News Bulleti.n of thE"' AUTOMATIC MUSICAL INSTRUMENT AMICA~ COLLECTORS' ASSOCIATION

./ THE AMICA NEWS BULLETIN

Published by the Automatic Musical Instrument Collectors' .ssociation, a non-profit club devoted to the restoration, istribution and enjoymant of musical instruments using perforated eper music rolls.

Contributions: All subjects of interest to readers of the bulletin re encouraged and invited by the publisher. All articles must be eceived by the 15th of the prececling month. Every attempt will be nade to publish all articles of general interest to AMICA members OFFICERS 11: the earliest possible time and at the discretion of the publisher.

Advertisements: Personal eds by members are accepted and nserted in the Bulletin Board section at a rate of 6G! per word, $1.20 INTERNATIONAL CHAPTER ninimum. Businesses and persons wishing more space may use the OFFICERS OFFICERS 'aI/owing guidelines: PRESIDENT _ Advertising rate is $12.50 per quarter page Or multiple thereof. NO. CALIFORNIA Bill Mintz Pres.: - Camera-ready copy must reach the publisher bv the 15th of VICE-PRESIDENT Vice Pres.: Nick Jarrett the preceding month. Bob Rosencrans Sec.: Tom Hawthorne Treas.: Bob Bartlett - All ads will appear on the last pages of the Bulletin, at the SECRETARY Reporter: Dick Reutlinger discretion of the publisher. Isadora Koff SO. CALIFORNIA Publication of busi_ advertising in no way impl. AMICA'I BULLETIN Pres.: Richard Rigg IIIdorwment of eny commerciel operation. However, AMICA Thomas G. Beckett reserves the right to refuse any ad that is not in keeping with Vice Pres.: Bobby Mintz AMICA's general standards or if complaints are received indicating 6817 Cliffbrook Drive that said business does not serve the best interests of the members Dallas, Texas 75240 of AMICA, according to its goals and by-laws. MEMBERSHIP SECRETARY Reporter: Evelyn Meeder (New Memberships and TEXAS Mailing Problems) Pres.: Tom & Carol Beckett Anita Nickels Johnson Vice Pres.: Wade & Becky Newton P.O. Box 666 Sec./Treas.: Jim Meadows Grand Junction, Reporter: James Guinn Colorado 81501 TREASURER MIDWEST Jack and Mary Riffle Pres.: Bill Ackman Vice Pres.: Bob Fortier AUCTION Treas.: Molly Yeckley Sec.: AI Theil BOARD REPRESENTATIVES PHILADELPHIA AREA Bill Johnson, N. California Pres.: Bob Rosencrans Sally Lawrence, Alternate Vice Pres.: Jesse Macartney AW' "'I Cecil Dover, S. California Sec.: Mrs. Lawrence Cornell Jim Hollinsworth, Texas '1!I'l!l;'I,! I",illill Charlie Johnson, Alternate SOWNY (So. Ontario, II j l .1111 Jim Weisenborne, Midwest West N.Y.) Alfred C. Busse, Philadelphia Pres.: Rick Simpson SOWNY Pending Vice Pres.: Alan Mueller Acting Sec.: Mary Lou ~!J:J BOSTON Pending Mattioli . ,I!!!!!: I!i Treas.: Richard Drewniak Reporter: Edith Aldridge

BOSTON CHAPTER Pending THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 115

The balance is a reasonable one, though. I gave as :::::::::::::::::=::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: much as I got, and we all profited from the experience. We have an excellent replacement for publisher in Tom Beckett, and I expect things to be bet~er than ever! I am especially grateful to Fra~ Wlllyar~.. I tWIsted her arm into taking over the BulletIn advertIsIng, and IN MEMORIAM she did it superbly. Our accounts are now straightened out; the amount of advertising has enabled us to have several more pages of Bulletin material than would have DR. BEN MOORE otherwise been possible, and Fran took a load off of the office of Publisher that I just could not handle. · AMICA - TEXAS Fran and Maury are moving to Seattle and giving up the job of advertising committee (Maury was also N~rthe:n California Chapter President), and we surely wIll mISS them. Thank you more than I can say, Fran! Over the years there has been another unseen hero :::::::::::::=::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: in the process of getting out the Bulletin: Jewel Oka­ wachi.has a composing and layout business, and has done all the needed typesetting and advertising layout for us, charging half of what she should have, an~ putting FROM THE PUBLISHER together all of the advertising at a very nom1nal fee GINNY BILLINGS to the advertisers. She has also accommodated us at the expense of her regular customers for many, many urgent This July/August issue closes out a long and mostly ASAP demands. We couldn't have managed without her! pleasant series of years for me and AMICA. We've had a The Board of Directors as a whole has been very great bunch of articles, good conventions, lots of fine supportive of the Bulletin's demands, and has backed friendships established. For the most part, this happy the Publisher on all important Bulletin requirements. combination has led to personal enjoyment and enrich­ In all the years I have been on the board, only one ment of our collections. I know I have learned a great officer has used his office to carryon a personal deal in this deep exposure to a very complex subject! antagonism of any significance, and with that exception On the balancing side of the ledger, not all was (his behavior was the deciding factor in our withdrawal fun and happiness. Bob and I have been so busy attend­ from active AMICA participation, since it was very ing club functions, local board meetings, international costly to us) I consider all the board members no~ only board meetings, and preparing the Bulletin each month fine working companions but excellent personal frIends, that for the last two years we have not even been able and I have enjoyed working with them very much. They to put one of our three instruments into operating not only need but deserve your active support in the condition, nor have we had a chance to expand our lives future. < in ways non-AMICAn. Although at all times I have tried It is time for Bob and me to move on to our private to consider the interests of the club at large in my pursuits, both in and out of the hobby. For the integ­ position on the board, my opinions and stands have rity of the club, personal opinions have not been aired, often caused personal bitterness to others, and keep­ in the Bulletin, and this is, I think, proper. But we ing things running smoothly often involved more do have them, and will probably surface again in a pri­ playing of politics than I would have preferred. I'm vate or business capacity where they can be indulged. afraid that this year, knowing that I wouldn't be Till then, goodbye, thank you all, and give Tom the returning, I have not had my heart in smoothing over same fine support you gave to us. the unavoidable troubled waters that constantly devel­ ope in an organization of this size, and I have spoken more bluntly and honestly than some of you might have wanted. *t A.JQtA.- JttmB AMICA Stationery, $2.00 (letter size),. $1.75 )ror &al, (note size), including mailing charges. Fine AMICA TECHNICALITIES BOOKS: Volume I quality stationery with ornate AMICA borders. Each packet contains 25 letters and matchtng AMICA BULLETINS, BOUND ISSUES: 1969, (1969-1971), $5.50 postpaid; Volume II $9; 1971, $15; 1972, $15; 1973, $15. 1974 un­ (1972-1974), $7.50. postpaid; or order both envelopes. Send orders to Robert Lemon, bound sets, $15; 1974 bound sets, $18. sets for $12.50 postpaid. Reprints of inter­ 4560 Green Tree Drive, Sacramento, CA 94823 PRICES INCLUDE POSTAGE AND esting technicalities articles which have HANDLING. Spiral bound to lie flat. Send to appeared in the AMICA Bulletin, arranged and "They All Laughed When I Sat Down At The Mary Lilien, 4260 Olympiad Drive, Los indexed into appropriate categories, spiral Piano, But When IT Began To Play ..." Angeles. CA 90043. bound to lie flat. Send orders to Howard Koff, This -sound and color super-8 movie, 2141 Deodara Drive, Los Altos, CA 94022. produced by AMICA members, is again ROLL LEADERS: DUO-ART, Authentic. For available for loan to AMICA members and order sheet, see the April, 1973 Bulletin. Nick AMICA Sterling Silver Pins, $4.25, including chapters. For more information write to Jarrett, 3622 - 21 st Street, San Francisco, CA mailing charges. Lapel pin or tie tack with Howard Koff, 2141 Deodara Drive, Los Altos, 94114. ~~ICA design. CA 94022. PAGE 116 JULY/AUGUST, 1975 THE AMICA BULLETIN

APARTMENTS FROM ASTORE Thus, more and more older buildings are being CONTRIBUTED BY ALF WEROLIN recycled to new uses--often as shops or offices. But can buildings not designed for housing "In looking over the AIA Journal (November, be converted economically to such use? The 1974) I found an article of interest... When answer--from recent examples in Boston and New my father landed in Boston from Sweden in 1900 York City--is emphatically yes. he went to work in the Chickering factory By 1971, Boston's Chickering Piano Factory shown in these pictures." --A1f Werolin (1853) had fallen on hard times. Pianos were no With the growing energy crisis much atten­ longer being made there and the building had tion is being focused on America's older been converted to light manufacturing. A few buildings. Not only is a tangible part of the artists lived there, too. The owners were man-made environment lost when one of these $280,000 in arrears in property taxes and the structures is demolished and replaced with new building was unsafe electrically. It seemed construction, but also energy, which older like a good candidate for the wrecking ball. buildings were designed to conserve, is wasted. But because of two individuals--planner THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 117

Robert Gelardin and architect Simeon Bruner-­ innovative Massachusetts Housing Finance the building today is good for at least another Agency, which loaned $3,382,916 on the pro­ 121 years. Having seen the success of New York ject. The agency is responsible for state­ City's Westbeth and having conducted a market subsidized housing and has not hesitated to study in Boston, they determined that the support other adaptive use projects involving 250,OOO--square-foot structure could be con­ older buildings. The verted into 174 apartment/studios for artists. The architects were also the developers and The Piano Craft Guild, as the project is thus were able to keep close tabs on the recon­ called, opened earlier this year at 791 Tre­ struction costs and hold them down. mont Street in the city's South End. (The author of this article, Carleton Gelardin and Bruner, along with a third Knight III, is assistant editor at the National partner in the venture, architect Leland Cott, Trust for Historic Preservation and a regular got a big boost for their efforts from the ••• contributor to the •••AIA JOURNAL.)

TH E SUN DAY PnESS

::C:::::::;:::::::::::::;:::::;::Leisure:';';':-:;": .. ':-,.:::::::::~::;"", »' ..;. .. .!..:.. '~. :;,: •..;.,: J',> .: : •• ,"••• " "0'.: Arts arid EntertainrL2nt 7-B Binghamton. !':.Y.. Dec. 22. 19i4 And Now We Have 'The Vestal Press Rag'

The current ragtime revival, per­ haps touched off by the use of Scott Joplin rags in the movie "The Sting," has reached the Vestal Press. The "House Organ" (pun probably Jerry intended) of Harvey Roehl's publish­ ing house. which special~s in books Handle about player pianos. organs and other mechanical musical devices. of the past and present. reports the arrival It also covers other mechanical of "The Vestal Press Rag." amusement devices such as carnival The new rag was written by Jona­ whip rides. features on professionals than Jensen, a music student at and amateur hobbyists in the field Northwestern University. Evanston, and infonnation on the availability 1lI~. and a man who arranges music not only of Vestal Press publications diredly on player piano roUs. but ot~r off·beat books. .- Roehl says the QRS Music Roll One such is the "Silver Anniversa­ Company is going to mass-produce ry Collection" of the 1118 best ,.rticles the "Vestal Press Rag" in 88-note from bi'lT\Onthly bulletins of the Mu­ format for exclusive distribution by sic Box Society International over the the Vestal Press. Inquiries about buy· last 2S yeal'll. ing the roll can be addressed to the The Vestal Press. by arTanKement Vestal Press. Vestal. N.Y. 13850. with the $Odet)', can sell the 986-paKe "House Organ" is a good·looking collection to non·members. offset publication. generously illus­ Persons interested in thi.~ field can trated with pictures of old in· buy the annual "House OrllilR" for 50 struments, catalogs, i1dvertisements cents. Customers of the publishing and pioneers in the inecha~ical music house get it free. industry PAGE 118 JULY/AUGUST, 1975 THE AMICA BULLETIN

1IIII·IIIIIIIII•••OfI:I··:!:!li~i~llii :~ ------~ SOME WELTE QUESTIONS BY HARVEY ROEHL now that the demands of Publisher are no longer a In going through some Welte-Mignon material the factor, we intend to finish up the book this year. other day I came across this listing of Robert Arm­ There are still areas where we lack information, and we bruster and "Body and Sou I." would appreciate it very much if you would look through your old catalogs, and your newer data, and see if you ~fllSTC NE\\l R()LLS RELEJ..:\SED F()R DECE1\'fBER If)3(' can help us. It seems that over the active recording years, very BALLAD often an unknown artist would appear in the studios to record one or two rolls, and then disappear (it seems) forever. I showed my "difficult list" to Tom Hawthorne t 1 Y -754 )7 Rody :llld 'ioul Il~ey of C) , 1'layl'd ~l\" Roll(..-t ,\rnI ;'1;""'J\ ~Ll'~not too long ago, and he noticed the name of Melita Frol1l "Threp's;1 ('rt)\ql" (jclhn 'Y (~n>I'I,'1 Krieg, for whom I had no information at all. Miss Krieg turns out to have been a piano teacher of Tom's, I'm not al I that expert on Welte rol I matters, so originally from the Chicago area, whom he hasn't heard am puzzled by a few questions that come to mind. Per­ from in many years. haps someone in AMICA can enlighten me: ·AMICAns in Chicago, I suspect I need your help I) Is this a duplicate of the Duo-Art rol I by Armbru­ particularly, since most of the recording was done .in ster? your area. Can you check obit columns, phone books, 2) If not, and R.A. made it for the Welte, can he tel I piano 1;.eachers' associations, etc., and see what turns us anything about the process? up for me? 3} Are there other examples of Duo-Art or other rol Is I strongly suspect that many of the names left on being converted to the Welte system? my list are studio pseudonyms, and therefore untrack­ 4} Did Robert Armbr'uster have any other rolls for able. Any help you can give me here would also be Welte under hJ:s name? appreciated very much. My intention, ideally, is to provide the following Perhaps Mr. Armbruster himself could shed some light on this! information on all artists: 1. Date of birth and/or death '",-- 2• a photograph 3. an objective summary, such as "Who's Who" or STEINWAY VS. BALDWIN "ASCAP" would provide BY TOM HAWTHORN 4. a critical review or press release or roll; Mr. Kimblels rebuttal to my comments on the Stein­ catalog write-up, providing some kind of sub­ way Piano"was shown around my store and several of my jective description of the artist's style. emp19y~espointed out that Mr. Kimble merely reaffirmed ARTISTS WITH NO INFORMATION AT ALL: all the points I had made about the construction and Ammallee, Lillian quality of the Stelnway. I never said that Steinway was Bradley, Ruth the only quality piano in the world, for I have been Edwards, Marie involved with the sales of not only Steinway, but also Eldridge, Al Chickering, Mason & Hamlin, Knabe,' and others. In'fact Hoadley, Les the Baldwin and Yamaha are about the only well known Krieg, Melita pianos I have not dealt with. Lustmann, Lewis Recently, I hired a gentleman who had worked with Meyer, Harris a Baldwin dealership for some time. Some of his infor­ Rider-Possart, Cornelia mation on the Baldwin artist program was quite inter­ Schubert, Florence esting. I still submit that the information was correct Sinc~air.l Al that I first presented. I do not wish to leave the Tannenbaum, Belle impression that I feel Steinway is thellperfectll piano, Voitier, Ernesto and certainly there are many well built pianos on the Wilson, Carolyn market today. But as I am a Steinway representative In 1 INCOMPLETE INFORMATION, NO PHOTOGRAPHS: my store, and 1 m sure Mr. Kimble is very involved with the Baldwin piano, I ~hink the membership of AMICA can Allan, Francis Potter Bradley, Wallace forgive us our IIpetll views. By the way, Mr. Kimble, I Durno, Jeanette Elvyn, Myrtle also handle the Kimball piano line--would you care to Francklyn, B. Goldkette, Jean comment on them? Jacobi, Victor Jacobs, Clarence Johnson, ArJ,lold Johnson, Johnny , MacDonald, Robert Neilson Manker, Lucille ·Mennig, Helen Garrett Miller, Victor AFINAL REQUEST FOR RECORDO INFORMATION Parker, Alfred Rodemich, Gene Y BY BOB &GINNY BILLINGS RUpp, Carl Starke, Geo:rge(Gustave?) I~ Wan~borough, Harold Waring, Nelson Over the last few years, we have periodically asked for information you might have in helping us to compile a complete QRS/RECOROO catalog, giving as much informa­ tion as possible on all the artists. We have continued to plug away on research, as time has permitted, and continued THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 119

