MCAButletin Volume Ten, Number One - January, 1973 • OFFICERS

AMICA PRESIDENT

Frank Loob 219 Montecito Boulevard Napa, CA 94558

AMICA VICE·PRESIDENT

George Coade 3196 Falcon Drive Carlsbad, CA 92008

AMICA SECRETARY

William Reed 2833 Enea Way Antioch, CA 94509

AMiCA BULLETIN

Hester Zimmennan, Publisher 3550 Ridgebriar Dr. Dallas, TX 75234 THE AMICA NEWS BULLETIN

NEW MEMBERSHIP AND MAILING PROBLEMS

Tom Meeder Published by the Automatic Musical Instrument Collectors' 494 Stanford Place Association, a non-profit club devoted to the restoration, Santa Barbara, CA 93111 distribution and enjoyment of musical instruments using perforated paper music rolls.

MEMBERSHIP DUES AND TREASURY Contributions: All subjects of interest to readers of the bulletin are encouraged and invited by the publisher. All articles must be Bob and Barbara Whitely received by the 15th of the preceding month. Every attempt will be 175 Reservoir made to publish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the publisher. San Rafael, CA 94901 Advertisements: Personal ads by members are accepted and AMICA AUCTION inserted in the Bulletin Board section at a rate of 5¢ per word, $1.00 minimum. Businesses and persons wishing more space may use the Gar Britten, Auctioneer following guidelines: 642 Diamond Street - Advertising rate is $10 per quarter page or multiple thereof. San Francisco, CA 94114 - Camera-ready copy must reach the publisher by the 15th of the preceding month.

- We will be happy to have your ad typeset and layout performed at a slight extra charge.

- All ads will appear on the last pages of the Bulletin, at the discretion of the publisher.

Publication of business advertising in no way implies AMICA's endorsement of any commercial operation. However, AMICA reserves the right to refuse any ad that is not in keeping with AMICA's general standards or if complaints are received indicating that said business does not serve the best interests of the members of AMICA, according to its goals and by-laws. The programme at the British Piano Museum on Friday, the 29th of September 1972 was devoted to the London concert scene between 1925 The National Musical Museum and 1927 as well as to early broadcasting. (The BBC is at this time celebrating 50 years of broadcasting.) ~~\ Frank Laffitte was one of the few broadcasting pianists who actually made recordings on paper piano rolls, and it was he who was the principal guest and speaker on this occasion. He ~'(~ ~./ has been associated with the BBC for 41 years, played at two concerts in Holland with the Concertgebuow The British Piano Museum Orchestra Amsterdam, when the 368 High Street, Brentford, Mx conductor was Pierre Monteux, as well With Compliments 01-5608108 as at principal concerts in Belgium. He toured America and but for the war would no doubt have returned there.

He was assisted by Alexander Toccata (Debussy), and whether he Myra Hess as a duet, Frank Laffitte Bryett who was conductor at several chose these pieces or they were commented that it was a charming concerts at which Frank Laffitte had selected by the BBC. Frank Laffitte piece, and what a wonderful been the soloist. Mr. Bryett was for replied that in those days one had to experience to hear it played by two two years with Ernest Ansermet, the attend for an audition which in some such fine pianists. Mr. Bryett reminded founder and conductor of the ways was perhaps more formidable the audience that Bergmein was in fact Orchestre de la Suisse Romande. He than today, and that he was asked to a nom de plume for Giulio Ricordi, asked Mr,. Laffitte a number of play at least three of these pieces at the well-known Italian music questions which he felt would be of the audition. Mr. Bryett asked Mr. publisher. interest to the large and enthusiastic Laffitte to describe someth ing of his audience. Mr. Laffitte drew recollection of what it was like to F rank Laffitte then modestly comparison between the conditions of make one of these piano rolls for announced that the audience would broadcasting in the 2LO days at Savoy reproducing his playing. Laffitte now have to listen to his playing from Hill, London, with those of today. described how he went to the studio the roll which he made of the First above the Aeolian Hall in Bond Street, Rhapsody by Dohnanyi, Op. 11 -- as Those present were able to hear London. Someone there questioned he played it at the recording session on on Duo-Art reproducing pianos his nervousness and he replied, IIThis is the Aeolian Duo-Art system (No. performances given by many a very serious business. I feel that it is 0351) in about 1928. His performance celebrated pianists which included just as important as giving a of it produced a round of applause Harriet Cohen, Katherine Goodson, performance in public." from the audience. Harold Bauer, Myra Hess, Arthur Ru bi nstein, Al'fred Cortot, Irene The remaining items were Arthur Scharrer as well as Frank Laffitte Alexander Bryett asked Mr. Rubinstein playing Evocation from himself. Laffitte about Katerine Goodson, and Iberia by Albeniz, (Duo-Art' roll he replied that he had studied with 6378), the Impromptu No.3 in B Flat Mr. Laffitte spoke about many of her. "Fireflies" by Arthur Hinton and (Schubert) played by Alfred Cortot, the pian ists he had known personally played by Katherine Goodson on (Duo-Art roll 6441), and finally on and said that undoubtedly the greatest Duo-Art roll number 6322 was roll 073 the Chopin Etude Op. 25 No. he had ever heard was Rachmaninoff. included in this programme for two 11 played by Irene Scharrer who was Mr. Bryett told an amusing story reasons. Firstly, Arthur Hinton was formerly a Patron of the museum. about early broadcasting, and Katherine Goodson's husband, and mentioned that he had been privileged secondly Frank Laf'fitte ,said that he Sidney Harrison, who had first to hear Alfred Cortot in Italy speaking had himself played this piece many met Frank Laffitte when they were about how to interpret Chopin. He times with them. He spoke very both students at the Guildhall School asked Frank Laffitte about his first movingly about Katherine Goodson of Music and Drama, joined in the broadcast wh ich took place on the who had recorded the next item which general discussion which followed at 19th of July 1925 when he played the was the Brahms' Hungarian Dance No. the end of the programme. It was with Ballade in G Minor, Op. 118 of 7 in F, Duo-Art roll number 077. On reluctance that the last of the guests Brahms, Aufschwung (Schumann), Pierrot's and Pierrette's Story by left well after 11 o'clock. Island Spell and Ragamuffin (Ireland), Bergmein played by Harold Bauer and Page Three * Mendelssohn Overture 'Fingal's Cave'

Dvorak Nocturne in B major

Grieg Piano Concerto in A minor

It INTERVAL

Horovitz Horizon Overture

Schubert Symphony No.4 in C minor The Tragic'

Soloist: PERCY GRAINGER by means of a Duo-Art Player Piano Roll Conductor: NEVILLE DILKES

Page Four -~LISH SINFONIA ~nfortunately the depression, and more particularly the Improvement of the gramophone, caused the ultimate (formerly Midla!1d Si~fonia) was formed in 1961 by its demise of the player-piano. But although the modern ~onduc~or, Neville Dllkes. By 1968, the promise of an gramophone can undoubtedly reproduce an orchestra or International future led to its change of name. In addition to singer far better than a piano-roll can, the reproducing piano an extensive repertoire of Baroque and medium-sized works has never been improved upon for realism and fidelity of the irit", and who proclaims it with authoritative eloquence. Pla!10-rolls were. made with long, coloured lines throughout Fine and noble and beautifully inspired as are the other parts of their. length, darting about the paper rather like seismographic the c?ncerto, the slow movement is the most appealingly ~ell-known beautiful, the most deeply inspired of all. Here is not alone readings, and conductors and pianists attested sup~rlativ~ly mus~c, to the fact that, If the volume control was carefully adjusted to good but supremely delightful music ­ follow the level indicated by the wavy line, then the resulting musIc of. Ineffable loveliness. Its long-drawn, linked sweet­ performance would. represent their own personal inter­ ness reminds one of Tennyson's: "Dark and true and tender is the North". pretation: Clearly thiS was not a very satisfactory way of ~nd move~ent reprodUCing a performance, and some more automatic means 1he third final of the concerto is technically a rondo on five themes, and IS based on an energetic Norwegian -of controlling tempo, volume and pedalling needed to be fo~k~dance. found. ~ Musically the climax of the work, it is skilfully and bnlllan~ly scored, and its rushing tonal splendour, its im­ In the years Just preceding the First World War, Aeolian p~tUOSlty force~ul mov~ment produced their Duo-Art mechanism for the first time which and sweep all hearers along ~hey ~Iaced With e~raptured. d~hght. With ~hat amazing deftness and in a number of well-known makes of piano, wor~manshlp Including ~te.ck, .Weber, an~ par~icularly Steinway. The perfection of .artlstlc the otchestral and piano ~uo-~rt prl~~lple Involved qUite a high degree of sophistica­ parts-were .adJusted and fitted and welded together, is shown tlon; In addition to the usual holes corresponding to each anew by this masterly performance by Mr. Grainger. note, Duo-Art rolls had a series of extra perforations at either Programme note from Duo-Art Piano Music Catalogue of side, ~hich automatically controlled pedalling and overall 1926. dynamics, and was even capable of bringing individual notes Permission for this performance has been given by the to the fore, all as the original artist had recorded them. Aeolian Corporation, New York. Paderewski, Gershwin, Harold Bauer and Wilhelm Backhaus all recorded for Duo-Art, v\I'ith far 'greater fidelity than on the contemporary gramophone. . The idea of accompanying a piano-roll by a live orchestra is not new, in America the Aeolian Company promoted a series of such concerts at Aeolian Hall in New York, while in INTERVAL England Harold Bauer "performed" the Saint-Saens second A warning gong will be sounded for five minutes before the piano concerto at the Queen's Hall under Sir Henry Wood. end of the interval As the Musical Times critic explained in December 1922: "It took a few minutes to get accustomed to hearing the sounds proceeding from a pianoforte with no visible human agency. An adventitious interest was added to the perform­ ance by wondering whether or no the pianist would come in In accC?rdance with the requirements of the Greater London at the right moment after the tutti, or whether the orchestra CounCil persons ~hall not.be permitted to stand or sit in any would come in where it should do after a solo passage. But in of the gangways Intersectl~g t~e seating~ or.to sit in any of the all respects the timing was impeccable. We reflected that to other gangw~ys. No s~okl!1g In the audltonum. The taking of direct an orchestra in these conditions must require a new photographs In the audltonum is not permitted. kind of technique on the part of the conductor." Concert Management: Wilfrid Van Wyck

Page Five LINK Type RX Music Rolls 66. Coin Trip Cancel (OFF) 67. IN Marimbaphone (reiterating Originally Written by Lyle W. Martin xylophone set, G47 to G71) Edited and Condensed by Russell Jensen 68. IN Mandolin Rail (tabs up to G71, excluding bass section) SECTION 1. Roll Characteristics The most circulated LINK music paper was the commonly used 69. Release (OUT 3, 67, 68) LINK produced rolls for three hard-mi lied grey to grey-green pulp, basic types of player. This article deals impregnated for stability. Serial 70. Blank (LINK's point positioning primarily with the type RX music numbers for the RX 15000 roll go up on the twelve-inch format permits the rolls. All types of LI NK rolls are alike into the four-hundreds. The lowest laying out of 71 holes at the count of in sheet width and perforation cut. serial number I've seen is 35; the six to the inch. (NATIONAL's No.1 highest is 416, which may well be the and No. 72 are quite close to the The music sheet was a concludi ng issue of the 15000 series. sheet's edges.) The blank space continuous-moving belt in a loop 416 is under the "OED" label; earlier precediAg No. 1 (Accent) corresponds system, both ends of the 2oo-foot numbers are "LINK". in opposite position to No. 70 (Blank). sheet being lapped together, but made Neither have a history of function. A into a "roll" when removed from the Unlike bulk-drawn music, the designation "No. 0" never was player or on the. factory tables for roller-metered LINK scorework is adopted; wherever "No.1" appeared storage. Most rol ts average 200 feet in tempo-uniform throughout. LINK was an unpreceded beginning. length, cycling in 30 minutes at the piano music features an adequate scale However, an increasing count to the intended tempo. Rolls RX and C of 61 notes with basic expressions and end of useable space is natural, hence played the 2, 2B, 2E, EX, 2F, C, 0, E, instrumentation. The exclusion of an "No. 70".) E.M.P Jr. and M.P. Sr. pianos having octave at each end of the 88-note scale the full 61-note scale. No.3 and No. eliminates difficult areas of tone and Mastering Aspects 67 ducts were joined on pianos with tune. Special combinations of the An average of six errors were only one instrument (EX, 2E, C). In ten sion-boosting perforations with corrected in every song. These usually piano 'Style 0, No. 3 controlled the strategically intermittent soft pedal occurred as misplaced notes, either in flutes and No. 67 the violin pipes. Roll perfs obtained degrees of accent, the scoring or the editing, the latter A played the A, AX and B diminuendo and crescendo, being betrayed by its misregister or orchestrions with 49 notes adapted complemented by a consistent use of difference in length. These notes are from the 61-note score and included the sustaining pedal and score timing almost always one place removed in signals for mandolin, snare drum, variations. It was advertised that either direction on the scale. Notes triangle, tom-tom, tamborine, Chinese "Every shade of expression, tempo removed two places occurs when sheet block, 28 violin and -28 flute pipes or a and modulation is obtained so that music is mismarked flat or sharp where 25-note set of reiterating· xylophones, you imagine that you are listening to a the reverse is correct. Obviously sometimes baritoned and resonatored. piano being played by a first-class missing notes were entered. Some The Orchestral Pipe Organ roll played musician". Two perforations are notes were overvalued or undervalued 49 notes on the piano linked to a pipe provided for the combination of any one perforator advance step, which is organ whose stops were controlled by two scale instruments with the piano, about one-third of a single hole, and 2 0 per for afi 0 n san d the i r and one perf for a third, an instrument sound early or late when occurring on combinations - Diapason, Tuba, solo. A fourth perf cancels the three the attack ends. Such effects are due Violin, Tibia and Vox Humana, with simultaneously, and one may reappear to deficits in master-ing and Tremolo, Shades and five Selectors. to hold in an instrument until the peculiarities in the perforating releasing perforation passes. The coin mechanism. Overvaluing also slimmed Due to extreme flexing and trip stot now occurs at the end of the the minimum required space between reverse flexing under tension in last song for rerolling. repeati ng notes. Occasionally a clogged playing, multipte creasing, continual perforator valve resulted in incomplete chafing, rapid embrittlement from The perforation scale for RX 15000 is: and misplaced perforations of that total atmospheric exposure, abnormal note throughout the enti re roll. handling hazards and metering 1. Accent (sounding intensification f r iction, wear for endless rolls is for note, chord or phrase) The Accent considerably higher than that for the 2. Soft Pedal same paper on reroU systems. The only Accentuation is a major advantage in the endless design are the 3. IN Instrument expression feature of the RX music elimination of the silent intermission and a most rewarding enhancement. during the rerolling operation and the 4. Sustain ing Pedal Its mechanism is basically that of the space accommodation of up to twice supreme player type, the reproducing the volume of music per load. 5-65.Chromatic scale (G11 to G71) piano.

