though, which on the perfect functioning of the piano he dislikes the non-standard Themodist were destroyed during the war. He has action. He prefers the under-action on his holes. He liked the printing and no idea what he possesses and has no own Steck. He has a paper-testing presentation and general aspect of the time to find out (at 35 cents per roll machine, which has a bowl of water and copying. His preoccupation with the wholesale). I intend to catalogue his a heater and observes the stability of Themodist ‘snake bites’ relates to the rolls at a later date, but did have time paper. He says the Aeolian Company habit of offset punching of these holes to spot Chopin 014, which is unknown found that one batch was not like another to enable foot-operated Duo Arts to elsewhere. I have asked him to make ten from any one manufacturer. They stocked gain power from temporarily-opened copies, but this order might be increased their paper for a year before using it. The accompanimental dynamics, which is a to l5 if circumstances warrant it. This trouble with their recording system was vital subject for him, about which he has may be the only 014 I ever locate. So it that direct dynamic recording resulted in recently written a detailed letter to me. is obviously necessary to cut it. an overlap of readings. Thus 5 plus 2 He regards the moment of Themodising When Iles can set identical feed on changing to 8 would give a temporary as intensely important. He thinks there is scanner and perforator, his rolls appear reading of l5. They should have had no paper to beat a good manila. A Pathé perfect, as they should be, since he is larger rolls with l5 grades. They could news film was recently shot at the works, using the original Duo-Art perforator. He record accurately enough, but not direct but Iles was made to turn all sorts of has cut Sophie Menter 019 for me onto rolls. When they did, they spent so meaningless knobs, which offended him already, although this, for accuracy, was much time sifting out the errors, that they from a historical point of view. His recalibrated faster. Iles has all the found the old way faster. He likes answer to any offending roll is to bash a original rubber stamps giving the Grainger’s rolls best, because Grainger few new holes into it and correct it. His signatures and acknowledgements of made his own. Gordon knew nothing most recent Duo Art test-roll was a new the pianists, shown on English-made about the crash box, although he thinks roll, composed by him with new tests rolls. He also has labels and aprons - he must have heard it mentioned, i.e. the on it, (of some considerable interest somewhere. He got rid of his spare boxes crash-valve expression box. Artona’s to collectors). He is dead scared of since he likes his new folding variety. average production is estimated to be copyright troubles, which is why he about ten rolls per day. Iles is thinking will not have anything to do with In the course of a five-hour interview, of designing a push-up pianola. If things sending Duo-Art copies abroad, except Iles offered the following information or ever come back, he may put some more ones composed by him. views. When Duo Art is working, it is machines into operation. the best, although Reginald Reynolds After-thoughts: used to say Welte was the best, and Gordon’s father had many interests, Iles has a four-foot row of flashlight Ampico could do some things Duo Art especially amusement parks. He visited batteries as a booster on the perforator could not. Ampico was the cheap Coney Island, from which he brought to prevent errors when the machine system, and could not switch back new ideas. There used to be a Duo is switched off during a run and has intensities in the wonderful way that Art piano operating at the Margate park. to start again in the middle. His most the Themodist hole could for Duo Art. The family still fortunately derive an popular roll for sale is the Warsaw Iles dislikes losing the four notes on income from the amusement park at Concerto. What he really wants is an the bass of Duo Art, as also the need Margate and a greyhound track, etc. arrangement of the Tchaikowsky First to stagger themed notes. For concert With the death of old man Palmer of Piano Concerto, of which he only performances, the Duo Art was specially the Automatic Player Piano Actions possesses roll 2 in Themodist. The prepared with a separate blower for Company, Iles is one of the few survivors contact on the scanning machine is a special crashes. This was activated from of the Aeolian Company here still with bar of pure silver, “the only thing the maid-of-all-work, the stop hole. us. He is not old by comparison, and is of value in the place!” as Iles puts it. Some special buyers, who paid more, young in outlook, though preoccupied by FINIS had special rolls with stop holes the necessity to cater to demand. His performing this function for specially- transport is a motorcycle. built pianos. Iles states that pianos like Iles was impressed with Larry Givens’ his pianola in the workshop (1930) and rolls, by the fine feed, but wondered mine (l929), with top-action, had smaller whether the paper was going to cause note pneumatics and had heavier reliance trouble for above mentioned reasons, and
71 By Ron Bopp & Angelo Rulli All photographs by Ron Bopp USICAL BOXES FOR NEW COLLECTORS (A Primer of the Musical Box) The authors are providing an easy-to- screw air brake (a revolving fan that because of their short time of production understand document on the subject of the constantly rotates as long as the cylinder (Figure 3). In addition, their use was musical box. While many fine and detailed continues to turn) sits at the opposite end limited only to very small items such as articles have appeared in previous journals of the cylinder and allows the entire snuffboxes. The musical movements and texts, the majority of these are intended movement play at a constant and safe were placed in the base of the snuffbox for the advanced collector. The intent of this article is to provide basic information for the speed. and a celluloid or tortoiseshell cover new or beginning collector as well as a Musical boxes had their beginning was put over this to then hold the snuff quick refresher for those AMICA members when Swiss and/or French clockmakers (Figure 4). who have not specialized in the wonderful began putting tiny and simple musical world of the intricate musical box. movements into pocket watches (Figure 2). It was Antoine Favre, a master Swiss Among the most interesting discoveries in an antique shop, or a friend’s attic, is that of a musical box, a device that has been around in one form or another for over 200 years. Musical boxes have an aura all their own and this document will point out important historical facts as well as elaborate on Approximately 20 years after the the many aspects of this fascinating concept of the musical box was musical instrument. introduced, timekeepers began installing Fortunately, a number of books have tiny cylinder movements into watches. been written in the last 40 years or so on horologist, who in 1796 is said to have Attributed to Antoine LeCoultre of this subject and in order to understand developed a vibrating tuned steel tooth to Switzerland, this type of movement the nature of musical boxes, we must do produce musical sounds—instead of began what we recognize today as the some research. A simple description of a utilizing the then-popular bell carillon. more common cylinder musical box. musical box is as follows: a box or case (A recent discovery, however, of a During this same time period of 1810 to enclosing an apparatus that reproduces musical pocket watch by Ransonet of 1830, there was the evolvement of music mechanically when activated by France disputes this origin by an earlier the solid musical comb, the part of the clockwork. Basically, we find a pinned 24 years.) This led to the development of musical box that provides the actual cylinder that is programmed to play one the musical comb, the basis for the first tones, which involved an evolution from or more musical selections (Figure 1). musical box movements. Although small, individual teeth (Figure 5) to sectional these early movements were quite accurate and played with precision. The very first type of movement was one that played with the musical comb laid out in a fan-type arrangement. This was called the “platform movement” (or “sur plateau”) and these are rarely seen today
The cylinder is powered by a coiled combs (commonly found in early clock spring motor (by way of a set of base movements) to the one-piece solid reduction gears). The power of the motor comb found in all movements after the causes the cylinder to revolve, which 1830s (Figure 6). The sectional combs plucks the teeth of the musical comb, were interesting (mechanically speaking) thus producing the tune. A governing arrays of from one to five or more teeth mechanism with a gear train and endless produced in a small comb fashion, which 72 continued. . .
music would be selected for this type of movement. Because of the extra materials and time involved with the production of a musical box of this type, it was very expensive in its day and is quite an unusual find today, and also very collectible. were then individually attached in rows Musical boxes produced between the on the bedplate to form a complete comb. 1830s and 1890s began to take on other After the 1830s, it was the industry Early musical boxes had their controls on improvements and changes. First, the standard to produce a one-piece comb. the outside of the case instead of inside, key wind was eliminated and the lever The time period of 1820 to 1840 saw as did later models. The earliest of these ratchet wind was substituted (Figure 11). the flourishing of the musical box as had no outside protection, but after the The controls an early industry. Many towns in 1840s a wooden flap was provided. were moved Switzerland, particularly Geneva and Ste Gutta percha was one of the first from the outer Croix, were primarily devoted to this plastic materials. It was made from left of the case production. Several residents were a mixture of resins from Malaysian and inserted engaged with one facet or another of the trees. It was molded and used into the right production of parts or assembly of for daquerreotype cases, toilet side (Figure musical boxes in what was then a cottage articles, and picture frames in the 12). Another industry. nineteenth century. Gutta percha improvement in The first cases for musical boxes were was used almost exclusively in the quite primitive compared to the more early snuffboxes because it was modern musical box, and the earliest moldable. Three-dimensional were simply small snuffboxes made of scenes (of famous places) were wood, gutta percha (see inset — or text typically created. box or however you choose!) or tortoise, Some of the best cylinder musical with a delicate movement (Figure 7). boxes were those made by Nicole Freres, perhaps the most celebrated maker of musical boxes. The Nicole brothers of Geneva made them from 1815 to 1903. Nicole stamped its marque on several places of the movement, obviously very proud of their work. Few musical boxes, however, are embellished with the maker’s name and more detective work is involved to find the maker. (Makers that did attach some form of signature to their These were followed by cases that were boxes most often did so by placing it on void of any decoration that were simply the top or bottom of the bedplate and/or the mid-1800s was the development of assembled wood pieces. The early tune sheet although marks have also been the “forte-piano” movement (Figure 13). musical boxes are referred to as “key found on the end of the cylinder, on the Whereas most movements utilized a wind” stemming from the use of a comb, on the winding handle and even on single comb, the forte-piano had two winding key, similar to most clocks, to the bracket that holds the endless screw.) different length combs: a longer one that wind the spring barrel that is needed for Nicole Freres are well-known for their was voiced loudly (forte) and a smaller powering the movement (Figures 8 & 9). “fat cylinder” or “overture” movements, comb that was voiced much softer which have a larger cylinder than normal (piano). With proper arrangement of the that allows for longer pieces of music to music this would allow for expression be played (Figure 10). Usually classical and thus, are very desirable among collectors today. During the mid-1800s the consumer became tired of hearing the same six or eight pieces programmed on their musical boxes. This problem was addressed by the invention of first, the “rechange” musical box, one that had two or more cylinders made just for it; continue. . . 73 continued. . . and then the “interchangeable” musical were added for additional effects. Some would be fitted with musical movements. box, one that used multiple cylinders, musical boxes were manufactured with When one would sit on the seat, the cylinders made for all similar musical miniature reed organs that would movement would play one or more tunes. boxes made by the same manufacturer complement the sounds of the traditional During the 1880s competition had (Figure 14). These were expensive boxes musical box. become keen enough, and the public Some fancy musical boxes had all the demand was strong enough, that the additional elements (bells, drum, evolution of a musical box that would be castanets and reed organ) including the less costly and offer more and varied basic cylinder and comb and these were music was inevitable. Paul Lochman of referred to as “orchestra” boxes (Figure the Symphonion Musikwerk of Leipzig, 15). The addition of the extra elements Germany, was one of the first craftsmen to invent the disc musical box. This had two primary advantages: first, instead of an expensive pinned cylinder to play the musical comb, this type of musical box depended on inexpensive and interchangeable zinc, or steel (either tin and not every household could afford or copper-plated) round discs to play the such a piece, but they did offer diversity combs. The disc would indirectly play of the musical selections that owners each tooth by way of an intermediary star could enjoy. Smaller interchangeable wheel. Secondly, the disc arrangement musical boxes stored the extra cylinders produced musical boxes that are very offered an almost endless choice of tunes, in their base, but large boxes with desirable by collectors today because of whether they were classical or popular, multiple cylinders presented a problem the obvious visual effects. marches or waltzes, sacred or holiday for storage and ingenious ways to In the late 1800s and early 1900s tunes. The choice was now up to the circumvent this resulted in spectacular cylinder musical box movements consumer as to what type of music would cases and matching tables. commonly were used in applications be heard. The peak of sales of disc Perhaps one of the highlights in the other than in an ordinary musical musical boxes was from 1895 to 1905. perfection of the cylinder musical box box case. Interesting uses included Disc musical was in 1882 when Albert Jeanrenaud of movements in time-keeping devices such boxes became the Paillard firm (another well-known as mantel clocks. The movement could very popular in cylinder musical box company of be set to play on the hour and such the United States Ste Croix, Switzerland) invented the cylinders had one or two tunes and the leading plerodienique (plur-o-di-en-eek) or programmed on it. Also, the use of oil manufacturer was telescoping type of cylinder. This paintings with both a real clock the Regina Music allowed for uninterrupted music to be and musical box movement was not Box Company pinned on a cylinder. Accordingly, this uncommon. Musical albums have also (Figure 18). would provide for classical numbers to been found with a one or two-tune Located in Rah- be included in their original length, not movement (Figures 16 & 17). Family way, New Jersey, cut down or re-arranged to fit a set time historians of the 1890s must have this business was that an ordinary cylinder would require. enjoyed viewing their photographs incorporated in In the late 1800s the musical and listening 1894, six years box industry became more aware of to mechanical after the Sym- competition and changes began to take music at the phonion Musikwerk and four years place. The quality of the musical box same time. after the beginning of the Polyphon declined slightly as the once made-in- Attractive pieces Musikwerk. These three companies the-home product that was made with of furniture, such accounted for 90% of the disc musical dedication for quality, workmanship and the Black Forest box market. Manufactured from 1894 sound gave way to mass production of a carved chair, to 1919, the Regina musical boxes real business product. Musical box cases were the most popular in the United became fancier with inlays of exotic States and approximately 100,000 units woods. The addition of musical bells were sold. Regina made several popular became commonplace. At first, the sizes ranging from 8 1/2” to the 27” bells were hidden under the musical style. The 15 1/2” table model was movement, but later were put out for apparently the most popular as this style display; oftentimes they were engraved is the one found most in collections and struck by butterfly-shaped hammers. today. Then a drum and castanets or wood block continue. . . 74 continued. . .
Of similar size and producing as (Figures 21 & 22). All one needs for better tonal brilliant a sound was the Mira musical to do is choose quality. box made by the Mermod Freres from one through The Regina Company of Ste Croix, Switzerland twelve on the tune Company, not (Figure 19). The Mermod brothers’ firm selector, drop a to be outdone was an earlier coin or switch the by other competi- producer of fine box to “on” and tion, domestic and cylinder boxes listen. The Regina foreign, produced and, in keeping firm manufactured deluxe models up with competi- changer models on special order. tion, produced that would use Sometimes art both the Mira and their 15 1/2”, glass panels were Stella brands of added to their disc musical box. 15 1/2” changers While made in (Figure 25). These changers could only modest num- also be fitted with a clock, one that bers compared to would not only keep time but also allow the Regina boxes, the musical box to this was still a popular brand of play on the hour. disc musical box. Their musical box Special cases mechanisms per se were only made referred to as by the Mermod firm. Later these Rookwood styles movements were installed into cases for their beautiful, provided by the distributor. hand-painted The music of the disc musical boxes scenes could be was produced by use of steel combs: 20 3/4” and 27” discs. The changer ordered. These either one or two, or rarely, four. model is a favorite with collectors were available in Four-comb machines were quite brilliant today because of their beauty, several styles, in sound and design. New Century their mechanical uniqueness, and including drum musical boxes, with four combs, of course, the tables (Figure 26) exemplify this quality. As with the music. and secretaries. Regina movements cylinder boxes, bells were sometimes The 27” disc were even incorporated into desks added and with usually good results. The boxes, whether (Figure 27) and china cabinets. bells in the disc musical box were either found in the in the form of saucers, the form most changer model commonly seen, or bars or tubes, as (Figure 23) or sometimes found in Polyphon and the single-disc Lochman upright disc musical boxes model, the Regi- (Figure 20). na Orchestral Sublima (Figure 24). Even rarer
the “casket” table model (referred The largest disc- to as a casket operated instrument because of the produced (only folding doors in small numbers, The Regina Company, as well as which opened for however) was a Polyphon and Symphonion, made the playing of the Concerto model changer models that were tall-cased large disc) had made by both and would play one of twelve different combs encom- Polyphon of Germany selections. (Polyphon changers were passing over and later, by the made to hold either ten or twelve seven octaves Regina Music Box discs and the Symphonion changers and played about Company (Figures would hold either six or twelve two minutes during a revolution of 28 & 29). Using discs.) The Regina changers are the disc. The larger upright cases a 32” disc this very popular with collectors today incorporated a piano sounding board was not even a continue. . . 75 continued. . .
musical box One of the or by removing the turntable and adjust- in the true more popular ing the motor speed, a favorite musical sense of the variations of box disc could be enjoyed. Such attempts word as it disc musical were short-lived, however, as the phono- incorporated boxes was the graph industry soon took over and, after a piano, bells Capital cuff the early 1900s, the musical box industry and trap box which was was a thing of the past. The Regina firm effects. They produced by manufactured music boxes to 1919, but were initially Frederick G. sales dropped dramatically after the early imported Otto and Sons, 1900s. Ironically, the laboratory of around 1905 Jersey City, Thomas A. Edison, the inventor of the but had a New Jersey phonograph, was barely five miles away short time of (Figure 32). from the home of the Regina Music Box production, Production began in the mid-1890s and Company. as they never achieved the popularity of sales paralleled those of the Regina We have now traveled a time span of the coin-operated pianos produced by the Music Box Company. The cuff box well over 200 years in the development deKleist/Wurlitzer and Peerless firms in movement includes a comb and star of a fascinating item, the musical box and the early 1900s. Being eight feet, six wheel assembly (a star-shaped wheel its movement. Some of our questions inches tall they are certainly novelties in which is struck by a projection on the have been answered and many more have today’s world. cuff and which, in turn, plucks a tooth in been raised. The interested reader is Likewise the Symphonion Company the music comb) and a metal cone. This invited to browse through the attached of Leipzig, Germany made several cone (or “cuff”) is not unlike that of a reference list for more detailed informa- models. Symphonion utilized their musical box steel disc, but rather than tion regarding the musical box. movements in both large upright models being laid out in circular disc fashion it is and, not too infrequently, grandfather in the shape of a gentlemen’s shirt sleeve REFERENCE clocks. The musical movement would be cuff, thus the name. Bahl, Gilbert, Music Boxes, Courage housed in the base and called upon The cuffs were of Books, Philadelphia, 1993. hourly to play depending upon the mood painted blue steel with of the owner. an eagle emblem and Baumel, Rachael Bail, Alex Templeton’s A most unusual type of music box was were made in three Music Boxes, Wilfred Funk, the Symphonion Eroica (Figures 30 & sizes with the larger New York, 1958. 31). Inside this tall-cased instrument are models providing the Bowers, Q. David, Encyclopedia of best musical quality Automatic Musical Instruments, (Figure 33). Vestal Press, New York, 1972. As the popularity of the musical box was waning, Bulleid, H.A.V., Cylinder Musical Box manufacturers tried to recoup business Design and Repair, Almar Press, by combining the attributes of both the New York, 1987. disc musical box and the phonograph. Bulleid, H.A.V., Cylinder Musical Box The Regina Music Box Company Technology, Almar Press, New York, recognized the need for this change and 1994. in the early 1900s began production of the Reginaphone. This was produced in Chapuis, Alfred, The History of the several case Musical Box and of Mechanical styles (Figure Music, Musical Box Society 34) including International, Summit, 1980, the Rookwood republished St. Paul, Minnesota, 1993. placed not one, but three identical painted case. Clark, John E. T., Musical Boxes, 1943. movements. Each disc plays its own The turntable separate sets of combs. The discs for the record Metzger, Frank, Bulletin, Musical Box were sold in three-disc sets and were could be easily Society, Denver, 2002. manufactured to either play in unison attached to a Mosoriak, Roy, The Curious History of (to provide great depth and volume) or spindle which Music Boxes, Lichtner Publishing to play with slightly different versions (to was powered Corporation, Chicago, 1943. provide melody and countermelody). by the music A most unusual musical curiosity, box motor. Ord-Hume, Arthur W.J.G., Clockwork these musical boxes hold a special niche With the inside- or outside-mounted Music, Crown Publisher, New York, 1973. in collections today. horn, one could hear a record of the day, continue. . . 76 continued. . .
