The DUO.,ART MONTHLY PUBLISHED BY The AEOLIAN COMPA~Y Aeolian Hall NEW YORK
VOLUME 12 MAY, 1926 NUMBER 8
Ossip Gabrilowitsch MONG the noteworthy events of the Despite his arduous labors with his orches "music season" just ended has been the tra, appearing in approximately 100 concerts A series of piano recitals with which Ossip each season, Mr. Gabrilowitsch still finds time Gabrilowitsch celebrated the twenty-fifth anni for some 30 or more piano recitals and for versary of his first American tour. Born in several appearances as plano soloist with other Petrograd, on February 7, [878; a protege orchestras than his own. His piano mastery and pupil of Anton Rubinstein; graduated has not suffered frord any preoccupation with from the Petrograd Conservatory as winner the orchestra; he remains today one of the of the Rubinstein Prize in 1894 j then for two greatest pianists of his time. years a pupil of Leschetizky in Vienna, he had His playing reveals his reflective and poetic achieved remarkable success in tours of Ger temperament, but also at times dazzles by its many, Austria, Russia, France and England brilliance, or astounds by its surging power, its before coming to the United States. Russian fire and passion. The impression of his excellence as a pianist, Ever since the Duo-Art Piano was invented made on his first visit in 1900, was deepened Mr. Gabrilowitsch has recorded his playing on subsequent visits-in 19°1, '06, '09, '14, for this instrument exclusively, and there is '15, '16, '17. From 1910 to 1914 he lived no other reproducing piano that can bring in Munich as conductor of the "Konzertverein" into the home, the piano intrepretations of of ~hat city. Since 1918 he has been con Ossip Gabrilowitsch at his best-as he plays ductor of the Detroit Symphony Orchestra, today. and in that capacity has built up a fine orches The Duo-Art Records by Ossip Gabri tra and has won new personal distinction as lowitsch now available (others are in prepara one of the foremost orchestral conductors. in .. tion) include the following very attractive and America. beautiful pieces:
Title Composer Roll No. Pr~e Danse des Elfes, Op. 3. . Sapellinikoff 6211-5 $3.25 Etude in F. Op. 10, No 8 . Chopin 6414-4 3.00 Etude in F Minor, Op. 25, No.2 Chopin 6349-4 3.00 Intermezzo in Octaves, Op. 44, No.4. . Lescllftidy 5670-3 2.75 Marche Militaire, Op. 51, No.1 (for 4 hands) Schubert 6487-6 3.50 Played by Gabrilowitsch and Bauer Melodie in E Minor, Op. 8, No.1 'Cabrilo'UJitsch 6926-4 3.00 Moment Musical, Op. 94, No.3. . Schubert 5841-4 3.00 Prelude in C-sharp Minor, Op. 3, No. 2 Rachmaninoff 5804-5 3.25 Romance, No.3...... Faure 5659-3 2.75 Spinning Song, Op. 67. No.4 (Songs Without Words, No. 34) . Mendelssohn 66730 2.50 Valse in E Minor (Posthumous) ...... Chopin 62730 2.50 Valse (from "Suite," Op. 15) (for 2 pianos) .. 1/ rensky 5849-0 4.5() Played by Gabrilowitsch and Bauer Page Three
I •• •• • •• •• •• •• • • • • • •• • ••••• •••• • ••• ••••• • • • •• ,
r, The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION MAY/JUNE 1999 VOLUME 36, NUMBER 3 ·",
Latest Broadway Hits in Dance Music Title Compose,. Roll No. Price (What Can I say) After I Say I'm Sorry?-Fox-Trot Donaldson ~ Lyman 713217 $1.25 Arranged and Played by Phil Ohman Behind the Clouds (Are Crowds and Crowds of Sun beams)-Fox-Trot ...... Davis ~ DeSylva 713218 1.25 Arranged and Played by Frank Banta But I Do-You Know I Do-Fox-Trot . Walter Donaldson 713219 1.25 Arranged and. Played by Alan Moran Do I Love You? (When There's Nothing But "Yes" in My Eyes) (£rom "Naughty Cinderella")-Waitz .. Christine ~ Goetz 713220 1.25 Arranged and Played by Constance Mering Drifting and Dreaming (Sweet Paradise), (a Hawaiian llanAlstyne, Schmidt Love Song)-Fox-Trot ...... ~ Curtis 713221 1.25 Arranged and Played by Alan Moran & Rube Bloom Gypsy Land-Fox-Trot . Merton H. Bories 713222 1.25 Arranged and Played by Alan Moran In My Gondola-Fox-Trot...... l/arry Hrarren 713223 1.25 Arranged and Played by Rube Bloom Let's Talk About My Sweetie-Fox-Trot . Walter Donaldson 713224 1.25 Arranged and Played by Phil Ohman (I Don't Believe It-But) Say It Again-Fax-Trot A hner Silver 713225 1.25 Arranged and Played by Frank Banta If'hiting, Lewis ~ Sweet Child (I'm Wild About You)-Fox-Trot. . Simon 713226 1.25 Arranged and Played by Moran and Wehrlin Whose Who Are You?-Fox-Trot .... Jesse Greer 713227 1.25 Arranged and Played by Alan Moran
HE collaboration of two such experts in the list. "Do I Love You?" is the out· T as Donaldson and Lyman could hardly standing popular hit of the musical comedy fail to produce a meritorious Fox-Trot, "Naughty Cinderella," and is a great favor but the first number in the above list, "After ite "on the air," as well as with the dance ry I Say I'm Sorry?" cannot be characterized in orchestras. such inadequate terms. It's one of the sen "Drifting and Dreaming" has the peculiar sational hits of the season-a great Fox-Trot, and appealing lilt and swing of a typical catchily melodious and rhythmically irresis Hawaiian Love Song-which is just what it tible. And Phil Ohman has recorded an ar is, and a very pretty one, as well as a grace rangement of it that's a hummer. ful Fox-Trot that is in great favor with The expert Walter Donaldson is also rep dancers. resented in the list by two other brand new popular successes: "But I Do--You Know "Gypsy Land" is a new Fox-Trot song I Do," a combination of an excellent popular from the Pacific Coast, where it has recently song and Fox-Trot that is being played all become immensely popular. It promises to be popular in the East also, for it is both clever over the country today i and "Let's Talk and attractive. About My Sweeetie," one of the snappiest Fox-Trots that even Donaldson has ever writ One of the best of the newest Fox-Trots. ten. "In My Gondola," is being featured in vaude "Behind the Clouds" is a Hew Fox-Trot ville as well as by all the leading dance orches with a very nifty dance tune-a really beau tras. tiful melody, expressive and singable. Frank "Sweet Child" is a new Fox-Trot of the Banta has made and played an expert piano jazzy type and is characteri.,;ed by its nice arrangement of it i as he has also of that other Charleston rhythm. It's a great Broadway new and great popular hit, "Say It Again" hit, and the snappy, sparkling record-roll by -a stunning dance tune that has been fea Alan Moran and Jack Wehrlin is a sure-fire tured over the radio and is in constant de willner. mand with the dance orchestras everywhere. "Whose Who Are You," another dandy Constance Mering's artistic playing and her new Fox-Trot, has some odd but beautiful clever skill in arranging for the piano music melody, a wonderfully appropriate harmonic written for orchestral performance are shown accompaniment, and fascinating rhythm. An in her delightful record-roll of the only waltz exceptionally attractive number. Page 'Ten /"""\. "- • ••• •••• ••• • •••• ••• ••••••• •••••••• •••••• •••••• THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors' Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. ROBIN PRAD, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens Contributing Editor: Mr. Emmett M. Ford
VOLUME 36, Number 3 May/June 1999 AMICA BULLETIN
Display and Classified Ads FEATURES _ Articles for Publication Letters to the Publisher Australian Odyssey - 149 Chapter News Duo-Art Piano Rolls from The Pianola Journal - 150 UPCOMING PUBLICATION DEADLINES Boston Convention - 174 The ads and articles must be received by the Publisher on the 1st ofthe Electric Piano Players - 178 Odd number months: January July Quasimodo's Private Tower of Music - 180 March September May November Crossword Puzzle - 184 Bulletins will be mailed on the 1st week of the even months. Robin Pratt, Publisher 630 East Monroe Street Sandusky, Ohio 44870-3708 Phone: 419-626-1903 e-mail: [email protected]
DEPARTMENTS President's Message - 147 MEMBERSHIP SERVICES
From the Editor's Desk - 147 New Memberships Renewals Calendar of Events - 148 Address changes and corrections Tech Tips - 182 Directory information updates Chapter News - 186 Additional copies of Member Directory Classified Ads - 195 Single copies of back issues ($6.00 per issue - based upon availability) William Chapman (Bill) 2150 Hastings Court Santa Rosa, CA 95405-8377 707-570-2258 e-mail: [email protected] ':-9vers: The Duo-Art Monthly, May, 1926 To ensure timely delivery of your ~ BULLETIN, please allow 6-weeks advance notice of address changes.
AMICA reserves the right to accept, reject, or edit any and all submitted articles and advertising.
Entire contents €:I 1999 AMICA International 145 AMICA INTERNATIONAL
INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Linda Bird BOSTON AREA NORTHERN LIGHTS 3300 Robinson Pike Pres. Edward Bordelieu - (603) 472-5566 Pres: Dave Kemmer ,t'-. Grandview, MO 64030-2275 Vice Pres: Ken Volk Vice Pres: Jerrilyn Boehland PhonefFax 816-767-8246 Sec: Robert Hunt (612) 780-5699 e-mail: [email protected] Treas: Alan Jayne Sec: Jason E. Beyer - (507) 454-3124 Reporter: Don Brown Treas: Terry Goepel Reporters: Paul & Barbara Watkins PAST PRESIDENT Maurice Willyard Board Rep: Sandy Libman 1988 NW Palmer Lane Board Rep: Dorothy Olds Bremerton, WA 98311 CHICAGO AREA 360-692-8885 Pres: Richard VanMetre PACIFIC CAN·AM Pres: Mark Smithberg Vice Pres: George Wilder VICE PRESIDENT Dan C. Brown Vice Pres: Kurt Morrison Sec: Curt Clifford Chapter Coordinator N. 4828 Monroe Street Sec: Halie Dodrill Spokane, WA 99205-5354 Treas: Joe Pekarek Treas: Ward Folsom 509-325-2626 Reporter: Kathy Stone Septon Reporter: Dan Brown e-mail: [email protected] Board Rep: Marty Persky Board Rep: Fran Willyard SECRETARY Shirley Nix FOUNDING CHAPTER SIERRA NEVADA AMICA Headquarters 6030 Oakdale Avenue Pres: Bing Gibbs - (408) 253-1866 Pres: John Motto-Ros Woodland Hills, CA 91367 Vice Pres: Jack and Dianne Edwards Vice Pres: Sonja Lemon 818-884-6849 Sec: Lyle Merithew & Sandy Swirsky Secffreas: e-mail: [email protected] Treas: Richard Reutlinger Tom & Virginia Hawthorn Reporter: Bing Gibbs Reporter: Doug & Vicki Mahr TREASURER Robert Deland Board Rep: Richard Reudinger Board Rep: John Motto-Ros Registered agent for legal matters 485 Gatewood Lane GATEWAY CHAPTER SOWNY (Southern Ontario, Grayslake, IL 60030 Western New York) Pres: Dorothy Crowley 847-548-6416 Pres: Anne Lemon e-mail: [email protected] Vice Pres: Yousuf Wilson Vice Pres: Mike Hamann Sec: Mary Wilson PUBLISHER Robin Pratt Sec/Mem. Sec: John & Diane Thompson Treas: Mary Wilson Treas: Holly Walter 630 E. Monroe Street Reporter: Cynthia Craig Sandusky, Ohio 44870-3708 Photographer: Garry Lemon Historian: Larry Hollenberg Reporter: Frank Warbis 419-626-1903 Board Rep: Gary Craig Board Rep: Mike Walter e-mail: [email protected] HEART OF AMERICA SOUTHERN CALIFORNIA MEMBERSHIP SECRETARY William Chapman (Bill) Pres: Herb Mercer 2150 Hastings Court Pres: Ron Bopp - (918) 786-4988 Vice Pres: Tom McAuley Vice Pres: James Westcott F"":;; Santa Rosa, CA 95405-8377 Sec./Reporter. Shirley Nix 707-570-2258 Secffreas: Linda Koehler Reporter: Joyce Brite Treas: Ken Hodge e-mail: [email protected] Board Rep: Frank Nix Board Rep: Ron Connor COMMITTEES - LADY LmERTY TEXAS TECHNICAL Harold Malakinian Pres: Keith Bigger - (718) 528-9443 Pres: Ken Long 2345 Forest Trail Dr., Troy, MI 48098 Vice Pres: Tony Palmer Vice Pres: David Palter Robin Pratt Michael Barisonek PUBLICATIONS Sec: Richard Karlsson Haden Vandiver 515 Scott St., Sandusky, OH 44870-3736 Treas: Joseph Hutter Bryan Cather AMICA ARCHIVES Shawn Fox Reporter: Bill Maguire Treas: Janet Tonnesen 1319 Pearl St., Sandusky, OH 44870 Board Rep: Dianne Polan Sec: Janet Tonnesen 419-621-9758 - (516) 673-0388 Reporter: Bryan Cather Board Rep: Dick Merchant AUDIO-VISUAL Harold Malakinian MIDWEST (OH, MI, IN, KY) 2345 Forest Trail Dr., Troy, MI 48098 Pres: Harold Malakinian - SOUTHERN SKIES (248) 528-3111 Pres: Debra Legg - CONVENTION COORDINATOR Liz Barnhart Vice Pres: Liz Barnhart (813) 734-3353 919 Lantern Glow Trail, Dayton, OH 45431 Sec: Judy Wulfekuhl Vice Pres: Bill Shrive HONORARY MEMBERS Mike Walter Treas: Alvin Wulfekuhl Sec: Howard Wyman (813) 689-6876 65 Running Brook Dr., Lancaster, NY 14086-3314 Reporter: Christy Counterman Treas: Dee Kavouras (352) 527-9390 Board Rep: Liz Barnhart Reporter: Dick & Dixie Leis 716-656-9583 Board Rep: Debra Legg AFFILIATED SOCIETIES AND ORGANIZATIONS AUSTRALIAN COLLECTORS INTERNATIONAL PIANO NORTHWEST PLAYER PIANO SOCIETY FOR SELF-PLAYING OF MECHANICAL MUSICAL ARCHIVES AT MARYLAND ASSOCIATION MUSICAL INSTRUMENTS INSTRUMENTS Performing Arts Library, Hombake 3210 Everson Whittle, Secretary Gesellschaft fur Selbstspielende 19 Waipori Street University ofMaryland II Smiths Road, Darcy Lever, Musikinstrumente (GSM) E.V. St. Ives NSW 2075, Australia College Park, MD 20742 Bolton BL3 2PP, Gt. Manchester, England Jiirgen Hocker Home Phone: 01204 529939 Heiligenstock 46 MUSICAL BOX SOCIETY DUTCH PIANOLA ASSOe. Business Phone: 01772 208003 D-51465 Bergisch Gladbach Nederlandse Pianola Vereniging INTERNATIONAL Germany Eikendreef 24 P. O. Box 297 SMITHSONIAN INSTITUTION Phone: 2202-932524 5342 HR Oss, Marietta, OH 45750 Division of Musical History Fax:. 2202-932526 Netherlands Washington, D.e. 20560 /"""". NETHERLANDS MECHANICAL INT. VINTAGE PHONO & MECH. ORGANSOCIETY-KDV PLAYER PIANO GROUP MUSIC SOCIETY •. PIANOLA INSTITUTE A. T. Meijer Julian Dyer, Bulletin Editor e.G. Nijsen. Secretaire General Clair Cavanagh, Secretary Wilgenstraat 24 5 Richmond Rise, Workingham, 19 Mackaylaan 43 Great Percy St., London WCIX 9RA NL-4462 VS Goes. Netherlands Berkshire RG41 3XH, United Kingdom 5631 NM Eindhoven England Phone: 0118977 1057 Netherlands Email: [email protected]
146 President's Message
r ffhe Boston convention will be here before we know it. need a fancy collection to host . ,.. . . There is a limit of 200 attendees so I sure hope you have a meeting. Our chapter has registered by now. Dorothy Bromage and her committee just as much fun going to have been hard at work for a long time to prepare a fun time for someone's home with a all, so don't miss it If you have lost your registration informa pumper player as we do going tion that came in the March/April Bulletin, go to the Web site at to a home with a large collec www.amica.org and you can register there. tion. It is the idea of coming together to socialize and Speaking of conventions, you need to be marking your compare notes on rebuilding, calendars and making plans to attend the future meetings. Plans etc. We've decided we could are going full tilt in Sacramento for the 2000 convention. By have a good time stranded in the Boston meeting, we should have lots more information the middle of the desert, we available about the meeting in Melbourne, Australia in February just enjoy getting together. So of 2001. It is shaping up to be a once in a lifetime opportunity please, offer to have a chapter meeting. It isn't that much work you won't want to miss. 2002 will bring us to Springdale, and sure can be a lot offun. Arkansas hosted by the Heart of America Chapter. If your chapter hasn't hosted a convention or if it has been a long time By the time you get this Bulletin, your new AMICA since you have, we need locations for 2003 and 2004. Please directory should be in your hands. Bill and Robin have spent seriously consider taking your tum, it really is fun. Contact Liz countless hours trying to make sure that all information was Barnhart or myself if you want more information or would like current Anytime you have a change of address, zip code, area to volunteer your chapter. code, etc., please let Bill Chapman know so he can keep the files current. If we can keep updated, we shouldn't have such a This summer at the board meeting we will be electing a mess printing another directory in a couple of years. nominating committee for officers to be elected in 2000. If you are interested in serving on the committee or are interested in If you have any concerns or items for the Board meeting, - l:Jeing an officer, or have an idea of someone who would be please contact me immediately. The agenda is already written \-.g"ood, please contact Maury Willyard. but can be changed if necessary. I hope to see many of you in Several of the chapters are having problems getting people Boston. to volunteer to have a meeting. I hope that some of the smaller Linda collectors will come forward and volunteer. You certainly don't
Happy Summer! I imagine everyone is planning on attending lots of outdoor activities this summer. In case you didn't notice, I have a new address. It is below and all correspondence should be mailed to the new address. Enjoy your summer, I have to get back to work packing the rolls! AMICA Publications Robin Pratt, Editor oj 630 East Monroe Street Sandusky, Ohio 44870-3708 E-mail: [email protected] Robin
147 CALENDAR OF EVENTS CHAPTERS CALENDAR OF EVENTS ANNUAL CONVENTIONS R ~ Founding Chapter Meeting August 12-15, 1999 AMICA Convention, Boston, Massachusetts July 24, 1999 - Jack Gustafson's & Richard Quigley's Contact: Jack or Diane Edwards 408-267-9554 June 22-25, 2000 AMICA Convention, Sacramento, California Pacific Can-Am Chapter Meeting July 17, 1999 - Carl & Peg Kehret, Carbonado, Washington February 16-26,2001 AMICA Convention, Contact: Carl & Peg Kehret 425-392-0667 Melbourne, Australia
June 26-30, 2002 AMICA Convention, Springdale, Arkansas
Definitions From The A.MICAN (Southern California Chapter newsletter)
The following is a short but brief glossary of commonly used terms connected with automatic musical instruments. We hope it will be useful. ' ACTION - what any good AMICAn looks for on a Saturday night. (Editor's note: Well! Founding . Chapter members maybe, they're wild!) , AMICA - the acronym for our organization. It does not rhyme with Africa. (Editor's note: 1 told you this was from the Founding Chapter!) AMPICO - a particular type ofreproducing device for pianos. It is not an Xavier Cugat recording. .\ BELLOWS - what is heard from the neighbors of an AMICAn who thinks the only expression "" worthy of the name is LOUD! . CHEST - that part of the anatomy which will be crushed by theA-MICAn's wife if he doesn't clean up the stack. CREMONA -' a non-dairy creamer. EXPRESSION - the volume of musical passage varied by the artist to give diversity and meaning to a piece.
,KNABE c a device for-changing television channels ... "turn the knabe."
PHOTOPLAYER -a euphemism for a compulsive ga'mbler. 'PUMPER - aperson at an AMICA meeting who tries to get free advice from the local techie. This is nota clean word. . REPRODUCER - a type of piano that reproduces a performance exactly as the original artist played it This is a clean word. (Editor's note: In actuality though apart to an Edison Phonograph.) SNAKE BITES - whata Duo-Art owner's daughter comes home with on her neck after a special date. (Editor's note: See! They are wild up there!) STACK - a supply of player piano parts stored in a hap-hazard way in the corner of the WOrkshop. TRA.CKER BAR - where private detectives drink. VIOLANO - Rosa's last name in the old time radio show, "Life with Luigi". WELTE -what forms on the backs ofAMICAns who do not clean up their stacks. ,_."f WURLITZER -what the private told the general to do when the general asked what to do with the , pinwheel.
