NEWS BULLETIN OF THE

VOLUME 13 APRIL 1976 NUMBER 3 / THE AMICA NEWS BULLETIN

Published by the Automatic Musical Instrument Collectors' AMICA MEMBERSIDP RATES: Association, a non-profit club devoted to the restoration, distri­ bution and enjoyment of musical instruments using perforated Continuing Members: $15 Dues paper music rolls. New Members, add $5 processing fee Lapsed Members, add $3 processing fee Contributions: All subjects of interest to readers of the bulletin are encouraged a~d invited by the publisher. All articles must be received by the 10fh of the preceding month. Every attempt will be made to pUblish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the pUblisher. OFFICERS Advertisements: Personal ads by members are accepted and inserted in the Bulletin at a rate of 8¢per word, $1.20 minimum. INTERNATIONAL CHAPTER Businesses and persons wishing more space may use the following guidelines: OFFICERS OFFICERS

- Advertising rate is $12.50 per quarter page or multiple PRESIDENT NO. CALIFORNIA thereof. Bo.b Rosencrans Pres.: Frank Loob Vice Pres.: Howard Koff Camera-ready copy must reach the pUblisher by the 10th of VICE-PRESIDENT the preceding month. Bill Johnson Sec.: Dick Reutlinger Treas.: Bill Wherry Ad copy will be typeset (at nominal additional cost) only SECRETARY Reporter: Diane Lillibridge if requested. Isadora Koff SO. CALIFORNIA - All ads will appear on the last pages of the Bulletin, at the BULLETIN discretion of the publisher. Pres.: Prentiss, Knowlton Tom Beckett Vice Pres.: Elliot Lacy Publication of business advertising in no way implies AMICA's 6817 Cliffbrook Drive Sec.: Evelyn Meeder endorsement of any commercial operation. However, AMICA Dallas, Texas 75240 Treas.: Jim Christopher reserves the right to refuse any ad that is not in keeping with MEMBERSHIP SECRETARY Reporter: Bill Toeppe AMICA's general standards or if complaints are received indicati"ll (New Memberships and that sai d business does not serve the best interests of the members TEXAS of AMICA, according to its goals and by-laws. Mailing Problems) Pres.: Dick Barnes ~ Anita Nickels Johnson Vice Pres.: Doyle Cassel P. O. Box 666 Sec./Treas.: Tony Palmer BULLETIN ADVERTISING ·IS CASH IN ADVANCE Grand Junction, Reporter: James Guinn Colorado 81501 MIDWEST TREASURER Pres.: Milton Cooperman Jack and Mary Riffle Vice Pres.: Jim Prendergast Sec./Treas.: Jim & Sue Worgull Reporter: Molly Yeckley BOARD REPRESENTATIVES PHILADELPmA AREA Pres.: Larry Cornell Nick Jarrett, N. California Cover design created from an Estey Vice Pres.: Ron Swanson Haden Vandiver, Texas iResidence advertisement Sec.: Barbara Macartney Ron Swanson, Philadelphia submitted by Haden Vandiver. Treas.: Doris Berry Alan MueUer, S.O.W.N.Y. Reporter: Bill Pilgermayer Jim Weisenborne, Midwest . International AMICA 50 SOWNY (So. Ontario, West N.Y.) Pres.: Richard Drewniak MICA Forum 51 Vice Pres.: William Hatzenbuhler Rolls & Music 54 Sec.: Janet Drewniak Southern California 55 Treas.: Stan Aldridge Texas 56 Reporter: Edythe Aldridge Philadelphia 57 Felix Klempka SOWNY 58 ROCKY MOUNTAIN Instruments 58 Pending The Player Residence Organ 59 Biographical Sketches 67 ,,~~ ~ IrII Jnfernafional JlcJJ(Jf8Jl

MEMBERSHIP CARDS SPECIAL REQUEST Somewhere in this issue of the BULLETIN you should Henry Gerlach writes hoping that some Amican can find hiding an AMICA membership card for 1976. help in his desire to honor a request by close The Club hasn't furnished these for several years friends - "they are very old and their mother was a realizing that multitudes of association cards and concert pianist. They have a QRS solo apollo auto­ credit cards tend to clutter wallet and purse, but graph roll and would love to hear a tape of it we decided to give them another try. before they pass away. Can anyone help? The roll is IS!:i" wide, 9 perforations to the inch, 3/16" - square on right hand spool drive. The title is "NIGHTINGALE" by Liszt, roll #580216 by Hadam Lord­ MINI-CONVENTION REPORT Wood. If someone would tape either 8 track or cas­ BY LI NDA KOEHLER sette, they would be able to hear it at last." A group of ten Am icans has been meet i ng fo rover I can only assume that Henry can send you the roll two years o Perhaps before long we will have enough members to organize a chapter. I think it inter­ for taping if you have the necessary player but not esting that a city of our size has more AMICA mem­ this particular roll. Please contact him for bers than either Kansas Ci~y or St. Louis. details: Henry A, Gerlach, 414 State Rd., Upper Darby. PA 19082 During the past several months we have been meeting frequentl~ planning for the mini-convention. The picture (below) was taken at the last meeting on LI NE ADS GO UP February 22, 1976. As much as it pains me to do this in this day of The Jopl in Amicans hope to see all of you at the ongoing inflation, I find that line ads are now at mini-convention this summer! the point where they no longer even cover cost of production. With this in mind, the line ad rate is hereby adjusted to 8¢ per word beginning with the May BULLETI N. As before, I still must request cash in advance with your ad copy as it often costs nearlY-as much to prod delinquent accounts into action as the cost of the original ad.

TRANSLATORS APLENTY I had a very nice response 'to my request for volun­ teers to translate and transcribe a tape interview provided by Werner Baus. Mrs. William Malone made first offer and is presently processing the inter­ view.

I would like to thank Mrs. Malone as well as the From left, Gene Ebright, Daryl Bopp, Gerold following who also volunteered: Anne Saul, David Koehler, Bill Pohl admiring the 1920 Chickering Burke, and Mrs. George Perzel. Ampico at the home of Ron and Daryl Bopp. AMICA ITEMS AMICA TECHNICALITIES BOOKS: Volume I AMICA Stationery, $2,00 (letter size). $1,75 FO~-SALE (1969·1971), $5.50 postpaid; Volume II (1972· (note size). including mailing charges. Fine 1974). $7.50 postpaid; Or order both sets for quality stationery with ornate AM ICA borders. AMICA BULLETINS. BOUND ISSUES: 1969, $12.50 postpaid. Reprints of interesting techni· Each packet contains 25 letters and matching $9; 1971, $15; 1972\$15; 1973, $15. 1974 calities articles which have appeared in the envelopes. Send orders to Robert Lemon, 4560 unbound sets, $15; 1'£174 bound sets, $18; AM ICA Bulletin, arranged and indexed into Green Tree Drive, Sacramento, CA 94823. 1975 bound, $18, PRICES INCLUDE appropriate categories, spiral bound to lie flat. POSTAGE AND HANDLING. Spiral bound to Send orders to Howard Kof!, 2141 Deodara "They All Laughed When I Sat Down At The lie flat. Send to Mary Lilien, 4260 Olympiad Drive, Los Altos, CA 94022. Piano, But When IT Began To Play ..." Drive, Los Angeles, CA 90043. This sound and color super·8 movie, produced ) ROLL LEADERS: DUO·ART, Authentic. For AMICA Sterling Silver Pins, $4,25, including by AM ICA members, is again available for loan order sheet, see the April, 1973 Bulletin. Nick mailing charges. Lapel pin or tie tack with to AMICA members and chapters. For more Jarrett, 3622 . 21 st Street, , CA AM ICA design. Order from Robert Lemon, information write to Howard Kof!, 2141 94114. 4560 Green Tree Drive, Sacramento, CA 94823. Deodara Drive, Los·Altos, CA 94022.

- 50 - / Jnfernafional JlJEJ8Jl ·t'

Mll. A.I. WiROLIN, While it was a very unique and successful stunt, we 22}O Oakdale Road were not allowed by the music union to supplant live Hillsborough, Oalif. talent.

l 1 Dear Friend In my 80 s 1 m still enthralled at the renditions and fine reproductions of my recordings of the 1 I received your letter 1920 s. containing the honor you confer on HeYl!Ly W. Lan.g e me and I wish to thank you.

I have enclosed 8 short note hoping to give my whole-hearted response to a very interesting endeavor -IAMICAI. Jlmica Jorum I wish you and the membership of this beautiful venture great SOOCESS and hope my contribution to the Society WELTE THOUGHTS AND QUESTIONS IAMIOA- and Player Rolls I recorded BY ROBERT R. PERRY will be one ot my happiest rewards.

Sincerely yours Will someone please answer a few questions regarding " -,:/]L-~ ~-~:-/~* the Welte Library of recorded music? .. [ c/ Henry 'i.Lange After hearing two superby rebuilt and regulated 2259 Emerson Ave Welte Licensee reproducing pianos I am convinced Dayton,Ohio that the Welte Licensee mechanism out-performs both 45406 the Duo-Art and Ampico in "human-like" reproduction of music.

Along with his letter of acceptance as an honorary The first was a 6' Baldwin standard case Welte Li­ member of AMICA, Mr. Lange sent Alf an interesting censee rebuilt by Craig Everett of Leonard's Player anecdote which he has contributed to THE AMICA. Pianos. The second was a beautiful Louis XVII Haz­ elton 5'8" Welte Licensee restored by Dana Huff of In 1920, Paul Whiteman was already established and the Tip Top Piano Shop. Both pianos were for the a most popular musical favorite to the world in most part in excellent unrestored condition with general. His Victor recordings were the talk of the regard to the manual piano action. By this I mean lovers of good music. that neither piano had been played to death so there was plenty of felt left on the hammers; however, I had been at the U.S. Roll Company as editor and in neither had had their actions regulated. This only Chicago, recording now and then for player rolls and leaves to the imagination what a well regulated, also with Paul Biesels Orchestra. sensitive manual key action together with the su­ perbly rebuilt Welte Licensee in a concert quality We recorded for Columbia as a trio in New York. piano could do as far as reperforming a concert.

Paul Biese introduced me to Paul Whiteman one The conclusion I have drawn upon hearing these two evening in the Palais Royale where the Whiteman pianos only serves to back up the statement once Orchestra was playing. This led to a business offer made by Ginny Billings that the best performance of and a most important audition. a reproducing piano she had ever heard was rendered by a 5'6" Baldwin Welte Licensee once owned by Jim I was accepted. Paul now had two pianists, my col­ Elfers. I understand that Jim's former piano was league, Ferde Grofe and I were pals for several also never completely rebuilt from scratch as re­ years both in Europ~ and here. gards the manual action.