Ord-Hume, Arthur W.J.G., Collecting Cuff - descriptive of the sleeve-shaped Mandolin box - cylinder music box with Musical Boxes and How to Repair truncated metal cone used on the Capital three or more teeth tuned to each note Them, Crown Publishers, New York, “cuff” boxes made by F.G. Otto & Sons. in its musical scale. Plucking adjacent 1967. notes in series produces quickly Cylinder - barrel, usually of wood repeating mandolin-like sounds. Ord-Hume, Arthur, W.J.G., The Musical or metal, on which music is pinned - Box, Crown Publishers, New York, metal wax or cement-filled cylinders Manivelle - a small cylinder or disc-type 1980. used in cylinder-type music boxes. music box, which is operated by Individual notes are represented by continuously turning a hand crank. Ord-Hume, Arthur, W.J.G., The Musical protruding metal pins. Box, A Guide for Collectors, Schiffer Orchestra box - cylinder music box with Publishing, Atglen, PA, 1995. Damper - in a music box a small piece of added effects, usually saucer bells, a wire which brushes against a tooth in a small drum, a wood block or wood drum, Ord-Hume, Arthur, W.J.G., Restoring music comb and dampens or mutes its and occasionally, a reed organ section. Musical Boxes, Crown Publishers, vibration before it is plucked again. New York, 1980. Overture box - a cylinder music box, Sometimes called a hairspring (In some containing overtures or operatic Rulli, Angelo, Musical Boxes and Other early cylinder boxes feathers were used.). selections, usually elaborately arranged Musical Marvels, MBSI, St. Paul, Duplex comb - two music box combs, on a large-diameter cylinder and Minnesota, 1987. both tuned to about the same pitch, and played on a music comb with Tallis, David, Music Boxes: A Guide for both played at the same time for an finely spaced teeth. Collectors, Stein and Day, New York, intended effect of extra volume. Parachute - a safety check, which stops 1971. Endless screw - in a music box the the cylinder from spinning out of control, Webb, Graham, The Musical Box spirally cut worm gear used to drive the should the governor fail. Sometimes Handbook, Volume 1 - Cylinder fan-fly or governor assembly. called a safety check. Boxes, Vestal Press, New York, 1984. Forte-piano box - type of cylinder music Platform movement (Sur-plateau) - Webb, Graham, The Musical Box box with two music combs, one tuned small musical movement used in 18th Handbook, Volume II - Disc Boxes, loudly and the other tuned softly. and 19th century watches and similar Vestal Press, New York, 1984. small items. The pins are arranged in Governor - speed control device in musical sequence on the surface of a disc an automatic musical instrument. MUSICAL BOX GLOSSARY* or platform. Separate steel teeth are The parts for a musical box generally Automatic disc changer - in a disc-type arranged around the periphery so that the consist of a bracket or cock, the music box, a device which stores a end of a given tooth will be activated cockplate which holds the jewel, an quantity of discs (usually 10 or 12) and when a pin in that position plucks it. endless worm or screw, the first and which plays them automatically, either in second wheels and pinions which Plerodienique box - cylinder music box sequence or by manual selection. engage the governor to the great wheel with the cylinder made in two parts, each Bedplate - metal plate or foundation, on the end of the cylinder. The governor of which shifts laterally outward from usually of brass or cast iron, used to is usually of the fan-fly type with center during the tune changing process. support the music combs and attendant rotating fan blades. (Sometimes called Projection - term used to describe the mechanisms of a disc-type or cylinder an airbrake.) protruding studs on the underside of a music box. Harp attachment - a popular attachment music box disc. Made by forming metal Cartel box - small or medium size affixed to the combs of a music box. See displaced by partially perforating the disc cylinder music boxes made during the zither attachment. surface. late 19th century by Bremond, Mermod, Jewel - A small jewel, usually a synthetic Revolver box - cylinder music box with Paillard and others with factory-type ruby, at the top of the governor and used three or more cylinders affixed to assembly facilities. to resist the pressure of the endless screw. endplates, which are mounted on a Cylinder pin - A steel pin inserted into common shaft. The cylinders can be Key-wind box - a cylinder music box, the cylinder and representing one musical changed by rotating the entire assembly usually of the early or mid-19th century, note. so that another cylinder is brought in which the mainspring is wound by a into the playing position adjacent to Cylinder end caps - The brass caps or detachable key. the music comb. plugs which close off the open ends of Lever-wind box - a cylinder type music the cylinder and provide the bearings for Rookwood finish - decorative finish box, usually of the mid-or late 19th the arbor. applied to certain automatic instrument. century, wound by a permanently Separate scenes, usually in oil, are Comb - a series of tuned metal teeth attached lever with a ratchet escapement. painted on different portions of the arranged in a musical scale. Used in disc and cylinder music boxes. continue. . . 77 continued. . . instrument. Portions not painted are fin- struck by a projection on a disc and Tune card - listing of tunes giving the ished in a red mahogany color. which, in turn, plucks a tooth in the musical program of a music box. music comb. Sectional comb - in a cylinder music box Tune indicator - pointer arm, numbered a comb made by affixing by screws Sublime harmonie - widely used comb dial, or other device, which indicates the groups of one to five teeth. arrangement in music boxes. Two nearly number of a tune being played on a cylin- similar combs are tuned Celeste, thus der music box. Snail cam — A star-wheel shaped wheel giving an extra depth and richness to the with the top face arranged into a series of Zither attachment - a tight roll of stiff tone. steps, each step measured so that, when tissue paper positioned in a metal protect- in contact with the cylinder stud, it push- Sur plateau - A French term meaning ing plate and positioned over the teeth of es the cylinder one step, or one song, to “upon plate,” and used to describe the a comb in a cylinder or disc music box. the left, allowing several songs on a very early movements fitted into watch- When lowered at will it produces a cylinder to be played in succession. es, etc., consisting of a brass disc with vibrating sound similar to a zither. pins protruding at right angles to one or Snuffbox - small pocketsize-hinged box both surfaces and plucking the individual *Taken in part from Bowers’ Encyclopedia of used to carry snuff. Often fitted with a steel teeth which produces the sound. Automatic Musical Instruments. small cylinder music box movement. Tooth - tuned tine or projection, usually Star wheel - in a disc-type music box, an made of hardened steel, used to sound a intervening star-shaped wheel which is note in a music comb.
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78 Submitted By Robert M. Taylor USIC
all over the world. Listening to him He is – was – a German pianist, in Carnegie Hall, one thought a lot, commonly grouped with Kempff and naturally, about Beethoven, and about Edwin Fischer. These are thought to be Beethoven pianists, past and present. avatars of intellectual, contained, almost I happen to like pianists in Beethoven professorial pianism. But Backhaus was who are not necessarily known as much broader than merely the Germanic Beethoven pianists. Artur Rubinstein, for pianist (as were the others), and he Backhaus for Your House example, was extremely good in was capable of anything. A Germanic By Jay Nordlinger Beethoven, no matter his reputation as a grounding, however, never hurts anyone. From National Review/July 28, 2003 Romantic. A brief biographical rundown, before I cherish an anecdote told about getting to some recordings: Backhaus Daniel Barenboim just completed a Malcolm Frager, a fine all-purpose was born in Leipzig, when Brahms was cycle of Beethoven piano sonatas at pianist. Apparently, he turned to one still going strong – hell, when Liszt Carnegie Hall. That is, he played all 32 orchestra, before rehearsing a Beethoven was still alive. He studied with Alois sonatas, over eight recitals. In so doing, concerto, and said, “As I’m not a Reckendorf at the local conservatory, and he became only the fourth pianist to Beethoven specialist, I think we should then with Eugen d’Albert, the titanic perform this cycle in that historic hall. take this at the proper tempos.” There Liszt student. In 1905, he won the Anton The first was Artur Schnabel, in 1936. is a store of wisdom in that crack. Rubinstein Competition, in which Bela Then came Alfred Brendel, almost 50 Bartok finished second – an outcome years later. Then Maurizio Pollini. And with which the great Hungarian was none now, Barenboim. too pleased. Backhaus would devote his The Beethoven sonatas may be entire life to piano playing, appearing to considered the summit of the piano some as a kind of musical priest, having literature. They are almost written on little “life” outside of his instrument, but tablets. Of course, another summit is taking his craft and his calling with the Bach’s Well-Tempered Clavier (if we utmost seriousness. (This is not to say can speak for the keyboard in general, that music doesn’t have its fun, which rather than the piano in particular). It’s Backhaus well knew.) pleasant to reflect that Beethoven He loved recordings, and the idea of imbibed The Well-Tempered Clavier – recording, and took to it early. He was in both books – while learning in Bonn. the studio as early as 1908, when singers Bach soaked into his brain, serving him like Caruso had barely gotten their arias well, forever. out. (Singers went before all others, I have written about Barenboim being best suited to the acoustical horn.) extensively (elsewhere), and don’t intend Backhaus was the first pianist to record to repeat myself now: but I will not resist many works: the Chopin etudes; the a comment or two. He is a mighty Brahms D-minor concerto; the Grieg musician, of course, now better known as concerto. Sage though he was, he had an a conductor than as a pianist. But he almost superhuman technique. He was, in fact, a virtuoso, although this did not is not always a successful pianist. As he Wilhelm Backhaus proved in those eight recitals, he dominate his art. He liked to say that he is shockingly inconsistent, capable The market offers many boxed sets of kept in shape with scales, arpeggios, and of superb playing in one sonata, and complete Beethoven sonatas. You can Bach – the basics. He thought the public outright amateurish – disgraceful – get the historic – Schnabel (always), deserved a trim technique, in addition to playing in another sonata. He often bulls Wilhelm Kempff, Annie Fischer; you can musical revelation. his way through, not caring what he get the contemporary – Richard Goode, Backhaus was associated with what wrecks. And, at this stage of his career, John O’Conor, Ian Hobson. But, in recent was called “die neue Sachlichkeit” (“the he may suffer from a lack of practice weeks, my mind has gravitated to new objectivity”). He was faithful to the time. Wilhelm Backhaus, the great pianist who score, trying to serve the composer And yet he things he has a lot to say lived from 1884 to 1969 – and who as best he could, while not denying about Beethoven, and we should not performed continually for all but the very himself altogether. Walter Frei, in a contradict him. He has recorded the first of those years. You might say that, in 1992 essay, referred to his “beautiful complete sonatas three times, and he has listening to Barenboim batter Beethoven, unobtrusiveness” – a beautifully apt played the cycle of sonatas many times, I was driven to Backhous, seeking relief. phrase. Vladimir Horowitz paid him a
79 continued. . . kind of compliment when he said that the D-minor concerto, with Adrian Boult avoided. But the likes of Wilhelm Backhaus was “a wonderful pianist, not – a magnificent Brahmsian in his own Backhaus are thin on the ground, and really representative of the German style right – conducting. Together, Backhaus he has much to teach us, through the [ahem]. He was far more relaxed than and Boult are impassioned, controlled, documents he took care to leave. most of them.” He was almost an ideal and enthralling. combination of head and heart, erudition A very nice compilation comes from and instinct, obedience and freedom. It Andante – a set of four CDs purveying seems clearer every year that he was a early recordings, including those initial surpassing musician. efforts in 1908. It takes a while to get Romancing He recorded the complete Beethoven used to the hiss – these cuts date from the the Score sonatas twice. The second cycle came Theodore Roosevelt administration, Terry Teachout when he was in his 80s, because his label remember – but Backhaus easily wins From Commentary July-August 2003 – Decca – wanted him to lay down the out. His Chopin etudes are both stylish sonatas in stereo: Everything that had and startlingly accurate – and we should Most listeners would agree on what been recorded before had to be bear in mind that Backhous benefited the word “romantic” means when it is re-recorded, using this marvelous new from no touching up, as later, lazier, less used to describe a piece of music. But method. So these Decca discs (which capable pianists would. Some morceaux what does it mean when used to describe are easily available) show Backhaus in of the age include a Smetana polka the interpretive style of the artist who his autumnal years. His powers are still (not terribly Germanic, believe me) performs it? formidable, even if some – just some – of and Moszkowski’s Caprice espagnole The distinction is not trivial, for it is his fire has dimmed. What you get from (likewise). There are Beethoven possible to play any kind of music – Backhaus, above all, is honesty: honesty concertos, too – the Fourth and the Fifth including the intensely subjective music of expression. Backhaus lets you hear – and they are noble, feeling and right. of such romantic-era composers as through “interpretation” to the essence of Perhaps the best taste of Backhaus, Chopin, Schumann, and Liszt – in an the music itself. however, comes on his Great Pianists of infinite number of ways, some of which Given that he was more than a the 20th Century discs. I refer to his do not sound “romantic,” just as it is Beethoven pianist, I should mention a two-CD installment in the mammoth possible to “romanticize” the music of CD from Pearl, belonging to its Piano series issued by Philips five years ago. pre- and post-romantic composers. Yet Masters series. This features Backhaus in We hear Backhaus in five Beethoven the music itself remains unchanged, even a variety of music, recorded in the 1920s sonatas, performed in 1954, when he when it is being performed in what we and ‘30s. He plays two pairs of preludes was, arguably, at his very best; we hear may perceive as an unidiomatic way. and fugues from Book 1 of The him – almost incomparably – in the Does this mean that performance style Well-Tempered Clavier, including the Brahms Second Concerto; and we hear is a purely arbitrary convention? Or are very first, in C major. What music could him in a group of small pieces he would there right and wrong ways to play a be simpler, humbler, purer, greater? use as encores. given piece of music? It is tempting to Backhaus merely allows it to be. His There is a Schubert impromptu, and suggest that these questions would be playing is mature, understanding, and Schumann’s “Warum?” – so gentle and less vexing if musical notation were more balanced – one might even call it “well inquiring – and a Chopin etude, and precise, and if it were thus possible to tempered.” He also plays Liszt’s Brahms’s C-major intermezzo (a reliable know from looking at a score exactly transcription of the Schumann song encore of the Austro-German pianist for how a composer intended his music to be “Widmung,” as was once popular. In his generations). But the piece I would like played. But that is not the case: changes hands, it is sweet and sincere, with no to single out is “Soirees de Vienne,” in speed and volume (dynamics) cannot melodrama. And a Moment musical which is “Liszt after Schubert,” as we be notated precisely, merely suggested. (Schubert) is especially touching: a say. In music, some things need to be In practice, moreover, many vocalists souvenir from a long-ago era. heard, as they are indescribable in words and instrumentalists distort or disregard The Naxos label – very cheap – offers (which is why we have music, apart from even the most specific directions. Sergei an all-Brahms disc, which includes speech). All I can tell you – or allege – is Rachmaninoff, for example, completely Backhaus’s traversal of the Variations on that, when Backhaus plays this piece, he rewrote the dynamics in the funeral- a Theme by Paganini. This is one of the conjures up a former, and better, world: march movement of Chopin’s B-flat most difficult works in the repertory, but Central Europe before 1914, before 1933, Minor Sonata, Op. 35, and countless Backhaus evinces no strain – he was as before 1939, when all seemed sane other performers of his generation made adept as any Russian barnstormer. But and good and lovely. The longing and equally dramatic changes in the pieces the primary miracle of this performance nostalgia in that playing is almost they played. is musical, not technical. He reveals the unbearable. It is hard to stop listening to. We know how Rachmaninoff played Variations as Brahms himself might There are plenty of pianists who can the Chopin B-flat Minor Sonata because have, if he had had the fingers for it. play today. (Well, not “plenty.” As I he recorded it for Victor in 1930.1 Most (I myself have my doubts!) The Naxos frequently say, there is no need to retreat (though not all) of the major performers disc also provides that first recording of to recordings. Past-worshiping is to be continue. . . 80 continued. . . active during the first quarter of the 20th the composer with whom he was most and orchestra would follow her lead. century made records that shed similar closely identified, is their pronounced This quality is also on display in light on contemporary performance instability of tempo. This trait can be Pachmann’s 1911 performance of the practices. Two of these artists, the heard to striking effect in his 1912 F Major Nocturne, Op. 15/1, whose pianists Vladimir de Pachmann performance of the popular E Major melody he phrases in a wayward, (1848-1933) and Rudolf Serkin Etude, Op. 10/3. In this familiar piece, seemingly improvisational manner (1903-91), are also the subjects of newly a serene melody floats above an reminiscent of a turn-of-the-century published biographies that do almost as evenly undulating sixteenth-note singer. much as their recordings to answer the accompaniment. No pianist ever plays Pachmann’s playing is a relic of a lost complicated question of what makes a these sixteenth-note patterns perfectly world far removed from us in time. Born musical performance “romantic.”2 “straight”; instead, they are always the year before Chopin died, he made Pachmann’s name is now known only executed with unwritten rhythmic his first recordings in 1907, nearly a to collectors of early piano recording, but fluctuations known as rubato. Such century ago. And for all his well-attested as late as the 1920’s he was one of the fluctuations are the life’s blood of idiosyncrasies, the salient features of his most celebrated virtuosos in the world – romantic music, and they can be heard in style are not uncharacteristic of other, though not for his playing. Midway the playing of every modern-day pianist less eccentric 19th-century performers through his career, he began to talk to who has recorded the E Major Etude, who left behind records of their playing. audiences, delivering mock-serious from the expansively romantic Van The French pianist Alfred Cortot, for lectures on his own greatness and Cliburn to the coolly contemporary example, born in 1877, made a recording muttering half-audible explanatory asides Maurizio Pollini. As differently as the of the E Major Etude in 1934 that is while he played. This habit became two men play the piece, their playing has similarly vocalized and rhythmically steadily more pronounced as he grew in common a restrained application flexible, and also prepared a “student’s older, to the point where some observers of rubato that is for the most part edition” of the piece in which he began to doubt Pachmann’s sanity. characteristic of postwar interpreters. explained that it requires “expressive For all his personal peculiarities, Pachmann’s version of the E Major merging of the rubato tempo with the Pachmann’s playing was greatly admired Etude, by contrast, is extreme to the point musical phrasing” and “clarity of tone . . by many of the leading critics of his day, of capriciousness in its use of rubato. Not .to give the melodic line full opportunity including a number of normally only is his playing of the accompaniment for limpid play against a shrouded sober-sided observers who might rhythmically uneven, but the overall background.” It would be hard to reasonably have been expected to be tempo of the performance ebbs and flows describe the romantic style of both antagonized by his erratic behavior. to a degree that modern listeners may Cortot and Pachmann more precisely Samuel Langford of the Manchester find exaggerated (even though Chopin’s than that.6 Guardian, for instance, described a 1925 notation indicates that he wanted the Such subjectivism was bound in time recital – one of Pachmann’s last public piece to be played with frequent touches to fall from favor. Just as the modern appearances – as follows: of rubato). movement in musical composition Pachmann has always been At the same time, Pachmann’s playing reacted against the hyper-romantic unquestionably among the greatest is not “sentimental” in any conventional excesses of Wagner, so did a new pianists in the world . . .One began sense. His basic tempos, for example, are generation of younger performers call to forget his age, for he had worked actually quite brisk – his recording is for a return to classicism in musical himself into a sort of youth once three minutes and seventeen seconds interpretation. more, and his opulence and rapidity long, a minute and a half shorter than Rudolf Serkin, who first won fame as of execution enabled one to sense Cliburn’s 1961 version – and he plays the the recital partner and protégé of his the true Pachmann, the exhaustless tempestuous middle section much faster father-in-law, the German violinist Adolf genius of the piano. than the song-like opening and closing, Busch, was among the most prominent But his reputation went into a steep in the process completely disregarding of these neoclassicists. Virtually decline after his death in 1933, and the Chopin’s explicit instruction that this part every aspect of his and Busch’s styles condescendingly colorful account of his should be played with only “a little more constituted a rebellion against what platform antics included in Harold C. animation.”5 they took to be the self-aggrandizement Schonberg’s The Great Pianists from No less striking is what, for lack of of the romantic-era interpreters who had Mozart to the Present (1963) was for a better word, might be called the come before them. Significantly, Busch many years the only readily available “vocalized” quality of Pachmann’s and Serkin spoke of their crusade against description of Pachmann’s playing.3 pianism, in which top-voice melodies romantic subjectivism in moralistic Not until recently were his recordings are decoupled from their inner-voice terms. As Busch put it in 1927: transferred to CD, making it possible for accompaniments and played with great Playing interestingly is nothing – modern listeners to judge his playing – rhythmic flexibility and a singing, anyone can do that; but playing and eccentricities – for themselves.4 resonant legato, much as a soprano of the rightly, as we can do, no one else The first thing one notices on listening period might have sung an operatic can do that – not even us . . . Our to Pachmann’s recordings of Chopin, aria, taking for granted that the conductor continue. . . 81 continued. . .