DATES ONLY NEEDED: "Sing, Smile, Slumber Serenade, opus 118" (Gounod), Collins, Edward Davis, Grover Tilden (1885-?) early 1929. Who played it on QRS? Harris, Edward C. Henry, Harold "Krakowiak" (Polish, 1927). Who wrote it? Huarte, Julian Kahn, Art "Purple Twilight" (1925), played by Wendling. Who wrote Kaplun, Vera Aronson van Katwijk, Paul it? Lerner, Tina Lester, Wrn. (1889-?) If you can help us with any of the above informa­ Nelson, Edgar G. Oberndorfer, Max tion, we'll be most appreciative. Please write to Ginny Peterson, Edna Gunnar Reuter, Rudolph Billings, 661 Chapman Drive, -Campbell, CA 95008. Silber, Sidney (188l-?) Sollitt, Edna Richo1son Sturkow-Ryder, Mme. T. Triggs, Harold (1900-?) Troendle, Theodora Voorhees, Don (1903-?) Wells, Howard (1875-7) PHOTOGRAPH ONLY NEEDED: Blaufuss, Walter Friedberg, Carl Moore, Francis S. Straight, Charlie Jones, Clarence HAVE PHOTOGRAPHS, BUT INCOMPLETE INFORMATION OTHERWISE: Buell, Dai Angel, Mary Berge, WIn. Brewster, George Ashl~y Carver, Priscilla Clair, Herbert TEXAS - AUGUST Clyde,' Jack Franklin, Burt The August 10th meeting of AMICA-Texas will be held Gillet, Edmund Gilman, Wilma Anderson at the home of Tom and Carole Beckett in north Dallas. Hanke, Hans Hartman, Wm. The meeting will begin at 3:00 p.m. and will be co­ Hilliard, Roger Hillis, Ruth hosted by Wade & Becky Newton and Richard & Janet Hunter, George Kerouak, Ivan Tonneson. Lytton, Robert Mortimer, Barry The Beckett's collection consists of about thirty Nierman, A.B. Randale, Zema Steindel, Ferdinand Swirskaya, Thamara instruments including not only examples of the auto­ Wenrich, Percy Madden, Doris matic piano-based items with which most of us are familiar, but probably the largest collection of anti­ COMPOSERS; DATES ONLY NEEDED: que music boxes in the local area. Arnold, Harry E. Benson, G.W. Also on display will be some Aeol ian Duo-Art pipe Brewster, George Ashley Cervantes, Ignacia organ units, the player console, concertola, etc., that Collins, Edward Dawes, Charles (1865-?) Tom is currently restoring as well as a few items sal­ Delbruch, Alfred Edwards, Leo (brother of Gus) vaged from otherwise unrestorable instruments and Ewing, Alexander Fred Edgar Fitzgerald retained for study of their "innards." Flick, ? Gzibulka, ? No official program is planned, but Tom may present Hall, John T. Hanke, Hans a short talk on the music boxes if the situation per­ Jacobi, Victor Jacobs, Clarence mits. In general, just plan to enjoy the company, par­ Komzak, Karl Lamberg,? take of refreshments, and 1isten to the many varieties Milde, ? Mokrejs, John (Makrejs?) of automatic music on display. Aga-Nazare, ? Nelson, Edgar G. Noceti, ? Pierson, Maude Rupp, Carl Schloetzer, Paul de Staub, Victor Stojowsky, Sigismund (1870-?) ~ ------We are also in need of some information on the Recordo catalog itself, and on some musical works. If you have a few Recordos in your collection, please 1 check and see if you can provide us with missing info: Ili~illjlllliill~IIIIII·II.1111111111111111111111 1111.111.11111.1111.11111.1111111111111111 1.11111 61630 iI 610000 610270 610490 610800 610810 610830 610960 610980 610990 611000 611050 611140 611160 611290 611310 611330 611610 611960 612090 612400 612530 612540 612550 i~IDWEST JULY rilEETING PLANi~ED 612580 612590 613620 614220 617500 BY AL THEIL

"Loveable and Sweet" (from STREET GIRL, 1929). Who CIRCLE YOUR CALENDAR NOWI I J The next Midwest Chapter composed it? Who played it on QRS? meeting will be a two-day weekend program in Dayton, "Love Me"(Waltz, QRS #4827). Who played it on QRS? Ohio on Saturday, July 26 and Sunday, July 27. #osts "Piccolo Pete" (QRS #4818). Who played it on QRS? will be Mike Barnhart and Bill Coverdale. More infor­ "Forest Frolics" (Woodland Fantasy, 1928). What is it? mation, details and maps will be available later from Who wrote it? Who played it on QRS? the Midwest Chapter Secretary, Al Theil. "Pierrette: Air de Ballet, opus 4l"(Chaminade), 1928. Who played it on a QRS-owned roll make? "O~e More Night", 1928, played by Redding on QRS. Who composed it? PAGE 120 JULY/AUGUST, 1975 THE AMICA BULLETIN

Jerry Cohen, proudly telling about his Hupfeld Violano.

The Reproduco Graphophone, part of SOUTHERN CALIFORNIA AMICA MEETS the Cohens' collection. BY EVELYN MEEDER ~ he took small groups around the room, demonstrating the On Sunday afternoon, April 20th, between 2 and 5 many fantastic things. p.m., the Cohens of Studio City opened their lovely There were at least a half-dozen Auto-Tones sitting home to the Southern California AMICA Chapter. on the pool table. All were working beautifully, and This is the third time that Sylvia and Jerry have Sylvia mentioned that it sometimes took a whole year to so graciously hosted AMICA. Their collection is so get the clothes for them custom-made. One was left with interesting and extensive that one really enjoys the just the mechanism exposed so you could see how all the opportunity to see it over and over again, so as not to miss anything. Sylvia Cohen demonstrating a Upon arrival we entered through the garage and into mechanical bank, with Auto­ the pool-room or den. There we were greeted by Bill Tones on the table. Mintz, who was skillfully displaying his knowledge as

John Schaller in front of the Cohens' Band Organ. THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 121

joints worked. Jesse Macartney enjoys a roll on the Skinner organ. Jerry also has his mechanical and still banks very tastefully displayed in this room. Some of them were ex­ tremely unusual. There was also a very beautiful Swiss music-box with an automated French doll, all contained in an exquisite German hand-carved case. At the far end of the room was a Link Orchestrion and a Nelson-Wiggen Nickelodeon. The Three beautiful Tiffany hanging lamps were also very appropriate to the decor. From there we moved into the living room to listen to the Mason & Hamlin Ampico piano and investigate the two beautiful Regina clocks. In the back hallway was the Encore Automatic Banjo, a very unusual Reproduco Graphophone, and several mechanical birds. From there we went out through the garden, by the pool, on our way to the music house••• Here we kinda got sidetracked as Sylvia had a table set up with all kinds of goodies to eat and drink. So we paused to be refreshed and talk to bId friends, and to meet some new ones. After catching up on all the news we were ready to tackle the music house and all its wonderful treasures. Just to mention a few••• A Hupfeld Violano, Band Organ, Hupfeld Phonoliszt, Hays Automatic~Harp, Weber Orches­ trion, Mills Violano, and an Edison Phonograph. Every­ :hing was in tip-top shape. Jerry played everyone for --..-/us. PHILADELPHIA AMICA CHAPTER MEETS The three hours we were at the Cohens went by so BY BOB ROSENCRANS~ PRESIDENT fast that we left with a rather dazzled feeling of having been in another century. It was all just On Sunday, May 18th., the Philadelphians again breathtaking! drove a longer distance, this time to visit "Welkln­ Thank you so much, Sylvia and Jerry, for a lovely weir," the home of Mr. and Mrs. Everett G. Rodebaugh, afternoon. We are proud to have you as members of our near Pottstown, Pa. group. Our hosts, though not members of AMICA, graciously invited us, through our vice-president, Jesse Macartney, to visit them. And what a treat It was. Their home, the oldest parts of which are pre-revolutionary, has had spacious additions by the present owners since the mid­ 1930's. It is beautifully furnished with fine Pennsyl­ vania antiques as well as many treasures brought back by the Rodebaughs from their extensive travels around the world. Outside, the grounds were superlative, with acres of hillside planting of azal ias and dogwoods. A wide variety of unusual plantings along the lakes and streams reflects the owners' great horticultural Interests. Greeting us in the two-storey entrance hall was their Skinner resident player pipe organ of eighteen ranks, and many orchestral combinations. It was removed from a Manhattan, N.Y. apartment In 1941, and profes- s ionally reinstalled by the Aeol ian-Skinner Corporation in the Rodebaugh home. The sound chambers, pipes and chests are located on the third floor, while the shutters open and close above an open grille cell~ng in the hall. The console Is located In a small room dff the second floor through an arched opening in the hall wall. From the hall through double doors, five steps down Into the living room, the Rodebaugh's seven foot Mason & Haml in Ampico A held our attention. It was a magnificent piano, beautifully situated at one end of the large sixteen foot high ceillnged'living room, opposite the fireplace wall. As one entered the sunken living room, straight ahead was the large picture window overlooking the lake and hillsides. The Rodebaughs' seven foot 1929 Mason & Hamlin Ampico A. An innovation for our Chapter, was a scheduled con- PAGE 122 JULY/AUGUST, 1975 THE AMICA BULLETIN

cert of rolls, first on the piano, then the organ. Jesse Macartney told us about both instruments, then gave a brief resume of each selection played. Following this, we were privileged to hear a live performance on ~ the organ by Nelson Buechner, from John Wanamaker's store. We then adjourned to the owners' substantial basement recreation room for a short business meeting. We welcomed new members Paul and Linda Welsh, of Wilmington, Delaware. Coffee as weI I as punch and cookies were the refreshments of the afternoon, served in the quietly beautiful dining room, which also over­ looked the lake below. After the business meeting, it was back to more social izing, roaming the home and grounds, and enjoying both the organ and piano. With this meeting, the Philadelphia Area Chapter winds up its first year as a formal group. It has been a fun-filled year, in which we saw our membership in­ crease from 26 members to 38. I personally wish again to thank all our hosts and hostesses, as well as the officers of our Chapter, who have helped make it all possible.

Nelson Buechner, engaged by the Rodebaughs, entertained us Sunday afternoon.

of the Met soprano, Lucrezia Bori, Olga Samaroff, , YO LANDO MERO Stokowski, Mrs. Ernst Hutcheson, and Mrs. Lucy Schel I in~ BY EMMETT M. FORD establ ished the Musicians Emergency Fund. Foremost conductors, musicians, artists and philanthropists Yolando Mero was born in Budapest, August 30, 1887, became sponsors. Mme. Mero led the drive and raised and at the age of four showed indications of tone and $435,000 to start the organization. The late Fritz pitch aptitude. Her father, a professor of harmony, Kreisler served as chairman of the fund. Mrs. Lytle was her first teacher. Hul I was president. At the time of Mme Mero's death, she At the age of six she enrol led in the Budapest Con­ servatory, remaining there for eight years, studying piano with Mme. Augusta Rennebaum (author of essays upon elementary musical training and a pupil of Lena Ramann, biographer and pupil of Liszt). Two times she won the state prize in piano. At the age of 15 she appeared as soloist with the Amsterdam Concertgebouw Orchestra under the conductor­ ship of Wil lem Mengleberg. Later she appeared with an orchestra In Paris conducted by Edouard Colonne. Her debut was with the Dresden Philharmonic Orchestra in 1907, playing the Liszt Concerto No. I. Later tours were made in Europe and South America. In 1908 she received the Professorship of Piano at the National Conservatory in Budapest. Charles Steinway, head of Stelnway & Sons, heard her i~ London and engaged her to appear in the U.S. She was the last musician Mr. Steinway brought to the U.S. Her New York debut was in Carnegie Hal I on November 3, 1909 with the Russian Symphony Orchestra. She became a resident of the U.S., and married Herman Irion, general manager of Steinway &Sons. Many re­ citals were given in the U.S. Another concert of interest and success was her appearance as soloist with the Phi Iharmonic Orchestra under the conductor, Gustav Mah Ier. She gave up her piano career to help destitute mus­ icians during the depression. In 1931 she heard a musician had kil led himself because of lack of funds to feed his fami Iy, unable to get work. She was shocked and felt an obi igation to do something. With the help THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 12~

was executive director. With her help, the Women's National Radio CommlttE'P The fund Is an 81 I purpose aid to musicians. It took was founded in 1940, to improve the quality of radio Instruments out of pawn, paid hospital bil Is for fami­ programming. She founded and headed the Women's National lies, bought new Instruments, provided legal aid, made War Activities Committee to coordinate al I phases of work, got jobs, bought clothing and provided medical women's volunteer work. aid. It provided $5,000.00 worth of employment for about Her death was in the Lenox Hil I Hospital at the ag8 45,000 needy musicians and young artists. Concerts were of 78, October 19, 1963. She resided at 983 Park Avenue presented In the public schools. During World War I I, and survivors are her husband, a daughter (Mrs. EI iza­ 2,000 concerts were given at Army and Navy Instal lations beth Chamberlain), a brother (Jules Mero), and a grand­ and at GI Recreation Centers. son. In 1945 Mme. Mero started the Hospital ized Vetrans The 1917 Welte-Mignon catalog I ists her rol Is of Service to help disabled and mentally II I through music composers I ike Chaminade, Nevin, Liszt, Haydn, Vogrich, therapy and entertainment. She was also executive di­ and a Liszt arrangement of Schubert's DER WANDERER-­ rector of this organization. So successful was the enough of a variety to show her musicianship. The 1925 venture, Mrs. Mero IrIon Introduced the service to Amp ico cata log lists on Iy three ro I Is, but others were' BrItain In 1945. probably made after this catalog. For Ampico she re­ She gu Ided the New Opera Company In' 1940, wh ich corded compositions of Grieg, Rubinstein and Moszkowski. produced operettas, ROSALINDA, MERRY WIDOW (Jan Kiepura The I927 Duo-Art cata 109 IIsts three ro I Is, compos It Iun (, was the tenor) and Offenbach's LA VIE PARISIENNE and by Sinding, von Dohnanyl and Strauss. If an AMICA membnr HELEN OF TROY. had three grands with Welte, Ampico and Duo-Art, and tou~ Mrs. Mero Irion presented locally on THE ART OF owned a I I of her ro IIs, you wou Id not find any dup Ii Cd­ MUSICAL RUSSIA, Introductng.a Soviet repertory, includ­ tions, as some pianists have recorded. ing LADY MACBETH OF MZENRIK by D. Shostakovich.

John Powell, American composer and pianist, was born Choral Festival. He collected folklore. :n Richmond, Va., September 6, 1882. He lived most of Mr. Powell's compositions are a symphony in A ~his life in Richmond. At the age of five he gave indica- (commissioned in 1932, completed in 1947, and premiered tions of musical talent and received instruction from in 1947); 2 piano concertos; a violin concerto; an his sister. He attended the University of Virginia and overture, IN OLD VIRGINIA; NATCHEZ ON THE HILL (3 Vir- studied with F.C. Hahr, graduating with a degree of ginian coun~ dances); A SET OF THREE (for orchestra); Bachelor of Arts. In 1910 he went to Vienna to study vocal and choral arrangements of folksongs; a string with Leschetizky in piano, and composition with Karel quartet; VARIATIONS AND DOUBLE FUGUE on a Theme of Narratil. His study with Leschetizky was for five years. F.C. Hahr for piano; 3 piano sonatas (SONATE PSYCHO- His Berlin debut was in 1907. Afterwards he toured LIGIQUE, SONATA NOBLE, SONATA TEUTONICA (disclosing a for four years throughout Europe in solo concerts and whimsical state of mind); IN THE SOUTH (suite for with major orchestras. piano); IN THE HAMMOCK for 2 pianos, 8 hands; songs; In 1912 his American debut was in Richmond and he and an opera entitled JUDITCH AND HOLOFERNES. appeared at Carnegie Hall a year after the Richmond A popular composition is his suite for piano, also appearance. Concert tours continued. In 1917 he was arranged for orchestra, entitled AT THE FAIR. The sym- given a commission by MOdest A1teschu1er, conductor of phony after numerous revisions, was performed in 1951 the Rus~an Symphony, to write a composition for piano in Richmond and was the principal event, celebrating and orchestra. The composition, RHAPSODIE NEGRE, the Commonwealth of Virginia upon proclamation of the inspired by Joseph Conrad's HEART OF DARKNESS, became governor, November 5, 1951 as JOHN POWELL DAY. famous. The composition was performed in New York, A PRELUDE AND FUGUE by Daniel Gregory Mason, dedieat·· March 23, 1918, with Powell as soloist with the ed to John Powell, was introduced by Powell in Chicago Russian Symphony Orchestra. The appearance was so in 1921. Another Mason composition in 1926 is entitled successful he acquired fame as a soloist and composer. VARIATIONS ON A THEME OF JOHN POWELL. Other performances with orchestras were requested and Mr. Powell passed away August 15, 1963 at the age of in 1920 Walter Damrosch and the N.Y. Symphony Orchestra 80 from a heart attack in Charlottesville, Pa., while made a tour of Europe, Powell accompanying them as enroute to a hospital. He married Lois Burleigh, an soloist in presenting to the European audiences the actress and director in 1928 in the N.Y. Trinity Church. popular RHAPSODIE NEGRE. For years the composition was Mrs. Powell passed away in 1960. played at more th~ fifty performances in New York According to my piano roll information Mr. Powell and was recognized as a representative American work. was a Duo-Art artist and made rolls of his compositions. He was the chief sponsor of the Virginia Racial AT THE FAIR: SKETCHES OF AMERICAN FUN: PIONEER DANCE Integrity Act of 1921, which barred the marriage of a from IN THE SOUTH is on D/A 6366-3. Other rolls were: Caucasian person to a Negro or any Indian having one- compositions of Schumann, Mason, Chopin, Beethoven, and ixth of Indian blood. He freely used Negro themes, MacDowell. He cut rolls of the first (DA 66010) second though, in his compositions. Later he turned from and third (DA 7123-4) movements of Beethoven's Sonata in Negro themes to American folk music and was the C, Ope 53 (Waldstein). One accompaniment roll was made founder of the annual White Top Mountain Folk Music of his song, HEART EASE, Ope 8 No.2 (DA 11598), and he Festival. His intense interest in Appalachian tunes possibly may have made more rolls after the 1927 listing. and ballads caused him to organize the Virginia State ~ PAGE 124 JULY/AUGUST, 1975 THE AMICA BULLETIN I

THE CHRISTIAN SCIENCE MONITOR Monday, February 10, 1975

A boon to nonprofit organizations CONTRIBUTED BY BOB & GINNY BILLINGS Pi'oneering a novel way to save documents

