Aclvertiaement THE AMICA NEWS BULLETIN

AMICA MEMBERSHIP RATES: Published by the Automatic Musical Instrument Collectors' Continuing Members: $15 Dues Association, a non-profit club devoted to the restoration, distribu­ tion and enjoyment of musical Instruments using perforated paper New Members, add $5 processing fee music rolls. Lapsed Members, add $3 processing fee Contributions: All subjects of interest to readers of the bulletin are encouraged and Invited by the publisher. All articles must be received by the 10th of the preceding month. Every attempt will be made to publish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the publisher. ADVERTISING - Line ad rate: 8<1 per word, $1.20 minimum. OFFICERS - Page rate: $12.50 per quarter page or multiple thereof. - Ad copy will be typeset (at additional cost) only if requested. INTERNATlONAL CHAPTER Each photograph or half-tone, $5.00 OFFICERS OFFICERS - Camera-ready copy that is oversized or underSized will be changed to correct size at your cost. PRESIDENT NO. CALIFORNIA - Camera-ready copy must reach the publisher by the 10th of Bob Rosencrans Pres.: Frank Loob the preceed.ng month. Vice Pres.: Howard Koff Cash must accompany order. Typesetting Or size alteration VIC E-PRESIDENT charges will be billed separately. Make checks payable to Bill Johnson Sec.: Dick Reutlinger AMICA INTERNATIONAL. Treas.: Bill Wherry SECRETARY Reporter: Diane Lillibridge - All ads will aprear on the last pages of the BULLETIN, at the Isadora Koff discretion of the publisher. SO. CALIFORNIA BULLETiN PublicatiOn of business advertising in no way implies AMICA's Pres.: Prentiss Knowlton endorsement of any commercial operation. However, AMICA re­ Tom Beckett Vice Pres.: Elliot Lacy serves the right to refuse any ad that is not in keeping with AM ICA's 6817 Cliffbrook Drive Sec.: Evelyn Meeder general standards or If complaints are received ind icating that said Dallas, Texas 75240 Treas.: Jim Christopher business does not serve the best Interests of the members of AMICA, according to ItS goals and by-laws. MEMBERSHIP SECRETARY Reporter: Bill Toeppe (New Memberships and TEXAS BULLETIN ADVERTISII\lG IS CASH IN ADVANCE Mailing Problems) Pres.: Dick Barnes Anita Nickels Johnson Vice Pres.: Doyle Cassel P. o. Box 666 Sec./Treas.: Tony Palmer Grand Junction, Reporter: James Guinn Colorado 8150 I MIDWEST TREASURER Pres_: Milton Cooperman Jack and Mary Riffle Vice Pres.: Jim Prendergast Sec./Treas.: Jim & Sue Worgull Reporter: Molly Yeckley Cover design created from a Pionala BOARD REPRESENTATIVES PHILADELPHIA AREA Pres.: Larry Cornell Nick Jarrett, N. California ad contributed by Mark D. Zahm. Vice Pres.: Ron Swanson Haden Vandiver, Texas Sec.: Barbara Macartney International AMICA 90 Ron Swanson, Philadelphia Treas.: Doris Berry AMICA Forum 93 Alan Mueller, S.O.W.N.Y. Reporter: Bill Pilgermayer Rolls and Music 94 Jim Weisenborne, Midwest SOWNY (So. Ontario, West N.Y.) Instruments - The Wangerin Pres.: Richard Drewniak Organ Player 96 Vice Pres.: William Ha tzenbuhler Sec.: Janet Drewniak Northern California 97 Treas.: Stan Aldridge iSouthern California 98 Reporter: Edythe Aldridge Texas 99 Felix Klempka Philadelphia Area 101 ROCKY MOUNTAIN Biographical Sketches: Pending Louis Moreau Gottschalk 103 Technicalities 110 to. . Et Jnfernafionaf JlJJ(Jf8Jl • r---"

Miss Luba Hambourg, sister of the late Mark Hambourg, the eminent pianist, witnesses the MORE ON MARK HAMBOURG signing of the trust deed of the British Piano BY FRANK HOLLAND Museum by its founder Mr. Frank Holland. Among the items in Mr. Holland's collection The article on Mark Hambourg by Emmet M.Ford on are piano rolls recorded by Mr. Hambourg. page 205 of the November, 1975 issue of the AMICA BULLETIN brought back nostalgic thoughts to me as founder of the (British Piano) museum in 1963. I passed the article on to Michal Hambourg, surviving daughter of Mark Hambourg and also a Patron of the museum. I am pleased to enclose her reply sent to me recently.

"VeM Sbt, 1 wa;., veJr.y muc.h inteJr.C6ted to ftead Emmett Foftd'.6 aJtticte about my 6atheJr., MaJtfl HarnboMg, but would Ufle to amend c.eJr.:tain 6aw in thi.6 letteJr.. My gftandpaJten:t.6 weJr.e neveJr. impwoned in RUMia. 1 believe that they weJr.e politic.ally .6U.6pec.:t and c.arne to England thU.6 e.6c.aping aMC6t. My 6atheJr. gave many c.onc.eJr.:t.6 a.6 a boy pftod-<-gy in the yeaJt 1890 and many fuilngu.i.6hed mU.6iuan.6 helped to plan hi.6 6u.:tu.Jte. Finally due to the 9 eneJr.o.6ity 06 PadeJr.ew.6Ili, he Wa.6 .6ent to Vienna to .6tudy with the gfteat teac.heJr. Le.6c.heil.6flYi he Wa.6 twelve yeaJt.6" old and .6pent the next thJtee and a hal6 yeaJt.6 with Le.6c.he.-­ fu fly, mailing hi.6 debut aged MMeen with the Vienna PWhaJtmon-<-c. OftC.hC6:tJta c.onduc.:ted by Vft, Han.6 Ric.h:teJr., a U6e-long 6ftiend and mentOft. At that time he al.60 played wUh the BeJr.Un PWhaJtmon-<-c. undeJr. Under the Department of Education and Science, I WungaJt:tneJr.. Bftahm.6 Wa.6 pftC6 ent at thi.6 c.onc.eJr.:t and had the museum registered as a Charitable Trust 1 have the p!tOgJtam among my :tJtea.6Med mU.6ic.al mem­ in 1966, and the Trust Deed was witnessed by no oJtabilia. In 1895 my 6atheJr. embaJtfled on hi.6 6iJt.6t woftld tOM, then 60llowed tOu.Jt.6 in Bftdain, on the others than the Hon. Mrs. Dorothea Hambourg, wife Continent, and in the To the 6inC6t of Mark .Hambourg, and also by Luba Hambourg, Mark's U. S. A.. me, sister. The Trustees are, needless to say, delighted example 06 hi.6 playing an piano !tOlli i.6 the Vuo- to have these eminent names on this document. My Au !tOll No. 5699, "La SOMc.e, Op. 36, No.4" by LC6c.heil.6fly. FJtanfl Holland ha.6 thi.6 !tOll in hi.6 mother, Daisy Kirby, remembers playing way back in 1900 with three of Mark's sisters, Galia, Mania and, c.ollec.ilon and it i.6 a U6e-Ufle ftepftoduc.ilon 06 the maJtveUoU.6 eneJr.gy and mU.6ic.aU:ty a6 my 6atheJr.'.6 of course, Luba, who helped in founding the museum playing. in its early days. Unhappily, Luba died later in All good wi.6hC6 1966. yOu.Jt.6 .6inc.eJr.ely Mic.hal HamboMg" Mrs. Hambourg expressed interest in the music rolls, and mentioned that she remembered going with Mark to Leipzeg to make several rolls of music for the DEA and Triphonola systems.

AMICA ITEMS AMICA TECHNICALITIES BOOKS: Volume I AMICA Stationery. $3.20 (letter size), $1.75 FOR SALE (1969-1971). $5.50 postpaid; Volume II (1972­ (note size). including mailing "harges. Fine 1974), $7.50 postpaid; or order both sets for quality stationery with ornate AMICA borders. AMICA BULLETINS, BOUND ISSUES: 1969, $12.50 postpaid. Reprints of interesting techni­ Each packet contains 25 letters and matching $9; 1971, $15; 1972, $15; 1973, $15. 1974 calities articles which have appeared in the envelopes. Send orders to Robert Lemon, 4560 unbound sets, $15; 1974 bound sets, $18; AMICA Bulletin, arranged and indexed into Green Tree Drive, Sacramento, CA 94823. 1975 bound, $18, P RIC ESIN CLU DE appropriate categories, spiral bound to lie flat. POSTAGE AND HANDLING. Spiral bound to Send orders to Howard Koff, 2141 Deodara "They All Laughed When I Sat Down At The lie flat. Send to Mary Lilien, 4260 Olympiad Drive, Los Altos, CA 94022. Piano, But When IT Began To Play ..." Drive, Los Angeles, CA 90043. This sound and color super-8 movie, produced ROLL LEADERS: DUO-ART, Authentic. For AMICA Sterling Silver Pins, $4.25, inclUding by AMICA members, is again available for loan order sheet, see the April, 1973 Bulletin. Nick mailing charges. Lapel pin or tie tack wit~ to AM ICA members and chapters. For more Jarrett, 3.622 . 21 st Street, San Francisco, CA AMICA design. Order from Robert Lemon, information write to Howard Koff, 2141 94114. 4560 Green Tree Drive, Sacramento, CA 94823. Deodara Drive, Los Altos, CA 94022.

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following which he joined the Bureau of Standards FOUR NEW HON-ORARY MEMBERS APPROVED in Washington. During 1922 he received his doctor's BY ALF E. WEROLIN degree from Clark University, using as his thesis the work he had done at the Bureau of Standards. At a recent Board of Directors meeting (via mail), four new honorary members were unanimously approved: For a short period thereafter he worked at the Washington Navy Yard developing submarine mines, and it was from here that he joined the American Pauline Alpert - Bronx, New York. Piano Company. His assignment: lito develop a better Duo-Art recording artist; made recordings for other player pianos and record players; composer Ampico reproducing pianoJl' What a change! From rockets, submarine mines and other explosive devices, and arranger. to developing that most explosive of all automatic Dr. Mana-Zucca - Miami Beach, Florida. musical instruments - the Ampico Re-Enacting Piano! Ampico recording artist; recorded accompaniments In 1924 the American Piano Company decided to es­ for own compositions; composer of over 1100 tablish a fully equipped research laboratory in the pieces. new Chickering Hall in New York under the direction of Charles Fuller Stoddard, the inventor of the John Duke - Northampton, Massachusetts. Ampico. Mr. Stoddard realized the need for a phy­ Ampico editor. Recording artist for Ampico and sicist and mathematician in undertaking more ad­ Duo-Art. vanced research in the operation of reproducing instruments. Thus Dr. Hickman was employed to work Edwin Lester-- Beverly Hills, California. on the improvement of the Ampico as well as on other Ampico recording artist and Ampico sales rep­ aspects of automatic piano manufacture and operation. resentative. Dr. Hickman's work brought a high degree of sophis­ Biographical sketches of these new AMICA members tication to player piano technology and resulted in will appear in future BULLETINs. two monumental acco~p1ishments: the development of the Ampico dynamic recording machine, and the im­ proved Model 'B' Ampico. These developments, and CLARENCE N. HICKMAN other improvements to both the piano and reproducing NEW HONORARY MEMBER mechanisms are well described and illustrated in Larry Givens' book on the Ampico. It is apparent Recently the AMICA Board of Directors elected Dr. from reading this historical account that Dr. Hickman Clarence N. Hickman an honorary member of our so­ made an outstanding contribution to the development ciety. Dr. Hickman made many contributions to the of this reproducing piano. design of the Model 'B' Ampico and worked for the American Piano Company along with Charles Fuller Here is a quote from Larry Givens' book: "Dr. Stoddard, the inventor of the Ampico reproducing Hickman's employment with American Piano Company, piano, for a period of five years. The following from 1924 through the end of 1929, may accurately brief biographical sketch has been excerpted from be said to represent the only period in the history a IIGenealogy of the Hickman Fami1ies" and from of the player piano industry in which real sceintific Larry Givens' book, Re-Enacting The Artist. methodology was applied to the development of the player piano. Most development work in the industry Dr. Hickman was born on a farm in Indiana and was had theretofore consisted of scratch-paper sketches one of nine children. His early childhood interests and empirical constructing of models with hopes that were archery, magic photography, and playing the they would function!" Dr. Hickman was responsible guitar and clarinet, each of which were to play an for changing this "hit-and-miss approach. important role in his later life. Educated in " Indiana, he received an AB degree from Winona Col­ After the disastrous stock market crash of 1929, lege. He began his active career as a teacher of the depression pushed the piano business to such physics and mathematics. a low ebb that the American Piano Company was forced into receivership and later merged with the Aeolian In 1917 Dr. Hickman went to Clark University in Company, which continues today in the manufacture Worcester, Massachusetts, to study for his Master's of fine pianos. The research department was closed degree and while there undertook work in the develop­ and Dr. Hickman left to join Bell Telephone Acous­ ment of rockets. Following graduation, he continued tical Laboratories. his research and development work on rockets at the Mount Wilson Observatory shops in Pasadena, Califor­ An interesting sidelight of Dr. Hickman's work in nia. These rockets were intended for use in World the Ampico research lab relates to his early hobby War I. It was here that a rocket charge explosion of archery. While in the lab h~ became interested caused the loss of several fingers on Dr. Hickman's in the physics of bows and arrows. He made many left hand and parts of those on his right hand. measurements in the laboratory and wrote several papers which were published in scientific archery Next came a short stint at the Aberdeen Proving magazines. Later he invented a method of making Grounds to demonstrate the rockets he had developed, silk backing for bows, and produced these materials

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in his home during the thirties. According to his archery, telephone applications, pianos and repro­ calculations he produced enough of these materials ducing pianos! AMICA is honored to have this dis­ to back 42,357 bows! tinguished gentleman to join us.