way of making music, Toscanini’s baldness. The effect is ascetic, even Not so Serkin. According to his way . . . is nevertheless the right penitential – two adjectives that could biographers, “no major instrumentalist way and the “enduring” way! never have been applied to the playing of of his time made as little of his solo For both men, as for the similarly Pachmann or Cortot.7 repertoire available on recordings,” and inclined Arturo Toscanini, the first step in A kind of law of opposites seems to be the reasons for this unwillingness seem playing “rightly” was to eschew the operating here. Just as Serkin played clear enough in retrospect. Serkin’s tone capricious, improvisational rubato that Chopin in a way most listeners, then as reproduced on CD sounds hard and was the principal feature of romantic-era as now, would consider unidiomatic, splintery, while his self-consciously plain interpretation. “For any music, the pulse romantic pianists like Rubinstein, Josef interpretations, however convincing they should remain unified, with a certain Hofmann, Benno Moiseiwitsch, and may have been when heard in concert, do flexibility,” Serkin declared, adding Vladimir Horowitz found the not stand up well to repeated listening.9 that any performance failing to observe Austro-German classics strangely And what of Pachmann? The this rule was “a crime.” Similarly, he elusive. Their rhythmically flexible, elaborate idiosyncrasies of his playing disdained Pachmann’s delicate, sensuous tonally lush interpretations of will no doubt mystify listeners raised on tone, opting instead for a harsher sound, middle-period Beethoven usually sound the international style, in much the same one evocative not of a lyric soprano but soft-centered, even spineless. To listen way that they might be puzzled by the of a symphony orchestra in full cry. to these variously unsatisfying recordings rhetorical excesses of a performance by Not coincidentally, Serkin devoted is to come away wondering whether Edwin Booth or Sarah Bernhardt of a most of his time and energy to the the ability to play Chopin and Beethoven play by Shakespeare or Racine. Such Austro-German classics, playing convincingly might be mutually excesses, however, were taken for comparatively little Chopin and exclusive. granted in the 19th century; indeed, Schumann, hardly any modern music, Only when a younger generation of they were in a very real sense what and no Liszt at all. (The seventeen solo performers began to cultivate what I have romanticism was all about. By the same programs he played at Carnegie Hall elsewhere called and “international” style token, the “self-love” of which Rudolf between 1970 and his farewell concert in of interpretation did this begin to change. Serkin was so suspicious is one of 1987 were devoted exclusively to the In this international style, the modes of the principal features of Pachmann’s music of Bach, Haydn, Mozart, the romantic and neoclassical eras were recordings, which are as much about his Beethoven, Schubert, Brahms, and Max amalgamated into a single, unified personality as the music he played. It is Reger.) In this respect he resembled Artur approach to interpretation.8 Though one thing to be puzzled by these excesses Schnabel, though Serkin did not admire the result is too often bland and and another to be offended by them, the playing of the older pianist. unadventurous, its most gifted exemplars, as were Busch, Serkin, and their fellow According to Richard Goode, one of including Cliburn, the Rumanian pianist neoclassicists. One may prefer the Serkin’s most successful pupils: Dinu Lipatti (1917-50), and Murray straightforward playing of Serkin to the He was very critical of Schnabel. Perahia, a Serkin-influenced American wayward rubato of Pachmann, just as one He said a very interesting thing pianist who also studied with Vladimir may prefer Beethoven and Schubert to about Schnabel and [Arthur] Horowitz, rank among the most gifted Chopin and Liszt. But to claim that one Rubinstein, whom I’d never musicians of the 20th century. style is “right” and the other “a crime” is, previously thought of in the same As for Rudolf Serkin’s “pure” quite simply, nonsensical. Moral category. He said, “Both of them neo-classicism, it is now as much a thing considerations are not at stake in musical have a kind of love of self and, as of the past as is the equally pure interpretation. And while it may be you know, self-love can be very romanticism of Vladimir de Pachmann, meaningful to say that Rachmaninoff’s infectious. and both styles survive only on record- performance of the Chopin “Funeral This remark goes a long way toward ings. Pachmann, who recorded March” sonata is in some sense explaining Serkin’s self-abnegating exceptionally often for a pianist born in “incorrect,” the statement is also choice of repertoire. On the rare the mid-19th century (fourteen sessions pointless. In spite of (or because of) occasions when he played Chopin in between 1907 and 1927), was certain its deviations from Chopin’s text, public, he almost always programmed an that his own recordings would be of Rachmaninoff’s playing, like entire book of the Etudes or the complete the highest interest to posterity: Pachmann’s, exerts a compulsion on the Preludes, Op. 28, rather than picking and I shall not be forgotten. And when open-minded listener that is infinitely choosing a group of shorter showpieces. your children and grandchildren more relevant to appreciation than his One of these performances, a 1948 ask you, “Who was this de comparative “incorrectness.” Library of Congress recital featuring the Pachmann?” you will be able to In the end, the presence of this Op. 25 Etudes, was privately recorded, show them how he played . . . And compelling force is the only thing that and the results are uniquely revealing of though they cannot see me, they matters, since the ambiguity of musical Serkin’s ambivalence toward romantic will hear my voice through my notation ensures that, the question of music, for his interpretation is deadly music and then they will know technical proficiency aside, the classics serious, tonally uningratiating, and why all the world worshipped cannot be played rightly or wrongly, they rhythmically direct to the point of de Pachmann. continue. . . 82 continued. . . can only be played more or less 3. A very different and far more sympathetic 7. This performance can be heard on a bonus interestingly – and what makes an perspective on Pachmann’s playing and CD bound into copies of Rudolf Serkin: interpretation interesting is the extent to personality is to be found in Dana Gioia’s A Life. (Serkin also recorded the Chopin which it embodies the personality of a poem “An Elegy for Vladimir de Preludes for Columbia in 1976, but never Pachmann.” Reprinted as the epigraph approved the tapes for release.) master interpreter. This is why, a century to Vladimir de Pachmann: A Piano V after the fact, connoisseurs continue to irtuoso’s Life and Art: “[T]he critics 8. For a discussion of this phenomenon, seek out the recordings of Pachmann, thought his madness / was theatrical, but see my article “What Killed Rachmaninoff, Cortot, and other great the less learned / members of his audience, Classical Recording?” in the May performers of the romantic era. Strange to whom he talked / while playing, knew 2001 COMMENTARY. though they may sound to modern ears, the truth.” they are at all times compellingly, even 9. Serkin’s playing with Busch was far exasperatingly personal. “Incorrect,” 4. Vladimir de Pachmann, the Mythic Pianist: more “phonogenic,” and a particularly perhaps – but never, ever boring. Recordings from 1907-1927 (Arbiter 129), fine document of the Busch-Serkin the first in a planned series of CD partnership is their austere yet passionate anthologies of Pachmann’s 78’s, contains 1941 recording of the Beethoven 1. This recording is included in the a representative selection of his Chopin “Kreutzer” Sonata, currently available on Rachmaninoff volume in the Great recordings, including a spectacularly CD in a transfer from 78’s marred by Pianists of the 20th Century series (Philips inaccurate 1927 performance of the G-flat excessive artificial reverberation (Pearl 456 943-2PM2, two CD’s). This CD, “Black Key” Etude, Op. 10/5, on which GEM 0019). Sony Classical has kept and the others mentioned below, the seventy-nine-year-old pianist can be few of Serkin’s solo recordings in print, can be purchased by viewing this article heard discoursing volubly about his but a representative sample of his during the months of July and August changes to Chopin’s score. post-Busch playing can be heard on on Commentary’s website, three budget-priced CD’s containing www.commentarymagazine.com. 5. Cliburn’s recording is available on My the Beethoven “Pathetique” and Favorite Chopin (RCA 60358-2-RG). “Hammerklavier” Sonatas (Sony Classical 2.Vladimir de Pachmann: A Piano Virtuoso’s SBK 47666), the Brahms Second Piano Life and Art, by Mark Mitchell (Indiana, 6. Cortot’s versions of the complete Etudes Concerto and Strauss Burleske (Sony 231 pp., $37.95), and Rudolf Serkin: A are available with his other Chopin Classical SBK 53262), and the Schumann Life, by Stephen Lehmann and Marion recordings in a budget-priced boxed set Piano Concerto and Piano Quintet Faber (Oxford, 344 pp., $35.00). (EMI Classics CZS 7 67359-2, six CD’s). (CBS MYK 37256).
By Jim Nicholson TEINWAY-WELTE COMES TO LIFE The Restoration Story From Australian Collectors of Mechanical Musical Instruments, February 2004
In a previous article ‘Steinway-Welte expected end result using the Test Roll Comes to Life’ (see previous Bulletin), should be exactly the same from one Denis Condon tells the story of his instrument to the other. I believe there Steinway-Welte upright piano, how he are logical reasons why the end results acquired it some 15 years previously, its are different. known history and how it remained Welte Player Differences unrestored until August 2003. I would Firstly, from the period of like to continue that story by telling approximately 1905 until the end of the how I restored the Welte player action of production of these German built actions this wonderful instrument, by sharing (c.1930), the very clever and capable with you some of the restoration work technicians from M. Welte & Söhne experience and knowledge I have introduced minor changes to improve acquired over many years, which I had to were the T98 system (Green Paper maintenance accessibility and overall apply to this very challenging task. Rolls), I came to the conclusion that each performance in expression and to reduce Having previously rebuilt six German and every German built “Welte-Mignon” mechanical noise from the pump and “Welte-Mignon” player actions over the T100 or T98 player mechanism is electric motor. Other improvements past 20 years, two of which were the different in its behaviour, character and expressive capabilities, although the T100 system (Red Paper Rolls) and four continue. . . 83 continued. . . included the use of a sealed glass how much more you don’t know”. I still wires were used to replace the original cylinder to safely contain the mercury live by this piece of advice or philosophy. brittle ones and all pouches replaced. tilting switch – a move away from those Getting Started Primary Valves dangerous open metal pots which Now getting back to the Red Welte All valves were re-leathered and allowed the mercury vapor to escape into (T100) Steinway upright, I wasn’t quite calibrated to +/- 1/32” movement, all the atmosphere and also spill into sure how much work was required to leather envelope pouches were replaced the player action whenever the piano resurrect the Welte player action to its with new ones, all five hundred air or Vorsetzer was upended, thus former glory, so I brought the pneumatic channels and the chest were re-sealed damaging components. Also, why I feel stack to my workshop to assess what was with shellac. The pouch to valve stem these wonderful instruments are so required and then start working on it. clearance was adjusted. different overall, even though they After taking many photographs of were installed into top quality Pianos Secondary Valves the player action and drawing a tubing such as Steinway, Bluthner, Julius New brass wires were made to replace diagram, I proceeded to dismantle the top Feurich, Bechstein, etc., is that the the old brittle ones. All of the secondary action beginning with the careful materials used in the piano actions valves were re-covered with new leather removal of the lead tubing. Upon (hammers, strings, soundboards); the facings and calibrated to travel 3/64”, all inspection of this tubing I found the geometrical balance between rail secondary overhead pouches were outside surface to look fine, however pins and key capstans (apart from the replaced with new leather. The bottom the inside wall of the tubing was full of gauge of jack springs); hammer return half of the wind chest was filled with white lead oxide and the lead tubing spring; damper springs; temperature shellac and drained using some very to the tracker bar nipples was glued with and humidity of the atmosphere tricky masking techniques to prevent thick shellac. To remove these lead tubes and room acoustics; all affect the shellac reaching the bottom suction area I simply ran a hair dryer over the tubes overall performance of the individual where the secondary valves are seated. to soften the shellac, which made it easier player action. to slide the lead tubes off the tracker Main Pump and Reservoir Secondly, some of the Welte player bar without any damage. The tracker bar Denis Condon had already restored actions used primary valves simply made was chemically cleaned and repolished. the pump and it was working fine. of wood that were covered with thin Whilst on this subject, I would like leather on the bottom surface and thick Expression Boxes and Valves to point out the fact that while the leather on the top of the valve button, The boxes containing valves and ‘lock materials used in this action were of while in others they incorporated molded & cancel’ channels were shellacked and superior quality, they like all other player valves made from an amalgamated all valves stripped and re-covered. Both piano mechanisms, had reached the end lead mixture to preserve longevity from expression manifolds, regulators and of their life, i.e., the leather pouches had corrosion. On some models the tiny expression pneumatics were re-sealed become porous and deteriorating; the square primary pouch envelopes were with shellac and re-covered. The leather valve facings had dried out and made from thin pouch leather while on envelope pouches were done away with were no longer supple; the tannins in the others zepher skin was used. The primary and conventional pouch wells were leather facings were starting to corrode bleeds were either made individually carefully drilled to the correct depth the brass valve wires which were thread- from celluloid or incorporated zinc and covered with pouch leather with ed through it (the brass had become very plates sandwiched between two cardboard buttons glued in the centre of brittle); some of the wooden buttons of leather gaskets for ease of cleaning and each pouch to facilitate efficient valve the secondary valves had warped causing maintenance. These are more examples lift. The expression valve celluloid disks the leather coverings to no longer sit of technological improvements made were also done away with and replaced flush on their respective bottom seats and by Welte. with brass bleeds for ease of replacement the rubber pneumatic cloth covering the and adjustment of correct bleed size. Work Philosophy stack components (including the material ‘Forzando ON’ bleeds were replaced with Having said all of the above, my covering the pump if still original) had solid brass adjustable bleeds for ease of enjoyment of player piano work is that I perished. adjustment using the Test Roll. All of the know that when I restore a reproducing Air Motor old porous cardboard tube supplies were player piano whether it be a Welte, This was taken apart right down to the replaced with heat treated PVC inlets AMPICO or Duo-Art, that each job skeleton. The wind chest and pneumatic which connected to each other using will add to my store of knowledge and supplies were internally sealed with thick clear plastic hoses for ease of future experience and help me become a better shellac and recovered. removal and maintenance. This removed informed Player Piano Technician. I am the risk of porosity or air leaks. always open to new suggestions. A very Control Box for Primary and Air wise man taught me a valuable lesson Motor Governor Electric Motor many years ago when he said to me, The box was completely opened, all All the oil leaks were rectified in the “Jim, the moment you think you know it channels were shellacked, all valves brass capillary tubes and the inner rubber all, is the very moment you realize just recovered with new leather. New brass seals replaced. The oil drain plugs were continue. . . 84 continued. ..
re-installed using lead washers which instruments to be able to use the rectified before it was installed in made the plugs not only air tight but oil 'soft' and 'loud' pedal pneumatics of the piano. The lesson here is not to 'ight as well. In the commutator, the old the piano, I designed two sets of take anything for granted - check >-...Jrica was undercut and refilled with heat pneumatic switchover blocks so that everything BEFORE you install it resistant softer material - it was also when using the 'Red Welte' 'soft' in the piano. turned and machined true to centre on the and 'loud' pedal valves the pneumatic Appreciation lathe. New carbon brushes were installed communication to the Green/Licensee I would like to express my gratitude and adjusted. New rubber grommets were Welte' valves is cut off by the spring to Denis Condon and Dr. Robert installed in the motor feet mountings to loaded pouches and vice versa. For Mitchell for their patience and absorb noise and vibration. the sake of simplicity only the soft hospitality during the long period it pedal pneumatic switch over blocks Variable Resistor took to restore their Steinway-Welte have been illustrated (see diagram). The sliding bridges as well as the Player Action. I also wish to thank An additional duplicate set of switch nichrome wire (or element) cores were them for the privilege, over the over blocks equally apply to operating cleaned, dried and repolished. They were many years I have known them, of the sustaining pedal pneumatic. then rinsed in thinners to remove any being able to hear via the Condon traces of electrically conductive polishing Conclusion Piano Roll Collection the musical wax. From what I have described above, performances of some of the world's one can well understand the enormous most famous pianists, which I Important Note amount of time, labour and patience otherwise would not have been It is important to remember that the involved in resurrecting one of these aware of and forgone a great original sealant used in all air channels Welte instruments so that it can musical experience. becomes dry and flaky and in many cases again perform and re-enact the artists' these loose flakes break away during performance as the manufacturer playing and under vacuum can be sucked intended. Unfortunately time and space under the valves and unseat them does not permit me to describe all of resulting in air leaks which will adversely the special jigs and equipment necessary affect the entire instrument. It is wise for testing individual components, to replace all old sealants. except to say for example, that without '~novations: the help of this equipment, I would Compensation regulator not have discovered until too late, that In order to facilitate more tempo five tracker bar nipples were leaking uniformity when using larger Welte rolls via the soldered joints to their next during fortissimo playing, I designed door neighbour. The problem was a separate compensation regulator. The new regulator was built on Welte's
own technology design using an --._.._-_ --._-- --" ~ _ _. . ~--;;;c"::"'-..;;:=---j adjustment screw inserted into the ...... -.-..-.-...... - ....----.-..--...... IJ~@~q.j existing air motor regular. Turning the adjustment screw anticlockwise produces more influence on the air motor compensator and vice versa. Once the special compensation regulator has been correctly adjusted it automatically compensates when a large roll is played. As the building of the regulator and the necessary adjustments to set it correctly are technically very complex, I have decided to include the technicalities and accompanying diagrams in the next ACMMI Bulletin.