By J onatban Gray Some call it "conservation for the place to an average collection in a And, he notes, lilt's beginning to Staff writer of people." five-year span between 1970 and 197~ catch on." The Christian Science Monitor than occurred during the entire 18th Funded by the New England Inter­ century.) state Library Compact, a pollt1cal North Andover, Mall. Damage accelerating The arch enemies of paper - acid, subdivision of six New England George Cunha is a pioneer con­ Mr. Cunha heads the world's first states, Mr. Cunha's New England cerned with the disintegrating docu­ regional document conservation cen­ heat, humidity, fungi - have been fortified by today's acidic air pollu­ Document Conservation Center pro­ ments of the past. ter, located in North Andover, Mass. vides services to public libraries; Sitting in. his second-floor office To this center come librarians and tion. But, he points out, 99 percent of the country's libraries and historical state and local archival agencies: and surrounded by mOlDltalns of dog­ town records keepers ~ all over private, nonprofit historical, educa­ eared books, yellowing town records, New England to learn how to prevent societies cannot afford the eqUipment needed to restore pulp documents. tional, and cultural institutions "at and mildewed World War I victory their fragile collections from dis­ cost. " Others pay a sllghtly higher posters, he talks about his novel integrating on the shelves. Instruction at the center is geared fee. approach to restoring and preserving A few years back :Mr. Cunha, to the bUdget of the individual or old documents. former chief conservator at the li­ organization. One method Mr. Cunha Stains washed out 1&1 don't think there's anything brary of the Boston Athenaeum, be­ teaches of protection paper docu­ With $80,000 worth of eqUipment that's beyond salvage," he says as he came concerned with the escalating ments uses one quart club soda, milk and more than a dozen artisans in the bends over a procelain bowl of brittle rate of document deterioration. (He of magnesia (liquid or tablets) white workshop, the conservation center paper bits, "if there's the money to estimates thatmore damage is taking blotting paper, and paper towels. began paying for itself less than 18 pay for it." ---""------But few libraries and historical No, I haven't flipped. I societies which collect perishable ma­ thought that perhaps these terial have the endowments or HOUSE & GARDEN, MAY. 197~ BYSANDRAODDO wealthy patrons to finance proper two articles might give us an idea on how to handle preservation of their collections. So "'Vash your hands," your first rising levels of air pollution, espe­ Mr. Cunha has pioneered what may our rolls, or might en­ te~cher be a more practical means of docu­ grade probably 'said, "be­ cially sulphur dioxide, to make courage some AMICAn to do fore you pick up a book. Don't faster deterioration a librarian's ment preservation for these small some much-needed research. nonprofit organizations. dog-ear the pages. Don't leave it nightmare. -- Ginny lying open on its face-that breaks The worst villain is acidity. Sul­ its hack. Don't eat over it and scat­ phur dioxide in the air is absorbed ter crumbs. And if you must make and slowly oxidizes into destruc­ notes, for pity's sake, use a pencil." tive sulphuric acid. Or there are months after it opened its doors. Mr. paperto remove the bacon grease but Things were silnple in those natural acids in leather, in the Cunha sees a center like his in every leave the print. "That was a rela­ days. First grade readers are not wood pulp that eventually he­ part of the United States in the future. tively simple recovery job," he said. generally concerned with first edi­ comes paper, in some cloth, even "These books here," he said, point­ • Then there was the tale of the tions or incunabula or ephemera­ in some inks, that oxidize over the ing to a few discolored leather vol­ whaling journal. Stolen from its glass or just plain books as books, seri­ years and gradually eat away the umes on the shelf, "came over on the viewing case in a New England Mayflower." His job in restoring museum, it was used in perpetrating ous objects bound in solemn brown material of the book. Publishers them is rather routine: to take them a fake bomb threat at an airport. leather and freighted with the are very conscious of the problem: apart, wash out the paper stains, Police received a call reporting that world's knowledge, frivolous pret­ "At any respectable level, paper chemically treat the acid deteriora­ a bomb had been placed at the ty things in print paper, or cloth and bindings are now acid-free," tion, and rebind the books. airport. Rushing to the scene, they and pasteboard pleasing to the says Harry Ford, book designer for But other documents offer unique found a paper bag containing what touch, wrapped around some lit­ Atheneum. "But the 19th century!" challenges: could have been explosives - it was erary artist's lifework. There comes says Morgan Library conservator •A young couple In Worcester, actually the thick whaling journal. a time in every reader's life, per­ Deborah Evetts, and shudders. In­ Mass., bought an old home and, while The bomb squad placed the package haps following addiction to old creasing literacy in the 19th cen­ restoring it, discovered wads of 18th­ next to an explosive charge in the book shops and library fairs, when tury created a demand for mass century correspondence wedged be­ center of a runway and blew itup. he needs a more special knowledge production of books, and new tech­ tween the floorboards. .Mr. Cunha Later a plastic bag of paper bits restored a couple of letters for them; arrived at the conservation center. of the care and keeping of fine niques did away with rag content, then he taught them how to preserve With tedious effort, the manuscript books. which in preceding centuries had the rest themselves. was pieced back together - the Properly cared for, books are kept book paper durable and rela­ • In one book that arrived at the finished product looking just as it probably as long-lived as any of tively nonacid. Faster processing conservation center, some pages had always had, except for a star-shaped man's other paraphernalia. Baby­ left acids in the new wood-pulp been damaged by a strip of \D'lcooked hole directly through its center. lonian clay tablets have an obvious paper-with the result that many bacon which was used as a bookmark. Fortunately, a photocopy of the chance at immortality, but even books printed after 1850 or so now Mr. Cunha's task was to treat the book had been made earlier. books in their contemporary form crumble in our fingers as we tunl -pages sewn up together-can last, the pages. say, a thousand years. There are Modem books have speCial neu­ HOUJ-to books that old in several rare-book tralizing treatments, even protec­ collections. Today, however, books tive coatings, but acid cannot be take care of have enenlies more omnipresent entirely avoided. There are, how­ aDd repair than ever before in history. Heat, ever, a few Simple things you can light, dampness, and dirt, always do to slow the aging process down b oolas -) dangerous, have combined with conSiderably. THE AMICA BULLETIN JULY/AUGUST, 1975 PA~E 125

erase~s is not the criteria if the book is rare Magic-Rub are good for Goodway.tokeepfavoritebooks or if it is \velJ loved. Value can he stubbonl spots. All of these prod­ determined by submitting th(· ucts have been tested and leave SU:nlight is fairly speedy death for Horton has tested both One-\Vipe book to a dealer. The art auction no harmful residues-and if none any binding, cloth as well as leath­ and Endust, as she has tested all hou~e of Sotheby Parkc-B(·l"1let. gf them work, the stain is a prob­ er. Keep your books out of the sun. the products mentioned in this 980 ~ladison Ave., New York, N.Y. lem for a professional. Fluorescent light workS alIDost like article; neither leaves harmful resi­ 10021, will also appraise hooks. Dirt on the outside of cloth or sunlight: avoid it in the library. dues. The gold 011 sOlne top page There is usua]]y a fee. Sentiment. paper-bound books does not yield it Sudden changes in temperature 'edges, incidentally. is there to pre­ of course, is something else. Book easily. Erasing sometimes works. and humidity, or extremes of ei­ vent dust from sifting into book. So does soap and water-which is ther, are very bad for books. Don't ljnderSf say that family bibles not recommended except for wa­ put them where they will beSUl): are the most frequently rebound terproof bindings since it removes Leatherhlnellngs books. to ~ Really ~ need speeialeare sizing and color and may remove !:bIe ks shouCh8nf be kept m Once you have decided a book or fill in gold stamping. Commer­ glazed bookcases, since glass slows Leather bindings need special needs work, there are certain cial book cleaners work some­ down the speed of temperature care. They should be oiled occa­ things that should be attempted times. Water should never be used and humidity changes and helps sionally to keep the leather frool only by a trained book binder. on leather bindin~s. Saddle soap. But, if you are dextrous, here are keep out dust and polluted air. drying out and cracking. Use neat's barely damp, may work. repairs you can make yourself: K~ books away from heat, foot oil (a traditional leather dress­ Leather bindings should be Tom pages: Never mend with whi speedS the oxidation Of Ing made frool calves' feet) as a given a protective treatment of ~()­ acids. "Air conditioning is as good leather dressing or the forolula cellophane or masking tape. tassium lactate as a first essentIal Eventually it will dry, crack, roll, for booleS as it is for people," says recommended by ~{rs. Horton: 60 step toward preserving them. The and stain the book. tape has bookbinder CarolYn Horton. percent neat's foot oil and 40 per.. If fonnula Mrs. Horton recommends been used, remove it with equal Particularly in cities, low book­ cent anhydrous lanolin (see sup­ is one by the British Museum Lab­ parts of toluene and hexane ap­ shelves are better than high ones, ply sources. page 156). oratory: 7 percent potassium lac­ plied to the reverse side of the since dirt and heat tend to rise and Test the oil on a small unobtru­ tate in distilled water with 0.25 page, testing first to make sure the collect at the tops of rooms, espe­ sive place first: SOlne leathers will percent paranitrophenol to fend solvent won't dissolve the ink. cially in the comers. not absorb oil evenly, some may off mold. Test it on an inside cor­ Then mend the tear with Denni­ Dust jackets are colorful and do discolor slightly, some may have ner, then pour the solution into a son's Transparent Mending Tape, help to keep boob clean, .~ut so~e become aged and powdery. (If heavy Hat dish and apply with a serrating the tape edges with pink­ are acid. A transparent Mylar leather has become so powdery piece of terry cloth (don't treat ing shears if the paper is thin. Or wrapper, which you can make that it cannot be restored by oiling suede or leather that has become tear a strip of Green's 105 Lens yourself, may be safer. alone, a spray coat of Krylon may powdery), patting it nn. Be gen­ Tissue to the shape you need, and It's a minor help to keep books help.) Pour the oil into a heavy erous but not sloppy, and pay paste it down with a wheat paste Hush with the front of the bOOk­ flat dish and apply it to the book attention to head and tail caps and like Schweitzer's No.6 applied to shelf. \vltich does away with the with a cloth pad or a Hat paint­ tum-ins on the spine. When the the ~-inch on each side of the tear. need to dust in front of the books brush. Ifthe binding includes cloth leather has absorbed the liquid Blot the excess. -and the wear and tear a dust or paper. protect it from the oil (don't let it dry in beads). stand Acid stains: Sometinles the pro­ cloth can cause to bindings. carefully, and do not the the book upright, slightly open. to oil tective tissue over a plate turns Don't let books lean on the shelf. tunled-in edges that come in con­ air-dry for 24 hours. Then oil it. It puts an uneven strain on the brown and transfers a stain to the Faded color: A full-s('ale color­ tact with the pages. An accidental picture. Either remove the tissue bindings and eventually the body ing job ~equires great skill, hut il spot can be removed immediately or place a barrier sheet of paper of the book will come loose. with cotton dampened with to­ little touch-up on heads. tails, and Dust has a cumulative effect, so like Pennalife treated with sizing worn edges can be very rejuv('llal luene or hexane. Apply the oil with between the tissue and adjacent keep your books clean. It's a lot one hand only. and hold the book ing. Apply Dr. Martin's Synl'hn' easier to keep dust from building pages. If acid from the binding. is matic Transparent Water Colors only with the clean haod. \Vhen staining the fly leaves, use bamer up than it is to deal with the IOllg­ all the oil has been ahsorbed and with cotton swabs. When the (·01.)J sheets. Bleaching or removing is dry, if heads and tails are fray term dalnage. the book feels dry, after about 48 stains is a job for a profeSSional. ing, strengthen them with a whi.h' hours give the hex>k a good polish­ Loose plates: Look to see h~w Basiccare'for glue like Elmer's or BOl'd~'n s. ing. Vellunl or tawed leather cured they were Originally fastened In. hnoks rubbed on with a fore6ngel'. 111('k with alum should not be oiled. If, as is usual, they were pasted to the loose threads in. Carolyn Horton's very useful Clean with an eraser. Since vel­ a text page along one edge, re­ Broken comers: If the (·()\'t'l'illg book. Cleaning and Preserving lum has a tendency to warp, keep paste them like this: lay the plate is worn through, you can separale' Bindillg,y ancl Related Material, it in a slipcase. face down on a sheet of clean the layers of the pasteboard witll has become an essential handbook paper. Cover it with another sheet, a thin sharp knife. wOl'k wlwal for librarians and others in charge leaving ~ of an inch exposed on Firstaid paste carefully between them. 111('11 of valuable books. In it she de­ the edge you want to paste. Brush for ailing books cover the comer with waxed pupt'r scrihes a technique for dusting on the paste, thinly. Remove the and squeeze it to work the paste us books that nliniInizes \vear and With all the care in the world, the covering sheet and insert the plate far between the layers as pnssihlt>. tear. If it's a once-over with the time may come when a book needs carefully into the book. Close the Wipe off the ex(.'ess paste and. if vacuum cleaner. use the round first aid. llow do you decide when book to make sure the plate is in the corner holds its shape. let if dusting brush. Run it gently over thatpoint has been reached? "Gen- straight, then slip waxed paper in air-dry, then color it. If it insists the spine and lOps of the books on . erally speaking. even repair de­ on each side to prevent damage on springing open, cover the {'or­ the shelf. stroys part of the value of a rare from any oozing glue, and weight ner again with waxed paper, pJac.'f· To do a thorough hand-dusting, book" savs ~fiss Evetts. But timely with a wrapped brick until it dries. ~ake each book from the shelf-by recol;diti~ning. even of minor pieces of cardboard on each side. Dirt: First, try to wipe it from Continued .ts sides, never by pulling at the problems, gives longer life to any the pages with a treated dustcloth. ~ soft top of the spine-and hold it book, according to ~Irs. Horton. If that doesn't work, try a wall­ firmly closed, slanting dOWll with The first probleln is to decide paper cleaner like Absorene, tak­ the spine up. Dust the pages care­ whether a book is worth working ing care to get all the crumbs out fully with a treated cloth, top first, on at all. Almost always, it's less of the book when you finish. If brushing away from the spine. expensive to replace the book than that doesn't work; try a cleaner Then dust the whole binding. Mrs. it is to recondition it. But expense called Opaline. Pink Pearl or PAGE 126 JULY/AUGUST, 1975 THE AMICA BULLETIN

~~Alr conditioningIsasgoodfor ...... It..forpeople" Home JOllmal for January /908 CARE AND REPAIR OF BOOKS continued and hold it shut with a Hunt clip apprentice with no school training until it is nearly dry. If the cover­ at all available in this country, ing is intact, think carefully before bookbinding is now on the up­ you cut it open. Unless you are swing, in increasing demand as we very deft, it may lOOk worse after become increasingly aware of our you fix it. hardcovered books as things of Loose bindings: If the boards beauty in themselves and as in­ are Joose, tie the book up like a vestments. The Library of Con­ package with woven tape. It's a gress has recently set up its own 0- "110 temporary measure before even­ training program under Peter Wa­ tual rebinding. But if the book is ters, a well-known English con­ just a little loose in its casing, a servator. Book binding is even be­ common complaint, you can prob­ coming popular as a hand-craft ably fix it yourself if you are willing hobby, a skill to be exercised for to go to some trouble. Besides a personal pleasure. "A couple of knitting needle, waxed paper, and years ago 1 had to advertise for a white glue, you'll need a combi­ students," says Deborah Evetts. nation press, two boards, each with "Now there is a waiting list." a brass strip that projects about Paradoxically, the 1966 flood in I - .------. half an inch along one edge, that Florence, which nearly destroyed can be screwed together (brass the famous Biblioteca Nazionale I IN every city there is but one ; projections facing each other) on Centrale and twenty-six others, store where the PIANOLA either side of the book with four helped. Binders and conservators wing nuts. The Technical Library from all over the world exchanged and Pianola Piano are on sale. Service (Talas) has them. techniques and developed new When a customer enters any of the Stand the book upright. Move ones as they worked together to other stores and inquires: .. Do you it to cause the gap between the save the flood-damaged books. keep the Pianola?" the salesman is in body of the book and the case to The range of bindings now honor bound to reply: .. No, we do not." I available and the range of prices open. Dip the knitting needle into Of course, there is no law to prevent are enormous. You can get any­ the adhesive to just coat it, then his adding: "We keep the ..... thing from a sturdy business-like push the needle down into the gap­ Piano-player, which we claim is just covering from a firm that special­ ing hinge area and as far back as good," etc. But ordinary commer­ under the end papers as it will izes in rebinding library books, for cial fairness demands that he shall not reach-keeping spine and case about $10, to a custom-designed, permit the customer to buy some other spotlessly free from glue. When entirely handcrafted, authentically Piano-player under the mistaken im. you have applied glue from top to 15th-century binding for, say, a pression that it is the genuine Pianola. bottom of the hinge area, front and battered 15th-century illuminated hack, slip waxed paper between manuscript (painstakingly, unob­ We learn that there are some stores the end papers to protect them strusively cleaned, mended, de­ that are not so scrupulous as they from oozing glue, then slide the acidified) for upward of $1,000. should be in observing this principle. hook into the press until the brass A fine leather binding for an old Consequently, we are compelled to edi(es fit into the hinge grooves of book that needs a fair amount of advertise over and over again: the book. Tighten the screws even­ paperwork might commonly run ly, just enough to give a firm pres­ from $75 to $300 or so. That's ex­ There is BUT ONE sure. In about fifteen minutes pensive-but the heft of the re­ bound book in the hand, the slight open the book and check to see if PIANOLA, Made Only ! i(lue has oozed (if it has, remove resistance as the covers open, the the escess), then lay the book on feel of the leather grain, the faint by the Aeolian Company its side for a couple of hours, leav­ lingering scent of glue and old ing the wased papers in. Check paper, the sheer visual beauty of it If the word Pianola does not appear upon the fall-board of the instrument, again to make sure the spine is not is very satisfying to those who re­ act sensually to rare, old books.• it is nol a Pianola. The supremacy stuck to the body of the book (if of the Pianola and Pianola Piano is it is. work it loose with a blunt Soureesfor 10 universally recognized, that it il table knife, very gently). Leave 8upplle8 a conltant temptation to other Piano. the hook open to air-dry for awhile,. I'layers 10 operate under its prestige. The formulas for treating leather, then put it away. But the practice is not countenanced like all the other preparations. Any hook problem more compli­ by the best manufacturers and dealers. mentioned, is available from good cated than these should be taken bookbinders' supplies firms like: to a professional, who can reroove F \'ou are thinking 01 buying a Pianola or Pianola Technical Library Service (Talas) some stains, de-aCidify the paper, I Piano, the oaf..t war will be 10 write direcl 104 Fifth Avenue to UI for the name 0 our neare.. authorized hleach it if necessary, fix worn and agent. We will also lend you an interelt .. New York, N.Y. 10011 ing booklel on .. The Fa.cination of Penonalll, torn leaves Virtually inVisibly-and Producing Mu.ic,·· if you a.k for Catalog" C. ' provide a hrand-new binding, or a Gaylord Bros. Inc. custom-fitted bos indistinguishable Library Supplies The Aeolian Company from a hinding along the spine. 155 Gifford SI. A profession that was in the dol­ Syracuse, N.Y. 13201, I Aeolian Hall, 362 Filth Avenue, New York drums for awhile, handed on in or: 29 Aurora SI. --_._-- ~ ----._- - medieval manner from master to Stockton, Cal. 95201. THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 127