148 An Australian Odyssey FEBRUARY 19-25, 2001 Melbourne, Australia
Fun in the Sun Our dictionary defines an odyssey as "any long series of wanderings and adventures." AMICA will celebrate the beginning of the new millennium by holding its annual convention internationally for only the third time. The venue ... Melbourne, Australia. We Australian AMICAns certainly hope that you can join us for the 2001 AMICA Convention odyssey "down under." We have chosen the southern hemisphere month of February, and the last week of our summer, so you can join us for "Fun in the Sun." Yes, you will get jet lag and yes, it's a long way to come - crossing the International date line and losing a day to get here. We know all that! But here is your chance to escape the northern winter, renew old friendships and meet new friends in a new and interesting location. Melbourne was recently chosen as "The World's Most Livable City" and is the capital city of the "Garden State" of Victoria. It is renowned for the number and quality of its parks and gardens, and could perhaps be compared to the New England area of America, without the winter snow. Our city is safe to explore and very easy to get around on excellent public transport with trams [or trolley cars], well servicing the central business district and inner suburbs. We have secured the Hilton on the Park as our venue with a great location right on the edge of the CBD and adjacent to one of Melbourne's oldest parks, the Fitzroy Gardens, be sure to see the dolphin ~. fountain. A free tourist tram is just a short stroll from the Hilton, taking you on a sightseeing circuit of the city and allowing you to visit such places as the botanical gardens, many fine quality restaurants, or the casino, worth a visit just to see the entrance foyer. Australia is a large continent almost equal in land mass to the USA, for comparison it is about the same distance from Perth in the west to Sydney in the east as from LA to New York! So be prepared to see only a small part of it! As a relatively young developed nation our population is only about eighteen million, with about four million people living in Melbourne. Be also prepared to visit smaller specialized collections - we just don't have the huge array of mechanical music that feature in the USA or Europe. What we can offer though is: lots of sunshine, great tour guides, a very diverse selection of instruments, the many features both man made and natural that make Australia the tourist destination that it is today and the opportunity to see some of our unique wildlife. May we recommend the post-convention trip to Sydney to visit Craig Robsons superb collection, and do plan on extending your vacation after the convention. We start in Melbourne Monday the 19th of February and finish Sunday the 25th. This is YOUR personal invitation to join us in Melbourne in 2001. We hope to see you all then. Registration forms will be in the Bulletin later this year. Talk to our committee members at the Boston Convention this year.
Convention Chairmen: John and Jan Ham Committee: Steve Rattle, John Ryan, and Ian Savins (Sydney) Correspondence to: 56 Crombie Road, Macedon, Australia 3440 Phone: 61 35426 1476 --Please remember the time difference.
149 Duo-ART PIANO ROLLS: a description of their production and {'\ an assessment of their performance By Denis Hall From: The Journal of the Pianola Institute No. 10-1998
Note: This article complements Rex Lawson's article Duo-Art Roll Speeds and Recording Methods first published in the Player Piano Group Bulletin No. 139 of July 1996. (Reprinted in the NovemberlDecember 1996 AMICA Bulletin. - RP)
INTRODUCTION Duo-Art pianos and rolls were manufactured in and had its first outside engagement the following America and England. This article aims to detail the month. (1) processes by which the rolls were recorded, edited and The Duo-Art system is an amalgamation of a number finally approved by the artist, at which stage they were of patents held by Aeolian dating back to 1901, culminat ready for production. It also assesses how successful the ing in what is a virtually complete mechanism, patent rolls and pianos were in reproducing the performances 13,715,700 of 1913; Aeolian never patented the final sys recorded. The variations in Duo-Art player actions obvi tem. For a description of its development and operation, ously impinge on the way the rolls were edited, and so see Pianola Journal no. 6, 'A Ramble on the Duo-Art~ reference is made to the specifications of the pianos at Theme' by Patrick Handscombe. The reader should alsCf \: various times in so far as they seem likely to have affect be familiar with the basic working of the Duo-Art system-- ed the rolls. as described in the Duo-Art Service Manuals published The Duo-Art Pianola was first demonstrated in by Aeolian. Aeolian Hall, New York at 3:00 PM on 2nd March 1914
The Duo-Art Pianola had its first public appearance Tuesday IntroduciDg the Duo-Art! night when it was used at the THE MUSIC TRADE REVIEW
dinner of the Pan-American APRIL II, 1914 OCTOBER l. 1914
Exposition held in the Pan ~~.....-...... MUUAIIIMLl- ~1lW.1LI!AlMIL American building, Thirty-Second street and Sixth avenue, New I?i~; I:ft~£~ York. This dinner was attended by ij'ir£: a distinguished gathering of business men, who generally praised and admired the Duo-Art Pianola. ·~~~I!!1 :'':~'a.::.::':'''':.':;; :-~_""':.:.."':.."'=....-: z:.":"~~":-=:""".."..."'e':' :::= ~~-=--:.~ =:.':::...... :-:~.::.::: .....,-.,.-"""-'+~~-:!! The Duo-Art Pianola was the =--.::;.=:==:--=:=::: ::~:::::::~ ~"::;- .':F:i:-~:":~ subject of another strong advertisement in last Sunday's ~~~S~ ~~~~~ ~~if~~~~ newspapers. This new :,:...c.o:-.:"::Z=:.:=•."": -- "-::'::--"-'- instrument is meeting with a ready sale throughout the country andAeolian dealers are exploiting g~ it to excellent advantage. iff:::::::..--:.::" e.- __. Sunday's advertisment showed the three uses of the Duo-Art Pianola by means of excellent The call for Duo-Art Pianolas Jack Haynes, London export illustrations. The playing of the in particular is increasing at a manager of the Aeolian Co., is instrument by hand, with a remarkable pace and this fall expecting to sail for England any !";- music-roll, and as a reproducing promises to see general and day, although his sailing date medium were all illustrated in productive activity on behalf of has not been definitely decided this latest Duo-Art copy. this instrument. upon. The first public appearance of the Duo-Art in 1914 (Source: cover of November/December 1996 AMICA Bulletin. - RP) 150 SPECIFICATIONS OF THE INSTRUMENTS long, thus retaining the graduated sizes. Return springs The Duo-Art Pianola, as the instrument was first were fitted to the striker pneumatic hinges from a few named, was manufactured in the American factories of notes into the middle size up to the top. Cheaper pianos the Aeolian Company, probably at their new purpose had the same size of pneumatics throughout. Some ).lUilt location at Garwood, New Jersey, and one may take pianos had round valves and others a redesigned slightly ':::'1t that production was well under way by April 1914. larger cross valve. Valve travel was standardised at 1/32". Pianos fitted with the Duo-Art action continued to be The expression box was made more compact and built at Aeolian's factory at Garwood until its sale in 1932, incorporated the Theme secondary/flap valves unit into when production on a smaller scale was transferred to the main box. The regulator pneumatics measured 8 1/4" East Rochester, New York, the site of the American Piano by 3 1/ 4" with a span of 3 1/ 4". Most significantly, a .055" Company's activities, following the consolidation of the wire gauge spring was fitted to the Theme regulator and production of the Duo-Art and Ampico instruments. By a weaker .049" gauge spring to the Accompaniment. that time, Aeolian American Corporation, as it was then Fitting different springs to the regulators was an known, was in a financially precarious state, and we find important change which affected the performance of the instruments where Ampico parts are used in Duo-Art pianos. With identical springs, when correctly set up, the pianos just to get the hybrids completed and ready for Theme minimum setting would be just above the Accom sale. Production ceased altogether by the beginning of the paniment zero and below Accompaniment power 1. The Second World War. Theme and Accompaniment powers would interleave all Aeolian in Britain had its factory at Hayes, Middlesex, the way up to full power. With different strengths of from 1910, but does not seem to have built Duo-Art springs, the Theme and Accompaniment build-up curves pianos until after the First World War. Those pianos would assume different profiles, the Theme pulling away which were sold outside North America prior to then from the Accompaniment from quite low powers. The were almost certainly manufactured at Garwood and subjective result would be more delicate accompaniment exported. The earliest British Duo-Art instruments figures, and melody/accented notes standing out more followed the design of the American ones with one or two distinctly than on a piano fitted with identical strengths of slight differences which did not affect their performance. springs on both regulators. A crash valve was soon fitted From 1923 on, however, the British pianos were fitted to this style of expression box. with actions designed and built at Hayes which were A later (c1927) change was the introduction of a small significantly different from the American instruments. bleed to atmosphere in the Theme regulator chamber. Its main purpose was to stabilise the suction level in the ; INSTALLATIONS PRE-1920 Theme side of the expression system when it was not being ~ Once production settled down, say from early 1915, signalled (Jeffrey Morgan believes the purpose of this bleed grands were fitted with an 88 note stack with three decks is to "unload" residual suction in the Theme regulator, of graduated pneumatics. These were 1 3/8" wide and 6 allowing it to follow Theme coding on the roll more rapidly 1/2", 6" and 5 1/2" in length, the largest in the bass. [and thereby accurately]. - RP); in a really airtight piano, the Light return springs were fitted to the hinges of the pneu tendency would be for the level to creep up (...if the Theme matics on the entire stack early on, and later from the knife valve's seating were less than perfect. Otherwise, the middle of the piano to the top of the treble. Cross valves effect of no unloader bleed is rapid tracking of the regular to were installed, initially with a travel of 1/16". Theme level coding in the upward direction [i.e., towards The Duo-Art expression box had two regulators mea higher levels of suction] and more sluggish tracking to suring 9" by 4" with a 4" span. Two identical regulator Theme coding in the downward direction [Le., towards springs, 1/2" diameter and .055" gauge wire were fitted. lower levels of suction]. - RP). The fact that it was not intro This unit comprised only the regulators, knife valves, spill duced until so late means that many rolls were edited and accordions. The Theme secondary and flap valves without it. In practice it does not make much difference to were housed in a separate unit on these early instruments. the operation of a piano, but in certain circumstances, its The sustaining pedal arrangement with a pneumatic effect can be heard. Occasionally, at the end of a musical to raise the dampers remained standard throughout the phrase, a Theme 'snake-bite' will appear without any production life of the Duo-Art. The soft pedal on grands, Theme dynamic coding. however, in the earliest instruments was a muffler rail, On a piano without the bleed, the Themed note will but this was very quickly dropped on Aeolian-built stand out from the accompaniment because there is a instruments (Weber and Steck) in favour of the usual half residual higher suction level retained in the system from a blow arrangement. The muffler rail continued a little previous high-level coding. On a piano with the bleed, longer on Steinways, until cl919 when they modified their the melody note will be lost if the higher suction level has piano action to enable a continuous hammer rail to be fit been released, aided by the bleed. In the former case, the ted which actuated the half-blow soft pedal. The pump roll will make musical sense; in the latter, the listener is was housed in separate cabinet and was the 6-feeder left wondering why the piano has failed to bring out the (steamboat) type. appropriate note (It's true that the above described "fall off method" of coding might constitute one viable way AMERICAN PRACTICE of attaining certain levels of Theme expression on Duo The classic later American grand had a smaller, Arts not equipped with an unloader bleed. But, over
redesigned stack with 80 playing notes covering the Duo-- 00 time, variations resulting from normal wear and tear in Art scale instead of the previous 88 note stack. Striker hardware make the fall-off method of achieving Theme pneumatics measured 1 3/8" wide and 5", 41/2" and 4" expresion levels quite unreliable. 151 The rate of fall-off is determined by the ambient beside the sustaining pedal pneumatic below the sound leakage to atmosphere present in the Theme regulator . board, rather than to the left of the spool box. The tracking and anything connected to it. Aeolian provided no prac . ears were always controlled by valves instead of the cut-off tical standard to quantify such leakage. The actuality of pouches later fitted to American instruments. About 1923, fall-off is like a decresendo of indeterminate speed. the four-port system of tracking was introduced in Britain0 How does one go about determining the correct speed? patent restrictions in America precluded New York from And, if determined, how is it attained? Aeolian provid using it. Generally, however, the differences were small, ed no speed adjustment for Theme regulator fall-off. and British and American pianos would have performed in On freshly minted Duo-Arts the fall-off rate is a very similar fashion. painfully slow if not nonexistent. On older Duo-Arts it The British and American upright installations were is more rapid. Such an editing technique results in identical at that period. inconsistent Theme levels among different playback About 1923, the pneumatic sizes of the top of the instruments. When coding by this method, how can the range grand stack were reduced following the American editor be sure that other Duo-Arts would exactly match lead, with dimensions of 13/8" wide and four graduated the fall-off rate of the one he has at hand? Why not sim lengths - 5 1/4",43/4",41/4" and 3 7/8"; these stacks ply code the level of Theme expression required by the played 80 notes. No springs were fitted to the hinges, and Themed [snakebittenl note? cross valves were abandoned in favour of round valves. The addition of a bleed to the Theme regulator There does not seem to have been the standardization of allowed it to track Theme coding on the roll more rapid valve travel which was a feature of American pianos. ly. This ensured accurate replication of Theme suction British instruments have been recorded with valve travel levels, which provided more consistent response from as great as .070" down to a more normal.030", and almost Duo-Art to Duo-Art. It can be safely assumed that edi anything in between! The travel is always consistent with tors readily adapted to this ingenious improvement in in a stack. The pedal-electric model of Duo-Art was intro hardware as it eliminated much guesswork. Incompati duced in Britain which necessitated some alterations to bility with older rolls coded by the fall-off method the expression box. The British engineers took the oppor would be a relatively small price to pay for the greatly tunity to redesign the installation so that the complete improved accuracy such an unloader bleed pro- vided. If present, such a bleed can be easily defeated for the playing of early rolls by purists. - RP) In these later pianos, a 17" (or sometimes IS") 4-feeder rotary pump was fitted under the piano, CChe 'Pianola' Piano ••• obviating the need for the bulky 6-feeder pump {A[ew '1luo-./lrt' ~odel cabinet. On all American pianos, the pump was connected directly to the expression box, the spill THE feature which distinguishes the New 'Duo Art' Model from on the expression box relieving the strain on the the regular' Pianola' Piano, is its reproducing action. pump when the piano was turned on but not Through the medium of a new self-governed pneumatic action, and playing. The full pump tension was available to specially prepared music-rolls, the actual performances of leading pianists are faultlessly reproduced. with all the charm. spirit and individuality of the Duo-Art action once power 10 dynamic was the original rendition. Every slightest variation of tempo. every subtle reached and the spill closed off. tone-shade, every nuance. every elusive rubato is reproduced with absolute fidelity. American upright pianos were fitted with an A new invention in connection with expression control, which is the expression box with regulators 9" by 4" by 4" and result of several years of exhaustive study and experiment, has made it possible for The Aeolian Company. Ltd.• to offer in The' Pianola' Piano, two identical .055" springs, based on the pre-1920 New ' Duo-Art' Model a "reproducing piano," artistically on a par with grand box. These were retained throughout pro the hiJh standard of its other instruments. at a price little in excess of duction even after the grand style had been that of an ordinary' Pianola' Piano. Reproducing or "autograph" pianos are not entirely novel. They changed. Stacks generally had round valves, the have heretofore attracted attention, however, more because of their more expensive models having graduated pneu promising possibilities than by reason of their artistic value as accurate matics, and the rest all the same size. records of pianistic perfonnances. From these the 'Pianola' Piano. New ' Duo-Art' Model differs as radically as The 'Pianola' Piano itself differs from the so-called player BRITISH PRACTICE pianos. which its success has brought upon the market. The musicians who have heard this new Piano and have recorded their performances The British Aeolian Company published a cat for it, are unmeasured in their enthusiastic praises of its extraordinary alogue in August 1922 which featured the 'new and unapproached powers for faithful reproduction. Duo-Art models'. About that time, or a little before, the Hayes ELECTRIC OR FOOT OPERATED. factory started to manufacture Duo-Art actions. The • Pianola' Piano (New 'Duo-Art' Model) may be obtained either electrically driven or fitted with pedals to be operated by the feet Pianos of that vintage are very similar to their as in the ordinary 'Pianola' Piano. An Automatic Control is fitted in the electric models so that they need no personal attention after starting. American counterparts, with grands having the 88 The instrument may be set either to stop after re-rolling at the end 01 note stack, large expression box, and a separate the piece or to repeat ad lib. Theme secondary box and 6-feeder pump. Differ ences were minor - the adjustment for minimum setting was a T-bar rather than the worm gear and locking screw fitted in America. The half-blow pneumatic was placed at the bass end of the piano Extract from the British Aeolian Company piano catalogue of August 1922 152 action, including the rotary pump, could be fitted within roll with its 'Metro-Art' catalogue. Heavily featured in the cases of both grand and upright pianos. The expres this series were the German pianist Egon Putz for the sion box was reduced in size from the earlier model, but classical repertoire, and Felix Arndt for light classical and not as much as in America, and flap valves and Theme popular music. ~econdaries were incorporated in the one unit. The regu In the manufacture of a reproducing piano roll, there ator pneumatics measured 9" by 3 3/8" and had a span are two separate processes, 1) the recording of note place of 4". The reduction in width was probably a purely prac ments and 2) the recording and creation of the dynamics. tical decision so that the expression box could be turned With the introduction of the Duo-Art, Aeolian had the through 90 degrees and mounted sideways in upright need immediately for a catalogue of such rolls to offer pianos. There were far more upright pianos than grands with its new instrument. produced at Hayes and so this was an important consid In February 1924, Reginald Reynolds, the British Duo eration. The box was never neatly fitted in grands. Both Art recording producer succinctly described the note Theme and Accompaniment regulator springs were the recording process (2): same, usually .057", although other strengths were some 'In a secluded room stands a Weber grand piano, in times supplied. The small bleed to the Theme regulator tone and in outward appearance not different from the chamber to unload residual suction was usually included. usual model, nor does the touch betray the magic power All British pianos with the pedal-electric box (even if beneath the keys. Upon closer inspection the secret is par they are straight electric installations) have a spill perma tially revealed by the electric cable which can be seen nently in operation between the pump and the expression coming from beneath the instrument; and if it were possi box. This is sometimes just a felt-covered hole with an ble to trace this back into the piano, there would be found adjustment slide to allow a permanent bleed, but more 160 wires, half of them leading to specially devised con usually an external knife valve or flap controlled by a tacts under the keys, the remainder running to positions pneumatic and spring. The thinking behind this was to near the point where the hammers strike the strings, provide a rudimentary volume control and coincidentally while the cable itself passes through the wall of the room, give a more even suction supply to the expression system. coming out into a sound-proof chamber, in which is The crash valve was never fitted to the British instruments. installed the amazing mechanism that constitutes the In general terms then, the performance of British Duo-Art recording apparatus. Here the other ends of the pianos should be characterized by the build-up of powers wires are attached to electro-magnets, which operate the interleaving right up to power 15 as on the early instru punches in the powerful perforating machine, each punch ments (and thus differing from the American models with corresponding with each key of the piano. The pianist their different strengths of regulator springs), and perhaps plays - the punches perforate - the record is produced!' ~ slightly better controlled performance at the lowest Although Reynolds refers to the Duo-Art recording ~~ -dynamic levels, helped by the steadier suction supply. The apparatus, he manages to avoid any reference as to how overall dynamic range was probably slightly smaller. That the all important dynamics were added. For the other there were differences in the performance of British and part of the process we may turn to W. Creary Woods, the American pianos is evidenced both by the technical staff American classical Duo-Art recording producer. In a letter (W. Creary Woods) and the artists (Bauer and Lamond). RECORDING AND EDITING THE ROLLS Until 1912, Aeolian did not produce what we now call 'hand-played' rolls but preferred to issue metronomically cut rolls marked up with their patented 'Metrostyle' line. This line was generally traced in red ink, and when used in con junction with an Aeolian Pianola, gave a guide to the interpretation of the music. To be effective, it relied on a fair degree of skill on the part of the pianolist to cre ate the correct dynamics, and a Pianola with a perfectly adjusted Tempo control. By the early teens of this century, other roll manufacturers were putting out rolls of recorded performances of pianists where the player pianist had only to set '-the Tempo control at the beginning of the piece, and tempo variations and phrasing .cut into the roll reproduced the perfor HamId Samuel recording for the Duo-Art in London mance as far as note placement of the original performance was concerned. with Reginald Reynolds at the desk Aeolian responded to the hand-played 153 dated 15 April 1960, he recalled his involvement in the cal score, previously prepared by the artist, before me. A Duo-Art in those early days around 1913-14 (3): . .series of wires ran from my desk to the recording device. 