Pneumatic switchover blocks. The keyboard of Denis' Steinway- ~elte piano also has the ability to be played by his T98 (Green/Licensee) Welte Vorsetzer via a switchover device Soft Pedal Pneumatic Switchover Blocks using 'lock & cancel' valves. For both
85 From Australian Collectors of Mechanical Musical Instruments, February 2004 UIZ
11. The highest paid pianist of all time was (a) Thalberg; (b) Paderewski; (c) Liszt or (d) Rubinstein? 12. The Fantasy on Rossini’s Moses by Thalberg was 1. Zumpe is a (a) chocolate bar; (b) piano maker; written for (a) two hands; (b) three hands; (c) two (c) music publisher or (d) pianist? pianists or (d) three pianists? 2. Mozart wrote music for (a) piano; (b) clavichord; 13. This pianist visited Australia: (a) Thalberg; (b) Liszt; (c) harpsichord or (d) all of the afford said? (c) Hambourg or (d) Alkan? 3. Escapement in piano technology means (a) convicts 14. I studied with a pupil of Chopin: (a) Rachmaninoff; played pianos; (b) key travel; (c) hammer travel to (b) Pugno; (c) Anton Rubinstein or (d) Josef Hofmann? the strings or (d) is hinged and attached to a spring? 15. I was born in 1830: (a) Czerny; (b) Leschetizky; 4. Pantalon means (a) long pants; (b) short pants; (c) Friedman or (d) Busoni? (c) type of harpsichord or (d) instrument with bare 16. I played Chopin’s Revolutionary Study with octaves in wooden hammers? the left hand: (a) Alexander Dreyschock; (b) Chopin; 5. Name the non-piano maker: (a) Schroter (1699- (c) Liszt or (d) Tausig? 1782); (b) Silbermann (1683-1753); (c) Hoffman 17. I made a cylinder recording at the end of my life: (c.1784) or (d) Charles Burney (c.1740’s)? (a) Brahms; (b) Liszt; (c) Debussy or (d) J Raff? 6. Pianos first had bells, drums, triangles and cymbals 18. I was a pupil of Leschetizky: (a) Paderewski; added to them in (a) early 1800s; (b) late 1800s; (b) Clifford Curzon; (c) Busoni or (d) Frederic Lamond? (c) early 1900’s or (d) never? 19. Temperament means (a) aligning thirds and fourths to 7. Una corda means (a) one chord; (b) tone modifying octaves; (b) tuning to a compromise scale; (c) pitch lever allowing hammers to strike all strings; (c) tone or (d) tuning all octaves to fifths? modifying lever allowing hammers to strike one or two strings per note rather than all or (d) pedal 20. How many composers wrote a series of paraphrases operating half sustain? called Chopsticks: (a) one; (b) three; (c) five or (d) seven? 8. Jonas Chickering patented a complete iron frame in (a) 1820; (b) 1838; (c) 1843 or (d) 1857? 9. Cross stringing was applied to upright pianos as
early as (a) 1798; (b) 1828; (c) 1830 or (d) 1862?
10. Sostenuto (third) pedal technology was patented by 20-(c) 19-(b); 18-(a); 17-(a); 16-(a); 15-(b);
(a) Beale; (b) Steinway; (c) Mason & Hamlin or 14-(b); 13-(c); 12-(a); 11-(b); 10-(b); 9-(b); 8-(c);
1-(b); 2-(d); 3-(d); 4-(d); 5-(d); 6-(a); 7-(c); 7-(c); 6-(a); 5-(d); 4-(d); 3-(d); 2-(d); 1-(b); (d) Chickering? Answers:
From Player Piano Group Bulletin 169, December 2003 ELFRIDGES SECONDHAND PLAYERS 1938 Alan Whytock has sent these adverts in, prompted by the 1932 Harrods adverts printed in Bulletin 165 last December.
I have found a Selfridges piano sale pianos in the sale. The only means I have It is interesting to note that the layout brochure dated 1938 and I thought you of deciding the date of the sale is from of the Selfridges brochure is very similar might like to see the pages devoted to the “new 1938 range of Pullman all-wave to that of the Harrods version although 6 used player pianos. There were no new radio and radiograms” included in the years later on. models, in fact there were very few new brochure. continue. . .
86 87 From The Spokesman-Review, Spokane, Washington, Jan. 4, 2004 LAYER PIANO MAN
Spokane’s Dan Brown has put together a collection of player pianos that includes some 7,000 rolls of music By Chris Wille, Staff Writer
Dan Brown lives in his own museum of magical sounds. Four player pianos that date back seven decades or more along with 7,000 rolls of music fill his modest North Side home. And then there are the antique jukeboxes, phonographs and music boxes. Dan Brown sits next to his 1926 Mason & Hamlin Ampico player piano in his North Side home. Brown, president of the Automatic Musical Instruments Collectors Association, “Basically, I like anything mechanical has been collecting player pianos for 30 years. that makes noise,” he says while loading a music roll into one of his pianos. Brown’s four-year reign as president one from friends who were upgrading “They’re very fascinating.” of the 40-year-old group ends this to a bigger one,” he says. coming summer. And during the holidays, dozens of The grand piano originally cost nutcrackers from a collection of more Ask Brown any question about player $5,000; it began life in a Philadelphia than 300 sit atop his most prized piano. A pianos, and the answer comes quick and department store. third of his 120 ceramic replicas of New complete. That passion began in his “The grands were incredibly York City buildings, from the Empire childhood when he visited North Side expensive,” he says. “This is like two State Building to Radio City Music Hall, neighbors who owned them. nice houses in a good neighborhood overwhelm his dining room table. “I couldn’t keep away from them,” in 1926.” When Brown starts collecting he says. “The neighbors indulged me and Brown paid about five times that, something, there’s no stop sign in sight. let me play them.” which included some restoration work His player pianos, though, are his The attraction, he says, is simple: and the move from Philadelphia. foremost treasures. Brown owns “You can have the artist perform in your Brown pulls out a roll of music by seven but can only accommodate four house, and all you have to do is push a Sergei Rachmaninoff, “Prelude in in his home. The other three are on button.” C-Sharp Minor,” and places it on loan to family and friends – “foster They perform for him every day – the pneumatic player mechanism. placements, I call them,” he says. Christmas music in December instead When he flips the switch, the spool Brown, a psychologist in the Deer of his favorite old foxtrots. of paper moves across a tracker bar, Park School District, also happens to Brown acquired his first piano at its punched-out holes admitting air into be president of the Automatic age 20. a chamber. That opens a valve that Musical Instrument Collectors Now, 30 years later, he points out eventually triggers pressure on the Association. his new prize – the Cadillac of player piano keys. The international organization has pianos, he says. The Mason & Hamlin The Mason & Hamlin grand belongs 1,500 members, including a handful Ampico grand piano, built in 1926, to the generation of reproducing in the Inland Northwest – all fans stretches out 6 1/2 feet. Only 175 models player pianos – so-called because of music boxes, nickelodeons, were made. “That’s why they’re so they duplicate real performances circus organs and player pianos. difficult to find,” he says. “I searched with the tempo and emphasis signals for that type for years and finally found continue. . . 88 continued. . . cut into the paper roll. Rachmaninoff’s A resurgence of interest occurred in The music rolls on rich, powerful music fills Brown’s the 1950s, and manufacturing resumed. But for collectors like Brown, there’s living room. Some historians credit television, which always another roll of music to beamed images of piano performances From the beginning purchase, another piano to covet, another into homes. convention to attend. Brown held The first player pianos, which Nostalgia also appears to be a factor. court over the national gathering in evolved in the late 1800s, operated Portland in August. Approximately 200 as an external device housed in a Several companies produce player people attended. cabinet almost as large as the piano. pianos today, though the operating Wooden fingers played the keys system is electronic rather than Today, computers play a vital role in like a real pianist. mechanical. the preservation and advancement of player piano music. Pianists record music By the end of the century, the design on a digital piano, lay out the rolls on the progressed to foot pedals that propelled computer screen and then edit and send paper rolls of music inside the piano. the finished files to a paper cutter. Sales exploded in the early 1900s, with some of the most inexpensive models “It’s a lot easier than the original priced at $250. system,” Brown says. Musicians no longer draw pencil lines on paper, cut out Music wafted through many homes notes by hand, edit and then start over. during the dinner hour. During the player piano’s heyday, the Brown has loaned out his pedal music of George Gershwin, Scott Joplin, piano, a 1911 Chickering that is also his Eubie Blake and Jelly Roll Morton was oldest. “That’s a fun one,” he says. recorded onto rolls. “I wish I had room for it because I like to play it. But I had to draw the line.” Today, hits by Neil Diamond, John Lennon, Celine Dion and Britney Spears Electricity powered the next can be found in the 80-page catalog put generation of player pianos, including out by a company called QRS. Brown’s 1915 commercial Coinola model. The giant unit, popular in hotels “It’s the big manufacturer of rolls,” and bars before Prohibition, comes Brown says, and has been in business for Dan Brown’s 1926 Mason & Hamlin the past century. complete with bass and snare drums, a Ampico player piano plays a roll of cymbal, tambourine, triangle and wood music in his North Side home. While prices ranged from $2 to $5 block, all behind glass doors back then, today’s music rolls above the keyboard. start at around $10. Standing in front of the The price of a player piano Coinola in a narrow alcove off today depends on “condition his dining room, Brown switches and restoration, because that’s on “Let It Snow! Let It Snow! where all the expense is,” Let It Snow!” Thanks to the Brown says. An upright rhythm section, the Christmas foot-pumped model might cost carol echoes through the house. only $2,000, while top grands Brown’s grand comes from fetch up to $30,000. the heyday of player pianos, the The player models also Roaring ‘20s. He also owns function as regular pianos. But an upright Welte from 1926, Brown is not a pianist – yet. dressed up for the season with his He attempted to play years collection of Hallmark house ago, “But I lost patience with it ornaments. Some of the 7,000 rolls of music that Dan Brown owns sit on the because the players were so As “Silent Night” plays, 1929 Fischer Ampico player piano in Brown’s home. much better at performing than one of the piano keys clicks. “It’s I was.” driving me crazy,” Brown says. “There Piano culture, though, appears to “I fully intend to get back into that, are always things to fix.” be fading, Brown says. “Unfortunately, because I do like fiddling around.” With the rise of the cheaper most of the American piano industry phonograph and radio and the stock is gone now,” he says. “People just market crash in 1929, player piano do not buy pianos anymore.” sales plummeted. Manufacturing soon stopped altogether.
89 Sent in by Ray Parkinson REEZER NOT THE KEY TO PIANO TUNING
It got a cold in its notes By M.L. Lyke From Seattle Post-Intelligence, May 30, 2003
Everett – Yesterday was a balmy 75 degrees on the Everett waterfront. But inside Marine View Cold Storage, where the 5-foot baby grand awaited rescue, the temperature held to a lung-scraping 10 below. Piano craftsman Chris Chernobieff crunched across the frosty floor, past the boxes of precracked Dungeness crab and Alaskan king crab legs, full of anticipation. Dale Blindheim, left, and Chris Chernobieff retrieve a 1920 Aeolian piano cabinet and sound- Was his hypothesis correct? Would 24 board from its storage place between boxes of frozen crab legs and fish on the Everett waterfront. hours in a freezer drop the piano’s tone? latest sub-zero experiment. low-octave D. “I think it’s the first time anyone In the book, a Texas researcher named Chernobieff had hoped it would drop to has ever tried to do this to a piano,” said James Smith recommended freezing a a C-sharp after a 24-hour freeze. Chernobieff, a 42-year-old piano tuner- violin to lower its tone, a process that But the piano that came in from the cold restorer-builder-mover-composer-artist. can add Stradivarian warmth and fullness defied his scientific theory. Chernobieff is the curious kind of to an instrument. “After freezing, your Instead of a C-sharp, the “Verituner” renaissance dreamer who’d be as violin will have a very good carrying showed the piano’s tone had actually comfortable in the 17th century as in the power with the sweetest sound you have raised a whole step, to E. 21st. He’s a self-taught classicist, with ever heard,” Smith said. Chernobieff looked disappointed for a passion for Bach and Scarlatti. His If it worked on violins, reasoned only a flash. “At least the tone changed,” workingman hands, with stubby nails Chernobieff, why not pianos? he said, as he pounded the soundboard rimmed in black, dance like butterflies He had a badly-abused 1920s Aeolian like a drum. “And the sound is more across the ivories of his works-in-progress. baby grand with a cracked bridge that, resonant. Listen.” The interior of the ChrisPiano shop on if all else failed, he could afford to take Chernobieff is already busy planning Grand Avenue – where a fine layer of to the dump. On Wednesday, he and his next experiment. wood dust coats dismembered instruments assistant Dale Blindheim took the piano, This time, he hopes to increase the – illustrates the free play of the craftsman’s stripped of its legs, keys and strings, density and strength of the wood in ideas. to cold storage at about 1 p.m. the piano’s soundboard using a simple In one corner is an ornate piano leg Yesterday, after paying a $25 fee to household method. with horse heads and stars, one of three the cold storage unit with the “crab and He is going to boil it. Chernobieff is designing and carving. bait sign” outside, they reclaimed it. It’s all about improving his craft, On workbenches are the piano tools he’s Chernobieff was clearly happy to see it says the renaissance piano man, who endlessly inventing – devices to measure in one piece. “At least the veneer didn’t laments the generic, quick-paced modern the curves of a soundboard, or the degree peel off,” he said, as he and Blindheim manufacture of pianos. “The industry of a hammer’s drop. rolled the Aeolian out the brine-scented never experiments,” he says. His penciled compositions are scattered frigid storage locker into the warm day. That’s obviously not a problem at the across piano tops and his crowded They were eager as boys as they little shop on Grand Avenue, where all bookshelves contain tomes on master worked, anxious to get the Aeolian back ideas are fair game. musicians and scientists: da Vinci, to the shop to check the tone with a “I do one piano at a time,” says Steinway, Stradivarius. It was a little book computerized “Verituner.” Chernobieff, “and each piano gets better on this last master violin maker – a simple The “Verituner” had tested the than the last. paperback titled “Stradivarius: Secret(s) of soundboard’s tone Wednesday at a the Sound” – that inspired Chernobieff’s 90 By Jack Edwards HE REPRODUCING ROLLMONICA C attracted to this man with his dapper ambidextrous, and could play the double-breasted suit and William Powell tambourine equally well with her right mustache. When a small blob of jelly hand or her left. One day, behind the oozed from his donut onto Norco’s café during a slack time, Proberta was chin, Proberta almost leaped across the practicing and her efforts were heard by “Some people are born great, and counter to wipe that blob with her one Mr. Charles Woonsocket of the some people have greatness forced upon very own clean apron. Three weeks later, Alabama Woonsockets. them.” This hackneyed quote has never the couple repeated their vows in front Mr. Woosocket was the southern area been more prominently proven correct of Myron Proudfoot, the justice of distributor for the Rollmonica Company. than it has been in the life of Proberta the peace for their Parish. Proberta Proberta’s style and easy grace instantly Gerber, the world’s foremost recording Snodgrass Corona left Waterproof took him with both the tambourine and artist for the reproducing Rollmonica C. forever to follow her husband and her harmonica. After he parked his car, he You must remember from her dream of being a professional musician. approached Proberta and told her he biography, Rolls I Have Blown, written Proberta got her first chance at an would take her to the world headquarters by famed biographer Milo Escobar that amateur night at the Roxy Theater in of the Rollmonica Company so she could Ms. Gerber led a troubled life. She was Biloxi, Mississippi. She won second audition for a recording contract. born to Irma and Isaac Snodgrass in a prize, six dollars, for her stirring Naturally, she jumped at the chance. suburb of Ellwell’s Knob, Nebraska, and rendition of “Yes, We Have No Bananas” Immediately after insisting on her was raised on a hops farm in western played on her auto-harp. split of the tips for the afternoon, Washington State. With the advent of From then on, there was no stopping she tendered her resignation and prohibition, the hops industry was no her. With $1.15 of her winnings, she accompanied Mr. Woonsocket to the longer profitable since people were not purchased her first harmonica from Hoboken, New Jersey headquarters of buying hops to make beer. Hard times the local F.W. Woolworth store and the Rollmonica Corporation. Her fell on the Snodgrass family. Proberta’s began practicing night and day, the audition was barely two minutes along family moved to Waterproof, Louisiana time duration, not the song. It was then when the talent coordinator, Mr. Arthur where Proberta studied music at the Nova that tragedy struck. Proberta and Norco B. Gerber fell in love with her music, Lou Counts School of Music, Baton and were traveling toward New Orleans when and later, with her. Proberta signed a Classic Crochet. While studying the it became necessary for Norco to go long-term contract with Rollmonica on B flat tambourine and classical auto-harp, into the woods to “answer nature’s call”. the spot. She recorded many standard Proberta became fascinated by the He had just found a tree to use as Rollmonica rolls, but there was sounds of the harmonica coming from cover from the road when Simon Funk, something missing. The heart and feeling the town jail next door. It would not who was out hunting, shot at a she poured into each and every song just be stretching the truth to say that if raccoon who was in that tree. The didn’t make it through the rolls as they it were not for the town drunk, Mr. Osby frightened raccoon fell from his branch in were cranked and blown. V. Pruett, the world would have that tree and hit poor Norco right on the Something had to be done. Arthur been deprived of a true genius of top of his head. The force of the blow Gerber went to work in the Rollmonica the harmonica, Proberta Snodgrass broke the man’s neck and Norco died laboratories instantly. He borrowed Corona Gerber. instantly. The raccoon ambled off deeper extensively from the work done on such After graduating from Waterproof into the woods. Mr. Funk was not happy reproducing pianos as the Ampico and High School with a heavy emphasis about losing his dinner, but what could the Duo-Art to produce the worlds first in office assisting and study hall, he do? Proberta was decimated by her and only reproducing player harmonica, Proberta pursued a career in the culinary loss. Her mate, mentor and manager was the much storied Rollmonica C. Proberta arts being a jelly shooter and part time gone, and without his direction, she was Corona went to work recording roll after sprinkle sprinkler at a local donut shop. lost. She returned to the culinary arts, roll. Nobody of the time can forget her But, even astounding success in her and secured employment as a chef at a tender and expressive rendition of “Do career could not keep Proberta Snodgrass prominent café in Baton Rouge, Chez Dah”. It brought tears to the eyes of those from music. Such was her karma, her Deni. While she had to keep up this who heard it. It wasn’t long before destiny. One day at the donut shop, mundane employment, she kept up her Arthur Gerber realized that he could not Norco Corona, the man who was musical studies spending as many hours live another day without Proberta’s being destined to be Proberta’s first husband as she could spare refining her harmonica by his side. He proposed, and she stopped to have a cup of “joe” and a virtuosity and tambourine technique. accepted. They lived happily as man and jelly donut. Proberta was instantly Few people know that she was continue. . . 