Page Six All playing notes are subject to across the receiving duct at playing and players in Binghamton, New York increased dynamic tension that are speed. Secondly, the accenting and in 1913 was revived as the LINK within the effective peak range of the mechanism requ i res an effective Piano Company. In 1905 a 17-year-old accent pe rforation. Effectiveness margin of time to build up pressure. student of Music, G. Raymond Deyo, depends on precise timing. Notes The accenting perforation should began work with Automatic Musical as sound at the leading end of the begin at a point in advance of the an assembler and soon became the perforations. Leading ends of notes accentable notes and end the instant arranger of RX and A styles popular that coincide with the following end the notes have sounded. For music rolls. After the LINK Piano and of the accent slot play under increased accentuation of a single line, the Organ Company closed in 1929, Deyo tension. Leading ends of notes that maximum length should be 3/8". This bought some of the perforating coincide with the leading end of the adjustment assures maximum time at machinery and continued supplying accent slot cannot play louder. If the normal tempo to build up and hold RX rolls in a 10000 series under the

accent perf closes before the notes can that suction level until the notes arrive II DE0" label. Eventually, he was register, there can be no accentuation, to release the strikes under that dispossessed of the equipment. By as the playing tension instantly returns tension. This measurement must be 1939 he was assembling Link Aviation to the regulated, normal level. The reduced where closely preceding devices. At the age of 69 Ray Deyo simultaneous occurrence of the nonaccentable notes are to be left his second wife, Edythe, a widow. beginning of the accent perf with the excluded. The accent perf is begun at ;; beginning of those notes immediately the point these close notes begin to William D. Sabin began his preceding the notes to be accented will obtain maximum length. These notes musical career at 18, gave lessons on not result in the accentuation also of will not accent because when accent several instruments, composed, played those preceding notes simply because and notes occur together, the notes in Sousa's band and in the Binghamton the interval required to bring the larger have sounded before accent can Theater orchestra. Record loses him air mass in the suction chest to a develop, and perforations must begin after 1945. He arranged for the higher level is longer than that needed in this order: increase then release. Classical C rolls and the varied to move the air out of the small repertory of the Link Orchestral Pipe note-striking valves and pneumatics. The ending point of the accent Organ. In March 1966, former LINK perforation always continues until the employee, 77-year-old Jessie Wilmot LIN K's theory was that its sounding of notes, which is their recalls, "I knew Bill Sabin - a very mechanism could accent one note line beginning point. The accent and the nice, quiet person, and very dedicated a single hole length following another note overlap on the tracker bar duct to music. In his connection with LINK note line. The single accenting hole line the space of one hole (3/32"). music, he marked the master rolls used proved generally too short and which were later perforated by an too elusive for effective placement. Correction was begun with a fibre electric cutting machine. In marking Even for the best pneumatic pen at the tracker bar with the roll from the sheet music he filled in to mechanism the accent perf must be moved on free spindles. The leading make the automatic sound so much adequately sized and critically placed end of the accent perf was marked fuller than could be done manually. in order to produce accentuation, and down to, but not beyond, the lateral Ray Deyo's work was the same as Mr. accent only the intended notes. The M beginning line of the notes just Sabin's. He played the piano and at group, in which the deficiency has preceding the accentable notes to a one time instructed in a school of been rectified, originally could not length not exceeding 3/8", and less as music." accent from the si ngle holes. Often the indicated. The top or trailing end of distance between accentable and this perf was marked upward to cross I find the arrangements of G. R. nonaccentable was one hole length. 3/32" into the lateral duct line with Deyo especially listenable and The purpose of this accent is to bring the accented notes just beginning. satisfying; they are rich in harmony, into the foreground the sustained melody and style. Others hail RX harmony lead note in the One method of broadening musical expression as the most accom paniment range. Technically, accent response is to mill the accent authentic and interesting " co inop" the note sounds one hole after the duct into a slot; 1/16" deep, 3/32" piano sound. It is plain that creative accompaniment, but the illusion _is wide, 1/8" down from the duct line pride transcends the competitive spirit. that it plays with the accompaniment, and 3/8" above. The tracker bar Mr. Deyo worked during the most with solo intensity.- The maximum should be solid brass. This prolific period of American allowable accent here must be an modification obliterates fine inventiveness for the on-cue double hole. This is also the distinctions of accent but it will catch perforation-played piano and minimum effective size. The single misregistered perfs and in effect incorporated every musical advantage hoie aImost invariably misses the lengthen the buildup time. available to perforation, including the accent mark and is essentially useless prominent keyboard techniques of the even when on the mark. Firstly, the SECTION 2 - The Artists day. The syncopations and phrasing effective exposure of a hole is reduced are characteristically Deyo's and by the tempo. The single hole admits In 1903 The Automatic Musical unknown to any other brand of practically no air due to its velocity Company began producing music rolls perfs. * (Continued on next p!age) Page Seven LINK stocked the 15000 series One evidence of the production is lost to us today, largely shelves with unique evolving improbability of hand playing is the from the want of somebody to value stylization without a multiplicity of erroneous reading of 054 - 0 #67, its musical potential. The lack of arrangers and artists. The practice of 054 - 0#67, C#53 - 066, 054­ insight and foresight traditionally costs restati ng verbatim entire passages of 0#67 in song 15262-9. Deyo us gross irretrievable losses in precious music was a trend by the time reportedly was a man of small to human accomplishment. In the Automatic Musical's fresh talent medium proportions and presumably desperate period of The Depression, it appeared, but three hundred and cou Id not over-reach an octave. In is reported, Ray Deyo himself thirty-five lists or monthly issues of fact, all the errors in note placement admitted to burning some two to three nonrepetitive musical treatment were appear to be natural to the drafting thousand of the music rolls, including to be released before Deyo would technique of mastering; they are too masters, for firewood and sold the consider disburdening himself. obvious to have passed normal perforator for scrap. fingering, despite indications that I have discovered four distinct wouId suggest progressive stages of A new technology supplanted the approaches in the Deyo style. The hand playing. perforation and the pneumatic, and earl iest is demonstrated in the with the economic collapse a glorious orchestral flair of the brisk steps and LINK was one of many who were empire disintegrated. The demand for glamorous songs of the first World War in business to promote businesses. The paper music dwindled as remaining and in the previous simple ragtunes. musical atmosphere engaged customers pi ayers passed from the scene. The waltz songs of the period display with the commercial environment. But Confronted by these prospects, and a in their concluding refrains a vintage citizens can recall "those noisy man of his own times, Deyo could not marvelous tonal kaleidoscope in the rattlers". LINK's "Marimbaphone" care how his product might have marimbalike structures in the melody qualifies. This pet technical brainchild benefited some post-era fancier; he line. This is a rotating arpeggio of is the strident doorbelling xylophone. had not anticipated the Age of single and coupled chords in which Patrons of an establishment generally Nostalgia, and it is doubtful that he four to six notes blend in varied lacked the initiative to set instrument would have initiated systematic alternating sequences from measure to switches provided on the pianos; it was measures to insure a tangible legacy. measure. The result is an aural fabric easier simply to withhold coins. The Whether in the interests of art of for of varigated patterns. gimmick produced somewhat the sake of history, Ray Deyo clearly sustained tones imagined by did not regard his recorded efforts as The serial numbers of this early manufacturers to resemble pipes. It worth immortalizing. And today, it is group range approximately from was comparatively economical to capricious individual taste that will 15001 to 15175. At this point a construct and install. The sharply judge the value of his musical form. nostalgic and plaintive quality in the reiterating overtones succeeded in arrangement matures to imbue the drowning out the arranger's pianistic composition with emotion. This group intentions and in turning off the * "The theme of the composer is extends to about 15299. The very listener. Subsequently, rolls were interpreted with fidelity hitherto brief 300-330 section presents an drafted especially for the xylophone, unknown in the automatic piano, exciting experiment in harmony and using single stroke dots and in placing the LINK in a class by itself." rhythm. Advanced scoring techniques restricted passages. This defeated the (History of Broome County, New produce long, staggered chords, reiterating capability of the York, 1924) intermediate Hits and the general Marimbaphone, particularly when rambling character. Charleston Ball, tracker bar duct No. 3 was not teed. Bulletin: Ampico* "B" Fischer 15329-14, signals the end of this The 330 to the four-hundred group 5'4 " 1931. Res t rung and case period with a short introduction of the featu res true xylophone solo refinished. Plays. Some work done on solo xylophone. From 330 and into performances, a welcome innovation. Ampico. $3,200. Offer or trade for the 400s a modernistic framework The musician rarely was consulted in Orchestrion. with a sprightly mood emerges. The matters of enhancement and conflicts Scorework is dramatically trimmed between artist and mechanic never J. A. Motto-Ros and the melody takes the lead with could be fully resolved. Hobbyists 802 Ohio Street virtuosic xylophone improvisations today revere noisemakers as authentic Vallejo, CA 94590 supported by an- energetic single note and hallowed memorablia as well as bass line and staccato accompaniment. tools of prestige. The curious observer Each of the diverse styles tolerates them as mechanical novelties Bulletin: For* Sale: Mason and fundamentally bespeaks common briefly to amuse eye and ear. It is Hamlin Ampico A grand, 5'4", nice authorship. The music is not known to ludicrous that any musically unrestored condition, 100% complete be hand-played, yet it is essentially responsible person could ever have and original. $1,695.00. non-mechanical, played as though by taken such treatment of keyboard Steve Chapman the mind directly, to obviate material seriously. 419 Bird Lane limitations imposed by the mechanics Waxahachie, TX 75165 of hands. Most of the LINK factory 214-937-2726

Page Eight the Chopinzee and pianissimist Vladimir de Pachmann By Dennis E. Ferrara

Once a New York critic said after He wore an old cloak, claimed attending a Vladimir De Pachmann that it belonged to Chopin, and he recital, "Does he resort to the various insisted that he could play certain monkeyshines at his recitals because pieces only while wearing it. he thinks that it is good showmanship or is he mentally unbalanced?" One critic made the comment, "He would put the old cloak on De Pachmann was one of the carefully; yet, it was hard indeed to most colorful pianists to appear on the discover any difference in his playing concert stage. His grimaces, jokes, after wearing the cloak". Chopin gloves and talks with his audiences became his trademark. De Pachmann also claimed that He would come out and talk with he owned gloves, ties, coats, and­ his audience. Sometimes, he would He was notorious for playing some people felt - underclothes worn pretend to become angry, or, in music scores upside down. After by Chopin. explaining the history of the waltz, reading and playing the score, he would ask the question, "Do you would turn to the audience and cry The ritual of appearing on stage know how to waltz?" "You do not? out, "Bravo, De Pachmann! There is and bowing to the piano, moving the Well, De Pachmann will show you". no one who can do it as you do'" The piano slool, kissing a pair of gloves He would then proceed to waltz audiences loved this type of musical resting on the piano, dunking his around the concert stage. experience. He was a popular fingers in a small glass of whiskey, attraction in the United States from followed the pre-recital program. In Iater years, De Pachmann 1891 until his farewell tour during the explained why he required so much in 1924-1925 season. He once tripped, while making an a performance. entrance, on a small carpet. His Newspapers across the world entrance spoiled, he turned about and "It is necessary to move the followed his eccentricities. He made returned to the backstage. He came piano stool, add a page or pages from good news copy. He would say, "When out again minutes later and made a the telephone directory because I people laugh, they forget to sit straight perfect entrance. cannot perform unless everything is in the seat. It is the human touch that binds me to my music and my audiences. I love them and want them De Pachmann in 1924, on vacation in the Catskill Mountains. The seventy­ to love me". six-year-old pianist said it would never do to let his fingers stiffen and claimed that milking cows was better finger exercise than anything devised by the De Pachmann was born in mind of man. Odessa, Russia on July 27, 1848. He studied with his father who 'knew Beethoven and Weber. In 1866 he studied at Dach. He appeared in 1869 on a Russian tour; yet, he made his first retirement from the concert stage and reappeared in 1877 only to return to retirement.

He married _Maggie Oakley, a former piano student, in 1884. She became a concert pianist, and De Pachmann would attend her recitals and cry out from the back of the auditorium, "Bravo! Charmante'"

He made his first American tour in 1891 and the eccentricities seem to appear during this tour.

