(I Jnfernafionaf JlJRJ8Jl

SEND IN YOUR SUGGESTIONS FOR RECUTTING BY NICK JARRETT Mieczyslaw Manz, 75, Is Dead; I know many of us have a pet roll or rolls we would A Concert Pianist and Teacher like to see recut. I took this matter up with . Mieczyslaw Munz, a fonner major, the Brahms concerto in Elwood Hansen, owner of the plant at Turlock. He concert pianist who appeared D minor and the Franck Sym­ assured me that there is no exclusive contract to ~ith many of the.world's lead- phonic Variations. prevent such a project, and suggested that I might 109 orchestras, di~ yesterday Mr Munz made his solo of a heart attack 10 an ambu-' . co-ordinate requests from the membership. Please lance as he was being taken to debut at Aeoli:an, Hall 10 New write and let me know what ~ would like. hospital from his home at the York on Oct. 20, 1922. The Ten Park Avenue Hotel. He New York Times review called was 75 years old. him "an absorbed artist, under It has been suggested that special attention be Mr. Munz, who taught at the whose hands mere tricks and given to the type of rolls that seldom appear on Juilliard School for 12 years, graces of piano playm'.. fall was scheduled to return to the . • lists of recuts: PIANO music played by the great Juilliard School next month, away as chips from the sculp- artists of the reproducing piano's heyday. This is after a sabbatical year of teach- tor's chisel, wbliIe he lays ~are iing at Giebel University in the larger curves of sustamed not an attempt to put AMR or Klavier out of business, Tokyo. ' melody and inlier meaning." rather it is to see if there is a demand for the He was· the ooly teacher of He played two other recitals Emanuel Ax, the first winner that year, then J.Ilade his or· beautiful performances of the past. of the Arthur Rubinstein Inter· chestra debut With the New national Piano Competition, York Symphony. He played a held in Tel Aviv in 1974. Mr. Ax Town Hall recital in 1938. Please send your suggestions to: studied with -him from 1964 Mr. Munz was much in de­ Nick Jarrett to 1975. Ann Schein. Walter mand into the 1940's as _ 3622 21st Street. Hautzig lIolld EUgeJle Indjic had soloist, appearing with the also studied with Mr. Munz. Philadelphia, Boston, '-8t. Louis, San Francisco, CA 94114 Born in Cl'lIco"'. Poland. Mr. Cincinnatoi and Minneapolis Munz studied at the Vienna S~phonies regularly. under Academy of Mus,ic and Berl·in such conductors as Koussevlt­ Hochschule fur Musik. One of sky, Walter, Reiner. Goossens his teachers wu Feruccio and de' Sabata. Busoni; _ In Europe. he performed un' For his- debut In 1920 wIth der the direction of MeDlelberg the Berlin SymphoiIy. he per· and Gabrilowltch.His tours FROM THE PUBLISHER formed the feat of appearing took him frequently to the in three major works: the Orient, Australia and all 'the Liszt oiano concerto in A music capitals of Europe and NEEDLEWORK PROJECT: Please be reminded of our needle­ - Latin America. work photo request in the August-September BULLETIN, In 1~1, he~rtormed in ~~ with the National (page 153). I hope to receive enough photos to run THE NEW YORK TIMES, Orchestral AIeociation undec­ a "Needlework Special" in the Christmas issue. Leon Batzin. THURSDAY, AUGUST 26,'.76 In addition to his, teaching at JuilHard, which began In POSTAL EXPENSES: In these recent months of extra­ 1963, Mr. Munz had'taught ear· lier at the Peabody Conserva· weight mailings ( Bulletin + membership directory, tory of Music in Baltimore an4 44-page Convention special) it becomes even more at the Curtill Institute in Phila- Contributed by Dan Schacher delphia. He also taught for_a: evident how much it costs AMICA to get your BULLETIN yea.r at the Manhattan School to you when yoi have moved without notification. A of Music. returned (with postage due) and remailed copy can Th_' are no immediate sur·' vivors. He was married briefly cost more than $1.20 for the "turnaround." Remember, Mr. - Munz was an honorary in 1932 to the former Amiela 3rd class is not forwarded by the PO unless you spe­ member of AMICA. Mlynarska, now the wife ol Arthur Rubinstein. cifically request it and agree to pay the cost. A funeral service will be held Please help - notify Anita and me of any changes in at 2:15 P.M., today at the Riv· erside Chapel, Amsterdam Ave­ address promptly! nue at 76th Street.

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 charges. 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; AM ICA Bulletin, arranged and indexed into Green Tree Drive, Sacramento, CA 94823. 1975 bound, $18, PRICES INCLUDE 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: DUD-ART, Autl\enti~. 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 with to AMICA members and chapters. For more Jarrett, 3622 • 21st 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.

- 112 - Jnfernafional JlJKJeJl '---to. .

AMPICO AAMPICHRETTE BY RICHARD M. TWICHELL This idea is so simple I hesitate to mention it, but on the other hand, it is so effective that I can't resist. Like other Ampico A owners, I have long harbored a secret envy of those lucky or well-heeled Arnica bretheren who can with their model B Ampichrons, enjoy the delights of their pianos automatically, at pre-determined intervals. Most of all, I wanted to hear the piano, in bed, before arising. A partial solution was to place an appliance timer between the piano plug and the wall outlet. This is the low-cost clockwork device normally used to switch the house lights on and off in attempt to fool the robbers when you're away on vacation. Operating on a 24 hour cycle, it employs 2 tab stops to activate and de­ activate a self-contained electrical outlet.

I set the timer to turn on at wake-up time, usually a genteel 9 A.M. in my case. Then, it's just a mat­ ter of putting a roll on the piano and setting it to "play" before going to bed. Of course, the piano is usable in the normal way throughout the day, as the timer is still "on." I set the "off" tab at 11 P.M., which, out of consideration for the neigh­ bors, is my self-imposed piano curfew. This, in­ from PVC drainage and clear plexiglass plastic stock cidentally, is an added benefit: any late-night by the owner-inventor-builder, Melville McBride, who revelers or poker players who might be around are was kind enough to show us the "guts" of his instru­ effectively prevented from "tossing on a roll" at ment as well as explain the building and operation 4 A.M. while I'm out in the kitchen baking petits of the pipe-work. fours. Since the unit was not hooked up to its blower at the Picking the right roll for the first tune of the day time, we are unable to report on its musical capabil­ seems important; it tends to set the mood for the ities. Perhaps it's just as weI I as Melville advises morning. I would not venture to make recommendations, us the keyboard operator must wear earplugs while as it is a subjective matter involving the personal­ playing the call iope! ity and aesthetic nature of the wakee. The nickel­ odeonesque "Holzman March Medley" (Ampico 58127 ­ available from Frank Adams in recut) works well for me.

Two things to remember: (l) Set up the roll after shut-off time, or it will of course play immediately. (2) Don't fail to switch from "rewind" to "play", or you will wake up to the sound of rewind end tab flapping, which is almost as boring as waking up to a clock radio babbling out 24 hour news and weathe~. - AHDIFFERENT HAIR CALLIOPE BY TOM BECKETT Whi Ie taking a quiet, late-afternoon stroll in a residential section of the California costal town of Aptos this past July, Carole and I noticed a local resident preparing to load a calliope into his van. I decided that this particular instrument deserved a closer look as it was obvious that this calliope was a little different - it had plastic whistles!

These beautifully machined and fitted pipes were made

- 173 - Is It Possible That the Whole P.D. Q. Bach fJl'hz·n·g T a u ' x.Q Book WQrld .I J .l~ £.1 ~ I' THE DEFINITIVE BIOGRAPHY OF P.D.Q. BACH S oa (1807.1742)? By Prof. Peter Schick~le (Random House. 238 PO). 18.95)

7Ne PANDEMONIUM ~ .-...... 1> .. ~,

a

The pandemonium, left, the sound of which was described as "ear· shattering and very loud," by P.D.Q., and an unfinished keyboard piece employing invertible counterpoint, above.

disjointed life; a discography (there have been, rather remarkably, six rec. ords devoted to his music) and even a photo that purports to be that of his From the May 26 skull-plausible only because there is practically no cranial capacity. WASHINGTON POST. The story Schlckele tells is a tall· gled one of deprived youth and pre­ Contributed by mature, sodden old age. From his fa· ther's estate, young P.D.Q. inherited John R. Grant. del' whether there was not a Schickele only a kazoo. which he used ill several By Joseph McLellan in Leipzig in the early )740s ready to compositions. He became involved in One hesitates to question the fidel· catch Anna Magdalena's eye during some dubious schemes. including one ity of Anna l\lagdalena Bach: old Jo· a moment of weakness or temporary to fashion a series of locks for all the hann Sebastian may have been diffi· pique. On the whole, I ftnd that un· cult at times, but he was a good pro· thinkable and I tend to favor yet an· major and minpr keys, and pher happen to be there, his foisted on the public as 't,r~veled l~aded read~, videI' and (if their 13 children can be other explanation. (Pause for em· a lot, partly because cahmera aJ.ld another "P.D.Q. Bach" com· taken as evidence) often affectionate. phasis.) he was seldom welcome any. w eJ.l Schl~k;le hfted thIS position and then someone Still, one cannot help wondering at It is time that scholars began serio where for long, until he .pa.rtIcUI~r hd..The answer,.I explained to him that a coth. the paternity of the last and least of ously to examine the possibility that .~ttled in the alcoholic little thmk, IS ~bVlOUS. And It poser supposed to have died the Leipzig cantor's scions, the be· the whole P.D.Q. Bach business is a village of Wein-am.Rhein l~ads to stIlI further ques· in 1807 could not have bor. latedly and on the whole unfortun· hoax; that not only the music shakily where grows one of the most tIons. H~S anyone ?ther rowed from Brahms and ately renowned P.D.Q. Bach. attributed to him (and of universally robust wines in' all of than Schlckele ever dlscov· Tchaikovsky, who were born UUimately, the question boils down dubious provenance) but even the J:;utope, the famous Leap. ered a P.D.Q. Bach in 1833 and 1840. to this: Could the composer of documentation of the composer's life frogmilch. manuscript? For that mat. Amazingly, Schickele has "Wachet auC" and "Gott, del' Herr, has been contrived (elaborately; cun­ There he spent his nlost tel', has anyone Ibut Schick. managed to fool both Ran· ningly) to deceive a gullible public creative years, now )t~wn ele ever seen one? Has the dom House and Vanguard ever eager for new marvels. as the Soused Period, aild he paper of these manuscripts Records, two firms that, un· Book World I realize what a shocking suggestion mIght have sunk into ,a suit· been examined for water. til now, had impecca6le rep­ this is: In recent years, with one sen· able oblivion without the marks, as was done so fruit. utations for intelligence and ist Sonn' und &hild," not to mention sational discovery after an other iQdefatigable researches of fuIly with the manuscripts integrity. (All six records in' the "Brandenburg Concertos' lind ("The Seasonings"; "The S ton e d &hickele and his colleagues of the elder Bach? Has the the P.D.Q. Bach discographY "The Art of Fugue," have sired the Guest"; "Iphigenia in Brooklyn"; "The fl'om the Un i vel's ity of ink's chemical composition have been issued by composer of. the opera "Hansel and O.K. Chorale" and other parts of the Southern North Dakota at been tested to verify its Vanguard: the first four are Gretel and Ted and Alice," the "Con· "Toot Suite" from which it is taken; Hoople, whose pic t 11 r ..~ s age? The answer in every conveniently epitomized on certo for Horn and Hardart,," the even the "Schleptet in E flat"), the (along with miscellaneous case Is "no." Schickele talks "The Wurst of P.D.Q. Bach," "Erotica" Variations and the "Per­ name of P.D.Q. Bach has become a btic·a·brac associated with of beer marks on th,e paper, VSD·719·20: ~:wo recor~: vertimento for Bagpipes, Bicycle and household word comparable to the the composer) occupy a dis· but that is not at' all the ~nd th~ la~~st DIscoveries, Balloons,"? Anyone who 'has heard the names' of Adriano Banchieri or Karl proportionate space 1'1 this same thing as a watermark. mcludmg Hansel and" Gre· music will be inclined to doubt it. The Ditters von Dittersdorf. Yet how book turning what might The most convincing argu. ~ tel and Te~ and Ali~e . and alternative is to call into question the flimsy is the whole structure! , . . h the "ErotIca" VanatIons, power of both heredity and environ­ .In "The Definitive Biography," Pro. have been a scholarly effort ment, to my. mmd, IS t e can be heard on VSD.79335 into a mere coffee·table pro· fact th,at Schlckele already as performed by .the Semi. ment. fessor Sehickele finally puts all his .. stands exposed as a shame· ., There are other bits of evidence cards in the table, with a lavish criti­ duchon. less lag·arlst. th t' Pro Muslca Ant'lqua.) But he suggested in "The Definitive Biog· cal.and photogenic apparatus purport· o f the key PI, e no 01'1' has perpetrated this fraud raphy of P.D.Q. Bach (1807·1742)?" by ing to tell all about the fabulous com. "do:uement~" is a photo of ous :'u:nbegun" Symphony long enough. The time has Peter Schickele (Random House). Can· poser: portraits of P.D.Q. and his Prof. Schickele "finding" a (conslstmg of. only a la~t come to call his bluff,. and it sidering the uncanny resemblance be· cronies; maps; photocopies of scores P.D.Q. Bach manuscript in a movement), ~hlch he has I.S· is hereby called. Come .../ tween P.D.Q. Bach in the only sUl'vi· and documents; a family tree, includ• b '1 (th t sued under hIS own name, IS clean Schickele The glgue . ing portrait and Professor Schickele. ing accounts of his (all illegitimate!) gar age pal e mos co~· virtually an anthology of" . his discoverer and (the word is not descendants; a brief and rather dis. II\Qn . source of thiS great themes from romantic IS up. too strong!) exploiter, one many won· joil'ltedaccount of his brief.and rather matenal). B.ut, one well may music. My theory is that he ask, how dId the photogra- wrote it originally to be

- 174 - c!lmica Jorum ,..