91 continued. . . REVISED wife for many years, even after the repro- ducing harmonica had lost its popularity SCHEDULE to other musical instruments such as the nose flute and the electric slide whistle. OF EVENTS One facet some people don’t know about are the other inventions Proberta, now DENVER, COLORADO Gerber, inspired. People don’t know that August 4 - 8, 2004 Proberta loved to sing, and was quite (subject to fine tuning) good at it, but she obviously could not sing and play the harmonica at the same time. It was then that Arthur attached a Wednesday, August 4th compressor to a Rollmonica and hooked N Registration the motor to the hand-crank to produce N the first ever electric player harmonica. International Board Meeting The only drawback to this invention was N Downtown Denver sightseeing the fact that the harmonica produces a N Dinner On Your Own significantly different sound depending N Hospitality Room on the direction the air is traveling over the reeds. So, Arthur had to invent a machine that could suck as well as blow. Thursday, August 5th And, this he did. In response to this N Welcome Breakfast invention, Proberta produced several N A Quick Orientation to Denver and Colorado music rolls for this instrument that were N Multi-media presentation by Art Reblitz: “100+ Years of accompaniment rolls for vocalists. Her Automatic Music in Colorado” most popular accompaniment roll was the “How Dry I Am” number RM3450-a N After Art’s talk - Bus trip to Georgetown, Silver Plume and Central City in the catalog. She wanted to do a special Alternate “flatland” activity, Denver walking tours and sightseeing “Ninety Nine Bottles of Beer on the N Dinner On Your Own Wall” roll, but the size of the roll itself N Pumper Contest would not allow more than three bottles, N Hospitality Room much below Proberta’s capacity. Shortly before Proberta’s death in 1952 due to a sewing accident, she Friday, August 6th turned to composing. Her most famous N Buffet Breakfast works are her “Theme and Variations on N Bus Trip to Scenic Colorado Springs John Jacob Jingleheimer-Schmidt” and N “Fantasy on She’ll be Comin’ Around Chuckwagon Supper at Historic Four Mile Park with western entertainment the Mountain When She Comes”. The N Hospitality Room musical world of course mourns the loss of such a dynamic member of its family. Saturday, August 7th There is no place in the world where N music lovers sit down to a Rollmonica Workshops concert without a tear of remembrance N The Mart moistening each and every eye in the N Banquet with Queen City Jazz Band audience. Proberta Snodgrass Corona N Hospitality Room Gerber is truly a giant of the musical ages. Sunday, August 8th N Farewell breakfast N Time to Explore Denver N “An Afternoon of American Music at the Historic Paramount Theater” (a late art-deco movie palace with a rare orginal twin-console Wurlitzer) featuring Dick Kroeckel on the concert grand and Patti Simon on the Wurlitzer N Optional “Home” Tours N Hospitality Room
92 By David L. Saul ERFORMANCE CHARACTERIZATION. . . appropriate, and will be used throughout output pressures discussed in this article the remainder of this article. are measured as differential pressures, Elementary physics can be applied scaled below atmospheric pressure and fairly easily to model the regulating always positive in algebraic sign. In the behavior of the Ampico A expression vernacular, these are often referred to as . . .of the Model A Ampico components. Efforts toward this end suction levels. In this article, the terms Expression Regulator have led to performance predictions that pressure, differential pressure, and closely parallel measured test data from suction level are used interchangeably. Reprinted from The AMICA Bulletin, an operating expression system. In a In the context of this usage, a pressure July/August 1997 sense, this effort began as an exercise increase corresponds to a suction level in “reverse engineering” to glean increase, and vice versa. This article examines design and engineering data from existing From a hardware point of view, the operation of the Model A Ampico expression components. Data gathered regulating function depends on the expression system, i.e., the system in this manner was utilized to model combined action of the step mechanism described in the 1923 Ampico Inspector’s stable regulating states achievable via and the crescendo mechanism. The step Reference Book(1) and in the 1920 step and crescendo coding. mechanism contains elements of a Supplement(2) to the (1919) Inspector’s Characterizing the crescendo pneumatic pressure regulator having Instruction Book. An analytical model mechanism’s influence on the overall sufficient capacity to govern the bass or is developed for characterizing the regulation process has been one of this treble half of a pneumatic stack. The expression system’s performance, and effort’s foremost objectives. Of particular crescendo mechanism at all times supplies results are compared with measured interest is what happens to the intensity a reference pressure, without which the data from an actual expression system. step scale in a Model A system while a step mechanism cannot function. Readers are assumed to have some crescendo is underway i.e., in various During normal Ampico operation, familiarity with the Model A Ampico and states between at rest and fully activated. discrete pressures corresponding to the its expression coding scheme. Until now, this topic has not received Ampico intensity step scale are activated This article’s chief concern is the scrutiny it deserves, and is often via the music roll’s dynamic coding. automatic pressure regulation. In view of a subject of misunderstanding and/or Regulated output is further influenced this, the hammer rail lift mechanism misinformation. The widely promulgated by the status, at any given time, of the (although it contributes to dynamic Model B charts, which are totally crescendo mechanism. The crescendo control) is not a main topic of discussion. inappropriate for the Model A, have mechanism’s status (at rest or with The Model A Ampico is also equipped probably added to the confusion. Under crescendo action in progress) is with finger buttons for manual practical test conditions, the Model A determined by its response to crescendo expression control, and with a subduing crescendo mechanism’s inability to dynamic coding, or the absence of it. capability for curtailing forte dynamics. stop in a partially applied condition The crescendo mechanism functions These are not central to the regulator’s imposes certain measurement difficulties. as a rather sophisticated pressure main function, and are assumed inactive. (Manual intervention for test purposes regulator in its own right. The differential Regulation Components and Concepts is possible, however, and a procedure pressure inside its large pneumatic is In the Model A Ampico, automatic described later in this article was adjustable to a precise value in the rest regulators of identical construction employed to obtain useful test data.) state. The crescendo mechanism’s large provide separate control of bass and The simple theoretical model extension spring is fitted with a treble dynamics. In each instance, two described in this article provides screw adjustment for this purpose. The components operate jointly to perform insight into the step intensities’ behavior crescendo pneumatic’s regulated internal the regulating function. These are during crescendo operation. This pressure is communicated to the spring the expression mechanism (see 1923 information, backed up by hands-on pneumatic via a direct tubing connection. Inspectors Reference Book(1), p. 8) and performance measurements, provides During crescendo activity, this reference the crescendo (see 1923 Inspectors a clear illustration of the effects of pressure changes in response to signals Reference Book(1), p. 6). Ampico crescendo activity on the Model A scale from the 1 and 5 tracker bar opening terminology was not consistent. In of intensity steps. as described in the 1923 book(1) and the 1920 supplement, the respective elsewhere. The crescendo mechanism’s Pressure Regulation regulator components are called the step regulating function is adequate for a and Control Principles mechanism and crescendo mechanism. situation in which airflow demand is The expression system’s supply and The 1920 nomenclature seems more practically nil, i.e., for reference only. 93 continued...
Under normal operating conditions, provided a basis fof·this article's theoreti The step mechanism's three intensity reference pressure applied to the spring cal perfonnance model were taken from pneumatics are square, each measuring pneumatic remains independent of supply a step mechanism that appeared best to 2 by 2 inches. Each pneumatic boarr pressure variations. This reference represent an average of the samples thus has an interior surface area of i. j pressure changes only during crescendo examined. Positions of the various pieces square inches (which we can abbreviate 2 activity. as in. ). These pneumatics Performance characteristics of are of unconventional STEP MECHANISM MEASURED DIMENSIONS the step mechanism depend upon construction, not hinged, with the dimensions and placement of ,. 8.81 the span of their cloth parts that act on the regulator ~ ~~ being the same all around. valve, and on pressure acting Mounting symmetry is such I. 4.88--e1 directly on the regulator valve. that force exerted by Step intensities are controlled l each intensity pneumatic is by intensity and lock valves directed along a line passing connected respectively to the 2, 4, through its center and normal and 6 tracker openings, with to the plane of the movable tracker opening 7 connected to board. These forces can be the common cancel valve. Each represented as vectors 2 intensity valve is associated with Area of ea. Intensity pneumatic board. 4 In. perpendicular to the lever Area of spring pneumatic movable blard = lOin. 2 a particular intensity pneumatic, Working area ot valVe =(1l/4)"(.875J =o.S In. 2 arm, and parallel to the and activates it in an on-off regulator valve stem. fashion as called for by Fortunately, all vectors to be dynamic coding. Three intensity considered in this system pneumatics are attached to a are essentially parallel to board that serves as a lever arm the regulator valve stem, as shown in Figure 1. The 'l~LdJ4.38 considerably simplifying the ~ 4.82 intensity pneumatics and their analysis. corresponding intensity, lock, and Figure.2 identifies. variou~ Figure 1 cancel valves are operated by forces Illvolved III tV.,; regulated pressure. regulation process, along The lowest intensity step, i.e., with moments applied to first intensity, is obtained when STEP MECHANISM FORCES AND MOMENTS the regulator valve. Note all three intensity pneumatics the force resulting from have regulated suction applied. 1 differential pressure between The remaining intensity steps !M the supply and regulated side are activated by opening of the valve element, applied various combinations of the three over its effective surface area. intensity pneumatic to atmos- The regulator valve consists phere. The contribution of each of a leather-faced disc that intensity pneumatic to the overall closes against a circular seat F = Force exelted by Intensity Pneumatic "A" regulation process depends on its 1 7/8 in. in diameter, giving it F2 =Force exerted by Intensity pneumatic "8" position on the lever arm. F3 =Force exerted by Intensity pneumatic "C' an effective working area of f 4 =force exerted by sprlntl pneumatic 2 0.6in. • Developing a F = Force of differential, i S The spring pneumatic Performance Model pressure on valve measures 2.28 in. by 4.38 in., The first step was to measure with a movable board area of the physical dimensions of 2 approximately 10 in. • It is regulator parts and determine M1 CWMoment F M CCWMoment 4 hinged at the rear, and the location of each intensity 2 1M, the regulator valve stem is pneumatic along the lever arm. situated about 7/16 in. beyond Several step mechanisms from the working end of the unrestored spare parts were Figure 2 spring pneumatic. A metal tab examined, and measurements extends outward to activate taken. When this was done, variations up are shown in Figure 1. Note that the the regulator valve stem, as shown to about 1/16 of an inch were noted in the if' upper side of the regulator valve is the Figures 1 & 2. placement of the intensity pneumatics. supply side, and the lower side is at During operation, the regulator Such variations were probably within regulated (pneumatic stack) pressure. system seeks a state of balance. More factory tolerances. Measurements that continue... 94 continued...
specifically, the system seeks a so. (Thus a wide open pneumatic can The spring pneumatic, by way of differential pressure output such that exert substantially more force than a contrast, generally operates in a more ( tthe reference force provided by the partly closed one.) At some critical point, nearly open position, with tensioned '~l)fing pneumatic (via the crescendo as a pneumatic moves toward its closed pneumatic cloth accounting for a mechanism) exactly balances opposing position, it reaches a condition at which substantial fraction of its available force. forces. Those opposing forces are closing force contributed by tensioned We shall examine this in more detail communicated via the lever arm and cloth drops to zero. As this critical point later on. For now, a full characterization intensity pneumatics, and by differential is reached, the tangent angle of is not needed. pressure acting on the regulator valve. the cloth's circular arc at the point of Units, calculations and results Any drop on the regulated side, due to intersection with the pneumatic board Before we proceed further, some playing demands, leakage, etc., will becomes parallel to the board. Closing comments are in order regarding be communicated to the intensity beyond that critical point further measurement units. Length can readily be pneumatics, which will weaken and diminishes the pneumatic's strength as 2 measured in inches, and area in in. • allow the regulator valve to open, thereby cloth rolls inward against the movable Although scaled conveniently for acting to restore the state of balance. board and reduces effective working practical measurements, inches of water area. When a pneumatic is opened Forces In Pneumatics is not a properly defined unit for use in exactly to its critical point, available Pressure, according to elementary engineering or physics calculations. force is determined by differential physics, can be defined in terms of force Nearly all suction level measurements pressure acting on the entire surface area per unit area. Available force exerted by a in player work, however, are scaled in of the movable board, with tensioned pneumatic of the familiar player piano inches of water. For convenience, we can cloth contributing nil. type results from the combined influence introduce a slightly modified system of For whatever reasons, the Ampico A of: (a) differential pressure acting on units that will allow direct use of these intensity pneumatics were designed to a pneumatic's movable board, and measurements. By so doing, we can operate very close to the critical point. (b) differential pressure acting to induce avoid continual conversions into, and out (Because of this, it is especially tension in pneumatic cloth attached to of, less familiar pressure units. Toward important when re-covering these to the movable board. A comprehensive this end, a re-defined unit of force can be install new cloth having the same theory of how these factors combine introduced to satisfy the relationship of dimensions used by the factory.) As to determine strength of a pneumatic a result, movable board area alone (1) Pressure=Force/unit area ~t various degrees of opening was provides a suitable basis for estimating for our specific needs, this becomes authored by Peter W. Brown and an intensity pneumatic's force. published in the JanuarylFebruary 1995 (2) In. of H20=Force/in2. Details are shown in Figure 3. During AMICA bulletin(3). Anyone interested in operation, the intensity pneumatics are Since 1 inch of water converts to pursuing in-depth analysis of pneumatic mechanically constrained to a very approximately 0.57802 Oz.lin2, we can strength should refer to that article, see that the unit of force in (2) has which contains Me. Brown's to be equivalent to 0.57802 Oz. If INTENSITY PNEUMATIC DETAIL theoretical treatment of the subject, we call 0.57802 Oz. a "special plus data from a laboratory force unit," abbreviated as s.f.u., notebook of Dr. Clarence Hickman. we can see that one inch of water Performance characterization of equals one sJ.u. per square inch, or the intensity and spring pneumatics will best be understood after a (3) 1 in. H20=1 sJ.u.lin2. review of some of Me. Brown's This is not a unit of force likely findings. His article points out that to be found in any textbook, but it differential pressure acting on a is sufficiently well defined to yield pneumatic tends to form flexible, Measured factory cloth width: 1.437Inch. correct answers for our purposes. Meaauredthlckneaso'boarda: 0.188 Inch. air-tight cloth into the shape of For critical opening with boards parallel, When needs dictate (not often, a circular are, as viewed in cross 1tR +2T. 1.437: R. 0.33e and that's the whole point) these section. When a nearly wide-open T.0.188 Inch special force units easily convert to pneumatic is activated, its cloth R • 0.338 Inch ounces or other units. D • 1.052 Inch is tensioned to pull inward We are now ready to write an Critical opening is 2(R+T) • 1.052 inch = D tangentially at the point of Measured opening with valve closed: 1.0 Inch equation setting the sum of the attachment. The cloth's inward regulator's moments equal to zero, pull adds to the closing moment of corresponding to a balanced state. 'Jfferential pressure acting directly Figure 3 Initially, we shall assume that the on the boards, and can actually regulator is at the first (lowest) short range of movement, so they cannot exceed the latter in magnitude when a intensity step. We shall identify the first deviate significantly from the critical pneumatic is completely open or nearly regulated pressure step as PI and the opening position. continue. .. 95 continued... supply pressure as Ps. (Pressure step 2 20 in. HzO with amplifier not activated. Figure 4 is a graph of the intensity with be Pz, and so on.) For Ph all three Substituting these values into equation steps, as predicted by our model, for intensity pneumatics will have regulated (4) and solving for Fspn we get supply pressures of 20 in. and 30 in. or suction applied. The equation can be Fspr=27.68 s.f.u., (or 16 Oz., if you HzO. For convenience, an Exce'. ' written as follows: prefer). spreadsheet was set up to handle the (4) 2.25/8.81(4P])+4.88/8.81(4P])+ Now comes the really fun part. Since calculation and plotting chores. Note 7.44/8.81 (4P] )-0.6(Ps-P1)-Fsp"=O we have determined the value of Fspr that with 20 inches, the math calls for a (which remains valid as long as the physically unrealizable pressure level The first three terms represent forces crescendo mechanism operates in its rest at the two highest steps. The regulator applied to the valve stem by the three state), we can substitute that value back cannot achieve balance if either of these intensity pneumatics at regulated suction into equation (4) and solve for each of steps is selected, and supply pressure level Pl. Fspr is the force applied by the the remaining intensity steps. The higher appears at the output in both instances. spring pneumatic to the valve stem, and intensity steps are represented by This results from setting the modifying switch to the medium position. With the term 0.6(Ps-P]) represents force dropping out various combinations of supply pressure fixed at 20 inches, no resulting from differential pressure acting the equation's first three terms, i.e., dynamic change occurs when intensity on the regulator valve, which has letting them go to zero. (An intensity step coding changes from step 6 to step 7 effective working area of 0.6in.2. pneumatic exerts zero force when atmosphere is admitted.) To evaluate, we (i.e., from 4-6 open to 2-4-6 open).
