AMICAMICAA 20032003

PORPORTLTLANDAND •• OREGOOREGONN

The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2003 VOLUME 40, NUMBER 1

THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens

VOLUME 40, Number 1 January / February 2003 AMICA BULLETIN

Display and Classified Ads FEATURES Articles for Publication Letters to the Publisher A Grand Event — 10 Chapter News AMICA - Italy— 11 Upcoming Publication DEADLINES Pseudonym’s — 12 The ads and articles must be received Oliver Denton — 13 by the Publisher on the 1st of the Odd number months: Coenraad V. Bos — 14 January July March September Chickering Pianoforte Manufactory — 22 May November Carry On — 30 Bulletins will be mailed on the 1st week of the even months. Letter from Mrs. Bartier — 31 Robin Pratt, Publisher Convention — 33 630 East Monroe Street Sandusky, Ohio 44870-3708 Phone: 419-626-1903 e-mail: [email protected] DEPARTMENTS AMICA International — 2 MEMBERSHIP SERVICES President’s Message — 3 New Memberships ...... $42.00 From the Publisher’s Desk — 3 Renewals ...... $42.00 Calendar of Events — 4 Additional $5.00 due if renewed past the Jan. 31 deadline Letters —5 Address changes and corrections Tech Tips —32 Directory information updates Chapter News — 38 Additional copies of Classified Ads — 50 Member Directory . . . . $25.00 Single copies of back issues ($10.00 per issue - based upon availability) William Chapman (Bill) 53685 Avenida Bermudas Front Cover: Viewing of Mt. Hood. AMICA Convention in Portland, OR. La Quinta, CA 92253-3586 (760) 564-2951 Inside Front: Constance Mering, contributed by Bill Knorp e-mail: [email protected] Back Cover: House & Garden, January 1923 To ensure timely delivery of your Inside Back Cover: McClure’s Magazine BULLETIN, please allow 6-weeks advance notice of address changes.

AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.

Entire contents © 2003 AMICA International 1 AMICA INTERNATIONAL

INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Dan C. Brown BOSTON AREA NORTHERN LIGHTS N. 4828 Monroe Street Pres. Bill Koenigsburg -(978) 369-8523 Pres: Phil Baird Spokane, WA 99205-5354 Vice Pres: Bob Tempest Vice Pres: 509-325-2626 Sec: Ginger Christiansen Sec: Jason E. Beyer - (507) 454-3124 e-mail: [email protected] Treas: Karl Ellison Treas: Howie O’Neill PAST PRESIDENT Linda Bird Reporter: Don Brown Reporter: Dorothy Olds 3300 Robinson Pike Board Rep: Karl Ellison Board Rep: Dorothy Olds Grandview, MO 64030-2275 CHICAGO AREA PACIFIC CAN-AM Phone/Fax 816-767-8246 Pres: Carl Kehret - (360) 892-3161 e-mail: OGM [email protected] Pres: Curt Clifford - (630) 279-0872 Vice Pres: John Mueller Vice Pres: Peg Kehret VICE PRESIDENT Mike Walter Sec: Thad Kochanny Sec: Halie Dodrill 65 Running Brook Dr., Treas: Bev Spore Treas: Joe Pekarek Lancaster, NY 14086-3314 Reporter: Mark Smithberg Reporter: Kathy Stone 716-656-9583 Board Rep: Carl Dodrill e-mail: [email protected] Board Rep: George Wilder Sierra Nevada SECRETARY Christy Counterman FOUNDING CHAPTER Pres: John Motto-Ros - (209) 267-9252 544 Sunset View Drive, Akron, Ohio 44320 Pres: Bing Gibbs - (408) 253-1866 Vice Pres: Sonja Lemon 330-864-4864 Vice Pres: Karen Ann Simons Sec/Treas: Doug & Vicki Mahr e-mail: [email protected] Sec: Lyle Merithew & Sandy Swirsky Reporter: Nadine Motto-Ros TREASURER Wesley Neff Treas: Richard Reutlinger Board Rep: John Motto-Ros Reporter: Tom McWay 128 Church Hill Drive, Findlay, Ohio 45840 SOWNY (Southern Ontario, Registered agent for legal matters Board Rep: Richard Reutlinger 419-423-4827 Western New York) e-mail: [email protected] GATEWAY CHAPTER Pres: Mike Walter - (716) 656-9583 PUBLISHER Robin Pratt Pres: Tom Novak - Vice Pres: Stan Aldridge 630 E. Monroe Street, Sandusky, Ohio 44870-3708 Vice Pres: Bob Crowley Sec/Mem. Sec: Gary & Anne Lemon 419-626-1903 Sec,/Treas: Jane Novak Treas: Holly Walter e-mail: [email protected] Reporter: Mary Wilson Reporter: Frank Warbis MEMBERSHIP SECRETARY William Chapman (Bill) Board Rep: Gary Craig Board Rep: 53685 Avenida Bermudas, La Quinta, CA 92253-3586 760-564-2951 – Fax 775-923-7117 HEART OF AMERICA SOUTHERN CALIFORNIA e-mail: [email protected] Pres: Ron Bopp - (918) 786-4988 Pres: Frank Nix - (818) 884-6849 Vice Pres: Tom McAuley Vice Pres: Richard Ingram — COMMITTEES — Sec/Treas: Robbie Tubbs Sec./Reporter. Shirley Nix AMICA ARCHIVES Stuart Grigg Reporter: Joyce Brite Treas: Ken Hodge 20982 Bridge St., Southfield, MI 48034 - Fax: (248) 356-5636 Board Rep: Ron Connor Board Rep: Frank Nix AMICA MEMORIAL FUND Judy Chisnell LADY LIBERTY TEXAS 3945 Mission, Box 145, Rosebush, MI 48878-9718 517-433-2992 Pres: Vincent Morgan (718) 479-2562 Pres: Jerry Bacon - (214) 328-9639 Vice Pres: Keith Bigger Vice Pres: Tony Palmer (817) 261-1334 AUDIO-VISUAL & TECHNICAL Harold Malakinian Sec./Treas: Janet Tonnesen 2345 Forest Trail Dr., Troy, MI 48098 Sec: Richard Karlsson Treas: Ira Malek Board Rep: Dick Merchant CONVENTION COORDINATOR Frank Nix Reporter:Marty Rosa Bulletin Reporter: Bryan Cather 6030 Oakdale Ave., Woodland Hills, CA 91367 818-884-6849 Board Reps: Marvin & Dianne Polan Newsletter Editor: Bryan Cather HONORARY MEMBERS Jay Albert MIDWEST (OH, MI, IN, KY) Southern Skies 904-A West Victoria Street, Santa Barbara, CA 93101-4745 Pres: Stuart Grigg - (248) 356-5005 Pres: Bill Shrive (Acting President) (805) 966-9602 - e-mail: [email protected] Vice Pres: Stuart Grigg [email protected] PUBLICATIONS Robin Pratt Sec: Judy Wulfekuhl Vice Pres: 630 E. Monroe St., Sandusky, OH 44870-3708 Treas: Alvin Wulfekuhl Sec: Treas: Dee Kavouras (352) 527-9390 WEB MASTER Meta Brown Reporter: Christy Counterman Board Rep: Liz Barnhart Reporter: 400 East Randolph Street, Apt. 3117, Chicago, IL 60601 Board Rep: 312-946-8417 — Fax 312-946-8419 AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS website: http//stlouis.missouri.org/fsjoplin MUSICAL BOX SOCIETY 43 Great Percy St., London WC1X 9RA President - Nelson Page [email protected] INTERNATIONAL England The Galaxy Theatre INTERNATIONAL PIANO Rosanna Harris, Editor PLAYER PIANO GROUP 7000 Blvd East, Guttenberg, NJ 07093 ARCHIVES AT MARYLAND 5815 West 52nd Avenue Julian Dyer, Bulletin Editor Phone: (201) 854-7847 Fax: (201) 854-1477 Performing Arts Library,University of Maryland Denver, CO 80212 5 Richmond Rise, Workingham, E-Mail: [email protected] 2511 Clarice Smith Performing Arts Center Phone: (303) 431-9033 Fax: (303) 431-6978 Berkshire RG41 3XH, United Kingdom Editor - Vernon P. Bickel E-Mail: [email protected] 786 Palomino Court College Park, MD 20742 Phone: 0118 977 1057 San Marcos, CA 92069-2102 Phone: (301) 405-9224 NETHERLANDS MECHANICAL Email: [email protected] Phone: (760) 471-6194 Fax: (760) 471-9194 Fax: (301) 314-7170 ORGAN SOCIETY - KDV E-Mail: [email protected] SMITHSONIAN INSTITUTION E-Mail: [email protected] A. T. Meijer Division of Musical History AUSTRALIAN COLLECTORS OF INT. VINTAGE PHONO & MECH. Wilgenstraat 24 Washington, D.C. 20560 MECHANICAL MUSICAL INSTRUMENTS MUSIC SOCIETY NL-4462 VS Goes, Netherlands SOCIETY FOR SELF-PLAYING 19 Waipori Street C.G. Nijsen, Secretaire General NORTHWEST PLAYER PIANO MUSICAL INSTRUMENTS St. Ives NSW 2075, Australia 19 Mackaylaan ASSOCIATION Gesellschaft für Selbstspielende 5631 NM Eindhoven, Netherlands DUTCH PIANOLA ASSOC. Everson Whittle, Secretary Musikinstrumente (GSM) E.V. Nederlandse Pianola Vereniging MUSICAL BOX SOCIETY OF GREAT 11 Smiths Road, Darcy Lever, Ralf Smolne Eikendreef 24 BRITAIN Bolton BL3 2PP, Gt. Manchester, England Emmastr. 56 5342 HR Oss, Netherlands Alan Pratt, Editor Home Phone: 01204 529939 D-45130 Essen, Germany FRIENDS OF SCOTT JOPLIN P. O. Box 299 Business Phone: 01772 208003 Phone:**49-201-784927 1217 St. Croix Ct. Waterbeach, Cambridge CB4 4PJ Fax:**49-201-7266240 PIANOLA INSTITUTE Email: [email protected] Kirkwood, MO 63122-2326 England Clair Cavanagh, Secretary 2 President’s Message I’m pleased to report that Karl Ellision and Bill Chapman have made significant progress on the new membership directory. They have put a great deal of time into entering and editing the data and I think we’ll have the most accurate and up-to-date directory we’ve ever had. In their sharing of the efforts to me, it became evident that some articles on basics of automatic music would be helpful to members. We all get a lot of enjoyment from our collections, but I have to believe that knowing more about our instruments would enhance our enjoyment. How about submitting some articles on player piano and piano basics for the Bulletin? Robin Pratt will work with you to put your information into usable form for publication. You’d be surprised at some of the information which was submitted by members. I’m pretty sure there isn’t such a thing as an Ampico Recordo, for example. Write up your own experiences with instruments or a particular instrument in your collection or memory. It’s also been interesting at the variations in the way people are measuring the length of their grand pianos, too. Articles don’t have to be technically inclined to be useful and interesting. Look forward to getting a “new and improved” directory before long. With Spring, community activities start to present themselves. Don’t forget to see if an AMICA presentation can be included. We’ve seen from chapter reports the kind of interest that giving the public a chance to listen and play an automatic instrument can generate. It’s a great opportunity to have brochures available and to generate new membership. Fairs, antique shows, museum exhibits, home shows, and other such events are good candidates for public exposure. The AMICA convention in Portland, Oregon will be here before you know it. Get your calendars out and mark the dates. The MBSI Annual Meeting in Long Beach is a week later, so if you’re coming a long distance, make it a west coast adventure and extend your stay. The Pacific Can-Am Chapter has some great activities planned and Portland is a great place to be in August. Amicably, Dan Brown From the Publisher’s Desk

Hello and Happy New Year a month late! Another year has passed and here we are starting a new one. The AMICA Directory has had lots of detail work completed and has been a major task for both Karl Ellison and Bill Chapman. We owe them a big round of applause! Thanks guys! Speaking of the new AMICA Membership Directory, the deadline for advertising in the Directory is April 1. See page 53 in this issue of the Bulletin for the details of advertising prices, composition recommendations and mailing instructions. The AMICA Directory is a great resource and people refer back to it regularly! Don't miss out on your spot. REMEMBER, Deadline is April 1, 2003 Enclosed with this issue is a list of new AMICA members. Chapter officers should take this opportunity being handed to them to welcome the new members and invite them to attend a Chapter meeting and join their Chapters. Easy one! Enclosed also is a first time printing of a talk presented at an Amphion class. This is an Explanatory Talk about the ARTECHO (or Apollo or Celco) reproducing system. This talk is a help guide with detailed diagrams that is to be used along with existing ARTECHO reprints available from Player Piano Co. and also the ARTECHO Test Roll. This is quite rare and to our knowledge, has never been reprinted. Don't forget that the 2003 Portland AMICA Convention is this August, too! In this issue are all of the exciting details described for you of the Convention and your registration form, too! Register early so you can make your reservations for hotel and travel! We are living in very anxiety ridden times these days. Let's try and enjoy the music while we can! Sincerely, Robin

3 AMICA Calendar Memorial Fund Donations of Events Please think of AMICA as a place to remember your friends and family with a CHAPTER MEETINGS donation to the AMICA Memorial Fund. Send to: Heart of America Chapter May, 2003 - The Tulip Festival will be held in Pella, IA. Peg Kehret Ideal for monkey organs, but not big organs. P.O. Box 303 Organized by the Railsbacks and Craigs. Wilkeson, WA 98396 September, 2003 - Meeting in Branson, MO 360-829-3161 hosted by Billie & Bill Pohl. [email protected] ~

August 20-24, 2003 AMICA Convention, Portland, Oregon Visit the Contact: Carl Dodrill 4488 W. Mercer Way Mercer Island, WA 98040 AMICA Phone (206) 236-0067 E-mail: [email protected] Web page at http://www.amica.org

Voice from upstairs: “Agnes, dear, do you mind shutting off the radio? That static is terrible!”

4 LettersLETTERS

Dear AMICA, Bill Chapman’s conclusions in his “Annual Report Correction” in the November/December 2002 AMICA Bulletin are somewhat sobering, and point to real and serious problems within our organization. Prior to joining AMICA in 1990, I had only seen or heard a handful of reproducing pianos, and my main interest was “ and is” the 88-note instruments. I had encountered a few 88-note players in private homes and public places such as restaurants and a handful of coin-operated instruments as well. It was my assumption that most of the people in AMICA were primarily interested in 88-note players, as these were virtually all I had encountered. To my surprise, most of the people I encountered after joining AMICA seemed almost exclusively interested in reproducing pianos. To be sure, since joining AMICA I have seen some incredible instruments and heard some magnificent performances upon them. But, if one were to take the general membership of AMICA as a representative cross-section of player owners, one would assume that reproducing pianos are fairly common and can be had relatively easily, and that 88-note players are quite rare indeed. In my 10+ years as an active member, the majority of the AMICA chapter meetings I have attended have featured at least one reproducing piano, while I can count on one hand those where the main instrument featured was an 88-note piano. Therein lies the problem. Bill stated in his report that “Most new members own a single upright player. Almost all inquiries revolve around ordinary instruments. In the past year only 3 out of perhaps 100 inquiries were about reproducing pianos or other sophisticated instruments”. As long as AMICA primarily serves the interests only of owners of “reproducing pianos or other sophisticated instruments”, it is turning its collective back on the majority of the player owners out there: those whose entire collection consists of one upright 88-note player piano and the rolls they play on it. I’ll be the first to admit that, yes, reproducing pianos, orchestrions, orchestrelles and the like are indeed delightful, wonderful instruments. But, due to their rarity, their size or their cost (or all of the above) they are not likely to be something I am going to be owning any time soon, regardless of how badly I’d like to. The time has long passed when the someone who had children to raise, car payments, and a mortgage to pay off could pick up a reasonably restored reproducing piano and not have to worry too terribly about finances. Reproducing pianos initially were the playthings of the very wealthy, and now, with the exception of those lucky few of us who got theirs at an opportune time, they are again generally available only to those who have the sizeable disposable income necessary for such an item. As long as we continue to ignore the majority of player owners out there “ those with one 88-note piano” and continue to concentrate on the more rare and exotic instruments, I have to agree with Bill Chapman’s statements which generally indicate that new members are less interested in “reproducing pianos and other sophisticated instruments” and that unless their interests are addressed, AMICA should “plan for an orderly decline”. The annual pumper contest at the National Convention is a great idea. Why not expand upon that idea and perhaps ask some of the winners to perhaps submit articles about their playing technique, whatever “tricks” they may have discovered, or perhaps what, to them, constitutes a “good” roll. I think if we encourage those new members with one 88-note piano to derive as much enjoyment as possible out of their instrument, and assist them in doing so, not only will AMICA remain strong, but we will all be doing a greater service to our hobby in the long run. Respectfully, Bryan S. Cather AMICA Membership Idea — Apprenticeships Attached please find a treatise that I wrote concerning the need for finding new members for AMICA. I have passed it by John Motto-Ros, Marvin and Dianne Polan, Keith Bigger and today the full Lady Liberty Chapter. All fully agree that it should be published in the bulletin. Much has been said and written recently about the declining membership in AMICA, but few solutions. Many people decry the younger generation’s lack of interest in mechanical music and all it has to offer. In repairing clocks often my customers would tell me that they didn’t know to whom to leave their valuable and treasured antiques as their children thought of them as old junk. The same despairing cry is often the case with owners of mechanical musical instruments. But there are abundant resources available, which are still untapped. All across our great country there are families that eschew television, emphasize music in the home, and teach each of their children to learn a trade. These families make up the thousands of home schools all across our country. Most of the home schools are religious in nature, but not all. In every case, melodic music is emphasized in the homes. These children are bright, polite, possess character, love to work with their hands and are eager to learn. Every home-schooled student is looking to apprentice in some trade. They are honest and have a strong work ethic. They value good music, whether mechanical or live. continued on next page. . .

5 I urge our members to open their collections to their local home schools and to educate these children in the area of mechanical music. Those who repair and restore should find apprentices and teach their trade. It won’t be difficult to find eager apprentices. They abound in great numbers. This may mean that you will need to wait to do a special project until your apprentice can be with you, but you will soon develop an eager student who will continue on your trade when you are no longer able to do so. Since these young people are home schooled they are not bound to the normal schedule of a public or private school. You can often schedule your class(es) during the day. There are also foundations, organizations and companies that will pay you to apprentice a young person or provide pay to the apprentice. I remember one church that had a problem in that they had no musicians. They paid a music teacher to give free lessons to all the children of members every Friday after school. It took a few years, but now that investment has paid off big time and the church is flooded with musicians. One of those children has obtained a degree in church organ. Others play the piano, violin, flute and other instruments. In AMICA we can do the same thing. Don’t decry the decline in membership. Develop relationships and teach others what you have learned over the years. Grow new members by cultivating the young who are eager to learn. Home schools exist in almost every community. If you have trouble locating a home school in your area contact me. I will be happy to help you locate eager apprentice(s). Most public and private high schools are also looking for apprenticeships for their junior and senior students. Vincent Morgan, Lady Liberty Chapter “AMICA Directory Status” Hello AMICANs - By now I’ve received all of your changes to your contact/instrument data for the upcoming AMICA Directory. They arrived by envelope, by email, by phone and in one instance by car. I personally use the back of used envelopes as notepaper - and now have a supply to last me for years to come! This time of year our membership secretary Bill Chapman is busy entering membership renewals. Sharing the use of the same database to enter in the Directory changes has been challenging. We share the database via email; Bill emails it to me where upon I work on it over a weekend or a few evenings, then when I’m finished with (or tired of) my stack of work I email it back to Bill so he can resume work on his mountain of renewal forms. Many hours have been spent entering in hundreds of changes in this manner. Now that the raw entries have been recorded, it’s time to check every record for logical correctness. Not having been ‘in the business for years’ some illogical entries would escape me (e.g. Could a Steinway ‘OR’ possibly be 5’7”? Is there such a thing as a Seeburg ‘F’?). Fortunately our Bulletin editor Robin Pratt has agreed to proof the Directory contents for me. He’ll make sure we don’t publish instrument collections with vague misspellings or with nonsense attributes. This task in turn will generate more edits for me to make over the next few weeks. We’re tentatively looking at a Spring-time publication date. I understand an updated Directory is *badly* needed, but we want the information as correct as possible rather than rush it out the door for the sake of meeting a date. In this light, I want to thank you all for your patience! Karl Ellison, Temporary Directory Compiler/Helper

A Story about a SONG Submitted by Shirley Nix

The other morning on our neighborhood walk, a couple of the fellows got into a good-natured argument (sure they did!) about the song “Lili Marlene”, and which war it was written for. You have to understand, when we walk we really have deep conversations about important things. Anyway, I got on the computer and looked it up. What I found surprised me, and I thought maybe some of you would like to know the story behind this song. The following is a compilation of several sites, but I guess the main source was a UK News Desk Feature. I am assuming the information is valid, since it seemed to be the same, or nearly so, everywhere I looked.