Page Nine FINANCIAL STATEMENT A.M.I.Co.A •. - International Second Convention • June 30 - Jtily 3, 1972 Alexandria Hotel; Los Angeles Prepared by Jon H. Lawson Convention Finance Chairman

I-N·-C-O-M-E Donations: A•.M •.I.C •.A., International; San Francisco $ 300.00 Charles Smith & Ran Sanchez 165.00 Or. & Mrs. George Coade 100.00 O. Jack Perry, M.D. 50.00 John Lyons .; 40.00 Warren Dale 35.00 Cash Collection for: J. Lawrence Cook 22.00 Services Donated: Mr. &Mrs. K~ith Hardesty Chickering Ampico Restoration $ 150.00 Steinway Concert Grand Rental 250.00 712.00 Registrations: 4,614.50 Exhibitor Fees: Frank Adams 5.00 John Motto-Ros 5.00 Pasadena Piano (Fred Fahl) 5.00 Pacific Piano (Don Morton) 5.00 20.00 Bus Transportation: Tickets Sold 845 .00 Consolidated street Railway 836.00 Printing - Bus Tickets 8.40 844.40- .60 Phonograph Records: Sold - 30 @ $ 2.50 - 105.00 Paid - Concert Recordings 10.3.50- 1.50 Q.R.S. Piano Ralls: Sold - 77 @ $ 2.00 154.00 Paid - Carty Piano ·88.94- 6-5.06

Auction of Donated Pia~o Rolls 525.75

Total Income 5,939.41

E-X-P-E-N-S-E-S Meals Served -'Alexandria Hotel 3,521.60 Printing - Programs & Auction Lists 373.04 Program Ads Paid: Bandstand 35.00 Dave Bowers 100.00 Terry Hathaway 50.00 G.W. MacKinnon 50.00 Wrn. A. Miller 50.00 Console Magazine 50.00 Brian Whitman 35.00 3.04

Page Ten A.M.l.e.A. - International FINANCIAL STATEMENT Page Two Convention July 3, 1972 E-X-P-E-N-S-E-S Name Badge Holders $ 200.00 Stanionery 18.90 Registration Blanks 32.61 Telephone 59.79 Postage 36.52 Dancing Doll Performers 40.00 "Pianissimo" Film Rental 35.00 Program Performance Materials 68.62 Piano Movers 228.00 Flowers - Table Decorations 255.00 J. Lawrence Cook: Food & Liquor 43.50 Airplane Ticket; round trip New York to Los Angeles 284.00 327.50 Gratuities: Liquor Baskets: Reginald stewa·rt 25.00 Robert Armbruster 25.00 .J. Lawrence Cook 25.00 Presentation Roses: Ruth 8. Smith 25.00 Ursulla D. Hollinshead 25.00 Alexandria Hotel Rooms:' Robert Armbruster 18.02 Reginald stewart 53.36 J. Lawrence Cook ; Courtesy Room, Alex.Hotel-No Charge -0- Ruth B. Smith "" " " " " -0- Ursulla O. Hollinshead II " " " " II -O- AgM.I.C.A. Suite-Cecil Dover" " n t. " " -0- 196.38 Awards: Cecil Dover- Bronze Plaque 36.95 Jean S. Taylor - Times Reporter; Arnica Natl. Membership 12.50 49.45 'Parchment Merit Scrolls: . Eight @ $ 5.25 each For: J.Lawrence Cook, Reginald stewart, Robert Armbruster Ruth 8. Smith, Ursulla D. Hollinshead, Keith Hardesty Mr. & Mrs. J.8. Nethercutt, Mr. & Mrs. Kenneth Vaughn 42.00 42.00 Honorarium - Cash Gifts: Ru.th 8. Smith 100.00 Ursulla D. Hollinshead 100·.00 Reginald stewart 100.00 Robert Armbruster 100.00 400.00 Total ·Expenses 5,514.41

Cash Ba'lance On Hand. in Savings Account 425.00 5,939.41

Page Eleven there was $4,012.28 in the treasury. There will be financial statements as of December 31, 1972. Minutes of the 2. Membership Secretary Tom AMICA Board of Directors' Meeting Meeder said he had sent the new geographical-alphabetical membership December 10, 1972 list to the publisher and that there were approximately 700 AMICA members including approximately 30 honorary members. The organization The December AMICA Board of Directors was discussed and approved. is gaining about three members a day. Directors' Meeting was held in the The following motions carried: home of Bob and Barbara Whiteley, 3. Nor the r n C a I i for n i a 175 Reservoir Road, San Rafael. The 1. New Membership fee should be representative Mel Luchetti reported: meeting was held from 11 :45 to 4:00 $5.00 p.m. The following voting members a. The Oakland Museum is were present: Frank Loob, President; 2. The Board of Directors are having a display of mechanical musical Bob Whiteley, Treasurer; Tom Meeder, authorized to investigate locations and instruments in two rooms from Mernbership Secretary; Anita Nickels, costs of having a central storing place December 16 through February 4, Southern California Chapter for the bulk of AMICA records such as 1972. Viewers will be given a one-hour Representative; Mel Luchetti, old bulletins, archive materials, plates program which will include the Northe r n Ca I if 0 r ni a Chapter of past bulletins, correspondence, etc. AMICA film shown at the summer Representative and Bill Reed, convention. AMICA members conduct Secretary. 3. The 1973 dues should remain the tours in the exhibit. Small items will same as for 1972. be displayed in showcases. All displays Anita Nickels was an alternate for were loaned to the museum by William Mintz, the regular Southern 4. The Texas Chapter should be AM I CA members. AMICA printed California Chapter representative and host to a 1973 International matter will be distributed at the Mel Luchetti replaced Jarod Clark as Convention if it wishes to have one. exhibit. the Northern Ca Iifornia Chapter re presentative. Both of these 5. The annual AMICA Board of b. The Northern California representatives had authorization from Director's Meeting should be where Chapter will have a Christmas party at their chapter presidents to AMICA the International Convention is held, Dick Reutlinger's refurbished 1886 President Frank Loob. and if there is no International Victorian Town House at 824 Grove Convention in 1973, it will be in San Street in San Francisco at 8:00 p.m. Prior to the meeting, Membership Francisco. December 16. Secretary Tom Meeder distributed copies of the new membership roster 6. A M I C A I n t ern a t ion a lis c. The nominating committee as of December 1, 1972. This authorized to buy a Wing mailer. for 1973 officers suggested couples to membership list is both geographical fiII some of the chapter offices so that and alphabetical and obviously 7. Publication of information on the duties of the positions can be represents a tremendous expenditure player pianos should be encouraged as shared. Officers will be elected of time and work on the part of Tom well as information on reproducing December 16. Chapter President Alf Meeder. Secretary Bill Reed pianos. Werolin had written all members distributed an abstract of November 27 informing them of the correspondence received and sent by 8. AMICA members whose business nominees. the AM ICA Secretary 'from November substantially benefits by AMICA 1, 1972 through December 8, 1972. membership lists, etc., should be d. The Northern California He also distributed copies of an classified as business members and Chapter had a fabulous November trip October 2, 1972 letter by Reporter should be assessed a $25.00 business by chartered plane to Southern Gene Dilthey -of the Southern membership. Cal ifornia where they visited the California Chapter which expressed collections of Mr. and Mrs. Q. David the Southern California Chapter's wish 9. A membership list of AMICA Bowers, J. B. Nethercutt and Kenneth for strictly mail auctions rather than should be compiled as of Vaughn. the present combination mail and live Decem be r 1st of each year. auctions. 4. Sou the r n C a I i for n i a New Business: representative Anita Nickels reported:

Old Business: 1. Treasurer Bob Whiteley said that a. The Southern California as of December 10th all the bills which Chapter was invited to a Holiday Party The November balloting of he had received had been paid and that at the home of Bobbie and Bill Mintz.

Page Twelve b. The slate of officers each member's name are to be NORTHERN CALIFORNIA nominated for 1973 was sent to the prepared by the membership secretary chapter membership in the December as needed and del ivered to the officer GOES SOUTH FOR NOVEMBER news bulletin. requiring same. The membership secretary is to take full responsibility by John Field. c. The Southern California for the accuracy of such mailing labels, chapter has about 120 members. and has full authority to use whatever materials as are necessary to achieve About thirty Northern California 5. It was noted by the Directors accuracy. AM ICAns flew on an incredible that the Texas Chapter was meeting in journey the weekend of November 11. The Board authorized: All Oklahoma City December 10 and that 18-19. Thanks to a very great deal of AMICA bulletins intended for mailing this chapter has about 74 members. labor on the part of Sally Lawrence, shall be placed in an envelope or aided by Alf Werolin and Bill Wherry, wrapper to afford for their protection 6. The Board of Directors we enjoyed a charter round trip to investigated the oversights of the in handling. Burbank, meals and lodging at the Sportsman's Lodge, and rode a Auction No. 17 and commended Gar 12. The Secretary, Bill Reed, was chartered bus to the three stops of Britten for his outstanding three years directed to write Q. David Bowers interest. of work on auctions. The Board expressing the Board's appreciation for recommended that in future auctions a his willingness to serve as chairman of Our bus first took us to San minimum of six weeks be allowed the AMICA Research Committee. The Sylmar, where we were warmly between the mailing of auction nature of this office will be discussed welcomed by Mr. J. B. Nethercutt and information and the closing date for with him at a later date. the receipt of bids. his staff, and then spent the afternoon 13. The Treasurer, Bob Whiteley, was in awe and admiration as we toured 7. The Board of Directors directed to write the Treasurer of the through this Valhalla to so many recommended that an AMICA Southern California Chapter, Jon. H. glorious automatic musical handbook be prepared toward the end Lawson, requesting that the AMICA instruments, and automobiles. Mr. of 1973 if costs do not exceed convention cash balance of $425.00 be Nethercutt believes that the $300.00. The handbook would give sent to the AMICA International instruments and automobiles which he the geographical-alphabetical treasury. The balance will be set aside has restored and displayed are an art membership listing similar to what for the next AMICA International form deserving of attention and setting Tom Meeder had prepared on Convention. The Board was equal to what is afforded to the more December 1, 1972 and other AM ICA complimentary of Mr. Lawson's classical arts, and he has built, in less information such as by-laws, financial statements. than four years, a home and safe, splendid environment for these advertising, etc. Items from the Secretary instruments and veh icles which 8. The Board of Directors 14. Board members and chapter probably has no serious rival on earth, authorized the expenditure of $900.00 officers not at the December 10 Board and is not likely to be approached for the new office of Executive meeti ng wi II receive with these again in the course of human history. Secretary for six months at the rate of minutes all the materials distributed San Sylmar, although not yet quite $150.00 for the Executive Secretary. by the Secretary in San Rafael. completed, is simply overwhelming to ($150.00 x 6 months =$900.00.) the student of these arts, and we 2. Norther n Ca Iif0 r n ia officers should all be extremely grateful that 9. As required by the by-Iaws,-the elected December 16 for 1973 were: one of the few men able to fund such President, Sally and Dale Lawrence; Boar d 0 f Directors reviewed the a living museum should have the Vice President, Ann and Bill Johnson; proposed list of honorary members for enthusiasm, time and energy to create Treasurer, Carol and Cliff Burrows; 1973. Adam Carroll's honorary this monument to man's mechanical membership will be held until his Secretary, Ernest Collinge and Gordon dexterity and virtuosity. Tewsley; National Director, Mel whereabouts can be determined. It is Luchetti; Reporter, Bill Wherry. the Board's desire to limit honorary Never again is mankind likely to membership to those individuals devote the craftsmansh ip and care 3. On Sunday afternoon December necessary to build the mechanisms we associated with the original production 17, 1972 AMPI CO recording artist of equipment and rolls. The Secretary saw here so perfectly restored. They ERWIN NYIREGYHAZI gave an are, indeed, a far more recent product was directed to write individuals unbelievably fantastic piano recital in removed for 1973 from the honorary of civilization than are the classical San Francisco. Of this concert, music arts; in fact, the vast majority were list who were not associated with reviewer WI LLIAM KNORP wrote: original production of equipment and created within one human life span. rolls. " ...one of the greatest geniuses of They seem, nevertheless, irretrievably the keyboard, as great in '73 as the product of a lost age. Though so 10. The Board authorized: Mailing during the "golden age" -- 19th recent, so very fast were they cast off, labels to be used on AMICA bulletins, century era brought back..." and so few survive, that this aspect of roll auctions, special mailing, etc. of (Continued on next page) Page*Thirteen man's ingenuity was nearly erased Concert Grand. Each piano and its contains hundreds of orchestrions, from human history. player is superbly mated, and the automatic pianos, nickelodeons, performance was magnificent. Among musical boxes, and early phonographs, Dick Knowland, Roger Morrison the man y great orchestrions, the each a superb specimen in its own and Gordon Belt of the San Sylmar Hupfeld Excelsior Pan, and the Welte right. staff demonstrated many of the Wotan were the most listened to . they instruments. We first toured the great were tremendously exciting As we left that room and marble hall, with its great columns, instruments. descended in the great elevator, which fresco ceiling, and crystal chandeliers, can lift any automobile to any level, it where a large selection of the world's Guest Organist Bill Field, who, was difficult to know what to say. It is greatest classic automobiles repose in with Bill Coffman, runs the Old Town so overwhelming that it seems almost harmonious splendor. Several of these Music Hall and plays his own Mighty unreal, yet, happily, it is all very real, were described in the September Wurlitzer there, then played the major and I hope this will stand as one of AMICA Bulletin. The beauty of even instrument of the building, the great mankind's greatest monuments for the purely functional components of Wurlitzer Theatre Pipe Organ, whose untold centuries yet to come. these classic automobiles could be seen immaculate chambers speak into this in the exhibited Duesenberg SJ engine room and also the Cameo Theatre, on San Sylmar is a tough act to and never-used ci rca 1935 Rolls- Royce the floor above, with consoles at each follow, -yet, after dinner, Dave and Chassis. level. When Bill had completed his Mary Bowers did just that in program, he began to repeat it, but he magnificent fashion with a warm, open quickly rose from the bench and left welcome to their lovely home, whence the console, which, however, one can look out over Hollywood and continued by itself to recreate the most of Los Angeles. Dave is probably performance, programmed by the res po n sible for the location, perfect computer-control tape just protection, and restoration of more made as he fi rst played, and instruments than any other enthusiast, reproducting exactly in proper and his role in the preservation of the sequence and interval his key, pedal, history of this art and its makers is and stop functions. The great era of vital, unique, dominant, and very the Theatre Organ here is joined to the fortunate for us all. Joining the solid-state, space-age computer, with Bowers family that evening as co-hosts magnificent effect. were Terry Hathaway, George and We then climbed the great curved Suzie Coade, and Rudy Edwards. We staircase, pausing to hear Eight Bells The contents of any of the listened to many rolls on the superb on the great Tiffany Grandfather "smaller" alcoves of this room would Weber Maesto, between recreations on clock, and resting on the landing, a be the major attraction at almost any the Mason and Hamlin Ampico B. The beautiful Knabe Ampico Grand. other collection, but, though hard to Seeburg H held forth in another room, oelieve now in retrospect, instruments as did several other excellent Continuing up, after enjoying the such as the magnificent Weber Maesto instruments. In the front hall was view of the hall from the mezzanine, and the Popper Gladiator then seemed heard the Mira disc box, by Mermod with other automotive displays there rather small in their setting. Freres, a box whose tone is probably as well, we ascended the "Stairway To unequalled by any other. The Stars" and entered "Cloud 99". We were then invited to the 1"he simply incredible display of major Cameo Theatre on the next floor and A large part of the joy of our instruments gathered here was hea rd the Seeburg R photoplayer association is the warmth and deepfelt outlined also in our September introduce two delightful short films. kindness of one enthusiast towards Bulletin. I believe we listened most to From here we walked past what is another and we all felt this very the two great grand pianos with almost certainly the world's major strongly that evening at the Bowers'. matching vorsetzers - the Steinway music roll library, to a great hall, not Thw same warm hospitality was Concert Grand and the great Ehrbar yet completed, yet which already extended us the next day at the home of Mr. and Mrs. Ken Vaughn. Mr. Vaughn was not at home, so Mrs. Vaughn, aided by Warren and Betty Dale, welcomed us to their beautiful English Country Style home. The handsome beamed living room is a perfect setting for the Knabe Ampico A Grand, and, through the double doors is a magnificent early American music room, where we were able to see and hear a large number of

