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THE AMICA NEWS BULLETIN OF THE AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

NOVEMBER 1978

VOLUME 15 NUMBER 9 INTERNATlONAL OFFICERS CHAPTER OFFICERS PRESIDENT Bob Rosencrans 36 Hampden Rd. NO. CALIFORNIA Upper Darby, PA 19082 Pres.: Howard Koff Vice Pres: Phil McCoy VICE PRESIDENT Sec. David Fryman Bill Eicher Treas.: Bob Wilcox 465 Winding Way Reporter: Stuart Hunter Dayton, OH 45429 SO. CALIFORNIA Pres.: Francis Cherney SECRETARY Vice Pres.: Mary Lilien Jim Weisenborne Sec.: Greg Behnke AMICA MEMBERSHIP RATES: 73 Nevada St. Treas.: Roy Shelso Rochester, MI 48063 Reporter: Bill Toeppe Continuing Members: $1 S Dues TEXAS New Members, add $S processing fee PUBLISHER Pres.: Haden Vandiver Tom Beckett Vice Pres.: Bill Flynt Lapsed Members, add $3 processing fee 681 7 CI iffbrook SeclTreas.: Charlie Johnson Dallas, TX 75240 Reporter: Dick Barnes MIDWEST MEMBERSHIP SECRETARY Pres.: Bennet Leedy (New memberships and Vice Pres .. Jim Prendergast mailing problems) Sec.: Jim Weisenborne THE AMICA NEWS BULLETIN Charlie W Johnson Treas.: Alvin Wulfekuhl PO. Box 38623 Reporter: Molly Yeckley Dallas, Texas 75238 PHILADELPHIA AREA TREASURER Pres.: Mike Naddeo Published by the Automatic Musical Instrument Collectors' Jack & Mary Riffle Vice Pres. John Berry Association, a non-profit club devoted to the restoration, distribu­ 5050 Eastside Calpella Rd. Sec. Dick Price tion and enjoyment of musical instruments using perforated paper Ukiah, CA 95482 Treas: Claire Lambert music rolls. Reporter: Allen Ford Contributions: All subjects of interest to readers of the bulletin BOARD REPRESENTATIVES SOWNY (So. Ontario, West NY) are encouraged and invited by the publisher. All articles must be N. Cal. Frank Loob Pres.: Chuck Hannen received by the 10th of the preceding month. Every attempt will be S Cal.: Dick Rigg Vice Pres: Jeff Depp made to publish all articles of general interest to AMICA members Texas: Carole Beckett Sec Mike Walter at the earliest possible time and at the discretion of the pUblisher. Phil.: Bob Taylor Treas.: Gerry Schmidt ADVERTISING Midwest: Bill Eicher Reporter: Jim Brewer Line ad rate: 8'1 per word, $1.20 minimum. SOWNY: Stan Aldridge ROCKY MOUNTAIN Rky. Mt.: Toni Hart Pres.: Robert Moore Page rate: $12.50 per quarter page or multiple thereof. New Jer.: Jeffrey Morgan Ad copy will be typeset (at additional cost) only if requested. Sec.: Sharon Paetzold Iowa Alvin Johnson Treas.: Carl Paetzold Each photograph or half-tone, $5.00 New Eng.: Sanford Libman Reporter: Jere DeBacker Camera-ready copy that is oversized or undersized will be NEW JERSEY changed to correct size at your cost. COMMITTEES Technical Pres.: Peter Brown Camera-ready copy must reach the publisher by the 10th of Vice Pres.: Richard Dearborn the preceeding month. Mel Luchetti 3449 Mauricia Ave. Sec: Jeffrey Morgan Cash must accompany order. Typesetting or size alteration Santa Clara, CA 95051 Treas.: Willian Dean charges will be billed separately. Make checks payable to Reporter Francis J. Mayer AMICA INTERNATIONAL. Honorary Members IOWA All ads will appear on the last pages of the BULLETIN, at the Alf E. Werolin Pres.: Dale Snyder discretion of the publisher. 2230 Oakdale Rd. Vice Pres: Stan Peters Hillsborough, CA 94010 SeclTreas.: Alvin Johnson Publication of business advertising in no way implies AMICA's Reporter: Richard Parker endorsement of any commercial operation. However, AMICA re­ AFFILIATED SOCIETIES NEW ENGLAND serves the right to refusp. any ad that is not in keeping with AMICA's The Player Piano Group. Pres. Alan Pier general standards or if complaints are received indicating that said The North West Player Piano Vice Pres.: William Koenigsberg business does not serve the best interests of the members of Association. SeclTreas.: AI Greco AMICA. according to its goals.and by-laws.

AMICA ITEMS AMICA TECHNICALITIES BOOKS: AMICA STATIONERY: $3.20 (letter size). Volume I (1969-1971), $5.50 postpaid; $1.75 (note size). including mailing charges. FOR SALE Volume II (1972-1974), $7.50 postpaid, Fine quality stationery with ornate AMICA AMICA BULLETINS, BOUND ISSUES: Volume III (1975-1977), $8.50 postpaid. borders. Each packet contains 25 letters and 1971,1972.1973 - bound sets at $15.00 each Reprints of interesting technical articles matching envelopes. Send orders to: Robert set. 1974, 1975, 1976, 1977 at $18.00 each which have appeared in the AMICA Bulletin, Lemon, 4560 Green Tree Drive, Sacramento, set. PRICES INCLUDE POSTAGE AND arranged and indexed into appropriate CA 94823. HANDLING. Spiral bound to lay flat. Send categories Send orders to: Jim Weisenborne, "They All Laughed When I Sat Down At orders to Mary Lilien, 4260 Olympiad Drive, 73 Nevada Street, Rochester, MI 48063. The Plano, But When IT Began To Play." Los Angeles, CA 90043. This sound and color super-8 movie, ROLL LEADERS: DUO-ART, Authentic, For produced by AMICA members, is available order sheet, see the April 1973 Bulletin. Nick PLEASE MAKE ALL CHECKS PAYABLE TO for loan to AMICA members and chapters. Jarrett, 3622 -21 st street, San Francisco, CA AMICA INTERNA TlONAL For more information write to Howard Kof!, 94114. 2141 Deodara Drive, Los Altos, CA 94022. to. . Jnfernafional cJlcNJ(8cJl '~

I have a fair sized stockpile of old ads and some news clips FROM THE PUBLISHER that I generally use for filler (the Bulletin is produced in fourpage multiples) to round out an odd count issue. Many of By now all of you will have noticed the new Bulletin look. I these won't be used for months - as the need arises - so have changed the format, paper and type style and corrected don't despair if your contribution does not show up right most of the "bugs" that creep in with changes. away. Also, if I am currently holding anything that anyone The typesetting of the text is the most visible change and I wants returned - please do not hesitate to write and ask me trust you are finding it more readable. I hope to keep typos to to return it. If it's immediately pending use in an upcoming a minimum but there is a great deal of text involved and one issue I'll ask you for an extension of your patience. Otherwise, volunteer proofreader is not going to catch everything. The I'll get it back to you right away. amount of text is actually more than before as the new flush I hope you have generally found favor with the changes I left and right text columns absorb more material as does the have made since I took over this post in mid-1975. You are fact that most pages of the Bulletin have 1%" more text due to always welcome to suggest ideas of your own for other the considerable reduction in the use of the old page headings. improvements should they occur to you. I hope to hear from The Bulletin may have less pages than before but they have many of you soon - not for praise or pan - but in the form more material. Also on this subject let me remind everyone of more articles that we all can share and enjoy. that the Bulletin depends on your contributed written articles and reports. I do receive a goodly number of newspaper Tom Beckett clippings but I feel THE AMICA was not envisioned as a newspaper reproductioon service but as an ongoing encyclopedia of information and new ideas. Therefore, most news clippings rate low priority for reprinting. Original NEW ADVERTISING RATES articles are what I need and I can't go to press without them. AND INSTRUCTIONS Finally, I have changed the paper used for printing also. It is a All advertisers please take note of the new instructions and rates matt type paper that takes print and half-tones (photos) very for advertising that will go into effect as of November 11, 1978. well while avoiding the page glare that arises under certain The following information will become part of the regular Bulletin lighting conditions that exist when trying to read the masthead starting with the December, 1978 issue and will pertain ~ previously used glossy coated paper. to future issues of THE AMICA starting with the Loaned Material: I would like to make a special request that JanuaryIFebruary combined first issue of 1979. material sent to me be noted as to whether I may keep it (for ADVERTISING possible cut-up to fit my layouts) or if you wish it returned. I would prefer material I can keep and modify as needed. • Classified: 10¢ per word, $1.50 minimum. However, I will return articles or photos if you request. Please • Display advertising Full page 7Y2' x 10" $50.00 remember to do so. One-half page horizontal 7Y2' x 43,4" 25.00 One-half page vertical 3%" x 10" 2500 3 One-fourth page vertical 3%" x 4 ;.\" 12.50 Cover-design created from a Chickering • Each photograph or half-tone $5.00 piano advertisement in House Beautiful, 1908. • We recommend display advertisers supply camera-ready copy. Copy that is Contributed by Mark D. Zahm. oversized or undersized will be changed to correct size at your cost. We can prepare your advertisement from your suggested layout at cost. INDEX • All copy must reach the publisher by the 10th of the preceeding month. INTERNATIONAL AMICA 178 • Cash must accompany order. Typesetting, layout or size alteration charges The Dayton Techs 180 will be billed separately. Make checks payable to: AMICA INTERNA TlONAL. AMICA FORUM 186 • All ads will appear on the last pages of the Bulletin at the discretion of the INSTRUMENTS publisher. A 32 Volt Steck D/A 186 ROLLS & MUSIC 188 Studies for Player Piano- Nancarrow 189 NORTHERN CALIFORNIA 193 FEATURING A FOUNDING MEMBER OF SOUTHERN CALIFORNIA 194 AMICA .. TEXAS 195 MIDWEST 196 WILLIAM KNORP BIOGRAPHICAL SKETCHES BY CAROLE BECKETT Conrad V. Bas 198 TECHNICALITIES EDITOR'S NOTE: At the Dayton Convention the AMICA -'" Rebuilding Ampico Board of Directors voted to honor the founding members of Model B Valves 199 AMICA by publishing brief biographical sketches of each of them. All have now received and been asked to respond to a few questions about their interest in the hobby and the beginnings of the organization. I will print the sketches as they are returned. I hope you will enjoy this glimpse of the people 1979 who for many years were fighting a lonely battle to save and restore the instruments we aU enjoy so much today. MEMBERSHIP RENEWAL Founding Member William Knorp has been interested in automatic musical instruments since his early childhood. His grandparents owned an Ampico, which now resides in his There will be a 1979 Renewal-AMICA Membership card and home in Sausalito, California, and his uncle had a Duo-Art. self-addresssed envelope in the December Bulletin. Please (Were there ever family "discussions" about which system print or type the information on the card as your membership gave the truest reproduction?) secretary wants all spelling and zip code information correct on AMICA files and Bulletin mailing labels. C.W.J.

