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The AMICA News Bulletin II~~'" Automatic Musical Instrument Collectors' Association II=~~~~ September/October 1989 Volume 26 • Number 5 The AMICA News Bulletin Automatic Musical Instrument Collectors' Association

ROBIN PRATT, Publisher 515 Scott Street (419) 626·1903 Sandusky, Ohio 44870·3736

Published by the Automatic Musical Instrument Collectors' Association, a PUBLICATION DEADLINES FOR 1989 non·profit group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls, AMICA was For January/February issue December 15 founded in San Francisco in 1963. For March/April issue February 15 For May/June issue...... April 15 POLICY ON ADVERTISING For July/August issue...... June 15 The BULLETIN accepts advertising without any en­ For September/October issue...... August 15 dorsement, implied or otherwise, of the products or For November/December issue...... October 15 services being offered. Ad copy must contain text directly related to the product/service being offered. Extraneous. text will be deleted at the publisher's CHAPTER OFFICERS descretion. FOUNDING CHAPTER IOWA Pres: Rob Thomas Pres: Rex Fritts Vice Pres: Don Ellison Vice Pres: Leland Zimmerline Sec: Ginny Billings SeclTreas: Ed Pousch ADVERTISING Treas:wu Klein Reporter: AI Johnson Classified: WC per word, $3.00 minimum for members. Bd. Rep.:Gene McGraw Reporter: Nadine Mota-Ross BOSTON AREA Non-members may advertise at twice the above rate, $6.00 PRES: Marv Horovitz minimum. SOUTHERN CALIFORNIA Vice Pres: Bill Koenigsberg Pres: Frank Nix Sec: Charlie Randazzo • See Bulletin Deadlines on this page. Payment must Vice Pres: Lloyd Osmundson Treas: Alan Jayne accompany order. Make checks payable to: Sec/Rep: Shirley Nix Bd. Rep.: Sandy Libman AMICA INTERNATIONAL. Treas: Ken Hodge Reporter: Don Brown

• Checks or money orders from advertisers in foreign coun­ TEXAS NORTHERN LIGHTS tries must be drawn on a U.S. Bank. Pres: Ken wng Pres: Dorothy Olds Display Advertising Vice Pres: Richard Tonnesen Vice Pres: Jerrilyn Boehland Secrrreas: Janet Tonnesen Sec: Tim wheat Full Page 7W'xlO" $120.00 Rep: Richard Smith Treas: Robert & Katheryn Dumas Half Page 7W'x43~" 60.00 Reporter: Tim Wheat 5 Quarter Page 3 / S"x4%" 30.00 MIDWEST Business Card 2"x31/2" 520.00 Pres: Liz Barnhart SIERRA-NEVADA Vice Pres: Barry & Bennet Leedy Pres: Bob Patton • Each photograph or half-tone $8.00. Sec: John Fischer Vice Pres: Julia Riley Treas: Alvin Wulfekuhl SeclTreas: Sonja Lemon • See Bulletin deadlines on this page. Reporter: Margaret Frazer Bd. Rep.: Ray Bauer • We recommend display advertisers supply camera-ready Bd. Rep.: Jim Weisenbome Reporter: Ed Baehr copy. Copy that is oversized or undersized will be changed AREA CHICAGO AREA to correct size at your cost. We can prepare your adver· Pres: Paul Dietz Pres: Jim Edwards tisement from your suggested layout at cost. Vice Pres: Dave Charrier Vice Pres: Rob Deland Sec: Bob Rosencrans Sec: Jere DeBacker • Payment must accompany order. Typesetting, layout or size Treas: Bob Taylor Treas: Elsa Pekarek alteration charges will be billed separately. Make checks Rep: Joan Pollitt Bd. Rep.: Mike Schwimmer payable to: AMICA INTERNATIONAL. Reporter: Rob Deland SOWNY (Southern Ontario, • Checks or money orders from advertisers in foreign coun­ Western NY) HEART OF AMERICA tries must be drawn on a U.S. bank. Pres: Gary Lemon Pres: Gerold Koehler Vice Pres: Jim Barley Vice Pres: Linda Bird • All ads will appear on the last pages of the Bulletin at the Sec: Janie McCleary Sec/Treas: Tom Bode discretion of the publisher. Treas: Edie Aldridge Bd. Rep.: Ron Bopp Publication of business advertising in no way implies AMICA's Rep: Mike Walter Reporter: Willa Daniels endorsement of any commercial operation. However, AMICA ROCKY MOUNTAIN SOUTHEAST AREA reserves the right to refuse any ad that is not in keeping with Pres: Larry Kerecman Pres: David Oppenheim AMICA's general standards or if complaints are received in­ Vice Pres: Owanah Wick Vice Pres: John Daly dicating that said business does not serve the best interests Rep: Don Wick Sec: Wayne Fisher of the members of AMICA according to its goals and bylaws. Sec: Art Tarr Reporter: Wayne Fisher Treas: Don Winter LADY LIBERTY Single back issues of the Bulletin Pres: Alan Lightcap GATEWAY Vice Pres: Paul Ciancia Pres: Yousef Wilson are available from the Publisher Sec: Michelle Pollitt Vice Pres: Deane Wiley for $3.00 each until December 31st, 1989, Treas: John Ellems Secrrreas: Carole Wiley when they will be $4.00 each. Rep: Dennis Valente Reporter: Jean Milburn AMICA International

INTERNATIONAL OFFICERS PRESIDENT Ron Connor (501) 636-1749 Route 4, Rogers, AR 72756 PAST PRESIDENT Terry Smythe (204) 832-3982 55 Rowand Ave., Winnipeg, Manitoba, Canada R3J 2N6 VICE PRESIDENT Robert W. Taylor (314) 875-6111 • Do you wish to become a member of AMICA? 2508 Cimarron Dr., Columbia, MO 65203 Write to Membership Secretary. SECRETARY Mel Septon Annual fee for U.S. members $22 (312) 679-3455 9045 North Karlov, Skokie. IL 60076 Canada and Mexico (air) $28 Other non-U.S. countries (surface) $28 TREASURER Larry Norman (213) 538-9461 New and lapsed members add processing fee. . .. $ 5 17700 Avalon Blvd. #295, Carson, CA 90746 • Has your address changed? PUBLISHER Robin Pratt Write to Membership Secretary. (419) 626-1903 515 Scott Street, Sandusky, OH 44870-3736 • Do you have a contribution for the Bulletin? MEMBERSHIP SECRETARY Valerie Anderson All subjects of interest to readers of the Bulletin are en· New memberships couraged and invited by the Publisher. Every attempt will Home (803) 791-1487 be made to publish all articles of general interest to AMICA P.O. Box 172. Columbia, SC 29202 members at the earliest possible time and at the discretion BOARD REPRESENTATIVES of the publisher. See Bulletin deadlines on previous page. Founding Chapter: Gene McGraw Southern California: Mary Lilien AMICA International News Bulletin Texas: Richard Tonneson Midwest: Vincent Ricca Volume 26 Number 5 September/October 1989 Philadelphia Area: Bob Rosencrans SOWNY: Jan Drewniak CONTENTS Rocky Mountain: Larry Kerecman AMICA Membership Application. .. .. Inside front wrapper Lady Liberty: John DeParis Gershwin...... Inside back wrapper Iowa: Alvin Johnson Etude Ads, October 1883 Back wrapper Boston Area: Sanford Libman Northern Lights: Tom Olds Features Sierra-Nevada: Ray Bauer Leonard Grymonprez on Band Organs...... 183 Chicago Area: Mike Schwimmer Ornstein's Compositions...... 184 Heart of America: Ron Bopp Piano Factory Sales on Key 185 Southeast Area: John O'Laughlin QRS Autograph Roll Master List - Part V 186 Gateway: Roger Wiegand An Affair to Remember - Robert W. Taylor 190 Howe Barrel Organ...... 191 COMMITTEES Duo-Art Aeolian Pipe Organ - Emmett M. Ford ...... 192 TECHNICAL, Harold Malakinian Flora Mora Recalls Recording ...... 194 2345 Forest Trail Dr., Troy, MI 48098 ...... 196 ARCHIVES, Bob Rosencrans Steinway Cats...... 198 109 Cumberland Place, Bryn Mawr, PA 19010 Aeolian-Steinway Contract 199 More on Dumesnil Answers ...... 200 PUBLICATIONS, Robin Pratt 515 Scott Street, Sandusky, OH 44870-3736 Lee Sims Contract & Randon Notes from "Artist Record" 203 AMICA Pizza - Randolph Herr...... 205 AUDIO-VISUAL, Harold Malakinian Some Thoughts on Soundboards - Tim Wheat 206 2345 Forest Trail Dr., Troy, MI48098 Some Duo-Art Questions Considered 210 CONVENTION COORDINATOR, Liz Barnhart AMICA Boston Souvenir Roll· Michael Potash 214 919 Lantern Glow Trail, Dayton, OH 45431 Some Convention Highlights - L. Douglas Henderson .. 214 Memorial Bio Irving - Emmett Ford 220 HONORARY MEMBERS, Dorothy Bromage Gizmo - Randolph Herr 221 157 School Street, Gorham, ME 04038-1026 Departments AFFILIATED SOCIETIES & ORGANIZATIONS - A Note from The President 182 See May/June 1989 for addresses From the Publisher...... 182 The Group (England) That Special Roll 185 The North West Player Piano Association (England) People 194 Netherlands Mechanical Organ Society - KDV Technicalities ...... 206 Australian Collectors of Mechanical Musical Instruments News From the Chapters...... 215 Dutch Pianola Association Tech Tips...... 221 Society of Friends of Mechanical Musical Instruments (Germany) Classified...... 222 Smithsonian Institution Cover: Howe Barrel Organ at Cooperstown, see page 191 DISCLAIMER: Acceptance of articles for publication in the AMICA News Back Cover: Giovanni Sgambati, cont. by Antonio LaTanza, Bulletin does not imply a guarantee of the accuracy of the facts contained Article page 196. (suitable for framing) in any article, nor an endorsement of an author's recommendation. A Note from The President . ..

dulum in the hall clock, and it's at least as old as the rpusical Sometimes I think we box it belonged. rush along through life much /' too fast and fail to enjoy it to We sat there entranced and played all 48 tunes pinned the fullest. Recently we were on the Baker's cylinders. We then moved on to other musical forced to slow down for a bit boxes. The reproducing piano had to remain Silent, though by the local electric company. Caruso was ready to serenade us on the old wooden horn In the late afternoon for some Victor. The Orchestrelle of course would playas long as one reason the power went off. cared to pump and one candle gave plenty of light to choose There was no storm, no visi­ rolls and stops but it seemed almost too much on this magical ble cause, just no power. After evening. Time passed qUickly, the magic enhanced by its unex· the usual confusion caused by this unexpected event we pectedness. As the old clock struck eleven we took our can­ located the flashlights, one ofwhich actually worked, and some dle and went up to bed, feeling more peaceful and relaxed than candles. The evening meal was no problem as we have a gas' we could remember. stove, and the water continued to run. By this time it was get­ As I write this the lawn mowers are roaring outSide, the ting dark so we lit a candle and sat down to eat. One candle refrigerator motor is humming, the fish are playing in the bub· gives a surprising amount of light when it has no competition bles and the clock on the stove is grinding its gears. We are and is plenty for most activities. After supper we sat around firmly in the 20th century. But for a few hours we were taken and talked a bit and then turned on the Baker cylinder box. back and shown the gentler side of the life of our grandparents Immediately the house was filled with music. We were sur­ and we found it utterly charming. I shall always owe the elec· prised at how rich and full the sound was with no other distrac­ tric company more for the evening they didn't deliver the power tions. The refrigerator motor was silent, as was the noisy clock than I ever will for an air conditioned night of T. V. on the kitchen stove and the bubbler in the aquarium. There was no sound of wind outside and no traffic noise as apparent­ Keep in tune, ly people found no reason to go from one dark bUilding to Ron another. Only a few crickets and the soft ticking of the pen- ./

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From The Publisher •••

H I.'I Well, you all have met me and what can I say? The Convention was a pleasure trip that should be experienced by all AMICAns. Hopefully we'll all live long enough to get the Convention to every easily accessible city in at least the U.S. But who knows, we might even be able to have one over-seas or (I hope) Down-Under. I received some excellent suggestions while in Boston and got to see some , good friends from myoid Chicago Chapter, some who have moved themselves with dogs and family in tow. The only comment I received directly was on the bus and it was, "You two are always laughing! Don't you ever stop laughing?" Yeah, at the first of the month like clock-work. But anyway, it was great to finally put many faces with many names' that I have seen in print for (gulp) years! Many thanks to the Boston Chapter for a job well done! and now I must go because I have to go to a meeting for the Mid-west Chapter's Convention plans for 1990! Robin ************************************************************ LOST AT BOSTON CONVENTION!!!!!

Scotch VHS VIDEO TAPE OF BANQUET CONCERT BY REX LAWSON AND DENIS HALL r Contact or send to: Larry Norman 17700 Avalon Blvd. No. 295 Carson, California 90746 -182- HISTORY OF THE GEBRUDER WEBER ORCHESTRION FIRM AT WALDKIRCH-IM-BREISGAN, S. GERMANY By Leonard Grymonprez

This is an article concerning the famous Gebruder Weber went bankrupt in the early 1930's when Gebr. Weber firm closed firm. Twenty years ago it took much time and some energy to down in 1932. The daughter of Mr. Gerard became the wife of search information to compile an article on the Gebruder Weber Otto Weber for the span of the very end (he died in the 1960s). and some other German music-roll orchestrion manufacturers I guess that most of our older readers still remember and have elsewhere in Germany. Even years after World War II had ended knowledge of these dramatic 1930s periods. The gramophone it was almost impossible to obtain any information at all what had finally conquered! had happened to several of the above mentioned pre-war renown- In company with dad I had the rare privilege to state I had ed firms. While years passed away, I finally could get down for seen an Elite orchestrion once in my life early in 1955 (the year a search and trace some of these manufacturers, especially on I married). Gebruder Weber. Nevertheless I still remember it as though it happened yester- Much on the subject has been contributed and could cer- day. This particular Elite, set up in a large cafe almost opposite tainly be regarded by many as astounding research by my long- the train station of Denderleeuw-Belgium did not play although time friend and expert, Mr. Q. David Bowers of Beverly Hills, little checking of it should have 'been necessary to get it in fine California. Especially with his precious Encyclopedia! However, performing condition (maybe only a new 1/4 H.p. 220 volt elec- enduring the previous mentioned years any research and possi-'" tric motor could solve the whole situation?) ble results were very sad indeed. To find people who could in- All Gebr. Weber instruments are extremely artistically built form me with more information as against the usual "man in the and assembled, and certainly could stand against sturdy tasks street" could be compared as looking for a needle in a haystack. for a long considerable time. The particular Elite orchestrion I saw Enduring the span of World War II, a tremendous territory of appeared in light grey satin cabinet finish, with gold leafed trim- Germany had been bomb leveled and destroyed, especially the mings and still bright gleaming brass lamps. Very wide music rolls! leipzig and surrounding areas. Even some firms had vanished A precious instrument to look at. A card was pinned on it "For completely. However with patience and perseverance I managed Sale" and the price was very attractive as well. Just imagine if to obtain enough educational material to write an article on the it simply should exist today! No words exist to tell the story. Gebruder Weber firm. Ihave been extremely lucky to meet in per- Because of circumstances at the time, dad didn't buy it and son Mr. Otto Weber, the son of August Weber the founder of the we went away. Sad business years in the 1950's. Years afterwards firm (1861-1918). I met Mr. Otto Weber in 1964. The discovery we did an extensive search for it but NEVER found traces again. of the whereabouts of Mr. Otto Weber was possible through the help and cooperation Ireceived from various German town coun- As a present I received the educational "Silver Anniversary ,., cils while not excluding the fact how many letters previously had Book" of the M.B.S. International from my friend Q. David Bowers been written concerning the subject and finally I received a per- and on pages 631 through 633 he recalls the story of one of the sonal letter from Mr. Otto Weber! fascinating hunts for the Elite. Readers of it will be amazed with this "thriller article" from Mr. Bowers, and some even will not His letter, together with the ONLY existing photograph from believe it! I know it is true! his father, August Weber are still preserved by myself. The let- ters which followed afterwards have been the only source of in- I myself had traced the Elite almost in the same wayan In- formation at the time since all of the Geb. Weber catalogues, dian scout should have done it. Unfortunately, at the final point literature, archives, photographs and other valuable and educa- of the long research the only man who ever could have told me tional material had been destroyed since the final closure of the the true whereabouts of it died two days before my arrival. His firm. wife told me the very latest news she had heard about the Elite­ that it had been packed up in a brewery at Asse-Belgium. Good heavens! If this had not happened, we all could read However, when I arrived there and inquired about the Elite, NO and study about this renowned firm through Mr. Q. David Bowers ONE could inform me with an exact reply to my questions. I finally work of art: "Encyclopedia of Automatic Musical Instruments." gave it up. There is indeed some of a mystery around the Elite Ipersonally much admire Otto Weber, who, shortly after the death stories, believe it or not. of his father and a defeated Germany in 1918, at a very early Also, to add to my present information, Gebruder Weber age had to take over the firm management in the middle of these never built any more than 3 or 4 Elite orchestrions and these ar- dark periods. tistic instruments cost almost a fortune those days. For an ex- However, he managed to conquer and designed and con- ample the Weber-Maesto cost 18,000 Swiss francs and the structed along with his crew of fine craftsmen the growing fame Weber-Elite 50,000 Swiss francs back in the early 1920's. of Gebruder Weber orchestrions such as the Gebr. Weber-Violon It might be possible that a few Weber-Violon orchestrions (our American friend and collector, Jerry Doring owns one) and (with special roll-arrangements) are still in existence. In spite of the sublime, Gebr. Weber-Elite unfortunately disappeared. There intensive search I did not discover a trace for even one model are strange breathtaking stories told about the mysterious Elite until I heard that Mr. Jerry Doring of Arcadia, California owned orchestrion. one. As of this time my personal conclusion is based on the fact Frank Holland of the British Piano Museum has a Weber- that only three or maybe four Elite's ever left the firm. One had Brabo and c.H. Hart of St. Albans Organ Museum in England been set up in Rotterdam-Holland and not in Amsterdam as I possesses a Weber-Otero and there are several more and various . previously have written. This particular one had been destroyed Weber models spread in collections in that country. In the U. S., ~ when Rotterdam was bomb leveled by a German air raid early collectors of fame such as Q. David Bowers; Jerry Doring; Jerry May 1940. Cohen; Larry Givens; Steve Lanick; George Coade; Kurt Elbers; Two other Elite orchestrions have been sold through the Hayes McClaran to name some are proud owners of Weber or- Brussels-Belgium agency of G. Gerard, rue des Fabriques 1A. Mr. chestrions. Our Danish friend Claes 0. Friberg owns a Weber- Gerard, who in turn being a main shareholder at Gebruder Weber, Maesto, Weber-Otero and several smaller models. -183 - History of the Gebruder Weber Orchestrion Firm continued -

Through the span of time several Gebruder Weber in­ With years passing away most of the above mentioned struments passed the hands of dad and myself which found a groups of music rolls found their way into various collections of new way of life to beautiful and precious collections all over the Europe and the United States. Among the letters I received on /' United States. We owned three Weber-Maestds! and two Weber­ my Gebr. Weber research one is of special interest as it came from . Solea's! Only two Weber-Solea's are known to exist on our planet. the late Gustav Bruder (a descendant of the renowned Gebruder Beside of that we owned the whole line of Weber-instruments Bruder family). Mr. Gustav Bruder worked for many years at the from Unika to Maesto. Weber Orchestrion firm as chief arranger and noteur of the music It all is passed now and it's an extremely rare bird if one ever roll department. According to a letter from Mr. Bruder written to could get a Gebr. Weber instrument. It might be possible there our American friend and expert music roll arranger Mr. Art Reblitz still are a few hidden away somewhere, but I very doubt it. With of Colorado Springs, Colorado, it took him three to four weeks blessed luck one might come across one of them. Sometime, of study and careful work for the master roll! somewhere, who ever will know it? The astounding and artistic work which Mr. Bruder expressed In 1967 Iremember the unique fact that dad bought a group into his music rolls for the Weber instruments is almost of more than seven hundred ORIGINAL Gebruder Weber music unbelievable. Experts such as Q. David Bowers, Art Reblitz, Jerry rolls at the late Mr. Mestdagh shop in Antwerp, a former top­ Doring, Ed Freyer, Frank Rayle and others will understand these craftsman on German-made music roll operated instruments, words for a long time. especially Gebruder Weber. His widow told dad these rolls came I repeat in saying Weber-orchestrions perform a perfect from G. Gerard's failure in the 1930's. She also told dad that brand reproduction with music rolls arranged by Gustav Bruder. This new Weber instruments had been sold for the price of a bicycle. man has made a thorough study of difficult and intricate music It probably would have been the greatest find ever on Weber music arrangements for the line of Weber instruments. He truly was a rolls. Iremember well one cardboard box label had "Weber-Elite" Maestro and in my point of view few other arrangers and noteurs on it. It turned out to be the only one empty box in the lot! could be compared with his work. They scarcely will ever be trespassed.