“Lili Marlene”, The Song “Lili Marlene” has always been a soldier’s song, and during World War II it won the hearts of both the Allied and Axis armies. The lyrics were composed by Hans Leip, an eighteen-year-old at the time, born in 1893 and died in 1983. He was a German infantryman of the Great War, and the words were written with feeling shortly before he and his comrades left for the Russian front.

6 Who was Lili Marlene? Actually she was two ladies. Lili was Hans Leips’s girlfriend, and Marlene was a comrade’s girlfriend. The words were originally written as a poem, telling of the loneliness of barrack life and the misery felt by a young soldier being separated from his love. It was later published in a collection of poetry in 1937 under the title “The Song of a Young Sentry”. The poem’s tone caught the imagination of Norbert Schultze, a popular German composer of operas, musicals and songs. He set the words to music in 1938. He was, incidentally, the composer of background music for such German period films as “Bombs for England” and “Tanks Roll into Africa”. He composed many military battle songs and marches. After the war Schultze was classified as a “sympathizer” by the “liberators”. His music was banned and he ended up working in heavy construction and later as a gardener for years before he finally resumed his song writing. The song was no more than mildly popular, having sold only 700 copies when the German Forces Radio began broadcasting it to the Afrika Korps in 1941. It was so immediately popular with the troops that Field-Marshall Rommel requested Radio Belgrade to incorporate the song into their broadcasts, which they did. British soldiers were roundly condemned when the song caught their imagination and they enthusiastically sang the German version. In a failed attempt to defile the song’s growing popularity, it was erroneously made public that Lili Marlene was a German prostitute. The lie, however, hardly dented the enthusiasm for the song, and one has to wonder if it didn’t, indeed, add a little spice. When J.J. Phillips, a British songwriter, berated the tommies for singing German lyrics, one soldier asked him why he didn’t write some English words then. Soon after, Phillips and songwriter Tommy Connors came up with an English version. Singer Anne Shelton brought instant popularity to the German poem, re-born as a sad ballad. Vera Lynne, the forces favorite, sang it over the BBC, and the British Eighth Army quickly adopted it. Strangely enough, American troops particularly liked the version sung by German-born Marlene Dietrich. The song has been translated into 48 languages, including French, Russian, Italian, and surprisingly enough, Hebrew. It is probably the most popular wartime song ever recorded, and was a chart buster when it hit the home front.

The Lyrics (English version)

Underneath the lantern by the barrack gate, Orders came for sailing somewhere over there, Darling I remember the way you used to wait. All confined to barracks was more than I could bear, ‘Twas there that you whispered tenderly, I knew you were waiting in the street, I heard your feet, That you loved me, You’d always be, But could not meet, My Lili of the lamplight, My own Lili Marlene. My Lili of the lamplight, My own Lili Marlene. ~ ~ Time would come for roll call, Resting in a billet just behind the lines, Time for us to part, Even tho’ we’re parted you lips are close to mine, Darling I’d caress you and press you to my heart. You wait where that lantern softly gleams, And there ‘neath that far off lantern light, You sweet face seems to haunt my dreams, I’d hold you tight, We’d kiss goodnight, My Lili of the lamplight, My own Lili Marlene. My Lili of the Lamplight, My own Lili Marlene.

~

Marlene Dietrich did a variation on the lyrics, probably to endear the song to the troops of the day:

When we are marching in the mud and cold, and when my pack seems more than I can hold, My love for you renews my might, I’m warm again. My pack is light. It’s you Lili Marlene, It’s you Lili Marlene.

And so ends the story . . . Next time you play it on your reproducing piano, think back to the history of the song and those lonely soldiers who made it such a hit.

7 Dear AMICA, Memorial Fund I found this original advertising slip in an old Playrite music roll box and thought it might be of interest to the AMICA Many contributions to the AMICA Memorial Fund were membership through the Bulletin. received in memory of James Kelsey. Best wishes to you for 2003! Thank you to all who added a contribution to the AMICA Bill Burkhardt Memorial Fund when you paid your annual dues. Special thanks to the following people who donated $50 or more: ¥ David and Annabel Ballard ¥ ¥ H. Gail Clarke ¥ ¥ Thomas C. Mouradick ¥ Peg Kehret, AMICA Memorial Fund P.O. Box 303, Wilkeson, WA 98396 360-829-3161 • [email protected]

UPDATEUPDATE

KeystoneKeystone MusicMusic RollRoll CompanyCompany –– Bethlehem, Pennsylvania

Dear Keystone Customers: As many of you may know, Keystone has moved to a new expanded facility during the past year. We did not issue a Christmas Catalog in 2002 because we decided to do major rebuilding on our original Ampico equipment. Since the machinery had been disassembled for the move, we thought this would be the most opportune time for the needed servicing. Keystone has also acquired an original Aeolian Duo-Art perforator that will be running some time in 2003. We have designed an up-to-date reading system to use on the duo-Art and one of our Ampico perforators, thereby expanding our ability to accurately copy all types of piano rolls, many never re-cut before. During our move, we had a chance to go through many boxes of our antique and historic piano rolls. Keystone has done several auctions in the past, but at this time with all our time devoted to perforator rebuilding, we could not think of conducting an old roll auction. Two great friends of Keystone, Shelby and Laura Lee Kennard, came to the rescue. Shelby and Laura Lee own Magic Melodies, a piano roll auction and specialty roll project service. They agreed to take over the daunting task of organizing, sorting, inspecting and listing some of the thousands of rolls from the Keystone Library. They had conducted many fine auctions in the past, so Keystone is very excited to have them involved. You will undoubtedly find many interesting rolls of all types in this auction. Keystone sends a heartfelt “Thanks” to Shelby and Laura Lee for all their time, effort and patience in the preparation of this wonderful auction listing. Richard Groman and Everyone at Keystone Music Roll Company P.O. Box 650 ¥ Bethlehem, PA 18016

✦ ✦ ✦ ✦ MAGIC MELODIES ✦ ✦ ✦ ✦ Dear Player and Reproducing Roll Collectors: We are thankful for the opportunity to work on behalf of Richard Groman and Keystone Music Roll Company in presenting the many fine rolls included in this listing. As with other auctions and fixed price sales we have offered in the past, the emphasis here is on quality. Prior to listing these rolls, we inspected them on our desk spool box and played them. Any needed minor repairs were made using acid-free archival tape. All rolls have good boxes. Many have new Keystone boxes. Necessary new labels were made by photocopying blank originals and adding needed information by computer. It’s the Magic Melodies way – we try our best to provide rolls that play properly and look good on the shelf. Magic Melodies Shelby and Laura Lee Kennard 360 Lawless Road • Jamestown, KY 42629 • Telephone 270-343-2061

8 Sent in by Kaiser Grimes - Date of Book, 1925 - The asterik means “in preparation”

Dear AMICA, Hope all is well with you. Mark found this in an old player piano. We thought it was kind of neat, so we thought we would send it to you. I wonder if the postage permit is still good. Ha, Ha! Maybe you can display it somewhere. Take care. Sincerely, Mark & Char Haas

9 ADavenport GRAND EVENT By Dan Brown

September 14, 2002 was a big event for 30 million dollars later, this dream came the city of Spokane, the grand re-opening of true and just in time for the hotel’s 88th the Davenport Hotel on the 88th anniversary anniversary. Unfortunately, the pipe organ of its original opening. The Pacific Can-Am is long gone, but the style and luxury of Chapter of AMICA got to play a role in the the original has been restored. To have festivities and to use the occasion to introduce a detailed look, check the website at a lot of people to the world of automatic www.thedavenporthotel.com. music. Shortly before the “grand re-opening”, I Louis Davenport was significantly was approached by the hotel to play a part in involved in the early days of Spokane, having the events by demonstrating music of the been a successful restauranteur and when teens, 20’s and 30’s. An organizer had heard he decided to build a hotel, it was done in that I had a collection of phonographs and a spectacular way. Noted architect Kirtland records of the era. In our discussion of plans, I Cutter was called upon and at a cost of $3 suggested that a great deal more could be done million, the hotel was completed in 1914, and that if they were willing to pay moving complete with a pipe organ and Tiffany glass expenses (and use a mover of my choice), a skylight in the lobby, marble floors, and the much more spectacular program could be luxury of chilled water and a bathroom in each done. They also invited me to promote any guest room. The hotel covered one city block collector organization with which I had and was located at the center of downtown. Hotel Facade interest, so AMICA was the obvious choice Over the years, many notables stayed there, (those who have been around long enough will including every US President from Taft through Reagan, Sarah appreciate my emulation of Molly Yeckley) and I got the banner Bernhardt, Anna Pavlova, Mary Pickford and Douglas for the Pacific Can-Am Chapter, organized the program, and Fairbanks, Charles Lindbergh, Will Rogers, Jack Benny, and the arranged the transport of a 1911 Chickering upright pumper musicians Ernestine Schumann-Heink, Fritz Kreisler, and player (Auto-Pneumatic action), 1926 Kranich & Bach Welte Ignace Paderewski. Luxury was the norm and the hotel was Licensee grand, a 1938 Wurlitzer jukebox, a Reginaphone, and famous for washing all coins which were given as change. a bunch of phonographs and radios. All of the instruments and Spokane’s first radio station was housed at the hotel and the music had Spokane tie-ins and around 250 people attended the antenna was on the roof. Davenport sold his hotel in 1945 and it afternoon presentation in the Marie Antoinette ballroom. It was passed through a variety of owners, who did not maintain the such a hit that the hotel management asked that I keep the Welte level of service or care which had distinguished The Davenport at the hotel for the champagne reception that evening, so I hustled for so long. It passed through a variety of owners and declined home, grabbed some more rolls, and put on a fresh tuxedo. until being closed in 1985. A local group, The Friends of the The Chickering opened the program with QRS Roll Davenport, was established to promote the preservation of the @@@@@@ “In Sunny Spokane” with the sheet music shown hotel, but bids were solicited for demolition and one company on an overhead projection. The music box and phonographs proudly stated that the building were demonstrated and the audience was very could be brought down within 20 attentive and asked a lot of questions. seconds. The building was sold, Records by Schumann-Heink and Kreisler but little was done until a local were featured. Most attendees were hardly developer bought the hotel in 2000 young and a number recalled memories of and announced he and his wife player pianos and “Victrolas” in their would return it to its former glory. families. Moving on to the Welte, originally sold at a store across the street from the hotel, I played Paderewski’s rendition of Liszt’s 10th Hungarian Rhapsody, with all it’s runs up and down the keyboard and dynamic passages. I was a little shocked when at the Presentation conclusion of this roll, the listeners loudly applauded. Not one member of the audience indicated having every seen or heard a reproducing piano. Next, in honor of Charles Lindbergh, who had stood on the exact spot to address hundreds during his stay in Spokane as part of his nationwide tour in 1927, the song “Lucky Lindy” was featured on record and roll. A member of the hotel staff recalled the story about Colonel Lindbergh circling the hotel in The Spirit of St. Louis as he came into the

10 All the instruments save the Welte grand were removed for the champagne reception, attended by around 500. A variety of music from 1914-1940 was played and the piano generated a lot of interest and inquiries about where to find “one of those”. During the two events, more than 100 of the AMICA brochures were taken, so hopefully some Around the Welte Grand Champagne Reception new AMICAns will result. I have to wonder if such a demonstration could be arranged city. I concluded the program with some Bing Crosby records elsewhere. The hotel was very appreciative and there was on the Wurlitzer jukebox. He had sung with a dance band at the no cost to AMICA to reach hundreds of people. It was also hotel in the late 1920’s. a lot of fun. Dan Brown

AMMIAMMI –– IItalyTALY

Music arrangement course for Barrel Piano 6th Mechanical Music, gramophone From 8 to 13 April the first music arrangement course for and 78 rpm record market Barrel Piano was held in Longiano. The lessons were held by On 7 April the 6th Mechanical Music market was held in Vittorio Bonafede, the only master still alive to pass on this Longiano (North-East Italy). It is the only event of this kind knowledge, because he worked in the sector when he was held in Italy devoted exclusively to mechanical music, gramo- young. Indeed his father and his grandfather before him, used to phones and 78 rpm records. About thirty exhibitors took part rent out barrel pianos to beggars in Rome. They had about thirty and quite a large number of visitors attended. The next market instruments and they had to tune and check every day; in will be held on 8 September 2002. particular they often needed to write new music with the latest tunes in fashion. Vittorio started to study music when he was eleven, and at the age of fifteen he was already working in his father’s workshop. He started by fixing nails into the cylinders and carried out his activity until about 1950 when there was no longer a request for Barrel Piano and he had to change jobs. Vittorio wrote (fixing nails) Barrel Piano music for about twenty Italian films with De Sica, Toto, Modugno and Fabrizi, also composing the music for them.

11 Pseudonym’sPSEUDONYM’S By Steve Rattle

Reproducing Piano Roll Artists Pseudonym’s & Name Changes Known & Unknown

REAL NAME PSEUDONYM / NAME CHANGE Howard Lutter Stuart Gregory J. Milton Delcamp Corrine de Bert - limited Adam Carroll Cal Adams Nan Foster Corrine de Bert - limited Victor Lane (up to c. 1928) Giuseppi Collini Jack Blair Ted Oliver Harry Shipman Leslie L. Loth Elsie Holt Victor Lane (from c.1929) Lewis J. Fuiks Victor Arden Angelico Valerio Harry Shipman - one roll M.E. Burnham Moi E. Moise Edgar Fairchild Corrine de Bert Marguerite Volavy Felix Gerdts (Milton Suskind) Enrico Lavarro George Kerr Harry Shipman - limited Joseph Lambert Henri Lefevre Mettler Davis Leon Mitzski Herbert Cooke Milton Suskind Edgar Fairchild Original Piano Trio (OPT) - part Ralph Reichenthal Ralph Rainger Sascha Baronoff Robert Armbruster Gene Waldron Edward Brightwell Bernard Francklyn Henri Bergman Frank Milne Bob Edgeworth Robert Summers Edwin Lester Rudolph O. Erlebach Dorothy Herzog Ernest Leith Walter Kutschke W. Coach Gomez Jaysnoff Sisters UNKNOWN PSEUDONYM'S Jeremy Lawrence The following names are assumed to be pseudonym's, as no Noel Sherry biographical data (that can be verified) can be found on any of Ralph Addison the following : Robert Farquhar Robert Joyce ? Alex Swift Sherry Brothers ? B. Goodall George Dilworth Original Piano Trio (OPT) - part ? Bella Fichter Gustave Reinert Gustav Starke ? Benno Ebann Hans Haass Edward Fox ? Cliff Norman Edward Johnson ? Ernst Sommer F. Keller ? Gene McCormack Felix Fox ? George Haig George Milner ? Harvey Maddon Hans Haeuser ? Hayward Headden Hans Renner ? Ian Scott Hans Sommer ? Irene d'Giovanni Henry Dark ? Jean Fabre Jean Maison ? Jensen John Hare ? K. Ebenstein Sidney Black ? K.W. Feldmann Heinrich Burkard Henry Burkhard ? Lowell Grant Herbert Clair Harry Shipman ? M. Douloff Original Piano Trio (OPT) - part ? Norman Wren Henry Burkhard H. Bernick ? Omar Hafiz (Heinrich Burkard) Lisle W. Embree ? P. Gayraud M. Dubois ? Paul King Richard Wheeler ? R. Hill Howard Brockway Al Sterling ? Sylvester Andrei Kmita

12 OliverOLIVER DentonDENTON By Emmett M. Ford

American composers and pianists are active and known several seasons of conducting he went to Russia, accompanied about in their lifetime but after death they become unknowns. by his teacher, Safonov. Returning to Paris he began instruction Recreated interest can be accomplished by their phonograph with Isidor Philipp, then to Berlin to study with Karl discs, piano rolls and compositions. Such as Oliver Denton. Goldschmidt. A 1913 debut was made in Berlin as soloist with He was born in Hempstead, L.I., in 1886, and had a the Berlin Philharmonic Orchestra. Tours were made in thorough training in piano lessons which began in his Germany and Switzerland, later returning to New York to live childhood. Early piano training was from his sister, and then as a teacher and recitalist. he enrolled in the National Conservatory in New York City Duo-Art piano rolls were made of the compositions of to study with Mme. Melanie de Wienzkowska and Vassily Rubinstein, Schubert, Moszkowski and other composers. Safonov (1852-1918). After his graduation he became the His death was June 9, 1928 in Paris, France. conductor of the New York Philharmonic Orchestra. After

13 FROM THE AUSTRALIAN COLLECTORS OF MECHANICAL MUSICAL INSTRUMENTS, INC. JUNE 9, 2002 - BULLETIN NO. 112

DOYENCoenraad OF ACCOMPANIST V. &Bos FRIENDS By Graham Tait

Who was Coenraad Bos? Frieda Hempel pianoforte players the world has ever heard,” calls him the “foremost accompanist of the day” and certainly was aware that Clara Schumann whilst Andre Benoist, Albert Spalding’s was close to the end of her long and long-time collaborator, says that Bos was “not distinguished career. only an outstanding accompanist, but a very Consequently, in the summer of 1895, distinguished pianist in his own right.” Yet, Rontgen arranged an audition with Madam despite these accolades, and many others by Schumann for Bos. All went well for the young distinguished singers and instrumentalists of the pianist, the result of this meeting being that he “Golden Age,” Bos remains shrouded in mystery. was accepted as a pupil, to commence studies the I stumbled across a reference to Coenraad following year. Unfortunately, Clara Schumann Bos whilst reading a music related biography. It passed away in the spring of 1896, and Bos was an interesting anecdote which aroused my was denied this golden opportunity to study curiosity, and I recalled having seen his name on with her. However, he did gain the benefit of a Duo-Art Piano Roll in my collection. Further Coenraad V. Bos a discussion with the great lady regarding her investigation revealed that Mr. Bos had published husband’s lieder, something which left an an autobiography (with the help of an amanuensis), and so I indelible impression, and remained with him throughout immediately organized myself into a copy of this small volume. his career. It was subsequently revealed to me that Coenraad Bos was Therefore, after his graduation from the Amsterdam deserving of further research and certainly entitled to more than Conservatory at age 19, Bos went to Berlin to do some the common comment “wasn’t he an accompanist?” additional study at the Hochschule. At the time, Max Coenraad Valentyn von Bos was born in Leyden, Holland, Friedlander, a German lieder authority, was giving a series on 7th December 1875, into a family that was typical of Dutch of lectures at the University of Berlin. Bos was introduced families of the day; they had a keen interest in music and the to Friedlander, who required a pianist to assist him in the arts. Not much is known about Bos’ early childhood or editing of Schubert’s songs, which he was collecting for education except that, judging from his later career, he showed the Peters’ Edition. some ability in his early musical studies. As a consequence, he After an audition, Bos was engaged as Friedlander’s was enrolled in the Amsterdam Conservatory of Music in his assistant, and for the remainder of the year he went, every teenage years, to further his musical education. morning, to Friedlander’s studio, transposing songs, checking Whilst at the Conservatory, Bos exhibited some talent, and for inaccuracies and comparing available printed scores with it was on this basis that he came under the tutelage of Julius Schubert’s originals to detect any discrepancies. He also Rontgen, eminent composer, conductor, teacher and pianist assisted Friedlander in the preparation of an edition of musical (Rontgen later became Director of the Conservatory from 1914 settings to Goethe’s poems, which became the 11th volume to 1924). Rontgen took a special interest in the musical of the Schriften der Goethe-Gesellschaft. Bos says he did development of his student, and this relationship would prove practically all of the work on this volume, but did not even get a to have a profound effect on Bos and his future career. mention in the forward! By 1895, Bos had achieved a standard However, one good thing came out of excellence in his studies at the of all of this effort. Besides knowledge Conservatory, that it was considered time gained, Friedlander introduced Bos to for him to broaden his experience. the German Bass-Baritone Eugen Gura Rontgen, having been a friend of Clara (1842-1906), who was then in the final Schumann’s for many years, and being year of his long and important career. keen to advance Bos’ studies and career, Gura, who appeared in the first complete sought to gain him the advantage of production of Wagner’s Ring Cycle in studying with the widow of one of Bayreuth in 1876, engaged Bos for what Germany’s most significant composers. was his first concert tour, but which proved Rontgen called her “one of the greatest to be Gura’s last. They toured the German Mack Harrell and Coenraad V. Bos

