THE www.amica.org Volume 44, Number 3 AMICA June/July 2007 AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION BULLETIN

ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt

VOLUME 44, Number 3 June/July 2007 AMICA BULLETIN

FEATURES Display and Classified Ads Are “The Roll Blues” Over ...... Larry Givens . . . .113 Articles for Publication Letters to the Publisher Steinway D-217715: A Tale of a Duo-Art ...... Tockhwock . . . .115 Chapter News Humidify, Humidify, Humidify ...... Don Barton . . . .127 UPCOMING PUBLICATION Noteable Ampico Owner ...... Peter Phillips . . . .128 DEADLINES Prokefiev and the ...... Rex Lawson . . . . The ads and articles must be received 129 by the Publisher on the 1st of the The Standard Surface Control ...... Curt Clifford . . . .135 Odd number months: January July Boyhood Memories of Montana ...... Terry A. Goepel . . . .143 March September AMICA Technicalities ...... Terry Smythe . . . .144 May November AMICA Website ...... Karl Ellison . . . . Bulletins will be mailed on the 2nd week 145 of the even months. Thoughts on Arranged vs. Hand Played ...... Jeffrey Morgan . . . . 146 Dr. Michael A. Kukral, Publisher Professional Course in Construction ...... Leonardo Perretti . . . .150 216 Madison Blvd. Terre Haute, Indiana 47803-1912 Glenn Gould, Dead and in ...... Terry Teachout . . . .151 Phone: 812-238-9656 e-mail: [email protected] DEPARTMENTS AMICA International ...... 110-111 MEMBERSHIP SERVICES President’s Message ...... 112 New Memberships ...... $47.00 Publisher’s Message ...... 112 Renewals ...... $47.00 New Piano Rolls & Recuts ...... 153 Additional $5.00 due if renewed past the Jan. 31 deadline Chapter News ...... 156 Address changes and corrections Classified Ads ...... 164 Directory information updates Additional copies of Member Directory . . . . $25.00 Front Cover: “Christiana Drapkin, an accomplished jazz singer and musician, performs Single copies of back issues with friends at the entrance of Prospect Park in Brooklyn, NY”. Submitted by Vince ($10.00 per issue - based Morgan. upon availability) Inside Front: “Story & Clark Piano Company Ad” from Child Life magazine, June William Chapman (Bill) 1923. Submitted by Anthony L. Engels. 53685 Avenida Bermudas Back Cover: “At the Indiana Convention” from Standard Player Monthly, July 1916. La Quinta, CA 92253-3586 Submitted by Curt Clifford. (760) 564-2951 e-mail: [email protected] Inside Back Cover: “Story & Clark Piano Company Ad” from Child Life magazine, April 1923. Submitted by Anthony L. Engels. To ensure timely delivery of your BULLETIN, please allow 6-weeks advance notice of address changes.

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

Entire contents © 2007 AMICA International Printed by Engler Printing Co., Fremont, OH ¥ [email protected] 109 AMICA INTERNATIONAL

– INTERNATIONAL OFFICERS –

PRESIDENT PAST PRESIDENT PUBLISHER John Motto-Ros Mike Walter Dr. Michael A. Kukral 110 Allen Ranch Road 65 Running Brook Dr. 216 Madison Blvd. Sutter Creek, CA 95685 Lancaster, NY 14086-3314 Terre Haute, IN 47803-1912 209-267-9252 716-656-9583 812-238-9656 e-mail: [email protected] e-mail: [email protected] e-mail: [email protected]

VICE PRESIDENT TREASURER Tim Baxter Robbie Tubbs 939 Briarcliff Rd. NE 7405 Willow Alanta, GA 30306-4664 Raytown, MO 64133 404-377-1220 816-313-1075 e-mail: [email protected] e-mail:[email protected]

SECRETARY MEMBERSHIP SECRETARY Marlene Beckman William Chapman (Bill) 4046 SE 53rd Street 53685 Avenida Bermudas Berryton, KS 66409-9714 La Quinta, CA 92253-3586 785-862-0128 Phone & Fax: 760-564-2951 e-mail: [email protected] e-mail: [email protected]

– COMMITTEES –

AMICA ARCHIVES CONVENTION COORDINATOR Tom Hutchinson Frank Nix 15361 Hopper Rd. 6030 Oakdale Ave. Sturgeon, MO 65284 Woodland Hills, CA 91367 [email protected] 818-884-6849

AMICA MEMORIAL FUND HONORARY MEMBERS Halie Dodrill 4488 W. Mercer Way Mercer Island, WA 98040-3934 206-236-0067 e-mail: [email protected]

WEBSITE MANAGER AUDIO-VISUAL & TECHNICAL Karl B. Ellison Harold Malakinian 6 Lions Lane 2345 Forest Trail Dr. Salem, MA 01970-1784 Troy, MI 48098 e-mail: [email protected]

110 AMICA INTERNATIONAL

CHAPTER OFFICERS BOSTON AREA LADY LIBERTY SIERRA NEVADA Pres: Bill Koenigsberg Pres: Bill Maguire Pres: John Motto-Ros - 209-267-9252 Vice Pres: Bob Hunt Vice Pres: Aris John Dousmanis Vice Pres: Doug Mahr Sec: Ken Volk Recording Sec: Bill Maguire Sec: Sonja Lemon Treas: Dorothy Bromage Corresponding Sec: Richard Karlsson Treas: Doug & Vicki Mahr Board Rep: Bob Hunt - [email protected] Reporter: Buzz Rosa Reporter: Nadine Motto-Ros CHICAGO AREA Board Reps: Marvin & Dianne Polan Board Rep: Chip Lusby Pres: Korin Iverson - 815-994-7649 631-673-0388 SOWNY (Southern Ontario,Western New [email protected] Newsletter Editor: Bill Maguire York) Vice Pres: Barry Schultz - 708-579-0260 MIDWEST (OH, MI, IN, KY) Pres: Mike Walter - 716-656-9583 Sec: Carol Veome - 773-338-1042 Pres: Don Johnson - 248-650-1840 Vice Pres: Daniel Tenerowicz [email protected] Vice Pres: Liz Barnhart Sec: Garry Lemon Treas: Joe Pekarek Sec: Hilda Merchant Treas: Holly Walter Reporter: Curt Clifford Treas: Alvin Wulfekuhl [email protected] Board Rep: George Wilder Reporter: Christy Counterman Reporter: Garry & Anne Lemon FOUNDING CHAPTER Board Rep: Liz Barnhart Board Rep: Audrey Cannizzaro Pres: John Ulrich - 510-223-9587 NORTHERN LIGHTS Photographer: Nancy Group & Anne Lemmon Vice Pres: Bing Gibbs & Karen Simons Pres: Phillip Baird - [email protected] SOUTHERN CALIFORNIA Sec: Jack and Dianne Edwards - Vice Pres: Paul Watkins Pres: Jerry Pell - 760-249-6380 [email protected] Sec: Jason E. Beyer - 507-454-3124 Vice Pres: Frank Nix Treas/Bd Rep: Richard Reutlinger Treas: Barbara Watkins Sec./Reporter: Shirley Nix Reporter: Bonnie and Bob Gonzalez Reporter: Don Barton Treas: Lloyd A. Osmundson GATEWAY CHAPTER Board Rep: Phillip Baird Board Rep: Frank Nix Pres: Yousuf Wilson - 636-665-5187 PACIFIC CAN-AM TEXAS Vice Pres: Gary Craig - 314-771-1244 Pres: Carl Dodrill - [email protected] Pres: Jerry Bacon - 214-328-9369 Sec: Mary Wilson Vice Pres: Halie Dodrill - [email protected] Vice Pres: Bill Boruff Treas: Cynthia Craig Sec: Treas: Vicki Brady Reporter/Bd.Rep: Gary Craig - Treas: Jack & Mary Lou Becvar Sec./Reporter:Maureen Barisonek [email protected] Reporter: Ron Babb Board Rep: John McCall HEART OF AMERICA Bd. Rep: Carl Dodrill - 206-236-0067 Pres: Tom McAuley ROCKY MOUNTAIN Vice Pres: Robbie Tubbs Pres: Larry Kerecman - 303-377-7729 Sec: Rick McDowell - 816-781-1965 Vice Pres: Jere DeBacker Treas: Mike Schoeppner - 816-767-9766 Sec: Louise Lucero Board Rep: Ron Connor Treas: Fred Wilson Reporter: Jere DeBacker AFFILIATED SOCIETIES AND ORGANIZATIONS American Society (ATOS) INTERNATIONAL PIANO ARCHIVES NORTHWEST PLAYER PIANO ASSOCIATION President - Ken Double AT MARYLAND Everson Whittle, Secretary 1201 McDuffie St. #173 Performing Arts Library,University of Maryland 11 Smiths Road, Darcy Lever, Houston, TX 77019 2511 Clarice Smith Performing Arts Center Bolton BL3 2PP, Gt. Manchester, England Phone: 713-520-1911 College Park, MD 20742 Home Phone: 01204 529939 E-Mail: [email protected] Phone: 301-405-9224 Business Phone: 01772 208003 Theatre Organ Editor - Jeff Weiler Fax: 301-314-7170 1845 South Michigan Avenue #1905 E-Mail: [email protected] PIANOLA INSTITUTE Clair Cavanagh, Secretary Chicago, IL 60616 INTERNATIONAL VINTAGE PHONO & Phone: 312-842-7475 43 Great Percy St., London WC1X 9RA MECHANICAL MUSIC SOCIETY England E-Mail: [email protected] C.G. Nijsen, Secretaire General ASSOCIATION ITALIANA MUSICA 19 Mackaylaan PLAYER PIANO GROUP MECCANICA 5631 NM Eindhoven, Netherlands Julian Dyer, Bulletin Editor Via Comte le Monticino No. 485 5 Richmond Rise, Workingham, MUSICAL BOX SOCIETY OF GREAT Berkshire RG41 3XH, United Kingdom 47020 Cesena, Italy BRITAIN Phone: 39-547-346-046 Phone: 0118 977 1057 Alan Pratt, Editor Email: [email protected] AUSTRALIAN COLLECTORS OF P. O. Box 299 MECHANICAL MUSICAL INSTRUMENTS Waterbeach, Cambridge CB4 4PJ SMITHSONIAN INSTITUTION 19 Waipori Street England Division of Musical History St. Ives NSW 2075, Australia Washington, D.C. 20560 MUSICAL BOX SOCIETY INTERNATIONAL DUTCH PIANOLA ASSOC. Rosanna Harris, Editor SOCIETY FOR SELF-PLAYING Nederlandse Pianola Vereniging 5815 West 52nd Avenue MUSICAL INSTRUMENTS Eikendreef 24 Denver, CO 80212 Gesellschaft für Selbstspielende 5342 HR Oss, Netherlands Phone: 303-431-9033 Fax: 303-431-6978 Musikinstrumente (GSM) E.V. FRIENDS OF SCOTT JOPLIN E-Mail: [email protected] Ralf Smolne 1217 St. Croix Ct. Emmastr. 56 Kirkwood, MO 63122-2326 NETHERLANDS MECHANICAL D-45130 Essen, Germany website: http//stlouis.missouri.org/fsjoplin ORGAN SOCIETY - KDV Phone:**49-201-784927 [email protected] A. T. Meijer Fax:**49-201-7266240 Wilgenstraat 24 Email: [email protected] NL-4462 VS Goes, Netherlands

111 PRESIDENT’S MESSAGE

Hi All. Much exciting news—by the time you read this, you should be receiving your copy of the technicality CD with your BULLETIN. Thanks to Terry Smythe for making this possible. Another CD will be out shortly for all members. I am going to leave that as a surprise. I hope to see a good many of you at the 2007 Germany convention. Looking at what is planned, it should be a very enjoyable trip for those able to attend. Many of you own , so please take time to look at our web site www.amica.org. It is a very informative tool for events, goals, and educating the public as to our interests. The web site provides much to read, but well worth it. Be sure to check the Adopt-A-Piano link and listen to the great music! Try to bring a friend to your next chapter meeting—it could mean a possible new member. The Gateway Chapter has merged with the Heart of America Chapter, which will make a very strong chapter. This was discussed at the last Board Meeting and is now official. Please submit articles to our Publisher. It is your BULLETIN, so please contribute. John Motto-Ros [email protected]

FROM THE PUBLISHER’S DESK

One of the most common requests that I receive is to publish articles on how to restore a player piano. I wish it were so simple that we could run a few articles with step by step instructions for the avid beginner. Most collectors of automatic musical instruments began their interest with acquiring a player piano that no longer works properly, if at all. Many player are available today at the lowest prices since the 1960s and are readily found on ebay and other advertising sales sites. When I hear a visitor quip, “I would love to own one of these, but we could never afford it,” my response is that I could probably find them one for free with a few phone calls. The major cost these days is in the moving and rebuilding of player pianos, not in the purchasing. I always recommend professional piano movers, but restoration of an average player piano can be accomplished by a patient individual (or family) and is a great way to learn not only how they work, but also a way to gain appreciation and respect for the expertise of player piano technicians and rebuilders. And, it is truly a wonderful sense of accomplishment to bring a player piano back to life! Even I did it. I cannot overemphasize my recommendation to all people interested in acquiring, rebuilding, and maintaining a player piano, to somehow obtain a copy of the book Player Piano Servicing and Rebuilding by Arthur Reblitz (available on Amazon). Read this book carefully before you attempt to restore a player. Learn and understand how a player piano works, what the proper methods are and correct materials necessary in rebuilding, and why not to skip anything! Art Reblitz’ book is far more comprehensive and proven than any set of articles in the AMICA Bulletin or on the MMD for that matter. Every self respecting owner of a player or reproducing piano should own a copy. Mike Kukral Publisher

112 RE “THE BLUES” OVER A FOR PLAYER PIANO MAKERS? From PTM Magazine - January 1966

The following article was written Whether any of these instruments were In the decade following Seytre’s patent, exclusively for PTM Magazine produced is not known. Seytre’s patent a host of other patents were granted in by Larry Givens, president, fell into oblivion until it was re-discovered the United States and abroad. However, Givens-Gourley, Inc., Wexford, Pa., by later researchers. these patents were concerned chiefly manufacturers of player piano rolls. with new developments in mechanical instruments, rather than the means for In this complex age of computers, actuating them. After inventors became few people are aware of the remarkable aware of the perforated-roll method for similarity between the set up playing their instruments, they quickly by a technician on a ’s punched accepted it as the most practical. card and the pre-set program set up by a The present-day standards of music- musician on a player piano roll. The basic roll manufacture were not formally purpose of both pieces of paper is the adopted until 1908. Early in that year, same: the computer punch car and the a group of player piano and music roll both represent a pre-arranged manufacturers met in Buffalo, N.Y., pattern of perforations which cause a High-speed direct recording perforator used for the purpose of standardizing their precise sequence of events to occur in a in production of Melodee music rolls. products. Prior to that date, there had been machine. a confusing multitude of types and sizes Early mechanical musical instruments of music rolls, since many manufacturers were played by means other than music offered their own line of rolls for their rolls. Chief among these was the barrel, own products. which was a cylindrical drum into which After lengthy debate, the convention metal projections were driven. As the adopted the 88-note scale, perforated with barrel rotated within the instrument, the 9 holes per inch of tape width, with an projections plucked a comb or operated overall paper width of 11 1/4 inches. hammers which struck strings. Producing During the period from 1910 through each barrel required large numbers of 1930, when the popularity of the player skilled workmen, making their cost John Gourley compares master roll with its piano reached a tremendous peak, many extremely high. original, making necessary correction. other types and sizes of rolls were Although several musical selections produced for use on coin-operated could be placed on each barrel, the pianos and other types of mechanical musical arrangements often had to be instruments. However, the standards mutilated to make each selection fit into adopted at the 1908 convention remained exactly one revolution of the barrel. The in use for home player piano rolls, and are repertory of the instrument was limited by still used today. the high cost of the barrels and by the To produce an “original” music roll, necessity of providing safe storage space several different methods may be for them. If mechanical instruments were employed. The simplest, but most tedious, ever to become something more than way is the direct transcription of notes expensive toys for the wealthy, something from a piece of sheet music onto a else had to be invented. blank roll of paper. This method requires In 1842, a patent was granted to one no complicated, expensive machinery. Claude Felix Seytre, of Lyons, France, for However, it is highly time-consuming and what seems to have been the pioneer effort imparts to the resulting roll none of the in the history of music rolls. The patent This pair of music roll perforators produces 30 hand-played quality that is desirable in described an “endless cardboard tape,” rolls at once. Master roll is placed on unit at good music rolls. which was perforated with square or upper left; pneumatic stack on each side of Another method, which involves a elongated holes. The tape operated on an master unit controls operation of individual type of roll perforator, is the “playing” organ or piano designed to use it. punches.

