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ClSne AMICA N ews B ul l e ti.n of t h e A U TOMATIC M U S ICA LI NS TRUM E NT ,. , CO LLE CTORS' A S SOCIAT ION
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.._."~ u · Jun e, 1970 CONTENTS Vol. 7 No.6 Cheriov.e th & Grofe 1 What Do You Know ---- 8 May Corrections ---- 1 Posteria1 Anthem ---- 9 Int n ' l Mee t . ------ 2 Brooks' History 10 ~o . Cal. May Meet. - 2 Research Fodder --- 12 No. Cal . June Meet. 3 Armbruster Bio. --- 13 Apo logi es ------ 4 Master's Fingers -- 17 B-roll Chronology -- 5 There It Stood ---- 1B Echani z Bio. ------7 Auction #5 Results - 19
1970 Of fi ce rs : JARO LARK, Pres ident C. F. CARNES , Treasurer JIM ELFE RS, Ed itor SAM THOMPSON, Reporter ED HAYDEN, Members hip Secretary BILL KNORP, Corresponding Secretary GORDON OSSER, Auctioneer DOUG HICKLING Trus ee
( \.. . 1 FERVE GROFE ANV WI LBUR CHENOWETH NOW HONORARY ~,fEMBERS OF AMI CA by 'Bi 1,1, Knopp
When f was in Los Angeles the last week of April I had the pleasure of meeting and talking with three of the famous artists who made rolls for either the Ampico or ( the Duo-Art. One was Robert Armbruster, who played some fine tapes of his music for me and performed superlatively on his beautiful Steinway piano (Rachmaninov's Prelude Op. 2J, No.6 and Chopin's VaZsB in c-ehaxp Minor and also a bit of the Saint-Saens Concerto No.2 from the first movement). The tapes of his compositions included the "Western Overture", the Church Scene from the fi 1m Northwest Outpost which starred Nelson Eddy and Ilona Massey, scored by Robert Armbruster with additional songs by Rudolf Friml. Other tapes included the fine Variations on a Theme (with composer Armbruster at the piano, with orchestra) and the PreambLe to the Constitution, set to music for four-part chorus by Armbruster. These thrilling performances were a pleasure to hear, but since your Editor had already interviewed Mr. Armbruster, I'll mention the other two artists. It was a pleasure meeting Mr. & Mrs. Wilbur Chenoweth in their beautiful home in Santa Monica. Mr. Chenoweth was very pleased to learn of the AMICA and of its many interested members. He graciously played some of his compositions on his fine Steinway grand. Among his pieces heard live were Dreams, Waltz Caprice, Magic Moments~ VocaLise, The Arpow and the Song, Wedding Song, and the Concert Waltz (Memories of Old Vienna). This last piece, written too late to be recorded on Ampico, is a fabulous piano piece, and it is a shame it hasn1t been recorded. Mr. Chenoweth also played his song "The Sun Would Shine Aqa i n!' and an excerpt from Deems Taylor's A Kiss in Xanadu. A word here about Mr. Chenoweth1s playing today! I had always admired his rolls as some of the most human and most realistically piayeu anu a true cr"edit to the Ampico system of recording. However, to hear him in person is even more exciting. A pianist with a fabulous technique, great feeling and depth, and capable of giving unforgettable interpretations of everything he plays including his own compositions. This was a truly memorable morning at the l Chenowetns • I did not have the pleasure of seeing Mr. Grofe as he had not been well, but I talked with him on the telephone, and he is also most interested in AMICA and had not been contacted by the Los Angeles Chapter as yet. He was very happy to hear that the reproducing pianos are being restored and that the rolls are being appreciated: ain. Mr. Grofe! has had an illustrious career as pianist and arranger, not to mention his compositions and orchestrations for such people as Paul Whiteman and George Gershwin. 'Naturally we hope for the time when all these artists wi ll be our guests at AM,ICA meetings, so we have a great deal to look forward to in the future. Incidentally, I tried to locate Madame Ethel Leginska, whose telephone number was still in service, but was told she had died within the last few weeks, which is a pity, as she was one of the great ones and recorded for both Duo-Art and Ampico. The Chenoweths have left for Europe where they will meet the famed American tenor Richard Crooks and his wife. Crooks has been_undergoing treatment at Stanford University Medical Center and has happily recovered very nicely. The Crooks, the Chenoweths and the Armbrusters are all good friends, I might add, and I hope to plan a meeting with all of them at one time when they 'return from their trip. This could be, if it works out, a memorable meeting.
'1I1I1I1a"UIIIIIIIII MAY CORRECTIONS Your Editor lied about the Hinvnelreichrecording of "Be l i eve Me If All Those ( Endearing Young Charms" being dropped from the 1925 Ampico cataiogue, as Bill Knorp and Ralph Obenchain pointed out. Apologies -to Hathaway &. Bowers for not reading more carefully the reference book they so kIndly donated to the AMICA Library. The Winning Bid on roll #2 in Auction #4 was .$5. 7nat was the typist's fault, and I would have fi red her, but she left on vacation and this issue I .have to' make my ONn mistakes again. '...... 'i"...... , FIRST INTERNATIONAL MEETING AUGUST 28, 29 & 30, 1970 3 28J Plans are progressing for the first AMICA' International Meeting, to be held in San Francisco during the la~t weekend of August. We hope you are likewise making your 'plans to attend. The festivities will begin Friday night, August 28, with a get-together and concert. It is expected that the strongest beverage served will be wine, as some of our members· social consciences are of the same vintage as their reproducers, and we wouldn't want our concert raided by Elliot Ness. However, those with a taste for strong waters may sate themselves with cocktails before dinner in an excellent San Francisco restaurant of their choice, before the get-together. Saturday August 29 will begin in the morning Nith a live auction at Portcullis, President Jarod Clark·s renowned showplace nee warehouse. To keep the costs down and allow visitors a chance to try the fable: cuisine available in the area, it was decided that Saturday lunch should also be d:..~ing "fiee t irne!", and at any place of the visitors· choosing. Saturday afternoon :1ere will be an informal get-together during which items may be sold by any member ~ho wishes to set up a table of wares pertinent to the hobby. In the evening there will be a catered buffet dinner, followed by guest speakers and a concert. Mcst of this is expected to take place at Portcull is, but the concert plans for Fri:ay and Saturday night must remain vague until we can ascertain which places an: pianos will be available, and which of our talented Honorary Members will be able to attend and perform.
The technical sessions will be held late SUr::3Y morning. Dave Saul has kindly agreed to head them, but they will be informai, allowing everyone to contribute his views, for I daresay none of our many fine te:hnicians know all the answers. By sharing what each knows, they should all co~e out wiser for it. It is expected that the rest of Sunday will :e given to various independently sponsored open houses throughout the Bay Are2. During the Friday and Saturday get togethers you can decide which home, host, a~j/or instruments you would most like to visit. The cost per person will be between $5 and S·J. The original estimate was based on the expense of flying several Honorary Membe-s to the meeting and putting them up in hotels, but in view of the current "ha rd t Irnes" and numerous members' wishes that the costs be kept down, we were forced to ac-:t that the AMICA Treasury Just isnlt as rich as we would like it td be, and we ca-1t finance the treatment that we feel our illustrious Honoraries deserve. Stil 1, ~elre hoping that some of them will attend on their own, with whatever assistance and accommodations the individual members can provide. 111111111,,"1'''1 1 u n t
PARENT ORGANIZATION ME:~S IN THE COUNTRY by Gar Br ' tten The May AMICA meeting was held on a balmy Sa:urday night, the 30th, in the delightful country setting of Roy Peekls home. Castro Valley cooperated and gave us urban dwellers the background music of crickets a~d the "ree-deeptl of the frogs just off the terrace. Roy's 1920 upright WurliTzer player piano was in great shape. He had spent six months giving each of its many coats a professional, hand-rubbed finish. It also played very well. We were surprised to learn that even from another room we could tel 1 when an Ampico recording was being played on it. Nelson Barden was right - the agogics and rubato alone make t:--e recordings almost II rep roduce", even on a player. A short business meeting was convened by President Jarod Clark. Gordon Osser discussed tentative plans for the International Meeting, outlined above. Then we adjourned for the bountiful table that Royls mother had ~repared. The ·punch with a hint of mint was refreshing after such a warm Bay Area day. Next feature was the roll auction. then back to the dining room for more of the chocolate or banana cake. It was an extremely. pleasant meeting, cordially hosted by the entire Peek family. 11111111111111111111111111111111 FIRST INTERNATIONAL MEETING AWUST 28, 29 & 30, 1970 3 28J Plans are progressing for the first AMICA' International Meeting, to be held in San Francisco during the la~t weekend of August. We hope you are likewise making your 'plans to attend. The festivities will begin Friday night, August 28, with a get-together and concert. It is expected that the strongest beverage served will be wine, as some of our members· social consciences are of the same vintage as their reproducers, and we wouldn1t want our concert raided by Elliot Ness. However, those with a taste for strong waters may sate themselves with cocktails before dinner in an excellent San Francisco restaurant of their choice, before the get-together. Saturday August 29 will begin in the morning Nith a live auction at Portcullis, President Jarod Clark·s renowned showplace nee warehouse. To keep the costs down and allow visitors a chance to try the fable: cuisine available in the area, it was decided that Saturday lunch should also be d:..~ing Ilfree t lrne!", and at any place of the visitors' choosing. Saturday afternoon :1ere will be an informal get-together during which items may be sold by any member Nho wishes to set up a table of wares pertinent to the hobby. In the evening there will be a catered buffet dinner, followed by guest speakers and a concert. Mcst of this is expected to take place at Portcull is, but the concert plans for Fri:ay and Saturday night must remain vague until we can ascertain which places an: pianos wi 11 be available, and which of our talented Honorary Members will be able to attend and perform. The technical sessions will be held late Sun cav morning. Dave Saul has kindly agreed to head them, but they will be informai, allowing everyone to contribute his views, for I daresay none of our many fine te:hnicians know alZ the answers. By sharing what each knows, they should all co~e out wiser for it. It is expected that the rest of Sunday will :e given to various independently sponsored open houses throughout the Bay Are2. During the Friday and Saturday get togethers you can decide which home, host, a~j/or instruments you would most like to visit. The cost per person will be between $5 and S·J. The original estimate was based on the expense of flying several Honorary Membe~5 to the meeting and putting them up in hotels, but in view of the current "hard t i me s " and numerous members' wishes that the costs be kept down, we were forced to ac-:t that the AMICA Treasury Just isn't as rich as we would like it td be, and we ca-1t finance the treatment that we feel our illustrious Honoraries deserve. Stil 1, ~elre hoping that some of them will attend on their own, with whatever assistance and accommodations the individual members can provide.