THOMAS A EDISON MUSEUM BY AMICA HONORARY MEMBER FLORA MORA One of the things that one should admire most is the creative mind. All of the progress of our civilization has been due to creative minds. It is astonishing how a person can think of something that no one else has thought of, giving birth to an idea which later on is developed by others. These thoughts came to my mind while visiting the winter home and laboratory of Thomas Alva Edison in Fort Meyers, Florida which is today a museum. He was one of the greatest creative minds the world has produced. His inventions have been numerous and considering only the musical ones I recalled Pythagoras' theory of sound-first, that every movement is a vibration and second, that vibrating chords emit tones depending on their length. Mr. Knorp does not consider himself a "collector" so much as What progress in creating all kinds of instruments has been he does a music lover with piano rolls. As his hobby grew he developed by this theory! The first phonograph invented by met many of the recording artists and became convinced after Edison was a marvellous idea of his time and what an hearing them play in person that the reproducing piano should inspiration it has been to other creative minds in the be known to the serious music lover. It was hard to convince perfection of his device! The phonograph was one of Edison's the majority of people that reproducing pianos were not favorite inventions and we can guess the numerous simply relics of the past, vastly inferior to the radio and experiemnts and refinements he made to it from the photo of phonograph. But as he puts it, "the intelligent and musical the phonograph collection. persons held out for the pianos, and from that grew a renewed interest, almost unheard of in the 1940s and 1950s." William Knorp was the first editor of the AMICA Bulletin, from 1964 to 1967. It usually covered just two pages and even at that, some members thought it was too long! He was also Corresponding Secretary from 1964 to 1970 and as such he contacted many former recording artists about AMICA and becoming Honorary Members. Mr. Knorp cherishes his dealings with these former recording artists as among his most memorable AMICA-related experiences. In particular he recaJls a comparison concert with Charles Cooper at the 1970 convention in San Francisco, and. the opportunities to hear in person Adam Carrol, Wilbur Chenoweth, Edgar Fairchild, Ervin Nyiregyhazi. Shura Cherkassky, Robert Armbruster, Ursula Dietrich-Hollinshead, Ruth Bingaman Smith, Eubie Blake, Flora Mora, Ted Fiorito, Guiomar Novaes and others. He also cites his visit to San Sylmar and the Nethercutt collection. But his last comment on memorable AMICA experiences concerns his pleasure in We can also imagine the experiments he must have made with hearing a great piano piano in fine condition. the different moving picture projectors from the photo of that '­ group of devices. Edison gave birth to the movies. He invented a moving picture camera and designed the first

- 179 - moving picture studio. No one, not even Edison, could forsee which the latter easily runs $1000 cheaper. Reconditioning the great development that would result from his basic involves action work, regulation, keytops, sometimes principles in the moving picture industry in future years. refinishing the case, replacing bass strings and hammers. In It is not my intention to narrate Edison's innumerable addition, rebuilding involves replacing all strings and tuning inventions besides the mentioned ones-inventions which pins and Mr. Dusenbury stressed the replacing of the pin ----" were of so great importance to our civilization, as the electric block in an instrument that is being restrung. The old blocks light bulb, the electric storage battery, the bi-polar generator, were glued together with hot glue which may become brittle the steam engine, his talking dolls, his stock ticker, his as old glass. Often hairline cracks form between the telephone, his automobiles, etc.-that would be a very hard laminations. These may go unseen and in a short time it may task. During the First World War he made 39 inventions for be found that the piano will not stay in tune. the defense of the United States alone and most of them were Disassembly - the first process of rebuilding - involves dedicated to the Navy. careful measuring of the instrument, labeling of parts such as screws and hinges, and checking structural parts. A light bulb is then placed under the instrument, the piano covered, then allowed to dry out for a period of two weeks. During this process soundboard and bridge flaws should show up. If the soundboard has anything less than a very bad crack, the Dusenburys leave it alone. If the crack is bad, they cut a complete slot out of the board and put a new piece in. The Vshaped shim often used by rebuilders usually gets forced out of the crack once the humidity rises and the wood swells. The bearing and scale of a piano as originaUy designed are all important according to Mr. Dusenbury and I was very interested in his points here having recently pondered the question. When our reproducing pianos were being built there were many famous brands for a buyer to choose from and each brand had its own tone "personality." Steinways sounded pretty much like other Steinways and Chickerings like Chickerings - "never the twain shall meet." In listening to a modern stereo recording with a friend recently, I remarked Observing the many interesting features of the Edison that it was a shame that Knabes, Chickerings, Mason & Museum I recalled AMICA, for Edison was a pioneer in the Hamlins and other fine makes fell so completely from concert creation of automatic musical instruments. He was the first pianists use. I do love the Baldwin and the Steinway but I've one to reproduce the voice of Caruso and Emy Destinn and also heard many fine brands of old pianos which are the playing of Hoffman and Hans von Bulow. Therefore I interesting and provide variety to our ears. It is like eating "----""'. have thought that the incomparable genius of Edison different varieties of apples. I would ask a rebuilder to come deserves, at least, a note of my visit to the museum for the as close as possible to the original sound of a piano. Mr. Bulletin. Dusenbury says to determine the character of the piano and bring the most of it out. Likewise, Mr. Dusenbury referred to a piano's finish as having a specific design (techniques, products, patterns). For "rHE DAYTON TECHS instance, most pianos the vintage of ours used the stain in the finish rather than in the wood, though some such as a 1924 BY BILL PIXLEY Knabe that Mr. Dusenbury has been busy with used a wood REBUILDING THE PIANO stain. It is important to take note of the original characteristics. He cautioned against using a build-up of materials to obtain a Along with the excitement of attending an AMICA closed grain. (close the grain with a sealer). The build-up can convention, one of the rewarding parts is getting advice in a soon become brittle and crack. We did not get into the points technical session where some people of great experience are of gloss vs. non-gloss, or originality of finish vs. trying to gathered. Here we get hundreds of dollars of advice to help us match the new cardboard stereo. However, after listening to make the pianos reproduce the recordings as played. Mr. Dusenbury's lecture I believe it would be possible for Undoubtedly the most important step in rebuilding our more refinishers to duplicate an' original finish. musical instruments is rebuilding the pianos themselves. All In the area of soundboard finishing, Mr. Dusenbury uses a too often we player enthusiasts neglect the pianos in our varnish - four coats, one per day, then rubs it out. A finish concern over getting the players to perform top notch. The with a high oil content will be absorbed by the spruce two fields of endeavor go very much hand-in-hand. soundboard and deaden its resonation quality. He volunteered At Dayton somebody thought of getting a lecturer who has that the secret of the Stradivarius violins was not so much a grown up in the business of rebuilding pianos. Mr. Don special violin construction as the finish he used. Dusenbury of Dusenbury & Son in Cleveland gave us a fine Mr. Dusenbury uses special care to go over the piano action lecture and I felt like we were in capable hands. Many points after making the bench regulations and cautioned this special were covered and professional hints given; Mr. Dusenbury care is especially important when the piano is a reproducing gave specific advice on techniques and products and sounded piano. The voicing procedure he recommends is to use soft like a person who had formed his opinions by trial and error hammers rather than hard, do a small amount of voicing in the -.-/ and was sticking to his guns. shop and more once the piano has been used in the home for We were told the extent of rebuilding versus reconditioning of six months. Many questions were asked about specific products he finds rebuilder had used the unplated ones on a piano only to have suitable - if only all the rebuilders and would-be rebuilders them rust after the piano had been back in the home a couple had been there ... of years. Bennet advised rebuilders to reset the valve plates in their original location and to take great pains to see that the RESTORING THE ROLLS valves seat properly. Mr. Jim Weisenborne, a congenial AMICAn, gave a splendid Primary valves are similar on all pianos and not difficult to be talk covering fine points of roll repair, emphasizing the special successful with. Once the glue on the top button is scraped or pitfalls of reproducing piano and organ rolls. Jim highly sanded one may drive the dowel through the upper seat with recommended No. 653 3-M patching film for most roll repair. a mallet and punch. In reassembling, Bennet sets a tight 1/32 He has used it for years and finds it does not discolor or take inch travel. Someone in the audience said he used 20 to 25 the fixed shape of the stored roll. It cannot be used on certain thousandths setting. Bennet explained the Standard and waxy paper such as some Austin, Welte, and Moller organ Autodeluxe service manuals recommended a tight 1/32 inch rolls used and there are certain cases where the stronger (3-M) travel but the valves will operate over a wide range of Magic Mending tape should be used. Jim sold his supply of settings. The important part is to see that all the valves have the patching film to eager buyers during the lecture. Since the uniform travel. convention I have talked with Jim who says he has heard that the patching film may no longer be available except in stores Someone suggested replacing the original Model A Ampico with unsold stock. retainer leaf springs with the Model B type which are available for about $6.00 per set. These are more flexible and Speaking of the mechanics of roll mending, Jim cautioned take developing slack between valve gasket and deck without against placing the tape on the underneath side of the rolls later tightening or damaging the valve blocks. where it may cause ciphering. He works with six inch lengths of the tape with widths cut to sidestep any perforation close to REBUILDING AN ORCHESTRION the edge. Where chain lengths are broken, the entire Mike Barnhart gave an interesting description of his Weber perforation may be covered over and the individual hole Otero, how it works, and rebuilding experiences. We had repunched. For any area exposed on the back of the roll the already had a chance to hear the newly rebuilt Otero which sticky side of the tape may be treated with talcum powder. sounded great. Tape sometimes buckles, usually at the leader, and this is easily fixed by snipping the exposed portion with scissors and First Mike explained the tracker bar scaling. The stack is pressing it down again. Jim cautions that long pedal divided into solo and accompaniment sections. The bass uses perforations must sometimes be reinforced on both sides of 24 notes from C (two octaves below middle C) to D sharp the perforation. above middle C. This would include 28 notes, however the bottom four sharps of the bass section were eliminated. The When mending extremely chewed up rolls it is sometimes solo side of the stack includes 28 notes from E (above middle more practical to use a splicing process. This process consists C) to G (two octaves above middle C). These 28 notes play of placing a like piece of paper underneath the roll being the piano treble section, xylophone, flute, and violin pipes. repaired, cutting through both layers and taping the lower Additional tracker bar holes are for bass drum and cymbal, section to the above roll. This works well with a little practice snare drum, crash cymbal, triangle, and castanets. and one can cut back in any lost perforations. There is some multiplexing used and also lock & cancel. The Once the collector has solved any ripping problems in his own tracker bar has 79 holes but it is not known what four of them piano's spoolbox he can follow Jim's hints and enjoy were to be used for. previously unplayable rolls with a lot of pride in making them playable once more. The orchestrion uses a reiterating device for the three functions of snare drum, panke, and castanets. The panke is a REBUILDING THE REPRODUCING MECHANISM small reiterating beater on the bass drum that comes into When Bennet Leedy spoke about valves, I was detained in the motion whenever a bass note in the piano is hit. This is "Mart" and arrived after the meeting had begun. He went intended to make the sound of the piano more bassy. This over experiences in rebuilding American-made Welte stack reiterating device may also be used for loud snare drum valves and then an open session started with various questions effects. and answers concerning other makers' valves. It is interesting that Mr. Barnhart's Otero uses total pump Bennet cautioned against making the Welte valve too rigid to pressure. Some, possibly later, machines used a combination seat. The leather facings need to be flexible enough to allow pressure-vacuum system. Valves and pneumatics which themselves to flatten against the seat. Bennet explained that operate on a pressure system seem very unorthodox to most some of the later actions used the smooth side of the leather to rebuilders and problem solving where they are concerned seat against the valve seat rather than the rough side as is more might be compared to trying to use a different language to commonly found. Someone asked whether that made any think one's thoughts. Stack pneumatics fold out rather than in difference and no conclusion was drawn from the group. and some larger pneumatics use stiffeners. A pincher pulls the However, Bennet stated that he always takes note which side roll across the tracker bar and since the tendency is for the is out and duplicates the original procedure. machine to blow the paper off the bar, an idler bar holds the paper down. Bennet mentioned that Ampico and Wurlitzer metal valve seats are replaceable new and one should replace any that Mike used plastic (plumbing) pipe to replace the original become distorted in the dismantling process. In discussing "cardboard" type hose which was glued together and had to whether to replace the Duo-Art cross valve seats Bennet said be destroyed to get it apart. He used a heavy grease rather he hadn't-worked on one but allowed he'd seen a Duo-Art than glue to seal the pipe joints. which worked flawlessly with the originals and another which Mike brought and showed us a perforator head which he didn't. Someone mentioned the replacements for the made and has used to recut a few rolls. The perforator cuts 15 crossvalve seats are not stainless steel, but can be plated. This copies at once, but one hole at a time using a note hole punch or theme hole punch where applicable. The process is Reproducing pianos, which came on the laborious, taking 30 to 40 hours for an 80' roll depending on scene shortly after the pedal player pianos ho:-v busy the arrangement process is. However, like many also gave birth to nickelodeons and orches: pamful processes in life, it produces beautiful results. I have trions. These coin-operated machines, which one of his "re-issues," Selections from the 1970 AMICA often combine player pianos with mechan!­ .-' Conve~tion, which contains "Carmen Variations" (played by ~ally operated xylophones, drums and other ~OroWItZ) and "Seguidillas" (played by Iturbi). The roll is ~trum~nts, are enclosed in glass. to pro­ DIcely cut and a gem in my collection. VIde a ViSUal as well as an aural experience. <:>nce common in restaurants and other pub­ lic places they eventually gave way to juke­ boxes and today they are mostly collectors' From the Wall Street Journal, 9/15/78. Contributed by: Ken items. Hodge, E. J. Sprankle, Al Greco, Dick Price and David Mrs. Peter Fleischmann bought a nick· Oppenheim. elodeon as a gift for her husband, the chair, man of New Yorker Magazine Inc. Taking inflation into account, however, she says the machine was converted to a "quarter­ positions expressly for the player piano lodeon." VVhere Does a Roll (Stravinsky's Etude for Pianola and Hin­ . Demons~ations on an early reproducing demith's Toccata for Mechanical Plano, for plano are gIven at the Musical Museum in Play Very Key Role? example). Some of these compositions were Deansboro, near Utica, N.Y. The Welte Mi· too complex for any pianist to perform on a gnon instrument there, made in Freiberg. In the Player Piano conventional piano. Also. distinguished pian­ Germany, has automatic controls for such ists like Claude Debussy were regularly rec­ things as bass, treble and crescendo. After *** ording their performances on player-piano playing a roll cut in 1906 by Paderewski. the Instruments Make Comeback, rolls. Polish pianist-composer (and later prime Victim of Depression minister), Arthur Sanders, who runs the mu­ Aided by Nostalgia Value; The advent of the phonograph began a seum along with his father, says, "Those FromPaderewskitoJoplin decrescendo for the player piano, and the dropped notes are the composer's own"­ Depression then silenced all U.S. production. and not a flaw in the recording. When Aeolian eventually ventured back into The renaissance of the player piano has reawakened the music-roll business as well. By RAYM OND A. JOSEPH the field, "they thought we were nuts," says The largest producer, QRS of Buffalo. N.Y., Sta!! Rep07'!er o! THE WALL STREET JOURNAL Robert Hoyman, a vice president. "But we Executive Charles Shanok, trying out a felt people were ready for the nostalgia." says it sold 700,000 rolls last year, up from piano in the salesroom of a New York store. Today, Aeolian has three domestic com· 500,000 in 1972. QRS offers 3,000 titles at was somewhat irked when a salesman asked petitors in player-piano production: Kimball p~ces from $2.80 to $6, with the higher him to move aside, saying, "I think I can do Piano Co. in Jasper, Ind.; Wurlitzer Co. in prIces on the more elaborate rolls used in better than that." Dekalb, Ill., and Universal Plano Co. in Los reproducing pianos. Titles include Gersh­ ./ The performance was indeed better. Angeles. The new models, some of them re­ win's own version of his "Rhapsody in Blue" Even when the salesman walked away, the productions of the old variety. sell for $2,000 and Scott Joplin playing "Maple Leaf Rag." piano's performance was better. For the to $3,000 (against $1.000 to $1,700 for a con­ While QRS adds to its library by record­ piano was an electrical version of the once­ ventional upright). But even unrestored old ing present-day artists on the paper rolls. popular player piano. Mr. Sha.'lok, who had grand-piano models of player pianos are Superscope Inc. of Chatsworth, Calif., is put· thought he was testing a conventional instru· selling for as much as $8,000 nowadays. And ting old and new performances on cassettes ment, ended up getting the old, recondi­ last year. American International Galleries for its Marantz Reproducing Plano and its tioned player piano, so now he can hear in Irvine, Calif., says it sold a restored new Pianocorder. "live" piano music even when he isn't play­ player piano in a hand-carved case for The Planocorder is an $1.800 deVice that ing. $25,000. attaches to a regular piano to make it a He can even hear his piano played by While all mechanical or semi-mechanical player piano. A box positioned over the key­ such composer-pianists as Sergei Rachmani­ pianos are commonly called player pianos, board has mechanical fingers extending noff and Jan Paderewski, among the greats Q. David Bowers, author of the Encyclope­ from the bottom, activated by the cassette whose actual performances are available on dia of Automatic Musical Instruments, says equIpment contained in a special piano the perforated paper rolls that activate the that the term player piano is usually applied bench. player pianos. in the trade only to the original foot·oper· Joseph S. Tushinsky, Superscope's presi­ dent, rhapsodizes, "There are 10 million Renewed Interest ated variety. In this type, the two pedals are pumped alternately to produce air for pneu­ lonely, silent pianos in America waiting to Some people, like Mr. Shanok, stumble be played," and his contraption is just the on the idea of buying a player piano. But matic devices that control the piano's ham­ mers. answer. But the old·fashioned player piano many others these days, either out of nostal· Nostalgia buffs are attracted to the old· continues to have nostalgia appeal. Mr. gia for the time when player pianos were type pedal pianos. Aeolian's Mr. Hayman Bowers, the encyclopedia author, estimates more popular than conventional models, or adds, "People want to pump the piano them­ that as many as 50,000 of the pre-Depression just to give their pianos an added dimen­ foot-pumped models are still around, many sion, are buying player pianos. selves. That gives them the feeling of partic· ipation in making the music." A popular of them restored to their former beauty and Industry sources estimate that 10,000 to song a generation ago, "The Old Piano Roll performance. 12\000 new player pianos were purchased William H. Edgerton, an architect and last year in the U.S. (Uncounted old ones Blues." had the lyrics. publisher of architectural books, once reo were purchased or restored.) As recently as We're sittin'at an upright, my sweetie stored a family heirloom player piano with 1956, only about 400 player pianos were pur· and me. the aid of a manual on the subject. He esti­ chased. That was the year when Aeolian Pushin' on the pedals, makin'sweet mates that the piano. purchased for about Co.. of Memphis, Tenn.. became the first har-mon-y. $600 in 1937, today is worth $7.500. Now. af­ U.S. company to resume output of player pi­ So-called reproducing pianos. however. ter 16 years of restoring other player pianos anos, after a 2~year hiatus. are operated by electricity, and they usually as a hobby. Mr. Edgerton has gone full Despite the gains, player pianos are still are more sophisticated. Some use paper time. His company, Mechanical Music Cen­ far below their popularity early this cen· rolls with extra perforations for dynamic ter of Darien. Conn., had gross income of tury. So entrenched was the instrument then changes in the music: q.thers use cassettes $600,000 in 1977, its first year of operation. that notable composers were. writing com· that take up less space than the rolls.