'There were several inventions on the Pianola that . When the performance was over the roll was ready made it easy to obtain good musical effects. Through immediately for playing. Of course, my tracings were. _____ these inventions the Duo-Art mechanism was developed. never completely accurate, no matter how many times('"'\., During this period the company developed a Recording the artist and I had gone over his conception of the piece: Piano and a machine that would cut the perforations in beforehand. So we would spend long hours together, the paper roll simultaneously while the artist played. This playing the roll over and over, changing inaccuracies in was a great improvement over the old method of arrang my dynamic indications, that could not be reproduced, ing all the music on a paper stencil and cutting it by and erasing the pianist's mistakes.' hand. As I was in the experimental department about the Here then, we have the complete process in the words time the Duo-Art Piano was ready for public sale, the of two classical Duo-Art recording producers. Company wanted me to prepare some of the Records for . , . the Duo-Art with the artists' assistance. This meant edit 'II, 'I II .. I ,. ing the rolls for the Duo-Art mechanism, which was quite ...... I ,I ' , .. I a task, since it was something entirely new. However, it , I 'I ..I I wasn't too long before I had a library of about 50 rolls ..'., I II ... I I ready for the catalogue. .. II oo II 'During this time I found a much simpler way, and 'I, II .,1 II that was to cut the expression into the rolls as the artist ,.. II 'II II played. It saved much time and improved the expression .. I ·. :: I ·, . I• ·••, in the rolls.' II II Woods amplified this last paragraph in an interview • II I' .,'.• ,I published in the July 1967 issue of the American maga .. I I ..oo, ,I ii zine, High Fidelity: , III .. , I I' 'The artist played at the recording piano while I sat at - I II, , .. :: I , my desk. As he played, I traced his dynamics and phras .,11 II I , tOO,,, I : ' • ing, using a series of dials built into my desk with a musi- oo :I .. I tt ,. · I tt I oo It oil ':, I I I II I II' ' : I I ·1 .. . ..oo ,I , I• , · II I , · tt tt • II . I I' HI · tt h I tt , · .. I tt I I I: , .. II tt .. tt ·: ....'" .. I II I I' · "'.. .. tt' , I I ii ..tt I · I , IIII It I U· I I ; · .. I ·, · ., ·.. 'I, , ·., : II I · II II i ill tt I ·, II II I II tt. · .. :.. :: tt , tt I .. II • .I · , . • II. · , II II !'. tt I : , tt I , I tt I .. · .. II . I ·: .. I I ...II I I I II '1 I II . · I I " .. .. II I II .. I . II .. tt II I II I' I II I tt I tt , · .. II I to • ·: .. ·• II .." II II Fig 2: Roll 5521 Etude Op. 10 no.l, (Chopin) played by .. Zadora. II II II • It Early original Duo-Art recording ·• ,II."'.. I II, .., II II II, ..,.,, The recording perforator referred to by Reynolds : ;;, punched at a constant frequency of about 3500 per II II I III :111 minute. The roll pull-through mechanism was set at the ..II ., hypothetical speed for the production roll (in the case of .,' ., Duo-Art generally between 6 and 10 feet per minute). The II I III III .. punches of the recording perforator ran at a fixed fre .. quency, and the roll was pulled through on to a take-up ,..". , ., IIIIII spool, which revolved at a constant number of revolu ,. I ,... tions per minute. As the paper wound on to the take-up ,,,, II I II I I spool, its diameter increased, pulling the roll through ther'. "'.. III recording perforator at an increasing speed. The number'" .. of punches per inch on the roll therefore decreased as the Fig 1: Roll 5506 I Know a Lovely Garden (d'Herdelot) roll progressed. When this 'Original' roll was taken from played by Arndt. the perforator, it contained a record of the notes as played Heavily edited ex Metro-Art roll 154 by the pianist, the initial dynamic tracing perforations, "" , ' ,I".. . and the use of the sustaining and soft pedals. The 160 .. '. '•I wires mentioned by Reynolds refer to 2 for each of the 80 ·, .'. . .. ,, " notes of the piano reproduced by the Duo-Art system. III .' ... , ., ' . \ These first rolls described by Woods were Metro-Art ...... "~'land played rolls to which were added dynamic codings. .. •I, ..,..: ·II' , As they had all been made by in-house pianists within the .. , two or three previous years, it would have been easy for .. , ' 1;1.. .. ' . Woods to consult them when it came to creating the .. I' • .. I'• dynamics. Rolls manufactured in this way may be recog ....., .' , .. .' I nized by the use of extended perforations which are pecu ... II II liar to Metro-Art rolls. There are about 40 rolls of this type. II .1:, , II', , ' Within the first 50 Duo-Art rolls issued one finds a ,. . II' different style of note perforations starting to appear; .. '. :., .. ,I 'I these signify the beginnings of original recordings for the II.. ,I Duo-Art with dynamics traced as the pianist played. The .. t '. I• '11.., ,.1 I type of desk to which Woods refers continued to be used ... ,,I throughout the period of Duo-Art classical recording, and ....., ,,,... , ' may be seen in numerous photographs of both Woods , , I: ,. • I, .' • and Reynolds with recording artists. Its most obvious fea ,,. , tures were two large dials operating over an arc of about ·,,. , ' ·., . 60 degrees. The Duo-Art system used the bottom and top ·:.: ••I '. ... ••I• four playing notes of the 88 note scale to register the ... II , dynamic coding, and the dials were wired in to the , , .'• •, • •. ·,,, , ,•I recording perforating machine to give rough Accompani ,,,, ., ' ment and Theme dynamics. The other features of the , ., " ,,,, t' .' desk were two pedals operated by the producer. The use ,, .: . '.1 , , of these pedals has not been described by Woods or .. , Reynolds, but it seems almost certain that they made it .. ," ,I', possible to register Theme 'snake bites', the Duo-Art's ·,,: "'" .!fieans of accenting, as the pianist played. There is evi- '~ence that the pedals ceased to be used in later years. Fig 3: Roll 5595 Spinning Song (Mendelssohn) played They must, however, have been in operation for a roll to by Volavy, showing extensive use of Accompaniment be playable as soon as the performance was over, as dynamics only Woods describes. The basic soundness of the design of The introduction of direct recording with dynamics this desk, which was used even for the very best of the traced as the pianist played marks a step forward, rolls dating from the late twenties, is a great credit to the although there is no great corresponding improvement in early development staff in Aeolian's experimental depart the quality of reproduction. Nevertheless, although note ment. It must have taken considerable skill to operate the placements were heavily edited, much more of the origi dials on the desk successfully in that only two people nal performance was left untouched. The dynamic coding seem to have been entrusted with their use - Woods in assumes a different appearance, with rapid changes being America, and Reynolds in England. registered as Woods moved the dials. A feature of these The earliest rolls, mostly of light salon music, show early rolls is the use of only the Accompaniment dynam that an immense amount of care was taken in their ics for complete passages of music where there is no production, but the musical results can be quite crude, melody line; it was found that quite fast changes in level due, one suspects, to the inexperience of Woods and his could be achieved in that way. colleagues in their grasp of how to make the Duo-Art With the introduction of the new process, Aeolian reproducing action produce the results they were trying evidently felt confident in inviting some established to achieve. While the rolls use the full dynamic coding of artists to record, the earliest being Ganz, Scharwenka and the system, too much use is made of the middle range of Zadora. These more artistic performances undoubtedly dynamics. One wonders if Woods at that early time formed the basis for improved rolls. Even if the dynamics looked on the scale in a linear fashion, regarding power were not very subtle, at least the note placements were zero as pp, 8 as mf, and 15 as ff, whereas quite soon he more convincing, a noticeable change from some of the came to realize that powers 4 or 5 would produce an erratic efforts at the beginning. adequate mf We do not know what time constraints were Once the use of the recording desk had been estab put on the editors to produce a catalogue of rolls; this lished, Duo-Art classical recording became a matter of may be another factor which worked against them refining rather than undergoing any basic change in . )\chieving better results. The Metro-Art rolls used had the method. The time spent by Woods with the artists in edit ":"~pianists' playing rigidly 'tidied up' (see Fig 8), taking the ing the rolls must have been extremely lengthy, but an resulting Duo-Art record yet another step further away essential part of the manufacturing process. The more from its source. By the time these rolls had been fully_', interest the pianist took in the editing process, the greater edited, they were hardly accurate reproductions of the the likelihood a successful recording would result. Those artists' original phrasing. advertisements of the early period showing the pianist 155 V1 0\
nized my touch. my characterj~ "Then the reproducing piano A Word of Descrip tics. my art itself.... represents, in your opinion, "It is as if," he continued, "I 60mething of an epoch in inter tion of THE DUO lOOked at a color yholograph not pretative pianoforte playing?" I ART PIANOLA of my face, but 0 the music-self eDquired. that 18 within me!'" "'Your phrase suggests it very lIe was leaniDg forword in his wen," said the great musician. o appreciate the full signifi scal,his wonderful hands ~e.ticu. "The Duo-Art Pianola occupies, cance of Mr. Godowsky's tributeT to the Duo-An Pianola. lating. bis face tense With the to my mind, somewhat the aamc undcrstandin~ lIrdor of a tiincerity.obvious and relatioo to pianism that the seme of this mar unquestionable. printing pres! docs to litt::rsture. vdous instrument is necessary. It briD~S the noblest renderin~. BrieRy, the Duo~Art Pianola is a uAre you content that your of indn"idual pianism to the "tW "(produc;nr piano. It has performance Fohall go dO\ll-'n to homes of the million.. It dis three attributes. posterity represented, a~ it tributes broadcast the l"C>ults of re~ulac must b~. OD a record-roll of thi& FIRST· ·1, is a piano for I the mU!lical talent anti genius of hand playini: and practice. ("onven· Duo·Art Pianola?" a.ked. our time," toDon't hcsihlle to slate Q doubt tional in appearance and obtainable if )'ou feel one." "Then it will actually be a fae· in either Grand or UpriKht form. "J recognize the fact that it will tor in musi.cal education?" SECO:--l D-It is a rcgular Pianola he Ho-aod 1 am satis6t:d that it HA gy-e"u factor," he replied. which may be played with ordinary .Jwuld be so.~ replied he .imply. 1'Greater, perhap~ tb..n we can Pianola music-rolls. As such it offen I he same facilities for per· He p3u~d. "Did you imal;ine DOW estimate." sonal expression control as other th.t I did not think ofthis before jhink.... be went on-"of the I made a record upon the Duo· models of the Pianola. As it is tremendous eduutional stimulud electrically driven.. however, it does Art Pianola? Do you believe of of the iUlStroOlcnt. Think the away with the necessity for feat· that J could have si;;ned lJuch a child, or the student, able to hcor pumping. record b.d I not telt thot my repeatedly some transcendent pianism hod been foithfully interpretation and thereby at· THIRD-and this is in new and rccorde(l? Never could I hlive ~uire refined taste and superior revolutionary feature. It re·creates done 50! The moment, however, knowlcd~e of music. Think of from special music-rolls the exact thai I heard the first notes repe"at the musIc teachers themselve8 perfarmancC"S of val ious pianists ,d exactly as I had plar.ed them. who wi)) increase their jn{orm8' who have made record-rolls for it. I knew that the truth ulness of tion throuSh the reproductions Obviously the importance of this the rerroduction was unassail of superior piant!lm. ~eat new feature depends on the abililyof the instrumenl to faith able. knew they would reBect '
1\ t)) I. r-,,! ( , II o o II music at that time, and how they would have sounded on •• II : II o contemporary record players, one can perhaps excuse the II ·• II •• • ·i pianists for accepting less than what might have been •• • o • o achieved, always remembering that these rolls certainly • o o are an improvement on what had gone before. Another : •• II 0 point of some significance is that by that time there is (: o o .. 0 even less evidence of tampering with note placements. • .. 0 • I 0 0" The rolls show slight unevennesses in the starts of chords, ,I 0 • 0 0 : .. i i ~ and less than perfect scale passages, sure signs of the o : : 00 0" .0 0 II 0 pianist's playing being left relatively untouched. For the · II 0 II • .• II 0 remainder of the teens, the simplified pattern of dynamic o I 0 • 0 : o 0 . I •.. i'0 coding continued, but with an increasing amount of detail : " i II ~ : . II • either being retained from the original tracings, or else ·... II I, II, • : ; II : subsequently being added at the instigation of the artist o " 0 II o 0 • 0 II 0 or the editor. Either way, the quality of the rolls improved ·.. ~~. II .: · II II 0 II II II 0 steadily. Rolls from the late teens give a good impression : .... o 0 .. 0 o II o . ~ o II • of the pianist's playing, even if slightly lacking in the -ii II finer points of detail. ·....II o • o II o 0 f Around 1920, what was to be the final method of roll o II 1 ·o ...... o .. '.1 • 0 editing was introduced. Many examples are to be seen at ·-:: 0 ·, _:~.. II IPAM (4). The 'Original' recording was made in the estab ..II • lished way, with Woods working at his desk tracing the • II " I0 : :: pianist's dynamics at the same time as the note recording ..o. ·.0 I II n II 0 was being produced. After that, however, a new stage t : I ; .. 1 was introduced. The 'Original' was then worked on by a '0 : S member of the Aeolian staff (other than Woods) who ,. ! interpreted Woods' tracings and marked blocks of • o II · dynamics. These constitute a rationalization (fleshing-out " ~ - RP) of the rapidly changing tracings. The Theme 'snake bites' which used to be inserted as the pianist played o • 0 were now added by the editor; it seems likely that the use · of the pedals on the recording desk had proved to be · unsatisfactory. There are signs too of the soft pedal being Fig 4: Roll 5736 Waldesrauchen (Liszt) played by added from time to time in addition to where the pianist Donohue, showing simplified dynamic coding ~ad aI;plied it, a t~chnique which could give quieter play and Woods working at an upright Duo-Art piano must mg WIthout the rIsk of the reproducing piano dropping ~otes. st~ge have been good publicity and given the owners of the At this also, slight adjustments to note plac pianos confidence in the validity of the rolls. The coding mgs and correchons of mistakes were made. At least five patterns on the rolls of this period are often elaborate and editors signed or initialed these rolls: Parkyn; Betts; A.F.L. sometimes not immediately logical to the eye, which (A. F. Lachmund); w.C.W (W. Creary Woods); Dave. would suggest that only those alterations from what The marked-up 'Original' was then sent to the factory Woods had traced which were necessary to improve the and a stencil and trial made in accordance with the result were changed; otherwise the roll went into produc instructions which could then be further edited and tion, warts and all. played to the artist. Further trials as necessary would be .About the end of 1915 or the beginning of 1916, one made until a version acceptable to the artist was achieved. notices a definite change in the dynamic coding patterns. At that point, the roll would be autographed and it was They become simpler, with quite long stretches of the then ready for publication. same powers. Such editing is not as cavalier as it may seem, as the This would suggest a change in the method of editing. replaying of a performance is very much dependent on Instead of taking the 'Original' roll from the recording the exact placing of the notes, and with Duo-Art, we do perforator, putting it on a piano and making alterations, not know exactly at what point in the piano action the the editor was foregoing many of his subtle changes in measurements were taken. We have only Reynolds' article favor of almost completely recoding the dynamics to give quoted above and the following reference in a letter dated a ~ore br?ad-brush result - a smooth but bland interpre 9 July 1923 from Woods to Reynolds (5); tation which would be unobjectionable to the casual lis 'I suggested some changes in our recording piano tener, but which failed to reproduce all the small individ which have been a decided improvement. The rolls sound ual features of the artist's performance of which the Duo- more natural and certainly there have been many less VArt was quite capable. The great advantage of this new wrong notes to eliminate. It has also improved the touch . method would have been the speed with which a roll of the recording piano so that it now plays like the ordi could be made ready for production, provided always. nary piano without the recording action and makes no that the artist could be persuaded to endorse the result.- . noise. This has been done by eliminating the second con Bearing in mind the quality of disc recordings of piano tact which is up close to the springs [strings?] and also the
157 pI> "~'( achieved the results sought by the artists with the mini- .'. .~ r .. .f; 't.' ;'U1. Irr-i ..mum of movement of mechanical parts of the expression '~.:"~"'~ ~ na ~._ -e, . mechanism, an advantage in reducing extraneous noise ·,.. i.':..v;-. I' , while the piano played._. ' , • • .'. I ::::- Up to 1920, all Duo-Art rolls were recorded and edit- r--.:... ':'i(;l1 C ' .. • I ...... , ed in America. To cater for the market supplied by the ,~- ., a, .. a...- :. :1. ~ II~ .... :.~"~ British arm of the company, American Duo-Art masters . . 4'. were sent to Hayes and production copies with '.', . ' . :t111~~ ; 1....--·. . Orchestrelle Company leaders were punched there. Duo- ... .. : ( i' : Art rolls at that time were designed to be perforated at a · i'. ,_.- 'I . • '~-Y' ' I ," frequency of 21 increments to the inch, unlike the normal I '. I:i I~ Pianola rolls which used smaller step rates. The ~\¥.;~ 11' II :i t ~ f~ :~ Orchestrelle Company did not have the correct perfora- .. I" G- .~ ~. tor, and so punched the earliest copies of Duo-Art rolls at .. & ,. ~ .. :a:. t I_~: ' ("'~ 23.5 increments to the inch, thus shortening the rolls by I : '0 . I __ : r-q;. , .• about 11%. The tempo marking at the beginning of these ·,'I'. I '. '.--.. ~l~· ·'.'1' 7_ t I ..i L '~ rolls is adjusted to give the correct playing speed. In time, t .~:1 "/ . ~ a perforator with the correct pull-through was installed. " I'., 1- ,-' '1 ~~~. In 1919 Reginald Reynolds went to America to learn " I•• I' .'...=- ~t..: I. I I .. how to operate the machinery to record Duo-Art rolls in t > ... ~ir I••" :P.~'" anticipation of the important '0--' series which would l~ ~~ R • · '1' ,•.L-' • , .... t'?~i: be published in England. In the autumn of 1920 Mr. :[7 •• ," .;1;: " ~~,: Volare of Aeolian in America was on holiday in England • I L ~....- and is known to have visited Aeolian Hall in London and ~~: given advice on the recording of Duo-Art rolls, and also :~u. IA ,- ·, "'"J' .1P'~.s:..':. on the installation of the Duo-Art action in pianos (6); up .•.. ~ .-- :. "c. . to that time any Duo-Art instruments had been imported , b1~ from America. The earliest '0--' rolls were issued at the • • end of 1920. , :," 1,1,-~ . , , ...- pI> ., :. ·: ,. -... , . , ..~. 0.-.'.- 1. "~~ii '~~~-~ Fig 5: Roll 6453 Butterfly Study (Chopin) played by ~: -e, .- T'=II"'t/ na Novaes showing marking up on a roll .., ,~.I '. '--'• , : :•..• I ...... relays which are in connection with the recording . . ':i(;t1 ,C '.r'.. :~••' ..;.i,•... machine. These changes could be made in your piano ~ without much trouble and if it is agreeable to your Com 11:""7 "I'L:. ..•. ..- " V : pany in London... The heaviness of touch has been entire 'I;''':;11~ , . . '- . . ly eliminated and this has been very gratifying to the : ' 1- .... .;. '-',- ,~ artists who have made rolls.' '.~ (!i · ...... _. I I ,I ," It is possible that this modification was not made to I. I I-~ . the London recording piano as the late Gordon Iles remi ~ ·I~·:"~.;~ 1 Illl~i ti.c: r,' .~._ nisces that that instrument was 'a Weber grand with, I '.' ,'11'-. ..~:~ recall, a slightly irregular touch.' ..,"..,& G- tl.a' ,.' t I_~: ' , ;j,'. It is thus quite probable for some roughnesses to have i , . '-- il. f t;.r
159 I II , practice of 'tidying up' the recordings. Chords, unless : ~l "f: , .. • • I ,I,.' ", " they were definitely arpeggios or broken chords, would ., - ". II I I .. be altered to start at exactly the same time. Scales and "~· I ,I , ...1 1 I 1 If. trills would be made inhumanly even. During this period, 1:~" " 'f', II ' , q:l~ ~ . this practice was carried out by Aeolian to the extent that ·.:• .• 1 1 I I ,f, it definitely blunted the artist's individuality. i. : I .1 • • When it came to the preparation of the first Duo-Art , I] " 1, • 1 1 :~~ rolls, Woods had to edit the Metro-Art rolls and add :,· I dynamic coding to operate the Duo-Art mechanism, and : . I 1 ,I 'II'"i II:: he tells us that he did it with the assistance of the artists. In ·: , ,1 : .. one way or another, this was how all reproducing piano :• • II • , . . I ~:1 r , ~ .. .·: ~ 11 ,'I••I ...II ,- :I. I "1 I' ,I ~ ••: I' \ I I I .. • • ~ II 1 1 .. · .: II {, I • 'i· '~II f· " .' I "I". .. t 1 )1 'ftl l,,,, \1 'I I I .. ~ , I II I ' .. i 11 ~~I ... " .trf .." · ~ .. It...... 'I I I I! :: '.o J ·i> 'i ! 1'1 I I. .. "•...1'• ,I II 1 .. 0, • 't1 I I' I ' f". •" :I I' I ·o , I 11 : : · ". 1 • .." i;: 1 ~., 0' ,• JI .. 1 .~ .. f ... I II :. .. ~ · , i II I .. :~ :' J l : : I I I. ., .'.. , ..r- • i ,: II 'I It .. ' , II , I IIJ I ,I I ., ....., . :0 · , 1." . ~-' 1 11 1 ." 11 1"1· i~ ! 111 ::1 Fig 10: Duo-Art roll 5532 Barcarolle (Moszkowski) I I II played by Piitz