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PARENT ORGANIZATION ME:~S IN THE COUNTRY by Gar Br ' t t en The May AMICA meeting was held on a balmy Sa:urday night, the 30th, in the del ightful country setting of Roy Peek's home. Castro Valley cooperated and gave us urban dwellers the background music of crickets a~d the "ree-deep" of the frogs just off the terrace. Roy's 1920 upright WurliTzer player piano was in great shape. He had spent six months giving each of its many coats a professional, hand-rubbed finish. It also played very well. We were surprised to learn that even from another room we could tell when an Ampico recording was being played on it. Nelson Barden was right - the agogics and rubato alone make t:--e recordings almost II rep roduce" , even on a player. A short business meeting was convened by President Jarod Clark. Gordon Osser discussed tentative plans for the International Meeting, outlined above. Then we adjourned for the bountiful table that Roy's mother had ~repared. The -punch with a hint of mint was refreshing after such a warm Bay Area day. Next feature was the roll auction. then back to the dining room for more of the chocolate or banana cake. It was an extremely. pleasant meeting, cordially hosted by the entire Peek family. • II II II III'II II II 11111111 '"1 .. I JUNE TUNE-IN AT THE WEROLINS Saturday evening, June 27th, at 8 P.M., is the date set for the next meeting of the Parent Organization. Alf and Marjorie Werolin, along with their 1924 Mason & Hamlin Ampico grand, will be the hosts for this meeting. Address: 2230 Oakdale Road, Hillsborough. Telephone: (415) 343-7574. Directions for the uninitiated: From Bayshore Freeway take the Broadway, Burlingame exit, West. Cross S.P. railroad tracks and immediately turn left (South, for those equipped with compass). Go one block to Carmel ita Avenue and turn right (go West, man, go West) and proceed for about 12 short blocks, crossing El Camino Real in the process. As you enter Hillsborough on Carmelita (you should be hearing the Ampico by now) the street will sway slightly to and fro and soon becomes known as Oaks Drive, for no particular reason. Continue dead ahead - about two blocks I am told - and as you ascend a slight hill curving to the right - Watch Out! Another road name change to "Oakda l e Road" looms up immediately at the top of the rise. To make the journey more interesting, Oakdale goes both left and straight ahead at this point, and Oak disappears i n t o ob l i v i on , Do not turn left but keep your wheels turned dead ahead, or even s l i jh t lv r i qh twa r-ds , as the strains of Rachmaninov at the immortal Ampico is heard in the dusk. About three houses beyond, on the left side of the road you will have arrived at the Werolins'. Park in their driveways, or along the street - no attendants and no charge. Note: Read this message backwards to find your way back out of this maze, otherwise this message will self-destruct in 5 seconds. A brief biog~aphy of the hosts would reveal that they moved to California from New York in 1945. ~lf was born in a place you hear about but never believe really exists - under a I!tree qrows in Brooklyn". Marjorie comes from upstate New York Upper Jay. Al is a graduate engineer and has degrees from the College of Engineering at New York University and also from Yale University where he did graduate work and received his MBA. Marjorie is a graduate of Miss Spence's School in New York and also studied journalism at Columbia University. Alf is a West Coast partner of Case and Company, an international management consultant fir~. He has been in consulting work for over 30 years ~nd no longer resents being called an "e f f i c i encv expert" - but we would not recommend testing him on this point, as hels much bigger and heavier than the rest of us in AMI CA. In his work he travels a great deal jn this country and abroad, counseling managements of well-known companies on ways and means of improving their profitability. He teaches part-time at a graduate school and has written several text books.
Perhaps the most in t e res t i nq part of Al I s career - at least of greater interest to his fel low AMICA members - is the fact that he worked his way through college and graduate school as an employee of the Ampico Corporation. He worked in their factory and later represented the company in the city of New York as an Ampico service repairman. He spent one summer conducting Ampico schools for piano repairmen, instructing them in the intricacies of the Ampico mechanism (see WHAT l.J(} YOU KN(l(l}? elsewhere in this bulletin). This work experience covered a period of about six years - 1926 to 1932. He was pretty young at the time but apparently his size and charisma (7) carried him along okay. It is of further interest to note that Al1s father (who was born in Sweden) worked with Charles Stoddard and Dr. Clarence Hickman in developing the production models and manufacturing processes for all the Ampico expression devices. We understand from Fred Rydeen, who worked closely with Hr. Werol in Senior, that he was responsible for making much of the theory a practical reality. Parts and sub mechanisms which had been crudely constructed by hand, then altered through trial and error, were redesigned and engineered by the senior-Wero1in so that they could be mass-produced and would be interchangeable. Occasionally, parts had to be so manufactured that they would fit into available space in a variety of mak~s of pianos, uprights and ( grands, and different sizes. It was he, also, who wrote the service manuals for the IA' and IBI models, and who initiated the service school program so that there would be qualified men throughout the country available to service and maintain these instruments. 4 -.--- 3 26~ JUNE TUNE- IN AT THE WERe LINS (CO~' d) 4 Al tells us that his home was never without an Ampico, and many times there were -experimental models. We guess that is where At developed his interest in the Ampico, and this association provided the opportunity to work his way through college with an Ampico at his side. Marjoriets family owned a Duo-Art, but what could have been another Romeo and JuZiet tragedy was averted and the couple was allowed to marry if Marjorie swore to raise the children Ampicish. Oh yes - we were carried away with background information to such an extent that we neglected to say that we expect to have an interesting guest at the June meeting. His health permitting, we anticipate having one of Ampico1s great recording artists as our speaking and playing guest. We may not know for sure until a few days before the meeting, but if he cannot make it, we have an interesting program alternative for your enjoyment. If you wish to learn whether the recording artist will be attending, call Al Werolin a few days in advance of the meeting (assuming the capricious Post Office Department gets this bulletin to you by then). In this way you may bring a roll or a catalogue to be autographed by our guest. In any event, it wi 11 be a fun evening - with some of Marjorie's delectable refreshments - for all who attend our June meeting. But be on time; there may not be room for the latecomer. -
FO:7TNOTE: This article was not written by YOI~ Editor~ although its author would h,27Je you believe it :Jas. Trying for my style (which I iaoul.d cal-l: "Neo-Ll.l.iberaiie'tl , he far euriaese.i it, so I cannot in al.L modee tu take credit for it. The true author is our 0 l.d frien:Z Cor-don .''li Loreuea, who has apparent: Zy cvanmed a ..few courses of Enjl.ien, grammar, ape lZ'ing~ syntax, typing an: creative ~Pi ting since we las t heard from him. -Ed, 1111111111111111111 1111 " II I
},A~EN/r (JKGANIZATl0r'J HAt'I\JG A ROUGH TII,IE I hope you vfi 11 be indulgent and bear with us during these very trying times. Treasurer Tod Carnes was on a tour of England, I reland and Holland for several weeks, Nancy Feinstein (who did such an outstanding job typing the bulletin for me last month) has gone on vacation, and Membership Secretary Ed Hayden has been sent to Georgia for a month by his employer. He will not be back until the early part of July, and then there's a possibility he may be sent to Oregon before he has time to whip our membership list into shape. Meanwhile, Gar Britten (who has been handling the auctions) and I have both moved, and you wouldn't believe the chaos I To top it all off, a member has written to complain that the last bulletin was latel Oddly enough, it was mailed on the 18th, so with all OUR problems, it was the Post Office that thwarted us, to the extent that even some of the Bay Area residents didnlt receive it un t ll AFTER our meeting of the 30th. It would help matters somewhat if you would address matters to the members responsible for them - money to the Treasurer, new members & changes of address to the Membership Secretary, etc. - and if you would always include IIAMICAII in the address on the envelope, so if any of us are gone we can make arrangements to have others glean the club correspondence from our mail. I would like to extend a special thanks to Doug Hickling for typing the June auction list and delivering it to the printer. Such help is greatly appreciated. 11111111111111111111111111 5 A CHRONOLOGY OF THE AMPICO '8' ROLLS < <. by Pi 11 Pi.xley Roughly, tBt rolls fall into the following series: f 221X through 317X (12·27 to 1939); \..... 6802X through 7190X (12-27 to 1941); 21007X through 21667X (12-27 to 1941); 10000X series - mostly Jumbos; and Some in 9000X series. There were some IB' rolls before December 1927, and some in earlier series were I re-coded for the IB Ampico. In fact, (I ve seen some extremely early numbers coded for the 'B', and in boxes with IB' labels. But, if there was a real breaking point between fAI and IBI rolls it was December 1927 as near as I can tell. A BREAKDOWN OF SERIES BETWEEN Z0900X &21600X (GENERALLY POPULAR MUSIC) 20900X (9-27 to 5-28) - Characterized by the beginning of parallel crescendo I perforations for bass and treble, and a very few full IB codings. #209001: "Side by Sidell, played by Frank Black, 1927. 21000X (5-28 to 1-29) - Box labels remained the same as earlier ones, .except that I most labels in this series have stars in the bottom corners indicating they were IB rolls. This practrce began very early in the 2l000X series but was somewhat intermittent. #210001: IIGive Me the Sunsh i ne" (pianist and date unknown). 21100X (1-29 to 10-29) - All labels in this series marked with stars. #211001: "The Land of Going-to-bel ' from Paris, played by Victor Arden, 1-29. 21200X (10-29 to 1-30) - (Two rolls were issued for each of the first six numbers in this series. The early ones were of 1921 vintage and should be disregarded in this discussion.) #212001: IINow 1 1 m in Love" (pianist and date unknown). #2l216x was about the first of a complete label change. On the new labels the brand name AMPICO was printed much larger in block letters, and three black lines bordered the entire edge. The stars were dropped. Later in this series the middle black line of the border was changed to red. This change was also intermittent. The date was! dropped from the new label entirely for awhile, but at the end of the 2l200X series, appeared again. When it reappeared only the year was printed, rather than the month and year as had been the earl ier practice. i #212161: "True Blue Lou ', played by Frank Banta, 1929. 21300X (1930 to '3t) - Al1 roll labels in this series were characterized by the new ll label with one red 1ine in the border. #213001: IIBye Bye Blues , played by Arden & Carroll, 1930. There are some cases in which rolls of this series may be found to be the same arrangements as the Duo-Art issues •. #213271, "Chee rfu l Little Ear fu l!", played by Victor Arden, 1930, is the same arrangement as Duo-Art #0789. 