- 182 - -Savannah News-Press Sunday Magazine, September 10, 1978 Eubie Blake Looks Down

NEW YORK (AP) - "I don't say prt!destination is right," said Eubie Blake, "but I got a right to that be­ Memory Lane lief. " The 95-year-old dean of jazz musi­ cians, noodling a nimble keyboard Contributed by David Oppenheim. Contributed by Charlie Johnson. obligato, is taking a long look down memory lane at fateful career quirks. tutions as Rutgers and Dartmouth. music geniuses, and I put Berlin first "Take what's happening now," he re­ "About that time in school, my because he had no teacher." He also flects. father taught me a lesson I never for­ has special fondness for Cole Porter, "I always wanted a fifth Broad­ got." It stemmed from a fight with whose friendship opened the doors way show. Well, here it is, although I another boy. "I went home and said for SissIe and him to the homes of didn't have a single thing to do with 'I hate all white people,' and my fath­ rich party-givers. it. It doesn't worry me, but I would er said 'I'll give you five seconds to For him that was predestination like to have written some new see how dumb you are. All white and so was meeting Sophie Tucker, songs." people are not alike. whose acceptance of one of their Entitled "Eubie," the lavish re­ "'Don't let me hear you ever say songs opened the door to Broadway. vue that bows Sept. 20 at Broadway's you don't like a person because of his "The proudest day of my life was Ambassador Theater, after a rave color. Green, blue, anything, if you when 'Shuffle Along' opened. At the tryout tour, uses about a score of treat me all right, I'll treat you all intermission all those white people Blake oldies. Many are from "Shuffle right." kept saying 'I would just like to touch Along," which in 1921 became the In the rough years that followed him, the man that wrote that music.' first long-run black show in Main when he was breaking into show Well, you got to feel that. It made me Stem history. business in vaudeville tandem with feel like, well at last, I'm a human Any frustration over not being in­ Noble SissIe, another eventual jazz being." vited to contribute fresh material has great, Blake evolved a philosophic Three more Broadway shows fol­ been appreciably assuaged by the fin­ tolerance about the racial intolerance lowed, but since 1930, a kind of elder ancial arrangements. then rampant. statesman, Blake has kept busiest on "When my wife showed me the "Did I have trouble? Let me tell concert tours, conducting and record­ contract -I won't say what I was you. I'm working in a sporting house ing. supposed to get a week, every week and a guy comes in and says, 'Hey, "I've been traveling 76 years," he - I said 'Marion, do you believe nigger, you know so and so? Play it!' says, "I've been everywhere, twice." this'?' she said 'No, I don't.' And I say 'Yes, sir.' A few weeks ago he was at the White "So when the first check came in, "Now the youngsters call that House. she still don't believe it. That's why I being Tom, which it was, but it was When it comes to writing: Blake believe in predestination." Tom for us to get the money from carefully asserts: "I'm a composer, James Hubert Blake, born Feb. 7, him. You see, we was the smartest, not a song writer. Songwriters work 1883, in Baltimore to a stevedore and even without education. Sure, it was on impulses, something comes to laundress who had been slaves, the smart way. when you got money them. But composers, you tell me to sensed the first twinge of destiny and I haven't." write something specific and I do it. when he was 6. He was the last of 10 Ragtime was just becoming popu­ Songwriters can't do that, unless he's children, but the only one to live past lar when Blake was young, but its or­ very clever." two months. igin in disorderly houses kept it from Everything he's composed has According to legend - "this is being respectable .- "My mother been carefully filed, and Blake in­ what my mother said, not me" - he wouldn't ever let me play it at tends to leave everything "half to a walked into a music store in 1889 and home." black college. half to a white one." began playing an organ. Scott Joplin pioneered the trend Twice married, ~e for 31 years "My feet couldn't even reached to acceptance, and in 1899 Eubie and now for 33, Blake since 1955 has the pedals," he says. "But my moth­ penned his first piece, "Charleston lived in a Brooklyn brownstone er was very proud, and when I made Rag." "Somebody else wrote it down where his health is carefully tended some kind of noise, the smart sales­ because I couldn't read music then." by Dr. George Liberman. man convinced her to put the organ Later he learned composition. but "He has fantastic endurance," in our house for $1.25 a week." Soon still uses a numerical notation sys­ says the physician, "with remarkable a neighbor was giving him piano les­ tem. recuperative abilities and is going to sons. "I've written a couple of thousand be around a long time. He sleeps cra­ "She couldn't teach me proper pieces," says Blake, "but only about zy hours, smokes incessantly and fingering," says Blake, "and that's 350 have been published. I could live would eat chocolate cake seven times why even now I hate to have a pro­ the rest of my life if the four big ones a day. The main problem is getting fessional musician watch me play." keep on - 'I'm Just Wild About Har­ him to eat a regular meal." In school, Eubie was a tiny rap­ ry,' 'Love Will Find a Way,' 'You're Says Eubie: "The only thing I scallion, nicknamed Mouse, "always Lucky to Me' and 'Memories of don't want to happen to me is senili­ talking, always fighting." He left You.'" ty. When you become senile, you sehool in the fifth grade, but has five Blake rates Irving Berlin and don't know it. That's the only thing honorary doctorates from such insti- George Gershwin "this country's two that worries me."

- 183 - AMICA INTERNATIONAL CONVENTION - June 29 thru July 3

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-~------

FRIDAY - JUNE 29 Welcome Dinner River Cruise

SATURDAY - JUNE 30 f::' 1 Breakfast (8:30) :\1 Tour of Historic Philadelphia 1P Phila. Freedom Week Activities ,jl;: Dinner \' Guest Concert(s) , ]1 ~ SUNDAY - JULY 1 Bus to member's collection with Brunch Theater presentation and Guest Concert(s) Dinner Longwood Gardens with fountain display

MONDAY - JULY 2 Breakfast (8:30) Business Meeting Technical Sessions Academy of Music Tour Wanamaker Organ Tour Arnica Banquet - Guest Concert(s)

TUESDAY - JULY 3 Farewell Brunch :1· and more, more, more! Illl' lit \\1 ;li!'

~~~~.~ - ".:~--~~ ~-\~- - ~ -~- ._."~ 4~'5--se=:=------:---,--~- I " -- --,:;a::-- - '.e-.-. Mark your calendar NOW - for a fun-filled Arnica convention-vacation you won't forget! ~ .. _-:=._.. 4IJlU1----- !A1!!1!n11ID~BIJP' ------\ '-..;0-- .. - ""- ~-j

PLhAYE~ P~ANO that thoroughly satisfies A t e aSpIratIons of the most cultivated mUSICIan. A library including the most exquisite gems of music-the little classics that delight the soul of the real music~lover. Such is the equip~ ment offered in the Starr Sheraton Model and the Starr Library of Perforated Music Rolls. Charming art views of the various Starr Models and the home of their production may be had on request PRICE (Regular Standard 88-Note) $850-Freight and Handling Additional THE STARR PIANO COMPANY FACTORY AND EXECUTlY.E OFFICES RICHMOND, INDIANA Manufacturers also of Richmond, Trayser and Remington Player Pianos, from $400 up ALABAMA-BIRMINGHAM, 1820 Third Avenue OHIO-AKRON, Mill and High Streets MONTGOMERY, 108-112 Dexter Avenue CINCINNATI, 139 Fourth Avenue. \V. CALIFORNIA-Los A,.'

The International Studio Jan. 1914 Contributed by Bob Long. beautiful scenery in Australia and should not be missed. Of course, any AMICAns who do make it to Hobart (the capital of Tasmania) will be very welcome to visit my wife Beryl and Jlmica me. John Phillips, 29 Channel Highway, Taroona, Tasmania, Australia 7006.

PERFORATION DISPUTE PAST BULLE1"INS REQUEST BY JEROME A. HILL BY CHUCK SORENSEN I have just returned from a vacation trip to Florida and the southeastern United States where we visited several After reading the first 1971 Bulletin I find myself desirous of a collections of musical automatia. At several of these set of the 1970 issues. collections the tour guide would hold up a player roll, point to Does AMICA have a loaner set I could borrow to copy? If the holes, and state that the piano is played by these holes and not, is there a chance that AMICA will reprint the 1970 the roll is the forerunner of the punched computer cards we Bulletins in the near future? Failing this, would some AMICAn have today. be willing to let me borrow their set to copy? Of course, I will Now I am sure that most AMICA members are aware that this pay for postage and copy quickly. Chuck Sorensen, P.O. Box is not true. However, for those not aware of this fallacy, I 1269, APO San Francisco, 96555. would like to make the following statement as a scholar of Editor's note: I don't know if AMICA has an official "loaner" both automata and computers: the forerunner of today's set although you could check with Dick Reutlinger who is in punched computer card was developed by Herman Hollerith charge of the Archives and see. There is not much of a chance around 1888 in order to automate the 1890 census. The player that AMICA will reprint any of the Bulletins once the bound piano was just being developed at this time. It is more a sets are gone because of the expense. I have received this type platter of parallel development for different objectives ­ request before and researched the cost. A reproduction would music versus computation - and it appears that computation be more expensive than the original because printing costs has survived! Actually both were building upon the folded, have risen since the lat(: 60s and early 70s and the demand punched cards used in the early 1800s by the Jacquard Loom. would most likely be so small that the cost per issue on a limited run (say 200 copies as opposed to the original 800­ 1200) would be quite high. The quality would be less than original, especially photographs and the fact the layout would, RECORDO INFORMATION WANTED in effect, already be completed is no saving because that was done with volunteer labor (free) the first time around. ./ BY JOHN PHILLIPS However, perhaps some Amican would make arrangements to send Chuck a set to copy. I would like to make a request for information from any knowledgeable member for information about the Recordo C coding system. During several years of collecting rolls for my Recordo B Gulbransen player, I have come across a dozen or

so rolls that are obviously Recordo C coded. They certainly ~ play with the exaggerated expression that C rolls are reputed to exhibit. They are also attractive pieces of music that I would like to be able to play properly. Jnsfrumenfs So if anybody can tell me I would like to know first, how was the Recordo C system supposed to operate, and second, is it feasible without drastic alterations to modify a B piano so that it will play both Band C rolls? Curiously, two of the rolls which I believe to be C coded are SOME NOTES ON A 32-VOLT still in the current catalog of a well-known roll cutting S"rECK DUO-ART company. I have written to this company, whose anonymity I will preserve by referring to it as the Q*S Company, a couple BY GRAHAM CODE of times on technical matters which include the Recordo Harvey Roehl from the Vestal Press knows where Australia is. question, but unfortunately have had no reply. The two rolls He also knows where the state of Victoria is but by contrast, are M613-330 "Cavellaria Rusticana," and M613-140 not many Australians or Victorians know where Aberfeldy is. "Hungarian Rhapsodie No.6" by Liszt. If only very few, if Aberfeldy is high up in the mountains, four hours hard drive any, Recordo pianos were ever made, there doesn't seem to from the capital of Victoria which is Melbourne. Australia has be much point in recutting these particular rolls, or does eight large states each with a capital city. Aberfeldy has a there? population of seven, its nearest post office is at Walhalla, an Finally may I urge any AMICA members who plan to holiday hour and a half drive distant, and the supermarket is two and in Australia to include Tasmania in their itinerary? Because a half hour drive. We do our own shopping once a month and Tasmania, although a state of Australia, is a separate, large travel to Melbourne for the meeting of the Mechanical Music -' island to the south of the mainland, many visitors to Australia Society of Australia every two months. The elevation of do not make the one hour flight across the Bass Strait. This is a Aberfeldy is 4000 feet above sea level - but we live down in grave mistake. Tasmania has some of the wildest and most a steep valley. Temperatures range from -12" C. to 42° C. in

- 186 - summer. It's hardly the place for pianos but in the long nights they provide our entertainment. We generate our own electricity and therefore have no deep freezers, air conditioning or other comforts of the city. We do have a wood stove, kerosene refrigerator, wood fired hot water service and· the pianos. My own favorite is a Steck upright Duo-Art. It has a 32-volt motor driving a most unusual pump. All the other Duo-Arts I have seen here have the "steamboat" or "rotary" pump. I thought that perhaps the pump might not be original or that the piano had originally been a pedallelectric. However, there is no sign of any of the screw holes or alterations of any kind and I conclude that it is original. With a 1~ h.p. 32-volt motor it works fine although the D.C. motor is perhaps not as quiet as modern electric A.C. motors.