RICHARD STRAUSS - ROLL RESEARCH 424 E. Ash St., Perry, FL 32347. BY PETER MORSE I am 1n the process of compiling a complete d1scog­ raphy of the recording of the composer, Richard Strauss, for publication by the Association for Re­ corded Sound Collections. My intention is to include both his disc recordings and his reproducing piano rolls. Information on the discs is just about com­ plete. There remain, however, some gaps in my know­ ledge of his reproduc1ng rolls. I would be extremely grateful if anyone could help with further data, and any such help would be acknowledged in print.

Strauss made rolls for Welte, Hupfeld, and Ampico, probably in 1905, 1914, and 1921 respectively. So far, I have identified the following rolls in catalogs of these companies:

-Welte 1182; Salome (Fragments) / 1183: Salome's Dance / 1184: Helden1eben, Love Scene / 1185: Feuer­ snot, Love Scene / 1186: Auf Stillen Waldespfad / 1187: An Einsamer Quelle / 1188: Intermezzo / 1189: Reverie (Traumerei).

These are all compositions hy Strauss, played by Strauss. I strongly suspect that rolls 1190 and 1191 are also by Strauss, but I have no confirmation. I would certainly appreciate identification of them, Strauss or not. Wayne and a fellow player enthusiast, Ed Kelso, at a player piano party at the Finger's. -Hupfeld "Anima tic" rolls no. 54852 I: ~hnuet (Ariadne auf Naxos) / 54853 III: Music from Act II (Ariadne auf Naxos) / 54857 ITT: Ein Heldenleben, Love Scene / 54858 III: Joseph's Legend, op. 63.

I would appreciate knowing of any other rolls by Strauss, particularly the possible filling of the gap of 54854-54856. Has any reader actually heard these rolls?

-Ampico 6025lH: An Finsamer Quelle / 60301G and 60351G: Zueignung (accompaniment only) / 60431G and 60441G: Allerseelen (accompaniment only) / 60561G and 60571G: Traum Durch die D~mmerung (accompaniment only) / 1291G: Zucignung (transcription for piano solo).

Again, does anyone know of more Ampico rolls by Strauss? Has anyone heard these? Please contact: Peter Morse, 2938 Laukoa Place, HonolulU, III 96813.

INFORMATION WANTED BY G. WAYNE FINGER I recently bought a Macey and Kamp standard 88-note upright grand. The only identifying mark I can find on the action is the words Kurtz Action Co. in super Wayne working on the Macey & Kamp. small lettering at the bottom of an award decal in the spool box. Can anyone give me any information on the Kurtz Action Co.? Especially helpful would be a service manual. Thank you. G. Wayne Finger,

- 175 - SCRTBNER'S !lfAGAZINE ADVERTISER.

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Frank Adams ~olls and Jf{usio

BAND ORGAN TRACKER SCALES 17 -G >1'1\...- aeeomp. etd. 36 - E BY DON TEACH 37 - F 38 - FII These scales are complete as I know them and were 37 - F taken off organs at Tom's Mechanical Music Wonder­ 38 - F# land, Manly, Iowa. I hope these will be of some 49 - ? I don't know but 39 - G help to other Amicans and by no means considered believe that 49 40 - A law for scales. Different organs may use the same is cancel for the 41 - B roll with some small changes. By the way, I need bells. 42 - e the 82 and 87 key scales for Artizan organs should 43 - ell anyone care to help. 50 - play 44 - D 51 - bells 45 - E 46 Key Artizan Military Band Organ - roll 6 5/8" 52 - rewind 46 - F wide, spaced 8 holes to the inch. 47 - FII 48 - G 1 - trip or off 21 - G) 2 - bass drum 22 - A) 65 ~ and &..§. Key Artizan or B.A.B. Organ - roll 3 - snare drum 23 - Aft) 9" wide, holes spaced 8 per inch. 4-G~ 24 - B) 5 - e ) 25 - e ) o - blank or coin trip 20 - G 6 - D 26 - ell) 1 - bass drum 21 - Gil) 27 - D) 2 - snare drum 22 -A) 7-G 28 - E) melod 3 - snare drum 23 - All) 8 - e ) 29 - F) 4_C 24 -B) 9 - D') 30 - FII) 5 - D) 25 - e ) 10 - E) 31 - G) 6 - E) 26 - ell) 11 -F 32 - A) 7 - F) ass 27 -D) r 33 - B) 8 - G) 28 - DII) 34 - e 9 - A - 29 - E) 12 - G 13 -A)r t 30 - F) melod 14 - B) 35 - E 10 - G 31 - FII) celeste -J 15 - e ) 36 - F) 11 - A) 32 - G) iccolo 16 - e#) accom • 37 - F#) 12 - Aft) 33 - Gil) violia 17 - D) 38 - G) 13 - B) 34 -A) flute 18 - E) 39 - A) 14 - e ) accom • 35 - Aft) 19 - F) 40 - B) 15 - ell) 36 -B) 20 - FII 41 - e ) trum et 16 - D) 37 - e ) 42 - ell) 17 - E) 38 - ell) 43 - D) 18 - F) 39 - D) 48 - rewind 44 -E) 19 - F# 40 - E 49 - forward 45 - F) 46 - FII) 41 - F 47 - G 55 - leader or maestro leader 42 - FII) 56 - off register 43 - G) 57 - trombone 44 - Gil 48 ~ Artizan - 7 1/8" wide. 58 - play or forward 45 -A) 59 - rewind 46 - All) baritone o - blank 18 - G 60 - bells 47 -B) and 1 - bass 19 - A) 61 - 1st violin 48 - e ) clarinet 2 - snare 20 - B) 62 - 2nd violin 49 - ell) 3-G~ 21 - e ) 63 - flute 50 -D) 4 - e ) tromb 22 - ell) 64 - piccolo 51 - DI/) 5 - D 23 - D) 65 - baritone 52 - F) 24 - E) 66 - gelosie (shutters) 53 - FII) 6-G~ 25 - F) 54 - G 7 - e ) 26 - FII) f-WSi.l.lol.lU No gelosie on 65 Key,. 8 - D 27 - G) 28 - A) - 9 - G 29 - B) 10 - A) 30 - e ) PIANO ROLL REVIEW 11 -B) 31 - ell) BY DAN TUTTLE 12 - e ) 32 - D) 13 -D) I-Sau.c~~ 33 - E 88-NOTE ROLLS -----' 14 - E) 15 - F) 34 - e "SHINE ON HARVEST MOON" - A song written by Norworth 16 - F/I) 35 -D 'and Bayes and copyrighted by the Jerome H. Remick - 177 - ~olla and &ruale

Company in 1918. The rolls to be desired are QRS rich harmonies with which it is supported. In recent #5206 - 1st edition, and QRS #5206 - 2nd edition. years, no song has acquired a greater popularity nor The first edition of this song on QRS is played by has continued in more insistent demand than "Some­ Walter Redding and at a tempo of 85. The roll is where a Voice is Calling." a fast moving arrangement and contains both sets of verses. It is estimated that this roll was re­ Ampico #63201 - Tulips leased in the very late 30's. Miles played by Victor Lane The second edition of this song is still on QRS #5206 but is a new arrangement played by Frank Crimson, gold and rose, the tulips rear their fra­ Milne and was released sometime in the 40's. The grant cups each jewelled with the dew. Mr. Miles' arrangement is lighter in sound and tempo around music is as fresh and fragrant as the picture his 70. The writer has always heard a part of the title suggests. His gift for writing dainty, lilting chorus as "January, February, June or July" but in salon numbers is nowhere more entrancingly displayed both cases of these rolls the line is "April, Jan­ than in this charming little work. uary, June or July." I've always found it harder to sing the line the way the rolls dictate - however, Other works of similar charm available in Ampico Remick knows best. recordings are "Cupid's Frolic" (61003F), "Dancing Leaves" (50473E). "DANCING FOOL" - The song is a foxtrot copyrighted by Waterson, B &S. The roll is US #40837 and is Ampico #62913 - Cavalleria Rusticana played by Horace O•. Prell and assisted by Ted Snyder. ("Prelude and Siciliana") The roll is recorded at a tempo of 85 and is an Mascagni easy-going tune and very danceable. The tune is played by Pietro Mascagni cute and has an original sound. It is sure to hold your interest. Under the sunny skies of SicilY the tragic story of Cavalleria Rusticana was enacted. It gives us a "RUSSIAN LULLABY" -A song written by the great picture highly colored with a tense emotional play originator of great tunes, Irving Berli~and copy­ of passions, love and jealousy. The work is a pre­ righted by Berlin also. The roll is US #44353 and lude to the opera and expresses in a remarkable way -/ is played by Parsons and Taylor. In the writer's the ever changing moods, rising quickly and abruptly opinion, this roll is the finest example of this from tender melody to passionate outbursts of rugged song ever produced for the piano. The arrangement strength. In the middle portion of the prelude is a mixture of marimba and straight playing and there occurs the renowned Serenade or Siciliana, when the player pianist adds his own touch of sus­ which in the opera is sung by Turiddu (the tenor) tain with mandolin rail, the sound is enough to behind the scenes. give one chills. "Cavalleria Rusticana" was first performed in Rome "I WAS KAISER BILL'S BATMAN" - The song is an inter­ on May 17, 1890 and was an instantaneous success. esting instrumental written by Greenway and Cooke. It has held the stage and the attention of music Published by Mills Music Inc., the song was recorded lovers ever since, and is not only Mascagni's great­ by Whistling Jack Smith for Deram Records in 1966 est work but one of the most melodious and satis­ or '67. The record is full of power and sound. The fying short operas in existence. roll of this song is QRS #10-147 and is played by Dick Watson. The writer was dissapointed with the Mascagni, himself, has played this recording and the 1st, 2nd, 3rd, and 4th hearing of this roll. This composer's interpretation thus offered is one of roll is sure to be in mint condition in the future authority in which its dramatic and emotional ep­ because it doesn't ignite enough interest to play isodes and all its lyric beauty are sensed and dis­ it again. Dick Watson usually fills his rolls with played with the touch of a great master. interesting sound but for some reason the song, which could have been filled with fullness, remains Ampico #60001 - Polish National Dance, Cp. 3, No. 1 empty. The roll was dropped from the QRS catalog Scharwenka 2 or three years ago. played by Xaver Scharwenka

Like most of Scharwenka's compositions, this work has a distinctly national character. In its melodies STORY ROLLS and rhythm jt partakes of the folk music of Poland. BY ROBERT K, CONANT Its energy and harmonic interest have given it a wide popularity, indeed it must be included in the list Ampico #151 - Somewhere A Voice Is Calling of the world's best known piano works. It is inter­ Newton-Tate esting to know that it was sold outright to a pub­ played by Al Sterling lisher for a trifling sum at a time when its com­ poser was young and yet unknown. Its subsequent Both the words and music of this song combine to popularity and enormous sale brought fame to the com­ create in the listener a tender and sympathetic mood. poser, but no further financial benefit beyond the It is notable for its very beautiful air and the. original trifling purchase price. - 178 - aoffs and cJKusic .f',---...