2l4oox (1932 to 134) - Same label. #214001: IISoft Lights and Sweet Music", played by Victor Lane, 1932. Nearly all arrangements were the same as Duo-Art. #214051 (Duo-Art #0885), IIA Shanty in Old Shanty Town" is the fi rst set of twins 11m sure II of (#0885 may also be "I Found YOU ). 21500X (1934 to 136). #215001 (Duo-Art #0978): 11(111 String Along with You" (pianist and date unknown). From 21573X Itil the end of production all single (small) rolls had square boxes, rather than oblong boxes with false bottoms. Many rolls in this series were marked $.95 rather than $1.25. Some square-box rolls were priced ll $.65 and did not have words. #215731 (Duo-Art HOIOS1): "Lights Out , played by Ra1ph Add i son, 1935 •. ( 21600x (1936 to end of production). #216003 (Duo-Art #QI077): "There's Something in the Al r!' from Banjo on My Knee; III Can't Pretend"] IlMoon Face" from That Girt fpom Parie ; "Smoke Dreams" from After' the Thin Man, played b.y Frank Hi lne, 1936. 3 26i A CHRONC7LOGY OF THE AMPICO 'B' ROLLS (Cont'd) 6 The corresponding Duo-Art rolls were sometimes not issued after #216393: IIBewildered"; I'Moonshine over Ken tuckv'"; "Stolen Heaven", played by Jeremy Lawrence (if this was issued on Duo-Art, it would have been 101116). The Duo-Art versions were dropped entirely after #216503 (Duo-Art #01124), "Lonesome Walls" from Mamba's Daughters; I-Wishing Will Make It 5011 from Love Affair'; "Kl s s Me with Your Eves!' from Cafe Society, played by Robert Farquhar, 1939. The last Ampico roll I know of in this series was #216673, IIFresh As a Daisy", "Let1s Be Buddies", lIMy Mother Would Love You", and IIl've Still Got My Health", all from Panama Hattie, played by Noel Sherry. A BREAKVOWN OF SERIES BETWEEN 6800X S 7100X (GENERALLY CLASSICAL MUSIC) 6800x (1927 to 1). #68001: Chopin Etudes, ope 10 No. 11 in E-~at, ope 25 No.9 in G-fZat, played by Josef Lhevinne. Most labels after 68223 were marked with stars, indicating IB' coding. 6900X (period unknown) - Same label marking. #69003: RosaZie Selections (pianist and date unknown). 7000X (7 to 1932) - Began using new type labels with block-letter AMPICO. #70001: Schumann's rraumerei, played by Marguerite Volavy. 7l00X (1932 to '41) - Classical recording having been discontinued, this series was used primarily for popular medleys. New Ampico labels. Ampico and Duo-Art versions are the same beginning with #71003 (Duo-Art #74556), Fox Trot Medley #6: 1) "The Clouds Will Soon Roll Bv'"; 2) "{n My Hideaway"; 3) "You've Got Me in the Palm of Your ll Hand"; 4) liThe Night Shall Be Filled with Music ; and 5) "Look Up (The Sun's in the Sky)", played by Thompsen Kerr. Again, some Duo-Art versions were omitted toward the end, and the last Duo-Art in ll this series was #75208 (Ampico #71845) Dinner Music #16: 1) IIDeep Purple ; 2) liThe Moon Is a Si lver Do l la r!"; and 3) "Then Came the Rain", played by Jeremy Lawrence, 1939. There were also some Ampico conversions of Duo-Art classics in this series, including: #71551 (Duo-Art #73928), Albeniz ' SeguidiZZas ope 232 No.5, played by Jose Iturbi; #71773 (Duo-Art 69298), Beethoven's MoonZight Sonata, 1st & 2nd Movements, played by Ignace Jan Paderewski; #71783 (Duo-Art #69306), 3rd Movement of same; #71793 (Duo-Art #68478), Chopin1s Nocturne Op. 37 No.2 in G Major, played by Paderewski; #71801 (Duo-Art #61008), Paderewski's ~nuet Op. 14 No.1, played by Paderewski; #71813 (Duo-Art #66700), Liszt's Hungarian Rhapsody No.2, played by Paderewski. The last Ampico roll in this series was #7190X, Selections from Lady in tke DaPk. Does anyone know of a copy of it? A BREAKVOWN OF SERIES BETWEEN 200X &300X (GENERALLY BALLAVS) 200X - Boxes marked with stars. Some new type label at end of this series. I don1t know the contents of #20QX. The Duo-Art IItwins ll began with #2891 (Duo-Art #104865), l l IIAuf Wiedersehen , played by Frank Hi 1ne, 1932.
ll 300X - New type labels throughout. 13005 (Duo-Art #104975): "Water under the Bridge , played by Harry Shipman, 1934. Some Duo-Art college medley rolls were also re-coded '~r Ampico in this series: #3133 (Duo-Art #102698), H~~ ~dZey, played by Hancock; #3143 (Duo-Art #102708), P~noeton ~dZsy, played by Homer Samuels; #3153 (Duo-Art #102688), YatB ~dZey. (Evidently #102718, D~tmouth ~dZey, was never transcribed for Ampico.) 7 A CflRONOLOGY CF Th'E MfPICO 'B' ROLLS (Cont'd) The last Duo-Art version in this series was #105105 (Ampico #3163), "Now It Can Be To1d!' from Alexander te Ragtime Band, "Sma 11 Fry" from Sing, You Sinneras, and "That Week in Paris" from The Lady Objects, played by Robert Farquhar, 1938. The last Ampico roll in this series was #3173, IIBlue Orchids", played by Jeremy Lawrence, 1939.
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BIOGRAPHICAL SKETCHES OF ROLL ARTISTS: JOSE ECHANIZ (i905-1969) by Bill Kn a rp
Jose Echaniz was d noted Cuban pianist and teacher, born in Guanabacoa, Cuba, on June 4, 1905. He died on December 30, 1969. He was of French, Italian and Spanish descent. His father was his first teacher and later he studied with Ignacio Teleria. He made sucn progress that he enrolled in the Falcon Conservatory in Havana and studied with Alberto Falcon. He was eventually appointed Professor of Piano at the age of 14! In 1919 Echaniz appeared for the first time in the United States as accompanist for the internationally-renowned opera and concert tenor Tito Schipa, who appeared in New Yo rk ' s Town Hall in his recital debut. Three years later Jose t:chaniz appeared in New York a'sa solo pianist and he appeared in many parts of the world as a piano virtuoso. He became a member of the faculty of the Eas troan School of Music in Rochester, New York and later became Head of the Piano Department. Even though he wasa_full-time professor of music, he was able to continue his concertizing to some degree and he 'appeared as soloist with the orche~tras of Philadelphia, Chicago, St. Louis, Minneapolis, among other~, and only a rronth before his Jeath in 1969, he gave his 25th Anniversary recital in Rochester at the Eastman School of Music. He Founded the Ldke Placid Ghamber Music Festival and School in 1962 and was pianist with the Lake Placid f r i o , In the 1920:s he recorded for buth the Duo-Art and the Ampico reproducing pianos ana for Columbia records. In more recent years, during the LP era, ne has recorded for Westminster, and even more recently in stereo for the excel lent Musical Heritage Society. For the~Society he has released albums including the works of Sacn, Liszt, and a disc of the Spanish piano music of various composers. One eri tic has wr I t ten of him: IIHe is a musician of high rank and with marked individuality in his interpretation. He possesses a broad sense of tonal color ..• An ability tu secure effective dynamics, adroitly contrasted with floating tones of diaphanous delicacy was notable. His fingers negotiated rapid passages with breathless speed and rema rkab le br l l l i ancv ,!' For Duo-Art Echaniz recorded the Vogrich Staccato Caprice and a co~ple of Cervantes' Danzas. For Ampico he made some recordings of (he works of Cervantes, Sora, de Valle, Infante and a work by the tenor lito Schipa entitled Capric~iette. He also recorded a piano arranqemen t of Viva Navarra (Larregla-Echaniz) and rita Sch i pa visited the Ampico Laboratory for the first hearing of this excellent roll. The Echaniz Columbia disc of Chopin's Polonaise in E-fZat is a most interesting 78 rpm recording dating from tne late 1920 1s, and with surprisingly good sound. Th i s Poionaiee, Op, 22, is the one which is usua l ly preceded oy the Andante Spi.analo , but it is not includea (' here. This recording was also issued in England •
• 111..... 11111111 ilUIlUI WHAT VO YOU KNCW? by Alf Werol in During the 1920 ls the Service Department of the Ampico Corporation carried on a national program of instruction and training of piano repairmen. The purpose of this program was to instruct piano men in the technique of inspecting, adjusting and repairing the Ampico reproducing mechanism. School room sessions, lasting about three weeks, were conducted in major cities throughout the country, where exhibits, charts and cut-away models of the various Ampico devices were used to show how they operated and how to adjust them. This program, which was carried on over a seven-year period, resulted in over 1200 men being given detailed training and instruction in the intricacies of the reproducing mechanism. Two Ampico Service Department representatives conducted over 40 school sessions. They were Carl L. Schneider, current ly residing in Broo klyn, New York, and E. J. Piquette, current whereabouts unknown. Two of our At1 1CA members assisted in the instruction at several of these schools: Fred Rydeen and Al Werolin.
.. . ~ . , The graduates from these ."" Ampico "schools" we re given a fina l exam upon completion of their program, and if they passed successfully, were gi ven a small certificate, wh ich is re produced on the left. The bo rde r , sunburst and APC in s ign ia is printed in brown on the original, the text in bl ac k. "AMERICAN PIANO CO. SE RVICE DEPT." is embossed around the gold seal, with "AMPICO" in the center. We thought it might be interes ting to publish the "fi nal exam" in this issue of the Bulletin to give our technically-oriented members a chance to see if they really qual ify to repair and service their own Ampicos. There follows a list of the 54 questions which were given l to budding Ampico serv icemen in 1929. Can you answer them? The "official answers" will be given in a subsequent Bulle tin. "WHAT DO YOU KNOW? " "GRAND AC TI0t4 REGULATING QUESTI OUS ISSUED BY THE SERVICE DEPARTMENT OF THE AMP/CO CORPORATION" 1. Are key frames usually fitted with or without keys removed? 2. If keys are removed is action screwed back to frame or not - and why? 3. When fitting frame is i t necessary to screw in key blocks - and why? 4. What is the general procedure used in fitting frames? 5. How is grease and grit generally removed from key frame and key bottom? 6. What is used on key bottom and frame for finishing smooth fitting? 7. Which type of frame requires most fitting? 8. When and how are balance rail screws adjusted? 9. What is the blow of hammer? 10. Should hammer shank rest on hammer rail or not - and why? 11. If not what distance should shank be raised? 12. In which direction do shifting actions generally settle? 13. Where can adjustment be made quickly if hammers are settled to one side? 14. Should hammers of a shifting action strike strings alike? 15. What is meant by traveling hammers? 16. How is the traveling of hammers adjusted? 17. Is it sometimes necessary to travel and space whippens? 18. How should jack be adjusted in relation to the shank knuckle? 9 WHAT 00 YOU KNOW? (Con~'d) 19. Where is this adjustment made? 20. What adjustment is made to the jack in relation to the repetition lever? 21. Where ts this adjustment made? 22. What ts the effect tf the jack is lined too far back on knuckle? 23'. What is the effect if the jack is 1tned too far front on knuckle? 24. What adjustment is made at capstan screws? 25. When is this adjustment at capstan screws made? 26. What does the term "Jet of'f'" mea.n in grand action regulating? 27. What is the measurement of the "let off" and where is it adjusted? 28. What is the easiest way of letting off a set of hammers? 29. What is the cause when hammer refuses to let off and blocks the string? 30. What is meant by the "drop" in grand action regulating? 31. What is the usual measurement of the "drop"? 32. Why do we need the "drop"? 33. Describe the technical reason for the use of the repetition lever? 34. What is the "touch"? 35. What is the usual "touch" measurement?