At the Bell Telephone Laboratories Dr. Hickman de­ M.6. E. WeJ!.olin veloped the method of magnetic recording on metal tape, and worked on many devices for measuring and showing speech patterns. He also worked on new ways of doing machine switching in central telephone offices. REPORT OF THE NOMINATING COMMITTEE - 1976 It was not long, however, before he was back at work The following members of AMICA have been on rockets, armor piercing bombs, recoilless guns, nominated for the positions as indicated: bazookas, and flame throwers at the Rocket Research Laboratory in the old Naval Proving Station in Mary­ President - Bob Rosencrans land. It was here that his early ·interest in photography was put to good use in developing a Vice President - Rick Drewniak ribbon frame camera for photographing rockets in fl ight. Secretary - Isadora Koff

Upon retiring from the telephone company in 1950, Treasurer - Jack and Mary Riffle Dr. Hickman joined the Sandia Corporation in Albuquerque, New Mexico, where he was concerned Membership with guided missle developments. Since 1953 he Secretary - Anita Nickels Johnson has been living in New York and has been serving as a consultant to some of the leading industrial Publisher - Tom Beckett companies in the country. Anita Niek~ Johl16on Dr. Hickman's interest in music continues to this NONCOM Chairman ~ day but in a most unusual way. Here is what he writes: "After having the accident in Pasadena where I lost several fingers, I sold my clarinets thinking that I would no longer be able to play them. However, I began to have dreams that I could J. LAWRENCE COOK, still play the clarinet. These dreams persisted for over ten years. Finally when I was in the re­ PIANO·ROLL MAKER search laboratory of the American Piano Company I J. Lawrence Cook, sometimes went to the Wurlitzer Co. to see if they could modify known as Piano Roll Cook a clarinet so that I could play it. When they saw because of his career as an my hands that laughed at me, saying that it was im­ arranger, composer and maker possible. The dreams persisted and then I went to of the rolls for player pianos, died of· a heart attack Friday see a young man whom I had met in our laboratory. at his home, 57 Esplanade He was a clerk in a music house on 14th street. I S~e'et, Mount Vernon, N.Y. He put the problem to him and he said they could not WaS 76 years .old. do the job but suggested that I do the modification. ..Mr. Cook continued until his He sa i d: "You a re a good mechan i c and you have ex­ death to turn out master rolls for manufacturers in various cellent tools in your laboratory." I had never lJarts of the world to meet thought of doing this but it sounded reasonable to the demand .of devotees and me so I bought a 'c' Clarinet and he gave me a box hobbyists: He had retired. from of old keys. On a weekend I did the job. When the the' Aeolian Corporation in job was completed, I was amazed to find that after 1972 but·set up 'a"shop in his home. a period of ten years I could still play and found Mr. Cook was a friend of ALEXANDER BRAILOWSKY to my utter amazement that I could sti 11 read music." such jazz pianists as W. C. Alexander Brailowsky, BO, who be­ Handy, Eubie Blake and Jelly came a leading concert pianist 'in the "I am still interested in music but not in collect­ Roll Morton. Teddy Wilson was years between the two world wars, ing. I have been going to our local hospital one of his pupils. died Sunday in New York of compli­ In the' 1930's; Mr. Cook was ciltions brought on by pneumonia. (Jackson Heights) to play the clarinet for the pa­ the only person kept on by A· mastery of the complete works tients. I have also been trying to help handicapped Q.R.S., one of the famous of Chopin was the cornerstone of his old piano-r91l manufacturers, repertoire. The Russian-bOrn virtuoso patients by showing them what I was able to do in making new recordings under resuming playing the clarinet after losing five programmed all' 160 Chopin piano his. own. name .and various pieces for playing in a. series of six fingers in that rocket charge explosion." pseudonyms.' . Stil'vtvj'ng are his widow, the concerts. former. Ec\ith Bascomb; a son, Mr. Brailowsky played the Chopin Dr. Hickman has certainly had a brilliant career. Dr. Jean L. Cook; a daughter,. cycle in New York in 1938 and also Who else has obtained patents for inventions cover­ Annizella Fuga.le, and three performed the feat in Paris, .Brus­ grandc.iilUghlers. sels, Zurich, Mexic~ City, Buenos ing such a wide field? Submarine mines, rockets, Aires and Montevideo.

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ENRIQUE GRANADOS ANOTHER QRS-IOSITY PHOTOGRAPHS NEEDED BY BILL &DEE KAVOURAS The following is an excerpt from a letter, a form In our 88-note collection, "0h What A Pal Was Mary", of which had been sent to the Aeolian Company, QRS, #886 has "played by Ted Baxter &Max Kortlander" on and Harvey Roehl. None of the aforementioned were the box label and also on the label on the roll. able to render assistance. If any of you have in­ However, the signature on the roll is "Phil Ohman". formation or materials that would be of use, please Another blue Monday roll? send it to: Flora Mora, 800 NW 13th Ave. Apt. 1015, Miami,FL 33125. .- . " ••• 1 have wri tten a biographical book on Enrique ROLL INFORMATION NEEDED Granados which will be published by an editor in Spain. 1 was a pupi 1 of his and also a Duo-Art I received the following letter from a gentleman artist and 1 will like to get some pictures of the who was referred to AMICA by the Aeolian Company. ones that were taken when he performed several of If any of you can help Mr. Nelson, please write his compositions for the Duo-Art because although to him direct. 1 have some, they are old and sometimes bent and I am afraid that they wi 11 not be well reproduced." I would Like. f.>Ome. -i..n60Jtma.V.on on f.>Ome. old pfuye.fL p-i..ano fLolli I have.. Undoubtedly you caught the "also a Duo-Art artist" in Senora Mora's letter. I have wri tten her for The.y afLe. AutogfLaph-i..Q The.mo~t fLolli, 88-note., made. more information in this regard as it means another by Ae.o.eJ..an Co. 06 Ne.w YOfLk. living recording artist for our records. Two 06 the. fLolli afLe. autogfLaphe.d by IgnaQe. Pade.fLevJ6k-i.. wilh l/JJt.,(;Ung to the. e.6 6e.d that the. te.mpo -u., h-U, -i..n­ te.fLpfLua.V.on. Could you. ple.aM teU me. -i..6 the6 e. autogfLaph6 afLe. authe.nUQ ofL We.fLe they pfuQed on the DOES ANYONE KNOW HOW TO SMAIL? fLolli by a plate mUhod? Would the6e fLolli have BY JOHN R, GRANT any valu.e a..6 QOUeUOfL' -6 ile.m-6? Perhaps worth a chuckle or two is this picture Any -i..n6oJtma.V.on you. Qould pfLov-i..de would be gfLeaily showing a portion of APRea roll number 3388, "Blue appfLeuated. JaQk L. Nwon, 1133 IM..Qh-i..gan St., Baby (Why Are You Blue?}", played by J. A. Fecher. BeUe6onta-tne, OH 43311.

CURE FOR NOISY PUMP BEARING

Harvey Roehl reports that he was experiencing noise in his Duo-Art vacuum pump caused by a crank pin bearing being loose in its housing. He recalled a past tip from an unknown source that had suggested a cure by the use of "Loc-Ti te", aliqu i d compound that was developed to prevent the loosening of / threaded items in machinery subjected to heavy v;­ bration. Harvey reports that about two drops of the Loctite in the loose housing did the trick.

HELP NEEDED ON AEOLIAN PIPE ORGAN I would appreciate corresponding with anyone who owns a player mechanism for an Aeolian Residence Pipe Organ using the 116 note tracker bar and 10 1/8" rolls. I would like to purchase this mechanism or obtain just the double row tracker bar from which I can base a recons~ruction for this organ. Anyone willing to sell parts for this organ, or share knowledge about the system may contact me as soon as possible. David R. Askey, 1000 E. Tallmadge Ave., Akron, OH 44310. (216) 633-6373.

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/ PIANO ROLL REVIEW STORY ROLLS BY DAN TUTTLE CONTRIBUTED BY BILL & DEE KAVOURAS

Ampico #68473 - Suite Espagnole, No o 3 Sevilla "RUDOLPH VALENTINO BLUES" -A foxtrot song copy­ Albeniz righted in 1922 by Jack Mills Music,Inc. The roll played by Josef Lhevinne is Simplex roll #4188 played by Jack Prentiss. The writer cannot say that this is the best arrangement Seville, city of pleasure, idle, eager, brilliant, of the song, but can state that it is a good arrange­ lighted for a feast-day as a face lighted with a ment full of zip and roar. The words of this song smile, glittering and crowded, moving gaily, care­ are amusing and full of nostalgia of a time in film less of dignity and liberty, making the most of a history long gone. festival hour. Or another picture - with evening ~lue an~ "A SHADY TREE" -A waltz written by Walter Donaldson coming on delicately, in a sunset of g?ld, and copyrighted in 1927 by Leo Fieist Music. The and a rosy flush encircling all the Clty as lf lt roll is Imperial Songrecord #06680. This roll is lay "in 'the bottom of a great shell, tinged with rose at the edges. 1I Or again - a silent, almost an impressive waltz due to the main melody of the deserted, Seville, her streets mysteriously quies­ verse and the marimba arrangement. A fine woven cent under the bright sky and stars, or suddenly song of simplicity and harmony. noisy with the sound and riot of music as the door of some cafe or dance hall is opened to the night. "GEE, BUT I'D LIKE TO MAKE YOU HAPPY" -A foxtrot Or, on looking within - seeing rows of tables crow­ song copyrighted by Desylua, Brown, and Henderson. ded with little companies of friends, good-humored This song is from the movie "Good News." The roll and affectionate, their buzzing conversation echoing described is Paramount #5655 and played by Rudy under the low ceiling, mingling with, and seemingly Erlebach. If you like the sound of the 1930's movie rhythmic with, the music. sound tracks, then this roll is an excellent example of that type of sound. The roll seems to capture It is such a picture of Seville that the great the orchestra type arrangement that the movie sound ./ track carries like no other roll this writer has ever Spanish composer paints for us. The life and light, the gaiety, repose, and riotous joy of t~e ~eopl~, heard. voiced in their own native songs and thelr lrreslst­ ible rhythims, each with its own personality and "HONEY PIE" - Word Roll #10-356. The song written by Paul McCartney of the Beatles and later recorded character, just as the elaborate arabesques of the by Barbara Streisand in 1969. The roll is played city have their own personality and character. by Brian Williams and is a compliment to the original sound meant for the song. It is rare to hear of a Albeniz is a great master, and in the several num­ bers of the IIS pan ish Suitell he reveals indeed the new song being written today that catches a true naked soul of Spain - and the world finds it beau­ period of sound like this one does. tiful. * * * Ampico #68103 - Etude In 0 Flat, Un Sospiro STORY ROLLS Liszt CONTRIBUTED BY played by Mischa Levitski RICHARD TWICHELL Liszt has called this piece IIA Studyll, but has given Ampico #68871 Waltz Posthumous, E Minor - Chopin. it a descriptive title IIUn Sospiro -A Sigh". It played by Benno Moiseiwitsch. is not a sigh of anguish but rather one of regret that the exquisite moment which the music clothes For many years the manuscript of this exquisite may not longer remain. There is a glorious content waltz lay hidden in the shadowy peace of the precious in this song, its pinions are surging waves of tone portfolio found among Chopin 1 s effects after his which bear it ever onward, rising and falling, fall­ death. Its intrinsic beauty is such as to excite ing and rising. speculation as to th~ composer1s reason for withhold­ ing it from publication. It bears evidence of having It is a work which brings all the sonority and song been composed during his early years. Perhaps it was beauty of the piano into evidence; it is music such inspired in one of those delicate, emotional moments as Liszt delighted to write for the instrument he in his romantic career and, being the expression of adored and of which he was the supreme master. an intimate and treasured memory he set it aside, reluctant to share it with the world. The haunting beauty of its melody has made it one of the most ~ loveiof all his wa~tzes and to the musician it is of special interest as the forerunner of his later writings in this form.