******************************************************************* LEO ORNSTEIN'S COMPOSITIONS By Emmett M. Ford /"

In 1914 Leo Ornstein's fir?t performance of his composition, During the years between 1910 and 1930, Mr. Ornstein's "Wild Man's Dance" in London, Gustav Mahler conducted the or­ compositions created a sensation, and eventually passed from chestra. It was difficult for conductor Mahler to quell a riot. view and public performances, but have been recently revived by recordings of his works in 1976. Young musicians have recorded his compositions on Ip recordings and may be obtained from **** Composer's Recording, Inc., 170 W. 74th St., New York, New York Mr. Ornstein toured all over Europe and the U. S. as a con­ 10023. cert pianist, playing little known works of Bartok, Ravel, Milhaud, Mr. Ornstein's ''Ten Poems" (composed 1917) dedicated to Albeniz and his own compositions. He was pressured to play the are interpreted by pianist, Michael Sellers on compositions of Chopin, Liszt and others for better box office Orion CRS 75194. Other compositions recorded are "Three intake, but Ornstein refused and played what he wanted, which ... Moods for Piand' (1914) also on Westminister CRI S-339; created a constant feud with his managers. The late music critic, Quintette for Piano and Strings Op. 92 (1927); for James Huneker, termed Ornstein "a true-blue, genuine futurist and Piano (Orion ORS 76211); "Wild Man's Dance" (1913); "Three composer:' Moods" (1913-14); "A La Chinoise" (1911); "Melancholy Land­ scape"; "Change of the Hindu Priests" (1918-20); "Ten Poems" **** (1917) on Orion CRS 75194. "Piano Quintet" is on CRI SO 339 which may be obtained from Composer's Recording, Inc.

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Overheard at the Boston Convention ... r "I'll bet you picked yours for character, and where did it get you?" -*-*-*-*- "Musical ! Simply Musical . "

-184- PIANO FACTORY SALES ON KEY From the Chicago SunTimes, Sunday, June 4, 1989 - Contributed by Mabel Ziven

The Piano Factory Townhouses and Lofts will feature 22 town houses and 15 condos in the former Julius Bauer piano factory on the northeast corner of Altgeld and Wayne. Sales are under way at the Piano Factory Townhomes and "Most of our buyers are professional double-income families Lofts in the West DePaul section of Lincoln Park. with and without children. Many are transferees or are moving from rental apartments in the area," Kaiser said. The city development will include 22 town houses and 15 loft condos in a rehabilitated piano factory on the northeast Buyers will receive a complimentary family membership and corner at Altgeld and Wayne. one-year's free dues at the adjacent Lakeshore Athletic Club, also owned by Kaiser Developers. A $1-million-plus renovation is The landmark building, formerly the Julius Bauer Piano planned for the health club, including a new swimming pool, gym­ ~ Factory, is listed on the National Register of Historic Places. nasium and basketball court. Two- to four-bedroom town houses and lofts start at Each town house will feature three skylights, two woodbur­ $269,500 to $354,500. First occupancy is scheduled for this ning fireplaces, oak flooring, master bath with whirlpool bathtub month. and separate shower. "The West DePaul area of Lincoln Park is the hottest residen­ Kitchens will be equipped with dishwasher, refrigerator, tial market in the city;' said builder Jeffrey S. Kaiser, a partner double oven, microwave, luxury faucets and disposal. in Kaiser Developers, 2001 N. Clybourn. Loft condos will have woodburning fireplace lO-13-foot-high ceilings, kitchen appliances and ceiling fans.

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That Special Roll

Duo-Art No. 0732 "On the Sunny Side of the Street" Played by Gene Kerwin

Duo-Art No. 713247 "Hello, Aloha! How Are You? (Abel Baer) Played by Frank Banta

Contact Jay Albert and Brian Meeder 904-A West Victoria Street, Santa Barbara, California 93101 805-966-9602

-185 - QRS Autograph Roll Master List By Rob Deland - Part 5

QRS Autograph Popular Roll Master List Sorted by REF. ROLL # TITLE PIANI§T cx::MP03ER DATE 100748 / 100749 100750 100751 100752 (G) F 100753 Lima -- Valse Murillo, Emilo (C) Murillo, Emilio 100754 100755 100756 100757 100758 100759 100760 100761 100762 100763 (G) F 100764 Carrizal, Pasillo Murillo, Emilio (C) Murillo, Emilio 100765 100766 100767 100768 ( F) 100769 Ice and Snow -- Fox trot Kortlander, Max Jackson, Tony 3-18 ( F) 100770 Ida! Sweet as Apple Cider -- Fox trot Kortlander, Max Leonard 3-18 ( F) 100771 EV'ry Day -- Fox Trot Baxter & Kortlander Brooks, Shelton 3-18 ( F) 100772 Sweet Hawaiian Moonlight -- Waltz Baxter & Kortlander Klickman, F. Henri 3-18 ( F) 100773 Tickle Toe, The -- Fox Trot from "Going Up" Wendling, Pete Hirsch, Louis A. 3-18 ( F) 100774 Tishomingo Blues -- Fox Trot Wendling, Pete Williams, Spencer 3-18 ( F) 100775 Derby Day in Dixie -- One-step Kortlander, Max Whiting, Richard 3-18 ( F) 100776 Musical Comedy Hits of 1918 Wendling, Pete (Arranged) 3-18 ( F) 100776 - 1 Till the Clouds Roll By Wendling, Pete Kern, Jerome 3-18 ( F) 100776 - 2 Any Time's Kissing Time Wendling, Pete 3-18 ( F) 100776 - 3 Wait Till the Cows Come Home Wendling, Pete Caryll, Ivan 3-18 ( F) 100776 - 4 Sally Down Our Alley Wendling, Pete 3-18 ( F) 100776 - 5 Leave It To Jane Wendling, Pete Kern, Jerome 3-18 ( F) 100776 - 6 Tickle Toe, The Wendling, Pete Hirsch, Louis A. 3-18 /' (F) 100777 Nola Arndt, Felix (C) Arndt, Felix 4-18 ( F) 100778 Oriental -- One-step Arndt, Felix, ass. by W. Rose, Vincent 4-18 ( F) 100779 I Think You're Absolutely Wonderful -- Fox Trot Ford, Wesley Carroll 4-18 ( F) 100780 Has Anybody Seen My Corrine? -- Fox Trot Kortlander, Max Johnson 4-18 ( F) 100781 Beautiful Queen of the Nile -- Fox Trot from "Cheer Up" Baxter & Kortlander Hubbell 4-18 (F) 100782 Little Bit of Sunshine, A -- Fox Trot Baxter & Kortlander Hanley 4-18 (F) 100783 Southern Jingles -- One-step Doyle, 'Pep' Maresh, A. L. 4-18 ( F) 100784 Sweetheart (Will You Remeber) -- from "Maytime' Roberts, Lee S. Romberg 4-18 ( F) 100785 Rose Room -- Fox Trot Baxter & Kortlander Hickman, Art 4-18 ( F) 100786 Somebody's Done Me Wrong -- Fox Trot Wendling, Pete Skidmore & Walker 4-18 100787 100788 100789 100790 100791 100792 ... 100793 100794 100795 100796 100797 100798 100799 ( F) 100800 Dixieland Jass Band -- One Step Robinson, J. Russel (As Played by the D.J.B.) 5-18 ( F) 100801 Universal Rag Fox Trot Straight, Charley (C) McKay-Straight 5-18 (F) 100802 In Dear Old Sunny Spain -- Fox Trot Baxter & Kortlander Monroe & Howard 5-18 ( F) 100803 That Soothing Serenade -- Fox Trot Baxter & Kortlander deCosta 5-18 ( F) 100804 I'm Always Chasing Rainbows Wendling, Pete Carroll, Harry 5-18 (F) 100805 There's a Lump of Sugar Down in Dixie -- Fox Trot Kortlander, ass. by A. H. Gumble 5-t8 100806 100807 100808 100809 /' 100810 100811 (F) 100812 Jazamine -- One-step Kortlander (C), asst.lA. H. Kortlander, Max 6-18 ( F) 100813 Calicoco -- Fox Trot Kortlander, Max Frey, Hugo 6-18 (F) 100814 Clover Club - Fox Trot Arndt, Felix (C) Arndt, Felix 6-18 ( F) 100815 Everyone I Know Lives Down in Dixie -- One-step Kortlander, ass. by A. H. Dubin & De Costa 6-18 ( F) 100816 When Alexander Takes His Band to France -- Fox Trot Wendling, ass. by A. H. Bryan; Hess & Leslie 6-18 Rob DeLand 12/2/88 -186- Page 17 CRS Autograph Popular Roll Master List Sorted by REF. ROll # TITLE PIANIST cx:MPCSER DATE ( F) 100817 Alimony Blues -- Irom "The Rainbow Girl" Wendling, Pete Hirsch, louis A. 6-18 100818 100819 /- 100820 ... 100821 100822 100823 (G) 100824 Original Reels Sullivan, Dan. J. (Arranged) 7-18 ('B) 100824 - 1 Floggan Reel -- Irish Sullivan, Dan. J. 7-18 (G) 100824 - 2 Cuckoo's Nest -- Irish Sullivan, Dan. J. 7-18 (G) 100824 - 3 Mrs. Mcleod -- Scotch Sullivan, Dan. J. 7-18 (G) 100824 - 4 Pigtown Fling -- Scotch Sullivan, Dan. J. 7-18 (G) 100825 love in June Waltzes - Waltzes lor Dancing Arndt, Felix (C) Arndt, Felix 7-18 (G) 100826 Indianola -- Fox Trot Baxter & Kortlander Henry, G. R. & D. Onival 7-18 (G) 100827 My Pet -- One-step Conlrey, Zez (C) Conlrey, Zez 7-18 100828 100829 100830 100831 100832 100833 100834 "*' 100835 (G) 100836 Deuces Wild -- Fox Trot Kortlander, Max (C) Kortlander, Max 9-18 (G) 100837 Sand Dunes -- An Oriental One-step Kortlander, Max Gay, Byron 10-18 100838 100839 100840 100841 100842 100843 100844 100845 100846 (G) 100847 Shimmie Shoes -- Fox Trot Kortlander, Max (C) Kortlander, Max 1-19 100848 (G) F 100849 Amar y Sufrir Diez, Angel M. Enriquez i 100850 (G) F 100851 Estrellita -- Serenata Mexicana Diez, Angel M. Ponce, M. M. 1914 100852 100853 100854 100855 100856 100857 100858 100859 100860 100861 100862 (G) 100863 Dear Old Pal 01 Mine - Ballad Gitz-Rice, Lieu!. (C) Gitz-Rice, Lieu!. 3-19 100864 100865 100866 100867 100868 100869 (G) 100870 Russian Rag -- Fox Trot Kortlander, Max Cobb, George L. 6-19 100871 100872 (G) 100873 Musical Comedy Hits of 1919 Ohman,Phil (Arranged) 7-18 (G) 100873 - 1 Monte Cristo -- Irom "Monte Cristo Jr." Ohman, Phil Romberg, Sigmund 7-18 (G) 100873 - 2 Girl 01 My Heart - Irom "Somebody's Sweetheart" Ohman, Phil 7-18 (G) 100873 - 3 When You look in the Heart ofa Rose -- from "Better 'Ole" Ohman, Phil Methven, Florence 7-18 (G) 100873 - 4 When the Cherry Blossoms Fall - fro "The Royal Vagabond" Ohman, Phil 7-18 (G) 100873 - 5 Life and love -- from "The Velvet lady" Ohman, Phil Herbert, Victor 7-18 (G) 100873 - 6 Waiting -- from "Listen lester" Ohman, Phil Hirsch, Louis A. 7-18 (G) 100874 Red Clover - Fox Trot Kortlander, Max (C) Kortlander, Max 7-18 (G) 100875 Round the Town - Fox Trot Arden, Victor (C) Arden, Victor 7-18 100876 100877 100878 (G) 100879 Blue Clover -- Fox Trot Kortlander, Max (C) Kortlander, Max 8-19 "(G) 100880 Follies of 1919 -- Fox Trot Arden, Victor (Arranged) 8-19 (TT) 100880 - 1 Tulip Time Arden, Victor Goetz & Franklin 8-19 Rob Deland 12/2/88 Page 18

-187 - QRS Autograph Popular Roll Master List Sorted by REF. ROll # TITLE PIANIST

-188- ORS Autograph Popular Roll Master List Sorted by REF. ROll # TITLE PIANIST DATE 100933 100934 100935 100936 100937 100938 100939 100940 100941 100942 100943 100944 100945 100946 100947 100948 100949 100950 100951 100952 100953 100954 100955 100956 100957 100958 100959 100960 100961 100962 100963 100964 100965 100966 100967 100968 100969 100970 100971 100972 100973 100974 100975 100976 100977 100978 ·100979 100980 100981 100982 100983 100984 100985 100986 100987 100988 100989 100990 (MB) 100991 Mavis Waltz Ohman, Phil DeRose. Peter 9-20 (MB) 100992 love Nest, The -- Irom 'Mary' Ohman,_ Phil Hirsch, louis A. 9-20 (MB) 100993 Tripoli -- Waltz Arden & Kortlander Weill, Irving 10-20 (MB) 100994 Alter You Get What You Want, You Don't Want It Kortlander, Max Berlin, Irving 10-20 (MB) 100995 I'd love to Fall Asleep and Wake Up In My Mammy's Arms Wendling, Pete Ahlert, Fred E. 10-20 (MB) 100996 My Sahara Rose Ohman, Phil Donaldson, Walter 10-20 (MB) 100997 Young Man's Fancy, A -- Irom 'What's In a Name' Ohman, Phil Ager, Milton 10-20 (MB) 100998 Parisian Nights -- Waltz Roberts, lee S. (C) Roberts, lee S. 2-21 (RD) 100999 Carolina Shout Johnson, James P. (C) Johnson, James P. ©1921 (RD) 101 000 Eccentricity Johnson, James P. (C) Johnson, James P. (J) 101001 Iron Division -- March Two-step Scoll & Wallers Kieler - Lincoln (J) 101002 Pioneer Band March Scoll & Watters lutz, George B. ·(MB) 101003 Killen on the Keys Conlrey, Zez (C) Confrey, Zez 10-21 I" (MB) • 101004 Bonnie Jean -- Medley 01 Highland Flings Geoghegan, Edward F. (Arranged) 1-22 " (MB) 101004 - 1 Keel Row, The Geoghegan, Edward F. 1-22 (MB) 101004 - 2 love Will You Marry Me? Geoghegan, Edward F. 1-22 (MB) 101004 - 3 Miss Crawford's Geoghegan, Edward F. 1-22 Rob Deland 12/2/88 Page 20

-189- "AN AFFAIR TO REMEMBER" By Robert W. Taylor, Vice-President AMICA

Many of us like to show our newly acquired r collectibles to our friends and other collectors. Usually this is done in a festive manner as the new addition is "properly" introduced. On August 5th and 6th, 1989, AMICAns Jim and Sherrie Krughoff held such an event to dedicate their recently installed Wurlitzer 4 manual, 33 rank theatre pipe organ. This huge instrument now resides in a specially built music room called Wurlitzer Park. The room is designed to give the illusion of be· ing in an outdoor park. Along the sides of the room are false store fronts complete with can­ vas canopies naming the "businesses" surroun­ ding the park. At the end of the park is a gazebo, covered with flowering wisteria, shelter­ ing the giant organ console. Why is this being mentioned in the publica­ tion for automatic music machines? Because in its current format, this organ has the ultimate record/playback system, the Trousdale com­ puterized digital reperformance system. Also, lor Dave Junchen, Jim Krughoff, Sherrie Krughoff, Walt Strony, Gloria Taylor, incorporated into the organ is a lovely Queen Bob Taylor, Chris Feiereisen, Steve Adams Anne Steinway Duo-Art, model A with concer- tola. This is the Duo-Art that Doug McGee painstakingly restored several years ago after finding the in that group was Lyn Larsen (wow!). When the organ wasn't original missing parts! All the juicy details about the record, being played, the other mechanical instruments took the / edit and playback system for the organ will make a complete spotlight. A Hupfeld Phonoliszt Violina, recently restored by article in a later report. AMICAn Dave Ramey, seemed to be the favorite with the 6'2" Many of us had heard this instrument before as it enter­ Mason and Hamlin Ampico B a close second. Finally at mid­ tained at the Organ Stop Pizza Restaurant in Phoenix. After night the last guests left. What a Day! that business had closed, the Krughoffs purchased the organ The next day the dedication continued as the prestigious and started planning its installation. AMICAn Dave Junchen Windy City Organ Club convened its seventy members plus was asked to do the installation as well as a variety of im· their guests at the Krughoffs. A cocktail party in the antique provements. As always, his design and work are superb! bar area preceded the concert. Along with some of the first Severe storms raced through the area with lightning day's guests, the club was entertained by one of their favorites wiping out the power and messing up some of the computer as Walt Strony repeated his specially prepared program. systems the evening before the dedication. Sherrie was up all Desserts were served follOWing Walt's well received program. night and Jim was awakened after the lightning made the Some guests were able to linger and enjoy the collection while organ start playing on its own! Even so, the event started as others had to rush off for their long journey home. scheduled at 10:00 a.m. First was a juice bar followed by a After a two-day dedication, there is no question that this wonderful brunch served outdoors under a large tent. The instrument, a mighty Wurlitzer, after starting life in the number of guests exceeded 125. At 12:30 p.m. Walt Strony Grauman's Egyptian Theater Hollywood, continuing at Organ started the dedication concert. Walt is a native of Chicago, Stop Pizza Phoenix, and now in the suburbs of Chicago, has and had played this organ for ten years while it was at Organ been properly introduced! Stop Pizza. FollOWing a champagne intermission, the concert "The Song Has Ended, But the Melody Lingers On" is continued to its conclusion at 3:00 p.m. The audience was really true. The performances were captured via the Trousdale warm and receptive, the music lovely, the performance flawless reperformance system to be enjoyed over and over again. Now and the hosts while tired, were still bubbly and bright. Guests with just a flick of a switch, this entire affair can be came from Arizona, Arkansas, California, Colorado, Illinois, remembered complete with music. Indiana, Iowa, Michigan, Minnesota, Missouri, Ohio, Penn­ Congratulations to Jim and Sherrie Krughoff on this re- sylvania, and Wisconsin. .?­ cent, important, and spectacular addition to an already / After the formal presentation of the first day was complete, wonderful collection! (Chicago convention planners are hop- the celebration continued. Following a late aftemoon break, ing to include a visit to the Krughoffs as part of the 1992 it was open house and barbecue at 7 p.m. Here many other AMICA Convention schedule.) organists informally took their turn at the console. Notable HOWE BARREL ORGAN AT COOPERSTOWN, NEW YORK

In celebration of the bicentennial of James Fenimore Cooper's birth, a barrel organ which stood in the Cooper ancestral home has been restored to playing condition and is on exhibit in the Fenimore House, the museum of the New York State Historical Association in Cooperstown, New York. The floor model mechanical parlor instrument was brought from Philadelphia by Judge William Cooper, James Fenimore's father, placed in Otsego Hall in Cooperstown and played often for family entertainment. The Federal style mahogany cabinet with inlaid veneer and brass hardware has gold decorative pipes and bears a maker's label in a front oval cartouche which reads: "Howe Successor to Mr. Dodds Musical Instrument Maker 320 Pearl Street late Queen Street ../ New York Wholesale Retail and For Exportation." According to information collected on musical instrument makers by Nancy Groce and the Organ Historical Society, it is known that Mr. Howe's shop was in a Cooperstown, New York piano and organ builder from the time operation at the Pearl Street address between 17CJ7 and 1805. period. Two of his pianos are in the collections of the New York These dates also coincide with Judge Cooper's furnishing of State Historical Association. Wood samples were also taken at Otsego Hall. The instrument is similar in design and construc­ the time of the organ's installation in Fenimore House. Analysis tion to English barrel organs of the same vintage. A wooden shows the material to be American pine. barrel or cylinder is studded with brass pins or staples which The fifty tunes on the organ's barrels comprise a selection direct levers to open or close the air supply to pipes at the ap­ of popular American marches, country dances, hymns, and propriate time for the appropriate durations. The two ranks of songs. A limited edition Cooper anniversary cassette tape of most wooden pipes and three ranks of metal pipes speak on a 1 112 of the tunes is available from the Fenimore Bookstore of the New inch wind pressure created by a leather bellows with four small York State Historical Association, P.o. Box 800, Cooperstown, feeders on the bottom. The bellows feeders and the turning of New York 13326. the barrel are both activated by the action of a handcrank in the front of the case. Five drawknobs for the pipe stops are located Entitled "Pipes and Pins", an afternoon lecture/demonstra­ on the left side of the case. The operator stands at the front of tion on the Howe barrel organ and the 1847 Giles Beach organ the case to turn the crank and reaches to the side to make stop at The Farmers' Museum Church is planned for Sunday, selections. Each of the five extant barrels hold pins for ten tunes. September 10, 1989. Following a 2 p.m. session on the barrel organ, participants will reassemble at the museum church for The stops available are also similar to English barrel and a recital on the Beach organ by Central New York and Oneonta keyed church organs of the time. A Flute 8', Flute 4', Principal Chapter members of the American Guild of Organists. For more 4', a Twelfth 2 2/3' and a Fifteenth 2' comprise the five ranks information, please contact The Farmers' Museum, P.o. Box of 21 pipes each. The compass extends from Tenor D to Treble 800, Cooperstown, New York 13326 (6(Jl) 547-5431. B. The pipes are neither chromatic, nor diatonic, but, rather the following special selection of pitches: B mC C-sharp DE F- More information is sought concerning extant American and sharp G G-sharp ABC C-sharp DE F-sharp GAB AG imported barrel organs from the late 18th and early 19th cen- . D-tenor. turies. Any information regarding those of known makers and J During restoration by the Chase Organ Company of William Howe, in particular, would be greatly appreciated. Worcester, New York, several pencil inscriptions were discovered Please contact Katie Boardman, Associate Curator at the above in the organ's main chest. Signatures by CD. Pease and CD. Farmers' Museum address and phone number. The Howe bar- Pease Ibertson were made in 1832, 1845 and 1872 indicating rei organ will be on exhibit in Fenimore House until November repairs of the instrument at those times. Pease is known to be 1989. ,- 191 - DUO-ART AEOLIAN PIPE ORGAN By Emmett M. Ford