36. What relation is there between the "after r touch" and the "drop"? 37. How is the "rouch" layed? 38. What precaution should be taken in regard to the sharps when laying touch? 39. What is the measurement for the correct "after-touch"? 40. How should hammers be properly checked? 41. What measurement is used in checking hammers? 42. Why is it necessary to check hammers? 43. How can you t~11 if repetition lever spring is too strong or too we ak ? 44. ~·10W is the r epe t i t i on lever spring adjustment made when there is no s c rev a r~ jus t men t? 45. Is it adviseable to bend springs sharply when increasing or decreasing repetition lever spring tension? 46. What is the repetition lever stop hook used for? 47. How is the repetition lever stop hook adjusted? 48. When should dampers begin to raise while depressing key? 49. What is the usual procedure in adjusting dampers? 50. What is meant by blocking off dampers? 51. What is the sustenuto [sip] pedal on grands used for? 52. How are individual dampers held up in grands independent of the sustaining pedal? 53. What are the three basic rules used when adjusting the sustenuto pedal? 54. Where are these three adjustments made - and in what order? Issued by THE AMPICO CORPORATION Service Department 423 West 54th St:I'eet New York City
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REFRAIN FOR A REIGNING REAR Our man in Japan, Vernon Brown, reports that Queen Victoria was once presented with an unusual music box (perhaps the original "Vl c tor le" Regina?). Housed in a bustle, - it was designed to ,play "God Save the Queen" whenever the rova l derriere was placed on the throne. This could have caused confusion at court, for whenever Her Majesty sat down her courtiers would be obliged to remain standing as the high-born backside ( sounded forth the national anthem. Being an unimaginatiye old broad, Vicky doubtlessly never had the bad taste to wear the contraption, but one wonders what her reaction was upon receiving it? Besides "We are not amused", that is. Perhaps, I~e are English in birth and bearing, and it, is not seemly that the Windsor waddle should bear a Swiss movement." III till " 1111111111 " ill ~ 259 BROOKS PROVIVES SOME HISTORICAL BACKGROUNV 10 My research leads me to many sources, eacn of which usually yields only part of the story tim seeking, Until we can get more complete information, (111 Just have to print the facts as t receive them, and hope that a clear picture will eventually take form. After receiving Dave Saul1s question about the Duo-Art drawer (printed in the March 1970 issue), I wrote to ask Honorary Member Elmer F. Brooks, Jr., Vice President of AEolian American Corporation, if he could provide any information on the late Duo-!rt construction. I also asked many other questions as they occurred to me, and J 1 m afraid I presented Mr. Brooks with a horrendous research task which he was kind enough to take quite seriously. Following is his interesting reply: March 25, 1970 Dear Mr. Elfers: Since receiving your January 18 letter I have endeavored, I must say quite unsuccessfully, to get some definite answers to those questions you pose. You would understand that in the many years since we last were involved with the Ampico those people with knowledge have either left us or departed this world, and at this time we have no one presently associated with the company who had any involvement with the mechanisms themselves or the rolls we produced. J. Wells 'Benedfct , who probably had the best knowledge of the Ampieo of anyone connected with the company, has suffered several strokes and has been a nursing home patient for the last four years. Mr. Jim Herbert, who was last in charge of our roll-cutting department is also quite elderly and has been in and out of hospitals so many times lately he has not been available to see or talk with. This is one area I will endeavor to cover as soon as I can see him. Bob Hill, our former President, has volunteered everything he could recall and what information I am able to pass along has been dredged up from his memory over the last several weeks. In this regard I would suggest that some of your members check further with Fred Rydeen, who many of you know, and who has a prodigious memory and excellent recall of things which happened many years ago. Fred is, as you perhaps know, still quite active in our behalf and I know would be happy to assist wherever possible. First, let me say that both the Duo-Art and the Ampico masters were sent to East Rochester from New York City shmetime during the thirties and it is my understanding they were maintained in storage here at our facilities and that a few of the masters were used for the cutting of select rolls. With the advent of World War II and the curtailment of all piano production the AEolian American facilities were turned over to Universal Molded Products and during the three and a half years or so manufactured molded plywood aircraft fuselages, wings, etc. for the Anson training bomber that was produced by the Canadian government. Following the war t and with the resumption of regular piano production t the company felt that further storage of the large and bulky Duo-Art masters was impractical and these masters numbering many hundreds, were disposed of as scrap paper. They were not turned over to the International Piano Library unless somehow after they left our hands such disposition was arranged. Obviously, there could be a few Duo-Art masters floating a.round, but they were made up of hea.vy gauge cardboard-like pa.per, approximately 20" wide and a single master weighed upwards of twenty pounds. The Ampico masters, which are generally about the same size as the finished roll and of similar gauge paper, were maintained in storage and we still have them here at East Rochester. There are about 4400 of them on hand. The AEolian Corporation has made an a.rrangement with Larry G1 vena to produce rolls from the original masters, but up to this point his activities along these lines have been very restricted, and ~-- I do understand he plans to expand this area of his business and we will probably secure more knowledge of his activities "as the days pass ; Anyone would be privileged to copy a present Ampico or Duo-Art roll tor his own use, but the ma.rketing or sale of these copies continues to be restricted and subject to the permission of the AEolian Corporation, the original owners. 11 BROOKS PROVIVES SOME HISTORICAL BACKGRO(JJ1J {Con.t' d}
It 1~ very possible that some of the Ampico masters were given away to visitors" in \, years past, since it has only been in the last ten or twelve years that anyone expressed the slightest interest in Ampico, Duo-Arts or other reproducing mechanisms and the rolls that are necessary for their use. We know of no definite activities on the part of any Japanese concerns to develop player or reproducing mechanisms, and to this point no other t1.rm has requested the rights or privileges to use either the Duo-Art or Ampico systems. In September of 1932 the AEolian Campsny and the American Piano Company merged into one company, the AEolian American Corporation. This arrangement was brought about as the result of the economic problems both companies had suffered. The large retail. operations that these companies had maintained had been dissolved and all other manufacturing facilities were discontinued except the AEolian facilities at Neponset, Massachusetts and the American facilities here at East Rochester. All manufacturing was at that time concentrated in East Rochester and I believe the plant at Neponset was subsequently disposed of. The pianos continued in manufacture were Chickering &: Sons, J. & C. Fischer, Wm. Knabe & Co, , Mason & Hamlin, George Steck and Weber. While I believe there had been some limited manufacture of Marshall &Wendells and other lines in the years up to the start of World War II, the lines mentioned continued to be the only ones manufactured consistently through the years. The fire you referred to took place November 11, 1952, at which time our office facilities, which were and continue to be in a separate structure, was completely gutted. * It was in the basement of this office we stored all of the old literature and printed materials pertaining to the Duo-Art and Ampico mechanisms - service manuals, maintenance manuals, tubing diagrams, etc. With the loss of these materials either by fire or water damage we fOlmd ourselves completely unable to provide any meaningtul information to those Ampico and Duo-Art enthusiasts from whom we hear. The roll manufacturing facilities had been dismantled in the late 'thirties with most of the equipment sold as junk, but some was mainta.ined in dead storage and subsequently turned over to John Morse of the Morse Instrument Company at Hudson, Ohio. John was a most enthus}ast1c hobbyest and excellent mechanic, and after having acquired a couple of reproducing grands he corresponded and visited with us and had at the time definite plans to manufacture copy rolls from the equipment we turned over to him. As I recall this never transpired but he did eventually turn over some of the equipment to Larry G1vens of Wexford, Pennsylvania.. We know there have been all sorts of rumors on what actually took pla.ce, but I feel it is safe to say none of us could envision the problems faced by American industry in the late Itwenties or early Ithirties when our econo~ completely fell apart. What was done related to the protection of people and products in any manner tha.t was deemed adviseable at the time. The good days were gone and everyone was in serious trouble.
Since Frank Milne I s death we would know of no one to whom we could refer you for information on the recording and coding methods used by Duo-Art. We have no knOWledge of W. Creary Woods, nor does Bob Hill seem to recall him.