The overhauled expression system. It looks fancy with white expression pneumatics, green hammer rail and sustaining pedal pneumatics, and red accordion pneumatics.

to believe that as a friend of the Mittags she had spent many hours playing at the Steck. Musicians tell me that our particular instrument is beautiful for hand playing and that considerable refinement had been done by its previous owner to make it this way. The instrument is not finished in the normal dark piano finish but rather french polished throughout and coloured a light flame mahogany - eye­ catching to anyone accustomed to dark Aeolian finishes. The stack is still original but my son Daniel has recovered the lower pneumatics under the watchful eye of Albert Fose who is president of the Victorian branch of the Mechanical Musical Society of Australia and a professional piano, organ and player technician. A moth egg which had hatched on the This photograph shows how the french polishing has brought theme side of the expression box necessitated the splitting of "­ out the unusual grain and toning of the wood. the box. This was done with a very fine saw and the box re­ assembled with a gasket and surrounding seal to achieve a Interestingly, I came by the piano from an elderly gentleman, perfectly air-tight repair. The soft pedal has the full three­ Paul Mittag. His father had established the Werthieim Piano degree soft pedal compensator although this is not always Company in Australia towards the end of the last century. present in Australia. Some pedallelectrics have only one and Paul Mittag purchased the piano in 1929. Pierce's lists its date generally here it seems to be missing altogether from quite a of manufacture as 1928. Paul Mittag is still the piano tuner for few Weber upright Duo-Arts. the Melbourne Town Hall and two of Melbourne's other centres, the Dallas Brooks Hall and the Robert Blackwood Hall. He is well into his eighties now and as he was moving into a unit, it became necessary for him to part with his well­ loved Steck. His brother, Bill Mittag, is still considered a great player mechanic but both men are very old. Paul Mittag was the tuner for Dame Nellie Melba and tuner and friend for many years to Una Bourne, Melba's accompanist early in her career before her solo engagements. Miss Bourne made two Duo-Art rolls in America in 1924 after concert appearances: "Evening Whispers Op. 47, No. I" by Selim Palgren No.67419. "Waltzes Op. 39, Nos. 2, 4, 12, 14, 15, 16 and 20 by Johannes Brahms No. 6860-4. In England she recorded: "Barcarolle Op. 44" in F Sharp by Laidoff, No. 048 "Nocturne Op. 9, No.3" in B Major by Chopin, No. 065 "Sonata Op. 2, No.2" in A Major by Beethoven, Nos. 0265­ 0269. The Brahms waltzes roll was also issued in England and The unusual pump and 32-volt motor. numbered 0360. I have the American rolls made by Miss Bourne and would like the English ones if any collectors could help. Early in this article I mentioned the climatic extremes in this Miss Bourne died in Melbourne only a few years ago. She was area and I must pay credit to Dampp-Chaser Electronics, Inc. a student with Paderewski and Godowski and actually in America. They made 32-volt Dampp-Chasers in America replaced Busoni in concert appearences with Melba. It's hard for liS. vVhen the units were damaged and went astray in the

- 187 - mail it was Allen Foote from Dampp-Chaser who got things "Blue Hoosier Blues" -A real down home song written by moving and had them located. They are a truly wonderful Friend, Baer, Meskill and copyright by Leo Feist, Inc. in 1923. firm who really care about their products and the people who The roll is Supreme #6305 and is played by Chet Simpson. It is use them. We are indebted to them considerably for their well known that when a native of Indiania wanders away wonderful efforts on our behalf. from home they will either have the "Blue Hoosier Blues" or I think because of the ease of shipping and smaller rooms, the "Wabash Blues." This roll is an exceptionally good uprights are more common reproducing pianos in Australia arrangement of the song with marimba accents and also a part than grands. Also, perhaps because of shipping and customs of the song this writer has not heard in other piano rolls of the duty, the good quality is more common than excellent in Duo­ composition. Not as much of a blues recording but more like a Art -Steck, Weber and Ampico Marshall & Wendell and regular foxtrot without jazz inventions. Franklin. "A Chorus Line" - The roll is QRS XP-178 with music and The Steck is a fine instrument and we consider ourselves words by Marvin Hamlish and Edward Kleban, copyright in fortunate to own an instrument so well cared for and 1975 by Wren Music and American Compass Music. This roll associated with the golden stars of Australian music. It has is part 2 of a two-part set and is played by Rudy Martin. This some companions - a Marque Ampico Franklin which Bill part of the roll contains the songs 1. "The Music and the Flynt wrote about recently and a 5' 2" Baldwin Welte Mirror," 2. "Dance Ten; Looks Three," 3. "One," 4. "What I Licensee. We've just located a nine foot Steinway Duo-Art but Did for Love." This roll is one of the best of its kind if not the our rooms are too small and the track in here too inaccessible best. All songs are well arranged and played. All selections - still, maybe my mother has room! move nicely into each other according to tempo and mood. Should any AMICA members come across rolls or Another roll QRS can feel very proud of. The roll is compositions by Percy Code I'd be interested in hearing from recommended for adults and comes with "censored" stickers them. He was a prolific writer of music and conducted the if one feels it is necessary. San Francisco Symphony Orchestra and also the Victorian Symphony Orchestra as well as playing with both. His most well-known composition was "Zelda." FRANK LAFFITTE ON DUO-ART A REVIEW BY DICK BARNES An interesting cassette tape has recently been released by the British Piano Museum of Frank Laffitte's Duo-Art rolls as well aolls and &rusle as an interview with the artist. Having never heard Mr. Laffitte play nor, in fact, heard any of his records or rolls I found it to be quite a challange when asked to review this tape for publication in THE AMICA. The Duo-Art rolls recorded on the tape are as follows: Sonata Op. 49 No.2 in G- Beethoven (0281-2). PIANO ROLL REVIEW Scarlet Ceremonies No.3 (Decorations for piano) - Ireland BY DAN TUTTLE (0354). Rhapsodie Op. 11 No.3 - Dohnanyi (0351). 88-NOTE ROLLS Prelude in GOp. 32 No.5 - Rachmaninov (0352). "Blue" - The song seems to be well known and popular Equinox - Ireland (0350). among player piano owners. Some owners even paint their The overall quality of the tape is quite good. The piano sound piano the same color with a few gold streaks so it doesn't look comes through very well and the recorded interview with the too broken hearted. The song was written by Clark-Leslie artist on the reverse side of the tape is clear and Handman and copyright in 1922 by Stark and Cowan. The roll understandable. The Beethoven Sonata is very scholarly and is US #40914 and the recording artist is not known by this cleanly played with not quite as much "feeling" as I like but writer. The arrangement is mostly of a marimba style of with touches of pure artistry and a keen sense of rubato when presenting the main melody and it is used in varying degrees called for. The music of British composer-pianist John Ireland throughout the music roll. If you like the song, it is a fairly is, in my opinion, not heard enough anymore. Aeolian of Great good arrangement of the composition. Britian released a number of rolls of his works that were "If You Look In Her Eyes" -A foxtrot song from the show apparently unavailable in this country. Mr. Laffitte seems to "Going Up" with words by Otto Harback and music by Louis have made a lot of these rolls and the two represented works Hirsch. The song was published in 1917 by M. Witmark & Sons here are refreshing, interesting, and well played. One wonders with International copyright secured. The roll is QRS #464 and what the stories behind them are. is played by Pete Wendling. Of judging between the words I believe there may be an error on the jacket of the tape. It and the music this writer would have to say the words are lists the Dohnanyi "Rhapsodie Op. 11 No.3 (0351) but it is not much better than the tune, but neither one is a hit parade of the same music as Duo-Art 5815 of the same piece played by the day. The QRS arrangement is just fair as it goes. The Thompson. Morover, the numerical listing of British Duo-Art sound is rather sluggish due to the way it is played and the rolls gives roll No. 0351 as Dohnanyi's "Rhapsodie Op. 11 No. arrangement. The last chorus has a one-step variance that 1." Something is amiss. In any case, however, the music on the almost wakes you out of your slumber just in time to re-roll tape is very nicely played. ./ the exciting section you just heard and will treasure for years The second side of the tape is given over to an intriguing to come. In short, there must be a better arrangement interview with the artist in which he discusses the rolls as well somewhere.

- 188 - as a bit about what he remembers concerning Duo-Art recording. The interview does cut off just as Mr. Laffitte is about to elaborate upon an interesting point. I don't know if the tape given to me for review is defective or it is supposed COMPLETE STUDIES FOR PLAYER PIANO to end there but it does rather leave one hanging. All things The Music of Conlon Nancarrow considered though, it would seem to be a tape that belongs in the library of anyone really interested in the art of the reproducing piano as these rolls are so rare. Stereo-1768©&@1977, 1750 Arch,Inc.l1750 Arch Tape available from: The British Piano Museum, 368 High Records, a division of 1750 Arch, Inc. Street, Brentford, MX TW8 OBD, England for $7.00 surface mail. Reprint permission secured for AMICA and article contributed by Sally Lawrence.

Tucked away in a quiet suburb influence on the progressive other times warm, passionate, of Mexico City, in effective isola­ development and evolution of our explosively exuberant. And yet tion from the urban hustle, powers of musical perception. I one has no sense of stylistic Conlon Nancarrow is probably am aware that these predictions inconsistency or esthetic contra­ right now at work on the next in may seem extravagant to some, dictions here. It is simply that his remarkable series of Studies but I am convinced that, when these Studies explore a very wide for Player Piano. Begun some Nancarrow's music is as acces­ range of formal and expressive thirty years ago, the set already sible and widely known as that of worlds. consists of over forty-five his contemporaries and Among several ironies arising individual pieces, ranging in immediate predecessors, its in any consideration of Nancar­ length from one to ten minutes importance will be just as widely row's work, the most profound is each, and adding up now to a recognized, and there will the fact that his achievement has total playing time of nearly three remain no room for doubt. been wrought entirely within an hours. It is thus a very large body Meanwhile, the continuing apparently obsolete, even an­ of work, which was almost totally obscurity of Nancarrow's work is achronistic medium-a medium unknown until recently, and is, nothing short of scandalous. The whose raison d'etre had always even now, known to only a small list of books on 20th-century been entertainment, not art-the number of people-mostly music and its composers which player piano! His decision to composers. have not one single mention of concentrate all of his efforts in Over the last three years it has Nancarrow in their texts is thisonemediumwasmadesome­ been my good fortune not only to virtually the whole Iist of such time in the 1940's, after several meet the man, but to acquire a books now or until recently in years of frustration in trying to nearly complete collection of print. get his pieces played accurately. scores and tape recordings of the What is it that makes Conlon The Toccata for violin and piano Studies. It is a dazzling exper­ Nancarrow's Studies for Player (ca. 1936) and the Sonatina for ience to listen to the whole set in Piano so important? To begin piano (1941) were already ex­ numerical sequence-an with, they constitute a virtually tremely difficult pieces to experience not unlike the one exhaustive investigation and perform, extending to their very many of us had a decade or so creative realization of countless limits the abilities of players at ago when we heard the first new possibilities in the areas of that time. Nancarrow has told me recordings of the complete works rhythm, tempo, texture, poly­ that if he were younger-if that of Webern. And on the basis of phonic perception, and form, all moment of decision had occurred my own growing familiarity with of which will provide exciting a few years later than it did-he the Studies for Player Piano, I challenges to composers, would surely have begun pred ict that 21 st-century theorists, and listeners alike for working in the electronic medi­ historians will rank Conlon many decades to come. But more um. But in 1947 (or even earlier) Nancarrow - with Edgard than this, it is the extraordinary this was not yet a viable alter­ Var~se, Olivier Messiaen, John quality and variety of his "inves­ native-electronic music was Cage, Harry Partch, Karlheinz tigations" which is so remark­ little more than a "gleam in the Stockhausen, lannis Xenakis, able. On the one hand, there eye" of a few composers like and perhaps a very few others ­ is enough in these pieces in the Varese, Cage, Pierre Schaeffer. as one of the most important way of systematic, intellectual Henry Cowell, in his book New composers of this third quarter of organization to satisfy the most Musical Resources (1930), had the 20th-century. Moreover, I mathematically abstruse' 'con­ suggested that the player piano believe that Nancarrow's Studies structivist." On the other hand, could provide an effective means will stand with the most innova­ there is enough lyrical freedom, of realizing the complex tive works of Ives, Schoenberg, rhapsodic invention, and sheer rhythmic relationships he Stravinsky, Webern (and "a very fantasy to warm the heart of the envisioned-and Nancarrow has few others") as the most signifi­ most outrageously romantic said that Cowell's book was one cant works composed since 1900 "intuitionist." The music is at of his own early inspirations. In in terms of their ultimate times austere, dry, cold-as-ice; at retrospect, it seems curious that

- 189 - Cowell himself-or Charles Ives, remained for Nancarrow alone to volved in punching a roll. We for that matter- never tried rescue this instrument from the shall see, later, with what composing for the player piano. oblivion of antique shops and ingenuity he has managed to It would have been the ideal pizza parlors, and give it a new deal with the problem of timbre, medium (in their time the only life-a life far more vital than it and he professes no great inter­ J medium) in which some of the had ever had as a medium for est in the subtleties of intonation more difficult rhythmic ideas in commercial or entertainment or of harmony, so that the fixed Cowell's Fabric, for example-or music. And in his hands it has tuning of the piano has simply Ives' In Re Can Mota Et AI­ turned into an extraordinary never bothered him. As for the might have been realized accu­ medium indeed! practical problems of punching rately. Stravinsky, Antheil, even The limitations of the player the rolls, he seems to have done Percy Grainger, were among the piano are obvious enough­ about all that could be done to very few "serious" composers surely no one is more painfully facilitate the process, although it ever to have made any effort to aware of them than Nancarrow remains a slow and tedious one, use the player piano, but these himself: its fixed tuning, its requiring incredible patience and efforts were only incidental to timbral homogeneity, and the persistence. But Conlon their work as a whole. Thus it sheer practical difficulties in- Nancarrow is a patient and persistent man-a fact for which we may all be grateful. In the late 1940's Nancarrow had built for him a device for accurately punching the rolls, the design for which was based on equipment then still in use at one of the com­ mercial player piano companies in New York. Later he had this first machine rebuilt to incorpor­ ate certain improvements which I shall describe in more detail later, and it is this second machine which he is still using to cut his rolls. It would be a mistake, of course, to mention the limitations of the player piano without considering its great advantages. The first and most obvious of these is its capability of realizing, with great precision and at an incredible speed, virtually any rhythmic or temporal relation that can be marked out on a roll. In th is respect, it is still superior to most of the current analog-synthesis techniques in electronic music, and it is surpassed only by computer-synthesis methods like MUSIC V-and these, it should be noted, have their own problems and "limitations." Secondly, the medium is com­ pletely self-contained-Nancar­ row does not need the help of anyone else in order to make his music, and thus the whole "poli­ tics" of musical performance is happily avoided. B. Nancarrow at work on his pneu­ matically-operated percussion ensemble (never completed). The instruments were to have peen programmed by a player piano roll. C. The time-consumihg process of punching a roll. All photos: early 1950·s.