I wanted to make and record some of my modern ideas It has always been my contention that all the per­ of the classics as well as special arrangements of fection that can be bestowed upon rebuilding and popu 1a r tunes of the day. I chose Duo-Art and the regulating the reproducing action is not going to Ampico studios because of the new innovation they make the piano sound like a live performance if the had to produce what characteristics the player keyboard action of the piano has not been rebushed, pianist had, his style or accent, and his personal balanced, and regulated so that the softest manual delivery. touch of the key prod~ces the softest pianissimo. Then and only then can the reproducing mechanism be Mr Whiteman gave me permission to install a fine regulated with its vacuum pressure very low to re­ grand piano with the electrical reproduction and to create the faintest gracing of the key. The action use it with the orchestra as a stunt. (manual key action) must also be even in its . response. - 51 - Jlmica dorum " )

Now to my questions: First of all, were all the In connection with this I have a theory that the large size "Red" roll German Welte rolls transcribed Aeolian Corporation with their money and backing, for the Licensee system? Secondly, were the "Green" worldwide actively solicited artists to perform for paper rolls taken from the "Red" roll performances their Duo-Art with fees and royalties whereas or were they separately recorded? If separate re­ Ampico relied primarily upon a limited staff of cordings, were they also transcribed for the artists often utilizing a range of pseudonyms. Of Licensee? course there are the Rachmaninoff performances and other greats, but I suspect there were disagreements I know that the reproducing piano was originally an with Aeolian at least on some artists' parts and I early German technological development and that read somewhere that Rachmaninoff did not like the this was early in the century when many famous com­ Duo-Art. posers and artists were actively sOlicited to per­ form their original compositions or interpretations. Would those few of you who have installed two or The Welte then had a repertoire of early and exclu­ more reproducing systems in a single piano please sive performances not ever made available for Ampico share these secrets with me? I have ideas on the or Duo-Art. subject but since I am not an engineer, I hesitate proceeding without some expert direction. It bothers me also that since I am an Ampico fan Robert R. Perry, 123 Corbett Ave. San Francisco, with lots of rolls, the Duo-Art has also some very CA 94114. famous and superb performances by some exceptional artists such as Horowitz, Hess, Grainger and many others. It particularly distresses me that • Horowitz chose the Duo-Art to play and that the beautiful interpretations of Greig's works are so masterfully played on the Duo-Art by Percy Grainger. AMPICO - MARQUE DETAILS Grainger was the prize and favorite pupil of Greig BY ROBERT H, BISSELL who of himself said he could play only two of his own compositions. Grainger plays beautifully and I recently re-covered the expression devices of an J in my opinion he gives a special beauty to his maes­ Ampico - Marque piano for a dealer here in Portland. tro's wo.rks. The mechanism is installed in a 1923 Marshall and Wendell piano. It has a split hammer rail, with a Now that I am in the midst of restoring an Ampico valve to operate both sides together when the 3T piano and have already decided to remote the pump hole is opened. This valve is on the left bottom in the garage beneath the living room to eliminate end of the case and the hammer rail pneumatics are unnecessary noise I am considering also adding a right under the crescendos. The sustaining pedal secondary expression system in the space formerly pneumatic is located in the right bottom end of the occupied by the pump. case with an extended shaft running across to reach it. I still do not know whether to choose the Duo-Art or the Welte Licensee since the library of Duo-Art artists is incredible and recut rolls are available readily; however, after hearing the Welte Licensee perform I am in a dilemma. I know that the recutting of Licensee rolls is in the formative stage and that there were fewer Licensee pianos sold in the "Golden Days" of the reproducing piano. HELP!

I have additional questions regarding the early days of the Ampico. Numbers of early Ampico rolls were transcribed from Ludwig Hupfeld and my question is were these rolls taken from fully reproducing rolls such as the DEA or were they originally re­ corded for the "phonolizst" semi-reproducing piano? I also sometimes wonder since many of these rolls however recorded~e excellent and add significanttly to the list of Ampico artists why they have not actively been solicited for recutting? Some of these performances included the performance of Luba D'Alexandroxka a pupil, I believe, of Paderewski who played superbly. There are even some perform­ ances of the great Frederico Busoni, and a few per­ formances of long since departed composers playing Marshall & Wendell Ampico Marque, interior view. their own compositions. Note loud-pedal pneumatic in lower treble end.

- S2 - Jlmica 40rum

The bellows is just like the one shown in the book, "Amphion Accessible Player Action", with these exceptions: Each side has its own action cut-out pouch and the governor is attached to the bellows assembly in­ stead of to the underside of the key bed. The crescendos are fitted with lighter springs than the electric models. In addition, there is a little block about 5/16" thick on the end of each pallet valve where it contacts the spring arm. We checked the print, and sure enough, this block is plainly shown. Evidently they wanted the pallet to open up #1 and #5 passages sooner than in the elec­ trics.

Marshall & Wendell 5'2", 1924 Ampico A owned by Bob Bissell.

,

Yours truly, Bob Bissell, with the Marque.

There are no re-roll pneumatics, re-regulator pneumatics, nor reservoirs with the long coil springs. There is no "Re-enacting The Artist" decal in the spoolbox, although there is an "Ampico-Marque" decal on the fall board. The tracker-bar itself shifts, and is just like the ones in 'A' grands, ie., with ears through it. The buttons on the key-slip operate the soft Old English harmonium. COMPRESSION bellows, pedal pneumatics, and the "automatic" switch in the single set of reeds. (These are attached with a in~ensity pne~­ spool box cuts off suction to the screw in each end) Valve pallets are on top of matics, enabling the up-push, or sprlng pneumatlcs sound board, under keys (which have no fronts). to open the air passages to the stack wider and thus Make unknown, however the words "Richardson, Maker, permit the instrument to play louder. New York" are stamped on the under side of the sound board. This is a repair job for a neigh­ no~, As r recall this was a single valve stack. borhood antique dealer. Well, outside o~the items I have enumerated, one might say this wa's "Just a foot-powered A." Looking back, I guess my conversion of a Hardman­ Duo to Ampi co - Marque was not so di fferent after all. (See November 1971 BULLETIN) I later changed this instrument to full electric.

- 53 - J!offs and JJ(us;c

PIANO ROLL REVIEW Recently, however, an inventor has succeeded in BY DAN TUTTLE combining the two instruments, so that they are per­ fectly timed. This he accomplishes by pneumatic 88 NOTE ROLLS means controlled by a series of perforations in the ----- . On an aa-note player, the duct for the "TELL ME LITTLE GYPSY" -A word roll, QRS U1257 and highest note, which is seldom used in the score, is foxtrot which was written, music and words, by utilized to control the pneumatic coupling. The Irving Berlin and ,copyright by Irving Berlin Inc. exact method the inventor is not ready to disclose in 1920. This roll is played by Victor Arden and at the present time, as his patents are still pending, Max Kortlander. The sound is good and full, com­ but apparently the music roll is brought into syn­ plete with mandolin-type roll or marimba action. chronism with the phonograph record at each turn of Melody is very good and adaptable to most music the latter. It is the phonograph that controls the tastes. It can also be mentioned that this song tempo of the player-piano. The operator of the was included in Ziegfeld Follies. player-piano does not touch the tempo controlling lever, but he may operate the expression lever, or "A LITTLE BIRCH CANOE" - This is a waltz with control the volume of sound by pumping harder or words written by J. Will Callahan and music by Lee softer, as the case may be. Any standard player­ S. Roberts. The composition was copyright in 1928 piano may be used to which a small attachment is by Lee S. Roberts. The roll is QRS #511, a waltz applied, but the talking machine requires special for dancing played by Lee S. Roberts and Max apparatus for the control of its motor mechanism. Kortlander. This roll seems to play longer than Otherwise the talking machine is also of standard make most of the standard rolls and the melody is very and standard records may be employed. pleasing. With the sound of this roll, you will feel like you're floating down the river with every note.

"MANDALAY" -A foxtrot written by Burtnett and Arnheim and copyright by J. H. Remick and Co., New York in 1924. This roll is Jewel word roll #4426 and played by L. Bradley. The roll is very well made or arranged. The song has a happy and jazzy-type sound and this is one song that is rec­ ommended on just about all labels, but Jewel Rolls or US rolls are most likely the best available arrangements.

"THE SWEETHEART TREE" - QRS word roll #10-021 played by Dick Watson and written by Henry Mancini and Johnny Mercer 'in 1965. This is the singalong song that was featured in the Warner Brothers picture "The Great Race." This roll was used along with Mr. Mancini's orchestra and chorale for the mad-cap movie which starred Tony Curtis, Jack Lemmon and Natalie Wood. You can really have a part of the movies in your home with the purchase of this roll.

. ~. The instrumental record is made by an expert, who plays an accompaniment on a piano electrically The following article is entitled "Combined connected with a recording mechanism, while the vocal Piano Player and Talking Machine" and is taken from selection is being produced by the phonograph. The The Book of Progress, Volume III published in 1915. music roll is then cut in accordance with the record, This material was forwarded for our appreciation by and reproduced in the usual way. Amican Thomas Dimock. The arrangement is such that the player-piano'may The deficiencies of the phonograph in the reproduc­ play a prelude of any desired length, after which tion of piano music are only too well known. In the phonograph will start up automatically., As the most of the vocal productions, the accompaniment, if singer retards or accelerates, the player-piano will played on the piano, is often so weak and banjo-like correspondingly vary its tempo. At the end of the that the piece would not suffer much if it were vocal selection both instruments will ·stop playing, entirely omitted. To overcome this defect, attempts or if desired, the player-piano may play a postlude. have been made to supply a real accompaniment by The inventor of this combined mechanism is Mr. using an automatic piano-player with the phonograph. Charles F. Stoddard, who has done much toward the But the difficulties of synchronizing the two in­ development of automatic piano players'. struments have hitherto been deemed almost insuper­ able. - 54 - ~o((s and cJJrusic

"STORY ROLLS" In this work we are given a glimpse of the gay, so­ cial world in which the handsome, talented, but Part of my correspondence indicates that the re­ rather dissolute young composer was, perhaps, too printing of descriptive rolls leaders continues to great a favorite in his early years. be of use to some members. However, this last month I received no additional copies so I'll have to re­ sort to my "ace in the hole" to keep the series alive. The following two leader reprints are the ODE TO THE AMPICO only ones I have in my own collection. (OR) WAS IT TO THE DUO-ART?) If you are interested in seeing more reprints CONTRJBUTED BY ALF E. WEROLIN from this type roll, please send me a copy of what you have so I can reprint it for everyone. T. B. The sleeping chords were touched with life

By unseen hands. All conversation ceased Ampico # 62523 - THE LORELEY Liszt As mystic fingers ran the scales, played by Josef Lhevinne And wondrous melody released. A ~egendary maiden in despair on account of a faith­ less lover, once threw herself into the Rhine and be­ T'was most uncanny thus to hear came a siren whose voice lured fishermen to destruc­ tion in the treacherous part of the river where An instrument unattended play; stands the famous Loreley rock around which the water rushes.with dangerous fury. It seemed that spirits must be near,