Page Fourteen instruments, including a Seeburg H, a held the most interest for us - an Coinola CO, a magnificent barrel immaculate place where we saw four Play 'B' Jumbo Rolls orchestrion driven by weights and magnificent classic Packard motorcars, usi ng piano action, reiterating two restored to absolute perfection, On Ampico 'A' hammers also, and percussion. When and two in the process of restoration. by Steve Johnson, Jr. things were quiet, a Multiphone could Mr. Vaughn has done nearly all of this Most recuts of Ampico long-play be heard, and on a central table a work himself, including such very liB" rolls can be played very nicely on number of musical boxes surround an difficult special details as the intricate your Ampico "A". The modern thin Edison Opera phonograph. Each of dashboard paint design, and each paper used in recuts results in a these, and many other instruments, is detail is perfect in itself. A common diameter of roll that is small enough to inabsolutely perfect condition, a bond among several of our hosts of the fit in the spool box of the IIA" drawer. major tri bute to perfection in weekend was a Packard Trophy resting It is sometimes necessary to cut about restoration, for most of the larger on a shelf in this room, inscribed to 3/8" off the radius of the jumbo spool instruments were barely recognizable Mr. Vaughn for his 1932-1934 Derham flange. I did this with a small band saw when obtained. Much of this bodied Sport Sedan, and won earlier (a Burgess Tote Saw). A "jumbo" roll restoration was done in Warren Dale's by cars restored by Mr. Nethercutt, has a flange diameter of 3%". The shop. Most of the art glass, I and by Roger Morrison. spool box on an Ampico "A" will understand, is new and absolutely accommodate a 2%" flange. The perfectly done - the peacock "wonder Our large chartered bus must standard large "A" roll flange is light" on the Wurl itzer orchestrion is have seemed rather out of place to the 2-5/8". very beautiful, far beyond what one residents of Bel Air as it wound back might think from word description. the pretty, long, narrow roads, The largest liB" roll I own is beginning the pathway back to our Greig's Concerto in A Minor No. We were given the privilege of reality, after a weekend which none of touring the lovely home, and next to us will ever forget. 100645. This measures 2-7/8" paper the music room, probably the garage diameter. It is snug in the spool box but has played well on six out of seven * Ampico "A"s that it has been tried on. A Report on the On none of these pianos was " rewind" any problem. It does pile up on the October Southern California Chapter Meeting take-up reel somewhat beyond the by -Gene Dilthey, Reporter. hubs of that reel but this poses no problem, if your piano is tracking Beginning at 3:00 on the bought an Apollo Player Piano to go properly. afternoon of Saturday, October 28th, with some rolls they had been given. Southern Californian AMICANs This piano (c 1910) was followed by a Many of the liB" Jumbo rolls are gathered at the bachelor pad of Terry home-made Ampico whch they built small enough to be put onto a regular and Reese Bannister in Riverside for a because they could not find a real one. large IIA" spool. Of eight jumbos I very pleasant meeting. Perhaps The real Ampico showed up in 1960 own, five of them fit nicely on the "bachelor pad" is not quite the term. followed by a veritable flood of player "A" spool. Since core size of all the Brothers Terry and Reese occupy the and reproducing pianos. Now the rolls is the same it is possible to measure Jumbo rolls and, if paper home that was purchased by their collection includes: A Mehlin & Sons diameter is 2-5/8" or less, it will fit on great-great grandparents in 1911. The Welte, upright; a Marshall & Wendell an IIA" spool. If it is 2%" or less, it house, which was then a Victorian Ampico grand; a Carleton coin piano will fit on a cut-down Jumbo spool. farmhouse, was built before 1893. It with xylophone attachment (now stands next to the later-buiIt home of restored by the Bannisters to play IIA" Speed variation is a problem. For the Ban nister's parents home on rolls); a Weber Duo-Art 5'·8" grand; a the purist your speed will -not be Chicago Avenue. Somewhere along the Fischer "Baby Ampico" in a red perfect. The liB" take-up reel core is line, the house was " modernized", Ch i nese art case; an upright much larger (2-%") than that of the almost, but not quite, destroying its Wheeler-Wilcox Artrio Angelus; a IIA" (1%"). Thus, it takes fewer Victorian charm. Windows we~re foot-pumped Melville Clark Apollo; an revolutions of the liB" than the IIA" changed, etc., but the basic structure upright Stroud Aeolian-Duo-Art; a to transport a like amou nt of paper. Of course, the circumference, or paper and some of the Victorian details Chickering 5'-8" Ampico grand, and travel per revolution, is directly remain. Since Terry and Reese took an upright Marshall and Wendell proportional to the diameter so the over, they have been gradually Stoddard-Ampico. Naturally, these are IIA" bu iIds up speed more than the restoring as many details as possible too many pianos for anyone's living lIB" take-up reel. Assuming constant with very satisfactory results. room, so Terry and Reese were forced speed of revolutions this could result to build a " piano house" (in the in a speed build-up of as much as 30% The Bannisters' involvement with eclectic 1910 "Mission Style", and in theory. Actually, tests with pianos began in 1953 when they (Continued on next page) (Continued on Page 29) Page Fifteen very successfully tool) The piano house is also now full, so two of the unrestored pianos have been relegated to the workshop and garage.

Terry and Reese do their own restorations. Terry concentrates on the piano actions and tuning, and Reese does the pneumatic work. Although by the Bannisters say that the restoration John Edwards is complete on only one of their pianos (the Mehlin-Welte), enough of the others perform with sufficient efficiency to have given us all a very The highly competitive pedal All players, of course, had the pleasant afternoon and evening. player market of the 1920s gave birth play-reroll lever, and tempo control, The first part of the afternoon to many wierd and wacky accessory sometimes awkwardly incorporated was given over to IIgeneral visiting and functions. Most of the hundreds of into the same lever. Most had levers or gawking". Visiting with friends, and pi ayer manufacturers loaded down buttons for a sustain ing pedal, soft their players with various gadgets and bass and soft treble. Players with an gawking at the house, the pianos and gimmicks ranging from the ingenious automatic sustaining pedal (a good th ree fascinating old automobiles. to the ridiculous. Like so many of our feature to have) usually had a switch (How come piano collectors so often products today, many players were to disconnect the automatic so the also have an interest in automobiles?) replete with gimmicks and gadgets. player pianist could operate the loud The Bannisters have in working order a Apparently, many player pedal manually. Most players had a 1929 Buick, a 1930 7-passenger manufacturers, and player buyers as key lock, and numerous players had Pierce~Arrow, and their Grandfather's well, believed that the more buttons IIspeeders" to advance the roll quietly 1948 Desoto, wh ich they sti II use on and levers the better. and quickly to the middle of a medley. occasion. We played all the operating These are the standard controls, found pianos, and generally enjoyed on aImost all players since their ourselves. After the Business Meeting, Mr. appearance on the market in the late 180Ds. Ivar Molander, a prominent Riverside Everyone had been asked to piano teacher, entertained us with Aeolian American is responsible provide a IIp icnic" dinner for Beethoven's IISonata in D for Four for one of the most enjoyable lIextras" themselves, so about five o'clock we Hands". Mr. Molander was a student at and also for one of the silliest. Theme either IIpicniced" or went to one of the Julliard School of Music during the expression, found on many Aeolian the many nearby restaurants for the heyday of reproducing pianos and p Iaye rs and occasionally in other evening meal. attended many Duo-Art and other brands, accents the melody IIcomparison" concerts in New York automatically, by way of two long, At seven o'clock Bill Mintz called at that time. In his performance for us, very narrow slots on each side of the the business meeting to order. The list Mr. Molander played "Primo", assisted tracker bar between the margin and the last note hole. Specially cut rolls of candidates proposed for next year's by Harold Bauer as "Secundo" by employed two tiny holes, about 1/8" Chapter Board was presented to the means of a Duo-Art roll. To finish the apart, in each margin to accent either attending membership. Following a evening, we were treated to recitals on bass or treble. Rolls for these pianos the Artrio-Angelus in the IIpiano spirited and lively discussion regarding are very easy to find, the most the December election of those house", and on the Mehlin Welte in common being "Themodist officers, it was deterrnined that a the living room. Metrostyle" rolls and many board meeting of the present officers "Universal" rolls. The results of a would prepare a slate from the During and following the well-regulated theme expression pedal proposals, and after acceptance by the IIrec itals", our hosts treated us to hot player are quite amazing considering candidates, the actual election would popcorn, doughnuts, apple cider and the simplicity of the system. Aeolian's take place at the December Meeting coffee. "Metrostyle", found on almost all of which is scheduled to be held at the their players, including Duo-Arts, is probably the most foolish gadget to be home of Bobbie and Bill Mintz in To our hosts, Reese Bannister marketed in such mass quantity. A Sherman Oakes on Saturday, and Terry Bannister, our thanks for long pointer attached to the tempo another wonder afternoon and December 16th. A further indicator is adjusted to follow a line announcement will be made in the evening. It was "far-out", friends, printed on the piano roll. The player next issue of the Chapter's Newsletter. thank youl pianist is supposed to pump the piano

Page*Sixteen while madly moving the tempo lever brands which are unusually difficult to Question: I have a player made back and forth trying to stay on the rebuild. All are suitable players when by Frank J. Hart which has had all the line. This feat is impossible to carry rebuilt correctly, but are quite tricky, player parts taken out. All the player off accurately, and was probably the and should not be tackled by the shops I have contacted say it can't be inspiration for the familiar driving amateur rebuilder or given to anyone fixed. Can you help me? machines found in penny arcades. It but a highly skilled rebuilder for wou Id seem to have been much restoration. Answer: Your piano was simpler to have cut the desired tempo originally a Standard Pneumatic. into the roll at the factory as is done Common players which are Putting a player back in it is a with every other system. And as an extremely difficult to rebuild, but formidable task because all pianos added bonus, the frustrated line which play well when rebuilt have different spacing of the action, follower finds that, should the pointer correctly: and if an old stack can be found, it has get bent slightly, it will dig into the to be completely remodeled to fit. piano roll and slice it not so neatly in Gulbransen -- all types. Glued Anot~er possibility is to have a stack half. together stack very di'fficult, unit built from scratch. It is unfortunate pneumatic type slightly easier. that so many players were gutted in past years by ignorant dealers Service Call Stumpers Sch u Itz .- aIso marketed as "converting" them to practice pianos, Bri nkerhoff and Werner, very and by tuners who tell people that the First in a series of unusual tricky player destroys the tone, which is not player service puzzles true. Wurlitzer .- glued together, valves I was called to service an Ampico in decks type Question: How can I convert my grand sold by a local dealer and rebuilt Duo Art grand to play Ampico rolls as for him by one of the local cheapie Beckwith -. cardboard stack type. well as Duo Art rolls? I have heard of patch artists. The problem was one Some Beckwiths have Putnam this being done by someone in note near the middle of the keyboard actions, which are not difficult California. w hieh p Iayed erratica Ily far no apparent reason. On non-expression Kimball .- with bellows built into Answer: Several attempts have rolls, everything was fine, but when key bed, normal bellows type been made at constructing a universal playing an Ampico roll, every so often okay tracker bar to play both rolls (with the note would play, sometimes for a separate expression systems, of second, sometimes staying down for Next month, I will list the course). This is extremely difficult to half a minute or more. The dealer had unusually easy players to rebuild, for do without compromising one- system gone to the home and "fixed" the the benefit of those who insist on or the other, usually both. I have piano personally. Later the customer tackling their own player. found the best way is to install a found a toothpick propping open the complete Ampico drawer under the offending pneumatic. There were no key bed so that each system has its leaks in the tubing on that note, and own bar and controls. A great deal of the valves, bleeds, etc. were in good modification and switching around of working order. Why did the note play parts will be necessary, no matter how sporadically on Ampico rolls? the job is handled. A simpler way, if you don't have room for two pianos, is to consider a push-up cabinet to play the Ampico rolls much like the Welte Answer: Vorsetzer. ·P9Aeld 9l0U 94l ' 91q9Jl 94l ue4l J9MOI p9ddoJp sseq 94l J91\9U94M ·wnn:>el\ AJepuo:>9s Send your questions to: 91q9Jl pue AJewpd sseq BU!ll9B seM 9lOU A>I:>Pl 94l'9JO!9J94.l 's9pepuo:>9s John Edwards 94l WOJ! J91\0 9l0U 9UO p9qnl Ask Dr. Pneumatic C/O Pasadena Piano Company seM lS94:> AJewpd 9J!lU9 a4.l 1836 East Walnut Street Question: How can I make a Pasadena, California 91107 piano roll? Last month I listed the brands of I will do my best to answer all pedal players wh ich are undesi rable for Answer: First, find a steep hill··- questions by mail or in this column. one reason or another (most were just Please include a stamped, badly engineered and will not play Seriously, only two questions se If-addressed envelope with your well no matter what you do to them). came in this month, so I'll answer both question. This month, I offer a list of player of them. * P age Seven teen 'KEEN PLEASURE' Pianist opens Academy series•