HOW ABOUT A TRUTH-IN-RECORDING MOVEMENT? by Andre Watts (as told to Jack Hiemenz), High Fidelity, June, 1974 contributed by Nick Jarrett This may sound overly Idealistic, but I can't help wou Id II ke. wishing that al I recordings were I.ve performances. Whtch brings me back to that Hofmann recording of the After al I, why do people go to live concerts? Isn't RUbinstein Fourth Concerto. I never heard Hofmann In there something special about them, wrong notes and al I? person, of course; but I have heard al I the stories And doesn't that special kind of excitement--that about him--that he was willful, that If he appeared in sense of a publ ic event--come across on recordings made concert and didn't like what was going on he might slam at live concerts? It certainly does on the ones I have: his fist down in annoyance. Anyway, In this performance, on Josef Hofmann's famous fiftieth-anniversary album, in one senses that reckless quality: He's going for broke. that concert where he plays the Rubinstein 0 minor It's this qual ity that gets so easily lost In today's Concerto with Fritz Reiner conducting, and on that mar­ recordings. The whole notion of going for broke Implies velous pirate recording of Mlchelangeli doing the Grleg finality; one doesn't do It over and over. So when you're concerto with the Madrid Orchestra under Fruhbeck de do Ing a record, Ing, you might go a I lout, know Ing that you Burgos. Michelangell makes It a new piece. When he comes can do it again--but it's not quite the same kind of to that first cadenza, there's a huge excitement to It feeling, because you really don't want to do it again. al'--'arge'y due, I feel, to the fact that It's an You'd rather avoid that, and so you take a certain amount actual live performance, that you can sense what the of caution. audience is feeling at that moment. In addition to live recordings, I have an extensive Sure, there are bloopers, but they add to the'plea­ collection of early piano or plano rol I reissue albums. sure--not In the righteous sense of "ha-ha, he missed When I've been working very hard and want to relax, 1'1 I It!" but by adding a human touch to al I that Ironclad put on one of these. Sometimes I do It for nostalgic music-making. It's an aspect I'd like to hear more of on enjoyment, sometimes to revel In al I that virtuosity, commercial recordings. If this is totally unfeasible, sometimes just to be tickled by the eccentricities and then at least I'd like to know that there was no splic­ sill iness one sometimes hears. 1ng within movements. If you are taping two performances I'm very fond of Josef Lhevinne and what one hears on -- of, say, the Chop In "funera I march" Sonata, one in New the RCA reissue of his old discs. Of course, every time York and one in Chicago, and if you feel that your first you talk about Josef Lhevlnne records you come around to movement ·real Iy did go better in Chicago, then certainly his performance of the Schulz-Evler transcription of The It would be okay to combine It with the rest of the New Blue Danube. It's so clean, so scintillating, such an York performance--especial Iy In the case of this sonata, elegant piece of schmaltz. He plays so many notes-­ where the first movement is such a thing in and of it­ especially those octaves near the end. But 1'1 I tel I you self. But then the album should clearly indicate that something amusing. If you listen carefully at that point, you've done this. you'll notice that he indulges In a Iittle "thinning That way, you could 8vold a number of the problems out"--i.e., he omits that first octave in order to work Inherent In making a studio recording. One's attitude up that velocity! I also love the way he gal lops through In entering the recording studio is very different from the Schumann Toccata and the Chopin B flat minor Prelude. one's attitude In appearing in a public concert. There's The first time I heard him doing that prelude, I nearly a "musical" tension one feels In both cases, and that's rol led around laughing. I~ was like seeing a film of a good thing. But In the studio, there's a further kind some very involved acrobatics, only with the film of tension that I feel Is detrimental. Even though you speeded up! I don't find much In Lhevlnne by way of can do retakes and make spl Ices In the studio, the pres­ profound musicianship, but for sheer technique he's sure not to play the wrong notes Is much stronger there. stunning. For example, I recently recorded the Tchalkovsky One record that surprised me was that of Harold Bauer concerto with Bernstein and the New York Philharmonic. playing the Saint-Saens G minor Concerto. It began I Ike First, though, we played It In concert. The performance any other, with those two solo pages for the plano, but went pretty wei I--wlth not too many wrong notes, with when it came time for the orChestra's entry, that too the octaves pretty clean--and there was always that com­ was played on the piano! What I had purchased, without forting feeling that even If I did muff something, It realizing it, was one of those albums made from old would al I be going by so fast the audience would scarce­ piano rol Is, on the Archive ot-Plano Music series, and ly notice It. But whe~ we went into the studio, I didn't on this one the pianist happened to be taking on an have that defense. ,Instead, I was feel ing, "Jeez, if I entire concerto. Talk about a tour de force! blow this octave passage, we've got to do it again. Then Also on that series is Percy Grainger, playing his we'll run Into overtime with the orchestra." own muslc--things I ike In a Country Garden and settings There's the whole Intimidating Idea of having al I of British and Irish folk music. Grainger, you might those guys around you while you have to stop and ask for remember, was the pianist for whom Grieg wrote his , retake. It can be pretty terrible, especially If you piano concerto. Too bad he never recorded It, especially lave to start again and agaIn. It can get you very up- as this album shows him to have been a marvelous pianist. --~tlght. How Is somebody supposed to play expansive music As for the music Itself, I find It charming. What a pity when he realizes he has a time limit? How can he com­ we don't hear It played today. If I had the time, I'd fortably sit there and take his time making beautiful learn some of the pieces (they aren't as easy as you long phrases? Under those conditions, the record is might think) and make a recording of them. bound to come out a little differently from what one I also enjoy the Hofmann album In that series. One PAGE 128 JULY/AUGUST, 1975 THE AMICA BULLETIN

of the pieces on it is something I've done recently-­ When somebody dies or retires, criticism tends to Beethoven's Op. 129 Rondo, Rage Over a Lost Penny. Once ease up a I itt/e. You don't find people tearing apart again, I am impressed by the speed at which Hofmann WI II iam Kapel I records or Dlnu Llpattl records. People takes it. Also, I appreciate the special character he go out of their way, in fact, not to gripe about Llpat­ gives to it: He really manages to suggest some guy tl's performance of the Bach First Partita, which hap­ flipping out while looking around for this coin. pens to be one of the most heavily pedaled jobs you'l I Hofmann also plays The Ruins of Athems, and it's ever hear. It's beautiful and I like it, but I think Interesting to compare his interpretation with Rach­ it's wrong nonetheless. On the other hand, there's maninoff's. Hofmann plays It much faster, much more nothing wrong in the way he did Chopin. The waltzes cl ipped, whereas Rachmaninoff makes it something rather have just the right amount of salon character, just the sinister. There's the wei I-known Rachmaninoff bass with right degree of elegance. Each of them was treated as Its menacing quality, and he ends the piece on a dimin­ an Important musical construction--that was Llpattl's uendo so that It dies away. way In everthing. And I've never heard anything so light There was an Individual stamp to everything that or fine as the way he handled the scherzo In the Chopin Rachmaninoff did, but one performance I especially Third Sonata. The only performance that comes close is cherish Is his Llszt Rhapsody No.2, where he put in Kape II's. his own cadenza. Suddenly, In the middle of Llszt, you As you see, 1' m a piano man even in my off-hours. The have al I this Rachmaninoff! Can you imagine what would only opera I know really wei I is Fidelio. As a kid I had happen today if some pianist dared to insert his own the Furtwangler recording, and I used to take It with me cadenzas Into Liszt? Look at all the hue and cry that to Europe when I toured. My mother, who accompanied me, arose when Glenn Gould did it in Beethoven! wasn't so rabid. I remember that In Israel, when we were As for less outlandish musicians, I have a fair staying in adjoining rooms, I'd be playing It over and number of albums by Solomon. Years back, when I met over before every concert, and It would drive my mother Platigorsky, he gave me a set of the Beethoven cello/ up the wal I. The Leonore on that set was Martha Modi, piano sonatas with himself and Solomon, so I have a who doesn't seem to rate very highly among opera cogno­ personal fondness for that set. The thing about Solomon, scenti. But I was crazy about her singing. I would put though, was that his was--how shal II say it--such an on the "0 namenlose Freude" duet between her and Wind­ ethical kind of music-making. Occasionally, it would gassen, and it would prime me for the concert. With al I seem a little dry, but you always felt that you under­ that heroism echoing in my head, I was ready to face stood why he was fol lowing a particular course. You anything! never lost track of his logic.

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SEQUEL TO tors of the juke box and Muzak took over. Compositions and performances were mass-distributed without fair re­ "WERE PIANO ROLLS WORTHWHILE?" numeration to the composers and artists involved. BY THOMAS E. KIMBLE~ BALDWIN PIANO & ORGAN CO. Musicians became the victims of technology. Examples of the attitudes created by this situation abound in Mr. Art Faner's excellent article in the April, Bauer~s book, as well as in such examples as this ra­ 1975 AMICA Bulletin deals with a subject which is of tionale which appears in Artur Schnabel's '''My Life and great interest to me, and I therefore want to share the Music" (Longmans Press) : information which I have gathered. Little was said • ••I felt that recordings are against the very about piano rolls by artists, who no doubt accepted the nature of performance, for the nature of perform­ medium without much questioning, just as recording art­ ists do today. ance is to happen but once, to be absolutely ephemeral and unrepeatable. I do not think there Art's article analyzed Harold Bauer's writings on could ever have been two performances of the same the subject, which I would like to comment on briefly. piece by the same person which were absolutely Bauer's ideas regarding the means of expression avail­ able to the artist (as opposed to the mechanical alike. player) were indeed strange: And, of course, there is John Phillip Sousa's famous ••• tonal variety (i.e., difference in quality of ranting about phonographic reproductions of band and piano tone) is obtainable solely through control vocal music: and combination of the percussive sounds which re­ sult from the tapping of the finger on the key, the What will become of the national chest? tapping of the key on its base, and the tapping of Will it not shrink? the hammer on the string. Since the mechanical Were I an artist, the most likely source of Depro­ player uses but one of these three factors--namely, ducing piano frustration I would have encountered would the tapping of the hammer against the string--it have been the untuned, unregulated, low-grade pianos in follows that the human hand, which has all three peoples' homes. Unfortunately, a large percentage of percussive noises at its command, can vary sound the reproducing mechanisms were installed in pianos which quality in a manner which is totally denied to which were far less than best, simply to meet economic the machine. exigencies. Combine this with the typical lack of main­ Contrary to his ideas, the mechanical (grand) tainance of these instruments, and a frustrating trav­ player produced all of these noises except for the esty of the original performance would be the result. tapping of finger against key. Furthermore, makers of There was never a plethora of Mason & Hamlin Ampicos, fine pianos have always fought to eliminate the knocks Baldwin Weltes, or Steinway Duo-Arts, let alone well and clunks that Bauer referred to. Even in his day (and maintained ones. Josef Lhevinne supposedly hated to en­ on his instruments> such noises were primarily audible counter his piano-roll performances in a home, and I only to the performer. There is nothing musical about a speculate that these were the reasons why. key bottoming with a thUnk, or a hammer hitting a string Rachmaninoff liked piano rolls,· as well-evidenced with a clunk. If the reader cares to hear how success­ by the high quality of his many Ampico performances. In fully such mechanical flaws have been eliminated from fact, I know of no other piano roll artist whose output the piano, I recommend listening to Columbia/Odyssey was so consistently good and such an obvious labor of record number 3216-0334, which is a performance by duo­ love. On occasion, I have played examples of Rachmani­ pianists Gold and Fizdale on two Baldwin 50-10 concert noff's rolls for professional musicians who personally grands. (A certain small amount of noise, essential to heard him perform. These musicians were all startled by the production of recognizable piano tone, will always the subtlety and accuracy of the reproductions, and occur during the initial contact between hammer and none questioned the technical veracity of these parti­ string. My statements refer to excessive noises.) cular recordings. These same competent and critical We can infer much about.Bauer's lack of friendli­ musicians, however, quickly branded some other piano ness toward mechanical reproduction in this statement: roll performances as mechanical tripe. We must realize that in terms of quality, the piano rolls of yesterday It is a grand thing to bring great art within are just like the phonograph records of today: A few the reach of all the people, but an uneasy suspi­ are good, a lot are bad. cion creeps in that popularization is dangerously Rachmaninoff commented to the directors of Ampico close to vulgarization. after auditing the master of his G-Minor Prelude: I am delighted when the elevator boy tells me that he has enjoyed my recital the previous evening;, Gentlemen, I have just heard myself play. I am horrified when he proceeds to whistle the Arth~ Loesser, early Anipico artists and author of melody of a Beethoven sonata in jazz rhythm and, the fine and voluminous book "Men~ Women, and Pianos" when I hear the strains of Isolde's Liebestod com-O (Simon & Schuster, 1954) had much to say about repro­ ing from the radio in a busy grocery store, I ask ducing pianos, a small part of which is related here: myself (just as any old fogey might ask himself) what we are coming to, and whether the magic of On February 3, 1920, the American Piano Co. put on a large demonstration at Carnegie Hall, New York, music may not be in jeopardy through casting it into unsuitable surroundings. before a numerous invited audience. Five eminent pianists--Artur Rubinstein, Leopold Godowsky, Benno In the early part of this century, a react~on Moiseiwitsch, Leo Ornstein, and Mischa Levitzki-­ against mechanically reproduced music was common among each played one or two pieces, interspersed with musicians, who watched their jobs disappear as progeni- renditions .by the Ampico. For the final number, the PAGE 130 JULY/AUGUST, 1975 THE AMICA BULLETIN

program merely announced that Levitzki was to play cal artist. But all such inaccuracies and imperfec­ Liszt's Hungarian Rhapsody No.6. The pianist tions can be corrected and smoothed out in detail in began it vigorously, arrived at the hold that ends the record in accordance with the intention as the first section, and extended his hands expect­ clearly shown in its broad outline but not faith­ antly over the keys before the beginning of the fully executed by the player's muscles. Paradoxical following slower episode. The music came forth as it may appear it is not at all impossible that gently--but Levitzki removed his hands and the great pianistic artists will soon be taking "re­ sounds went on without him. The Ampico had taken touched" records of their own playing as models to up where the artist stopped, and just as skilfully! be studied and approximated as nearly as possible. And we have available the evaluation of a scientist. Finally, we relate Benno Moiseiwitsch's succinct This excerpt is from John Redfield's "Music--A Science and positive attitude which appears in Ord-Hume's and an Art" (Tudor Co., 1935): "Player-Piano" (Barnes Press, 1970): The startling advances now being made in the re­ A few months before his death, the great pianist production of artistic piano playing is rapidly Moiseiwitsch was discussing his recordings for revolutionizing artistic technique. Reproducing Ampico with a BBC interviewer in London, relates . pianos are today able to present interpretations John Farmer. One of the pleasures of working with which the recording artists themselves recognize as the company, he said, was that the editing staff superior to the renditions from which the re~ords with whom the pianist was expected to co-operate are made. One of the greatest pianists of the closely in the final stages of correction of the present age, after listening to a record made from master recording, were not only engineers with his own playing, despairingly exclaimed: 'Why can't complete command of their craft but also consummate I play that way!" The reason he could not "play musicians. When asked if he considered that the that way" is that human muscles do not always follow Ampico recording system and the playback piano could the promptings of the brain directing them, and the adequately and faithfully realize his artistic result is inaccurate as compared with the intention. intentions, he paused a while and then replied, No one realizes the truth of this more than the musi- , Absolutely! '