113 continued. . . of music at the keyboard of a piano at perforation. Some types of masters have After the production master is made, it a very slow speed, while a pedal is sprocket holes along the edges by which is carefully checked against the original pressed a certain number of times for each they are driven; others have indexing roll; any necessary corrections are made musical measure. The music rols being holes through which air flows for before the master is used. It is then placed cut is advanced one step for each press of guidance. A special perforator is needed to on high-speed production perforators, the pedal. By proper coordination of the convert original rolls into production which are large machines weighing over a musician’s “playing” with the stepping of masters; this is another complex and ton apiece. the roll, very good results can be obtained. expensive piece of machinery. Fifteen thicknesses of paper are Nonetheless, the hand-played flavor is still perforated at once, and several perforators lacking. are generally connected together so that Direct recording from the keyboard of 30 or more rolls are produced at one time. a musician’s performance is the third The rolls are cut at a rate of about three method. In early years, this was done by feet per minute. switches under each piano key which As the master roll passes over the actuated a mechanism to draw lines on a tracker bar, it activates pneumatics in the moving roll of blank paper. The lines then same manner as a player piano operates. had to be cut out before the roll could be These pneumatics are connected to played back. mechanical linkage, which controls the New developments in high-speed roll operation of the punches and directs cutting equipment have resulted in a which notes are cut into the rolls. After machine which can actually perforate a they are punched, the sheets of paper pass roll directly from the keyboard. This out of the perforator and fold themselves process saves time and enables a company into a stack on the floor. to get rolls of current hits on the market After information has been imprinted on When perforation is complete, the quickly. One of the accompanying rolls, Joyce Flynn affixes tab fasteners. stack of rolls is taken to a cutter which photographs illustrates a direct-recording trims the V-shape into the leading edge perforator developed for production of of the entire stack of rolls at once. The Melodee music rolls. song title, roll number, and publisher A music roll made by any of the three are impressed on each roll by a rubber methods described is still far from printing block mounted in a special holder complete at the time notes are cut into the which swings from an inking pad to the paper. Next follows editing of the roll, roll’s surface. The end tab fastener is then a process which requires a highly attached to each roll individually. specialized form of musicianship. The The song lyrics are new imprinted extent of editing necessary depends on the along the right edge of the music rolls. method by which the roll was made; the This is done by a rather unusual stenciling greatest amount is required for handplayed process. The words of the song are cut recordings. Certain notes are extended into a long strip of special stencil material beyond their normal length, and a in a position such that they correspond multitude of corrections must be made Frieda Burk prints lyrics on roll margins exactly to their accompanying musical which produce subtle but necessary with stenciling machine. notes. changes in the music. The ends of the strip are joined Editing is a process which the arranger together to form an endless belt, which is must learn by experience. It is generally hung between two large crowned pulleys. this stage of the roll’s production that A rubber inking roller is pressed down results in the difference between a good onto the belt, and, as the roller is turned, roll and a poor roll. The majority of music the belt moves beneath it with the music rolls in existence today were edited to an rolls under the belt. The words are thus extent which would amaze any person stenciled directly onto the rolls. They then unfamiliar with their manufacture. pass into a large wooden bin at the end of When the “original” roll is finished, a the stenciling machine. production master roll is made from it. The rolls are wound onto their spools The production master is the roll from by a small electric motor which spins the which hundreds of thousands of copies are spools rapidly. The finished rolls are made on high-production perforating placed in boxes immediately and taken to machinery. The master roll is several another area where the labels are affixed times longer than the finished copies Betty Frey winds Melodee rolls on electric to the boxes. They then go to the stock winder and places them in boxes. for purposes of accuracy and speed of shelves and ultimately through the music 114 continued. . . dealer to the consumer. pace with the expanding market. The If the current popularity of player The past decade has seen an amazing latest addition to the roster of roll pianos among all age groups is any resurgence of interest in the player piano, manufacturers, which includes the indication of future prospects, the player as witnessed by the increasing number Aeolian Corp. and Imperial Industrial business will have no reason to sing of new players on the market and the Co., is Givens-Gourley, Inc., of Wexford, “The Piano Roll Blues” again. restoration of great numbers of old Pa., a newly founded company which players. The music roll business has kept produces Melodee rolls.

By Tockhwock TEINWAY D-217715: A TALE OF A S DUO-ART CONCERT GRAND

Before beginning, I would like to thank own house now; I made the rules. Second: Have a keyboard built. What certain principals, without whose help in this The two best Steinway scales are their we didn’t have were the technical project could not have been accomplished: “B” (7’) and their “D” (9’). I got my tape- specifications used when they built Bill Singleton, Mel Septon, Dick Kroekel, measure out several times. I even thought the several original 7’ 6” Steinways. It David Snyder, Mariam Snyder, Alan Litecap, about walling up a doorway or a window. took us three keyboards, but we got it Paul Manganero, Keith Strunk, Steinway & Sons, and Buddy Spaniel). A “D” was of course, absolutely, unques- right. tionably, too big. Really, so was a “B”. (I Third: Lengthen the piano. We chose What Went Before was once told that Amican-itis is “the Trefz & Co., an old piano manufacturing This is actually a tale of Steinway- propensity to put several pianos in a room, firm in Philadelphia to do the initial itis…a term usually reserved for the sticky any one of which is too much for the lengthening of the case and build the condition of the action-pins on old virgins. space”.) first keyboard A variant strikes the human species. It Nevertheless, I hunted for a “B” built Fourth: Lengthening the case leaves seems to feed on a condition of need to be between 1910 and 1929, the great era of stretch-marks. So the old rule “If you in the presence of at least one (if not collaboration between Steinway and can’t hide it, decorate it” came into more) Steinways at any given time. For Aeolian. I set out to build a Duo-Art of play: I re-veneered the case and turned me, it all began about 1962, when I was in which Aeolian would be proud: a Duo-Art it Georgian...sort of. late teens. I had grown up to an Ampico, they might have built. In 1971, I bought a Fifth: The Double legs, Pedal Box (yes, and enjoyed it tremendously. I found 1910 “B” (146975): a really good exam- it had to be a PE) and music-rack. I preferred the music, as well as the ple, with board block, bridges & action all The case itself was too thin to get the engineering and design of the Duo-Art, replaced by Steinway. top-action and music-rack in, so we particularly if it were installed in a… It had only one problem. It was too heightened the case 3/4”. A 1” wide you guessed it. short. There was no room for the Duo-Art Greek-key hid that stretch mark For a while I had several systems, but top action. Now I’m a tall person and perfectly. Compared to the rest, these Mom said she needed to get her car in the spreading my legs to get them under a were a cinch. garage, so some of them had to go. That piano with a drawer doesn’t work for me. There would be no fall board. ended my career as a collector. Besides, I Besides, Aeolian wouldn’t have done a Like drawers they get in my way, didn’t have the resources to do justice to a drawer ‘till the mid thirties. There was no particularly when I feel like partying. collection of one-of-each-system. I recourse but to lengthen it. I prefer to look and listen across the strings when I sing along. Looking thinned to one system. Of course, I kept My plan of action was: the Steinways. I satisfied myself being a and singing into my lap is just not user, a builder, and an occasional re- First: Build the top player-action. adequate. builder; but not a collector. (This informed us how long the new In my late 20’s I decided I was tired of keyboard would need to be). The top Building a new keyboard being stuck with the short pianos in which action we choose is the electric, Duo- Steinway & Sons wisely bowed out of particular Duo-Art had survived, so I Art long-play with all levers in the the design challenge, saying they no struck out on my own…sort of. I decided spool box, and thankfully, tubed around longer had the capacity to produce the to build one…sort of. Besides, I had my the ends. extra-long Duo-Art key boards. We soon

115 continued. . . found that an extra 6 inches in overall length of the keys did not simply translate into just adding half the new key-length to either side of the centre pins, which is why it took us three keyboards to get it right. The third keyboard, the one that works like an original, was designed by David Snyder. David is an excellent technician from near Reading, PA. He has an engineering degree. He was recommended by Steinway to do the job. Clamping Greek-key The important lesson here is: choose your piano technician with the care you’d choose a brain surgeon. Its Duo-Art mechanism is what I like to describe as “post merger”, (Aeolian built a variety of post merger models). In this case it includes a fan expression system, soft- pedal compensation poppit lift, and hammer rail lift & keyboard shift which work in conjunction below accompaniment power 4 (per-manual) More about the mechanism later.

Lengthening the “B” from 7 to 7 1/2’ feet, and re-veneering the case.

It was a very happy marriage, this piano and me. If not made in heaven, some where close by (at Aeolian, perhaps). Then 35 years later, when I least expected it, someone threw a wrench into the works. An Unknown Stalker Four years ago, after a hiatus of about 20 years, we decided to go to an AMICA convention. I had several unpublished Duo-Art masters I wanted to play on some other pianos. I also had some Duo-Art fan-systems and wanted to do a hands-on workshop with other guys to find out what they knew about these con- traptions. At the end of the convention the Denver folks described their plans for the next convention. Among the pianos scheduled to be there was Dick Kroekel’s Duo-Art “D”. There’d only been ten built. Some originally had been “Company Pianos,” shipped around the world to do demonstration in the great concert halls. I had to go. Spool-box cover and arms Little did I know what awaited. Denver: “Watch!, for no one knows the day or the hour…” We arrived by transcontinental train; a beautiful relaxing, trip. The convention; a fabulous venue, very well planned….. and best of all, Dick brought his “D”. Not only did he bring it, he left it there!… He left it in the reception room!… With the doors unlocked!! With a big pile of Duo-Art rolls!... Unreal!

116 continued. . .

After the younger set burnt themselves a Steinway “D” or, 2: go the whole Every cloud has its silver lining out on the pedal piano, some of us 10+ yards…. and lengthen Bosendorfer Autumn of 2005, we turned down lounged around till all hours playing the Imperial Grand*. Wow! What a rush — one “D” after another. Then a new “D”. His was the first of the 10 (#196923, the thought of taking a saw to the nose of complication entered the scene. We’d in 1919-1920). Later, well after Jolson one of them, and then lengthening it. But spent 33 years building a 22 acre sang, it found itself lodged, derelict, ten and a half really is too big. Besides, woodlands garden around our house near behind the stage at a Montana college. Aeolian hadn’t done it, it could never Philadelphia. But times were changing, Destined for the dump, it was saved by be real. and so was our rural neighborhood. a music student who bought it for a My obsessive /compulsive bent In a nut-shell, the KKK and the religious whopping $25.75. When the young man required it be something Aeolian would right were flexing their muscles. Not decided to head east to further his have/could have produced. It would have being “born-again, saved & sanctified”, education, he sold it to Dick for $5,000. to be another “D”. “O.K.”, I thought, we (I especially) no longer felt safe living (either price would be a steal). Art Reblitz “and I’ll use my “B” as a prototype”. there. Victoria B.C. seemed a great built and installed the 88 note cross-valve I’d copy the odd-ball square fan accordion destination. Our Emigration hopes were stack, Dick Kroekel did the rest.. expression system, soft pedal note dashed, when we were told we could not A funny thing happened to me, on the compensation lifts and the double retire in Canada unless we re-opened our way to the last supper (the convention hammer rail/shift system, etc., etc. business. We’d just about become used to banquet). I was chatting with Mel Septon. Then there’d be two post-merger the idea of re-opening, when we heard Off handedly, Mel mentioned that he Duo-Arts…exactly alike, so we began a about “a cream-puff of a Steinway B” thought he had all the parts to another one hunt for the more modest of the two built in the ‘teens in Europe that had just of those electric long-play top actions. It options: an ordinary 9’ “D”. Hunting for been shipped from Europe into our area. was in bags & boxes somewhere in his one of the originals never entered my Customs was offended by the illegal shop, (should I be looking for another mind….well almost. original ivory keyboard. They took a blow one). Of course I wasn’t. I dismissed the David Snyder agreed he would stretch torch to it and burned it all off. When the thought immediately. I’m 60. I’m retired. a short “D” for me. He pointed out, owner protested, he was told he should be I already have seven and a half feet however, that there weren’t that many happy they hadn’t burned the whole damn of Steinway, a 6’6”Steinway, and a “D’s” built in the first place, so finding a piano. Obviously we couldn’t re-open in Vertigrand. I’m already AMICAbly good prospect from that era would be Victoria. overstocked. At best his top-action could tough. Most of what was available had In the midst of this cheery coleslaw, be a source of spare parts for my “B”. But been around the block. He was adamant: the phone rang. The voice of Bill that would be an unconscionable demise he would not work on a “D” that had been Singleton, came crackling through: for one of perhaps only 20 ever built. messed up. “I think you had better sit down,” he We departed the convention to spend One of the reasons we chose David, said. “I have something to tell you, you a week driving in the Rockies. Now, I’ve not as yet mentioned, was he’d rebuilt can’t tell anyone…. I know where there is I have this obsessive-compulsive thing (case, action, board, etc.) and currently an original Steinway Duo-Art “D,”…. and with the Duo-Art, and I have it perfectly cares for one of the other original 10 “D” it’s available. I also know of several under control. Wrong. There wasn’t Duo-Arts (215329). It had been gutted, people out there who’d buy it right now, enough medication of any sort available then later badly burned in a fire. It was sight-unseen if they knew where it is”. to get that top-action out of my mind. only through the tenacity and persistence He put us in touch with a person he Finally, I blurted to Bruce, “We gotta of its owner, and the Snyder’s skill that it had been told owned it. stop at the next phone booth”. He pulled didn’t go to the dump where it belonged. aside. I dialed. Mel answered. I stuck my Mel Septon (Chicago AMICA) reinstalled There followed several weeks of finger in my ear, and asked if it was still the Duo-Art. Like Dick Kroekel’s, it looks e-mail “discussion.” Interesting available. Varooom ! A truck blew by. I and plays like new. questions such as: asked again, and another truck varooomed We put out feelers for “a ‘D, built “To whom does it actually belong?” by. The third time I heard Mel’s “yes”. between 1910 and 1930”. It had to be “If it’s really been in a church/synagogue Sold! virgin, solid, no cracks or splits in since 1930, what’s it doing in East After I got back into the car and the the basic case, and in North America. It Podunk now?” adrenalin rush subsided, it began to dawn must be dead. Not just nearly dead, but “Is it in an unheated garage?, and if so, on me what I’d done. It couldn’t be used completely and sincerely dead. We “How long? Does the roof leak? for spare parts. Finding an empty original weren’t interested in paying for ordinary “Is it/was it really a Duo-Art “D?” “XR’” or “OR’” that originally had one of stuff we’d just be throwing out: the these actions to reinstall it in was a pipe soundboard, the block, somebody else’s Nervously, I insisted on seeing it first. dream. Besides, they’re too short. half-baked attempt at new hammers, My worst fears were fanned into flames Within a week I had to admit I action, etc. David didn’t want to have to when the owner became oddly shy about couldn’t lengthen another “B” either. undo every kind of “newer, better glue” saying exactly where it was. What (Been there, done that). The only two that had come oozing down the pike followed was the stuff of which real reasonable options left were: 1: lengthen during the last 75 years. opera is made. It had been advertised as 117 continued. . . an original Steinway “D” in good standard “D” was concerned, she was a enough, get this: in order to provide space condition. In the ad it looked normal mess. No serious pianist…(or dealer) in for the pumps, the nose-bolt that goes up (below) and the price was right. his right mind would want her. This doll through the board to stabilize the bass Sight unseen, a dealer bit & bought. was on her way to the dump. strut of the plate, had to be moved. This When it arrived at his shop, he On the other hand she really had been required an alteration to the plate itself. immediately recognized that it was “one in a temperature humidity controlled This was accomplished at Steinway and environment for 75 years. by Steinway, by changing the mold before How nice. There were no casting the plate. It’s definitely a Steinway cracks in the laminations plate…just not an ordinary Steinway of the case, especially as plate. You can see a 3/8 hole for the often happens to D’s, nose-bolt on the two foot black 4 x 6 along the long bass side. (below). The nose-bolt actually goes into Not one! The beam solid wood, unlike many (all) OR’s, in structure had been re- which the bass beam has been cut down formatted for a Duo-Art to nearly nothing and the nose bolt is “D”…by our friends at sometimes held in place by a small flat Aeolian; adding to their head screw. Aside from these minor, (sic) reputation for what some Aeolian-inspired surgical necessities, she have called “the triumph was absolutely solid. of style over engineering”. Figure 2 shows the original, Steinway Steinway “D” #217715 B730 She was heaven sent. installed (I believe) plug, for the nose-bolt In figure 1, you can see hole. I am puzzled why the grain in the of those god-damned player-pianos.” He’d three screw-holes where the original plug didn’t match board,...is it less likely insisted the owner take it back: the owner beam connected to the case chalked-in, to crack out that way? Or had it been left balked. Things got dicey. Then someone for Aeolian to fix? Anyhow, no else entered the picture. A concert pianist need to worry about this any- had seen the ad and wisely inquired of more. On the left are the Steinway about the serial number. We Steinway factory drilled holes had just been at the Steinway factory in for the nose-bolt. New York, looking over (and rejecting) The slot in the key-bed for their “D” returns. They knew what we the poppits was still where it were looking for. Someone at Steinway had been originally cut. Most put 2 & 2 together when they saw that convenient. (Figure 3) the piano the pianist was inquiring about All the screw-holes for was a Duo-Art “D”. They told someone, everything were in their right who told someone, who told someone places: a perfect template. The who told that Missouri AMICAn who told serial number was not just the me. That’s how come the sky (3/4 of a ton right era, it was one of the ten. If of it) came to fall on me that day. The bass beam had been sawed out where the that weren’t enough, she was Pins and needles, a couple of weeks, 15 and 17 inch pumps just had to be. dead. Completely and sincerely and a stack of e-mails 1/2 inch thick Figure 1 ...dead. The original block and later (I measured them),…. with proper board were ready to be torn out legal ownership established, we went and thrown away. The bridges to see it on a “if it’s a complete piano, were original and could be that was a Duo-Art D, and in solid recapped. No magical modern condition we might buy it” basis. glues; to remove. Thankfully, It wasn’t. our last “technician” had tried, A carpenter turned piano technician (without much success), to had rebuilt it. (Most of us have met at reuse the original Duo-Art least one of these very special guys; hammer-action. There it was, on maybe even been one in a past life or an ordinary, very derelict “D” two). He’d taken his cross-cut handsaw, keyboard. It even had the put his knee on the keyboard, and original hammer-rail lift. Our removed about six inches of her nose. “technician’s” novel placement Each time he’d stopped sawing to rest, the of the action was probably a direction and angle of his cut changed I’m pointing at the Aeolian-esque good part of why the piano was available. slightly. He then re-cut a semblance of “replacement” placed just far enough over And of course, her nose had been chopped arms. Marvelous work. As far as being a to allow for a 17” pump. If that wasn’t off. She was the ultimate ugly duckling. 118 continued. . .

Figure 2

Figure 4

Figure 5 rubber bands on a cigar-box. The mild recession of 1929 had passed quickly. Laissez- fair economics really did work! After the recession, the thirties roared: sales soared, more so than the ‘20.*2 The financial woes of American Piano had finally been solved by the bank- forced merger with Aeolian. The result was a great success. Research and development departments were combined and well funded. The Duo-Art fan accordion expression system, (developed in the mid 20’s), along the transposing tracker-bar, the long-play top actions were among the many bells and whistles available Figure 3 through Aeolian Franchise “My Fair Lady” stores every where. Figure 6 For our purposes though, she was the As far as D-217715 was right one. She was everything we were concerned, father had purchased her for Steinway strip-tease looking for, and then some. Sound in the Newport house, but mom couldn’t The day we stripped her, I masked off body, she was absolutely perfect. Nobody stand “All that black”. “It looks like a hip- the areas that could be possible borders for could rake us over the coals for building popotamus in my living room” she said. a Georgian style case, (similar to my “B”) the kind of case and Duo-Art mechanism In 1933, dad sent her (the piano) back to just for a look-see. (Figure 4) we wanted. Our “Fair Lady” had arrived. Aeolian for an update and complete We clamped on some of the Greek Key rebuild.’ molding, and liked it enough to keep The chickens come home to roost With our job in this Oz-ian mode, we stripping. (Figure 5) From the stand point of “what kind of began. Stripped, we stood around and began to Duo-Art” would be re-installed, we *(The Duo-Art said to have been used by think about what she might look like if she invented the following fantasy to become WGN, Chicago (#201835), is currently owned went Greek. (Figure 6) by Mel Septon. A station in New York part of her provenance: We liked it. The underneath Maple was has also been cited as having used one, but well enough grained, and came clean “When Jolson sang, he was where is it? There are many other rumors accompanied by a Duo-Art. Radio about the “missing three D’s”) enough that a medium cherry stain with the black borders could have created a stations everywhere followed the lead *2 Aeolian did in fact pay dividends from of WGN-Chicago, and bought Duo-Arts profits in the mid ‘30s. Bowers, Encyclopedia very acceptable Georgian; certainly well to provide music between programmes. of Mechanical Musical Instruments. within the parameters of what might have * 78 records of pianos sounded like been done in 1935. Next we got rid of the old pin-block

119 continued. . .