By Ronald D. Scofield discovery, the subtle feeling for 'nuance in a melodic line, a News·Press Asslst.nt Editor reiterated fiigure, or a daz­ The 26th annual series of zling tumble of notes that summer Festival Concerts by challenge the whole keyboard. f a cuI t y members, students About the concert la'St night, it is dHficult to put 'into pro­ and friends of the Music saic words a lucid report on Academy of the West opened the music or its performance, last night at the Lobero The­ except to voice appreciation ater. with the presentation of for the beauty and vitality of an all-Ohopin progmm by Reg­ both. inald StewaiI"t. It was an occasion of keen THE PROGRAM covered pleasure for music lovers of most of the range of moods, all ages, and longtime sup­ sty 1e s ,idioms and forms porters of the Academy re­ found in Chopin's piano works, newed old friendships with the examples generally being distinguished artist-teachers somewhat famHia'r to concert­ REGINALD STEWART, Chopin interpre­ and artis't alumni. goers. H is an excellent tradition to He opened with tJhe Noc­ ter, will open the Music Academy fes­ open the annual season with a 'l!urne in C ShaJ1p minor (Post­ tival series of conc€rts at the Lobero program that reminds one of humous), a work of introver­ Tuesday at 8 :30. the sensitive ,aI1l'istry and ele­ sion, somber, serene and joy­ gant interpretive and expres­ ful in turn. Then came the sive skill of Mr. Stewart, wIl0 varied and contrasoting moods, as head of the piano depart­ rhythms and dynamics of the Reginald Stewart has ment enriches the summer Mazurka in A Minor, Opus 17 s e s s ion and also serves No.4; Three Etudes of Opus furoll'ghout the year as a con­ 25. Nos. I, 2 and 9; Ballade in all-Chopin program tinuing factor in the education A flat, Opus 47; Impromptus in the art of music and the in A flat, Opus 29, and F The Musdc Academy of the made his American debut skill of piano performance for sharp, Opus 36; Berceuse in 0 West opens ~ts 26th annual wirth ,the New York Philhar­ young people and adults of the flat, Opus 57; Waltz in A flat, Summer Festival Series ail: the monk and has played wilth community. Opus 64 No.3, and the the· Lobero Theart:er Tuesday eve­ many major orchestras around atric exc'item€'l1t of Scherzo in ning at 8:30, wi'bh an all­ the world. He was formerly IN THIS PERIOD of musi- B minor, No. 1. Ohopin program by ,the cele­ director of the Peabody Con­ cal e x p lor 'a t ion, experi-, The last half of the program b rat e d pianmt, Reginald servatory of Music in Bal­ mentation and changing styles was devoted to the Son'am in Stewa'rt. The concent has been /timore and conductor of the and fads in the musical fields, B minor, Opus 58, whose four sold out for nearly a week. BaLtimore Symphony and has it is of great value to have as movements tllemselves reflect SJ!:ewaiI"t who is a favorite been aotive as a teacher dn a performer and teacher an t'he typical varieties, the bri!­ wilth S'anba Barbarra audiences recent years. aut hen tic master in that liant, showy and serenely po­ ~s noted for his interpretations Stewart's rreoiJtal is the first phase of 19th Century litera- etic concepts and devices of of the music of Ohopin. His of the seven events scheduled ture that Chopin exemplifies. the Chopin oeuvre. Then for Tuesday program wiH in­ on the Festiv,al Series. Be­ His a small, but uniquely ap- encores came the lovely Pre­ clude: Nocturne in C-

Page Eighteen MUSIC ACADEMY OF THE WEST

FIRST PROGRAM

July 11, 1972

REGINALD STEWART pianist ALL-CHOPIN PROGRAM

Nocturne in C-sharp minor (Posth.) Chopin

Mazurka in A minor, Gp. 17 No.4 Chopin

Three Etudes: Op. 25 Nos. 1, 2 and 9 Chopin

Ballade in A-flat, Op. 47 Chopin

Two Impromptus: A-flat, Op. 29 Chopin F-sharp, Ope 36 Chopin

Berceuse in D-flat, Ope 57 Chopin

Waltz in A-flat, Op. 64 No.3 Chopin

Scherzo in B minor, No.1 Chopin

INTERMISSION

Sonata in B minor, Op. 58 Chopin Allegro maestoso Molto vivace Largo Presto non tanto

Sfeinway Piano Courtesy of Bennett's Music Co.

Page Nineteen was much larger than the rolls produced. Givens has all the masters ILETTERS TO THE EDITOR I or, in the case of RHAPSODY IN BLUE, had to make up a master roll - a very laborious process. ...The letter in the October recuts. Larry Givens has an original Bulletin written by Durrell Armstrong Ampico perforator and has been Because of the complaints about is his attempt to explain his side in the making Ampico re-cuts for about 15 quality, Powell did not make any rolls Great AMICA Roll-Cutting Caper. years. About 12 years ago Mr. Powell, in 1969 and 1970. Instead, he and Although Armstrong's views are a trained sound engineer for RCA, John Malone spent a great deal of time extremely critical of Mr. Harold began to sell the Givens Ampico and money developing peripheral Powell, it is his right to express his re-cuts on the west coast. Since Mr. equipment that would enable them to viewpoint. However, the membership Powell also wanted to offer Duo-Arts, turn out fine quality rolls at high is entitled to know all of the he parted company with Larry Givens production rates. Mr. Powell also interesting facts pertaining to this and signed a contract with John developed the Duo-Art dies that are caper. Mr. Powell has been in my Malone who had a perforator. This interchangeable with the Ampico dies home and I have lent him five jumbo perforator would not make the quality on this equipment. With this fine Ampico rolls for recutting, so my Ampico rolls that Powell sells today. equipment Powell began to turn out information will be biased toward his The Powell rolls I purchased 5 years many new Ampico re-cuts plus side of this case. ago do not compare in quality with Duo-Arts and even Weltes. He even the ones of today. There are technical made jumbos which were so difficult First, let me provide some reasons for this. The original Ampico to find and were greatly appreciated historical facts regarding Ampico rolls were made from a master which by Ampico B owners.

Other dealers began to sell Letter from the Publ isher reproducing rolls made by John Dear Fellow AMICAns: I think all you AMICAns realize Malone. First, Deno Buralli in Illinois, that our Bulletin is a non-profit then Richard Riley of California. Both As you may no doubt have venture. We do the best we can with of these gentlemen were very careful noticed, the November-December issue limited money and time. And with not to say who was re-cutti ng the rolls of the Bulletin was combined. We even more limited resources. We they were selling. Also, they sold on a received tons of mail about this, combined November and December very limited basis. I even had Buralli usually beginning, "I have not yet because we didn't have enough re-cut, through Malone, a rare roll of received my November issue; where material to publish more than an mine, No. 200883, I USED TO CALL eight-page issue for November. The the hell is it?" As our illustrious HER BABY. This situation would President says, I want to make several costs would have outweighed the perhaps have continued for some time, things very clear. There might be times advantages. There is an obvious since Buralli and Riley were selling in the future that we decide, for one solution to this probleml Get at your reason or another, to combine issues. typewriters, folks, and send us more pops only, had not Armstrong decided We do not anticipate this happening articles to publish. As you can see, lito get a piece of the action" as we again in the near future...but it may. January is a jumbo issue. Let's keep it say in Chicago. How he persuaded the There will be times in the future that a that way. But March won't be worth a sophisticated officers of AMICA to certain monthly issue will be late. hill of beans unless you send me the participate in this business is Someti mes the reason wi II be material. I feel that the Bulletin is something I will never understand. production problems, sometimes your sounding board, your means of There must be experts in Californ ia outside responsibilities. To give you an communicating with other members in that could have compared Armstrong's example, this very issue (January) is far-away places, your way to learn wonderful samples with a Powell roll. I being mailed later than we wo~ld like. from other experts. I could go on and could easily tell at a glance that my The problem originated with our on. What I am saying is that this is typesetter, who -incidentially does this your Bulletin; let's make it bigger and copies of I USED TO CALL HER ti me-consuming work after regular better with every issue. BABY were cut on the Powell-Malone hours and on weekends. She was machine. Perhaps, in their obi i ged to work overti me at her Your Publisher, understandable eagerness to provide regular job due to the Christmas rush AMICA membets with low-cost and therefore cou Id not get to the Ampico recuts, customary precautions AMICA work until after Jan. 1. I were forgotten. My first reaction upon cou Id have had th is job done Hester Zimmerman receiving the advertising flyer enclosed commercially at 6 times the cost. I P. S. And don't complain so much with my April 1971 copy of the decided not to. if we're late. O.K? AMICA bulletin was to telephone both

Page Tewnty Larry Givens and Harold Powell in his nice daughter, Pat, who is now its intricate mechanism and order to find out if they were working in the roll business. Many adjustment by an expert of 25 years manufacturing the Ampico rolls that members would be surprised to know with the American Piano Company. were offered for sale at about $3.00. of the many tasks performed by the Now, you think, "What has all this to Both of these gentlemen assu red me Powells before the roll reaches the do with Mr. Armstrong's letter?" Well, this is itl they were not. Specu lation then arose customer. An interesting article could as to how the proffered rolls were to be written on this alone. Malone's sole What were Armstrong's motives be manufactured since it was and is task is to perforate the paper. Powell in getting into the roll recutting common knowledge that only two buys the paper, tabs, cores, spools, business in the first place, especially if Ampico perforators existed in _this labels, boxes and shipping supplies. All they were to put Mr~ Powell "out of country. of these parts have to be assembled by business", inasmuch as Mr. Armstrong the Powells. could not have his "own way". And, In this respect, Mr. Armstrong in that he cou Id use AM ICA as his front. his letter refers to "his machinery". It is this writer's opinion that If the true "facts" were aired by all parties concerned, I believe that Mr. But at no time, past or present, has AM I CA should not enter into a Armstrong's motives are under Armstrong ever claimed that he owned commercial venture since this requires considerable scrutiny. It was HE who an Ampico roll-eutting perforator. a single-mindedness of purpose seldom broke the contract with John Malone, And, of course, he does not. His found in an eleemosynary institution. NOT Harold Powell, for the recutting "machinery" is worthless unless it has It also exposes AMICA to the real of coin-operated rolls. There is the skill of Mr. Malone and the "best world of competition including documentation of this "breach of direct-copy machinery in the U.S." lawsuits. contract", in spite of what Mr. developed by a former RCA sound Armstrong may say and attest to. engineer, Hal Powell. Ralph R. Obenchain Documents are documents, and they 1134 Elmwood cannot be changed verbally, no matter In his letter, Armstrong uses the Wilmette, Illinois 60091 to whose "convenience". In California, word "monopoly". How unfortunate a "verbal contract" is as valid as a the AMICA Roll-Cutting Caper chose "written contract", and vice-versa. the one brand where there was * ... 1 read with great interest Secondly, the "ownership" of competition. One hungry Duo-Artist Du rrell Armstrong's undated letter "machinery, investment" and told me how envious he was of the published in the October Bulletin and materials" is also subject to question. Ampicans. Imagine how the have a few pertinent comments to To this date, Mr. Armstrong's Weltesians, Recordosos or Artriosos make. "ownership" of perforating machinery must have muttered enviously. The is in very serious question. I believe good side of th is is that the Ampicans First of all, I have been the proud that he should give all AMICA can't be nearly as disappointed as a owner of a Duo-Art Reproducing members the "facts" concerning his hungry Recordo lover would have piano for 30 years, probably longer stated "ownership". been. No monopoly exists. All than any member of AMICA. Also, I had the privilege in 1942 of visiting members of AMICA are free to Thirdly, a "monopoly" by Mr. the Aeolian Company in New York Powell is ridiculous on the very face of develop thei r own roll-re-cutting City, and was able to buy many of it, since there are two roll recutting equipment and commence business. their remaining original production operations very active in England: one One member who has done set is Don rolls from stock at $1.00 per roll. In in Australia and at least three in the Barr, who is offering quality Mills addition to this, I was one of the few United States, other than Mr. Powell's. Violino Virtuoso rolls produced on his (if any) to have the benefit of the best own home-made perforator. Ed Freyer advice and technical information There is another very important of New Jersey has offered qual ity available from Aeolian Technicians as "fact" that Mr. Armstrong omits, Link, A, and G rolls for years. to the adjustment of the Duo-Art which is that there were numerous Reproducer. In fact, in Roanoke, letters from VERY qualified people in Mr. Powell was expelled from Virginia, where I bought my piano, the busi ness, to Mr. Loob and there was a factory-trained technician, AM ICA without approval or even Company that they (AMICA) should who adjusted my piano to factory consultation with the membership and NOT get into the roll recutting specificiations, after it was in my business, any more than they should his dues were not refunded. I think the home. Therefore, I was able, 30 years get into the car manufacturing big thing for AMICA to do is to ago, to hear definitive rolls played as business. This is also documented; not apologize to Mr. Powell with a they were designed to play on the conjecture or self-justifying, but reinstatement of his mem~ership. He Duo-Art Reproducing piano. FACTI certainly can not be /blamed for defending his way :of making a Also, for 4 years, I owned an I sti II maintain and continue to livelihood for himself, Mrs. Powell and Ampico and was guided and advised in (Continued on next page)