14 provinces together, culminating in a final recital in Berlin, Upon the retirement of von Zur-Muhlen, who went on to which took place in the Great Hall of the Philharmonie on April settle in Sussex, England, to concentrate on teaching, Bos 11th, 1896. The concert was sold out and the performance a became accompanist to the famed Dutch Baritone, Johannes success. Thus was the beginning of Bos’ chosen career, that of Messchaert (1857-1922). Messchaert was a Professor at the the professional accompanist. Amsterdam Conservatory, and a friend of Rontgen, with whom The next singer Bos was to accompany, a man of exacting he gave recitals in Holland, Germany and London. Regarded as standards, was the Tenor Raimund von Zur-Muhlen one of the most notable singers of his day, Messchaert picked (1854-1931), an artist who specialized in the lieder of Schubert, up from where von Zur-Muhlen left off, in continuing to Schumann and Brahms. Indeed, von Zur-Muhlen both studied facilitate the further development of Bos as a master and performed Schumann’s lieder with the composer’s accompanist. Bos learned many of the subtleties of the art of widow. Therefore, it was probably through his meeting with accompanying lieder from this great singer and teacher. Clara Schumann that Bos attained a recommendation to From this point, Bos’ reputation started to grow and he was this great artist. able to secure engagements with a variety of important artists, Bos accompanied von Zur-Muhlen in recitals in the experiences which enriched his musical life. One of these was German provinces and in Berlin. In many ways, this was Bos’ the great Wagnerian Soprano, Rosa Sucher (1849-1927), wife true apprenticeship, for whilst he possessed the technical of the conductor Josef Sucher. requirements of music making at this young age, he learned the When Bos met with this diva, she was at the end of her art of truly accompanying a singer from von Zur-Muhlen: career. Having retired from the demands of dramatic Wagnerian “For the first time I realized the necessity of studying the roles, Sucher and her husband planned a series of 10 lieder individual style of the soloist. It was not sufficient to know the recitals to help improve their financial situation. The first and musical demands of the score and to be adequate technically. last recitals were to be in Berlin, with the others to be held in There must be a complete understanding of the artistic provincial centers. personality of the singer and sympathy with it at all times, The first rehearsal at the Sucher’s home proved to be an if perfect collaboration is to be attained”. (1) uncomfortable experience for Bos. The singer’s declining Consequently, after a year of accompanying von powers were more than evident from the outset, as she grappled Zur-Muhlen, Bos finally won the accolade of being “an with Schubert’s Wohin? Apparently this song was beyond her, accompanist without peer”. (2) and her husband commenced a tirade that lasted throughout the whole rehearsal, despite Bos’ presence: “she could not sing in The year of 1896 also saw an event occur which was to be time, even in something as easy as Schubert’s Wohin? She a highlight, if not the highlight of the young accompanist’s knew nothing! She could not even count! In short – she was career. Bos was given the honor of accompanying the famous dumb!” (3) Baritone, Anton Sistermans (1865-1926), in the first performance, in Vienna, of Vier Ernste Gesange. This group of After further rehearsals, the day of the first recital came, songs had only just been completed by Brahms and were and Sucher’s ardent admirers in Berlin received her, and the written specifically for Sistermans. They also proved to be recital, with enthusiasm despite her shortcomings which Brahms last published composition. included breathlessness. However, the following recital in a town called Gosslar, away from her faithful followers, did not Brahms himself was present for this premier, as was a large go well at all. The diva’s singing received a chilly response at audience made up primarily of Vienna’s musical elite. All went the end of each song, in contrast with their hearty approval of well, and at the conclusion of the performance, Brahms went to Bos’ performance of some solo piano works. the artist’s room and congratulated both Sistermans and Bos as their performance had completely realized his intentions. At the end of the recital, Frau Sucher was presented with an autograph book to inscribe, as was the custom. Bos Two weeks later, Bos was again engaged to accompany the watched on as she wrote out a passage of music with performance of these songs, this time by Raimund von words, and then signed. The music society’s President was Zur-Muhlen. Thus, the songs were transposed to a higher key, stunned as he read these words from Wagner’s Traume, the to suit the Tenors voice, but furthermore, von Zur-Muhlen felt last song of the recital: Und sinken in die Gruft (And then sink that the songs should end in a climax or crescendo, as opposed into the Grave). These tragic words were fateful, as the to the composer’s markings of diminuendo and piano. diva cancelled her remaining recitals and ended what had been Again, Brahms was present at the recital, which met an illustrious career. with more acclaim than the first performance. At its Shortly after the turn of the century, Bos accompanied conclusion, he went to the artist’s room, and was full of Emma Albani (1847-1930) in a London recital which included praise for the artist, despite the changes. Von Zur-Muhlen Schumann’s Frauenliebe und Leben. Bos was impressed with said to Brahms: “Master, I hope you are not furious with this artist and her simple and convincing gestures which me for ending your Biblical Songs with a great climax,” she used to help convey the shifting moods of these songs, to which Brahms, replied: “You sang them magnificently. especially in the finale. I did not notice anything wrong.” Thus illustrating the point that there may be more than one effective conception Whilst in London, in 1903, he also accompanied the of a composer’s work that is justified in performance. popular mezzo-soprano Alice Gomez (London Debut 1885),

15 who was of Spanish/Portuguese and furiously. The verse was finished. Indian parentage. In his book, Bos I was flushed with excitement assumes she is an American Negro and success.” because of her dark appearance. The “The fourth and final verse recital took place at the Albert Hall now began. I had served my and included an orchestral interlude novitiate in regard to Annie Laurie. between groups of songs. During this I now realized the possibilities, intermission, the singer informed Bos and for the finale I improvised that she would sing Annie Laurie as a brilliant accompaniment of an encore after her final group. arpeggios. At the conclusion came Unfortunately, at that early stage of cheers and tumultuous applause. his career, Bos was only familiar The old conductor embraced with lieder and some French and me. Gomez could only say: Italian songs and arias. He informed Wonderful! Wonderful!” (4) Gomez that he did not know the song Shortly afterwards, an and had never heard it! Gomez was engagement to accompany a young German astonished that her accompanist had never heard singer, Clara Erler, in Berlin in 1903, led Bos of this favorite, which was sung as an encore by to play for the great violinist Joseph Joachim most great divas when concertizing in London. (1831-1907). Joachim had consented to appear on Nor did she have the music, so Bos’ introduction the programme with Erler, whose father was a to this song was Gomez humming it to him in the music publisher friend of his. At Bos’ suggestion artist’s room. With some trepidation, they went they played a Mozart Sonata together, Bos back on stage, and before long came the time for wanting to make the most of this rare opportunity, the expected encore. Bos continues the story: as Joachim seldom played in public at this time. “Valiantly I went on the vast stage of the However, Bos’ first appearance with an great Albert Hall, before an audience of eminent instrumentalist was the cellist and thousands, to play an accompaniment for a song composer David Popper in 1899. Besides being I had not even heard performed! We began, I a great virtuoso on his instrument, Popper playing the solid C-major chord. I followed at the Dr. Ludwig Wüllner and was also well known as a practical joker, who, various intervals with the other appropriate Coenraad V. Bos on occasion, sprung musical pranks on an chords, as I had heard them in the fleeting unsuspecting audience. This was something that Bos was moment of back-stage rehearsal. I played them all solidly, and I surprised by and, wary of. was overjoyed to hear that they fitted with the music and that Gomez was singing with assurance.” At one recital, as they were about to go on stage together, Popper turned to Bos and said, “Take care!” From this warning, “She then sang the second verse. I now began to feel Bos knew something was going to happen, and as they walked confidence, and for the second verse, instead of playing chords on to the stage, he hurriedly went through the scores of the solidly, I improvised a simple figuration: playing a bass octave compositions they were to play to see if anything was amiss. followed by a distribution of the harmonic tones into an eighth However, the concert was ready to begin. When they came to note pattern. This sounded even better than the first time! Popper’s own composition Vito, the word storm was printed in My ease and assurance were now complete.” the score which wasn’t there previously, and indeed the storm “We began the third verse. I started to repeat the simple came! As they came to a dramatic pause, Popper launched into device I had improvised for the second verse. As we proceeded, the most extravagant improvisation that could be imagined, full I saw the old German orchestral conductor, now standing of every cheap trick imaginable, in the imitation of a storm. Bos in the wings, trying to attract my attention. He was so was horrified, and unable to understand how an artist of greatly in earnest, that I watched him intently to see what he Popper’s reputation “could perpetrate such a tasteless joke upon wanted, at the same time playing on without interruption. a musical audience.” (5) As Gomez voice soared, the conductor cupped his hands Another cellist with whom Bos was associated was Pablo and, in a loud stage whisper, fairly shouted: “A minor”. I Casals. Bos relates an incident when they were to play a recital played the A-minor harmony called for. It sounded all right! in Budapest. Casals had been forewarned that the concert The old man was getting more excited. Now came the manager was unreliable, and so he demanded that his full fee be command: “D minor”. No sooner said than done. And it paid in advance before he set foot on the stage. The concert sounded still better!” manager made all sorts of promises, but Casals would not be “I did not know where I was going next, harmonically swayed. He just sat there, in the artist’s room, playing scales speaking, but so far so good! The old conductor was now in a whilst the manager paced up and down ‘storming and raging.’ very fever of excitement as he called: “E major.” With a Finally he offered one half of the fee in cash, and the balance by glorious burst came the brilliant, unexpected harmony. Gomez cheque guaranteed by his Bank Manager, who was a member of sang divinely. The old man was applauding silently but the increasingly restless audience. The bank manager was sent

16 for, and upon his assurance, the concert went ahead, with Casals Bos accompanied this respected artist for all of his exhibiting no outward signs of the earlier fracas. European concert tours as well as three American tours. Bos also relates another incident when they were on tour Indeed, Bos was Wullner’s accompanist up to, and including in America. They appeared together in a recital in Oxford, the artist’s final recital in Berlin in 1938, the year of his death. Ohio, where, on the following day, the local critic wrote that The year of 1901 was also significant for Bos for two other when Casals and Bos came on stage together he ‘wondered reasons. He formed the Hollandischen (Dutch) Trio in Berlin, where the third billiard ball was!’ Bos indicates that this with Jacques van Lier (violoncello) and Joseph van Veen was perhaps the only light-hearted experience he shared with (violin), which went on to give recitals with artists of the the serious Casals. caliber of Joseph Joachim and Emanuel Wirth. He also was In the early part of his career, Bos also had the opportunity married in this year, and with wife, Elsa, produced two to accompany the famous Belgian tenor Ernest van Dyke daughters, Yolanda in 1904, and Erika in 1908, the younger (1861-1923). The recital took place in Wigmore Hall, London, going on to be ballet leader at Bremen Opera House. and was to end with Schumann’s Ich Grolle Nicht, which has a It was also in the early part of the century that Bos came dramatic climax in the form of a piano postlude. However, van into contact with the songs of Richard Strauss by accompanying Dyke turned out to be a singer who was not sympathetic to his wife, Pauline de Ahna, “an artist of distinction, if not the extended endings. At the final phrase, he sang with great power, possessor of an extraordinary voice.” (9) Strauss was often and before he had finished singing the final nicht, applause present at their rehearsals and Bos benefited from the started. Bos, turning towards van Dyke, saw him take a low composer’s suggestions. One of these involved a significant bow and promptly leave the stage. This was completely change to the performance of his Standchen, which was never unexpected, and Bos had no choice but to finish the piece, as incorporated into any published edition of the song. When the composer intended. However, he played with a dramatic Bos asked Strauss why he did not indicate the change in print intensity that quelled the applause. At the finish, the audience so that his intentions would be known, Strauss just shrugged burst out in even more enthusiastic acclaim, for the pianist, with his shoulders and said: “Why go to the trouble!” an implied rebuke for van Dyke. This did not go un-noticed, Another anecdote related by Bos concerns Richard Strauss’ and, as Bos reports: well-known sharpness of tongue. Apparently he was at a “. . . the scene back-stage, where the enraged van Dyke banquet in Vienna and Julia Culp was sitting opposite the expressed all of his fury is best left undescribed. And although composer at the table. For years she had sung only two this could scarcely be termed a happy ending, my solution was, of Strauss’ songs in her recitals, Morgen and Heinliche at least, in consonance with Schumann’s musical intentions. So Aufforderung. Strauss sarcastically remarked to her, “Julia, do I was not too unhappy about it!” (6) you still sing my two songs?” To which she promptly replied: Do we detect a hint of pleasure in van Dyke’s undoing? “I shall sing more of your songs when you learn how to write Certainly, to add to the singer’s displeasure, the incident was for the human voice!” reported in the press the following day. When Strauss was invited to America by the Brunswick Apart from regular engagements with artists of note, Company for a number of orchestral concerts and recitals, with from the turn of the century Bos was to become known as Strauss conducting and accompanying, a series of four Town the exclusive accompanist for a number of elite artists. Hall recitals were arranged. The singers to appear were In 1901 he began what was to be a long collaboration with Elisabeth Schumann, Claire Dux, Elena Gerhardt and George the German tenor, Dr. Ludwig Wullner (1858-1938). This Meader. Bos prepared Meader for his programme. association, according to Bos, “had the most far-reaching The Orchestral concerts in Carnegie Hall were a huge effect upon my artistic life.” (7) success, the venue being filled to capacity, and receiving Wullner, who held a Doctorate in German Literature, excellent reviews in the press. However, the recitals were was the son of Franz Wullner, the German pianist, poorly attended, considering their significance. Bos comments conductor and composer. Originally a teacher, he became a that “when Strauss felt like accompanying, he was the ideal dramatic actor in 1889, after completing studies at the performer of his own works.” (10) However, the half filled Cologne Conservatory. auditoriums had a dampening effect on Strauss’ interest, and his playing flagged to such an alarming degree that he did not go to A regular participant in the Sunday Evening Concerts the trouble of adhering to his own markings. Thus, when he of the Grand Duke of Meiningen, Wullner was often came to Morgen, the elegant pauses at the close which he had accompanied by Brahms in the performance of that previously stressed the significance of to Bos, were completely composer’s lieder. Indeed, Brahms considered Wullner to be ignored, and none in the audience were more surprised than the ideal interpreter of his songs, and it was the composer Coenraad Bos himself. who advised him to change career from acting to singing. It is generally agreed that Ludwig Wullner had certain Albert Spalding was another artist who came into contact vocal limitations, but, as Bos states: “in all my artistic life, with Bos, their first meeting occurring in 1908, during one of I have never accompanied a singer capable in the same Bos’ tours to America with Ludwig Wullner, whom Spalding degree, of the projection of dramatic power and intensity refers to as a ‘voiceless singer.’ “No longer young, gaunt, of expression emanating from both words and music.” (8) grey-haired and with but the shell of what had never been a remarkable voice, he declaimed so musically and eloquently

17 that people thronged to hear him.” (11) At the time, Bos wore a emotional colour and dynamic variety, that she was able to give Napoleon III beard, which gave him a more mature appearance. the impression of having no limitations at all. They met up again in 1910, in London, giving a few However, everything did not always go as planned. Bos recitals together in the Aeolian and Wigmore Halls. Bos and relates an incident where Madam Culp arrived late for a recital Spalding discovered that they enjoyed playing together very in New York, having just performed in London. Consequently, much, and it was at this time that Bos suggested to the there was not enough time for a rehearsal of the entire violinist that he undertake a tour of Holland, with himself as programme. When it came to the performance of Hugo Wolf’s accompanist. As Spalding relates: “Lowk ere”, he (Bos) would In dem Schatten meiner Locken, Culp began singing words and say, “you mawst play in de Nederland, Awlbert – you vill lak it. intervals not of Wolf’s composition, such that Bos thought she De peoble, dey vill lak it – very mawch. You cawm to Holland had suddenly gone crazy. Indeed, what had happened is that vid me some-day, no?” “And who could say no?” (12) part way through the Wolf song she switched to singing Consequently, in 1911, Spalding found himself undertaking Brahms’ Spanisches Lied which she had just sung in London, his first tour of Holland, with Bos as his accompanist and guide. and, which is based on the same poem as the Wolf song. Bos Indeed, as Spalding himself states: “An important factor in the had no alternative but to keep playing, not knowing exactly success of my first trip to Holland was the enthusiasm of my where Culp was going, resulting in a very unnerving experience friend Bos. He was indefatigable in spreading his good opinion for both artists! of me. (13) Bos advised Spalding of the Dutch Following the retirement of Julia Culp, Bos public’s requirements of their recitalists, carefully became the accompanist of Frieda Hempel selecting and revising Spalding’s programmes to (1885-1955). Bos first came into contact with this suit Dutch musical tastes: “De Hollanders are very artist at a dinner party in 1914. At that time he was musicaal, very critical. Dey lak long pieces. still Julia Culp’s accompanist, and this meeting Doon’t play too many short ones. Dey voon’t lak more than likely took place during one of Culp’s it!” (14) Bos also warned Spalding of the reserved American tours. Hempel approached Bos, manners of Dutch audiences, so that he would not expressing her desire that, should he ever be free, be unsettled during a recital by the lack of she would like him to be her partner for recitals. applause, that it would come at the conclusion. The opportunity for this to happen came in 1919. Bos also had the habit of calling Spalding Bos, who was in Berlin at the time, sent a early in the morning, following a concert, to read cable to Hempel, who was residing at Long to him the reviews of the previous night’s Beach, stating his availability. She immediately performance. Spalding, cold and drowsy, would sent a reply asking him to come to America “at struggle to understand his friend’s “grotesque Julia Culp once.” (16) Thus, Bos returned to Holland and translations” of the critic’s reviews, but eventually immediately applied for a visa to the United gave way to Bos’ enthusiasm. This enthusiasm even extended States. However, because he had been active in Berlin, itself to two recitals on Christmas day, despite the fact that Bos’ and married a German woman, his initial request was wife and daughters were present for the holiday. They played refused. However, Bos knew Margaret Woodrow-Wilson, to full houses. daughter of the American President, and herself a singer. Therefore, Bos’ involvement in this tour was instrumental He wrote to her, explaining his predicament, and she in its complete success for the American artist. Indeed, it went replied that if “the magician of accompanists” (17) could so well for Spalding that it led to yearly tours of Holland by the not travel to America, then something must be wrong, violinist, and a long and rewarding relationship with the Dutch and that she would do what she could to help him. public. When he returned the following year, this time with As a result, Bos had his visa within two weeks and was Andre Benoist, Benoist was worried about the Dutch public’s able to commence what would be a 9-year association reaction to his playing, as he was following the “outstanding” with Frieda Hempel. Coenraad Bos. Consequently, Bos boarded a Dutch ship, bound for The next artist that Bos was associated with for a number America, and presently found himself in the company of of years was Julia Culp (1880-1970), whom he played Ernestine Schumann-Heink. During the voyage a ship’s concert for from 1912, until her retirement from the stage in 1919, was organized, as was the custom, and so Bos assumed after her marriage to Baron von Ginsky. Bos reveals that responsibility for planning the programme. Naturally he despite being a consummate artist, Culp suffered from vocal enlisted the talents of Schumann-Heink, as well as a group of limitations that were not generally known. He states that Swiss music teachers who were on board. “her range was, in all probability, less than that of any At that time (post WWI), the performance of German singer who attained similar artistic stature, extending, as songs was deemed to be unacceptable, however, the Swiss it did, slightly more than an octave and one half, from singers presented Bos with a list of such songs as middle ‘C’ to second ‘G’ flat.” (15) However, Bos says their contribution to the concert, including Mein Vaterland. that she had ‘unusual knowledge’ of her vocal limitations Bos was in a quandary, how not to offend these Swiss such that, within her relatively small range, Culp was music teachers and preserve the peace. So he approached able to produce such marvelous tones, imbuing them with Schumann-Heink, who was scheduled to sing an Italian