This recording by Scharwenka himself was made abroad STORY ROLLS in the studios of Ludwig Hupfeld and has been scien­ BY ROBERT H, BOWERMAN tifically adapted for the Ampico. Like all composers' interpretations it possesses special interest and Rythmodik, #C14252 - YAAKA, HULA HICKEY DULA value for both the music lover and student. "Robinson Crusoe Jr." Pete Wendling Ampico #52425 - Humoresque, Op. 101, No. 7 played by the composer Dvorak played by Leo Ornstein The Winter Garden has scored again, this time with "Robinson Crusoe Jr.", and there is general enthu­ We are told that Dvorak, while in the United States, siasm for the admirable plot for the burlesque made studies in the music of the American negro, musical comedy offered by the familiar tale of and became deeply impressed by such melodies as "Robinson Crusoe." "Way Down Upon the Swanee River," which, although composed by a whitp man, has always expressed the Al Jolson is in it and "Yaaka Hula Hickey Dula" is pathetic, mournful spirit of the colored people, his star song, in which he is making one of the biggest hits of his career. He is said to have written the "Humoresque" around the melody of this famous song, and th~re is at any Here we have it played as a Fox Trot by the com­ rate in the "Humoresque" something which reproduces poser, Pete Wendling, whose compositions and ad­ the mood of "Way Down Upon the Swanee River;" the mirable playing need no introduction to users of two pieces "dovetail" perfectly and one may sing Rythmodik Records. "Way Down Upon the Swan~e River" playing the "Humor­ esque" meanwhile as an accompaniment or obligato and vice versa.

ROSENTHAL'S HANDS

RUBINSTEIN'S HANDS CARRENO'S HANDS

PIANO HANDS No examination of hands will predict distinguished BY EMMETT M, FORD careers of piano students. Those of successful pianists were developed by training and practice for There has been much inquiry into whether an individ­ an extended time. Characteristics of the hands of ual's hand or the hands of young children are "piano distinguished pianists are adequate elasticity, hands." Fond parents, reading of Mozart's playing breadth, well developed muscles, and with the ex­ the piano at the age of three, desire to have their ception of some cases, a cushioned tip of the fingers, child beat this record, causing one to state the sturdy, supple wrists and an absence of double­ parent is "forehanded." jointedness. There may be variations and a range - 179 - aotts and cJJrusic

HAND GODOWSKY'S HANDS CHOPIN'S HAND LIszrs of differences. Some hands are not large enough to An interesting X-Ray of Leopold Godowsky's hands negotiate the keyboard difficulties, nor are fingers show unusual elasticity. The hands were small, yet long and sturdy. Some tips of the fingers are too he had no technical difficulties which he could not fleshy, as was the case of Anton Rubinstein's hands. easily negotiate. The elasticity of the hands was He had difficulty in avoiding the simultaneous an aid in his amazing contrapuntal transcriptions, striking of two keys when he wished to strike one, which, today are rarely presented in concert; the especially when that one he wished to strike lay works are of a transcendental genius. between two black keys. Josef Hofmann, in his book Piano Playing With Piano Questions Answered covers What was considered a perfect piano hand were those the subject of the best piano hand. of Ossip Gabrilowitsch. Mr. Gabrilowitsch's teacher, Leschetizky, described his student's hands as "being Of Chopin's hands, the description was that it was perfecL" The photo shows all the good physical an "aristocratic" hand, highly-developed bone struc­ features and not a drawback. ture, especially in the fourth and fifth finger, and a s upp I e wr i s L Liszt's piano works would bear out the possession of a sturdy bone structure, strong and elastic tendons Mme. Carreno's hands were in some respects like Anton capable of great streches wi th ease. I t is under­ Rubinstein's. She was considered to have "natural standable that this flaming wizard revolutionized octaves," the results of wonderful wrists. the keyboard technique. The combination of nature, genius, and intelligent training produced a phenom­ A Liszt pupil, Moriz Rosenthal had hands that made enon to perform total wonders. him supreme master of the keyboard.

Jnsfrumenfs

ART CASE CHICKERING The following are some photo details of Chickering #146294 - 66 LR. built in 1928. The 66 loR., I assume, refers to the piano length of 6'6" and case style of Italian Renaissance. According to information from the American Piano Co., the case was built in Mesa Italy over a two-year period.

The reproducing system includes some late "A" parts such as the sleeve type pump amplifier with curtain valve spill, "B" style sustain and soft pedal valve system, and lost motion pneumatics for the soft pedal and sustain pedal compensators on the expres­ sion units.

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Top hinge - uses 3 of these rather th~n the single full­ length variety.

There are three carved profiles - one above each After rebuilding a S' Ampico, having an extra 18" piano leg - portraying: Savonarola (religion), of working distance was pure pleasure and many hours Raphael (art), and Dante (literature). All other of rebuilding and regulation - a fair amount of figures are unidentified.' As the photographs show, this spent on the piano action itself - has resulted the hand-carving is extensive with fine detailing in an instrument that "plays as nice as it looks." on the pedal lyre and piano bench as well. The TGB original walnut finish is in near-perfect condit­ ion with no cracks or crazing.

The following "Talk No. 911 was taken from a brochure entitled LITTLE TALKS ON THE DUO-ART and contributed by Amican Dick Howe.

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repeat continuously on the Duo-Art, LIITLE TALKS TALK NO.9 thus affording one his choice of hun­ VARIETY OF dreds of dSh('(' numhcrs now on the on th, MUSIC ROLLS markct and featured by prominent T is interesting to note that one Donee Orchestras. can,play any malee of regular 88 The general cX('ellenee and quality Duo-ART note, rolls on the Duo-Art Repro­ of the paper used in Aeolian Illadc rolls I' I ~lcl-O-Dee ducing Piano and one, is therefore -,-Duo-Art snd Holls-are Talk Number NINE equipped' with.unlimited resources of s,uch that no harm is done to the pneu- , musical variety, and; further, one is not matic action of the instrument through , VARIETY Of denied the liberty of using all old dirt; particles of lint and rough sur­ favorites that may' already be' oWlv,d faces detaching from the paper (ss in" MUSIC ROLLS. allll hi the home. Many -purchasers cheap grades and makes of music rolls) of the'modern reproducing pinno·-lhe and being drawn into the mechanism. Duo-Art-hnve used a regular player The Aeolinn Compsny is the origi­ pinno for many years and hal'e nequire,l nal manufnctur(~r of perforated mu.ie a lihtnryof favorite sele,eUons which rolls in this country and began making tire nlwnys good anel willlnst for years. the Same prior to 1878. The evolution These fIB : note rolls are very effective of this, phose of the musical industry and valuable ,played on 0 Duo-Art. is 'an interesting one which began with All m~ke~'';l reguiat68 note Son~ a",rolI, madc_ for "The Orgulnette" in Rolls can be used,on the Duo-Art and , 187,7;,' (See Uttle Talk No.1.) our C)(ChiS!Ve expressioIJ «1eviees (pat­ enled) permit the person.I control of IIi.1878-Rolls were made for what Publiabed by aCI'ollll'nniment so essenti,,1 in singing. wafcalled "The Music Cabinet," using THE AEOLIAN COMPANY (Sec JJtlIe Talks NO.8.) a compa.ss of 39 notes. Nelli York All makes of regnlar 88 notr. Dnncc In 1878-(A few months later) the noll~ will play perfectly and will "Cnbinette" was brought out, a little

smaller instrument, using the compass el'olution of the perforated paper roll record he has just made, he is, for the of 2a note rolls. a. produced by the Aeolian Company lirst time, in position to criticize his in this (,oulltry. own playing. This will suggest to him In 1883-The "Mc1odla" was made, 80me change8 or improvemcnts so tha\ playing 14 note rolls. The method of making 0 Duo-Art Holl and recording the composition as whcn the roll is finally finished it will In 188~-The "Celestina," playing plaJ·ed by Master Artists is on interest~ reproduce his playing I1S it woul,1 be 20 note rolls. ing proccs~. The artist seats himself when he is I1t his I", .• t. lIe then signs his II/Ime 111111 gives his oflicil11 Ilpprol'nl In 1884-The first "Aeolian" was at a Grand Piono and ploys a composi­ of the roll, IIn,1 it is then sent to our made, playing a compass of 46 note tion exactly as he would in concert or rolls. ' with a symphony orchestra. The pianil own roll cutting deportment I1IllI hun­ is electrically connected with a cutting dreds of duplicate8 arc IIIlldc nnd sent In 188a-The instrument known as machine, and as the artist touches the throughout the World. EVEIlY HOLL the "Musette" was made, smaller than keys the perforations are mnde in the in our Duo-Art list is SIGNED by the the "Celestina" and playing 16 note master sheet or roll. Every power and artist who mode it and the purcllaser rolls. quality of tone, every grade of expres­ is definitely assured of the authenticity, In 1892-The "Aeolian Grand" was sions, all phrasings, and personal excellence and exact recording of the produced, playing 118 note rolls. characteristics of the individual Are composition. recorded al they are bei,!g regide~ed. In 189S-The first "Aeolian Pipe The world's greatest pinnists record tIJftilc playing. ' exclusively for the Duo-Art. (Sec Lit­ Organ" was produced, playing 118 note tle Talk No.7.) rolls. Immediately the number Is finished and the Artist takes his hands, from A Player Piano or Reproducing In 1895-The famous "Pianola" ap­ the keyboard the roll is brought to him_ Piano is no hetter than the roll used. ,peared using 611 note rolls. and placed in a Duo-Art'Piano for him A PERI/ECT ROLL gil'es a PER­ In 1901-The Pipe Organ 11''' pro­ to listen to. The nearest comparison FECT replica of the artist's playing duced, using 116 note rolls. , to this i~ the reproduction of the human and a I)ERFECT ROLL prevents voiee as recrrded on a phonograph­ trouble with the player action. (See In 1909-1o-The "Pianola' was In­ the sinp;er heinp; able to hear the imme­ Little Talk No.5.) creased to 88 note rolls. diate results of the recording. All the foregoing facts sllOw the After the artist has listened to the THE AEOLIAN COMPANY

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From the Editorial pages of the Ladies' Home Journal for February, 1912.

Contributed by James Guinn

JUST SEE WHAT WE HAVE DONE with the "talking machine." Here is a marvelous in­ vention: wonderful in its possibilities for good. But what do we do with it? First we consider it a tribute to our musical knowledge to speak of its results in derision as "canned music." Next we pervert its possibilities by insisting that we shall be furnished with the meaningless ditties and worthless music of the streets and musical comedies. There is no doubt that summer evenings have been made hideous to many of us by a "Victor" on one side of us grinding out the "Virginia Rag" and a "Columbia" on the other side of us torturing every nerve with "There's a Lemon on Every Tree but Mine." But that is not because the talk­ ing machine is a nuisance; it is because there are people who can always be de­ pended upon to vulgarize and abuse anything, no matter how good it may be of it­ self. The fact remains that the "talking machine" has made good music possible to thousands. If your children plague you almost to distraction with their rag­ time "records" it should not be forgotten that the same "talking machine" can do quite another thing if you wish. It can sing to you with the voices of great artists whom you can never hear; it can give you the tones of the violin and even of the orchestra, not merely for your amusement, but insensibly training your ear to some comprehension of the charm of the great world of tone. No matter where you live you can be part of the awakening of the American public to the beauty of music. It is all in how you use the "talking machine." It offers you what you' will.

THEN WE HEAP RIDICULE AND SCORN upon the mechanical adjustments to the piano. Parents there are who devoutJ..y wish that the man who invented the "Pianola" had never been born. Why? Because the thing itself it worthless? No; because we have allowed its abuse by the selection of the wrong music. But take this in­ stance: A woman went to a recital by Josef Hofmann, and from his marvelous fin­ gers there came sounds that filled her soul and mind with a freshness and stim­ ulation that she had not known for years. She carried the charm of the music home with her, and her husband and children hardly knew her as the tired-out wife and mother of the morning. She looked at her piano, and if ever she regretted she gave up her music it was then. The husband divined the situation, had ~ mechanical attachment fitted to the piano that had become voiceless and a what­ not. The wife went over the catalog, and there in the three hundered and odd masterpieces at her disposal she found the composition that had thrilled her. She had been too busy as a wife and mother to be able to sit down at her piano and play this Chopin Etude in G flat on the black keys. How many women can? This woman didn't even buy the Chopin roll she wanted; she borrowed it on the circulating library plan. The whole atmosphere of that home was changed; music came to have a different meaning to the three daughters of that home, orchestral concerts and recitals were attended where formerly the vaudville theater had been patronized, and all because a voiceless piano had found a voice.'