Heine's famous poem which Liszt has chosen for his Playing with ghostly hands that way. musical setting of the legend, tells us of the maiden, wondrous fair, sitting in the golden twilight combing Circa 1920 her golden tresses singing a song the while of such Composer unknown, but thought to be written upon bewitching beauty that any boatman coming within hearing a reproducing piano play. hearing is immediately held by its enchantment and forgetting everything but the siren voice is engulfed with his boat by the angry waves which beat at the foot of the rock on which the siren abides. In the music the narrator begins the tragic tale; then we hear the voice of the siren and presently comes a ~. passage which clearly portrays the excitement of fBa(i!ornia the enchanted fisherman and then, music marvelously descriptive of the rushing waters closing over his sinking boat, after which the song of the siren is again heard to work once more its enchanting spell SOUTHERN CALIFORNIA SCHEDULE and lure a fresh victim to his doom. March 27 Mel Shores - Los Angeles (special (Whew! That's right off the original roll leader ­ 2 PM to 10 PM meeting). only two sentences in the whole second paragraph.) Apri 1 24 Ursula and Ken Vaughn - Bel Air. Ampico #60603 - INVITATION TO THE DANCE Evening Weber played by Artur Schnabel June 19 Mary and Ben Lilien - Los Angeles. Evening The charming work opens with a simple phrase, the actual invitation to-the dance, uttered by a mellow August ? Technical meeting to be arranged. masculine voice. The reply in a soft soprano, Evening charmingly feminine in its reticence and coyness, as if desiring a second invitation before uttering the October 23 Bill Toeppe - Orange. much desired "yes." The invitation is repeated, Afternoon more urgently, followed by the assenting treble, as the fair one rises to accept her partner's invita­ December 11 Dick Rigg - La Habra. tion. A delightful dialogue ensues in which the two or 18 voices can easily be traced. Suddenly the orchestra Evening enters, and they are off - and such a waltz - full of light, joy, youthful elation and all the excite­ For out-of-towners it is suggested that these dates ment of a brilliant ball. be verified with the meeting host before making plans to attend.

- 55 - creZQS

FEBRUARY MEETING AT THE ZIMMERMANS' BY JAMES GUINN The first AMICA - Texas meeting of 1976 was held at the home of Bryan and Hester Zimmerman on Sunday, February 8, beginning at 3:00 P.M •• The Zimmerman home at 3550 Ridgebriar Drive in Dallas provides a contemporary setting for Weber Duo-Art #79020 WR, a 5'6" grand, whi ch performed beautifully throughout the afternoon. Hester provided punch, beer, dips, chips, cheese, and pretzels for the non-musical appetites of the guests. Thirty-five members and visitors appreciated the Zimmermans' hospitality and enjoyed visiting with each other.

Bill Flynt and Haden Vandiver.

Our publisher, Tom Beckett, reminded us that March 1 is the deadline for paying International dues. If dues are not paid by that time, names will be dropped from the mailing list. Also, a late fee of $3.00 will be charged for reinstatement. Tom also announced that a new International directory is being prepared to list members both alphabetically and by states or countries. Bi 11 Flynt announced that he had a few items for sale at the meeting and that he could be contacted for information on three Ampico grand pianos that were for sale. Lynn Bullock mentioned that he had Charlie Johnson and Dora Henslee. a Beckwith upright for sale, and Dora Helslee listed her Hardman Duo console for sale. Richard Barnes, the new president of the chapter, Coming meetings were announced. The April meeting presided over his first business meeting. He thanked will be at the home of James Guinn, with Dora Henslee the host and hostess and called for the introduction of guests. Dora Henslee presented Mr. and Mrs. Buddy Drollinger, whom she had invited. It was announced that the meeting places for October and December were still open. (Ginny and Stan Holcomb have since volunteered for October) Doyle Cassel invited everyone to participate in a swap meet at his home on March. 14. Piano rolls, records, sheet music, spare parts, and anything else that can be thought of in the musical line can be bought, sold, or traded. Doyle promises to provide tables, re­ freshments, and space for an all-day affair. Plans for a special party to be held around Labor Day were discussed. Jim Meadows and Stan Mayfield will be the hosts for a "Thirties" party. Dress will be "Thirties" style, music of the thirties will be featured, and those who have automobiles of the period will be asked to bring them. Since this party is to mirror the lifestyle of those who were still affluent in the thirties, there will not be a bread line or a soup kitchen! Anyone who has other ideas to contribute is asked to call Dick Barnes at 691-7935. Myriam Palmer, Beckey & Wade Newton. - 56 - ~eza8 46iia~elp6ia

as co-hostess. Dorothy and Gene Langkop will host upright reposing in the Berry family room, complete the June meeting, Tony and Myriam Palmer will have with vintage juke boxes and a full-size pool table. the August meeting at their home in Arlington with The living room offered a Stieff with the Bert Ploniens as co-hosts, and Ginny and Stan a bold tone which John had converted to the Welte Holcomb will open their home in Richardson for the system. The top and bottom boards were removed to October meeting. Any members wishing to assist by expose an extremely neat restoration. This piano co-hosting with the Langkops in June or the proved to be very interesting to many members who Holcombs in October are urged to contact them for appreciate the great amount of work involved in details such a task. Hester Zimmerman thanked Doyle Cassel for providing flowers for the living room and dining room. Doyle's beautiful flowers are a fringe benefit for the host and hostesses and are always appreciated. No formal program was planned, but many Duo-Art rolls Were heard. Lynn Bullock brought along some new QRS Duo-Arts, including "I Only Have Eyes for You," "Two.Cigarettes in the Dark," "Dinner Music #14~"'and "Carmen" selections. Among Zimmerman rolls p'layed were "Der Rosenkavalier" arid "Weiner Blut" Waltzes by Strauss. Thanks to Bryan and Hester for such a pleasant afternoon!

TEXAS MEETING SCHEDULE John Berry's Stieff Welte draws a crowd. April 11 James Guinn - Dallas. Upon descending to the basement-garage combination June 13 Dorothy and Gene Langkop - Dallas. which houses the Berry Woodworking Shop, the Berry Metalworking Shop, the Berry Electronics Shop, the August 8 Myriam and Tony Palmer - Arlington. Berry Piano Rebuilding Shop, and warehouse, one was treated to the sight of many relics awaiting res­ September 5 Special 1930's theme party, Jim Meadows, toration, such as Seeburg and Coinola nickelodeons, (tentative) Dallas. a Steinway OR, Duo-Art grand and many others.

October 10 Ginny and Stan Holcomb - Richardson. Between rolls, guests stopped at Doris Berry's oasis for punch and delicious homemade cookies. Doris, December 12 Open - traditional Christmas party and our treasurer, literally had her hands full re­ dinner. filling the oasis with one hand and collecting dues with the other. For out-of-towners it is suggested that these dates be verified with the meeting host before making The business portion of the meeting brought forth plans to attend.

4RiladelpRia

SUPER SUNDAY AT THE BERRYS' BY BILL PILGERMAYER Our January meeting was held at the home of Doris and John Berry in Newtown Square, Pennslyvania. The perfect weather made for a fine mid-winter turnout. Members listening to Berry's 1925 Steinway Duo­ We were treated to music from a Steinway Duo-Art Art upright.

- 57 - d'RiladelpRia

suggestions on ra1s1ng funds to be used in bringing ure in the past year to visit some of these people's guest artists and speakers to future meetings. homes to hear and see their collections and learn what technical procedures were used to restore each Yes, it was Super Sunday at the Berrys' - perfect instrument. hospitality, good music but not a mention of the big game. Several SOWNY members volunteered their technical abilities to the New York State Mental Hospital to Is it possible - can player pianos replace football? rebui ld the Kurtzman Player which needs a lot of work, but when operating, would be a source of continued entertainment to the mental patients. • In keeping with the Bicentennial theme, an excellent full-length feauture sound track film was shown on the 1i fe of George M. Cohan, fo 11 owed by a de 1icious buffet served to the accompaniment of Cohan"music on Rams i I S beaut i ful S.te inway.

To show what territory coverage we enjoy, people attending came from the following areas: Rochester, Cheektowaga, Buffalo, Getzville, West Seneca, Tonawanda, and Lockport, New York as well as Fort Erie, Ontario, Canada.

-- '"" L. to R.: John Ianeri, Mike Naddeo and Larry Cornell watch Jesse Macartney perform surgery on Jnsfrumenfs a sick Recordo control from one of Larry's pianos. - -

RAMSI TICK HOSTS FEBRUARY MEET BY EDYTHE ALDRIDGE The Southern Ontario, Western New York Chapter of AMICA met February 7th at the home of Ramsi Tick in Fort Erie, Ontario, Canada. Mr. Tick has a rich Steinway Duo-Art grand which has been completely rebuilt and has an excellent tone.

During the business meeting, many members expressed a pesire to visit the Musical Museum at Deansboro, New York and the Antique Music Museum owned by Jake and Elizabeth DeBence in Franklin, Pennsylvania. Details for the trips will be finalized at a late~ meeting and should be scheduled for early summer. 1941 Chickering Ampico grand, Art Deco case owned Both display nickelodeons, band organs, , by Doug Mcgee. Art Deco styling is most evident music. boxes, street barrel organs and pianos plus at edges of music rest in this photograph. many other interesting antiques.

The membership voted unanimously to make Ramsi P. Tick the first Honorary SOWNY Chapter AMICA member in view of all he has contributed in the formation of the SOWNY Chapter! He was instrumental in bring­ ing all of us together. What a pleasure it was at that first meeting at Mr. Tick's home to meet with other fellow enthusiasts. And it has been a pleas-