The Aeolian pipe organ had reached, by the middle 1920s, and dynamics and the stops chosen by the recording virtuoso. popularity and installation in mansions and in some universities, The owner of the Aeolian Duo-Art pipe organ, wfthout a conservatories and colleges. The Duo-Art was considered the last doubt a lover of organ music, realizes he can hear great music word in organ bUilding of the player unit. The records (Aeolian played by a virtuoso which could never be performed by an referred to them in this manner rather than rolls) made the organ amateur. The listener could sit in the quiet of his music room and and the virtuoso as one and rendered the composition with every listen, spell-bound to the compositions and imprOVisations of nuance of tempo, shade of expression and detail of ­ Bach, Handel and Mendelssohn performed by giants of the organ tion. The owner had only to place the record, move the lever to on the Duo-Art record to let one know how the great composers start the record, leave the organ and listen to it wherever he wished rendered their own inspirations and how they intended they should - in another room or his comfortable chair. be played, all preserved on recordings. A library of records of every school of modern organ play­ ing, represented by the performances of great organists of all na­ tionalities, including symphonic, orchestral, operatic, organ and other works gave one the priVilege of a home concert. The Duo-Art is an addition to any existing pipe organ without alteration or disarrangement of obtaining installation. The Duo­ Art commands every tonal division of the organ, including the Echo Organ, the harp and chimes, expression, crescendo and diminuendo actions and other control devices in the Aeolian con­ sole, rendering it capable of reproducing correctly and automatical­ ly all music normally controlled by the hands and feet of the live organist. The Duo-Art is not a part of the organ, but an addition to an Aeolian organ and if special stops are wanted they may be inserted at any time in the organ chamber and readily added to the Duo-Art record combination.

No. 1 - Installation pipe organ The Duo-Art, a wonderful invention, could be attached to any Aeolian pipe organ for playing the Duo-Art record-rolls and also the standard Aeolian "Sold' can be used with equal facility. One could sit at the console and execute a composition by hand with self-controlled music records or he could move to a comfor­ table chair and hear a performance by an eminent organist. There are two classes of roll recording organists, the highly capable players and the extraordinary organist, that is the organ virtuoso. Of capable organists there are many but of the virtuoso, fewer but phenomena virtuosos like those capable of performing the works of TalliS, Frescobaldi, Buxtehude, Bach, Guillmant, Saint-Saens and others. The records, being self-playing, performed a composition not only with all the technical facility of a great virtuoso, but also with all his taste for tempo, expression, tone color and orchestral effect in the use of the stops. The conve­ No. 2 - Cabinet DA roll nient installation of the organ permits the owner to enjoy the music The Duo-Art records were made from perforated music rolls on the records. (paper), having the reqUired number of perforations required by r It was arranged that the owner had the choice to hear the the compass of the manual and pedal and special perforations organ played by indiVidually controlled music record or manual­ for the stop registrations, all effects produced by the touch, the ly. To play the record, the owner simply moved a leaver and started artistic phrasing, changes of tempo and refinements of expres­ the record without any further manipulation on his part as the sion and characteristic of the organist's original rendition of the record played in correct time with all the subtle changes of time continued - Duo Art Pipe Organ continued - musical composition. The record is adjusted in the tracker-bar recess of the Duo-Art and its mechanism started and the music is produced in a perfect detail of tone and expression. The record immediately stops when the music comes to an end and remains motionless until the rewinding action is set in motion. Installation of the Duo-Art creates no inconvenience as it can be located in any desirable or convenient locality, then requiring connection to the organ by a small electric cable and wind tube, installed underneath the floor or any place out of sight or whatever suitable manner. The mechanism can be located in a cabinet (Photo No. 2) or an opening in the wall ( Photo No.3) which is known as the "Mural" installation. One may require the Duo-Art to be installed in the organ console (Photo No. 4).

No. 4 - Console rolI instal1ation.

No. 3 - Wall installation DA roll The cabinet has been designed to be ornamental and artistic and of a style harmonious with the architectural treatment of the room or style of furniture. The cabinet's internal dimensions are three feet wide, three feet high and seventeen inches deep. It may be placed in any room of moderate size, but if wanted in a large hall or large room, it may be designed to form a handsome piece of ornamental furniture and extended in width by having com­ partments for the records (Photo No. 5). A small converted recess for the roll is in the upper and central portion of the cabinet and invisible when closed. In this recess is the tracker bar and mechanical controls. The "Mural" installation is a framed panel in the wall, plain or ornamental and of any material to suit the furniture, wall or decoration of the room (Photo No.3). The panel is eighteen in­ No. 5 - Cabinet installation + roll storage. ches wide and ten inches high and can be inserted into the open­ ing of the wall at the height of about four feet three inches from Duo-Art records are not the ordinary perforated music rolls, . the floor. The panel is movable and behind it is the recess con- cut from stencils set directly from written sheets of music and / taining the tracker·bar and the mechanical controlling devices, prepared by hand relative to requirements of the composition. The similar to the cabinet installations. The case containing the Duo­ Duo-Art records are veritable records of music absolutely perform· Art mechanism is located immediately behind the wall, out of ed on the organ by great organists and distinguished musicians sight. To operate the "Mural" installation, one need only to move rendering truthfully in every respect all artistic phrasing, peculiarity the panel, insert the record and start the action by a touch of of touch, all effects of light and shade, all stop registration, each a lever. crescendo and diminuendo and every point of expression being -193 - Duo-Art Aeolian Pipe Organ continued - faultlessly reproduced. Once played the record needs no further distinguished orchestral conductors (1.£opold Stokowski is listed attention as any interference of anyone would destroy the perfect as having made records), thereby securing in the records absolute­ reproduction of the organist's original performance. ly correct interpretations in every essential direction technique, To record the roll, the organist is seated at the organ con­ tone-coloring, tempo and expression_ sole and in performing uses the manual and pedal claviers, the In 1921 the Aeolian Duo-Art pipe organ could be heard in stop tablets, combination pistons, couplers and expression levers the organ studios of the Aeolian Company in New York, Chicago, at will and in the ordinary manner. In another department is Los Angeles, San Francisco, London and Paris_ One would ques­ located the wonderful Aeolian Duplex Duo-Art Recorder con­ tion the location of the organs today_ nected by an electric cable with every key and action of the con­ sole, so as to faithfully follow and record every operation of the (Excerpts and photos from "Duo-Art Aeolian Pipe Organ" by performer's hands and feet. The principal record is subsequently George Ashdown Audsley, LL.D., introduction by Gustav Kobbe, accurately transferred to Duo-Art organ music rolls for reproduc­ The Aeolian Company, Aeolian Hall, NY, 1921) tion on the Aeolian pipe organ_ Duo-Art records are also made of orchestral compositions under the immediate direction of

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FLORA MORA NEW CUBAN PIANIST By Emmett M. Ford (The follOWing is a newspaper review of the debut of Flora Mora in Aeolian Hall recital, 1919)

Flora Mora, a Cuban pianist of much ebullient temperament and great technical equip­ ment entertained a fine audience at Aeolian Hall in the afternoon with an important program which commenced with Weber's "Perpetum Mobile" as an exposition of her almost miraculous manual c1erity and went to the best of composers and the high limit of Miss Mora's artistry in Chopin's "Winter Wind" Etude and the dazzling "Scherzo" by the same much-patronized

wizard. Saint-Saen's "Etude en forme de vals" seems to find the pianist less familiar ground, ./ but she played it with supreme confidence, if not authority, and then made a breathless diver­ sion with a brilliant playing of Granados' "Zapateade:' The Wagner·Liszt "Liebestod:' Chopin's "Phantasie Impromptu:' and the Paganini-Liszt "La Campanella" which concluded the program, ''''~'' were other media for the display of an admirable musicianship made eventful and, sometimes ' .".')1 ~lrj"{1 ···4 confusing by charming but distracting mannerisms. - Olla ,.115.iw * * * * FLORA MORA RECALLS RECORDING DUO-ART ROLLS By Emmett M. Ford I had contacted the Duo-Art roll recording artist, Flora Mora'and asked her to consider becoming an Honorary Member of AMICA and to attend the 197,7 San Francisco AMICA Convention. I sent her a list of questions regarding the roll cutting sessions_ Her recall of making the rolls is in a question and answer presentation. She was enthused at the recall of the rolls and recognition of her musical life. Q: The Duo-Art rolls were made when you had your debut in New York City? A: My debut in New York at Aeolian Hall was on October 19, 1919. I think I made the rolls in 1920. Q: Were you paid for each roll or did you have a contract to make a certain number of rolls? A: I had a contract and was paid for each roll. Q: Do you recall how many rolls you made at the time? A: I made three rolls: "Poetic Valses:' "Allegro de Concerto:' "AI Suplicio;" I think I also did Dance No.7 but I am not sure. /' Q: Did you make any Duo-Art rolls after 1920? A: No, they were done the same day. Q: How long did it take to make a roll? A: The time it took to perform them. Flora Mora Recalls Recording Duo-Art Rolls continued - Q: Did you select the compositions to be recorded or were they requested by the Aeolian Company? A: I don't remember. I played several compositions for the Artist's Manager; his name was Mr. Philips or a similar one. Maybe Lucy Goldsmith remembers. When he heard "AI Suplicid' he was extremely astonished. He remarked, "I would have never imagined this work was written by Granados. Please play it:' Possibly he was not familiar with the universal style of music of Granados. (D-A 64327) Q: Did someone stand by to listen to your playing to edit the rolls? A: I don't remember. Q: Do you know if your rolls were edited and the person? A: I don't know. Q: Some very talented and famous pianists coded rolls. Do you know who some were? A: No. Q: During the recording session, were there other pianists making rolls? A: I don't know. Q: Did you meet and personally know other pianists who recorded for Duo-Art? A: Yes, but I don't know what has become of them except Granados. Q: Were the rolls made only once, or did you have to redo some through errors and wrong notes or you were not satisfied with the roll? A: I didn't have to redo any of them. Q: Did you ever, at the request of the Aeolian Company, go out in public on the concert stage to demonstrate the Duo-Art grand as did Bauer, Grainger, Hofmann and others? -<' A: No. Q: Some pianists who made rolls did not care to talk about their rolls. How do you feel about the ones you made? A: They were very good. Some very soft tones did not come out well and they have to be fixed. Q: Do you think the rolls, like the phonograph, brought good music into the home that otherwise the occupants would never have the chance to hear great pianists in person? A: Yes, I do. Q: There was much controversy about the player piano destroying the desire of young people to study the piano. Do you, or rather did you agree with this at the time? A: There is much to say about this. Music should be heard by everyone as an educational element and as a compliment of educa­ tion for the integral education of the individual. It is not the same to hear good music than to study it in order to obtain from it the physical, aesthetic, psychological and spiritual qualities that may be obtained from music with an educational purpose. I have demonstrated this statement in my book MUSIC AND HUMANITY (Philosophy of Music in regard to education). Parents should be well aware of these facts. They should inform their children they should learn good music in order to develop their sense of hearing and the rest of the mental capacities derived from music study in the same way as reading and grammar are taught in every school although not all of the students are supposed to become teachers or speakers later on. A different advantage may be obtained from the reproducing piq.no rolls. They can be a help for the enjoyment of good music to those who have not studied music and they can help music students a great deal to become acquainted with master works, to observe the interpretation of different artists as well as their sound and enjoy good music comfortably in their homes. To children in pre-school age they can help to form in them a musical taste instead of hearing the bad quality of music which is so often heard from radios and television transmissions. They may be a stimulant to music students and in every way they tend to the enjoyment of music and music is, in fact the greatest aesthetic pleasure a human being can enjoy. Q: There is much discussion the rolls were not examples of the pianist's playing, though the Ampico, Welte-Mignon, DuoArt and other mechanics had expression holes in the rolls. What is your opinion? A: There is a great difference between regular piano rolls or "pianolas" and the Duo-Art, Ampico and Welte-Mignon piano rolls. Instead of my opinion I will quote Granados' opinion from an interview which was taken from him after he made his rolls for the Duo-Art. He said, "It is such a truthful reproduction of my playing, so exact in my performance that on hearing the rolls my own pupils in Barcelona wouldn't be able to notice that I was not seated at a piano. It seems a fairy story which has become true." Q: Do you wish you had made more Duo-Art rolls? A: Yes. Q: What composer, if you could now make rolls, would you want to record? A: Mainly Granados and compositions of myself. Q: Are you enthused the player piano or reprodUcing piano is making a comeback and being revived by the finding and restoration? A: Yes. Q: Did the reprodUcing piano appear in Cuba? A: Yes. Mr. Jose Ciralt was the agent. He used to advertise the Duo-Art in the back of my programs. Q: Since the U.S. and Cuba were friendly and trading material and products and the piano makers were heavy on advertising and selling, do you recall who may have owned the player pianos? A: No. Q: If pianos were bought in Cuba, do you think they still exist after Castro came into power? A: I don't know. Q: Was the player piano ever used in schools and colleges for music appreciation classes? A: No. Q: Can you recall any other information about the player piano which would be of interest to AMICAns? A: No.

-195- GIOVANNI SGAMBATI: A GREAT LISZT'S PUPIL By Antonio Latanza

In a letter which Busoni wrote to his wife he complained world premiere of Liszt's "" and· many that a lady had called him "Mr. Bach-Busoni': Somehow I chamber works, among which the Schumann piano quintette, suspect that somebody did call Giovanni Sgambati "Mr. Gluck which was for the first time performed in , Sgambati - Sgambatr In fact the Gluck melody from ORFEo, which developed a deep friendship with Liszt and conducted the Sgambati transcribed for piano, was very popular at the end premiere of the first part of Liszt's "Christus~ of the XIX century and the beginning of the XX. Many rolls In 1869 he followed Liszt in Germany, where he met An­ and gramophone records were made by artists like Josef Hof­ ton Rubistein and many other important musicians. Only in mann, Sergei Rachmanninoff, Misha l..evitzky, Egon Petri and 1876 Sgambati met Wagner: he expressed great appreciation Mark Hambourg. for his music and convinced the editor Schott to accept Sgam­ Nevertheless, Sgambati was an important composer. As bati's compositions. a pianist he ranged among the very best of the XIX century, In 1881 Sgambati founded the "Quintetto della Regina"; not only because he had been a pupil of . Very few one year later he played in London, in 1884 in Paris, in 1891 people, even in Italy, know that the home and the archive of again in England, (on that occasion he played at Windsor cas­ Sgambati still exists, in , in the very central Piazza di tle for Queen Victoria) in 1903 in Russia and North Europe. Spagna. The archive is private and no scholars are allowed. He composed a large amount of works, none of which is A few years ago, my piano teacher the great and operatic. Though Sgambati excelled in , the underestimated pianist Mario Ceccarelli, told me about his symphonies were much appreciated (even by Brahms and friendship with Mrs. Giuseppina Sgambati, the widow of the Wagner); the piano concerto (recently re-discovered by Jorge composer's son who is now 93 years old. Maestro Ceccarelli Bolet) was largely appreciated. lt seems that the Requiem Mass (born in 1906) died three years ago and through his words (written for King Umberto di Savoia in 1906, after his death) I still remember his fabulous experience: he studied with the is his masterwork. great teacher Pietro Boccacini (Liszt's pupil and teacher of As a pianist, he surprised Liszt for his understanding of many important artists, one of which was Carlo Zecchi) and the German musical literature. This special taste was in his Ludwig Breitner (an Italian from Trieste who studied with Liszt blood even before he met Liszt; in this sense he was a real and Rubinstein). Incidentally he cut only one roll for the Duo­ pioneer for the future instrumental renaissance operated by Art, Schumann's aria from the sonata op. 11 (no. 5526). Busoni, Casella (both were in correspondence with him), In recent times Mr. Raoul Meloncelli, professor of Music Pizzetti, Malipiero and many others. His performances of History at the Rome University, suggested to the relatives and Palestrina's works are of historical importance. His pianistic friends of Mrs. Sgambati that they contact me in order to give technique was faultless, always demonstrated with great clarity, her father-in-law's piano to the Rome Museum of Musical In­ even in the most difficult passages. His tone was highly sweet struments. It is a wonderful Erard grand, in mahogany case. and soft; also its use of pedals was extremely careful. These The instrument is numbered 93799 (ca. 1908-9). It is in perfect words are by the violinist Arnaldo Bonaventura who performed condition and shows two artistic candelabra, designed by the with Sgambati all the violin and piano by Beethoven. composer himself; a special feature are two adjustable ben­ He did not leave piano rolls though he showed interest in this ches, also conceived by him (the maestro, the piano and the matter, marking some Metrostyle lines on the roll paper. benches are visible in the enclosed picture courtesy of Mrs. Through the courtesy of Mrs. Giuseppina Sgambati, Iobtain­ Giuseppina Sgambati). ed a draft (here reproduced) written by Sgambati himself, in Giovanni Sgambati was a very special figure during the which he describes the importance of Metrostyle. He writes: "Pianola~ second middle of the XIX century in Italy. Totally alienated a mechanical piano device already known from the operatic delirium, he was the real centre of the renew­ for some time, with the application of the Metrostyle, ed Italian instrumental culture, at that time nearly forgotten. acquares a momentum that will be recognized more Nevertheless, he was the first who recognized the importance and more in the future. For the time being, the of "Cavalleria Rusticana". He was born in Rome on May 28, manifold doubts about the author's intentions and the 1841. After his father's death, his mother (a Londoner, speed of the movements will be removed. daughter of J. Gott who worked in Rome as a sculptor) took I prefer to listen to some of my compositions care of his musical training, entrusting the son to experienced especially in particular changes of tempi, which Ihave teachers. accurately metrostylized, through this machine rather When in 1861 Liszt came to live in Rome, Sgambati took than by many skillful performers (with very rare ex­ lessons from him, periodically inviting him to his home in Piaz­ ceptions) which I have heard; in fact the machine is za di Spagna the so called "Roman School". His tastes and reliable in the different movement nuances, which I tendencies were immediately evident: the European musical wanted to obtain, and is able to reach a clarity, a culture, and especially the German one. All through his life faultlessness that very often the best pianists lack. he obstinately promoted the diffusion of the contemporary On the whole, the "Pianola-Metrostyle" can in some symphonic and chamber music in Italy and Europe. He ar­ aspects be considered as "the Maestro, Keeper of ranged the Roman premiere of Beethoven's 3rd symphony, the Tradition". -196- Giovanni Sgambati: A Great Liszt's Pupil continued -