Theoretical Step Scales 020 and 030 In.
30
25
20 r i .~./ til ~ • Steps @20 in. '0 15 .. --0- Steps @ 30 in. z:." ~ 10
5
0 1 2 3 4 5 6 7 8 Pre.sure StePI
Figure 4
Under practical operating conditions, simply collect the terms remaining for When supply is raised to 30 inches, PI and P are routinely set in accordance each respective intensity step and solve s pressure step 7 (Ampico step 6) goes to a with factory specified criteria. Their for the regulated output pressure. distinct value below supply pressure, values are therefore known. Assigning It is convenient to call these possible pressures P ,P , ... Pg• Readers will note while step 8 (Ampico step 7) alone values to PI and Ps in equation (4) allows z 3 that the Ampico intensity step scale has reaches maximum. Note that the lower us to solve for Fspr' We shall set PI to 5.5 numbered steps all increase slightly when in. HzO, a representative value for an only seven steps, although there are 8 possible combinations. This is because supply pressure rises from 20 to 30 in. Ampico in good operating condition. P and P have nearly the same HzO. This slight supply pressure (This corresponds to a real-world value 4 s value and were treated as equivalent dependence is due to the regulator valvr for this writer's Model A Ampico, thus term in equation (4). facilitating comparative evaluations to by Ampico personnel. For the sake of completeness, we shall keep all 8 Figure 4 shows an important reason follow later.) Likewise we know that Ps, possible combinations. why the Model A Ampico's modifying the supply pressure, will be set to about continue. .· 96 continued...
switch should be in the brilliant position Ampico is set up for best musical results. Normalizing this value leads to an (thus allowing amplifier operation) (For setup purposes, this writer prefers to estimate of about 61 % of the spring ( to achieve a full range of dynamic set bass and treble crescendo reference pneumatic's force attributable to board _____performance. If the amplifier is not able pressures to 3.7 inches of water and then pressure, and 39% from tensioning of to function, the step intensity scale will regulate the spring pneumatic's opening pneumatic cloth. This is consistent with be truncated. to achieve desired first intensity an opening of the spring pneumatic Note that in an operating Ampico, performance; more on this later.) When beyond the critical point, but still dynamic coding on either side of the coding calls for a maximum crescendo somewhat less than fully open. A pneumatic stack can be employed to level, the crescendo mechanism's considerable range of adjustment in activate the amplifier and thereby boost reference pressure to the spring either direction can be obtained by supply pressure on both sides. This pneumatic rises (slowly or quickly, as regulating the amount of the spring opportunity was often exploited by called for by coding) and eventually pneumatic's opening. Ampico music roll editors to work reaches a point approaching maximum Theoretical vs. Measured around the amplifier's lethargic response supply pressure. As this point is reached, For comparison purposes, time. the crescendo pneumatic should be measurements were taken from this Since the spring pneumatic's moment nearing a totally collapsed condition. writer's Model A Ampico, a Marshall has been calculated, we can examine the At this point, the spring pneumatic's & Wendell top-loading studio upright, spring pneumatic and crescendo characteristics can be examined more
Theoretical vs. Measured @20 and @30 in. Supply Pressure
30
25
..I) .. 20 • Theor. @ 20 in. ~ Meas. vs. Theor. @30 in. i --Cl-- Meas. @20 in. '0 15 .cI)'" • Theor. @ 30 in. u oS 10 , ---0-- Meas. @ 30 in.
5 ~ Meas. vs. Theor. @ 20 in.
o 1 2 3 4 5 6 7 8 Pressure Steps Figure 5 Serial No. 111022. All measurements interaction more closely. Specific closely. See Figure 1 for dimensions. If were taken using a Dwyer Model 1211 reference pressure levels communicated we assume 3.7 in. H 0 reference pressure 2 72 water manometer gauge. Before to the spring pneumatic by the crescendo from the crescendo mechanism and a sur performance measurements were taken, mechanism are, to the best of this face area of 10 square inches, we can the supply pressure was adjusted to writer's knowledge, not documented write 20 in. H 0 without amplifier, and to anywhere in surviving Ampico literature. 2 Discussion of this topic is long overdue. (5) 3.7(l0)(Leverage Factor)K=27.68 sJ.u. 30 in. H20 with amplifier activated. Directly measuring the crescendo's All regulator tests were done on the reference pressure, especially during where K is the ratio of the pneumatic's treble side. Spring pneumatic reference ',"itial setup of an expression system, is calculated moment to that fraction of pressure was 3.7 in. H20 with crescendo ---....iighly desirable. Hands-on experience the moment contributed by differential mechanism at rest, and regulated has shown that the crescendo mechanism pressure on the movable board. step-one intensity was checked and This becomes 37(0.45464)K=27.68; at rest will produce a reading of about 3.5 verified at 5.5 in H20. to 4 inches of water when a Model A solving for K, K=1.646 continue. .. 97 continued. ..
Figure 5 shows theoretical vs. Figure 5. The largest discrepancy shows greater influence here than at any other measured performance at 20 in. H20, and up at pressure step 7 (Ampico intensity step. 0. Supply was fixed at 30 step 6) in the 30 inch plots of Figure 5. at 30 in. H2 Crescendo Influence on r This point's measured value is 26 inches, inches of water for all step measurements Intensity Step Scale about 7.7% below the predicted value at the amplified level. Automatic Since mechanical constraints restrict of 28.17 in. H 0. Airflow anomalies amplifier operation was disabled during 2 the spring pneumatic to very small involving the regulator valve were these tests to avoid conditions of partial excursions, its force can, for practical suspected, and further checks helped to amplifier activation. To accomplish this, purposes, be treated as linearly confirm this. To test this hypothesis, the the amplifier pneumatic was kept in a proportional to applied differential fully activated position by mechanical treble step mechanism was disconnected pressure. Therefore we can evaluate means while measurements were taken. from the piano's pneumatic stack. The intensity step performance during a step mechanism's regulated side was then crescendo simply by multiplying the Limitations OfThe Model blocked so the only air admitted would previously calculated value of F by a Although this model provides a be through a single #65 bleed. As spr constant ~ 1, substituting into equation reasonably accurate representation of expected, the regulated pressure at this (4), and incrementing upward to regulator behavior, it does not deal with step rose to a value within a fraction represent states of partial crescendo dynamic air flow phenomena. Large of an inch of the theoretical value. activation. amounts of air flow are not the rule, Admitting even slightly more air tended Figure 6 shows predicted theoretical however, and any discrepancies from this to cause a noticeable drop. A normal source can reasonably be expected to values of intensity steps as the
CRESCENDO EFFECTS. THEORETICAL" 30 IN. SUPPLY PRES. • Cras. at rest 3.7 in.
----0-- Cres. @ 5.5 in. 30 • Cres. @ 7.4 in.
25 --0- Cres. @ 9.2 in. Crescendo ,I' Near Max. ...-- Cras. @ 11.1 in. .I ~ 20 ----tr- Cres. @ 12.8 in.
i - Cras. @ 14.8 in. '5 15 I --0---- eras. @ 16.7 in. :! 10 -x- [email protected]. Crescendo approx. 50% -::t:- Cres. @ 20.4 in. 5 Crescendo at increasing levels I eres. @ 22.2 in. Crescendo at rest Cres. @ 24.1 in. o IIIIIIII 1 2 3 4 5 6 7 8 --- Cres. @ 25.9 in. Pre.sure Steps from Step Mechanism
Figure 6 crescendo's pressure is incremented in remain small. The model also assumes amount of residual leakage in the the manner described. Figure 6 is based perfect components with zero leakage pneumatic stack seems to be sufficient to on a steady supply pressure of 30 in. throughout the system, a situation never account for the difference. Conceptually, H 0, i.e., amplifier active throughout. As completely achievable in working it is easy to understand why this 2 hardware. Minimal leakage, as in a particular step is strongly affected. Only Fspr takes on higher values due to properly restored expression system, one intensity pneumatic is active, which crescendo activation, the entire ster should not lead to discrepancies of any happens to be the one having the weakest intensity scale is more or less pushei..., serious consequence. lever arm moment. Thus the regulator upward. As the process continues, each Agreement of theoretical vs. measured valve, with its inherent susceptibility to intensity step approaches, and ultimately data is generally good throughout most of airflow anomalies, has a significantly continued. . . reaches, a ceiling imposed by supply crescendo response. Consider what keeping bass and treble crescendo pressure. (The top step always goes to happens, for example, if the spring reference pressures exactly matching as supply pressure.) As a crescendo ensues, pneumatic should be regulated to a more described, and always adjusting first higher numbered steps, followed by the nearly wide open condition, making it intensity by regulating openings of the remaining ones in descending order, sufficiently strong that a reference level respective spring pneumatics. reach supply pressure, and persist at that of only 2 in. H O is needed to set up a 2 The Compatibility Issue level as long as the crescendo remains first intensity value meeting test roll For the benefit of readers familiar so activated. During a decrescendo, the requirements. Under such conditions, with the Model B Ampico and its process is reversed as levels when the crescendo is activated and technology, this article’s findings provide progressively drop. Note that in a reaches a reference level of 10 in. H2O, abundant evidence that the Model A partially activated crescendo state, only or only one-third of full supply pressure, Ampico responds to routine step and the low-end intensity steps retain some the crescendo-at-rest value of Fspr will crescendo coding in a very different control of dynamics. As the crescendo already be multiplied by a factor of five. manner than does its Model B successor. mechanism approaches a fully activated This will boost the intensity step scale This, of course, has a strong bearing on state, all of the intensity steps are boosted beyond the highest levels shown in dynamic coding for the respective to supply pressure, and 2, 4, 6, and 7 Figures 7 and 8. All steps will top out systems. Implications extend well coding has no effect whatever. at supply pressure long before the beyond the more obvious factors that are Perhaps even more striking is the fact crescendo is completely collapsed, a usually considered. In the Model B, that partial activation of the crescendo situation with disastrous musical for example, all intensity steps remain mechanism (as in normal use) always implications. functional in all possible crescendo tends to reduce the number of intensity Lower steps of the intensity scale states. B rolls are coded to take full steps available for dynamic control. should remain viable until the crescendo advantage of this. As regards the Model (Dynamic levels can be brought down, of reaches a condition near supply A, a totally different situation exists. course, through use of the hammer rail pressure, as illustrated in Figure 6. When There can be no doubt that performance lift.) (See Figure 7 & Figure 8 on performing initial setup of an expression is compromised when a B roll is played next page.) system, adjusting the crescendo to a on an A piano, or the other way around. Figures 7 and 8 allow direct level in the region of 3.5 to 4 inches of Optimum coding is unique to the comparisons of theoretical and measured water will generally accomplish this. particular system involved. Hopefully plots. Incremental reference pressures Also this reference level will be this article will contribute to a better up to 14.8 in. H O to the spring pneumat- 2 high enough to insure that cloth will be understanding of basic principles. ic are plotted, i.e., up to about half of tensioned sufficiently to remove slack supply pressure. Similar effects can be and overcome stiffness. After setting the References: seen in the respective figures. Agreement crescendo adjusting screw to achieve 1. Ampico Service Department, is substantially as expected, with such a reading on a water manometer “The Ampico Reproducing Piano measured results showing a slightly more gauge (never use a dial gauge for this), Inspector’s Reference Book”, rapid boost of intensity steps toward use the leather nuts to regulate the American Piano Company, 1923. supply pressure than the theory predicts. opening of the spring pneumatic and 2. Ampico Engineering Department, As crescendo activity ensues, intensity thereby adjust stack pressure to obtain “Inspectors’ Instruction Book 1920 steps top out in a corresponding manner the desired first intensity performance. Supplement”, American Piano at or near supply pressure. Observe due precautions to avoid binding Company, 1920. To permit measurements, some or excessive friction that might inhibit 3. Peter W. Brown, “A Contribution to method was needed to stabilize the the valve stem’s movement. Also make the Theory of Striker Pneumatics”, crescendo mechanism in a partly sure that crescendo mechanisms on both The AMICA Bulletin, Vol. 32, No. 1, activated condition. The normal screw sides, bass and treble, are initially set to January/February 1995. adjustment did not have enough range, identical reference pressures, or very so Styrofoam material of varying nearly so. This will help to ensure similar List of Figures: thickness was inserted between the bass and treble crescendo response. 1. Step Mechanism Measured crescendo hook and pallet valve. With Later on, during routine servicing, minor Dimensions appropriate thickness in place, the trimming of bass and treble first 2. Step Mechanism Forces and crescendo was stabilized at each desired intensities can be accomplished by Moments reference pressure long enough to take adjusting the respective crescendo 3. Intensity Pneumatic Detail the desired intensity step measurements. springs, as service literature instructs. If 4. Theoretical Step Scales @20 A tapered Styrofoam wedge was found to initial setup has been properly done, and @30 In. be quite effective for this. this should have only a slight effect on 5. Theoretical vs. Measured @20 and System Adjustment Implications reference pressure. If you don’t mind @30 In. Supply Pressure The crescendo reference pressure expending some extra time and effort, setting has a profound effect on however, best results can be obtained by continue. . . 99 continued...
6. Crescendo Effects, Theoretical @30 7. Crescendo Effects, Measured @30 In. 8. Crescendo Effects, Theoretical @30 In. Supply Pressure Supply Pressure (50% Applied) In. Supply Pressure (50% Applied) /'
CRESCENDO EFFECTS, MEASURED @ 30 IN. (FIRST 50%)
30
25 • Cres. at rest 3.7 in. ---0-- Cres @ 5.5 in. .. 20 f +--- Cres. @ 7.4 in. ~ '0 15 --<>-- Cres. @ 9.2 in. I .-- Cres. @ 11.1 in. i 10 ---tr-- Cres. @ 12.8 in. 5 • Cres. @ 14.8 in.
o I IIIIIII 1 2 3 4 5 6 7 8 Pressure Steps from Step Mechenism r -I Figure 7
CRESCENDO EFFECTS, THEORETICAL @ 30 IN. (FIRST 50%)
30
25 • Cres. at rest 3.7 in.
-0-- Cres. @ 5.5% .. 20 I +--- Cres. @ 7.4 in. '0 15 --<>-- Cres @ 9.2 in. I .-- Cres. @ 11.1 in. ~ 10 -tr-- Cres @ 12.8 in. 5 • Cres. @ 14.8 in.
o I IIIIIII 1 2 3 4 5 6 7 8 ff" Pressure Steps from Step Mechanism
Figure 8
100 EW PIANO ROLLS & RECUTS
Waltz Op. 42 A Flat Major, (Chopin), Limehouse Blues, played by Ferdie New from played by Marguerite Volavy Grofe Leedy Brothers To Spring Op. 43, No. 6, (Grieg), played S’posin’, played by Arden & Carroll by Hans Barth Brother Can You Spare a Dime, played The Only Girl Selections, (Herbert), by Adam Carroll played by Adam Carroll Ampico Music Wagon Wheels & Lullaby in Blue, Die Lorelie (Liszt), played by Josef played by Adam Carroll Andante Favori F Major, (Beethoven), Lhevinne played by Alexander Sklarevski Goodnight, My Love; Was It Rain?; Prelude Tragique C Sharp Minor, I Hear A Call To Arms, played by Ballade Op. 23, G Minor, (Chopin), (Ornstein), played by the composer Frank Milne played by Ferruccio Busoni Popular Hits of the Day: Fox Trot They Can’t Take That Away From Me, Tarantella Op. 43, (Chopin), played by Medley #13, played by Milne played by Adam Carroll Tina Lerner
Welte Licensee Symphony in G Minor (Mozart), played Meadow Lark, played by Henry Kiselik by Singer & Reichmann Recordings Your Mother and Mine, played by A Cup of Coffee, A Sandwich, and You, Holbrook King Home, Sweet Home (paraphrase), played played by Howard Lutter by Angelo Particolo If I Had A Talking Picture of You, played Sugar Plum, played by Vee Lawnhurst by Jack Wehrlen Die Lorelie (Liszt), played by Josef Lhevinne
PLEASE VISIT THESE SUPPLIERS OF RECUT ROLLS
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101 Eugene Oneguine (Tschaikowsky), Elegie, Op. 3, No. 1, Artist Sergei New from Artist: Juan Reyes Rachmaninoff (Rachmaninoff) Magic Melodies Serenade, Op. 3, No. 5, B Flat Minor, Jeux D’Eau, (Ravel), Artist: E. Robert Artist: Composer Sergei Rachmaninoff Schmitz and Keystone Schon Rosmarin (Kreisler), Artist: Etude, Op. 25, No. 1, A Flat “Aeolian Maurice Dumesnil Harp”, (Chopin), Artist: E. Robert Schmitz Ampico Music Rolls L’Amour de L’Apache (Offenbach-Ely), Artist: Henri Lefevre Etude Tableaux, Op. 39, No. 4, B Minor, Who’s Sorry Now?, Artist: Corrine “Picture Study” (Rachmaninoff), by Theatre Waltz, Artist: McNair Ilgenfritz de Bert the composer Dinner Music – Series No. 7, Artist: Ballads by Adam Carroll Gondeliera, (Liszt), Artist: Josef J. Milton Delcamp Querida, Artist: Adam Carroll Lhevinne Toddling, Artist: Adam Carroll Chalita, Artist: Enrico Lavarro Polonaise, A Flat, Op. 53, (Heroic), Nocturne, Op. 9, No. 1 – B Flat, Artist: Josef Lhevinne Ballads By Edgar Fairchild (Chopin), Artist: Maurice Dumesnil Enchanted Nymph, (Levitzki), Artist: Nights of Gladness, Artist: Andrei Kmita Le Chat Et La Souris (Copeland), The Mischa Levitzki Cat and The Mouse, Artist: Aaron Toy Soldiers’ March, Artist: Fritz Le Petit Ane Blanc, (Ibert), “The Little Copeland Kreisler White Donkey”, Artist: Moseiwitsch Dinner Music – Series No. 9, Artist: Der Freischutz Overture (von Weber), The World Is Waiting for the Sunrise, J. Milton Delcamp Artists: Pelletier-Loesser Artist: Lee Sims Concerto, Op. 70, No. 4, Mvt 1, Dance of the Manikins, Artist: AIDA – Part 1, 2 and 3, (Verdi), Artist: (Rubenstein), Artist: Leo Ornstein John Woods Duke Emanuel Bay
6 Phases of a Project VISIT THE 1. Enthusiasm AMICA 2. Disillusionment 3. Panic Web page at 4. Search for the Guilty http://www.amica.org 5. Punishment of the Innocent 6. Praise & Honor for the Nonparticipants
102 After this movie was over most AMICA members stayed in this big room some time. About 4:45 P.M. dinner was served with one of Richard’s great tasting Stews. After this there was desserts and fresh brewed coffee for everyone. News Everything went so well and everyone was so relaxed that Karen Simons and Richard decided that there was no need to have a meeting now. Just enjoy the holiday spirit that From everyone was enjoying here. I had the feeling that several AMICA members wanted to spend the night here in one of the Victorian bedrooms. The Chapters About 6:00 P.M. several AMCIA members were reluctant to leave this wonderful AMICA Christmas party but had to leave to get home. Again, another wonderful AMICA get together at Richard Reutlinger’s Victorian Home. Thanks again Richard for your constant extra effort for this AMICA Christmas Party 2003.