So it is with many of the things that we are so quick to condemn. Magnificently full of the most potent possibilities are they of themselves. They are at our doors like the motion picture shows, and they are in our homes like the "talking machine" and the piano attachment, begging us to learn their rightful uses, bursting to overflowing with the richest possibilities for ourselves and our children. Let us cultivate this rightful· understanding and there will be ~o oc­ c?sion for condemnation. For what we condemn is of our own making; of our own misuse and abuse. _ 183 _ Balilornia Balilornia

COUNTRY STYLE HOE-DOWN AT THE RIFFLE'S hear the piano play itself for the first time ­ BY DICK REUTLINGER Jack Bailey and his wife. Because of the distance many had come for the meeting, it broke up around A rootin', tootin', country week-end party was had 8:00 p.m. with only the die~hard Founding Chapter by all (all that survived, at least) at Mary and party people hanging on - however we shall quietly Jack Riffle's anti-urban retreat in Ukiah, Califor­ draw the curtain of discretion across the scene at nia. Ukiah is situated north and east of San Fran­ this point to protect the innocent and guilty alike. cisco in an agricultural valley and the Riffles have Suffice it to say that it is fortunate that Jack a 20 acre chunk of land where Jack is a tractor ter­ and Mary have no near neighbors - if they did before ror working his haycrop when not court reporting. they wouldn't now. Only your reporter remained Mary has all the joys of rai~ing chickens, gathering clear-headed to record events for future blackmail. eggs, weeding the garden, chasing the cattle during her leisure hours away from her job. They have completed a large, modern, three bedroom ranch home NORTHERN CALIFORNIA SCHEDULE into which they've causally thrown three (yes, THREE!) reproducing grand pianos - a Mason & Hamlin October - to Dale and Sally Lawrence - Kensington. Ampico A, a Steinway Duo-Art, and the latest ad­ be announced dition, a Baldwin Welte Licensee. Oh yes, in the November 20 Lloyd's Estate - Woodside. dining room there's a parlor organ and scattered in Evening the garage and barn a couple of other pianos and orchestrelles awaiting restoration. Two phonographs December 18 Christmas Party, Dick Reutlinger ­ and a music box have.also nestled in to stay. This Evening then was the setting for a relaxed afternoon, buf­ San Francisco. fet supper, evening meeting for the Founding Chapter, For out~of-towners it is suggested these dates be Saturday, July 31. verified with the meeting host before making plans The meeting began with everyone gathering about the to attend. various pianos as Jack demonstrated each. As is true in any Amican gathering, there was a certain bit of carping about how each piano should perform and soon with Jack's encouragement Mel Luchetti was under the Mason & Hamlin - now in Mel's case this is not an instance of over-imbibing but just a tal­ So. Bali/ornia ented tune-up. Very shortly the true beauty of the - instrument began to emerge so, naturally, he was pressed into service under the Duo-Art - this turned into a bit longer project running through the even­ ing and into the next morning, but the results, Jack SOUTHERN CALIFORNIA SCHEDULE enthusiastically agreed, were certainly worth it. October 23 Bill Toeppe - Orange. This all seems to evolve the true spirit of AMICA ­ Afternoon to give an assist to members in some of these hin­ terland places that do not have resident top tech­ December 11 Dick Rigg - La Habra. nicians. or 18 Evening We were treated to a live concert of five Chopin etudes on the Baldwin by Carolyn Hawley, a local For out-of-towners it is suggested these dates be pianist and artist who has also been Jack Riffle's verified with the meeting host before making plans piano teacher. Popular opinion decided that Jack to attend. should stick to his outstanding talent in the cock­ tail piano field and leave the classics to others.

Mary and Jack had provided lemonade and a keg of beer to wet everyone's whistle and then a fantastic spread for the buffet supper. The weather turned out to be pleasantly warm with a beguiling breeze that made for a perfect summer evening and led many to take their supper outside and enjoy the clean air. After supper more piano playing was in order, lots of visiting, and just plain good fellowship. Several new members put in their first appearance, MIDWEST SCHEDULE Al Breau and Jim Larson, Joel and Frances Roberts, plus some older members not seen for a while, Bob December 12 Toledo, Ohio. and Barbara Whitely and Bill and Mary Jo Vitek; then there were some potential members from our For out-of-towners, more information about this rivals (MBS) Bob and Marie Cobb and Don McClain. meeting may be secured by contacting one of the The former owners of Jack's Baldwin were on hand to Midwest Chapter officers (see BULLETIN masthead).

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EUROPEAN BAND ORGAN SHOW AT THE PALMERS' BY JAMES GUINN Twenty-three members and guests assembled on August 8, 1976, at the home of Dr. and Mrs. Anthony Palmer in Arlington for an enjoyable meeting of MlICA-Texas. Bert and Betty Plonien were co-host and hostess. The first order of the afternoon was the inspection and hearing of the Palmer's recently acquired 1920 Knabe Ampico A, a 5'8" grand in beautiful and orig­ inal walnut finish and Louis XV design. As always, the hosts and co-hosts provided delicious food, in­ cluding Belgian waffle cookies and German sandwiches. Betty Plonien's fruit punch, which included bananas, was a big success also.

Lynn Bullock, Bert Plonien, and James Guinn listening to the Palmer's Ampico. The visit to the National Museum in Utrecht, Hol­ land, Dr. Jan Haspels, curator, made possible the hearing and photographing of more instruments. Among these were an 1819 barrel organ, a mid-nine­ teenth century Italian street organ, an 1880 Har­ monipan Italian street organ - hand cranked, an 1885 Heizmann cylinder organ, a 1900 Gavioli dance organ, a 1912 L. Hooghuys dance organ, a 1920 101­ key Mortier organ, a 1918 Philipps Paganini orches­ trion, and a Duca reproducing piano with violin pipes. The finale for this segment of the program was "If You Knew Susie," played by a Hupfeld Phono­ liszt Violina of 1912.

Tony concluded that not many of' these instruments can be found in their original locations. Many of Myriam and Tony Palmer at the buffet table. them have been exported to the United States.

President Richard Barnes thanked the Palmers and the Ploniens and announced that the next meeting, in October, would be at the home of Stan and Ginny Holcomb in Richardson. A note from ~1rs. Charles P. Grant expressed appreciation for flowers sent at the time of her son's death. Charles P. Grant, Jr., had been a member of AMICA-Texas since 1973.

Tony Palmer presented the program - a slide and tape presentation of European band organs and orchestrions which he and Myriam saw and heard during a Christ­ mas visit to Belguim in 1975. The first part of the program featured organs in the shop of Mr. Arthur Prinsen of Brasschaat. Mr. Prinsen's wife is a niece of Arthur Bursens, who now builds two organs each year, using old facades. Other organs in the shop were built by Ruth and Son, Bruder, Wellershau­ sen, and Mortier. The Mortier was demonstrated with a performance of "Flight of the Bumblebee." The manufacture of folding music books for these organs was abo shown. Next stop on the trip was at a roadside cafe named "14 flillikin," where a De Cap Bert Plonien and Tony Palmer prepare to layout dance organ was heard. the liquid refreshments. - 185 - "L-

Bill Flynt told us of his efforts in making a roll for John Malone's Wurlitzer 165 band organ. Lynn SOWNY MEETING SCHEDULE . Bullock reported that his Weber Duo-Art grand is currently playing Gershwin rolls during the "5 Won­ October 9-10 Trip to Mechanical Musical Museum, derful" show at Dallas' Theater 3. More food and in Deansboro, NY. more rolls on the Ampico A concluded a most enjoyahle summer Sunday afternoon. November 13 Jeff Depp - 6243 Dorchester Rd., Lockport NY 10494.

December 18 Christmas Party at Rick and Janet Drewniak's - 191 Capen Blvd., Amherst, NY 14226.

JJioDrapiiical ~llefcHes -

DR, MANA-ZUCCA - AMICA HONORARY MEMBER BY ALF E, WEROLIN AMICA's recently elected honorary member, Dr. Mana­ Texas-Amicans enjoy the Palmer-Plonien buffet. lucca, was a child prodigy, has composed over 1100 published musical pieces, and from her early youth has been a world renowned concert pianist and record­ TEXAS MEETING SCHEDULE ing artist. She holds an honorary doctor's degree in music from the University of Miami, and has been October 10 Ginny and Stan Holcomb - Richardson. awarded a scroll marking her 50th year of membership Afternoon in ASCAP. Her professional career is by no means ended, for she continues active and dynamic in the December 12 John and Claire Armstrong - tradi­ Miami area, but she is regarded as a legend in her Evening tional Christmas Party and dinner. own time covering a span of years that stretches from For out-of-towners it is suggested that these dates Victor Herbert to Elton John. be verified with the meeting host before making This gifted lady was born Christmas day in new York plans to attend. City and was one of six children. Her maiden name was Gizella lucca-Mana, but she never used it and later, while attending music school in Berlin, she turned her surname around and legalized "Mana-lucca." She was married in the early twenties to Irwin M. Cassel, who wrote the lyrics for many of her songs. OBiladelpHia He died in 1971, ending their marriage of 49 years. Their only child, Marwin Shepard Cassel, is a t·1iami attorney. Mana-lucca has three grandchildren and regards her son as her best composition.

PHILADELPHIA AREA SCHEDULE (Much of what follows has been extracted from an in­ terview article which appeared in the Miami Herald, November 21 Jeff Kaiser, Sunny town , PA. by Eleanor Hart.) Afternoon Her first musical notes were struck on a toy piano, December 12 Jesse MacCartney, Narbeth, PA. at age three. "I happened to hit on a tune in G Evening Christmas supper party. major and I couldn't find F sharp. The black keys (sharps and flats) were just painted on. I was look­ For out-of-towners it is suggested that these dates ing under the piano for that note and crying, 'This be verified with the meeting host before making piano's no good.' One of our guests, Jacques Daniel­ plans to attend. son, husband of the novelist Fannie Hurst, said,

- 186 - ~i"9rapRica{ ~KefcRe3

'Lord, that child has absolute pitch. She's unhappy did - in 30 minutes. "I Love Life" was ironically because she can't find that sharp! "' the only one of her songs to be turned down by her publisher. Lessons on a "real" piano followed and at age four Mana played in her first recital. By the time she "I have others just a famous," she insists. "Com­ was eight, she was ready for her first large concert posers don't like it when the public only associates in Carnegie Hall with the New York Philharmonic. "I them with one number. Rachmaninoff used to hate his was like Shirley Temple. Everyone knew me as a 'Prelude' because that's all people remembered. But chi 1d prodi gy. " I've been lucky. I've had four big hits - 'Big Brown Bear,' I Ni chevo,' (Nothi ng Matters) and 'Va 1se Bri 1­ lante,' a piano number. She recalls with zest one of the many "I Love Life" anecdotes. A plane approaching Denver developed engine trouble and when the pilot announced the fact, a terrified passenger started singing "Nearer My God to Thee." He was drowned out by another who sang "I Love Life." The plane landed safely and a friend who was aboard called Mana to report the incident. People rather than things or events inspire her, she says. For example, Artur Rubinstein inspired her "Bolero de Concert." Most recent publications from her reservoir of 1000 unpublished works which include an American-Chinese grand opera - "I'm holding back. I don't want to crowd myself" - are "Love's Dart" and "It Iolas No Dream," and a piano number, Sonata No.3. "My best work, but it will probably take 20 years before it gets known. So much will be produced after I'm gone," she says. Musical comedy days included playing in Rudolf Frimil's "Hi gh Jinks" operetta, danci ng with Clifton Webb, playing daughter to Will Rogers in "Town Topics" on Broadway, and touring with the comedy team of Gallagher and Sheen. "People," Mana reflects, "always think I'm older than I am." She recalls meeting a woman who was amazed "that I was alive. 'You were a friend of my grand­ mother,' she exclaimed. Well, I was, when I was five and the grandmother was 70! Older people were all I knew. I never played with chi 1dren." Composing music came naturally. "I always have but I didn't know it was composing at first. I write Life is quieter now in the Miami Beach home moved quickly," and "songs always to fit the lyrics, "the into shortly before her husband died. Gone are the right way to do it." days of Mazica Hall, her former showplace home, that could accomodate an audience of 300 and where more Her hallmark, of course, is "I Love Life," published than 500 concerts were given. The house was sold in the early '30s and most famous of her 1100 pub­ and razed to make room for Jordan Marsh. lished works. She considered it "a cheap little song" at the time but has since changed her mind Many of Mana-Zucca's compositions were recorded by because of its success. John Charles Thomas made her for various roll manufacturers. Her Ampico re­ it a hit and Nelson Eddy, Laurence Tibbett and Rosa cordings are perhaps the best known and many of these Ponselle all made it part of their repertoires. are accompaniments which several well-known artists used instead of live accompanists. Some of the Her husband, Irwin Cassel, wrote the lyrics. She titles are: had stopped writing for a period after their only child was born in 1925. The Big Brown Bear 6307lF Composed and recorded by Mana-Zucca. "He (Irwin) suggested that I start writing again. I wrote several pieces, 'Prelude' and 'Poem' but he The Cry of the Woman) said 'No, that's not what I mean.' I said, 'You I Love Life ) 30711G " write the lyrics and I'll write the music.'" She - 187 - .~t·.. JJioDrapRical ~llefcRes

In addition, Valse Brillante. OP. 20 (#52764F) was recorded by Mana-lucca for the Ampico.