- 190 - Nancarrow is unusually reti­ that a music inspired primarily fast glissandos, arpeggios, cent about the history of his by an interest in rhythm would grace-note appoggiaturas, work, both in terms of biographi­ be polyphonic in its very essence. repeated-notes, trills, tremolos, cal information ("it's nobody's Among the various rhythmic and "miscellaneous figures." business") and with respect to procedures one finds in the These various aggregate-types any precise chronology of the Studies are the following: (1) serve several different purposes Studies themselves (the scores rapidly changing meters, (2) si­ in Nancarrow's work - (1) to are not dated, and he says" it multaneous different meters in expand the range of "timbres" doesn't matter much"). This two or more voices, (3) changing available to characterize or give reticence may be a source of frus­ tempos (both discrete, or "step­ shape to an individual voice, (2) tration to those of us who like to ped," and continuous changes), to distinguish one or more voices get our bearings somehow (4) simultaneous different in the polyphonic fabric, (3) to through such historical points of tempos - including indepen­ control the relative "weight" of a reference, but it need not pre­ dently varying tempos in two or voice in the texture, or (4) to vent us from trying to gain some more voices, (5) a use of duration accentuate or give special em­ understanding of the work or metric series, and finally (6) phasis to certain elements within itself-even of certain develop­ what I shall call therubato-effect. a given voice, and finally (5) to mental aspects of it. Nancarrow A similarly abbreviated listing characterize or give "color" to has provided a few clues to this of the varieties of polyphonic whole segments or sections of a kind of question simply by texture to be found in the Studies piece. numbering the Studies, although is more difficult, and would re­ Another important textural even this information does not quire some definition and phenomenon which occurs so fre­ always correspond exactly to the explanation of certain special quently in Nancarrow's work that chronological order in which the terms which I find useful in des­ it needs a special term to refer to pieces were composed. Some cribing the perceptual effects of it is what I shall call a resultant. I earlier pieces, for example, have these textures. One of these is mean by this a complex but per­ been withdrawn from the set and the term aggregate, which I shall ceptually singular "layer" or replaced by others, and some use to mean complex sounds and stratum in the polyphonic (like Nos. 40 and 41) may have sound-configurations which are texture, produced by a been completed before earlier­ perceived as singular textural combination and "fusion" of two numbered pieces were finished elements, comparable to (I.e., or more rhythmically indepen­ (in this case, Nos. 38 and 39). heard as gestalt-units on the dent voices or (notationally Nevertheless, I think it is safe to same hierarchical level as) single separate) parts. Again, this is not assume that the numbering of tones. Theterm itself is borrowed a new phenomenon, but it occurs the Studies may be taken as at from the writings of John Cage, in a variety of different forms in least an approximate indication who uses it to describe analo­ Nancarrow's work, and is essen­ of their chronological order, and I gous elements in his own work. * tial to any real understnding of shall base any observations I Although this use of the word ­ his compositional methods. make regarding stylistic develop­ and a certain way of working with The presence of such aggre­ ment on that assumption. the phenomenon it represent ­ gates and lor resu Itants in the The two most distinctive char­ must be credited to Cage, the Studies creates a type of texture acteristics of Nancarrow's work phenomenon itself is not new. It that I have elsewhere called as a whole are his rhythmic pro­ may be found in a lot of music, in "compound-polyphonic," to dis­ cedures and his exploration of many different style-periods, al­ tinguish it from both "simple manifold varieties of polyphonic though it is perhaps more pre­ polyphony" (in which each of texture - and polyphonic per­ valent in the 20th-century than in several voices is made up simply ception. The first of these consti­ earlier periods. In particular, it of single tones) and "compound tute the most prominent of occurs frequently in the music of monophony" (consisting of a Nancarrow's explicit Varese. In Nancarrow's Studies, single perceptual stratum ­ compositional concerns. But the it i~ manifested in the following either a resultant or a succession second, which follows almost of forms: "vertically" as simultan­ of aggregates heard one at a necessity from the fullest devel­ eous intervals and chords (most time.)* All three of these tex­ opment of the first, may one day frequently, octaves, 3rds, and tural types are to be found be seen as the area of his great­ other two-note complexes, among the Studies, but Nancar­ est achievement - his greatest triads, superimposed 5ths, row is a great master of com­ contribution to the development 7th-chords, multiple octaves, and pound polyphony - probably the of our musical perceptions. what I shall call "miscellaneous greatest since Charles Ives ­ Rhythmic independence is chords"); "horizontally" - in and it is this aspect of his work essential to real polyphony. the form of what might be called that intrigues me the most. Conversely, the most thorough "linear aggregates" - as very exploration of rhythmic possibili­ *James Tenney, "META + ties must include simultaneous *John Cage, "Composition as Pro­ Hodos", in the Journal of Experi­ as well as successive rhythmic cess" (1958), in Silence, Wesleyan mental Aesthetics, 1, 1975, ARC, relations. So it is not surprising University Press, 1961. Vancouver.

- 191 - The Studies for Player Piano 8th-note triplet form) predomin­ as such, but the textural effects seem to fall into several groups, ates, and the melodic patterns of variations in this parameter within each of which there are still have a blues flavor. Though alone, while other parameters certain common characteristics. not a strict canon, there are ex­ are held constant. The first of these consists of tended canonic passages, heard Study No. 41 is Nancarrow's Studies Nos. 1 through 12, most against a pizzicato-like bass line, most recently completed work, of which are clearly tonal (or all in a moderately fast tempo. and it is surely one of the most modal), often suggesting an ori­ Finally, No. 3d is a slow, pensive astonishing pieces in the entire gin in blues, ragtime, or later blues, whose role in the "suite" literature of 20th-century music. jazz styles. This stylistic associa­ as a whole might be described as Among the whole set of Studies tion is most explicit in the first the "lull before the storm" un­ for Player Piano it is probably the work on this recording, Study leashed in the fifth movement. most complex, the most intense, No.3 - the phenomenal Study No. 20 (which completes the most far-reaching in its im­ "Boogie-Woogie Suite." The side one) is the first of an austere plications, and yet in some ways five movements of the "Suite" "middle group," running the most mysterious. No score are in the keys of C, F, C, G, and through No. 27, which is char­ for the piece is yet available, so I C, respectively, although there is acterized by precisely controlled, cannot speak of it in any detail, considerable use of polytonal (as very gradual changes of tempo, but it is a complex canon involv­ well as polyrhythmic) textures in and a fairly consistent use of a ing irrational tempo-relations the "Suite." The first and last non-metrical, rhythmic notation between its simultaneous strata, movements are the most clearly for the scores. In th is form of and it makes use of two player in "classic" boogie-woogie style, notation, which I will call spatial, pianos, heard both separately but these are in fact rather sur­ the duration of a sustained note and together. The piece is in real manifestations of that style is indicated simply by a horizon­ three parts, designated 41a, b, - as if Jimmy Yancy, Fats tal line following the note-head, and c. 41a and b consist of two Waller, James P. Johnson, and staccato notes are notated with different rolls, each of which is Art Tatum were all ecstatically "eighth-note" flags, and the heard by itself on a single piano, "jamming" together in heaven spacing of each note in a system while 41c consists of 41a and b (or wherever it is that such men corresponds precisely to its played simultaneously on the two go after that "last gig")! Over a moment of occurrence in time. pianos. Individual strata in 41a boogie bass, running along at The piece begins as a purely and 41b proceed independently, superhuman speed, layer upon rhythmic canon in three voices, in tempos irrationally related to layer of rhythmically (and often each articulating a complex, each other as follows: harmonically) independent apparently aperiodic rhythmic voices are piled on (up to eight pattern on a Single pitch. Later 41a: __1-=-/ 3 such layers in No. 3a), creating this three-part texture is expand­ 3 ..;:; Vi37i6 an overall texture that ap­ ed to include six voices, whose 41b: proaches - but never quite pitches are always closely .;; / V2i3 crosses - that perceptual spaced, forming a diatonic threshold beyond which a multi­ cluster. The integrity of these The sonorities in Study No. 41 plicity of individual parts coa­ voices is soon lost, however­ include a very large number of lesces into a single resultant dissolving into still another sort different types of aggregates, sonority. The effect here is abso­ of resultant - as a multiplicity of including glissandos, arpeggios, lutely hair-raising, and yet melodic patterns is heard, triads, and other chords, wonderfully amusing at the same crossing from one voice (I.e., one repeated-notes, trills, and time. One can well imagine the pitch) to another. The effect is tremolos - in addition to single delight Nancarrow must have felt not unlike that of certain tones. These aggregates are when he heard them for the first "stochastic" textures in pieces manipulated in a way which sug­ time! by Xenakis or Ligeti. Another gest the way in which the objet The middle three movements kind of texture occurs briefly sonore is treated in musique of the "Suite" explore other about halfway through this piece, concrete. The density of facets of the style. In No. 3b, and in a more expanded form at sonorous activity in 41a and 41b over a leisurely''walking bass," the end. In this, each of several is already very high, but when several melodic lines unfold, in voices, separated registrally by these are heard together ih 41c what seems like a freely impro­ octaves, articulates the same this density becomes quite over­ visatory fash ion. The trochaic sequence of pitches (or rather, whelming - a veritable hurri­ ("swing") rhythm of the bass pitch-classes), but in slightly cane, flooding the ear and brain line is here expressed different rhythmic patterns, with sounds that sometimes as .JJ. J).J etc., with duration creating an effect of rhythmically seem "orchestral" in their rich­ ratios of 5/3. No. 3c is in a style erratic "broken octaves." Nan­ ness, at other times somewhat more abstracted from carrow himself has referred to "electronic," because of the un­ the bluesljazz origins of the this piece as a' 'study in dura­ familiar sonorities elicited from "Suite," though here, too, the tions, " but what it seems to be the instrument. The harmonic­ trochaic rhythm (in simple about is not duration-perception, melodic language is highly

- 192 - chromatic, although effective use is made of the resonant proper­ ties of triads. Except for a faint suggestion of blues in some of the melodic configurations in 41b, the style is generally quite abstract, evoking associations with no other music except Nan­ carrow's own. The piece clearly represents a culminating point in the series of Studies for Player Piano - a point of highest devel­ opment of several threads running through Nancarrow's work as a whole. Where he will go from here I cannot even guess, but I am quite certain that there are many more wonderful surprises in store for us all.

James Tenney Alf Werolin and host Bob Whitely listen to the Chickering. York University Toronto August, 1977

(Courtesy of Soundings Press)

'T. eatiLornia

AN AFTERNOON IN SAN RAFAEL BY STU HUNTER Founding Chapter AMICAns were fortunate to have Bob and Barbara Whitely as hosts for the chapter's August 27th Members and guests enjoy the food and refreshments. meeting. Their charming older home nestled in the hills of San Rafael provided the perfect setting for a Sunday afternoon of good food, homemade wine, and musical entertainment in the house, but this is getting off the subject of music and AMICA style. instruments and there is more to relate., The Whiteleys own two beautiful Ampico grands. Their Business portions of the monthly meetings always seem so flawless 1927 Chickering in an Italian Renaissance case has mundane but they are, nevertheless, an important part of our been in Barbara's family since it was new. The piano is in mint existence. The main topic on the agenda this time was how to original condition and, to this date, has never required any get members to agree to host monthly meetings. It was major repair work. Their other prized possession is a 1922 decided that this would be done by drawing names at random Knabe in a standard case which has just had a complete with the idea that a home does not necessarily have to be large mechanical restoration by Leonard Jared of J and B Piano and elaborate for a successful meeting. It was felt that this Company in San Rafael. method of selection would enable a member to cohost if for some reason he could not use his own home. In addition to the pianos the Whitleys also own some interesting music boxes. Included in their collection is a very Sally Lawrence also gave a report on the success of the rare twin disc Symphonion and a cylinder box with bells by Dayton Convention. She presented Isadora Koff with a gift an unknown maker. from AMICA, an engraved cigarette box, in recognition of her five years of service as the national secretary. It is difficult to stop here because there is also a very fascinating collection of early photographs of the San Once the business meeting was dispensed with, we were Francisco fire and earthquake. Then there are some beautiful entertained by two talented guest pianists. Leonard Jared pieces of Chinese furniture and Peking rugs throughout the gave us a very skilled rendition of Chopin and Bob Campbell delighted us with his popular style, playing a lot of old donations were accepted (solicited?) for playing the different favorites. Incidentally, Bob is a friend of Charlie Johnson, instruments. AMICA member in Texas, and was introduced to the Whitelys Such functions are an excellent way of allowing limited at the San Francisco Convention. He has an interesting portions of the public to see and hear our instruments in musical background which started in :"Jebraska where he partially fulfilling our educational function as well as played piano while in grade school for the silent movies and benefiting a worthy cause. The benefit began in midafternoon later was a theater organ soloist. He graduated from the and ran to 10 p.m. Dinner was served buffet style. Musical University of :"Jebraska in the mid 30s. Moving to San instrument demonstrations continued throughout the Francisco after the war, he sold music at Shennan and Clay afternoon and evening. and then worked in neighborhood piano bars as well as teaching. Now that he is retired he says he is busier than ever and his music is becoming more and more in demand. He is planning to return to weekend piano bar work in 1979. I wish a piano roll company would discover him and persuade him to cut rolls.

The Liliens' grand-daughter and friend model some origirwl A view of the Chickering art grand case with Bob Campbell clothing in the phonograph room. at the keyboard.