Figure 7

Figure 10 bloom. The aging AMICAn Figure 9 is the old standard “D” key- is me. frame that came with the piano. On each The next step was to build end are the first long keys. The treble one the long-play top action. is next to an original short “D” key. The This in turn would show us action stack is the Duo-Art original; exactly how long the new cleaned and repaired and ready to go. Just keys would need to be. The under the inside end of the keys is the picture that shows the new scale-stick that matches the keyboard keyboard in place also shows scale. We used it to build the new stack to its unusual gear exchange of the proper scale. this late Duo-Art mechanism Figure 10, with the new key frame (which we’d gotten from placed where it will be, shows just how Figure 8 Mel). The cones are its much had been cut off her nose…and how governor. A small rubber much had to be restored. Mel Septon tore tire wheel moves left to down his D, and made precise drawings right between them, and measurements so we could make an increasing or decreasing exact replica of his key frame. the speed. On re-roll, the The keys are not yet balanced. tire disengages, and the Some of the work of the previous roll runs directly off the carpenter/technician on her arms is motor. Looking closely, evident. He also used flat-head screws, you can see it has a finishing nails, contact cement, and floating tracker-bar which super-glue in novel places. Fortunately we also transposes notes. (Bill were able to discard everything he did. Singleton provided the transposing tracker-bar.) An initial fitting of the The originals transposed underneath player parts only 80 notes. I added Before getting too far on the case, we Figure 9 four extra note holes so fit the late-20’s style...sort of...stack. It that as many as all four has 84 notes (not 80) so it can play notes and board. We saved the section of the bass notes can be brought up into the 1, 2, 3 & 4 with the transposing tracker- original sound-board with the original playing range…one by one. I just couldn’t bar. We couldn’t have done this had we decal to use as a cocktail/tea tray. have those four notes on a 9’ Steinway, lengthened a standard “D”: they’re not Figure 7: How often does a person get and not use them. wide enough. A Duo-Art “D” is 3 inches a chance to do this? With the board out, In figure 8, The new keyboard is in wider than a standard “D”... at least this the beams become a great place to sit for a place. The new ivory is not…yet. Neither one is. As it turned out, we had only 1/16 beer and a ham sandwich. David Snyder is has the marquetry been glued inside the extra space in the bass before the legs. in the background, laughing at love in spool-box. There was plenty of room in the treble.

120 continued. . .

Figure 11

Figure 12

The valves toward front, and stack supply ‘30s Aeolian design. It results in the inside the rim when removed. (Figure 19) tubes around the ends. (Figure 11 & 12) dampers lifting much more evenly than if The underside of the new board: The “big square” fan expression box they are lifted from the bass end. This Twelve of the ribs are traditional sugar fits exactly in the space the original in-turn assures a technician can achieve pine. The treble six (bottom left) are standard expression..... accordion valves the minimal rise of the dampers called for spruce to provide added stiffness fit in where originally placed. The fan in the manual. system fits exactly where the original The 15 & 17” pumps fit standard system was, including the exactly where they were original supply-tube channel cut in the originally placed; one runs the beam, with 1/4” to spare. Were these stack, one runs the components. designed as replacements? It’s not a (Mel Septon’s “D” has two 15” mistake, the zero pneumatics really do pumps.) W.T. Singleton’s exact point up towards the soundboard. The four copy of his AR lyre is in place. black 9/64 tubes run the pneumatically (Figure 15) operated spill, from the Theme only. The The next step: remove the effects of the spill being operated from the dead board and chop more of the theme side only, (as well as secondary and front end off to prepare for her tertiary springs that engage at different new arms. (Figure 16) points on both theme and accompaniment Then build a new board. as the accordions close) are substantial, (Figure 17) Figure 14 and I think quite musical. The first Each rib was cut from a fans I’ve heard of were in 1927 pianos. single strip of wood. The discard Development would have to have been half of each was kept to 1925-26. Unlike the B Ampico, recoded be placed on top of the rib-half rolls are not necessary to access this during gluing. This insured even change in technology; nothing is lost. pressure from end to end during (Figure 13 & 14) the gluing process. (Figure 18) The maroon pneumatic (Figure 14) The original board next to the operates the sustaining pedal through new one. The older one appears the middle of the keyboard. This was a smaller because it was cut out

Figure 13

Figure 15

121 continued. . .

Figure 16

Figure 17

Figure 18

Figure 19

Figure 21

Figure 22

Figure 20

augmenting the brightness of the treble. Not standard practice in 1923, but commonly done now. (Figure 20) Spreading the glue around the rim: David & Mariam Snyder. I am in the distance. (Figure 21) Slipping it in...... (Figure 22) Clamping it. David and Miriam begin at the treble corner. Wooden clamp-blocks are tapered to fit on the taper of the rim all around the edges between the clamps & the board. It’s a race against time. (Figure 23) 122 continued. . .

“You can’t have too many clamps... They can be in the wrong places; too tight or too loose; or uneven, but ja can’t have too many clamps.” — Shop rule of Ed Trefz,, Trefz Piano Co. (Figure 24) Removing glue drips from around underside with wet towels and sticks to get it all. (Figure 25) Figure 23 When it came to the final case design, we Figure 27 had to deal with the fact that there would be stretch marks from the re-lengthening process. They’d be on both the bass and treble sides above and off-center the new double legs. They’d show across the grain of any finish. Any chance of cracks ever opening through Figure 24 was totally out of the question. This meant Figure 28 a “no” to either a full ebony finish (like she originally had) or even painted ebony borders with Cherry-stained panels for a Georgian as we’d initially hoped. We chose to do raised panels (like Aeolian did on their art-cases), but continue with a Figure 25 Georgian motif. We used Avodire Crotch, book-matched for the Figure 29 raised panels, on the sides. The new bench. (Figure 26) Avodire grain demanded no Bill Singleton came up with a set of stain. We bought two different original, brass ferrules, as well as the fletches for variety. original legs to copy. Those legs have The Avodire pattern is carried since been passed on to another re-builder. through on the legs, which were (Figure 27) copied from a set of original The ultimate nose-job. She’s a big girl Steinway Duo-Art double legs. again. The same needed to be true for Clamped to the front, a 3x3 shows how the top-action cover, the music far the new key-bed will need to come. Figure 26 wrack, the pedal lyre, and the (Figure 28) 123 continued. . .

Figure 30

Figure 31

New arms completely cut out and carved corbels attached. There’ll be levers and buttons to operate the expression. But unlike originally, these will be below the level of the key-bed so the piano action will slide out easily above them. Aeolian would have approved. (Figure 29) An original cheek, the new key-frame Figure 32 & stretcher. (Figure 30)

“If you can’t hide it, Decorate it” The Avodire panels created an opportunity to decorate. I enjoy doing marquetry. 20 years ago when we celebrated our marriage, an artist created two trumpeters for the outside of our invitations. I blew them up and began to cut, uncertain that we’d use them. Figure 33 It took me about a week to make each one. I needed 4. We had only four weeks till the vans came to move us west. I with body-hair. On the other thought I was out of time, but Mariam hand, we did not feel they need- insisted I could do it and I’d always regret ed to be anatomically correct. it if I didn’t. I worked frantically: my hour After finding the grain pattern, I of decision was at hand. tape the picture to the veneer Figure 31 are three trumpeters laid out and cover the piece I intend to on the top of the new bench-top (I was cut out with tape (so it doesn’t getting a feel for how they might work break up when I’m cutting it). against the crotch background). If they Finally, I cut the section out and didn’t make the cut, I could always turn attach it to the picture. I’m now them into tea-trays. ready to repeat the process with Figure 34 Figure 31 is just the blow-up before I the next section, as shown in the began to cut the various veneers I’d be second and third pictures. When using. In the original drawings there were the figure is completed, it is mushrooms at their feet. I changed that to sunk into the background roots to work into the natural grain of the veneer (in this case the Avodire Avodire. crotch). It is now ready to be In my process, I cut out a section of put in place. the picture, and then move it across the The trumpeters became veneer until I find just the grain pattern. another reason everyone agreed, For instance: the muscles in the arms and (just prior to putting on the back need to be different from long ones finish), that stains should not on the legs. The legs and arms (but not the be used. The lid and the grain back), need to appear to be lightly covered 124 continued. . .

Figure 35

Figure 36

Figure 37 in the maple on the sides, dictated ebony borders. She’s beginning to look like a Duo-Art again. (Figure 32)

Boxes without topses? Since the original front lid had also been shortened six inches, a new fore-lid would need to be built. A complete new lid might be made, but no one makes ply- wood 10 x 6 x 3/4 in the quality we need- ed. Neither could we get a new lid from Steinway. Remember, the Duo-Art “D” is not just 6”longer (to fit the top action) than a standard “D”: it is also 3 inches wider (originally to fit the 88 note stack. Which means the soundboard is three inches bigger, right where it counts most: about as much as drawers & fall boards. Mariam was right about the trumpeters, in the bass. The triumph of style does have I usually keep them carefully packaged they needed to be there. (Figure 40) its perks) and stored for the next guy. This one’s We were nervous about bringing her All of this requires not just a custom pretty enough to leave out…maybe. (the piano) across the Rockies in the dead cast plate and a custom board, but a (Figure 35) of winter: If the truck broke down, or the custom lid as well. Of course couldn’t Some of the pattern of the Donner party got hold of her, who knows throw the original part of the great lid bookmatched Avodire can be seen on what would have arrived here in Santa away…..it had the original serial number the top-action cover. There is a lever-slip Rosa: Bones and occasional pieces of skin stamped in it. We ended up adding a piece (open in the picture), but it is 3/4” below perhaps? So she wintered in David to the edge of the front lid. If it cracks, the key-bed. The Buttons & levers will be Snyder’s house (# 69 Furnace St we’ll get her a shawl. below the action-frame. They are for when Robesonia, PA 19551). The beveled edge of the rim around it’s being pedal operated, and for coding the lid is a checker pattern of Avodire, rolls. (I intend to build a pedal-box for this The Player Action: What could matching the length of each Greek-key one too.) All the Duo-Art levers are in the be in A post Merger Duo-Art ? pattern around the top edge of the case. spool-box. (Figure 35) It is said, “It’s not how big it is, it’s I’ve done this to two other grands. Its The small “picture frame” in the centre what you do with it” that makes the time consuming, but the result is well of the spool- box cover (Figure 36) is for difference. We tried to build one of worth it. The rest of the lid will be black. the Steinway decal. Aeolian’s best; something Aeolian (Figure 33) I fell in love with her in the raw, just as R&D would have approved. This shot (right) shows exactly how I had with the B. At first, I didn’t want to Actual installation of the player will much was added to the key-bed. The put a finish on either one……(Figure 37) begin summer of ’07. She should poppit-slot and underneath have been But we’d planned on a finish, so on it start talking before spring of ‘08. As masked-off and all is ready for the finish. went………….. planned, we used the “post-merger B” as (Figure 34) When we first saw it, it was kind our prototype. The music rack is similar to a 30’s of like being at one of those opening So what might we find in a post-merger Sheridan grand we did a couple years performances when the applause Duo-Art? There are plenty of examples ago. I found especially appealing its begins only after a stunned silence. around. Aeolian seemed something to fit “minimalist” design. I like music racks (Figure 38 & 39) about any venue, or any size room. This

125 continued. . . will be the subject in a later bulletin, shorter article, after my hip is replaced (June 5) & I’ve learned to walk again.

To Be Continued. . .

126 By Don Barton H UMIDIFY, HUMIDIFY, HUMIDIFY From Barton Player Piano Co. Spring 2007

The relative humidity in your home is a console humidifier in the room where came out and tightened up the system and one of the biggest factors in determining the piano is located. In either case, it is firmly recommended that we not only how well your player system functions important to occasionally change the have our furnace humidifier checked, but and how well your piano stays in tune. I wicks. Piano manufacturers recommend a that we purchase a console humidifier for could come up with reams of scientific relative humidity reading of 40-42%. the party room. We did both, and now the data to support my ramblings, but just piano sounds great and pumps with great trust me folks…lack of humidity can Following is testimony from two of my ease.” dramatically affect your player piano. customers. The names have been changed “Our house is again the fun place it one Your piano’s pin block, soundboard, piano to protect their privacy. was. Thank you Mr. Barton.” action, piano keys, case, player system, and valve chests are all constructed of wood. Wood shrinks and cracks when it The Smith Family loses too much moisture, resulting in Aiyana, “Two years ago we moved to loose tuning pins and leaks in the Minneapolis from San Diego. Although it pneumatic player system. was expensive, we had our refurbished Chickering Ampico grand player piano Following is a list of common shipped to our new home. We loved misconceptions: listening to the expression rolls and our Mike and Rita Andrews twins, Keith and Amanda, were in their • “I have hot water heat that doesn’t dry 10th year of piano lessons, working out the atmosphere.” FACT: heat is Rita, “For years our house was where towards entering Julliard School of heat, no matter how it is produced, it everyone gathered to have a good Music.” robs the atmosphere of moisture. time…birthdays, St. Patrick’s Day, • “My gauge on the wall read 65%.” Christmas, Groundhog’s Day…any excuse FACT: most mechanical humidity to get together and sing around the player gauges are very inaccurate unless piano. About two years ago we noticed a they are occasionally set to a known trend…fewer and fewer people were humidity reading. There are inexpensive attending our parties. One day at coffee digital humidity gauges available. our best friend Gwen took us aside and • “I water my plants and hand wash my confided that people weren’t having fun dishes which puts moisture in the air.” at our gatherings anymore because the FACT: during the height of the heating player piano was too hard to pump and season, we’re talking quarts and gallons that although we have our piano tuned “The first winter we were here, the kids that are necessary to humidify the regularly, it always sounded out of tune. stopped practicing the piano, spending atmosphere. Needless to say we were devastated.” their time hanging out in the streets. In • “Are there humidity systems available addition, our marriage started to fail. We for the piano?” FACT: Yes. Damp- immediately started family counseling. In Chaser produces a marvelous system the first session we discovered that Keith designed to regulate the humidity in the and Amanda stopped practicing due to a piano. However, it is designed to be loose soundboard that caused an unbear- installed in the lower section of the able rattle and the piano was severely out piano, which is filled with the pumping of tune. Randy, my husband, indicated that bellows in a player piano. A select few he became moody when he couldn’t listen player pianos have sufficient room for to his Ampico rolls. And I discovered that such a system. we were less intimate in the bedroom due to the static electricity in the sheets.” The best method of humidifying your “We immediately went online and “We immediately called the heating home is with a furnace humidifier and/or found Barton Player Piano Co. Mr. Barton company and had a humidifier put on the furnace and called Barton Player Piano

127 continued. . .

Co. to fix the soundboard and regulate the So, take the advice of some people player system. In addition, Mr. Barton that learned the hard way. Humidify, strongly recommended that we put a Humidify, Humidify. console humidifier in the music room.” “The children are now practicing like crazy and off the streets and things heated up in the bedroom, resulting in a new piano players in the family.”