Page Twenty-one contend that Mr. Powell and Mr. sold for profit and I have prepared QRS 1988 "I Wish There Was A Malone are our best hope of quality written contracts stating the rules for Wireless to Heaven - Then Mama recuts from original production rolls. broadcasting. I will be happy to Would Not Seem So Far Away" answer any questions on this aspect of Carey Mahaney this major project. QRS 31497 "Who Paid the Rent 525 Stewart St. for Mrs. Rip Van Winkle?" Fort Bragg, CA 95437 It is only natural that every tape will not be used (unless all tapes are US 43502 I'Keep Your Skirts Down, really outstanding). I want to Mary Ann" * represent top instruments and top ••• 1 have thought a great deal on performances before an audience. All Vocalstyle "Don't Bite the Hand this major project using the radio as a instruments must be "in tune", major That's Feeding You" means of promoting AMICA, pianos, repairs completed, etc. collections and most important the QRS "Ha, Ha, Ha, Ha, Ha, Ha" historical piano performances of the Dennis Ferrara great pianists of the past. I work at a WFJC Radio 100,000 watt FM stereo station in Singa "The Wild Women Are Making 1401 East Court Street A Wild Man of Me" Michigan. Now-, I am proposing a series Flint, Michigan 48503 entitled IIAMICA Presents". This series, on paper, would consist of tapes QRS "Andy Gump" obtained through various members in * John H. Faunce the cl ub, presenting outstanding ...I'm trying to get the words for 1414 Menoher BI. reproducing instruments (pianos, the song, "Does Your Chewing Gum Johnstown, PA 15905 mainly both grand and upright, all Lose Its Flavor On The Bedpost reproduci ng systems classical and Overnight?". It was released on QRS Ed. Note: Do you have any titles to semiclassical only at the present time). 9833 and on Mel-O-Dee 1302, but my roll did not have the words. If you add to this list? Now true, various tape recorders have the words, please send a COpy to: produce different results; therefore, I have set down a basic requirement on John H. Faunce * all master tapes: 1414 Menoher BI. ...When an AMICAn calls for Johnstown, PA 15905 help, it's apparent that he can expect a. All tapes must be recorded results I In the September issue there at 7% i.p.s. 15 i.p.s. is ideal, not appeared my letter, describing my necessary. difficulties in getting a Welte-Licensee ...Player rolls are my full-time to work properly. The purpose of this b. Mono or stereo. Stereo hobby. I have 2,300 rolls of 150 letter is to let you know where this perferred. different makes. I buy through auction matter now stands, as some of the every month 10 to 20 rolls and all I readers might be interested. c. 7-inch reels required. can find locally. To get a little more interest sti rred up among the In 1954 David Bowers, who used d. Full, two or quarter track members, let's have a contest for the to be a neighbor here in Vestal, was taping. most unusual or interesting player roll going on a business trip to Chicago -­ song title...As a sample of what I have and he asked if there was anything I e. Recording with "high in mind are the following roll titles: wanted, should he come across any levels"• "goodies". I said I didn't think so, but Weile 0682 "Here Comes Fatima on the other hand, should he come f. Using a better grade of tape, with her Ta-Ra-Boom-Dee-Ay" across a nice Welte-Licensee in a good Le., Scotch, BASF, etc. upright piano, and the price was right, Musicnote 1080 "Shave 'M Dry" perhaps he should consider getting it. The proposed series would be Sure enough, about three days later, submitted to the National Public Artempo 77045 "She Walks in her Dave called me from Chicago and said Radio. This means, if accepted, all Husband's Sleep" he found a piano in a warehouse (the major FM stations across the nation Field Piano Company) but it was a (members of NPR) would air the series QRS 3899 "If I Didn't Know Your grand and the dealer said it was a in the U.S. Therefore, all members Husband and You Didn't Know Welte. This put me right on the could hear the results of "their My Wife" "spot", so I made a hasty decision and labors". I would give monthly said yes, please buy it for me-­ install ments through the Bulletin 88 Note 30087 "Adam and Eve Had whatever it wasl (Dave said he giving progress, data, etc. I would want A Wonderful Time" couldn't tell whether it was actually a to receive some correspondence by Welte or not -- at that particular time any interested member nationally or Ideal 2837 "There's a Little Bit he wasn't sufficiently knowledgeable internationally. No tapes would be of Monkey" to tell.) About a week later a van

Page Twenty-two arrived, and on it was a Bauer what they had to say was that they New York City' Bob and Henry tell Welte-Licensee. A hasty inspection weren't sure what the problem was, me that the Welte mechanism is made it clear that here was an but certainly before any real diagnosis working as fine as it can be made to instrument of quality, and in could take place I would have to do work, and that the Bauer is indeed a su rprisingly good condition. I did something to "even out" the air fine instrument. With some final some digging in reference books, and motor. I had long suspected that this regulating of the Wessell Nickel and learned that Bauer was a rather small was not running as smoothly as it Gross action and some voicing of the manufacturer in Chicago, which should, but it certainly seemed smooth hammers, it will certainly be a apparently went out in the late 19205 enough, and others agreed with this first-class machine. I'm so pleased with like so many other concerns. Their concl usi on -- so I hadn't done it that I've started to refinish the case, rates of reproduction were small, but anything. and early work indicates that it should what they did make was of excellent be pretty attractive when done. quality. Two interesting features of Air motors can be a nuisance to this piano, for example, are the get working right, so I promptly The moral to this is obvious. The enormously heavy metal plate which decided to install an Ampico "B" timing of the Welte is exceedingly eliminates the need for back posts electric drive in place of the wind job., critical. As Henry Emerson suggests, (thus leaving great room for the (There's nothing like having a few when the test roll says ca Ii brate at a reproducing mechanism) and the Ampico "B" parts around') The next speed of 80 or 8 feet per minute, it double-ribbed sounding board with month was spent designing and means 80 and it doesn't mean 79.9 or ribs on both sides' building the conversion, which had to 80.11 fit into the space previously occupied Shortly thereafter I rebuilt the by the original motor. This was an I've also had some response from entire reproducing mechanism. I got it interesting task. I mounted everything a couple of others who read the letter to the point where everything on the on a %" aluminum plate, which in turn p Iaced in the Bulletin, and their test roll checked out perfectly, but the is fastened in the drawer. The Ampico interest is much appreciated. One piano never really sounded right. roll motor is in the same relative remaining problem, which perhaps Every time someone with expertise in fore-and-aft position that it occupies others might be able to review, is that reproducing pianos would come in an Ampico, but the power is taken the sustaining pedal system is very through Vestal, I'd try for an opinion from the right side rather than the left. noisy from a pneumatic standpoint. on what the trouble was ... but I never It was necessary to relocate the There is a tremendous wind-sucking had anyone here who knew enough high-speed reroll pneumatic to the noise every time it moves, and we about the Welte system to be able to right of the governor, and I had to haven't quite gotten to the bottom of help. Reproducing pianos of any type modify the speed control assembly this yet. are scarce around here, and fewer still knob and shafts to fit in the avai lable are persons who are expert in their space. I used Dodge timing belts to a So this is where I stand on the intricacies' jackshaft to reach the roll-drive shaft. Welte scheme of things, and I appreciate the assistance of fellow Si nce I have plenty of other I finally got the thing in working AM ICAns. If you'd like, I'll try to get instruments around here to play with, order, and pi ugged it in -- and a good photograph of the electric drive somehow the Welte got ignored for a PRESTO CHANGE-O -- the conversion for use in the Bulletin. long time -- and perhaps in so doing I instrument immediately played like a assumed that someday some wizard reproducing piano' It was pretty Harvey Roehl would bail me out. exciting to hear a piano spring to life 3533 Stratford Dr. after having been an exasperation for Vestal, New York 13850 all this time ... and thereupon I spent a One day this past summer the lot of time just going through rolls I'd Welte bug bit me, and I dashed off a always wanted to hear. Then I got p.s. I've decided to keep the piano. letter to Ginny Billings -- then Editor thinking, and remembered a casual of the Bulletin -- and asked if she remark made to me several years ago p.s. 2: Henry Emerson tells me that he could put me in touch with someone by Ken Caswell, who said that the first personally favors the Welte to some who might be of help. The result was thing one must do to make a Welte extent over the Duo-Art and Ampico, that she talked to Henry Emerson, an sound right is to convert to an electric and Ginny says the best reproducing old-timer in this business, who wrote drive. Too bad I didn't take him piano she ever heard was a Baldwin to me and said he had cassette seriously right then and there' Welte. I'd have found these remarks recording equipment and that perhaps i ncredi ble prior to getting mine we could tape-write back and forth. I Shortly thereafter, I made a new workingl promptly made a tape of some rolls tape for Mr. Emerson and the Billings', and mailed it to California. This and within a couple of weeks instead But I 'm not about to start any resulted in Bob and Ginny Billings of getting the tape via the U.S. mail, arguments over this -- I have a grand of inviting Henry for dinner, after which Bob delivered it personally when he each of the systems in my music room, they listened to the tape. They in turn decided to make a quick 5-hour and I like them aiL.. sent a tape back to me, and the gist of stopover while on a business trip to Page Twenty-three * would authorize a minimum bid on How about a REALLY "Equal Opportunity" any UNDERLINED item on the list. Thus, if there were no other bid, the Roll Auction for ALL AMI CA Members? speculator would have his chance to pick up any desirable "Ieftovers". (Complete "dogs" would probably still be left, but apparently they are by Gene Dilthey,Reporter, anywayl) Southern California Chapter 2. Argument: "I go to the auctions even when I don't intend to buy rolls because Gar always gives a great party, and the food is good. Once in a while I One of the items on the agenda least must limit my bidding to the get a bargain". REBUTTAL (after of the International business meeting total amount of money that I can getting my wind back I): I am quite on July 3rd, 1972 was a discussion of spend at that particular time, since it is sure that Gar DOES INDEED give a POSSIBLE that all my bids could win, "Auction Procedures" for the Roll great party. He strikes me as being that and I must be prepared to pay for Auctions conducted by the club for kind of a guy! I too would dearly love them. For this reason I am sometimes the benefit of the members. Although to be abl& to attend ALL of his forced to forego reasonable bids on nothing was resolved at that meeting, I auctions. BUT, if you really enjoy all rolls that I might like to bid in order would like to conduct a survey of my that hospitality, why don't you offer own to get the General Membership to make an unusually high bid on a to go over and help Gar with some of feeling on the handling of the Auction. roll that I am personally convinced I the work that goes on before the MUST HAVE IN MY COLLECTION. auction, or better still,-offer to help Here are my arguments for If the bidding were by "mail" only, I with the sorting, packing and mailing CHANGE in the procedure, along with could decide what I was reasonably after the auction? I'm sure that Gar a rebuttal to some of the comments I able to spend for any particular roll would ALSO put on a great party then have heard AGAINST CHANGE. with the assurance that if I did not too I And probably offer equally win, it was because I had misjudged delicious food I OR IS THE CLUB the value or popularity of the roll, and STRICTLY FOR THE ENJOYMENT ARGUMENTS FOR CHANGE: at least the winner had made up his OF THOSE MEMBERS WHO ARE IN mind at the same time I did, and was IT ONLY TO TAKE ADVANTAGE 1. The combination of "mail" and therefore logically entitled to "win", OF THE FEW INTERESTED and that "next time" I could make a "live" bidding gives an unfair MEMBERS WHO BUST THEIR new decision as to what. I was willing advantage to the "Iive" bidders in that FANNIES TO MAKE IT WORKI they have the opportunity to "go to pay for the privilege of adding it to my collection. BUT AT LEAST I HAD overboard at the last minute, and ENUF SAID! change their minds about what a roll is AN EQUAL CHANCE AT THE ROLL. (It is for this same reason that worth to them". The "mail" bidder To get back to my survey, will all I will NOT bid with any auctioneer has no such opportunity. As a personal of you who read this and are who accepts phone bids, even though case in point, I once bid by mail, interested in helping to make the club they may list rolls I would like to $10.00 on a roll which I had seen go in work to everyone's advantage, drop a own.) previous auctions for $5.00 to $7.50. I card to me, Gene Dilthey, at 5970 felt reasonably sure that my offer Graciosa Drive, Hollywood, California would win the roll. When the auction 90068? Simply say: "Let's change it" results were issued, I found that that REBUTTAL TO ARGUMENTS I or "Let's leave it alone". I will particular roll had gone for $10.25. HAVE HEARD "AGAINST tabu late the votes, and either way This meant that some person at the CHANGE". subm it them to the International auction "went overboard" and beat Board. At least we will have a my bid by 25 cents. IF I HAD BEEN 1. Argu ment: If there were no GENERAL OPINION, and not just the IN ATTENDANCE, I TOO WOULD "live" bidders, many rolls would not vote of the few who were at the HAVE GONE "OVERBOARD" AND be sold. REBUTTAL: If I have been International Board Meeting at the CONTINUED THE BIDDING BY 25 informed correctly, there are unsold Convention. CENT INTERVALS AS REQUIRED. rolls now! The only "Iive" bidders IT IS QUITE POSSIBLE THAT MY who occasionally pick up rolls that One final word. How do you feel PERSEVERENCE WOULD HAVE would not have been sold are the about the current policy of bulk mail DISCOURAGED HIGHER BIDDING, "speculators" who pick up rolls at the for the Bulletins and Auction Lists? BUT I DID NOT HAVE AN "EQUAL minimums when it appears that there The Bulletin reaches me 3 to 7 weeks OPPORTUNITY" FOR FINDING are no other bids. These "bidders" after it has been mailed, and the 17th OUT! could have their same chance if a Auction Roll List didn't reach me at "box" were placed at the beginning of alII 2. When filling out a "mail" bid, I at each Auction list, which, if checked,