I DON'T RECALL ever having read a de­ Advice Via Tape scription for this in nlY college psychology These marvelous. inexpensive tape Ina· books, but surely there must be a title for a chines and cassettes have really open".1 significant human trait-that trait being that great new horizons for putting intoprac we all love to give advice to .the other fel­ by HARJTE:l l Rt)EH1~ tice lhe principle espoused here, ulld it\ low. (Of course sometimes when it comes especially true in the case of musk. Hen' t PTAfI~lf"'Y, 1974 to us unsolicited, it generally isn't wel­ was talking, in complete confidence. with il comed!) perfect stranger, and providing hint with the because it strengthened my position when a It has lonl! seemed to me to be very actnal sounds needed to make a diagl,nsis final decision had to be made ... people at desirable to take advantage of this peculiar something quite impossible through \\'ritln!.~ least felt they had been, consulted, even human characteristic, and many times it has alone. though the end result may not necessarily paid me dividends Ito seek out persons who On his first tape back to me he said ". have been the way they would have done it. obviously must know a great- deal more hy the way, you have a loose hammer f'n F, about a given subject or problem then I. It works with strangers, too. On numer­ two octaves above middle C", and l'l'r.' and to a~k their advice on what to do or ous occasions I have approached people who enough, I went to the piano, tapped that how to handle a given situation. didn't know me at all, but who were al­ note, and heard an ever-so-slight diel : ,h:tt It is surprising how helpful ,this has been together willing to share their knowledge had gone completely un-noticed hefort" on numerous occasions: yet it is also sur­ with me when it became clear that their help I'm happy to say that we are continllin~ prising how few people are willing to take would be welcomed and appreciated. OUf dialogue through tapes. I'm gaining I he advantage of this wish on the part of most Diplomacy helps, of course, in all of this, satisfaction of having better-sounding In­ people to share their knowledge with others and one should have a fuJI measure of it struments: Henry is (hopefuny) gaining fho and to try to he of help to their fellow man. when asking for advice. personal satisfaction of helping someone 10 The trick. I ~uppose. is to know wh~n you One wants to make sure that sincerity in get nluch more from his hobby activitic~ are in a position where advice might be the request is evident; it's well to remember than otherwise would he possible. And I'd helpful. to know those persons who are in the old adage that "'flattery will get you no­ like to think we're good "tape fricnJ~'" the best position Ito give it, and then to where!" Conversely, one nlight say that an I\lost of us can talk a Jot easier than ". ,-' be able to discriminate between what is honest request for advice is the sinceresT can write.- and all· of us can operate tilr .." t~ good and had in what they have to say. form of flattery. because it suggests ,the recorders; so I commend to yOll the thoughl And of course. one must be sure that the one asked that he is indeed a knowledge­ of taking full advantage of this m0dcl'Il person giving the information has no vested ahle person-and we all like to think that! technology for tht purpose of gaining in·· interest to lead you astray, or .jf he do~s, A ca~e in point having nothing to do with formation fronl your fellow man .-- milch that you clearly understand where his in­ business matters, but appropriate to this of which is right out there, sin1ply for tilt' terests lie. magazine, occured recently when I was asking. stumpeJ on how to put a nlcchanical in­ In this fascinating flt"ld of music. Ch ...·11P It Works Everywhere strunlcnt into proper regulation. recording systems have opened up ca... y ,\ :I"~; I've found that this works both up and Correspondence with some acquaintances for us to get all sorts of hl"lp on such fhing~ ~/ down organizational lines, as well as in put me in touch with Henry Emerson, a as intonation which simply cannot be tran,,­ situations where only nlY personal interest semi-retired piano technician of the '·C'lcl mittcd any other way than ~y hearing, is involved. When [ had supervisory re­ school"' in San Francisco. He offered to help M\' ohservations arc nnthinQ nc\". 01'" sponsibilities in a public institution, it was if I would be willing to correspond via tape of n{y favorite quotation~ is fr~m Sf,lrill II' fre~ucnt1y helpful to ask subordinates as recordings. By a mutual exchange of taped IraNa. written in 1564 hy Francesco l'1I1':­ well as superiors just how they would han­ information the prohlem was quickly solved: ciardini: "Advice is 'es~ necess:Jn' 1n tht' dle a given situation-not only from the (I had heen trying to Sl)ivc this prohlclll wise than to fool~. but the wise derivl' 111"'\ standpoint of gaining their ideas, but also mysel t tor months.). advantage from it." • ( from The Aeolian, International Tribute WeeKEdition, May, 1923 contributed by Douglas Pederson ~ ~ ..... n THE DECORATIONS OF HONOR CONGRATULATIONS FRO~1DISTINGUISHED SOURCES > ~ LE1'T ERS, cables alld le/cgralns front all over Ille 'It orld-11l0re tlran jit'e hUlidred ill c: ' t""' all--'"d'cre reeeit'cd by r. TrclIlahzc ° o-&i'ingto their great length, it 'UJouldbc il1ZPossib/e t""' JI rn et1en tire 'UJ!l0111 11leSsages'U,'crc Ittr';"Ci,tc" e--i to list na111esof Ihose frol1l Ihese recei"ed. The following, ..... HE Pope, through the cont'ey SOllIeidea of lheir genera.l chara.cter: :z: Papal Secretary of State~Cardinal Gas­ FrOlll RAOCL :\IEXOCAL, Front i\.RTIIUR BRISBANE pari, ''''3S one of the fornler Presidellt of Cuba: first to tender con­ HI have your note and I congratulate "Please accept my congratulati()lls on you, and more especially the public, on gratulations to :\Ir. the occasion of the tribute your associates your .recent anni\·er~ary.\'''hat this TrClTIaine and con­ arc offering you "ohich you highly deserve fcrred on hiln the sig­ \yorId n(lpds is I1lore hannonv, less discord, for your ,vork in the benefit of the I1lusical \\·ar and gC'neral brutalityo . nal honor of appoint- world." nlent as a Cllct'tl/ier of the Order of St. "The "'ork that you havc done to Gregory Ille Grfat. 1'he cablegram froIn Fronz J. B. \TICINI 13l:RGOS, spread good I1lusic, and dcYclop under­ Cardinal Gaspari follo\vs: President of the DOllziII ican Repub!ic: standing of it, has a national value that "lVly enthusiastic congratulations and cannot possibly be exaggerated 0" "On the occasion. of )'our twenty-fifth sincere recognition for the extraordinary annit'ersary as president of The A eolia Jl contribution ,,·hich during the t,,·enty­ Front SHER:\IAN CLAY AND CO. C0111pallY, pur;:eyor to the Papal Palace, five years of your presidency of the.' the IIoly Fatlzer sends you congratulations San Francisco, Califonlia Aeolian COI1lpany you have gi,·cn to the c... with the papal benediction. I /za1.te also the c: education and culture of I11usical art." ",,\cccpt our Inost sincere and heartfelt t""' pleasure of £lljor,111illgyOlt of your appoint­ ~ congratulations upon your t\\·enty-fifth ...... FrOtll JOSEF HOF:\L\N~: l11ellt as C'hez'a1ier~"t.Gregoire Ie Grand." anniversary as President of the great E: "\V'clcoJne opportunity offered by your G") ..\eolian COlnpanyo l'he entire l11usical c: Other decorations received bv l\lr. Tre­ anniversary to express :-,incere personal en ,,·orid is the recipient of untold bl)netit~ e--i Iuaine include that of the Orde; of Lt'opold regard and great adnliration for career due to your genius \\Ohich has enabled us ...... frotTI the Court of Belgitun and that of devoted to advancCInent of nlusical ap­ ~ to bring nlusic into the honles of all the ...... the Legion of 110"or, conferred by the preciation and culture." VI French Go\"crnJuent in rccognz'tiol. of I'he people ° \ '" e sincerely trust that "oe \\"ill Acoliau Conlpany's distinguished scn,'';ces to Front CECILE CHA:\IIXADE: have the pleasure of tcleg-raphing you con­ tfle art of 11lllsic. H I desire to offer felicitations on your gratulations on your fiftieth anniversary. " t\\yenty-fifth anniversary. Heartiest good wishcs." Other 11leSsagesslrou.'illg the high regard ill Front SIR HENRY J. ''''000: which J[ r. Trclizailzc is held in the educational "1\1y very sincere and cordial congratu­ 'u.'orld,'U.'erereceic:edfro 111·: lations on such devoted service to cause of Sir I-Iugh ..-\Hen, Principal Royal College music. ~Iarit long continue." of ~lfusic,London, Eug/and .. Sir ..\lexanuer STEI~\'·AY Front FREDERICK T. Canlpbell :\IacI~enzie.Principal Royal "Upon the occasion of your l\\"enty-. ..4cade1ny of JIusic, London, Eng/anti; fifth <}nnivcr~aryas I>resident of the ..-\eol­ Professors .\Ifred Cortot and Isidore ian COJnpany it afford~nle great pleasure Philipp of the Paris Consen'alory,o Landon to offer to you the felicitations and g-ood Ronald, Principal Guildhall Srlloo[ of ..llllSic, wishes of I1lvself and of the house of Londoll, England; Sylvain Dupuis, Direetfur Stein,,·ay and Sons and I hope and trust Royal COllsfrt'a/oirl'. Liege, Bt'[giztl1!,oPercy that you Inay be privileged to continue Bricffello\\·, l'rillity College, Brisbane, for nlany years to conle to adillinister the ..4l1slralia,oProf. Ed\\"ard Dickin~on,Obt',li" tot' affairs of your great COIllpany \\·i th the C)> Coilt'gc, Ohio; }>rof. Chas. H. Farns\\·orth, rn sallIe signal ability and \\·i:o\dolll that have [rllitt('rsily~ (,'O/U111bia .Y'. r'.; Prof. \'·altcr ...... ~ been so clearly nlanifest Ilar~lard throughout the R. Spalding, l/llit'crsity,and luany ...... past quarter century." others. PAGE 132 JULY/AUGUST, 1975 THE AMICA BULLETIN

potentialities of a player mechanism, installed in pianos of the highest artistic grade, which will THE EARLY DAYS OF AMPICO--PART 111* absolutely reproduce the great masterpieces exactly BY RICHARD J. HOWE as played by the most r~nowned pianists and also be *Part I appeared in the January, 1972 Bulletin playable with the regular roll and expression de­ and Part II in the April, 1972 Bulletin vices, and wi th the fingers in the ordinary way." During a recent visit to the Library of Congress I JULY, 1911 was able to locate some material which sheds new light In the APC News on p. 17 there is a description of on the various trade names being used by the American the flexible expression control of the Flexotone Piano Company in the early teens. This material is Player. It mentions a four-section hammer rail which is located in a periodical named the Player Piano Journal controlled by three levers. Also included is a report (call letters ML/P694) which was published during that from the Chicago Convention which started on June 3, period. · The first issue of this magazine was published 1911: in May, 1911. "No single feature of the Chicago exhibit attracted The information reported here is arranged chrono­ so much attention as the Artigraphic player. Indeed logically and the dates refer to issues of Player Piano Journal. it was the artistic triumph of the convention. Dealers from all sections of the country visited MAY, 1911 our booth to inspect and hear this remarkable in­ An ad appears on p. 19 which uses the letters A-P-C strument, and all went away with the positive (American Piano Company). It mentions SS-note music conviction that what had heretofore seemed un­ rolls for all standard tracker players. It also mentions attainable had been attained." Flexotone rolls which are "designed especially for "For the benefit of those who did not attend the Flexotone Players and players equipped with the Flex­ convention, next month we will give you a detailed ible Expression Control." description of this remarkable player." JUNE, 1911 An ad on the back cover lists a number of players In this issue American introduced a paid adver­ made by American: tisement called APC (Amer~can Piano Control) News on p. 17. These ads carried a substantial amount of text The Flexotone Player Artigraphic Reproducing Player in the form of a newsletter.' This issue contained the following material: Pneumatic Player (deluxe type) Amer~can "After attending a piano recital by a truly great Electrelle (Can be installed in any piano) Pr~atone artist like Busoni, Paderewski, Saint Saens or Player Piano (The smallest SS-note player Bauer there is a lingering feeling of regret that in the world) such playing can be heard for only the fleeting AUGUST, 1911 hour; a deep seated desire that some means might be The APC News on p. 19 carr~ed a number of comments found to indelibly preserve the subtle beauties of on the Artigraphic Player: touch--the superb tonal coloring of the magnificent --function is to author~tatively reproduce the playing renditions of the great masters. That it is at of the great artists. It might be called a facsimile least possible to accomplish this challenges the reproduction of their playing for, as the artists credulity, yet, in presenting the Artigraphic play, their renditions are accurately recorded••• playing mechanism, we say without hesitation and, --specially prepared music rolls which bear the signi­ with a full appreciation of the artistic signifi­ ture of the performer. cance of our statement that this instrument --~lectric motor--Auto reroll and shutoff perfectly reproduces the exact playing of the --instrument is equipped with a standard SS-note track- greatest artists. Every delicate nuance, every er bar, and all the specially recorded rolls are cut subtle shading, every personal peculiarity of touch to this scale-.- and tone color are reproduced'exactly as the artist --equipped witn accent buttons. played at the time the roll was recorded. The --music for impromptu dances. library of rolls will be made up of the reproduc­ --this can be done with the Artigraphic player by tions of the perso~al playing of the most using standard SS-note rolls. distinguished artists of the time." There is also a description of the American Elec­ "Space limitations forbid a detailed description of trelle player which uses a roll holder which folds this marvellous instrument which will be publically under the keyboard. presented for the first time at the Chicago Conven­ SEPTEMBER, 1911 tion, but briefly it may be said that it is a pneu­ On p. 13 tnere is a description of the Flexotone matic player electrically propelled. In addition to symbols. the special Artigraphic rolls it will play all standard 88-note rolls, being equipped with perfect OCTOB~R, 1911 expression devices to be used as an ordinary On p. 15 there is a descr~ption of the Primatone ~/ player, and as this mechanism is installed in the player Which measures only four feet, four inches tall. regular type of upright player, the keyboard may be There is also some significant information on the played as usual. We consider this instrument to be Artigraphic rolls. The ad points out that there are the greatest achievement of all time in player two types of Art~graphic rolls: mechanisms." Spec~al Artigraphic rolls--to be used only in con­ junction with the ArtigraphIc player "Sa1esmen will be quick to appreciate the selling RegUlar ArtIgraphic rolls--usea on any standard' THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 133

88-note player. can be drawn: It·goes on to say that "The difference between 1. AS deduced 1n my January, ~972 artiCle, the Arti­ these Artigraphic rOlls and standard S8-note rol~s is graph1c Player was the f1rst commercial namt~ to be tlSC(l that they will be cut to the correct tempo." by Stoddard/American t'iano Company to describe their NOVEMBER, 1911 reproducing p1ano. As far as I can determine nelther On p. ~l in this issue, the APC News points out the name Artigraphic nor stoddard Ampico was ever that the Marshall & Wende~l has the following p~ayers trademarked. 'l'he "First use" date for the Ampico trDd~­ installed in it: mark was July 15, 1912. Tne Auto-Pneumatic--nas Soloist attacnment for 2. In the early teens, the American Piano Company cnanging vo~ume and Tempo Modulator for changing tempo. experimented witn the use of the A-P-C and APC (Amel:i­ can t'iano Control) trademarks to describe their player The Flexotone line. The "First use" dates on tnese two trademarks The Soloist Flexotone were August 31, 1910. AS a point ot interest, the "First The Amer1can Electrelle use" dates for Flexotone, Primatone, and RythmodiK w(.'Ire DECt:MBER, 1911 January 4, 1911; June 21, 1911; and January 5, 1912 The APC News contains the fOllowing announcement: respectively. "Very shortly we will have ~mportant announcements to 3. The regular Artigraphic rolls were apparently hand­ make in regard co tne Artigraphic ro~ls. These ro11s played ro~ls which later became the Rythmod1k Record will be cut to correct art~~t~c tempo, arter be~ng Music Ro~l. The special Artigraphic rolLS were appar­ specia1ly played Dy tne worla's greatest artists. These ently reproducing rolls which were later named Stoddard·' rol~s are dest~nea to exercise a far reaching influence Ampico and then Ampico Artigraphic (see Bulletin, MarCt, on the artiscic development of the player. watch for 1971, pp. 14-21). It: is difficult to explain why none our further announcements relating to them." of the ear~y Artigraphic rolls nave been dIscovered tC"1 JANUARY-MARCH, 1912 date. In these three issues there is no mention of the Art1graphic. The APC News was discontinued after the 4. It is interest1ng to note that the Arnpico Arti­ February issue. graphic lanels had the notation: "For Use Only on the Stoddard-Ampico and Artigraphic Players." This sug­ APRIL, 1912 gests that American was telling the owners of the On p. 20 there is a Rythmod1k ad listing the Apri~ Artigraphic Players that these rolls would work 'on releases which included "Good-bye," "Impromptu Op. 36," their pl.anos. On tne other hand, the Stoadard-Amp~co "A Dream," "The Rosary," etc. label said only "For Use Only on the Stoddard-Ampico Player," so this certainly aoes not strengthen the MAY, 19l2--MAY~19l3 In these issues there are a number of adS for previous conclus10n. There is one other p1ece of Rythmod1k rolls, tne FJ.exotone Soloist, etc. but no evidence. The July, 1916 roll catalog specifies: "l,lor further ment10n of tne Artigraphic player. the Ampico, Artigraphic and Stoddard-Ampico Player Pianos." This statement tends to confirm the existence JUNE, 1913 ot a sl.gnificant number of Artigraphic Players. On p. 15 ot this issue there 1S mention of tne Stodaara-Ampico in the fOJ.lowing context: 5. I have a copy of the "modest little booklet" mf'll­ in "A very modest little booklet reached us a few days tioned the June, 1913 issue. The cover reads: "STODDARD-AMPICO An Announcement." It discusses tIlt, ago bearing the message or the Stoddard-Ampico '~n Player. With~n its eight br~ef pages is told in install.at10n of the stoddard-Ampico the Knabe and most comprehensive an intellegible way tne wonders Haines Bros. upr1ght pianos. of tne Stoddard-Ampico--in two colors--fits in a 6. The "dainty brochure" of StOddard-Ampico rolls i!~ regular commercial enve10pe--played by Busoni, almost certainly the October, 1913 list or catalog GodowsKy, Bauer, Hoffman, Correno, Backhaus, mentioneu by Grand Duke Alexander of Russl.a in his d'Albert, Gr~eg, Paur, ~·riedheim, Brockway, Adler, letter of February 7, 1914 to the Knabe Co. in New Ar~an~, Mascagni, Scharwenka, d'Alixandrowska, York (see Bu1let1n, January, l~72, p. 8) .To the be!;! Gall~co, Volavy, Kmita, R~eman, Klemen, Schmitz, of my xnowledge, no copy of this catalog has been Arno, utz, Ellis, Fa~rman, Gerdts, Scnwartz, Bots­ found to date. It would provide much valuable infor­ ford, Gumble, Furth, Scerling, and others." mation on the early Ampico rolls.

OCTOBER, 1913 7. The reference to the fir~ appearance of the An11) I co On p. 15 there is mention of: "A da1nty brochure of in 1910 agrees witn the March 28, 1914 Knabe Stoddald­ Amer1can Piano Company entitled 'A Catalogue ot Record Ampico ad which states that "The Stoddard-Ampico was Music MUS1C Rolls for Use on the ~toddard Ampico Player first placed on sale tour years ago--" ,see Bulletin, P1ano. '" January, 1972, p. 8). MAY, 1914 The author would appreciate receiving any commc'llf r;, There is a reterence in this issue to the fact that corrections, etc. w1th respect to the above informa-' the Stoddard Ampico first appearea in 1910. tion. 1n the meantime, let's find a copy of the Octol:"Ct MAY, 1915 1913 Stoddard Ampico catalog. Pe_rhaps the other For those of you who like such things, on p. 8 tnere information will spur some addit10nal research on t-hfl is a cartoon of a tnree-wheeled grand "pianomobile" "Early lJays of AmP1CO." which appeared in Life {a predecessor of Life Magazine?) The assistance of Vernon Brown in piecing this CONCLUSIONS: material together is acknowledged with apprecJ.aticl1l. From the above information tue following conclus10ns • PAGE 134 JULY/AUGUST, 1975 THE AMICA BULLETIN

Seated One Day at th'e Pianola ..., .nrtlt' f71r.lm~G CALENDAR, SUNDAY, AUGUST 8, 1'71 CONTRIBUTED BY HAROLD POWELL BY ALBERT GOLDBERG The same year this instrument went on the mark­ et, a Cylindrichord was put out by an inventor named Courcell, differing from its rival in that.it • Eover since the advent of LP recording there have was evidently a separate structure that could be been frequent efforts to transfer to discs the impos­ wheeled up to the piano. A set of mechanical fingers ing library of player piano rolls cut by famous pia­ struck the keys-an obvious precursor of Edwin nIsts and composers-even some piano-playing con­ Welte's 20th century Vorsetzer. ductors tried their luck at it-during the first quar­ The first pneumatic player, in which a perforated ter of the 20th century. paper roll moved over a series of slots to admit air to Mechanical reproducing instruments are by no opera~e the device, was patented by one Monsieur means as modern as might be imagin,ed. A barrel or· Fourtneaux of Paris in 1863. He called it a Pianista gan.. operated by a cylinder with protruding pins and it" too, was a.n independent, crank-operated ap: that tweaked the tuned teeth of a metal comb, much paratus with artificial fingers to manipulate the key­ on the order of the still ubiquitous music box, ap­ board.. peared in Holland as early as the 15th century.. By A pedal-operated cabinet-type player that permit­ the end of the 16th century it had attained a fairly t~ the home operator to impose his own "expres­ high neg-ree of proficiency, and in 1593 Queen Eli­ ston" on the music was patented by the Aeolian Co. zabeth I of England ordered an elaborate model to of New York in 1900. The importance of this device present to the Sultan of Turkey as a sly bribe to pro­ was not .in its ~cc0':Ilplishmentsbut in the inspired mote his interest in her Company of Merchants. The name WIth WhICh It was christened-the Pianola rnil.chine not only struck the hours but was automat­ The name soon caught on to an extent that it becam~ ically set to play several pieces four times in every th.egeneric title for the whole species and to this day 24 hours. It also was equipped with keys that per­ still serves that purpose. By 1914 42 concerns'were mitted it to be played by hand. manufacturing player pianos ~nder such, trade Barrel organs known as "musical clocks" .became names as Amphion, Autopiano, Playotone, Manualo, common in the 18th century. Handel, Haydn and Mo;>;art were all sufficiently impressed with their possibilities to write music to be transcribed to their cylinders. . The most famous such contraption, of course, was the enormous Panharmonicon constructed by Jo­ hann Nepomuk Maelzel, the inventor of the metro­ nome, and the friend of Beethoven who supplied him with monstrous ear trumpets to alleviate his deafness. To display the full orchestral resources of his Panharmonicon, Maelzel mapped out in detail the plan of a composition designed to commemorate Wellington's recent victory over Napoleon at the Battle of Vitoria. The bait he held out to Beethoven to compose such a work was a trip to England, where his piece would be played on the Panharmo­ nicon. After Beethoven had composed his battle sympho­ ny, "Wellington's -Victory," Maelzel came up with a better idea: If Beethoven would also orchestrate the piece and have it first performed by live musicians it would attract more attention when it was finally played on the Parharmonicon. Accordingly Beethov­ en obligingly orchestrated "Wellington's Victory" and it was performed at the famous concert of his compositions in Vienna on Dec. 8, 1813, attracting far more attention than the first performance of the Seventh Symphony.