SOUTHERN CALIFORNIA MEETING

·L BY BILL TOEPPE The AMICA Southern California Chapter held its regular e~lilornia August meeting at the San Marino home of Leslie and Audrey 8. Cordell on the evening of Saturday, 19 August 1978. There

L1L1ENS HOST BENEFIT BY BILL TOEPPE The "Lavalls" held a benefit at the home of Ben and Mary Lilien on Saturday, 26 August 1978 to benefit the California Home for the Retired in Reseda California. The Lavalls is a volunteer organization which works with this institution. The benefit featured a roast beef dinner with entertainment provided by the Liliens' extensive automatic musical instrument collection. The Liliens were assisted by AMICA Southern California members Dick Rigg, Bill and Betty Toth, and Bill Toeppe in demonstrating the many instruments. Each guest had purchased a ticket for admission and the dinner. Additional M embers examine some of the work underway at Leslie Cordell's shop.

- 194 - was a good turnout and members and guests were entertained by rolls played on the Cordells' beautiful Mason & Hamlin Ampico A. Light refreshments were served. Also present in the home but not yet playing was a Steinway grand with Duo-Art. Although the Cordells have an extensive roll collection, this evening featured a sing-a-Iong with \. members bringing their favorite 83-note song rolls.

Elaine and Sal by the Steck Duo-Art. Far right, James Guinn.

A lot of us are interested in music boxes and the little eight and one half inch Regina had its share of admirers. Amazing how they got so much music on a little disc! Of particular Hostess Audrey Cordell, AMICA Southern California Chapter interest on this box was the winding key which is an elaborate President Francis Cherney, and host Leslie Cordell beside the affair of carved scrollwork executed in brass. Truly a beautiful Mason & Hamlin Ampico A. monument to its forgotten designer. AMICA thanks Sal and Elaine for a pleasant afternoon. Those members who did not get to attend the convention in Dayton got to see parts of the convention via the medium of color slides presented by Reporter Bill Toeppe. Several of the members also drove a few blocks to see Leslie's shop where quite a few other reproducing pianos are undergoing restoration.

crezas

TEXAS CHAPTER MEETING BY DICK BARNES The beautiful Dallas home of Sal and Elaine Mele was the L. to r.: Sal Mele, Joe Morris, Jim Phillips and Bill Flynt scene of the April meeting of AMICA in Texas. What must admire the (non-reproducing) Steinway. have been one of the hottest days of the year was made pleasant with a wonderful unusual punch, other gastronomical delights, and that savior of the sunbelt - air conditioning! The main event was the Steck Duo-Art. This piano is an TEXAS SWAP-SHOP upright and has be~n completely redone. Apparently BY CHARI.IE W. JOHNSON everything was done right because it plays magnificently with a feather touch pianissimo and crash when called for. Good In spite of competition from the Dallas Cowboys-St. Louis uprights, as this one, are very satisfying and would probably Cardinals football game, a large number of AMICAns be a good foil in two-piano work with the Steinway grand in attended Doyle Cassel's Musical Swap-Shop at his home on the living room. The living room also houses a nicely restored Sunday, September 24. parlor organ that plays with little foot effort - the way they Checking out hundreds of pieces of sheet music were were intended to. Elizabeth and Virginia Klein who departed with some real

- 195 - jewels they considered priceless. Sal ,Mele found some Duo­ four large boxes of Duo-Art rolls. Wade Newton displayed a Art rolls for which he had been looking a long time and An Welte and Duo-Art pump. Both appeared to be in excellent electric pump motor was exactly what he needed from Bert condition. Neither sold but are available to anyone needing Plonien's table. Noble Stidham drove all the way from them. Buyers out there? Jim Phillips browsed around but had Lubbock (a six-hour drive) and brought an old pay telephone. to hurry back home to the half-time entertainment as he had a ,J An attempt to sell it to visiting AMICan Bill Pohl of Joplin, niece participating in the half-time activities during the Missouri was unsuccessful. Cowboys-Cardinals game. Merrill Baltzley found himself fascinated with Doyle's "N" About 5:30 p.m., Gene and Dorothy Langkop (Dorothy was gauge train set-up but settled for some Themodist rolls from Olympic speed skating champion, Berlin, 1936) motored in Doyle's table. Bill Flynt dropped in long enough to leave some from an antique car club meeting in their 1937 midnight blue original Ampico rolls that quickly sold, among them some Super Eight Packard. Dorothy found $6.00 worth of antique original Henry Lange rolls that your reporter bought. A 1950 sheet music. white Packard screeched to a halt at the curb and out poured The weather cooperated with our usual heat only in the mid Haden Vandiver and two friends who were on their way to a 80s. Doyle thinks that he just might make the Swap-Shop an Packard Car Club meet. annual affair but in the cool of spring or during the crisp days of fall.

AMICA MIDWEST CHAPTER MEETING BY MOLLY YECKLEY Saturday-Sunday, 12-13 August, 1978. Midwest Chapter, your host for the 1978 International Convention, decided it owed itself at least one more chapter meeting where talk of the convention would be in the past tense rather than just plain "tense." L. to r.: Jim Meadows, Joe Morris and Sal Mele. We met early in the evening at the extremely rural farm home of Dana Traub in Sunfield, Michigan. Directions to this 1890s yellow brick retreat were somewhat in the nature of "past two cornfields, tum right, past four more cornfields and don't hit the chickens in the road." It was most quiet and restful, an oasis of calm and a return to the past that is increasingly difficult to find in the rush of what is left of the 20th century.

L. to r.: Elizabeth Klein, Noble ("Buc") Stidham, Bert Plonien and Wade Newton. Note Jim Meadows' old oak music table with the vertical music dividers. "Last night on the back porch" we aU ate homemade ice cream. A stranger to recent meetings of late, Jim Meadows, brought

- 196 - mean Mr. Bones! We listened to a darling duet on a cylinder machine. It was called "Pussycat Rag" and was very clear and understandable. This tribute to the past was painstakingly decorated in the Victorian manner and the walls, rugs, and furniture each had different patterns that proved restoration of any era is possible "­ when people truly care to try. I think Dana knows something we're all going to find out before long-his home was heated throughout a ghastly 1978 winter with less than $19 worth of gas thanks to the wood fires he kept burning. He made the remark that he wouldn't have electricity at all if it weren't for the refrigerator. The old crank telephone will make outgoing calls too but there is a modern wall phone for incoming ones-the phone company can't make the old crank phone ring, I guess. We left at a fairly decent hour with promises to meet again on Sunday morning at 10 a.m. at Michigan Piano Company in Grand Ledge. Therein lies a tale! The accompanying pictures are thanks to Stan Favret and I hope they explain themselves-I feel inadequate to do so. The restoration rooms are so neat and clean, the work done there is so expert and careful and professional. It almost defies description. The Reeder family, father and son, believe in complete rebuilding and to this end they take only grands to work on. Jim Weisenborne's one-of-a-kind Steinway art case OR was there DaM Traub enjoying the soft kerosene light that shows off his for us to marvel at and I think the only original parts that will Victorian home. Note the period furnishings. be left when the job is done are the case, the plate, and the legs! This was the first time that I had ever seen new The drive to the home was the first clue; the second was the soundboard and ribs built from raw wood. I don't mean large hand-cranked ice cream machine (are they called rough-cut lumber, of course, but each part is crafted to churns?) on the front porch that dispensed delicious vanilla replace the old in an exacting manner. Actions are taken glop totally unlike that purchased in frozen rectangles from completely apart, ivories are either replaced or polished, and the supermarket. Sophisticated AMICAns forgot themselves finish work is selected by the customer. Jim found out that and followed cats, geese and nubian goats all. over the you can't choose a shade of wood finish by committee, didn't farmyard, hoping the animals would stop wandering long you Jim! enough to allow themselves to be petted. Can't you just imagine Bill Eicher in pursuit of a nubile nubian? How about Jim Weisenbome talking to the animals in a soothing voice? Inside the house we retreated still further into the past. I found out that kerosene lamps throw a marvelously soft, romantic glow even though they burn your eyes. Nobody ever tells all about the "good old days!" Jim Weisenborne and I took turns pumping a beautiful old reed organ and Jim, Liz Barnhart and I had the nerve to read parts to a minstrel roll while Dana pumped the player piano. Such innocent humor! Television commercials are far racier today-Jim makes a

James Reeder explains soundboards and ribs to a group of AM/CAns. Are they skeptical or just bewildered?

It was our great pleasure to play and listen to three nine foot grands-a Knabe, a Mason & Hamlin and a Steinway. That's pretty heady stuff, folks, jumping from one delicious boomer to another, but of course these were "gutless" pianos-no roll playing mechanisms! (I should mention that Reeders also sell new and rebuilt pianos at the front building of their complex.) My personal preference was the 64 year old Knabe, much to The senior Mr. Reeder explains case refinishing to interested my surprise. I know the Steinway was a new piano, and I chapter members. think the M & H was too, but I didn't know this when I played the instruments.

- 197 - Michigan Piano Company does not restore the player mile round trip drive I made wasn't as far as those who came mechanisms but 1 suspect the quality of their contribution to from Cincinnati, but 1 think we'll agree it was well worth it. piano restoration would make any rebuilder produce his very Thanks, Michiganders, for being so truly AMICAn: hospitable, best work on the mechanism. good at feeding always-hungry AMICAns, and excellent We tore ourselves away around noon and headed back out providers of various sorts of musical entertainment! ~" into the country for a short drive to the Leik home in The Christmas party mentioned earlier will become a reality Mulliken. Liz gave us the financial picture of the convention, on 2 and 3 December, 1978 at a meeting at the homes of Bill we talked about the possibility of a Christmas party-meeting Ackman and Vince Aveni in the Cleveland, Ohio area. We in December of 1978, and we got the meeting over with at our always decide upon a "snow date" in advance (you remember usual brisk pace. the last two winters we've had in the Midwest!) and it will be the following week in December should we get snowed out the first weekend. Call either host, me or Jim Weisenborne for final -details, and chapter members will get the word through the chapter mailing. See you then!

~i09rapRical &llefcRes

The Leik roll collection in the background as we listen to the 1929 5'8" Duo-Art. CONROD V. BOS BY EMMETT M. FORD Conrad V. Bos, pianist, composer, accompanist and piano roll artist was born in Leyden, Holland, December 7, 1875. \-\!hen he was a child he could easily read and transpose and he had a natural feeling for musical line and phrase. A foremost violin teacher would invite him to his home on Sunday mornings to read through the sonatas of Bach and Beethoven with him. He became a student at the Amsterdam Conservatory studying with Julius Roentgen (a cousin of the discoverer of

L. to r.: Ed Ward, Liz Barnhart, Mike Barnhart, Molly Yeckley during the business meeting.

Don and Leilani Leik were our host and hostess at their home on Charlotte Street and we listened to a Weber Duo-Art, played the Chickering that sat opposite it in the room devoted to pianos and rolls, and even heard the newest acquisition still playing though unrebuilt in the living room. It was a nice Ampico A and Don had just moved it in a short time ago. On a rear sun porch was a Mason & Hamlin Ampico A that Don was going to rebuild for the Reeders of Michigan Piano Company! The mechanism was out of it but 1 got to play it by hand-it should be a super piano when it's finished. Leilani fed us-and how! We had so many choices of food but 1 especially remember the red raspberry pie. My mom and 1 make it but know few others who do.. .it was the topper to a lovely weekend arranged for us by Don and Leilani. The 260

- 198 - the X-ray) and later entered the Berlin Hochschule graduating the book is by a singer whom he greatly admired, Helen at the age of nineteen. His best marks were earned in chamber Traubel. music and accompanying. After his graduation he became the Mr. Bos told with enjoyment and amusement of the time he accompanist to the celebrated Leider singer, Dr. Ludwig and the young violinist, Yehudi Menuhin visited Bruno Walter Wullner, on a concert tour in Europe and three tours in on Menuhin's first visit to Berlin. The great conductor Walter America. This successful tour established Mr. Bos as a whispered to Mr. Bos, "Frankly, Herr Bos, can the boy really celebrated and well-known accompanist both in Europe and play?" America for nearly 60 years. This well known and successful accompanist had much advice Later, going to Berlin to study, he apprenticed himself to Dr. to give relative to the art of accompanying. He mentions the Max Friedlaender, an authority on the German art song and accompanist must know languages and be flexible, saying his helped to collect and edit the Schubert songs. Mr. Bos was playing for Frieda Hempel required a style for the soprano's chosen to accompany the first public performance of Brahms' unequalled airy, dream-quality songs, and a different "Four Serious Songs" in Vienna in 1896 in the presence of the approach to Julia Culp's gift for more sustained Lieder.Then composer. Brahms gave his approval to varying interpretation there was the support needed by the spontaneity of Elena of his "Vier Ernste Gesange." Mr. Bos also visited with Clara Gerhardt, the rich robustness of Schumann-Heink and the Schumann, pianist-wife of Robert Schumann. dramatic fervor of Ludwig Wullner. Mr. Bos passed away at the age of 79 after a long illness, August 6, 1955, and was survived by his widow Else and two daughters.