Page Twenty-lour * perfect. If the stool is too high, I am now arises, "What was the style of this electrical recordings made in England distracted all the time, and my unique showman pianist?" Well, if we (1925-1930) will be listed at a later performance falls short of perfection I" can judge by his numerous date. phonograph recordings and While performing the Chopin F reproducing piano rolls, he was not a Part I will discuss recordings Minor Piano Concerto with the Boston technician; in fact, he was extremely made for the Victor Talking Machine Symphony Orchestra in 1913, he once sloppy. Company, Camden, New Jersey and stopped in the middle of a brilliant New York, New York (1911-1913 and passage to say something to an old There are few reviews available 1924-1925). Part II will discuss two lady sitting in a front row seat. about his technique. It seems he was selections made for the English more of a salon pianist with a selected Columbia Phonograph Company, "Watch me do this. No one in the repertoire which would not tax his London, and issued here in the United world can play this as well." And technique. He was a "miniaturist". He States In 1916. having played it, kissed the tips of his basically played the more obscure fingers, played on for awhile; but, he works of Chopin and Schumann. He The discography will list to the stopped again to tell the frustrated never played Beethoven and selected left of the page, all single face audience how many years he had Liszt compositions. numbers, followed by the composition practiced that particular passage to and composer; the right side will list play it the way that he did. The recordings, however, give the double-face numbers. music historians an idea of some of the He was a good friend to many technique and power with which De famous pianists, including Leopold Pachmann held his audiences. The I would appreciate corresponding Godowsky and Paderewski. He once electric discs (1925-1930) have a with any member who could shed said, "Paderewski is grand and majestic running commentary with the music. some light on any more Columbia but the others are wooden". "If God ~ titles and numbers and to obtain tapes played the piano, He would not play it The recording career of Vladimir of the following numbers: 74302, much better than I do. Not much. I De Pachmann may be divided into 74309, 74318,6480,A5831. am so tired. Not so tired but I still three separate areas. This article will could play better than Godowsky." comment on the first two aspects of Any added unpublished numbers the discography. Part III, the and selections will be used in the He talked about health and that discography of the English H.M.V. future article on De Pachmann. Ilmilking cows daily was the best exercise for a pianist's fingers". In an article entitled, "Methode After 70", Victor Recordings 1911-1913 (* - Chopin compositions) from a Musician, February, 1933, he talked about his method of playing 64224 Mazurka in A Flat, Ope 50, No. 2* 907 Chopin. 64263 Mazurka in F Sharp Minor, Ope 59, No. 3* 907 64291 Etude in E Minor, Ope 25, No. 5* "The position of the wrist is 74260 Prelude, Ope 28, No. 24; Etude, Ope 10, No.5 6363 important. The wrist should move up 74261 Rigoletto Paraphrase (Verdi-Liszt) 6083 and down if necessary but never be 74284 Impromptu in A Flat, Ope 29; Prelude in F, Ope 28* 6363 turned out of position." 74285 Spring Song, Ope 62 (Mendelssohn); ProPhet Bird (Schumann) 6082 74293 Nocturne in F Major, Ope 15, No.1 * 6377 In order to prevent certain hand 74301 La Fileuse (Raff-Henselt) positions, De Pachmann developed a 74302 Etude, Ope 10, No. 12 (Chopin-Godowsky) method of fingerings which was 74304 Funeral March, Ope 35, No. 2* 6083 designed to eliminate wasted motion. 74309 Ballade in A Flat, Ope 47* Many musicians felt that he really did 74313 Nocturne in G, Ope 37, No. 2* 6082 not present anything really new or 74315 Venetian Gondola, Ope 30, No.6; Spinning Song, Ope outstanding. 67, No.4 (Mendelssohn) 6377 74318 Etude in E Minor, Ope 25, No. 5* De Pachmann, with his wi'fe, Prophet Bird (Schumann) 1110 edited several Chopin etudes with the Spring Song, Ope 62, No.6 (Mendelssohn) 1110 De Pachmann fingerings. These were 74864 Impromptu in F Sharp, Ope 36* 6441 not extremely popular or successful. 74868 Nocturne in B, Ope 32, No.1 6441 74865 Novelette, Ope 21, No.1 (Schumann) 6480 Prelude in D Flat, Ope 28, No. 15* 6480 He remained active until he passed away in Rome, Italy, January 1933. He is buried in Rome. Imported Columbia Records 1916 Etude, Ope 25, No.3; Prelude, Ope 28, No. 16* A5831 In this discussion, the question Polonaise-Cadenza (Liszt) A5831

Page Twenty-five I "When should my piano be tuned any change affecting the conditions of the lagain?" or "How often should my piano be PIANO TUNING board or the string pressure would upset the Ituned?" These questions or variations by James Aber balance in this never.-ending struggle, thereof are posed to piano tuners almost altering the tension of the strings and the daily while at work in people's homes. pitch of the sound emanating from them. strings. This crown is not unlike the top of a These actually are embarrassing violin, but not as severe, and, due to the The board, being made of wood, questions. If he should answer truthfully large area of the board, is hardly perceivable though protected by a heavy coating of that the piano might be out of tune the next to the eye. The board is assisted in holding varnish, is nevertheless much affected by the day or the next week, the client who has this crown by wooden ribs, spaced at moisture content of the surrounding air. just paid a substantial fee for the service intervals and glued to the board on the Moist air causes it to swell or try to expand, might think it a waste of time and money. reverse side, and by the extremely rigid and since it is held so rigidly around its So the tuner usually resorts to the reply that piano frame. edge, it bulges even higher, causing more the piano shouId be tuned at least once a tension on the strings, especially near its year, or better, twice a year. This is, of The iron frame or plate, sometimes central part, farthest from the fixed edges, course, true as far as it goes. called the harp, is also secured to the frame where the bulge is most pronounced. The of the piano, superimposed above the bulge in the board flattens in dry air and the To explain how a piano may be in tune soundboard, but not touching it except by tension is lessened. Accordingly, pitch will one day, out of tune the next, but the spacers in several places on the extreme rim rise in damp weather and drop in dry following day possibly back in tune, would of the board opposite the tuning pins. This weather. involve a lengthy explanation of technical iron plate carries the strain of the combined facts that might not be quite clear to the pull of the strings, which are attached at the Temperature flux also causes change in client, or conceivably be construed as an far end to iron hooks wedged into the plate, the metal of the plate. Most everyone knows excuse to cover up slipshod work. and at the near (or keyboard) end, w'ound that metal expands as it is warmed and around the tuning pins, located in a heavy shrinks when cooled. Thus, when A layman obserVing a piano sees it as laminated wooden beam itself secured to temperature rises, the iron plate will fixed and inanimate as a table or stone. That the plate and frame of the piano. The total expand; and, since the strings are anchored it is in a constant state of motion, due to pull of all strings, when the piano is tuned on the plate, tension between the end hook ever-present vacillation of temperature and to pitch, amounts to a tremendous thirty and tuni.ng pin increases and the voice of the humidity, seems most unlikely in such a thousand pounds or more. Of necessity, the strings will rise in pitch. The reverse is true strong heavy structure. Actually, if this plate is extremely heavy, several hundred when the air cools. In addition, the steel motion could be measured on a magnified pounds, and is well-braced by iron struts strings ~hemselves react somewhat to scale, it might be compared to a person integrally cast within it. temperature changes. As a string warms it breathing in irregular fashion. expands, becoming longer, loosening The bridge, which transmits the string tension, and lowering the pitch. These two Clocks have been devised which vibrations to the soundboard, is a long effects of terrlperature, therefore, depend for their motive power on continual wooden strip which is glued and secured to counteract each other. However, there is atmospheric change to impel the delicate the board with screws, and so positioned such a small amount of metal in the strings, gears. Yet if one of these clocks is placed in that the strings pass over it as on the violin. compared to the very heavy iron plate, that a sealed vau It with constant temperature, The height of the bridge is such that the the change is more pronounced in favor of humidity, and barometric conditions, it will strings passing over it exert considerable the plate. stop completely. (Many homes have a set of pressure downwBr-<:lpn the soundboard. This three instruments that indicate atmospheric bridge extends fro~he extreme treble Humidity, or moisture in the air, is also conditions, and it is no surprise to the (near the player at the right hand end of the affected by temperature; warm air will carry observer to note continual change from keyboard) diagonally across the board to its a much larger amount of water than cold hour to hour of the reading on the gauges). tip at the piano's narrow end, where the last air. If a volume of warm moist air moves A piano may be compared to one of these and longest strings of the middle section are into a room of cold air, water in the warm delicate clocks. Under normal living placed. The bridge generally rides the air will be squeezed out as it cools, conditions it will vacillate with the changing highest part of the board's crown. The precipitating moisture, especially on cold conditions of the surrounding air. However, bridge for the bass strings is separate, surfaces in the cool room. For exarrlple, if a well-seasoned and solidly tuned piano somewhat higher than the other, as the bass suppose that a piano is housed in a cool could be kept in such a sealed vault, it strings are in a plane farther from the board room adjoining a kitchen where cooking is would remain in tune over long periods of and pass above the lower strings of the done. The warm moist air of the kitchen time. middle section at a considerable angle to entering the cool room deposits water on all their anchorage on the plate. Since the cool surfaces, causing swelling of the To understand the analogy -with the width of the bass section is only a fraction soundboard of the piano and changing the clock, one must _understand something of of the spread of the rest of the strings, the tuning dramatically. the construction of the piano. The bass bridge is shorter and nearer the piano's soundboard is the heart of the instrument, tip. Any movement of air around a piano and without it the vibrating strings would contributes to a change of conditions. When give very little sound. It is, in fact, a The combined downward pressure of a humidity gauge is placed in a room to glorified diaphragm of thin wood, usually o~ the strings on the bridges is constantly measure the moisture content of the air, it is fine grain spruce, and nearly as large as the trying to flatten the crown in the board, usually fanned to speed up the response of piano. It is supported only around "its rim by while the board, with its supporting ribs and the indicator. A piano which stands in a being glued securely to the heavy frame of built-in curvature, is resisting this force. It is draft is subject to rapid changes when the"re the piano. It is not completely flat, but apparent, then, that a delicate balance is are variations of temperature or humidity. It curved, with the crown or bulge toward the achieved between these two forces, and that is best to avoid placing a piano near an open

Page Twenty-six window, or one that is opened from time to avoid deterioration from changing tuner, who will keep the pitch as near A-440 time. Nearness to a vent where heat is conditions. as possible. It may wander a little sharp in discharged is to be avoided at all costs. The warm wet weather or sag a little in cold dry part of a room where there is least Most people believe that a piano must weather. The middle of the piano will movement of air will allow the piano to be tuned after moving. Actually, the moving change more than the extremes of the scale, remain the most stable. Sunshine must never of a well-built, well-seasoned piano is not as as that portion of board and bridge fall on any part of the instrument. apt to upset the tuning as the changed responding to it vacillates more. atmospheric conditions in the new location. Another thing to remember is that a new Of course, weather cannot be piano will require more tuning during the Fortunately for the tuner, most people controlled completely. Even under favorable first two or three years of service than do not possess the accurate ear they conditions, there will be cook dry days, cool subsequently. Due to the enormous strains imagine. Most can easily detect a bad unison wet, warm dry, and warm wet days. Most and stresses of the stretching and equalizing which really jangles, due to the beats heard places enjoy a considerable amount of of strings, there is a continual settling of when the three strings comprising one note weather which may be called "normal" for various component factors that take time to are not in tune with each other; but an that area. Some are normally moist and stabilize. Heavy playing may also knock a octave can be a little off, if the unisons of fairly warm, while others may be quite-cool piano out of tune. Again, if an instrument is the notes involved are fair, without and dry, in any variety of combinations. not tuned for several years, the pitch offending too much. Chord structures, also, Periodic tuning should be done at a time gradually goes down; and, if a substantial can be less than perfect without causing when' the weather is considered normal for way below normal, it will require more than, unhappy ears. We say this is fortunate, that area. True, there will be days when a single tuning to get it to hold at standard because if all ears were trained to hear beats, unusual conditions pertain; during such pitch. Since raising the pitch a quarter or as is the tu ner's, piano keyboard performers times the piano may swing quite a bit out of semitone increases the combined pull of the would complain regularly. tune, but fortunately will return to strings by several thousand pounds, balance harmony when the weather reverts. Of and equalization does not take place So, the answer to the question, "When course, this principle applies particularly to immediately but may demand two or three should my piano be tuned again?" can be the home-owned piano. An instrument to be tunings to establish a solid foundation. easily answered, even by the layman~/,When used for concert performance of a special you think it needs it!" And you will occasion, where perfect pitch is critical, So it is adv~le to have a piano undoubtedly be right. should be tuned immediately before use to serviced at least once a\fflar by a competent * The Handel Air and Variations RECORD was a favorite with the pianist and it is pi ayed with extreme balance and DISCOVERIES color.