- 58 - Jnafrumenfa

The following article is from THE ORGAN, Volume attempts with player organs owing to indifferent mechanism, poor repetition, and badl), cut rolJs, but with the latest olodem equipment using autographic VI J I issue No. 31 and issue No:-)2-;1929. The rolls, ~\'ery movement of the original executant is faithfully reproduced,­ material was contributed by Christopher Ross. phraSIng, legato and staccato passages, stop , variations o( tempo, manual and pedal solos, operation of swell louvres and combination pistons, &c. The Player or ~sidence Organ Such instruments, and the music rolls (or them, are necessarily some­ what expensh'e, but a large amount of good music can be played with ade­ quate effect ~n comparati\'ely inexpensive single tracker bar organs by B.1 F. WEBB people of mUSIcal taste having control of tempo, stop registration, and swell ped~ls, and they are enabled by this means to acquire a knowledge o( such musIc that would otherwise not be possible. I. INTRODUCTIOII The addition of player mechanism to instruments that already have HESE titles are ~ot necessarily synonymous: it is possible ror tubular-pneumatic action is not a very expensive matter, and it is possible organs other than chamber organs to have player mechanism fitted, to ~dd such mec?anis~ even to a mechanical (tracker)-action· organ, but a traIn of pneumatIc actIon would in this case have to be inserted which would but the term Ie Residence Organ," which has its origin in the Uoited T be ~ore ~ostly than dealing with an instrument that already had pneu­ States, is applied to a chamber organ tonaUy developed on orchestral lines ma.tlc actiOn. and incorporating a player action (or the rendition mainly o( operatic and orchestral music. :Whilst it is proposed to deal with player organs gener­ III. HISTORY ally, more space w1l1 be devoted to the Ie Residence Organ," as this is the most interesting type, and one that has received considerable attentioD and (a) Barrel Organs. A (ew words relating to the predecessors o( the experiment in the hands o( certain builders. As this particular type or modern player organ may not come amiss. The legitimate ancestor of the organ does not seem to have been described in these pages, it is hoped that player instrument, so to speak, is undoubtedly the barrel organ, and it has some details o( its design and construction may be o( interest to readers. a much longer history than one would suppose. Abdy Williams, in his book already ~eferred to, says that uKircher in his Musur~ia, in 1650, gives II. ARGUMENT a number of dIagrams and devotes many pages to the construction of these It may be asked how far such an instrument justifies it existence. It is organs;" also Grassineau in his Dictzonar7 0/ Music, in 1740, says that the intention therefore to set out briefly the reasons for and against. Taking Useveral kinds were used in his day in the grottoes of Italian vineyards;" the cc Ayes" first, the reasons (a) Fo,: one, if not the strongest, of the and further that Dom Bedos, a century after Kirch~r, gives full directions arguments rests upon the fact that there is no such thing as touch in the for making barrel organs. Quoting again from the same source Abdy proper sense or the word so far as the pipe organ is concerned. With the \Villiams sa}'s Uthat the mendicant's organ seems to have appeared' in the piano, touch is all important, and variations of timbre and intensity o( tone street~ before 170 5, and that long before its appearance as a means o( are only to be obtained by this means; with the organ, on the other band, mendIcancy, the barrel organ had attained- a considerable size and import- no variation of either o( these can be obtained by touch. The organist may ance in large houses, and was used in village churches." describe the touch as II heavy," ~c light," or U crisp;" but as long as the keys Dr. J. W. Hinton in his book on Organ Construction (1900) remarks are pressed down, the only thing that matters in the tonal result is the Uthat street barrel organs were first introduced [presumably into England] rap!dity with 'Yhich they are pressed down and released. This is just as by a builder namd Hicks, circa 1805, and that Flight & Robson were easily accomplIshed by a good player-action as by the human fingers. the. principal makers of church barrel organs. for fully a century, during Legato playing can be ea$ily reproduced by the careful cutting of the music whIch there appeared to be a great demand for them:' This was roll and phrasing (so called) also. Other reasons are that it pro\-ides a proba~ly due to the difficulty of getting competent players to maintain the means of reproducing good music o( almost any description aaore or less ?ld vIllage church bands or executants for the ordinary type of keyboard orchestrated for the enjoyment o( people of musical taste who have not the Instrument. They were, apparently, fairlr common in our village churches opportunity of acquiring extensive ability to play well; it commands the in the first half of the nineteenth century, and a few may still be found in repetition o( good music at any time, enabling the hearers to familiarise small churches in remote villages. Some of the existing ones have been themselves with such work j it is ready at -any time and has no humour to described by our esteemed contributor, the Rev. Andrew Freeman in consider, which the true artist at times has j and is a means of bringing into Jlusical Opinion, and one just lately in the August 1928 number or'the good use instruments that are now silent or little used for the want of a same journal. Other instruments of this type hav; been'described in an good executant to play them. article by ·~Ir. Robert Pugh in The Organ, No. 24, Vol. VI., which contains Mr. ~enry Willis, our well known organ builder, after trying one much interesting information, and to which the reader is referred. Skln~er durjn~ of the p!arcr ?rgans his visit to the United States in 192 5. The mendicant's barrel organ may still be heard OCcasionally in our expressed hiS opInIon In the follOWIng terms: IC I would like to say a few streets, but its day is departing, and it is being ousted from its position by words about the player organ, so seldom met with in England, but by no the ubiquitous and rather terrible modern machine mis-named "piano. ~eans unc?mmon in:'~eri~a. A particularly effective example is standing organ" (Abdy Williams). Street barrel-organs, and those made for private In the SkJnner StudJO In !'ew York. The charming effects o( which it is houses, are almost always fully automatic,-i.e., all operations, inc1udina the capable fascinated me, and I spent a very enjoyable hour or two at the drawing of stops, crescendo,. &c. J were worked from the barrel or c)'li~der. instrument. .The ingenuity of the mechanism is very fascinating and the but the church organs of thIS character were usually only semi-automatic, fine result~ gn'en by the fully automatic rolls a veritable triumph." These the stops, &c., being operated by the human agency that ground out the words comIng from such an authority on organ construction will I am sure tune by uhandle." Probably the largest and most complicated mechanically carry more weight than an)' that I can say in favour of the pl~yer organ: operated organ made during the nineteenth centuT)', was the celebrated

There are other reasons in its faYour, but enough 00 this side has been IC Apollonicon" which was built by Flight & Robson in ISI7. at said to make out a good case. a cos~ of £10,000. This instrument was dismantled in J 840, and the

(b) Now to disp?se or the UNoes. tJ The chief, and practically onlyargu- materIals used for other organs. Dr. Hinton also describes and illustrates mcnt advanced QKlltnst the player organ is that it is mechanical in operation in his book, a fully automatic organ, operated by two barrels, built by and . ~ffect, and consequently not worthy of serious consideration by Wedlake for the late ]. H. Van Ryn no further back than 1896, which had musIcIans. Abdr"·il1iams, in his "cry interesting little book Tlu Story DJ tubular-pneumatic action and venti] wind chests: both the two manuals arid tke Organ (lgo3), in speaking of barrel organs (the ancestors of the modern the lowest octa,·e of the pedal were worked independently, the stops player instrument) says: U Yet the most perfect of them leaves the hearer and swell lou,"res as well as the usual orchestral percussions. This seems to cold and emotionless; the human element with its imperfections, is wanting. hayc been (apart from the.percussions) a worthy ancestor of the player and the most perfect barrel organ cannot give an artistic rendering of organ. m~5ic." ~Iuch water has, howe\·er, run under the bridges since this was (b) Organ Clocks. These made their appearance either during the first wntten, and I am sure that if he could have heard a modem player organ half of the eighteenth century or soon after. They are considered here as operated by autographic rolls, he would have modified his opinion. Even the they are in reality, small barrel organs having pipes, wind chests, le"er human imperfectio~s he speaks of could be reproduced if necessary, and pro- ?ction and bellows. The clocks (they may be called clocks as they were bahly are present In these rolls if the reproduction was critically analysed. Indeed such, although the clock portion formed quite a small part of the The fault abo"e referred to may to some e~ have been justified in early mechanism) ·were apparently of Dutch origin, although many were made:

~ -59- Jnafrumenfa

later in Germany in the Black Forest district. Quoting again from Abet)' Orchestrions found a full development and use as ufair"-or. as our \ViJJiams, he says: U In Dutch houses one frequently finds large clocks con­ northern friends say "feast"-organs: these as time went on became quite taining mechanical organs, which play tunes at the hours instead of chiming. complicated with numbers of sets of pipes, both metal and wqod, flue and It was for, a clock of this kind at Vienna that Mozart in 1790 and 179­ reed, with s~ch orchestral percussions as drbms, bells, triangle, cymbals, See. composed his two well known Fantasias in F mino,." The early examples were operated by the usual barrel mechanism turned The writer is in possession of what he believes to be probably the oldest, either by hand or motive power, but later instruments are operated by the or one of the earliest clocks of this description. It is quite small, as these now familiar paper music roll. A steam "roundabout" organ seen some clocks go, being approximately J8in. wide, Ilin. deep, and Itin. high. It )"ears ago was apparently operated by perforated cards something like those contains about twenty-one sma)) stopped wood pipes, ranging over two used in the Jacquard 100m, but just how the joints were passed over could octaves or so, with a larger pipe acting as a drone or ground bass. The not be ascertained. Some vel)' effective orchestrions have been made dur­ barrel has seven tunes on it and is worked, as is usual in these clocks, by a ing recent years on the Continent, one or two of which have been descn"bed fairly heavy weight, the speed of the barrel being regulated by a fly acting in the pages of AIu.sical Opinion. These are worked by a form of music as an air break. The painted wooden dial, with the Dutch ftags and small roll and are usually motor driven. bunches of flowers, is in design similar to the typical U sheep's head" clock, \Ve now come to the latter half of the nineteenth century when the and is inscribed on the back U No. I. Benedikt Mukle, Neukiret,JJ and a paper music roB first made its appearance and the barrel mechanism, which date (almost indecipherable) which looks like 1723. The maker was 1?rob­ for many years had done good sen'ice, gradually became obsolete. . Messrs. ably either the founder or one of the family of ~{ukles that were associated ~L \Velte & Sons, the well-known makers already mentioned, with the well known finn of orchestrion makers, ~{essrs. Imhof & Mukle. claim to have been the first to build, in 1887, organs and orchestrions on Quite a number of these clocks appear to have been made, most!y of.a the pneumatic system operated by paper music' rolls; but with the pipe larger and more complicated pattern.•They were frequentl~ contained. 1ft organ proper this form,of player mechanism does not seem to have made mahogan}' or painted wood cases, a1;>out sft. or 6ft. high, 2ft. 61n. or so Wide much progress until recent years. The earliest form of musical instrument and about 2ft. deep, with sylvan scenes painted in the upper panel of ~e using paper music rolls that was at all popular seems to have been a reed front, with the small clock dial (about sin. or 6in. in diameter) just bel?'" It. instrument of the suction type, miscalled .American "organs." This was One inspected at Sevenoaks a few years ago was of this character; It bad probably due to the fact that attenuated air was already used to produce se\'eral stops of wood pipes, both open and stopped, ranging over some three the musical sounds, and the addition of player mechanism was therefore or four octaves in compass, and had several barrels with a number of tun~ OD comparati\Oely easy of achievement. A large number of these instruments each. An interesting feature of this clock was that the ranges of wooden Pl~ were, and still are, being made: they have probably reached their final ~Ith were made on what one might describe as the U mono-block" system,. ceYc10pment and perfection in the solo orchestrelles made by the )Eolian the front and back of each set of pipes in one piece of wood with partitions Co. One may leave out the probable contemporary and great advance between forming the various pipes, evidently done to economise space as made with the piano-player and player-piano, which, although they reached much as possible. •. a perfection little realised some years ago, cannot be dealt with here. Box~s. (cJ A{uJical These, although they have no connectlon With !be We are now practicall}' brought up to the present time j and it may be organ, merit a short notice here as the means of mechanicalJy repro~ucl.di interesting to classify and describe some of the modern player organs built the musical sounds were simiJar,-viz., the tune barrel, the notes as 15 ~eel by the different makers. Before doing so, it is interesting to note that a known were produced by pins on the barrel catching the ends of st form of music roll with pneumatic action has been adopted by the weD­ tongues of varying length giving the different notes, and in some box~ ~ known turret clock makers, ~iessrs. Gillett & Johnson, of Croydon, to oper­ different quality also. In a similar manner to the barrel organ, se~era ate some of the fine carillons made byJhem for use with their turret clocks. tunes were set out on the same barrel, this being moved backward or forward so that another set of pins came into operation. IV. DESCRIPTION The barrel in this type of instrument was latterly superseded by sheet ~fodern player organs may be divided into various classes as follows:­ steel circular discs, small parts of which were cut round and turned down at (a) Simple one manual instruments \\'jth single tracker-bars arranged rinht angles, forming short tongues which caught on a serrated steel wheel, to take either 58 or combined S8 and 6S note rolls. which in turn plucked the note tongues and produced' the tune. This (b) Two manual and pedal instruments with single tracker-bars as that~ instrulnent was called the U Polyphone," and it had the advantage above (a), but with melodic devices to give treble melody and whilst only one tune could be produced from one disc, the discs were :nter­ pedal bass passages,and divided couplers. changeable and any number could be used on the same machine. (c) Two and three manual instruments having either double or long ~!usical boxes seem to have developed from the musical snuff-boxes of tracker-bars operating the compass of two manuals independ­ the eighteenth century and made their appearance about the middle of that ently (three manuals through couplers), and part or the whole century. They were mostly of Swiss (Geneva) make. range of the pedal organ. A rather complicated musical box heard some years ago was an elaborate (d) Three or four manual instruments having long tracker-bars affair. It had a long barrel which worked not only the usual note tongues operating an three manuals independently (four manuals but also a set of graduated bells and small drums; but what was rather through couplers) and the full range of the pedal organ. unusual, a set (about two octaves) of delicately made free reeds lightly They may be further sub-divided into two categories :- blown; all these being, as usual in musical boxes, driven by a spring motor controlled by a fly. This instrument would seem to supply a connecting (I) Semi-automatic where the notes only are played from the music Iink between the barrel organ and the musical box. roll, leaving the human element to operate the stops, pistons, (d) Orcltestrions. These were apparently a more modern development tempo and swell pedals. of the automatic barrel organ used i~ the large houses before 1705, but (2) Fully automatic where aJl movements, including manual and under this title they do not seem to have made their appearance until pedal notes, stops, couplers, pistons, swell pedals, tempo and approximately the middle of the nineteenth century. K. S. in the Encycl()­ re-roll, are worked from the music ron. JtEdia Britan1Z£ca states that ccorchestrions were invented by F. T. Kauf­ Refore proceeding further, it may be as weU, for the benefit of the uniniti­ mann of Dresden in 1851 itt but a large automatic organ (orchestrion) was ated, to define the term cc tracker-bar." The tracker-bar is a strip of hard­ made by Michael Welte of Vohrenbach between the years 1845 and 1848. wood faced with polished brass or other metal (occasjonaJly solid metal) The probability was that they were a· gradual development from the earlier perforated with small oblong holes, one to each note, that coincide with the barrel organs, and that no definite date could be assigned to their introduc­ perforations on the music roll which travels over its surface, and closes or tion except under the title of "orchestrion.JJ exposes the holes as required. These holes are expanded at the back into A considerable number of instruments of this type have been made short metal tubes that are connected by either rubber or metal tubes to the since the above dates by the present firm of \Velte of Freiburg, Baden. primary motors (or puffers) of the player action. The term tracker-bar is, ~{ukle, and also by the well-known firm of Imhof & of New Oxford perhaps, not a happy one. In , U tracker" is the name of a Street. A very fine example of one ·of these was to be seen in the Inter­ thin slip of wood with tapped wires at each end, which is used (or connect· national Inventions Exhibition at South Kensington in 1885. ing up the pull action in what are known as organs. Possi­ They were beautifully made and finished, and were most ingeniously b1r cc note bar" would have been a better term, but tracker-bar may be justi. designed and constructed to secure the maximum effect (in quality,-not fied by the fact that the music roll tracks over its surface. The term. which necessarily in loudness) from the smallest number of pipes, and were in apparently originated in America, has now come into general use, and is pa~ consequence very compacL accepted as describing this particular of the player action, so that it iSr