A warm musical atmosphere still prevails in Mana~ National Geographic - April 1926 lucca's home. There is a pair of concert grand contributed by Bill Flynt pianos - a Steinway and a Baldwin (what, no reproduc­ ing piano?). But in addition, there are over 200 other pianos! These are prize miniatures which the pianist-composer has collected from allover the "The Possession world. They range from a reproduction of Mozart's harpsichord and beautifully detailed Dresden, ola Meissen, silver and ivory pieces, to a model carved out of an old cigar box by a war veteran. Archaic KIMBALL" reproductions from 18th century drawing rooms find themselves in company with the first piano brought to this country by John Jacob Astor, a miniature scribbled on by composer Oscar Strauss, and even a copy of Helen Morgan's piano, with the figure of the torch singer perched on top. Along with all these gems is the piano which started the whole thing - a plywood model carved by her small son years ago.

AS you appreciate more fully the ~ beauty and purityof the "sing­ ing" tones of the Kli\IJ3:-\LL Piano, you feel drawn into closer intimacy with those great artists of 1--t and present who have <;xpressea qualified approval of this worlQ­ renowned instrument. Patti, Nordica, the De Reszkes, :\Ihani-among those of former days - Sousa, Schwarz, Heniot Levy, George Liebling, Sollitt, and many others of the present day, have recorded their admiration of the 1\. J1\'113:\ LL. A KIMBALL Grand or Repro­ ducing Piano-an Upright or Player-exactly suited to your preferences. Ask for catalog. W. W. KIMBALL CO. Esl:.Iblish("d ],1).:'1 AMICA is proud to have such a distinguished honorary 321 Kimnall UuiLding Chica~o, IliinolS member - one who has been written up twice in the Congressional record. We warmly welcome Dr. Mana­ lucca to our society of music lovers and automatic musical instrument collectors. From THE MUSICIAN - January, 1928.

Contributed by Mark D. Zahm.

o,~ tile left. Geor!!c Cartlnll, Supervisor of Music in New York's Public Schools, H;;lh his dJlIlf!hler, " ... A".tlioCrllpltic music reveo!.f to them. ,he .<;tory of the Peer Gynt Suitp-. On the right: Sieg/ri-ed Wagner nt B(I~'reltl", with Mr.~. W,,!mer, Percy Sello/e..;, the Enfdish critic (011 the right) ulld G. W. F. Reed. The)' are Mudying n Wngllerum recordill{.!. Ltfting the VEIL from MUSIC'S Mysteries A New Agency to Coordinate Intelligent Understanding with Listening Comes to Us In the Form of AudioGraphic Music

~~;hiC"wo~~~~i:'~~d~~~ you are comprehending its significance. reserved for the finer moments of life when' In the case of "program music," or com­ we can really give ourselves up to its in­ 7.6.~ cent weeks, been launched positions which frankly tell a definite story, fluence, there are millions who live away _ upon public consciousness. the annotations perform a function similar to from the centers of art. Today they pos­ . Its application to music, the titles that interrupt the progress of a sess countless opportunities for listening to .. , its merging of the seeing motion-picture film. They have, however, music, but few for understanding that which and hearing idea and its the advantage of not interfering with the they hear. To these, therefore, the new relation to the constantlv trend of the narrative since the musie goes AudioGraphic music comes as a boon and IIgrowing effort to make good music know~ on without a break. Pure music, or that for a blessing." and loved by even those who are untrained which the composer obviously intended no ,The real value of this audiographic treat­ in its technicalities, invite the consideration definite narrative, relying solely upon the ment of music depends, of course, upon the of all professional musicians, for as the di­ mood created by its performance, offers recognized authority of those who have done mensions of the so-called musical public in­ equally interesting possibilities for the an­ the editing. To meet this highly important crease so do the opportunities of the music­ notator. The elements of form, style, struc­ requirement, the makers of the recordings maker enlarge. ture, tempo and other technical considera­ have apparently left no stone unturned to In physical appearance, AudioGraphic mu­ tions, the pointing out of climaxes, modula­ enlist the cooperation of eminent musicians sic is an annotated music roll or reproducing tions, etc., preceded by biographical and his­ and musical scholars as authors of the anno­ piano recording. Pictures and comments, torical data are inCluded to bring the listener tations. On the literary side alone more supported by a melodic or thematic line run­ into closer sympathy. with and a clearer un­ than three hundred writers of re~ogoized ning the length of the roll, tell the story as derstanding of the composer's purpose. standing in musical art have been at work the perforations themselves articulate the There is no more lucid .expression of the on the library, while picture galleries' and tones and determine the dynamics. desirability of having music understood as a museums throughout the world have contrib­ All this is based on good psychology: First premise to having it enjoyed than the state­ uted to the graphic illustrations. there is the perfectly human quality of want­ ment made by Walter Damrosch on this To name the members of the various

ing to know about things-curiosity; and poin"t. jjIn good music," he observes, "fa­ national committees who have finally passed secondly, the advantage of actually hearing miliarity does not breed contempt, but rather on the annotations before they were released the music effectively performed at the instant ·greater affection. While music should be (Oonlin"",d on pBg. oW)

- 189 - you quickly into symapthy with the music." Lifting the Vei(from Music's Mysteries When once we have heard the (Continued from page 15) music, observed the kaleidoscopic changes in tonal descriptions used by to the world would be to ennumerate First we are told of Mendelssohn's Mendelssohn to portray the scene be­ the outstanding musical authorities visit to Scotland, Holyrood Palace, fore him, and the emotions he ex­ of America, Great Britain, France, his visit to Sir Walter Scott, at periences as he viewed it, we have Germany, Belgium, South America Abbotsford and then to the wonder­ entered into the full heritage that and Spain. ful Hebrides. It is on the little island the composer has given us in this of Staffa where the composer finds impressive work. A second hearing r"J"""O give some idea of the man­ his inspiration in that marvelous gives a yet keener appreciation of the 1.. ner in which these recordi~gs handiwork of nature, the Fingal's ingenuity with which he has woven achieve the purpose of arousmg Cave. So we find him writing to his his beautiful tonal fabric from the in the hearer a new responsiveness sister, jotting down in the letter the themes of wind and wave which con­ to a new degree of appreciation of first theme of the famous overture stitute the whole composition. the music itself, let US examine the which had come to him as he gazed roll used to interpret the familiar into the rocky cavern. HOSE who are obtaining their "Fingal's Cave" Overture of Mendels­ Wilfred Gibson's poem, also in­ first understanding of the char­ sohn. Here we have the recordings spired by the same scene, is quoted T acter and purpose of Audio­ of two famous pianists reproduced for the benefit of the listener. Then Graphic music through these li~es on one keyboard from an original we come upon this statement: "The will by this time, no doubt, realize performance on two pianos by Ernest notes which now follow have been the important part it is to play in Hutcheson and Rudolph Ganz. In planned as an aid to your listening. the musical training of children. this instance the running comments The themophrasing helps in an un­ Take, for example, the recording de­ and editorial notes are the work of derstanding of the form of the com­ voted to "Hansel und Gretel," Hum­ the popular British critic and author, position while the running comment perdinck's perennially popular opera. Percy Scholes. is offered as a suggestion to bring How convincing and deeply impres­ sive to their youthful minds will be the illuminating comments of Mrs. Agnes Moore Fryberger, author of "Listening Lessons in Music," as she unfolds to them the old legend upon which the opera is based! They will Jearn much about the composer him­ self, how he came to write the opera, ,"''

• "'" ~.' ~ ,IW iJ('o 1 ' • \ ..... ~".' •I 1 ,. .,,~, the thirty-two sonatas of Beethoven 11 , ,',,'l1'Y<\' ....~., 'J-' " \":·.,,~I·, .' \ ,~"!.)••:; ..t "'_:".' b' ~ '"'-:0.0.. ..< ..... " ...;-0 ..... which illumine the catalog are made available to him. as pla~'ed by some of the leading pianists of the day, and as annotated by such authorities .4 New Book lor lite Junior High Sclwol or High School as Stewart Macpherson, Sir. W. Henrv Hadow, Sir Alexander Mac­ The APPRECIATION OF MUSIC kenzie. Sir Hue:h Allen. Daniel Greg­ By Means of the DUO-ART ory Mason. H. C. Colles, Percy By Scholes and others of note. Thus. in our highl~' comnlex dec PERCY SCHOLES velopment along lines of musical edu­ cation, we now have a new and far­ With an Introduction by Franklin Dunham reaching influence working- to the end A sane method of Presentation with illustrations from the tllusic scores. that g-ood music shall b~ broul;\"ht Among the chapter titles are: understandinglv to an ever mcreasmg How Bach and Handel Made Their Music. public. AudioGraphic music is des­ How Haydn and Mozart Made Their Music. How Beethoven Made His Music. tined to playa vital part in the mak­ Some of the Composers Since Beethoven. ing of a'musical America. There is an" appendix showing ways and means of operating the Duo-Art PAUL KEMPF. and also its Pianola device to the best advantage. This section explains the method by which Duo-Art recordings are indelibly cut into substance which becomes the artist's own playing for all time through the Duo-Art. It also explains the method by' wQich the Duo-Art reproducing mechanism reper-. forms tbis actual playing. Published by the O'xford University Press American Branch and av.nable at The AEOLIAN COMPANY Educational Department AEOUAN HALL . NEW YORK CITY

- 190 - J'ecRnicalifiea

REBUILDING THE THREE TIER the pneumatic using appropriate glue, Elmer's for the cotton cloth, plastic glue for the nylon cloths. GLUED STACK GULBRANSEN This sa~e pneumatic cloth can be used for sustaining BY ROGER A. ANDERSON pneumatIc, pneumatic motor, rinky-tink pneumatic, The Gulbransen is often regarded as "Unfixable" be­ motor governor and the stack shut-off pneumatic on cause of the nature of construction involving the the front of the left bellow reservoir. The large myriad of channels through glued joints. Usual bellows should be covered with a heavy bellows cloth player rebuilding techniques will not work because using hot glue. The pouches can be either leather when assembling the stack, the technician finds he or the new polyurethane. If leather is used be sure has either occluded some holes with glue or has not to seal the leather to make it airtight by brushing used enough glue and does not have an airtight joint. on a one-to-one mixture of Carter's Rubber Cement and In either case the result is the same, the player nap~ha, foll~we~ by a light dusting of powder to will not work. spoIl any stIckIness. The tracker-bar tubing nipples at the top of the stack will be removed and reglued To properly rebuild the Gulbransen, as with any play­ as well as the brass valve seats. Plastic glue in er, it is first necessary to understand the operating both cases is probably most suitable because it main­ principles; ie., the pneumatics, bellows, pouches, tains its elasticity and will remain airtight in bleeds, valves, etc. Rebuilding The Player Piano spite of expanding and contracting wood around the by Larry Givens is an excellent source of information metal. Whenever gluing wood to wood, ALWAYS use on how the player works and the information on clean­ hot glue. After rebuilding the bellows they will ing and recovering pneumatics along with the other lo~k more. uniform plus be much tighter if they are general information will be useful. In addition to paInted WIth a black rubberized latex paint available this the Gulbransen rebuilder should have the shop at automotive supply stores for tires. One last chart and also the service manual on the Gulbransen hint, when the stack is apart any channels should be (Gulbransen Service Manual - reprinted by Vestal sealed with a sanding sealer using pipe cleaners and Press) as much information about regulating, adjust­ cotton-tipped swabs and running them as far as pos­ ing, troubleshooting, and relationship of parts is sible into any channels or other exposed areas of included. There are several references to illustra­ wood. This will seal the wood against possible loss tions from the above mentioned service manual in this of vacuum. rebuilding article. About 2~ yards of pneumatic cloth will be necessary l~ It is the purpose here to outline a step by step set yards of bellows cloth, 200 feet of tracker-bar ' tubing, 6 feet of 5/8" Ld. twill covered hose 3 of instructions necessary for the beginning rebuilder back~d to end up with a well rebuilt, easy-pedaling Gulbran­ feet of 11/16" Ld. hose, 6 feet adhesive 1/8" sen. For the experienced rebuilder some information x 1" wide closed cell sponge neoprene, leather valve here may be redundant. However, no information facings, flap valve leather, and a complete new set available in the above mentioned sources will be du­ of Gulbransen valve covers. Besides this about all plicated. Also, very little will be written about you will need are the glue and other materials men­ rebuilding the lower unit, including the bellows, tioned in the preceeding paragraph. etc., because by the time the rebuilder has progressed to step 27 the procedures necessary will be apparant. Now to the piano: Before removing the mechanism it may be a good idea to snap a few close-up pictures The general procedure to be followed will be to saw of the various parts. This will aid in reassembly the two lower decks from the stack, allowing easy because it will be a long time before you put the access to all pneumatics and valves, then making parts back into the piano. Once done, take the play­ gaskets to compensate for the thickness of the saw er mechanism out and call your piano tuner. Any work blade and adding extra screws to screw the decks back on the ~iano should be done now including tuning, to the stack. This will assure proper compression :egu~atlng. any repairs or replacement parts, and of the gasket, thus a tight joint. IvorIes or other keyboard repair. If you intend to refinish the piano do it now before starting on the Tools needed beside the usual home hand tools will player, otherwise it will never get done. Much work be a set of Jiffi Spring clamps, an electric hand ~s :equired to restore a player and unless the piano drill and bits, a glue pot or suitable substitute, a ~s In. equally good shape all the player work may be very thin inch-wide putty knife, a revolving tube In vaIn. A well rebuilt player cannot make a poor punch, a good dial indicator with some kind of clamp piano play well. or stand, and a good table or radial arm saw with at least a 10 inch diameter blade. The saw should be STEP 1 - Remove the top half of the stack (upper checked and adjusted if necessary for accurate, square player unit). cutting and the blade used should be a thin, smooth­ cutting, hollow-ground blade. It should be sharpened Cut away as much of the old tracker bar tubing as before making the cut. possible, then look at the front of the stack. There are 4 hinges connecting top to bottom. Take out the Opinions on proper materials areas varied as there are ·screws in the bottom and remove the top of the stack rebuilders. Generally, most any good quality pneu­ which includes the spool-box, motor, etc. At either matic cloth will be suitable and should be glued.to end where the thumb tightened screws are, remove the ~ecRnicalifie8