Set of Mechanical Fingers proyid~ It was inevitable that the barrel and pin mecha­ Pedal-operated instrument music in the parlor. nism should eventually be applied to the piano. One of the earliest examples was a "self-acting piano­ Euphona, Symphonola, Harmonola and the like. forte" produced in 1825 by the noted London firm But as Arthur Loesser observes in "Men, Women of Clementi, Collard & Co. The keys apparently could be played independently even when the auto­ and Pianos": "To the man.in the srteet they were matic player was in operation, suggesting that the all pianolas." mechanism was built into the body of the piano. The artisti~ breakthrough in automatic pianos, and THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE 135

the device that was to revolutionize all succeeding Moiseiwitsch, IJhevinne, Percy Grainger, Ossip Ga­ instruments, came with Welte's invention of his brilowitsch, Rudolph Ganz, to name but a few-rec­ Vorsetzer about 1900, marketed commercially under ­ orded either for the Ampico or the Duo-..~rt. the nanle Welte-Mignon. The Vorsetzer-meaning in The most effective promotional gimmick consisted German "something set alone or before"-was of concerts in which the actual playing of the record­ housed in a cabinet placed in front of the keyboard. ing artist was placed in direct comparison with its For the first time Welte's invention made it possible reproduction on the instrument. The pianh;t would to record and reproduce the infinite varieties of a pi­ start a piece and at a given point would stop and let anist's touch, tempos, phrasing and dynamic nuance. the machine take over. Sometimes a curtain was The system was enormously complicated. Each hung in front of the performer and the aJ.1dience key' of the recording piano was fitted with a plunger would be asked to guess precisely when the pianist that dipped into a trough of mercury beneath the stopped and the mechanical player began. . keyboard. The harder the pianist struck the key the The splurgiest events were those in which a sym­ deeper the plunger went into the mercury, transmit­ phony orchestra was engaged to accompany the re­ ting a series of variable electrical impulses to a rub­ producing piano in a complete'concerto. Such con­ ber .marker that recorded their intensity on· a mov­ ductors as Walter Damrosch, Alfred Hertz, Josef ing paper roll, from whieh the master roll was then Stransky, Leopold Stokowski, Nikolai Sokoloff, Os­ cut by hand. sip Gabrilowitsch and Eugene Ysaye willingly lent .Almost every'pianist, composer and conductor of their services to this kind of commercial.exploita­ consequence recorded for the Welte-Mignon during tion, seemingly with no scruples concerning the the quarter century of its heyday. They wrote lavish ethical principles involved. encomiums testifying to their astonishment at the in­ According to Harvey Roehl, author of "Player· Pia.. strument"s faitnful reproduction of their playing, no Treasury," more than 2.5 million player pianos and foreseeing for their art an immortality previous­ were produced in America between 1900 and 1930. ly denied performing artists. The majority of these, of course, were the coin oper.. ated equivalents of the modern juke box or were pee . dal-operated instruments designed for home con­ .Welte-Mignon Reigns sumption. The Duo-Art and the Ampico were the elite of American manufactured instruments, priced .For about a dozen years the Welte-Mignon reigned from $2,000 to $6,000, depending upon the make·of preeminent in its field.-Then American manufactu­ _piano and the type of case Under present inflation.. rers began to meet the competition by producing in­ ary conditions such instruments would have to sell struments based on similar principles. In 1913 the for between $10,000 and $20,000, so that in spit~ of Aeolian Co. came out with an instrument it dubbed the current flurry. of interest in player pianos we the Duo-Art and installed it in such second-rate are hardly likely to se a revival of the aristocrats Am~rican pianos as the Weber, the Steck, the of the species. Wheelock and the Stroud. But di~tinguishedpianists were not enticed by pianos of so little prestige and eventually the Aeolian Co. persuaded Steinway &; Reasonably' Accurate ReprocJudion Sons to make instruments that would accommodate the Du~Art mechanism. Steinway never produced The player piano·in all its versions met a sudden' its own player pianos; it simply sold specially made doom with the increasing perfec.t.ion of phonograph instruments to the Aeolian Co. to be equipped with recording and the popular acceptance of radio. By the Duo-Art device. the late 1920s and early 1930s the player piano' had Business turned out to be so good for the Duo-Art become obsolete and fell into an oblivion that can be that in 1916 the formidable American Piano Co. of compared with the earlier abandonment of the harp. New York introduced a rival named the Ampico and sichord in favor of the piano. The active life of the built -it into pianos made by Mason and Hamlin player piano had lasted not much more than a quar­ (then ~tetnwar's o~ly rival in the, quality group), ter of a century~ne of the shortest life-spans in the the Kn~be, ChIckering and- others. At the same time history 'of musical instruments. a version 0' the Welte-MignQn was built by the Kob­ Until long-playing phonograph records became ler and CampbeU Industries and.sold to numerous commercially feasible about 1948, the vast historical Independent piano manufacturers. library of player piano rolls seemed condemned to In all later American makes of player pianos the eternal silence. Then by fits and starts LP manufac­ Welte-Mignon Vorsetzer type of cabinet that stood turers began to discover the possibilities in record­ In front of the keyboard was replaced by interior ing the old rolls and giving them a new lease of life, construction, so that when the player mechanism despite' the disappearance or extreme rarity of the was not in use it-could be concealed, and the con­ original reproducing instruments. There has been a taining piano then resembled any normal instru­ considerable number of such releases during the last ment. The Duo-Art and the Ampico, however, dif­ 30 years and their quality has constantly improved. Modern recording techniques have been utilized and fered in the method of installation. In the Ampico old player pianos have been put into prime condition the roller mechanism was contained ina drawer and installed in first-class concert grands so that the that, could be moved in and out beneath the 'key­ old rolls can be heard to the best possible advantage. ?oard. In the Duo-Art it was sheltered by a cover In the center of the piano directly above the key­ In some respects the best player piano rolls afford board. a better view of pianists of an earlier generation than do early phonograph recordings, which seldom For more than a decade after 1916 the piano player reproduced piano tone satisfactorily. The- early , business flourished in a large way. All companies in­ phonograph recordings possessed at least one advan- dulged in extensive advertising campaigns and ev­ . tage over the slickly processed contemporary pro­ ery famous virtuoso who came to Am·erica-Pader­ duct: They provided at least four minutes of abso-- ewski, Godowsky, Artur Rubinstein, Josef Hofmann, PAGE 136 JULY/AUGUST, 1975 THE AMICA BULLETIN

lute truth. A pianist had to play at least one side of a toral" Sonata. record without break and without subsequent cor­ No one ever played Grieg ,,-ith n101'C chc&l'm ()!' au­ rection-unlike ,modern recording which permits thority than Percy Grainger, and there is a ,\'hole unlimited spltcings, corrections and interpolations. disc of that composer's music, including the com.. Faithful as they are in sound, almost all modem ree.. plete solo part of the A l\linor Concerto ,\"ithout ac­ \ ordings are st,. falsifications to give every performer companiment. On other records Grainger belies his the appearance,of inhuman' perfection. reputation as the dashing Australian playboy pianist The pianist who cut player- piano rolls, no matter with poetic versions "of Schumann's G 1vIinor Sonata what the process, had to play a piece through from and Symphonic Etudes"and demonstrates his train­ beginning to end; what one he-ars is-his perforn1ance ing under Busoni with virtuoso accounts of Liszt's E and his conception in its entirety. In the case of Major Polonaise and Twelfth Hungarian Rhapsody. Welte-Mignon rolls the inyentor permitted no alter­ Harold Bauer was an estimable figure among pia­ ations whatever after the original l'ecording had nists of his day and is at his substantial best in Schu­ been made. In fact, no changes of tempo ,,·ere possi­ mann's F Sharp Minor Sonata, though less convinc­ ble because of the synchronous nature of the mecha­ ing in Chopin's B Minor Sonata, in which someone nism. While it may have been possible or permissi­ goofed by placing the slo\v movement on the record ble to correct wrong notes, the eyidence suggests after the finale. that the producers ,"'ere not too finical in this re­ The spectacular Moriz Rosenthal ,vas apparently spect. not in prime condition when he cut these rolls, and For some reason,- the results actually ,,·ere some­ Mischa Levitzski's contributions do not do full jus­ what variaple. Perhaps the recording instruments tice to a pianist who enjoyed a notable career before took more kindly to the playing of some pianists th-an his early death in 1941. ' ; to that of ot~ers, just as the phonograph ah,·ays did E. Robert Schmitz plays, of all things, Schumann's and still does. Perhaps some artists ,,"ere more pa­ "Carnaval" in addition to the Debussy·and Ravel in tient and more interested in achieYing maximum re­ which he specialized. One miscellaneous disc con­ sults. But the fact remains that in the best player pi­ tains short pieces played by Josef Hofmann, Fried­ ano recordings the tone quality and style of those pi­ man, Ossip Gabrilowitsch and Arthur Friedheim, anists with whose ,vork one ,,"as acquainted is near­ and another is made up of four-hand pieces in such ly always clearly recognizable" couplings as Bauer and Gabrilowitsch, Myra Hess The latest addition to the gro,,"ing library of rec­ and Bauer, Cyril Scott and Grainger, and Grainger orded player piano rolls is a batch of 17 LI~s on the and Ralph Leopold in god-awful arrangements of Klavier Keyboard series, released by the I{laYier Tchaikovsky's "Romeo and Juliet" and Strauss' "Till Record Co. of North Holly\\"ood. 'rhe playing is by 12 Eulenspiegel.• pianists of the generation ",hose careers extended On the whole the collection is a fine example of the from the beginning of the century into the 10408, all treasures still to be found on player piano rolls, in­ of them now gone to their heaYcnly re\\·ards. The dispensable to historians, and well worth any piano records are in stereo from Anlpico and Duo-Art rolls lover's attention. played on pianos originally desIgned to be compati­ ble with the rolls. The engineering is first class and the set as a whole is one of the n10st satisfactory of its kind. There is a minimum of the thurnpiness that sometimes afflicted player pianos and the sound is clear and realistic. Rachmaninoff, as he did in life, con1es through with the strongest presence, in t,,·o IJPs dcYoted to his own compositions and transcriptions, several Chopin works, and a miscellany of short pieces. There is no mistaking his mordant st)'le, his saYage­ ly incisive attacks or his YClstly Yariegated tone; his uniqueness is accurately preser"c

Poetic Side of Lhevinne T\\'o discs by Josef IJhc"inne p~'e:,e~1t hlrr. in ~uC'h previously unavailable large-sc~ile ,,·orks as Beet­ hoven's "Moonlight" Sonata and Sehun1ann's "Pa­ pillons," together with smaller pieces nlany of '\\'hich have now dropped out of the repcrtoire. r-rhcy reyeal ~n uPfamiliar poetic side of his nc.ltUl'e that is often obscured by his popular image of ~in Olympian su­ pervirtuoso. Alfred Cortot has one all-Chopin record ~,no f1noth­ er of snippets (including extracts from BeethoYen's Ope 106 and 109 Sonatas), all faithful accountings of his light-fingered fluency and personalized inter­ pretations. Two LPs are alotted to Ignaz Friedman, a pianist of prodigious technique and extraYagant romantic interpretative tendencie~! though there could scarcely be "purer" Beethc"en than his "Pas- =..~'::-00.: $7.. I. ft." MBLVlLLBCLABK PJA.NOCOMPANY PINE ARTS 8UII.DING. CHICAGO THE AMICA BULLETIN JULY/AUGUST, 1975 PAGE l~i

Schedule of Operations for Regulating and Inspecting Angelus Upright EIectri.r·~ianos. I'IAlfO .0.______D£.ft-- _ 1. See that aU chip., lint, and dUlt i. cleaned out of the piano and wipe ~~d:~~ :::ln~h~e::l~:":no~h~htef~P all du.t and «re..e off tranlmillion. 22. and motor In lID.. 2. Run te.ter over Tracker Bar to locate an,. fault,. pneumatic. and 28. Start the motor and ax all leatl. mate a note of an,. fault,. onel. 24. Set basic pressure of the pump with the Tracker Bar cOTereel aDel 8. Take top aetlon off .tack. with the Tone Kodiller Lever at nortmal and the L_ker Tube off itl ,. Take ltack out of piano, and nipple at "D," Cthus closing the Leak81'l) at 55 blchel, b,. maklnl Ca) Ohanle an,. faulty pneumatic•• the adjustment at the lafety valve. . .- (b) Adjust button. on pneumatic wirel. 25. Set basic pressure of pump ~'ith Tracker Bar coTer.ed Inel the Tone (c) Replate all .triker h:1ver. to rest on bumper rail with pneumatici KodUlel' Lever at normal and the Leaker Tube on at "B," (thua openin, open the propel' amount. the LeakeI') at 48 inchel prellure, makiD, thil adjuatment at the 5. B. Inre aU dirt and chip. aN removed from Xe,.1 and Xe,. Bed and LeakeI' Screw ·'B." that Xe,.. are level. 26. Set the ballic pressure of the pump with the Tracker Bar GOTered and e. Secure ltack Into piano a,ain, and the Tone Kodiler Lever at "diminish," and the Leaker Tube "B" Ca) Replate capstan. on, (thus leavinJr the LeakeI' open) at 86 inchel pr...ure, makin, (b) Replate let off. the adjustment on the LeakeI' Screw marked "0." ". Secure top action to stack. 27. Test and replate loud pedal and hammer ran pneumatici. d Ca) For throw and clearance. :: ~ifl~:~ :ii I:l'~::t o::;:;~~fn:e::~r. (b) For size of the vent. 10. Oi running gear both ends and chain•. i~ju~:rte~;~~nels. 11. Adjult wind motor and idler Iprin~ and line up sprocketl properl,.. 28. 12. Adjust Tracking Device, and aliln Tracker Bar in relation to Kelodant Ca) Regulate tension of spring on J:OTemor. openingl. (b) Regulate speed of paper at 70-80-90-100. lB. Ton~ue telt all tubes leadinJr to repla,. Iwitch Talve, repla,. IpriDe 29. Set dynamics. Talve, and re-ro11 repla,. pneumatic. Ca) Set base and tTeble chokerl 10 the not.. will jUlt repeat with 14. See that all IUde TaITe Ipringl are lecul'ed and right tension. the tempo at 50. 15. Examine and adjult re-ro11 and repla,. pneumatic in relation to the (b) Set the centre choker just a triAe louder; make thl. te.t b,. tranlmiuion. pressinc the base and treble melod,. button•• 16. Adjult electric Iwitch pneumatic. (c) Proceed to make tests and adjultmentl al indicated On the 17. Telt an exprellion tubel. Test Roll. Ca) To make sure that they are at proper terminal. 30. Test for repetition with tempo set at 90 and crelcendo lever locked on, Cb) To J:ive them tonn,e telt. 31. Listen closely for any foreign noisel and excellive spittinl at Tracker Cc) See that celluloid mal'ker. are on tubel on Vental box L-pedal Bar, elpecially loud pedal and hammer ran openin,.. and H. Rail Pneumatici. 32. Test re-ro11 and replay pneumatics and Iwitch and electric lwitch (d) Kark with ink all tubel on exprel.ion box:. 18. Adjust motion of c1'8scendo valve. 33. ~i:;m:~~c i:~t: ~::::J ~~ ~~:O:a~~li~~:loperation of the 1'011 for 19. Adjust throw of re-roll lever in relation to gear frame and IUde ateadT tempo and smoothnels. valve, checkinJ: up on and oif positionl of the tubel. 34. Test out crescendo lever and lock in its relation to the re-roll leTer. 20. Tighten all set Icrews on the lever conuoll. 35. Put in replar roll and telt manual control lever.. and buttonl. 21, See that the electric motor il the proper cu'rent and la properl,. 86. Sign thie Iheet after "ou have checked off each of the Iteml abo"••