18 aria and some songs in English, with his problem. She and well constructed fugal composition, based on the theme, told him not to worry, and to leave it to her. for the audience. Hempel relates that after one recital, an Thus, on the evening of the concert, Madam Schumann- ‘irritated’ critic came backstage and asked Bos where he found Heink addressed the audience saying: “You are going to hear a this ‘Rachmaninoff’ composition which he had never heard group of songs by the Swiss Singing Society. The language in before! However, she goes on to say that the ruse was generally which they sing sounds like German. But it is not German! not discovered and that Bos was capable of “creating fine Please don’t shoot them!” The concert then proceeded in good music” that was melodically moving, even if he was given spirits, and was a great success. (18) “the most outlandish” combination of notes as a theme. After his arrival in America, Bos commenced a tour of Bos was also prone to playing the occasional trick on Texas with Hempel in February 1920, and in her book, Hempel Hempel herself, elongating the introduction to a song. Hempel relates an unusual incident that occurred. After a concert at Fort says that she would be at the stage of having taken a deep Worth, Hempel was approached by two young Texans who breath ready to sing the first note, and Bos would wander off wished to know where she was performing next, as they wanted into some pattern such that she would have to camouflage the to attend having enjoyed this concert so much. Austin was the breath, smile, and wait for him to resolve these ‘figurations’, next destination, whereupon these men offered to fly Hempel before beginning again. However, Hempel would get her own and Bos to this town in plenty of time for the concert. As Bos back by elongating cadenzas during a piece, delaying the entry was willing, she accepted, both exhibiting an adventurous spirit of Bos’ piano part. considering aviation was still in its infancy. As they drove to the Another incident Hempel recalls occurred when they were airfield the next morning, excited at the prospect of their flight, in a small town, prior to a recital, with nothing to do. So they their female driver mentioned that this was where Vernon went to the moving pictures, which in those days were silent. Castle’s plane crashed recently, killing him instantly. Bos found At one point the female pianist accompanying the film this quite amusing, grinning at a worried Hempel! Before long, left her seat, so Bos raced down and picked up where she they arrived at the airfield and took off in separate planes, as left off, improvising classical music from his extensive there was only room for one passenger on each aircraft. Hempel memory, to suit the action of the film, in a humorous way. The says that in the first few minutes, her hands were cramped from result being that he had Hempel and her party in stitches praying, but once Bos’ plane appeared beside hers, Bos waving along with other members of the audience. Indeed, when and laughing, she was able to relax and wave back, thinking the poor lady returned and heard Bos playing, she thought “Well, Mr. Bos is with me, nothing can happen now!” (19) she was out of a job! However, Bos relinquished the chair, Suffice to say, they both made it to their destination safely, assuring her that he was no threat. ahead of their companions who endured an uncomfortable train Hempel closes by saying that whether on tour, or trip, and were certainly proud of their daring achievement! entertaining the Roosevelts at the White House, Bos was In April 1921, Hempel and Bos took part in a rather always ready with “wonderful jokes and stories” which unusual recital. It was held at auburn Prison in New York State, livened up any function or gathering he attended. and their audience comprised of murderers, arsonists, thieves Another singer who sought Bos as a regular accompanist and other hardened criminals. As they entered the stage of the was Elena Gerhardt. They performed many recitals together in prison meeting hall, where the concert took place, the latter half of Bos’ career, as well as making a they were both filled with apprehension at the sight number of recordings together, both for victor and of these men, many with shaven heads. But after The Gramophone Company (Hugo Wolf society the first few songs, the atmosphere in the hall subscription series). changed, and the men responded to Hempel’s An example of Bos’ resourcefulness and coolness singing and Bos’ playing with emotion, which, to under pressure comes from a story related by Elena Hempel’s thinking, meant that the men could not be Gerhardt. During a recital together, they were all bad. The concert was a resounding success, performing wolf’s Lied vom winde (Song of lasting longer than planned, and left an enduring the Wind), and Madam Gerhardt’s memory failed impression on the participants. her, resulting in the omission of a large section Hempel reveals a number of aspects to Bos’ from the middle of the song. Bos calmly character which she observed during their long went about bridging the gap with a degree association. Besides an adventurous spirit, Bos also of smoothness that no one in the audience detected. had a keen sense of humor. During their concerts And, to Gerhardt’s surprise, they finished together. together, Bos always played a group of solo pieces, The audience was so enthusiastic about the Frieda Hempel however, from time to time, he deviated from performance, they asked for the song to be standard classical repertoire and included items repeated. “Won’t they be bewildered,” whispered along the lines of ‘Theme and Variations by Rachmaninoff.’ Bos to Gerhardt before he began again, “to find that the These variations consisted of a melodic theme, which Bos song has become much longer!” asked Hempel, or her husband, William B. Kahn, to give him Bos also had the opportunity, during his lengthy career, to before his solos, the more complicated, the better. When he accompany dancers of note, such as Anita Berber and Isadora came to the ‘Rachmaninoff’, Bos would improvise an intricate Duncan. For Bos, Isadora Duncan was particularly memorable,

19 which he regarded as an art in itself. Indeed, his accompanying and teaching activities lasted into the 1950’s when he was well into his seventies. Coenraad Bos died on 5 August 1955 at the age of 79, at the Mount Kisco Hospital, NY, after a long illness, and with his passing, a living link to the ‘Golden Age’ of Brahms and Clara Schumann disappeared. Albert Spalding referred to Coenraad Bos as being “more than an accompanying artist: he is a staunch ally”; and reported Julia Culp as telling him: “Coentjie gives me courage when I most need it, scolds me when I most need it, and consoles me when I most need it.” (21) Bos devoted his life to being a total support for the artists he worked with, never seeking the limelight. He was retiring and unassuming by nature, and perhaps this is why he is not as well known as he should be, for his career is certainly the reflection of a great artist.

~ Recordings of Coenraad Bos ~ Coenraad Bos made his first recording for the Aeolian Company’s Duo-Art system in April 1918. Over the next twelve years he recorded 75 duo-Art piano rolls, making his final recording in October 1929. Of these recordings, 5 were solo piano works, 2 were vocal instruction rolls, with the remaining 68 rolls being for vocal accompaniment. Bos also made numerous recordings for the Frieda Hempel on the steps of Auburn Prison, New York, where she sang for fourteen hundred prisoners. Left to right: Gramophone company and Victor Talking Machine August Rodeman, flutist; Frieda Hempel, Coenraad V. Bos, Company, providing accompaniment for such artists as pianist; and Warden Jennings. Julia Culp, Frieda Hempel, Elena Gerhardt and Helen Courtesy Metropolitan Opera Archives. Traubel. He also accompanied Frieda Hempel on a number of her Edison recordings which appeared on Diamond Disc. an artist of ‘taste and distinction.’ During what must have been a visit to Holland, Duncan was accompanied by Bos’ teacher, Julius Rontgen, in a series of public recitals. Apparently Footnotes Rontgen fell ill and Bos was engaged to replace him. Bos 1. Coenraad Bos, The Well-Tempered Accompanist, pp. 23-24 continues: “The great dancer immediately put me at ease, 2. Ibid., p. 24 at rehearsal, by remarking: ‘Play as you wish-I shall follow. 3. Ibid., p. 129 I dance to music. You are not to accompany the dance.’ How 4. Ibid., pp. 96-97 many dancers consider music in this light?” (20) 5. Ibid., p.143 Coenraad Bos spent the latter half of his career in America, 6. Ibid., p. 79 where he had a residence and piano studio at the Wellington 7. Ibid., p. 52 Hotel. He originally established this, in 1908, for the sake of convenience during his tours of America, where he was 8. Ibid., p. 55 spending increasingly more time, and also for the fact that it 9. Ibid., pg 57 was only a block from Carnegie Hall. With this as a base, Bos 10. Ibid., p. 59 later extended his activities to include teaching, becoming a 11. Albert Spalding, Rise to Follow, p. 101 visiting lecturer at the Julliard School of Music, and also at the 12. Ibid., Spalding. p. 102 Cincinnati Conservatory of Music, the latter institution making 13. Ibid., Spalding, p. 106 him an Honorary doctor of Music in 1953. One of his more 14. Ibid., Spalding, p. 102 prominent students was Ivor Newton. 15. Ibid., Bos, p. 60 Despite the demands of his new teaching schedule, Bos 16. Frieda Hempel, My Golden Age of Singing, p. 199 still practiced the art of accompanying with such singers as 17. Ibid., Hempel, p. 199 Helen Traubel, with whom he was associated for over 10 years, 18. Ibid., Bos, p. 146 Mack Harrell, Rose Bampton, Karin Branzell and Nell Rankin. 19. Ibid., Hempel, p. 203 His role also included that of coach for these singers, something 20. Ibid., Bos, p. 127 he had practiced throughout his career, and recital programmer, 21. Ibid., Spalding, p. 101

20 BIBLIOGRAPHY John R. Bennett & Eric Hughes, Voices of The Past, Vols. IV and VI, Surrey Andre Benoist (Ed. John A. Maltese), The Accompanist, New Jersey, 1978 Coenraad Bos, (As Told to Ashley Pettis), The Well-Tempered Accompanist, Pennsylvania, 1949 Frieda Hempel, My Golden Age of Singing, Oregon, 1998 Pierre V.R. Key, Pierre Key’s Musical Who’s Who, New York, 1931. Wilson Lyle, A Dictionary of Pianists, London, 1985 Gerald Moore, Am I Too Loud?, London, 1962 Julian Morton Moses, American Celebrity Recordings 1900-1925, Texas, 1993 Albert Spalding, Rise To Follow, New York, 1943 H. Saxe Wyndham & Geoffrey L’Epine, Who’s Who in Music, London, 1915 Charles Davis Smith (Ed.), Duo-Art Piano Rolls, Monrovia, California, 1987

The Aeolian Company, Duo-Art Piano Music, New York, 1921 to 1927 Editions New York Times, August 6th, 1955, p. 15 Catalogue of Recorded Music, The Gramophone Company Ltd., 1939-1958 Catalogue of Victor Records, RCA Manufacturing Co., 1936-1940 Catalogue of Victor Records, Victor Talking Machine Co., 1914-1927

Graham Tait would like to thank those members who assisted him with his Bos article. In particular he would like to thank Graham Code for kindly lending his C. Bos Duo-Art piano rolls in response to his ‘wanted’ request in Bulletin 109. Also, Chris Neave and John Burton for their assistance with Bos material and bringing this article to its final printed stage.

21 FROM FRANK LESLIE’S ILLUSTRATED NEWSPAPER APRIL 16, 1859

THE MANUFACTUREChickering OF &PIANOFORTES Co. Sent in by Debra Legg

A Visit to Chickering’s Pianoforte Manufactory, Tremont Street, Boston, Mass.

The importance of this branch of manufacture in the United instrument we now call the pianoforte has been developed to its States can hardly be estimated. Those who live in our large present point of power and utility. cities can arrive at some approximate estimate, for he sees in No exact type in form of the modern piano has ever been every house he visits a pianoforte. But if he travels from state to discovered, the only traceable resemblance is in its fundamental state, he becomes thoroughly impressed with the magnitude of principle, the production of musical tone by striking with some the traffic in this branch of industry, for in the citizen’s brick substance upon wires or strings fastened at each end. For house, in the squatter’s log cabin, in the newly-settled village, centuries the principal change will be found to consist merely in and in the heart of the wildest districts, the pleasant tone and the substitution of one striking substance for another. the consolation of the piano will alike be found. In their The initial idea of the pianoforte was undoubtedly the manufacture millions of dollars are invested, and tens of Greek psalterion or tympanum. This instrument was merely a thousands of hands employed; these receive good living wages, box, across which strings or wires were stretched, and tuned and are among the most respectable of our mechanics. according to the imperfect scales then in use by that people. The progress of the pianoforte to perfection has been very Tone was produced by striking the string with two small slow, but its family tree is well defined, and its genealogy hammers. This instrument was very generally used by the is traceable far into remote antiquity. Small in its beginnings, Hebrews, and constant mention is made of it in contemporary centuries before the Christian era, for thousands of years it writers and in the sacred Book. changed but little in its form and gained scarcely anything The dulcimer was of the same family, but the earliest in power. It is only within the last hundred years that the approach to the positive idea of the pianoforte was the old

Exterior view of Messrs. Chickering’s Pianoforte Manufactory. Tremont Street, Boston, Mass.

22 clavichord, for in that instrument a keyboard was applied for the first time. By means of this keyboard small plates of copper were set in motion and acted upon the strings. Then came the clavitherian, with catgut strings, acted upon by soft leathern hammers. This, as may be imagined, was a terrible instrument, and its tone could not have borne resemblance to any known sound. The virginal, so celebrated as being the special favorite of Queen Elizabeth, was another feeble attempt to make something out of a good idea; but what could be got in the way of music from metallic strings set in motion by the points of quills fixed to the ends of levers? The same poverty in the mechanical construction was observable in the spinet; it was just as imperfect an instrument as the virginal, but in form the case bore close resemblance to that of our early square pianos. The father of the grand piano was the harpsichord, but Action Room. although the mechanism of the action was many steps in advance of its predecessors, reputation, and were in demand all over the virginal and the spinet, still, like them, the continent; but he soon found rivals in the strings were acted upon by quills. This Germany and Paris, in the well-known instrument was first known early in the Silbermans and the still more famous sixteenth century, and upon that miserable Erards. These, with Clementi and Kirkman, and inefficient instrument Sebastian Bach, and the Broadwoods of London, with a Beethoven, Handel, Clementi, Mozart and few lesser stars, were the piano makers others, whose names add dignity to the of the world. history of music, poured forth their divine It is only within the last quarter of a inspirations. century that America has taken any rank The eighteenth century is memorable among the nations in the manufacturing among other things for the wonderful strides of pianofortes. The movement in this made in the manufacture of pianofortes. The direction certainly received its most principles were then evolved upon which direct and powerful impulse from our makers of the nineteenth century have the perseverance, energy and skill of built up their present almost perfect system. Drying the wood by means of steam pipes. the late widely esteemed Jonas Chickering, A Frenchman named Marius first of Boston. substituted hammers for quills, then a Florentine named Jonas Chickering commenced business somewhere Christopher greatly improved upon the innovations of Marius, about the year 1820, and so successful was he in producing the and added to the capacity of the instrument the power of sweetest toned and pleasantest actioned piano, that in a few playing soft as well as loud, and on this fact the instrument was years his name became a sort of household word throughout called piano (soft) forte (loud). the United States. In 1760 the most successful pianoforte manufacturer in For thirty-seven years the vast business built up and the world was Zumpe, of London. His instruments had a vast sustained by the energy and integrity of Jonas Chickering

Gluing bridges and placing sounding boards. Trimming and Finishing

23 The whole edifice stands five stories high on the three streets, and six from the hollow square. All the stories are eleven feet in the clear between floor and ceiling, except the front and center on the second floor, designed for the grand staircase, entrance hall and warerooms, which is twenty-two feet high, and the staircase eight feet wide. The floors above these are suspended by one and three-quarter inch iron rods from strong trusses, upon which the roof rests. A building for steam engine, saw mills, and c., sixty feet by seventy, with wings thirty-two feet wide and two stories high, connecting the two wings of the main building on the westerly end, closes the square, and makes the fourth front. The foundation walls of the entire buildings, which are three feet thick at the bottom and two feet at the top, are built of granite blocks from the Rockport Sawing the rough blocks. Quarries, and contain about two thousand perch, laid in cement. has gone on increasing, until now it is literally the mammoth The first stone was laid June 16, 1853. The walls of the establishment of America, and with but few equals in any part building, which are sixteen inches thick, are built of Hubbel’s of the world. The Chickering factory has always been a model Charlestown brick, and contain three millions in number, laid in of order, regularity and harmony, but vast as was the cement and lime mortar. The first brick was laid July 21, 1853. establishment up to the few last years, the new building which About two thousand five hundred casks of lime and cement we illustrate this day throws it, as it does all manufactories of a were used in laying the stone and brick. The timber and lumber similar nature on this continent, into the shade. It eclipses in throughout the building are Southern and eastern pine and vastness and perfection of detail anything of the kind yet spruce, of which about one million six hundred and fifty attempted in America. thousand feet were used, requiring over three hundred casks of This gigantic structure was put under contract May 16, nails. There are one hundred and ninety-six thousand feet of 1853; the land upon which it stands, and necessary grounds planed boards in the floors, which are all double, and would, if contiguous, having been purchased of the city of Boston the spread out, cover the space of nine acres. The buildings have month previous. twenty-two outside doors, and nine hundred windows, The premises comprise an entire square of two hundred containing eleven thousand lights of glass. The roof, measuring and six thousand feet, or about five acres, situated on forty-three thousand five hundred feet, is covered with tin, the westerly side of Tremont, between Camden and painted both on Northampton Street. the upper and Its novelty induces us to give a somewhat extended under sides, and sketch of its details. Its foundation is a grade of solid clay, into inclines one inch which all the bottom stone (three feet broad) for the walls are per foot towards imbedded in trenches. The cellars and area are graded to the the square, giving depth of three and a half feet with good grading gravel. The the appearance plan of the building forms a hollow square. The principal front from abroad of is on Tremont Street, and sets back eighteen feet from the line one entire flat of the street. This front measures two hundred and forty-five roof, and thus feet on the street, by fifty-two feet deep, exclusive of a adding to the projection in the center for the tower, which is of octagon form, massive effect of twenty-one feet at the base, and rising to the height of one the building. The hundred and ten feet. The north wing, fronting on Northampton roof water is taken Street, is two hundred and sixty-two feet long, by fifty wide. in copper gutters The south wing, fronting on Camden Street, is two through copper hundred and fifty feet long by fifty wide. The open area conductors into between the buildings measures nearly an acre, but only ample drains in the equals the surface of one of the floors in its full extent. area, and from Sawing and planing the boards.

24 Skeleton making.

Bronzing and preparing the plates. thence into the large sewer in Tremont Street. A heavy iron first floor is Fret and jig sawing. fence will enclose the eighteen feet which the building is set filled with the back from the street, with grass inside, and a sidewalk sixteen requisite machinery, such as saws of all kinds, planes, lathes, feet wide on the outside. and c., which, together with the machine shop, on the same The main building and wings are separated by fire-proof floor (where are made all the various kinds of hardware used in vaulted brick walls, two feet thick, with double sets of iron the construction of a pianoforte), exhibits a large and splendid doors, doubly bolted and barred – which, with the facilities at display of machinery, which was all made at Lowell, under the hand for water, render the destruction of more than one building superintendence of Mr. L.A. Cutler, the experienced engineer or wing at a time by fire next to an impossibility. As a further and machinist of the establishment. In the evening the whole safeguard against any conflagration, the city has four hydrants, building is lighted with gas from about six hundred burners. one at each corner of the building, to which hose are constantly Every known improvement is introduced into the various attached, and enter the area of the building under the sidewalks. departments of the manufactory, in order to make it and its The whole establishment is also constantly and amply supplied work as near perfection as human skill, employed with the most with Cochituate water through three-inch iron pipes, with a ample means, can accomplish. wash room and hose in every department. Water buckets, A first-class upright beam engine of one hundred and always filled and ready for use, are distributed around the twenty horse power, capable of raising one thousand nine different rooms and entries, and with these various and efficient protections it would seem that the premises are even more secure from damage by fire than is ordinarily the case elsewhere. The whole of this grand building is devoted exclusively to the manufacture of pianofortes, and all interior arrangements for the business are on a scale to correspond with what has already been described. The rough stock is taken in at a lower door in one wing, and passing up this wing, through the main building, and down the other wing, will be delivered in the warerooms finished; so that, almost literally, “forests enter at one end of the building, and come out perfect pianofortes at the other.” The entire Ware room.