- 94 - CAROUSEL Pianist orchestrates Have you ever stopped short in a walk through a fair­ From the MILWAUKEE SENTINEL. grounds, with your ear cocked Contributed by Doug McGee. and listening, knowing that in active life the distance you ·heard the By LEO KISSEL 'And he won't need you, ei­ sound of an organ that could ther." mean only merry·go-round' Ralph Tl1lema's reCipe for Sure you have, The organ Tillema started stUdying the good life is simple: Mix music of the merry-go-round is equal parts of music, food composition before World 'and humor. War I In Berlin with Kaun. something that brings out the But he soon switched to Wil­ kid in all of us, The 83 year old pianist, helm Klatte, a leading Berlin Well it did the same thing to teacher, composer and racon­ music critic and disCiple of teur has been playing the a couple of Frenchmen more the great composer Richard than a quarter of a century ago ,piano over 75 years and has Strauss. As one of his assign­ heard the greatest musical and today they have what prob­ artists from the early 1900s ments he had to write a con­ ably is the greatest collection cert piece. He produced his to the present. of French carousel organs. "Concert Arabesque," an And he has been living It extremely difficult work. up as though life begins at NOW RCA has rounded up Klatte was pleased by the 80. the tunes from a group of the work's technical brilliance, organs and put them on an His memories are vivid. He Tillema said, but tempered album that will bring back recalls hearing such greats as his praise with, "But who is Paderewski, Busoni, Casals, going to play it?" more thali a few memories of Cortot, Kreisler, Ysaye, Ni­ past years, Tbe album is called kisch, Richard Strauss, Hugo Strauss, he added, once "THE GREAT FRENCH Kaun (a former Milwau­ appeared In Milwaukee and CAROUSEL ORGANS" (RCA keean), Elman, Zimbalist was half an hour late. It Red Seal FRI-7006), and it is a (Sr.), Saint Saens, Stock. seems he was playing cards must for those of you who have Mahler, Bauer, Hoffman, with friends and lust couldn't stopped short in the middle of a Heifetz as a youth, Rachman­ pUll himself away. inoff, Koussevitzky (on the fairgrounds, Tillema was athletic, play­ For more than 25 years Paul double bass), Szlgeti, De Ing football, basketball, base­ Pachman, Artur Rubinstein, Bocuse and Marc Fournier ball and tennis and was an have gone through the French Gabrilowitsch, Spalding and excellent swimmer. Mme. Schumann-Helnk. countryside, talking and beguil­ He used to wre~t1e with His teacher, Josef Lhev­ ing itinerant fair and carnival Lhevinne, a bear of a man, people oui of their Limonaires Inne, was considered one of and also played tennis with the greatest pianists of all (the French manufacturer of him. B.ut Tillema met his mechanical organs), time. He met him in Milwau­ match at tennis when he tan· kee and, after an audition at gled with the late Clarke It wllsn't easy work and in the Pfister Hotel, became his Wooddell, then president of RALPH T1LLEMA re­ most cases the restoration of pupil and traveled with him the Wisconsin College of In flects on a career that the organs ran into consider­ to Berlin and later through MusIc. Tillema didn't know has been as lively as able expense, But they now a~e Russia. that Wooddell had been a tune the music he plays. all in working condition and His entertaining stories college tennIs champion and this album will give you a seem boundless. Here's a took some laCings. ternity's reunion,hls "boys" chance to hear that wonderful few: But after the bawdy house When he finally beat clamored: "Tell us about article in The Sentinel, one pipeorgan music anew, Tillema recalls that when Wooddell he conveniently River St," man, on being introduced, Tunes i.nclude "Light Caval­ Lhevinne accepted him as a avoided a rematch. ry Overture," "Paries de Cris-. Tillema's family is famous said, NOh. yes, you're the pupil he told him, "First B.ut Wooddell did get expert on the Red Light Dis­ tal," "Jalousie," "Valencia," you'll have to study with my for its candy firm and restau­ even, Tillema conceded. rant. That's where he learned trict." "Under the Double Eagle." wife, Rosina. She does all the Wooddell suffered from gout, "The Thieving Magpie Over­ dirty work." to enjoy good food. Between That mad.e life worth liv­ but not enough to miss his teaching music he managed Ing. ture," "Bourn," "William Tell He tells about the promot­ favorite sport - fishing. So the stores and the Gargoyle Overture," "La Vague," er trying to sell tickets to a he invited Tlllema to join him restaurant. "Tritsch-Tratsch Polka," on a fishing trip north. duo piano concert by the "T'en Fais Pas Bouboulc," Lhevinnes. The prospect was He lamented that, although "I wound up doing all the be was primarily'a musician "Radetzky March," "Rose told: "It's. going to be a two work. 1drove the car, lugged piano recital featuring Josef (teaching, composing and Marie," "La Faubourienne," the motor, cooked the meals performing), everyone intro· "Ain't She Sweet?" and and ROSIna Lhevinne." The and dragged the boat," prospect declined, explain­ duced to him would ask, "America," ing, "I don't like even 'one Tillema and the late Alex· "Tillema's Candies?" piano." ander MacFadyen, the' Wis­ consin composer, were Close For Tlllema, the Steinway friends. Tillemi said that plano was and Is THE piano. MacFadyen once asked to He recalls that on pianist­ hear a Tl1lema melody. Tille­ Smithsonian To Display His Rare Steam composer Rudolf Ganz's 90th ma sang It and MacFadyen birthday the Steinway firm ,commented: "Ralph, you sent Ganz a new Steinway as RINGGOLD, Ga, (AP) ­ Johnson came to the Smi­ 'have a voice but why use It Bob Johnson makes his living thsonian's attention when it a gift. Ganz's thank you: "At for singing?" Orchestrion my age, don't· you think It restoring steam engines and wanted to make the light . One of Tillemll's best a permanent fixture there. should have been a harp?" other machinery from the na­ The institution has an 'option mechanism and lens from an friends was a musician who tion's past, to buy it after two years. old lighthouse a part of its Bi­ Tillema did a lot of page Imbibell too much. Tillema's Hired by the' Smithsonian centennial display, but turning for Visiting recital­ comment: "He was Interested The Smithsonian has also Institution in Washington, he commissioned Johnson to help couldn't find anyone willing to ists. One memorable night In .the bar - measure for works on most .of his projects tackle the project. was when he turned pages duplicate most of the machi­ measure," at his "Whistles in the nery that was on display at The U.S, Coast Guard do­ for violinist Nathan Mil­ At the University of Wis­ Woods" museum near here. the Philadelphia Centennial nated the mechanism. stein's accompanist. The Smithsonian will use consin -' Milwaukee he exposition in 1876. Johnson al­ Johnson's talents aren't "He was a rather nasty served on the Athletic Board several of his steam engines ready has some of this machi­ Individual. When it came to and was faculty adviser to an and steam-operated machines nery and is building replicas limited to restoration pro­ the second number, an unac­ athletic fraternity. Recently for its exhibition, among them of many of the machines no jects. He says he plays every companied Bach sonata, I' he was quoted in The Senti­ 'one believed to be the only ex­ longer in existence. stringed and fretted musical remember him turning to me nel in regard to Milwaukee's isting archestrion, a musical The museum also wants instrument and has worked backstage and saying, 'Mr. turn of the century Red Light apparatus resembling the old him to construct a 32-foot tow­ with singer Johnny Cash on Milstein won't need you. District. So when he was player piano but more elabo­ er for the original Otis steam­ recordings and television. for this number,' I shot back, about to speak at the fra- rate, operated elevator. The origi­ The orchestrion has been nal Otis car will be installed Contributed by Doug McGee. chosen to be on exhibit at the and made operable by John­ Smithsonian and may become From the GREEN BAY PRESS-GAZETTE. son, - 95 - Jnsfrumenfs

Control for the system ~s pretty straightforward THE WANGERIN ORGAN PLAYER with one or two mysterious exceptions. The spool­ BY TOM BECKETT box is equipped with a "stop-repeat" switch which is activated by a flat brass arm which rests in a A little over a year ago I took a gamble and bought, slot in the take-up spool. This arm stays nested sight unseen, an item described as an organ player in the spool core when covered by the piano roll, unit. Since several organ rolls were included and but on rewind is released as soon as the tapered the total price was tolerable, it seemed like a leader appears. The arm then flies out and trips good opportunity to expand the self-playing capa­ a round brass arm attached to a pallet air switch bility of my existing organ without much risk. mounted on the side of the spoolbox. (The two Eventually this proved to be both an educational and arms described above are visible in the lower left functional purchase. of the spoolbox-wind motor photo, the core arm is shown extended) • The item turned out to be a Wangerin organ player built by the Wangerin Organ Company in Milwaukee, Wisconsin - date unknown. Basically it is a large oak box on four turned legs containing a spoolbox with aa-note nine-per-inch spacing tracker bar (self tracking), and a single valve system activating small pneumatics to which are attached electric contact plates similar to those in an electric manual action organ. These contact plates are pulled against multi-wire contact blocks when the pneumatics are collapsed. In other words, each pneumatic is a multi-circuit on-off switch.

Spoolbox and transmission. Note pushbutton controls below. "Mystery button" to right of nameplate.

The roll-operating controls are a bit more curious. They are simple pushbuttons labeled, "play", "off", and "reroll" in one group, "tempo lever" directly above the manufacturer's name plate, and an uniden­ tified pushbutton under the right hand side of the spoolbox (see photo mentioned above). The original wiring to this switch had been disturbed and I was not able to trace it. Close scrutiny Wangerin player uni t with part of case front and of the wood surrounding the button showed no evi­ top removed. L to R.: Vacuum reservoir and regula­ dence of there having ever been any kind of name­ tor, lock & cancel device, spoolbox, and windmotor. plate for this button as exists for the others. /'

The cabinet also contains a vacuum reservoir and wind regulator, tempo control, spoolbox wind motor, and an overbuilt lock and cancel transmission op­ erating device working from wind pressure. No vacuum or pressure producing mechanisms are included in the cabinet. Two 1" o.d. fittings are provided at the base of the cabinet for external wind sup­ plies. One can only guess at the factory's use of a pressure operated lock and cancel device when all of the rest of the cabinet operates on vacuum. Per­ haps it was felt the electric valves used in the lock and cancel would operate more successfully at J 4-5" of wind pressure and that it would be no problem to duct some wind from the pipe chamber to the player unit.

Close-up of lock and cancel slide valves. - 96 - t... . Jnsfrumenfs '~

One other switch I could not fathom was located in Not being overly fond of the mournfulI rolls that a little box mounted under the base of the cabinet came with this unit, I simply made a few tubing and labeled "release, play-off-reroll". It was changes to give myself an 88-note player to add to wired to the lock and cancel valve box which has my present A-G-65-note system. I also teed some 4 pressure-operated slide switches to control roll of the upper and lower tracker bar holes down and mode, to wit, "play", "off", and "reroll." The up an octave respectively to pick up the additional fourth slide valve, "release" serves only to re­ notes from the 88-note rolls. This tends to "muddy" lease the mechanical lock on these slide valves some rolls to the point it's no pleasure to play without distrubing the function of the roll in them but does' improve the playing of others. process at the time. It does kill the operation of the tracking system when in the "play" mode. This seems of dubious merit to say the least. Need­ less to say, I don't activate the "release" function.

Getting back to the player itself, it seems that rBaliLornia these Wangerin player units were often used in funeral homes where the services of a regular organ­ ist were not desired. The rolls I acquired with the instrument are pretty somber but they are cap­ able of playing a 61 note compass as well as APRIL MEETING AT THE HANSEN HACIENDA activating a chime unit, a harp unit, a seven step BY DIANE LILLIBRIDGE swell engine, and six combinations of pipe stops. A perfect occasion to drive the vintage Buick auto­ In other words, this unit is a small reproducing' mobile - or so we thought 'til the clear, bright, organ player. The tracker bar layout is listed starry eve turned precipitous which, of course, below. There is no lead from the tracker bar to could be refreshing if your windshield wipers worked! the harp switch pneumatic in the unit I acquhoed, Such was not the case. However, simple trivialities. but the pneumatic is marked "harp'" so it' can be as­ sumed that the harp, function was cut into the rolls. We arrived in good time to be ushered in with many The letters NC is my shorthand for "no connection". of our Northern California friends from the local Chapter of AMICA. TRACKER BAR LAYOUT

#1 NC #2 Chimes #3 - 5 NC (I suspect the harp would be one of these). #6 - 11 Stops or pipe combinations #1 through 6. #12 - 15 NC #16 - 76 Playing notes #1 through 61. #77 Swell off. #78 - 81 Swell positions #1 through 4. #82 & 83 Both teed to swell position #5. #84, 85 & 86 All three teed to swell position #6. #87 NC #88 Reroll

Elwood Hansen at the Chickering.

The Hansen's home is a Spanish style house complete with many original works of art, lovely automobiles, old and new in the garage, but most importantly, houses many musical items. The major instruments are Elwood's Steinway Duo-Art and a Chickering Two banks of pneumatics with factory numbered con­ Ampico complete with Ampichron. The Ampichron, as tact plates resting in open position above m~lti­ demonstrated, is a timer device (an original ac­ fingered contact blocks. cessory), which in conjunction with a special roll, - 97 \ (Salilornia (Salilornia

transforms the piano into a striking clock.

Steinway Duo-Art.

Elwood and his new super stunning bride, Lynnea, outdid themselves with their gracious hospitality for which we were all grateful. Mucho gracias!

Chickering Ampico with Ampichron.

We were also treated to a rare demonstration of a performer, Irwin Gordon, at the Viola accompanying or being accompanied by the Duo-Art. Again, a ) special roll designed for this purpose was used. Also for the viewing and listening pleasure of the guests was Elwood's new electronic roll cutting and playing invention - something unique and special to all that witnessed it! Amidst the "biggies" were lovely old music boxes of the 1850-1890 vintage in­ cluding a sweet Austrian piano music box complete with decanter, a Victor Model G talking machine with wooden horn, and an Edison cylinder machine.

Following the recital and demonstrations we engaged in delicious delights in the form of Italian pastries with coffee and punch. History does repeat itself in Talking machine, music boxes. small ways - little splashes instead of big ones! Oh Richard, you tripped! - what step? ~. (Salilorllia

APRIL MEETING IN BEL AIR BY BILL TOEPPE

AMICA Southern California Chapter members were the guests of Ursula and Ken Vaughn at their Bel Air home on the evening of Saturday, 24 April 1976.

The Vaughn's have an outstanding collection of nick­ elodeons - Wurlitzer EX, Seeburg K with xylophone, Link C, Coinola CO, Edison MUltiphone, National Coin Piano, Seeburg H, Wurlitzer I, a European coin-op­ erated barrel orchestrion and an early bowfront Irwin Gordon performance. Violano Virtuoso. All of these instruments were

- 98 - 8. f8alilornia

beautifully restored and refinished. A feature of true to the period with his re-decorating and the evening was the latest addition - a Seeburg G. furnishing in the 1913 style. Beautiful wallpaper, Warren Dale, who did the pneumatic restoration on original light fixtures, a fantastic glass collec­ the G, was available to help play the instruments tion, straight piano, player piano, reed organ, and explain how they worked. heavy oak furniture, and several phonographs make the home a real delight in which to visit. Another feature of the evening was Ursula Vaughn playing the Piano Melodico Brevettato, a handcranked book-operated piano (or perhaps dulcimer?).

The Vaughn's music collection also includes a Cun­ ningham Standard upright player, a Knabe Ampico grand piano and several music boxes. On this par­ ticular evening, the guests seemed to gravitate to the nickelodeons and the Knabe and not too much was heard from the musical boxes.

Ken Vaughn also has an outstanding collection of Packard automobiles. Guests were flabbergasted with Ken's stories of the details of restoring and refin1shing them.

SOUTHERN CALIFORNIA SCHEDULE

June 19 Mary and Ben Lilien - Los Angeles. View of the parlor. Evening

August ? Technical meeting to be arranged. During the short business meeting, President Dick Evening Barnes mentioned the recent passing of J. Lawrence Cook. It was announced that the "30's Party or October 23 Bill Toeppe - Orange. "Costume Party" will be held at Jim Meadows' home Afternoon on Sunday, September 5, 1976 (Labor Day weekend). Jim seems to purchase another home about each year, December 11 Dick Rigg - La Habra. so wherever Jim's home may be - prepare your costume or 18 soon, as admission will be in costume only! The Evening Mini-Convention at Joplin was discussed and an announcement made that Bill Pixley's home at 910 A For out-of-towners it is suggested that these dates Street, Arkansas City, Kansas would be open to be verified with the meeting host before making plans Amica MinI-Conventioneers the Thursday before and to attend. Sunday after the meeting. The Christmas Party for the Texas Chapter will be at the home of John and Claire Armstrong in Fort Worth. This was one of the homes open on tour during the Texas-based AMICA crezas Convention in August of 1973.