, .:..:: II . would have found it acceptable. An example is roll 200704 (Metro-Art) and 5532 (Duo-Art), Barcarolle ~ (Moszkowski), played by Egon Piitz. .r i.• 1 11 While the forty or so Metro-Art rolls were being con verted in anticipation of a Duo-Art catalogue, Aeolian ~ had developed their recording desk, and new direct :,.".. • II I1 recordings for the Duo-Art started to be made. k ii, I ' Although Woods was able to trace the pianist's ... I dynamics roughly, it was still necessary for the artist to Fig 9: Metro-Art roll 200704 Barcarolle (Moszkowski) spend long hours with Woods, or one of his colleagues, in played by Piitz. reworking the coding to produce an acceptable roll. At that time, the aim was to produce a record roll of the rolls were made. No system could record dynamics auto artist's performance. matically straight on to the edges of the rolls - they always In 1916, Harold Bauer, the pianist who probably more had to be added, or, in the case of Duo-Art, the initial trac than any other took the Duo-Art seriously, gave an inter ings substantially altered. The earliest rolls were very view to Aeolian. In it, he introduced a new concept. He said: erratic, due largely to Woods' inexperience in manipulat 'When I first began recording for the Duo-Art, it was ing the coding to achieve the desired musical effect. the reproducing of my playing that was interesting to me. An interesting and inexplicable quirk took place Now it is the correcting - the 'working up' of the record, so /'"";.,. between the conversion of the hand-played Metro-Art roll to speak. Do you see? For the first time, I stand aside and . to Duo-Art. Some of the extended note perforations were unpersonally listen to my own playing. I am both critic cut back without corresponding adjustments to the sus and artist. Artist because I can build - improve on the taining pedal perforations being made. This gives a performance. crude, choppy effect to the playing. The roll editors must 'Never before has this been possible in the same way. have heard this, and one cannot understand how they It is wonderful. I am like the sculptor. He views his clay j 160 .( , .~ "\
@
"The comparison is perfect. asked, lethat the Duo-Art is an due largely to the influence of This inurument materializes instrument of real and prime such instruments as the Pianola. the hitherto transient and in importance to music?" These have been teaching 19heMedium tangible: work of art-the pian musical appreciation. MoSt "Unqualifiedly yes," he an· ist's performance. people crave means for express swered. "The intereSting and Ing their personality. Music "I can listen to myself play· authoritative records by all the is one of the most desirable ing. I can hear my perform masters of the pianoforte: can means and the Pianola furnishes Ofa New ance as a whole and I can repeal not but make: it so." a truly wonderful medium. a single passage again and again. "And its effect upon musical "I have known The Aeolian And I can ,hang, whal I wish. taste ?" I can remodel and refine. Company for many years-have "A magnificent onc/' he been an admirer of their ideals. Musical Ie Do you comprehend? It is spoke with emphasis. lilt will And certainly lhe Duo-An a new an. When I finally sign develop a taste for the best in Pianola is a lining climax to the record-roll it is more than music. For it provides an op the really great Aeolian cOOlri· simply my playing. II is my portunity to hearinterpretations butions to the art of music. Its carefully considered artiStic by the great musical artists of value is almost incalculable. Art conception of the music. As the world-an opportunity, I This is obvious. Need anyone such, it is preserved - a new say, for the millions who live be toJd that a piano of the very and wonderful form of musical finest musical quality, which ~ creation.') ~h~(~t~~dt~hbeec~~:ri~~i~:t~~ furnishes evuyont a means of He drew a tobacco-case from Iy acquainted with the most musical expression and which, his pocke' and rolled himself wonderful art the pianoforte is in addition, reproduces the beH .JInInfenJieuJwith a cigarette. Bauer is a man capable of_ aesthetic conceptions of the of vi~orous mental calibre and "The public is extremely world's leading artistS, il a great like big men in more prosaic sensitive to music in this coun instrument?- a wonderful in HAROlD BAUER novation;> " callings, inclined ltrol)gly to try," he continued. II During wards conservatism. His un· the sixteen yean I have been I have rtad Iht abrn.'e i"ltr'l:;nIJ ill expected enthusiasm and earn coming here, 1 have watched P"'" artd find ;1 art auup:alt r'porl. on themodrt estnes. were therefore all the and realized an extraordinary more significant. progress. Pianok "You consider, then," I HUnquestionably it has been ~ Mr. &11'" AII/,trap/,j"t Q Dut'Art RIC,,,« R.II
spending much rime and effort berc playing 'he roll a few bars What is the Duo-Art Pianola? AROLD RAUER "••J, with it. at a time ~going over it most The Duo-Art Pianola is the greatest - tbe most Godowsky, Granad05, Friedherg, Schelling. Laparra, t,tlay ;11 the very j,re/r,,,, carefully-changing here lhe wonderful piano the world has ever known. Gra~nger. Carreno, and scores of other famous ,/the world's grealtSI p;aM II Do you know what work I length of a note, there the mUSICIans. In the first place it is a magnificent piano, unequalled H ;JIJ. Bill he iJ ",,1', Ihu was engaged in when you were strength of a tone - an accenL To possess the Duo-Art Pianola is to command in tone, in action, in physical beauty. Secondly, aN "rtis,. OM u",", b, i" his preJ· ll admitted?" He turned and it is an improved Pianola- a "player.piano for you the' greatest talent of the world-to be able to hear in Q ~f/IU1fl without rulizi"l Ihe IlWhen I first began record 'N" took from the top of the Pianola to play with ordinary Pianola muslc·rolls. As such, your own home as often as you will, the most glorious Jtrntllhl ,h, jnkllecl, lire A:ttJI "",,1,,. which stood against the wall a ing for the Duo-Art, it was the it infinitely surpasses anything hitherto known amon,g music of the world, played for you by the world's i'al i,uilht 0/ the rnan. Ball" il a music-roll. As he drew it out repr?ducinl!; of my playing th~t most famous artists. ,"nI~: instruments of this type. And greatest of all - it IS bi: "'",. Tiu world-wid, was interesting to me. Now It a Rtproducing Piano of truly miraculous power. By pre-nnillau e ", ",hirot4 in mll [ saw that there were cryptic The Duo-Art Pianola is obtainable In the Steinway blue and r~d pencil-marks and is the correcting-the 'working means of special music-rolls, made by pianists while Piano, the Steck Piano, t~e Stroud Piano, or the lita/ ",.., is ,h, iruvit4bJ, relull of " up' of the record, 10 to .peak. annotations opposite many of playing a wonderful rtUJrdi"g piano. it reproduces famous Weber Piano-Grands as well as Uprights. """'Imi"" coupled with arrear mi"d. Do you sec? For the lirst time their actual performances with absolute fidelity. Every tbe perforations. Prices range from $750 upwards. Illand aside and impersonally phrue, every nuance, every subtle shade of tone and There arc Aeolian rerresentatives in every princi lIThis roll," he laid,
Harold Bauer writing about his Duo-Art rolls
-0\ model before him. He steps forward, changes here, refines 'And I have been sitting here playing the roll a few there. . !Jars at a time - going over it most carefully - changing 'The comparison is perfect. This instrument material- .here the length of a note, there the strength of a tone - an izes the hitherto transient and intangible work of art - the accent.' pianist's performance. These are the sort of technical slips in playing which ~ I can listen to myself playing. I can hear my perfor- any artist would be pleased to have the opportunity to" mance as a whole and I can repeat a single passage again take a second look at, rather than a fundamental change and again. And I can change what I wish. I can remodel in approach. and refine. During the 1920s, the process of editing did become 'Do you comprehend? It is a new art. When I finally more and more refined, resulting in some memorable sign the record roll it is more than simply my playing. It is rolls which can rival the immediacy of the best disc my carefully considered artistic conception of the music. recordings, but of course with the immeasurable advan- As such, it is preserved - • tage of the listener expe- a new and wonderful I I:;,·:-- riencing the presence of a form of musical creation.' j,. l;:;;t: real piano, and not a ~ay l ~~~;;.~ . This .well be. the.:!. II reproduction through a fIrst occaSIOn m the hlStO- 'v' ':!!If loudspeaker. "'~>." ~~. ~~..:..~ ~ ry of recorded sound of a f . ;(.. Once editing had been performer conceiving the: ~l I J ~'-r~-. mastered, there would be idea of not merely mak-: '.1 7 l ...... :... the temptation to take the ing a record of a perfor- ': ••J. l process a step too far. 'l'l ~:.' .' mance, but of his ideal . I" Woods in his letter of 6 interpretation, and using :.... ~ November 1922 to A.J. mechanical technology to i II ....-~ - Mason in London (see 1 "'~~7 achieve it. In our days of ,. I ., note 11) gives instruc- tape and digital editing, l / _ . .~. .... tions to alter note plac- what Bauer describes is i '.-'.-. '" '.:l>~ ~"".".,..u". ings in a Pachmann roll: normal practice, but in ' ., """_~~\1"'.10-1;..... '.... and other places 1916 it was quite novel, ...... ~~~~~ where notes and chords and would not become a ~~. ~~'~' may come in either too possibility within the .~r~~:.:-=.~.:t>...... soon or too late. While it r- mediu~ of gramophone <:.-~~li!fh- 4 ''I~'' ,..::;. ~ .:y;;;:;;;;.?..~"'- is true that the pianisL_ ~ re~ordIng for another .~ ",.~.•_. ~.~I r~':::':::; tl,w' may re~o~d the ro~l exact- thlr~ yea.rs or. more: For'" r/f~ ~~ .;A...,£..J, • ...... -\ ly as It IS dup~lcated, !he fIrst t~me, mtentional ~ ,t,- ;£J....LI'__.__. _ . _.--. some of these .thmgs are mtervenhon by the per- If?, V~,G :;)'r- ~~ J..)A.c. lJ very bad mUSIcally, and 1c former reared its ugly !Z:r:..h-I/ ,.4. • • _~ ~ ~~':' should be corrected, if head. /G2i j)q-<...'t ~. not by the artist, by Mr. To what extent may Reynolds.' Bauer's approach com- Also, some of the rolls promise the value of the of Paderewski seem to roll, and to what extent the author to fail to may it be considered 'w'. communicate the distinct ~egitimate? T.he most '. AUI~:- . personality of his play- Impor~ant 'p0ll~.t to be ., ing. There are some rolls borne m. mIn? IS that .a :, by him at IPAM on which reproducmg plano roll IS • • Woods has written to the based on one complete : '. I I I I I I ; effect that the left performance. It was only 1 '-.:. ., I and right hands should o.n exthremely rarhe occa- Fig 11: Unpublished Paderewski roll showing be brought together Slons t at more t an one instructions to editor wherever possible play-through was used, (5ee - Arm bruster: Hand and when that happened, .. . it is very obvious. Technically it was only possible to Coordmatwn - p. 14, AM1C:A B~llehn, Jan~~rylFebruay make changes to details. Even if a pianist wanted to alter ~999 - RP); on another occaSIOn, P~derewski l~kes to hav~ the concept of a phrase, he could not do this in isolation; It soun~ smooth even though he dId not play It that w~y . it would then affect the following phrase, and so on. The edItors ap~ear to have been only ~oo rea?y to obhge, There would be no end to such monkeying about. In any and the result IS to l~se. the feel of hIS pl~ymg. W~ also !""". event, it was almost impossible to lengthen or shorten a know that Paderewski dId not become too mvolved m the roll, even by a fraction of an inch, once it had been record- editing of his rolls. Ganz, for one, did some of the work. ed; that was not an option given to the pianist. Bauer, in The result is that we have superb rolls like the Mazurka the interview quoted above, also states: Op. 24/4, Chopin, (roll 6566) and RefIets dans I' eau,
162 Debussy, (roll 7186) and comparative disappointments readings are liable to certain eccentricities, it has simply such as the Nocturne Op. 37/2, Chopin, (roll 6847) and the happened that the person who tried to reproduce his Scherzo No.3 Op.39, Chopin, (roll 7160). special characteristics from memory, failed.' Grainger and Hofmann were both very interested in These rolls of the Chopin Preludes heard today are .the Duo-Art. Grainger's involvement in the Pianola start- certainly inconsistent. Given the eccentricities to which '';~- ....ed in pre-Duo-Art days with his two special arrange- Bauer refers, the dynamic coding and use of the sustain ments of folk song settings - Shepherd's Hey and Molly on ing pedal would have to have been very carefully edited the Shore. These two rolls are among the most imaginative to make convincing performances. As it is, they appear special Pianola arrangements ever to have been made, erratic, almost certainly for the reasons given by Bauer. utilizing the freedom provided without falling into the They are among the earliest of the British series, and as a trap of making the texture too thick. (The score of Shep set, particularly without Busoni's help, they must have herd's Hey was published in Pianola Journal no. 3.) Aeo appeared a monumental editing task to the inexperienced lian tempted Grainger away from the foot-operated Reynolds. To what extent they are failures must for the instrument to the Duo-Art as early as 1915, and he then present remain an unanswered question. The one Prelude stayed loyal to the latter until the end of the 20s. Most of which appears on disc as well as roll (no. 7 in A) is his work for the Duo-Art consists of standard repertoire, remarkably similar in both versions. Busoni plays it twice, either solo or duets. There is one exception however bringing out different features in the music on each occa Gum Suckers March (roll 6059). The roll leader states that sion. The emphasis of the melody at the beginning of the this is a duet played by Grainger himself and Lotte repeat is clearly there, as is the accenting of the first chord Hough: however the arrangement goes beyond what is in bar 12. The treatment of the alto line from bars 4 to 10 is humanly possible into the realms of the special arrange not so obvious on the roll although the dynamic coding ment. The originality is quite splendid, and on a par with shows that Reynolds was aware of what Busoni had the two Pianola arrangements referred to above. Interven played even if he did not translate the effect successfully tion by this artist in the arranging and editing process can to the roll. Nonetheless, the similarities are very marked; only be warmly applauded. Grainger was known to have the two performances are quite clearly by the same had a hand in editing his own Duo-Art rolls; to what pianist. There is further evidence that the rolls may actu extent the work was his, and how much was done by the ally be better than we have given them credit for from an Aeolian staff we do not know, but the partnership result (unnamed) pupil of Busoni who contributed an article on ed in a series of very truthful and highly enjoyable rolls. these rolls for the Player Piano Supplement of the . As well as being one of the greatest pianists of his November 1924 issue of Gramophone magazine in which ~ime, Hofmann was also an inventor with a string of he wrote: patents to his name, including one to record the Duo-Art 'It was with the greatest interest, not I confess, unmin dynamics of a pianist as he played. It seems unlikely that gled with apprehension, that I prepared to hear the rolls this was ever used in the production of Duo-Art rolls. which Busoni had made for the Duo-Art reprodUcing Hofmann joined the roster of Duo-Art artists in 1919 and pianoforte. I may say quite frankly that I was amazed during the next 10 years recorded a fine series of rolls. He beyond measure. These rolls are not merely reproductions is known to have been involved in editing his rolls, and - they are Busoni himself. The most important contribu for the most part they reflect strongly the style of his play tion, of course, is the magnificent series of the complete ing which we can hear from his discs made during the book of the Chopin Preludes.' same period. He singles out numbers 17, 23, and 24 as suitable In contrast to Grainger and Hofmann, Robert Arm introductions to the set. In the light of this evidence, per bruster, the man responsible for salon and light classical haps we need to listen again more sympathetically and music recording for the Duo-Art claimed no knowledge with fewer preconceived ideas as to how the music of the technicalities of the system or of editing. (9) Yet in should be played rather than write off what are, in spite of this, he made many exceptionally fine rolls, every Bauer's opinion, failures. Curiously though, Reynolds bit as musical and natural as Bauer, Grainger and Hof had considerable second thoughts about no. 24, as mann. It patently was not necessary to be involved in the discussed below. process to make a good roll. So far, only that editing intended to facilitate the What does seem to have mattered was to take suffi accurate reproduction of the pianist's intentions when he cient time to ensure that the roll was not published until it approved the roll has been considered. An interesting sounded correct. In support of this, we have a letter from further intervention by the editor exists in the British Bauer to Woods. Writing from Paris on 16 June 1922 (10), he 'AudioGraphic' series of rolls. These were about 330 raises a number of points regarding roll editing including reissues of rolls from the American and British classical the following: lists. They appeared in three types - the Student edition, 'I heard several rolls played when I was there [in the Popular edition, and the Children's series. Many of ~....;;;London] two weeks ago, and found most of them good, the titles were duplicated between at least two of the - .with the exception of the Busoni records, which are all three types, e.g. roll 5771 (Chopin Nocturne op. 9, no. 2 poor. The principal reason for this, however, is I believe . played by Godowsky) also appeared as 089 in the that he made no corrections whatever himself [i.e. he did- . Student edition and 0667 in the Popular version. not involve himself in the editing process] and as his 163 They were elaborately produced with long leaders a reliable roll in the light of several more years' printed with biographical notes about the composers and . experience. On a smaller number of rolls, however, the descriptions of the music. Very fine wood block illustra .opportunity has been taken to re-edit the dynamic coding tions were commissioned to depict aspects of the music. substantially, sometimes altering the interpretation in a ~ What is fascinating, however, to this study is that all the major way. An example of this is Chopin Prelude no. 24J -:;.<1 rolls were re-examined for this reissue program, and the played by Busoni. This first appeared as roll 040 in 1921, pedaling and dynamic coding, and even note lengths, and later (in 1926) as part of 069. The dynamic coding in were sometimes altered. the later version has been very substantially reworked to Since these were the products of the British company, produce a more obviously logical performance, but of one must assume that Reynolds would have been heavily course whether it is nearer what Busoni intended we involved. The main object of the exercise seems to have cannot know. Misguidedly, too, on this particular roll, the been to check that the dynamic coding of the very quiet indicated speed has been increased from the 90 on the roll notes and chords which might have been in danger of 040 to 110 on 069. Most of the other rolls in the set play at failing on the original issue of the roll was adequate to speed 90; one must assume that the editors later naively ensure reliable playing, and if not, then a slight increase thought they might make the roll more exciting by in the Accompaniment level was incorporated. The hearing it played faster. sustaining pedal on British pianos did not clear as quickly Whatever one thinks of the result of these revised as on American models, and possible reasons for this are versions, perhaps it may be taken as a tacit admission by discussed below. Because of this, care was taken to Reynolds that some of his earliest essays in editing left lengthen pedal bridges as deemed necessary by the room for improvement. editor. Much of it appears eminently practical to produce
.aIT11. CO .... ITY •• V1OflV&&IITUI .. le_OOLI ~~~~...::;~I].'; .ift- -/w •••m-I t-.M. • , ...... 1M 'O-~rl' .01 Ihm.JUIi '!".,.. ,i... 'loltr 'n~'-1'Yw "" ;. .It: SIR AUXANDU C. MACUN'ZIE, nul 1,OYAJ. "CAODO' 0' III(IJVC, LC»l'DOI" K.C.\'.O.. D.M.... U.D.. O.C.L. nu J.OYA1. cou.zcl or W\..,lC, I.OlitlOff O~~~TO~ 511l. HUGH P,~. C.V.O., MA, TMI LOMlO'" D.M_ u.sncAM IcnOOL Of a.coac, M.Y. oauJM COfft,UVATOf.Y or MU1lC ;:g;: ~. 'it':'~';..-:.....:. g~:: ,uJoanOflO coum.. 1J1'UV. DVULUI ltOlllN H. LlOOI COLWItA UNJVP.!rT'Y McIWI~tM~D.M ': J.II. ...,.k.A.M. tlmvnJrTY"""'00 """""""0' MlOUO"" 51R UNDON ROHALD, P.R.A.M., 1nI1vu.srrY 0' WASH.lHGTOH P.l.C.M., r.O.s.M. JU.SlACHutnn lJdT. 0' ncmKIWflY ''- __1' MR H!NIlV ). WOOD, D.Mu., QlI.AJ.DC'OtUCr., PIOLAMU'IUA '.'LAM" '.R.CM. H,UlOW SCHOOL J. AIIOt:A,N FOUYTH, H01t. 1«. kUCav SCHOOL OLUTD.HOI1UI !ICliOOL tftI!~. 1..J>pMt..tlor • GacnI e-.iltn M.UUQaOUOH COlUOI i.,'" do. """_."" Locnrm I. M.oc OU'UlU teHOOL .J IN U.koI....l..J 1M U.hN KJ..,.s- nN'IO'IOfI rn.uT fl-cq loCUOQI. ~ r
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164 It was not just British rolls which received such treat decision as to which he prefers. Woods, too on occasions, ment for the AudioGraphic reissues. Roll 5771, an early was not above altering performances where he thought it American issue of May 1916 was recoded, including use necessary. , of the half-blow (soft pedal). While the two versions are Editing played a vital part in the production of a ~"~/ audibly similar, the later one has lost one or two crudely reproducing piano roll. Inevitably there is a subjective executed themeing effects, and the use of the soft pedal element introduced, and it must have been one of the enables the accompaniment to play more smoothly. responsibilities of Woods (and Reynolds in London) to This series of rolls demonstrates that Reynolds in guide the artist as to how far he should go in altering a London apparently had no qualms about altering rolls to performance. The Duo-Art producer too would have had make them sound 'better', even if on occasions he was his own ideas as to how the rolls should sound, and an moving a step further away from what the artist had element of his personality also enters into the equation. approved at the time of the first issue. Since most of the Fortunately both Woods and Reynolds were fine rolls in the AudioGraphic series are not rare, the interest musicians as well as being technically fluent in their ed listener may hear both versions and make his own particular specialized field.