By Peter Phillips OTABLE AMPICO OWNER - N SIR LEO CHIOZZA MONEY From Australian Collectors of Mechanical Musical Instruments - Bulletin 139 - February 2007

Never heard of Sir Leo? Neither had if Stalin was interested in an alliance books British Trade and the Zollverein I, so I did some research on the Internet. with Britain.) Issue (1902) and Elements of the Fiscal From http://airminded.org/2005/12/22/ And this brief biography from Problem (1903). In 1905 he published the an-unpleasant-surprise/ I found this: http://en.wikipedia.org/wiki/Leo_ book for which he became most famous, I was in the bowels of the ERC library Chiozza_Money: Riches and Poverty. This statistical at Melbourne Uni when a book called The Sir Leo George Chiozza Money (June analysis of the distribution of wealth in Peril of the White caught my eye—not 13, 1870-1944), was a British politician, the United Kingdom proved influential because it has anything to do with my journalist and author. He was born in and was widely quoted from by socialists, topic, but because of the author, who has Genoa and changed his name from Leone Labour politicians and trade unionists. one of the most splendidly silly names in Giorgio Chiozza in 1903. In London, Money remained committed to the moderns British history: Sir Leo Chiozza Money established himself as a journalist, Liberal Party and, at the 1906 general Money. Sir Leo was a Liberal and then becoming especially noted for his use of election he became the Liberal Member of Labour politician who is unfortunately statistical analysis. From 1898 to 1902 he Parliament (MP) for Paddington North. mostly remembered for having been was managing editor of Henry Sell’s He lost this seat in the January 1910 caught in a park late at night with a young Commercial Intelligence, a journal election but won East Northamptonshire lady, while in the middle of giving her devoted to the cause of Free Trade, which in December 1910, holding the seat until what he claimed was ‘career advice’ Money further championed in his the 1918 general election. He served in a (apparently not intended as a number of positions during the euphemism). He was also a writer, first World war, including spells and his The Peril of the White was as parliamentary private secretary published in 1925. to David Lloyd George at The ‘peril’ of the title is that the Ministry of Munitions and of race suicide, due to the Parliamentary Secretary to the slowing birth-rate of European Ministry of Shipping. After the and European-descended peoples. war he left the Liberal Party for More particularly, his worry was Labour, principally over the that this would place European issues of nationalization and control of the rest of the world’s redistribution of wealth through peoples in doubt, since their taxation which Money, in contrast birth-rate remained high. to most Liberals, supported. He (The silliest name belongs to stood as a Labour candidate for Admiral Sir Reginald Aylmer South Tottenham in the Coupon Ranfurly Plunkett-Ernle-Erle- Election of 1918, but lost. He Drax, whose claim to fame was was knighted in 1915. leading a diplomatic mission to Sir Leo Chiozza Money at his Ampico the USSR in August 1939 to see

128 Submitted by Robin Pratt ROKOFIEV AND THE P PLAYER-PIANO By Rex Lawson From the Pianola Journal No. 15, 2003

Biographical Background Serge Prokofiev’s ten-year association with the Duo-Art reproducing piano not only provides an insight into the composer’s own recording activities, but also serves as a fairly typical example of the ways in which the dealt with its roll artists. We are particularly lucky that in Prokofiev’s case we have not only the evidence of the music rolls themselves, but, thanks to the farsightedness of his family, much of the correspondence surrounding the various recording sessions that he undertook. In this connection, the Pianola Institute is very grateful to Sviatoslav Prokofiev, the composer’s surviving son, and to Noelle Mann and the Prokofiev Archive at Goldsmiths’ College, London, for all their help in providing information, advice and illustrations for Serge Prokofieff this article. Serge Prokofieff was born on the Sontsovka Estate in the South of Russia, in In passing, we were especially pleased 1891. He received his earliest musical instruction from his mother and a little that Sviatoslav Prokofiev and his own son, later studied with Gliere and Taneieff in Moscow. In 1903 he was sent to the St. Petersburg conservatory, where he became a pupil of Mme. Essipoff in piano also named Serge Prokofiev, took the playing, of Liadoff and Rimsky-Korsakoff in composition and of Tscherepnin trouble to come and listen to their in conducting. He was graduated from the conservatory with the highest honors, forbear’s music rolls during the recent having won the Rubinstein prize. He began to compose when only six years old Prokofiev Festival organized by the and had written a symphony before he was twelve. With prolific industry, in the Rotterdam Philharmonic Orchestra. course of his student days in St. Petersburg, he produced no fewer than one hundred compositions. These were not published, however, as he realized their List of Recordings immaturity. The introductory note in ‘Duo-Art Prokofieff’s published works include two operas, a ballet, a symphony, Piano Music’, the illustrated catalogue symphonic poems, sonatas, concertos, a large number of compositions in the published by the Aeolian Company in smaller forms for pianoforte and songs. New York in 1927, puts Prokofiev’s early Mr. Prokofieff records his interpretations only for the Duo-Art Piano. life and works into the perspective of the time. The total number of Prokofiev’s seventeen, though not quite all of these The complete list is as follows: Duo-Art rolls that have survived is were published during his lifetime.

6153 ...... PROKOFIEV ...... Prelude, Op.12, No 7 ...... May 1919 6160 ...... PROKOFIEV ...... Marche, Op.12, No 1 ...... Jun 1919 6198 ...... RACHMANINOV ...... Prelude in G minor, Op.23, No 5 ...... Nov 1919 6210 ...... PROKOFIEV ...... Sarcasms, Op.17, Nos 1 & 2 ...... Dec 1919 6253 ...... PROKOFIEV ...... Gavotte, Op.12, No 2 ...... Mar 1920 6344 ...... PROKOFIEV ...... Rigaudon, Op.12, No 3 ...... Oct 1920 6377 ...... GLAZOUNOV ...... Gavotte in D, Op. 49, No 3 ...... Dec 1920 6391 ...... PROKOFIEV ...... Toccata, Op.11 ...... Feb 1921 6477 ...... PROKOFIEV ...... Love of Three Oranges-Intermezzo ...... Oct 1921

129 continued. . .

6512 ...... SCRIABIN ...... Prelude, Op.45, No 3 Winged Poem, Op.51, No 3 ...... Mar 1922 6591 ...... MUSSORGSKY ...... Pictures from an Exhibition – Bydlo, Ballet of chickens in their Shells . . . . .Jan 1923 6774 ...... PROKOFIEV ...... Scherzo, Op.12, No 10 ...... Jly1924 6826 ...... PROKOFIEV ...... Tales of the Old Grandmother, Op.31, No 3 ...... Dec 1924 7001 ...... RIMSKY-KORSAKOV . . .Scheherezade – Fantasia, trans, Prokofiev ...... May 1926 7029 ...... MUSSORGSKY ...... Pictures from an Exhibition-Promenade, An Old Castle ...... Jly 1926* 7388 ...... MIASKOVSKY ...... Grillen (Whims), Op.25, Nos 1 & 6 ...... Mar 1930 8018 ...... PROKOFIEV ...... Love of Three Oranges – March ...... Dec 1965**

* Roll 7029 does not appear in the Duo-Art monthly roll bulletins for 1926, but it does appear in the annual catalogue, so following the lead of Charles Davis Smith, in his complete Duo-Art catalogue, it has been dated by reference to rolls bearing adjacent and similar numbers. ** The last-named of these rolls survived as a single unissued copy in the collection of W. Creary Woods, the chief Duo-Art recording producer in New York, which collection later became part of the International Piano Archive at the University of Maryland. During the 1960s it was borrowed by Gerald Stonehill and Gordon Iles in Great Britain, who copied and issued it in limited quantities on a subscription basis.

First Recording Contract Prokofiev traveled to the USA in 1918, making his New York debut in November of that year. The issue dates of his piano rolls begin in 1919, and indeed it was at the beginning of that year that he signed his first Duo-Art recording contract with the Aeolian Company in New York. The agreement was dated 25 February, and was signed for Aeolian by W.V. Swords, at that time Vice-President and General Manager of the Company, later to resign under something of a cloud, after his handling labour relations with the Company’s workforce. The witness for Aeolian was Edwin Votey, Vice-President, and of course inventor of the Pianola and leader of the team that developed the Duo-Art. The photograph overleaf was taken at Aeolian Hall in New York in November Aeolian Company managers, November 1922 1922, about three and a half years after the signing of Prokofiev’s contract, and a number of the Aeolian men who dealt with him can be clearly seen. From left to right they are: 1: Thomas H. Fletcher, Retail and Advertising manager 2: Hermann B. Schaad, Company Secretary 3: William H. Alfring, Wholesale Manager 4: Edwin S. Votey, Vice-President 5: Harry B. Tremaine, President 6: William V. Swords, Vice-President and General Manager 7: Frank W. Hessin, Treasurer 8: C.D. Beatty, General Counsel 9: Francis L. Young, Director Although it was W.V. Swords and Edwin Votey who signed the initial con- A group at Steinway Hall, 27 October 1925 Ð Ernest Urchs is second from the left 130 continued. . . tract, it was in fact Hermann Schaad, who above conditions were fairly standard for British and American Duo-Art practice was in charge of the Duo-Art Recording the time, and any variations between the was not easy to keep unified, especially Department, who was to become the most contracts of different recording artists had with Reginald Reynolds, the London important contact as far as Prokofiev was to do mainly with the size of fees that they Duo-Art producer, working largely on concerned. were able to command. his own at that stage, and without the Prokofiev’s witness for the contract experience of a large throughput of rolls. was Ernest Urchs, Manager of Steinways’ Early Recording Sessions But Prokofiev does his best to insist, Concert and Artists’ Department in New The Aeolian Company was not always equally gently, though in the end he was to York, no doubt having befriended the very speedy in completing its recorded give in and wait for New York. His letter young Russian musician as a result of rolls and offering them for sale to the of 4 February reads: his public concert activities. Urchs was public. By January 1923, the time when “Regarding the postponement of a pivotal figure in the successful the next surviving item of correspondence recording my five rolls of this year, I development of Steinways, including the passed from Aeolian to Prokofiev, there would – if you allow me – object to it to a company’s move to the new Steinway hall should have been twenty rolls already certain degree. No doubt I will be the on 57th Street in October 1925. He can be recorded and well on their way towards last one to persist in making records of seen below left in a photograph of famous publication. These would have been the doubtful quality, but I think that my four musicians and Steinway directors, taken five rolls each for 1919, 1920, 1921 years’ experience in correcting the rolls – I on the evening of Tuesday, 27 October and 1922. However, only seventeen have did that always with great interest – would 1925, on the occasions of the first concert survived from the whole of the 1920s, enable me to attain sufficient results even given in the new hall, which was even allowing for the rediscovered March with a less skilled collaborateur than broadcast live. from The Love of Three Oranges. Much Mr. Woods or Mr. Lachmund.” Prokofiev’s contract, which ran for five of the correspondence between Prokofiev Although this exchange falls short of years from the beginning of 1919, set and Aeolian seems not to have survived, confirming that Prokofiev recorded every down that he was to record a minimum of so some careful reconstruction is needed, single year from 1919 until 1922, it does five rolls each year, for which he was to if we are to discover just what he might indicate that he had regularly helped to be paid $1250, with any further rolls that actually have recorded. edit his rolls. Thus the order of their issue, might be mutually agreed upon to be Some indication that he did actually especially at the start in 1919, does remunerated pro rata, i.e. at the rate of record every year for four years can suggest that a mixture of his own and $250 per roll. It can well be imagined be gleaned from an exchange of other composers’ works formed the basis that such an agreement helped towards a correspondence between the composer for each year’s “allotment”, to use sense of security for the young Russian, and Hermann Schaad, Aeolian’s Head of Schaad’s expression. Nevertheless, it displaced as he was from the new Soviet Recording in New York, that took place in appears that in the early years of Union, and dependent on his musical wits early 1923. Prokofiev had wanted to make Prokofiev’s relationship with the Aeolian for earning a living. An electric Duo-Art his five rolls for 1923 in London, since he Company, some effort was being made to upright piano cost about $1000 in 1924, had concert tours in Europe, and travel to record the entire Opus 12 and Opus 17, and grands started at $1850, so an annual the USA was not as simple as it is today. along with excerpts from The Love of fee of $1250 would buy a good electric Schaad gently objects, in a letter dated Three Oranges, which it was expected Duo-Art – perhaps the equivalent of about 8 January, since there were tensions would receive its premiere in Chicago in $20,000 in today’s terms. between the New York and London late 1919. Rolls that were never issued A particular feature of the contract was recording studios: may very well have included other pieces that Prokofiev agreed not only to play, but “In regard to you making your next from all these works, and indeed we also to correct his recordings. Since the year’s allotment of five records abroad, know that the March from The Love of dynamic coding for Duo-Art rolls was not would say that if possible, I would prefer Three Oranges was not published until automatically recorded, it was clearly to wait until you return to America its rediscovery in the 1960s. important that the pianist concerned for doing this work. Our London It is interesting to note that the two should supervise the initial editing of his establishment where we have recording transcriptions for piano from The Love of rolls, so that the end result, to paraphrase appliances, has only recently begun Three Oranges find their place in , “represented him not as recording, and they are not yet as well Prokofiev’s general catalogue as Opus he actually played, but as he would like equipped for this difficult work as we are 33ter, dated 1922. In fact the roll of to play.” in New York. the Intermezzo was issued in October Following the practice of both Aeolian “Furthermore, I believe their staff is 1921, so there is a similarity here with and its competitors, Prokofiev agreed not not fully organized for finishing rolls Stravinsky’s Piano Sonata, also recorded to record for any other roll company, and within a reasonably short time, and as by the composer on Duo-Art before it was not to endorse any player piano other than we are most desirous of having your published in sheet music form. the Duo-Art. In addition, Aeolian was recordings as fine as possible, for this given a first option, after the expiration of reason, if it is in any way agreeable to Editing The Recorded Rolls the contract, of negotiating with Prokofiev you, would appreciate your deferring this Like most Duo-Art recording artists, for a further recording agreement. All the work until your next trip to America.” Prokofiev agreed in his contract to assist 131 continued. . . with the ‘correction’ of his performances. to take up the challenge. most successfully do what I suggest. It This process will be familiar to those It was to form the basis of his 1923 would be titled somewhat as follows, who have a previous understanding allotment of rolls, and was smoothly (one “Impressions from the Scheherezade by of reproducing piano rolls and their might say ingratiatingly) suggested by Rimsky-Korsakoff, Especially Arranged recording methods, but those without Schaad in his letter of 8 January: for the Duo-Art and Recorded by Serge such knowledge may find it helpful to “In regard to the pieces we would Prokofieff”. Do you like my suggestions?” have a short explanation. wish you to record, I have been In the same letter, Schaad notes that In common with other reproducing wondering whether you could make us he has made arrangements for Prokofiev piano systems, the Duo-Art had a special an arrangement of the Rimsky-Korsakov to be paid an advance of $500 by the recording piano (actually at least three, Scheherezade, possibly making certain Aeolian Company in London. Financial two in New York and one in London), cuts that would [make] such recordings considerations no doubt weighed more by means of which the note pitches and adaptable for Duo-Art reproduction. I do heavily for a young composer than artistic durations of a pianist’s performance could not know just how many it would require endeavour, and, in a letter of 24 March, be accurately noted. The Duo-Art was one for properly presenting this work, but Prokofiev readily agreed to the single roll, of the systems that was able to perforate a as this composition is very popular in to last no longer than seven, or at the music roll in real time, at least as far as the this country, and as we have no good outside seven and a half minutes. note values were concerned, and as a recording of it, I felt you were the most In the event, the arrangement was taken rough rule of thumb, it had an accuracy in competent person, not only to do the mainly from the existing solo piano score this respect of not less than one-fiftieth of playing, but also the arranging which arranged by Paul Gilson, with a great a second. All major reproducing pianos requires a skilled and sympathetic deal left out, and about one measure of the time could only play back with a treatment.” of original music inserted in order to maximum of two distinct levels at any one Poor Prokofiev! Responding as modulate from one key to another. A time, one for treble and one for bass, and requested, he suggested making three transcription of the music roll by the it was by careful editing of the coded rolls, one each of the first three writer will be published shortly by the dynamic perforations that an illusion was movements, only to receive the following Prokofiev Archive at Goldsmiths’ College, created of a very human performance. in reply, perhaps after Hermann Schaad University of London. The editing process needed in order to had taken up the matter with more If Prokofiev’s additional suggestions, reproduce a pianist’s dynamic intentions money-conscious superiors: made in his March letter, were used as the risked being very subjective, therefore, “I appreciate your willingness to basis of his roll allotment for 1923, then and it was obviously in both the Aeolian make a special arrangement of the he also recorded the Andante from the Company’s and the pianists’ interests to Rimsky-Korsakoff and also to record it Tchaikovsky Piano Sonata, presumably co-operate in the matter. Thus, recording for the Duo-Art. Since writing you in this the Grand Sonata no 3 in G, the two contracts called for pianists to return to the regard, I have been further thinking over Miaskovsky Grillen that appear on roll Company’s studios in order to supervise this selection and, as usual, with my 7388, published in 1930, and two other the correction and even creation of reflection another suggestion has unspecified pieces of his own or other dynamic codings. This work appealed presented itself, namely, as you know, composers’ music. If so, then the more to some pianists than to others, but there is a desire in this country to often Tchaikovsky was never published. Percy Grainger, Harold Bauer and consume the heart and leave the body Rudolph Ganz are all on record as having intact, so I have been thinking whether it Second Recording Contract enjoyed the work. From his 1923 would be wise to distribute our energies Prokofiev’s first contract ended with comment noted above, “I did that always in recording the Scheherezade over his recordings for 1923, and in early 1924 with great interest”, Prokofiev clearly fell three rolls, or endeavor in one roll to give a second contract was prepared, on similar into the same category, a predilection that something in the nature of impressions lines to the first, to cover another five-year adds significantly to the authenticity of his from this composition which would period. However, on account of rolls. contain the melodious phrases with which Prokofiev’s concerns that his reputation our public is so familiar, and not risk in America might suddenly flourish, it Rimsky-Korsakov’s Scheherezade boring them with much of the orchestral was restricted to a shorter period. The One important aspect of Prokofiev’s development and thematic repetition contract was finally dated April 17th, roll recordings is that he chose at least which is admirable when played by an covering a three-year period, with three some music by other Russian composers, orchestra. I believe such a roll would be rolls to be made each year, for which whereas on the gramophone he recorded very popular and much more acceptable Prokofiev was to receive $1251 annually, only his own works. He was supportive than having to take two or three rolls to with any further rolls at a rate of $417 per of the music of his fellow-countrymen, accomplish the same purpose. Mr. Kreisler roll. The remainder of the conditions were and had suggested recording pieces has done this in a violin arrangement, a very similar to the 1919 contract, though it by Miaskovsky as early as 1923. So copy of which I am going to send you is noticeable that Aeolian on this occasion when Hermann Schaad proposed an by same mail. You, of course, are quite specifically stated that “said artist…agrees arrangement of Rimsky-Korsakov’s familiar with the most charming episodes not to play at any recital or concert, or Scheherezade, he was no less than eager in this composition and could, I am sure, exhibition or demonstration in connection 132 continued. . . with any other player piano or automatic there would be five woodwinds to carry was originally Frederick Bourne, piano, or where any such instrument the horizontal music; two trumpets and President of Singer Sewing Machine, is used…” There had been trouble a trombone used with caution to add and Commodore of the New York Yacht with Stravinsky, who had played at a power and emphasise the rhythmic Club. It was Bourne who arranged the demonstration concert for Pleyel, at passages; and finally for the bass, three capital for the purchase of the site on 42nd which the Pleyela had also been used, double-basses, now soft, now blatant Street and the building of the most famous which may well account for the greater (the highest was subsequently replaced Aeolian Hall. However, the combination rigour with which Aeolian drew up this by a cello). The seventeenth performer of the Aeolian company’s losses and the particular clause. would play several percussion instruments death of Frederick Bourne caused his heirs (hence an overture for seventeen to sell the 42nd Street site, and to evict The ‘American’ Overture, op. 42 musicians and not seventeen instruments, Aeolian from its ideal headquarters. It is difficult to see what rolls might as it has sometimes mistakenly been The move to Fifth Avenue, although have resulted from this second contract, called). The music would be definitely portrayed at the time as an expansion to as at least some of the Pictures from tonal; all three themes without accidentals, higher quality premises, was not really an Exhibition had already been issued the second in the Dorian mode, very little very advantageous to the Company, and by 1923, implying that the second development and no coda. Later this form the concert hall in the new building was roll, published in 1926, might also of ensemble turned out to be impractical certainly smaller. Within a short time, the have been recorded at an earlier date. (too small for a symphony concert, too Elizabeth Arden cosmetics company had Scheherezade and the two short large for a chamber concert), so I made a taken a large part of the building, and Miaskovsky pieces would seem to different version for full symphony during the 1930s, Aeolian gradually have been recorded in 1923, and there is orchestra.” diminished in importance as a former nothing else that subsequently appeared in One can see how the idea of an industrial giant. the Duo-Art catalogue. Unfortunately any Overture commissioned by a company correspondence concerning rolls that involved in making pianos might may actually have been recorded has not use keyboard instruments as its survived in the Prokofiev family archives, basis. Unfortunately, the and the remaining correspondence with Overture was not to be Aeolian in both New York and London performed at its intended deals only with the ‘American’ Overture destination, and instead and with AudioGraphic Duo-Art projects the premiere was given in that in the end came to nothing. 1927 in Moscow, as part So how can one account for this of a concert tour that apparent contradiction? Luckily, Prokofiev made to his Prokofiev himself provides at least part homeland. of the answer: The Aeolian Company “In between periods of work on The moved into its new Fiery Angel I wrote the Overture op. 42. premises at 689 Fifth The story of this overture is as follows: Avenue, New York, in my contract with the American pianola February 1927, having company was still valid, but by now been forced out of player pianos had gone out of style and Aeolian Hall on West the company had begun to diversify; 42nd Street. Prokofiev’s among other things it was building a idea that the Company concert hall in New York. Instead of was building a new playing a new batch of pieces for concert hall, although recordings (which could have been done true to a degree, was in in London) the company asked me to some ways the very write an overture for the opening of the opposite of the truth. new hall. I eagerly seized on the idea, for Aeolian had lost a great I much preferred composing to making deal of its capital in recordings. 1924, when losses “Since the hall was to be of medium incurred by the British size I chose an ensemble of seventeen Aeolian Company caused musicians. I planned the music as follows: $1,000,000 to be wiped the main instruments would be two off the share capital pianos, two harps and a celesta; the latter, of the parent company used mainly in the lower registers, would in the USA. Its most serve as a sort of resonator for the pianos; important shareholder The Aeolian building at 689 Fifth Avenue, New York 133 continued. . .