ASALUTE TO PETE WENDLING AT JAMES GUINN'S BY CHARLIE W, JOHNSON Sunday, April 11, 1976, Dallas, Texas. Thirty­ eight Amica members and guests were welcomed with a name tag personally designed by James Guinn. The name tag included a sketch of Pete Wendling, 1888­ 1974. James Guinn's home is a perfect setting for an Amica meeting. The two-story white frame dwell­ ing was built in 1913 and is the Prairie Style that was popular in the midwest and southwest at the turn of the century. James bought the house in 1966, and is the fourth owner. The previous owner lived James Guinn, in his parlor. in the house from 1918 to 1966. James has remained - 99 - crezas crezas - /

1915 - "Yaaka Hula Hickey Dula" recorded by Al Jolson, played by Dick on the 1921 Columbia Grafonola Upright floor model in James' parlor. 1917 - For Me and My Gal" - QRS 249 - with Cliff at the player and all present singing along. 1918 - "Oh! Frenchy" Did you know that postage was 24¢ per ounce, but was reduced to 15¢ in July and to 6¢ on December 15, 1918? 1919 -A busy year for Pete Wendl ing. "All The Quakers Are Shoulder Shakers" was played on the 1920's Edison Phonograph Upright Chip­ pendale in the dining room. "Oh! What A Pal Was Mary" with everyone singing while Cliff performed at the Packard. "Take Me To The Land of Jazz" - QRS 865 - played by Wend ling. 1920 - "Down By The O-HI-O" - QRS 1312 roll heard on the Packard. 1921 - "I'm Looking for a Bluebird" - QRS 1752. 1922 - "Georgette" - QRS 2003. The local paper at New Haven Connecticut referred to Wendling as the "nationally known king of syncopation and composer of extreme versatility, known the country over for his remarkable piano recordings of QRS rolls." 1923 - "Last Night on the Back Porch". James Guinn, narrator of "A Salute To Pete Wendling". 1924 - "0, Katharina!" by L. Wolfe Gilbert and Richard Fall, recorded by Pete Wendling. James Guinn narrated the most informative and en- ./ joyable "Sa-lute to Pete Wendling" with Clifford Brown at the Packard 88-note upright Pratt-Read player piano and Dick Barnes as operator of the three phonographs used during the fun sing-a-long in James' presentation. Following are the years represented and the selections heard on the player piano or phonograph:

Dora Henslee, Dick Barnes, and James Guinn, treat­ ing themselves to some of Dick's "Sparkling Spring­ time Punch." 1925 - "Sweet Georgia Brown". 1926 - "Where Do You Work-a, John?" This year was the peak year for piano roll production. 1927 - MUSlt TRADES magazine for April 2, 1927 car­ ried a feature article about Pete Wendling titled, "song Makers of America." 1928 - "Don't Keep Me In The Dark Bright Eyes", played by Dick on the 1926 Victor Ortho­ phonic Credenza on the back porch and with the Victor's great volume was heard clearly through the dining room to the parlor and foyer. 1930 - "Swingin' In A Hammock" played on the Victor Clifford Brown at the Packard 88 note upright, Orthophonic Credenza. Pratt-Read, which was the accompaniment for the 1974 - Pete Wendling died on April 7 in New York at 38 Amica singers. the age of 85. - 100 - Thanks, James, for a well prepared, excellently re­ TEXAS MEETING SCHEDULE searched "Salute To Pete Wendl ing." It was a very June 13 Dorothy and Gene Langkop - Dallas. original program for the Texas Chapter and the first time such a program has been presented. August 8 Myriam and Tony Palmer - Arlington.

The beautiful arrangement of Spring flowers on the September 5 Special 1930's theme party, Jim Meadows, dining room table was the contribution of Doyle Dallas. Cassel. Also giving the Spring-Easter look to James' foyer and parlor were hydrangea plants placed October 10 Ginny and Stan Holcomb - Richardson. there by Doyle. December 12 John and Claire Armstrong - traditional We were treated to an impromptu concert on the 1895 Christmas party and Dinner. Steinway upright by guest Lloyd Hess. James took time for a few religious numbers on his 1914 Estey For out-of-towners it is suggested that these dates reed organ that stands in his foyer along with his be verified with the meeting host before making Packard 88-note upright player. plans to attend. For the first time in the last four years during. our meeting month of April it did not rain!

PHILADELPHIA AREA CHAPTER by Larry Cornell

No one remembers blacker clouds or a greater deluge of rain than accompanied our fearless AMICAns to Bill and Siggy Pilgermayer's on that first day of Spring. Floating into their new music room addition, the dampened spirits immediately soared as Bill's AX Link nickel­ odeon, built in 1926, performed the bright music associated with "happier times". Comments heard: "Great sound!"; "Do I hear expression?"; "Best I've seen."; "I didn't know a nickelodeon ~ould sound so good!"; "Hmmm - not bad."

Dick Barnes at the 1895 Steinway upright.

The effervescent "Sparkling Springtime Punch" pre­ pared by Host James Guinn and Co-host Dick Barnes was quickly consumed by all attending a very enjoy­ able meeting. For dessert the most beautiful and del icious lemon tarts were created by J.ames and Dora. Dora Henslee, Co-hostess, also prepared the delicious little sandwiches and was so pleased that they were all devoured by the Amicans, but on Thursday following the meeting discovered a whole tray of rank and dried sandwiches in the trunk of her car that had been overlooked by Cliff Brown Gathered around the punch bowl and snack tables when he carried the other sandwiches into the house! were the usual information exchangers, who munched their way throlfg~ various explanations of how the Kimball three manual, 20 rat:lk theatre pipe organ would sound in a few months. The Stanley Theatre's loss is Bill's proud gain.

- 101 - Clj;ila~elpRia ClRiladelpRia

The business meeting brought forth many suggestions and firmed up plans for Chapter activities, including a pro­ gram at West Chester State College, arranged by AI Lightcap; a comparison concert at Temple University (Sam Samuelian); a tour of the DuPont estate (Jesse Macartney); and Longwood gardens with its musical display (Jim Chadwick); a private performance by Liberace (which fell through); and a program at the original factory of the Rose Valley Roll Co. Mike Naddeo is pursuing this one, and is also writing a tome on the many piano manufacturing companies in the Philadelphia area in days gone by.

Steinway OR Duo-Art made in 1912. Taken back to factory in 1929 to have late Duo-Art system installed.

PHILADELPHIA AREA SCHEDULE

Sept. 19 Ron and Gloria Swanson, Malvern, PA. Afternoon

Nov. 21 Jeff Kaiser, Sumneytown, PA. Afternoon

Dec. 12 Jesse Macartney, Narbeth, PA. Evening Christmas supper party.

For out-of-towners it is suggested that these dates be verified with the meeting host before making plans to attend.

Link AX Orchestrion. Largest Link model, built in 1926, uses Link endless rolls.

Mike presently has tracked down about 35 manufac­ turers, and is looking for additional information anyone can Phildelphia Area members and guests preview the. supply - especially old photographs. Mike's efforts will be new music room addition. made available to this Bulletin in the future. After the meeting, Bill's Steinway OR Duo-Art per­ formed beautifully for a roil concert. This unique instrument was made in 1912 and sent back to the factory in 1929 to have the late Duo-Art system installed. A great meeting, terrific host and hostess, and - the sun came out. - 102 - JJiosrapRical a.liefcRea

GOTTSCHALK'S PLATFORM DIGNITY personality; he had toured France and Spain with CONTRIBUTED BY EMMETT M. FORD great success, finding his pieces played everywhere, returning home with decorations from kings. DeMeyer came to the U.S. in 1846 and Terz in 1848 with antics never before seen on the concert stage o No more gyrations, no more ogling girls from the The development of the piano, about this time into platform, no more stolen glances at the audiences; an iron-framed instrument, capable of feats of Gottschalk was the essence of dignity and elegance strength and dexterity, brought forth a crop of ac­ at his instrument; he approached the latter with his robatic, superficial pianists called "gymnasts" ­ hands encased in immaculately white gloves, leisurely who rushed through Europe playing "storm" and "bat­ removed, when seated. Berloiz said, "He possessed tle" pieces. Chickering was responsible for the all the elements of a consummate pianist•••that his coming of one, Herz, brought here to exploit this success before an audience of cultivation was im­ new piano. DeMeyer and Terz piled on sensations for mense." Wonderful criticism for a young man in the guileless American; how they pummeled the in­ those days of Chopin. Liszt, and Thalberg. strument with thumbs, fists, elbows and shoulders, until the "very sweat fairly poured from them"; "if Gottschalk was not enthusiastically received at they had turned a somersault at the finish it would first. He had not long to wait as an era of senti­ have been in perfect keeping with the rest of the mentality soon set in - girls allover the country performance." They carried their audiences away in threw away their battle pieces and sighed for years porportion to the strength expended; refreshing to come over the "Last Hope," "Pastorella," and many their waning powers during intermissions by coquet­ others of his works. How they adored the.handsome, ting with the ladies in the parquet. They played passionate Creole of New Orleans, and what admir­ airs with variations, battle, lightning and thunder ation had he in turn for his girlish audiences. His pieces, numbers with music box effects, many of main point of attack was the boarding school centers. their own compositions of a valueless nature, usual­ His programs were made up chiefly of his own works, ly responding to encores with improvisation on though capable of giving concerts of the classics, "Yankee Doodle", "Hail Columbia" or other patriotic and said to have been a splendid interpreter of songs. Sometimes DeMeyer went so far as to drum Beethoven and Bach. Gottschalk made no attempt to out variations with a stick. Advertising for these educate the American public to the classics; he ac­ reached supreme heights equaled by a Barnum. He knowledged that he played what brought the largest (DeMeyer) seated himself at the piano, a short, returns, obliged as he was to support a large family stout gentleman with flying light hair and German of brothers and sisters. still, his concerts were blue eyes. He seemed to tear up great masses of a vast improvement upon those that preceeded, both chords by the roots and scatter them about with in interpretation and material; his technique was furious joy; his brow seemed almost to lift itself flawless, his touch, of exquisite beauty. His com­ from his head; his whole body played, then he would positions were decidedly original and of musical straighten back and look with triumph on his aud­ value, though not of the most serious type and are ience, spring from his seat as if from a race horse, still played in boarding schools and convents of and as the one piano was vibrating like twenty he the time. would rush, as it were, into the arms of the audience, laughing and shouting with as much delight as any Sometimes he catered to America's taste for magni­ of them at the marvelous things he had done. On his tude, giving concerts composed of many pianos. One, first tour he received $4000.00 as a soloist, a in San Francisco, consisted of fourteen, before large price in those days. His second tour in 1868 which, at the very last moment, one of the pianists was more sensational than the first but less finan­ fell ill, and rather than trust to the local, un­ cially a success; American audiences had grown weary tried musicians of the city mining camps, but of the piano-pounders. loath to have one instrument less, Gottschalk· had the action of the piano surreptitiously removed, Herz stormed the concert stage and his concerts placing someone there to simulate the motions of were bombastic and noisy until Dwight, a music playing. Perhaps, but for his early death at forty critic, raised his voice in protest against the mon­ in 1869 in South America, he might have exerted a ster concerts and the noisy triumphs. Others pro­ more serious influence on American taste. Amy Fay stituted their talents - Wolowski, Jaell, and others, wrote from ~erlin at this time, "What a romantic and musical taste in-New York, Boston, Philadelphia way to die, to fall senseless at his instrument and other cities had improved enough to begin to while playing "La Morte!" He had a golden touch, dislike the antics on the concert stage. equal to any in the world, I think - the infatuation that I and nine hundred ninety-nine other American The piano-pounders lost ground and a real artist girls once felt for him still lingers in my breast." appeared on the scene - a real gentleman at the piano and an American - Louis Moreau Gottschalk, in 1853. A handsome young man of twenty three years, from Paris where he had received his musical ed­ ucation, feted for his musical gifts and attractive

- 103 - & JJioorapRical ~KefcRes .t~ : \

LOUIS MOREAU GOTTSCHALK Due to an epedimic of yellow fever and cholera which BY EMMETT M, FORD occurred frequently in that area, the father moved his family to Pass Christian to establish a horne for Louis Moreau Gottschalk, (called Moreau by his the family and a business for himself. At this family), was a world-wide concert pianist, well­ time Louis was five years of age. After the yellow known composer and conductor. He was born in New fever abated, the family returned to New Orleans Orleans, May 8, 1829 of parenL3 who were wealthy to live on Rue des Ramparts. Monsieur Letellier and prominent in the business and social life of was an excellent teacher, strong on solfeggio which early New Orleans. His mother descended from sev­ he insisted be studied from the beginning and long eral generations of French aristocracy and his after. The music lessons were exciting to the boy father was English. Louis was physically attractive, who anxiously waited for the Monsieur to come to the had a keen mind and pleasant personality. These house daily at 4 p. m. If Louis' lesson satis­ assets were to be of great advantage in his future fied the Monsieur Letellier, the boy was awarded the years. A child prodigy at the age of three and privilege of going with the Monsieur to the Cathed­ musically inclined, he absorbed much from the ac­ ral to hear the choir rehearse and the master play tivity of the Creoles and Quadroons and listened to the organ. In later years Louis substituted for and remembered the songs sung in the streets, the Monsieur Letellier at the Cathedral organ. cries of the vendors, the music of the dances, and the songs and rhythms of the slaves at the Place Not only was Louis interested in music, but he had Congo where they were permitted to gather one after­ great interest in reading the works of Ossain, Scott, noon of each week to dance and sing. He first stud­ Chateaubriand, Byron, Victor Hugo, and every per­ ied the violin, but later studied with Francois iodical in which appeared the writing of his favor­ Letellier, organist and choir master of the St. ite, Edgar Allen Poe. New Orleans ranked next to Louis Cathedral. New York City in the interest and love of opera and the opera was an important event in New Orleans. Due to the French history of the city, French opera predominated and singers from Europe were enticed to appear. Louis was taken often enough that he '\ learned all the arias which he would then play on the piano upon returning home. Louis was nurtured in this operatic and musical atmosphere. Social life brought him in contact with the musicians of the city and members of the orchestra. He accom­ panied singers and violinists at fashionable homes of the social elite who opened their salons to musical performances.

When Louis became thirteen years of age, his father decided the boy should go to France to be instructed in the piano by Frederic Chopin or some famous private teacher. The boy was also to receive in­ struction in Latin, Greek, modern languages, math­ ematics, moral philosophy, fencing and horsemanship. He was not accepted in the Paris Conservatoire because the director, Pierre Zimmerman, was intolerant of the boy's American background. Chopin had gone to George Sand's horne at Hohant and was unable to be contacted for some time which eliminated Chopin as his teacher. The determined woman. Mme. Dussert, in whose care Louis had been left, took him to a young pianist, Charles Halle. The latter was ac­ cepted in Paris and by the Parisian critics for his playing of the German classics. Charles Halle, later to become a famous conductor, introduced Louis to Bach, the music he wanted the boy to study, learn and appreciate.