8'fYLJ1 •• PLUO 1n7IIBBB - ... . Schedule of Operations for Regulating Artrio Grands. 8. Adjultin, Drawer to Piano. 1. Sel.th~::lle::s;~~~~~h::t~ee:D~o:lyl:~~~:. threadl bored and .crewl A. Put drawer into piano and remOTe ke,. frame. tight. B. Ascertain the correct height of Pitmana and replate each on' to B. The l,.re hal been properl,. atted and connected. a ,auge. O. Ke,. Blockl and Xe,. Shift properly itted. O. Replace key frame and lee that keYl are 1e"el with drawer both D. Dip of keYI Itandard. in and out. E. Xe,.1 le"el. D. Regulate let-oir by adjultin~ travel of Power Pneumatic,.. 1'. Dampera corred. G. SUltainuto adjulted. 9. RElUJ~~~~~~aYtp:stN~t~n~O~~~eL.~i~::htE~~ci that th.,. aU ~O BJIG'UU'fB PLATBB move uniform depth. 1. See that the drawer II pro~erI,. atted. B. See that Electric Switch Button I. properl,. ~ulted. A. That it llidel freeI,. but Inugl,. on itl wa,.l. O. Adjust Phrasin« Lever so that when the air la On the retard lid. B. That the Itop blocks are properly and lecure17 placed. is slightly higher than accelerator Iide. I, RemOTe drawer and replate 1'1 follows: D. Oarefully set the Tarioul devicel connecteel to the re-roll I'Ter, A. Le"el all Itriker buttonl to a Itrai,ht edge. B. See that each lever reltl eat on the bumper felt. E. :r~:: s~u:.e t~::e-~~~I :~\d~c~~I::eba~l:h;a::llp~p~~~:e;o:~~~~::: O. Tilhten all tanle Icrewi. F. Make tempo lever run smoothl,. and freeI,. with no 10lt motion. D. Replate an buttonl on the pneumatic wires, beinJ: lure that an the pneumatici are openinl the right distance and that there ~'. ~~ 8:::e t~h:tm::;r:; 1::ero;::~~J:toL:::~tI~: ::&~r.~:f:\troDl il ~ro~er fre.dom between the buttonI and the pneumatic Ilngerl. to brinJP: Jever back to normal even when high prellure lion the E. Adjult the tranlmi'llon, roUI and Trackin, Device. instrument. 1'. Tighten e"el'1' Icnw In the tranlmillion, being sure that the R. R. leTer fulcrum Icrew II properl,. and permanentl,. lock­ !'. ~:~~8t 1~:sV:::o i::lnfe:,~d o~~~~:~n~n:::::rT InA freel,. anA nutted. that it is til'ht. G. See that all workin, partl of tranlmillion are prop8l'17 lubricated. 10. SETTING KAIN WIND PRESSURES. H. That both chain. are rl,ht leneth and Itrai,ht and idler. A. Have paper cover an openingl in Tracker Bar. B. Set tone modiler at normali prelS11l'l8 .hould be ee" (except I. ¥t~tea~n~e~eTlceil working properl,.. 4'-10" crand 55"). I, Put air on the drawer before placing in the piano and te.t al followl: O. Set tone modiler at diminilhi preslure Ihould be 88". A. Search for and permanently ax: all leaks. D. Set tone modifier at Dormal and take off leaker tui)e, pre..ure B. Ex:amine and adjult the pia,. and replay device and make a. :~O~~~)~ile to OTer 65" Cex:cept "-10" II'&ndl .et lafet,. Tal"e O. ri\:::t t~~e~P~::~fnn,a:o P~~si~~:. lev.r terminals and be aure the,. 11. TEKPO. are free when open and ablolutel,. tight when closed. A. Set tempo Ipring with a dance 1'011 and b. lure that 1'011 111111 D. Prove that the exprellion box: chokera are operative. v E. That the Ex:prellion Box: primarie. aN working properl,. and dAti~n:,a~~thPt~~e ::od'll:: :: nt:~al :::e~it\~18to~~I:'~:fi':o:. noilelelll,.• diminish. 1'. That the wlDd motor II Rnning Imoothl,.. B. See that motor just starts at 80 and that It I1Inl true to .etro- G. That there are no Icrew threads Itripped in the drawer; t1'7 ev.l'1' Icrew and ax: pl'lOper17 any that ma,. be Itripped. O. M~r:: :::a~::t a~0:Ob7r~-:~-:~~1:~' il JUlt tl,ht *Qu,h to keep B. That evel'1' note works properly on li~ht pressure. paper tightly wound on Take Up Spool on a lar,e ron, but not I. That eTery note workl properly on heavy pressure. :i~:~g:n:~f.h to make motor op.,.te llDlteadU,. at the en4 of 1. See that all rubbelt tubel II''' without Itrain or crookin,. 5. InlPect the Xe" Action Roller Wirel. D. Make lure that re-roll Talve in tempo b~ opeu anel clol. A. That each roller wire il perfectly free and that there il a IUght pToperly to accelerate Ipeed on re-roU. ' end pJa,.-ln each one. 12. SETTING DYNAMIOS. B. That no wirel are buttin, each other. A. Set dynamics 1'1 per instructionl on Tester Roll. O. That the pitman buttonl are properl,. pOlitioned in relation to B. See that every note repeatl clearly and quieti,. on the lnt repeat the roller wirel. on Telter Roll with Tempo set at 50. O. Repeat test B with key Ihift button prelleel to be lure that e. Rerl~::la~~ ~~~n:dI:t~1a~~ltaininJr pedal both foot and pneumaticall,.. Pitmanl do not strike two ke71 at a tlDi.e. B.. ReL,"Ulate and adjust SUltainuto Pedal. O. Replate and adjust Key Shift Pedal both foot and pneumatica11,.. D. ::~:;tatC~~ ;~~ ~~~~c~~~:IJe::~e:tn:i~:~a~:"n~:~e':b-~ with D. Kake lure that aU part. work 1ID00th1,. and that there il no E. Repeat telt (D) with drawer cloled. cratin, or squeakinl. . sE'do~ifeT~~ptO(~s1!.th drawer open. 7. K1~rB;~~~ ~:t ~~::: p~li:,.ee~~o;lpump pull.,. are in perfed aUp- 18. A. Telt and adjult tempo again al per #11-B. mente B. Put an pane" into the drawer and lee that aU the Icre,..1 holA B. Remove modiller tube and leaker tube and block off main wind O. ~i::e~lre longest roll you have and make lUre It I1Inl e"en17 :~P~~ ~~~Ima~~~tI~~: ~o~lh~alt~~lfJ:,. t~~~t ap:~~ti::e:: and Imoothl,. clear through to the end of roll. their connedlonl. ~s:otd~i;Vd~a~:;~ in thq 0, Put on tele.copic tube and make lure U il tight. D. and tl'7 plano pedall. Kake lure When you haTe completed each te.t mark an Z oppollte each. D. ~~:~-:~tu~':~~~ir~::ltl::d~h~i~U t:: ':i::e:h~~~d~eeJ.~: When J'our work 11 anilhed lip here. back panel of drawer on. . B. ~~reJa~~:'lk:J:e~n4 ... that each One iI'in proper aUpm8Dt DATIl 2 ~ ~ ~~;·_ S-30-'7t.~, ...... J:.. ..F..F ..,.. .." : .. •••••••••••••••••••••• II •••••••••••• ••••••••••• ·..· ...... • ••••••••••••••••••• e e e ••••••••• • •••••••••••••••••••• e •••••••••• • •••••••••••••• e •••••••••• e •••••

• e .• ..·..~ ... ·.. ·.. ·.. ·.. ··... ··... ·.. ::::: ·.. ·.. ··.·... ··... ··... ··... ··... ··... ··.. (5/6) 757-7724 ··... ··.. ··... ··.. ··... Restoration of pneumatically ··.·.. ··... ·. ARE YOU INTERESTED IN ··... operated musical instruments. ··.. RECEIVING OUR AUCTION LIST? ··... ·. ··... ··.. ··... From component work to ·. Send For Sample Auction Catalog Of: ·.. ·.·. ·.. complete restoration. ··.·.. ·. ··.. #1. Music Rolls ··.·... ··.. #2. Sheet Music ··.... ···... ··... 13304 E. HADLEY ··... ··... WHITTIER, CA. 90601 ···.... Please indicate if you are member ·. ·.. of AMICA when requesting. ·. (213) 693-0593 ··... ··... ··... . .·...... • ••••••••••••••••••••• e •••••••• •• ••• ••• •• • •••• e ••• ••• •

World's Largest Selection Of 'Reissues MUsic Boxes AMPICO tAMP 1015 MIN~ie:;V~~TZE~g~nFJ~~~~~~i~ (OP. 64. No.1) (50602) Main wholesale source for music boxes, tAMP 1016 REVOLLJrIONARY ETUDE, Chopin (OP. 10. No. 12) circus organs. nickelodeon pianos. reproduc­ (62621) Played by Mieczyslaw MUNZ * AMP 1017 STARDUST (Carmichael) ing pianos. etc. Over 500 instruments in (213701) Played by Emse DAWSON stock! Visit us in person or send $2 for tAMP 1018 FLIGHT OF THE BUMBLE BEE (Rimsky-Korsakoff) (70301) Played by Sergei RACHMANINOFF large illustrated catalogue (air mail postage * AMP 1019 CARIOCA (Vincent Youmans) to Denmark is 26¢). Or. you can subscribe (214861) Played by OHMAN & ARDEN to our next six issues for just $iO. Com­ DUO ART plete packing and shipping service for U.S.A. * DA 1015 BODY AND SOUL (Green) (104735) Played by Robert ARMBRUSTER collectors and dealers. instruments offered t DA 1016 ETUDE in E Flat Minor. Chopin (OP. 10, No.6) are fo.b. various warehouse points around (Pl. I of 72874) Played by Vladimir HOROWITZ tDAI017 ETUDE in C Minor. Chopin (OP. 25. No. 12) the U.S.A. and Europe. The MMM is owned (Pl. 2 of 7287-4) Played by Vladimir HOROWITZ and operated by two long-time AMiCA t DA 1018 RITUAL FIRE DANCE. de Falla ('EI Amor Srujo') members: Gaes 0. Friberg and Q.. David (6755-4) Played by Artur RUBINSTEIN * DA 1019 CARIOCA (Vincent Youmans) Bowers. (0964) Played by OHMAN & ARDEN * DA 1020 THAT OLD GANG OF MINE (Henderson) Mel{ANisl{ Musil{ (19325) Played by HESS & LEITH