- 60 - Jnafrumenfa

perhaps, not advisable to suggest its alteration. The double tracker-bai­ (c) Douole Tracker-oar l,utrumlnls. These organs ba'1n, • tracka'­ mentioned above, is used by the JEolian Co~ It has a double row of holes, bar taKing e u range 0 two manuals independently are much more one above the other, the upper ones coming between the spaces of the lower effective, and it is possible to play with these correctly and with proper series of holes. The upper row is connected with the upper or second effect any music written for the organ that can be played on a tWCMDanaai manual, and the lower set with the bottom or first manual; but this arrange­ instrument. Any notes may be played on any stop or combination or stope ment can be reversed, when necessary, by a lever or stop key. Other on the two manuals independently and the parts crossed tUl /il. A rood builders use a double row of staggered holes merely to obtain more clearance example of this type of instrument is the JEolian player qrgan buflt at and room for the tubing at the back of the bar. Hayes, Middlesex, by the .IEolian Co., Ltd This is the only firm 01 (a) Sil1tple Si1lgle Tracker-oar lmtrullunts. Quite a number of small organ builders in England who have made a study of and specialised ill pipe organs, and especially American reed instruments (suction type), have player organs and who have standardised music rolls for them. Quite been made with a single tracker-bar action, taking usually the standard a number of their instruments are in use in various parts 01 the 58-note rolls of the JEolian Co., and other makes. The pipe organs are country. The smallest model is built on the Ie duplex" system with YeDtil usually small instruments of few stops, and somewhat limited tonal resources. wind chests, all the stops being common to both manuals. Thilmode111 It is usual, and advisable, in .these to divide the stops into treble and bass, specially made (or player work, and although two man~1s are availabJe so that some semblance of melodic accentuation may be made, and the tor the player, only one keyboard and no pedal board is provieted.· A accompaniment kept down. No particular make can be described under trpical specification of this model is as follows:- this heading, as no firm of builders has made a speciality of this t}"pe. al­ though at one time or another several builders have made organs (usually MANUAL I. MANUAL De small) with this form of player action. The Estey Organ Co., of Battle­ 1. PriDcipa1e GIUde 8 Stops Nos. 9 to 16 repeat ... fill boro', U.S.A., used to make ~ two manual and pedal organ of the usual 2. F1aDto primo ••• 8 MaDaall. 3. Flauto miDcn ._ 4 t)"pe fitted with a single 58-note tracker-bar. 1\lost of the American reed 4. Violino primo ._ • PEDAl. organs fitted with player actions, described wrongly in some cases as 5. Voce celestea ._ 8 17. CcmtJa buIo ••• ••• II 6. ViollOl'dmo _. • u Orchestrelles," come under this heading. . 1. Oboe di caccia ••• • (h) Si1lgle Tracker-hal" lJrstrllwellts with illelodic alld Pedal Bass effet·ts. 8. Vox bumaDa ••• • .£OLtENNE CONTROL This is a more advanced type of player organ, and one capable of good Tremolo Normal UDiIaD effect in the hands of people with musical taste. A number of small one COUPLERS Rewne manual organs of this type have been made by various builders, some of the 18. Manual II to lIWlaal I ~rliest were made by the original Co., under the title of ]9. Manual II to manual J octaft ACCESSOlUBS ~Iessrs. 20. Manual II to pedal 4 combination pistODI to maD" I Posauto If were quite good in tone and very compact. \vhich 21. Manual t to pedal .. combination pistODS to muaal D Spurden Rutt, of Leyton, also made instruments of this description. The 22. Manual t nhoda. stops were usua])y divided into treble and bass with a treble melodic aetioD 23. Manual II suboctaw 24. Manual I octa~ PEDAL MOVDIENTI ~dal acting from middle C up on one or more selected stops, and a bass 25. Manual D octave BalaDce4 swell pedal (melody) acting on a sma]] scale 16ft. in the lowest OCU\·e or two 26. Pedal augment livinc 1ft. tone to Balanced crescendo pec1aJ (operatiDa of the keyboard. 27. ~ual t unison rei.. (01') stopa) A much better effect can be secured with larger organs baviDC two 28. Manual II unison rei..(01') manuals and pedals, a melodic coupler being introduced whereby any stop or combination or stops on the upper or second manual can be u!>ed as a The inclusion of the vox bumana in such a small instrument is probably a melody accompanied by the lower or first manual; pedal bass effects are concession to popular, if somewhat misguided, taste. A clarinet would be obtainable by a bass melody action connecting the lowest note or a choreS of greater use (or both organ and orchestral music. . •• to the pedal organ. ~fessrs. Spurden Rutt ha\·e made a type similar to The Italian stop nomenclature given above is evidently a relic or the this, and also the celebrated German builders, ~lessrs. WaJcker. of Lud\\igs­ late Dr. Ashdown Audsley's connection with the company, when it com­ burg, who used venti] wind chests and derived some of the stops b)' exten­ menced building organs in the United States some years ago. - Fortunately sion {rom one manual to another, a procedure that seems fairly common ill his advocacy of the Italian language for stop nomenclature bas not been small instruments made by Continental builders. generally followed: stop names are a sufficil:nt jumble of English, French, The writer has recently had constructed for bim by ~fessrs. A. w. German and other languages at present without adding to the difficulty or Ha)~er & Sons, of Letchworth, a two manual and pedal organ OD recognising stops by giving them Italian names. The English equivalents similar lines, with six speaking stops on each manual and four on the pedal. of the stops mentioned above is as follows ;- including a 16ft. reed extended from the oboe on the second manual and enclosed in the second . All the pipes excepting the opeD 1. Prineipale crude OpeD diapuoD 2. Flauto primo Hobl flote (wood OpeD) diapason and remaining three pedal stops are enclosed in two independent 3. FJauto minori Harmonic flute (metal) s,,"e]] boxes, one to each manual. There are melodic couplers (second manoa! ;: ~~m:er~= ~~~~ ~~~:tn to first manual) at unison and sub-octave pitch extending from fiddle G to the 6. Viol sordino is a rather stringy toned salicional with taper pips top, the latter being used to bring out a melod)' at tenor pitch and a pedal 7. Oboe di caccia is an oboe voiced a little on the orchestral side. bass (melody) acting on one or all of the pedal stops throughout the entire range of the pedal organ CCC to G (32 notes). The unison coupler second As to the }Eolienne control, the "normal" gives the upper manual to manual to first manual is also divided at middle C, this being useful at tne upper set of holes and the lower manual to the lower set, the .. reverse" times to bring out a tenor or bass melody. The tracker-bar and action is changes this round and brings the upper manual on the lower set of holes extended, and an adjustable take-up spool and roll bearings pro\·iced so that and the lower on the upper set, and "unison" brings both sets of holes into either S8 or 6s·note rolls can be used, a cut-off being pro,·ided to discon­ use on the lower manual. nect the four upper and three lower notes when s8.note rolls are used. The An illustration of a beautiful case containing one of these organs windchests are extended to C#', so that the octa\·e couplers are effecth·e is given. This case, in a charming English home setting, is reputed throughout the whole upward range. The player action works through aD to be the work of Grinling Gibbons and stood at one time in \Vest. the inter-manual couplers, as_ the writer considers that no player action is minster .Abbey. The tone quality of these instruments is quite good and properly effecth'e unless these couplers can be operated through it. This combines well, but is not markedly individualistic. The action is electro­ instrument has been built on more or less orche5tral lines, 50]0 stops only pneumatic, the initial stage in the player being pneumatic (compressed air). being on the upper manual and suitable accompanirnental stops on the con\·erted to electric between the console and a twa.stage pneumatic in the lower. \\'hilst not being so good as instruments with double tracker-ba.rs, organ. this organ is quite effective, and gh'cs a good rendering of both organ and A considerable number of twa. and three·manual organs on this system orchestral music, and is certainly a pleasure to its owner. This in~trument have been built by the company; and it is pleasing to note that their (without case) is illustrated in the first plate. present policy tends to the construction of instruments on more or less The disad\'antages of this type are that it is impossible with melodic legitimate lines with due regard to proper tonal effect and balance. couplers to eliminate the top note of the accompaniment from the melody. An illustration of the console of one of their latest th.ree·manual pla)'er both are of necessity there at the same time. But a greater and mOre ,·ita! organs is also given. disadvantage is that the parts cannot be crossed. the mc10dy tnust a]wars Probably the largest organ in England fitted with this action is the be the top note of a chord and the pedal bass (melody) the lowest. A melody very fine instrument in the companyls beautiful concert hall, the iEolian entwined in the accompaniment it is practicaU)' impossible to brin1; out. Hall. This is fitted .with a double tracker-bar controlling both 58 and 116