IT c1'eclinicafifies

REBUILDING MODEL B AMPICO VALVES BY BILL KOENIGSBERG

Recently I finished rebuilding my 1930 Marshall & Wendell upright Ampico AlB reproducing piano. The AlB notation indicates that the piano contains conventional Ampico A components and some model B features usually associated with the grand style of post-1928 vintage. In this instance the .. ..\t, 1.\ 'l'o. Rose Bamplon. and Coenrad. V. B()S~1 ',\,,\',) Ampico employed B valves in the stack, (replacing the the_ Amsh~rd(Im Airport i.n Hollal1d. primary and secondary pairs), loud pedal compensators, and all controls in the spoolbox. Expression cut-out capability was absent but all the other features were essentially the same as Mr. Bos came to America in 1908 to live and become the other late model (1925-1928) Ampico uprights and grands. accompanist to Julia Culp, Frieda Hempel, Helen Traubel, Prior to starting the restoration, I was surprised to find little or Ernestine Schumann-Heink, Elena Gerhardt, Geraldine Farrar, no information regarding the rebuilding of the Model B Marcella Sembrich, Rose Bampton, Mark Harrell, Karin valves. Now that the task is finished, I feel obligated to relay Brazele and Nell Rankin. He also accompanied Pablo Casals, what I've learned so that others will have somewhat more to David Popper and Jacques Thibaud. start with. In hindsight, re-doing the B valves was easy but Mr. Bos had a piano studio in the Wellington Hotel a block several subtle problems did emerge. from Carnegie Hall. From 1934 to 1952 he was a vocal teacher Let me start by noting that the actual construction of a B valve and coach at the Julliard School of Music and later the is not exactly as shown in Figure 17, page 34 of the Ampko Cincinnati Conservatory of Music where he taught and Servke Manual. In order to enhance the following discussion, received his Doctor of Music in 1953. that figure is reproduced here. \"!hen he became associated as accompanist to the great vocal Referring to the figure, be aware that the fixed #70 bleed is teacher, Mathilde Marchesi, she published her vocal exercises not positioned vertically but rather is horizontal and faces the from her method in a book Theoretkal and Practkal Method vacuum in the windchest directly. Also, the sketch of the ball of Singing, Gp. 31, based on 45 years application of her bleed is slightly misleading in that the "throw" of the ball is system of teaching. Mr. Bos has recorded the exercises on actually about 1/32" not 3/16". Finally, though it may be Duo-Art rolls, entitled "Marchesi Daily Vocal Exercises, Part obvious from the technical material presented in the 1929 I" (9298) and Part II (9308). In 1949 he published a book Ampko Servke Manual, the baJJ never seals the upper entitled The Well-Tempered Accompanist. The foreword of opening of the brass channel in which it rides, only the lower one. \..TO TRACKER BAR

BALL UNIT VALVE STRIKER PNEUMATIC

BALL UNIT VALVE-Fig. 17

To avoid being repetitive, I do not describe the operation of Visually, most of the lower valve facings were in excellent the B valve here since the 1929 manual does an excellent job condition and a simple brushing with a toothbrush cleaned of that. Rather, I'll try to relate my experiences in rebuilding them up nicely. However, mouth and machine testing later one set of 83 valves. Basically, reconditioning of the valves is a showed that about 20 or so valves leaked moderately through straightforward but tedious process. Removal of the valves the lower valve seat leather. These facings were replaced in from the stack, scraping off the cork gasket and chipping the same manner as the upper ones. Then I noticed that the away the orange shellac to pull the upper valve seat is leaky facings all shared one feature in common, ie., they were uneventful. (See Alan Pier's article for more details on pulling thicker and somewhat fluffier than the others. Apparently out the metal upper seats, Amica Bulletin, November 1976, Ampico's selection of valve facings was from different lots or page 218). Cleaning the inside and outside of the upper seats qualities of leather. Once the facings were replaced, the is facilitated by putting them in a large pan of denatured residual leaks were reduced to acceptably low levels (I can't alcohol for 24 hours to loosen and dissolve the shellac (I kept tell you how to calibrate your mouth but the use of a device track of which seat went to which valve as well as all other like that described by Alan Pier in the November 1976 article parts). Instead of going through a step-by-step procedure is very helpful). from here, let me cite the problems I had. They are listed While all of the unit blocks appeared normal and undamaged below with a brief explanation provided subsequently. on the exterior, several of the valves (one dozen) showed fine 1. Decayed upper valve facings. hairline cracks at the "pouch line," where the second 2. Porus lower valve facings. horizontal slice of the block is glued to the third. These cracks 3. Cracked block housing on pouch line. were very fine, but nonetheless caused significant leaks during 4. Cracked block housing on upper interface. later mouth tests. The solution to this problem was simple and 5. Bakelite lower valve seat loose and/or leaking. consisted of recoating the entire block with orange shellac, 6. Wrong fixed bleed size. paying special attention to filling the cracks, and applying 7. Horizontal channel from ball bleed to pouch in wrong suction carefully to draw liquid into the space before the place. drying takes place. The cause of this cracking appears to be 8. Stuck ball bleed. the severe mechanical shearing action produced by the thick 9. Ball leaks when seated at bottom of channel. Model A spring clamps which leave a deep indentation in the o Before discussing the above problems a comment concerning body of the block. Depending on where the "pressure line" the pouches is in order. Testing the pouches for excessive of the clamp is determines in part which glue interface suffers porosity, or direct failure, without splitting the valve blocks greatest deformation. In this regard, the lighter Model B may be achieved by sealing the fixed bleed channel and the spring clamps seem to avoid this difficulty and still retain a passage from the bottom of the ball bleed to the pouch and tight sealing gasket. Similar cracks were observed at the drawing on the valve elbow or nipple by mouth. After you interface between the third and fourth slice. If you retain the recognize the "slight" leak associated with a good pouch, a old A clamp I suggest putting each valve back in its original little additional practice and experience will help identify the position so that additional (and different) indentations do not faulty pouches. Note that blowing into the pouch does not result from the clamps. Replacing the A clamps with B constitute a valid test because the ball bleed will vent and facilitates the interchanging of the valves with little or no offer a 1160 size leak. In any case, not one of the 83 pouches chance of shearing damage recurring in the future. As an was leaky enough to warrant replacement. added benefit, the B springs will retain sealing forces better when new gaskets compress and are less likely to cause the Because almost all of the upper valve facings for this set of B clamping studs to pull out from the stack. valves were flaky and rotten, all were replaced. Scraping off the old leather and light sanding of the wood (on a lapping Another problem was due to slight leaks occuring at the joint plate) was all that was necessary before gluing on the new where the bakelite lower seat mates with the wooden valve facings (1116") with PVC-E 11320 plastic glue. body. Some of the seats may be physically loose (in varying

- 200 - degrees) and while others appear intact, they may leak required to move from one position to another. Stated another significantly. Running a bead of #320 plastic glue around the way, all other things being equal, no design can move the seat solves this problem-in fact I applied the glue on all the valve between its seats (arriving with about zero velocity) any valves to be absolutely sure. A hypodermic needle (all plastic, faster than this design. In my mind, that's quite a feather in opening about 1116") of the type available from Woodcraft Dr. C. N. Hickman's cap. I wonder if he knew just how fine a Supply Corp., Woburn, Massachussets, is ideal for this design he had created. purpose. °Larry Givens, in his book Re-Enacting The Artist, describes The Ampico manual states that the fixed bleed size is #70 drill. on page 70 how Dr. C. N. Hickman recognized and corrected I checked this by carefully passing the shank of the bit this problem. through each bleed (mounted horizontally) and found only one valve that did not satisfy this requirement (it was much larger, about #60). Apparently one oversize bleed slipped NEW MEMBERS through whatever quality control procedures were used in the Lynn Bullock: 4307 Cedar Springs, Dallas, Texas 75219. (214) factory. I replaced the oversized bleed with the correct size 522-6481. 1922 Weber Duo-Art; Kimball reed organ. from a spare B valve, but soldering the original shut and redrilling will do the job if a replacement isn't available. Arnold M Chernoff: 29 Londonderry Lane, Deerfield, IL A real "quality control" surprise occurred when I found that 60015. Referred by Simon Zivin. one (fortunately only one) B valve had never functioned as a B valve at all since its date of manufacture. Would you believe that the horizontal channel from the bottom of the ball bleed James C. & Letty Chaffee: 23634 Emelita St., Woodland Hills, assembly to the space between the pouch was drilled in the CA 91367. (213) 347-1930. 1905 Coin Automatic Cabinet wrong place or' left of center) so that the ball bleed could grand-upr. never be activated? This is very easy to overlook when rebuilding so be especially astute in checking for this. Fixing Robert F. Commagere: 761 Claymont Drive, Los Angeles, CA the problem was simple, drilling a hole in the right place to 90049. connect the ball bleed channel appropriately. This occurence raises a question with respect to Ampico's quality control. The B manual states that each B valve is tested "by another Edmond & Mildred DeCambio: 25 Rhinecliff Road, apparatus which insures a uniform product of highest quality," Rhinebeck, NY 12572. (914) 876-6451. Referred by Carl page 35. How did this valve pass a repetition test, for Warmington. example, or could it be that only those B valves destined for use in grand pianos went through quality checks? Jim Douglas: P.O. Box 4200. S. Daytona, FL 32021. (904) The two remaining problems encountered in the valves were 7673928. 1926 Cable upr plyr; 1920 Popper & Sohm & others. with the ball bleeds themselves. Some of the balls were stuck in the vertical channel assembly (mostly in the bottom of the Eliot B. Feldman: 1437 Manorwood Drive, Marshalltown, PA well). Freeing them was achieved by heating with a small 19380. (215) 436-8130. soldering iron or gentle prodding with a bent needle from below (through the horizontal passage leading to the pouch Franklin H. Foley; 282 George St., Belleville, Ontario, Canada well). Two cases were inordinately stubborn and motivated K8N 3H9. 1916 Willard 88-note plyr and misc. music boxes. replacement of the entire ball bleed assemblies which require Referred by Terry Smythe. splitting the block at the pouch line. The last problem with some of the ball bleeds was that the bleed would leak even when the ball was seated at the bottom of the channel. Once David F. & Phyllis Goddard: 1715 E. Brae Burn Rd., again the soldering iron is helpful here, or as I found in one Altadena, CA 91001. (213) 794-0964. 1905 Losche Piano. case, direct replacement was necessary. Referred by Ben & Mary Lilien. The rest of the rebuilding job was pretty standard, consisting essentially of sanding the top of the valve body clean for Robert C. & Elaine Henderson: 580 Jacksonville Rd., Ivyland, receiving the metal valve plate, adjusting the valve throw PA 18974. 1924 Nevin plyr. using a gauge about .035" thick, running a bead of #320 glue around the metal/wood interface, applying shellac to the Harold Powell: 10520 Burbank Blvd., North Hollywood, CA wooden portion of the valve body and finally gluing Model B 91601. gaskets to the front of the valve for subsequent replacement in the stack. Dan & Vickie McLane: 10272 Julie Beth St.,Cypress, CA For the really technically minded let me pass on a final note 90630. (714) 828-9926. 1901 Aeolian Pianola; 1913 Kranich & regarding the basic design of the B valve itself. This comment Bach plyr. Referred by Ben & Mary Lilien. is primarily addressed to those with either an electrical engineering or automatic control theory background. The ball bleed implements what is known in control theory as a C. T. McMahon: 4080 Brookdale Dr., Niagara Falls, switching function. That is, the force applied to the moving Ontario, Canada L2H 2B3. 457-0710. 1920 Nordheimer plyr. valve poppet changes direction at specific instants (when the Referred by Ian Mavor. ball "jumps") just before the valve reaches its mating seat in either direction. This has the effect that the poppet reaches Ronald G. Rush: 887 Meadowview Dr., Columbus, OH 43224. both ends of its throw with approximately zero velocity (614) 262-6587. Franklin Ampico A; Marshall & Wendell (which reduces impact noise). This behavior is characteristic Ampico B; Werner plyr. of the time optimal (minimum time) control of a mass

- 201 - David Sengel: 2414 Ridge Road Dr., Alexandria, VA 22302. (704) 683-2353. 1927 Steinway Duo-Art. Referred by John R. Grant. FOR SALE: Aeolian Duo-Art, Geroge Steck & Co. New York, upright player piano, full expression-$2000.00 or best offer, including 180 rolls. Rebuilt 1959 in good operating condition. Wayne Stahnke: 11434 McCune Ave., Los Angeles, CA 90066. Phone (209) 537-0403.

Paul L. & Ann Stephens: 2245 Madison Ave. Ogden, UT FOR SALE: 1911 Steinway Vertigrand with Aeolian player. 84401. (801) 392-3921. 1917 Ludwig upr. plyr. Referred by Restored by the Carty Company a few years ago. Asking Charley Lilly. $4000.00. Also 50 rolls in a separate cabinet. Christopher Fredericks, 1614 Walnut Street, Berkeley, CA 94709.

William & Lorna Ullstrom: 1901 S.E. Sedgwick Rd., Port Orchard, WA 98366. (206) 876-2288. 1926 Stroud-Aeolian plyr; AMPICO, 150 Original Rolls, most not available as recuts. All in excellent condition. Popular, classics, show tunes. Described and 1925 National Aut. Coin piano. priced individually. Also 5 Welte rolls and 4 Rollmonica rolls. Send $1.00 for list to: D. M. Kelly, 337 Amsterdam Rd., Dollard Richard A. Volk: 464 Washington Hwy., Snyder, NY 14226. Des Ormeaux, Quebec, Canada H9G 1P3. (716) 839-9767. 1920 Chickering Grand Ampico A; 1919 Weber upr Duo-Art; 1911 Hardman & Peck. Referred by Stan REPRODUCO ORGAN flute & violin, chimes, remote pump & Aldridge. blower. Spoolbox accepts small OS/NOS rolls, player piano rolls. Single keyboard, no piano. Fancier, easier to move than standard John & Marion Werth: 3748 Blossom Heath Rd., Kettering, pian%rgan model, will give 90% of famous, sprightly OH 45419. (513) 294-8210. 1923 Steinway Duo-Art. Referred "Reproduco sound" at fraction of cost, and plays standard player by Bill Eicher. rolls as a bonus. 3 large multitune pop/theatre rolls, 45 small mortuary rolls. Unrestored, case rough, top missing, so only $3595. ROCK-OlA 1936 Rhythm King 12-selection inlaid Joseph Arute: 176 Reservoir Road, New Britain, CT 06052. jukebox, custom restored in 1962 by Rock-Ola Corp. (See Cash 1934 Kurtzman plyr. Box, 10/6/62). If you want just one beautifully restored jukebox for your collection, consider this one with its special history for just $1895, including documentation. Wurlitzer 1015 jukebox, Neil W. Davidge: P.O. Box 30, Grafton 2460, New South good working condition, exceptional original finish, plating & Wales, Australia. 1926 Beale plyr Amphion; 1928 Victor plyr plastics, new bubble tubes, amp rebUilt, $2895. A-435 Recordo. Referred by Clive Drummond. XYLOPHONE & BEllS from Seeburg-Smith organ, with mounting racks, beater pneumatics & magnets, water damaged and some James Knudtson: P.O. Box 250, Roseburg, OR 97470. 1917 frame parts charred. The bars alone are worth the price: $350. All Hupfeld Helios II 26; Mortier 67 key band org; 1927 Wurlitzer items FOB Colorado. Art Reblitz, 3916 Azalea, Colorado Springs, 210-2/10; 1920 Seybold accordion-jazz. CO 80907. (303) 598-2538, 8-10 PM mountain time, Mon-Thurs.