25 portion of the same buildings is a loft for seasoning the lumber, and here it lies for a sufficient period to warrant the assurance that every suspicion of moisture is removed from it. Then it is conveyed into the dimension room, which we reach after passing through the machine shop, that connects with the engine room. In this shop all the brass and iron work of the piano is made – from the heavy frames to the mysterious pins and screws and wires that go to take their place in the “harmonious whole.” Here the patterns and strings are also made. Every machine that ingenuity can make available is here applied, and a busy scene presents itself to the curious visitor. The dimension room is where the stock is all sawed to its proper length, and next, the skeleton room, where the rough cases are put together, and herein one may see a great secret of the durability of the Chickering pianos. These cases are braced Regulating the hammers. by cross cleats outside and in, so as to render it impossible that they can warp or yield in the least. This is a feature that always hundred and eighty tons to the height of one foot in a minute, characterizes these pianos. Then follows the case room, where built by Mr. Otis Tufts, of East Boston, furnishes the power; the delicate veneers are applied, the sounding board room and and the exhaust steam, conveyed through iron pipes, the heat plate room, and ending, in the fifth story of the north wing, with for the entire building. There are two sets of boilers, which are the preparatory varnish room. placed in a building in the rear of, and not We return to the front building, and connected with, the main buildings, to are introduced to the action room, where avoid danger from accidents. The iron all the hammers and the little intricacies pipes used for heating and gas, if laid out of the interior are prepared and put in a single line, would extend more than together, involving great patience and eleven miles. nicety of touch. To give an idea of the labor required upon the action works of a The Interior of the Chickering grand piano, it is only necessary to say Pianoforte Manufactory. that three thousand two hundred and A stroll through the interior of this fifty-four holes are required to be bored, vast building, as recounted by a writer in and of these six hundred and eighty the Boston Evening Gazette, will amuse are bushed with a firm and costly white and instruct our readers, while it fully kerseymere. Fancy a man devoting develops the whole subject: a whole lifetime to boring and bushing “This way, sir. This leads us to the holes! The pendulum that was Polishing cases, etc. engine room; and descending a flight of discontented had not so much to think of, steps in the rear building we stand in the and yet this work has been done in some presence of that wonder to look upon and to study, a steam instances by the same patient and careful hands since the engine – always beautiful and interesting in its humblest estate, commencement of the firm. Next to this is the carving room, but this, combining in its iron sinews the strength of one hundred and twenty horses, is a marvel of graceful motion. Scarcely more sound is heard from it than if it were still, and yet there whirls the immense wheel of eight tons with its sixteen feet diameter, setting miles of shafting in motion, and giving power to all varieties of machinery in the rooms above, and keeping three hundred men employed. The steam, after traversing the building through twelve miles of pipe, returns to the boiler at one hundred and ninety degrees, and does its part in heating the rest. Twelve thousand gallons of water are used in a day by the engine, of which but three hundred gallons are lost. The boilers, of which there are four, are fed by the waste matter of the rooms, and all the sawdust and shavings are thus kept constantly from the floors. “We pass from the engine room to the room above, between the two wings, into which the lumber is drawn from the yard to be sawn – the beautiful rosewood, mahogany and walnuts for veneers – but not for immediate use. In the upper Rubbing the cases wih pumice stones.

26 where the ornamental legs are carved. Everybody is busy. A flattering testimonials from the leading professors, both stranger’s appearance is scarcely noticed, and yet it is not a European and American. surly indifference, as you feel, but a simple attention to Mr. Jonas Chickering was the first to introduce the circular business that admits of no time for idle curiosity. Above this is scale for the square piano now so generally used by all makers, the drying room, that extends the whole length of the front, also the entire iron frame as now used. which is kept at a temperature of ninety degrees. Here all The number of men employed in the various departments is the nicer lumber, for sounding boards, and c., has to pass a between three and four hundred, and with this force from forty probationary term in order to warrant its acceptance. Above to fifty pianos are made ready for the sale room per week. The this, in the fifth story, front, is the varnish room, likewise the following curious statistics show the relative proportion of the whole length of the building. Here about seven hundred cases material which enters into the composition of every pianoforte, are in treatment all the time. In this room are two tanks, holding and also indicate the amount of each used yearly in this vast one thousand two hundred gallons of water, as a reserve supply establishment: in case of the water being temporarily cut off in the street. 600,000 feet of pine, maple and oak; 85,000 feet of black “We next find our way to the fifth story of the south wing, walnut; 200,000 feet of pine for packing-boxes; 20,000 feet of with a vague idea that we have flown somewhere – a sort of lost spruce for sounding boards; 300,000 feet of rosewood veneers; sensation amid such vastness, as one might feel on a prairie. 30,000 feet of chestnut ditto; 30,000 feet of walnut ditto; 12,000 Here we are introduced to the rubbing room, where the feet of oak ditto; making a total of 1,277,000 feet of stock cut cases are rubbed with pumice stone and water preparatory to annually. 15,000 lbs. frozen glue; 2,000 lbs. best fine ditto; 60 receiving their final polish, then to the room for veneering tops, reams sand-paper; 1,750 gallons varnish; 1,200 lbs. white lead, desks, legs, and c., then to the finishing room, where the 31 lbs. pumice and rotten stone; 3 barrels linseed oil; 12 barrels stringing is performed, then to the key making room, which has spirits of turpentine; 15 barrels alcohol; $300 worth of gold just been added, and then to the jig sawing room, where the bronze for plates; $600 ditto paints; 300,000 lbs. iron castings; beautiful open work desks are sawed out to any required 3,300 lbs. brass ditto; 20,600 lbs. iron wire; 5,000 lbs. steel pattern, and the pedals prepared. wire; 3,600 lbs. brass wire; 500 lbs. bar steel; 3,000 lbs. “The mode of conveying the heavy instruments from story wrought bar iron; 14,000 pairs hinges; 3,150 gross screws; to story is by an elevator, that is operated by the engine. Tons 2,000 locks; 8,000 castors; 2,000 sets ivory. may be lifted in this way with the greatest ease. The late Mr. Jonas Chickering enjoyed an enviable “We have noticed in our progress the precautionary hose at reputation not only for business talent, energy and rigid probity, the head of every stairway, provided against fire, and the six but for generous and active sympathy with his fellow-men. To hundred buckets filled with water for the same object. But there the musical profession he was princely in his munificence, and is no fire used in the building. Even the glue that is used is though many may have forgotten the hand whose uninquiring prepared by steam. Hence the danger from fire is very small. liberality smoothed many an early difficulty in their way, there When night work is required, however, six hundred gas burners are hundreds who now gladly testify to the noble qualities and give their light. To avoid all chance of accident from any disinterested kindness of the thoughtful friend who, after a source, two watchmen are employed, night and day, in travers- useful and well-spent life, now sleeps in his honored grave. ing the building in opposite directions, and they are required to The firm of Chickering & Sons is now represented by the pull a string precisely every fifteen minutes, wherever they may sons of the elder Chickering – Colonel Thomas Chickering, be, which string, communicating with a clock, causes the who watches over the interest of the vast establishment in hammer in the clock to strike a pin, which drives it one quarter Boston, and Frank Chickering, who fosters the widely spread part. Failing to do this they are literally ‘pinned,’ for the tell-tale influence and the still increasing business of the firm in New reveals their delinquency the next morning. One matter of York. Though we may with propriety speak well of the dead, it economy observable in the building is the saving of water, of might be deemed in questionable taste if we spoke all we which not a gallon per day is wasted. Colonel Chickering in his thought of the living. To say that the Messrs. Chickering are habits very strongly resembles his father, and providence and thorough businessmen is no compliment, for the enormous order were two of his most distinguishing traits. His eye is over business which they control and which we illustrate this day every department, and nothing escapes his vigilance. speaks louder in their favor in that respect than anything we “Returning to the front building, we visit the trimming could utter. In their hands the character and popularity of the room, where the action is put into the instrument, and the house has lost none of its prestige, but with the tongue of good regulating room, where the action is adjusted, and end with the report in their favor, and with hosts of friends inherited from ware rooms, where a superb stock of grand, parlor grand and their father, and held fast by their own social and moral worth, square instruments awaits shipment to all parts of the world.” they may view with pardonable pride the enormous property The whole number of pianos turned out of the Chickering entrusted to their care increasing in value and growing in factory during the term of its long and successful existence, is prosperity. something over twenty-one thousand. And for the superiority of their manufacture over all with whom they have competed, the Messrs. Chickering have been awarded thirty-eight prize medals from the different fairs in this country and in Europe. They also have in their possession many hundreds of the most

27 Chickering’s Pianoforte M

28 actory - Varnishing Room.

29 EXOTICCarryTALES OFOnTRAVEL By Lee Gerstein Sent in by Rob Deland

Lee Gerstein climbs up to the House on the Rock

ho knew Satan was an architect? This the equivalent of player piano orchestras over and over and house, a tourist trap built atop a 60 over again. Hundreds of these serenade you from every possible foot column of rocks, just west of angle. The only escape is the Pizza Atrium, where you are W instructed to spend your money on food, and everyone does, Madison, Wisconsin, was supposedly built by some because they’ve been trapped in this windowless hell, all lit like shmo named Alex Jordan as a weekend getaway. the Streets of Yesterday, for so long, that all sense of time is Sorry, but the house is ridiculously unlivable, and lost. Then comes the transportation building (old cars, trains filled with so much stuff (plastic stained glass, orien- and more portraits of the freak who built this evil place), acres tal figurines, lots and lots of red shag) that all the of music boxes and then the “World’s Largest Carousel.” Yeah, windows are covered, so you can’t even look out at if you’re 3 feet tall, maybe. As the red, chandelier adorned the view. merry-go-round spins around, reflected in mirrors on every sur- face, surrounded by walls covered to the ceiling in old carousel A recent addition is the new-agey named Infinity Room, horses and a ceiling filled with old mannequins hanging from which, with its hundreds of tiny windows, allows you to look cords, their heads lolling to one side in low cut 70s gowns, your below, even as the wind whips through the questionable disorientation will lead you to believe you’re in a horse brothel. construction. And since the Infinity Room juts straight out over But soon the auto-instruments will start to play, you’ll snap out nothing, it bounces from the weight of all the fat toothless white of it and stumble into the Organ room (the musical kind), trash, causing embarrassing fantasies of being found dead at another restaurant, acres of dollhouses and a warehouse of House On The Rock to crowd out any lesser nightmare of being Woolworth-like circus figurines all arranged behind glass cases found dead in torn underwear. At 14 bucks per person, you’d for your viewing pleasure. By this point, when a Mom told her think they could afford to recover the couches, covered in the daughter, “Can you imagine having so many dolls? And he was matted down fake fur favored by frat boys everywhere. Soon, a man!” and the daughter asked, “Is he alive?”, we volunteered, you’ll figure, “OK, I’m being ripped off, just lemme out of “He hanged himself.” Mom was not too pleased. So we hurried here.” But those huge warehouses you spied from the Infinity through the weapons exhibit (but let’s throw in a Grandfather Room are your way out. 40 acres of displays await you, having clock and a jug cuz there’s room), the Oriental Collection absolutely nothing to do with a stupid house on a rock. First, (another full warehouse), the Armor collection (warehouse), the you’re ushered through a Street of Yesterday, where dusty so-called Crown Jewel Collection (yep, the videotape’s displays are crammed haphazardly together, demonstrating the catching every plastic sparkle), some doll carousels, framed HOTR philosophy of “More is More.” While some of the crap bios of jerk who built this joint and then a guy hawking book may be genuine antiques, there’s plenty of pipe cleaner and length biographies and finally a dozen gift shops offering glass super Glue crafts thrown in, so that everything looks like junk. figurines and Natively American crafty things. If you can’t buy To me anyway, but the video camera wielding inbreeds oohed ‘em, you can at least videotape them. When you finally stumble and aahed appreciatively. Lots of “Look! Those are gorgeous. past Ye Olde Fudge Shoppe, it’ll take more than luck to find I’m getting decorating ideas!” this is the truth. Next up, you’re your car in the vast parking areas, filled with suckers. We forced to wander through (or race through) a maritime museum, realized our hearts were beating fast and we were covered the center of which houses a 5 story plaster of Paris whale in sweat. Racing over the red shag ramps and stairs, it had still battling an octopus with glittery eyes, accompanied by the taken us over two hours to escape. Don’t forget to plan your Beatles “Octopus Garden” played by sub-Christmas window X-mas visit, with over 6,000 Santas (plastic, no doubt), all animatronic fish. In fact, every room, every corner, every made at the HOTR workshops. By Satan, himself. remotely empty space houses machines that play motorized instruments – for a fee. But the tank top crowd must save lots of cash living in trailers, because they shoveled out money to see

30 LETTERMrs FROM BartierMRS. BARTIER By Leonard Grymonprez

Letter from Mrs. Bartier, translated from French into American language Widow Mrs. Bartier January 1978 Louvain accompanied by a certain Mr. Saffer (a shareholder I 19, rue Margot v.d. Wiele guess) and recompensed my husband in a most satisfied manner. 1030 Brussels My husband and I took over a commerce. Quite surprisingly we received a letter from the Mortier firm urging my husband Dear Mister Grymonprez, to take up again the task as a noteur of the firm. It is known As I have told you before, my husband’s life was quite a Mortier had struggled against hard 1939 times and Marcel had to complicated one. You asked me how he started the skill as a leave the firm in the midst of the war in 1942. noteur. My husband joined an orchestra for about one and a half It all started with his father who was active at the city of years at the city of Colmar, France. Enduring the course of this Louvain as a dance hall organ hire business. Most of his organs period, I inherited from my parents, and on continuous demand were of Mortier make. I have to tell you my husband’s preferred from many old customers, my husband returned back home. We and favorite instrument was the violin. settled down at Schaarbeek rue Jerusalem 97. (This is the place After he gained a first price violin at the Brussels dad and I met Mr. Bartier for the first time.) Conservatory, he joined the French Theatre Orchestra of We had an opportunity to rent a well clandized café, and Antwerp as the first violinist in it. For a day task he joined the along with the lovely 92-key Mortier orchestrion we had bought Mortier firm in Antwerp as a noteur. I guess this happened second hand, business increased weekly. around 1915 as a young man of nineteen, and the first job as a Alas, managing a well clandized café is a job for noteur. Around 1920 he worked for his father, and the cover of young people and not for elderly. Due to a line of intricate his cardboard music books had the EUTERPIA label on them circumstances and sickness of Marcel, we had to let go of the and as address: 15, ure Edmond Van Even-Louvain. In 1929 he business and my husband did little work anymore as a noteur for went back to Antwerp and joined again the French Theatre organs and orchestrions. We bought a small house at rue des Orchestra until 1923. In 1923 he signed a contract for a cruise Fleuristes. Yes, we had moved around! However, it’s at this along with an orchestra aboard the “S.S. Belgenland” being the house my husband died during the night of 2/3 November 1965. ship’s maiden trip. In the same house our only son lived, installed as a This magnificent cruise covered several months of the year woman’s hair dresser, and I lived in an apartment at rue Margot with a stay of two or three days at the most important parts and van de Wiele 19, Schaarbeek (Brussels). During the span we ports along the cruise. lived in our small but cozy house at rue des Fleuristes, my Afterwards we moved to Paris and my husband took up husband played as a violinist with the National Orchestra at work as noteur at the Limonaire-Gasparini organ firm which “La Monnaie,” a renowned theatre in Brussels. (yes indeed) he fulfilled until the end of the firm (burned down). He took up And so, this is it Monsieur Grymonprez. I have been very work for one season along with a Paris orchestra at proud of my husband. Since childhood he already had made “LaRochelle,” a famous club in Paris. He joined the music books for the Mortier dance hall organs of his father. The Gaudin-Marenchi organ firm at avenue Taillebourg 2, Paris 12 Mortier orchestrion which once stood in our café, was sold for a (from 1919 till 1930). low price along with large parcels of classic and semi-classic However, most organ firms reached the rim of extinction. music books such as: Poet and Paysan; Cavaleria Rusticana; Talking movie theaters arose all over Paris and elsewhere, Tosca; Carmen, etc. Too many to mention. (Dad often told me resulting in the fact movie theaters, clubs and dance hall places about these particular and outstanding arranged music books he no longer had a need for orchestras. Musicians had been had heard in person.) abandoned by the hundreds and unemployed. My husband I have to tell you Monsieur Grymonprez, as far as exact became unemployed also. data, my husband passed the examination at the music We moved back again to Louvain, Belgium. On the advice conservatory of rue Chaptal, Paris, France, and succeeded as of a Mr. R.J. Lakin (R.J. Lakin & Co. Insurance Ltd. of 1930 a graduated composer on August 17, 1925. London Road, Norbury, S.W. 16), my husband was re-installed Monsieur Grymonprez, I guess my scratching will give you on complete expenses of Mr. Lakin, exclusively working for no trouble at all to read. Of course there are other events to write English customers. It turned out so successfully my husband down, but of not such importance for you to add to the article needed two punching machines. you’ve told me you intended to write of my husband. So I hope Around 19?? (Mrs. Bartier doesn’t state a year) Mr. Lakin the ones I’ve written will suit you. put juke boxes in all of his attraction and amusement parks. Receive Monsieur Grymonprez my distinguished regards. However, being a real gentleman, Mr. Lakin personally came to Widow Marcel Bartier

31 Beware Catalytic Finishes By Nathan F. Woodhull III, S-K Piano Ð Lima, Ohio

During my forty-six years in the piano restoration business, I have seen many things come and go. All different kinds of pneumatic cloth, pouch material tubing, etc. have been introduced, used, and evaluated by myself and other rebuilders. The saving grace is that most of these items, if they failed, were easily removed and replaced. Now another item is being used in the restoration of pianos that is turning into a nightmare. This is because it cannot be removed or replaced except with great effort and difficulty. This is the epoxy or catalytic finish.

In any refinishing of an antique or collectible item, one of the main concerns must be that the finish is strippable or removable. This feature allows the item to be restored over and over, and with the proper techniques, with little or no damage to the item refinished. No finish will last forever. Not even the high-tech polyester high-gloss finishes from Europe or the Orient. I am presently refinishing a Sauter grand piano made in Germany 1972 which was originally done in polyester.

The normal stripping time for a five and a half foot grand piano with a flow-over system for parts and a paste stripper for the case is around twelve man hours. If I was to strip this piano down to the bare wood, it would take almost forty man hours as most of the removing must be done mechanically. This type of removing takes its toll on the wood, and the dust and fumes are quite hazardous to the refinishers. As of this writing, NO ONE makes a stripper that will remove these finishes chemically without mechanical effort included.

Well, all of this is quite interesting, but how does it effect the collectors? The answer will shock and probably anger you as well. It has come to my attention, that one major and supposedly reputable rebuilder is refinishing pianos with this type of product. This rebuilder has no problem using catalytic, non-strippable finishes. However he openly proclaims on his web-site that he uses at least eight coats of lacquer when he refinishes a customer’s piano. One wonders why he uses one product and advertises another.

The purpose of this article is not to blame or embarrass anyone, but to educate the collectors that they must specify that they only want hand-rubbed lacquer finishes on their fine instruments. Tell your rebuilder that any finish he or she applies must be strippable, and ask them to specify in writing what finish they are going to apply to your instrument. By following this procedure, you will be guaranteed a repairable and strippable finish that can be restored in years to come with little damage to your fine instrument.

32 PORTLAND, OREGON

Fabulous West Coast Vacation Site – August 20-24, 2003 –

The City of Roses Unexplored by most AMICAns is Portland, Oregon, but this omission will soon be corrected as we have our next AMICA International Convention in the City of Roses from August 20-24, 2003. The Pacific Can-Am AMICA Chapter invites you to this wonderful city. The beauty of this city is unparalleled anywhere in the US. The unbelievably beautiful Mt. Hood provides a backdrop for the many wonderful activities in the city. Portland is a large city that has managed to maintain its small town charm. Its downtown area is scaled to human dimensions, and it was recently named as one of America’s 10 most “foot friendly” cities by Walking Magazine. Packed into a convenient natural environment, it is accessible and complete. Visitors to Portland are not overwhelmed by the city; rather, they are intrigued by the cafes, bookstores, galleries, and specialty stores which seem to be around every corner. Further, when have you ever been in a city in which guides are to be found on the sidewalks day and night, answering questions, and providing interesting information? And oh yes, when have you been in a city with no sales tax? Not really sure it is a “City of Roses”? Check out the free International Rose Test Garden with more than 400 varieties of roses. Not enough roses there? Try the Peninsula Park Rose Test Garden, the Ladd’s Addition Garden, the Chinese Garden, and the Japanese Garden. Just ask to find the Rose Quarter of the city. Following the theme of the city, you will note that our theme for the convention is ROSES, and you will find them everywhere from the name badges to the original composition for the souvenir roll! Looking for a park? There are 206 of them in Portland! The 2.5 mile long Tom McCall Waterfront Park is close to our hotel and it runs along the Willamette River. As

33 you stroll through the park (or take a horse drawn carriage if you wish), you will see Mt. Hood and the Willamette River, and you can stop at any of many cafes and restaurants. Enjoy antiques? The Sellwood area has more than 50 antique stores in a 13 block area. We think that it will be a big enough hit that we are taking you there in buses on Saturday, and you will have several hours to explore. Transportation is easy! The Portland International Airport receives nonstop and direct flights from 120 cities worldwide. And once on the ground, look for the friendly AMICA member in Baggage Claim with the big AMICA sign to assist you in getting to the hotel in the easiest way possible. Or, for less than $5, take the MAX to the general downtown area (several blocks to the hotel). The MAX is Portland’s light rail system which is a national model of efficiency. Furthermore, in the designated downtown area, you can ride the MAX and the public bus system for free. Expect temperatures in the late 70s with fine shirt sleeve weather.