* I was actually referring to the fire mentioned on page 50 of Roehl IS Player piano Treas~: liThe Duo-Art was installed up until the mid-thirties, when the factory in New York City suffered a disastrous fire, after which the AEolian Company merged / with the American Piano Company and moved its production operations to East Rocheste", New York." I have so far been unsuccessful in tracin~that fire. The-text implies that AEolian was in the less advantaged position, although other sources say it first offered to buyout American in 1930, but got it for a much lower figure by the time American agreed In 1932. 3 25 BROOKS PROVlVES SOME HISTORICAL BACKGROUNV {Cont'd} 12
Since I have been trying to answer your questions as set forth in your letter, be a.dvised that the Ampico, as the property of the American Piano Company, was placed in Mason & Hamlin, Chickering, Knabe, J. & C. Fischer, Marshall & Wendell and -~ probably other lines, the names of which I do not recall. Duo-Art, as the property of AEolian Company, was used in the Weber, George Steck, Stroud, Stuyvesant, Wheelock and, of course, the Steinway. It m net sure of the date that AEolian acquired Weber but it goes back to immediately following the turn of the century. Chickering was purchased by the old American Piano Company in 1909 and the Chickering facilities in Boston closed and all personnel and physical property were transferred to East Rochester in 1929. It was during this same period that Knabe was acquired by the American Piano Company and the personnel and physical properties were moved from Baltimore, Maryland to East Rochester a2.so in 1929. Mason & Hamlin, its personnel and physical properties were relocated from Boston, Massachusetts to East Rochester in 1932. As to the rough draft that you anticipated placing in the February AMICA Bulletin, I can only say in having checked with Bob Hil: that in the last days of the Duo-Art and Ampico in the late 'thirties, and since beth of these mechanisms were at the time manufactured here in East Rochester, we ve re using up all of the equipment and putting pianos together in any manner that would use up inventory and produce salable instruments. Since pianos equipped with Duo-~~ts had to be of a special construction some of the people recall the interchangeable '~e of Duo-Art and Ampico parts and the assembly of Duo-Arts with Ampico-type dra-..-ers. I cannot find anyone here who recalls having installed either Duo-Arts or ~icos in Steinway grands, out I understand the arrangement between AEolian ~~t Steinway ceased sometime just prior to 1932 when AEolian and American merged. It:s possible, though unconfirmed, that Duo-Art mechanisms were shipped to England or possibly made there and installed in some of their pianos. _-I do wish I could provide something definite i~ the way of answers on your various questions, and obviously when any information ~eaches me that I feel would be helpful or of interest IIII send it along. Please fo~~ive the rambles, but I wanted to get this message off to you without further delay. Best regards, E. F. Brooks, Jr. Vice President
I I. II It .. II " .1 .... It 1111 It u 1111 II It , FUVVER FUR MORE AMP120 RESEARCH When he isn't reading about royal underpinnings, Vernon Bra~n concerns himself about various questions regarding the numbering of Ampico recordings. Can any of you provide answers to any of the following? 1. What is the significance of the 101 which appears to the left of the roll number on certain late IBI labels? 2. What is the significance of the inclusion or exclusion of the price-coordinated letter which follows the roll number on late fB' labels? Although all earlier labels have the hyphenated letter, some late tB' labels have it and some do not. 3. What is the meaning of the final digit of the roll number series beginning with SXXXX and ending with 592921 From 59303 on, the last digit is always 1 or 3 and indicates the roll size. From 5XXXX to 59292 the final digits are 2, 3, 4, S, band 7 only; what do these digits indicate? ~. Are black box 5XXXX series rolls (or all rolls prior to 59303) reissues of former Stoddard Ampico, Artigraphic. or Rhythmodik rolls? --j. Herels another real puzzler: I am told that Marguerit~ Volavy came to Ampico about 1924 when Ampico bought Arteeho. Yet the lowest-numbered roll in the "eless lea l" series in the 1940 Ampico catalog is 50125 FPUhZingsstimmen, recorded by Madame Volavy. The number would indicate that this was recorded before 1916. Can anyone throw any light on this? 1111'1"11111111111.11111 •• 1o" ROBETrr ARMBRUSTER: 'THE FULFI LLMENT OF A PRODIGY Robert SUl'Mlers Armbruster was born in Phi ladelphJa in 1896. "I was an only chi ld, My mother played a little piano. I can only remember one piece in E-flat. It was called The MaidBn's Prayer'and I disliked it in infancy and still do. She was:a great mother (except for the above opus), teaching me to read, write and do my sums so that I made my debut in the Philadelphia school system at the second grade and, after being carefully evaluated by the local pedagogues was moved up to the third. All the details escape me. 1I Before settling down to run a small grocery store in PhiladelphIa, Robertls father had been a c""boy in the Wild West. Many years later, lithe moving men absconded with my father1s two Colt 44's. They were the long octagonal-barreled jobs, side-loading with interchangeable chambers. One was for cartridges and the other for the earlier bullet with the paper container of powder and the fulminate of mercury caps (I hope my Chemistry is right)." Ex-cowboy Armbruster didn't take kindly to the idea of his son pursuing such an unmanly field as Music. Nonetheless, Robert showed talent at quite an early age, and at nine he was studying with the great pianist, composer and teacher, Constantin Sternberg, among whose students were John Thompson and George Antheil. The greatest single influence in his life, Sternberg was like a father to young Robert, who spent a great deal of time in the cultured European atmosphere of the Sternberg home. Born Baron Constantin Ivanovich von Sternberg in St. Petersburg in 1852, his father had also taken a dim view of the pursuit of Music. In addition to being unmanly, music was also apparently ignoble. But despite his high-born family1s objections, Constantin studied with Moscheles and Hauptmann at the Leipzig Conservatory, and later with Kullak and the great Franz Liszt. He had left home to become the accompanist of soprano Desiree Artot. Through this connection he met Tschaikowsky, who was hopelessly in love with the soprano~ Sternberg's subsequent tours took him throughout Europe, Asia, Egypt, and finally, to America as concert soloist and conductor in 1880. He established the Sternberg School of Music in Philadelphia in 1890, and remained there until his Jeath in 1924. Among Sternberg1s many accomplishments was the comprehension of nine languages, seven of which he spoke fluently. He would retain this knowledge by reading such literature as Voltaire's PhiZOBophicaZ Dictionary and translating it aloud to young Robert Armbruster, with appropriate and instructive comments. Sternberg was Josef Hofmann's closest friend, so at age nine Robert met this great pianist. He remembers one occasion when Sternberg and Hofmann took him to the Musical Art Club in Philadelphia for lunch. Afterwards the two virtuosi played billiards, at which both were experts. Looking at his watch, Hofmann commented, "I think it's almost intermission time - we'd better get to the Academy of Music". He then asked the attendant to leave the billiards and cues as they were, and the three took a cab to the Academy. Backstage, Hofmann declined the use of a dressing room, handed his fur coat to Sternberg, rubbed his hands (it was Winter), and walked onstage after the orchestra had seated itself. After giving a brilliant performance of Beethoven's Emperor Concerto, he and the others cabbed back to resume the billiards game. Armbruster says Hofmann had "nerves of iron". Sternberg dedicated his first book, Ethies and AEsthetics of Piano PZaying, to Hofmann, and his second book, Tempo RUbato and Other Essays, to Armbruster. The latter book is quoted in Schonberg1s GPeat ~anists. Sternberg also dedicated his Prel-ude in C-shazrp Minor- to Armbruster. Robert developed a reputation as a prodigy Tn Philadelphia, performing a Schumann concerto under the baton of Leopold Stokowski. At that time his reputation did not ( extend to New York, but that didn't prevent him from presenting himself at the AEolian Company while in tONn visiting a cousin, and wearlnq his first pair of. long trousers. Confronting W. Creary Woods, Head of the Duo-Art Recording Department, the high school student announced that he would like to record for the Duo-Art (which he had never heard, but had seen advertised). He recalls the kIndness and courtesy of Mr. Woods, who asked to hear him play. They then recorded the six ROBERT ARi~{BRUSTER: THE FULFI LL,\rENT OF A PROVIGY 'Ccru:' d) ~4 salon pieces young Robert had prepared, the first of which was Dreyshock1s Petite Ronde (~f5612). The