Dr. T. Radomski: Suite #200, 2151 McCallum Rd., SALE OR TRADE: O-Roll Orchestrion, 48 pipes, bells xylophone, plus all other normal instruments. Haines upright Ampico and Abbotsford, B.C., Canada V2S 3N8. Roll-Amonica rolls. WANTED: Hohner Accordion rolls; Celestina rolls, original pulley drive unit for Wurlitzer 153 plus other parts; Steinway Duo-Art; upright Seeburg l; Violano; Concert roller organ. Fortune, 3711 Center Road, Ashtabula, OH 44004.

CLASSIFIED COMPUTER PUNCHED ROLLS for organs and other instruments. Music copied; recuts of old rolls; new arrangements; new roll spools. let us know your needs. Schmidt's Music Rolls, 5010 Elsmere Place, Bethesda, MD 20014. "THROUGH YOU I LIVE FOREVER" -A nostalgic look at reproducing player piano advertising from 1905 to 1929. 108 NEED: entire pump assembly for 1917 Kimball Foot Pumper. Call pages - 8V2 x 11 - 8 color plates - soft cover. Near full size collect or write: McCall. Monroe Piano SerVice, 1078 E. Third reproductions of original advertisements from period magazines. Street, Pomona, CA 91766. (714) 622-8826. Major emphasis on Ampico, Duo-Art and Welte systems. Edited by Tom Beckett. $4.95 ppd. from: Beckett Productions, 6817 ORCHESTRION: O-Style, violin & flute pipes (37 each), Cliffbrook, Dallas, TX 75240. Texas residents add 25¢ state tax. orchestral bells, reiterating xylophone, triange, wood block, crash & rhythm cymbals, base & battery drums, tambourine, piano. Tall STYVESANT UPRIGHT RECORDO Piano $850.00 Finish very golden oak cabinet, lights, excellent condition, 10 rolls. Joe good, piano action has been repaired, mechanism needs DiSanza, (212) CY8-5473 or (914) Pl8-5445. restoration. Brady, 4609 Cranbrook, Indpls, IN 46250. (317) 849­ 1469. FOR SALE: Recuts of original test rolls. Red Welte-Mignon full expression adjustment with translation of German instructions FREE LISTS: All types rolls, cylinder records and machines. $12.50. Welte 75 scale Cottage Orchestrion $12.50. Aeolian Discs, cobs, sheet music, catalogs & literature. Mechanical music Grand $4.00. Wurlitzer Pianino $4.00. No boxes, labels, leaders or and much more. Our 21st year ... VI & SI'S ANTIQUES, 8970 cores. Shipp'ed Postpa1d. Mike Kitner, 735 Factory, Carlisle, PA Main St., Clarence, NY 14031. 17013. HUNDREDS of music boxes, barrel organs, nickelodeons, FOR SALE: Mandolin attachments - fit all upright pianos. Easy reproducing pianos and other instruments on display in our installation. Tabs pre-cut with metal clips already attached. Kit showroom. Free catalogs. Rolls, books, records, repairs. 45 mins. includes necessary hardware. $16 postpaid in U.S. Quantity from midtown New York. MECHANICAL MUSIC CENTER, Box 88, discount. W. F. Knapp, 2819 53rd SI. N., SI. Petersburg, FL Darien, CT 06820. (203) 655-9510. 33710.

AUCTION: AMPICO, DUO-ART, WELTE & 88 NOTE ROLLS. FOR SALE: Parts for Ampico, Duo-Art, Welte, Recordo, SHEET MUSIC: 45 & 78 RPM RECORDS. WRITE FOR LIST. I. L. PrattRead, Aeolian, Gulbransen, Baldwin, Simplex, Beckwith, CORDELL, 2240 LORAIN ROAD, SAN MARINO,· CA 91108. Autopiano, Standard, Etc. Send needs with self addressed card or letter. A. Dahlberg, 12613 Chanler Lane, Bowie, MD 20715. FOR SALE: Vacuum guages, Marshalltown Brand, 2'/2" face, 0 to 30 inch H20 with snubbing orifice and 5/32" nipple. New, AEOLIAN PLAYER ORGAN, mahogany, circa 1891. 58 note. Five calibrated, guaranteed. $10.00 postpaid in U.S.: W. E. Flynt, 1722 sets reeds, plus one octave Sub-base. All original. Top condition. Iroquois Drive, Garland, TX 75043. 100 rolls, classic and misc. Best reasonable offer. For information write or phone: L. O. Huff, 6632 E. Brown PI., Denver, CO 80222. MUSIC BOXES! Player Pianos! Nickelodeons! Phonographs! (303) 757-6639. World's largest selection. Ship anywhere. Catalog $3. Next 6 issues $15. Also have clocks, slot machines, cash registers, WANTED: Cash for Duo-Art pump, $150 and Recordo pump, $100 mechanical antiques. Visit us Wed. thru Sat. AMERICAN or both for $225. FOB Arlington, Texas. Wade Newton, 1015 INTERNATIONAL GALLERIES: 1802-H Kettering, Irvine, CA Dawnview, Arlington, TX 76014. (817) 265-6977. 92714. Tele~hone (714) 754-1777.

AEOLIAN DUO-ART PIPE ORGAN: 9 ranks, 2 manual console FOR SALE: 6'4" Knabe Ampico, original owner, restored, with roll player, 100 Duo-Art rolls included. Console and chest expresses well. Very late 1926 with lost motion pneumatics. partially restored. You will have to finish restoration and perhaps Large collection original Ampico A & Broils. (316) 442-4383. replace some pipes. Complete with roll collection $4750. Don McLaughlin, 12159 Darby, Northridge, CA 91324. Phone (213) BUYING: AMPICO, DUO-ART, WELTE & OTHER TYPE OF 349-4747 days. ROLLS. DESCRIBE AND PRICE. ALTMAN 8970 Main Street, Clarence, NY 14031.

WE ARE*PLEASED TO ANNOUNCE THE OPENING *OF OUR .: FACTORY/MUSEUM AT 1140 DUNDAS ST. E., LONDON ONTARIO CANADA, N5W 3A3.

We manufacture nickelodeons designed for commercial operation with easy servicing a must. Prices $2,500.00 to $6,000.00.

PLEASE WRITE FOR OUR FREE BROCHURE OR CALL: 1-519-452-3930 NICKELODEONS - PLAYERS - REPRODUCERS RESTORED Complete Stain Glass Shop --- Custom Parts Manufactured

BE SURE TO SEE OUR NICKELODEON TRAVELING ON THE CANADIAN DISCOVERY TRAIN WHEN IT IS IN YOUR AREA. AEOLIAN DUO-ART PIPE ORGAN 30 RANKS

Three manual, 32 pedal with roll player, 100 rolls, inlay roll cabinet above console. $9,950.00 116 Note fully automatic Skinner roll player with 40 CHOIR 1. 8' Diapason rolls. $1,800.00 2. 8' Flute Forte Duo-Art pipe organ Concertola with two remote 3. 8' Flute Piano 4. 8' String Forte controls, roll cabinet on both sides & open inlay roll 5. 8' String Piano cabinet on top of unit. $3,500.00 6. 4' Flute THIS ORGAN IS IN EXCELLENT RESTORABLE 7. 2 2/3' Nazard 8. 2' Piccolo CONDITION. IT WILL NEED VERY LITTLE WORK. 9. 8' Trumpet 10. 8' Clarinet Harp Chimes AEOLIAN DUO·ART PIPE ORGAN Celeste CONSOLE STOP SPECIFICATIONS Swell 16 Swell 8 GREAT Swell 4 1. 8' Diapason Choir 16 2. 8' Flute Forte Choir Unison 3. 8' Flute Piano Choir 4 4. 8' String Forte 5. 8' String Piano SOLO 6. 8' Flute Celeste II 1. 8' Flute Forte 7. 4' Flute 2. 8' English Horn 8. 2' Piccolo 3. 8' French Horn 9. 8' Trumpet 4. 8' Tuba 10. 8' Clarinet Tremolo Harp Solo to Great Chimes Solo to Choir Celeste ECHO Piano PLAYER PIANO REPAIR 1. 8' String Pianissimo Swell 16 2. 8' Flute Piano Swell 8 12 East 12th Street 3. 8' Vox Humana Tremolo Swell 4 New York, NY 10003 Choir 16 Echo to Great Choir 8 (212) 243·5026 Echo to Swell Choir 4 Echo 16 Echo 4 SWELL 1. 16' Flute PEDAL 2. 8' Diapason 1. 16' Volon 3. 8' String Forte 2. 16' Flute Forte 4. 8' String Piano 3. 16' Flute Piano 5. 8' String Pianissimo 4. 8' Flute Forte 6. 8' String Vibrato Forte 5. 8' Flute Piano 7. 8' Spanish Flute 6. 16' Bassoon 8. 4' Flute Piano 16 9. 8' Trumpet Piano 8 10. 2' Flageolet Chimes 11. 8' Oboe Great 8 12. 8' Vox Humana Swell 8 13. 8' Clarinet Choir 8 Tremolo Solo 8 Harp Great 4 Chimes Swell 4 Celeste Choir 4 Swell 16 Swell Unison Swell 4 ROLLS FOR SALE

All lots in generally good condition unless otherwise stated. Absolutely no choice of title nor lists. Prices FOB Kemah. Ampico rolls, (200), REAR COVER ADVERTISING much better titles than average, $3.50 each, take all or $4 each lots of 50. Duo-Art Rolls, (50), better than average titles, $200. Special collection of 65­ Any AMICAn wishing to have exclusive rights to the half-page advertising space on the rear cover of the note rolls, many brands, all light music, opera, Bulletin is advised this is awarded to the highest popular, marches, etc., 50 rolls, $125. Usual lot of bidder for a one-year term. Minimum bid is $300.00 65 note rolls, 50 rolls, $50. Wilcox and White for the rights to the space for the ten (10) issues of the 1979 Bulletin. Ad copy shall be provided by the organ rolls, 101,14" paper width, numbers begin with advertiser at his cost. Copy not received by Bulletin "X," 50 for $200. Wilcox & White organ rolls, 9 114" deadline shall be run as the copy received for the paper width, 25 for $100, fair condition, Solo previous month's deadline. Carola rolls, 20 for $100. National Automatic All bids must be received by (and will be opened for inspection on) December 10, 1978. Highest bidder Nickelodeon rolls, paper width 12", 30 for $150. will be notified and first advertising copy will be Estey Residence organ rolls, 25 for $125. Also expected to be on hand for the Publisher's use by some Standard Player Monthly's, $5 each our January 10, 1979. choice, $10 each specified issues. TOM BECKETT Publisher, THE AMICA 6817 Cliffbrook Music Treasure Dallas, TX 75240 935 Lawrence Road Kemah, TX 77565 (713) 334-2822

ampico •duo-art·welte standard ~88' note

YOU CAN HEAR THE DIFFERENCE!

nt. accel a tempo 8va legato staccato cresco decresc.

10520 Burbank Blvd., No. Hollywood, CA 91601 (213) 980-8254 ------

TECHNICALITIES III "SCOPITON E"

FIRST TIME OFFERED! 159-page soft­ bound history, schematics, and complete trouble shooting gUide of the French ST36 and American 450 Scopitones.

"SCOPITONE" can be yours for only $29.50 postpaid. New AMICA release in the Tech Series. Reprints of technical articles from the 1975·1977 AMICA BULLETINS. 108 pages, RUSH your order to: spiral bound, only $8.50 postpaid from: Jim Weisenborne Gerold Koehler 73 Nevada Street 4231 Jackson Avenue Rochester, MI 48063 Joplin, MO 64801 Please make checks payable to AMICA INTERNATIONAL.

t t - - - - -

PLAYER PIANO OWNERS - RE-CUT YOUR STANDARD POPULAR ROLLS $20.00 PER TITLE gor the ,,(0 .... ADDITIONAL COPIES $4.00 EACH NO MINIMUM ORDER OR QUANTITY Tuned and untuned percussions That's right! Now you may order j ust ~ re-cut of your favorite popular standard roll (20-30 feet). Don't for use in all automatic instruments pay for unwanted copies. Frayed edges are no problem for us. We use a full qual ity, lint free, 3 pt. dry waxed paper for our re-cuts. All old rolls are returned along your new re-cuts - packaged in new boxes for your pro­ Single and duplex spoolframes tection and storage. Be certain to include any special instructions for multiple copies. Allow 6-8 weeks for for A,G,and 0 rolls and all delivery. No reproducing rolls at this time, please. YOU MUST BE SATISFIED// wurlitzer scales Clip and return with order

CRAIG'S PIANO SHOPPE 925 SOUTHOVER Custom fabrication in wood and TOLEDO. OHIO 43612 (419) 478-4711 Name Phone (_), _ metal of one or a thousand parts Complete Address _ Piano and orqan supplies and Total # Rolls to be R~ut_ x $20.00 = $ _ hardware Total Additional Copies_x $ 4.00= $ _

Postage & Handling $ $3.00 ----hox-1094 ---"-=.,,­ _... ~ TOTAL (Check or Money Order MUST I lubbo~xas accompany your order) $ _ m ·~~~~~~--79408~~-~· SEND YOUR ROLLS INSURED AND SPECIAL 4TH CLASS SOUND RECORDING RATE. Mechanical Systems, Inc. MUSIC ROLL Co. oq (0 , (0 Cr') I u Cr') Cr') - SELLING COLLECTION (0 ~ U) -0 N "'"w ~ z 28PO OriSinal Ampico Rolls 0 :I a. ~ ALL EXCELLENT CONDITION :J qo -CD -( -m Phone in your wants bY roll number. Most rolls priced S10.00 to $25.00. . (206) 633·3664 I: (/) ~ P. O. BOX 3194, SEATTLE ..

ffi~D©ffi Dm1J~rn~ffi lJD®~ffi~ Nonprofit Org. Automatic Musical Instrument Collectors' Association u.s. PAGE ~ID PUBLISHER Tom Beckett P.O. Box 401807 Dallas, TX 75240

address correction requested return postage guaranteed