Richard Reutlinger’s Victorian Home, San Francisco, California FOUNDING CHAPTER Reporter: Thomas J. McKay, III President: Bing Gibbs - (408) 253-1866
Christmas Party 2003 Our yearly AMICA Christmas Party was held again at Richard Reutlinger’s Victorian home in San Francisco on Saturday, December 13, 2003 from 2-6 P.M. Close to 40 AMICA members came to this last get together for the year 2003. AMICA members watching the silent movie “Selling Christmas This year again like last year there were two wonderful Trees in California” with Richard Reutlinger on the player piano. piano players who together played lots of old time Christmas music and ragtime for all the AMICA members. They were Tom Brier and Nan Bostick. They played on the two player pianos in the living room. From 2:00 P.M. on members relaxed and got together in the living room with lots of homemade eggnog and punch made by Richard. During this time everyone was free to take their own tour of Richard’s award winning Victorian Home. Speaking of Richard, AMICA just can’t say enough about all his constant hard work in doing so much all year long. Richard spent a lot of time and money putting together this wonderful Christmas Party for all the AMICA members here. Wide angle view of Richard’s player Thanks again Richard for all your extra effort with everything piano room. There are at least 7 you do for AMICA. player pianos in this big room. About 3:45 P.M. Richard had all the AMICA members go downstairs to his player piano room to listen to his many player pianos and to watch a silent movie with Laurel and Hardy in “Selling Christmas Trees in California.” This was about 20 minutes long with Richard playing on the player John Ulrich with his piano with sound effects to go with the silent movie. movie projector.
103 Christmas Trees on top of the two player pianos.
After the movie AMICA members talking and relaxing.
Three player pianos here.
Another three players here also.
Tom Brier playing Christmas music and Old Time music.
Looking down the stairs to the front door.
Master’s Victorian Bedroom.
Pumping a ragtime song here.
Victorian Bedroom.
Victorian Bedroom.
104 Living Room with two player pianos at the rear of this picture.
Nan Bostick and Tom Brier playing Christmas music and 1920’s music.
Living Room from the other end by the two player pianos.
Richard cooking another one of his AMICA members relaxing here. Karen Simons great Stews for the AMICA members. in the long red dress.
Living Room and Dining Room in the back. Richard is third person from the left.
Eggnog and fruit punch both available here. AMICA Christmas Dinner. Richard’s eggnog (homemade) is the best there is according to many AMICA members here.
John Ulrich, Lewis Motisher and friend.
AMICA members enjoying the Holiday Spirit.
Dinner is now being served.
105 plus members are busy closing up camps for the season. So there were just us hard-core people at this meeting. There was Victorian Room a lot of discussion of technical problems regarding wiring, for relaxing. lyre removal, and pressure leaks. All of these members have been here before so they saw the same instruments as we had all the other times. The new addition wasn’t musical at all but a kit car built by my husband Chris. We bought the car last September. He worked all winter on it and we’ve been driving it around since the late spring. The kit is a Heritage replica of a 1934 Mercedes 500. It’s long, black sleek, a convertible and a real head turner. His first kit car is a replica of a 1929 Mercedes. In the pictures are: Anna (striped sweater) and Joe Malyndziak (plaid shirt & light pants), Ed Everett (light shirt), Ed Patt, Chris Christiansen (short sleeves) and me (making sure my ear is Victorian Room for many uses. still attached to my head). Like everyone else in our club, we tend to collect everything and make space wherever we can. Mostly we collect lifelong friends. Photos taken by Bill Koenigsberg
Silent Movie player piano with dual rolls.
Richard Reutlinger talks about the silent movie player piano. Movie shown today was Laurel and Hardy, “Selling Christmas Trees in California.”
BOSTON AREA CHAPTER Reporter: Ginger Christiansen President: Bill Koenisgsburg - (978) 369-8523
A beautiful early fall day in New Hampshire saw only a few members in attendance for various reasons. At this time of the year there are conflicting meetings with other clubs
106 Members enjoy their drinks in front of the Limonaire Fairground Organ.
Elie and Fred Schwimmer with Bennet Leedy in front of the Gebr. Bruder organ with the ballroom automation on top. The elegantly dressed dolls dance around a miniature ballroom to the music of the organ.
A Viking warrior CHICAGO CHAPTER guards the entrance to Reporter: Kathy Stone the Eden Palais Salon Carousel. President: Curt Clifford (630) 279-0872
Marian and Jasper Sanfilippo hosted the 2003 Chicago Area Chapter’s holiday party at their beautiful home that sits majestically on 54 acres in Barrington Hills, Illinois. We began the evening with a fabulous buffet dinner in their carousel building. Restoration has been completed on the Eden Palais Salon Carousel, the style 37 new Ruth Fairground Organ, 92 key Fasano Dance Organ and a steam locomotive George Wilder that is now accompanied by a spectacular “luxury passenger with family and car”. The passenger car has been completely restored and friends enjoy contains ornate walnut paneling, etched glass windows and the dinner. seats upholstered in burgundy velvet. We also enjoyed several other new additions including a Ballroom Automation atop the 104 Gebruder Bruder Organ, a Louis Hooghuys Fairground Organ, steam engines, and many antique motors and generators. Following dinner we walked to the house and enjoyed a concert of seasonal music on the 5 manual – 80 rank Wurlitzer Theater Organ. After the concert, we were free to tour the Sanfilippo’s home that features an extensive phonograph collection, several reproducing pianos, A rocking orchestrions, band organs, antique gambling equipment, gondola boat antique arcade machines and even an antique ice cream parlor. on the carousel. We sincerely thank the Sanfilippos for their generosity and hospitality in sharing their home and collection with our members and invited guests.
107 A beautiful carousel horse follows a spinning tub. Behind them, in the center of the carousel is a magnificent Gavioli organ. All of the gold trim on the carousel has been gilded with 14 carat gold leaf.
Sandy Persky and guests enjoy the vast collection.
The foyer in the Sanfilippo’s music addition to their home.
Beautiful art glass of a Seeburg/Harwood coin piano.
Connie Wolf (right) with guest in front of the Wurlitzer CX. Nickelodeons and phonographs occupy the lower level of the house.
Wayne Wolf (right) and guest with Seeburg G. Orchestrion.
Wayne Wolf and Margaret Bisberg with a very rare Seeburg style J Orchestrion.
Bob Liesendahl poses with an original Encore Banjo. A lovely Phillips Pianorchestra.
The only known specimen of a Wurlitzer Style EX Orchestrion.
108 midi-controlled accordion -a real crowd pleaser. Besides our rally there were also carving demonstrations and barbershop quartets. Other AMICA members who were there to help were Vincent and Maryam Morgan, Gail and Dee Clarke, Gene and Maureen Saboda and Dave Polter and Janet. On December 28th we had our meeting at Marvin and Dianne Polan’s home in Melville NY. Their latest addition to their collection is a fully restored Aeolian Orchestrelle with 400 rolls of music. Joe Hutter put on a super workshop on how he restored his own Orchestrelle and all the effort Three different styles of Seeburg KT coin pianos. that is needed to play it correctly. With Marvin’s help Joe was able to remove some of the exterior panels and demonstrate the operation of the Orchestrelle as it played to the membership. An excellent workshop on a unique musical instrument.
Randolph Herr introduces himself and his 1913 Steinway Pianola to the audience at the Northport Public LADY LIBERTY CHAPTER Library. Reporter: Buzz Rosa President: Vincent Morgan - (718) 479-2562
Randolph demonstrates The last 3 months have been very busy for Lady Liberty the dynamic range of AMICA members. On Oct 17th AMICA member Randolph the piano by playing Herr moved his 1913 foot-pumped Steinway Pianola from loud and soft passages his home in Forest Hills Queens to the auditorium of the and how he can add his own expression Northport Public Library. He performed selections from Jelly to the music Roll Martin, Franz Liszt, Scott Joplin and Chopin. With the help of a closed circuit TV camera he was able to answer questions from the audience and demonstrate how the pianola puts expression into the performance and how he controls it. On Oct 19 the Lady liberty Chapter arranged to have President Vince Radio City Music Hall organist Dave Calendine perform at Morgan takes Bob and Cathy Martin’s home in Little Falls NJ. They have care of chapter business before a fully restored 3 manual, 24 rank Griffith Beach theater the concert organ that occupies the 35 by 55 foot music room of their begins. home. The organ has a Devtronix midi record and playback system and a Moller-Artist roll player will soon be added. Dave performed a wide range of movie and Broadway melodies on the restored theater organ . After a short intermission we arranged the chairs to watch the silent movie “Big Business” starring Stan Laurel and Oliver Hardy. Dave provided the music and sound effects for the entire movie with a expertise that couldn’t be matched. On Saturday Oct 25th the New York Empire State Carousel Museum located in Holtsville had its grand opening. The music for the carousel was provided by a Stinson organ which had recently been tuned by members of the Lady Liberty Chapter. Outside the Carousel building the chapter held its first official organ rally. Bill Maguire brought his player piano, Bob Yorburg brought his Gavioli that plays Wurlitzer 125 scale music, Dianne Polan played her Hoffbrauer monkey organ while Marvin Polan Bob Martin welcomes Dave Caledine to the Griffith Beach 3 manual, 24 rank theater organ. strolled through the crowd playing tunes on his portable 109 The Lady Liberty Chapter enjoys a medley of Broadway and classic movie selections as Dave takes command of the show
Bob Torburg with his Gavioli that plays Wurlitzer 125 Scale Music.
Another view of Dave performing and some of the other instruments attached to the ceiling Bill Maguire foot pumps his player that can be readily piano at the Grand opening of the played from the New York State Carousel console.
The official entrance to the New York State A wide view of the New York State Carousel Carousel on opening day. on opening day.
Joe and Linda Hutter enjoy a ride on the recently opened Carousel
Dianne Polan lets Rapid T Rabbit play her Hoffbrauer monkey organ during the band organ rally at the New York State George Cohan is one of 3 hand Carousel. carved people who are on the facade of the Stinson organ. John Phillip Sousa is the animated band leader in center and Irving Berlin occupies the right side of the facade.
Maryam and Dave enjoy Marvin and Dianne Polan play their their turn on the recently Huffbrauer monkey organ as people opened carousel wait in line to ride the carousel.
110 for July in Indianapolis, Indiana, along with a possible trip to Michigan for the fall meeting. Sunday afternoon took us several miles away to Rawson, Ohio, the home of Elizabeth Rettig’s Music Roll Shop. Many AMICAns participate in her roll auctions by mail, and we got to see the shop firsthand. Along with the rolls and roll repair items, she sells literature and books, as well as a few instruments including a push-up player and cylinder music box. Most everyone went away with a few treasures from the shop before MIDWEST CHAPTER heading up I-75 to Jeffrey’s Antique Mall, one of the largest in Ohio. It didn’t have many piano rolls, but it had most Reporter: Christy Counterman everything else! President: Stuart Grigg - (248) 356-5005 The Neffs and the Gustwillers were wonderful hosts, and we especially thank Tom and Bev for opening up the family’s home to our chapter for the first time. The Midwest Chapter’s traditional holiday gathering On a sad note, our chapter has lost five members this year. was held the first weekend in December in Findlay, Ohio. They include past Secretary Judy Wulfekuhl, Frank Rider, Fortunately for us, Friday’s snowstorm gave way to good Lewis Schwartzkoph, Donna Counterman and Lawrence Frazer. driving weather for Saturday as we began the day at They had all been active members and will be missed. The Gustwiller’s Clothing Store. It was much more than a clothing Chapter sends it condolences to the families and voted to make store as the merchandise was surrounded by wonderful a contribution to the Memorial Fund in their names. woodwork, stained glass windows and light fixtures salvaged from turn of the century homes. Members enjoyed trying out Jody Trittipo, Carol Thiel, the slot machines and listened to the Mills Violano as Liz Barnhart and Miriam they shopped for everything from sweaters to sporting goods. Hansom try to “Name Several people commented that they’d like to take home a That Tune.” vintage pedal car from the collection that ringed the main part of the store. Not far away was the home of host Tom and Bev Gustwiller, where we were treated to demonstrations of their extensive collection of automata and early vending machines. Everything was in working condition, and was housed in beautiful rooms trimmed in more vintage woodwork – complete with fireplace mantels and Victorian stickwork. The walls were decorated with shadowboxes displaying vintage board games with colorful graphics. That evening we enjoyed a wonderful dinner at the home of Wes and Sherri Neff, accompanied by music from the 1927 Mike Barnhart and Jack Knabe Ampico grand and the 1925 Wheelock Duo-Art upright Linker accompany Wes on in the living room. Later came the challenge of “Name That the “Stumpf Fiddle” or Tune”, using excerpts of old piano rolls put together on one roll “Drum Schtick”. and pumped by Wes on the Bond upright player. Musical prizes were given to the people who guessed the most tunes, though some of them stumped us all. Next came the musical gift exchange, where each member was allowed to either keep the Karl Thiel and Miriam Hanscom enjoy gift they unwrapped, or trade it for one already opened by a breakfast in the Neff’s new sunroom. previous recipient. There was some heated competition for some of the more popular gifts! The last time we visited the Neff’s in 2001, we saw the Chickering Ampico A upright stripped down to the bare wood, without strings or action. This visit, it was playing beautifully and looked just as nice thanks to Wes’ fine restoration job. The next morning found us back at the Neff’s for brunch, followed by the business meeting. For the members not in attendance in Portland, we reviewed items discussed at the convention and asked for a vote regarding the Adopt-A-Piano Happy Birthday to Project. We confirmed that our chapter would like to participate Liz Barnhart! and look forward to choosing an instrument soon. Hostess Sherri Neff plays an Elvis tune We also discussed upcoming meetings which are on the Seeburg Select-O-Matic 100. tentatively scheduled for May 1-2 in Chagrin Falls, Ohio and
111 Karl Thiel makes his selections at the Music Roll Shop.
Alvin Wulfekuhl tests out a music box for sale.
Jack Linker unwraps his snow globe as Jeff Brabb and Sherri Neff look on. This French roll has a beautifully Liz Barnhart and Carol Thiel illustrated blue and yellow leader take their chances at the wheel, shown by Jay Merrill. flanked by turn-of-the- century board games.
Pull the cat’s tail and get a prize!
Carol and Karl Thiel watch Tom’s demonstration of an automaton.
Elizabeth Rettig rings up a purchase.
Jim Althouse, Karl Thiel and Betty Malakinian consider switching gifts with Liz Barnhart. Wes Neff leads us in Name That Tune on his 1918 Bond foot-pumped piano.
Hilda Merchant is delighted with Bev’s gift of handmade musical motif napkins. Dennis Burchett wonders about a trade.
At Gustwiller’s clothing store, you can be serenaded by the Mills Violano while in the “lavatory” Host Tom Gustwiller next door. demonstrates and early Roulette Wheel.
112 Norm and Sally Gibson.
PACIFIC CAN-AM CHAPTER Reporter: Marty Smithberg President: Stuart Grigg - (248) 356-5005 June 28, 2003 March 15, 2003 The Pacific Can-Am Chapter of AMICA met Saturday, On Saturday, March 15th, the Pacific Can-Am Chapter of June 28th at the lovely waterfront home of Larry and Myra AMICA met at the home of Norm and Sally Gibson in the Karp. Their home contains a staggering array of music boxes, resort town of Ocean Shores, Washington. We were treated to phonographs, automatons, musical clocks, a band organ and a “The Tour” which is usually reserved for the guests that stay Bush and Lane upright player piano. In addition to all this is at their bed and breakfast. Their home is a showcase for their an equally staggering array of Wedgewood pottery. There’s many collections and musical inventions, both vintage and everything from lamps and clocks to earrings and shoes with Norm’s originals. It also contains a theatre and a fully Wedgewood heels. functional soda fountain. We had 11 members attending. We broke with tradition and followed an open house We heard a report from convention chairman Carl format, dispensing with our usual potluck and finishing earlier Dodrill to update us on the upcoming AMICA convention in in the afternoon. Myra and others supplied plenty of snacks Portland, Oregon from the 20th to the 24th of August. It will and refreshments. be here very soon. We hope you’re all planning to attend. We As this was our last meeting before the August hope to see you then. Convention, Carl Dodrill gave an extensive overview of Our chapter was very saddened by the death of one of our the details. He touched on the events, trips, tours, workshops own members. Many of you may have known Dean Randall and concerts that will be featured. Carl and Halie were for his remarkable expertise and technical advice pertaining to thanked for several years of planning and hard work putting piano rebuilding. We moved to make a donation to the it all together. AMICA Memorial Fund in his memory. We finished the meeting with a sneak preview of the Our usual potluck buffet followed. convention souvenir roll. It’s Great!!!
Inside of the Myra Karp and theatre Mark Smithberg, Kurt Morrison in the background.
Carl Kehret giving a report surrounded by music boxes and AMICAns.
Sally Gibson at the soda fountain.
113 Jim Freeburg, Peg Kehret, Ted Miholovich (at the piano), Halie Dodrill, Jean Freeburg. Ted presides over our variations of songs on rolls.