teen-ager was paid $10 apiece for these performances, and returned to Philadelphia the richest kid in his block. He doesn't remember the date, but it must have been before 1912, and might have been as early as 1909. "I had graduated from the Samuel B. Huey Grammar School in West Philadelphia. At the West Philadelphia High School I found an amazingly understanding Principal and faculty. They promoted me along with my class for four years. At Commencement I ; ~)yed piano solos, sang in the Glee Club (I was President and they were forced to let me sing), conducted the orchestra and did not receive a diploma. Instead I was given a school pin in gold and two handsomely-bound volumes of Charles Brockton BrC>'Nn, all of which I still cherish. I forgot to add that I formed a small (in every sense of the word) orchestra in gram~ar school, the sound of which I dare not contemplate even at this late date." He continued to make Duo-Art recordings before and after high school graduation, whenever he needed money and wrote to tell Woods what he had ready. The $10 fee increased as time went on. He even made some recordings whi le on leave from the Naval Reserve, and is pictured in uniform on some of the roll leaders (1lGood Lord, a sai lor sui t!" he exclaimed when I showed him one of thes e ~eaders). After the war he wa~ chosen to perform for a big diplomatic dinner at the White House, and received a gold medal from President Woodrow Wi 1son. Impressed by his understanding of the unique requirements of reproducer recordings, AEol ian offered him an attractive contract, at which time he married his Swedish sweetheart, Gerta Bergman, and moved to New York. He thinks the date might have been around 1922. He was placed in charge of operatic, semi-classical and salon music under Woods, and remained one of Duo-Artis most popular and prolific artists for many years. When his name threatened to appear too often in the month~ .-i..~....-'L5 os it i · buted to the f i c tit i ous names~ II obert Summers" and 'Gene Waldron" One a his early triumphs was the discovery that a salesclerk could sell an operatic roll much faster if the arranyemert began with the operals most familiar ai r , Unti 1 that time the arran qerren t s took the selections in sequence, and the unsophisticated customer would have to listen to most of the roll before the fami liar aria assured him he had chosen the right opera. When the Armbruster potpourris proved so popular, they gradually replaced all the prior recordings of the same operas. Mr. Armbruster learned a great deal dbout Music from th~ many great virtuosi who recorded for Duo-Art, most of whom welcomed observers in the recording studio. However, he was n l t able to learn much from Igor Stravinsky, who spoke no English,
but as he was the only one besides Woods able to follow St r-av i ns kv t s music ('Iin ll the days when he wrote like Bach ), he was chosen to turn the pages for several days w~ile the composer recorded his concerto and sonata. Mr. Armbruster was unaware that his mentor, Con~tantin Sternberg, had made Duo-Art recordings. As these were numbered in the 6100'5, I assume they were recorded after Armbruster began his career - perhaps while the latter was in the Naval Reserve and somewhat out of touch with the studio. Sternberg was beyond his prime, and probably d l dn t t boast of the recordings, especially as they show little of the marvelous technique he had passed on to his pupils. Another of Armbruster's duties was recording the violin accompaniment rolls which were specifically commissioned by l te lvs Mussolini. "Nobody ever said whether he was a g I 111111 1111111111111111 11111 An i.nual.uab le aC~07.Q1,t of the Duo-Art recording procedures as learned !pom Mr. Armbrustie» un.l.l: appear in a subsequent bul.letrin; THE MASToER t S fINGERS ON MY WHAT? On the opposite page is the advertisement, donated by Larry Mangus, from which last month1s teaser was lif~ed. The following captions try to account for the young lady1s histrionics: "And my husband Just paid $900 to have it completely res tored l" (Bill Coverdale) "Good Lord, live been going 13 hours on a l2-hour deodo ren t ;" (Elfers) "Stand up, yewal1! It's playing DIXIEl" (Ed Hayden) I hope no one misinterprets my frivolous treatment of these ads as a lack of respect for the reproducers they're trying to push. The reproducers are real; we all have them in our homes and know what marvels they are and what pleasure they bring. The manifestations of Madison Avenue are something else, however, then as now. L hope we more than anyone else can appreciate that. Fortunately for us, the men wno designed the systems and those who produced the recordings were generally not the same ones who dispensed this unfortunate propaganda. The incredulous innocent in this ad apparently knows the Master's fingers quite well (he who is that very night ll "playing in London ), and it's entirely reasonable to assume she was aware he recorded for Welte. Perhaps somebody left an avacado pit in her guacamole. 1114111111111111111111111111 3 253 ~mICA AUCTlnN #6 - June, 1970 DESCRIPTION SHEET Page 1 The following rolls are to be sold at a special AMICA auction meeting at Jarod Clark's PORTCULLIS at 8:00 p.m., FRIDAY, June 26, 1970. mail bids must be received by June 23, 197U, and should b8 addressed to William Knorp, ArnICA Corresponding Secretary, 320 Third Street, Sausalito, CA 94965. mark tlAmica Auction" on back of bid envelope. Bid minimums and spaces for your bids are on the attached bid sheet. WELT[-mIGNON ROLLS I11/N...... y.-- 1. [ALTZ from ballet NAILA, Delibes-Dohnanyi, POUISHNOrr, C-7038, complete, exc8llent. 3- 2. SPRING SONG #30, mendelssohn, ZEISLER, C1466, complete, excellent. '-;-- 3. KAmENOI O~TROlli, Rubinstein, LHEVINN£, C243l, complete, excellent. if -- 4. mlNLJEi, Paderewski, COMPOSER PLAYED, C1263, orig. box missing, good. ..3-. 5 • LITTLE PAL, DeSylva-Brown-Henderson-Jolson, STURGIS, Y75476, complete, g~od • tt-- 6. rpUHLINGSRAUSCHEN (Rustle·of Spring), Sinding, CONRADI, 86321, complete, excellent. ". 3 -- 7. TANGO ESPAGNGLE, Janssen, COMPOSER PLAYED, X7155, complete, gooa. 3-- 8. THE LOST CHORD, Sullivan-Harris, HARRIS, X7479, complete, excellent. .3" g. HUNLAQIA"v D.ANCL #2, Brahms, FRI[DBERG, 81096, complete, excellent • 3 -- 10. SImPLE AVEU, Thome, ESHART, X6l99, orig. box missing, good. 41:"" 11. RIGOLETTO PARAPHRASE, Verdi-Liszt, SUSONI, C445, complete, good. ¥-' 12 • HUNGARIAN RHAPSODY #2, Liszt, SINGER, C6888, lead8r damaged/r~placed, good, repaired. .3 ~ 13. INDIAN LOVE CALL, Friml, LUTTER, Y6934, complete, excellent. 14. SPARKLETS, miles, DELCAMP, X6013, complete, excellent. 15. 8E~CEUSE FRom JOCELYN, Godard, DIGIOVANNI, C6074, complete, excellent. '1- 16. PO£T AND PEASANT, Von Suppa, FICHTER, C1287, orig. box mis~ing, good. DUO-ART ROLLS I LOVE YOU, "Little Jess,ie James, FT, LANG[, complete, excellent, 1923, 19275. TH[ SWAN, Saint-Saens, GAN1, 6064, complete, excellent. 8LU[ DANU8[ WALTZ (For Dancing), Strauss, ARNOT, 1501, complete, slight repair. SPRINGTlm[ FANCIES (~altz for Dancing), Rees, ARNOT, 1505, complete, excellent. TH[ STUDENT PRINC£ Selections, Introduction, Deep in my._~eart, Students' March, Serenade, Drinking Song, Romberg, PIlOT, 68879, complete, excellent, 1924. mv HEART AT THY SWEET VOICE -Samson and Delilah", Saint-Saens, 80S, accompaniment for mezzo soprano, complete, needs slight repair, 1068. 23. ROSE IN THE BUD, Forster, RI(NZO, 10055, complete, excellent. 24. SONG or INDIA, rT, [RL£BACH & mILN£, 17795, complete, good. 25. THE GLOW WORm, Lincke, R~P[[,63868, complete, excellent. 26. THE PARADE or THE WOODEN SOLDIERS,· -La Chauve Souris", mIllS & BROOKS, 1832, no box, 3 slight repairs, lead repaired. --:So 27. ROBIN HOOD Selections, DeKoven, RAPEr, 63620, complete, left edge needs slight ~ repiar and right edge needs extensive repair, short lead. ~ 28. TALES or HorrmAN, Barcarolle, Offenbach, SHATTUCK, 58810, complete, excellent. I-Z~:! 29. CARM[N Selections, Bizet, RAP[[, 65080, COMplete, Excellent. , -~ 30. BOHEMIAN GIRL Selections, Balfe, RAPE[, 64210, complete, excellent. ~ • ABSENT Song-Roll, metcalf, RAPE[, 10092, complete, excellent. WITHOUT YOU SWEETHEART, fT, H£ADOEN, 0488, complete, two very slight repairs. CAROLINA IN THE mORNING, rT, Donaldson, LANGE, 1829, complete, excellent. DESCRIPTION SHEET Page 2 DUO-ART ROLLS contd. ~[LODV l~ r Ope 3, ~o. 1, Rubenstein, HOrmANN, 60996, complete, excellent. SmILlN' ;HROUGh Song-Roll, Penn, JONES, 10125, complete, excellent. ~NCE Ir~ A LlrETIME "[arl Caroll's Vanities", r r , ALPERT, U568, complete, mint, 1928. JUST A lliEARYIN' FOR YOU Song-Roll, Jacobs-Bond, ARNDT, 10028, complete, slight rBp3ir near re-roll perforation. HUfYl["'~nf.SKE OPe 101, No.7, Dvorak, GANZ, 6369, complete, excellent. JALiNCIA "The Great Temptations" FT, mORAN & BLoom, complete, e xce l Le o t , 113244. ~j~lJ[ET GENEVIEVE Song-Roll, Tucker, ARmBRUSTER, 102635, complete, excellent. MARCHETA, GIOVANNI, 101145, ~nmplete, excellent. fACE THE mUSIC Dance medley, 1. Soft lights and Sweet music, 2. On a Roof in f';anhattan, 3. Let's Have Ano ther Cup of Coffee, 4. Soft Lights and Sweet music, Berlin, OHmAN, 74536, complete, excellent, 1932. 