Sgambati signed the Metrostyle lines for only eight during 1908, for the "Gramophone Company". 65-note rolls. The list is the following. In a letter written to Sgambati by the great tenor 67621 Sgambati nenia Francesco Marconi on June 24,1908, he announced that the 68613 Sgambati suite op. 21: prelude Company had just sent to Sgambati 500 Iiras for the two 69121 Sgambati suite op. 21: valse records he has made. The letter also says that the Company 69621 Sgambati suite op. 21: air will record 18 records more "when the machine is free~ The 70353 Sgambati suite op. 21: intermezzo contract which Sgambati signed with the "Gramophone Com­ 70871 Sgambati suite op. 21: etude melodique pany (Italy) Ltd. di Londra" is here reproduced and states the 71111 Sgambati toccata op.18 following two points: 67371 Sgambati vecchio minuetto op.18 1. Mr. Sgambati, with his well-known quartet Looking at the various, valuable letters, in his archive, Mr. (called "Quartetto della Regina") will perform 20 Paola Oddi, Giuseppina's nephew, discovered a letter which musical pieces, some of which would be solo piano was sent to Sgambati by the Paris branch of the Aeolian Com­ pieces. The pieces will be repeated until the machines panyon 22 April 1905; this very interesting document, is here record the pieces in an acceptable way. reproduced: 2. The Gramophone Company will pay to Mr. "Cher et illustre Maitre, Sgambati the total sum of It. Liras 5,000. Ie porteur de cette lettre est notre ami Monsieur The two copies of the contract are dated February 6, 1908 Henri Dubois, representant de la Compagnie Aeolian (signed by Sgambati) and March 27,1908 (signed by the Direc­ que nous avons charge de vous faire une visite et tor of the Company). The text in both pages is exactly the detre aupres de vous l'interprete de nos meilleurs sen­ same. timents. Nous vous serions tres reconnaissants de lui accorder Ie prestige de votre personalite et l'appui de Sgambati died in Rome on December 14, 1914. It is of vos relations pour l'aider a mener a bien la mission a great interest to note that Sgambati's son had a deep love dont il est charge a Rome en particulier et en Italie for photography and early movie cameras. Many hundreds of en general. pictures survive; nevertheless Sgambati always refused to appear in movies. Pour la meme occasion nous nous permettons de rappeler a votre souvenir I'aimable offre que vous A very interesting chapter concerns the recorded legacy avez bien voulu nous faire jadis, de marquer au of Sgambati's pupils. A list of pupils was compiled by Sgam­ metronome la Berceuse de Chopin selon les traditions bati's son. The names which appear are as follows: Domenico du Maitre lui-meme. Monsieur Dubois se chargera Alaleona, Dante Alderighi, Carlo Angelelli, Francesco Bajar­ bien volontiers de la partition marque si vous voulez di, Sofia Barini, Felice Boghen, Clemente Bergonzoni, Ida bien la lui confier. Bosisio Mantia, Alessandro Bustini, Goffredo Caetani, Maria Capoccetti, Carlo Carrer, Maria Carreras, Edoardo Celli, Avec nos vif remerciements, veuillez agreer cher Ernesto Consolo, Lodovico Cozi, Giuseppe Cristiani, Alfredo maitre, I'expression de nos sentiments d'admiration di l..llcca, GiUSeppe Ferrata, Ines Galamini, , l..lligi et de notre profond respect" Gulli, Alfred Hijor, Miecio Horszowski, Sophie Menter, Em­ ma Mettler, Gemma Mililotti, Ada Monaldi, Antonietta Od­ This interesting letter seems to hint that Sgambati himself done Manera, Clotilde Pace, Oreste Pinelli, Eugenio Pisani, suggested to the Aeolian Company that they make the Pietro Ricci, Vico Ridolfi, l..lligi Rosati, Francesco Santoliquido, "Metrostyle" lines for Chopin's Berceuse. It is logic to conjec­ Elvira Silla, Maria and l..llisa Schulteis Brandi, Enrico Toselli, ture, I believe, that the marking of the 8 Metrostyle rolls took Adele Tosti, Lidia Trombetti, Alice Ziffer. place before the date of this letter and that Sgambati, satisfied for the rolls of his music, has later asked the Aeolian Com­ In his: "A Dictionary of Pianist" (Robert Hale - London pany to do the same work for the Chopin Berceuse. As far - 1985) Wilson Lyle mentions a few names not enclosed in as I know, the Berceuse was never realized; as least, the large the list. They are: Mary Barratt, Maria Bianco Lanzi, Hector 1914 Aeolian catalogue does not mention the Chopin Fiorino, Friedrich Niggli, Lidia Tartaglia, Orsini Tosi. Most of Berceuse "metrostyled" by Sgambati. them did not leave piano rolls, nor gramophone records, A few of them left some traces of the Sgambati school. Nevertheless, Sgambati has been active also in the field of gramophone recording. In his "Catalogue of Recordings by A. Bustini: made some Metrostyle lines; Classical Pianists" (Vol. No. I-Disco Epson Ltd.-1984, Lon­ Elvira Silla: only one Gramophone record is known; .don), James Methuen Campbell states that Sgambati record­ M. Horszowsky: still living at 95, made a large number home~ ed "a solo piano while he was in Fernando de l..llcia's of long playing records and some C.Ds., no piano rolls; The author adds that this is probably lost. I' Ernesto Consolo: recorded extensively for the Hupfeld Sgambati's archive in Rome do not contain gramophone Company, Leipzig; some rumors refer that he recorded a records. Nevertheless, a few documents appeared recently in Beethoven sonata during the thirties in London for Columbia which it is certain that he recorded at least two sides in Milan, (unpublished);

-197 - Giovanni Sgambati: A Great Liszt's Pupil continued ­ Sophie Mentner: this great artist and charming lady disliked strongly Strauss's descriptive taste in the "Domestic studied also with Liszt. She made piano rolls for the Hupfeld Symphony" crying that the music is too noble an art to stoop Co. (Phonola - Dea and Triphonola) to such details. He also demonstrated a very low qppreci­ Maria Avani Carreras: she cut rolls for the Aeolian Com­ ation of Debussy. On the other way a musician like Massenet pany (Duo-art), the Hupfeld Company (Phonola, DEA and had a total admiration for his music; he transcribed for Triphonola) and the Philipps-Duca. orchestra a piano solo composition, the "Berceuse reverie': Also Cyril Scott admired his music and played his piano pieces Aurelio Giorni: a very fine artist as his 24 Duo-art rolls very often. testify. He also made some very rare 78 records with his trio (Elshuco Trio). He also had good relations with the cultural life: G. d'An­ nunzio proVided a text for a song, "Rose", still unpublished. A few of his pupils are still living: Luigi Rosati, Luisa Sgambati was also a very good musical organizer in Rome. Schultheis Brandi and the great Horszowsky. It is charming In 1876 he founded the "Liceo Musicale", the school which to note that the rolls played by Aurelio Giorni, if played on later became the Conservatorio di S. Cecilia. The large con­ a well adjusted piano, can let us know the interpretative ideas cert hall was opened February 2, 1895 thanks to Sgambati. of Sgambati. Giorni had the same beautiful velvet touch and Queen Margherita was present. he was able to sing with the fingers. This judgement has been expressed to Mrs. Sgambati in a letter dated January 5, 1923, which a Mr. J. B. Speed (Louiswille) sent to Rome in 1924. In a few months the whole Sgambati collection will leave, its original place. This is unfortunate because of the beautiful It is really a pity that an important figure like Sgambati location of the apartment. is today almost forgotten. Very Popular in Europe in his time, his importance has not been really understood in "belcantd' As the director of the "Museo Nazionale degli Strumenti land. It is worthwhile to describe Sgambati's experience. In Italy Musicali" (the only Italian State Museum of that kind) I sincere­ it was not clear if he was a conservative or avant-garde. He ly hope to house the Sgambati studio, in a short time, exactly as it was and still is, in a specially dedicated room for the benefit of future generations.

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At Steinway, cats aren't grand at all Chicago Tribune - August n, 1989 - Contributed by Jere DeBacker NEW YORK (AP) - It's okay if Vladimir Horowitz or Van The cats hide out on the lO-acre facility until the workers Cliburn tinkle the ivories of a Steinway, but when a pack of depart at 4:30 p.m. When they return the next morning, stray cats does the same thing, it strikes a discordant note. employees find pianos covered with paw prints, scratches, or ... or ... you know. Some of the hand-crafted, $50,000 pianos have become bathrooms and scratching posts for rogue cats roaming the Company officials blame an illegal dump on an adjacent Steinway factory in Queens, leaving company officials sing­ lot for the problem. The dump attracts rats, which in turn bring ing the blues and setting cat traps. in the cats, which use the factory to unwind after dining. ~ Factory workers report catching about eight cats each When traps snare a furry prey, Steinway workers return week inside the building. the cats to their dump home, leaVing them free to make a return engagement the next night through the aging complex's The kitty capers are a first at the plant, which opened many nooks and crannies. in 1870. And the problem gets worse for Steinway because it sets back the slow, painstaking effort which goes into The company has told the city about the problem and making the pianos. even volunteered to clean the site itself, but their complaints "have fallen on deaf ears:' a company spokesman said. A Steinway grand piano - the model favored by Horowitz, Cliburn and other maestros - takes a full year to Department of Sanitation spokesman Vito Turso said the create, with dozens of workers involved in the process. dead-end street "sounds like a classic place for illegal dump­ ing:' adding that the most the city can do is police the area But their efforts can be undone in a single night of feline once or twice a year. revelry, said factory superintendent Ron Penatzer. If the cats use a piano soundboard to relieve themselves, it takes six weeks and costs $2,000 to repair the piece, he said. THE AEOLIAN/STEINWAY CONTRACT From A.C.M.M.I. Newsletter No. 37. June/July 1989

Here is a copy of the Aeolian/Steinway 1909-1929 Contract - they ended it by mutual consent before 1933. This information was submit­ ted to the Musical Box Society IntI. for their 1980 edition. Several things should be kept in mind however. 1. The NYC office took 241 pianos (grands) and converted them to straight pianos for Steinway hall; 2. No records exist about the production in Hamburg, Germany for Steinway players for the UK and Berlin-or Australia via England. 3. Steinway still supplied (on special order) grands for Ampico and Duo-Art for Aeolian-American thru 1937, the last being an "I..:' : for Colo. However installations by the Roch., NY plant continued through 1941 and possibly up through 1946-1947, primarily for export. These pianos were often submitted by the dealers for conversion and not done on the factory level, since the attachable "B-drawer" action was used for all Duo-Art/Ampico models after 1935; 4. Aeolian wasn't concerned about Welte-in Poughkeepsie, NY. and their reproducing pianos...the contract stresses "foot pedal" or "lever control". They were worried that Welte might make it's straight pedal-players for the U.S.A. market (There was limited production of these in Germany). 5. Some of the 1909-1910 Steinways were 65 note model - the last list at the end of this item doesn't note this. Also Aeolian advertised pedal grands/uprights until 1917 in national magazines-listed them in Catalogues through 1921 - and so many were Nor Duo-Art in­ stallations. Also Aeolian "took back" many pianos from customers between 1921-1928 and converted p~dal players to electric Duo-Art. EXHIBIT A- The Steinway-Aeolian contract. Note that the Aeolian Company was obliged to "downgrade" the Weber piano as one of the provisions.

Copy of Agreement between Steinway and Sons and the Aeolian Company, approved and executed as per minutes of Directors' meeting held March 9, 1909. ********* Memorandum as per the negotiations between Chas. H Steinway for Steinway and Sons and Edward R. Perkins for the Aeolian Company, covering the general terms of an agreement to be entered into between Steinway and Sons, of New York, a corporation organiz­ ed under the laws of the State of New York, and the Aeolian Company of New York, a corporation organized under the laws of the State of Connecticut. The term "Aeolian Companies" shall mean the Aeolian Company and its affiliated companies. This agreement is to be for a term of twenty-five years from date and is to cover in its provisions, the entire World. Steinway and Sons to agree to build pianos to allow the incorporation of automatic actions, for the Aeolian Companies only: and the Aeolian Companies agree not to supply the Pianola action for incorporation in any piano they do not control wholesale and retail selling of. Steinway and Sons agree to discontinue furnishing their pianos to the Welte Artistic Player Piano Co., for the incorporation of the Welte-Mignon players for the United States of America, on and after June 1, 1910; but the present existing relations, arrangements and contracts between Steinway and Sons, Hamburg. and Steinway and Sons, London, and the Welte Company are to remain in full force and are, under no circumstances to be questioned by the Aeolian Companies as long as the Welte Artistic Player Piano Co. does not incorporate in the Steinway Piano an action operated by foot power or hand lever control. Steinway and Sons agree to furnish their pianos of present styles, with such changes as may be necessary for the installation of Pianola actions, to the Aeolian Companies at approximately Fifty Dollars per piano in excess of their regular wholesale prices. The Aeolian Companies to have the exclusive sale of Steinway Pianola Pianos in those cities where both the Aeolian Companies and Steinway and Sons have their own branches. In other cities, towns and territories all over the World where the Steinway Pianos and the instruments made by the Aeolian Companies are sold by separate dealers, both the Steinway and Aeolian dealers shall have the Steinway Pianola Pianos on exactly the same terms, prices and conditions, and represent the Steinway Pianola Piano faithfully; and it is positively understood and agreed that any Steinway or Aeolian dealer in any such city, town or territory who violates the conditions shall be deprived of the agency or representation of the Steinway Pianola Piano. Steinway and Sons agree to supply to the Aeolian Companies a minimum of not less than six hundred new Steinway Pianos per year and the Aeolian Companies agree to purchase these Pianos and pay cash for them-barring strikes, fires or earthquakes which might curtail the facilities of either party to supply or use this minimum number of Pianos. The Aeolian Companies agree to handle, market, advertise, push and recommend the Steinway Pianola piano as their unqualified leader, and to obligate their branches, dealers and representatives to do likewise, as well as to use their best endeavors at all times to maintain the standing of the Steinway Piano. The Aeolian Companies agree to officially relegate their Weber Pianola Piano to second place under the Steinway Pianola Piano; and they further agree to withdraw from the artistic concert field and that they will exploit the Weber Piano in public only through such minor pianists as Steinway and Sons may permit. In the matter of territory, the Steinway Pianola Piano shall follow the same territorial lines as the Steinway straight Piano as regards Steinway dealers. The Aeolian Companies are to have the exclusive marketing of the Steinway Pianola Piano, both wholesale and retail, throughout the World. The Aeolian Companies agree to incorporate in each and every Steinway pianoforte that they may buy from Steinway and Sons under this agreement their best and most up-to-date full scale Pianola player, made of the finest material and with the best possible workman­ ship and containing all of their latest improvements and devices. NEW YORK, March 9, 1909. Signed and sealed in the presence of F Reidmaster. Steinway and Sons (Seal): Chas H Steinway President Signed and sealed in the presence of HM. Wilcox. The Aeolian Company: E.R. Perkins, Vice President. -199 - ======cc======c======c======c=====c

EVERY family intends to own a piano some time. That time should be now. A year with the piano is far more delightful and educational than several years in anticipation. If you have decided to buy - which piano will it be ~ Do you understand tone values and mechanism and finish? Even if you do. can you tell its luting power? Let us tell you how to be absolutely sure.

FTER years 01 piano-making, with every A resource at hand. with an earned ,eputarion we can tell anyone of a simple and sure way to get honest and high piano values, musical scope, perfect action and thorough workmanship. Simply look for the name"Crown" and Ceo. P. Bent, Chicago, and we guarantee the re&t. Send a postal and I.. u. lell you the honest .nry of an honest piano. and how you can purchaae at your own home as easily and as salisfactorily as if you were here in penon. May we hear from you lo-

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MORE ON DUMESNIL ANSWERS By Alan H. Mueller

The recent article you printed in the "Bulletin", THE DUMESNIL ANSWERS sent in by my friend Dick Howe prompted me to send you the enclosed copies of Ampico information. Earlier this year I had the good fortune to be able to purchase from fhe widow of an ex-offical of the defunct Aeolian­ American Co. the artist contract ledger for Ampico reproducing rolls. I have extracted all the informa­ tion from the double page applying to Maurice Dumesnil. As Dumesnil mentions in his letters to Larry Givens some artists did promotional concerts promoting the Ampico and American pianos (usually only the Knabe, Chickering and after 1924 the Mason and Hamlin). The concert contracts were ex­ ecuted separately from the recording contracts. It appears to me that he received $150.00 each for longer recordings and $50.00 for a short selection in 1926. The last selection he recorded in 1927 was paid for at the time of the termination of his concert contract. You will notice that his first recor­ dings were done in 1917. As the pages of the ledger were filled with royalty payments, advances, etc., the balances were carried forward to new pages but the list of recordings were carefully copied to the new page (except for the prolific artists of pop tunes like Carroll, LDpez and Arden). I would have liked to copy the pages for you but they are a bit large and they are quite brittle if handled carelessly. I thought you might be interested in having this added info about Dumesnil's recordings and add it as a postscript. The American Piano Co. piano works is now a mall and professional complex. The AMPICO chimney and four main buildings survive but the office bUilding, foundry and smaller bUildings are gone.

-200- MAURICE DUMESNItL Extrae,t from rrAinpico Corporation - Artist Record" - Ledger RECORDING ARTISTS RECORD Concert ~ Piano Chickering Recording ~ Date of Contract May 11:

Experation of Contract. May 111 19~ (Ma~ch, 1928 - penciled in) . l' •".: '\ Number of recordings per year optional Total recordings ...J.....:: ~·t • Torms of payment ~800. per'yr, - payable Feb. 1st ea. yrL Royalty rate qptional Renewal option ~ Renewal terms optional Remarks Balance brouGht fO~/ard cash advance 7-1-26 amt pd $1400. Ea1 :~J.400. amt duo ;~J400 3111 0

Apr:i.l 22, 1927 DJilt pd :~3C;0. Ea1 o alnt due ~..f350.

~c1cctiono .L- ~1 .~l'e.d·_ ':Je111"'1~"'" ;)ate TIocorded ~~""-'l"-' ...... e _ ... 04. ••_ •• ~ .....("i".. _.~...... J 1917 ~" ~ec L~I ~;octurne Op9 :To.1 Chonin II~ /I .i.:010no..ise ~J. mr... ,i /I .Je.ath of I::;oldo ','fu,'jner -i.i 0 ~ t ~':rl!."l, !_~: 1 ~ if La Ca.rJ))n.ne11n. L:tszt il II i~;.1'~_110n :Jnno La 7.~a i c '!0 r:-~i l:iemin II II 1922 Oct 7 :;1~':E1:;_ J.()Jonaiso :3ril1ant Cho~)·.r:. ~on801ution Soro -;;ov 9 1923 II Sevilla Albeniz r.Tar, -.i923 II Dancing Marionette Henry Jlli"1.0, 1923

.....1.",/c21.'14 ~;'eb L 0cl1.cn : ~ ()\]", J.~ 21.;. ii . t_'n.l~~.GCJ l...~p:l.ll~r.!.oJ_e .·_J_l:~)r:.~_:::· ('ct, , :!.~ ~_~ ".r:':~_:!., 7S2~ rY.. }'\r01~Ttt·_ Volse Fl.·ero .T\.~ l'~~, 1925 1!1a5 Oct 28 Air Tendre - Les Fifres LUlly Mar, 1926 II Valse La plUS que lente Debussy Ja11. 1926 1926 Dec 18 National Hynm Arcentine Lopez Feb, 192~~ It 30 Recuerdo Soro lila:, _1928~-in It 30 Granada "Suite Espagnola" Albeniz April 23, 1927 Sonnta D Maj 1st I';lov 2nd Piano Part Nov, 1927 iiiozart

,;;-1 - To be paid by Z-"'q>ort Dept L~/22/27

,;;-2 - :"01" ,~lucation:ll.:Jept. raid for"oy settlcr.lcnt \'!itl1. I.ir. :~umesnill UDon terminat~.on of' concert contract :pel~ l.~r. Jucllcy phone convcrstion 7/13/1928

-201- July 13th. 1 9 2 8 /"

1lr. Leo Sima 2322 Lincoln ~rk rIost Chicago. III

Dear lIr. Sims:-

I hand yeN herewith oheck 1'cr T1lIelve Ihndred Dcll.rs (~1200.00) in payment tor the 1'ollOlring recording. 1rhich oompleiiea the number you were to play tor UII on the cont&'aot made by JAr. Delcamp on June 6th 192:1 -

Kighty Lak' A Bose JIy Wild Irish Rose Down Whore the Sun Goes D~ Kashmiri Song Ju.t Imagine "Good News" Improvisation Venotian Love Song Little Grey Home in the reost The Roaary Somewhere A Voico Is Calling Pale),(oon The World Is Waiting tor the Sunrll1e

Ot the recorctinga previoualy made on this contract. we ba'We issued the tollowing - He And My Shadow !line I'm coming Virginia Keditatim /' Broken Hearted sOrne ot Those Days 'rhe Houra I Spent With You Are You Lcaes

It 18 UJ:lderatood in taking tho recordings and paying you tor them today that U t.M nent ot our tinc:iiug BDY ot thoae yet to be laaued unauit­ able tor our purpoae or tor al\Y reasOll not &Uch .a we oould u... that you will either repl.)" them (¥t' subatitute sanething else tor the:o.