TEMPO 95
THE PRESENT PIECE DESCRIBED THE Palu M;gnonnt jUSlifia its title bo'h by \\filing, whi<:h at times sugg~(S the organ. its lechniquc, which docs not exceed moderate A, firs, a few shy s'eps, half tripping, half difficulty, and by iu expressive purport, or descrip holding oock: the dancers are assembling. Th~n tive aim. It is a Waltz of childhood,ofliuJegiris the waltz draws diem un in light-footed couplt'~, and boys trying (heir st~ps. The erudite musician careful at first to keep time. The game becomes here comes within ra-ch of children, but he does more fanciful, and prcst:'ntly more aACt:tionau:, hut not (orget his skUl, and, if he conceals it, an this is a mere suggestion. The couples meet and attcntive ,listener will asily recognise it in the part without confusion, gaily hut with good ingenious devcloprnrnt of the thc:mcs, in this or behaviour. The dance is not unduly prolonged. t.hat haonony, imitat.ion or counterpoint, in the The children's thoughts a~ wandering e1st' general composition of thC" piece, its opening and where, to some other game. The merry band i(Scnding-both far from scholastic-and its modeof tak~ flight. (Trt".s/dud hJ F.Jw,,, E:.t.'(HI.,) (5)
THE ART OF SAINT-SAENS THE features of Saint-Sams an:' familiar: a of symbolic, philosophic, or religious (endency, "'gular brow, the sad eya of a thinker, like and when musical Romanticism was at its height. Descartes, an imperious nose, a bittcr mouth. Early in life his disillusioned soul was altr3ctM The art of Saint-Sams is, above all, penetrated to crnain Biblical subjects, which he tmlted with wi,h logic, admirably deduced. In 'his it is a mdancholy splendour. That is wher~ one classical. Form is its ~ntial dnnent. This probes 'he depth of his genius, and perhaps 'he pnsimist, who lived only because lifc was a duty, despalr that saps it. But he oft~n a~uma t.hl· sea in art naugh' but th. highest form ofdistrac mask of irony, and, without ever mlchmg 5aemty tion. He is a dilettante. None asserts, more or true joy, he amusrs himself with a thousand loudly than he the theory of' Art fur Art·s sake'. fancies in which pl~surc has a share. He' com This uncompromislng attitude had a certain grandeur ~nsatC"S himsdf for the gravity of his reAC'Ctions at a lime whal the fashion had set for music by ,he light-heartedn"" of his recrea'ions. (5) SAINT-SAt;:NS' ,VALSE MIGNONNE' L IKE Mozart, Camille Saint-Sa.... was an in science (apecially astronumy), in painting (he 'infant prodigy'. He refused to learn the painted in water-colours as opportunity offered), •illy lillie pieces which a", usually considered and in philosophy. suitable 'for beginners'. He declared that the The Opera Samson and D.Mah, produced in bass 'did not sing (I1ough'. Paris in 18 qo, made him world-famous. . When ten yean old he gave his lint conccn, at He had 1>«n a delicate child, and at on~ t1ml· the Salle Pleyd in ParU. At eighteen he composed though' himself 'hreatened wi,h consump,ion. hi. lint Symphony. He competed for the Pri. For many years he sufttm:J hom cxc~i~ nervous Y~t de Rome more than once, but he never rccc1vcd ness. in old age he was extraordlnanly mhust. an award. He did Dot I"", courage. He had He divided his time between France, the East, and moverne~'. faith in his own poweR. the eamry Islands. He felt the nced of He was not only a musician. Early in life he He died suddenly at Algiers, on Decemoo became i~liIcrnted in literature (he wrote poems), 16th, I q.z I, in his eighty-sevenlh year. (5)
British AudioGraphic roll header
165 ~ • I : • ;;s- •I• • • •I "1 , ...... • " I_ .11 .'• I I • •I • ,. · i Ii • ·: " , tft 1 • ·• .• , , , ~'I I : I. , ... I •I t I 'I ••• ... • -i • .... • • -: -I ... • • • • • I : .. I , I : 1 • ·: , I, :••• • -I • , I , • .• • :.· , • • ,I L , • II 'II - · • , , • , • • ·:• ' · • I ·,, •• , I I ·J. ·:. ·, .. · I ,I : I • ·:. I" r ., , · I e ·• • ·:.. •• · I • II ... :. • • .. · n• I I · I ..·T · ••~ I · ·e~ • J I•I ·• I • • ..... · f .. • 1 I .... · I 1 II• I •• ·• II ·: -I • , •il •• ., : I • 11 :.- I . I • ..• .- • • ·: , .....• ... ,I •I ,. · •,• : II. ••• ·: -.. . : ·1 • ..I : . .t · ., . • II• .. •• I. · : I : n • • II I :-,:- · , i : .. II . · • • e : . ·. •I • e. I ;:. · I I. It ·••I I. .. ' : .. I ·...... I ·: -II ... · .1 .l- : ...... •I :-,~ I · ... I •• : • •• I : . I · , '. Fig 12: Roll 040 Prelude Op.28 no. 24 (Chopin) played by Busoni. Fig 13: AudioGraphic roll D69 Prelude Op. 28 no.24 played by Original version of roll issued in 1921 Busoni. Reissue of 1926 showing revised dynamic coding, but similar note recording as in Fig 12
r I
t),', r L) :)' THE COMPARATIVE PERFORMANCES OF Bauer expresses his opinion in subjective terms - those AMERICAN AND BRITISH DUO-ART of a musician rather than a technician, although he was PIANOS AND ROLLS well able to edit his own rolls, something he had involved In spite of the variations between the American and himself in since 1915. """,British pianos, and the different methods of roll editing Woods raises the incompatibility with the London ~ - employed between New York and London, the overall organization in his letter of 6 November 1922 to Mr. Duo-Art system was fundamentally the same. It would Mason (11): therefore seem reasonable to assume that any Duo-Art 'In regard to the London Duo-Art rolls not playing roll would perform in a similar fashion on any Duo-Art properly on our instruments, this might be due to any piano. However this was not the case, and it is fascinating change in the construction of the London instruments, to read contemporary correspondence between informed such as pneumatics being of one size for the player action, people, and to try and draw conclusions as to why this whereas the Steinway Duo-Arts have three sizes; or a should have been so. change in the regulation of the accordion dynamics. Bauer, in his autobiography, Harold Bauer - His Book Should these be the same on the London instruments as (1948) writes: on ours, then it must be a difference in regulation as the 'The final result was always somewhat discouraging general impression of the [London] roll is that it plays too in spite of all this trouble, for the reason that the dynamics softly and some chords and notes do not play at all. set to produce certain effects on the piano which was ,As an example, I am sending you the Nocturne being used for such editorial purposes, varied when the Op. IS, no. 2 played by de Pachmann. In this roll I have record was played on another piano. This was due to indicated several of the pedal bridges which are too long, minute differences in quality of tone, and in resistance several places where notes do not play and other places within the action, and there was no way of overcoming where notes and chords may come in either too soon or the difficulty.' too late. While it is true that the pianist may record the So even at the time Duo-Art rolls were being made, roll exactly as it is duplicated, some of these things are Bauer was aware that a roll would not sound exactly the very bad musically, and should be corrected if not by the same on two pianos, even when the more consistent, artist, by Mr. Reynolds. The pedal is short throughout the reliable American recording techniques were being used. piece, and on the whole it sounds very choppy. I have not But he does imply that when care was taken with the edit changed the dynamics except to indicate a few places ing, on the piano used for editing, the effects he wanted which were too loud and others which do not play. -<:ould be obtained. It is hardly surprising that when one 'I would suggest that Mr. Reynolds compare our roll "-"considers rolls emanating from America and Britain there of the same Nocturne, no. 6162 played by Arthur Rubin should be differences. There is evidence of this both from stein. This will give him an idea of our pedal effects and recording artists and from Aeolian's own staff. dynamics. The effect of the accompaniment in this roll is In the letter to Woods dated 16 June 1922 cited above, that it plays very softly on our instrument.' Bauer writes from Paris: Some six months later, Woods is still not satisfied. In a 'I am very curious to see if I shall be able to do work letter to Reynolds dated 7 May 1923(12) We read: which will be satisfactory for both Europe and America, 'The records you have been making in London, for for there of course is the difficulty which has been hither some reason do not play well on our pianos. By that I to encountered. I was particularly struck by Cyril Scott's mean that certain notes and chords do not sound or play records, which he corrected in London and revised in at all and the pedal bridge in many instances is too long. New York. I heard the two rolls (of the same piece) and in Mr. Bauer heard some of your rolls when he returned and my opinion there can be no question that admitting the said that they did not sound at all the same here as they New York version to sound better in New York, the did in London. I should think that this would mean that original London version undoubtedly sounds better in your instruments are adjusted on a little higher dynamic London. level than ours. Mr. Lamond, who did some work with 'This is very curious and interesting and I shall try to me a short time ago, heard two or three of his London examine very carefully wherein this difference lies. One records which he had finished with you. He said they thing I have already noticed. In the American regulation played much better in London than on my piano.' of the soft pedal, the hammers are brought closer to the It is frustrating some 75 years on just to read of rolls strings than over here, so that soft pedal effects will pro sounding 'better' in London than in New York and vice duce more difference in New York than in London. I have versa without a fuller explanation. Presumably Woods examined a number of upright pianos and feel fairly sure and Reynolds would have quizzed Bauer and Lamond to that I am not mistaken, but it might be well for you to be more specific and while their answers are not docu compare measurements. I shall let you know of anything mented, we can glean much from the correspondence. It further which strikes me. I am rather inclined to think all draws attention to the apparent incompatibility of the ·j~that as public taste in piano tone here is different from American and British Duo-Art products without Woods . - .prevailing standards in America, your dynamics will fre being able to hit upon a reason. One suggestion is a differ quently prove too high to give the best results on instru- . ence in construction of the pianos, but he was not able to ments regulated for the greater lightness and brillianci . identify the particular part of the Duo-Art action which which has always characterized European pianos.' was at the root of the problem. 167 At the time of this correspondence (the end of 1922 Le., the overall level of the music, would be too loud. and the following few months), British pianos were still The different setting of the half-blow also commented being manufactured to the early American pattern with . on by Bauer would have made a slight difference, but that the same .055" gauge springs being fitted to both Theme was most likely just another red herring, the real reason ~ and Accompaniment regulators on the large expression being the different strengths of regulator spring on the ("'""\_ box. However sometime between the end of 1921 and expression box. On any given American roll, later Ameri-- // mid 1922, America had changed to the later expression can grands would sound quieter and more subtle than box on grands with the smaller regulators and, signifi the British pianos. cantly, Theme and Accompaniment springs of .055" and There were other less fundamental differences .049" gauges respectively. As Woods was not involved in between British and American instruments, but the over British technical developments, it would probably not whelming conclusion one must come to is that, for vari have occurred to him a) that his piano differed from ous reasons, from the time the Americans started to fit the Reynolds', or b) that the British technical people did not later style of expression box, sometime around the end of know about the different Theme and Accompaniment 1921 right to the end of the Duo-Art's active life, Ameri springs. He therefore did not mention these points, and it can grands and British instruments were no longer entire would not be the first or last time that technical boffins ly compatible. (experts) failed to communicate with A & R men! The fact The crash valve was introduced in America in the that the new British pedal-electric style of expression box early 20s. Its function was to allow full pump suction to the stack when Theme power 15 was coded, bypassing (introduced in 1923) retained identical regulator springs the controlling knife valves and regulators. Woods con rather confirms this lack of communication since, if the sidered it unnecessary for all normal situations (letter of 7 British technical team had been aware of the change, they May 1923 - see note 12): would surely have incorporated it. It is an alteration 'In regard to the crash valve, I have always been which would certainly have made their lives easier in that against using this on our regular instruments. It was put it makes the adjustment of the Accompaniment side of on two or three concert instruments at my suggestion and the expression system less critical (fewer customer com proved very satisfactory, but in using ordinary rolls on an plaints!) and more subtle accompaniment figurations eas instrument equipped with this device, the effect is very ier to obtain. They would have lost the theoretical inter bad. This valve was put on the Aeolian Grand piano with leaving of powers throughout the dynamic range, but a motora as there did not seem to be enough power for since the Americans had foregone that and they were the high numbers and possibly the effect was all right on issuing most of the rolls, it would have been sensible to these instruments, but on our other pianos which have 1"'. fall in line. It is much more likely that the Americans just either the box bellows or the rotary bellows, an instru-~~ ./ did not communicate with the British. ment has enough power at 15 without this device. It has What can be deduced to support this theory? Woods not been definitely decided to discontinue using it on the in the letter dated 6 November 1922 (see note 11) writes: grand pianos as yet. The crash valve is not used on any 'Should these [Le. the construction and regulation of upright pianos. I certainly would not recommend its use the pianos] be the same on the London instruments as on on any of the instruments manufactured in London'. ours, then it must be a difference in regulation as the gen It did survive, but only on American grands. None of eral impression of the [London] roll is that it plays too the British pianos were fitted with it. Rolls edited after the softly and some chords and notes do not play at all'. introduction of the crash valve show little difference from In the letter dated 7 May 1923 (see note 12), he the earlier ones, although Theme power 15 may be used a expresses the same feelings: little more sparingly. British rolls do use Theme power 15 ' .. .1 mean that certain notes and chords do not sound rather more frequently, indicating that at that dynamic or play at all.. .1 should think that this would mean that level, Reynolds expected the rolls he edited to play in a your instruments are adjusted on a little higher dynamic more controlled way. level than ours.' Woods makes reference to sustaining pedal bridges This is exactly the effect that a roll edited on a piano being too long, Le. the pedal perforations are too short, on with both regulator springs the same strength and played British rolls. This is a common failing, although not a con back on an instrument where the Accompaniment spring sistent one. Examples occur where pedaling is sometimes is weaker would have - the piano would appear to play well managed, and then too short on the same roll. I think too softly, particularly in the subtle pp to mp range; above one must come to the conclusion that Reynolds was that the differences would be less noticeable. A corollary working on the assumption that the sustaining pedal on is that the balance between Theme and Accompaniment most British pianos was rather slow to clear. This is a would be distorted. weakness on many British upright Duo-Arts, and there Bauer suggests that American rolls had dynamic was a much higher percentage of uprights to grands in codes too high to suit British pianos with their 'greater Britain compared with America, where grands predomi lightness and brilliancy' of tone. The effect of the stronger nated. It was then perhaps sensible for Reynolds to edit r". spring on the Accompaniment regulator on the British his rolls as he did, although British grands do not suffer piano would be to produce a louder result even if both in the same way, so that the top of the range instruments pianos (as distinct from the Duo-Art action) were the would not play the rolls to the best advantage. Reynolds same. All the Accompaniment in Duo-Art terminology, even went so far as to make alterations to the masters of
168 American Duo-Art rolls when they were issued in Britain. which were fitted with a key-shift soft pedal, were For example, see Reynolds' instruction on a test copy of equipped with a half-blow as well). From examination of roll 521 (Tchaikovsky Symphony no. 5, played by Lam British rolls, it would seem that Reynolds did not code ond). Note also Reynolds' opinion of the interpretation! the soft pedal unless the pianist used it. This method _ It seems strange that so much trouble was taken to makes for greater demands on the evenness of the piano ""'--' . degrade the rolls rather than correct the weakness in the and player actions to play these rolls successfully, and design of the pianos. One theory is that Reynolds was accounts for the use of very low powers, even zero level, much more enthusiastic about the foot-operated Pianola to achieve quiet playing. Such low powers are encoun than the full electric Duo-Art, and was keen to make the tered far more frequently on British rolls than on those rolls play well on the pedal Duo-Art pianos, which were emanating from America. sold in large numbers in Britain. On these, the sustaining There was always a difference between the British and pedal would not clear as promptly since they did not American way of editing Duo-Art rolls. In America, after have as strong a return spring on the pedal pneumatic as the 'Original' roll was produced when the artist played, it the electric Duo-Art instruments. was subjected to a rationalization of the coding by an edi
Woods mentions one ._ I tor, and blocks of codes II other specific point in his •I were marked up in pen • I· letter of 7 May 1923 - the :•I.. -: cil. At the same time, use of Accompaniment IJ.. · indications to correct dynamic power 2 operat- II,I I· ,0 ·:: " wrong notes and adjust ing whenever the soft - :I note placements were .• I :: .. pedal was applied. He •I given. It was also the •Ie, • • I .. writes: ~ t '. . time to notate the 'snake ... I .. o ·I .. • o bites' for the Duo-Art 'In regard to the I I power 2 dynamic being -i I themeing, and indicate I .. I connected automatically ! I I .. additional soft pedal per 1• I with the soft pedal, it has · forations over and above been definitely decided to what the artist recorded. eliminate this device from All this was done away all future instruments.' from the auditioning This is a nasty piano (Not necessarily. --expedient occasionally RP). ~encountered on British In contrast, once pianos which was fitted Reynolds in London had to ensure that notes the 'Original' roll (pro would not miss when an duced in the same way instrument was called on as in America), he lis to play quietly. In addi tened to it on his audi tion to achieving this, it tioning piano, making could also result in the adjustments to note balance between Theme placements and dynamic and Accompaniment coding by the use of a being affected; for exam JJ.In~ single hand punch and ple if power 1 and the I black sticky tape until soft pedal were signaled, the interpretation sound the result would be ed as he wanted. The Accompaniment power 3, sustaining pedal perfora which would alter the tions were shortened on relationship between a Fig 14 Roll 521 Symphony no. 5 (Tchaikowsky) occasions to compensate melody and its accompa played by Lamond, showing instructions by Reynolds for the slower operating niment, as well as gener to alter an American roll for issue in Britain. speed of the British ally coarsening the over Note also Reynolds' opinion of the performance! pianos. The performance all effect. of the particular instru- On American rolls, ment used therefore the half-blow is sometimes used to enable the Duo-Art becomes of paramount importance, and anyone who has piano to play quietly with certainty where the recording worked on Duo-Art pianos knows that no two are exactly artist merely played very lightly but without the soft alike. Any slight deviation from a textbook instrument _ pedal. The soft pedal is used more frequently than would could unwittingly have been used by Reynolds. For -.:;;:!/ be the case with a live pianist. As all Duo-Art instruments example, from time to time, one comes across dynamic (after the very earliest grands) incorporated a half-blow, coding on the London rolls which ought to make notes or this is a legitimate use of the expression system. (As a- '. chords fail if the piano is set up exactly to meet the capac matter of interest, most of those late American grands ity tests in the Test Roll.
169 An instance of this appears in roll 041 (Debussy, rolls. Nevertheless, given a piano in which the player Prelude/Murdoch) where a 7 note chord is signaled with ..action is in tip-top condition, the de Pachmann roll only Accompaniment dynamic power 1; at least power 2, or , fails completely on one or two occasions. It is not a good even 3, would be the text book requirement. As Reynolds example of a Reynolds roll, and Woods is well justified in r obviously liked to reproduce the soft effects of the artists' his criticisms of it. The middle section too is disappoint- '. playing, this becomes extremely important. Some ing, and Woods' description of it as 'choppy' is very fair. justification for this practice might have been that both in Some chords are crudely accented, and others too soft. America and in Britain, the service engineers were Pachmann by 1920 was an eccentric pianist and it would notorious for setting up the pianos with too high a not have been easy to capture his style. However not all minimum level; there were far less customer complaints if Pachmann's rolls are poor. a piano played too loudly than if it missed notes in quiet Apropos Pachmann, there exists a short British passages. It is much more likely that his piano just coped Aeolian publicity film depicting him recording a roll for by the skin of its teeth - and sounded marvelous! the Duo-Art. It opens with him being escorted by Woods' comparison of the two versions of the Reynolds into the recording studio and being seated at a Nocturne Op 15/2 (Chopin), one by Rubinstein (roll 6162) large Weber grand. Pachmann plays, and almost immedi and the other by de Pachmann (roll 013), also highlights ately he finishes, Reynolds appears with a Duo-Art roll the different approach to editing. Whereas the accompani apparently just having been recorded. The scene fades to ment on roll 6162 uses continuous powers (1 and 2 much an upright Weber Duo-Art piano on which Reynolds of the time), roll 013 is characterized by the intermittent places the roll. The piano is switched on, and at one point bursts of coding which are such a feature of the British Pachmann asks for a correction to be made. Reynolds
· ... ·: .:...iJ .....~.:~ • ••• " ·• .•• ·:·:i:... .'i ....'~.&.:t,"l rl--s· I'i I'! · .,, _. I I'! : I.: IT\.I. , .. ' .' .. r ~.;;~ \Y-~ ,•• I:. •,• I•.ft .. rl\ II, • If! II • ." " 'oj) I oM ....L.;.. ·. II .., • ' .' III • , ,, ••I I' . " • .U' . .. .I :••: ''II ,I...... L:' II: •• .' I It ii ,.~ :I.. 1.f:i-. '1 .. :: "'" ..... (it WX ... t::L ;:;a:Si,1i': u· . .. .I·' •."... .. II" , , . "., , II .. . . II I: ·1:· '1 ' • II II -""'I"~,.u'J~ II . ":1I:i .A-1: //)(1 11: • I.w.~' I.,., ".• : , ·... .-- i -j, : '. II l'I' : • '. .. • •• '1 I '1'·.: • •••!!, , . II .I~ 11t= :, ~.r.: ~ •• • __•. __4-l..,;a.. 1\ I .1 : , I'-::-I 110:." • I " .....~I.~ . 'Ii •• .1"· ~'I! , ' ...... t • I .. -.;r. ,," ",...... ". I " Fig 15: Roll 035 Prelude Ope 28 no. 16 (Chopin) played by Busoni, Showing editing on stencil by Reginald Reynolds carries this out by sticking a small piece of tape over the THE ACCURACY OF offending hole, and Pachmann expresses his satisfaction. DUO-ART RECORDINGS The film, which lasts for just over four minutes, closes One very sensible thing which the late Gordon Iles with Pachmann autographing the finished roll. It must said is that a Duo-Art recording should be looked on as a ~atefrom around 1921-2. portrait of the artist rather than a photograph. A portrait, ' ..- To sum up then, the Americans were aiming to pro- being an interpretation of the subject, may well reveal duce a roll which could give a good performance on what more of his personality than a photograph taken in the one might call a generic Duo-Art piano; Reynolds on the cold light of day. other hand sought to reproduce as nearly as possible the Anyone who has studied the mechanisms of any of note placements and dynamics of the artists' playing on the reproducing piano systems of the early part of this the specific piano he was using, with all its quirks and century must acknowledge that they all have some limita individual characteristics. tions which preclude them from playing back a perfor Finally, there was the subjective input of the editors, mance completely accurately. It has to be by the use of stemming from the different personalities of Woods' team clever editing of the rolls that the illusion can be created. in America, and that of Reynolds in London. The charac Note placements must be accurate both in terms of pitch ter of the roll editor is stamped all over any reproducing and timing. In addition, to quote Patrick Handscombe, piano roll if one is prepared to look and listen for it. the piano must have 'the ability to emulate accurately - or American and British Duo-Art rolls display different at least convincingly - the recording pianist's dynamics'. strengths and weaknesses, but at their best, they both Fortunately we are able to check whether the roll manu paint vivid portraits of the playing of the artists when facturers were able to achieve what they claimed. played back on the instrument for which they were intended.