43. ETUDE EN FORmE DE VALSE, Saint-Saens, CORTOT, 6372, complete, exce:lent, Powell recut. 44. SPRING SONG No. 30, mendelssohn, NOVAES, 6417, no box, excellent. 45. tHE HYACINTH Intermezzo, Hatch, ARmBRUSTER, 68317, complete, good, labels missing. 46. OH GEE ~ OH GOSH! (I Love You) "For Goodness Sake", fT, AA~JTZ, complete, excellent, 1795. .---, 47 • l[ SECRET, Gautier, SPROSS, 66037, complete, good. ~ 4B. SITTII\J' IN A CORN[R, r r , PERKINS, 19505, complete, excellent. 4g. SPAIN, rT, CLAIR & LEITH, complete, excellent, roll marked with pencil, 713004. 50. HOW I lOVE THl\T GIRL, r r , riorito, mORAN, 713053, complete, excellent. S1. H[IIE IN my ARms, FT, Rodgers, P[RKINS, 713188, substitute Lvne L, excellent. . S2. YOU ~ND I "my Girl", r r , PERKINS, complete, excellent, 713069 • ~S3. wHERE THE GANGE~i rLOE1S "Adrienne", MILN[, complete, e xca Lie nt, , lq155. ~54. I..:1HEN I tm LGnKINC AT YOU "The Rogue Song", r r , ILEITH, complete, excellent, 1929, 0725. ~5. 0, BEAUTIrUL MAY "Prince ~1ethusalem", Strauss, ROD[;~ & RU8INST[IN, complete, e xcaL, , 612g. 1# r J I ~o 56 • S[RE~ADE, Schubert, N£LLIS, 5952, complete, needs repair, large roll. .--,, s-- 57. ALL BY YOURSELF IN THE mOONLIGHT, Wallis, mORAN, 0622, complet~, repaired. 58. CANADIAN CAPERS, Cahen, ERL[BACH & mILNE, no box, leauer aamaged, ~ee~s repair. Ir r> ~~.~ 59. mAY DUO-ART B!JLLET IN ROLL, 5-3216, leader oamaqe n , exes l l.e nt , ","I·.~ 60. TY-TEE (Tahiti), Biba, i,HMAN, 1775, o r i q , box miss i nq , ntLU~ repair. :-/~ 6:. CARULINA mOON, Davis tl. Burke, POLLACK, 0618, complete, r e i.a i r su , ~2.~~ 62. BC~m8ED IN 8R[)UKLVN, Cohan, PERKINS, 19125, complete, {~ood. ~?>3. THY BEAmING EVES, macDowell, JONES, 101525, orig. box misslnq, gOOd. ~ ~ 4. ROBIN HOOD, Ds Koven , RAP[[, 6362, complete, repaired. t'....-65., THE mAN I LO'JE, Gershwin, mORAN, 0471, o r i q , uo x missing, needs r e pa i r , ,-0. 66. IT'S YOU, Conrad, LANG[, 1750, orlg. box missing, excelle~t. 67. THE JOSS HOUSE, Ilgenfritz, COMPOSER PLAY[D, 5606, orig. box missing. 68. DIRTY HANDS ~ DIRTY rACES, monaco, BANTA, 1016g~,· or i q , box mi s s i nq , qo oc , ----..... 69. YOG-HOO, Jolson, A~NTA, 1756, orig. bnx missing, good. Z, 70. TRO Dr CAVALEIRE, Rubinstein, MILLS & BR[i[1K, 6589, orig. box missing, excellent. '1...,.71. CAVATINE in 0, Accompaniment for v i oLi.n-ice Ll o , Raff, DAmB01S, 1029, complete, good. If- 7:. AVE· MARIA in C, Accompaniment for violin-cello, Aach-Gounod, DAmeOIS, 1051, complete, good. If _73. SOUVENIR in 0, Accomp. for violin, Drd1a, CHARN8URY, lO~8, complete, good. ~ 6_ 74. AIR FOR G STRI NG, Accomp. for violin, BaCh-\!filh-el.my , SPROS5, 11338., complete, good.C.>.9 75. AVE mARIA in r, Accomp. for 'v Lo Li n , Schubert-'~ii1helmy, -DE mARCO, 1090, complete, ~. .J' good. ... .-- .. '1- 76. SONATA, Accomp. for violin, Grieg, BENOIST, 11798, complete, gOod. ~-77. CHANSON INDOUE, Accomp. for violin, Rimsky-Korsakoff, ARMBRUSTER, 10956, complete, good. 1{-78. SO~ATA op. 100 in A, Accomp. for violin, Brahms, mOORE, 11928, complete, gaod. r i 3 25d AmICA AUCTION #6 - June, 1970 DESCRIPTION SHEET Page 3 DUfl-ART ROLLS contd. '1- 79. RONDINO in [ flat, B~ethoven, accomp. for violin, CHARmSURY, 1069, com;lete, good. L/- 80. ANDANTE CANTABILE Ope 24, #1 in 0, Sgambati, accomp. for vi~lin, mADRIGUERA, 10408, complete, good. 0/-81. ABENDLIED Ope 85, #12 in 0 flat, Schumann, accomp. (instrument nnt ind:cated), ST[RNBERC, 12988, complete, good. SO~GS my M('THfR TAUGHT m( in D, Dvorak, accomp , for soprano, RAP[[, 10=0-3', 82. ,f- complete, excellent • ..,1.'- 83. ON THE BANKS or THE ~APA~H, Dresser, HAASE, 101665, complete, excellen: • • ~'" 84. rqnM T~[ CANEARAK[, Gardner, ARmBRUSTfR, 73128, complete, excellent. I"Z_ -- 85 o A GARDEN DANCE, Vargas, RAP£(, 62617, complete, qr-no , AmPICO ROLLS 2.,- 86. 8 ,Q rJ[ AH0 LL£ F s h a r p (C n t rl e B lack Key s ), GI til Z aunow, SELI GmAN, 62 151, c ~ - o l a t e, CJ nod. ~-87. PET/ITE VALSE, Kreisler, COmpOSER PLAYED, 67691, o r Lq , box missing, qocc , needs repair, ft. flange broken. Z-88. THE GUNDOLA, Henselt, LA ROSS, 53053, complete, good. e-: 89. SILVER THRE ADS AmONG TH[ GOLD, Danks, KmITA, 56723, complete, good. 2-'- 90. 'JALSE PETIT£, 8enkhardt, D£LCAMP, 60711, complete, good. 2---91. ALONE AT LAST, Fiorito, DELCAmp, 206371, o r Lq , n o x missing, roll r epai.r ad , 1- 92.~IE8~STRAum N~. 3, L~szt, ZEISLER: 605B3~ complete, nasus repair. ·93. L.IEBESTRAUIYl NL. 3, tis z t , (1RNST[II~, 5042..), complete, good. ____ ' 94. DON'T wAIT TOO LONG, Berlin, CARROLL, 206731, complete, needs minor re:.air, rt. flange broken. J...... -95. UNFINISHED SymPHONY, 1st mov t t , , Schubert, SUSKIND &: LO[SSER, 60923, s .... o s t i « tute box witn original lauels, Excellent. If- 96. OH HAROLD, Roberts, CARROLL, 203631, complete, excellent, with o r i q i.n a, s e a l , tt--Cj7. AT DAWNING, Cadman-[berhart,DIL\!Jrl~TH, 311, complete, excellent, s e a Le z , 41~ 98. VICTOR HERBERT FAVORITES, Hyrbert, KffiITA, 50745, complete, good. '1--- 99. DINNER mL'SIC NO. 1, DELCl\(Y1~t 63303, complete, good. ~-lOO. THE ROSARY, Nevin, AROCKWAY, complete, excellent, 8 roll. '(-101. H:UmOH£SQU[ Ope 101, #7, Dvorak, ORNSTEIN, 52425, complete, good. lar~102. TRAUmEREI AND ROmANCE, Schumann, VOlAVY, 50774, no box, very good. /:i!.103. THE SWEET£ST STORTY [VER TOLD, Stults, KmITA, 251, no box, roll e xc e I i vr.t , /;-.!l04. mARCH[TA, Schortzinger, fAIRCHILD, 1451, no ,bnx, very good. /$"DIOE. BUTTERFLIES, Johnson, GERDTS, 52043, no box, needs easy repair of 2' f cLoove r and l' bridging. "~l06. A PERFECT DAY, Bond, VOLAVY, 51343, no box, good. Ii:! 107. IIANT ALITTL£ LOV IN, FT, Warren, CARROLL, relabeled box, foldover naecs easy repair. '/~108. JUST A W£ARYIN' rOR YOU, Bond, KmITA, 51403, completeness not Lnu Lc a t s r , -g'Jud. I~() 109. A LA BIEN AImEE, Schutt, BROCKWAY, 55774, completeness not a nu i c a t eu , e r v ~lLoJ. /~ 110. LA GOLONDRINA (The Swallow), Serradell, LAVARRO, 1351, completeness n~t indicated, condition not indicated. /~ Ill. ROBIN HOOD, DeKoven, KmITA, 58307, complete, excellent, big bOX, 191A:. 2.f.tO 112. AUF rLUGELN DES G£SANGES, mendelssohn, RAND£GGER, 53384, complete, g ..-j. Z56 113. IN A PERSIAN mARKET, rT, Ketelby, HAfIZ, 69033, leader damaqed, comwlete, axce11ent, Z;~ 114. 80CETOS, Granados, COPELAND, 62371, complete, excellent, 1923. /' 01,-= box, 1128. ). / .•115.- DANSE VI['\iNOISE, Van den Berg, 'LOlftPOS[R PLAY[O, 63661, complete, e xcel Le r t , 1924. 2.:;;-"116. PASTOREL£ VARIEE, mOzdrt, hIORRIS, 54167, complete, excellent, 1418. z.~117. TH( [RLKING,5chubert-Liszt, LOESSER, 56217, complete, excellent, big U:;x. /~.:! 118. PIERRETTE, ChaDIin,ade, ADL[R, 5U962, complete, axceLrerrt ; AmICA AUCTlnN # 6 - June, 1970 DESCRIPTION SHE[T Page 4 AmPICO ROLLS contd. ~-119. WHEN YOU AND I WERE YOUNG mAGGIE, Wyman, Gerdts, 57124, complete, good. I';-~ 120. ANNIE LAURIE, L[VITZKY, 1411, complete, good. /.;-:= 121. SCOTCH SONG FAVORITES, KmITA, 56482, leader damaged, complete, good. 2:i~122. ROSE mARIE, friml, O[LCAmp, 205331, complete, excellent. /.f..!' 123. HUmORESQUE, Dvorak, 8RCCKWAY, 55623, complete, excellent. /e 124. SONG or THE SOUL, Breil, KMITA, 50803, complete, excellent. I~ 125. SONG or LOVE, Dannelly-Romberg, SHIPmAN, 1231, leader damaged, complete, excellent. 3 - 126. Il BARBI£RE DE SIVIGlIA, Rossini, PELLETIER & LO[SSER, 59783, complete, excellent, large BroIl. 2';2 127. WOTAN'S fAREWELL, Wagnt~r-Rybner, RY8NER, 59943, complete, excellent. jJE 12"8. GORG£OUS, Davis-Akst, OELCAMP, 208991, half of box missing, good. /~ 129. BUTTERflY ETUDE, Chopin, ~HITTAKER, complete, needs minor rep~ir, 1917. I;J~ 130. WILL YOU R£m£mSER--WILL YOU FO~GET, Simon-Greg-Cpnsler, lOP[Z, 210921, complete, good, 1928. I~ 131. JUNE BROUGHT THE ROSES, Openshaw, CARROLL, 206151, complete, good, 1925. I r)-~ 132. SANTA LUCIA, KMITA, 761, complete, excellent, 1922. IJ~ 133. I'VE GOT THE Y[S WE HAVE NO 8AN~NA BLUES, Hanley-King, CARROLL, 203981, complete, excellent, 1923. / .J'eJ 1J4. LI£9£STOD, Wagner-liszt, DUmESNIL, 54336, complete, good, large box, 1918. 9- 135. TANGO mEDLEY, fUlKS, 70043, complete, excellent, large B roll. 136. SALUT A PESTH, Kowalski, NYIR[CYHAZI, 62543, comp~te, good, large box 1923. I'-_~ 137. FAVORITE LIGHT OPERA SEl[CTIONS, KmITA, 56063, complete, good, 1915. 2-- 138. CRAZY WOROS.-CRAZY TUNE, Agar, GROFE, 208611, complete, excellent, 1927. 2-- 139. THAN I'LL BE HAPPY, friend, CONFREY, 206931, orig. box missing, good, 1925. If~ 140. THE KISS WALTZ, Araiti, KmITA, 56502, complete, excellent. I..J~ 141. N£APOLITAN LOVE SONG, Blossom-Herbert, fAIRCHILD, 2171, complete, good, 1917. I.~ 142. TREES, Rosbach, SUSKIND, 1391, complete, good, 1924. I~ 143. MY DEAR, Kahn-Sanders, SHIPmAN, 211881. complete, good, 1929. IJ'~ 144. WORRI[D, Rose, lANG[, 204711, complete, good, 1923. If- 145. [LIZA, Fiorito, DELCAmp, 205441, complate, excellent, 1924, autographed by composer. I~ 146. LOST, Hanley, CLAIR, 203151, complete, good, 1922. 