Third Recording Contract and Some AudioGraphic rolls were Both in his January letter, and in a AudioGraphic Plans produced of Prokofiev’s rolls, as the letter of 11 October 1928, thanking The second recording contract was due illustration below testifies. But by 1927 Prokofiev for the revised orchestral score, to expire in April 1927, and as far as one Aeolian had as many rolls as it needed, Schaad delicately brings the composer’s can tell, it was entirely replaced by the especially for a contracting market, and in recording contracts to an end, pointing commissioning of the Overture, op. 42. a letter dated 12 December 1927, out the decline in sales, and the need Hermann Schaad wrote to Prokofiev in Prokofiev suggested that instead of for Prokofiev to perform regularly in November 1927, regretting that no plans making new rolls, or indeed writing the USA, if a demand for his music were had been made, even for a private programme notes for AudioGraphic to be maintained. But by the late 1920s, performance of Prokofiev’s many artists’ contracts were new overture, and promising coming to an end, and even to try and find some other being terminated early, as suitable organization to take happened with Stravinsky in the work in hand. Yet in the 1930. same letter he brought to Prokofiev’s notice the new Recordings series of ‘AudioGraphic’ of Prokofiev’s Rolls rolls that the Company was In recent years there have embarking upon, particularly been several LPs and CDs in London. These rolls had made from the Duo-Art rolls copious illustrations and that Prokofiev recorded. In explanatory notes printed on listening to these, one should their surface, and were always exercise a great intended to appeal to the deal of caution. So many educational market. The recordings have been made originators of the concept of reproducing pianos were Percy Scholes, the that were not in first-class English musicologist, and condition, that the instrument George W.F. Reed, deputy as a whole has been brought chairman of the Aeolian into disrepute. In general Company in London. terms, if a recording does not Schaad made the sound musical, then it is suggestion that Prokofiev probably the present-day might help to create some instrument that is at fault, and autobiographical rolls, just as not the original roll. Duo-Art Stravinsky was doing with recordings, like those for the his ballet score, The Firebird. other reproducing piano There is a clear implication systems, were made on of a third recording contract medium-sized grand pianos, having been signed, and this in medium-sized rooms. There is confirmed by Hermann may be an argument for using Schaad in a letter dated 18 concert grands to reproduce January 1928, in which he rolls in live concerts, because notes that the contract then in there is always an element of force was due to expire in theatre on such occasions, but April of that year. Thus, for lasting recordings it is either a third contract was important to use pianos of signed in 1927, to last approximately the right size. for two years, or the second Prokofiev’s AudioGraphic roll of Scriabin’s Otherwise, the dynamic range ‘Prelude and Winged Poem’, D-7 contract, signed in 1924, was can become distorted, and in a extended by mutual consent, large hall the resonances perhaps with one year’s worth of fees productions, he might re-orchestrate his intended by the performer can be overdone. being paid for the new Overture, and with Overture for larger forces, making it more Prokofiev’s legacy of recorded rolls is the remaining two years’ allotment of rolls suitable for normal concert performance. a small but important part of his life’s being delayed. Whatever the case, it is This suggestion was readily accepted by work, and it is to be hoped that a set of clear that Prokofiev’s relationship with the Company, and he delivered the new recordings can be produced, that matches the Aeolian Company was intended to score to them in the summer of 1928. up to the excellence of the original rolls. continue beyond 1927. 134 Submitted by Curt Clifford

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A "Standard'! Beefsteak Dinner Flashlight Photograph of BeefstEak Einne1' Given by the Pmprietors of theY Standard Pneumatic Action Co. to 450 Guests During the Conventions in ~Vew York.

to creep to the left. \\Then it moves aperture D, thi~ pouch F, which has interior of this pneumatic, closing it. the right, again exposing aperture D, to the left, and before it moves far been distenoed upward thru the ef­ As it closes, it pulls the wire to which which permits the a;r to eett-r down enough to spoil the effect of the music, forts of the outside air to get into this it is connected, the other end of this thm tube D into cha'1l1el H, under the paper covers the aperture D. This chamber R-R-R, falls down, the air being- fastened (0 the arm of a rod pouch F, causing pouch to rise, valve shuts off the outside air from the t.:ndemeath entering the exhaust valve running- back of the roll box. On the G to rise and the lower pori-ion of channel leading from aperture D, thru chamber R-R-R thru the bleed hole f other end of this rod is a cam and as the valve to shut off the channel from tube D,- down thm rear valve, thru before mentioned. Vv'hen this pouch r the rod turns, the face of this cam valve chamber to the upper pneu­ channel H to a point underneath falls, the valve also drops, establish­ moves downward, permitting the shaft matic. This again locks the pneu­ pouch F. There is a bleed hole leading ing- a channel from chamber R-k-R on the upper spoo~ to slide to the right matics in neutral, as one might say, from this channel H to the exhaust around the stem of the valve, thru under the influence of the pressure inasmuch as both upper outside aper­ valve chamber R-R-R above. \\Then governor vent M and channel ], to the exerted by the spring on the shaft at tures, :\ and D, 3re now open and the outside air is shut off from this interior of the t:.pper pneumatic K. the left. at the other end of th~ spool both front valves (Lut one of which channel H by the paper covering the The exhaust therefore operates to the of the roll. This moves the spool to G is showll in the illustration) are - at J& at . J&

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142 By Terry A. Goepel OYHOOD MEMORIES B OF MONTANA

Virginia City, Montana in restoring the collection of antique Old West” amusement park in Billings. The story in the January-February mechanical instruments for the public to When I was a boy, in the mid 1950’s to AMICA bulletin about the see and enjoy as I did when I was a boy. early 1960’s, we visited many times in restoration by Art Reblitz, Billings with the Kyhl cousins and went to was especially interesting and brought DON FOOTE “Wonderland” several times. I remember back my boyhood memories of Montana Billings, Montana best the “Wonderland” museum and of and the mechanical instruments I saw Early collector - restorer of course the amusement rides, especially the there. coin operated Player Pianos, “stage coach”. I remember my first visit to Virginia and similar instruments. Inside the museum were many relics of City, Montana, in August of 1952, when the “old west”, Indian relics and cowboy - I was six years old. On this trip my My great aunt Evelyn and uncle Emil pioneer relics, Billing’s first “fire truck” grandmother Delphine, her sister Evelyn Kyhl and their family lived on Rim from circa 1906, Remmington Bronzes (who lived in Billings, Montana), my Rock Road, below the airport, in Billings, and oil paintings of Indian and Western parents and I went west from Billings to Montana. Their next door neighbor, scenes by renowned Western Artist stay near Ennis, with the Deckers, friends Don Foote, was a collector - restorer of Charles Russell. of great aunt Evelyn, who had a resort on coin-operated player pianos, orchestrions In the front part of the museum where Lake Ennis. They lived in a log style and similar instruments. one could buy souvenirs, there was a house with several small log cabins that Evelyn mentioned many times of being restored Seeburg K.T. Orchestrion. This were for rent. next door in Don’s home and seeing and instrument had a sign explaining that a On this trip we drove to Virginia City, hearing several of these instruments and new case had to be built for it because of Montana, for a day to tour the old mining being totally amazed by them! Evelyn of fire damage. The new case was pine with town that was being restored by the course knew about player pianos that were a glass front so you could see inside while Bovey family. I remember all the old in many homes during her childhood it was playing. I put every dime I owned buildings, especially the “Bale of Hay including her own, and of coin-operated in the coin slot to see and hear it play! The Saloon” and “Nevada City Music Hall” pianos in public places in her hometown rest of the museum had, besides Old West with it’s collection of orchestrions and of Britt, Iowa. She marveled at Don’s items, other mechanical instruments, band organs. I’ve been in Virginia City pianos with “extra instruments!” She also , music boxes, an Aeolian- about three times since this first trip in used to talk of hearing them play when Hammond player organ, and I believe a 1952, the last was in 1976. she was outside in the yard of her Billings Mills Violin, none of which were played. I’m really glad to know the State home. This would have been between of Montana has purchased this “Gold 1940-1949. Terry A. Goepel Mine” of Western History to preserve it I believe that Don Foote was also the Mason City, Iowa for all time and of AMICA’s involvement owner of or involved with “Wonderland - Northern Lights Chapter AMICA MONTANA EVENT “A group from our chapter hopes to travel to a meeting at the Emmons’ in Ten Sleep, Wyoming in late June, (June 28) and then visit Virginia City and Nevada City, Montana for the formal dedication of AMICA’s Adopt-a-Piano project, the newly restored Wurlitzer DX, at 2 PM on Saturday, June 30. This will be the first time the public will hear the Wurlitzer perform since Charley Bovey first acquired it in 1959. The Bovey Restorations are now owned by the state of Montana and contain one of the nation’s largest remaining collections of automatic pianos and organs on public display, not far from world-acclaimed Yellowstone National Park. With the famous Virginia City Players presenting their melodrama and oleo, accompanied by the Cremona , the Living History’s Old Fashioned Fourth Celebration and the Moonlight Steam Train Ride on Friday night, it will be a busy weekend! Those members who will be unable to attend the annual convention in Germany and Holland this year might consider joining our chapter members in Virginia City instead! CONTACT INFORMATION: Larry Emmons, [email protected] • Jere DeBacker, [email protected]

143 By Terry Smythe A MICA TECHNICALITIES

Early in 1972, Founding Member Mel After a series of strokes landed him in an capabilities. This edition contains a Luchetti compiled and published the assisted living facility, his house had to complete index of all articles organized first AMICA Technicalities, Volume I, be cleared out, resulting in the Skinner in “Keyword” sequence, and another containing technical articles written by Auction April 3, 2005. Several keyboard complete index of all articles organized in AMICAns and published in the early instruments not in the auction remained “Author” sequence. It also assumes that issues of the AMICA Bulletin. Since after his death, and in accordance with his all users will have the Acrobat Reader then, a number of AMICA Technicalities will, revenue from the sale of these has installed in their computer. have been compiled and published over gone to AMICA’s Memorial Fund. He For Windows users who do not have the years, all containing the technical would be pleased with this application of the Acrobat Reader installed, Acrobat achievements of AMICA members around the fund. Reader 6 [for Windows] may be found on the world, dedicated to restoration. It should be noted that within these this CD as a self-extracting executable, The whole of AMICA Technicalities 7 volumes, some technical processes ready for installation. have been assembled onto a single CD, and materials will have changed with For Mactintosh users who do not have with each issue converted to the universal expanded knowledge, and identification the Acrobat Reader installed, they will PDF format, and gifted to the AMICA and acquisition of improved materials. find an Acrobat Reader 5 folder [for Board at its meeting in Chicago in July The techniques and materials Mac] on this CD. Simply drag and drop it 2006. This disk carries on the tradition recommended in the earlier articles are into your main Applications Folder and of assembling many of the technical not necessarily absolute truth for all install it. articles written or contributed by AMICA time. They simply reflect the knowledge, This consolidated edition of members for the AMICA materials and achievements at a moment Technicalities contains both a Keyword Bulletins over the years. of time. Normal evolution inevitably Index and an Author Index, depending The spirit and intent is produces refinements. on desired search parameters. When to aid others in the Consequently, the articles contained finding a desired article, note which restoration of their within all volumes should be considered edition of Technicalities it is in, and its own instruments. It is in the spirit of informed guidance, page number. Then click back to this page offered as a memorial rather than absolute direction. For those and click on the target Technicalities. to long-time member connected to the InterNet, the process of Each Technicalities has a front-end Sandy Libman, who filtering most current knowledge relative index within Acrobat’s Bookmarks. That passed away in May to anything proclaimed herein, will be will help migrate to the desired article. 2005. significantly enhanced and accelerated. All pages within all technicalities are As a collector of The use of the InterNet is strongly numbered. Scroll down or up to desired automatic musical instruments, Sandy was encouraged. page number. discriminating. When an instrument One of AMICA’s aims is “To The more recent Technicalities V, VI, became available, he would evaluate it encourage the restoration of automatic and VII include a reference against against his wide knowledge of similar musical instruments to a condition each article back to the original article as items and add it to his collection only if it consistent with the original intent of their published in the AMICA Bulletin. The met certain standards—and if he did not manufacture.” earlier editions did not include this data already own one like it. The result of this We have many positive opportunities within their indexes. As you work your practice was a remarkable collection of great significance to further our aims way through the Author index, original comprising “one each” of many fine and objectives, and nourish a magnificent references are included where known. music boxes and keyboard instruments. slice of musical heritage. What better way Future editions will merge this He not only appreciated the mechanical than to contribute to our aims than by our cross-reference data for all as time music field in general but he also was members documenting their achievements permits. skilled in restoration, and he kept up on through the pages of the AMICA Bulletin. These Technicalities are not “text” the technology. When the Boston Area Please, care enough to share! searchable because all pages are Chapter started, he was a founding How to use this CD bit-mapped images. OCR was attempted member. He was most visible nationally to create “text” searchable documents, but This is the initial edition of a while serving for years as the Board OCR technology is still not perfected consolidated CD containing all Representative for the Chapter, and he enough to accurately deal with a mix of Technicalities issued by AMICA. Future enjoyed every convention thoroughly. text, continuous tone photographs and line versions will contain additional search

144 continued. . . drawings containing text captions. As Click on the Technicalities versions of these documents, most any OCR technology improves, these editions issue desired. local Office Depot type printing services of Technicalities will be re-scanned into Technicalities I - 1969 - 1971 can print Acrobat PDF documents at a documents that may be searched using modest competitive per page cost. To cut Technicalities II - 1972 - 1974 “text” parameters. For now, consider this cost, you may wish to direct the Service Technicalities III - 1975 - 1977 edition of the consolidated CD to be a nice Center to print the document 2-up on a Technicalities IV - 1978 - 1980 improvement over the printed bound paper page, shrinking the page count in half. Technicalities V - 1981 - 1988 editions. Or you can print it yourself on your Technicalities VI - 1989 - 1993 own computer. Check your printer’s Technicalities VII - 1994 - 2005 Clickable Indexes: capabilities for 2-up, or duplex, or back- Technicalities Keyword Index to-back, or booklet, or whatever. Technicalities Author Index Printing Technicalities Enjoy! For those inclined to work with printed Terry Smythe, March 2007

MICA WEBSITE NOW HAS A A PHOTO GALLERY

Hello All - I’ve created a Photo Gallery for the AMICA website. This is a place where members and chapters can send in photos of AMICA *events*. I don’t want to open this up to any photos from anyone as I won’t be able to handle the load, I’m sure. So take a look - it’s in the main page header and as a photo-link in it’s body (the one that used to say “Convention Photos”). - Karl Ellison