In regard to renewal ot the contract. it 18 understood that we will have an option ()n your aerTicea to expire October lit. 1928. on·or be1'orc which date we will advbe you as to whether or not we wish to enter into an arrange­ ment tor.additlQD~l recording•• --

~

P'HBD:EJ It thu 18 your UDderatand1Dg ot the _tter. your .1patUN bel_ wil) cwnatltute an age_nt botweeu U8. A~J ~f76~~d­ /"

.s,C,Ne.O By ~.K. Be.~"'A", 'By RN1 • f.><.e.e"J'Ni. o~ k"NA~ DJVfSIDII· HA D fINAL. SAy ON "t.I. A'f1'S1'~"IR~t:l

-202- LSE SUi;"; contract with the "il'npico Corp. Contract sir,ned June 6, 1927 Date of Contract - June 17 1927 for on6 (1) year. Twenty Pour recordinr.;s per year. Royait'JT rate \':1th [-)11 advance of ::,,100. per A recordinG. Advance to apply against royalty. Hoyalty rate - 10h of wholcs~10 selling price. /"' :Jate of Date of :rtecording Title Issue 'June lr;, 1927 Song of 1he '~ianderer Nil II " " i~ie And };ly Shadow Aug., 1927 June 16, 1927 l."alling In Love IVI II II " Itm ~omins Virginia ::>cpt., 1927 June 17, 1927 l':Iine Oct., 1927 II II II Bro!-::en Hearted Nov., 1927 l;ov. 29, 1927 l.leditation (::)ims) Uar., 1928 " II II Letts kisbe~ve (Porter) Nil Dec. 1, 1927 i;Iine All ll'Iine Nil II 'l'he Hours I Spent With You Feb., 1928 II " " .....," 5, 1927 Are You Lonesome Tonre~t II " July 11, 1928 r.:ighty Lak 1 A Rose (Nevin)arr. by Sims Nil II " II Down Where '1.:'1.e Sun Goes Down (Jone s, Buclc) Oct. , 1928 II II Venetian Love Song (Nevin)arr. by Sims Nil "II II The Rosary II II " II II II " Just Imagine "Good News" (Henderson) II " " " " " Pale Noon (Logan)arr. by Sims Oct. , 1928 The ~orld Is Waiting For The Sunrise (Seitz) II II" " "II " " Kashmiri Song {Finden)arr. by Sim~ Jan., 1929 II " II Little Grey Home In ~~e West (Lohr)arr. Sims Dec., 1928 My Wild Irish Rose (Olcott) Arr. by Sims Nov., II "II " "II " Somewhere A Voice Is Calling with Improvis­ / ation {Tate)arr. by Sims Nil

.~:. Dec. 5, 1927 Some of These Days Feb., 1928

Contributed by Alan H. Mueller

RANDOM NOTES FROM "ARTIST RECORD" - The Ampico Corp. Ledger Most of the contracts in this ledger are from the late 1920's or very early 1930's. Some of the early artists such as Howard Brockway, Katherine Goodson, Adolph Borchard, George Copeland, etc. aren't included. Their contracts may have run out or they were paid a flat fee per recording with no royalties. One such later artist who was apparently paid this way was McNair Ilgenfritz. On Dec. 22, 1927 he received $50.00 each for playing "The Rosary", "Sirens" and "Grande Mazurka~ Many of the contracts with the better known artists contains a paragraph similar to the following: Artist agrees not to enter into any agreement with any other person or concern after expiration of this agreement without first discussing the matter with the Piano Company. Most royalty payments seem to end with December 31, 1931, but a very few continue on until March of 1932. If a recording had to be replayed, the date of the new recording was entered in red ink. If the recording was included on a LP roll, known then as a Long Recording, this also was usually noted in red ink. Royalty payments to the publishing companies were kept in several separate binders under the various numerical series. The earliest recording dates in the ledger are those by Godowsky in early 1913.. The yellow binder pages are 12" by 12~ The binder is approXimately 1 1/4" thick. 115 artists are listed in the ledger.

Contract with WDWIG HUPFELD, A.G. April 22, 1925 to April 22, 1930 - No. of recordings per year 50 each for 4 years as Piano Co may order. Each order to consist of 3 true copies. 5 cents royalty per roll made from master when sold in U.S., Canada, and Cuba, 15 cents when sold in other parts of the world. Feb. and Aug. of each year w/detailed statement showing name of composition and total number of rolls sold and wholesale price of each roll. American Piano Co is privileg­ ed to sell Music Rolls made from master in any part of the world except Germany. (Oct. 21, 1929 Check to Bankers Trust Co. per new agreement (Contract cancelled) $5000. 84 recordings listed, 28 listed as issued.) RANDOM NOTES FROM ':4RTIST RECORD'.!....THE AMPICO CORP LEDGER continued - VICTOR ARDEN - contract dated 12/31/29 - 10 percent royalty on wholesale price. Later contract (no date) $50 per record 1/2 to be paid by Aeolian Co. on such recordings that are made w/another artist the advance payment is to be 1/2 or, $12.50. FRANK BANTA - contract dated 9/26/27 for 1 year 24 records per year, $100 per record. ROY BARGY - 6/20/27 for 2 years, $100 advance to apply against 5 percent wholesale selling price. 6 records per year. (Mr. Bargy recorded 9 records we are only to pay for 8) "Knice and Knifty", "Feedin' the Kitty': "Honey Do" and "Speed of the Moon" recorded but not issued. ALEXANDER BRAIWWSKY - Jan. 1, 1925-May 1, 1929,5 records per year, $2000 per year. Released from contract Jan. 11, 1929. RICHARD BUHLIG - 1/30/23 - 3 years renewed to 1/30/29. 2 records per year, 10 percent of wholesale price. $200 guarantee per year. Expenses paid to NYC. to record. Endorses M and H piano. ADAM CARROLL -2/1/29 for 1 year, $150 per week. Mr. Carroll is to arrange and playas many records as the company may desire. Jan. 31, 1930, $50 advance to apply against royalty of 10 percent of wholesale price. Last contract (no date) same as last contract with V. Arden. JULIUS CHAWFF - 4/1/24 for 4 years. Not less than 3 records per year. $500 each year to be deducted from royalties. Endorses Chickering piano. VINCENT D'INDY - 1/16/22 optional $200 upon completion of each finished roll to be applied against royalties of 10 percent of wholesale price. (Recorded 6 selections 11/21 - 2 issued). ERNST DOHNANYI - 4/28/21 for 5 years, $1500. Oct. 21, 1921, 22, 23, 24, 25 ale royalties to accrue 10 percent of wholesale ($500 additional for special records) 22 records made - seven not issued. Endorses Chickering piano. EDGAR FAIRCHILD - 10/7/26 1 year, 12 recordings per year, $50 per record to apply against royalty of 10 percent Wholesale. Renewed 1 year 1927/28. Renewed 1 year 4/1/29 - royalty rate still 10 percent of wholesale. RUDOLPH FRIML - 7/26/26 for 2 years,S records per year, $100 per records as an advance against royalty of 10 percent of wholesale price. We will give benefit of all possible publicity such as featuring you in our monthly bulletins, trade paper magazines, etc. 7 recordings made under contract, "Only A Rose" recorded May, 1926 not issued. 1 roll, "Improvisation" / (Friml) listed as recorded Dec. 31, 1913 ? not issued. LEOPOLD GODOWSKY - 4/1/19 to 1/21/22 -10 records 1919, 10 records 1920, 7 records 1921. Royalty basis w/guarantee 50 cents per roll. $3000 year guarantee. First record listed as recorded March 24, 1913, first issue date May, 1913 "Dance of the Gnomes" (Liszt) recorded April 7, 1913. Endorses Knabe piano. ROBERT GOLDSAND - contract signed by Helena Goldsand Feb. 1, 1927 for 1 year, $500 upon completion of recordings and after same have been accepted by co. 6 records made, 1 issued. Endorses Knabe piano. WERNER JANSSEN - 9/20/26 (make checks payable to "Abies Irish Rose" of N.Y., Inc.) $100 advance against 10 percent royalty wholesale. 4 records per year. MISCHA LEVITSZKI - 4/5/19 to 4/5/29, 10 each records for 5 years, 50 records total. Guaranteed amount yearly until 4/1/24. Royalty basis guarantee after this date, 25 cents per roll. Guarantee payments 1919/20 - $3000; 1920/21- $4000; 1921-22 - $5000; 1922/23 - $6000; 1923/24 - $7000. Recorded 54 selections from 1919 to 1929, 12 not issued. JOSEF LHEVINNE - June 7,1923 to Sept. 1, 1926 extended to June 7, 1928. $5000 per year, 10 percent royalty net wholesale price. Renewed March 15, 1928 to March 15, 1933 same terms up to 7 records per year. Last recording made Nov. 22, 1929 - "Polonaise in F Sharp Minor" (Chopin) not issued. ILLIF GARRISON - 1/4/26 - 1 year optional. 2 complete musical compositions, 10 percent of net wholesale selling price. It being mutually understood and agreed, however, that should the Piano Co., after a reasonable effort be unable to fully comply with the foregoing, at any concert which the artist is to play, the artist will complete his performance at such concert with the best facilities obtainable under the circumstances, and both parties hereto will on all occasions co-operate to overcome any such difficulties which may arise. 3 records made 1/4/26 - 1 issued "Valse" from "A Night In Egypt" (Arensky­ Siloti) Feb. 1927. Endorses the Chickering piano. (Note: was the above double-talk meant to cover the company when-he was giving comparison concerts with the Ampico?) BENNO MOISEIWITSCH - Dec. 30, 1919 to Dec. 30, 1924 - royalty basis with a guarantee of 10 percent of advertised '"' retail price of rolls. Renewed 12/30/29 until 12/30/29 with renewal terms at expiration to be taken up in regard to retaining' artist on a royalty basis, see Mr. Neuers letter of 2/16/28. First recording date Jan. 16, 1920, last April 29, 1927 . Royalties paid until Dec. 31, 1931. Endorses M and H piano. VINCENT LOPEZ - 5/7/28 - 1 year, 2 records per month, 24 per year. Royalty basis of 10 percent wholesale. Checks payable to Vinlo Musical Enterprises, Inc. (24 records made) -204- RANDOM NOTES FROM "ARTIST RECORD"-THE AMPICO CORP LEDGER continued - LEO ORNSTEIN - 4/19/20 to 5/1/25 extended to 5/1/30. 1/1/21 - $3000; 1/22 - $3125; 1/23 - $3250; 1/24 - $3375; 1/25 - $3500. Same amounts in June of each year. Renewal contract $3250 semiannually as per verbal contract between Mr. Delcamp and Mr. Neuer that we would pay $3250 per year. Included in $3250 is payment for 100 concerts with Knabe piano. First recording listed Feb. 24, 1916, last March 17, 1926. RAY PERKINS - (Known as) "Judge Jr." - 6/2/26 for 1 year, 1 popular selection per month, 3 percent of retail selling price. It is understood that in the event the artist ceases to be known as "Judge Jr:' this will automatically cancel this contract. RAY PERKINS - 11/23/27 - 1 year, 6 records - 3 percent of retail selling price payable Jan. and July. Contract renewed 12/13/28 1 year - 6 records - 10 percent of wholesale selling price. - Feb. 17, 1919 first contract, 3 records per year, $10,000 per year in advance to apply towards all royalties. 50 cents per roll royalty. Royalty report to be furnished each year. This artist will discuss with the Company the question of a new contract 6 months prior to expiration of the contract. Last renewal 1/1/34 - 5 years. LEE S. ROBERTS - Oct. 1, 1926 - 1 year, a minimum of 12 records per year, $100 per recording as advanced royalty. This arrangement applies on recordings made after 10/1/26. RICHARD RODGERS - 4/10/26 - 3 years. A minimum of 8 popular selections. A royalty of 3 percent of retail selling price. 8 records made, all issued. <" MORIZ ROSENTHAL - 1/6/24 to 1/16/27, new contract to 1/16/30. $6000 annually on the 15th day of January each year or within 2 weeks after artist has recorded. And in addition thereto for a period of 10 years after this contract a royalty of 10 percent of wholesale selling price of each recording sold by Co 37 records made, 11 listed as issued. Endorses Knabe piano GEORG SZELL - 1/1/30 - 1 year as many records as required, 10 percent of wholesale. All royalties are to be mailed to Mr. Szell, c/o Deutsches Theatre, Prague, Czechoslovakia - no recordings listed. MARGUERITE VOLAVY - 4/1/26,1 year, 24 records per year. $100 per week and $30 per record to be paid by Recording Dept. Renewed 10/23/28, as many records as reqUired, $50 per record and in addition a royalty of 10 percent of wholesale selling price. Records to play 20 minutes will be paid for at a special price ($150 per roll and royalty). Last recording December 16, 1929, "Waves of the Danube" (Ivanovici) issued October, 1930. MMME. BWOMFIELD-ZEISLER - 2/24/20, optional, 10 percent net of wholesale price of roll, payable January and July 10th. Recorded 9 selections with understanding that 5 are to be used and the balance destroyed. (Recorded 8 February 20, 1920 - several replayed in 1921 and 1924) 5 rolls issued. Endorses Knabe piano. ELEANOR ULJEE - 1269 Bronx River Dr., Bronx, N.Y. 1 record made 6/20/30, "Down the River of Golden Dreams", issued September 1930. 10 percent of wholesale selling price. Total royalties paid to January 30, 1931, $28.88.

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The Makers of the Crown Piano know that one bad tuner will injure scores of good pianos, hence, for many years, George P. Bent, manufacturer of the Crown Piano, has recommended The Niles Bryant School of Piano Tuning, Battle Creek, Michigan, whose graduates are recognized everywhere as thoroughly skilled in the pleasant and profitable art of tuning and repairing pianos. Write for catalog.

*************************************************************************** FOOD INSPECTION RESULTS - From New York Times - Contributed by Randolph Herr The New York City Department of Health last week One of the establishments is AMICA PIZZA, 2406 34th released a list of 34 food establishments cited for violating Ave., Queens. Previous inspections report not available, no the he~lth code. soap or paper towel in employees' bathroom, dirt and grease In addition, it listed five restaurants that were allowed to on basement floor, holes in ceiling, mouse droppings, no valid reopen after correcting earlier violations and two that were permit, roaches, ice-cream scoop stored improperly, inadequate closed for haVing failed to do so. extermination,. -205- ~~;., T;;hnical~ /" SOME THOUGHTS ON PIANO SOUNDBOARDS AND REPAIR By Tim Wheat INTRODUCTION (This article originally was to report on a locally-made soundboard repairing plane I had found very useful. After some thought, it made sense to include some background material on soundboards, which subsequently dwarfed the original subject of the soundboard too. While most readers of this article may never do their own soundboard repair, it may help them understand what their rebuilder must do to "fix the cracks.") (l drew on the experience and observation of three local piano men in Minnesota during the restoration of several pianos: David Kemmer (a former student ofpiano designer and historian William Braide-White), Dick Sorenson (developer ofthe aforementioned plane), and the late Ampico aficionado, Gene Skarda. I thank them all for their help. - T.W) Despite the wonderful properties of wood, environmental sion with its ribs so that the top surface assumes a slice of a conditions can wreak havoc to a soundboard. Expansion and con- very large sphere, with the highest portion near the geographical traction of the wood, due to changes in relative humidity, can center of the soundboard. ~tress the soundboard t?, the point of fracture, resultin~ in the Failures, when they occur, can be loose bridges (Fig. 2b _ cracke~ soundboards we see frequently here In the page 209), but more typically a crack in the soundboard sheet, upper-mIdwest. running with the grain. Acoustically, problems begin to happen Obviously, prevention is the best approach, by always con- when the sheet begins pulling away from the ribs below, along trolling humidity in extreme climates and keeping your prize piano the crack (Fig. 2a - page 209). This is what causes the "buzz" away from radiators and air registers. But we must deal with the experienced with cracks at some notes. sins of our pianos'. previous owners who often treated their REPAIRING A SOUNDBOARD: PREPARATION reproducing piano like any other piece of furniture. Assuming a repair takes place as part of a larger restoration To a reproducing or player piano owner whose piano is com­ of the piano, including refinishing, the action, strings, plate, ing apart for restoration anyway, it doesn't make sense to live with (pinblock) and player mechanism will have been removed. Wipe .1'" the problem. The soundboard can be repaired or replaced - both down and vacuum as much as possible. "Fantastic" or similar thriving businesses in places like Minnesota. spray cleaners are OK to use, but don't saturate the soundboard. TO REPAIR OR REPLACE? It is useful to leave the old finish on the soundboard (if it has In my opinion, very few soundboards from the player age re­ any) until all repairs have been made. This will keep glues and quire total replacement. This process should be confined to ex­ contaminants off the rest of the wood until refinishing of the tremely valuable pianos that have had severe soundboard damage soundboard is started. (housefires, floods, etc.), and done by a specialist who has the If refinishing of the piano case is to be done, it may be helpful experience and equipment. The process is expensive, but pro­ to also mask the soundboard and strip the inside of the rim. This perly done, the results look (and hopefully, sound) like new. can be done with a good chemical stripper and cleaned up with Most reproducing pianos I have come across with damaged paint thinner (NEVER USE WATER). This will eventually help soundboards can be repaired adequately with no discernable keep your case refinisher's chemical stripper away from your freshly refinished soundboard. degradation in sound quality, and properly done, little evidence ... that a soundboard repair had even taken place. Which leads me Gently dry any dampness left over from cleaning by cover­ to the point of this article... ing the piano with a clean moving pad or blankets and heating it from below with lightbulbs or a radiant heater. An inexpensive A LITTLE BACKGROUND light dimmer works well to regulate the amount of heat. (CAU­ Typically made of Spruce, Cedar, or Cypress, the soundboard TION: NEVER use any sort of combustive heater for forms the diaphram for the transmission of energy from the this!) vibrating strings to the air. The use of these woods insures a light, Lay a few thermometers on the top of the soundboard and low density material with sufficient rigid strength to efficiently per­ adjust the heat to achieve no more than 100 to 110 degrees F. form this function. Woods of this type have been in use for piano Any more than this can damage the existing hide glue joints. The soundboards throughout the development of the instrument. goal here is to lower the relative humidity to the point where the It usually tapers slightly in thickness from the right-front tre­ existing cracks will expand, but not so dry new ones would ap­ ble corner to the left rear tail of the piano. On top, the curved pear. This may take several days, but usually two is sufficient. bridge, usually of maple, is glued, containing the bridge-pins con­ I personally "keep the heat on" in between work sessions. necting to the strings. On the bottom, spruce ribs are glued at /" regular intervals at an angle to the grain of the soundboard, with GillES the whole assembly being glued to the inside rim of the piano In this series, various glues are mentioned. Each has its par- . (Fig. 1 - page 208). The soundboard is not flat, but should con­ ticular characteristics and advantages. (A list of sources is pro­ tain a "crown" at its center. It should have been glued-up in ten- vided at the end of the article): Soundboard Repair Part 1 continued - Tightbond (Yellow carpenters glue, or aliphatic resin). Com­ 2a - page 209). It is very important to mark these ribs each with monly available, far superior to "white glue", fast setup, bonds well a small piece of masking tape to remind you later during gluing. to old hide glue. ("Tightbond" is really a trade name for the Franklin In preparation for the next step, cut up a number of hard­ Co. version of this glue. Others appear to work equally well.) ~- wood strips approximately 1/4" x 1/2" x 2". Drill a hole that will ~ Hide Glue. The original glue used in the piano. Made in allow a No. 4 or No. 6 roundhead screw to freely pass. These crystalline form for hot glue pots, or with additives to make the will become the clamp splints to force the soundboard sheet down cold liquid hide glue, discussed here. This "old-fashioned" glue still onto the rib in the next step. Make enough to do every place a has many applications. (It has a limited shelf life: Dick Sorenson crack passes over a rib. recommends shaking the bottle of liquid glue - if it sloshes in Temporarily flip the piano on its side (with a gutted piano, the container, it has gone bad. Good liquid hide glue is quite this can be accomplished relatively easily). From the topside of viscous.) the soundboard, drill small pilot holes for No. 4 or No. 6 Epoxy. Made in several varieties, the grades with longer cur- woodscrews through the crack into each rib on the other side. ing times seem to be more tenacious in their sticking power and One crack at a time, using cardstock strips and a syringe, strength. Epoxy also hardens completely through, and is useful begin working Tightbond (Alternate: Epoxy) into any visible for filling gaps - something that Tightbond does not do well. separation between soundboard sheet and ribs. (Note: Gene Skar­ (Dick Sorenson routinely uses different types of epoxy instead da recommended injecting full-str~ngth non-soapy, household am­ of Tightbond. For most of the operations listed later, he recom­ monia in the separated ribs in locations glue could not reach. This mends a 60 percent resin to 40 percent hardener ratio of H.B. apparently would cause the hide glue to reamalgamate. I've done Fuller 7004. This gives a hard epoxy with a 45 minute pot life <­ this only once some years ago, and the job is still holding, but and 12 hour curing time.) I prefer Tightbond despite the extra effort.) BRIDGE INSPECTION AND REPAIR When you have glued all the loose ribs along one crack, Having cleaned the dirt off, carefully inspect the board for quickly begin installing the screws and splints from the topside any damage. Loose bridges can easily be seen by them pulling of the soundboard (Fig. 3 - page 209). This will begin pulling' away from the surface, particularly at the ends (Fig. 2b - page the soundboard sheet down against the ribs. Once done, carefully 209). Treble bridges should be glued and clamped down from wipe the excess glue squeezed out from the cracks with a damp underneath with temporary screws and washers from below. Plug cloth, rinsing frequently. Repeat the glUing/clamping process for the remaining holes with dowels when the screws are removed. other cracks. Upright the piano, turn on the heat, cover, and let Glue them with ''Tightbond" (so-called yellow "carpenters glue". sit ovemight, being sure to check the temperature. (Hint: with your Alternate: Epoxy), while the piano is on its side. Work the glue fingers, smear a small amount of stick furniture lubricant on the into the crack with a piece of cardstock and syringe. screw threads. This will keep the screws from seizing and eliminate breakage.) . Bass bridges are often a separate assembly. When they are ./ loose, they should be carefully removed and reglued in their When resuming work, remove the splints and screws. The entirety. Soundboard sheet should remain flat against the ribs, if not, try gluing again until it does. This is essential. While on the subject of bridges, the bridge pins (and in some cases, bridge caps) should be inspected. Loose bridge pins are As mentioned before, the soundboard has a "crown", that is, detectable by exerting a sideways force with a screwdriver and a spherical shape. To preserve the crown, it is best to custom cut looking for movement (Fig. 2c - page 209). It is particularly im­ wooden wedges between the soundboard ribs and any beaming portant for the pins to be tight in the top three octaves - any in the piano. This helps prevent the soundboard from dropping looseness there will cause the treble to suffer, causing a "dead" during the following steps. Tightly wedge them in at as many sound and/or an extremely short ring time after a note has been points as possible (Fig. 4, a two piece design is shown). struck. If movement is noted, the pins must be extracted, over­ SHIMMING size ones fabricated, or same size pins reinstalled with epoxy. This is a job for a specialist (and there is no better time to remedy There are two styles of shims available: "vee" shims and the problem, while the piano is apart.) "parallel" shims (Fig. 5 - page 209). Vee shims are pie-shaped in cross-section, and are commonly sold through piano supply The bridge cap is a top layer of wood that the strings rest houses. They are installed using a "shimming chisel" which is on as they pass over the bridge (Fig. 1 - page 208). In some dragged through the cracks, forming a similarly vee-shaped groove pianos (particularly Knabes), they are especially prone to crack­ in which the vee shim is glued. (Some rebuilders hammer into ing and delaminating from the rest of the bridge, below. This is the crack with the chisel, crushing the wood into a vee groove. usually accompanied by loose bridge pins, as well, and must be There is evidence this approach may harm the wood either side repaired. Once again, a job for a specialist. of the groove, allowing a new parallel crack to eventually appear.) If you are lucky, the bridges will be in good shape, and you Once the cracks are widened (down to the ribs underneath, will have only to deal with the soundboard cracks themselves. if necessary) a length of vee shim stock is wiped with glue and SOUNDBOARD RIBS pounded into the crack until it stops. Typically, a wood block and hammer are used for this to spread out the force of impact. (Cold As mentioned above, the cracks should have visibly expanded hide glue or epoxy is preferred here, Tightbond will work, but it from a few nights of heat. The damage must be carefully assess­ may leave stains when the soundboard is refinished.) When all ed and a course of action planned. shims are installed, turn on the heat, cover, and let sit until you With the piano on its legs, and a light shining from below, are sure the glue has set up (usually overnight). Continue to / note from above the location of the cracks by counting the monitor the temperature. shadow~ of the ribs. Many times, the crack length observed above The protruding remains of the tops of the shims are careful­ is more obvious than below. The goal is to mark and inspect all ly planed and sanded with the rest of the soundboard, during ribs that cross a crack for separation from the soundboard (Fig. refinishing. Soundboard Repair Part 1 continued - Parallel shims are obviously shims with parallel sides. They remove the wood containing the crack in successive cuts, resulting may be any width to cover the afflicted area, but usually 1/4 inch in a slot. This is usually cut down to the ribs below, and the shim wide is enough. It is a simple matter to make this shim stock from (a snug fit) and adjacent soundboard is lightly glued ancl'the shim spruce soundboard wood, roughing it with a table saw, surface­ (gently) pounded down to the ribs. Again, the excess is planed ./'" planing it, and finish dimensioning it to high tolerances with a off the top later, during refinishing. router under a moulding table. A well-stocked rebuilder probably Traditionally for parallel shims, the crack was carefully routed has some, or can make a batch for you. out, and the part not reachable (usually up against a bridge or I prefer parallel shims for three reasons: 1.) they are more case rim) by the router was carefully chiseled. This always sound­ permanent, actually replacing a section of damaged soundboard ed like a lot of scary work to me, particularly the part about careful­ down to the ribs, 2.) they are as easy or easier to install, given ly guiding the high speed router without slipping. the right tools, and 3.) they look better as a finished product. While vee shims follow the crack along the soundboard (not (The second installment in the next issue will cover the Soren­ a straight line), parallel shims are installed straight, or nearly son Soundboard Plane and soundboard refinishing.) straight. Tacking a guide adjacent to the crack, a tool is used to