3- 147. TH[ WORLD IS WAIT1~G FOR THE SUNSHIN[, Seltz, rIIRCHILD, 1301, complete, good, 192~. /i!' 148. LOVES OLD SWEET SONG, Bingham-Molloy, BROCKWAY, 541, half of box missing, needs minor repair, 1916. /v·O 149. CATHEDRAL CHImES, Arnold-Brown, GERDTS, 53404, complete, gOOd, 1915. I - 150. NIGHT BELOVED (accompaniment recording), Bachelet, SUSKIND, 30041, complete, goad, 1924. I~ 151. SL((PY HEAD "Creen Box·, Gunsky-&rown-Hill, CLAIR, 281011, complete, good, 1921. /~ 152. I'm ON my WAY HOME, Berlin, LOPEZ, 208181, complete, was .re pa Lred, 1927. /.$,.2 153. THE ONLY ONLY ONE, Monaco-Warren, GROFE, 205611, complete, good, 1925. I-i!' 154. P[[R GYNT SUITE No.3, No.4, Grieg, VOLAVV & BROCKWAY, complete, excellent. /~ 155. Ir LOVE WERE ALL, Axt, fAIRCHILD, 1251, complete, excellent, 1923. /~ 156. WANDA, Bohm, GERDTS, 60931, complete, excellent. 2..- 157. THREE O'CLOCK IN THE mORNING, rerriss-Robledo, SHIPMAN, 202321, complete, good, 1922. /.,}-o 158. A£RCEUS£, Ornstein, COmpOSER PLAYED, 50643, complete, excellent, 1916. /.~ .159. ALL ABOARD rOR H[AVEN, meyer, O£lCAIP, 206001, complete, excellent, 1925. I 160. AWAY DOWN SOUTH IN HEAVEN, Green-Warren, SHIPmAN, 209751, complete, good, C. ~& 161. DON'T MIND THE RAIN, miller-Cohn, GROFr, 204791, complete, repairad, /.s:- 162. THE ROBINS RETURN, risher, GERDTS, 58394, orig. box missing, good~ I~ 163. CHERIE, Wood-Bibo, SHIPmAN, 271001, complete, good, green box, 1921. I.)~ 164. I'm SITTING PRETTY IN A PRETTY LITTLE CITY, Oavis-Saer-Santly, LAWNHURST, 204221, complete, good, 1923. 3 25.1 AmICA AUCTION #6 - June, 1970 DESCRIPTION SHEET Page 5 AmPICO ROLLS contd. /';,2 16:';. SONGS mv m;]THEt.( TAUGHT mE t Dvorak, ROBINSON, SQ771, complete, excellent, lq21. 1-- 166. SAY YES TCJAY, Donald~Qn, LAN£, 210471, complete, good, 1928. 1.>2' 167 • NOW THAT! NEED vru YOU'RE GONE, meyer, CARROLL, complete, excellent. J,.'- 168. rOR MY Sllif~THEART, Donaldson, LANGE, 207871, complete, excellent, 1926. ..1- 169. JUST A CO~-AG[ SMALL, Hanley, DELCAmp & CARROLL, 2p7231, complete, excellent • z- 170. AMERICAN ;~TROL, Meacham, SHIPmAN ~ fAIRCHILD, 58024, complete, good, 1920. /5.2 171. OPIENTALE, Amani, MAIER, 58693, complete, excellent, 1920. -3 ,- 172. CIAN~INA r:A, Friml, LAVARRO, 1211, complete, excellent, 1923. s - 173. ¥OU'RE m:\:, VOU!, r r , rARQUHAR, 214471, complete, excellent, 1933,8 roll. 1-~:2 174. ~~omANCE, ~:'Del ius, BHOCKUlAY, 56743, complete, excellent. 1;;-0 175. AMBLING ALJNG, Axt, COmpO~[R PLAYED, 67891, complete, excellent, 1927. ;i;' 176. POmAr~c[ i E. FLaT, Rubirlstein, ADL£R, 56582, complete, good. 1-2 177. UNTIL, Te~:rlemac~1er-:-~ander~on, FAIRCHILD, 301, leader damaged, complete, good, 1921. /s: 178. AIR fPOm L.=U I ~E, Eha r pe n t i e r , BROCKWAY, 59691, complete, excellent, 1912. /«: 179. rrlDi\Jlf~HT r-JSE, Pollock, FAIRCHILD, 203991, leader uamaqed , complete, excellent, 1923. I - 180. SUN Uf fy! 'f :: LJ UL, Rittf; r , ~l ARV I ~~ , 9 Sl, com p I.e t e, e xce 11 e nt, 1 92 :3 • OTHER ROLLS ,73--1 8 1 • QRS ~r[un~ , TE~T ROLL, M-6g12, complete, excellent • /.e 182 • •.,R5 RECnR:: =, ~I ;,J r: 7LE. tJt ~ Pq INC, Sinding, L[R N£R, m6 802 n, com pIAt e, e xcelle n t • /" "~183. C, R5 RECnR:: '~', :J'.: u'JE f\j r», 0 r d 1a , 1 LG[ NrR ITl, m- 56 110, comp Let E:, e XCe 11 e n t • ~184. --JI;1\JOARD, 3Tf\f'.DARLJ ACTION T[(~T ROLL, complete, excellent. I~ 185. {j NGf 'r.U'; mr _~J ~) H ": T- ',q T I r~ ~ YLE, SON ATA a o, 5 :3 2 n d mav ' t • t 5 c hUbe r t, ')1362, com p 1e t e , qco o, 6 m':'''utes. /S; 186. I HEm UD I ':; T_.'\ lET Rl J5 T Y L[t !Y1 A~~ ~ UEr ~ I TE, Lan 9e , 80 742, comp l et e, 9 a ad, 3 mi nut A c; • /~187• THEfY10DI cJT- ', t. TROf:TYL[, t-4~RLEQLJIN op 12, !II, Robert.s, 3n0472, complete, yood, 4 min. /-e 188. A. P. C., -30NATA TC.:A~-J leA OP.-4s-, 1st mov' t., macDowell, 6556, complete, axel, 6 min. ~ ~ /~189. RYTHmoo I to' t Y Ul\J f. q IAi\ DAN C[ If2, Brahms , 'J 0L AVY, H96 13 , comp 1 e t e, e xce 11 e nt, 3 min. I ~ i sn, DRS STORY ~OLL, HARLEQUIN (Valse Lente), Roberts, COmpOSlR PLAYED, 0-65, complete, good, 4 mi nu te s , with words. /c[o19l. ITALIAN5T~LEt DONNA (Italian word roll), Giuliani, 190, complete, excellent, 2* min. 15t: 192. D'AGOSTIN[, 'E DENARE CU 0 NrINrERINFr, De Vincenzo, 0026, complete, excellent, 2~ minute~, illord roll. 1"?193. QRS SOLO£LLE, 8UONA NOTT[ (A Day in venice), Nevin, BROCKWAY, 5525, complete, good, 3 3,.'4 minute s , @94. METRO-ART (Hand ~layad), BROADWAY HITS, FT medley, ARNDT, 203128, complete, excellent, 3, minutes. /'2195. QRS, ,mE A~.o THE BOY rRI[ND, rr , Clare-Monaco, COOK, 2889, complele, excellent, words, 3, minutes. ~6. FULL SCORE ARHANGEmENT 88, 0 TANNEBAUm UNO STILLE NACHT, 6U31g, complete, good, 3 3/4 minutes, 3 verses each. /~if!; ART£MPO, AOIY'IRl\TION, rr and Tango, Tver s , HAENSCH[N, lUOI6, complete, excellent, 3, minutes. ~98. IMP(RIAL, IN OLD JAPAN, Jazz rag, Smith, KAHN, 9367, complete, good, 3~ mi n , , umrus , / ~19g. AUTOKRAT, ON LAKE CHAmPLAIN, Gumble, 60331, c omn Le t a, good, 2 min. A~ICA AUCTION #6 - June, 1970 DESCRIPTION SHEET Page 6 ,..... OTHER ROLLS contd. I¥'" 200. Lot of 36 65-note piano rolls, all with boxes, 15 of the rolls are metrostyla and the rolls are in from good to fair condition. lo~ 201. Lot of 30 Aeolian Grand rolls for use on Aeolian Grand and Orchestrelle reed organs. Rolls are 10 1/8 inches wide and have pin ends. With different ends these rolls can also be used on Angelus piano players with built-in reeds. The condition of -the rolls is from good to fair and the quality of the selections is above average. Selections incl~de· works by Wider, ~agner, Schubert, Grieg, Guilmant, mascagni, Gounod, Bellini, Bizet, and Rassini. The collection includes two Souza marches, Herbert's Naughty marietta, and Yale Boola. EQUIPmENT PIANOLOOEDN. Toy player piano made abOut 1959. Red plastic cabinet. 3D-note keyboard. Electric driven. Includes 6 Pianolodeon rolls with words. Keys rise and fall like real p~ayer piano when playing. The rolls were made by DRS. This instrument was damaged in original shipment, but has been glued back together solidly. The seams do show, however, and there is a small piece of plastic missing to the right of the keyboard. One key is broken off and missing. The general appearance is still eye-catching and very pleasing. Vi & Si recently offered one with a 550 minimum bid. The mechanism works very well. The minimum bid of 525.00 on this item includes postage. end c- AMICA, so. CALIF. gom m-i; Chairman' 44 [f{elena .J(ve" 3··~ 2~lt) Santa (Barbara. Ca. 93101 ]Lute 23, 1970 ~Vt. e ,w. Robvr.,t S. MmbJtLL.6tell 12233 SJle;tlanci Lalle Los ~Jtge1u 1 Ca.LL60")t,L~ 90049 1 have, Itead tile a.JL.tLci.e appeaJUng i.n ~lt"- ClL'tJte.ttt lA.&U£ o~ ,the NAICA B{lLLm~1 eHJ:;LUed Robv.:t An;~lb,.~-t~: Tile Fu1.,~LU'11e}tt £f it PJtocLLj~1 f.J.~+tJl avcd ht:teJt.u~t ana a. gJtea;t .6etl~ e. a ~ ,ti~.a.nn.nU£J1e6.6. rJ1.a.tL~~ beCJllL6 e my .6ealtc.n eDit ~JOCl began Las« Ocxobe« {.theJte ane. o.tite.'t~ in tile M.60ci.a,·ti-on {~'ha have be{'J'l. (·~oJr.tUna :to conxaet: qo« i~OIt tje.aJtA:I S.if1 Kno~t~) and JJJn ElnilJlA to n.arne. bu;t nco) and It ted dott:n ma.n.~! bwta c.w~UtljOfL6. YOUlt.. taief'..:t and a.Jt,t1A.tllrj liasse: bltOllght gJtetLt ple~uJte and r..a.Pl"tnU.& xo -60 many J:.!zcU4a.ncU 0 ~ people oveJt tiie. ~/~ that t:.hp. oppo,.'Vtun- ~J': -10. t 0 .6a.y l'...tf.tM",:.h [fOUl-" pe,'L~OIl.UAA.Y,w• - () " • veIL'! gJta..uftJ~g,...... ula~'...ea.' Havbtg been OO,lf.-rt ,in Ch.£Mgo du~ujt.g 1925, I have !.1A.teJ1e.cl xo YOM m~ic on local.. nadco , nw~oJt1l naxiio, plLonogJr.aph Jr:.e.c.oJte:U and t'Y!OUOlt !,LctWtu. But U uUt6n ' z wtW- :t:iJtee qean» ago vJhen 1 ac.quiJted a. 1)tJJ)-A!Lt piA.no titd. you t:Jtu1.~! beClDlle. a tl1tt6..tc.ai. [rJ...e.Jtd. TfciA maJtve.f.oU4 m(Uilum 0 ~ mtL6,i.c.al JtepltOdu.ct[on ,fA .60 6cJr,tu.na.-te to :tave ha.d uou. 011. t:he. .scane., ft.tLt (!.otlee-Uon of ROBERT AR~fBPf.!.S TER llepJtoducW.g Jte.c..OItc'~ ,to..~ 17 itt pJtuen-t. ~ rile.y alt2.: lOZ616 Ah, Sweet f-tystery of Life 103887 !,1err!cries of France 66869 "Babee In ToyZa:nd" Be'leatrions 102865 !'t1emor"J'6 Garden 103595 CaZifomia LuZlaby 67878 "tiet-ru WidOlJ):r ,~ J'Gypsy 66877 Cupid's Garden Lover! WaLtzes 71566 Egeria 103605 My BZue Heaven 56217 HumorBsque (Dvorak) 5812 Petita Ronde 101725 Ki3fJ f.~e Again 71428 Serenade Bodine 102585 Little Grey Home In The West 102665 SyZvia 68316 Nelodie (FrtimZ Op. 27) 102165 The Song of Songs This coZ,Zsction of records is smal/l: compared to the many you made and to ool:« tBctions b9tonging to oths~B. I am Jr.I/.flL!q jU6t:- gUUng Attvtte.d and hope, t» ha.,,~ man.y moJtf.. 06 ljOUJt peJtft0Jt manc.e4 .lit ~e. t:l.aq4 to ~e.. Photoc.opitu 06 pagu nJtOm tiLe. Vuo-AJLt RoU c.at ~ 4ttaehed. l' you ~hould diUiJuL t:.o kllAJt an.y On .the. 4boue. /f.e.eo1td4, pU4.6e. Ut me. Iutow tm.d I IIJiU do my bu~ !:D aJIJUUIgL U. Page. I JUIle 23. 1910 MJt. 8 ALu. RobVtt S. A1unbJU.L6~eJl Page. 2 May I bet so bold aA to b!\1Ue, you to a. 6utUlte. gtLtheJrhtg 06 AUICA membVt4 and t:heiJt aJLl.en.dA 1Jt yoUlt h0l1oJt1 spe.aJUng 60lt aU.. membeJt4, tee hold you h1 gJtetLt aev e. and 46R. 60IL all aurUenec, to t:l.iAplalj t:hi4 JtUpe.c;t. TV!~·f/ Ene.. \ \