- 61 - Efe Jnafrumenfa ~

notes and ,couplers connecting the various sections to the player. NormallY;­ is a question whether pipes with such large holes are truly harmonic, and it the great is conne~ed to the lower, and the swell to the upper set of per­ is somewhat doubtful whether the over-length has much effect on the tone. forations, but th,isorder can be reversed at will by a small lever; also the which is round and full. but somewhat hard. They are, I understancJ. solo, choir, and echo organs, coupled to either set of holes. Recitals wetc. somewhat difficult to tune. The bassoon is quite worthy of attentioD: iD given, a year or two ago, on this instrument which were broadcast by the the two lowest octaves it is a free reed lvith wooden boots and abort B.B.C., and many readers may, perhaps, remember them. The only dif&. cylindrical covered cardboard tubes, the tone being very quaint and pastoral culty with these, and with all other instruments having ten or more holes to like, and of a quality the writer has not heard before in any organ. VD­ the inch in the tracker-bar, is that the perforations being so dose toeether fortunately the stop is continued upwards in metal flue pipes and the only a slight movement of the roll to the right or left prodUCCl peculiar quality is lost in the treble. The Vienna ftute is an open wood wrong notes or effects; for this reason, it is usual to provide an automatic flute with the usual circular mouth and canted cap; and has a very charminr tracking device, of which more will be said anon. quality, being flutey and yetbri~ht and somewhat stringy. One would b1ce Durin& recent ~ea~ )Eolian Co. have experimented wr a~ pq-I to see this stop used in English organs, but it is probably a little too mum fected, Ian autogra fiJC and mechanism named by them U Duo-Art." trouble to make. The fllite tral·erse is of similar construction, but fuller, reproducing through the music roll the playing of welJ-known organists 1ft broader, and more flutey in tone. The viola is practically a violin diapasoa a similar manner to the Welte, Skinner, and Austin organs to be de­ with a little more character. The bourdon is somewhat dull and colourless scribed later. This requires a wider roll and a longer tracker-bar contain­ and not so good as the typical lieblich . The oboe and trumpet are ing more holes. The full compass of both manuals and pedals, and rather on the free side and not so good as the English examples or these also stops and other movements are operated through it. Fortunately they stops. Similarly, the pedal trombone is rather poor in quality and lacks body have been enabled to do this without altering the gauge of the holes, so and smoothness. The clarinette, which extends to fiddle G, merits desai~ that with a Duo-Art mechanism either 58, 116, or Duo-Art ro11s can be tion. It is a free reed with wooden boots and large scale cylindrical cant­ played on the same instrument, a cut-off and adjustable take-up spool being board tubes open at the top, the tuning wires being brought through the provided for this purpose. This is a good step towards standardisation or bod}-. The tone is not at all like its orchestral prototype, it is more b~ the music roll, and marks a great advance in player organ work. and would be more correctI}' described as a schalmei or broad toned como eli In this class also come the Welte Philharmonic organs made by Messrs. bassetto; it is quite characteristic and forms a good solo stop a little on the f\1.. \Velte & Sons, of Freiburg, Germany. There is a prim!lry and second­ brassy side. The pedal bourdon douce and sub-bass are from the same set ary pneumatic for the pla}per, and a double pneumatic on the windchest, of bourdon pipes in two powers. The violone is of medium scale, with wood auenuated air being used throughout,-i.e., up to the windchest. Owing to pipes in the lowest octave-and-a-half with zinc pipes above, the tone is fuD the degree of exhaustion used (about loin. w.g.), the tubing is very small with not much bite in it in the lower register, but more stringy above. The (about lin. diameter) which enables all the couplers and action boxes to be flute and 'cello are, as usual, extensions of the bourdon and violone. kept quite small in dimensions, and with a very neat finish, thus takinr up The larger pipes ar~ stayed, but the smaller ones are fitted with short very little room in the organ. All the windchests, as is usual in Germaa feet, slightly tapered. and fit directly into the upper boards. Th~ f~ are work, are on the ventil system. A typical specification, that of the largest provided with small set-screws to regulate the wind supply to the pIpes.. model, is as follows:- much better plan than the usual English one of plugging the foot botes. Comp;ba Manuai.·CC to C'.61 DOtes The wood pipe work is very clean and beautifully made, all pipes dow~ to Compass Pedals CCC to F. 30 Dotes the lowest 16ft. being left cc in the white." The whole organ, pedal Pipet MANUAL I. S'VELL ORGAN: MANUAL II. included, is placed in a chamber fitted with louvres at the top or fronl t. BouMoa 16 12. bliDe according to its position. The has a separate small box to 2. Viole d'orcbestn 8 13. Vienua tute • 3. "oix cilesta ••• 8 14. Bourdoa • itself inside the chamber and is fitted with a counterweighted single louvre 4. Flute tra,-a.... I 15. Cor ••• • at the top operated separately, which when closed is called the vox 5. Gamba ••• 8 16. Viola ••• •I 6. Diapuoa 8 17. Oboe ••• I humana echo. 7. Flute ••• 4 18. Trumpet Several models of these organs are made, the smaller ones being on I. Piccolo ••• 2 19. ClariDette II• what is called the "compound" system, whereby some of the stops are 9. Sesquialtera 2i 20. Vox buma.u. ••• I JO. Hup 21. Vox blllD&D& (echo) I useable. on both manuals. All models take the same size music roll, n. Chimea 22. Fifth ••• 21 alterations being easily made in the stop perforations for the particular 23. Tremolo model of instrument. To avoid a. long continuous perforation of the roll, PEDAL ORGAN COUPLER. the stops are operated by a single hole for the u on," and one for the "off" ~4. Dourdoa douce 16 30. Manual II super octave through the reversible (poppet) action. The tracker bar has a hundred and ~. Sub-bus 16 31. " II to I su1:H»ctave ~. ViolOD ••• 16 32. ,. II to I super-octa,. fifty holes in it, taking practically the full compass of both manuals and aU 27. Trombone 16 33. " 11 to I uDisoD the stops. The pedal organ is worked through the lowest octaves of the :I. Flute ••• 8 34. " J super--octave manual I. holes with an automatic cut-out. Probably no firm of organ =to 'Cello ••• 8 3.5. " II 6Uper-octa'.. 36. " I to peda1 builders has had so much experience in bl;1ilding orchestrions and player 37. " II to pedal organs as Messrs. Welte, and their action is certainly very good and Interchangeable combination tablets o\'er stop keys reliable. The tonal scheme of their organs seems to be influenced by Interchangeable c;:ombination cut-out pistoD .5 graduated combination pistons and one cancellor their experience with orchestrions, and this as well as the orchestral Balanced swell pedal, stop , tempo le\·er. automatic: c:utoOQt leaning of the quality explains any departure from the accepted canons of le\'er (stops), tubular-pneumatic: action throughout organ tone. Electric: blowiDl There are a number of these instruments in England. Three are in London: one in ?\Iessrs. Steinway & Sons' Salon; one at ?\fessrs. Har­ ~.~", rods, Brompton Road (specification above); and a third at ~fessrs. ~Iaples, Tottenham Court Road. The tonal scheme is one that might not altogether appeal to persons us~d to church organs, but it must be remembered that these instruments IV. DESCRIPTION (continued). ar~ built on orchestral lines and for the playing of orchestral, more than organ music proper. The scheme, as .win probably be noticed from the HE "residence" (player) ~rgans built by the Skinner Organ Co.• above specification, is not founded on the diapason family, but is more a of New York City, U.S.A., are also included in Class B. Several combination of string and ftute; but the general ensemble is quite good T models of these instruments are made. All models are duplexed, and effective for the required purpose. A few words about some of the i.e., the stops are common to both manuals and are useable on either. The individual stops may be of intere·st. The strings (viol d'orchestre, &c.) are small model, which is schemed somewhat like the }Eolian small model, has rather broad and not so fully developed harmonically as is now the case in the following stops: I, diapason 8ft.; 2, vox celeste (2 ranks) 8ft. ; 3, flute English organs. The diapason is rather subordinate in tone. The cor is celeste (2ranks) 8ft.; 4, chimney flute 8ft.; 5. orchestral flute 4ft. ; 6, Eng­ not. as may be supposed, a horn (reed), but is a wOQd harmonic flute, and lish born 8ft.; 7, corno d'amour 8ft.; and 8, vox humana 8it.; with a the pipes are somewhat· peculiar. They are of double length, but instead bourdon 16ft., extended to a gedeckt 8ft., on the pedal. These stops are of the usual one or two small holes at half length, quite a large circular bole arranged in two groups, Nos. I, 2 and 3 being enclosed in the first swell is made in front of the pipe (about half-an-inch in diameter), and (rom this box, and !~os. 4 to 8 in a second swell box. The spedfication of the _ a tuning slot is cut downwards and partly covered with a tuning slide. It average (medium size) model is as follows:-