! : · •I : . · I II : ! · • · • Ii II · I.• · t. · I · t t · • ~ · : . x · X I I II
;• • • • • II.. II II II · II I I · ·• • ·: t • •I : t • · . • I I II ..• II
· · · · · · •: · •II · :; Fig 16: Roll 041 La cathidrale engl.outie (Debussy) played by Murdoch showing 7-note chord coded with accompaniment dynamic power I
171 The majority of great pianists (and many of the lesser RECOLLECTIONS ones) of the first thirty years of this century made record OF THE LATE GORDON ILES ings both for the gramophone and the reproducing piano. In May 1961, Gordon nes wrote a letter to Gerald Duo-Art, being one of the major piano roll systems, was Stonehill (13), giving a resume of his connections with the' able to sign up its fair share of artists including Paderews Aeolian Company throughout his life. Included in this~ ki, Josef Hofmann, Percy Grainger and Harold Bauer. In was his description of how Duo-Art rolls were produced r all, something in the region of 2500 classical rolls were in England. At about the same time he gave an interview issued and there are a great many instances where a disc to Denis Gueroult as part of a BBC radio program called and a piano roll were made of the same item. The 78 rpm 'The Great Piano Roll Mystery' (14). This was a program disc could not be edited or otherwise tampered with, and devoted to an assessment of the reproducing piano, and so may be taken as a reasonably accurate reproduction of Gordon nes' contribution was to describe in considerable an interpretation to which the piano roll may be com detail his recollections of the making of Duo-Art rolls. pared. While nes had at his disposal a Duo-Art piano during Paderewski, Duo-Art's most important pianist, made his university days 'for experimental purposes' and was a long series of disc recordings between 1911 and 1938. at that stage 'going to the Bond Street studio to make One version of each title recorded (in some instances he recordings in connection with various experiments main- made more than one recording) is available on Pearl CDs. ly in connection with improvements in Themodist', he Of his Duo-Art rolls one may single out The Maiden's Wish does not say that he was involved with the day-to-day (Chopin/Liszt), The Nocturne Ragusa (Schelling) and Duo-Art recording of the commercial artists. After he Reflets dans l'eau (Debussy) as instantly being recogniz came down from Cambridge, which would have been ably the same pianist as on disc. The phrasing, dynamic about 1933, he worked full time for Aeolian for about six effects and pedalling are identical. Only the subtlest of his months engaged in experiments largely devoted to the tone coloring is missing. Harold Bauer's discs are current compressing of the pneumatic action into the smallest ly available on Biddulph CDs. Bauer's rolls are particular possible space and various forms of alternative Duo-Art ly interesting because of his close participation in the actions. This period was some time after classical Duo- editing process. Not only can one compare particular Art recording had to all intents and purposes ceased. The titles such as his version of Jesu, Joy of Man's Desiring point of quoting these paragraphs is that at no time does (Bach/Bauer), a very different arrangement from the he claim to have been working directly with Reynolds in well-known Myra Hess recording, or his own Barberini's regular Duo-Art recording, nor did he contribute to the ~ Minuet, or, more substantially, Schumann's Novelette, Op. development of the Duo-Art recording process as has 21/2; his general style is unmistakable in the many titles been implied subsequently. Nevertheless he must have-__J he recorded for the Duo-Art which did not appear on frequented Aeolian Hall in Bond Street, and his descrip- tions should be considered. disc. His singing treatment of melody lines, with the left hand not quite together with the right, and his forthright In both the letter and the interview, lies is quite specif ic in his recollections of the processes used by Aeolian in playing of rhythmic passages come through very distinct London to manufacture Duo-Art rolls. Some corroborate ly. The Brazilian pianist Guiomar Novaes made a few our knowledge from other sources; the remainder are very Victor discs in the 20s during the same period she record suspect. His memory of the 'direct perforation' at Bond ed for the Duo-Art. Her discs are currently available on a Street, and Reynolds' operations at the desk fitted with the Music and Arts CD. Eleven titles were duplicated on disc dials fully accord with what we know from elsewhere. and roll. The Victor discs of Ossip Gabrilowitsch are His claim that'a gramophone record was made in the available on a VAl CD; his roll and disc recordings of his case of important recordings so that it could be referred to own Melodie Op. 8 are an example of just how close the when the dynamics etc. were afterwards arranged and Duo-Art could get to reproducing even the tone coloring cut in by hand' is unique to him and is not substantiated of an artist. anywhere else. Robert Armbruster does not recall disc In listening to a Duo-Art piano working well one recordings being made in America (see note 9). If one becomes aware of two things, 1) that a number of rolls by were to undertake the production of new reproducing the same artist display a similarity of style just as do 78 piano rolls today when portable high quality recording rpm recordings by the same pianist; and 2) rolls by differ equipment is readily available, this would seem a logical ent artists sound quite different from each other. The criti thing to do. At that time however, it would have been cism that there is a bland homogeneity between all piano very unlikely for the following reasons: roll recordings is just not true. The evidence that the Duo 1. Prior to 1925 (the period when much of Duo-Art Art could give a convincing reproduction of an interpre classical recording was done) and the introduction of tation is clearly there for anyone who takes the trouble to electrical disc recording, acoustic horns, cutting lathes listen carefully. and waxes would have been used. The process of going I" from the wax through to the playable pressing was slow. . and cumbersome, and was not particularly reliable. It" .." was not uncommon for a recording to be lost by even the large disc recording companies like HMV or Victor. Not a practical proposition. 172 2. Any artist of stature would already have been under Gordon Iles was the last surviving Aeolian employee exclusive contract to a disc recording company which still actively engaged in roll production, and it is a great would have precluded Aeolian from making anything pity that one must doubt some of the claims he made other than a piano roll recording. regarding Duo-Art recording. He was on the fringe of the . 3. One of the great advantages of the piano roll recording Company's activities during the 20s, perhaps making his -'1"~was that it was not limited to the 4 1/2-minute duration of memory lapses excusable. On two major points, those of the 78 rpm record side. Any major work could not easily making a gramophone recording, and of measuring key have been recorded at the same time as the piano roll. speeds, there is no surviving evidence. 4. What is probably the main reason - that no disc spe cial pressings of such recordings have survived. If such ACKNOWLEDGEMENTS discs ever existed, surely at least one would have turned I should particularly like to thank Patrick Hand up somewhere. scombe, Rex Lawson and Jeffrey Morgan for their part in Much of the repertoire on reproducing piano rolls is making this article possible. We have had long, interesting duplicated on commercial discs, particularly the shorter and informative discussions about the Duo-Art over a pieces, and any sensible roll editor would probably have number of years, with valuable material freely being made a point of buying a copy of the disc to refer to. made available. During this time, I believe more of the When rolls and discs of the same items exist, the similari truth about our subject has been sifted from the myths. ties are so striking as to speak for themselves. Yvonne Hinde Smith, Dick Howe, Donald Manildi of It should be noted that the Aeolian Company had its IPAM, Harry Stephenson, and Gerald Stonehill have also own disc record label, Vocalion, and in Britain at least, it made valuable contributions, and I thank them most recorded some of its Duo-Art artists on 78s. Claudio Arrau heartily. was one such pianist, although the titles he recorded on roll and disc are not the same. Jean Marie Darre also recorded, NOTES and one of her titles, the Mendelssohn Prelude Op. 104/3 1. New York Times advertisement - 2nd March 1914. appeared on Vocalion disc 02989 and Duo-Art roll 090. 2. Player Piano Supplement to February 1924 issue of Both performances date from late 1922/early 1923. The Gramophone Another unique claim by lies is the idea that Aeolian measured key speeds as a way of determining dynamics. 3. Letter dated 15 April 1960 from W. Creary Woods, In the BBC interview, he stated that in addition to the note then Director of the Delaware School of Music to a ,-record being made by the pianist there was a means of Mr. Sanders; copy in possession of Jeffrey Morgan ~easuringkey speeds in order to record dynamics. As 4. The W. Creary Woods roll collection at the Interna each note was played, two marks were made on a sepa- tional Piano Archives at the University of Maryland rate sheet of paper, and since the key speed was directly 5. Letter dated 9 July 1923 from W. Creary Woods to related to the loudness of the note, a quiet note would Reginald Reynolds; copy in possession of register with the two marks being a certain distance apart, Jeffrey Morgan but a loud note would show the two marks almost togeth 6. British Aeolian magazine of December 1920 er. Perhaps this was something he was experimenting with, but if British production rolls had been edited using 7. Conversation with Geoffrey Higgins of Bristol, who a more sophisticated system of arriving at the dynamic was a John Ireland pupil powers, one would expect at some point to see a differ 8. Correspondence in possession of Yvonne Hinde ence in the appearance of the coding patterns; in fact even Smith, younger daughter of Reginald Reynolds the latest rolls do not show any significant change. Some 9. Interview with Robert Armbruster, head of salon such system was in place in the late 20s at the Ampico and light classical music recording for the Duo-Art studios where they measured hammer speeds, but there is in America, for AMICA Bulletin. no evidence extant that anything of this nature was ever 10. Letter dated 16 June 1922 from Bauer to Woods; used by Aeolian. This in no way implies that the Duo-Art reprinted in Player Piano Group Bulletin no. 79 rolls are inferior to Ampico; the input of the roll editor/producer is what really matters. A record of key 11. Letter dated 6 November 1922 from Woods to Mr. A. speeds/hammer speeds was regarded only as an aid to J. Mason, Aeolian Company, London; copy in producing the finished roll more quickly. possession of Jeffrey Morgan Iles mentions a second way of obtaining an original 12. Letter dated 7 May 1923 from Woods to Reynolds; recording which was available at the factory at Hayes. It copy now in the possession of Jeffrey Morgan could record note placements, but did not wind the 13. Letter dated 15 May 1961 from Gordon Iles to recorded roll onto a take-up spool. A roll made on that Gerald Stonehill; reprinted in the Player Piano Group machine would therefore not have had the necessary Bulletin no.89 " raccelerations built in for a classical recording (see Rex 14. 'The Great Piano Roll Mystery' was broadcast on ...... ,v/Lawson's article). It is probable that dance rolls were 24 December 1962 and has been transcribed in Player recorded in this way. Dance rolls, while being attributed . Piano Group Bulletin no 145 to artists, are characterized by having the same number of- . perforations per bar from beginning to end. 173 AMICA Boston 1999
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The Charles River, foreground, and Boston Harborframe a world-class city, rich in history. Logan Airport is visible to the left ofcenter at the top.
Automatic Musical Instrument p Collectors' Association
174 Steps Back in Time
hen you come to AMICA Boston 1999, be pre The Saturday night Banquet entertainment is the vehicle to pared to enjoy a lovely hotel with all the modem carry the audience all the way back to 1900 and beyond. When W amenities. Get ready, also, for treks into the past. the Blue Horizon Jazz Band gets Dixieland music into high gear, no one can resist the rhythm. The Blue Horizon Jazz The magic lantern show is "The Victorian Patriotic Show." Band plays in the spirit of the pioneer jazzmen of New Orleans. Lanternist Terry Borton says that patriotic celebrations held a They bring to life the passionate style and exuberant melodies special place in the Victorian social calendar. In the 1890's of those original musicians who gave the world jazz during the most people over age 30 could remember the horrors of the first quarter of this century. The leader is clarinet and soprano Civil War. The big patriotic celebrations were an essential part saxophone virtuoso Stan McDonald. The seven instruments of healing the nation's wounds and creating a united country are: front line of cornet, trombone, and clarinet or soprano once again. The Victorians loved patriotic passion, drama, saxophone; rhythm section of piano, banjo, tuba, and drums. song, and a roaring good time. The Victorian Patriotic This is an "acoustic" band - there are no Show reflects that spirit. It also demonstrates electric instruments and no amplifica clearly the ancestry of such "cinematic" tion, except during vocals or techniques as pans, dissolves, occasionally to enhance and cross editing - all of subdued solos. The Blue which came from the Horizon's repertoire of . ~agic lantern shows that preceded movies. over 400 selections spans jazz history On the Saturday from the rags of tour, travelling Scott Joplin to the between the hotel, sophisticated the two museums, melodies of Jelly and the Lavacchia Roll Morton and residence, the bus Duke Ellington. will go through It includes many Lexington, where lovely and nostal the world-famous gic songs that are Minute Man statue can often neglected; as be seen, and through well as very danceable Concord where another tunes, some with infectious Minute Man statue dominates Latin rhythms. AMICAns out another historic setting. on the dance floor Saturday night will quite literally be stepping back in time.
~ Victorian children wave their flags in one of , '\ .-, the color antique magic-lantern slides from 6I'~. "A Victorian Patriotic Show, " featured enter tainment at the Lantern Luncheon on Friday.
175 AMICA Boston 1999 Westin Hotel - Waltham, August 12-15, 1999 Schedule - subject to change
WEDNESDAY, AUGUST 11 SATURDAY, AUGUST 14 8:00 a.m. Board of Directors breakfast and meeting Breakfast on your own Alcott Room 8:00 a.m. Mart setup - PORTS 9:00-10:30 a.m. Mart THURSDAY, AUGUST 12 11 :30 a.m. Buses board for tour - all visit all sites Breakfast on your own • Lavacchia residence, Woburn 9:00 a.m.-1:15 p.m. Registration/Hospitality Room • Charles River Museum ofIndustry, Lincoln Room Waltham • American Textile History Museum, 9:00 a.m.-l:15 p.m. Pumper practice - Belmont Room Lowell 6:30 p.m. Happy Hour 7:15 p.m. Group Photo Lunch on your own 7:30 p.m. Banquet and Entertainment 1:40 p.m. Buses load for Boston Trip Quincy Mkt.lFaneuil Hall (shopping) SUNDAY, AUGUST 15 OR Duck Tour 9:00-11 :30 a.m. Farewell Breakfast and Annual Meeting Duck Tour people bused to Quincy Market 12:00-5:00 p.m. Open Houses 10:00 p.m.-11:00 p.m. Hospitality Room open ~'"' Dinner on you own at Quincy Market 6:45 p.m. Buses board at Quincy Market for Boston University 7:30 p.m. Boston University Symphonic Organ, mini-concert with player demo and silent movie
FRIDAY, AUGUST 13 7:30 a.m. Continental Breakfast 8:30-n :25 a.m. Seminars 8:30-9:25 9:30-10:25 10:30-11:25 11:45 a.m. Lantern Luncheon 12:55 p.m. Margaret Davis, soprano with accompaniment roll 1:15 p.m. Magic Lantern Show 2:15 p.m. Organ Grind, hotel parking lot 3:30 p.m. Pumper Contest 5:30 p.m. Buses board for Boston Harbor Cruise, dinner on ship 10:30 p.m. Video taping session with Hi Babit
~;. The Minute Man leaves his plow to go to the battlefield, April 19, 1775. This statue is near the Old North Bridge in Concord.
176 Stan McDonald's Blue Horizon Jazz Band. Stan is on the right.
Automatic Musical Instrument Collectors' Association
Lois and Don Brown review the menus for AMICA Boston 1999 at the Westin- Waltham.
The AMICA web site, authored by Terry Smythe, offers this article, the convention registration form, the hotel registration form, and links to descriptions of some of the convention activities. http://www.amica.org/
AMICA Boston 1999 contact person: Dorothy Bromage, Chairman 8 Skyline Drive Billerica MA 01821-1117 978-670-1269 voice or fax Chris Christiansen and Bill Koenigsberg check the hotelfunc Email: [email protected] tion rooms diagram, with Sandy Libman looking on. ELECTRIC PIANO PLAYERS Sent in by Dean Randall r-. By Otis Allen Kenyon -- Engineer, Ray D. Lillibridge, Inc., Member, American Institute Electrical Engineers, Member Society Automotive Engineers
265. The Tel-Electric piano player is the name that has been given to one of the most successful types of electromagnetic piano player that has been developed. In this system the keys of the piano are operated by a bank of electromagnets situated immediately beneath the keyboard, thus interfering in no way with the usual manual operation ofthe instrument. The electric impulses which operate these magnets are produced in a separate apparatus that may be situated at any distance from the instrument that is to be played. 266. Operation. The Tel-Electric player is so designed as to operate either automatically, or subject to manual control. In operation, a roll of music is inserted in the carriage and the starting switch closed. Once started, the music roll, which is driven by a motor, is drawn through the transmitter, thus actuating the playing magnets according to the pattern of the music sheet. At the end of the selection, the roll is automatically reversed and wound back into its case and the current cut off. 267. The music roll consists of sheet brass into which a pattern has been punched. This roll forms the selective means which determines the sequence of the magnets that operate the keys and the pedals, and also the strength ofthe current through these magnets. 268. There are three general types of this player now on the market. The first is known as the "Tel-Electric," which is a sixty-five note player, and operates the keyboard of a r': piano from the second "A" in the bass to the last "C sharp" in the treble. The various degrees of expression are controlled by a resistance bank, there being a resistor for each individual magnet. The expression control device permits the required length of the resistor to be introduced in each individual magnet-circuit, the changes in the amount of resistance being effected practically instantaneously. With this complete control of each individual note and the pedals, the melodies and the rhythms are played with practically perfect expression. The second type of player is denoted as the "Telelektra." It controls eighty-eight notes, or the entire keyboard of a piano, and produces even more perfect control ofexpression than does the Tel-Electric. With this player it is possible to get as many degrees ofexpression as a piano virtuoso can produce. Any variety of contrast between the melody and accompaniment is possible. In the Telelektra, the current for the operating magnets is varied, partly by the resistance method and partly by vibrating contacts, the rate of vibration being regulated by the music record. At zero vibration full current passes, and as the rate of vibration increases the R' ~ ~~:'~: ~ ~ :"~>'.'~(.\' value of current decreases in direct :7 "I.'.' !, ';. /'1 proportion to the time of contact. The I(, \' ,"" ' I' control of the number of vibrations of these contacts is so perfect and so nearly instantaneous that a practically d5\~~ 0~1111I11 ~ unlimited number of degrees of expres · ,/"0... sion may be produced. The Tel-Electric ~- la ers are operated by what is known FIG. 37. - Skeleton diagram ofthe operating p y mechanism ofa Tel-Electric piano player.
178 as autographic records, made by a special process which permits the automatic recording of the note position and the power applied to the key for each individual note, as played by the person who produces the record. The third type is known as the "Telektra Symphonic Organ," is simply an adaptation of the Telelektra to the pipe-organ transmitter. The organ is specially designed for the purpose, and though many sizes of organs are constructed, standard music rolls are made that can be played in all the various sizes. The player system is laid out to cover an organ ofthree claviers and thirty-two note pedal, 100 stops, all couplers and accessories, and three independent swell boxes. As there is no limit to the number of notes or combinations that can be put into operation simultaneously, the automatic player can produce effects that are impossible to the organist. The Tel-Electric system may also be applied to existing organs, and, in every case, the organs may be operated by hand in the usual way without If removing the player. 269. Mechanism. The princi ple upon which the translating mechanism operates is shown in Fig. 37. The brass record, which is perforated with longitudinal slots, is wound from the roll A to the roll M over the so-called tracker roll C. Above the tracker FIG. 38. - Showing attachment ofmagnets to key roll there are arranged a number in a pianoforte. of reading fingers D, mounted on a shaft R about which they are free to rotate, there being a finger for each magnet on the piano, as well as for the expression magnets. These reading fingers each carry a contact wire G embedded in a piece of ivory E. Normally the reading fingers rest upon the surface of the brass record and the circuit ofthe magnet is open at the point P. As soon as a perforation pass es underneath, the reading finger drops down and closes the circuit through its magnet, and remains closed for a length of time that depends upon the length of the slot. The amount of current in the circuit, that is, the dynamic power of the magnet, depends upon the value of resistance included in the circuit and this is regulated by magnets which cause the comb wire J to move up and down over the resistor unit H. The magnets all operate on the rotating arma ture principle. Fig. 38 shows one of the magnets as attached to a key on the pianoforte. The armatures ofthese magnets are laminated to minimize the retarding effect ofeddy currents. 270. Combination organ and piano players. Certain combinations are also made whereby the Tel-Electric transmitter operates a piano by means of a piano music roll. By turn ing over a coupler, the piano is cut out, and the same transmitter operates the organ by means of an organ music roll. With this type of combination, when the organ is coupled to the trans mitter, the piano is played entirely automatically by means of the organ music sheet, so it is possible to play very closely organ and piano arrangements, the piano part being played nearly in full on the piano and the orchestral or organ accompaniment played in full on the organ. In this combination, the piano is used manually, similar to any stop in the organ, by means of one ofthe keyboards.