Liszt wrote six Chants Polonaises by Dennis Ferrara based on Polish folk songs. Rosenthal recorded number one and it was published in 1930. This disc is a gem and it is hard to understand why it The Art of Moriz Rosenthal. English remained hidden in the vaults. RCA Victrola VIC 1209. Recording includes: Chopin: Sonata in B Minor, Opus 58 (rec. 6-26-39); Handel: Air The Chopin Tarantelle is a less and Variations (rec. 6-23-39); Liszt: known work of the master. Rosenthal Chant Polonaise, No.5 (rec. 3-18-42); plays the composition in the "Liszt Chopin: Tarantelle in A Flat, Opus 43 manner". - (rec. 3-18-42); Strauss- Rosenthal: Blue Danube Waltz (rec. 5-8-28). The young Moriz Rosenthal· Rosenthal knew Johann Strauss This particular collection offers "speed, power, endurance..." Jr., and arranged several waltzes for to the collector a rare musical the piano and this arrangement goes without saying that it is extreme experience. All the recordings were virtuoso material. Only a technican unpublished and now these recordings The Chopin Sonata will give such as Rosenthal could perform it. come to light. members a chance to compare and contrast say the complete version by Rosenthal was a favorite student Rachmaninoff recorded nine years A recording well worth having. of Liszt and this disc reveals the earlier. It is understandable why Good transfers and quiet surfaces. The "Titan" in this role. The playing is Rosenthal was a great Chopin pianist. disc may be obtained through warm, exciting and extremely colorful. Listen especially to the second and Records, Ltd., 2818 West Pico Blvd., It is true "playing in the grand third movements for the poetry in the Los Angeles, California, 90006. manner". music.

Page Twenty-seven * Pianist IN RECITAL

CLUB OF CALIFORNIA THE CENTURY 1355 Franklin Street San Francisco, Cavfornia

Sunday, December 17, 1972 2:45 P.M.

in B Liszt's Ballade Nyiregyhazi ploys Upper: Ervin & Hamlin while Bill Wero/ins' Mason Minor at the and enjoy. Werolin look on Knorp, Alf and Marjorie Knorp, Mr. Nyiregyhazi the home of Bill Lower: At in Bill's collection. of his own rolls listens to several Page Twenty-eight Speculations on the of his notes so that the rhythm does (rec. 10-24-23); Waltz in C Sharp come out even and steady during the Minor, Opus 64, No.2 (rec. 4-5-27); Need for Ampico's initial performance? If so, then unless Waltz in E Minor, Opus Posth. (rec. the editor who encodes the expression 2-18-30). into the roll matches the original 'Floating Tracker Bar' RCA has started a un ique series expression fairly accurately, note by of piano re-issues and this Chopin Perforator note, the result is likely to sound recital is one of their finest efforts. by W.E. Flynt. "jumpy" when played by a reproducing piano. The album is the complete In Larry Givens' book discography of Chopin as played by "Re-enacting the Artist", he mentions * Rachmaninoff. The collector will a special roll copying machine which observe recordings made between was used on popular rolls intended for RECORD 1920-1930. Both acoustical and dancing. According to his description, electrical methods of recording give posterity the musical genius of this pianists who made these rolls could DISCOVERIES great Russian pianist. not maintain a steady rhythm during the recording session, even while by Dennis Ferrara. Many critics called playing with an orchestra present in Rachmaninoff's Chopin "cold and the studio. The "floating tracker bar" Rachmaninoff Plays Chopin. RCA without feeling". It is obvious that machine would then copy the resulting Victrola VIC 1534. Selections include: they were not familiar with roll, but it would analyze the Sonata in B flat, Opus 35 (rec. Rachmaninoff's discs of the Nocturnes deviations of the rhythm in the 2-18-30); Waltz in A Flat, Opus 64, in E Flat, Ope 9, No.2 or Nocturne in performance from a perfectly steady No. 3 (rec. 4-5-27); Nocturne in E F Sharp, Ope 15, No.2. Beautiful rhythm, and correct these deviations Flat, Opus 9, No. 2 (rec. 4-5-27); phrasing and romantic color playing. in the resulting roll. Waltz in D Flat, Opus 64, No. 1 (The "Minute Waltz") (rec. 5-23-23); Waltz Words mean really nothing. Buy in E Flat, Opus 18 (rec. 1-21-21); the disc and listen to the beautiful Speaking as a musician, it is Waltz in G Flat, Opus 70, No. 1 (rec. playing. Good 78 transfers with not difficult for me to bel ieve that these 4-2-21); Mazurka in C Sharp Minor, extreme surface noise. Disc may be pianists could not maintain a steady Opus 63, No.3 (rec. 12-27-23); Waltz obtained at $2.39 or $2.59 at any rhythm to that degree, so I have in F, Opus 34, No.3 (rec. 10-20-20); decent record shop. wondered if there were some other Nocturne in F Sharp, Opus 15, No.2 explanation for the need for such a * that each recut roll ends at a machine. Play '8' Jumbo Rolls somewhat slower tempo than the Having arranged several rolls On Ampico 'A' original intent---the longer the roll the more pronounced this difference. This "drafting board style" and encoded (Continued from Page 15) error is more than compensated when them for Ampico expression, I have stopwatch on my IIA" and "B" pianos any liB" roll is played on an IIA". noticed that variations in intensity indicate this build-up to be not over from note to note can influence the 15%. This is due to the fact that the If you own recuts of part one and rhythm pattern to a marked degree, paper must be moved progressively part two of Rhapsody in Blue for because of the influence of the further for each revolution as the end Ampico (originally Duo-Art), I would hammer velocity in creating the of the roll is approached. This suggest putting the two together. dynamic variations in loudness. For increasing drag slows down the "A" Suggested tempo on part one is 60. On example, a series of equally spaced more than the liB". In other words, an Ampico IIA" with take-up spool core of 1%", paper travel per notes (t hat is, equa II y spa ced with a starting tempo of 75, a jumbo revolution is 5.5". At end of part one, pe rforati ons in the paper) but roll might end with an equivalent speed as if it had been started at built up diameter is now 2%" or a alternating in loudness simply do not tempo setting of 86. For this reason, paper travel of 7.07" per sound like they are equally spaced you may wish to start a bit slow so the revolution--an increase of 28.5% in when played. This sort of pattern average speed wou Id be more nearly tempo. Thus, if we splice part one to might likely occur in a fox trot or correct. I have found no other part two, we start part two with a march, and the musical ear is very disadvantage except this tempo tempo of 77, whereas part two calls sensitive to this kind of " unsteadyness' problem. It is a comfort to be able to for a tempo of 75. It is quite probable in rhythm. put on Greig's Concerto and have it that putting the two together results in play for 23 minutes. Also, for the a tempo that is closer to the origi nal Could it be, then, that a real purist, let me give you something else master than when played separately. person playing the piano makes the to worry about. The very fact that Both parts fit nicely on one spool. necessary compensations in the timing recut paper is so much thinner means

Page Twenty-nine * The Lit~ra,.y Digest for March 17, 1917 Contributed by Bill Mintz.

TWO INTERPRETATIONS of the t- 6 SAME MASTERPIECE Of these two Ampico rolls, one is Brockway's rendering of Liszt's Liebestraum and the other is Ornstein's interpretation of the same work. I i-__5 '. Both rolls are played and approved by the artists themselves. Notice the difference, both in the note [' perforations and in the side perforations which de­ H.....----4 termine the intensity. Notice also the difference in the tempo of the first four measures. Each is a thoroughly delightful performance of! the work-as satisfying artistically when played on the Ampico as if the artist performed in person. And they are as different as one could well imagine. Brockway's is the traditional interpretation of the piece while Ornstein's interpretation is new and original. That the Ampico accurately reproduces the playing of MEASURE I the artist has been proved again and again by the public "comparison concerts" in which the Ampico actually encored the interpretations of Godowsky, Ornstein, Adler and other celebrated artists. Write for catalogue and further information. The Ampico may be had in the world's oldest and best pianos: the Knabe (,837), Haines Bros. (,853), Marshall and Wendell (,836) and the tenowned Chickering (1823). THE AMERICAN PIANO COMPANY 437 Filth A-venue, New York AM_1P_I_C_O_~~ ~

Page Thirty Claes O. Friberg and Q. David Bowers invite you to learn about the ... c?ft1ekanisk.., c?ft1usik.., c?ft1useum Let's Get Acquainted! Dave lives in California (postal address: Box 1669; Beverly Hills, Claes O. Friberg and Q. David Bowers, owners of the Mekanisk Musik California 90210) and is constantly looking for interesting items in the Museum, invite you to get acquainted. Over the past five to ten years U.S.A. Dave and Claes have supplied many fine instruments to AMICA Items that the MMM has for sale are listed in the MMM Review, an members. It is our estimation that 750/0 or more of the Welte-Mignon interesting magazine that we issue several times per year. All AMICA reproducing pianos to be shipped from Europe to the U.S.A. during members were sent a free sample copy of Issue No.1. Now Issue No.2 that time have come from Claes in Denmark. Dave, a California is being prepared. A subscription of $5 will assure you of receiving the resident, has been an important supplier to many collections. Many of next six issues as they are released. Guarantee: If at any time you don't the finest reproducing pianos, orchestrions, organs, music boxes, and want to continue your subscription, the balance will be cheerfully other automatic musical instruments featured during the fabulous refunded without question. Many AMICA members have already sent AMICA convention last July were obtained from Dave. their subscriptions. If you haven't done so, do so today. The next issue, We would like to have you try our service. We offer you: (1) A nice No.2, will contain many, many wonderful things, will be much larger selection of instruments of all types - large ones, small ones, cheap than the first issue, and will feature one of America's most fabulous ones, and expensive ones - something for everyone. (2) Reasonable collections offered for sale. Read on ... prices (perhaps the best evidence of this is that most of our sales are to d~alers). (3) Convenient low-cost packing and shipping from Europe or The Larry Givens Collection from various points around the U.S.A. (4) Accurate descriptions of We recently purchased the fabulous collection formed over a period instruments being offered. We try to be conservative in our descrip­ of many years by Larry Givens of Wexford, Pennsylvania. Larry needs tions, not optimistic - and we believe that the experiences that many no introduction to AMICA members: his books, Rebuilding the Player AMICA members have had with us bears out great satisfaction in this Pinno and Re-enacting the Artist, are classics. regard. (5) A sincere, friendly, and honest transaction. We're collectors The Givens Collection will remain in Wexford as we have made a and enthusiasts ourselves, and we will treat you just as we would like to special arrangement with Larry to have items shipped from there to be treated. various buyers as they are sold. The Givens Collection is just one of the features of the next MMM About the MMM Review. Many other fine groupings will be offered in the field of The Mekanisk Musik Museum is located at Vesterbrogade 150, right reproducing pianos (including Ampico, Duo-Art, Welte, Hupfeld, and in the heart of downtown Copenhagen. The MMM (our nickname for it) Philipps), disc and cylinder music boxes, some really fabulous orches­ is an affair of the heart - and the modest admission charge of 5 Kr. trions (the recent AMICA convention in Los Angeles showed how much (about 70c U.S. funds) just helps to defray expenses. Instruments on fun these instruments are to own!), band organs, portable hand-cranked exhibit include such pieces as a Weber Maesto orchestrion, Seeburg H barrel organs, and many other things. orchestrion, Mason & Hamlin Ampico Model B, Steinway-Welte, Send your $5 today to Claes in Denmark - and you'll be a member Hupfeld Phonoliszt-Violina, Mills Violano Orchestra, and over a of the "MMM family" - and receive our MMM Review copies as they hundred other things - from the collections of Dave and Claes. The are issued! MMM is not intended to be a money-maker; both of the directors have other sources for their income. "The Encyclopedia of Automatic Musical Instruments" We are actively buying and selling all types of instruments. Claes, A few months ago the Vestal Press released The Encyclopedin of who lives in Denmark, speaks Danish, English, French, German, and Automatic Musical Instruments, a 1008-page book with thousands of Swedish and is constantly travelling around Europe in search of illustrations, written by Q. David Bowers. How has it been selling? Well, interesting things! These are then brought to the MMM and shipped in the first month after its release 1,200 copies of this $25 volume were from there. We have complete export packing facilities to ship you sold - and now a huge second printing is in the works! anything from a small music box to a container full of pianos or organs The Encyclopedin contains information, model numbers, .historical - all efficiently packed and shipped at low wholesale cost. data, etc. on thousands of different instruments - including reprodu­ cing pianos, player pianos, and other things which are AMICA specialities. In fact, quite a few AMICA members contributed pictures, information, and facts to the work. The Encyclopedin is available for $25 sent to U.S. addresses or $27 overseas. Send $25 to: Q. David Bowers; Box 1669; Beverly Hills, California 90210 and he will send you a personally inscribed and autographed copy. Make your check payable to the Mekanisk Musik Museum. Guarantee: If you aren't 1000/0 delighted with this fabulous book, just return it within ten days and your money will be instantly refunded. Informative and possibly significant note: No one has ever taken advantage of this return guarantee!

A Few More Words from Dave and Claes Well, we've now just told you some things about us and the MMM. Now it's your turn - and we'd like to hear from you. We think you'll really enjoy doing business with the MMM. We'll do our very best to give you the best value for your money and to engage in a transaction which will bring you back for more! We look forward to receiving your letter! Sincerely, A small part of the Larry Givens Collection Claes O. Friberg and Q. David Bowers §VIekanisk.., 8vfusik.., c?ft1useum Vesterbrogade 150/ Copenhagen, Denmark Directors: Claes O. Friberg and Q. David Bowers

P age Thirty-one FOR SALE

STROUD Duo-Art Upright

Excellent finish and playing condition

with 40 Duo-Art rolls. NEWS YOU'VE BEEN WAITING TO HEAR: AMJP>ITCO & ]J>[JO..,ART $1700 AT POPULAR PRICES! (Available in late 1973) Send for the latest QRS BULLETIN and the Complete QRS CATALOG David Dupree, 3000 Titles - Old and New! 2940 DGrace Lane, Costa Mesa, CA 92626 Q·R·S MUSIC ROLLS, Inc. 714-545-4650 Tel. 716·885-4600 1026 NIAGARA ST.·BUFFALO, N.Y. 14213

Bulk Rote BULLETIN U.S. POSTAGE H. Zimmerman AMICA Publisher PAID AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Dallas, TX P. O. Box 77525, San Francisco, Ca 1i forn ia 94107 Permit No. 6523 DATED MATERIAL Return Postage Guaranteed