screws from these brackets and also the brackets on the front of the stack that screwed to the key bed ~"""~,~~~/::::=~~~t~g~;' of the piano. Clean the remaining tubing on the () oj. .,/ / ,------"-3-1 Cp.III-"'~C~UlI~1 'nipples coming from the stack and pUllout all the 0.... , S-b ~,....v PlOl1(AllJlo,p"lricSt.t) ~ 8-1 Vo.l H .... nipples. To avoid bending, run an awl inside the r1K » S- j n ",. '0'&10' Ihdl 5-11: '0'0.1 1 nipple then grip the nipple against the awl and 3-1 [hojluap IPoo"c.h) s-. C.....,,=lul:q CIr.""••l pull out. 3-n ~"'~l ...._.ti" STEP 2 - Disassembling and numbering the lower stack.

There are three main methods used to contact the piano action from the striker pneumatics. See Gulbransen Service Manual illustration IV. If push rods come up from the finger on the pneumatic to a row of fin­ gers along the top, remove these first. Between each (V\lbDLt. row of pneumatics is a felt-topped board; mark these ---- PtC~ and remove. There is a similar board below the bot­ tom row of pneumatics, also to be removed. There is a dust cap board above the top set of valves - remove it. Now number each of the 88 pneumatics so they can be easily identified and replaced in their or~g­ inal location. Be sure both halves of the pneumatic get numbered because the movable portion will be sep­ arated from the glued or stationary part. From the front of the stack remove the three screws into each deck and from the back remove the four large screws that go through the deck into the front of the stack. One word of caution here, if there is excess glue around the head of the screw, chip it away first or backing the screw out may tend to split the deck. Remember only the two bottom decks are to be sawed away so only remove the screws from the two bottom decks. There are two small dowel spacers between each deck. Leave these until after the sawing op­ eration as these will tend to stabilize the deck while sawing. Remove the large elbow that supplies the vacuum from the bellows. Number and remove the covers over the bleeds on the front of the stack. Saw cut placement diagram taken from illustration III Running along the top of the front board, covering in Gulbransen Service Manual. the bleed channels, is a strip of glued pneumatic cloth - remove this. saw carefully, check everything before beginning and proceed slowly and carefully. While either a table STEP 3 - Saw off the two lower decks. saw or radial arm may be used the radial arm may be easier because progress can be viewed during the cut­ In preparation for sawing, first remove all the ting operation. To make it easier, a jig the length movable boards of the pneumatics. Do this by running of the stack should be made to which the stack can a knife down the length of the pneumatic to cut the be screwed or clamped holding it exactly vertical. cloth back to the hinge and then pull the movable When pushing the stack through the saw a guide clamped board away. Now to the sawing. The path of the to the table to keep the stack against the fence will blade should be such that half of the width of the also help. Anything to insure accuracy of the cut cut is in the back of the two lower decks and half should be done. of the width of the cut is in the facing board of the stack. See accompanying sketch. The blade STEP 4 - Remove the stationary half of the pneumatic. should cut past the top of the middle deck at least 1/8" to allow for gasket width. It cannot be em­ The two lower decks should now be hanging by the round phasized too strongly the need for proper alignment supports that go between the decks - remove these of the parts of the saw and that when sawing the now. Take one of the decks and lay it on edge on a stack must be held exactly vertical because the tol­ concrete floor or a very sturdy bench. Lay it on erances are very narrow. If too much of the front the edge that was just sawed and give one of the pneu­ board of the stack is cut away the small channels matic boards a sharp rap on the end then drive the drilled through it will be exposed and damaged. If thin putty knife between the pneumatic and the deck. too much of the deck is cut away the blade will cut The pneumatic should pop off. A little practice here into the stationary half of the pneumatic which will . will develop the necessary technique so begin at the shorten the pneumatic, possibly ruin the channel ends of the deck (seldom used notes) and work toward going to the pouch, and later the gasket will inter­ the center. The sharp rap on the end of the pneumatic fere with the movable portion of the pneumatic. So - - 192 - ct, 3ecRnicalifies

is to shock the glue which will help it break easier. of the bleed channels. After these holes have been Sometimes the pneumatic will break away with the drilled, screw the deck back in place using the seven sharp rap alone. Remove the pneumatics from all three original screws. Now use the six additional holes decks. On the opposite side of the deck are the just drilled as pilot holes and drill starter holes valve covers. With the putty knife split all of these for the new screws into the deck. A #8 x l~ inch away exposing the valve button. Pull all the valve round head screw is the correct size. Be sure to buttons off, or all of the fiber discs on the bottom drill the starter hole deep enough and large enough and lift out all of the valve assemblies. One hint diameter to avoid splitting when driving later. that should have been mentioned earlier in this step, before splitting off the pneumatics it may be wise to STEP 8 - Make the gaskets. take a black felt tip marker and mark where the edges of the pneumatics meet the front edge of the deck. Remove the screws installed in the last step, cut a This will aid in realignment when regluing. piece of sponge cell neoprene gasket just a little longer than the deck, and with the tube punch cut STEP 5 - Clean the excess glue off the decks. holes just slightly oversized for each of the 13 screws. Remember when punching holes in the gaskets When splitting away the pneumatic boards from the that the gaskets should be centered on the decks when decks, excess glue will be left between the previous installed so line the holes up and cut them accord­ location of the pneumatics. Clean away this excess ingly. To punch the critical holes of the gasket the because it may interfere with regluing the pneumatics paper strip covering the adhesive is not to be removed later. However, do not remove any slivers of wood until step 19. Be sure to cut the gasket so the that were not split away when removing the pneumatics. adhesive part will adhere to the front board, not Leave this glued to the deck as it will aid in re­ the deck. Lay the gasket in place on the front board alignment later and, of course, if a large piece is taping in two or three places to hold in place and removed it may cause an untight joint. Also at this set the deck on the gasket. Start the four screws time, before putting away the pneumatic boards until that go into the front board through the deck to fur­ a later step, repair any of them damaged in the ther insure the gasket will not shift. Check to see process of removal from the deck. After they are that the gasket is centered under the deck and sit­ glued or otherwise repaired, take the hand drill and ting flat. When satisfied that everything is aligned, a bit just a little larger than the small hole at dip a piece of tracker-bar tubing into some powder so the back of the pneumatic board that goes into the that a little is left in the end of the tube. Blow pouch well and drill out any excess glue that may this into the various holes in the deck thereby mark­ have gotten there as well as drill out the matching ing where holes need to be punched in the gasket hole in the deck. Nex~ on the sawed joint of the material. It will be necessary to do only part of deck, drill this same hole then the hole that goes the gasket at a time because when punching holes the into the front board of the stack. This will clean powder tends to rub off. However, each time when away any old dry glue and will help in maintaining putting the gasket back to mark more holes, check an open channel when regluing. carefully to be sure it is aligned properly. There are two gaskets to make and they are not interchange­ STEP 6 - Seal all the wood channels with sealer. able so make them accordingly and mark them so there J is no confusion later. One other word of advice; As mentioned in the introduction, sealing the channels select the size of the tube punch hole appropriate will aid in making a tighter rebuilding job. A sand­ to the size of hole in the stack and deck and always ing sealer on a swab or pipe cleaner run into every check for accurate placement. channel as far as possible will aid in this. Also seal the drilled channels in the pneumatic and deck. STEP 9 - Remove and reglue the brass valve seats. Anywhere there. is raw wood, with the exception of the sawed joint where a gasket will be placed, should The little brass rings that the leather covered valve be sealed. A word of caution, when running a swab buttons rested on are a critical part of the proper into the channels in front of the bleed, be careful player operation. It is these valve seats that seal not to apply so much sealer that the bleed is plugged. the stack from outside atmosphere when the note is not playing, consequently the seats must be glued STEP 7 - Add the additional screws necessary for tight otherwise air will leak and the player will attaching the two decks. not pump easily. Slip a screwdriver blade under the inside bottom and pry up, they should lift out rather There were seven screws (plus the glue) holding the easily. Clean out the old excess glue protruding deck to the front board before they were removed to past the floor of the valve well, put a very small saw the decks off. When putting the deck back later, amount of plastic glue around the entire outside per­ seven screws will not be enough to insure a tight imeter of the valve ring and put back in place. The joint against the gasket. To remedy this add six handle of the screwdriver is useful to force this more screws, one between each existing screw hole. ring back into place. Make sure it is seated fUlly Notice where the existing screws go through the front down as far as it was originally and that it is board in relationsl.ip up-and-down to where the level. After the glue has dried take some medium deck will seat and also side-to-side where the chan­ steel wool and with the tip of the thumb, polish nel holes are. Drill the holes from the back through off the top of each ring. This will serve two func­ the front board being careful not to drill into one .tions, to remove any corrosion and also any excess - 193 - ~ecRnicalifie8