Louis' days were spent in study and in going to the opera and theatre. Discouraged by his slow progress under Halle's teaching, he began to study with Camille Stamaty, a student of Freidrich Kalkbrenner, "' and considered Kalkbrenner's successor. Under Stamaty's instruction, his advancement was rapid and due to Stamaty's insistence, the boy was taken L. M. GOTTSCHALK to the three Paris theatres, the Grand Opera and Emmett M. Ford collection Comique Opera, and the concerts at the Salle Pleyel, - 104 - JJiosrapRical 81lefcRea

the Salle Erard and Salle St. Cecile concert halls. from the famous journalist, Emil de Girardin (his There he heard singers like Rubini, Viardot-Garcia, wife was Delphine Gay), to appear for a soiree in and pianists, Thalberg and Prudent. Another of the mansion, brought Louis in contact with the famed Stamaty's pupils was the seven year old prodigy, basso, Labrache; the baritone, Georgio Ronconi; Charles Camille Saint-Saens. Louis was aware of soprano, Giulia Grisi and the famous tenor, Guiseppe this prodigy, realizing he would be competition, Mario. Others he met were Victor Hugo, Theophile and therefore was determined to excel as a piano Gautier, Jerome Bonaparte, and the great actress, virtuoso. Other thorough instruction in composition Rachel. Louis received a purse from the Girardin was received from Pierre Maleden. Under the pat­ concert and the mere pittance he received for play­ ronage of his aunt, La Comtesse de la Grange, and ing in Berloiz's orchestra made him realize he was in royal and aristocratic circles, he became a pet. not receiving the artist's reward deserved by ex­ Louis began to appear at soires in the homes of hibiting the virtuosity he had spent his life time prominent persons, and a concert was scheduled in to develop. Upon returning to Paris, he was suc­ the Salon of Monsieur Pleyel for April 2, 1845. In cessful in getting his new compositions, two bal­ those days, the pianist was not a soloist as they lades, a concert etude, a concert waltz and several are today, but performed with possibly two or four mazurkas published. His next concert was April 17, or more "assisting artists." For Louis'benefit per­ 1849 in the Salle Pleyel. Among the audience was formance, he played the Chopin Concerto in E minor. the fourteen year old Camille Saint-Saens, the elev- Chopin and Kalkbrenner were at the concert. Chopin en year old Georges Bizet and many friends. One went backstage after the concert to thank Louis for important individual was Sigismund Thalberg, the choosing his concerto and congratulated him on his universally recognized king of pianists since Liszt's interpretation, also prophesying he would have ~ retirement. Following the concert, an epedimic of great success as a virtuoso. Reviews in La Revue Asiatic cholera sent the family to the country and et Gazette Musical were good and the news of the Louis departed on a tour. Upon returning to Paris successful concert reached New Orleans to be com­ he found Kalkbrenner had been a victim of the cholera municated far and wide by the press. Berlioz's and Chopin was dying in his apartment on the Place praise of the young pianist indicated a promising Vendome. Chopin died on October 17th and Louis future. attended the funeral.

After Stamaty's illness and retreat to a monastary, At the age of twenty four, Louis gave his first Louis decided to go his way without a teacher, but American concert. He had arrived in the U.S., Jan­ continued composition lessons with Maleden. uary 11, 1852 with two immense Pleyel grands and was under the management of William Vincent Wal­ In the Spring of 1846 his piano composition, "Polka lace. Only three pianists had appeared in New York, de Salon" was published. From this time on he was Leopold von Meyer, Henry Herz, and Maurice Strakosch subject to many illnesses from fevers, wavering be­ - all three with European reputations comparable to tween life and death, but his eventual recovery Gottschalk's. On January 24th he gave a "preview" brought him back to activity in concerts and com­ concert for a few artists and newspapermen in Irvin positions. Hall. The New York debut was on February 11th in Niblo's Salon and the concert was shared with Mme. His mother and her six children arrived in Paris, Sontag. Gottschalk was teamed with Richard Hoff­ fulfilling an obsession on her part which had begun man in performing his "Jerusalem" fantasy and a with Louis' first successful concert, and it was the recently composed concert waltz for two pianos. responsibility of this family that fell on Louis. He had an unusual yen for multiple-piano per­ He began to compose and decided to give concerts to formances and always had another pianist to play raise money for the family. a few selections with him as an assistant artist. The latter was usually of lesser prestige so he On the evening of February 16, 1848, he had the would not overshadow Gottschalk. The compositions, privilege of hearing Frederic Chopin in concert at based on Negroid and Creolesque tunes, "The Banjo" the Salle Pleyel. The concert was an inspiration and "Bamboula" and which had charmed the Parisian for the boy but plans were stifled by the flight to audience, now charmed the American audiences. Con­ England of Louis-Philippe and his Queen, creating certs in New Orleans, ~hiladelphia'and Louisville interest in the Parisians only for politics and were successful, and his return to New Orleans was causing scheduled concerts and private musical welcomed by friends, relatives and music lovers. soirees to be cancelled. Chopin, Kalkbrenner, Halle, He continued to compose and gave benefit perfor­ Berlioz, ~1me. Viardot-Garcia and other artists left mances for victims of the yellow fever. for England. Gottschalk's success was partially based on his Due to the political situation in Paris, Louis moved fatal charms for female music lovers. He was a his family to Claremont de-L'oise, forty miles from droopy, dreamy-eyed individual and he cleverly used Paris. Later when the family felt it was safe to this effect in a creative turn-out of compositions return to Paris, Louis gave concerts, presenting like "La Scintilla, Mazurka Sentimentale." Gott­ his new compositions, "Bamboula" and "La Savanne," schalk appeared on stage, wearing white gloves which were excitedly received with the guests re­ and removed them, one finger at a time before play­ questing the selections be repeated. Invitations ing. Women rushed to the platform, tore the gloves

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to shreds and fought over the pieces. (This pug­ and financial condition, he received a letter from ilistic ritual was common at performances of Liszt Jonas Chickering, a Boston piano at the height of his fame). The sentimentality, maker, offering Louis advantage emotionalism and the attractiveness of songs, music of an American concert series if and novels about death and despair, brought out he would make exclusive use of Gottschalk's compositions like the "Dying Poet" and the Chickering piano. In the "Last Hope." The latter was "he best-known and letter was a check for $100.00. most-played composition of the ~entury. Twenty­ Louis accepted the offer and it eight different editions are listed in the Library was followed by a contract with of Congress and the tune was included in hymnals William Hall for a series of published in 1907 under various titles, but trimmed intimate concerts in Dodwort's of digital dross. Hall in New York and also an offer to publish any music P. T. Barnum's success with Jenny Lind caused him Louis had in manuscript. It was at this time that to approach Gottschalk with an offer of a tour, Firth, Pond and Company sold the rights to "The Last which Gottschalk's father felt was not dignified Hope" to Mr. Hall. It was also at this time that and Barnum's offer was refused. He returned to New Louis met Ada McElhenney Clare from a letter she had York and appeared in a concert with Mme. Sontag, written to him after his New York appearance. A Alfred Jaell and Ole Bull, Maurice Strakosch, con­ life-long friendship began but never terminated in ductor Louis Antoine Jullien and a ten year old girl marriage as Louis had long decided that the "Muse soprano, Adelina Patti. of Music" was to remain his only bride.

Louis departed for a concert tour to the New England Concerts, backed by Mr. Hall and Mr. Chickering, states and found the audience hostile and newspapers brought a period of great prosperity to Louis and critical, particularly one under a bigoted editor he was able to pay his father's debts in full. Con­ and Unitarian minister, John Sullivan Dwight. This certs continued and Louis depended heavily on his editor followed Gottschalk's concerts and activities compositions, both old and new. Forty new ones with a vengence and published violent criticisms in were introduced in New York. His "The Last Hope" newspaper articles. was demanded, hummed and whistled and performed in " all the parlors by the young females of the time. Receiving word of his father's illness from yellow The demand for the compcsition was hardly filled fever, he left for New Orleans. When he arrived in until more were requested. Critics called it a Mobile, he received news of his father's death on serious nocturne, but it also shared the popularity October 23, 1853. This was a severe shock to Louis of Louis' Spanish and West Indian dances . the fan­ who had been very close to his father, and the death dango, the jota, the jaelo, the cocoye, the xapa­ cancelled his plans to return to Paris. He felt tacado and the tango. Louis gave concerts includ­ he should stay in the U.S. and give concerts to pay ing the serious music of Mozart, Schumann, Weber, his father's debts and to support his mother who Chopin and Beethoven. Though he played his compo­ was still living in Paris, his sickly brother, sitions by a demand of the times, there was recog­ Edward, and a foster son, Ramon. Concert tours nition of the extent and character of the talent began to make money and two in New Orleans featured and genius of this pianist. He had great gifts his work for ten pianos, entitled, "Battle of Bunker and his "Pasquinade" and "Marche du Nuit" are ex­ Hill." A second concert introduced his composition, cellent examples of his skill in composition. Com­ "The Banjo" - one of the most popular and enduring petent judges and pianipts described his playing of of his compositions. After the concerts he sailed the masters, Bach, Beethoven, and others, as superb for Cuba. in tone and brilli~nt in execution. Berlioz, one of the leading c~itics of the time, described Louis' While concertizing and living in Cuba he composed playing thus: "Gottschalk is one of the very small "The Last Hope." It was published by a New York number who possess all the different elements of a firm, Firth, Pond and Company, and he received $50 consummate pianist, all the faculties which sur­ for it. He had captured the Paris musical world round him with a sovereign power. He is em accom­ with his "Bamboula," Stephen Foster had captured plished musician. He knows just how far fancy may America with "Old Folks at Home," and Miss Bard­ be indulged in expression. There is an exquisite azewska had punished the public with a composition grace in his manner of phrasing sweet melodies and entitled, "The Maiden's Prayer," so Gottschalk had throwing off light touches from higher keys." All the desire to create a counter part to that com­ the concerts were assisted by either a violinist or position - hence "The Last Hope." cellist, occasionally a barpist and a vocalist. In one season he gave eighty recitals in New York, a Gottschalk suffered a serious attack of malaria and record no other pianist had approached. He could concertized little, but gave some music lessons. perform the demands of Beethoven and Bach, the Latin His financial condition caused-him to sell his delicacy required by Chopin - his Creole inheritance " "much-travelled" Pleyel grands. Returning to New afforded the latter privilege. His compositions of York for concerts, he became ill and in dire finan­ bravura style fitted him and were favorites of the cial straits. While worrying about his physical salon of this period. Since the U.S. was experi­ encing "growing pains", with Chicago a swamp, St.

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Louis a small town, and villages and towns that were Jascha Heifitz: "I occasionally play works by far apart, Gottschalk was wise not to perform the contemporary (classical) composers and for classics, which would have created an opinion of two reasons. First to discourage the com­ his concerts as being boring. Outside the eastern poser from writing any more and secondly to cities he built his programs on his own compositions. remind myself how much I appreciate He often slipped some classics in his program which Beethoven." acquainted the public, opened the door to the contributed by Art Faner. European classics and paved the way for von Bulow, Paderewski and future touring pianists.

TO BE CONTINUED••••• Contributed by Bob Rosencrans •

• 'Thursday, Mar, 25, 1976 Philadelphia Inquirer

.He played through the Beethaven two short encores that ·called up the Sonata Op. 31, No.3, as a warmup be­ utmost of his technical gifts and then fore plunging into "CarnavaL" In gave himself up to the anniversary Stirring recital that he arrived at fUll power, creat· celebration. ing that series of vignettes of musi­ His wife, Aniela, came out,' was cal figures and ideas by exploiting a given roses and received a kiss at huge range of contrasts in tone color her gloved ·hands by, the pianist. and weight. Moe Septee, head of the All Star He passed from tliat to. Ravel's Fotum said, "You have mage us for Rubinstein 70 yea~s' younger." Philip Klein, the "Valses Nobles et Sentimentales," forum president, gave the Rubin­ By,Daniel Webster music he played when it was brand ~M4U't"M Mu.io. 'Critic new, and on to Chopin's Barcarolle steins the Philadelphia Bowl. COp. 60) th~ best single performance From the wings came a cake as Artur- R11biu&tein has· been such a recognized,that the playing is full of of the 'night. Two Preludes and B large as a small grand piano; with Clintral .•l!'i'i.- th\i;,ciW'~!Uusical joy and spirit, that accuracy has· be­ flat minor Sl:heri.o, .played with a keyboard that the pia·nist pushed ~e t\lat i~ ~$e;ua,~ul1?r,~'to ~v' came dearer. to his heart than it was power and a free-swinging assault, a finger into. Candles glowed on its eryone th\S year.that Ins.;muslcal ties once and that those remarkable brought th~ program to a close. top and a clef and' the number 89 here go .back 70 years. It' WqS that hands, so elastic and incisive, call up His audience was on its, feet and were prominent on the marzipan fact that led the All Star Forum Se­ worlds of 'sound and. emotion in a he was handed flowers as he stood piano from the keyboard (F ta A)' r~ to make Rubinstein;s recital last way that few athers can' manage at bOWing, his hands cl-asped over his and beamed at his audience: "1 like nlght·i!ito't1n anniv~rsaty'Co\ll~mo­ aiL ' heart. He came back to dazzle with .ta have my cake and eat it." ration and a very late notice, of the pianist's 89th birthday. . . 1t'was also the recent news of RU­ bll1stem'J! failing s~ght. tlia-h ll.itched ~ emotion so high at this cOllcert. He has said it is improbable- that he. ~l play much more after the 40 or .. concerts that remain .lJ:! his sehe­ • this year in this country and Eu­ •. That made this recital a poten­ tial farewell. No one said so, but the lIt:>ught hung above' every chord tqe llIariist played. in 'a program 'that WOuld daunt a man a third his age. . rIte recital 'MaS qis second appear­ ance here within a month, both in a senSe marking his 1996 debut in tkig' .cl1untr}r wlth the I?hiladel.l'hia Orch­ estra in a Carnegie Hall concert. He had been soloist with the orchestra at a pension foiIndation benefit Musician$ are used to .having to play· for their own parties, and· Ru­ billstein set about making his on~ to reinember. HeJhad chosen a program fulI of RubiliStein souvenirs .,.. Cho­ pin, Ravel' and Schlnnann's "Carna­ val," a piece that shlgs of youth and th¢ passions of the young. He played aU this with the ap)amb and. sophis­ tication thilt have been part of his equipment Jor as l/?ng as ,anyol1e can remember.· ntoBe who have been listening to hill playing steadily can .recognize thftt the 'tOile .is not as glossy as it ~llCe was·.OO. that the facility must be concealed behind broadet interpre­ tiyo g~~s. But'it must alsO be PhiladelphIa Inquirer I J. G. DOMKE Artur Rubinstein (left) is escorted by Philip Klein to a piano-shaped birthday cake - 107 - : Et· JJioorapRical 81lefcRes .t~ :