BRIDGE PINS

/'

SOUNDBOARD

~ FIG. 1 SOUNDBOARD COMPONANTS

,..

-208- A. SOUNDBOARD PULUNGr AT CRACK ZZZZPZZZZ RIB

C. LOOSE BRIDGEPINS

FIG. 2: SOUNDBOARD PROBLEMS

SOUNDBOAAD V//77/?2V/VZI/7Z!TJ2TIZz//j RIB ~ BEAM .. FIG. 4: ADJUSTABLE WEDGE

VEE PARALLEL W@_~~ ~,~ RIB FIG. 5: SHIM TYPES SOME DUO-ART QUESTIONS CONSIDERED By Craig Brougher

The Duo-Art is an unusual reproducer in that it's method of their sprung mass, must physically overcorrect or overshoot ,.­ mechanical interpretation is to divide the musical score for somewhat, but have been made very light in weight relative to separate recognition by the piano, rather than to divide the piano their size so they will not overshoot badly. While their movement' in half and attempt to accurately reproduce the wide range of compared to the equivalent accordion travel does not adjust the nuances occurring in each half of the instrument Simultaneously leaf even half as much as the accordions do, it is still a con­ through the same main valve. Instead, it separates the music in­ siderable amount-relative to the lowest intensities-and is such to two parts-theme and accompaniment. This fact accounts for a difficult device to predict that it is impossible that Duo-Art or one of the longest standing technical questions about the Duo­ anyone ever tried to account for them on a sliding scale. During Art and will be discussed. the entire history of the company, it is claimed that musical editors The "theme" part of the music is a misnomer because as it were used as critics to grade the performance and notate the score turns out, this side of the instrument also plays the ornamenta­ for further subjective correction. No measuring device or machine tion which is much of the time considered the accompaniment. was ever used to get the rolls to that first stage, as in the case Perhaps Duo-Art should have labeled the two sides of their ex­ of the American Piano Co Today, roll arrangers like Doug Hender­ pression system "Always" and "Momentarily". son must still code the old fashioned way and critically judge their work on the basis of how it sounds on a good Duo-Art. He uses The system can be better understood by rebuilders if they the same method Duo-Art editors always used. Good musical think of the Duo-Art as a Recordo with "accent". In other words, sense. the stack if not split in two musically (although it is split physically) until an accent is called for. The entire stack (bass and treble) One common problem with some rebuilds however which uses simply the "accompaniment" expressions for its main can be corrected without changing the design or concept is the dynamics of the theme and its accompaniment until accented "stretchiness" or "cushiness" of the bottom covers on the regulator notes are called for. Then that supplemental intensity is given to bellows. Since the original cloth was very tight and didn't draw the "theme" (momentary) side of the box which sets up the ac­ in much with high vacuum, we should also get the idea that thin cordions. Still, nothing happens until that intensity is called for pumping bellows cloth for this purpose probably doesn't have by the theme perfs which through their precision valves instantly enough support. The overall effect being that of delay and lost open whichever cutout pouch is needed (or both together) and motion, as though one had "play" in the linkage controlling the the theme overrides' the accompaniment to become the accent leaf valve. and embellish the dynamics. Another problem created by these covers is that during a The only limiting factor to this trade-off between expressions crash, the thin cover gets vacuumed in deeply enough to bear is that maximum pressures can only be developed by the theme down on the theme windway which interferes with the regulator's side of the box, but up to this point, to call one side theme and motion. The complaint that Duo-Arts seem to "Crash" too often /"" the other accompaniment may be convenient but is not is directly attributable to this. When the cover cloth touches the excruciatingly correct. windway block before the pallet is touched by the crash valve arm, the Duo-Art goes bananas. DYNAMICS ON A DUO-ART One way to solve this is by backing up the cloth with rigid ARE Nor COMPLETELY DISCRETE STEPS heavy filecard paper. It does not add undue mass, and will not Editors must have understood the response timing of the stretch over time as does the available pump cloth today. Duo-Art piano because they designed their rolls to take advan­ WHY THE LARGE PIANOS RETAINED CROSS VALVES tage of not only the limited speed of actuation but also the return of the accordions and expression valves. It is not necessary for The very late teens or first of the 20's concluded Aeolian's Duo-Arts to be as fast as their Ampico cousins because the music decision to tie up their first large contractural promise with Stein­ can be divided up for the most expeditious use of the theme ac­ way for the "0" and "pt scale instruments. By promising to buy cordions which can effectually "preset", and wait on the theme so many and advancing part of the money, they got a good dis- perfs to actuate. ~ count and a promise to have them when they wanted them. Aeolian then decided to keep their assembliers busy and put up The accompaniment side seems often to use the accordion thousands of stacks for the hopeful shipments of the largest timing characteristic which invariably shades many of the notes pianos contracted for. After all, player stacks take up much less played between its settings as well. Ideals notwithstanding, the space than pianos do These pianos were not to be shipped until accompaniment usage on a busy roll is still to a practical degree Aeolian called for them, and of course those shipments depend­ partly incremental and partly analog (proportional) because it is ed on orders for the large pianos. not fast enough to increment perfectly discrete steps of musical intensity for busy rolls without playing some notes between those It was discovered however that the huge contract was a lit- steps. tle premature as orders came in mainly for the smaller grands but very slowly for big "0" and ''A" Steinways. Aeolian had to This is not a serious limitation if it is scaled for by the ar­ complete orders on some of the large instruments if for no other ranger and editor. This was probably done by listening, trying cer­ reason than to provide a complete line of instruments in larger tain combinations, then knowing the problem, making very precise showrooms. The rest of the completed stacks were only slowly measurements of the roll cuts which seemed to best represent used up throughout the heyday of the industry while steady orders the transition or chord. Once found, the combination would for "X" and "M" model Steinway grands allowed the stream of become "procedure': So while the DuoArt has incremental steps improvements made to be utilized only in them. It is unusual to ."" to build expression intensities, not all of those intensities can be see an American product evolve so little in a large corporation totally incremental, unless the coding is simplified and certain as did the mechanism of the Duo-Art. The reason might be in shadings ignored. part because of the investment in laid up stacks dedicated to the Both theme and accompaniment sides are shaded somewhat flagship of their player line, and the huge sum Aeolian had given by the so-called "regulator" bellows. These large bellows, due to Steinway to secure them. -210- Some Duo-Art Questions Considered continued -

When the stacks for these large pianos were built, the cross on new leather. valve was placed in all of the stacks. These valves were later phas­ All that is necessary to dissipate the mystique is to ask ed out but could not be cost effectively removed from the already oneself: If a long perimeter hole was the criteria for a superior assembled components. While the cross valve was suitable for valve plate, why didn't Ampico and Dr. Hickman also design one? pedal operators, it was less suitable for situations in which large After all, a basic principle like that after 20 years in the business pressure variations were experienced. The reason was that the is understood by all as either a good or a bad thing and very sim­ leaJher took an impression of the Xand without anything to pre­ ple to do, particularly in bakelite valve seats which would also vent the valve from turning crosswise, it would vary in its ability have been more dimensionally stable than stamped brass and to seal that hole at very low intensities once it had rotated. aluminum and lent itself to more esoteric shapes as well. These facts are corroborated by several AMICA members, THE PNEUMATIC, Nor THE VALVE, one of which was acquainted with the original Aeolian Duo-Art MADE THE STACK SUPERIOR employees personally and has talked with them at length over several years' time. It has been said that a cross valve stack will still outperform the later models. In some cases this is definitely so It will be seen, WHY THE CROSS VALVE WAS PHASED OUT however, the reason for this is not the valve plate shape but the The proof that even Aeolian was aware of the problem has stack itself. been seen by one experienced rebuilder by finding intermediate It is easy to see that removing'all the cross valve plates, scrap­ factory valve stems which were pinched on top and had a cor­ ing out the shellac fillets, replacing with round valve replacements, responding rectangular stem guide hole to attempt to prevent rota­ and resealing them is a lot of extra time and work, and unless tion. The only reason Aeolian attempted to prevent rotation of a rebuilder has a sensitivity for valve work, may not rebuild the the valve would be if the valve was giving them trouble even when valve equal to or better than the original uncertainty of cross new. This may not have been cost effective, but whatever the valves. It may also be so that both laziness and insecurity has reason, Aeolian dropped all attempts to improve it and went to caused the cross valve in a few cases to be lionized as the ultimate a round hole. As Richard Geddes has summed it up, "The valve when bench tests, Aeolian employees, and factory evidence . designers had more experience than you have." show diametrically the reverse. With more comparison performances, critics gathering The interesting thing about cross valve stacks is not the valve momentum, and Ampico hard on their heels, to compromise shape, but the pneumatic itself. The early stack which used the piano performance at this point in the market would be SUicide. front facing pneumatics is usually the one touted as the finest The factory had tons of cross valve crow to eat, and if such a ever built by some rebuilders. This stack uses the tin-plated brass hole configuration was the magic touch but too large for smaller valve plates, but more importantly, it used very large pneumatics stacks, smaller cross valves would have been stamped to help throughout, the largest being in the bass. These were graduated condense the stack but "retain the magic:' in four different length sections with small bronze hinge springs --../' For some reason, Aeolian ceased using the cross valve design in the treble section to help them return easier and prevent rapid at the apex of the instrument's popularity and development. At trills from floating an unweighted treble key and possibly miss· the very time more research was taking place at Aeolian to keep ing some of those notes. pace, the cross valve was completely removed out of expression It is a characteristic of all valve and pneumatic systems that air. They did not even attempt to perfect it or improve it. Cer­ the larger the pneumatic, the slower the closure (for a given valve). tainly there has, to date, been no honest study which proves cross It is also a characteristic of valves that they have an optimum valve superiority. The fact that its circumference is greater actually travel or gap for a given pouch and valve seat. It would not be increases its reseating time by magnifying air turbulence and good practice, especially in the DuoArt, to gap valves wider in misdirecting the air flow restoring forces unpredictably. the bass to compensate for larger pneumatics because valve It is common knowledge the reseating time of a valve is many losses are closely compensated for by the roll and pressure losses times its actuation time, so one must conclude that it is the return increase exponentially with a very small increase in travel. speed ofthe valve which is the limiting factor, not actuation speed. Why then did the larger pneumatics seem to make a better Actuation time for either valve is still so much faster than the stack? The reason the pneumatics were scaled to begin with was pneumatic sensing it that the difference (actually less than 5 per­ claimed to be because lower notes are louder at very low inten· cent) between valves is irrelevant and cannot be felt by the system. sities than are high notes. This was discovered by Aeolian when On the other hand, return times of round valves are measurably a note was played with the same weight on the lower key as on and noticeably quicker. The round valve does not require as much the higher key in the scale. So the engineers compensated by mak­ valve travel to transfer the same amount of air as the cross valve, ing the lower pneumatics larger. This was wise, because the larger so travel losses are also less. pneumatic requires very slightly longer to close at any given This has been also shown by experiment in which a cross pressure through a given restriction (valve gap). This gave these valve plate and a round valve plate was used on opposite sides pianos a little more lattitude of expression at the lowest inten­ of a valve poppet so the travel would be exactly the same. Both sities but didn't affect the loud notes noticeably. The increased the noise of the valve and its efficiency to move air at many dif­ control of the larger stack pneumatics then are responsible for ferent pressures could then be accurately determined. What was the slight difference in the way they can handle the difficult soft experimentally proved was that the cross valve probably was not passages. inspired by a glowing supernatural vision in the sky. While the same effect can be had by more precisely regulating But mainly, it seems to me that when I am pressed about each pneumatic on a later piano, it must be said that truly the ~~ it, the cross valve loses out (very slightly) to round valves on two early stacks were excellent, cross valves notwithstanding. points. Cross valves don't seem as even and predictable from valve I can attest to the fact that when these valve plates are replac­ to valve as round valves are, and they will absolutely take im­ ed with round holes they are every bit as responsive and delicate, pressions and leak. They not only do so on old leather, but also but perhaps a bit louder on the high end. Round valve plates,

- 211- Some Duo-Art Questions Considered continued - while not diminishing from a soft performance tend to increase piano would then actually play better at the low intensity. While the dynamic spectrum without as much valve travel loss as one a hole might help a stack at zero intensity, it would also be pro- would have with cross valves. Because round holes dump more gressively detrimental at higher intensities. r--- air for a given gap and because they have a more direct air path THE DIFFERENCE BETWEEN as well, they can be set slightly leaner and as a result, repeat more VALVE SEEPAGE AND A HOLE qUickly and reliably at very low intensities. This has been shown eXperimentally already, and if anyone was so disposed, a log scale A hole doesn't act like valve seepage does. A hole provides calculator would predict the same thing. Apparently it was similar a constant vent which becomes more detrimental as the pressure measurements which led Aeolian to opt for round hole valves increases. Any rebuilder should know that the higher the pressure altogether. With the round hole, pneumatics could be made in a system, the more dwindled its performance becomes with smaller and the same size without much difference in perfor­ even very small leaks. Valve seepage on the other hand decreases mance, particularly in the smaller grands, as will be explained next. with pressure as the tension rises and the valves seal progressively tighter. This applies to new leather, only. MUSICAL DIVISION In a few lucky cross valve Duo-Arts, the extra leakage of a DETERMINED THE PNEUMATIC GRADIENT cross valve in very low pressure when its impression has been It may have not occurred to you yet, but the reason Ampico rotated slightly off center with its valve hole sometimes creates and other players didn't need the graduated pneumatics was this very effect, only more. Since it's zero intensity must be rais­ because their system was divided into bass and treble, not ac­ ed to compensate for turned valves under very low pressure, those companiment and theme. same valves under high pressure get tight again and seem to give The reason Duo-Art was obliged to build stacks with the instrument more lattitude of expression than a normal instru­ graduated pneumatics was because the accompaniment was ment has. It is an illusion gained by "over-expression:' This pro­ designed to play the entire piano without any division. If the bass blem tends to create wider dynamic differences between steps section were operated with similar sized pneumatics as the tre­ oand No. 4. From No. 5 or No. 6 upward the pressure also in­ ble it was felt the piano would be slightly too loud in the bass. creases too qUickly between steps but not as noticeably until it This effect was discovered to be immaterial in baby grands, so reaches about No. 10. After that performance flattens a bit and later stacks used equally sized pneumatics. the overall effect is a loss of original sparkle because the box is topping out too soon, based on the greater zero intensity setting. Again, the same performance can be achieved with careful Some like this effect, but I personally do not. In some cases, it note by note regulation by the rebuilder, starting with the damper is seen upon inspection of these instruments that their spill valve levers and working his way down to the pneumatic closure itself. bumps the top of the box and will not allow the accordions to A note by note restoration and a precision concert regulation will fully collapse for a proper crash. This spill misadjustment is also accomplish the same thing that the graduated pneumatics did, a method used by some to make up for leaky cross valves."-' and frankly, will catch eccentricities that such factory generaliza­ tions could not. WHY ONE SIDE OF THE STACK PLAYS LDUDER STACK LEAKAGE ALL-IMPORTANT IN A DUO-ART Another very prevalent problem with overtight Duo-Art stacks is that one side of the stack will invariably play louder than the To most minds, leakage is bad, particularly through valve other, and there is nothing that can be done for it. This is because seats. The tighter the stack, the better it should work. Right? the theme valves themselves have a certain amount of ciphering Wrong! Since the Duo-Art is Nor designed to compensate either just like the stack valves should have. If the stack is practically for valve travel losses or seat leakage, it was designed to anticipate airtight, the normal and expected theme valve seepage will add what was considered to be an ideal amount of ciphering. Old valve a percentage more pressure to the stack on one end than the other leather which appears to be tight and hard like new will test because of individual indeterminate differences in their sealing to be twice as leaky as the equivalent in fresh leather faces. This surfaces. There is almost always slight differences anyway bet­ kind of rebUilding never allows a Duo-Art its full spectrum of ween sections of the stack due to the theme valve leakage into dynamics because it cannot compensate for either more or less ... a normal stack. If the stack valves were of normal tightness, the than the optimum design leakage. Let's explain further. vacuum couldn't build up between the theme valves and each half Without enough leakage, the stack actually builds up pressure of the stack, so there would be no noticeable differences. If an greater than the amount programmed in by the expression. Here "improvement" were to be made to the expression system, it is what happens. If the stack has no leakage at all and is sup­ should begin with the theme valves inside the expression box plied through a restriction equivalent to a number one intensity, itself. These valves would have to be designed as a more preci­ it will quickly build up to the full pressure of the spill anyway. The sion cutout valve with tighter sealing characteristics. Getting in­ restriction graduation is dependent on the understanding that the to details like this ignores the roll and the characteristics of the stack has a small percent of leakage which will keep it steady, original piano which had been so carefully compensated for. once the zero intensity is adjusted to compensate. Without this To sum up the many points, the Duo-Art cannot compen­ variable to worry about, it would be less necessary to even re­ sate either for excessive leakage or for excessive tightness. Drill- quire a zero intensity adjustment. The fact that leakage must be ing holes does not fix valves which seal too tightly, and any initially compensated for is a primary reason for the adjustment changes of the ideal stack design leakage characteristics of its at all. valves will affect the expression detrimentally. Valve seepage is Suppose our valves are airtight. We notice an odd normal and planned for in the Duo-Art. Old leather, no matter characteristic that on the test roll, if the Duo-Art switch is turned how new looking, can be shown (with the help of a special bub-,y""'­ on for the note test, the first bass note plays loud! After that it ble jar) to have on the average twice as much leakage as equivalent plays normally. Slow it down however, and it plays louder and new leather, but this leakage becomes constant at high intensities louder. That is not a good characteristic. As one rebuilder quip­ instead of decreasing like new leather does. Cross valves can ac­ ped, "drill a hole in the expression box". Do you know, he's tually seem to "improve" expression, when actually they cause technically right if the stack played at only one pressure. That it to flatten and shorten the dynamic range higher on the scale. Some Duo-Art Questions Considered continued -