OLD Business Cards

145 HOUGHTS ON ARRANGED VERSUS T HAND-PLAYED PIANO ROLLS By Jeffrey Morgan Copyright, 2007

Until 1904, all piano rolls were take-up spool, which gradually increases precisely as printed, it will sound dry arranged, i.e., transcribed directly from in diameter. Such a simple solution for and lifeless. This is why the term sheet music to a paper or cardboard master counteracting tempo speed-up might “interpretation” exists! This is also why by hand marking and/or punching on seem self-evident to our current, most highly skilled pianists differ a drafting table. The resulting masters technologically oriented way of thinking (sometimes drastically) in their were then used to operate production in the twenty-first century. But, in the approaches to the same repertoire. Such perforators which produced large numbers first decade of the twentieth century, it differing approaches, by necessity, of copies for distribution and sale. required quite a conceptual leap. constitute deviations from the printed Arranged rolls lack inherent tempo score. Hand-played recordings capture the As mentioned previously, arranged compensation. Unless interpreted by a idiosyncratic variations in interpretation rolls lack inherent tempo compensation. skilled pianolist (or, at least, someone with from artist to artist. And, without such When such rolls are played back on a a modicum of musical sense) on playback, variations, music (and life in general) player action with a take-up spool, the such rolls often yield music that sounds would be exceedingly dull. Without the music becomes faster paced as one gets mechanical and, for the most part, boring. subtle variations that breathe life into further and further into the roll. Tempo it, most music would be like that In 1904, Edwin Welte (a German) speed-up can also be counteracted encountered nowadays in Midi format.1 invented a method to record a live manually be repeated (and annoying) pianist’s playing in real time. Developing readjustments of the tempo lever during All tempo compensation contained in a process to record an actual performance the course of playing an arranged roll. arranged rolls (if any) must be consciously of an individual pianist (i.e., a hand- But, such methods are guesswork, at best. introduced by the arranger or synthetically played recording) was an exceedingly To reduce such guesswork, many arranged introduced during the production process. important event in the history of the music rolls contained printed tempo changes Examples of deliberately constructed roll. Such a process accurately captures a throughout the roll. Such indications were tempo compensation can occasionally be pianist’s phrasing and provides inherent considered a boon by pianolists, but such observed in the “hand-played” rolls of tempo compensation. tempo markings compensated for the some smaller manufacturers of the speed-up phenomenon in relatively crude pre World War II era who lacked the Hand-played recordings (rolls) provide steps as opposed to a continuing, smooth technology and/or know-how required to inherent tempo compensation because (and accurate) progression throughout the produce genuine hand-played rolls. the note sheet used during the recording entire roll. process (via marking in real time, as Present-day examples of deliberately at Ampico, QRS, RythmodiK, and Better to make such compensation constructed tempo compensation can be Welte-Mignon; or via punching in inherent to the recording process and, found in the works of Conlon Nancarrow real time, as at Aeolian’s MELODEE, thus, gain the ability to accurately capture and, occasionally, in the Interpretative UniversaL, and Duo-Art) is pulled by a a pianist’s own tempo characteristics Arrangements of ARTCRAFT Music take-up spool similar to that employed along with all of his rhythmic effects, Rolls. A form of synthetic tempo during playback. Once such capability in essence, a pianist’s phrasing (note compensation was employed in many becomes imbued within a (hand-played) placement in time in relation to other ten-tune rolls arranged for coin-operated roll, a pianolist’s skill or knowledge notes often coupled with the artist’s own pianos. This synthetic compensation was of music is no longer prerequisite for dynamic emphasis and /or shading).1 achieved during the perforating process by eliciting musically credible (if not actually Along with dynamics, a pianist’s phrasing incrementally increasing the amount of pleasing) performances on playback. makes his playing individual and uniquely feed paper advanced between cycles of the his own; it’s what separates his playing perforating ram. Tempo compensation counteracts the from that of other pianists. phenomenon of tempo speed-up during While an accurate hand-played playback. This phenomenon is caused by The printed music sheet has always recording is a prerequisite for creating an the inevitable speed-up of paper over the been inadequate for conveying the accurate reproducing-piano roll (which tracker bar (roll reader) that occurs when subtleties of rhythm and phrasing. These includes a pianist’s dynamics in addition rolls are pulled by a take-up spool. This aforementioned qualities are provided to his phrasing), the development of the speed-up is caused by the build-up of by the artist in real time during his hand-played, piano roll did not precede paper around the circumference of the performance. If a selection is played that of the reproducing-piano roll; rather,

146 continued. . . it occurred in tandem with it. Concurrent in the U.S. were unplayable on T-100 where 65-note rolls were marketed into with inventing a process to record a live Welte-Mignons. By 1915, this situation the late 1930s. pianist’s playing in real time, Edwin Welte began to severely curtail U.S. sales Meanwhile, returning to circa 1908-10, also developed a method to record of Welte-Mignon T-100 players and the secrets regarding reproducing simultaneously the pianist’s dynamics, an instruments so equipped. piano/roll technology began to seep away even more remarkable achievement! To rectify this problem, Welte entered from German control. As with any rapidly Along with the above, Edwin into a 1916 licensing agreement with evolving technology, such leakage is developed a reproducing mechanism a U.S. manufacturer to produce an inevitable. Around 1910, a brilliant young which was capable of reading, then acting American-scaled (i.e., nine-holes- American inventor named Charles Fuller upon, special perforations located in per-inch) version of the Welte-Mignon Stoddard discovered or stumbled onto (via the margins of the roll. These special called “The Welte-Mignon (Licensee).” what route is unclear, but Hupfeld would perforations contained encoded dynamic The American manufacturer selected for be a likely candidate) some of the information which Edwin interpolated licensing was the Auto Pneumatic Action European methods of recording an artist’s from his recordings of the artists’ Company (APA), a division of Kohler playing in real time (sans dynamics). performances. He installed his mechanism Industries. APA was located in the New By late 1911, Stoddard and the in an upright piano with no keyboard. The York City borough of Manhattan. developed and result of Edwin’s efforts was a cabinet The driving force behind entering into marketed the RythmodiK Record Music (keyboardless) reproducing piano, named such a licensing agreement was obvious. Roll which was the first hand-played, the “Mignon.” Shortly thereafter, he Prospective purchasers of Welte-Mignon 88-note, music (piano) roll produced in developed a push-up piano player reproducing pianos wanted to be able to America. As stated earlier, because they containing his reproducing mechanism. play other rolls as well on their new emanate from a recording process that He termed it a “Vorsetzer” (German for: instruments. People trading up from captures a pianist’s playing in real time that which sits before or in front of). a player piano (or piano player) to a using a take-up spool (which imbues the This technology was held closely by reproducing piano wanted to retain their resulting roll with inherent tempo Edwin and his family’s company M. Welte favorite rolls for use on their new compensation), hand-played rolls & Soehne of Freiburg, Germany. By 1905, reproducing piano, even though such rolls accurately capture (sans dynamics) a another German company, Ludwig contained no dynamics (and in the case of pianist’s rhythm, phrasing and, in most Hupfeld of Leipzig, had also acquired this earlier, arranged rolls, not even an actual cases, pedaling. With a fair sense of technology. The secrets of reproducing performance). This was an important dynamics, even a crass amateur could now piano/roll technology pretty much stayed sales point, not to be casually dismissed. produce (mostly) pleasing music at the put in Germany until sometime around Manufacturers such as APA were already player piano via such rolls. A skilled 1910. By mid 1906, the Welte-Mignon equipped to mass produce reproducing pianolist was no longer essential to reproducing piano system was marketed in actions in the nine-holes-per-inch format. achieve acceptable results at the player the U.S. From mid 1906 to 1911 all Welte- Hence, Welte probably felt that it was piano. Mignons sold in America were imported simpler to license a subcontractor to The introduction of RythmodiK from Germany. By 1912, sales were so manufacture reproducing-piano actions for hand-played rolls was a watershed event good that Edwin built a factory their U.S. market than to completely in 88-note (i.e., non reproducing), in Poughkeepsie, New York, to fill the retool and retrain in-house. This move piano-roll technology. But for a brief American demand for Welte-Mignons. would also conveniently free up their period of ambivalence, public acceptance Poughkeepsie facility for burgeoning One problem was that, even in his new was virtually immediate and demand was residence organ production, circa 1916. U.S. plant, Edwin built Welte-Mignon strong. All major roll manufacturers, players and cut Welte-Mignon rolls to Previously, the American marketplace including QRS, were soon forced to German metric standards. The term had solved such compatibility dilemmas follow suit, and hand-played rolls quickly “T-100” designates Edwin’s original (such as the transition, beginning ca. became the new industry standard. The metric system. This system spaces the 1906, from 65-note six-holes-per-inch only holdouts for the earlier, arranged distance (left to right i.e., Bass to Treble, to 88-note nine-holes-per-inch music rolls were pianolists (skilled and or vice versa) between the holes in the roll formats) by briefly marketing otherwise) and those manufacturers tracker bar and roll, metrically! This made instruments having multiple format lacking capital to acquire the equipment T-100 Welte-Mignons totally incompatible capability, such as the 65/88-note and/or technical expertise needed to with popular tracker-bar/roll-spacing player piano (and piano player). By produce a competing product.2 scales (e.g., six-holes-per-inch, and 1915, the 88-note nine-per-inch (tracker- One of the few drawbacks to nine-holes-per-inch) already in use in the bar/roll) scale had so pervaded the hand-played recordings is that their U.S. This meant that a Welte-Mignon U.S. marketplace that even 65/88 production is exceedingly labor intensive. T-100 owner could play only T-100 players were deemed passé. However, Production of hand-played recordings Welte-Mignon rolls! Virtually all other infatuation with obsolete formats requires a sizable workforce of highly rolls manufactured, sold and circulating lingered on much longer in England skilled, musically trained editors to render 147 continued. . . the raw recordings listenable and of such buttons and levers when playing He then closed the Poughkeepsie facility musically credible. With hand-played reproducing rolls, which already contained and proceeded to move the operation to recordings, accuracy depends as much on the dynamic information needed to the Bronx borough of New York City the efficacy of editing techniques and skill activate these reproducing pianos’ combining it with a piano company of the editor as on the skill of the artist.3 expression systems automatically. (Estey) he operated there. During the near collapse of the music roll By 1916, Welte was forced to offer As he gained control, Gittens severely business in the early days of the similar capabilities. As touched upon curtailed the supply of American-scaled Depression, the labor intensiveness of earlier, this was accomplished by (nine-per-inch) Welte-Mignon rolls producing hand-played rolls probably licensing a U.S. manufacturer (APA supplied to APA for their “(Licensee)” caused such surviving manufacturers as of New York City) to build and market action. This forced APA to create their QRS to discontinue them (in 1931). Until a new, American-scaled (i.e., nine- own reproducing-piano roll manufacturing the early 1970s, all new selections were holes-per inch) Welte-Mignon (Licensee) entity to supply their software needs. produced at QRS by a ingenious process reproducing action (system), which was This new entity was called “DeLuxe of arranging/composing on a specially offered installed in a large array of piano Reproducing Roll Corporation.” By late modified piano. The development of this brands. Until 1920, rolls for this new 1921, this new entity was recording “arranging” piano is attributed to a Joel system were provided by Edwin’s and marketing new titles for the Dragelin; but this instrument is more often Poughkeepsie facility, which merely “Welte-Mignon (Licensee)” action. associated with J. Lawrence Cook and, re-cut (transcribed) existing titles from more recently, with a pantheon of later Meanwhile, Gittens embarked on the the T-100 catalogue into the new QRS artists. In early 1971, QRS resumed development of his own American-scaled American-scaled (i.e., nine-holes-per- recording and production of hand-played (nine-holes-per-inch) reproducing-piano inch) Welte-Mignon (Licensee) format. rolls with its premium “Celebrity” series action. This new Welte-Mignon Corp. Thus, no roll recordings were made of rolls. produced action was named the “Original exclusively for this new system until Welte-Built Welte-Mignon Reperforming By late 1912, Stoddard had incorporated 1921. (reproducing) Instrument.” This new dynamics into his hand-played rolls This new Welte-Mignon (Licensee) action was installed mostly on Estey and developed his own reproducing action also featured 88-note-roll capability pianos, also manufactured by Gittens. mechanism (action), which he marketed with manual hand levers for owners These new Gittens-produced instruments with the assistance of the American Piano to insert their own dynamics on rolls carried the names “Welte” or “Estey” on Company as the Stoddard Ampico. Rolls containing no such information. their fallboards and were in the made for use on the newly developed Unfortunately, these levers were also marketplace by late 1921. During the Stoddard Ampico reproducing action were subject to owner abuse when playing the period from 1921 through 1928, the called “Stoddard Ampico” rolls. By late reproducing rolls made for this Welte-Mignon “Original” (a product 1915, Stoddard’s reproducing piano/roll new (Licensee) action. Owners of all three of the Welte-Mignon Corp.) and the system became known simply as The systems were strongly admonished Welte-Mignon “(Licensee)” (a product of Ampico. By March of 1914, Aeolian never to touch the manual hand levers APA) were marketed concurrently and entered the reproducing piano/roll (or buttons) when playing reproducing competed with one another. marketplace with its Duo-Art. From the rolls. In spite of this admonition, many very beginning, both Ampico and Duo-Art Of course, Gittens also needed rolls to owners succumbed to the temptation to tracker-bar/roll scales were based upon market with his new reproducing-piano pretentiously superimpose their own the prevailing U.S. standard of nine-holes- product. This problem was solved by dynamics over an artist’s rhythm and per-inch! recutting prior T-100 classical titles into phrasing, usually with less than artistic the new American-scaled (nine-holes-per- By so doing, Ampico and Duo-Art musical results. Unfortunately, this inch) format. The new Gittens-produced reproducing pianos gave customers the reprehensible practice continues to the reproducing-piano roll was cut onto added ability to play 88-note (both the present day. high-grade, dry-waxed paper, given older arranged and later hand-played vari- During World War I, the Weltes’ elegantly printed leaders (in purple) and eties) rolls on their newly acquired repro- American branch (M. Welte & Sons, labels (in purple, gold, and black), and ducing pianos (though without automatic Incorporated) was seized and put sold in an exceptionally high-quality dynamic effects, of course). If dynamic under the control of the Alien Property purple box. Naturally, these rolls were effects were desired, the owner could Custodian. After the war, the German-held called “Purple Seal Welte Mignon (not insert them himself (with varying degrees (majority) assets of M. Welte Sons, Inc. hyphenated!) Records.” Also printed of success) by means of various buttons or were auctioned off as war booty on March on some leaders was: “Original levers. With this strategy, Ampico and 14, 1919. As a result of intrigues Welte-Mignon Master Reproduction”. Duo-Art gained great advantage in the following this auction, control of M. Welte This latter term can also be found reproducing piano marketplace. But, by so & Sons, Inc. passed into the hands embossed on gummed stickers applied to equipping their respective reproducing of a George W. Gittens who renamed the the top of some boxes. piano actions (systems), Ampico and company The Welte-Mignon Corporation. Duo-Art opened the door to owner abuse But, from their inception in late 1921 148 continued. . . to their demise in 1928, Gittens never nine-holes-per-inch format. But, by this ADDITIONAL REFERENCES seems to have added new titles to, time, Gershwin’s reproducing piano roll AMICA Bulletin, May/June 1996, p. 133, or included pop selections in, the Purple recording activities had been redirected “AMPICO’S RECORDING PROCESS: Seal library of Welte-Mignon rolls. exclusively towards Aeolian’s Duo-Art Its Theory and Its Hardware” by Thomas This move entailed the near-brilliant system. E. Kimble. Ibid., November/December strategy of repackaging. By simply 1996, p. 294, “Duo-Art Roll Speeds and To further complicate matters, the recutting titles (from a stagnant pool of Recording Methods” by Rex Lawson. dynamic languages employed to encode T-100 titles already-on-hand) into the Ibid., July/August 1998, p. 172, “Digital dynamic information on the rolls of new nine-holes-per-inch format, then Subversion” by Jeffrey Morgan. Ibid., American-scaled (i.e., nine-holes- marketing the result in an elegant package May/June 1999, p. 150, “DUO-ART per-inch) reproducing piano systems were at a premium price, Gittens cut his PIANO ROLLS: a description of their intentionally incompatible. This was software costs to the bone! Customers production and an assessment of their so the reproducting action of one desiring popular selections for either performance” by Denis Hall, revised manufacturer would only play his rolls, a Welte-Mignon “Original” or Welte- annotated version. Ibid., March/April and not those of his competitors. The Mignon (Licensee) reproducing piano “THE EARLY WELTE- only commonality (demanded by the 2000, p. 81, were forced to purchase them from the marketplace) was that all three of the MIGNON RECORDING PROCESS: DeLuxe Reproducing Roll Corp. Gittens major competing U.S. reproducing piano HOW WAS IT POSSIBLE? IT PROBABLY let DeLuxe shoulder the expense of systems would play 88-note (both WASN’T!” by Jeffrey Morgan (update recording and editing artists to supply new arranged and hand-played), nine-holes- of version appearing in the January / titles, a very savvy move. per-inch, player-piano (music) rolls. This February 1994 AMICA Bulletin); p. 83, The metrically-scaled T-100 system included the Ampico from 1912 onward; “WELTE-MIGNON FOLLOW-UP” by (format) was gradually withdrawn the Duo-Art from 1914 onward; and the Jeffrey Morgan (update of version (phased-out) from the U.S. marketplace by Welte-Mignon (Licensee) from 1916 appearing in the May/June 1994 AMICA Gittens’ Welte-Mignon Corp. The last onward. As a footnote, I might also Bulletin); p.84, “SIMONTON LETTER American-recorded T-100 Welte-Mignon include in this group the Welte-Mignon TO LARRY GIVENS” from Morgan title was released in 1920. Welte-Mignon “Original” from 1921 onward. archive; p. 86, “SIESMOGRAPH T-100 formatted rolls and instruments PATENT” by Jeffrey Morgan; p. 92, Because of space limitations, much continued to be made in Germany along “DeLuxe Reproducing Roll Corporation- detail has been omitted; and, the above with yet another German Welte-Mignon letter” submitted by Robin Pratt; p. 93, represents an oversimplification of an format, the T-98 (not marketed in “Purple Seal Welte-Mignon Music Rolls” extremely complex subject. Additional America). by Mark Reinhart. Ibid., July/August information can be gleaned from the 2002, p. 150, “THE EARLY WELTE- The above also explains, to a references listed below. MIGNON—The Early Welte-Mignon considerable extent, the rarity of George Recording Process Q & A” by Jeffrey Gershwin’s Gittens-produced, Welte- Morgan. Ibid., May/June 2004, p. 145, Mignon T-100 reproducing piano rolls. “Ampico History In A Nutshell” by He was recording in a format already FOOTNOTES Jeffrey Morgan. Ibid., July/August 2004, obsolete! At the time (1919-20) 1. Adapted from Robin Pratt’s Editor’s p. 219, “Ampico History In A Nutshell— reproducing piano roll companies Notes in Denis Condon’s article Addenda” by Jeffrey Morgan. Ibid., considered an ephemeral, “Chopin’s Nocturne in F# Op. 15, No. November/December 2004, p. 325, necessary evil with no lasting value. Their 2” located at bottom of right-hand col- “SEVEN POPULAR REPRODUCING focus was primarily on recording classical umn on p. 77 of the March/April 2000 PIANO MYTHS DEBUNKED” by Jeffrey music artists. At the time he made his AMICA Bulletin. Morgan. Ibid., May/June 2006, p. 144, Welte-Mignon recordings, Gershwin had “AN INTERESTING PARALLEL” by not yet acquired a reputation as a classical 2. See AMICA Bulletin, November / Jeffrey Morgan. THE WELTE-MIGNON: composer/artist. Unlike many classical December 1997, p. 388, “MUSIC Its Music and Musicians by Charles Davis T-100 selections, Gershwin’s popular TRADE REVIEW — Two very Smith and Richard James Howe, T-100 selections were never transferred to interesting articles from the 1912 AMICA/Vestal Press, 1994, Historical an American-scaled (nine-holes-per-inch) Music Trade Review…” sent in and Overview. Welte-Mignon format. They were simply annotated by Jeffrey Morgan. abandoned with the T-100 in the U.S. The irony is that Gershwin’s Welte-Mignon 3. See pp. 178 & 179 of the Newly T-100 recordings were the victims of an Revised and Updated version of industry (more specifically, a company) in “FIDELITY AND THE AMPICO” by transition. By the end of 1921, all new Nelson Barden, Jeffrey Morgan, and Welte-Mignon reproducing piano rolls Richard Howe, AMICA Bulletin, recorded and sold in the U.S. were made July/August, 2003. exclusively for its new American-scaled 149 ROFESSIONAL COURSE IN PCONSTRUCTION AND RESTORATION By Leonardo Perretti From L’antico Organetto - December 2006