Reproducing piano Marin Living

Tues" March 30, 1976 ]nllrprnllrnt-;JJouml1L 13 a collectors' item' ... .. silent movies, By Pat Balmes "We try to prevent piano teachers The majority of the members Phantom fingers seemed to play from shearing the mechanism out, It "When you acquire an automatic cannot. play the' piano, One guest the keys of the 1923 mechanical does not improve the piano: all the instrument. you don't have any mu­ said, "I can't play but I love my piano, But it was really tlie ·yellow· "",orks do is activate the keys," sic to go with it. That's why people piano, It's 100 per cent different join the AMICA: the club helps you ing paper roll that made the music The challenge of an old instrument from a hi·fi because it's live sound - from classical to ragtime - at a find music rolls," said Jones, right there in the room with you," is to m.ake it work. Club members Monthly meetings are held in Bay recent meeting of the Automatic share know-how, Some have taught Musical Instrument Collectors Asso· Area homes and some members ;\lost members have pianos, but themselves to repair fantastically come from as far as Ukiah, Sarato­ they also collect other kinds of ciation, complicated instruments, such as "It could, perhaps, even be the ga and Sacramento, The president instruments, One man has 30 music tne photoplayer, a piano-organ cOm­ lives in Napa, The Bay Area club, boxes, another an organ grinder's piano that' once stood in Rudolph' bination equipped with sound ef­ Valentino's home," said the host. Lt. founded in 1963, was the first of hurdy-gurdy, a third a violoano­ fects, drums, bells, train whistles, what has mushroomed into an 800· virtuoso which is a self-playing vio­ CoL (ret.) Winston .Jones of Tiburon, chimes and hoofbeats to accompany pointing to the oid grand piano, member international club, jin-in·a·box that has a cylinder Prized as one-of-a-kind, the piano which rotates the strings, Another was the center of attention as 40 owns a coin-operated piano of the members of the Bay Area chapter type once popular in speak·easies st;Jdied the mildewing collection of The Joneses are no exception, piano rolls, examined the drawerful L:J They ha ve collections of glass, old of mechanical works and even scoot­ ':iolins, dolls and music boxes, Their ed underneath to look up at the prize i~ a big floor model Stella moving rods, music box icirca 1895), which plays The association is made up of large perforated tin disks, The box, people who ,are fascinated by auto­ given' to Mrs. Jones many years matic musical instruments, Most of ago, began her interest in automatic [!J instruments, them are instrument owners, They had gathered at lhe .Jones home to, see his prize, a reproducing piano, "Wben Sunday cumpany came at Gnlike an ordinary player piano, the turn of the century, people would, the reproducing piano recreates take them into the parlor to listen to with absolute fidelity the dynamics, the music box. When radio came in, phrasing and musical expression of people discarded them as old fash· the original pianist. .Jones explained, ioned," she said. "The expression holes along' the The couple sat at their piano, edges of the edges of the rolls make charmed by thoughts of the great it superior to the ordinary player," pianrsts of the past who made the .J ones said, "It will reproduce the original piano rolls. Mrs, Jones her­ artist's playing, so closel:( that the self has a musical past. She trained human ear cannot detect the differ­ as an operatic singer and auditioned ence,'.' for the Metropolitan Opera before For some, the reproducing piano she was married, is too high tone, They like the rinky Before his guests left, Jones, just dink music sounds of other player for fun, put a roll on a baby grand pianos, .Jones said, reproducing piano, a 1910 Lingard, The .Joneses know of o'nly 11 other in his family room, It wasn't in pianos in the world with the same operating condition yet. but never type of reproducing mechanism as mind, he plugged it into his vacuum theirs, The others are alI uprights, cleaner, and it worked fine. Part of the Joneses' pleasure in owning the 'piano is in preserving it. Jones discovered it at the Bohemian Grove's dog camp where "they were setting glasses on it. The fellow who played it didn't like it because he Contributed by Terry Smythe. couldn't get his knees under the mechanism drawer, He told them to IT'6 ODD -mAT ONE A6 get rid of il." Jones said MUSICAllY IALENTED A5 1. AM So the Joneses acquired the hid­ 6HOULD ALOO HAVE SUCH A den jewel three years ago "for a FI.J\IR FOR WRIT1NG! song," They invested 81.200 in re­ F pairs, )';ow, because it is unique, U they hesitate to estimate its value N "These pianos were considered of K no value during World War II and Y were broken up for firewood," re­ called Reba Jones, in Gibson-girl blouse and long Victorian skirt for the nostalgic evening,

- 108 - , The Literqry Digest for May 20, 1922 \' ;-----.-.~Ii ~._----.----- ._--_.y--_._----._.-._-----.-..--.--..---

"Studies andfun can't I I' crowdoutmusic you I•· I'• tf ! I ! I have a Gulbransen!" , .I "Studies, dances, parties, athletics-how in I I the world does a busy girl have time for music? ,! .I "I wondered-before we got the Gulbransen. , I Now I know. ! I "Ten or fifteen minutes a day-if that is all ! I the spare time I happen to have-keeps me in I I touch with the best in music. Enables me to ! i play with all the personal satisfaction that any ·! I. musician feels, but without the hours of prac­ I I ticing, practicing, practicing. i I "If only all my problems were as easily solved I I as that of musicI" !I I. ** * ** I I You mothers who wish your daughters to have • I an accomplishment-to have an intimate knowl­ i · edge of music in general, and to be able to con­ I ! verse intelligently on the subject-the Gulbran­ I i sen also solves a problem for you.- , I ~ In every feature it is designed for artistic I ·! playing: , I first-the construction ofthe instrument itself. I I• second-its tone. ! i third-the Instruction Rolls. I i exclusive I ! fourth-the exclusive Melody Indicator. ~ I 'I · I Gulbransen-Dickinson Company, Chicago i I Canadian Distributors: ! I Musical Merchandise Sales Company I J 79 Wellington Street West, Toronto I,! I' i I WationallJ/ PricuL , I Branded in the Back, I ' ~ I, I ,i '• ,· 'I I, I' i~ i \Vhite House CountrySeat Community Model Model Model Model, I ' i• .I $700 $(jOO $495 $365 I I I I To Gulbransen Owners: The Gulbran­ sen is a fine instrument; don't neglect it. · i Have it tuned at least twice a year. I I ._. ._._.__._._.y---_.~----~I 1i!' ULBRANSEN GJhe Player-Piano

- 109 - ~ ~ecRnicalifie8 ~ "',

If the maker of the mechanism desires to change the PRACTICAL MECHANISM.FOR PUMPING AREED ORGAN sizes of the various pulleys, he can compute the BY THE REV. CLAUDE SIMSON (1942) speed of the final pulley by taking the ratios of CONTRIBUTED BY EMMETT M. FORD the diameters of the pulleys. For example: if a 5" pulley turns a ten inch, the speed of the ten (This article is to aid any person or persons who inch pulley (in revolutions per minute), will be may want a means to make an economical installation one-half that of the 5" and conversely, if a 10" for a two-manual reed organ) turns a 5" the speed of the 5" pulley will double. The diameters of the pulleys are measured from the The necessary items, assembled, may be enclosed in inside of the belt groove. a case and placed beside the organ. This does not detract from the appearance of the console and works Diagram showing details of installation. End view excellently with practically a total absence of taken facing back of organ. noise or motor vibration.

This device was attached to an Estey two-manual organ with foot pedals which was formerly pumped by means of a crank which was fastened to a shaft ex­ tending through the side of the organ. The shaft of the organ is three quarters of an inch in diam­ eter, which,. I presume is probably the same for all the organs of that make. In any case the shaft should be measured and a pulley of the same bore

(inside diameter of the hole) as the diameter of J:::: 'tr the shaft should be obtained. The following items ~(>- are necessary for construction of the mechanism: ~ 4.: 1/4 or 1/3 horsepower motor a "",'f...... ~ 1 screen door spring (to be cut into four equal Cf ~ lengtbs. 1 jack shaft. 1 two-inch pulley. ~ (1~) (j)o- lone and one half inch pulley. s::­ ~ ~ 1 twelve inch pulley. ~,;' ~ 1 fifteen and one half (15~) inch pulley. 12 rubber washers. 4 one quarter inch bolts (about 3 inches long) with two nuts for each (these are for the jack shaft). 4 one quarter inch bolts, with one nut each (for motor). 8 angle-irons (for suspending motor). 2 one half inch "V" belts approximately 58" in circumference. The length of these two belts will depend on the distance of the jack shaft from the shaft of the organ, for the one belt; The small 1~" pulley is used on the motor and will and on the distance of the motor from the jack give sufficient traction since the amount of power shaft for the other. needed at this point is very slight because of the lone half inch shaft coupling (3/4" or larger great difference in the relative sizes of the pul­ outside diameter). leys. This pulley drives the 15~" pulley on one Necessary kind and quantity of wood, nails, end of the jack shaft, on the other end of which is screws and so on, for making the case to house the small 2" pulley. This pulley in turn drives the the mechanism. 12" pulley, which is attached directly from the NOTE: All pulleys are for ~"belts. The cost of shaft extending from the organ. the entire mechanism (excluding case) comes to about $24.00 (Note: these are 1942 prices!). The motor It might be well to mention here, that the outer may be purchased or obtained from a discarded wash­ edge of each two related pulleys should not be any ing machine or refrigerator cooling unit. closer than about 4" if there is a very great dif­ ference in size, because the closer they are placed The drawings are drawn from scale, using the size to each other, the less surface of the smaller pul­ of one of the pulleys as a known size. The sizes ley there is for traction. of the various pulleys were chosen to diminish the speed of the motor from 1750 r.p.m. to about 30 The motor is suspended from four springs. These are r.p.roe which seems to be about the speed used to cut from the one screen door spring and are about pump the organ by hand. Any slight variation faster 5" long. Hooks are formed on both ends of these than this will be taken care of by the valve on the springs. One end of each spring is looped through air reservoir in the organ itself. the hole of one of the a~gle-irons on the motor - 110 - ~ecRnicalifie8

boards; the other end is slipped through the hole of 1974 BULLETIN. Well, here is a refinement of this one of the angle-irons fastened on the side of the totally accurate tool. (It's 100% accuracy is ab­ cabinet above the motor. These angle-irons on the solutely essential in balancing a reproducing piano). side of the cabinet are bent open somewhat more than a right angle, about 135 degrees, and about half of Having built one of these leg­ one leg of the angle is sawed off and rounded with gy beasts years ago, I could a file. Two boards about 2~" x 13" are bolted to not live without it in my the motor (two boards are better than one large one shop today. But, I used to in order to keep down noise), and at their ends are go stark raving nuts when placed the angle irons to which are fastened the balancing pressures in Ampico springs. The jack shaft is bolted to its support stacks because of switching with the rubber washers, that is, one washer above the manometer repeatedly from the jack shaft base; one between the shaft base and one side to the other again its support, and one below the support. Two nuts and again. are' used on these bolts so that there should be no chance of their becoming loose. Do not, however, The logic of building two draw these bolts up too tight. guages popped up - but, no sane man would have two of these tall animals to clutter AUTOMATIC REWIND WITHOUT up a shop so••• I placed two pieces of clear vinyl tubing PLAYING NOTE LOSS on the same scale board and BY RICHARD B. PRICE presto I had (excuse the term) While rebuilding an 88-note Standard action upright stereo pressure readings! which had no rewind, I wondered what alternative I could invent for it which would rewind and still use This is so great in setting an each of the 88 notes. Piano electrified, without Ampico system that those of pumps. you who have fought the "joy" of setting the minimum in­ Using notes 2 and 86 - the highest and lowest Bbs tensities from bass to treble, I attached a single pole momentary contact switch etc., will want to build one. to the pneumatic of each note (switches wired in series). I attached a solenoid to the metal link­ I used two flexible seamstress ing bar which throws the mechanism into "play" or type measuring tapes end-to­ "reroll" - it happened to fit conveniently under end instead of yeard sticks the air motor, but could be placed anywhere. and in one tube I placed "red" water and in the other "green" I wired the solenoid (which was built for 110V.) water. So get busy and check so that only when both pneumatics were closed would out Givens' or Dietz's draw­ the ci rcui t be complete. Because "rerol pi stops ings and just double the sys­ vacuum to the stack, the switches will return to tem on one board. open position at the time the solenoid is activated.

To stop the piano, I used a pressure-sensitive micro-switch activated by the roll tab. That switch activates a double solenoid (one for lion", one for "off'·I) to the electric motor pump.

I have rolls which will play all 88 notes but I know of none which will play number 2 and 86 si­ nfultaneously. All new QRS rolls will activate this mechanism, older rolls may be easily punched, and many use 86 to begin -with. But any two notes not SOME TOOLS FOR. REBU'I LDING liable to be played simultaneousry-could be used. BY JOHN R. GRANT I have adapted some tools for player work that might A DUO MANOMETER be of use to Amicans engaged in rebuilding projects. BY DAVID R. ASKEY The first is a slitter for removing lead tubing from tracker bar nippleso A Stanely #1996A blade is It seems certain that many Amicans have built a slightly modified by grinding so that a sharp point home-made vacuum guage such as described by Larry is produced rather than the rounded contour of the Givens on page 73 of Rebuilding the Player Piano unmodified blade (see illustrations). The blade and that many more have made the improvement of the can be used in any of several "matte knife" type "yardsticks" suggested by Paul Dietz in the June, handles. The tubing is slit from the tracker bar - 111 - : fl ~ecRnicalifie3 .'"

outward. It's neat, precise, and control over the The second tool is handy for installing new leather operation is absolute. Take care with the downward nuts. The tool is called a tlDrop Action Button Reg­ pressure, however, as it is possible to nick the ulator tl and can be obtained through most of the nipple if you too energenic. Working two or three large piano supply houses (but not ppe, how about will give you the feel of it. After slitting, re­ it Durrell?). The tines of the tool can be spread move the tubing by grasping with a pair of pliers and adjusted to fit numerous sizes of nuts. (I recommend parallel jaw action type) and pull out­ ward with a twisting action.