One might look at it this way: The instrument has only so much I hope that technical articles in AMICA will represent dynamic range (decibels) to start with. Also the player itself has substance based on something other than just subjectively limits to its lowest and highest pressures. If it spends a larger bolstered adjectives with no other unprejudiced criteria to back percentage of its change in the low intensities, it has proportionally up the claim. The technical section is basically the objective in­ less to spend at the other end. So while it may spend only 2 or formation about mechanics substantiated by at least some 3 extra inches of pressure in the low range, that equates to the legitimate results. It is fun and educational to take the time to same percentage between steps at the high end, which may be get out the gauges, build jigs, fixtures, and testing methods to p~oportional, but amounts to a greater total loss of pressure more thoroughly research a subject before writing about it. I hear­ because the steps represent larger figures in terms of pressure. tily recommend an in-depth preparation before reaching for pen IN SUMMARY and ink. This way everyone profits from the quality research, par­ ticularly the one donating the work. Few things are as they appear on the surface. Likewise the Duo-Art. These anomalies have provoked many questions and I want to add my work to the fund of knowledge which articles on the Duo-Art for years. They have all been a part of AMICA has collected over the last two decades in order to help the total picture to get a better "handle" or feel for the system preserve from a mechanical standpoint, these fine old instruments. and the different ways in which it can be viewed. What I have A part of this love for the inventive past sometimes involves look­ discussed here has come from actual measurement, experiment, ing at an emotional, opinionated issue straight in the eye and and testing of many Duo-Arts. It is not fueled by a "prejudicially­ bench testing it to see whether or not it is so. Unless we can get based and healthy imagination:' It is simply the results of actual a true understanding of the successes, the near successes, and measurement, whether they are appreciated or not. the failures, we can't have as accurate a grasp of the real pressures and conditions within these American companies. Refuse to see Nothing seems stronger to break than groundless opinion, just one thing, and the door begins to close on other facts that because the fewer facts one uses for substantiation, the more im­ could be pieced together like a puzzle. penetrable the opinion must become to support one's position. I don't believe in leading others down a road I haven't been down Iwould encourage those with the time and inclination, to build myself. This is why I have devised schemes to test and experi­ their own testing apparatus. Get out the gauges or clean off the' ment to determine what I know now to be so. It takes hours and drafting table and make serious measurements, calculations, and ~ay not pay for itself monetarily, but it does give me an edge diagrams to research the subject. This is the only honest way our fund of knowledge will improve. After the homework comes In understanding these pianos. When I'm wrong, you will hear about it from me too because I am often wrong and don't see the adjectives. The person who really profits the most from this any shame in that. The shame to me is maintaining it as an un­ honest effort will always be the one who submitted it. substantiated "opinion" against proof to the contrary. To be this way is to stagnate. / *******************************************************************

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AMICA BOSTON 1989 I HOW IT WAS MADE OFFICIAL SOUVENIR ROLL By Michael Potash ~ Medley Word Roll Most of you who tes.) We found only three wrong notes, pretty high accuracy. But. 1. Fight Fiercely, Harvard! attended the 1989 In­ most importantly, the roll arrangement was musically exciting and fun to listen to. 2. Take Me Back to Tech! ternational AMICA 3. The M.T.A. Convention last Next was almost as tough and just as important: getting Con­ August have returned vention committee approval and producing about 200 copies of Arranged for Player Piano by home by now and the finished with words and illustrations. Doug Hender­ L,DOUGLASHENDERSON(ARTCRAFD played your souvenir son's master roll achieves its musical excitement through rhythmic piano roll. Many peo­ subtleties, such goodies as fine grace notes, triplets, tempo changes, and chords and runs played in a natural manner. Also Produced by Michael Potash ple have asked me, "How was such a uni­ there are high-speed embellishments as only a good player piano Manufactured by Play-Rite. Inc. que and new roll can achieve. Doug accomplishes such effects with his punch and created?" Well, over an experienced eye. The Convention committee loved the tape two years ago I conceived the idea of combining three very dif­ and approved the roll. ferent patter songs into a Boston Medley Roll: 1) "Fight Fiercely, Luckily, most members of the Committee were sensitive to Harvard!': a 1950's spoof by Tom Lehrer, 2) "Take Me Back to the fact that the production copies would have to be physically Tech!", an old popular MIT song written in 1885, and 3) "The faithful to the master. (Otherwise, what they heard would not be M.T.A:: a folk song revived and popularized by the Kingston Trio what they'd get at the end of a production process.) They con­ in the 1960's. Many Boston AMICAns liked the idea, and so I sidered various major roll companies. John Malone (PLAYRITE, proceeded. Inc.) could and would guarantee our high quality requirements; Now all three songs rely heavily on their lyrics. The trick was hence the committee's choice for PLAYRITE to be the to make the songs instrumentally exciting on the piano. To me, manufacturer. . Doug Henderson (ARTCRAFT Rolls) was the obvious choice for A production test run was made of the rolls with words, no taking my concept and transforming it into a piano roll. He's been small task. Remember, these are patter songs with lots of syllables. creating unusual and beautiful music yia original piano rolls for But John and his associates enjoyed the roll so much they did over 35 years. His hand punched rolls (He uses an old cast iron the deed with excellence and a smile. The rolls turned out just Leabarjan perforator.) sound more pianistic than most "hand fine. For the illustrations, I prepared some selected drawings, took played" rolls. So I sent him my musical source material: sheet them to a Boston rubber stamp company (INKADINKADO), and music, lyrics, audiotapes, and records. As soon as Doug got go­ made up some huge rubber stamps. Doug hand-stamped each ing on the Boston Medley, there was no stopping us. He called of the 225 production rolls. My wife Mary, Ted Read, and I design- me often by phone to let me hear how the roll was progressing. ed the labels; boxing and labeling were the final production step. /" Each call brought a big grin to my face; it was coming along even In the spring of 1989 we released some advanced copies to better than I had envisioned. In only a couple of weeks the roll check audience response. Doug and I played them for friends, arrangement was complete. As planned, each song segues to the relatives, and strangers. Doug's wallpaper hanger loved it. Another next, and, like all good medleys, it ends with a reprise. Doug sent copy was presented to Dave Levin, and for many weeks he helped me an audiocassette of the piano roll master, which I carefully Convention publicity by playing it outdoors; yes, the AMICA proofed by ear and against the sheet music. (A few other people Boston 1989 Official Souvenir Roll made its public debut at were given the opportunity to proof and respond to the casset· Harvard Square. ******************************************************************* SOME CONVENTION HIGHLIGHTS AND DELIGHTS! By L. Douglas Henderson HALLET AND DAVIS ARTRld-ANGELUS GRAND PIANO The "Star" piano at the Boston Convention was without question Kirk Russell's stunning expression grand, a Simplex-action ARTRIO­ ANGELUS. Featuring subtle atpeggios similar to the B-Ampico BUT embellishing them with "theme" accents akin to the Duo-Art, the beautiful instrument had no peers in performance. The truly musical AMICA members hovered over Mr. Russell's Hallet and Davis for the entire Convention and were thrilled time and again by the magic of this jewel. It was obvious that many years of caring and knowledge were included in the restoration of the ARTRIO-ANGELUS by Mr. Russell and he can be lauded for rescuing an instrument that is now a source of pleasure to the ear as well as the eye. Those of us who LISTEN to instruments will never forget this amazing Simplex expres­ sion player. Words cannot really describe the delicacy of this instrument. GIANT FaroPLAYER IN WOBURN, We've all seen and heard a variety of these marvelous players before, but Joe LaVacchia accompanied an 88-Note roll on his instru­ ment, the performance of which still lingers in our collective memory. By using CLUSTERS of the pull-cords, he was able to graduate the percussion dynamics and selectively emphasize portions of each group. The effect was not unlike two people operating the mammoth instrument, especially with the expressive variations for the tympani. Ken Volk, the rebuilder, should get an additional round of applause for his meticulous work. ? "ORCHESTRAe E.M. SKINNER PLAYER ORGAN IN BOSlDN Nelson Barden's history and monologue about rescuing the E.M. Skinner organ was as colorful and precise as the instrument itself. With the opening notes of the "Dance of the Reed Flutes" from the "Nutcracker" whispering in the distance the chills of expectancy set the air alive with electricity. Why didn't millionaires "shop around" for the brand with convenient-size rolls and resonant voicing? Aeolian's elaborate roll leaders and papal decals seem trivial in light of what the Skinner opus could do. - 214- ATTENTION CHAPTERS!

AMICAn Keith Bigger brought it to my attention at the Boston Convention that Chapters should be making an effort to contact people in their areas who may have had any kind of contact in the past with our area of interest. I would hope that someone in the group who finds and welcomes these few people to a chapter meeting would be doing an intelligent form of interviewing and preserving for posterity all that these people have experienced and gleaned from their lives. Interviews may be recorded on tape or may be simply a list of questions that they may answer. However taping is best if you have your questions written down and ready. As you are all painfully aware, the potential for finding many new people decreases daily. One of my favorite sayings is, "When an old person dies, it's like a library burning down:' - Robin

N e~s £ro.... "the Chap"ters

NORTHERN LIGHTS CHAPTER Dorothy aids, Reporting

Sunday, July 29,1989 found a group of AMICAn's and MBSI members sharing the hospitality of Ruth and Warren Anderson, at their Lake Minnetonka home. The occasion was our annual summer picnic, which everyone always enjoys. No boat rides this year, thoughl! The water level was very low and Warren had his boat in "dry dock:'

~.

Ruth Anderson, Ruby Akneman, Tom aids, Quentin Stout

Ruth and Warren Anderson with dancing musical dolls. Warren spent a good part of the afternoon demonstrating many of the fine music boxes from their outstanding collection. (This writer has a very limited knowledge of music boxes, although my appreciation of them is great.) However, the Anderson's have added several items to their collection. Among them is a pair of waltzing dolls, dressed in blue and white colonial style clothing, with "powdered hair", bouffant skirt on the lady doll, knee pants on the man doll. The detail was magnificent. And when the mechanism is turned on the two swirl Joyce Kaufmann and Joann Stout admiring one of the Ander­ about, first fast and then more slowly, to two different tunes. Truly sons many music boxes. amazing to watch them dance. THANKS RUTH AND WARREN!!! We always have a grand Following an enjoyable picnic lunch of salad, ham and buns time at your home. and plenty of desserts, a brief business meeting was held. The chair of the nominating committee was appointed (volunteered). Our next meeting will be in October, at Tim Wheats, in .Other business was discussed and the meeting was adjourned Blaine, MN. The date has not been finalized at this time. Our and members again had the opportunity to observe another of December meeting is scheduled for the first weekend in December -.-',.' Warren's projects. He has built a lovely Doll House, complete with at Kathryn and Bob Dumas'. electric fighting, miniature, of course, even a log "burning" in a fire place. It's not completely furnished yet. But I'll bet it will have a player piano and a music box in it, someplace!!! (Would I love to have THAT house.) FOUNDING CHAPTER (Northern California) Reporter: Nadine Motto-Ros - June Meeting - The June Founding Chapter meeting was held at the home of Gary and Connie Sage. The Sages' home is nestled in a red­ wood forest in Pacific Grove. When Gary expanded the house for his piano development and restoration business, he included a large second floor for his restored instruments. The collection at the house includes a Wurlitzer nickelodeon with roll changer, a Steinway Metrostyle Thermodist converted by Gary to use both 65- and 88-note rolls with a sWitching tracker-bar, a completely restored Steinway grand which had been fire damaged, a Celeste, and a few select ukuleles and an accordion. Connie even has sing­ along books to share - a musical experience for everybody.

Gary Sage at Wurlitzer. Connie and her family and friends catered a wonderful din­ ner of quiche, salads, and desserts, with all the trimmings. To aid digestion, we had a sing-along with many of the guests playing the piano. Maybe next visit Gary will get out the accordion. Thanks to our Chapter President, Rob Thomas, for writing up this meeting; and special thanks and appreciation to Gary and Connie for a very entertaining meeting enjoyed by alL

- July Meeting - The July AMICA meeting was held at the San Jose home of Jack Gustafson and Richard Quigley on Sunday afternoon, July 16. About 25-30 people attended this event.

Gary Sage, Joanne Sage

Jack Gustafson at Kimball-Wurlitzer Pipe Organ. AMICAns were invited to see and hear Jack's 3 manual Kimball-Wurlitzer pipe organ. Jack has owned the instrument 33 Andrew Fielding performing at Sages. years, and it has been set up and working 9 years. It is 10 ranks In the early afternoon we were serenaded by Andrew Fielding, with reinforced electronic bass and has a 7'4" Geo Steck grand a fine local pianist who sings clever songs very well. You can hear wired into it. The Geo Steck also has a pianocorder unit. Future him in many Monterey hotels, and occasionally with Don Nee­ additions to the organ include a 16' post-horn. Jack also has a ly's Royal Society at the Fairmont Hotel in San Francisco. An­ 5'8" Wm. Knabe 1929 Model "B" Ampico. All instruments are drew has also played for many years at Disneyland. working nicely. Before dinner we went to Joanne (Gary's mother) Sage's A special treat was a concert by Jack, enjoyed in either the home in Monterey to see the instrument room that Gary and his large music room or the spacious, well-landscaped backyard with Dad constructed behind the family home (like the McCoys have patio and hot tub. In a corner of the yard, Jack has six chickens, done). His collection there includes a player reed organ, a Weber and they regularly lay-GREEN EGGS! Other organ buffs invited ~ Duo-Art upright, a Wurlitzer Orchestrion, and a Steinway grand. to try their hand at the console were Roy Powlan, Ray Camry, Gary and Joanne played for us, and Joanne is a professional and Martin Lilley. singer with a charm and musical sensibility that we will all Thanks to Bill Wherry for taking notes of this meeting. remember.

- 216- BOSTON AREA - JUNE MEETING ­ Reporter: Don Brown The Boston Chapter June meeting was held at Alan Pier's ~home, and was accompanied by lots of music, convention up­ dates, snacks, and good fellowship. The band organ in the barn out back played for the lawn chair set while the members inside Allan's home were kept busy with nickelodeon ragtime, player grand classics, and foot-pumper favorites. David Levin brought his upright pumper and set it up for a preview demonstration run of the convention "foot-pumper" contest. It played easily and with front boards off, was well heard over all conversations. Our new president Marv Horowitz conducted a short meeting and then became an auctioneer for a chapter roll auction to raise a little money for the treasury. Members donated interesting playable rolls and the bidding was lively. Dorothy Bromage stepped us thru all of the convention tasks, and checked the status of each with its Dorothy Bromage updates convention details, chairperson. Allan Jayne reported that the early registration date was soon to be an indication of the number of AMICAns atten­ ding the AMICA Boston Convention. There will be two more com­ mittee meetings before the convention to make adjustments for "" this number. There will also be a mid-summer chapter meeting on July 30th.

...... / David Levine and partner demonstrate pumper technique.

- JULY MEETING ­ Reporter: Don Brown'

Wurlitzer Band organ playing in the barn.

Steinway Duo-Art Grand, with large musical box demo, The summer meeting of the Boston Area Chapter was held on July 30th at the home of Ken and Sandy Goldman. This Marv Horowitz auctions a QRS favorite. meeting was the last meeting before the convention and featured a superb collection of instruments and automata. We gathered in the rear patio with snacks and punch while distance travelers -' arrived, and chatted about new restorations and any discoveries. Ken Goldman then let a tour of the collection: Inside the music room sliding doors was a Steinway Duo-Art Grand, which would

- 217- Boston Area Chapter continued - be played last. Next to the piano was a large cylinder musical box with bee bells, which played beautifully. Even more spec­ tacular was the next musical box on matching table. This was r a Gueissaz, Fils et Cie, Grand Orchestral Interchangeable Cylinder box, circa 1901. It was made for Prince Mirza Reza Kahn Afra, special envoy to the Shah of Persia. It has a cylinder cabinet below, containing both Persian religious music and European classic music. Inside were two drums, a cymbal and jeweled birds which revolve with music. There is a clock which can operate the box at selected time intervals. The case of the box matches the table and cylinder cabinet. We next saw a pair of slot machine-musical boxes, a 1915 Seeberg G Orchestrion, a Mills Dual Violano, and the largest instrument in the room, a 1910 Hupfeld Helios. This instrument was in factory-new condition and played perfectly. Next, in the corner was a 1920 Western Electric Race Track Nickelodeon that still whirls the race horses and plays lively music. Then we heard a Wurlitzer Harp and a Regina Changer Musical Box. In the center of all these instruments was a table contain­ Inside the Persian Cylinder Box. ing many automata_ These were all demonstrated and included a clown doing handstands on a ladder, a drunkard on a bench, an astronomer sighting the moon, a clown playing a banjo, an Arab smoking a water pipe, an animal trainer with a pig jumping thru a hoop, a reclining female doing exercises, a performing trio in an oval glass case, and a performing circus troop in a gilt stage-all playing music. The Duo-Art piano was demonstrated last, and a second tour go-round for late comers and close in­ spection of inner workings with question and answer session finished the show. We held a last-detail convention meeting on the patio with President Marv Horowitz presiding. There were enough volunteers for all the remaining tasks, and the table favors were to be boxed at a work party next week. Everyone at this meeting saw a truly spectacular collection and had a great time. ,r-

Demonstration of the Dual Violano.

Inside the large Musical Box.

The Hupfeld Helios.

./"""

Allen Pier, Marv Horowitz and Dorothy Bromage discuss last The Persian Interchangeable Cylinder Box. details for convention. - 218- Boston Area Chapter continued -

Close inspection of the Helios mechanisms. Ken Goldman shows his performing circus clown.

A table ful1 of automata.

Aluerican Felt Co.

NE"V YOIiZli:

Performing circus troop in a gilt stage. Piano and Organ Felts HARDWARE Tuners' and Repairers' Outfits TOOLS

Piallo Hammers a Specialty

sox...U AOUNT,S POElILMANN MUSIC WIRE

- 219- MEMORIAL BIO OF ISRAEL BALINE or IRVING BERLIN 1,,- Israel Baline was one of eight children of a Jewish He composed at the piano and could only play in cantor of a small New York synagogue who supervised the key of G-flat. His piano contained a mechanism that, in a kosher slaughter house. When Israel was eight, he with the help of a lever, permitted Berlin to change the sold newspapers in the Bowery, then became a street actual pitch up and down while still playing in his one musician and later a singing waiter. When the cafe and only G flat. (A piano similar to this model may be closed he would sit at an old piano, trying to connect viewed at Perkins School of Piano Tuning in Elyria, bits of melody crowding his head. It was the ragtime age Ohio). For forty years of his later life he remained sit­ of 1910. ting at his piano writing streams of melodies to the eager His name was changed to Irving Berlin, a prolific public. George Gershwin labeled him "America's Franz and successful composer of his time with more than Schubert:' 2,000 songs to his credit. Berlin's melodies were recorded on the old He had thought of taking music lessons when he was financially able but before this music study began phonograph system, piano rolls, and other various types he had become a celebrated composer. He never of mechanical instruments. pretended to know about the theory of harmony and On May 11, 1989 Mr. Berlin celebrated his 101 counterpoint turning his attention to only songs and birthday. leaving the orchestration to experts.