December 13th, 2003 The Pacific Can-Am Chapter of AMICA met Saturday, December 13th, at the Mercer Island home of Carl and Halie Myra and Nipper with some Wedgewood, phonographs, and music boxes. Dodrill. They have a 1912 Steinway 65/88 note foot impelled grand, an Aeolian Duo-Art Residence pipe organ, an Aeolian Model V Orchestrelle and others in their home. October 12, 2003 We began with a program with a simultaneous concert on The Pacific Can-Am Chapter of AMICA met Sunday, piano and organ. Halie played Silent Night on the piano while October 12th at the home of Ted and Aileen Miholovich. the organ played the roll. Then she played Little Drummer Their home was built in 1949 across the street from Lake Boy on the organ while the piano played the roll. Then she Washington in southeast Seattle looking toward Seward Park played What Child Is This solo on the piano. We kept her very to the east. The house itself is just as it was when they moved busy. in back then. They have a beautiful 1926 Steinway Duo-Art Co-presidents Carl and Peg Kehret discussed two pro- OR 6’6” grand which was put to good use. Our theme was jects being taken on by the chapter as part of our community variations on tunes, different lyrics, or tunes within a tune. awareness and education to the public. We will be restoring a We heard Gypsy Blues with My Little Gypsy Sweetheart foot operated player piano and placing it in a period setting at interpolated in it; Military Waltz; Swannee River Boogie; the American Museum of Radio in Bellingham, Washington. Here Comes the Navy (set to the tune of Beer Barrel Polka); It is a hands-on museum and almost everything in it is avail- An Operatic Nightmare and others. able for demonstration. The period living room setting will be Our business meeting followed including a convention open for use by visitors and school groups so the piano will be report from Carl Dodrill. After Show and Tell we had our used. usual potluck. We are also planning to restore the Knabe Ampico in the Norm and Sally Gibson will again be spearheading the lobby mezzanine of the Paramount Theatre in downtown third band organ rally in Ocean Shores, Washington early Seattle. It was originally in that location, and through the next June. Watch the AMICA Bulletin for information. years had been sold to a private party. It is now back where it belongs, but doesn’t work very well. After restoration, it will be used at intermission to entertain patrons. We are hoping it will stimulate interest and we gain new members. We had our annual White Elephant Gift Exchange. Some gifts were stolen eight or ten times, and it got a bit lively. Steinway in the living room. We held elections for 2004. We followed this with our potluck buffet.
Peg Kehret, Halie Dodrill, Carl Dodrill, Halie Dodrill, piano, Carl Dodrill, organ. Norm Gibson, Maury and Fran Willyard.
114 Carl Dodrill, Aeolian Orchestrelle Carl Dodrill, piano, Halie Dodrill, organ. Model V
Our annual White Elephant Gift Exchange.
115 FOR SALE ADVERTISING 1924 STEINWAY OR Duo-Art walnut Art case w/veneer damage GENERAL INFORMATION ABOUT from fire on one side, rebuilt player, in crates, w/new Ivory keys - ALL ADVERTISING IN THE AMICA BULLETIN $11,500 Condition: D; 1995 BALDWIN 4’7” red polish Mah. W/Pianodisc - $8,900 Cond.: A; 1987 YAMAHA G 2 Ivory polish All advertising should be directed to: w/Pianomation - $11,500 Cond.: A; 1920 FRANKLIN 56” Ampico Mike Kukral Mah. $3,500 Cond.: B+; 1924 MARSHALL & WENDELL 52” 216 Madison Blvd. Ampico Mah. $2,900 Cond.: B+; MARIONETTE AMPICO Terre Haute, Indiana 47803 GRAND original complete w/matching bench $2,500 Cond. C-; Phone: 812-238-9656 1995 STORY & CLARK 42” Wal. $2,500. Contact: Schroeder’s e-mail: [email protected] Pianos 562-923-2311 (2-04) Ad copy must contain text directly related to the product/service GEORGE STECK semi-art case mahogany, 5’8” Duo-Art grand, being offered. Extraneous text will be deleted at the Publisher’s refinished, rebuilt player, action, strings, hammers, etc. Piano and discretion. All advertising must be accompanied by payment in Duo-Art in A-1 condition. Plays and reproduces Great! $6,000 OBO. U.S. funds. No telephone ads or written ads without payment will Call for more information: Pete Miller, 847-697-9565. (2-04) be accepted. This policy was established by a unanimous vote of KNABE AMPICO “B” 5’ Grand, CA. 1930, brown mahogany, some the AMICA Board at the 1991 Board Meeting and reaffirmed at inlay, fair condition, no bench. $3500. KNABE AMPICO “B” 5’ the 1992 meeting. AMICA reserves the right to edit or to Grand CA. 1937, walnut, rare single legs, good condition with original reject any ad deemed inappropriate or not in keeping with bench, $4,000. STROUD DUO-ART upright CA. 1926, brown AMICA’s objectives. mahogany, fair condition, no bench, $1,000. All prices negotiable, The BULLETIN accepts advertising without endorsement, delivery available. Willing to accept in trade: post-1923 Ampico implied or otherwise, of the products or services being offered. uprights, original coin-ops and some very clean original upright players, Publication of business advertising in no way implies AMICA’s preferably unrestored. Skip Woodhull, 419-227-8565. (2-04) endorsement of any commercial operation. MILLS VIOLIN-VIOLANO, Seeburg, MO, Ampico rolls, Seeburg 148 jukebox. Call 585-249-9434. (2-04) AMICA PUBLICATIONS RESERVES THE RIGHT TO STEINWAY ART CASE DUO ART REPRODUCER GRAND ACCEPT, REJECT, OR EDIT ANY AND ALL PIANO - Model AR-3, 7’-0’’, circa 1920. Outstanding condition with SUBMITTED ARTICLES AND ADVERTISING. Ivory keys. This is an amazing musical instrument and is in like-new condition with unbelievable tone and sound, superb. Being sold by All items for publication must be submitted directly to the private party/collector, I have moved and the new house does not have Publisher for consideration. room. The asking price of $55,000 includes rolls, contemporary bench CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimum AND professional moving and set up to most US destination. Great for AMICA members. Non-members may advertise double the history also, the Minneapolis Philharmonic Orchestra borrowed this member rates ($10.00 minimum). Because of the low cost of piano, moved it to the Orchestra Hall where, for the first and only time, advertising, we are unable to provide proof copies or “tear sheets”. a concert was performed between the Minneapolis Philharmonic Orchestra and a Reproducer Steinway, I have photos, a copy of the DISPLAY ADVERTISING 1 program and ticket stubs for this performance. A complete first class Full Page — 7 /2 " x 10" ...... $150.00 restoration of the piano was performed 14 years ago, since then it has 1 3 Half Page — 7 /2 " x 4 /4" ...... $ 80.00 always been expertly maintained by Steinway representatives, tuned Quarter Page —35/8 " x 43/4" ...... $ 45.00 and played. The following was done during the restoration: New pin Business Card — 31/2 " x 2" ...... $ 30.00 block; New finish; restrung; repined; New dampers; the player works Non-member rates are double for all advertising. were all redone, this work was done by Bill Ackman; All new Special 6 for 5 Ad Offer - Place any ad, with no changes, for a leather, hoses, belts, etc.; New Ivory keys; Basically everything was full year (6 issues), and pay for only 5 issues. Payable in advance. rebuilt/refinished. I think the cabinet style is “Aeolian #3011” - Photographs or halftones $15.00 each A slide show of photos can be seen on the internet here, click on the Steinway portfolio: http://photos.yahoo.com/norsepottery, John Danis, Loose Sheet or Insert Advertising: Inquire 2929 Sunnyside Dr D362, Rockford, IL, 61114, (815)978-0647, We recommend that display advertisers supply camera-ready Email, [email protected] (2-04) copy. Copy that is oversized or undersized will be changed to TELECTRIC PLAYER, table top, 65-note, no solenoid bank. $300. correct size at your cost. We can prepare advertisements from Contact Lauren Peckham, 194 Ormiston Road, Breesport, NY 14816; your suggested layout at cost. phone 607-739-5443 (2-04) PAYMENT: U.S. funds must accompany ad order. Make check 1914 STEINWAY OR Duo-Art Grand #161135. Completely restored payable to AMICA INTERNATIONAL. Typesetting and case, piano action and player action with original perfect ivory. Includes layout size alterations charges will be billed. custom bench, rare 72 roll cabinet and 150 Duo-Art rolls - $19,950. Call DEADLINES: Submissions must be received no later than the 509-248-4145 or email [email protected] for more info or flyer first of the odd months (January, March, May, July, September, with photos. (2-04) November). The Bulletin will be mailed the first week of the CHICKERING AMPICO A, 6 foot grand, rebuilt 20 years ago, $1900. even months. (Rev. 6-98) MARSHALL & WENDELL AMPICO A, 5’8” grand, Walnut, round fluted legs, floral design on legs and across top of legs, leg connectors, matching padded bench, perfect ivory keys, $1700. Call John Babey, Cleveland Piano Service, 216-531-9255. (2-04) 1918 HAZELTON BROS. (Welte Licensee) 5’10” mahogany grand, “The problem with 20 year full restoration, needs some TLC to really play 100%. Over 100 rolls included $13,500. All offers considered. 561-395-3812 (2-04) stupid people. CLOTH-COVERED ELECTRICAL WIRE FOR REPAIRS AND RESTORATIONS. Many styles, colors, gauges. Safe and authentic. They don’t know Sundial Wire, PO Box 1182, Easthampton, MA 01027; phone 413-582-6909. Full service web site: http://www.sundialwire.com; they are stupid.” e-mail: [email protected] (4-04) ~ Michael Daniel COINOLA X, piano completely rebuilt and refinished, mechanism includes only spoolbox, stack, motor, xylophone. Also several reproducing pianos. Call for info: 619-281-3717. (2-04)
116 1929 KNABE GRAND AMPICO B, #108445, restored in 1980’s, NEW REPRODUCING ROLLS FOR SALE – Magic Melodies is plays well, plain cabinet, $12,000. HIGEL PLAYER PIANO #122, now the Exclusive Dealer for new Keystone Ampico and Duo-Art rolls. restored, plays fair, $700. ANGELUS PUSH-UP PLAYER, restored, For periodic Catalogs and other listings, write or call us. Magic plays well, $200. CHASE & BAKER PUSH-UP, restored, plays well, Melodies, 360 Lawless Road, Jamestown, KY 42629 or $300. Transposing Piano (GEO. RUSSELL, LONDON, FORREST phone 270-343-2061. (1-05) & SON) #89375, not restored, in pieces (work was in progress), make One Only AMPICO A&B SERVICE MANUALS - AMR Publication offer. EDISON DISC PHONOGRAPH #0032 SN 1417, plays, nice - Quality spiral bound. $22.00 including shipping - Accept check or cabinet, many records, $300. All located near Fortuna, California. PayPal, [email protected], Dr. Frank Adams, P.O. Box 3007, Call Linda at (805) 967-7920 or email [email protected] Arlington, WA 98223, 360-653-1799 (2-04) for more information. All prices negotiable (5-04) WANTED MARSHALL & WENDELL AMPICO, electric player 5’ baby grand, sn#113128, refinished off-white lacquer, new keyboard, re-strung, RED WELTE MIGNON piano rolls (T-100). Paying top dollar. Mike excellent playing condition. Pump in player requires repair. Asking Kukral 812-238-9656 or [email protected] (6-04) $7700, call 201-224-2265. (4-04) “Rose City Rag” 2003 Convention Rolls available for $12, shipping included. Contact [email protected] (4-04) AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS. New Recuts and Originals, including “Jumbo” and Program Rolls. Also N.O.S. QRS 88 Note rolls. Check out my website: AMICA http://www.maui.net/~uni/caldwell/ Dave Caldwell, 400 Lincoln Lake Ave. N.E., Lowell, MI 49331; e-mail: [email protected]; phone 616-897-5609. (6-04) Memorial Fund Donations The Golden Age of Automatic Musical Instruments. Art Reblitz’ magnificent 448-page book. Fabulous photos, history, collecting Please think of AMICA as a place to remember stories, tracker scales, original prices and more. $120 plus $5 S/H your friends and family with a donation to the (single copy USA ground shipment). Mechanical Music Press-A, 70 Wild Ammonoosuc Road, Woodsville, NH 03785; 603-747-2636. AMICA Memorial Fund. http://www.mechanicalmusicpress.com (4-04) HANDMADE BARREL AND PNEUMATIC ORGANS made in Send to: John Motto-Ros - 209-267-9252 Germany. With moving figurines and a lot of humorous surprises. P.O. Box 908 See: www.magic-mechanical-music.de Musik & Spiel Automaten Sutter Creek, CA 95685-0908 Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2; Tel: 07626-7613, Fax 07626-971009 (6-05)
117 A GUIDE TO RESTORING THE AMPICO “A”
Forty-five pages of technical information focusing on aspects of restoration unique to the Ampico “A”. A list of materials and suppliers, diagrams for specialized tools and three floppy discs containing 100 photos.
Send $40 to: Paul Manganaro, P.O. Box 535, Coopersburg, PA 18036 (2-04)
AMICA ITEMS FOR SALE
Shipped Immediately ! In Stock Now Get the Whole Story ! The AMICA Bulletin remains the single source of complete information about the technical and social aspects of our hobby. No home library would be complete without a FULL SET of the AMICA Bulletins, bound into sets by year. In addition, technical articles published in the bulletin have been extracted and published as invaluable reference volumes. More than 30 years of knowledge, discovery and revelation can be found in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space! ORDER TODAY! In stock for immediate shipping via United Parcel Service or US Mail. AMICA Technicalities The AMICA Bulletin Since 1969, AMICA has been publishing into bound vol- umes, collections of technical articles written and con- 1971 through 1999 bound annuals tributed by its members for publication in The AMICA Bulletin. They may be purchased as follows: of the AMICA Bulletins Vol 1 - 1969 to 1971 ...... $10.00 $24.00 (U.S. Dollars) per year postage paid Vol 2 - 1972 to 1974 ...... 8.00 Vol 3 - 1975 to 1977 ...... 9.00 Make checks payable to: AMICA International Vol 4 - 1978 to 1980 ...... 7.00 Send Orders to: Stuart Grigg Vol 5 - 1981 to 1988 ...... 20.00 Vol 6 - 1989 to 1993 ...... 20.00 Grigg Graphic Services, Inc. Postage Paid 20982 Bridge Street Please note: Supplies of the earlier volumes may be Southfield, MI 48034 temporarily unavailable as stock is depleted. Fax: (248) 356-5636 Overseas orders may take longer than domestic shipments. e-mail: [email protected]
118 _ '. LEEDY BROTHERS MUSIC ROLLS IC~ . ~ 4660 HAGAR SHORE ROAD COLOMA MI 49038 Phone 269-468-5986 Fax 269-468-0019 email: [email protected] Welte Licensee DUO-ART AMPICO 88 NOTE Limited edition reissues and new music rolls. Contact us or check our web page for our latest list of music rolls. Web page www.leedyrolls.com
(4-05)
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BENNET LEEDY ROLLS BENNET LEEDY RESTORATIONS THE PIANO ROLL CENTER 4660 HAGAR SHORE ROAD 4660 HAGAR SHORE ROAD COLOMA MI 49038 Phone 269-468-5986 COLOMA MI 49038 Fax 269-468-0019 Phone 269-468-5986 email: [email protected] Fax 269-468-0019 email: [email protected] High quality restorations of Ampico, Duo-Art, Welte and other reproducing Reproducing, 88 note, 65 note, rolls. pianos. All makes of 88 note player Musical related publications and other pianos, and other automatic instruments. collectibles for sale by mail auctions. Serving collectors since 1970. Contact us to receive our auction lists.
Web Page: www.leedyrolls.com (4-05) Web Page: www.leedyrolls.com (4-05)
119 REPLACEMENT LEADERS These 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types of reproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes. To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharp knife, discard scrap, and butt-join with magic mending tape on top surface.
A. Brown on buff B. Black on ivory C. Black on ivory D. Black on ivory (For early red label boxes) (Area for reusable (Most common) (Very late rolls by combined artist photo) Aeolian/American)
Note: Early Welte’s with blue leaders may be repaired with this brown leader. Many of these when reissued had brown leaders.
E. Green on ivory F. Green on ivory G. Welte (Most common) (Favorite Fifty & Brown on buff Selected Roll Service) (Most common)
Please make checks payable to Checks or money Price: $ 1.00 each Style Quantity AMICA INTERNATIONAL, orders from foreign Minimum Order: $10.00 A ______And send to: countries must B ______be drawn on C ______BRIAN K. MEEDER U.S. bank. D ______904A West Victoria Street Postage and Handling $ 5.50 Santa Barbara, CA 93101-4745 E ______Roll Order $ ______F ______e-mail address for orders: G [email protected] Total Amount (U.S. $) $ ______Total Quantity ______
120
JUNE, 1906 COUNTRY LIFE IN AMERICA 205
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EMPERO~ WILLIAM BUYS A WEBER PIANOLA PIANO ST month the Aeolian Company received a Royal Command from Emperor William, through the Head Court Marshal, His Excellency Count A. zu Eulenburg, to send a Weber Pianola E Piano to the Royal Palace. The instrument, when delivered, was installed in the pfeiler Saal, or family quarters. After ~) an interval of four days, during which it was in almost constant use, a request was received to send a bill, as the Emperor was greatly delighted with the piano and wished to retain it permanently. A cablegram to the New York Staats·Zeitufig has since been printed:
"PRAISE FROM THE IMPERIAL FAMILY. On recommendations recenrly received from America, Emperor William purchased from the Aeolian Company one of their Pianola Pianos. "The Empress and Prince August William played On it, and spoke enthusiastically of the purity and rich tone of the instrument."
The Staats-Zeitrtng cabled back to learn the source of the above information and in reply received word from its correspondent that the item was furnished directly by a member of the Imperial Household. It is mOlt significant that, having decided to buy an instrument of tbis type, His Majesty, the Emperor of Germany, the foremost musical nation in the world, should have selected the Weber Pianola Piano, thereby endorsing in the most emphatic manner possible the opinion of the world's greatest musical authorities.
Royalty has bee.n a most consistent patron of the Aeolian Company's instruments. Not one, but every member of the English Royal Family has purchased a Pianola. Other patrons include the Tsar of Russia, the King of Spain, the King of Portugal, His Holiness, the Pope, Prince Ferdinand of Bul!!:aria, the Sultan of Turkey, the Khedive of Egypt, the Shah of Persia, the King of Siam, etc, The world over, from New York to St. Petersburg, from Cairo [0 Melbourne, the Pianola'· and other instruments of the Aeolian Company's manuf3Cture are invariably given preference over all others by the most diStinguished and discriminating class The Planol:k 1'1",,0 (unllil'~ in a single 'ns~rumC'o.t a pia"Q (or the hoicht~t :&:,,,,le a1\<1 ;\ /lh'tto)..I\k l";;\cH)lo:. .• of purchasers. Art Catalog V sent upoo request. ...l' , THE AEOLIAN COMPANY " AEOLIAN HALL, 362 Fifth Avenue Near 34th Street, NEW YORK