Blade modification.

" ~Jt:~

Donald &Edna Luttrell 1924 Lexington upr player 1116 Pine Ave. Simplex NEW MEMBERS San Jose, CA 95125 408 269 4069 Jim Crank Raymond Loggins 724 Laurel Ave. 106 Lowe St. John W. Kelly 1916 Lindsay upr plyr Menlo Park, CA 94025 Mt. Holly, NC 28120 337 Amsterdam Rd. themodist; 1920 Wesen Dollard Des Ormeaux upr plyr; 1926 Recordo Jack RO. Carroll Russel Doering P. Q. Canada mechanism 3006 Suffolk Dr. 1702 Wright Ave. 514 626 9762 Houston, TX 77027 Sunnyvale, CA 94087 713 627 3615 415 969 2246 (245 5381) Sal &Elaine Mele 1921 George Steck upr 4723 Gulfstream Dr. Duo-Art Richard B. Price Dallas, TX 75234 304 Willow Street 214 233 5146 Austin, TX 78701 Robert L. Owen, MD 1913 Chora1celo upr p1yr Donald R. Huene, MD 1913 Howard upr player 3878 17th St. with electromagnetic 7429 N. Valentine San Francisco, CA 94114 harmonics Fresno, CA 93711 415 626 5439 209 431 1639 L. O. Trego De Rivas and Haines upr M. K. &Betty Huff Kastner autopiano upr 817 Main player 1746 Maux player themodist (2); Woodward. OK 73801 Houston, TX 77043 Hoffman upr player 405 256 5388 713 461 8718 themodist Jan &David Patterson 1924 Steinway upr Welte Dr. &Mrs. Le Roy Krause 1900 Wurlitzer Pianino 4691 College View Ave. Mig. Lie.; 1928 Marshall & 2l2!z N. Main St. upr nickelodeon; 1908 Los Angeles, CA 90041 Wendell 5'4" Mediterranean Mitchell, SD 57301 Lyon &Healy military 213 255 6765 Ampico A; 1928 Gulbransen 605 996 3734 band organ upr p1yr; misc. music boxes

- 112 - WANTED: AMPICO or DELUXE roll of song "WAS THAT THE FOR SALE: 1923 George Steck Duo-Art, Serial num­ HUMAN THING TO DO?" (Fain). AMPICO #213951. DE­ ber 66119. Piano professionally restored, player LUXE # unknown, probably Y-75565. Contact: Peter rebuilt except for stack. Good playing condition. Mintun, 2647 Pine Street, San Francisco, CA 94115 Excellent condition, original walnut case. Asking $3500, will sell or trade for another instrument. DUO-ART upright reproducing piano made in 1933 by Jim Williamson, 794 Dunwoodie Drive, Cincinnati, Wheelock. Duo-Art mechanism beautifully restored, Ohio 45230. AC 513/231-2469. piano action regulated, mahogany case refinished. Must be heard to be appreciated. $2400.00 with 39 FOR SALE: Aeolian Duo-Art reproducing grand, late classical and popular Duo-Art rolls (all good). Jim model Art-Deco style. Refinished, restrung, com­ Prendergast, 1040 Oakview Drive, Cleveland, Ohio pletely rebuilt. Unrestored Seeburg "C" nickel­ 44143. Phone (216) 442-4779. odeon, perfect art glass. R. Jensen, 811 Warwick Aveenue, Warwick, RI 02888. Telephone (401) 781­ FOR SALE: 188 Ampico "A" rolls. Excellent selec­ 2037. tions. $850.00 Send for list of titles and des­ cription of conditions. Piano Lodeon with 3 rolls, WANTED: 22" Victor 3 Horn. Will consider trading $125.00 Rol1monica with 3 rolls $60.00 Robert a "Little Wonder" disc machine with 50 records. Baumbach, 21520 Velicata St., Woodland Hills, CA Terry Smythe, 71 De Bourmont Bay, Winnipeg, Manitoba 91364. 213-884-6924. Canada, R2J lK2

WANTED: WURLITZER 5 AND 10 TUNE NICKELODEON ROLLS FOR SALE OR TRADE: Pipe organ, approx. 1915, maker AND CALIOLA ROLLS. PAYING $30.00 EACH FOR ANY unknown at present, electric, 3 keyboards, 10 ranks, CALIOLA ROLL I CAN USE. WANT ANY WURLITZER ROLL 6 chests, 46 stops, 20 couplers, 30 note pedal CATALOGS. E.J. Sprankle, 1768 Leimert Blvd., board, 20 note chimes, fair to good unrestored con­ Oakland, CA 94602. dition, . totally disassembled; blower, reservoir, some metal pipes and some case parts missing, valued FOR SALE: 23 Welte Deluxe rolls, popular and clas­ at $3000; would prefer trade for large disc box, sical. Excellent condition. $100, or will trade nickelodeon, or reproducer. What offers? Terry for Ampico popular rolls. Large oak piano roll Smythe, 71 De Bourmont Bay, Winnipeg, Manitoba, cabinet, $60.· David Schultz, 720 Caledonia, Dubuque Canada, R2J 1K2 (204) 253-5917. Iowa 52001. FOR SALE: 1919 Welte-Mignon Reproducer; in 5'6 Hazelton Grand WANTED: Artrio-Ange1us piano rolls and roll Cab. Exquisite French styling. Action perfect, Cab. orig. & perfect. catalog. Winston A. Jones; 20 Apollo Road., 60 Welte rolls incl. Stevens Music, 1202 Lincoln Ave., San Jose, Tiburon, CA 94920. Collect calls accepted 415­ Calif. 95125 - Ph. 408-295-7013. 435"':1727. ~J}J{f~J}J{f~J}J{f~~~J}J{f~

. ) ~ WE'VE MOVED! ~ To a Fantastic 26.,OOO-Square-Foot-Building!

We've moved! Yes, we outgrew our old premises (at 17l7A Stanford Street, Santa Monica, CA 90404) and have moved to a huge ~ 26,000-square-foot building located in Irvine, California, a 20-minute drive south of Disneyland. Please note that effective immediately ~ we have a new address and telephone number as listed on the bottom of this page. The old address has been completely discontinued. American International Galleries thank YOU for the tremendous sales volume and interest which has made this possible. Every day music boxes, nickelodeons, and other instruments are constantly coming and going to and from all parts of the world. We have become ~ the world's largest wholesale dealer in instruments--and we are grateful for your patronage in this regard. ~ We invite you to visit our new building--a wonderland of treasures. Priced and on view are hundreds--yes, hundreds--of automatic musical instruments, including disc and cylinder music boxes, nickelodeons, orchestrions, reproducing pianos, circus organs, PL US countless music rolls, discs, and accessories. ~ Also priced and on view are hundreds of wonderful antiques--cabinets, sideboards, tables, room sets, antique prlntmg presses, ~ antique mechanical gadgets, glass, paintings, and 1,001 other things--all at WHOLESALE values. Our antique business is nearly all to the trade--so if you are an antique dealer you won't find a better source anywhere! And, that's not all: we are setting up a wonderful educational display of oldtime automatic musical instruments--featuring the fabu­ ~ lous Taj Mahal, a 10Hey Mortier organ (which measures 24 feet wide by 18 feet high by 15 feet deep, which weighs several tons, and ~ which is decorated with hundreds of lights, several life-size carved statues, and so on. It has been featured on the front cover of "The 4 Antique Trader" and is the world's most ornate automatic instrumentO, the symphonic Weber "Maesto" orchestrion which imitates with equal ease a jazz band or symphony orchestra, the Wurlitzer style 30-A mandolin Pian Orchestra orchestrion which once delighted patrons of Laura Evans' well known "sporting house" in Salida, Colorado, the expressive Ampico model Breproducing grand piano, and 1 other treasures. Come to see, hear, and enjoy them. This is a visit you will remember for the rest of your life! ~ Just released: our beautiful new catalog No.6 which features automatic musical instruments of all kinds. You've never seen another catalog like it! Send $2 for your copy (which a limited number last). Or, send $10 for a subscription to the next 6 issues. ~ We can also supply the seven pound, l,008-page illustrated "Encyclopedia of Automatic Musical Instruments" for $30 postpaid--­ ~ the standard reference book in the field. Over 7,000 copies have been sold. Satisfaction guaranteed. Interested in old time nickelodeons, music boxes, circus organs, and other automatic instruments from the past? Then get acquainted ~ with American International Galleries. There is nothing like our firm anywhere else in the world! ~ ~ ~ AMERICAN INTERNATIONAL GALLERIES, INC.

~ Managing Directors: Bonnie Tekstra and Terry Hathaway ~ 1802 Kettering Street Irvine, California 92714 ~ Telephone (714) 754-1777 ~ ; ~

cJ1{f~cJ!lfV~JIr~cJ!lfV~JIV~~JQ ~~~~:==::=::::~~l~ ~ ~ W,'" i"l m,,,d to , ''''''ti' ",w 26,000 ""m "ot b'i1dl', ''''tod ;, ''';"', c,n"";,,, ,,;'k 15 ml,"to d,;" to,th 'f )( Disneyland. Business has been so great around here and we have acquired so many new things that we outgrew our old Santa Monica )(

)( premis~~rP:::ebnU~;:i:;riSn:w:odnd;::I:~:do:e~er:::unr:s~u:i::~a:ng~v:: ::e:ea:o~::r::st~~::~e:::~eed:~_Ofautomatic musical in- lX struments, including disc and cylinder music boxes (over 500 of these alone!), nickelodeons, orchestrions, reproducing pianos, circus organs, PL US countless music rolls, discs, and accessories--not to mention hundreds of antiques such as sideboards, room sets, walnut and oak ornate cabinets /ideal for storing music rolls!!, and so on. And, that's not all: we're setting up a beautiful educational display ~ of automatic instruments--featuring the fabulous Taj Mahal101 key Mortier organ (measuring 24 feet wide by 18 feet high by 15 feet deep and embellished with hundreds of lights, life-size carved statues, etc.1, the wonderful Weber "Maesto" orchestrion which imitates with equal ease a jazz band or symphony orchestra, the Wurlitzer style 30-A Mandolin Pian Orchestra orchestrion which once delighted l patrons of Laura Evans' well known "sporting house" in Salida, Colorado, the expressive Ampico Model B reproducing grand piano, and others. We invite you to come see, hear, and enjoy them! ~ MOVING CELEBRATION SALE! To celebrate our great new building and showroom we will give you a nice bonus with any purchase made from us--either by mail, telephone, or in-person visit--during the months of May and June 1976! If you are like most )( collectors you have on hand a copy of our recent catalog #6. The response to this catalog has been superb, but there are still many )( )( great items left. Dig out your copy and send us your order! What type of bonus do I get? It will be a surprise! Depending on our margin X of profit in the item you order it may be something like the following: free delivery of a disc or cylinder music box to any address in ~ the U.S.A.; an armful of extra rolls for a reproducing piano; a cash discount; or something else like this! Our low, low prices will be even greater values with our extra SURPRISE BONUS! or, if you want to know the bonus in advance, write or call and let us know which instrument(s) you want to purchase and we'll tell you! ~ Thank you again for your fantastic response to our recent catalog. By the way, if you do not have a copy of our new catalog #6 your personal check for $2 will bring you a copy by return mail (while a small number lastl, or you can subscribe to our next 6 issues for just $10. Complete satisfaction is guaranteed. We appreciate the patronage which has enabled us to move into our huge new l headquarters. We pledge you the same quality and service as in the past: accurately described instruments and prices you will find to be .",--" excellent wholesale values. Shipments are constantly leaving here for all parts of the world--to European dealers, to Japan, to Canada, ~ to dealers and collectors all around the U.S.A., and so on. Get on the bandwagon and order an instrument or two--and a shipment will be on its way to you soon! j ~)()(~ C

( Important Instruments Now Available ) Listed below is a sample of our current stock. As space does not permit detailed descriptions, further information will be sent on request. Polaroid snapshots of any item are available for $1, refundable with a purchase. All items are offered subject to prior sale and l f.o.b. Irvine, California. ~ 1. Mason & Hamlin Model B Ampico reproducing grand piano. Superbly restored and refinished. An outstanding specimen of the most desired type of reproducing piano. 5'8" long. Gorgeous mahogany case. A similar model in unrestored condition recently sold for $16,500. This beautiful instrument (restored by Barden & Clark) is just $19,500.00 ~ (Stock No. AMP-0976) 2. Haines Brothers Ampico B reproducing grand piano with B stack and drawer; A expression. Circa 1929. Art styl e carved legs. 4'8" long. Choice unrestored. . $ 5,495.00 ~ (Stock No. AMP-4006) )( 3. Bruder fairground organ. Elegant 52 key model with 8 rolls. Decorative top crest missing (easily replacable) otherwise choice )( )( (;;:~~or~~: ~I~~f~3~y 8'3" wide by 3'2" deep. First check owns it at $ 9,700.00 lX