- 62 - Jnafrumenf8

1. BourdoD .••• ••• ••• 14 6 Harmonic flute ••• ••• 4 24 HarmOllic lute- ._ 4 2. Diapasoll •••. ••• COUPLERS 7 HarmODic trumpet ••• 8 2.5 Harmonic trumpet- 3. Salicicmal (echo gamba) ••• ••• ••• 8 COUPLERS •I 1. Manual II to I (ullison) bes ••• 8 1 Great uisoD 8 8 {Ch!mesIitmo t 25 t 26 Clarinet ••• ••• 4. Flauto dolce 1 Gemshona cileste .1.... } 2. Manual II octa,.. ChllDesJorU f U 27 Chimes/~ - 2 Great subocta~ 5. Flute c.leste muteclstriDc"ect. 1 in. 8 3. Manual II sub OCla\·. (e) from peat 3 Great octave 6. COllcert Bute 8 4. Manual I octave S'VELL ORGAN 4 Swell to great uisaD 7. Flute ••• 4 5. Mew I to pedal 9 Bourdoa ••• •·••11 5 SweU to great saboctave 8. NuanI ••• 21 6. MuuallI to pedal 10 Viola ••• ••• ••• 8 Adjustable comb. pistoDa 6 Swell to great octave 9. Piccolo ••• ••• 2 11 Stopped Bate ••• ••• 8 8 to pat and pedal 7 Choir to great aniloD 10. English hoi'll ••• Combillatioll pistons to each manual with 8 iIldieaton. 12 Viole d'orchestre •• 8 8 to sweDe 8 to cboir 8 Choir to great saboctave 11. Como d'amour ••• 8 13 Viole celeste ••• ••• 8 8· colltrollillg entire orge 9 Choir to great octave 12. Trumpet ••• 8 SrorZalldo piston (revenible) 14 Echo salicioD&1 ••• ••• 8 SforZalldo pistOil (touch only) andcouplen 10 Swell uisoD 13. Frellch hona 8 1.5 Flute •••. _.. ._ .. 11 Swell suboc:tave 14. Vox bUlDllu I 16 Harmonic piccolo ••• 2 Adjustable comb. pedals 12 Swell octave 15. Clarillet I PLAYER 17 Cor &Dllais ••• ••• 8 5 to pedal 13 Swell to choir unisoa 16. Harp 18 Vox humana •••• 5 colltrolling elltir. organ 14 Swell to choir s\lbocta~.. 11. Chimes Ventil. semi·automatic. fun automatic, tempo lever and re·roU. and couplers 1.5 Swell to choir octa,.. 11. Drum. 16 Choir unisoD PEDAL Baleced aweD pedaJa 17 Choir subocta" 2~ 16ft. atops with extensions to 8ft. CanceJlor bars (patented) Great, swell and choir 18 Choir octave Over each group ofstopkeys 19 Pedal octave All stops are duplexed and arranged ill hYO groups ill independent 5',"ell boxn. Balanced crescendo and diM­ 20 SweU to pedal illuelldo pedal 21 SweU to pedal octave The larger models contain an additional broad-toned string celeste, a 22 Great to pedal Great to pedal reversible 23 Great to pedal octave second diapason, bas~oon 16ft., tuba 8ft. and pedal trombone 16ft. In still 24 Choir to pedal larger models, the true organ enselnble is developed up to mixtures, &c.. Sforzudo pedal 25 Choir to pedal octa~.. When three manuals are employed, there are two independent sections and the stops of both are duplexed to. the third keyboard. A few of the The noteworthy features of this specification are the very complete Jist of stops perhaps need a little explanation, as our cousins on the other side of couplers, and the absence of a 16ft. reed on the pedals to balance the the "fish-pond" lo\'e to call things ~by different names from those to which manual reeds. The specification is very complete. and with the exceptioD we are accustomed.. The chimney flute is our old friend the rohr ftote. the of the pedal reed mentioned above, embraces all qualities of tone that are English horn is apparentl)' a description of medium scale smooth horn. the n~cessary or desirable for organ or orchestral music. The pla)·er actioD French horn is the organ equivalent or the orchestral instrument of that is the Austin ccQuadruplex," the initial stage of which is on vacuum. and aU name, and the corno d'amour is similar to our ordinary oboe. It is .somewhat other action electro-pneumatic. Needless to say. the organ is built on the curious to see the salicional treated as a string stop: in Eng]jsh organs it is Austin "Universal Air Chest" system: it takes up a space of about 2 I ft. u~ua)Jy a slightly stringy dulciana more closely a))ied to the diapason family wide, 14ft. high. and 9ft. deep, exclusive of blower and exhauster. Detached than to the strings. It is still more curious to note that the flauto doJce­ consoles, and if necessary a separate console for the player action only. are which with us is an inverted conical pipe giving a distinctly fluty tone-is provided. The action is fully automatic. all speaking stops, couplers. acces­ tr~atcd as a gemshorn (taper pipe) and used for muted string effects. The sories, and other movements being operated from the music roll. An illus­ pnmary player action is compressed air at a pressure of loin., which is then tration of the upper part of the console sho,ving the arrangement of the stop convened to electro-pneumatic, ventil soundboards being used. Only one keys is given in plate IV. hundr~d and twenty holes are used on the tracker-bar to control everything, A number of organs fitted with player mechanisln havebeen built during special pilots being employed singly or in combination as selectors to deter­ recent years by Messrs. Jardine, Noterman. Spurden Rutt, A. W. Hayter mine the function of a perforation: great flexibility is claimed by this & Sons, and others: but most, if not all, of these are only provided with means. single tracker-bars taking 58 or 65-note roUs. With the exception of the \\1 e ha\'e now to consider the final class Cd) player organs that have long ....Eolian Co., no organ builder in England seems to have made a special tracker bars operating the full compass of three manuals and pedals. These study of this form of the cc King of Instruments," or evolved anything like a instruments may be considered the "lti,na thule of player mechanism. OnJy standard model, which is much to be regretted. In this connection, it is one builder seems to have made a specialty of this type,- namely, the jnt~resting to note that the largest organ in the world (independent speakinr Austin Organ Co" Hartford, Conn, U.S.A. They are capable of effects stops),-viz., that in the \Vanamaker Stores at Philadelphia, U.S.A.• is pro­ that are aimost impossible for the human pla)'er to execute. To give an vided with a second detached console, fitted with player action and controls example: a melody may be played (say) on the clarinet to an accompani­ only, which shows that no organ is too larf;!e to be adequately controlled by ment on the strings (violes)J with an independent or obbligato bass on the a player mechanism. pedals and a figuration of any degree of elaboration on the harp stop or \r. CONSTRUCTJOIf flute 4ft. To accomplish this, the tracker bar has to be long and the musit ro)}s proportionately wide (2 ) ~ in.). This increased width of roll and num­ (D) Actio1:. Having in mind the purpose for which the instrument is ber of perforations usua])y Drings trouble with it in the shape of expansion built, and the people who are likt:l), to use it, it is desirable to make its and contraction through damp or dryness, causing the notes to go out of action and operation as reliable, and shall we say. as fool-proof as possible. register; but the Austin Co. claim to have overcome this difficulty. Rcw. ~here are two types of action used in player organs of the present day,­ gnising that with this width of ro]) a certain amount of expansion and con­ VIZ.,. those using compressed air (ordinar)" wind supply), and the others using traction is inevitable, they have adopted what may be described as a com· suctJOn or attenuated air. It is not possible to use exhaust action as it iI pensating tracker-bar. The bar has a total of two hundred and forty boles, u!"uall)· understood for the primar)", as there is an absence of pressure or arranged in two rows in a similar manner to the .!Eolian double tracker-bar. suction to keep the roll bedded on the tracker-bar. Electric action may be These holes are divided into five sections of forty-eight holes each. with a p05sibJe in )'ears to come, but quite a different type of roll would have to space between each section. The middle section is fixed, but the two others be used than is at present the case, with some means of making the on each side have a slight movement to the right or left as required. The nece5sa~ contactL . general tracking is corrected by a continuous perforation in the middle of . (b) P,-essu!'e A~tion . .\Vith this type of action, using the ordinary organ t?e ro]], which operates the automatic tracking device. There is in addi­ WInd as supph~d to th~ pIpes, the music roUt tracker-bar and take-up spool tIOn another continuous· per(oration on the left hand side that governs the are enclose~ In an aIr-tight chamber having a sliding glass front, this compensating mechanism correcting the expansion or contraction of the charnb~r beIng supplied with wind of the requisite pressure through a valve roll· by automaticaJ1y moving the outside sections of the tracker-bar on each or ventI] controJ):d by a tablet or stop-knob. I t is quite feasible to operate side closer to, or further away, from the middle (fixed) section as required a player mechanIsm on the ordinary wind pressure of 3iin.• but a higher to keep the holes in the bar in correct alignment with the perforations of pressureJ up to 6in., is better to ensure a closer adhesion of the roll to the the music ro)). This appears somewhat complicated, but is relatively simple tracker-b.ar) a~d also t~ feed the~mall holes supplying wind to the primary in operation. Only one (a standard) model is made, the specification of pn~umat1c actIon. It JS not deSIrable to go beyond 6in. with this type of which is as follows :- actIOn, as the "alves and motors, unless carefully felted or otherwise quiet- ened, are apt to be noisy and thump. A secondary as well as primary GREAT ORGAN CHOIR ORGAN. PEDAL ORGAN must be used when dealing with this type of action to ensure a sufficienr 1 Open diapason ••• ..• 8 19 Gross flute e ••• 8 29 First bourdon ••• •••16 supplr of wind to operate the motors (or puffers) quickly enough to obtaiD 2 Gross flute •.• 8 20 Violoncello e ••• 8 30 Second bourdoll •••16 e 3 Violoncello ... 8 21 Concert ftute ••• 8 31 VioIOfte •.• ••.16 a good attack, without which-as well as release-player action is useless. .. Concert flute ••• 8 22 Dulcianae ••• 8 32 Violoncello ••• 8 In ad.ditio~, if the console is detached from the organ. a relay is necessary. S Dulciana ••• 8 23 Unda marls ..• 8 33 F1ute ••• 8 espeCIally If the couplers are to be made available through the player in