179 From Alligator, March 3, 1999 Sent in by Wayne Finger Quasimodo's private tower of music
Story by Jamie Piovano Photos by Jason Parkhurst Curling his fingers into a fist, Jonathan Gill slowly raises his arm. Sud denly, as if someone flicked a switch inside his short, compact body, his fists begin pounding, delivering one forceful blow after another. Then, with equal force and just as suddenly, he begins stomping his feet. But with the exception of a few self inflicted calluses, the UF music student is not hurting anyone. Gill is making music. Aside from being a two-minute pause of interest during University of Florida's campus tours, most students fail to sepa rate Century Tower from the dozens of other brick structures they pass on their way to class. But despite this fact, Century Tower stands as one of the university's most identifiable symbols. For Gill, the tower houses the instrument that lets him touch thousands of people with this music. His abandoned tower Everyday around 2 p.m., Gill slips " virtually unnoticed into the double doors at the base of the tower, a Superman entering his phone booth. His mission: reach the tiny space at the top of the tower known as the carillon room, and play to a captive audience he cannot see, from a place unknown to most. UF music student Jonathan Gill plays the 57,760-pound carillon in the top of The tower, built between 1953 and Century Tower for about 15 minutes each day. Gill plays songs relating to the 1956, exudes a sense of strength with its season or special events such as commencement. solid brick exterior. That shell hides a hollow abandoned project once intended He walks up methodically, his gaze A dying breed of music for many uses, including a water tower focused on his own footsteps with little According to music professor and an alumni museum. regard for the empty rooms he passes. William Bodine, carillons-multiple-bell Behind a faded poster inviting visi He says because people cannot see into instruments-were placed at the top of tors from UF's 1990 Homecoming festiv the tower and its abandoned, half-con town towers during the Renaissance peri ities to tour the tower, an archway sepa structed rooms, the plans for music stu od. Carillon chimes marked the time, rates a boarded-up elevator shaft from a dios and practice rooms have been warned of invasions and announced small staircase. dropped or forgotten. important births and deaths, explained Without the convenience of an eleva The tower is slowly becoming a bro Bodine, also a carillonneur. tor, Gill hikes to the top on the rickety ken instrument graveyard and storage shed. Only 200 of these enormous instru staircase. Gill walks past piles of dusty band uni ments exist in the United States, about 50 "If I am running later, I can do the forms, old concert posters and boxes of which are still in use. stairs in two minutes," Gill says in his stuffed with stiff, yellowed parking tickets. Century Tower's carillon was pur faint Colombian accent. "Usually, I take Through a locked yellow metal gate chased in 1979 for more than $200,000 my time and do it in about eight." and a propped-open door with a hand from a Dutch company to replace the The slightest movement on one of the written warning to keep it locked at all broken speaker system that playe~- '" ~- 194 metal steps echoes through the times, a warm beam of sunlight shines recorded, synthesized bell tones. hollow, unfinished rooms as Gill makes onto the staircase. Gill unlocks one last "It sounded ugly," says Bodine, his journey with only a faint yellow wooden door and walks into the tiny, rolling his eyes. "The nicest name I can overhead glow as his guide. white-walled carillon room. give the thing is 'appliance'."
180 The 57,760-pound carillon was trans "But after doing ported to UF by train, freighter and this last semes trucks. During installation, the carillon's ter, some of the 49 bells were scattered across the ground magic has worn , laround the tower and lifted, one by one, off." ~y a crane to its 12th story. Perfect for Every 15 minutes between 8 a.m. and the job 8 p.m., a shoe box-sized computer on the Gill's daily tower's second floor activates hammers music program that strike the outside of the bells. helps him com At the top of the hour, the computer plete a paid signals the hammer to strike the caril assistantship lon's Bourdon bell, the largest with a 5 that required foot-9 diameter, according to the hour of him to learn the day. how to play the On the 11th floor, a small silver carillon. switch stops the computer and allows Jonathan Gill plays "Twinkle, TWinkle, Little Star" on the clavier in Bodine says Gill to play music without interfering Century Tower on Tuesday afternoon. he chose Gill to with the programmed chimes. play the carillon Inside each bronze bell is a large iron because of his good sense of rhythm and fists fly over the dowels at varying ball, a clapper, attached to a wire that his wide range of musical styles. speeds, the bells ring out a majestic ver pokes through the wooden-plank roof of Although Gill has sole responsibility sion of "Twinkle, Twinkle, Little Star." the carillon room and into a piano-shaped for choosing the music he will play, Bod "You can't play just anything, but I instrument called the clavier. Instead of ine expects him to be "democratic" in his do try to cater to requests." an orderly row of keys, the clavier has selections because the carillon will be One request came from a former UF wooden dowels that stick out like knobs heard by everyone. band member who wanted to take his on a cigarette machine. "We don't want to offend anyone girlfriend to the top of the tower to pro In the same way pianists play notes with the music," Bodine says. "We've pose. by striking keys with their fingers, a car gotten a number of requests to hear Up a narrow ladder, a hatch opens to illonneur uses fists and feet on pedals to 'Dixie,' but we refuse to play it." a view into the belly of the bells. Rusty .Jing the bells. Playing a tune can appear For the daily is-minute perfor metal beams form a six-inch wide floor ";~iolent and painful, but the bells turn that mances, Gill matches the music with cur surrounded by eight archways. The view force into beautiful, lingering melodies. rent events, holidays and even the weath stretches over countless trees and campus Carillonneurs must account for the er. For Halloween, he played the theme buildings, and a thin layer of chicken linger, or resonance, which can last up to from Alfred Hitchcock's television show. wire is the only security from the 150 eight seconds, when playing and choos During a bout of thunderstorms, he foot drop. ing music. But almost any tune, with played "Raindrops Keep Falling on My This is the proposal place. minor adjustments, can be performed on Head." "I played 'We've Only Just Begun' the clavier. for them," Gill recalls. "She said 'yes.' " In front of the clavier is a tall, skinny Content as Quasimodo Even after a semester of playing, he bench where Gill thumbs through music On a sunny, windy afternoon, the still devotes a few hours a day to a prac books and prepares to play. campus is quiet while classrooms are tice carillon on the first floor of the "You can't help but feel powerful filled with students. tower. Hard pieces take about two or playing such a large instrument that is Gill is playing the first song he three weeks of practice before the songs heard by so many people," Gill says. learned to play on the carillon. As his will be played upstairs. Gill also plays the organ for two churches and is in three bands, one of which has produced a CD called "Bagels and Grits." When comparing his music endeav ors, he considers carillon playing to be a once-in-a-lifetime chance, especially considering only two people in the United States are full-time carillonneurs. He even accepts his nickname Quasimodo.
" "One time this guy saw me walking out of the tower and asked if I lived in here. I told him I did, and he completely believed me. The look on the guy's face was priceless."
181 ~ TECH TIPS
Violal1o Contact Roller and Governor Drive By Charles Innes
The Violano contact roller is a steel bar mounted roll. Thus the ideal contact roller would have a between the music roll and the take-up reel (Fig. 1), smooth finish in the troughs and a friction finish on similar to the position of the tracker bar in a player the crests. piano. In line with the contact roller is a row of 123 Over a period of time the opposite happens. The electrically live wire fingers ("brushes"), one for troughs acquire a spark corrosion deposit; the crests each playing note and control of the machine. Dur develop a smooth glazed surface such that the paper ing play these brushes rest on the surface of the slips over the roller and the governor does not start music roll paper. When a perforation occurs in the up. Accordingly the feeder races, spoiling the music roll, the corresponding brush grounds on the music. Most cases of "sticking" of the governor are contact roller, its circuit is completed and the partic probably due to this cause than to any problem with ular note or control is activated. the governor itself. The following is a simple proce Like an idler pulley in a belt driven machine, the dure to correct these two problems. contact roller is caused to rotate as the paper travels over it. This rotation is important because it affects a most desirable wiping type of electrical contact when a brush meets the contact roller. Also, since Cleaning the roller directly senses the speed of the paper trav r el, it is utilized to drive the feeder governor by way Remove the contact roller by pushing it to the of a drive pin connection hole in the end face of the right and lifting it out of the machine. Using a fine roller (Fig. 2). wire hand brush or power wheel, clean and polish the troughs of the grooves. Of course this will have The contact roller has closely spaced grooves the undesirable effect of also polishing the crests (threads) over the entire length of its outer surface. which is why it should be done first. The trough of these grooves guides the wire brushes and provides the electrical contact surface while the crest presents the surface to be driven by the music
"! ,~Il~ ._- _.. ~~:~ -~:ff(~L~~- _.- - (
if' i··i. .\~ I! Ii
FZE~~rf, . ~I
f'
i~' --../ .~ .".-.J
Fig. 1 Contact Roller and Governor Assembly Contact brushes are hidden behind the contact roller.
182 L'o/<:?L.4Ip· A CCepr .L:>A/I-"£ P/.N' (..BOTh' .£/1/..0':::')
Fig. 2 Resurfacing the Contact Roller
Resurfacing In using the file it is important to apply enough pressure to break the glaze but not enough to pro Grasp one end of the roller in the right hand, the duce flats. Ifone is not adept with a file, a flat whet other end resting on the workbench. Take an 8 or 10 stone (oilstone, benchstone) may be easier to use; inch single cut mill file in the left hand and make a application pressure will be less critical. short pass diagonally across the surface of the roller, starting near the middle (Fig. 2). Simultaneously Finally wipe off the roller with mineral spirits give the roller a turn into the direction of the file and replace it in the Violano. The right side "LIVE stroke by twisting the right hand counterclockwise a CENTER DRIVE PIN" (Fig. 1) must be visually few degrees. Use light pressure on the file - the lined up and seated. Otherwise it will stand off the object is just to scuff the surface - not to remove roller and may cause it to drop off during play. The material. Make repeated strokes advancing towards governor drive pin will seat itself if the roller is the end ofthe roller, without overlapping. turned a few times by hand. When the end is reached, reposition the roller in the right hand about a quarter of a turn ... and again make a series of diagonal scuffing strokes down the length of the roller. Continue in this manner to com plete the circumference of this half of the roller. Then switch ends and do the other half.
Robin Pratt
183 THE MUSICAL CROSS WORD PUZZLE BOOK ~ ....._-_ __...... •-_.••.••...•.•...•_..__ --..--.._ _.__ ._~--_. __..-.._._ _ .
PUZZLE NUMBER ELEVEN
If you get No. 32 horizontal you will doubtless complete this puzzle with. •. (see 41 horizontal) .
r-.
r--...
~.
184 THE MUSICAL CROSS WORD PUZZLE BOOK ...... -_ - -...... •••••...... __ --..-_.....••..•
HORIZONTAL
1. Gradually slower. (abbr.) 35. Initial letters of two Italian words meaning "with 3. Combination of sounds pleasing to the ear. rapidity." 7. The part of a solo intended to display the tech· 37. Russian composer, major general in the Russian nical ability of the soloist. (abbr.) army; died 1918. 38. First syllable of the name of the Goddess of 10. Very loud. (abbr.) Vengeance. 11. Held to its full value. (abbr.) 40. Two vowels. 12. Sustainiug the tone. (abbr.) 41. Freedom from stiffness; relaxed condition. 14. Seventh note of the scale. 43. Prefix meaning "three." 15. Initials of the composer of the song "A Day in 44. First four letters of a word meaning "with in. Venice." (See page 98.) creased slowness." 16. Initials of the composer of the symphonic poem 46. Initials of a conductor of Philadelphia Symphony "The Siren Song." (See page 97.) Orchestra. (See page 95.) 18. Moderate rate of speed. (abbr.) 47. First two letters of a word meaning "to diminish 20. A letter of the Greek alphabeL in tone." 22. The most important family of stops of the organ. 48. Without regard to the time. (abbr.) (abbf·) 50. First note of the scale. 23. First three letters of Italian word meaning 52. Above; upon. "quietly, leisurely." 53. Into. 25. To the left on the piano. 56. Third note of the scale. 27. Prefix meaning "all." (First half.) 58. A lever on the piano operated by the foot. 28. Work. (abbr.) (Latin.) (abbr.) 30. Initials of a celebrated Belgian violinist. 'See 60. The Latin verb "to love"; first person singular. page 1M.) 61. First two letters of word meaning "tune." 31. With the. 62. A lyric poem. 32. A stroke of the foot marking the point of em· 63. The subject of a composition. phasis in music (German.) 64. With a medium strong accent. (abbr.)
VERTICAL
1. A strong reinforcement of tone. (abbr.) 33. To quote a passage from a book. 2. Supposing. 34. Abbreviation of Italian word meaning that "two 3. Less. or more parts are to be played or sung together." 4. A, an, oue. 36. First three letters of a Italian word meaning 5. Exists. "gradually slower." 6. The end. 37. First and third notes in the scale of "C." 8. Initials of chief conductor at Metropolitan Opera 39. Initials of a famous young American pianist; House, New York, from 1898-1915. born in Russia 1898. (See page 102.) 9. Divided, separated. (abbr.) 40. One (Latin.) 11. Time. 42. Without the dampers. (abbr.) 13. An etude. 45. And. 17. Gradually softer. (abbr.) 47. A composition for two. 19. From the beginning. (abbr.) 49. The rate of movement. 20. Initials of a celebrated English piano instrnctor and author of Relaxation Exercises. (Born 5!. Very soft. (abbr.) 1858.) 52. Without the pedals. (abbr.) 21. Initials of director of New England Conservatory 54. A negative. of music. (See page 99.) 55. Medium, half. (abbr.) 22. Sweetly. 57. Suffix signifying "belonging to." 24. An octave. (abbr.) 59. Initial letters of two words meaning "a note 26. A composition for nine voices or instruments. equal in time value to threequarter notes, be 29. More. cause of a mark placed after iL" 30. First three letters of Italian word meaning 60. Part of the verb "to be." "example." 61. Moderately loud. (abbr.)
185 News FrolTI The Chapters
FOUNDING CHAPTER SAN FRANCISCO BAY AREA Reponer: Thomas MeWay III President: Bing Gibbs Phone: 408~ 253-1866
December Meeting At the December 12th meeting of Founding Chapter a very good time was enjoyed by Chapter Members and Guests. Our Main Parlor andfurnishings host at this annual Chapter event was Mark Pope. Mark is restoring one of the grandest Victorians in San Francisco. Built in 1880, Mark's home features period Victorian furnishings and has real gas lighting! There were a lot of compliments on how everybody enjoyed the meeting, food, furnishings, and listening to the 1927 Steinway Duo-Art XR Grand in a Spanish walnut art case. I surely enjoyed hearing the Steinway Duo-Art system perform. Thanks, Mark, for an enjoyable evening.
Plenty oftreats for guests
Middle parlor where Steinway Duo-Art XR resides. Host, Mark Pope is in the center ofpicture, talking to Joan Sprankle.
."'. / '- ~ Host Mark Pope s Victorian home, 807 Franklin Street, San Francisco, CA
186 Bing Gibbs and John Motto-Ros
Pianolist Thomas McWay trying out the expression capabilities.
Bing Gibbs standing, and members
Host, Mark Pope in the center ofphoto
March Meeting At the March meeting of Founding Chapter, a nice group of 18 met at the home of Lyle Merithew and Sandy Swirsky on a beautiful Sunday afternoon. Everyone brought a potluck plate of food and an enjoyable afternoon of food and music was enjoyed.
Members talked and listened to the three instruments the hosts have. At 3:30 a meeting was called to order. President Bing Gibbs talked about activities for the year 1999 and the year 2000 Bing Gibbs standing, and members National Convention. John Motto-Ros, the year 2000 Conven tion chairman, talked about the Convention and also the next joint meeting of the Founding Chapter and Siena Nevada at his home in Sutter Creek, California. Discussion centered around which type of Logo might be used for the 2000 Convention. After the meeting, more piano sounds filled the air from the instruments, and then everybody left in high spirits.
Thanks, Sandy and Lyle, for an enjoyable afternoon.
The next scheduled meeting is at Jack Gustafson's and Richard Quigley's on July 24. If you would like to host a meeting ~ ,v":r1uring the next year, give Jack or Dianne Edwards a call at '-<--(408) 267-9554.
Bing Gibbs and member
187 ~-'
PACIFIC CAN-AM CHAPTER Reporter: Dan Brown President: Mark Smithberg (206) 763-9468
Mary Lou and Jack Becvar welcomed 48 members and guests to the chapter's March 20th meeting at their home in Marshall and Wendell Player Kent, Washington. The three-manual console which we had examined at a previous meeting is now in place and installation (with the exception of the completion of the combination action) is nearly complete, allowing the more than 20 ranks of pipes to be played from the console, by the Marshall and Wendell Ampi co upright, or by the wonderful Moeller Artiste reproducing player. We were lucky enough to have three talented organists at the meeting: Bob White, Eric Shoemaker, and David George. Each brought his unique style to this magnificent instrument. Those of us less skilled at the keyboard enjoyed hearing the Wurlitzer play Moeller, Ampico, and 88-note rolls.
Hosts Mary Lou and Jack Becvar at the new 3-manual console
Jack introducing organist Bob White Piano roll collection 188 Carl Kehret introduced new members Rob and Joan Wilson of Seattle, Eric Shoemaker brought guests Mary Brown, Cam Marshall, and Carmen Gottschalk, and Carl Dodrill introduced his mother, Lydia Ann Dodrill. Additional guests included Bill and Judy Mote of Seattle and Pat and Larry Crocker of Virginia. We welcomed our new officers for 1999 and treasurer Ward Folsom reported 33 current members in the chapter. President Mark Smithberg shared his copy of the Music in Time CD of Rachmaninoff's Ampico recordings, produced by Wayne Stahnke. He reported the recent release of the second of these CDs. Peg Kehret showed a copy of member Larry Karp's recently published novel, "The Music Box Murders" and recommended the book to all. Carl Dodrill shared a new Mike Wallace and Eric Shoemaker at the console Aeolian Duo-Art pipe organ roll produced by Charlie Kegg in Ohio, and Norm Gibson shared hints that were on the internet for street organists which originated in England. Ray Parkin son extended an invitation to members to attend the MBSI Northwest International Chapter meeting in Vancouver, BC on April 10th. Kurt Morrison showed a great facsimile Ampico roll seal which had been made after his brother had opened an original, sealed roll that Kurt had obtained in a roll auction. Dan Brown reported that he was sending information on the meetings of all AMICA chapters to the Mechanical Music Digest and AMICA International websites and urged members to check postings for meeting dates. The next meeting will be July 17th at the Kehret's new home in Carbonado, Washington.
Dave Zeffert observes David George at the Wurlitzer
President Mark Smithberg conducts business Carl Dodrill shares a new Aeolian Duo-Art organ roll
Kurt Morrison showing a sealed Ampico roll The potluck dinner was a hit, as usual
189 HEART OF AMERICA CHAPTER Reporter: Joyce Brite President; Ron Bopp
,.",-":;~.
The Heart of America Chapter spring meeting was held Sat urday and Sunday, April 10-11 in Manhattan, Kansas, and hosted Ron Connor and Yousuf Wilson admire Tom Griffith sjust-com by Blaine and Armeda Thomas. It was a beautiful sunny pleted street organ. spring day, and members met at the Thomas' Museum to see and hear this fine collection of mechanical music machines, and The next Heart other fascinating objects. of America Chapter Member Tom Griffith of Hays, KS brought along his just meeting will be held completed street organ which he built himself, and proudly dis in Topeka, Kansas, played to other members. Lunch was provided by the Thomases 'I coinciding with the and a number of members chose to enjoy their lunch in the old tenth anniversary of -.•.,r-''. ~ the carousel at Gage soda fountain area of the museum while enjoying music from the ~~.Is,y,.,"·"t. ,. ) ~ collection. Park. ,~,' /' I' I-!-I .. /\~ That evening, members gathered at an area restaurant for • ill IJj(! ' ." dinner. The meeting marked the 75th birthday of member ~ -(>~""'~~"iJ\ Charles Tyler. A video about Charlie's life prepared by Robbie and Adam Tubbs was shown to the group. Afterwards, a cake was presented to Charlie which he kindly shared with the other ~""'t',':::,-.'-,,jit-,~,,""'~," members. The evening concluded with a special one-time con - :' I / cert by the brass duet of Ron Bopp and Joyce Brite. '~ I ~, __ I ~ Galen Bird J r operating "The I l~ Dutchess, " Blaine Thomas 'Mortier band organ.