LOVE IN BLOOM (1934) MUSeUM From 'She Loves Me Not' A FINE ROMANCE (1936) ~, _ Vesterbrogade 150 From 'Swing Time' ~ Copenhagen. Denmark RESULTS OF SPRING AUCTION Following are the results of the SPRING AUCTION. Shown are the minimum price requested by the pledger, the highest maximum bid received in the mail in time for the auction, and the final winning bid. Members are re- minded that successful absentee bidders are not required to pay their full maximum, but only 25¢ above their closest competitor1s bid. Thus when the maximum shown is higher than the winning bid, it indicates that the absentee bidder won the roll. The same is true if the two amounts are equal. If the winning bid is higher, it indicates a bidder present went above the mailed maximum and won the roll. Numbers omitted indicate no bid t mail or live No. M;n Max Win No. M;n Max Win No. Min Max t~i n 3 4.00 4.50 4.75 59 .75 1.75 1.50 117 5.00 7.10 7.10 .4 5.25 6.25 6.25 60 1.00 2.50 1.75 118 5.00 6.00 5.00 16 4.75 4.75 4.75 61 1.00 2.00 1.75 119' 3.00 4.10 4.10 7 4.25 4.50 4.50 62 1.25 7.50 3.25 120 4.50 4.50 4.50 8 3.25 4.00 3.50 63 3.00 4.00 3.00 121 4.00 4.00 4.00 9 4.00 6.50 4.00 64 2.00 3.00 2.25 122 4.00 4.50 4.00 10 3.00 4.00 3.00 65 2.50 2.50 2.50 123 5.00 5.50 5.00 11 4.25 4.25 4.25 66 2.50 5.00 3.75 124 5.00 5.75 5.75 12 4.50 4.95 5.00 68 5.00 5.50 5.00 125 4.00 4.00 4.25 13 2.50 2.50 2.50 69 5.00 5.25 5.00 126 3.00 5.00 3.00 15 3.00 4.00 3.00 71 4.00 4.00 4.00 127 2.00 10.50 9.00 16 2.50 2.50 2.50 73 5.00 5.75 5.50 128 3.50 4.50 3.50 17 2.75 3.75 2.75 74 4.00 6.25 6.25 129 3.50 4.50 4.50 18 3.00 4.00 3.00 76 5.00 5.25 5.00 131 3.50 4.00 4.25 19 3.75 4.75 3.75 77 5.00 6.00 . 5.00 133 4.00 10.00 5.00 20 3.75 4.05 3.75 81 4.00 5.00 4.25 135 4.00 5.00 4.00 23 4.50 5.00 4.50 84 5.00 7.50 5.75 136 4.00 8.00 6.75 24 4.00 8.75 7.25 85 5.00 5.50 5.00 137 4.00 6.75 6.00 25 4.00 4.00 4.00 86 5.00 5.00 5.00 138 4.00 4.50 4.00 27 4.00 5.25 4.50 87 5.00 5.00 5.00 139 4.00 5.50 4.00 28 5.00 12.00 10.75 88 5.00 7.00 5.50 140 3.00 5.50 5.00 29 5.00 12.00 10.75 90 5.00 5.25 5.00 141 4.00 6.50 6.00 30 5.00 12.00 5.00 91 8.00 10.25 8.00 142 4.00 4.00 4.00 31 3.50 3.75 3.50 92 6.00 12.00 11.25 143 4.00 4.95 4.00 32 2.00 2.00 2.00 93 5.00 6.50 5.00 144 2.00 2.75 2.00 33 1.00 2.75 2.75 94 5.00 5.00 5.50 145 4.50 5.50 4.50 34 4.00 6.20 4.00 95 .. 5.00 6.80 6.25 146 4.00 5.00 4.00 35 4,50 5.25 5.50 97 4.00 5.00 4.75 147 4.00 5.50 5.75 36 3.00 3.00 3.00 98 4.00 6.00 4.00 148 5.00 10.00 6.75 37 3.50 4.75 3.50 99 6.00 10.00 7.75 149 4.00 5.00 4.75 38 2.00 2.00 2.25 100 5.00 6.50 5.00 150 3.00 5.95 5.75 . 39 4.00 4.00 4.25 101 6.00 11.25 7.00 151 3.00 4.25 4.25 41 2.50 4.00 2.75 102 6.00 9.50 8.75 152 2.50 3.00 2.75 42 3.50 4.00 3.50 103 5.00 7.50 6.75 153 2.50 4.50 2.50 45 2.00 2.00 2.25 104 5.00 6.50 5.00 154 3.25 6.25 3.25 47 2.50 2.75 2.50 105 5.00 5.00 5.00 155 3.50 5.50 3.75 48 2.50 2.75 2.50 106 20.00 21.00 20.00 156 4.00 6.00 4.00 49 2.00 3.00 2.00 107 5.00 6.00 5.00 157 3.00 4.50 4.50 50 2.50 2.50 2.50 108 5.00 6.00 5.00 158 3.50 4.50 3.75 51 4.50 4.75 4.50 109 4.00 5.25 5.25 159 3.25 4.00 3.25 52 3.00 5.20 5.20 110 4.00 6.25 5.50 160 1.00 1.00 1.00 53 2.50 3.50 3.50 111 4.00 6.00 4.00 161 3.75 7.50 5.75 55 3.00 3.25 3.00 112 4.00 6.30 4.00 162 2.00 20.00 5.50 56 2.50 8.50 6.25 114 4.00 5.50 4.50 163 2.00 4.00 2.50 57. 2.00 2.00 2.25 115 4.00 5.00 4.00 164 2.00 4.50 2.50 58 1.00 1.00 1. 00 116 3.00 3.00 3.00 165 2.00 2.30 2.50 RESULTS OF SPRING AUCTION Page 2 No. Min Max Win No. Min Max Win No. Min Max Win 166 2.00 2.50 2.25 224 5.00 10.00 8.25 283 4.00 4.75 4.75 167 2.00 3.75 3.00 225 5.00 6.50 5.00 284 5.00 9.00 7.25 168 2.00 4.75 3.50 226 4.00 5.50 4.00 285 5.00 9.00 6.25 169 2.00 4.00 4.00 227 2.00 10.75 8.75 287 5.00 5.00 5.00 170 2.00 4.75 4.50 228 3.00 20.00 6.25 288 5.00 5.50 5.25 171 2.00 4.00 4.00 229 3.00 5.75 5.25 289 5.00 5.60 5.25 172 2.00 4.75 3.50 230 3.00 4.00 4.00 290 3.50 5.60 5.60 173 2.00 3.30 3.25 231 4.00 5.00 5.00 291 3.50 6.00 4.25 174 2.00 5.00 5.00 232 4.00 5.00 5.00 292 3.50 5.00 5.00 175 2.00 3.75 3.25 233 4.00 5.00 4.75 293 3.50 6.50 5.25 176 2.00 4.50 3.25 234 4.00 4.30 4.00 294 4.50 5.00 4.50 177 2.00 2.50 2.50 235 5.00 5.60 5.00 295 2.00 2.50 2.50 178 2.00 4.00 2.25 237 5.00 10.50 8.25 296 2.50 3.75 3.25 179 2.00 4.00 3.50 238 5.00 15.25 7.25 297 2.50 5.50 3.25 180 2.00 5.85 4.25 239 3.00 4.25 4.25 298 2.50 4.50 3.50 181 2.00 7.50 3.75 240 4.00 6.00 5.75 299 2.50 2.50 2.50 182 2.00 3DO 3.00 241 5.00 6.59 6.25 300 2.00 4.00 3.75 183 2.00 4.95 2.75 242 3.00 4.00 3.00 301 2.50 15.00 10.25 184 2.00 5.00 3.00 243 5.00 6.25 5.50 302: 2.50 3.25 2.75 185 2.00 2.00 2.00 244 5.00 303 2.50 5.00 3.50 186 2.00 4.00 3.25 245 4.00 4.00 4.00 304 2.50 5.00 2.75 187 2.00 4.00 4.00 246 3.00 4.50 4.00 305 2.50 5.25 4.75 188 2.00 5.25 5.00 247 3.00 8.00 6.25 306 2.50 5.00 4.50 189 2.00 4.75 4.75 248 3.00 3.75 3.50 307 2.50 4.00 4.25 190 2.00 6.50 2.25 249 4.00 6.50 6.50 308 2.00 4.00 3.75 191 2.00 20.00 5.25 250 4.00 4.00 4.00 309 2.00 3.25 3.50 '-- 192 2.00 12.30 7.25 251 3.00 5.80 4.00 310 2.25 4.25 4.25 193 2.00 2DO 2.25 252 3.00 15.00 5.25 311 2.00 5.50 5.50 194 2.00 4]5 3.25 253 3.00 4.75 4.50 312 2.50 3.50 3.75 195 2.00 650 5.00 254 3.00 3.75 3.75 313 2.00 3.00 3.25 196 2.00 12.55 5.75 255 4.00 5.30 4.75 314 2.25 4.25 3.50 197 4.0011.00 9.00 256 4.00 7.00 7.00 315 2.50 5.50 5.25 198 nonw 3DO 3.00 257 5.00 8.00 6.00 316 2.50 <4.50 3.50 199 none 3DO 3.25 258 5.00 6.30 5.75 317 2.50 4.50 3.75 200 none 325 3.25 259 5.00 14.00 5.25 318 2.50 10.00 4.50 201 none 3.00 3.25 260 4.00 5.25 5.25 319 2.50 8.00 4.75 202 none 3.00 3.25 261 3.00 3.00 3.00 320 2.50 4.50 4.50 203 none 3.00 3.25 262 3.00 3.30 3.50 321 2.50 4.50 3.75 204 none 3DO 3.00 263 4.00 4.75.4.75 322 2.50 2.50 2.75 205 none 3.00 3.25 264 4.00 5.95 4.00 323 2.50 4.70 4.25 206 none 5.00 2.75 265 4.00 6.30 4.25 324 2.50 3.00 3.25 207 none 3.00 3.25 266 4.00 9.50 6.75 325 2.00 20.00 4.00 208 none 3.00 2.25 267 4.00 5.00 5.00 326 2.50 5.75 5.75 209 none 4.50 3.25 268 4.00 7.00 5.25 327 2.50 4.75 4.00 210 2.00 2.00- 2.25 269 4.00 8.00 7.00 328 2.50 5.00 3.75 211 3.00 4.50 4.25 270 4.00 8.00 6.50 329 2.50 5.00 4.25 212 2.00 3.00 3.25 272 4.00 6.25 5.50 330 3.00 10.00 7.25 213 2.00 2.00 2.00 273 4.00 6.25 4.25 331 3.00 4.70 4.50 214 2.00 2.00 2.00 275 4.00 25.00 6.25 332 2.50 2.50 < 2.75 215 4.00 4.00 4.00 276 4.00 5.75 5.75 333 2.50 2.50 2.75 216 4.00 6.00 6.00 277 3.00 6.00 3.25 334 2.00 4.00 3.75 217 4.00 5.00 5.00 278 4.00 6.00 4.00 335 2.00 3.00 3.25 '- 218 4.00 4.50 4.25 279 4.00 7.25 4.75 336 2.50 4.85 4.25 219 4.00 4.50 4.00 281 4.00 4.50 4.75 337 2.00 4.00 3.75 220 4.00 8.00 5.50 282 4.00 55.00 13.50 338 2.50 2.60 2.75 RESULTS OF SPRING AUCTION Page 3 No. Min Max Win No. Min Max \~i n No. Min Max Win / 338 2.50 2.60 2.75 426 1. 00 1. 15 1.00 528 2.50 3.50 2.50 339 2.50 5.00 4.75 438 1.00 2.00 1.00 529 2.50 3.25 3.25 340 2.50 5.25 5.25 445 20.00 20.00 20.00 530 .50 .50 .50 341 2.50 3.30 3.50 446 7.00 8.00 7.00 534 2.00 2.50 2.00 347 5.00 6.00 5.00 447 7.00 8.00 7.00 536 2.50 3.00 2.50 352 4.00 4.25 4.00 448 1. 00 1.00 1.00 537 2.00 2.50 2.00 353 5.00 5.25 5.25 449 1. 00 1.25 1. 00 542 1.00 1.75 2.00 356 6.00 6.00 6.00 450 1.00 1.00 1.00 543 1.00 2.00 2.00 357 none 3.00 3.00 451 1. 00 2.25 1.25 544 1. 00 1.50 1.25 358 2.50 3.15 2.50 453 1.00 1.25 1.50 545 2.00 7.00 4.00 362 4.00 8.50 5.25 457 1.00 2.00 1. 00 547 1.50 2.10 1.50 364 4.00 5.00 4.50 458 1.00 2.74 2.25 548 2.00 2.20 2.00 3·67 4.00 4.50 4.00 459 1.00 2.75 2.50 549 2.00 2.00 2.00 370 5.00 6.25 6.25 460 , .00 1.00 1.00 550 1.50 2.00 1.75 373 5.00 6.00 6.00 462 2.00 3.50 3.50 551 2.00 2.30 2.00 374 5.00 5.25 5.50 463 1.00 2.25 1.00 552 1.00 1.20 1.50 375 5.00 5.25 5.25 464 1.00 1.00 1.00 553 2.00 2.00 2.00 376 5.00 8.50 5.50 465 1.00 2.25 1.00 554 1.50 2.50 2~•. 25 377 5.00 6.00 5.50 466 1.00 1.00 1.00 555 1.00 1.50 1.25 378 5.00 7.00 6.25. 468 '-.00 1.50 1.50 556 .50 1.00 .75 379 5.00 17.50 6.25 469 1. 00 8.00 2.50 557 2.00 3.00 2.75 380 5.00 5.25 5.00 470 '.00 2.25 1.50 558 1.50 1.60 1.50 381 5.00 7.00 5.00 471 1. 00 2.25 1.00 559 1.50 1.75 1.75 384 4.00 6.00 4.00 472 1.00 1.00 1.00 560 .50 .80 .50 387 3.50 4.00 4.00 473 2.00 2.50 2.00 561 1.00 1.50 1.25 388 2.50 3.00 3.25 474 1. 00 1.75 1. 00 562 2.00 3.00 2.75 389 2.50 4.00 3.75 475 1.00 2.25 2.00 564 1.50 2.25 1.75 390 none 3.25 3.25 476 1.00 10.00 1.00 565 .50 3.00 .50 391 1. 00 1.00 1.00 478 1.00 2.50 2.00 566 .50 1.25 .50 393 1.00 1,.25 1.00 480 1.00 3.00 2.50 567 2.00 2.50 2.00 394 1.00 1.00 1.00 483 2.00 2.00 2.00 568 1.50 6.00 4.00 395 1.00 1.00 1.00 484 2.00 2.00 2.00 569 1.00 2.25 1.25 398 1.00 1.00 1.00 488 1.00 1.00 1.00 570 1.50 1.70 1.50 399 1.00 1.00 1.00 492 2.00 2.00 2.25 572 .50 1.50 1.50 400 1.00 1.00 1.00 493 1. 00 2.75 1. 00 575 1.00 1.25 1.00 401 2.00 2.00 2.00 494 1.00 2.75 1. 00 577 1.50 5.00 1.75 402 1.00 1.00 1.00 495 1.00 2.75 1.00 579 .50 .55 .75 403 1.00 1.00 1.00 496 1.00 2.00 1.00 580 .50 5.00 1.50 405 1.00 1.00 1.00 497 1.00 1.75 1.00 581 2.00 2.25 2.25 407 1.00 1. 00 1.00 498 1.00 2.75 1.00 586 3.00 3.25 3.00 408 1.00 1.00 1.00 499 2.00 2.00 2.00 588 3.00 3.50 3.00 409 1. 00 1.00 1. 00 500 1.00 2.00 2.00 589 2.00 2.50 2.00 411 , .00 1.00 1.00 SOl 1.00 3.00 1.75 590 3.00 3.50 3.00 412 1.00 10.00 1.50 503 2.00 3.50 2.00 591 3.50 4.30 3.50 413 1.00', 1.00 1.00 505 2.00 3.25 2.25 592 3.50 4.40 3.50 414 1. 00 1.00 1.00 507 2.00 3.00 3.00 593 1.00 2.30 1.75 416 1.00 1. 15 1.00 509 2.00 3.50 2.00 595 1.00 1.00 1.00 417 2.00 2.75 2.00 513 2.00 3.00 2.00 596 2.00 3.50 3.25 418 1.00 1.15 1.00 515 2.00 2.75 2.00 597 3.00 4.00 3.00 419 2.00 3.00 2.00 516 2.00 4.25 2.00 600 1.00 1.00 1.00 420 1.00 1. 15 1.00 519 2.00 3.00 2.00 603 1.00 1.25 1.25 421 1.00 1. 15 1.00 524 2.00 2.75 2.00 604 1#00 3.00 3.00 425 2.00 3.00 3.00 525 2.50 3.00 2.50 606 1.00 1.00 . 1.00 RESULTS OF SPRING AUCTION ...... ~ No. Min Max Win No. Min Max Win No. Min . Max Win 611 2.50 3.50 3.50 625" none 13.25 10.75 636 .50 6.00 4.~7g-- 6-12 2.00 3.00 2.00 626 'none 13.25 10.75 637 .50 4.00 4.25 615 1.00 1.50 1.50 627 .50 6.00 5.25 638 .50 8.00 4.50 616 4.00 6.00 -4.25 628- .50 4.25 4.50 639 .50 8.00 5.25' 617 4.00 6.00 '4.25 629 .50 4.00 4.00 640 .50 800 6.75 618 2.50 2.75 2.50 630 .50 3.00 3.25, 641 .50 5. 15 5.25 619 2.00 2.50 2.50 631 .50 15.00 5.26 642 .50 8.00 8.25 6.20 2.00 4.80 3.25 632 .50 6.00 3.75 643 .50 5.00 4.25 622 3.00 3.50 3.00 633 .50 5.50 3.50 644 .50 5.00 2.75 623 2.50 3.00 3.25 634 .50 2.00 2.25 645 .50 3.50 2.75 624 nont 1.30 1.25 635 .50 5.00 4.75 645 .50 2.00 2.25

I ~

\.... WANTED: 88-note push-up piano player, or Welte vorsetzer for American width rolls. Steve THIS ADVERTISING Chapman, 419 Bird Lane, Waxahachie, Texas SPACE AVAILABLE 75165. Telephone (214) 937-2726.

ME]{ANis]{ Musi]{ MUSEUM , Vesterbrogade 150, Copenhagen, Denmark ~_

Serious About Collecting? ~ Then You Definitely Need a Copy of "THE ENCYCLOPEDIA OF AUTOMATIC MUSICAL INSTRUMENTS" "The Encyclopedia of Automatic Musical Instruments," by AMICA member Q. David Bowers with the assistance of Claes O. Friberg and many other AMICANS, is 1,008 pages in length, contains thousands of photographs, and a wealth of historical information, model numbers, original advertisements, and other information pertaining to all types of automatic musical instruments. Since "The Encyclopedia of Automatic Musical Instruments" was first released (in the summer of 1972 -­ with the premiere being at the AMICA convention that year) it has gone through four printings and has sold thousands of copies worldwide. It has been designated by the American Library Association as "one of the most valuable reference books" -- a rare honor accorded very few publications in any field. Your own copy of this hefty (weighs seven pounds when boxed for shipment!) volume is a "must" if you are a serious collector. In the field of reproducing pianos you can read all about Ampico, Duo-Art, Welte -­ how they work, when they were made and how they were made, comparisons of one with the others, and so on. In addition, important but lesser-known makes such as Recorda, Dea, Duca, Artrio-Angelus, and others are discussed in detail -- as are regular player pianos and piano players. In addition you will find a wealth of information on disc and cylinder type music boxes, nickelodeon pianos, orchestrions, violin players, organettes, band organs, player pipe organs, calliopes. and a dozen and one other things -- plus a unique and useful dictionary of automatic musical instrument terms. In short, this is the book which you cannot afford to be without -- a book which will pay for itsel f many, many times over! A copy of the latest edition is available for $30 postpaid directly from the author: Q. David Bowers; Box 1669; Beverly Hills, CA 90210. Your copy will be personalized and autographed to you by the writer. Or, if you live in Europe you can order your copy from the Mekanisk Musik Museum; Vesterbrogade 150; Copenhagen, Denmark. The overseas price is $32 postpaid. Either way, order your copy today! WATCH FOR ANOTHER IMPORTANT ANNOUNCEMENT

NEXT MONTH!

Klavier Music Rolls (The Powells) 10515 Burbank Blvd., No. Hollywood, Calif. 91601 Phone: (213) 980-8254

BULLETIN NON-PROFIT Ginny Billings U.S. POSTAGE AM Puhlislwl leA PAID AUTOMATIC MUSICAL INSTRUMENT COLLECTORS ASSOCIATION CAMPBELL, CA 661 Chapman Drive Campbell, California 95008 PERMIT NO. 42 DATID MATIRIAL

RETURN POSTAGE GUARANTEED ADDRESS CORRECTION REQUESTED Ari11 CA MEMBERSHIP ADDITIONS & CORRECTIONS TO JUNE 18) 1975

NEW MEMBERS: BAARLEY, MR. FRANCIS W., Box 163, Ellsworth, WI 54011 (715) 273-5225 BARRETT, RONALD N., 104 Chestnut Pl., Pinecourt, Quebec, CANADA (514) 453-2537 BREWER, JAMES D., 252 Ontarion St., Lockport, NY 14094 (716) 434-8075 BAUS, WERNER, DIRECTOR, MECHANISCHES MUSIK MUSEUM, 3501 Fu1data1 2, Hopfenbergweg 34, GERMANY BRONSON, BUe &"B", Pumpkin Hook &Dixon Road, Dundee, MI 48131 (313)529-2634 BROWN, DAN, N. 4818 Monroe St., Spokane, WA 99108 (509) 325-2626 BROWN, DONALD H., 2311 23rd Ave., S., Minneapolis, MN 55404 () 721-2505 BURKE, DAVID, 2084 S. Rio Grande, Orlando, FL 32805 CLARK, FRANCIS G., RD 2, Cleveland Rd., Princeton, NJ 08540 (609)924-4593; 924-3630 eOTA, JOHN D., 36 Eddy St., Milford, CT 06820 (203) 335-8986 COZART, JAMES &CYNTHIA, 1349 Pau11us, Memphis, Tenn. 38127 (901) 358-9999 CRITSER, JAMES, 411 Hickory St., Joliet, IL 60434 DALE, WARREN, 934 W. Foothill Blvd., Azusa, CA 91702 (213) 334-8810 de HAAS, LIEUWE T. G., 11 Maple St., Georgetown, CT 06829 (203) 544-8750 DUTRIZ, JOSE, PO Box 202, San Salvador, E1 Salvador FLANIK, ROBERT &CAROLE, 2424 Coventry Rd., Cleveland Heights, OH 44118 (216) 932-4996 GILBRECH, DONALD A., 1147 Sunset Drive, Fayetteville, AR 72701 (501) 442-8811 GOODMAN, MARC L., 2417 Overlook #18, Cleveland Heights, OH 44106 (216) 932-5040 HUTCHISON, WALTER III &BETTY, 278 Colorado Drive, Webster, NY 14580 (716) 671-1525 IANIERI, JOHN A., 418 Madison Rd., Willow Grove, PA 19090 (215) 659-5333 JACOBSON,NORMAN, 11955 Azure Place, Los Angeles, CA 90049 (213) 476-2777 KAGAN, MYRON F., 7918 Calmosa Avenue, Whittier, CA 90602 (213) 698-7893 KAP, BILL, 14147 Euclid Avenue, West Cleveland, OH 44112 (216) 541-6078 KOENIGSBERG, WILLIAM &BEVERLY, 14 Southwick Road, No. Reading, MA 01864 (617)664-4201 LEEDY, BENNET A., 306 South Newton St., PO Box 44, Middleton, Mich. 48856 LAVACCIA, JOSEPH &PRISCI_LA, 63 Mountain St., Woburn, MA 01801 (617) 933-7042 NIEVIAROVSKI, DIANA &LESLAV, 168 Vernon Avenue, Yonkers, NY 10704 (914) 776-2732 PARLANTE, JOSEPH, 4400 East -WSt. Highway, Bethesda, MD 20014 POOLE, JOHN &KATHLEEN, 354 Barmont Drive, Rochester, NY 14626 ·(716) 227-1072 SCHWIMMER, MICHAEL, 241 Harbor St., Glencoe, IL 60022 (312) 634-9191; 835-2428 SMITH, TYLER J., RFD 2 Box 5A, Bedford, NY 10506 (914) 234-7866 SNYDER, DALE &LOIS, 1417 Greenwood Drive, Ottumwa, IA 52501 (515) 684-5495 ZORN, THOMAS &DOREEN, 14 Buffalo Road, Bergen, NY 14416 (716) 494-2124 ADDRESS CHANGES:

BARNES, RICHARD E., 4705 Matilda, Dallas, TX 75206 (214) 691-7935 BALEY, GEORGE, 310 Grandview Avenue, Kalamazoo, MI 49001 BISSELL, ROBERT H., 1616 S.E. Harney St., Portland, OR 97202 BRAMEL, JACK & SALLY, 18172 LeRoy Center Road, Capron, IL 61012 ETELMAN, HARRY I., PO BOX 698, Jupiter, FL 33458 (305) 746-1495 GRANT, TCDR ROBERT D., USN, STAFF, COMSCELM, U.S. Navy, APO New York 09069 HALTE~~, TOM. E., 2320 Green St., Philadelphia, PA 19130 LILIBRIDGE, TOM &DIANE L., 1564 Plateau Dr., Los Altos, CA 94022 LUCKHARDT, WILLIAM &DOROTHY, 1034 Winding Ridge Ct., Santa Rosa, CA 95404 PALMER, DR. & MRS. ANTHONY R., 800 Chestnut Drive, Arlington, TX 76012 (817)275-6586 PETERSEN, KARL &ROBIN, 2411 Broadway, Boise, ID 83706 RANDALL, DEAN, 509 N. lOlst St., So., Seattle, WA 98133 (206) WE8-4415 RAPHELD, JAMES P., 1956 Harris Avenue, San Jose, CA 95124 (408) 264-5262 SOPER, WILL~AM L., Project Scope Picture, APO New York, 09056 (621) 730-7560