CONVENTION ATTRACTIONS

The Columbia Gorge is one of the attractions of the Pacific Northwest. Spectacular scenery which runs for miles is complemented by periodic waterfalls such as the Multnomah Falls which is 670 feet in height. Check out the mighty Columbia River from the Vista House at the Crown Point State Park. In Hood River is the International Museum of Carousel Art, which is the home of the world’s largest collection of antique carousel art. Our all day tour on the first day of the convention will cover all these attractions and more! And music will in no way be slighted! Our featured NATHAN BELLO artist will be our chapter’s own Nathan Bello who lives right in the Portland area. This 16 year old AMICA member is a pianist who has won the Russian-American Music Association International Festival of Young Virtuosos, and has played at Carnegie Hall. What is even more amazing is that this fantastic classical music artist is also a lover of automatic music, rebuilt his first player piano at the age of 10, owns several thousand piano rolls, and uses automatic music to improve his own playing. Furthermore, he composed the Rose City Rag, an original composition which the registrants for the convention will receive. Nathan will perform an evening concert which will consist of both classical and popular music, and you may have him autograph your roll after the concert!

34 The convention will take advantage of the theatre organ strengths found in the Pacific Northwest. AMICAns will be joined by the friendly folk of the Columbia River Organ Club and the Puget Sound Theatre Organ Society as all will enjoy a memorable concert by world renowned Portland organist Jonas Nordwall. Mr. Nordwall has been a church organist for more than 30 years, he is organist for the Oregon Symphony Orchestra, and he is an accomplished theatre organist. He will be playing the four manual Wurlitzer organ at Oak Ridge Park. Theatre organ buffs will also appreciate the open houses this year which will include several homes with theatre organs in addition to other homes typical of AMICAns. Our technical sessions this year will also represent a truly broad range of topics.

JONAS NORDWALL

MBSI

Our AMICA convention was planned in concert with the Musical Box Society International convention which will be held a few days after our convention (August 27-September 1, 2003) in Long Beach, California. Make it a west coach vacation and enjoy a leisurely trip down the coast between the meetings by car, motor coach, or train.

HOTEL

Our hotel is the Doubletree Downtown Portland, a very pleasant facility of 235 guest rooms on the edge of the downtown area. Located at 310 SW Lincoln, Portland OR 97201. When you phone, indicate that you are with the AMICA convention in August. The direct phone is (503) 221-0450 and the fax is (503) 226-6260. You may also make reservations through a toll free number (800) 996-0510), but if you use this number, you will want to be sure not only to indicate that you are with AMICA, but also that you want to make reservations at the Doubletree Downtown, NOT the Doubletree at Lloyd’s Center. Our rate of $99 per night is good for three days before the convention and three days after it. The room rate includes free parking at hotel for registered guests. NOTE: You must call the hotel in order to have room accommodations; registration for the meeting (see the Registration Form or go to www.amica.org to obtain a copy) does not register you at the hotel.

35 PORTLAND, OREGON

CONVENTION SCHEDULE

WEDNESDAY, AUGUST 20 8:30 AM Board Meeting 12 Noon-9 PM Registration Optional half-day tour—see Registration Form

THURSDAY, AUGUST 21 7:30-8:00 AM Registration 7:30-8:45 AM Welcome breakfast 9:00 AM-6:00 PM All day tour of Columbia Gorge, Carousel Museum, etc. Dinner On own 6:00-8:30 PM Registration 8:30 PM Piano Concert, Nathan Bello

FRIDAY, AUGUST 22 8:00-9:15 AM Breakfast and Business Meeting 9:30 AM-Noon Technical Sessions Lunch On own 1:00-1:45 PM Mart setup 2:00-2:45 PM Mart Dinner On own 8:00 PM Pumper contest

SATURDAY, AUGUST 23 Breakfast On own 9:00 AM Buses to theatre organ concert with Jonas Nordwall 9:30-10:45 AM Theatre organ concert 11:00 AM Buses to Sellwood Antique Row; free time through afternoon Lunch On own 6:30-7:30 PM Happy Hour no host bar 7:30-11:30 PM Banquet; entertainment and dancing featuring the Dick Saunders Orchestra

SUNDAY, AUGUST 24 8:30-10:00 AM Farewell breakfast 11:00 AM-4:00 PM Open houses

36 MORE INFORMATION ABOUT OUR ARTISTS JONAS NORDWALL

r. Nordwall is a world renowned organist whose home is right in Portland. He began Mhis music education at the age of 4 on the accordion. By his teen years, he had developed a solid reputation and was invited to play for various dignitaries such as the King of Sweden. He soon turned to organ and he has the unusual accomplishment of virtuosity with the organ on both classical and popular music. His classical musical skills are demonstrated in his annual concert tours and in his being the organist for the Oregon Symphony Orchestra. Sacred music has been a significant focus of his life, and he has been a church organist for more than 30 years. In the area of theatre music, however, he has made an additional name for himself by playing a number of toe-tapping delights on theatre pipe organs. Just plain fun performances have made him a big draw repeatedly for regional organ groups such as the Puget Sound Theatre Organ Society and the Columbia River Organ Club. Jonas will be playing a theatre organ concert on Saturday morning of the Convention at the Oak Ridge Park in Portland. The instrument there is a four manual Wurlitzer which was moved there from the Broadway Theatre in Portland. This instrument is easily argued as the best theatre organ in a public setting in the region. An organ with many resources, this instrument has its pipes totally exposed, with none under expression. As such, it speaks dramatically, but it takes a master to play it well. You will not want to miss this outstanding concert from a true master.

NATHAN BELLO

ike Jonas Nordwall, Nathan is a long time resident of the Portland area, even though at Lthis writing he is only 16 years of age. He is our featured guest artist for this Convention. He began to learn music at the age of 6, and he composed his first ragtime piece while in the second grade. He demonstrated an early interest in player pianos and he has found over the years that he can effectively learn techniques of improvisation from piano rolls. Nathan can read the tunes from the punchings in the paper. He restored his first player piano at the age of 10 or 11 after reading Art Reblitz’s book on piano restorations three times over. By the fifth grade, he was participating in the music program of the local high school. He became an AMICA member at the age of 14. For our AMICA 2003 convention, he has composed the Rose City Rag which will be the souvenir roll given to all registrants. He will play it at the Convention, and you can get your copy autographed by him there. Nathan has a broad range of skills at the piano. He does not just play popular or ragtime music. His classical expertise is so extensive that he already has a wall of plaques and certificates. His greatest accomplishment was the winning of the international Young Virtuoso’s Competition sponsored by the Russian-American Music Association. This was associated with an invitation for him to play at Carnegie Hall where his performance of the first movement of the Prokofiev Sonata #7 was so stunning that no one could fail to be impressed. Indeed, this piece is so difficult that it taxes even the most accomplished pianists. Nathan has many favorite classical composers and he does a credible job with their works. Nathan will be playing a full concert on the Thursday evening of the Convention. He will play both popular and classical music. You will not want to miss this event. Oddly enough, this concert will not be the first time he has played (although informally) at an AMICA meeting. At the 2000 Convention in Sacramento, he made friends of many with his playing, and Shirley Nix wrote up most of a page article on him as a result (see the AMICA Bulletin, September/October, 2000, volume 37, number 5, page 276). That was when he was 14. Come and see what he can do now!

37 Great Train Robbery” silent film made in 1903. Richard played the player piano with sound effects during this film. This 1903 movie is considered the first movie made with a plot or story to it. This short movie lasted for about News 20 minutes. From 4:30 p.m. on about 15 AMICA members stayed downstairs and either listened to or played some of Richard’s From player pianos. The rest of the AMICA members went back upstairs for some more food or soft drinks or coffee. Nan Bostick and Tom Brier were both playing the pianos again. The Chapters From about 5:00 p.m. to 6:00 p.m. most everyone just relaxed and were either listening to the music from the pianos or talking to one another. Richard spent a lot of time talking to everyone that came here. About 6:00 p.m. the AMICA members started to leave and go home. It was raining off and on all day here. It was another great AMICA Christmas party at Richard’s Victorian home in San Francisco. Thanks again, Richard for all your extra work to make this another great AMICA Christmas party for the year 2002.

Richard Reutlinger’s Victorian Home, San Francisco, California

FOUNDING CHAPTER Reporter: Thomas J. McWay President: Bing Gibbs (408) 253-1866

Founding Chapter & Sierra Nevada Chapter Christmas Party 2002 Again, our joint Christmas meeting was held at Richard Reutlinger’s Victorian home in San Francisco on December Entrance to Richard’s 14. We have had so many meetings at Richard’s home that I Victorian Home have lost count. This was from 2:00 p.m. to 6:00 p.m. About 40 AMICA members came to celebrate this Christmas and last get together for the year 2002. From 2:00 p.m. to 3:30 p.m. members relaxed in the living room with two player pianos now in the middle of the room. Last year both pianos were toward the front of the room. Eggnog and punch were available. This year we were fortunate to have two pianists who played Ragtime, Christmas, and 1920’s music together. Like a four hand arrangement. They were Nan Bostick and Tom Brier. They played off and on for about 2-1/2 hours of the 4 hour AMICA Living room with Christmas party. 2 player pianos in the middle, one About 3:30 p.m. dinner was served. Richard spent a lot of player piano on time making and baking one of his specials called Hunter’s each side. Before, Stew. Also had lots of salad and vegetables and rolls to go these 2 player with the Hunter’s Stew. After dinner there was a nice selection pianos were both of desserts. in the front of the living room. Just after 4:00 p.m. Richard had everyone go down to the basement of his Victorian to listen to several more of his player pianos. About 4:20 p.m. Richard talked about a player piano used in the silent movie theatres. Then we saw “The

38 Tom Brier playing Christmas music.

Richard cooking Hunter’s Stew for the AMICA members.

AMICA member with AMICA members Roger Johnson at listening to live right. Ragtime music.

Don Ellison and Tom McWay Nan Bostick playing 1920’s music.

AMICA member with John Motto-Ros at right.

Tom Brier playing 1920’s music.

The cat and the fireplace. Richard Reutlinger explaining the silent movie player piano. The Great Train robbery movie from 1903 was shown with music and sound effects from this old player piano which was used in silent movie theatres. This 1903 movie is considered to be the first movie with a story ever made. This was a 100 years ago.

39 Two piano players CHICAGO CHAPTER at the same time, Nan Bostick and Reporter: Kathy Stone Tom Brier played together Ragtime President: Curt Clifford (630) 279-0872 to Christmas music to songs from the Chicago Chapter Christmas Minutes 1920’s. The Chicago Chapter held its holiday/last meeting of the year on December 7, 2002, at the home of members Fred and Marcie Plank in Des Plaines, Illinois. The twenty-one members who attended were treated to the sounds of a Wurlitzer 104 Band Organ and a Regina Sublima Mandolina keyboardless piano, plus a look at various player pianos, phonographs, radios, coin boxes and Marcie’s collections of Chinese porcelains and antique beaded purses. Tom Brier at piano Our hosts graciously provided the main course of ham and AMICA and turkey with attending members bringing all the side members in background. dishes (including, of course, Margaret Bisberg’s famous homemade cherry pie). President George Wilder noted the passing of long-time member Mabel Zivin, whose husband Simon passed away earlier this year. The Zivins were known for sharing their love of automatic musical instruments and music boxes with Movie projector used to show the people outside of the hobby and opened their home for a silent movie variety of groups to visit and enjoy. “The Great A new slate of officers were unanimously accepted: Train Robbery” from 1903. President—Curt Clifford; Vice-president—John Mueller; Secretary—Thad Kochaney; Treasurer—Joe Pekarek; Reporter—Kathy Stone; and Board Representative—George Wilder.

AMICA members in the “Player Piano Room” with lots of different player pianos to listen to. A great place to relax and talk and listen to many piano rolls playing music from the years that have gone by. Our host Fred Plank, right, demonstrated his restored Wurlitzer 104 Band Organ to some interrested members.

Roger Dayton, Margaret Bisburg and Richard Van Metre chat prior to our Christmas Feast.

40 Our last meeting of the year was held at the home of Paul and Billie Coates on December 15, 2002. Paul gave us a tour of his musical instruments, after which refreshments were served, a game was played, and we had our usual rob-your-neighbor gift exchange. Following are the highlights of our meeting. Our project for this year is to make a box for the chapter organ that we made last year. Also, we plan to cut more rolls for the organ. It was voted to have our annual organ rally every two years instead of every year. It will probably be held at the St. Louis Zoo in 2004. Gary Craig gave a report on the board meeting held at the annual convention in Springdale, AR. New officers elected are as follows: Tom Novak, President; Bob Crowley, Vice-President; Jane Novak to George Wilder admires the Planks’ Regina Sublima-Mandolina. continue as Sec./Treas., Mary Wilson to continue as reporter, and Gary Craig to remain as board rep. Future meetings for 2003 – February, Meeting at the Novak’s; May, Combine our meeting with the Rally in Pella, IA; June, Members to play organs at the Lafayetter Square Celebration; December, Christmas meeting at the Wilson’s.

Cynthia Craig with her organ at Botanical Gardens Rally.

Yousuf and Mary Wilson with Mary’s President George Wilder conducts the last organ and organ with flip-up show business meeting of his term. pipes made by Yousuf. The lady cranking the organ (Bonnie Staut) painted the carousel organ.

GATEWAY CHAPTER Reporter: Mary Wilson President: Tom Novak

Gateway Chapter held their third annual Monkey Organ Rally on October 12 at the Botanical Gardens in St. Louis. On Friday night, October 11, a happy hour and dinner was enjoyed at the Craig’s. Yousuf Wilson provided the entertainment by showing his antique glass slides with a short commentary of the history of the Magic Lantern and slides. On Saturday, the organs were set up throughout the Botanical Gardens for a day of music for a crowd who really enjoyed it. On Saturday evening, a brief meeting was held at the Craig’s after a delicious dinner at Hodak’s Restaurant. Entertainment was provided by Jim Andris, piano player and Gary and Cynthia Craig and Jane Novak at the ragtime composer. Friday night Happy Hour.

41 Kay Bode, Dorothy president Keith Bigger reported on various musical Crowley, Betty and restoration and demolition projects that are presently Jerry Goldmanavich under way in the New York area. at the Craig’s. After all the committee reports were completed, Dave gave us a tour of his collection which included a 24 cylinder 1910 coin operated Mulitphone. Many members were surprised how much work was expected from the “customer” to hear 5 cents of music in 1910 from this very early “Jukebox.” Dave has done extensive research on the history of this machine and has an album of factory photos of these machines in production. Dave also played his coin operated Monopole Excelesior Kay and Tom Bode disk box, a large Nicoles Feres Orchestra box with four unloading their interchangeable cylinders, a Seeburg G orchestrion, organ for the rally. a Violano-Virtuoso and a Western Electric Nickelodeon. As a side interest Dave also collects World War I era steam operated model trains and shares with the members how the political history of the times affected the toy trains of the day.

Jerry and Linda Goldmanavich.

Walter and Ira enjoy the sounds of Dave’s Seeburg G orchestrion and some of the train collection. Linda and Gerald Koehler, Heather and Ashley Baine at Botanical Gardens Rally. Dave’s Violano-Virtuoso performs for Walter, Keith, and Vince Morgan.

LADY LIBERTY CHAPTER Reporter: Buzz Rosa President: Vincent Morgan (718) 479-2562

Our summer meeting was held on August 4 at Dave Palter’s home in Ozone Park, New York. After a short Ira and Keith inspect the Multiphone as it plays business meeting led by our president Bill Maguire, our vice Walter’s selection.

42 Norma and Ira Malek, Keith Bigger and Dave Palter enjoy a classic waltz on the Nicole Feres orchestra cylinder box.

Dave discusses how prohi- bition affected the produc- tion of model Budweiser beer cars.

Walter Kehoe and Dave play a coin operated Monopole Excelsior disk box for guests and AMICA members.

NORTHERN LIGHTS CHAPTER Reporter: Jason Beyer & Phill Baird President: Dave Kemmer

October 21 Meeting Following a wonderful brunch at Fabulous Ferns in St. Paul, fifteen AMICAns met at the home of Phill Baird, also home of Willa the Boxer. We checked our pulse and heart Walter demonstrates how to select an Edison cylinder rhythm after the meeting and found we are well and indeed record in the 1910 Multiphone “jukebox” as Keith very alive. and Dave (far right) watch. President Phillip Baird called the meeting to order. The AMICA Convention for 2005 was discussed. Don Barton reported on hotels and convention centers. President Phillip Baird talked about our chapter mission and challenged us to think about how to build our club. Dorothy Olds is going to handle the reporter’s position. Another view of Here are a few high points that were discussed: It is Dave’s Seeburg imperative that our Northern Lights Chapter collect all the G playing dues of each member on the roll. Therefore, as stated in the for Walter by-laws, 31 January of each year is the date by which dues and Ira. must be in to be considered an active member of Northern Lights Chapter. Thus far, we have continued to mail notices to all names on the rolls. This will discontinue after 31 January 2003 without a current membership in the local chapter. We value and miss all members currently on the roll whom we have not seen for a while. If you have outstanding dues, please become current. Buzz Rosa enjoys a Another very important point is membership to AMICA game of mechanical baseball on a 1927 International. If you belong to the local chapter of Northern All-American Baseball Lights, it is required that you belong to the international Game in Dave’s game organization. Why? As a member you help to promote the room. good of all chapters and what we are about. You receive the AMICA Bulletin six times a year with great features and local chapter pictures and news. The international chapter also

43 provides funding for the yearly convention. And Northern Joyce Kern, Lights will host the 2005 convention and will require funding. Jerrilyn Boehland, Host Ron Olsen. Dorothy Olds made a motion to amend the bylaws to reflect the increase of dues to $15.00. Dennis Dahlman seconded. Motion passed. The international AMICA dues is $42.00 and is to be sent to the membership secretary: Bill Chapman, 53685 Avenida Bermudas, LaQuinta, CA 92253-3586. A committee of Dorothy Olds, Phill Baird and Jason Beyer was setup to review the Chapter bylaws. Our Christmas Party Meeting will be December 1, 2002 at the home of Ron Olsen in Robbinsdale, Minnesota, and will include further updates on 2005 AMICA Convention, by-laws review committee report, and election of officers for 2003. But the most important part will be seeing you again with your talent, expertise and love of musical instruments.

December Christmas Meeting Reporter: Dorothy Olds A very lively crowd gathered at Huston Place, 4155 Quail Ave. North in Robbinsdale, Minnesota, on the very sunny Sunday afternoon of December 1st. Our host, Ron Olsen, had as always, decorated his 1922 home very tastefully in the theme of the season. Folks kept Festive table setting, Jerrilyn Boehland streaming in, carrying their potluck offerings as well as items and Marilyn Matson. for the white elephant gift exchange. Needless to say, one of Ron’s pianos was in action entertaining us with pleasant music. Ron has given names to his pianos: Matilda (Tillie) is a Rick Norquist’s mother, Ron Olsen adding another dessert . Steinway 6’6” grand and a grand 1917 lady she is! Gertrude Welte-Mignon is 5’2” and was introduced in 1923. Andrew Mason-Hamlin is 7’ and doesn’t say how old “he” is. But NICK . . . (how appropriate for December) is a Link 2E Nickelodeon from the 1920’s. Ron also has a very outstanding recycled radio cabinet which holds his stereo equipment. Strategically positioned ‘20’s lamps with beautifully fringed shades added to the art deco scene. One of these shades was hand made by a now deceased member, Ruby Ahneman. He also has several stained glass table lamps. President, Phillip Baird called our business meeting to order. He gave a testimony regarding his first chapter meeting three years ago. He was favorably impressed and decided that “this was the gang to run with!”