plastic glue that may have gotten on the top surface. hesiveness of the glue will be enough to support the Clean them all carefully and check each when done. weight of the stem assembly. Complete the remaining 87 valves in the same manne~ STEP 10 - Clean and recover the valves. STEP 12 - Regulate the valve travel and glue the Scrape the leather off the valve buttons making sure valve covers. all the leather and glue is removed. It may even be necessary to sand lightly, but if so, be sure the One of the more time consuming operations, but crit­ button is sanded evenly so it remains flat. Next, ical to the·operation of the player for evenness of clean all the fiber discs that were attached to the response of notes, is regulating the valve travel. bottom of the fluted stem. Very likely the bottom Lay a new valve cover over the top of the newly re­ face of the disc has a small dot of some kind glued placed valves and center the hole on the dot. While to it that through the years adhered to the cloth holding the valve cover down securely check the pouch so be sure to scrape away the entire dot. valve travel with the dial indicator by pushing up When clean, it may even be well to run these fiber from underneath on the fiber disc. There is some discs over sandpaper very lightly to smooth out. The divergence of opinion on the proper amount of travel, fluted stems were glued to the leather dot on the but whatever number selected, regulate them within top and the fiber disc on the bottom. Scrape and .002 tolerance. An appropriate amount of travel for clean them so none of t~e original glue remains. proper repetition and a strong pneumatic stroke, yet Take the valve buttons and with proper diameter valve without excessive travel seems to be around .028 facings, recover the valve. Recover the upper face travel. If the dial indicator shows too much travel, of the valve with the rough side of the leather fac­ glue another top valve facing (rough side out) to the ing out and recover the lower face of the valve with top of the button. Don't forget to put another the smooth side of the leather facing out. Use the black dot in the middle. If the dial indicator shows Elmer's glue very sparingly. Any glue that squeezes too little travel, space the cover up using very past the edge and dries will later keep the valve small pieces of paper, such as balance rail punchings from seating properly so try to prevent this by cut into three or four pieces. When the correct using no more glue than enough to attach the leather. amount of travel is obtained, run a bead of Elmer's Also, when attaching the lower valve facing (smooth around the cover, assuming it again has been very side out) no glue should be put in the middle of the carefUlly centered, so the glue contacts the edge of button but instead only around the edge. This al- the cover and the stack around the entire perimeter lows a little give so the valve can seat properly on of the cover. This will assure a tight joint. After the brass ring when assembled. When the buttons are the glue is dry check the travel of the valve again. finished take a pointed black marker and put a small Many times the glue will tend to lift the cover just dot in the exact middle of the upper (rough side out) a little while it dries. If so the travel will be valve facing. Next, with a small drop of Elmer's too much and the cover will have to be re-set. A attach the fluted stems to the fiber discs exactly little experimentation will produce the desired re­ in the middle of the disc. With the revolving tube sults of learning how far off the drying glue shifts punch cut small dots of similar diameter and thickness the cover. Compensate on the remainder of the and glue these with Elmer's. Thin leather or thin covers when gluing. paperboard will work for the dots. The leather dots that go on top of the fluted stem can probably be STEP 13 - Regulate the tracker tubing nipples in the cut from the same leather that you will be using for stack. the flap valves. The tolerances here are not extreme­ ly close but every effort should be made to find The small brass nipples that were removed in step 1 leather as close to the original thickness as possible. may now be replaced. Run a little plastic glue around the nipple and put it back in the hole. At STEP 11 - Reinstall the valves. the same time the large brass elbow supplying the suction from the bellows can be replaced, also with Set a deck up so it is stationary (a couple of paint plastic glue. This done, lay the decks and front cans under either end will do) in a horizontal posi­ board with one deck attached aside. Find a safe tion. Check once more to make sure everything is place where the fiber discs will not get knocked off cleaned off where the valve covers were, check the as they are vulnerable. valve rings once more to see that there is no residual glue on the seats, run a vacuum along the deck to STEP 14 - Glue in the new pouches. clean any dust out of the various channels and if all looks well, proceed. Lay a valve button in the Clean off all the pneumatic stationary boards. Not valve well on the valve seat (brass ring) with the only the old cloth around the outside but also the dot up. Center the valve button in the valve well. old pouch. Once entirely clean, using your favorite Take one of the fiber disc-fluted stem assemblies pouch material put in the new pouch. If using leather and put a very small drop of Elmer's on the top of which would probably be easiest if this is the re­ the leather dot. Run this assembly with the dot of builders first player, run a bead of Elmer's around glue up the channel under the valve button and lift the inside of the pouch well on the top of the lip. it just far enough so you can see the button begin Use enough glue so the pouch will be glued tightly to rise. Hold it right there very carefully and very but not so much that the excess glue squeezes out still for about 10 or 15 seconds. After that the ad- Qnto the movable area of the pouch. Lay the pouch - 194 - ~ecRnicalifie8

across the top of the well and push down into place pneumatic away from the deck and blow through the using a pouch setter. If no pouch setter is available tube in the mouth. Any excess glue in the pouch the fingers can be used but it takes longer, the channel in the deck will be blown out of the hole. pouches will not be as consistent, and it will be Catch this with a swab, then check the matching necessary to press the edges of the pouch into the hole in the pneumatic and also fish out any excess glue all around the edge to assure a tight pouch. glue. Notice the thin edges of the pneumatic face After the pouches are all installed, assuming leather on either side of the pouch, it may be wise to put was used, seal the pouch by brushing on a thin coat just a bit more glue here to insure a tight seal of Carter's rubber cement mixed with naptha one-to­ and then put the pneumatic back in place and clamp. one. After the sealant has dried put talc or similar Inspect to see if glue is squeezing out all around powder on the pouches to spoil any stickiness remain­ the pneumatic, if so you probably have a tight joint. ing thus preventing the fiber discs with dots from Now alternately blow and suck on the tube and you sticking. If polyurethane pouches are used no seal­ should hear the pouch and valve working without any ing is necessary. leaks around the joint. Usually there should be no concern about plugging the large hole going to the STEP 15 - Recover the pneumatics. pneumatic itself from the valve as the hole is large enough to avoid becoming clogged and of course a The stationary part of the pneumatic was cleaned off little glue squeezed into the pouch area will be of in step 14, now clean the old pneumatic cloth off no concern unless there is an excessive amount to the movable portion of the pneumatic. Match the foul the movable portion of the pouch or the fiber pneumatic boards, movable to stationary, and when disc. Due to evaporation the consistency of the paired off, put a rubber band around each pair. Cut glue will have to be checked constantly. Have all cloth hinges from the pneumatic cloth to be used for necessary items handy such as swabs, glue, clamps, recovering the pneumatics and glue the hinge in blow tube, etc., because hot glue sets very rapidly. place. When the hinges have dried thoroughly, check When beginning to brush the glue, everything should to see that they are all tight but not binding. follow in one continuous motion 'til the pneumatic Cover the pneumatic, working carefully and consis­ is clamped in place not more than 20 to 30 seconds tently. Take care that excessive use of glue later. Gluing the pneumatics to the deck that was does not cause binding in the hinge end. The jig left attached to the front board is just a little from Player Piano Company is helpful in covering different. The blow tube is attached to the ap­ Gulbransen pneumatics because many have the finger propriate nipple at the top of the stack and a piece ~ and the PPC jig comes with instructions on how to of masking tape will need to be placed over the holes accomodate this finger. When all the pneumatics to the bleed channel on the top and the front of the have been covered and trimmed, check to be sure they front board. Otherwise everything is the same, ex- close easily and if they don't, rework them. One cept when blowing and sucking on the tube to check word about trimming off the excess cloth. Be certain the channel after clamping, remember the bleed hole the cloth trimmed off the stationary side of the is in the line. Because of this the pouch will of- pneumatic is trimmed all the way down flush with the fer less resistance which may be interpreted as a top side of the pneumatic otherwise it could interfere leak unless expecting it. with getting a tight glue joint in step 16. All Gul­ bransen pneumatics have a l~ inch span - measured STEP 17 - Test the valves and pneumatics. from the outside to the outside across the two boards on the end of the pneumatic. See the testing jig sketch. Insert the rubber tube '¥' connector end in the large hole making sure of STEP 16 - Glue the pneumatics to the deck. a tight fit and the brass tube '¥' connector end in the pouch channel or small hole on the back of the This step is probably the most difficult of the en­ deck. Now apply vacuum to the pneumatic with your tire rebuilding operation in the Gulbransen. However, mouth and the pneumatic should close as long as the the difficulty lies in attention to detail. Once the short tube is open. Putting your finger over the basic idea is mastered the rest is knowing what to end of the short tube is the same as closing the hole look for and listen for. First, much of the success at the tracker-bar when a roll is playing, finger lies in having the hot glue the proper consistency. off is the same as playing a note. Check for leaks, There must be enough body to the glue so the pneumatic proper repetition, and proper seating of the valve. seals properly but watery enough so that it does not Test all of the pneumatics and valves on the two set too quickly. Get a piece of tracker-bar tubing sawed decks then check the deck still glued to the with a brass nipple in one end that will fit tightly front board. Because access is not possible to the in the hole in the back of the deck that is the chan­ vacuum supply hole for each valve and pneumatic in­ nel leading to the pouch. Force this nipple into dividually on the deck still glued on, a different this hole and place the other end of this tube in procedure is necessary. First connect the blow tube the mouth. Spread an ample amount of glue on the to the right nipple at the top of the stack, as when face of the pneumatic and quickly put the pneumatic gluing the pneumatics back, then blow and suck, watch in place. 'Check the alignment very carefully. Look the valve travel, and if it looks OK place your thumb for the line across the stationary part of the pneu­ over the hole in the valve cover, or otherwise cover matic where it originally met the deck, check the it so it is airtight, and force the pneumatic closed. old glue lines between the pneumatics, and check the If it closes very slowly it is functioning' as should black marks made in step four. Immediately pull the be. That is the lower valve seat sealing and because - 195 4'ecRnicalifies

TEST JIG insure a tight seal but not so much that there is a danger of stripping or splitting the wood.

STEP 20 - Test the entire stack. Brass nipple inside tubing expands it to Suction to Attach a hose and vacuum to the main supply elbow fit exhaust hole mouth ...... coming from the stack. Cover all the small brass '---.; ~ tracker tube nipples with a piece of tape and turn -:::=:;:======"'" on the vacuum. With all the small nipples covered To eXhaus':) ""- bar tubing hole none of the pneumatics should close. When the tape is pUlled off the nipple the pneumatic should slap shut sharply; putting your finger over the nipple Plastic 'v' should cause it to reopen. Check the note individ­ connectors ually several times and each one rapidly to check for repetition. If each note works as it should To pneumatic (~~ ~ d the hardest part is now over. ' pouch _h_o_l~e!!!!!~ ~~W,o~~,~~;"d ':' STEP 21 - Reinstall the incidental stack parts. (Br~s nipple fo~ed Cover with finger into connector to simulate Put back the various parts that were removed in step tracker-bar 2, such as the dust cover over the top row of valves, the boards topped with felt that go below and in between the rows of pneumatics to limit their throw , the~e) there is no other escape for the air, you do not and the fingers (if your piano is equipped with have any leaks. If it closes easily check for leaks. that contact the piano action. It may be necessary While forcing the pneumatic shut try blowing into to make new hinges for the fingers, new felt dots on the suck tube in your mouth. The pressure should the end of the push rods, etc., but a little ingen­ release immediately and if it does and then reseals uity here will provide all that is necessary. The when you don't blow, the valve is probably function­ lower half of the stack is finished. ing. STEP 22 - Clean, polish, and check the upper part of '-.../ STEP 18 - Cleaning and recovering bleed channels. the stack.

While working, it's probable that small pieces of Before reattaching the two halves of the stack, remove glue, pneumatic cloth, rubber or other extraneous the transmission and clean it with lacquer thinner, material may have gotten into some of the stack chan­ remove the tracker-bar so that it can be cleaned of nels. Take a vacuum with a strong suction and go the remainder of tubing on the nipples then polished, over each hole carefully - not only the holes on and clean and polish any other metal parts that are the back face of the front board where the decks have discolored or corroded, especially the parts that been sawed aw~, but also the bleed channels on the will be exposed to view in the'spool-box. While top and front'of the deck. When the stack has been these metal parts are out consider painting the spool­ thoroughly cleaned, cut a strip of pneumatic cloth box if the paint is chipped or scratched. Under the suitable width for covering the bleed channel holes deck that the motor and spool-box sit on is a small on the top and glue the cloth in place. With a valve that opens when the wood button that comes small piece of wire clean each bleed hole visible through the floor of the spoolbox near the right through the front ports, vacuum again, then screw the side is pushed or when the transmission is put in covers in plaoe. Check to make sure the cover facing rewind - remove this valve. The spring that holds gaskets are good. If not, replace with suitable the movable part of the valve down pulls straight leather so they will seal. out. When out, replace the leather facing on this small board and also steel wool the brass lip that STEP 19 - Screw the two decks back in place. this leather seats against. Reassemble, remove the brass nipple for the tube, reglue and when the glue When everything is checked, working, ,and cleaned, get has dried put a suck tube on the nipple and check out the gaskets made in step 8. Check once more to for tightness. When assured it is tight put it back be sure all holes are aligned exactly. Pull off the in place then connect the upper and lower halves of paper covering and press the adhesive into place on the stack. First the brackets at either end (might the front board. Put the middle deck into place and as well screw on the front support brackets at the start a couple of screws through the front board for same time) with the thumb screws then put the hinges alignment,' then put the small support posts removed in place and run the screws back in. in step 4 back in place and tighten. Do the same with the bottom and middle decks, starting a couple STEP 23 - Rebuild the pneumatic motor. of screws for alignment then putting in the support '-'posts. Now add the remainder of the screws in each Before taking the motor apart take a little time to deck. Tighten them all evenly and sufficiently to understand how it works. Sketch VII in the service get some compression of the gasket material and to manual should be of help. Number the three pneumatic .pairs, pull off the cloth on the back and remove the - 196 - J'ecRnicalifiea