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AMICA ITEMS FOR SALE AMICA BULLETINS, BOUND ISSUES: 1971, 1972, 1973 bound Bulletins at $15 each. 1974, 1975, 1976, 1977, 1978,1979,1980 bound Bulletins at $18 each. 1981,1982,1983 bound Bulletins at $21 each. 1984, 1985, 1986 and 1987 bound Bulletins at $24 each. PRICES INCLUDE POSTAGE AND Victor Heinze, Concert Pianist HANDLING. Spiral bound to lie flat. Send order to Mary Lilien, 460 Olympiad Dr., Los Angles, CA 90043. GROSVENOR, LAPHAM & co" The Fine Arts Building, Chicago. AMICA TECHNICALITIES BOOKS: The A. B. CHASE "Baby Grand" recently Volume I ...... (1969-1971), $9.50 postpaid bought of you is a splendid instrument. I am Volume II ...... (1972-1974), $7.50 postpaid delighted with it in every way. It is now five Volume III ...... (1975-1977), $8.50 postpaid years that I have used these instruments not only in private instruction but for public con­ Volume IV ...... (1978-1980), $6.50 postpaid certs and for my own practice as well, and Volume V ...... (1981-1988), $20.00 postpaid invariably with the utmost satisfacllon. Reprints of interesting technical articles which have appeared in the AMICA News Bulletin, arranged and indexed into appropriate The Fine Arts Building. VICTOR HEiNZE. Chicago,Il1., June 8,1899. categories. Brian Meeder, 904A West Victoria Ave., Santa Barbara, CA 93101. • * • * • Roll Leaders: Duo-Art, AMPICO and Welte: Excellent replicas. July, 26, 1913. Gentlemen:- For order form, see mailing cover of Bulletin or write to Brian 1 can only repeat what I have said years Meeder, 904A West Victoria Ave., Santa Barbara, CA 93101. ago. The A. B. CHASE Piano is a beautiful instrument, of which every owner, and every AMICA STATIONERY: $3.50 (letter size), $3.20 (note size), musician, and you, may be proud. including mailing charges. Fine quality stationery with ornate Their Concert Grand surprised me. It AMICA borders. Each packet contains 25 letters and matching is a magnificent product of the art of Piano envelopes. Send orders to Tim Passinault, 105 Hemlock St., building. (Signed) VICTOR HEINZE, Munising, MI 49862. Berlin, Germany. AMICA STERLING SILVER PINS: $8.00 each, postpaid. New York Represenlative Very attractive on your lapel or dress. Send orders to Tim 6EO. H. HUBERT CORYORATlON, 21West 47th Street Passinault, 105 Hemlock St., Munising, MI 49862. Please make ALL CHECKS payable to I~.B. CH~oE CO AMlCA INTERNATIONAL ORWALK, O. \~'\

Contributed by Emmett M. Ford Collection -220- TECH TIPS!

NON-SLIPPING GIZMO By Randolph Herr Here is a photo of the gizmo I rigged up in my 1913 Stein­ way foot pumper, as well as a schematic. As you can (hopefully) see, a pneumatic is pulling on one end of a brass band that is wrapped on a cylinder rotating on the music roll spindle. The other end of that brass band is attached to a swing­ ing arm that moves in accordance with the "brass finger" that rides on the roll. The fatter the roll, the further back the brass finger gets pushed. This swings the arm back, pulling on the brass band and tightening it around the cylinder. The tight band generates enough friction to hold back the music roll chuck as the roll unspools and plays. As the diameter of the remaining paper on the playing roll gets smaller, the arm relaxes some of its pull on the brass band, and in this fashion the friction is gradually reduced to zero as the brass finger gets near the core. Upon reroll, the pneumatic opens and releases so much "lost motion" into the brass band, the roll can reroll qUickly and not have any tension exerted on the brass band, which would cause friction as the cylinder rotates. This mechanism was installed utilizing the original screw holes and so it can be removed without anyone knowing the difference. Incidentally, [ forgot to say in the first sentence that this '--./ invention will prevent rolls from stopping on the tracker bar as the take-up spool tightens itself - This is very common on long recut rolls.

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******************************************************************* TECH TIPS By Craig Brougher Recently I was faced with a problem of restoring both wood powerfully damped it with 4 extra heavy c-damps between veneered brass drawer inserts from an Ampico B which had the plates which faced each other, and waited 3 days. been badly damaged from paint stripper. The walnut had com­ When they were finally undamped, they needed sanding, pletely peeled away from all trim and letters, and there were but were otherwise tightly sealed again. I'm sure that all the large bubbles in the center where it had been loosened also. stripper could not have been removed, but it wasn't necessary. .It looked unrestorable. I used lacquer thinner and softened the The original shellac used to seal was apparently still available '--.-/veneer, then used a wooden roller to squeegee out any strip­ to glue the veneer back to the brass. per between the brass and veneer. Then I gathered two 1 1/2" thick pieces of pin plank material, wet both plates several times Once sanded smooth and refinished, the inserts were with shellac thinner alcohol, wrapped each plate in one sheet beautiful and didn't have to be burned in or repaired. of waxed paper, folded about ten sheets of newspaper and - 221- ****************************************************************************************** CL.ASSIFIED ****************************************************************************************** , ~ FOR SALE

MORTIER 84-KEY CAFE ORGAN, very nice unrestored con­ STEINWAY DUO-ART GRAND PIANO,1928, in walnut dition, around 325 pipes, elegant oak and art glass facade, with about case, Model XR262176, 6'2", original, unrestored condition, with 8 foot stack of music. $22,000. Martin Roenigk, 26 Barton Hill, East bench, rolls avaiiable.$9,050.oo. call Bill Koenigsberg, 77 High Pine Hampton, CT 06424. (203) 267-8682. Circle, Concord, MA 01742. 1-508-369-8523 NIAGARA STYLE 18 BAND ORGAN. Similar but slightly PIANO ROLL AUCTION. 6,000 88-note rolls. My personal col­ larger in piping than Wurlitzer 125, no drums. Outstanding cosmetic lection of 35 years. Mostly popular and show music of the 20's, 30's, condition, needs restoring mechanically. Barrel operated. Would make and 40's. Send for free list. John Gourley, 1301 Somerset Ave., Wind­ great conversion, as happened to most of these. $11,500. Martin ber, PA. 15963. Roenigk, 26 Barton Hm, East Hampton, CT 06424. (203) 267-8682. STROUD DUO-ART, 5'2" walnut Chinese art case, nine legs, BUSH & LANE GASKETS: Lower cost gaskets for B&L Metal 1932 late model with all controls in spool box. Excellent restorable unit blocks. Subscribers needed to cover cost of dies. Participants condition. $3,250.00. Ron Olsen 612-529-4998. would receive 2-3 sets for initial fee. Interested? (313) 682-8928 or SALES, AUCTIONS: Rolls, discs, Records, ephemera. Nostalgia, Full sound, Box 1875, Pontiac, MI 48056. Other subscription pro­ Dept. A, Regina & Harriet, Whippany, NJ 07981. jects welcome. WURLITZER 125 BAND ORGAN, 1916 1st year of produc­ GASKETS: Simplex, Ampico, A/B, Amplaion, Duo-Art Cross tion, restored in & out. Hand painted Equestrian scene on front by Valve & expression, Gulbransen. $18.00 set, $1.00 mailing. SASE Ohio artist Susan Schultz, white and gold case. $20,000. for samples. Fullsound, Box 1875, Pontiac, MI 48056. 419-625-1162. Marshall & Wendell Ampico A 5' Grand 1921 unrestored BAND ORGAN, North Tonawanda style 55 Band Organ con­ $1,400. Other reproducers available. Bm Maguire, 159 Dix Hills Rd., verted to a Wurlitzer style 125 paper roll by Tussin - circa 1920. Huntington Station, NY 11746. Recently completely restored and playing beautifully. Includes 15 style PIANO ROLL AUCTION, Reproducing and 88-Note rolls. Large 125 rolls. Can be seen by appointment in Boston area. $22,500. colliection to be sold. Bennet Leedy, 4660 Hagar Shore, Coloma, Marvin Horovitz, 617-729-2059 or 617-721-0550. MI49038. 1927 Mason & Hamlin 6'2" Ampico A grand, RAA 36397, Am­ 2 Weber Duo-Arts 5'8" unrestored plain case $3,200.00 - offer, pico missing, mahogany case, professionally refinished, piano original, restored $8,500. 5'8" Art Case unrestored, refinished w/new strings unrestored, $7,500.1933 Knabe 5'4" Ampico B grand, 110962A, $6,500. Restored $9,800.00 -others. Fiscina, 1084 Kempsville Road, burled walnut case, book-matched pattern, style A, original, corr!'"" Chesapeak, VA 23320. (804) 436-1921. plete, unrestored instrument, no bench, $9,000. 1923 Fischer 5'4' Ampico A grand, 148702, mahogany case, original, complete, 1928 STEINWAY OR DUO-ART GRAND, 6'6" Spanish art unrestored, $3,000. 1922 Chickering Upright Ampico, case, walnut finish. Original case, matching bench and ivory keys 135536, original, complete, unrestored, with bench, $1,950. Call are perfect. Duo-art professionally restored, with new strings and or write Bill Koenigsberg, 77 High Pine Circle, Concord, MA 01742. dampers. This piano is magnificient. Comes with 150 rolls. $35,000. 1-508-369-8523. (805) 481-0278. NEW AEOLIAN DUO-ART ROLL CATALOG. Complete Chickering Ampico Upright (47") Mahogany, mid 1920s, Serial listings of U.S. and British issues by artist (with notes), composer, 144531. Good condition. Ampico mechanism completely restored number and title. Hardbound, 325 pages with dust cover. $45.00 1978. Matching bench, roll cabinet and about 75 rolls - all kinds in plus $2.50 postage and handling ($5.00 outside U.S., surface mail). various condition. Asking $4,000. J. D. Arbes, 11425 Seaglade Dr., Order from author Charles Smith, 625 S. Myrtle Ave., Monrovia, Pensacola, FL 32507. (904) 492-1530. CA 91016. ROLLS & INSTRUMENTS: 4 Gulbransen 88-note Instruction PIANO ROLL AUCTIONS. Since 1970, we've been conduc­ rolls $40; 150 Aeolian Pipe-Organ 116-note rolls $1,200; 70 ting monthly auctions of vintage reproducing and 88-note rolls. We Wurlitzer PM PianOrchestra rolls $2,450; 5 Wurlitzer MO $50; 65 also issue re-cuts of all types of rolls and produce our own exclusive Red Welte (list avail.); 200 Aeolian Grand 58-note $1,600; 134 Art­ original rolls of classic jazz and ragtime performances. We now serve Echo $804; 20 Aeolian Organ 46-note $240; 7 Pin-end 88-note many AMICAns, so won't you give us a try for your roll needs? Mike Organ/Piano $84; 3 Wurlitzer Theatre Orchestra $90; 30 65-note & Fred Schwimmer, 325 E. Blodgett, Lake Bluff, IL 60044. Piano $120; 3 Berry-Wood endless 11W' $120; 10 Art Echo $60; PRE-DEATH SALE - 20 Peerless RR Cabaret Rolls, no boxes 5 Vox Humano $75; 80 58-Note Piano $640; 35 Original 150 Band $300; Original Burson rolls unboxed, $25.00 each; Original 10 tune Organ $875; 28 Wilcox-White/Angelus Symphony 58-note Organ APP rolls and recuts $10.00 each n/box; 10 original 15 tune APP $280; 27 Angelus 65-note Piano $216. FOLLOWING ARE boxed $150 p.p.; Recut A, 0, 125, 150 rolls $12.00 each. in lots RECUTS: 50 Pianino 5-tune $975 (lO-tune available, too); 15 "A" of 15 p.p.; 20 different Duo-Art Program rolls $175 P.P.; 10 dif­ Nickelodeon $330; 20 "150" Band-Organ $440; 34 "165" Band­ ferent 5-6 program picturolls $85.00 P.P.; one pass 10 minute SP Organ $748; 16 "0" Orchestrion $352. INSTRUMENTS: Mortier VHS Video Tapes 25¢ each. Ray Siou 1-415-534-8421. Dance Organ 15' wide 84-key $35,000; Western Electric Mascot Nickelodeon restored $7,500; Seeburg L Nickelodeon good-playing AMPICO, Haines Bros. Upright Piano. Completely releathered. condo $5,800; Phillips Violine European Orchestrion w/9 instruments Original ivories in excellent condition. Original red mahogany case restored $38,800; Nickelodeon Wurlitzer APP (Style I) restored in good condition. Plays and sounds great! $4,500. r- $9,500; Peerless Model "0" Nickelodeon restored $7,800, BUYING: AMPICO ROLLS. Nearly 200 mostly in like new condition. $4.OL. All types of rolls, Music Boxes, musical items including Monkey each, for the entire lot. Send SASE for list of titles. Organs, Player Grands, Player Organs, Band Organs, Changers, Or­ chestrions, Wurlitzer Juke Boxes, Automata, etc., WAYNE ED­ SEEBURG MODEL L NICKELODEON. Needs major restora­ MONSTON, 2177 Bishop Estates Rd., Jacksonville, FL 32259 (904) tion, Make Offer. All considered. Terry Robson, 3422 SE 8th Ave., 287-5996. Portland, OR 97202. 503-233-7274 after 6 pm, Pacific Time. -222- FOR SALE continued - 1926 Marshall & Wendell 5'0" Ampico A Grand, Serial No. 108934, Florentine art case, walnut finish, gold highlights, original, unrestored, complete, no bench. $3,950.00. 1911 Red Welte Vorsetyer, Serial No. 198375, original, ,.-/...mrestored, dark green case, metal tracker bar, needs complete restora­ tion, $2,100.00. Call or write Bill Koeingsberg, 77 High Pine Circle, Concord, MA 01742. 1-508-369-8523. WANTED LEGS WANTED I Set of Steinway Double Legs for Duo-Art. Jim Weisenbome, 73 Nevada, Rochester Hills, MI48309. (313) 651-8498. MUSIC BOXES WANTED. Buying disc and cylinder music boxes, musical clocks, band organs, barrel organs, Celestina and cob type organettes, any antique mechanical music. Especially need Regina automatic changers (paying $12,000 in nice condition) and large upright single and multiple disc music boxes. Martin Roenigk, 26 Barton Hill, East Hampton, CT 06424. (203) 267-8682. DISCS and CYLINDER MUSIC BOXES wanted, any con­ diton. Also want large monkey organ, Steinway Duo-Art Artcase model. Arnold Levin, 2634 Woodlawn Road, Northbrook, IL 60062. HAINES BROS. AMPICO B FOR SALE: Phone 312-564-2893. PLAYER PIANOS, NICKELODEONS, Music Boxes, Art-case 5'0" Grand, No. 84051. Naturals re­ Changers, Orchestrions, Band Organs, Monkey Organs, Juke Boxes, covered in Ivorine; otherwise, piano and Ampico' Player Organs, Automata, Fairground Organs, Musical Clocks, etc., are complete original and will need full restora­ regardless of condition. Wayne Edmonston, 2177 Bishop Estates Rd., Jacksonville, FL 32259. (904) 287-5996. tion. With matching bench, $4,800. (401) 253-5391: PAPER. All types of literature pertaining to mechanical musical in­ Mrs. Robert Archibald, 36 Sunset Road, Bristol, struments: sales brochures, advertisements, rollklisc catalogues, mon­ RI02809. thly bulletins, technical manuals, posters, etc. Also need trade catalogues, trade cards, post cards, stamps, posters, advertisements, covers, etc. for pianos, organs, juke boxes, slot machines, lamps, and ·-JPool tables. Will purchase one page or large collections. Will also exchange copies with other collectors. Richard Howe, 73 SaddJebrook Lane, Houston, TX 77024. (713) 680-9945. PIANOCORDER™ COINOLA style X, 0, or K. Unrestored preferred. Ampico - top loading studio upright. John Gourley, 1301 Somerset Ave., Wind­ MIDI UPGRADE ber, PA. 15963. (814) 467-6007. Take your Pianocorder equipped piano and add our easily installed MC-l MIDI Converter. Throw in an electronic keyboard or synthesizer; and what happens? You can add strings (or horns or chimes...) to your piano performances. Want to make new tapes but INFORMATION WANTED don't have the Pianocorder record option? Simple. I need to know the two speeds that the motor for Just play a MIDI keyboard through the MC-l and the German Red Welte runs, or if the motor has no your tape library grows. Put a MIDI sequencer (or MIDI equipped computer) in your "recording studio" speeds listed the number of revolutions per minute to record, orchestrate, compose, transpose, and edit or the main pump pully when the pump is in the slow new music or old tapes. mode or the high mode. Bennet Leedy 4660 Hagar Shore Road Coloma, MI 49038

NOTICE !!! When ordering your Technicalities V, please make your check payable {Plano Automation/ ™ to: AMICA International. 651-A Morse Street, San Francisco, CA 94112 Thank you, Brian K. Meeder, 904 A. W. Victoria (415) 239-2703 Street, Santa Barbara, CA 93101-4745. DEALER INQUIRES INVITED Piarocordel'" is a regisleled Iraderrar1< d Marantz l"o. Ire.

- 223- Prelude

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riano

CnnCC'TtgocTS hear many interesting in .. ICT!,rCCnl"'"., of RllclllllllllillOff's PreluJe in C Sharp Minor. But Oil th. Amp1eo you can hcar Rachmaninoff play it as he himself planneJ it shauld be played. How would the composer play it?

Black notes on white paper-that is all any piece of music unchanged, for the presence of the Ampico does not alter is. But the composer planned his music to be played with the piano's construction in the slightest detail. When an a hundred little subtleties that can't be written down. artist's recording is not being played, the Ampico device

~ touches neither the strings nor the keys. The piano is intact and ideal for playing by hand. F you have' heard Rachmaninoff playing his Prelude in C I Sharp Minor in concert, then you know exactly what the Have you heard the Ampico ? Ampico recording of that composition, played by the famous If not, don't postpone any longer the delight of discovering composer-pianist himself, is like. Every phrase, every subtle the Ampico for yourself. Don't think of it as merely a nuance, every characteristic blending of tone with tone-is piano. Above all, don't think of the Ampico as a player­ unmistakably Rachmaninoff's. piano. The piano merchant nearest you who sells any of Although the Ampico has received endorsements from the pianos just named will be glad to let you hear on the hundreds of great artists, none is more significant than the Ampico, today, the superb interpretation of famous artists, eagerness of the composer-pianists to immortalize their work playing famous compositions. through the Ampico. The unparalleled number of composer­ all played recordings included in the Ampico library tells its Exchange your present piano for AmpicQ own story of the perfection of Ampico performance. The piano you now own will entitle you to an allowance on the purchase of your Ampico. This Ollly ill these great piallos exchange privilege and convenient The miraculous powers of the Ampico ~:"" "f" ;".•. terms of payment place the boundless demand an exquisite instrument for resources of the Ampico at your com- . their expression. Thus the Ampico is mand immediately. Electric. models, found only in these fine pianos, which $985 to $5000. With freight added. have been famous for generations for Uprights and grands. their pre-eminent quality: the Mason A nute to the address below will &Hamlin; the Knabe; the Chickering; ';: bring a booklet describing the Ampico, the Fischer; the Haines Bros.; the outlining the large library of Ampico Marshall &1 Wendell; the Franklin. recordings, and telling of the great Note that the Mason &1 Hamlin, the pianists who record their art for the Knabe, and the Chickering are three Ampico. of the four great pianos in gcneral1Jse on the American concert stage. THE AMPICO CORPORATION Yet tlw.se flawless instruments are 437 New York City Cj/;( ALLrf tile PIAN0 Gflf~~AMPICO

III l1~illg advertisements see page 4 95

-224- HE T DE

DEVOTED TO THE INTERESTS OF THE TECHNICAL PART OF THE -~ Piano Forte.• -

I I ) ~' I I .t. VOL. I.] OCTOBER, 1883. [NO. 1.

------.e~~~----

II PRESSER~ T'HEODORE i I

EDITOR AND PROPRIETOR, I .

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,., (;" , (407~~)~ ~x~~ THEODORE PRESSER COMPANY ~"t"~i(~I" :":- ..... ~'.. "t ~~ ~"~',,.~ ...~ ,,~ ~:';\" 1J '(. Bryn Mawr, Pennsylvania 19010 • ~.;.&.... ~~ .. .-+-' (\3 ..0 E (\3 01 if) ·2 c: (\3 o> (5