Don Barton, chair for the 2005 convention, gave a brief Barb Watkins, Jerrilyn Boehland, Kathryn Dumas, report on plans and proposed dates. Several members Roland Matson. expressed their intentions to attend the Portland Convention. It was also reported that the Wurlitzer pipe organ in the Heights Theater in Columbia Heights is “up and running” with 5 ranks. Officers elected: President Phillip Baird, Vice Presi- dent Paul Watkins, Treasurer Howard O’Neill, Secretary Jason Beyer. Randy Hammond at the piano. Following the meeting a feast was served, the gift exchange held and more socializing was enjoyed.

44 Following a delicious potluck meal, we walked outside to view thousands of holiday lights glittering on the Steve Leppa and Masterman’s home and the homes of their neighbors. As busy host Ron. always, our AMICA party got everyone in the holiday mood.

“The Monster” a Q roll build up that plays 24 instruments and 320 pipes. A 1925 KT Special sits to the right.

President Phil Baird enjoying snacks. Dave Kemmer with Howie O’Neill.

On the left is a Wurlitzer. On the right is a 1925 Starck player piano converted to an A roll operation. It also plays from The Monster as do the instruments above both pianos.

PACIFIC CAN-AM CHAPTER Reporter: Carl Kehret President: Carl Kehret Maury Willyard doesn’t seem at all sure about the Our December meeting was held at the home of Bill and gift he is opening. Norm Anita Masterman. Their home is always a wonderland of Gibson, Peg Kehret, and Mark Smithberg look. mechanical music, from both new and old instruments. Some of the Masterman’s fine instruments are shown in the pictures. However, the Story & Clark Pianomation Orchestrian, the Bruder 45-note band organ, and the big Wurlitzer model 145 duplex band organ were all too big to get pictures of. The holiday gathering always includes our white elephant gift exchange which elicits much in oooh’s, ahh’s, and laughter. We did have time for a business meeting where we voted to give some financial support to the Puget Sound Theatre Organ Society’s concert at the Paramount Theater, showcasing Lawrence Welk organist, Bob Ralston. The meeting ended with election of officers: Carl and Peg Kehret, co-president/vice president; Halie Dodrill, Natalia plays one of her father’s many secretary; Bev Spore, treasurer; Mark Smithberg, reporter. pinball machines.

45 Norm Gibson looks This meeting was no exception, and they had the able over the proceedings assistance of Joshua Rapier, who has worked with them and with Bev Spore, our has helped with the Aeolian orchestrelle, which was the center meeting hosts Bill and Anita Masterman, and of the program. Judy Mote behind Josh started out by demonstrating the organ and its capa- him. bilities. He first played a 58-note roll, which is the usual roll for the Orchestrelle. He played “A Graceful Dance,” and then graduated to a 116-note pipe organ roll. This roll was “The Arabian Dance” from Peer Gynt, followed by an “Egyptian Serenade.” The larger rolls played much more sophisticated music, much less simple than the 58-note roll. Jerry Yorioka and Bill Masterman After this Terry and then Reese took us on a tour of the in serious conversation about how pianos in the music room, starting with a 1924 Baldwin Welte The Monster works. Licensee. He played the same piece on the piano that Joshua had finished up with on the Orchestrelle, just to demonstrate the difference in sound. From there it was on to a 1920 Knabe, which had started as a Stoddard, and has the late Ampico expression system. (It will also play Art Echo.) For this instrument Terry had chosen “Spanish Serenade and Harvest Festival.” Next we went back to the Orchestrelle with Joshua play- ing “Wedding of the Painted Doll,” which was from a 1929 Larry Slossen opens his gift Music Revue film, the first 100% talking, dancing movie. To while Bev Spore, Jackie follow that, Josh chose “Funeral March of the Marionette,” Slosson, Don McLaughlin, Maury Willyard and Ray which was also the theme song for Alfred Hitchcock during Parkinson watch. his long running TV show. We enjoyed both pieces, most of us remembering Mr. Hitchcock’s series. Back to the pianos and the Arturo Angelus playing a Waltzette. This piano is unusual in that it has nothing behind the drawer but the pump and pedal pneumatics. Everything else is in the drawer itself . . . stack, expression, etc. A surprise followed when Josh played “Garden in the Rain,” from 1925, later made famous by Johnny Ray. Then a piece entitled “The Whistler and His Dog,” complete with a barking dog. These pieces both surprised us on the Orchestrelle until Josh revealed that it was a midi system playing. Josh told us that Aeolian was very conservative and cautious with their music, and novelty pieces like this were Fran Willyard talks at the business meeting while considered a big risk, since their customers for the Bill Mote, Halie Dodrill, Bev Spore, and Jackie and Larry Slosson listen attentively. Orchestrelles tended to be moneyed people, and therefore “high class,” and it was questionable as to whether they would appreciate or even accept novelty or pop music. Whether this was true or just something Aeolian thought was true is open to interpretation, but it definitely would have influenced their choice of rolls to produce, and therefore what people listened to on their organs. The midi system, of course, allows the organ to be much more versatile as far as music choices are concerned. You can love midi, hate midi, or be somewhere in the middle, but one thing is obvious . . . it allows much more current music to be SOUTHERN CALIFORNIA CHAPTER played and arranged, and just maybe a help in drawing in Reporter: Shirley Nix some younger members. Time will tell, I guess. We had a good crowd for this meeting, including Ahti President: Frank Nix Petaja, who was an old-time AMICA member but had let his membership drop. He has moved out from Michigan now to November 16 found the Southern California chapter stay with his son and daughter-in-law and has updated his having a meeting at the wonderful home of Reese and Terry membership. He has a Mason-Hamlin which Bennet Leedy is Banister in Riverside. We had a good turnout, and deservedly restoring for him. Mr. Petaja is eighty-eight years old, and he so, since the Banisters always manage to put on a program seemed to enjoy our meeting. We look forward to seeing him that is both entertaining and educational. at many more meetings. 46 We passed around a get-well card for Bob McCord, who Irv Eiler and Warren Deasy managed to fall off the roof of his restaurant. He was badly watch as Jack Conway hurt, with a punctured lung and his spleen was removed. He is readies his videocam. home now, but will have some time to spend recovering. We all wish him well. Of course, we want to thank Reese, Terry and Joshua for a very successful meeting. They had obviously gone to a good deal of trouble to have all the instruments in great shape, and they had chosen really wonderful music with which to entertain us. (The refreshments were super, too) Our next meeting will be the Christmas Party, with the local MBSI chapter members as our invited guests. It will be at the Nix home, and should be a lot of fun. There are a cou- ple of new instruments as usual, and the house will be deco- Ahti Petaja, new to rated for the holidays. our area. It’s hard to believe that the next time I send in something about our chapter it will probably be 2003. Don’t forget to plan for the Convention in Portland . . . it’s going to be a good one (aren’t they all?).

Carol Fine, Diane Lloyd, and Marilyn Ames Reese Banister, Joshua Rapier, Terry Banister and Joshua’s mother, Laura. December Meeting Our December meeting was held at the home of Frank and Shirley Nix, as has become normal. Also normal was the invitation to the local MBSI chapter to attend the meeting and Christmas party. We enjoy having the meeting/party here, since it makes it worthwhile to decorate the inside of the house, and the music room as well. I mean, what would a Christmas party be with- out lots of glitter??? Vice-President Our home is located in an area where many people deco- Richard Ingram, Mike Ames and rate their homes, and the traffic viewing the neighborhood Bob Lloyd. gets quite heavy at times, as some of the attendees can attest. Added to that, I think every freeway was filled to capacity, too. The business meeting was short and to the point, and Robin Biggins held an MBSI meeting, also short and to the point. Everyone was in a festive mood, and was waiting for the gift exchange, which is always a highlight of the evening. It’s amazing the number and variety of items that turn up. We have good shoppers out here I guess. After the gift exchange Lloyd Osmundson presented the Nixes with a plaque honoring their work on the organ rallies out here. It was a real surprise to us, and is really a lovely plaque. I think for me the best part was the fact that all the organ rally people had chipped in, and it represents friendship Robin Biggins and his guest Ardis Prescott and was a real honor. It resides in the living room in a place of honor, as it should. Thanks to all those hearty souls who come Frank Nix, our President, holds the business out to our rallies come what may – they are really the ones meeting. who make it work!

47 For the rest of the evening music was the center stage Hosts Frank and Shirley Nix entertainment. The Nix collection had added a Ruth 35-A, with the great plaque pre- which many of the attendees had not seen yet, and Frank has sented by Lloyd Osmundson. it working by hand crank, so some of the more adventurous types cranked it for a while. It’s a job, but oh, what a feeling of accomplishment to finish a song. (Actually, it’s not a feel- ing of accomplishment having to do with the music, just a matter of “thank goodness that’s over with”!) It was a lot of fun, and there were plenty of instruments where the most you had to do was put a coin in – lots of people opted for those. The Weber Styria had been worked on Caroyl and Jim Westcott in a by Mike Argain ahead of time, and was playing beautifully. holiday mood. The Duwyn, the Mortier, the Imhof-Mukle, the Banjo Orchestra, a couple of Wurlitzers, three violanos, the Carl Frei Dutch Street Organ, three monkey organs, several nice music boxes, and more kept those in the MusicHaus busy. Meanwhile, many others were in the house enjoying the Steinway Duo-Art, the Weber Unika, more nice music boxes, and the Village I put up every year, which, as Diane Reidy Ervin Canada and Bill observed, keeps growing and growing. Frank says I have to Blair in deep conversation quit buying for it before we lose the living room entirely. with treasurer Ken Hodge. (However, after Christmas he went with me to look for one item and ended up buying me four more buildings. – Boy, what a tyrant!) There were around a hundred people in attendance, and during the evening I took some hearty souls on a stroll around the neighborhood to look at the lights. It was a “chilly” evening, at least for Southern California – I bet it wasn’t over Brooke Osmundson makes easy 48 degrees! We enjoyed our walk, and it helped work off the work of cranking the Ruth 35-A. dessert and coffee. There were some interesting displays, although I think everyone was plenty glad to get back to the warm house. Coffee usage went up dramatically after that walk. People split their time between the house and the Bill Whitney with his gift. MusicHaus, and it was a lot of fun. No one seemed to be in a hurry to leave, which is always a good feeling. The December meeting always seems to bring out people who can’t make too many meetings, and it’s always a nice time to visit with old friends you don’t see too often, as well as the ones you see at nearly every meeting. Special thanks to Lloyd Osmundson for doing the photography, and to Herb Mercer, who brought over the pictures he took, too. The photos accompanying this article Leora Sear and Herb Mercer Ð are a combined effort from the two. the Mad Hatters! Our next meeting will be at the home of Ben and Mary Lilien, who can’t make the trip to meetings anymore with Ben confined to a wheelchair, but who are graciously willing to host the meeting. We haven’t been there for a while, and I’m sure a lot of people will be anxious to go back. They are such a part of the Southern California Chapter, and International as well. Who can forget the programs Mary put together for the Conventions, and the table favors Ben Chuck Cones in designed and supervised the construction. It will be fun going front of the Weber back, and we will be glad to visit them again. Styria. We’re all looking forward to Portland and the 2003 Convention. The plans are coming together nicely, and I’m sure they will have some great events for us.

48 Our attention was focused almost in reverence as every- Frank Nix in front one followed Gordon’s request to silence the lambs (lips) and of his newest toy Ð listen only to the music of “Carillons dans la Baie”. After the Ruth 35-A. recovering from that high state of ecstasy, Gordon revealed how he was able to acquire the piano of his dreams, even with all its parts. Even before Jerry Bacon rendered the minutes, groups gathered to update friends on new experiences since the meeting in May. An old player roll discovered, who can fix a mechanical problem, or where to get an instrument, is good information to share. After all – an up-to-date AMICA’n needs to know! For those of us who didn’t attend the fantastic Chicago MBSI Convention, the honorable John McCall gave us a slide presentation showing items of the San Fillippo and Krughoff collections. Friends did come, and closer friends did go – but the beautiful music is still in our ears.

(L to R) Jim Meadows, Michael Barisonek, and Haden Vandiver (standing). Brooke and Lloyd Osmundson in front of the Imhof-Mukle.

Jim Westcott and Bob Lloyd found the dessert table.

Gordon Kelly and his wonderful 1926 Mason & Hamlin.

TEXAS CHAPTER Reporter: Mel Sutter President: Jerry Bacon

October 13, 2002 The performances of Ampico music on Gordon Kelly’s Mason & Hamlin Grand were near perfection. The 26 mem- bers and guests all agreed – “that is about as good as it gets”. We just needed more time to play our own preferences and Jerry Bacon entertains on the Hammond. marvel at the difference from the piano “at home”.

49 ADVERTISING FOR SALE 1925 5’4” GRAND PIANO with an Ampico A reproducing player, GENERAL INFORMATION ABOUT original finish. The Ampico player is complete, but needs restoration. ALL ADVERTISING IN THE AMICA BULLETIN Must sell to make room for a newly restored reproducing piano. $2000 All advertising should be directed to: OBO (buyer to pay for shipping, piano is in LA area). Contact info: Robin Pratt home: 626-355-7926, work: 714-447-2675, cell: 714-745-7442. (2-03) 630 East Monroe Street TRACKER BAR, 88/65 note combination, $200. Sandusky, Ohio 44870-3708 Phone 262-965-2627. (2-03) Phone (419) 626-1903 Restored 1922 AERIOLA upright player piano, including a matching, e-mail: [email protected] Ad copy must contain text directly related to the product/service adjustable-height bench and 15 rolls. $2000 OBO. Call Bob at (402) being offered. Extraneous text will be deleted at the Publisher’s 944-2860. (2-03) discretion. All advertising must be accompanied by payment in SYMPHONION “EROICA” in oak, $29,000; NELSON-WIGGEN U.S. funds. No telephone ads or written ads without payment will 5x, $18,000; SEEBURG L, $8,000; POLYPHON UPRIGHT 19 1/2” be accepted. This policy was established by a unanimous vote of with many discs, $5,000; SWISS DANCING DOLLS STATION the AMICA Board at the 1991 Board Meeting and reaffirmed at BOX, $8,000; REGINA HEXAPHONE, $11,000. Bill Robson, the 1992 meeting. AMICA reserves the right to edit or to (408) 354-8906; [email protected]. (2-03) reject any ad deemed inappropriate or not in keeping with AMICA’s objectives. HANDMADE BARREL AND PNEUMATIC ORGANS made in Germany. With moving figurines and a lot of humorous surprises. The BULLETIN accepts advertising without endorsement, See: www.magic-mechanical-music.de Musik & Spiel Automaten implied or otherwise, of the products or services being offered. Publication of business advertising in no way implies AMICA’s Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2; endorsement of any commercial operation. Tel: 07626-7613, Fax 07626-971009 (6-05) “B” MODEL AMPICO REPRODUCING PIANO, 4’7” MAR- AMICA PUBLICATIONS reserves the right to accept, reject, SHALL AND WENDELL with matching bench, rebuilt and refinished or edit any and all submitted articles and advertising. in Ebony in 1998, includes over 50 Ampico rolls. Looks and sounds Great! $7,000.00 San Diego Area – 858-488-5070 (2-03) All items for publication must be submitted directly to the 1924 MARSHALL AND WENDELL 5’ GRAND AMPICO A Publisher for consideration. REPRODUCING PIANO. Plays great! Player fully restored; piano refinished; piano action regulated and reconditioned with new key bush- CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimum ings, key bed felts, and new key tops. Includes matching bench, $4000 for AMICA members. Non-members may advertise double the or best offer. Call for pictures. Pat Dewitt, Ft. Wayne, IN 260-749-7737 member rates ($10.00 minimum). Because of the low cost of advertising, we are unable to provide proof copies or “tear sheets”. 260-429-7384; [email protected] (6-03) ORGAN DONOR Ð 1931 MARSHALL & WENDELL AMPICO DISPLAY ADVERTISING model “B”, #112,223 has had a hard life, 5’2” body worn out. Need like Full Page — 71/2 " x 10" ...... $150.00 piano for model B transplant procedure. A musical gift of life for your Half Page — 71/2 " x 43/4" ...... $ 80.00 piano, mechanism will be restored and installed into your piano. Ben Quarter Page —35/8 " x 43/4" ...... $ 45.00 Gottfried, Ben’s Player Pianos, 315-858-2164. (3-03) Business Card — 31/2 " x 2" ...... $ 30.00 Non-member rates are double for all advertising. NEW PIANO ROLL BOXES - 2 sizes available for 88 note: Large (fits Special 6 for 5 Ad Offer - Place any ad, with no changes, for a 2 3/4” Flange)covered with Black Alligator Paper(Top), Black Leather full year (6 issues), and pay for only 5 issues. Payable in advance. (Bottom) or Brown Leather Paper (Top & Bottom)$2.50 ea. Photographs or halftones $15.00 each + Shipping. Small (fits 2” Flange) Covered with Black or Tan Leather Paper (Top), White Litho (Bottom)$1.20 ea. + Shipping. 65 Note Loose Sheet or Insert Advertising: Inquire Roll Boxes Maroon Paper (Top), White Litho (Bottom) $2.25 ea. We recommend that display advertisers supply camera-ready + Shipping. A 10% Discount will be given on orders over $10.00, copy. Copy that is oversized or undersized will be changed to and a 20% Discount on orders over $100.00. Many other Repair correct size at your cost. We can prepare advertisements from your suggested layout at cost. Supplies available (Parchment Leaders, Flanges,Tubes, Tabs, Repair Tissue) California Player Roll Co. www.calroll.com PAYMENT: U.S. funds must accompany ad order. Make check (760) 244-ROLL (7655) (6-03) payable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed. PLAYER AND REPRODUCING ROLLS for sale. Newly re-cut DEADLINES: Submissions must be received no later than the “Magic Melodies” DUO-ART and AMPICO rolls and new “Top Hat” first of the odd months (January, March, May, July, September, 88 note roll. Original and other re-cut rolls; program rolls for AMPICO November). The Bulletin will be mailed the first week of the and DUO-ART. All in excellent condition. Write or call for listings. even months. Magic Melodies, 360 Lawless Road, Jamestown, KY 42629, (Rev. 6-98) call 270-343-2061. (6-03) AMPICO, DUO-ART & WELTE Rolls, great selection of popular, classical and medleys. Also, 88-Note Piano Rolls, hundreds of used rolls, “To fulfill a dream, to be allowed to sweat - $3.00 each plus shipping. Also New Old Stock QRS Rolls, $5.00 each. Will furnish lists on request. Dave Caldwell, 400 Lincoln Lake Road NE, over lonely labor, to be given a chance to Lowell, Michigan 49331; E-mail: [email protected], (616) 897-5609 (6-03) create, is the meat and potatoes of life. WANTED The money is the gravy.” RED WELTE MIGNON piano rolls (T-100). Paying top dollar. Mike ~ Bette Davis Kukral 812-238-9656 or [email protected] (6-04) ENCORE AUTOMATIC BANJO ROLLS, original or recut. Yousuf Wilson, 636-665-5187; email – [email protected] (6-03)

50 ROLLER ORGAN WANTED. Will also buy your surplus or duplicate organ cobs. Call 512-869-8008 or email [email protected] Peter Manno. (1-03) AMPICO, DUO-ART & WELTE RECORDO Rolls wanted. I’ll buy small or large collections. Now is the time to clean out duplicates and unwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. Lowell, MI 49331, phone 1-616-897-5609, E-mail: [email protected] (6-03) WANTED! ARTECHO, APOLLO, CELCO Reproducing rolls. 1 or 1000. Also QRS Apollo 58-Note rolls (Square Chuck Drive) and QRS Automatic (Red “X”). Also available For Sale, newly scanned and recut ARTECHO TEST ROLL, $18 ppd. Robin Pratt, 630 E. Monroe St., Sandusky, OH 44870; (419) 626-1903, [email protected] (3-03) ARTRIO-ANGELUS reproducing rolls and catalogs wanted. David Krall, 4218 Torrence Ave., Hammond, IN 46327. 219-932-2322. (4-03) NATIONAL CALLIOPE - 53 note; ARBURO/BURSENS/DECAP DANCE ORGAN; EUROPEAN BAND ORGAN; ROLLS for Wurlitzer 125 Band Organ. Bill Robson, (408) 354-8906; [email protected]. (2-03) ’s Player Piano Ser vi Ben A Complete Restoration Service ce For The Pneumatic Piano Complete pianos and player systems restored using factory original techniques by an experienced professional. Complete or partial systems can be sent to my shop for restorations. I supply special UPS cartons for this unique service. Ben Gottfried (2-03) 464 Dugan Rd. • Richfield Springs, NY 13439 315-858-2164 (6-03)

AMICA ITEMS FOR SALE

w Shi No pped ck Get the Whole Story ! Imm Sto edia In tely ! The AMICA Bulletin remains the single source of complete information about the technical and social aspects of our hobby. No home library would be complete without a FULL SET of the AMICA Bulletins, bound into sets by year. In addition, technical articles published in the bulletin have been extracted and published as invaluable reference volumes. More than 30 years of knowledge, discovery and revelation can be found in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space! ORDER TODAY! In stock for immediate shipping via United Parcel Service or US Mail. AMICA Technicalities The AMICA Bulletin Since 1969, AMICA has been publishing into bound vol- umes, collections of technical articles written and con- 1971 through 1999 bound annuals tributed by its members for publication in The AMICA Bulletin. They may be purchased as follows: of the AMICA Bulletins Vol 1 - 1969 to 1971 ...... $10.00 $24.00 (U.S. Dollars) per year postage paid Vol 2 - 1972 to 1974 ...... 8.00 Vol 3 - 1975 to 1977 ...... 9.00 Make checks payable to: AMICA International Vol 4 - 1978 to 1980 ...... 7.00 Send Orders to: Stuart Grigg Vol 5 - 1981 to 1988 ...... 20.00 Vol 6 - 1989 to 1993 ...... 20.00 Grigg Graphic Services, Inc. Postage Paid 20982 Bridge Street Please note: Supplies of the earlier volumes may be Southfield, MI 48034 temporarily unavailable as stock is depleted. Fax: (248) 356-5636 Overseas orders may take longer than domestic shipments. e-mail: [email protected]

51 The Golden Age of Automatic Musical Instruments By Arthur A. Reblitz

“The most important tracker scales from Treasures of Mechanical Music, hundreds of color photos, interesting stories, history and technical information!”

www.mechanicalmusicpress.com

Only $120 each, plus $5 postage and handling for single copy USA ground shipment.