The vocational training course for instruments, or better, for the decrease subject matters (Construction, History of maker and restorer technicians of of knowledge of their uniqueness and Automatic Instruments, Putting into music automatic instruments, which was already importance. New manufacture, which and Restoration) dealt with by AMMI’s mentioned in the previous issue of this has stopped for many decades already, operators, give the course participants periodical, is in full swing. The photo on has been disappearing also with regard a chance to get acquainted with the the cover shows the participants with the to the manufacture and putting into instruments directly, and directly restoration teacher and the coordinator music of new cylinders. One of surrounding one of the “patients” (the the last musicians coming from automatic piano “De Vecchi”) completely the tradition died few years ago. disassembled. In these pages you will find Restoration was entrusted, except other pictures related to the course. for rare exceptions, to improvised I think it is appropriate at this point restorers or professional restorers, to make a few observations about expert in similar instruments, but the importance—both practical and who considered these instruments symbolic—of this course, already “second-class” and treated them expressed in the reports presenting the accordingly. course itself and published, as I already This course finally marks said, in the previous issue. an important achievement in Before the establishment of AMMI, AMMI’S growth and activity. mechanical music in Italy was “no-man’s For the first time in Italy, and land”: a considerable number of I believe also in Europe, new instruments have been lost owing to operators are educated and trained the decrease in interest for automatic specifically and appropriately to treat automatic instruments with full awareness of their specificity and importance. Together with the basic subject matters which are used to build the background of general knowledge, the specific

150 continued. . . experience both the theoretical and actually is just a new starting practical problems in the daily practical point, maybe more advanced, sessions. The aim is to get participants which implies even more acquainted with all aspects, also the challenging goals. AMMI less pleasant. For example in the remains a young Association, Restoration Laboratory, managed by the as young is also the renewed writing person, participants learn, together interest for Mechanical Music in with the most refined operations, Italy. Over the years, we have also “dirty” procedures (cleaning, paint been striving to discover and removing of parts, etc.) which, although collect what remains from a being carried out in strict compliance with now-disappeared tradition. We safety rules, diverge from a certain have tried to combine what we holographic image of restoration as an found with the experience and aseptic activity carried out in white knowledge acquired in similar coat and which is part of the public sectors in order to give back imagination. On the contrary, we think shape to that tradition. On our that, among the other things, the real side we have that special sensi- practical activity puts the participants in tivity and skill existing in Italy the conditions to assess their inclinations in the field of cultural heritage, and test their “calling” for this type especially with regard to of work. protection and restoration, Is all well, then? The answer is yes, which allows us to approach at the moment. But together with mechanical musical instruments the satisfaction for what is being with a watchful eye to their accomplished, there remains the value as historical-musical document, and We trust that, also through this Training awareness that still a lot needs to be not only with a merely utilitarian course, Mechanical Music and AMMI done. What I called achievement above, approach. may get increasingly closer to the established goal.

Submitted by Kenneth E. Hodge LENN GOULD, G DEAD AND IN CONCERT By Terry Teachout WSJ - April 14, 2007

I saw a Piano play itself the other day. something irresistibly seductive about a It was a baby grand in the lobby of a piano whose keys push themselves down. medium-posh hotel, and it was equipped Most of the major pianists of the ‘20s cut with a digital playback device called player-piano rolls, and the best of the a that was hooked up to the instruments that played these long strips keyboard. As I watched it rattle off a of punched paper could reproduce with no-hands version of Count Basie’s “Jive uncanny exactitude the playing of anyone at Five,” I reflected on the endless from to Fats Waller. inventiveness of the human mind—and Today’s Disklaviers use CD-ROMs embedded in a conventional piano the inexorable working of the law of instead of paper rolls, but their purpose recording and convert it into a digitized unintended consequences, which ensures remains the same—to create the illusion sound file that can be played on any that no good deed goes unpunished. that a piano is playing itself. Disklavier-equipped instrument. Sony The first player piano was built in The newest wrinkle in self-playing Classical is about to release a CD of 1895, and since then these ingenious pianos comes from Zenph Studios, a Zenph’s “reperformance” of Glenn devices have fascinated all who see them company based in Raleigh, NC. The Gould’s celebrated 1955 recording of in operation. Even to the most blasé wizards of Zenph have come up with a Bach’s “Goldberg Variations,” played of soi-disant sophisticates, there is way to extract the sonic information back in a Toronto studio on a 9-foot

151 continued. . .

Yamaha grand and rerecorded in people who had made their own music A listener who cares only for the glories glistening digital sound. (The original now began to consume it passively. My of the past, by contrast, is like a farmer album was recorded on hissy two-track mother’s father played the banjo, but who eats his seed corn instead of mono tape.) It sounds as though the neither of my parents played any planting it. 22-year-old Gould had climbed into a time instrument at all. I am the sole member of That’s why I’m of two minds about machine, set the controls for 2007 and my extended family who not only learned what Zenph Studios has wrought. catapulted himself into the present. an instrument as a child but continued to Yes, its “reperformance” of Glenn What’s the point of buying the CD? play it as an adult—and that was because Gould’s “Goldberg variations” is a Not much, unless you’re so allergic to I wanted to become a professional technological miracle; yes, Gould’s low-fi sound that you can’t bring yourself musician. Nowadays, alas, the only original performance was and is to listen to anything recorded prior to “instrument” I play is my iPod, and the irreplaceably special. I wouldn’t want 1980. But a Zenph reperformance can also only people I know who make their own to be without either one. But to become be played back in a concert hall for a live music get paid to do so. fixated on such things is to put yourself audience—and that’s where things start to Do I regret the invention of the at risk of overlooking the heart of the get dicey. ? Not at all. I know of no matter, which is the music itself. No sooner was the phonograph antiques more treasurable than the Last month a group of New York invented a century ago than prominent now-obsolete slabs of shellac and vinyl journalists were invited to a public artists warned that it would kill off that make it possible for me to hear “performance” of Zenph’s digitized amateur music-making. In 1906 John great musicians who died before I was re-creation of Gould’s Goldbergs. By all Philip Sousa went so far as to tell a born. At the same time, though, I believe accounts they found the spectacle congressional committee that “talking that a musical culture built exclusively on bewitching, just as another New York machines are going to ruin the a foundation of canned music (a phrase audience was bewitched in 1917 when it artistic development of music in this coined by Sousa) is doomed to consume saw a Duo-Art player piano “perform” country…Music develops from the itself, which is a big part of what makes Harold Bauer’s piano roll of Saint-Saens’ people, the ‘folk songs,’ and if you do live performances so important. When G Minor Piano Concerto with Walter not make the people executants you you buy a ticket to a piano recital by a Damrosch and the New York Symphony make them depend on the machines.” promising youngster instead of spending Orchestra. Both audiences marveled to see The March King was right. Once you the same money on a record made a piano playing itself, in much the same could buy a 78 of the “Moonlight” Sonata by Vladimir Horowitz in 1965, you’re way that another kind of audience might instead of learning how to play it yourself investing in the future of music, the same gasp when a magician pulls a white rabbit on the parlor piano, the art of making way you are when you encourage your out of his top hat—forgetting that the real music became professionalized, and own young child to take piano lessons. miracle is the rabbit, not the hat. NEW PIANO ROLLS & RECUTS

New from Durward Center [email protected] FOR IMMEDIATE RELEASE - NEW WELTE STYLE F ROLL. Restorer and music arranger Stephen Kent Goodman has been commissioned to arrange three of his original rags for the Welte orchestrion, style F roll.

The three selections are: Ol’ King Razzamatazz (ragtime-one-step fantasy) Trombonus Rex- a ragtime monstrosity Firehouse Rag The last work, Firehouse Rag, represents the first time a fire siren is imitated in a Welte orchestrion.

ROLLS ARE AVAILABLE FROM: Durward Center - [email protected] 152 continued. . . PLEASE VISIT THESE SUPPLIERS OF RECUT ROLLS

Rob Deland: Blues Tone Rolls Magic Melodies & Keystone www.bluesrolls.com 360 Lawless Road, Jamestown, KY 42629 [email protected] Phone: (270) 343-2061 Phone: (847) 548-6416

David Saul: Precision Music Rolls Bob & Ginny Billings: Rock Soup 1043 Eastside Road, El Cajon, CA 92020-1414 14010 Rim Rock Drive, Reno, NV 89521 [email protected] [email protected] Phone: (775) 853-4659 Joyce Brite: Player Piano & Musical Music Exchange http://mmd.foxtail.com/Exchange/ Leedy Brothers Music Rolls http://mmd.foxtail.com/Exchange/rollpage.htm 4660 Hagar Shore Road, Coloma, MI 49038 www.leedyrolls.com Phone: (269) 468-5986 Tim Baxter: Meliora Music Rolls Fax: (269) 468-0019 www.members.aol.com/meliorarol/index.htm [email protected]

Larry Norman: Rollertunes www.home.earthlink.net/~rollertunes Scott Boelman: Lazy Dog Piano Rolls [email protected] www.lazydogpianorolls.com Phone: (540) 721-7188 [email protected] One Olive Street, Ladera Ranch, CA 92694 Phone: (949) 218-0108 Don Teach: Shreveport Music Co. 1815 E. 70th Street, Shreveport, LA 71105 [email protected] Dick Hack: Hack Mechanical Music Phone: (318) 798-6000 2051 Chesapeake Road, Annapolis, MD 21409 Fax: (318) 797-4572 [email protected] (410) 279-5859 Cell Days (410) 757-2164 Home Evenings Robin Pratt: Artist’s Choice Music Rolls www.wiscasset.net/artcraft/pratt.htm [email protected] Frank L. Himpsl: Valley Forge Music Roll Company Phone: (419) 626-1903 604 Linnet Road, Audubon, PA 19403 516 Pierce Street, Sandusky, OH 44870-4725 (484)-250-7046 roll shop (610)-291-1841 my cell http://www.valleyforgemusicroll.com Steve Bentley: Playrite Music Rolls 1536 N. Palm St., Turlock, CA 95380 U.S.A. Phone/Voice: (209) 632-5784 Kukral Collection: Welte-Mignon and 88-Note Rolls Fax: (209) 667-8241 216 Madison Blvd., Terre Haute, IN 47803 Phone: (812) 238-9656 [email protected] QRS Music Technologies, Inc. 1026 Niagara Street, Buffalo, NY 14213 Phone: 1-800-247-6557 Fax: 1-716-885-7510 www.qrsmusic.com

153 AMICA Chapter Lady Liberty S.O.W.N.Y. Gateway America Heart of Rocky Mountain Texas Southern California Sierra Nevada Pacific Can-Am Northern Lights Midwest Boston Chicago Founding LOCATION OF states do not have an CHAPTERS KEY Currently the rest of MAP of the AMICA Chapters

154 News From The Chapters

Gary, Christiana and Cynthia performing Moritaten (German songs of death with happy endings)

Christiana and friends with my Castlewood #66.

LADY LIBERTY CHAPTER Reporter: Buzz Rosa President: Bill Maguire

Yesterday at the entrance of Prospect Park, Brooklyn Yesterday, March 31st, Gary and Cynthia Craig, a friend of theirs, Christiana Drapkin, a jazz singer and accomplished musician, and I performed at the entrance of Prospect Park in Brooklyn, just across from the Brooklyn Botanical Garden Young girl proudly and near the carousel. The crowd wasn’t as large as expected, displays her certificate but the weather was terrific and those who did stop by were of graduation from enthusiastic. Even the people from the Parks Dept. and a very Vincent Morgan’s friendly police officer admitted that they had no idea who we School of Organ Grinding. were or what street organs were before seeing us. Now they have asked that we return next year for their opening day again. Cynthia Craig had to nearly “fight city hall” to get a permit and was turned down the first time. Now they are asking for us. Way to go!

John Dousmanis and Dale Rowe at a recent workshop.

Some of the many people who had never seen a before.

155 Gary and Cynthia Craig on stage with their two Stuber organs and “monkey”

Hi Babit and Marvin Polan before the Lady Liberty meeting on April 4th.

Vincent Morgan and Gene Saboda working on Vincent’s 1860’s harmonium.

Gary Craig and Vincent Morgan on stage at the organ rally, April 1st.

Another view of Vincent and Gene working on Vincent’s project. Bill Maguire and Valerie Billington working on her reed organ at a recent workshop.

156 Roxanna Billington entertaining on the Steinway at a recent workshop.

Dennis Windsor and his monkey, Joy, at the organ rally.

Vincent Morgan and a stilt walker at the organ rally. MIDWEST CHAPTER Reporter: Liz Barnhart President: Don Johnson - (248) 650-1840

October Meeting Our October meeting weekend started with a trip to the Gilmore Car Museum in Hickory Corners, Michigan. Eight historic barns housed a great collection of almost 200 cars from all eras. Special exhibits of Hudson, Dodge and Tucker autos and even antique travel trailers were all perfectly restored. There was a mid-century Shell gas station filled with all kinds of automobile related collectibles and hood ornaments. Also on-site was a restored diner where many of us enjoyed lunch or a special soda. After the museum visit we split up, with half of us traveling to the Kalamazoo Air Zoo. It is filled with Hi Babit autographing rolls, surrounded by Vincent Morgan, Dianne aviation history with 50 original historic planes including Polan and Buzz Rosa. a Curtiss P-40N Warhawk, a Goodyear FG-1D Corsair

157 and a McDonnell Douglas F/A-18A Hornet. The rest of the group went to downtown Kalamazoo, where there were several antique malls and shops along with a great architectural salvage shop. Next was dinner, catered at Dennis Burchett’s school, where one of the students provided dinner music on her harp. The tour included his music room, where a very nice player piano purchased at a thrift shop introduces students to mechanical music. We even had a roller organ demonstration by George Goris after we ate. Dennis and his wife Patti hosted us that evening at their restored Tudor home for dessert and lots of music and entertainment. Unusual collections included early television sets featuring a rare 1954 RCA Victor CT100 color television. 1954 was the first year for color broadcasts and it was fun Don Johnson and Bob Andersen to watch modern television programs on the old technology. at the DeSoto display. Their Scopitone downstairs was quite a hit, featuring early “music videos”. The 1925 Steinway AR Duo-Art grand was beautifully restored and rebuilt by chapter member Bennet Leedy and Reeder Pianos. Sunday morning began with our business meeting in the upstairs ballroom of Henderson Castle. It sits high on West Main Hill overlooking the city of Kalamazoo. After the meeting, we had a guided tour of the 25 room home, an elaborate Lake Superior stone and brick structure started in 1888 for businessman Frank Henderson. Containing seven baths, a thirteen-head shower and an elevator, it really was the standard for luxury. The couple who operates it as a bed and breakfast added elaborate detail in paint, trim and wood and Marva Rasmussen makes a stone inlay, along with elaborate light fixtures. call from the Burchett’s A short drive to the home of Randy Stehle was the last ‘phone nook’. stop for the weekend. He has a great collection of pianos, including a 1924 Marshall and Wendell Marque Ampico pumper that greeted us with music as we entered. In the music room, which has gorgeous stained glass windows, was a pretty oak 1922 Starck upright with a 1970s Pianocorder Hal Malakinian system installed. Next to that was a 1920 Chickering Ampico compliments the 6’5” grand, again rebuilt at the Leedys. Downstairs was the harpist who phonograph room where thousands of records are shelved entertained us along with record memorabilia. Scrapbooks held postcards at dinner. of early phonograph items and other ephemera pieces were on the walls and even on the ceil- ing. He had a modern Lenco L 75 turntable modified with a super-lightweight Infinity tone arm to play 78s. Randy said it can even play old 16” diameter radio transcriptions! The filtering system really made the old 78s sound great and the finale was “I’ve Got a Gal in Kalamazoo”, by request. We’d like to thank Dennis, Patti and Randy for arranging a great weekend with new Visitors to the Air Zoo saw WWII planes, among others collections to see and new places to visit. And special Sherri tests out a possible thanks to Bob Andersen for dress for the next banquet. the extra photos included with 158 The Neffs find a Victrola crate in a great antique salvage store in downtown Kalamazoo. Bob Andersen with Dennis’ early televisions.

Mike and Liz Barnhart enjoy root beer at the authentic diner.

The AMICA Midwest ‘class photo’.

Gary Rasmussen takes a turn at the player piano in the music room at Dennis’ school. The group arrives at the 1888 Henderson Castle.

Dan Harrett watches the original color RCA TV as Dennis demonstrates.

159 ROCKY MOUNTAIN CHAPTER Reporter: Larry Emmons President: Larry Kerecman - (303) 377-7729 Or Jere?

March 24, 2007 Reporter’s note: I want to thank Art Reblitz for covering for me by furnishing the text and photos for this report; I was not able to Dan Harrett and Marva Rasmussen pick out records and postcards from Randy’s collection. attend the meeting in person. About 25 members gathered at the beautiful home of Louise Lucero and her mom Clara Wingfield (Louise is our chapter secretary). Those coming from Colorado Springs and Pueblo braved an early spring snowstorm, so characteristic of “Springtime in the Rockies,” while local members from the greater Denver area trekked through a welcome rain. After a delicious meal and lots of catching up since our Holiday party in December, we got down to the business meeting, discussing the current agenda, approving revised chapter bylaws, and making plans for future meetings. We gave a round of applause to Ginger Hein and Fred Wilson, who created nametags for all of the currently active members, printed in full color.