BOSTON AREA CHAPTER Robbie Tubbs, Charlie Tyler, Dee Tyler andAdam Tubbs with the cake presented to Charlie in honor ofhis 75th birthday. Reporter-: Don Brown President: Ed Bordeleau On Sunday, the business meeting was held, chaired by ._-.-,,--'.-~. Chapter President Ron Bopp. New member Jason York was - introduced. HOA members discussed plans for upcoming meet The Boston Area Chapter held a late March meeting at ings. After the meeting was adjourned in Manhattan, many of Pianoarts, Inc. keyboard store in Hookset, New Hampshire. Ed the members headed for Independence, Missouri to visit Craig Bordeleau, our Chapter President, was our host and is also the and Ellen Brougher's open house for Craig's new "Ding-A owner of the store. There was a meeting of the 1999 Conven~ Ling" Orchestrion. This one-of-a-kind machine, recently tion Committee preceding the Chapter meeting, to update all~~~'.J renamed "Spirit of Independence" is marveled by all who have about the latest Convention plans. There were several instru seen and heard it. ments to see, including a Steinway Duo-Art grand, an Adams &
190 Read Upright player and a Chickering Ampico Grand. Bob Hunt demonstrated the Power-Rol1 MIDI adapter that is fas tened to the tracker bar and actuates the stack note vacuum sys- _ lem on MIDI commands. The unit is quite heavy and is suspend- ~d from the supply roll pins and spring connected to the take-up roll. It did not perform as well as expected that day. Our busi ness meeting conducted by Ed Bordeleau covered election of officers and convention update. SIERRANEVADA CHAPTER Reporter;- Doug and ViCkie Mahr President: John Motto-Ros
MARCH 21, 1999 The first meeting of the Sien'a Nevada Chapter for 1999 was held at the home of Tom and Virginia Hawthorn in Roseville, just northeast of Sacramento, on March 21. Upon arrival at the Hawthorns, members noticed that a few extra steps had been added to the entrance of their lovely home. The whole house had been raised 4 feet. It seems that the gently flowing, picturesque creek next to the Hawthorns by summer sometimes becomes a raging, flooding river by winter. What to do? Raise the house! It's comforting to know that all of those wonderful instruments are out of harm's way. Ken Volk, Dorothy Bromage and Sandy Libman listening to Our hosts repair and restore antique phonographs and president Ed Bordeleau. conduct international mail auctions of classic phonograph records. In the center of the living room sits a 5'8" Fischer Ampico Grand surrounded on three sides by some of the most beautiful antique phonographs you can imagine from Victor, Edison, Pathe, Columbia, Sonora, etc.; a really stunning sight! The 1925, 5'8" Fischer Ampico restoration had just been completed, so the piano performed outstandingly. Tom presented a program designed to challenge the mem bers to discern the differences between the phonograph record ings and the Ampico recordings of the same song, by the same artist. He first played the phonograph recording on a Victrola Credenza, and then the Ampico recording on the Fischer, of the following pieces: Valse in A major, p.b. Mischa Levitski Pianoflage, p.b. Roy Bargy Turkish March, p.b.Rachmaninoff Ken Volk traces the map routes for open house journeys during Me and My Shadow, p.b. Lee Sims the Convention. Most in attendance thought that the Turkish March record ings was most similar. The most dissimilar was Lee Sim's "Me and My Shadow", mostly because of Sim's propensity to impro vise. There are those who say that Sims never played a piece of music twice, exactly the same way. Clearly, the fidelity of the Ampico made it the musical instrument of choice by the mem bership. As this was the first meeting of 1999, it also was the first performance of the new Sierra Nevada Chapter officers: John Motto-Ros - President Sonja Lemon - Vice President Tom and Virginia Hawthorn - SecretaryfTreasurer Doug and Vickie Mahr - Reporters Officers will serve a two-year term. President Motto-Ros conducted the business meeting, which focused on the progress of the 2000 AMICA Convention Ed Bordeleau presents slate ofChapter officers. to be held in Sacramento, hosted by the Sierra Nevada and
191 Founding Chapters. The chapter photographer was admonished not to include, in the pictures, any evidence of the spectacular mementos that will be a part of the convention. Hats off to John for all he has done to coordinate and move the convention planning activities forward. Hors d'oeuvres and finger foods topped off the afternoon's festivities, followed by a tour of Tom's workshop, where hundreds and hundreds of phonograph parts repose waiting for a second chance. For the first time in years, the Hawthorn's bid their AMICA guests goodbye without having to say, God willing, and "the creek don't rise."
John Motto-Ros talks about the "doins" for the 2000 AMICA Convention.
SOUTHERN SKIES CHAPTER Tom Hawthorn (left) showing the "shop" to Bob Lemon and Reporter: Debra l.egg John Motto-Ros President: Debra Legg Phone, 727·734-3353
On the sunny and 80 degree weekend of February 27-2&1!. ,; twenty-one members and guests of the Southern Skies chapter" met for open houses in Pinellas County, Florida with a bonus open house in St. Cloud, Florida on Sunday afternoon. New chapter members Norman Bauer and John Martin graciously hosted Saturday afternoon. John and Norman have a large collection of automatic instruments including a Fischer Ampico grand, Seeburg KT, phonographs, a Regina 27" changer, numerous music boxes, and a Raffin organ. They also have the largest and most beautiful collection of carnival and art glass that I have ever seen. Norman and John got our weekend off to a great start enjoying the variety of instruments, and delicious food around the pool. Tom Hawthorn puts a roll on the Fischer Ampico. Saturday evening was spent at Dick and Dixie Leis' home. While serving coffee and cake custom decorated with our chapter logo, we all got to listen to their custom-built dance organ. It was a real treat to hear and see while Dick explained the construction and "workings." Dick and Dixie also played their Seeburg Jr. and numerous hand-cranked organs to every one's enjoyment. On Sunday morning we held our business meeting over continental breakfast at the home of Bill and Becky Shrive. Our newly elected officers for the upcoming year are: Debra Legg President, Bill Shrive - vice president, Dee Kavouras - treasur- er, Howard Wyman - secretary, Dick and Dixie Leis - reporters, and Debra Legg - chapter representative. Our next meeting was, announced as being May 1-2, in the Fort Myers area. BiHl Endlein, Stephen Brittain, and Beatrice Robertson will be'- ,-.J hosting. Tentative plans for a late October meeting in the Orlan- John Motto-Ros always carries "neat" AMICA stuff in his do area were discussed. After the meeting, the fun began. First, trunk. Stephen Brittain entertained by hand playing the Shrive's play- 192 er pipe organ. We also enjoyed listening to the Coinola, and a Chein PianoLodeon. A Welte grand is in the midst of restora tion. Only a couple weeks earlier, the Shrive's had purchased at ._ auction a marvelous Reproduco player piano-pipe organ. The '\ ntire family worked hard on it and had it playing wonderfully ;-Jfor the meeting. No formal events were planned for Sunday afternoon. Earl Mueller in Pinellas Park opened his house for visitors wishing to see his Chickering Ampico B grand. Earl has completed a meticulous restoration on this instrument. A small group with road adventure in mind traveled east to St. Cloud to visit the fabulous Bill Hall organ collection. Maintained in top condi tion, the organs sounded factory new. The most impressive and newest addition to Bill's collection is an 89 key Gavioli show man's fairground organ. Bill also escorted visitors to his new building to show off a growing car collection. Our first year as a chapter has been great. We have an enthusiastic membership that continues to grow. I'm looking Dixie and Dick Leis with their Dileo dance organ forward to an outstanding second year. \I ~. '~7 Iii '\ ' \
John Martin with the Seeburg John Martin cranking the Raffin organ Norm and John s Fischer Ampico A grand
Carla Hosterman and Norm Bauer admiring a Bill Snrive, Bob Conant, Becky Shrive and the Leis' Seeburg Jr. music box in Norm's collection
193 Stephen Brittain entertaining on the Shrive's player-pipe organ Bob Conant checks out the pipes on the dance organ Dick Leis demonstrates one oftheir organs
The Shrive's grandson and the PianoLodeon
The newly installed Reproduco
Bill Shrive and Stephen Brittain at the organ console Bill Shrive with the Coinola. Note a very small portion ofBill's large electric fan collection on top. ~.t , -.J
Bill Hall's captivating 84-key MortieriGavioli
194 FOR SALE ADVERTISING BUILDING SOLD! MUST VACATE CONTENTS!! NO REA GENERAL INFORMATION ABOUT SONABLE OFFER REFUSED ON ANYTHING!!! Hardman-Duo ALLADVERTISING IN THE AMICA BULLETIN mahog. console player $1500; PADEREWSKI player piano; several STROUD Duo-Art uprights; 25 good players; APOLLOPHONE All advertising should be directed to: piano/phonograph combination $900; MARSHALL & WENDELL Robin Pratt Ampico upright $1000; KIMBALL Electric Player organ $350; bench 630 East Monroe Street es, parts for pianos and players. Stuff and more stuff. Frank Trotta Sandusky, Ohio 44870-3708 (Chicago) 773-581-0684 eves. (4-99) Phone (419) 626-1903 NICKELODEON 1917 Cremona Style 20 with exquisite leaded glass e-mail: [email protected] front, best offer accepted; CHICKERING Duo-Art Aeolian Reproduc Ad copy must contain text directly related to the product/service er early 1900's, $6500/0BO. Lists available for "100s" of Duo-Art, being offered. Extraneous text will be deleted at the Publisher's Ampico, QRS and Cylinder rolls. Rare collection of organettes now discretion. All advertising must be accompanied by payment in available. Beautiful antique oak cabinet with 5 roller shelves for stor U.S. funds. No telephone ads or written ads without payment will age of Regina or other disks up to 20" x 20", cabinet 24(d) x 26 (w) x be accepted. This policy was established by a unanimous vote of 35 (h), $250. Sept. 9, 1917 Saturday Evening Post original full page ad the AMICA Board at the 1991 Board Meeting and reaffirmed at for the Regina Music Box, excellent condition. Call or Fax for details. the 1992 meeting. AMICA reserves the right to edit or to Jim Harvey 304-645-6579, Fax 304-645-5872. (3-99) reject any ad deemed inappropriate or not in keeping with 1928 KNABE 5'4" grand Ampico A movement, restrung with new pin AMICA's objectives. board and pins, walnut case with book matched burl, 50 A rolls. Best The BULLETIN accepts advertising without endorsement, offer over $10,000. 904-886-0747 FL. (3-99) implied or otherwise, of the products or services being offered. 6' STEINWAY pedal grand #143810. 65-88 note Themodist-met Publication of business advertising in no way implies AMICA's rostyle, white over original, ebony approx. 150 original rolls, original endorsement ofany commercial operation. bench. Asking $9,500 negotiable. David London, 3369 Berwyck St., Las Vegas, Nevada 89121; 702-458-6423, [email protected] AMICA RESERVES THE RIGHT TO ACCEPT, REJECT, (3-99) OR EDIT ANY AND ALL SUBMITTED ARTICLES AND WURLITZER Style I Coin Piano empty case, piano action and ADVERTISING. stained glass intact. Fumed oak finish in fair to good condition, $2,000. All items for publication must be submitted directly to the Phone 415-346-8669. (3-99) Publisher for consideration. Outstanding MODEL B KNABE, 5'4", burled CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimum walnut w/matching bench, over 500 rolls, for AMICA members. Non-members may advertise double the fully restored and spectacular! $17 500. member rates ($10.00 minimum). Because of the low cost of Call P.O. Sams (Texas), 915-682-8261, ext. fl(w), advertising, we are unable to provide proof copies or "tear sheets". 915-682-4751(h). (3-99) PIANO ROLL AUCTIONS, reproducing, 88-Note, and literature by . 4-- DISPLAY ADVERTISING ~ mail auction. Serving collectors since 1970. Bennet Leedy Rolls - The Full Page - 7'1z" x 10" ...... $150.00 Piano Roll Center, 4660 Hagar Shore Road, Coloma, MI 49038; phone Half Page - 711z" x 4'/4" $ 80.00 616-468-5986, Fax 616-468-0019, E-mail: [email protected]; Quarter Page -3'/," x 4'/4" $ 45.00 Web page: http://www.ameritech.net/userslleedyrolls/player.html. Business Card - 3'1z" x 2" ...... $ 30.00 (1-00) Non-member rates are double for all advertising. 88-NOTE and Ampico rolls for sale. Send for free list. 930 Cornell Special 6 for 5 Ad Offer - Place any ad, with no changes, for a Ave., Gladstone, OR 97027. (3-99) full year (6 issues), and pay for only 5 issues. Payable in advance. KIMBALL ELECTRAMATIC Player Organ, in pieces but complete. Photographs or halftones $15.00 each Player mechanism out of Kimball Electramatic Player Piano, Loose Sheet or Insert Advertising: Inquire circa 1965. Everything for $300 OBO. F.O.B. Lima, Ohio Phone 419-227-8565. (3-99) We recommend that display advertisers supply camera-ready ELECTRIC ORCHESTRAS "MC-2" (used to convert Pianocorder to copy. Copy that is oversized or undersized will be changed to Midi or Midi to Pianocorder format) $350. Also have an assortment of correct size at your cost. We can prepare advertisements from Ampico "B" parts, including drive motor with governor. Call or E-mail your suggested layout at cost. for list. I have several Ampico rolls I would like to convert to Midi. Can PAYMENT: U.S. funds must accompany ad order. Make check anyone help me? Jim Blanchard, 2203 West Third Street, Pecos, Texas payable to AMICA INTERNATIONAL. Typesetting and 79772; phone: 915-445-5150, E-mail: [email protected] (3-99) layout size alterations charges will be billed. CABLE BABY GRAND Player Piano sin 254454 with Recordo DEADLINES: Submissions must be received no later than the player (1931). Best offer. (310) 715-1493 CA. (3-99) first of the odd months (January, March, May, July, September, REPRODUCO, Operators Piano Co., two complete units in good November). The Bulletin will be mailed the first week of the condition with many rolls. Jerry Cuda, 417-753-2063, E-mail: even months. [email protected] (2-00) (Rev. 6-98) PIANO ROLL AUCTIONS - Periodic mail auctions of mostly .. II 1lllIlIlIllII1I •... -. 11. __ ...... II _. 1lllIlIlIllII..• 88-note rolls and some reproducing and expression rolls from the collection of the late Si Riman. For the latest auction, call or I I write: Dan Inglima, P.O. Box 769, Hayesville, NC 28904; . "Oleou what phone: 828-389-3744, Fax: 828-389-4023 or e-mail: ·
BOUND ISSUES OF THE AMICA BULLETIN 1971 to 1998 $24.00 (U.S. Dollars) per year AMICA Postage Paid in U.S. STATIONERY Make checks payable to: AMICA International Order from: and ENVELOPES (419) 621-9758 Shawn Fox 1319 Pearl Street· Sandusky, Ohio 44870 • U.S.A. This is a reduced sample of the small letterheads which can be purchased. Video-taped Interview of AMICA Honorary and QRS Roll Artist Make Checks Payable to: AMICA International Hi Babit For information. prices and Interview and piano playing of Hi Babit to place an order contact: videotaped at the SRAWNFOX 1319 Pearl Street 1998 Niagara Falls AMICA Convention Sandusky, OR 44870 Long Playing Video Cassette $15.00 pp Hal Malakinian 2345 Forest Trail Drive • Troy, MI 48098 (4_1_9_)_62_1_-9_7_58 ---.J (248) 528-3111 1 (3-99)
197 - ~
Put this in your piano and play it! Converts yourpiano instantly f:!'~I ' ",.. "'; to play hundreds ofmusic rolls 11.~;.ci '··~.~:~i.) "~c.;o~'"'" \~ , .!. E{~l~ l. .' ;;~ ,,":, ~.,~'i ~_ from a single disc! ~. .J }
~... ~' The PowerRollTM fits instantly onto the tracker bar ofyour piano and may be connected to your laptop or desktop computer or to a disc player, enablingyou to play hundreds ofsongs from CDs. For example, you may purchase a single CD that will perform 460 Ampico Rolls. Your piano can play continuously for hours, with selections grouped by title, pianist, composer, roll number, or just by favorites! Music programs for the Duo-Art, welte-Mignon or 88-note system (foot-pumped or electric) are also available. Special Introductory Price ... $1,495 Broadmoore Research Corporation 1709 First Street, Unit "c" San Fernando, CA 91340 To order, or for more information, ca1l800/49-PIANO, e-mail: [email protected], or visit our Website at www.erolls.com (3-99)
Outstanding Dave Bower's MODEL B KNABE 5'4" Encyclopedia of burled walnut w/matching bench, Automatic Musical over 500 rolls, fully restored and spectacular! Instruments 1000+ page hardbound oversized "bible" covering most forms of antique mechanical music. Limited print run. $80 postpaid in the U.S., Two for $150, Five for $300. Send check, no credit cards. Martin Roenigk 26 Barton Hill $17,500 East Hampton, CT 06424 800-671-6333 P.D. Sams (Texas) .----...... 915-682-8261, ext. l1(w) • 915-682-4751(h) (6-99) (3-99)
198 REPLACEMENT LEADERS These 11 1/4" x 17" reprints, not trimmed and without tabs, are excellent replicas of the more popular types of reproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes. To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharp knife, discard scrap, and butt-join with magic mending tape on top surface.
A. Brown on buff B. Black on ivory C. Black on ivory D. Black on ivory (For early red label boxes) (Area for reusable (Most common) (Very late rolls by combined artist photo) Aeolian!American)
AM IPllCO ~lCO~'D[:Jo{<] Note: Early Welte's with blue leaders may be repaired with this brown leader. Many of these when reissued had brown leaders.
E. Green on ivory F. Green on ivory G. Welte (Most common) (Favorite Fifty & Brown on buff Selected Roll Service) (Most common)
Please make checks payable to Checks or money Price: $ 1.00 each Style Quantity AMICA INTERNATIONAL, orders from for Minimum Order: $10.00 A And send to: eign countries B must be drawn C BRIAN K. MEEDER on U.S. bank. D . (\'\iA West Victoria Street Postage and Handling $ 5.50 ~ya" ,'" Barbara, CA 93101-4745 E Roll Order $ _ F e-mail address for orders: G [email protected] Total Amount (U.S. $) $ _ Total Quantity _
199 YOUR SEARCH FOR HIGHEST QUALITY LEATHER MELIORA h is over... 1'.....< Fifteen years ago, we began working with leather MUSIC ROLLS tanneries dedicated to learning their processes to meet the quality needs of the restorers and builders of Original, Hand-Played Music Rolls and High Quality Recuts for Your AUTOMATED MUSICAL INSTRUMENTS This has enabled us to become the nation's leading Player Piano or Duo-Art source of quality, hand selected, chrome tanned skins of: Our original offerings include the music of Scott Joplin, L.M. Gottschalk, Chopin, DEER, GOAT, HAIRSHEEP, KANGAROO, Robin Frost, James P Johnson and others COWHIDE, ZEPHYR for each roll is superbly musical and Valves· Flaps· Packing - Gaskets· Ribs painstakingly edited to maximize Bellows - Pallets· Drums· Regulators performance on your Pianola or Duo-Art. Pneumatics· Gussets· Stoppers· Pouches Price list and sample card available upon request. Call or write for our list of titles: Leather matched to sample. Meliora Music Rolls 939 Briarcliff Road, NE Ray and Marilyn McLeland Atlanta, GA 30306-4664 (404) 377-1220 e-mail: [email protected] The Leather Supply House 412 W. Marion St., So. Bend, IN 46601-1128 Please visit our web page at: 219·234-8990 http://members.aol.com/meliorarol [email protected] (1-00) . ~ (3-99) I' tF ., r= WANTED TO BUY MUSIC BOXES MUSICAL CLOCKS MECHANICAL ORGANS Always in the market for better quality disc and cylinder music boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78rpm jukeboxes, slot machines. Any condition. MARTIN ROENIGK 26 Barton Hill East Hampton, Connecticut 06424 (800) 671-633 • Fax (860) 267-1120 www.mwchantique.com·[email protected] ~ (6-99) IL- _ 200 New Duo"Art Piano Music Rolls for MaV, 1926
Eastern Intermeuo ..•••••••• Grainger o Percy Grainger From Forwottea Motive.-"Danu Feativa," Op. 88, No.8...... Medtner Nicholas Medtner "Oberon" O"erQare 0 • • • • • • Weber . • Ethel Leginaka Pnla" In ., lla.ior, Op. 28, No. 28 . Chopin .. .. Arthur Shattuck ··Sheher....e"-Fantalda Arraqement Rimsky·Korsako/f · Serge Prokofieff 8oaata-Third Movement: A1lcro •. Stravinsk'J' · Igor Stravinsky Popular Salon Music
Ashea of a- (Valse El_ante) 0 •••• Goldbeck ..... Genevieve Pitot CODeert lI..c at the Hotel c.mmodor LoYe'. 0- Sweet 80.. (From "Sari") Kalmall Clalr de Laae ••••.•.. Debtusy ltaclreb' eo. (i'rom "KatiDlta") •• Friml The 11_ »reps Lew, Opo (6, No. 4- Cadman T. the LaJId .f II,. 0_ Iloaaace (From "The Enehantress") •..... Herbert .. Robert Armbruster Popular Ballads and Songs
A1w.,.s 0•••••0•••••••• Berlin •• Robert Armbruster II,. Heart at Thy Dear Voice (From "Samson and Delilah") Saint-Saells Robert Armbruster Then YOll'U Bemember lie (From' "TIt; Boh_laa Girl") ••••. Balfe · Henri Bergman When Da_ ... Sanoet lleat} Where Dreway Waten Steal Lie"rance Thurlow Lieurance Accompaniment to Story Poem for Recitation
How BoaaUf.1 Were 0Jace the a- . 0 0 0 Arendy ..... Robert Armbruster Song Accompaniment My Lonl,. Cella (Tenor) Higgins .•..• Elva Faeth Rider Violin Accompaniment Aln aa_ Wieni4wski .. Andre Benoist Dance and Song Rolls
(What Ca. I Soy) After I Soy I'm 8orryt- Fox·Trot ••.... 0 • 0 • • • • • DOllaldsolJ & Lyman . Phil Ohman Behind the CI.... (Are Crow" and Crowds of Saa...... )-Fox·Trot 0 • 0 0 • 0 0 0 • Dow (!r DeSylva . Frank Banta Bat 1 Do-Y.a Kaow I Do-Fox-Trot 0 • • Donaldson. .. . Man Moran Do I Lon r Ollt (Whe. There'. NoW.. Bat ..Y.... In M,. S,.ea)-Waltz...... Christine (!r Goetz'. • Constance Muing Driltlq ... Dreaaiq (Sweat Paradbe) (A Hawaiian Love Soq)-Fox-Trot Vall Alstyle, Schmidt (!r C"rtis Moran a: Bloom Gyp.,. Land-Fox-Trot . 0 • • • • • • • Boriu •• Alan Moran In My ~Fox-Trot •...... Warren •. Rube Bloom Let'. TaUt A....t II,. Swootl_Fox-Trot •.. Donaldson . Phil Ohman (I Doa't Bellen It-Bat) Sa,. It ..ain-Fox- Trot .•..•...•...... Silver'...... • Frank Banta Sweet ChllcI (I'm Wild Aboat Yoa)-Fox-Trot Whiting, Lewis (!r Simon Alan Moran W..... Yea Are Y.at-Fox-Trot ..... Greer ••.. Alan Moran
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