Mail To: Mechanical Music Press-A 70 Wild Ammonoosuc Road ¥ Woodsville, NH 03785 603-747-2636 (Voice/Fax) or 877-760-8243 E-mail: [email protected] (1-03)

WANTED TO BUY MUSIC BOXES MUSICAL CLOCKS MECHANICAL ORGANS Always in the market for better quality disc and cylinder music boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78 rpm jukeboxes, slot machines. Any condition. MARTIN ROENIGK 75 Prospect Avenue Eureka Springs, AR 72632 (800) 671-6333 • (479) 253-0405 www.mechantiques.com • [email protected]

(6-03)

52 For the NEW 2003 AMICA Membership Directory

The 2003 AMICA Membership Directory is being organized as you read this. Now is the time to send in an advertisement for your business, your collecting wants, services or related items for sale or simply a “Best Wishes AMICA!”, we want your ad. Including your ad in the new 2003 Directory will give you years of visibility as well as reference for yourself and other members. Plus, your paid ad will help AMICA directly by offsetting some of the production costs. Many AMICA Members refer to their Directory regularly for ads, products, services, telephone numbers and addresses. Finding others who might own a similar instrument and getting help becomes a simple task with the instrument listing! Travel, locating and visiting other members becomes a breeze! The AMICA Directory is an excellent resource!

The Ad Rates for the 2003 AMICA Directory are: SPECIAL RATESFULL PAGE – 7 1/2’ x 10”...... $100 HALF PAGE – 7 1/2” x 4 3/4” ...... $60 QUARTER PAGE – 3 5/8” x 4 3/4”...... $40 Photo/s included in ad @ $15 each (unless ad is complete and camera ready .) Accept layout copy from Quark, Pagemaker, Illustrator, Freehand and Photoshop

Make your check out to AMICA and mail it with your camera ready copy to: AMICA Publications – Directory DEADLINE Robin Pratt, Publisher 630 East Monroe Street April 1, 2003 Sandusky, Ohio 44870-3708 You may submit your ad in a simple written form and we will do the composition for you and dress it up. What could be easier? If you have any questions about your ad, its composition or cost, contact the Publisher directly at: (419) 626- 1903 or email: [email protected] Thanks, AMICA really appreciates your help!

53 OPPORTUNITIES AUCTION June 13th, 14th, 15th By Preston Evans (GAL 1287)

The entire contents of Preston Evans’ private museum, formerly located in South Dakota, will be sold in Newnan, Georgia.

JUNE 13 – Toy auction and preview JUNE 14 & 15 – Auction of many musical items of every shape, form and description

Included: Three disc Eroica; 27” Regina changer; 15 1/2” Regina with clock; dozens of Regina, Symphonion and other special musical boxes; rare whistlers; lots of paper roll machines, organettes, cob organ machines (including concert grand and rolls); Mills single and double violanos; Nelson Wiggins (mod 5x); Style 146B band organ and lots of rolls; menagerie of carousel figures; lots of phonographs, jukeboxes, etc.

Color brochure available in early May. Reservation, seating, and all other information in brochure.

$10.00 for brochure which includes general admission to auction.

Website Ð www.prestonevans.com Phone Ð 770-502-0028

We are accepting qualified consignments.

– Photo – Only known Double Violano with Gothic style cabinet

54 M ARTY P ERSKY AUTOMATIC MUSICAL INSTRUMENT SPECIALIST SERVING COLLECTORS AND THE TRADE WORLDWIDE

Dr. Simon & Mabel Zivin Collection. Approx 150 instruments including: Nelson-Wiggen 5X (pictured) $15,000, Early Oak Mills Violano $26,000, Coin-Op Art Nouveau Barrel Orchestrion $4,000, Symphonion 30st Hall Clock $18,000, Regina 20” Flat Changer $16,000, and Fancy Gum Vendor $10,000, 12” Reginaphone $4,700, Capital Cuff $4,000, Tableau Ship $1,500, Molinari 23 Key $6,000, Celestina on Stand $1,300, Tanzbar in Case $1,500, Edison Coin-Op Acme Floor Model $16,000. Also Bird Boxes incl. Rochat and Brugier, Musical Watches incl. Sir Plateau, Snuff Boxes with Capt, Nicole, Rochat, Bordier, a Reverse Sectional Comb, and Necessaire. Phonographs include Edison Opera, Triumph, Maroon Gem, Zonophone, Orthophonic, Phono Doll and Pink Lamberts.

From other sources: Seeburg H (pictured), Hupfeld Phonoliszt Violina, Imhof Lord II, Link E with xylophone, 50 key Bruder Barrel Organ, Monkey Organ on cart, Emerald Polyphon 16 bells, Lions Head Reginaphone, Mammoth Troll Orchestra Box, Unusual Bird Cage.

Write, call or email for details. Personal inspections available by appointment.

Free Consultation • Instrument Brokering • Inspection • Locating • Buying

Tel. 847-675-6144 e-mail: [email protected] 6514 N. Trumbull Ave. Fax: 847-675-6160 Lincolnwood IL 60712

55 REPLACEMENT LEADERS These 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types of reproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes. To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharp knife, discard scrap, and butt-join with magic mending tape on top surface.

A. Brown on buff B. Black on ivory C. Black on ivory D. Black on ivory (For early red label boxes) (Area for reusable (Most common) (Very late rolls by combined artist photo) Aeolian/American)

Note: Early Welte’s with blue leaders may be repaired with this brown leader. Many of these when reissued had brown leaders.

E. Green on ivory F. Green on ivory G. Welte (Most common) (Favorite Fifty & Brown on buff Selected Roll Service) (Most common)

Please make checks payable to Checks or money Price: $ 1.00 each Style Quantity AMICA INTERNATIONAL, orders from for- Minimum Order: $10.00 A ______And send to: eign countries B ______must be drawn C ______BRIAN K. MEEDER on U.S. bank. D ______904A West Victoria Street Postage and Handling $ 5.50 Santa Barbara, CA 93101-4745 E ______Roll Order $ ______F ______e-mail address for orders: G [email protected] Total Amount (U.S. $) $ ______Total Quantity ______

56

.i AMICA CALENDAR L Memorial Fund Donations OF EVENTS Please think of AMICA as a place to remember your friends and family with a CHAPTER MEETINGS donation to the AMICA Memorial Fund. Send to: Heart of America Chapter May, 2003 - The Tulip Festival will be held in Pella, IA. Peg Kehret Ideal for monkey organs, but not big organs. P.O. Box 303 Organized by the Railsbacks and Craigs. Wilkeson, WA 98396 September, 2003 - Meeting in Branson, MO 360-829-3161 hosted by Billie & Bill PohL [email protected]

.!.

I!!!!""."'._ J.II!II!IIIII!I II ...... ,!II!. ~ .~•.1I _~ ., _~ August 20-24, 2003 It' . AMICA Convention, Portland, Oregon ~ '" V'isilt'he Contact: Carl Dodrill 1 .- I~ 4488 W. Mercer Way , Mercer Island, WA98040 Phone (206) 236-0067 .-. E-mail: [email protected] I. W~b; p~ge a~,

·1 -F ,. htlp:I,Www.B:m'j':clI.Cjrg. E.. ~"" .. ".

Voice from upstairs: "Agnes, dear;do you mind shutting off the radio? That static is terrible!"

4 DUO-ART PIANO MUSIC 21 Page in Text Played by 178-179 RIMSKY-KORSAKOFF, Nicolai Hymn to the Sun (t) uginska 65490

.~ 179 LIADOFF, Anatole Barcarolle, Op. 44 McManus 62759 The Music Box, Op. 32 uginska 67319 DUO~ART 180 ARENSKY, Anton Suite, Op. 15, Valse Bauer and Gabrilowitsch 5849-0 Caprice, Op. 43, No.6 Rubinstein 6236 Etude, Op. 36, No. 13 Ebe/l 6187 PIANO MUSIC 180 GLAZOUNOFF, Alexander Gavotte, Op. 49, No.3 Prokofieff 63770 by Waltz No.3, from Miniatures, Op. 42 Reisenberg 66798 181 SCHOTT, Eduard Carnival Mignon, Op. 48, Serenade CHARLES H. FARNSWORTH d'Arlequin Raab 61279 Carnival Mignon, Op. 48, No.5, Professor of Music Education, Pierrot Reveur-Nocturnette Raab 57148 Un peu baroque, Op. 45, No.3 Arndt 64588 Emeritus A la bien Aimee Baldwin 63119 Canzonetta Berumen 62438 Columbia University Reverie, Op. 34, No.5 Boguslawski 3011&-S Romance, Op. 38, No.2 Martin 60328 Tendre Aveu, Op. 43, No.2 Raab 56318 New York City Tendre Aveu, Op. 43, No.2 Russell 30978-S 182 SCRIABIN, Alexander Etude (Pathetic) Op. 8, No. 12 Cortot 66230 Impromtu il. la Muzurka Borovsky 67040 Poeme Hofmann 6383-6 Preludes, Op. 9, No.1, Op. 15, No.2 (For left hand alone) Borvvsky 6721-4 Preludes, ~ 45, No.3, Op. 51, No.3 Prokofieff 65120 Nocturne, . 9, No.2 Lambert 5865 184 RACHMANINOFF, Sergei Melodie, Op. 3, No.3 Gam 563&-4 Polka to W. R. Cherkassky 67138 Prelude, Op. 3, No.2 Gabrilowitsch 5804-5 Prelude, Op. 3, No.2 Hofmann 6525-8 Prelude, Op. 23, No.5, G minor Hofmann 6229-8 Prelude, Op. 23, No.5 Prokofieff 6198-4 A correlation to Romance Ganz 6285-4 185 STRAVINSKY, Igor "Piano Music-its composers and characteristics" Le Chant Rossignol Stravinsky . Sonatina Stravinsky . Petrushka Stravinsky by Le Sacre de Printemps Stravinsky CLARENCE HAMILTON CHAPTER XIV

-~ P;:~::;:~~::: 190 AL~~:::le~~:::~N F:::~;~ ITALY AND SPAIN

I Perpetual Motion Hutcheson 6144 ~~~ ~~ ~ ~

------I Sent in by Kaiser Grimes - Date ofBook, 1925 - The asterik means "in preparation"

DearAMICA, Hope all is well with you. Mark found this in an old player piano. We thought it was kind of neat, so we thought we would send it to you. I wonder if the postage permit is still good. Ha, Ha! Maybe you can display it somewhere. Take care. Sincerely, REPLY - Mark & Char Haas Finl a.. Permit No. 6132. Sec. 510 P. L. lit R. Detroit, M,en. - TEAGAN COAL CO. - EOAl on EREDIT SALES DIVISION - na maney dawn 11737 LIVERNOIS AVE. - DETROIT, MICHIGAN - FILL YOUR COAL BIN NOW! - II manlhs la Pay - OLGA Genuine Pocahontas --- Solvay Coke JUST FILL IN THIS CARD AND MAIL TO US (No POllage Required) OR PHONE HOGARTH 41548 AddrelS _ Name 7 '?: Mr. :.z, rllC ...... 1 de>. Call Aboul<---=.....__ • Salu!:D.an D•• leagan Eaal Ea. B020 Jay. Raad Tn... 4-2900

9 By Emmett M. Ford

American composers and pianists are active and known several seasons of conducting he went to Russia, accompanied about in their lifetime but after death they become unknowns. by his teacher, Safonov. Returning to Paris he began instruction Recreated interest can be accomplished by their phonograph with Isidor Philipp, then to Berlin to study with Karl discs, piano rolls and compositions. Such as Oliver Denton. Goldschmidt. A 1913 debut was made in Berlin as soloist with He was born in Hempstead, L.I., in 1886, and had a the Berlin Philharmonic Orchestra. Tours were made in thorough training in piano lessons which began in his Germany and Switzerland, later returning to New York to live childhood. Early piano training was from his sister, and then as a teacher and recitalist. he enrolled in the National Conservatory in New York City Duo-Art piano rolls were made of the compositions of to study with Mme. Melanie de Wienzkowska and Vassily Rubinstein, Schubelt, Moszkowski and other composers. Safonov (1852-1918). After his graduation he became the His death was June 9, 1928 in Paris, France. conductor of the New York Philharmonic Orchestra. After

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l3

ROLLER ORGAN WANTED. Will also buy your surplus or duplicate organ cobs. Call 512-869-8008 or email [email protected] Peter Manno. (1-03) AMPICO, DUO-ART & WELTE RECORDO Rolls wanted. I'll //" buy small or large collections. Now is the time to clean out duplicates and mwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. P~f(I§IO~ Lowell, MI 49331, phone 1-616-897-5609, E-mail: [email protected] (6-03) WANTED! ARTECHO, APOLLO, CELCO Reproducing rolls. I or t\~§I( 1000. Also QRS Apollo 58-Note rolls (Square Chuck Drive) and QRS Automatic (Red "X"). Also available For Sale, newly scanned and recut ARTECHO TEST ROLL, $18 ppd. Robin Pratt, 630 E. Monroe St., ~OLll§ Sandusky, OH 44870; (419) 626-1903, [email protected](3-03) ARTRIO-ANGELUS reproducing rolls and catalogs wanted. David Krall, 4218 Torrence Ave., Hammond, IN 46327.219-932-2322. (4-03) - FOR THE AMPICO ­ NATIONAL CALLIOPE - 53 note; ARBUROIBURSENSIDECAP DANCE ORGAN; EUROPEAN BAND ORGAN; ROLLS for Finest Qualit.., - Prompt Service Wurlitzer 125 Band Organ. Bill Robson, (408) 354-8906; [email protected]. (2-03) Alwa..,s read.., for shipment Precision Replicas of original Ampico music n~\ rolls, featuring many hard-to-find show ll\a"er Vian() terti tunes from the 1930s. Write for latest \j~ A Complete Restoration Service te catalog, or e-mail us (please include P.O. For The Pneumatic Piano address): Complete pianos and player systems restored using factory [email protected] original techniques by an experienced professional. Complete or partial systems can be sent to my shop for restorations. PRECISION MUSIC ROLLS I supply special UPS cartons for this unique service. 1043 Eastside Road Ben Gottfried EI Cajon, CA 92020-1414 464 Dugan Rd.• Richfield Springs, NY 13439 (2-03)

-~, 315-353-2164 (6-03)

AMICA ITEMS FOR SALE

V ~~'\i1J ¢jGJa ~ Il~~~~~~ Get the Whole Story! VjJ~a{jJJ{jJJ~q~ The AMICA Bulletin remains the single source of complete information about the technical and~ 9 social aspects of our hobby. No home library would be complete without a FULL SET of the AMICA Bulletins, bound into sets by year. In addition, technical articles published in the bulletin have been extracted and published as invaluable reference volumes. More than 30 years of knowledge, discovery and revelation can be found in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space! ORDER TODAY! In stockfor immediate shipping via United Parcel Service or US Mail. AMICA Technicalities The AMICA Bulletin Since 1969, AMICA has been publishing into bound vol­ umes, collections of technical articles written and con­ 1971 through 1999 bound annuals tributed by its members for publication in The AMICA Bulletin. They may be purchased as follows: of the AMICA Bulletins Vol I- 1969 to 1971 $10.00 $24.00 (U.S. Dollars) per year postage paid Vol 2 - 1972 to 1974 8.00 VoI3-1975toI977 9.00 Make checks payable to: AMICA International Vol 4 - 1978 to 1980 7.00 Send Orders to: Stuart Grigg Vol 5 - 1981 to 1988 20.00 Grigg Graphic Services, Inc. ,--. Vol 6 - 1989 to 1993 20.00 Postage Paid 20982 Bridge Street Please note: Supplies of the earlier volumes may be Southfield, MI 48034 temporarily unavailable as stock is depleted. Fax: (248) 356-5636 Overseas orders may take longer than domestic shipments. e-mail: [email protected] ~ A

51 • THE GOLDEN AGE OF PLA Y-RITE Automatic Music Rolls 1536 N.Palm St, Turlock, CA.95380 U.SA Musical Instruments Phone/Voice: 209 632 5784'" Fax;: 209 6678241 By ARTHUR A. REBLITZ Favorite Melodies....."0" Roll. .. SB-4 1. Tres Moutard (too much mustard), One or two step 1911. "The most important tracker scales 2. Milanollo Regimental march-Coldstream Guards .l882 from Treasures of Mechanical Music, 3. Tico Tico Samba 1943 hundreds of color photos, interesting stories, history and technical 4. The Wedding Oflne Painted Doll Quick step 1929. information!" 5. Miss Annabelle Lee Quick step 1927. 6. Cake Walkin' Babies From Home Cake walk 1924 7. Fuzzy- Wuzzy- Woo Onestep .l919. 8. My Wife Is Dancing Mad One step 1914 9. Our Director March early 1900's 10. After You've Gone Fox troL .1918 Only $120 each, plus $5 postage and handling 11. Row, Row, Row ,., Two step 1912 for single copy USA ground shipment. 12. On The Mississippi... TWo step (Cake walk) .l912 13. EI Relicario Paso dobleO' 1916 MAIL TO: Mechanical Music Press-A 14. La Sorella Paso doble early 1900's 70 Wild Ammonoosuc Road • Woodsville, NO 03785 @ Steve Bentley...2002 603-747-2636 (VoicelFax) or 877-760-8243 NEW "0" ROLL, PRICE 75.00 E-mail: [email protected] WORDS TO THREE TUNES INCLUDED» EXTRA LONG PLAY ROLL. (1-03) • ,,!I r= WANTED TO BUY MUSIC BOXES MUSICAL CLOCKS MECHANICAL ORGANS Always 'in the market for better quality disc and cylinder music boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78 rpm jukeboxes, slot machines. Any condition. MARTIN ROENIGK 75 Prospect Avenue Eureka Springs, AR 72632 (800) 671-6333 • (479) 253-0405 www.mechantiques.com·[email protected]

(6-03)

52