4. Steinway Model XR Duo-Art reproducing grand piano. A superb instrument which has been refinished, restrung, and restored to perfection by Carty Piano Co. 6'1" long. We've just acquired it and offer it for net, net $9,950.00. If unsold we will raise the price by at least $2,000, for an East Coast dealer recently sold a similar instrument for $13,250.00. Net: ..... $ 9,950.00 ~ (Stock No. DUO-0623) 5. Steinway Model XR Duo-Art reproducing grand piano. Mahogany. Just as received from old time mansion. Choice unrestored. ~'-_ With original group of 172 rolls! Price with the roll collection: $ 5,995.00 - Price without the rolls: $ 5,395.00 ~ (Stock No. DUO-0977) )(~~)(X~~)(X~~)(X~~X )(~~)()(~~)()(~~)()(~~)( ~~:::d"~':::':=~.' ~~~~"~'." ."~d ~~ .;~ ~"~h. ~~ .~':' '~~. S~p ~b'~V ~ ~ ~It'. ~'"~H$" :'~9~'~i C 6 •. •• ..m. •. ..Wlth ~J J (Stock No. HUP-0164) 7. Hupfeld Phonola grand player piano with nice library of rolls. In ronisch ebony case. 6'7" long $ 2,495.00 ~ (Stock No. HUP-0165) 8. Lochmann "Original" upright disc box with tubular bells. 3'9" high by 2'7" wide by 1'4" deep. Superb tone! Some repair ~ needed to bells. Ornate decoration on front glass. $ 2,995.00 (Stock No. LOC-0137) ~ 9. Losche Jazzband orchestrion from the late 1920s. Piano with orchestra cabinet on top. Missing a few small parts; otherwise ~ choice unrestored. 7'5" high by 5'5" wide by 2'10" deep. Tracker bar is 9 holes to the inch so can be adapted to "0" rolls, etc. ~ The last time we offered one of these we had a half dozen orders for it. First call or letter reserves it at just . . . . $ 4,995.00 ~ (Stock No. LOS-0159) ****************************************************************************** ~ * SPECIAL SERVICE: Any item purchased from American International Galleries can be reserved for you for just a 10"10 deposit. Take advantage of our convenient time payment plan which allows you to pay in easy monthly installments for up to two years. In that way you can buy that Special Instrument at today's price--not tomorrow's. Write or call for complete information! ~ ****************************************************************************** )( )( ~ K ~ 10. Olympia disc music box. Table model. 15%" discs. Need new dampers. Has very nice tone and appearance $ 1,495.00 ~ (Stock No. 0 LY-0090l 11. Polyphon upright disc music box with 16 bar-type orchestra bells. 22" disc diameter. 3'8" high by 2'5" wide by 1'4" deep. ~ ~ Needs cleaning, refinishing, regulation, and minor work, but basically a very nice specimen of the most superb disc type music ~ boxes ever made. The largest regular Polyphon box with bells. These have been bringing over $5,000.00. Net ... $ 3,750.00 (Stock No. PO L-Ol 04) 12. Polyphon disc box with 12 bells. Table model. Uses 36cm discs. One bell strike is broken. Inexpensive at: $ 2,195.00 (Stock No. PO L-0133) 13. Western Electric nickelodeon piano. Cabinet style with xylophone and with the ingenious Selectra tune selecting device. Piano ~ part plays nicely. Choice unrestored. 5'1" high by 3'11" wide by 1'11" deep. Beautiful quartered oak case with art glass. Very beautiful! Should sell instantly at just $ 6,495.00 (Stock No. WES-0626) ~ 14. Style 62 Polyphon hall dock. Uses 15%" discs. 7'6-*" high in black oak case. . $ 4,995.00 (Stock No. POL-1113) ~ 15. Regina Musical China Closet. Style 335 with automatic disc changer. Art glass front. One of just 11 instruments made and one of just 2 known to us to exist today. Superb restored condition $13,995.00 (Stock No. REG·4015) ~ 16. Elegant Symphonion Grandfather's Clock. Style 30ST. Uses 13-5/8" discs. Superb walnut case. This is one of the most out- standing. musical clocks we have ever seen in any collection. An item for the connoisseur! $ 5,995.00 ~ (Stock No. WYM-7776) 11. Ornate Barrel Orchestrion by Warnies of Amsterdam. 7'10" high by 8']" wide by 2'8" deep. One of the most beautiful such instruments we have ever seen. Choice unrestored. . $ 3,295.00 ~ (Stock No. BAR-8421l )( 18. Beautiful Cremona nickelodeon piano. Style 2 with art glass front. Choice unrestored. . $ 3,995.00 )( ~ (Stock No. CRE-1039l )( 19. Hupfeld Model "AU Phonoliszt-Violina with duplex automatic roll changer. Stores 12 rolls and changes them automatically. ~ Choice unrestored. One of just 2 specimens known to exist. . $ 2,995.00 (Stock No. HUP-4003) 20. Hupfeld Hilios Ic/31 Classic orchestrion in beautiful art style cabinet. Nice unrestored condition. Needs some pipes and other ~ interior parts replaced, but basically quite sound and beautiful. Duplex roll mechanism. . $19,995.00 (Stock No. HUP-8849) ~ 21. Hupfeld Helios 11/26 orchestrion. One of just 2 specimens known to exist. Restored by us several years ago. Beautiful condition. Need Needs minor work today, but basically quite excellent. . $35,000.00 (Stock No. HUP-8851)

t~~~~K~~~K~~~K~~)( ~--:p=::=,=t:~;==:o:=::l ~ 23. Popper "Castle" orchestrion. Elegant classic case. 9'4" high by 6' wide by 3'4" deep. One of the largest and most impressive ~ orchestrions we've had.. , $12,995.00 (Stock No. POP-95071 24. Popper "Roland" orchestrion with animation effects. With automatic electrically operated peacock effect at top, motion picture scene on front, plus colored lights. Extensive instrumentation including xylophone, bells, pipes, piano, and percussion! Choice t~ ~;;;~~or~~: ~ri;~b;02') $15,995.00 ~ 25. Seeburg style X electric piano. Mahogany case. Choice unrestored. $ 2,995.1)0 ~ (Stock No. SEE-4017l 26. Weber Grandezza nickelodeon piano with xylophone. Superb Weber craftsmanship is unexcelled. Rebuilt several years ago but needs some work today. Quite choice. . $ 3,995.00 ~ (Stock No. WEB-55551 27. Welte style IV Concert Orchestrion. Superb classic instrument. Unrestored and with some pipes missing. Case refinished. Very ~ elegant! 10'2" high by 7' wide by 3'10" deep _ $14,995.00 (Stock No. WEL-77771 28. Western Electric nickelodeon piano. Keyboard style in quartered oak case with beautiful art glass front. Plays but has never been restored. $ 4,250.00 t (Stock No. WES-32231 29. Bruder fairground organ. 48 key size with ornate front...... •...... $12,995.00 ~ (Stock No. BRU-20061 30. Bruder fairground organ. Another 48 key style but of different facade design. Measures 7'4" high by 8'9" wide by 3'4" deep. ~ Bruder organs are among the best of all organs. Many of the large organs sold under the Wurlitzer name were made by Bruder. (Stock No. BRU·8362) $11,955.00

31. ~~%~~a~fe ~~~~~an.d~~h.O~~ ~a~r~r~~~d. ~r~.n. i~ .e~e~n~ ~~ .s~Y.le. ~a~e...1~'~': .hi.g~ .b: .1~'. ~i.d~ .b: .4:1.... ~e~~ ..~it~1~~:~~~~ri ~ (Stock No. LI M-32221 t '- ~ ~ X ~ Are you an active collector or dealer? Then consider American International Galleries to be your prime source ~)( )( for automatic musical instruments at wholesale prices. If you are not on our mailing list you are missing what we consider to be the best buys in the business today. References? Ask any leading collector, dealer, or museum in America and Europe. t Directors of American International Galleries: Bonnie Tekstra (President), Terry Hathaway, Q. David Bowers and ~ Claes O. Friberg (European Director). AMERICAN INTERNATIONAL GALLERIES, INC. tX ~ )( 1802 Ketteri ng Street )( Irvine, California 92714 ~ Our hours: Wednesday thru Saturday, 9 - noon, 1 - 4 P.M. ~ Telephone (714) 754-1777 t ~~ )(~~)()(~~)()((I,,---~--"~~)()(~~)( cli and mail or send reasonable facsimile FINAL REGISTRATION FORM 1976 AMICA MINI-CONVENTION June 25, 26, 27, 1976 Ramada Inn 3320 Range Line Joplin, Missouri 64801

(insert number) plan to attend the mini-convention in Joplin ----:;,----;:-::--::-::--on June 25, 26, and 27. Please return by June 1 to Bill Pohl, 702 East 24th Street, Joplin, Missouri 64801. Include $40.00 per person registration fee, less deposit if previously paid. Signature: _

MINI-CONVENTION EVENTS

Friday, June 25 12:00--5:00 Reg1stration, Ramada Inn Lobby 5:00--6:00 Social Hour featuring a cash bar and hors d'oeuvres, Ramada Inn 6:00-10:00 Tours through the homes of Bill and Billie Pohl Gerold and Linda Koehler Ron and Daryl Bopp 10:00 Pizza Party--Shotgun Sam's Pizza Parlor 2601 Range Line

Saturday, June 26 8:00--9:00 Breakfast, Ramada Inn 9:30 Bus leaves for Eureka Springs, Arkansas for tour of the quaint downtown area, surrounding area, and Miles Mountain Musical Museum. Lunch will be en route. Return to Joplin by 6:00. The buses will board in the parking lot of Ramada Inn at 9:00 a.m. 7:00 Cash bar, Ramada Inn 8:00 Banquet, Ramada Inn Burgandy Room

Sunday, June 27 9:00-10:00 Breakfast, Ramada Inn 10:00 Business Meeting Afternoon Homes open for anyone who missed tours Friday Evening. Participants must provide their own transportation.

COST: Cost of the mini-convention will be $40.00 per person. This covers all convention expenses except lodging. Special convention room rates at the Ramada Inn are as follows: Single--$16.12; Double $21.23; Double twins $23.12. All rates include tax.

LATE REGISTRATION FEE: Due to the advance planning required for meals and transportation, a late registration fee of $10.00 will be charged after June 1 in addition to the base charge for the convention. Please register early! ~~~~~~~~~~

DESPERATELY NEEDED: Set of pump pedals World's Largest Selection of for H.C. Bay action, narrow type - must fit through 12",11 wide case door. Have MUSIC BOXES! all pump mounted hardware. Need trea­ Music boxes l Nickelodeon pianos I Circus organs l Repro­ ducing pianos! Orchestrions l Hundreds of antique automatic dles, treadle frame, and connecting musical Instruments for sale at wholesale prices. Send $2 for linkages. Contact Soonest: John R. a fascinating large illustrated catalog. You've never seen another catalog like it! Satisfaction guaranteed. Or, send Grant, 12318 Kemmerton Lane, Bowie, MD $10 for subscription to next six issues. 207150 Phone (301) 464-2391 Over 500 Instruments are now in stock-the world's largest selection. Complete facilities for low cost shipping to you from our Ame~ican or European warehouses lour European office is directed by Claes O. Friberg, Mekanisk Musik Muc,eum, Vesterbrogade 150, Copenhagen, Denmark). Our NOTICE TO ALL ADVERTISERS: network of buyers in America and in Europe give you the best selection at lowest prices -- there are no middlemen or agents to pay. It is no wonder that we are America and THERE WILL BE NO ISSUE OF Europe's main wholesale source. THE AMICA BULLETIN IN Our California showroom is open Wednesday-Saturday AUGUST. 9 A.M. to noon and 1 to 4 P.M. Visit us the next time you are In the Los Angeles area. A wonderland of instruments awaits you l We can also supply the seven-pound, l,OOB-page THERE WILL BE A JULY ISSUE illustrated "Encyclopedia of Automatic Musical Instruments" for $30 postpaid - - the standard reference book in the AND THEN PRODUCTION WILL field. Over 7,000 copies sold. Satisfaction guaranteed. RESUME LATER FOR THE SEPT­ For the best deal In buying or selling automatic musical instruments think of us. Directors of American International EMBER BULLETIN. Galleries are: Terry Hathaway, Claes O. Fribf'rg, Bonnie -'£kstra, and Q. David Bowers. ~~,,~AT!04' PLEASE ADJUST YOUR SCHEDULES AMERICAN INTERNATIONAL ~.• ~"T~J'~~:"~. GALLERIES <;...... ~IM(~:-~JQ ACCORDINGLY. "( ..~, -41)'7 I HO:! Kdl"rml( ~Ired u~ ,;.: - ..';t"'" Inilll'. Calilornia 9:!71Il.~.\. ~~h~~ ffi ThanQ You 'l'plt'pholle (71·t) 754-1777 t-~~" ~~~~~~~~~~828~

MECHANICAL SYSTEMS INC, • SI LUBBOCK, TEXAS ~eissues ~~~~~~~~ OrlGlhestlrJll Olm Co IDn:I~!l{(lIDVen ts AMPICO *AMP-I027 HAPPY DAYS ARE HERE AGAIN Played by Victor Arden tAMP-I028 HUNGARIAN DANCE and SllpJr»li!es Played by Marguerite Volavy DUO-ART

*DA-I027 HAPPY DAYS ARE HERE AGAIN Played by Ralph Addison 'IIO.'J Sf-!IPPINC A TEST .:10LL FREE

P. O. Box 1094 Q·R·S MUSIC ROLLS, Inc. Tel. 716 - 885-4600 lubbock, texas 79408 1026 NIAGARA ST.-BUFFALO, N.V.14213 WHEN YOU ORDER - WHEN YOU BUY - WHEN YOU PLAY YOU CAN DEPEND ON PLAY·RITE MUSIC ROLLS Play-Rite Music Rolls, Inc. is owned by, and operated under the personal supervision of, Elwood L. Hansen, an active member of the Founding Amica Chapter and Chairman of the Board and Chief Executive Officer of Bay View Federal Savings and Loan Association, San Francisco, California, the 68th largest savings and loan in the United .States. In addition to his trusteeship for the California Bodies of the Scottish Rite, Cogswell Polytechnical College, Better Business Bureau of San Francisco, San Francisco Guild for Crippled Children and Adults, Salvation Army, Red Cross and many other civic groups, Mr. Hansen is on the Board of the San Mateo Chamber Music Society and a guarantor of the San Francisco Symphony Association, Civic Light Opera, and Spring Opera. Mr. Hansen's interest in music rolls and reproducing pianos began about 15 years ago when he restored a Weber Duo-Art. He now has in his living room a Chickering Ampichron, an Art Case Steinway Duo-Art, and a Knabe Ampico. So you see, when you deal with Play-Rite Music Rolls you are dealing with a man of proven personal integrity, business stability and reliability, and love of music. PLAY·RITE MUSIC ROLLS -A PRODUCT OF PROGRESSIVE EXPERIENCE

BULLETIN Nonprofi t Org: rom Beckett u.s. POSTAGE AMICA Publisher PAID AUTOMATIC MUSICAL INSTRUMENT COLLECTORS ASSOCIATION Addison, Tx. 6817 Cl i ffbrook Dallas, Texas 75240 Permit No. 19 DATED MATERIAL

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