A group from our chapter plan to travel to a meeting at the Emmons’ in Ten Sleep, Wyoming on June 28th, and then visit Virginia City and Nevada City, Montana for the Sunday’s host Randy Stehle show his collection to Saturday’s host formal dedication of AMICA’s Adopt-a-Piano project, Dennis Burchett. the newly restored Wurlitzer DX, at 2 PM on Saturday, June 30. This will be the first time the public will hear the Wurlitzer perform since Charley Bovey first acquired it in 1959. The Bovey Restorations are now owned by the state of Montana and contain one of the nation’s largest remaining collections of automatic pianos and organs on public display, not far from world-acclaimed Yellowstone National Park. With the famous Virginia City Players presenting their melodrama and olio, accompanied by the Cremona Photoplayer, the Living History’s Old Fashioned Fourth Celebration and the Moonlight Steam Train Ride on Friday night, it will be a busy weekend! AMICA members from other parts of the country who will be unable to attend the annual convention in Germany and Holland this year might consider joining our chapter members in Virginia City instead!

We’re also planning a meeting at the Colorado Railroad Museum in Golden, just west of Denver. At this time we don’t have enough local members to stage our own full-fledged How many Victrolas can fit in a minivan? Gary Rasmussen organ rally, but we discussed the possibility of having a few shows us his new purchases. members bring smaller hand-cranked organs to this meeting so we can share our music with other visitors to the popular museum.

160 Following the business meeting, we watched two videos brought by Ken Hodge. The first was Bob Taylor’s presentation entitled “A Brief History of the Aeolian Pipe Organ,” which Bob gave at last summer’s convention in Chicago. The second video was Huell Howser’s program on KCET about the 2002 AMICA organ rally at Descanso Gardens arboretum near Los Angeles. It gave our local members an idea of how popular an organ rally can be, and hopefully will stimulate further discussion about inviting members from other parts of the country to bring some band organs to Chapter Secretary and host Louise Lucero with President Jere Colorado for a rally of our own. DeBacker keeping the business meeting lively, while After watching the videos we enjoyed taking turns Dick Kroeckel smiles with approval. playing Louise and Clara’s 1911 Melville Clark player piano, which has a spring roll motor, and their beautiful Ellington Manualo with its carvings and like-new Mission finish. After we sang along with a few rolls, Dick Kroeckel entertained us with some of his great hand-played ragtime. Louise also showed us her art glass studio where we saw how she creates lovely scenes, some of which are incorporated into the windows of her home. Jeannie Reblitz, Don Hein, Clara Wingfield and Don Wick.

Left to Right: Rosanna and Bill Harris, Bill Decker, Don Hein, Marilyn Decker, Owanah Wick, Ginger Hein, Don Wick, Bob Grunow. One of Louise Lucero’s beautiful stained glass windows hangs in the large window in the background.

Dick Kroeckel and Jerry Hutt.

Seated: Owanah Wick, Fred and Pearl Wilson, Bob Grunow and Ginger Hein. Standing: Don Wick, Jere DeBacker, Bob Grunow, Ginger Hein, Fred and Pearl Wilson — Joe and Barbara Uher. our youngest member!

161 Ken Hodge enjoying the band organs on the video of Descanso Gardens, while “Buckshot” has daydreams of doggie treats.

Dick Kroeckel belts out some great ragtime.

SIERRA-NEVADA CHAPTER Reporter: Nadine Motto-Ros President: John Motto-Ros - (209) 267-9252

On Sunday, April 22, the Sierra-Nevada Chapter and the Founding Chapter held a joint meeting at the home of Lyle Merithew and Sandy Swirsky in San Jose, CA. Founding Chapter President John Ulrich conducted a business meeting. In true AMICA fashion, we listened to the instruments and consumed some very good food and drink. Two recently Jere DeBacker at Clara and Louise’s exceptionally well preserved Ellington player piano. acquired instruments are a Celestina and a beautiful Regina with clock and changer. Other instruments are an Ampico grand, 88-note upright, Western Electric Mascot A-roll nickelodeon, Stella music box, and 1946 Rock-Ola . Many thanks to long-time members Lyle and Sandy for hosting this great meeting.

Louise explains how she creates an ornamental overlay on art glass to Marilyn Decker and Bob Grunow. Augie Gonzales and Karen Simons 162 Western Electric Mascot A-Roll Nickelodeon

The Stella Music Box

Host Lyle Merithew with the beautiful Regina Music Box

AMICA Honorary June 1987

Emmett M. Ford, son of Emmett Ford, who was cus- todian of the Englewood Grade and High Schools for twenty-five years, has made a deferred gift in the amount of $150,000 to the College of Fine Arts of Wichita State University for an Emmett M. Ford Piano Scholarship for students pursuing the study of piano. Emmett, known to Englewood people as Melvin, was born in Englewood in 1914 and graduated from the schools in 1933. He resides in Wichita and is a research writer for AMICA News Bulletin. Chip Lusby, Vickie and Doug Mahr

163 FOR SALE ADVERTISING AMPICO TOP-LOADER, Fisher Studio piano, late 1920s, com- GENERAL INFORMATION ABOUT plete (except for casters) and ready to restore! Case painted, still ALL ADVERTISING IN THE AMICA BULLETIN plays. These are highly desirable pianos and getting hard to find. All advertising should be directed to: Only $1895. Call Mike Kukral 812-238-9656 or email Mike Kukral [email protected]. Located in Indiana. (3-08) 216 Madison Blvd. UPRIGHT STRAUS LOCHMANN’S ORIGINAL B MUSIC Terre Haute, Indiana 47803 BOX. Leipzig, Germany 1869. Previous owner: Franz Mayer. 12 Phone: 812-238-9656 bells. 40 disks. 24.5” Music Box height 45” high/31.5” width/16.5” e-mail: [email protected] depth. Base height 36” x 35” width x 18” depth. All original Ad copy must contain text directly related to the product/service $50,000. 360-301-5673 (3-07) being offered. Extraneous text will be deleted at the Publisher’s 1920 STECK DUO-ART 5’6” GRAND. Action rebuilt and refin- discretion. All advertising must be accompanied by payment in ished about 5 years ago. Includes approx. 180 Duo-Art rolls, about U.S. funds. No telephone ads or written ads without payment will be accepted. This policy was established by a unanimous vote of half are playable originals. Excellent condition. 541-947-5113. See the AMICA Board at the 1991 Board Meeting and reaffirmed at and hear it at www.gooselake.com/forsale/piano.html $12,500.00 the 1992 meeting. AMICA reserves the right to edit or to Email [email protected] (1-08) reject any ad deemed inappropriate or not in keeping with FOR SALE: 1921 WEBER, DUO-ART reproducing 5’7” grand AMICA’s objectives. piano; serial number 77294. Completely restored and refinished The BULLETIN accepts advertising without endorsement, about ten years ago by Powell Piano Company, Dallas, TX. implied or otherwise, of the products or services being offered. Excellent working condition. Brown mahogany finish. Price Publication of business advertising in no way implies AMICA’s includes a wood bench with upholstered seat and approx. 70 endorsement of any commercial operation. Duo-Art and 30 QRS rolls. Contact at 972-442-7437, or AMICA PUBLICATIONS RESERVES THE RIGHT TO [email protected]. Pictures available via email upon request. ACCEPT, REJECT, OR EDIT ANY AND ALL $9,500. (3-07) SUBMITTED ARTICLES AND ADVERTISING. CHICKERING 5’8” AMPICO GRAND 1926, Mahogany, plain case, needs complete piano and player restoration. $600, Mark Haas, All items for publication must be submitted directly to the Dearborn, Michigan 313-274-9525 or 313-381-7799 (3-07) Publisher for consideration. “2 FESTIVALS” TOUR for AMICA members—4th Mechanical CLASSIFIED AD RATES FOR AMICA MEMBERS: Music Tour: Italy (Rome, Ravenna, Longiano-Marini Museum, 8th 1-50 Words ...... $10.00 Antique Organ Festival, Dancing, Period costumes, etc) Followed 51-100 Words ...... $20.00 by a tour to Romania (Bucharest, Transylvania, Dracula’s Castle, 101-150 Words ...... $30.00 Welte 7, Painted Monasteries, and the 4th Festival of Mechanical Non-member rates are double for all advertising. Music in IASI with international participation, bilingual presentations) September 2-17, 2007. Brochure? 1-800-262-4284 DISPLAY ADVERTISING or [email protected] (3-07) 1 Full Page — 7 /2 " x 10" ...... $150.00 3 CONTINENTS HOROLOGY STUDY CRUISE 1 3 —our 5th Half Page — 7 /2 " x 4 /4" ...... $ 80.00 cruise and seminar, takes us to Barcelona (Clock Museum, Pita Quarter Page —35/8 " x 43/4" ...... $ 45.00 Watches-AHCI) and a Transatlantic cruise calling at Malaga Business Card — 31/2 " x 2" ...... $ 30.00 (Granada) Gibraltar (tremendous watch bargains) Tangier (antique Special 6 for 5 Ad Offer - Place any ad, with no changes, for a markets) Casablanca (Marakesh), Agadir, Lanzarote, Tenerife, full year (6 issues), and pay for only 5 issues. Payable in advance. Santa Cruz, Miami. Seminars at sea-Presentations about Horology, Photographs or halftones $15.00 each Mechanical Music, Automata, History of Science, Scientific Loose Sheet or Insert Advertising: Inquire Instruments. Dec 3-20, 2007. From $3,100.00 Brochure? We recommend that display advertisers supply camera-ready 1-800-262-4284 or [email protected] (4-08) copy. Copy that is oversized or undersized will be changed to WEBER UNIKA beautiful Oak case from famous Chicago area correct size at your cost. We can prepare advertisements from your suggested layout at cost. collector and recent mechanical work by D.C. Ramey Piano Co., will consider partial trade; COINOLA “X” with bells, Oak cabinet; PAYMENT: U.S. funds must accompany ad order. Make check SEEBURG “E” with xylopohone “A’roll piano with art glass payable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed. scene; WURLITZER 1015 Jukebox; SEEBURG V-200 Jukebox; Cylinder music box 20 tune, 2 tunes per turn, cylinder 7 1/2 inches DEADLINES: Submissions must be received no later than the first of the odd months (January, March, May, July, September, long, lid with tune sheet $3,000.00. All items professionally November). The Bulletin will be mailed the second week of the restored and refinished. J. Uhler, Box 126, Ingomar, PA 15127; even months. 724-940-4331. (3-07) (Rev. 5-05) Player Grands $5,000 up; 1000 QRS Ampico, Duo-Art Rolls $5.00 up-victorpianos.com 305-751-7502 (3-07) 1912 BEHR BROTHERS RECORDO PIANO (original electric- not converted). Prototype? Fair condition. Operational. Needs work. Best offer. Findlay, Ohio 419-423-6685 (3-07) “Everybody’s nice until you have 1923 KIMBALL WELTE-MIGNON Licensee Reproducing Player Grand piano, 5’2”, serial #350911. Restrung, new hammers, action to live with them.” regulated, refinished, includes original matching bench and 20 rolls. - Asma Farhat Nemer Welte-Mignon mechanism completely rebuilt. Bodine motor/Minarik speed control for accurate tempo. Incredible expression! $9,000. Call Ron Olsen 763-535-6662 or write 4155 Quail Ave. N., Robbinsdale, MN 55422 (3-07)

164 NEEDED: A sincere Piano/Player Technician to buy my Piano Shop & Business and serve a large area of the country by keeping it in operation. My piano shop was featured on CBS News “Sunday Morning” and is located a few hours north of Denver in western Nebraska. It includes a nice building in a small town of 500 people with I-80 nearby, with good schools, hospitals, lakes- a great ATOS escape from the problems of the big city. The shop comes will all ExperienceAmerican Theatre Organ Society equipment, supplies, parts, more than a dozen players, a few square grands, and other pianos. Please call me and let’s talk about it; Preserving a unique art form. Klint Schlake, 308-889-3522. P. O. Box 88, 409 Pine St., Concerts, education, silent film, preservation, Big Springs, NE 69122. (4-07) fellowship and more. www.atos.org AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS. Jim Merry, Executive Secretary New Recuts and Originals, including “Jumbo” and P.O. Box 5327, Fullerton, CA 92838 [email protected] (6-08) Program Rolls. Also N.O.S. QRS 88 Note rolls. Dave Caldwell, 400 Lincoln Lake Ave. N.E. Lowell, MI 49331; E-mail: [email protected]; phone: 616-897-5609. (3-07) NEW PIANO ROLL BOXES - Duo-Art Audiographic series - Exactly like the originals! Gold Printing, all 3 sizes available! (small & medium are “Top Hat” style) $6.00 ea. Quantities are limited, so layer Piano S get them before they are all gone! AMPICO “Top Hat” boxes- ’s P er vi Black Leather with Gold Printing and False Bottom, Exactly like the Ben A Complete Restoration Service ce originals, $4.00 ea. 88 note roll boxes in two sizes- Large (fits 2 3⁄4 For The Pneumatic Piano flange) covered with Black Alligator paper (Top), Black Leather Complete pianos and player systems restored using factory (Bottom). or Brown Leather Paper (Top & Bottom) $3.00 ea. Small (fits 2” flange) Covered with Black or Tan Leather Paper (Top), original techniques by an experienced professional. Complete White Litho (Bottom) $1.80 ea. Other repair supplies available- or partial systems can be sent to my shop for restorations. Parchment Leaders, Tabs, Tubes, Flanges, Repair Tissue. Quantity I supply special UPS cartons for this unique service. Discounts available. Rich Ingram [email protected] (760) Ben Gottfried 244-ROLL (7655) (1-08) 464 Dugan Rd. • Richfield Springs, NY 13439 WANTED 315-858-2164 (2-07) WANTED: COMPLETE TUBING SCHEMATICS for a Nelson- Wiggen style 5X and Style 6 orchestrion. Also, copies of company owner’s/technical manuals. Carl Baxter, 5 Springwood Ln., Pittsford, NY 14534 (585-249-9434) (3-07) ROLLS WANTED: Offering $25 each for “Sousa” rolls : Belle of Chicago, Crusaders, Golden State Memorial, Gridiron Club, THE Imperial Edward, Naval Reserve, Review of the Fleet. $15 for From Maine to Oregon and National Fencibles. Also wanted “Joplin” rolls! Jack E. Linker 513-821-1744 (4-07) “STANDARD PLAYER MONTHLY” magazines wanted for use Kukral Collection in this bulletin. Will buy or borrow. Mike Kukral, 812-238-9656, [email protected]. (1-08) Offering high top quality reissues of “MALOOF” BRAND PIANO ROLLS. Mike Kukral, 812-238-9656, [email protected] (1-08) Welte-Mignon and ARTICLES FOR THE AMICA BULLETIN PLEASE! 88 Note Player Piano rolls. I need your help if you don’t want to see blank pages in the future. The Publisher. (1-08) WELTE-MIGNON AND DELUXE REPRODUCING piano rolls. Featuring rare, important, Mike Kukral 812-238-9656, E-mail [email protected] (1-09) and fun music rolls recut RED WELTE MIGNON piano rolls (T-100). Paying top dollar. from the legendary Mike Kukral 812-238-9656 or [email protected] (6-06) Welte-Mignon library of recordings BOOK: WELTE-MIGNON — ITS MUSIC AND MUSICIANS and great music of the teens and twenties by Charles Davis Smith printed for AMICA by Vestal Press. Do you have a copy you are not using that is sitting on the shelf or on 88-note player piano rolls. in a box? Let me know. Robin Pratt, [email protected] 419-626-1903 (3-07) PLEASE CONTACT Mike Kukral 216 Madison Blvd. Terre Haute, IN 47803 812-238-9656 Email: [email protected] (6-08)

165 The PA (Phillips-Ampico) eroll collection Now available from Bird Music Another way to hear Ampico rolls The PA erolls are optimised for performance on a MIDI-equipped Ampico or any MIDI piano (Disklavier, PianoDisc etc). There are 1431 performances by 483 composers, played by 283 pianists. Available on CDRoms in three file formats: ! standard MIDI files (type 0) for a MIDI piano ! e-MIDI or bar/ann for a MIDI-equipped Ampico Choose the lot, or just popular or classical. Also available are a Favorites CDRom of 400 erolls and a growing range of floppy disks. As little as 28c a roll, all CDRoms include comprehensive catalogs. We guarantee the performance quality For more information contact: Galen Bird 3300 Robinson Pike, Grandview, MO 64030, USA phone: 816-767-8246 email: [email protected] website: www.birdmusic.org Or contact Peter Phillips: email: [email protected] (1-08) website: www.petersmidi.com (1-08)

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

(1-08)

166 http://www.revealer.com/caldwell/

[email protected] (6-07) (6-06)

1926 Steinway Duo-Art, Louis XVI. Piano Pro Moving Model O.R. 6’ 6”, Refinished, player system rebuilt. and Storage Perfect ivories and sound board, with matching bench and 35 rolls. $25,000 Piano Pro Moving is a small company that Mel Septon gives a personalized service. 9045 N. Karlov St., Skokie, IL 60076 (847) 679-3455 • [email protected] JOHN WRASSE, Proprietor • 25 years of experience in full time piano moving and restoration. • Oversees and directs every aspect of each move with competence and expertise from pickup to delivery. • Specializes in rare and valuable antique pianos. • A member of the AMICA Music Collectors Association. • Climate controlled storage available

31449 216th Street • Bellevue, Iowa 52031 E-mail: [email protected]

(3-07) (563) 580-2472 (2-08)

167 OPPORTUNITIES AUCTION “Where Rare is Common”

PRESENTS A SPECIAL OFFERING OF MUSICAL MARVELS NEWNAN, GEORGIA September 1 & 2 (LABOR DAY WEEKEND)

Pictured are just a few of the outstanding items that you will find at this auction. Many choice items not pictured: Violano Virtuoso, Special Grandfather Clocks, Many Outstanding Music Boxes, Phonographs, Jukeboxes and many one of a kind items. We will sell a super collection of clocks at this auction. There are many coin-operated devices from the estate of a collector of more than 60 years. There is far too much to name. We are constantly adding more items to our website. Please visit out website www.prestonopportunities.com Most of the nickelodeons and music box related items will sell Saturday, September 1. As the time nears, our website will give a general breakdown of the items that will sell each day. It would be worthwhile to spend two days with us in Newnan. Motels are close by, and the auction is located 35 minutes from Atlanta Hartsfield Airport. We will have an independent delivery service representative at the auction site. An extensive color brochure will be available at the end of July for $20.00 and the cost of the brochure will be applied to any purchase made at the auction. Details of auction can be found in the brochure.

PRESTON EVAN (GAL 1287) 31 Redbud Tr. • Newnan, GA 30263 • 770-502-0028 • [email protected]

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