two screws. Drive the thin putty knife between the the stack first and then do the top row. If the body of the motor and the pneumatics so they split tube is moistened with saliva before slipping it on off. If you haven't already, remove the arms that the tracker nipple it will go on easier. Only leave attach to the movable board of the pneumatics. Re­ enough slack so the top of the stack can be tipped move the left supporting block, then remove the right forward in future years to tune the piano without rotating (the one on the outside) metal valve - be kinking the tubes. Too much slack in the tubes will careful not to lose the small spring, washer and tend to ~ag down and interfere with piano action op­ clamp with the set .screw. Pull these off the shaft eration by not letting the back checks return fully. and pull the shaft out of the hole. Start the parts If your piano has the rinky-tink pneumatic, replace just removed back onto the shaft and tighten the set the back of the spool-box thereby putting the rinky­ screw so they don't drop off. Now where the motor tink back in place and run the supply tube to the frame and block meet at the junction there is very stack, usually a nipple-elbow directly below. Also probably a leak. Take this joint apart, clean and run the tube that controls the pouch out to the left reglue using hot glue, making sure everything seals. end again wih a nipple for possible disconnect. Be­ The wooden seat that the rotating metal valve rides on fore step 26 place a test roll in the spool-box, con­ very likely is starting to come unglued somewhere nect vacuum to the stack and turn the test roll by around its perimeter. Split it off carefully and hand. Check not only to see that each pneumatic is reglue. Be certain it is glued back on exactly in working but to see that they are working sequentially. the same place it came off. Where the rotating shaft It is easy to get a tube misplaced when tubing. To goes through this rotating valve assembly there is keep the tubes out of the piano action take black a felt bearing; check this and replace if necessary. plastic tape and in several places tape the tubes in When the channels are apart or even after they are bundles. (Refering here to the tubes that run toward together it would improve the operating efficiency of the ends of the stack and not the tubes directly the motor to seal the wood in the channels. When behind the spool-box). covering the three paired pneumatics with new cloth, one piece of cloth can be used if worked carefully, STEP 26 - Install the stack - see service manual but it may be easier to use two. First cover one illustration IV. side with the movable board as far one way as it will go, then crease the cloth tightly and move the board When putting the stack back mto the piano the one the other way to cover the opposite side. Cover each thing that is most often overlooked and which will pneumatic pair exactly the same, always checking to prevent proper operation more than any other is reg­ make sure the middle board does not become glue bound ulating out all the lost motion between the striker and works easily. Glue back in place and recover the fingers of the stack and the contact points of the holes with a scrap piece of bellows cloth. Rub graph­ piano action. When at rest the striker finger should ite into the wooden valve seats for the rotating be just ready to move the piano action but not touch­ valves by dampening them first with alcohol then re­ ing it. If the piano action is held up even a little install the shaft and left block. bit the keyboard will tend to look uneven and will not play properly because it will not have a full STEP 24 - Rebuild the rinky-tink pneumatic and valve stroke when playing a note. Or if the player has (if present). to move more than a 64th of an inch before the action moves it will be noisy and ineffecient. Spare no The Gulbransen's rinky-tink is usually a pneumatic time and effort regUlating the lost motion. The that is screwed to the back of the spool-box. This major adjustment can be made by turning the large one single unit is just like the 88 just rebuilt down capstan lag screws that the stack rests on, but be in the stack. Alittle examination will reveal how sure all the screws in the slotted brackets are loose the pneumatic comes off, how to split the top off to first. When these are regulated to approximately the get at the valve and that the reassembly procedure correct height, retighten the screws in the slotted is the same as the pneumatics and valves in the brackets, tip the spool-box toward you and with a rest of the piano. crimped wire tool adjust each contact regulating button. Tighten'it until the hammer begins to lift STEP 25 - Retube the stack. and then back it off a half turn (a rough rule of thumb). If you removed the tracker-bar in step 22 it should be put back in place. Run a tube from the large STEP 27 - Rebuild the bellows and other units in the opening at the left end of the tracker-bar to the piano's lower half. See service manual I, sustaining on-off switch around on the left end of II, IX, and X. the spool-box, then run a tube out to the left end of the stack, cut the tube and install a brass nipple. There are no special skills involved here not already The nipple is put in the line so that in the future developed. Recover all the bellows, replace the flap if the stack needs to be replaced it is convenient to valve leather with new and while the stack is all slip the tube off the nipple. Next, do the same from apart check the leather facings on the valves that the small rewind valve mentioned in step 22. Now run that shut off the stack during rewind and bypass the the tubes from the tracker-bar to the nipples on the governor to the motor. As with the rinky-tink. Split "­ stack. It may be easier to tube the bottom row of the valve assemblies and recover the pneumatics for nipples on the tracker-bar to every other nipple on the rewind pneumatic that sits on the front of the

- 197 - crecRnicalifies

left reservoir bellow and also the sustaining pneu­ matic. If there is a pushbutton valve in the keyslip to operate the rinky-tink, redo this much as the re­ wind valve under the spool-box. Before reassembling the bellows, check for any cracks in channels and if found cover with pneumatic cloth and glue. Don't forget to measure the span of the governor before recovering as the exact span is important to proper operation. When recovering the pumping bellows, there were probably cardboard rib stiffeners inside. For best operation these should be duplicated and re­ placed. However as a short-cu~ rib stiffeners can be glued to the outside of the bellows cloth once the bellows are recovered.

STEP 28 - Test and reinstall the bellows.

When all are back in the piano and before hooking up the hoses and tubes, put tape over the various openings in the bellows and exhaust all the air with the pedals. If you have done a careful job the big reservoir bellows will probably not completely open for at least 30-40 seconds. If no leaks are detected "TI>< li,;ng.room is mad. doubly < prts< ClJuo.A" 'Piano" hook up the hoses and also the three tubes coming down the left side. It will probably be necessary to do a little adjusting on the tracking regulator, The Joy That Comes With Music if your piano has one, and also adjust the tempo ac­ cording to the service manual. Otherwise, if each step has been done carefully and you checked yourself 'The as you worked, everything should be ready to enjoy. MAINTENANCE DUO-ART It is wise to pump the tracker bar frequently at first because of foreign material getting in during REPR.ODUCING PIANO the rebuilding process and regularly thereafter to keep the bleeds open and working. Also it is useful HE calming cadences of eX'Iuisitely wrou8.ht to keep the test roll handy and run it through now music-the tone poetry of such as GabrIlo­ Twitsch-Bauer-Cortot-at the end of the and then just to keep tabs on how well the piano is day's rush. working. Have the piano tuned and serviced regularly Music that thrills with the very majesty of its and keep adequate amounts of humidity in the house brilliance and power. Master works performed in the winter if forced air heating is used. Don't by such as Paderewski, Hofmann and Friedman. set the piano in front of a heat register, a window, Music's tenderest moment-perhaps-the famil­ or even an outside wall unless insulated well. And iar melodies and ballads of long ago, recalled for play the piano frequently. As a matter of fact, it us by the genius whose every touch is gold. is not unusual for a player that has been completely And dancing music to quicken our pulse-to tell us of youth and romance and fun. rebuilt as done here to play easier as time goes by. A home beautified and blest by the wonderful it takes a while for the new valve leather to seat charm of Music is the home that possesses a on the brass rings and for the pneumatics to become Duo-Art Piano. more flexible. STEINWAY, STECK, WHEELOCK, Because the Gulbransen tends to stand up well to the STROUD, AEOLIAN and famous effects of time and because a well rebuilt Gulbran­ WEBER DUO-ART PIANOS sen player works so easily, they are a very good player to own. Happy pumping! Uprights (foot-impelled) from $695' Uprights (electric) from $995. Grands from $1.850 Convenient Terms Write for booklet descriptive of the Duo-Art From HOUSE BEAUT! FUL - C. 1928 'The AEOLIAN·· COMPANY Contributed by Mark D. Zahm. tMaiters ofthe cArolitln.Vocalron-tM Phonograph Suprm:'e NEW YORK LONDON PARIS MADRID SYDNEY MELBOURNE

- 198 - NEW MEMBERS Kevin E. Moran 1925 Chickering 5'2" 212 Lippincott Ave. Ampico A Bud Cameron Stroud Pianola upr metro~ Riverton, NJ 08077 13908 -80 Ave. style Aeol ian I 609 786 0014 Edmonton; Alberta 1 CANADA T5R 3J7 John P. Snyder 1929 Apollo 6 &' Art-echo; P.O. Box 8512 1920 Knabe upr Ampico A; '---' 'James C. Fisk Upright player, simplex Parma, OH 44134 1925 Marshall & Wendell P.O. Box 701 action 6'6" Ampico A Ravenna, OH 44266 John & Ruth Owen 216 673 2895 4142 Newland Dr. West Price & Teeple Symphonola Orchard Lake, MI 48033 upr plyr Recordo Kenneth & Kathleen Hodge 1918 Kimball upr player, 313 626 6195 9505 Bixler Lane pedal Vienna, VA 22180 Jerry L. Donnell 1922 Steinway Duo-Art; 703 939 0367 304 A. St. S. E. 1918 Shaw Ampico upr; 1918 Washington, DC 20003 Stieff Welte Mignon upr; Charles W. Hanley 1931 Steinway 61y' XR Aeolian Orchestrelle; 228 So. 18th St. Duo-Art English street barrel piano Terre Haute, IA 47807 various music boxes and 812 235 -142 phonographs

Edward K. Burnside 1927 Link endless roll, Allan & Dorothy Foster 1927 Mason & Haml in 6'2" 1183 Nelrose Ave. pipe organ player 3446 S. Main (Box 188) Ampico A; 1927 Marshall Venice, CA 90218 Warsaw, NY 14569 & Wende 11 5 I 4" Amp'i co A; 213 398 0073 716-796-5661 1925 M& W51 Ampico A; 1919 M& Wupr Ampico A; 1920 Steck upr Duo-Art; 1919 Weber 5'8" Duo-Art; Anthony & Cynthia Ungaro 1926 Wheelock upr Duo-Art; 1 60 Beechwood Lane, 1925 Leonard upr plyr; 1926 1927 Fischer 51 Ampico A; 1925 Knabe 5 2" Ampico A Bristol, CT 06010 Aeolian upr plyr metrostyle 203 583 3992 themodist CHANGES OF ADDRESS Harry & Frances Trauger 1921 Caldwell upr plyr John E.' Griffin Roger & Mary Jo Burgoon 20 Preston Dr. super simples; 1925 Premier 6380 Wisteria Way 107 S. Mulberry St. , Somervi lIe, NJ 08876 4 1 8" Recordo simples; 1925 San Jose, CA 95129 Statesboro, GA 30458 201 526 1578 Haines upr Ampico A Eugene and Mrs. Werlich 1957 Hardman Peck Duo 3-37-9 Nashihara player console 88-note Shibuya, Tokyo 151 PIANO ROll AUCTIONS: 88 &65-note - monthly. Japan (phone 03 469 7542) Reproducing - 3-4 times yearly. Your rolls sold on consignment. 5 stamps get you on mailing list. Dale & Frances Pratt 1924 Bush & Lane 51~' Welte Mike Schwimmer, 241 Harbor, Glencoe, Il 60022. 1305 Belmont Mignon Licensee Art de Centralia, WA 98531 Luxe FOR SALE: Bush &lane Welte reproducing grand 206 736 7949 piano. Rebuilt, restored, refinished. Excellent condition. Also new 1976 Aeolian Duo/Art console Joe Kai ser Waltham upr plyr simples; player. Dale Pratt, 1305 Belmont, Centralia, WA 2100 Sheridan St. Cable upr plyr std; H.C. 98531. Telephone (206) 736-7949. Oshkosh, WI 54901 Bay upr plyr; Bacon upr 414 235 0619 Ampico; Windsor upr plyr; FOR SALE: 50 pin end 65-note rolls - $100.00 Krietea upr plyr 10 AMPICO rolls - $50.00 (3) lots of 20 Welte and Takao Koga Deluxe rolls - $100.00 per lot. 1927 Mason &Hamlin No 5, 2-Chome, Jimbo-cho Western Elec 46-C, 46-E: Ampico "A" mechanism. Everything except drawer and Chiyoda-ku, Tokyo, Japan Rca 2A3 3D chanel; Altec motor - $300.00 R. Stewart, 3609 27th St., 101 261 1239 A-125-A Kenosha, WI 53140. Telephone (414) 551-8249. Ronald S. Olsen 1924 Kimbell 51~' Welte - 1927 Steinway Duo-Art #XR248442, 612" walnut 3701 47th Ave, No. Apt 6 Mignon Lombardi art case with bench. Duo-Art restored, Brooklyn Center, MN 55422 piano gilded, restrung &rebuilt. Beautiful in­ 612 535 6084 strument $11,000 (707) 823-8302, 823-0410. 7081 Firecrest Ave., Sebastopol, CA,95472. Wm & Cheryl Ann Weaks 1927 Kurtzmann upr plyr 549 Main St. pumper FOR SALE: Feurich Welte-Mignon Keyboardless Cabinet So. Seaville, NJ 08246 Reproducing Piano #19505 (Red Roll). Solid Oak. 609 263 3668 Originally made for export to Scotland. Original 70V motor and resistor function well. Complete but Frank & Mary Ellen Wilkinson Weber upr plyr; unrestored. $2000.00 Michael White, 9831 North P 4010 Riviera Dr. Lindeman & sons upr Avenue, la Porte, Texas 77571 Middletown, OH 45042 plyr 513 423 8130 WANTED: Top action for Farrand-Cecilian upright. 28-30-30. Write or call: Raye McCall, 1078 E. Third Street, Pomona, CA 91766. Ph. (714) 622-8826. World's Largest Selection of

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