- 63 - Ef Jnafrumenfa ~

order to get the best effect, 'and failing which the action fails in' achievem~nt. however, not so necessary with the fully automatic type,as this CaD be The tubing from .the player should be coupled to that from the keyboard left to 100k after itself, which in the case of the \Velte-Philharmonic orran touch boxes with a slide or "Venti] to cut off the manual action when the it certainly does, even to the extent of stopping the roll at the end of'the player is in use, this saves waste of wind aDd possible leakage back, and piece and re-rolling it ready for use again, '- It is almost uncanny to watch also prevents untoward sounds from the keyboard if accidentally touched the most human-like operations of this in$trument, as it does everythiDl whilst the ron is running. Particular care .-st be exercised to see that necessarr to get the best effect, so cleverly er~structed is it. spi~dles, roll tracker-bar,· and take-up spool, are in correct alignment, (f) Stop Keys. These. instead of the usual knobs, are almost a neces­ and truly parallel: unless this is done, correct tracking, and eveD beddiDI sity fOT instruments of the semi-automatic type. Being arranged, as they of the roll without creclsing or cockling, cannot be assured. This applies to usually are, just below the roll chamber, they are easily visualised at the all player actions, but is of especial importance in pressure actions. Wheo same time as the travel ofthe roll; and, being readily accessible, enable the the tracker-bar contains a fewer number of holes than the total compass or operator to make the necessary changes of stop registration quickly and the manuals and pe~als, &c., a special arrangement has to be made whereby, easily without having to look to the right or left for the necessary knobs. for a short time, certain holes. (usually the lowest octave or ,so) normally With the fully-automatic organ, stop' kelPs are not so necessary; but in the connected to one of the windchests are disconnected, and these holes made writer's opinion stop keys in any size organ have this distinct advantage available for other purposes. This is accomplished by pilot· or auxiliary over the ordinary stop knobs,- that they can be grouped much closer holes which bring into operation a mechanism cutting off' the original~. together~ and are therefore more compact and accessible, especially in large nections, and diverting these holes into other channels for operating pedal instruments. It is only a matter of time when the stop knob so beloved notes, stops or swell movements, &c. . This sounds somewhat complicated, of our forefathers will become a thing of the past. but is relatively simple in operation, and is used by several builders in their player mechaniSm. (g) Autolllotic Trackbzg. This device is almost a necessity in double or long tracker-bar actions, these having a large number of holes close (c) SucJion Action. Vacuum or attenuated air seems to be the favourite together it can readily be seen on referring to the table on p. 209 that it action for the primary pneumatic of the player, as this ensures a more per­ only requires a very slight deviation to the right or left in the running 01 fect bedding of the roll, and allows the roll-chamber to be left open so that the roll to produce wrong notes or effects. The device is somewhat similar the operation and travel of the roll can be better observed and corrected if to that used in player-pianos: one variation consists of one or more holes necessary j it is also easier to take the music rolls in and out. This on each side of the tracker-bar which, when the roU is tracking correctly, . primary. can be changed if necessary to either pressure, exhaust, or electro­ coincide with blank spaces on the music roll. But should the roll move to pneumatic action in the secondary stage. Pressure action can be similarly the right or left, these holes are uncovered and set in motion a train or changed over at this stage. action that moves the ron spindle and takes up the spool either to the one Whilst dealing with this type of action it is interesting to bring under side or the other, as may be required, and so corrects the trackinr. notice the very ingenious type of player organ invented and produced bythe late Mr. Vincent Willis. This might be considered in some respects as an (h) Wind Supply. It is very necessary in constructing organs of this inversion of the Austin wind chest system, but in this case the whole of the character to ensure an adequate wind supply: it is desirable to provide pipework was enclosed in an air-tight chamber forming a swell box, the from twenty-five to fifty per cent. above that usually deemed sufficient, space where· the louvres were being covered on the inside with an air-tight especially if music rolls of four handed arrangement are to be used. It membrane. The wind chest on the underside was open and exposed, the must not be forgotten that with a music roll it is possible to score music air was exhausted from the pipe chamber' above so· that when the note much more heavily, and many more notes may be sounding than it is valves were opened air was drawn from the room through the vah-es and possible to put down with the human pair of hands, also to enable couplers .fed the pipes standing on the soundboard. The advantages of this system to be more fully used when required it is necessary to ha\'e an ample margiD were that the pipes were fed by air from the room in which the organ ?AS beyond the normal to provide against this and any possible unsteadiness of situated, thereby overcoming the objection of the change of temperature wind owing to large and \9arying demands.- of the wind supply altering the tuning (pitch) of the pipe work. r\0 reser­ (i) Position. It is becoming a usual feature {or chamber organs (caned ill voirs or feeders were required, so that considerable space was sa,·ed; also, Americ~ "residence" organs), especially those fitted with electro-pneumatic all the valves being exposed, they were readily accessible for adju5tment. action and detached consoles, to be placed in special brick or concrete The elimination of the reservoir and feeders enabled the soundboard to be chambers either at the back or below the floor of the music room in "..hich placed low and rendered it possible to continue all the stops down to the the console is situated, the sound being admitted "through sound duets 01 full 6s-note player compass (AA) without unduly increasing the height of tone chambers faced with gratings or ornamental wood or ironwork screens. the instrument. There was, of course, a slight tonal Joss owing to the behind which are the general swell louvres, no pipes being visible. \\'hilst enclosure, but this for chamber organs was if anything rather an ad,-antage. this certainly gives the charm of distance, moderates any possible roughness as it gave a suggestion of distance to the tone. The srstem was only of the tone, adds an air of ·mystery, and possibl}' secures a more perfect intended. to apply to instruments where the tonal output was relatively blend of tone, it is somewhat to be regretted, as a well designed case of small. It had the further advantage that·suction (attenuated air) was at figured hardwood, polished or dull finished, with plain gilt or spotted metal the same time available for the player action without the installation of a pipes artistically grouped is as great a joy to the discerning e)ge as the separate suction plant, which is necessary when both compressed and agreeable sounds proceeding therefrom are a pleasure to the ear. attenuated air have to be used, as in some types of player organs. The writer had the pleasure of hearing some years ago at J.lr. Vincent VI. TONAL DESIGN \\'iJJis's works, at Brentford, a smalJ player organ of this description and much admired its beautiful tone· quality and exceedingly ingenious mech­ ~a) StojJs. Bearing in mind the extensive and very varied kind or music anism. It is much to be regretted that the system has been a])owed to die cut for player work and likely to be used for player organs-ranging from out, as there were certainly possibilities in it. legitimate organ music, orchestral transcriptions and symphonies down to (tI) Compass. The compass of the most genera]]y used organ music popular dance music-it is desirable to keep the tonal scheme rather cn the ron is 58 notes, CC to A'; but as it is an advantage to be able to use orchestral or bright side; an undue prominence of dun flute, brassy reed 65-note piano rolls as well, it is usual therefore to fit instruments having a or tootling piccolo tone, which is apt to produce the barrel organ effect, single tracker-bar with a combined 65-note and 58-note bar_ The compass ~hould be avoided as far as possible. A diapason foundation is not so of the 65-note roll is from AA below CC to C#'. If this is fitted to an necessary or required to the same extent as in a church organ, but genuine organ, with a keyboard compass of 6 I notes, CC to C (which is desirable), organ tone should be represented by at least one open diapason, in small it is usual to connect up the three lowest notes below CC to the pedal organ instruments, of a cantabile quality, and a lighter 4ft. of this famil)·, preftt­ and extend the soundboard cOrJ:lpass to ct', and also (to complete the ably a spitzflote or gemshorn; in larger instruments, a second diapason of octave coupler) an additional octa\"e, making a total soundboard compass a fuller and broader quality, with a lighter toned principal or octave; in of 74 notes. \Vith practicall)' all other types of player-organs, the modern still larger instruments a fifteenth might find a place, but a piccolo full compass of 61 notes, CC to C', is arranged for as well as the pedal (harmonic) or zauber piccolo would probably be found more useful for of 32 notes (CCC to G). orchestral work. The timbre creating stops, twelfth and tierce, could advantageously be included in larger models, but the twelfth would be ,J' ( e) D~tnclltd COllso1~s. These are advisable whenever possible so that the operator can hear better what effect is being produced, especially with better on the flute)" side and the tierce of a dulcet qualit)" as these will com­ the semi-automatic trpe, and gain some pleasure therefrom. They are. bine better with the 8ft. Aute and gamba families to produce the novel tones

- 64 - Jnsfrumenfs

so much in evidence to-day. Strings should be well represented accordinr fitted to the front or top; but it is better to. provide separate swen boxes to the size of the instrument. In small ones a viol d'orchestre of mediulD to each manual or group of stops so as to have more control, and be able­ scale with its accompanying c~leste would be sufficient, a viole sourdine if necessary-to· secure what one may describe as a dissolving tone etrect. (taper shape) would also be an advantage; in larger instruments a strine (e) Ertensitm and Unit System. This with the player organ ii, some­ gamba or 'cello of larger scale and broader quality would find a place, what of a problem. It has its uses in larger and more fully deVelopecl and together with possibly its 4ft. octave viola or gambette. The salicional instruments j but it is somewhat costly, takes up a certain amount or roOm dulciana family are very useful· for accompanimental purposes, and a light (either for coupling chambers or windchest space). and--:-what is or more double of this character would make also a welcome addition to the pedal importance-produces no new tone qualities. In small organs, it tends to organ when borrowed. That most charming of all flute qualities, the lieblich upset the tonal balance, leaving the mjddle octaves weak and, i!. unduly gedackt, with a metal upper part and perforated stoppers, should certainly developed. the upper and lower octaves too predominant. Extendlne some find a place, together with a 4ft. flauto traverso or harmonic flute. In half-a-dozen or so stops of pronounced qualities (as is done ,in the ultra­ 'larger instruments a small scaled hohlftote or clarabella forms a useful modern cinema organ) upwards, downwards, sideways, skew-ways and any addition, as does also the flauto dolce or como flute, both being valuable old ways until it makes an array of twenty Ot more so-called speakinl stopa stops for accompaniment; but all the flutes should err rather on the bright does not produce an organ and only results in all semblance of tonal side, Mixtures, if of delicate dulciana tone, could be included in large balance and cohesion being lost. Such an affair is nothing but a gorgeous instruments to complete the ensemble. tonal fake, produced (one supposes) to satisfy the cinema proprietor with DO It .is as well, even in small instruments (especially if orchestral trail­ mus1cal taste, who imagines he is getting a "grand organ" with a laJJe scriptions are to be included in the r~pertoire), to include the two most number of speaking stops. The average cinema contraption (miscalled divergent reed qualities,-viz., oboe and clarinet, both extending to·the fun organ) of the "Wurly" type is simply a jazz machine composed or a few compass of the manuals. Inclusion of the vox humana is largely a matter sets of pipes of large scale and exaggerated tone quality blown for all they of taste, although both Mr. Skinner and the ...Eolian Co. include this stop are worth, a mass of electrical contacts and wiring, and (last but by no means even in their small models,-a concession due probably to popular. if faulty. least) multitudinous "effects." Such an affair only shows the utter want of musical taste. A clarinet is of much greater use than the vox humana and musical taste and appreciation of what an organ proper should be. To should at least· have second place to the oboe. The other reed tones­ derh·e either a twelfth or a tierce from a unison stop is absurd, as the tuninc trumpet, horn, bassoon, &c., would make their appearance only in larger inten·als.are not pure and the tonal effect and blend is lost, only discords models; and the tuba only in the largest instruments. It is in the pedal being created between the tetnpered intervals of the unison and the true department that several of the tonal schemes so far under review fail: pitch of the upper partials. To this is also largely due the ineffectiveness the ages-old fault of the early English organ builder is repeated, a single of the so-called 32ft. acoustic bass when the same set of bourdon pipes 16ft. stop being deemed sufficient in many cases to balance the manuals. is used for both the 16ft. and the quint. EDOu~h, however, has been said It is true that in orchestral music pedal stops may not be required, but it on this ~t ,'e-venous 1l0US d nos 1nfJllltJ1U. . is to be taken for granted that legitimate organ music would be largely st~m. used; therefore, the pedal organ should· be fully developed, as it is this (fJ 11 ex S This system of building which is used by both the added depth of tone that gives the organ its true quality, and one that Skinner an 0 ian 0" differs from the unit or extension systems: all the makes the most appeal to the musician. Again, if 65 note rolls are used. stops are common to, and made a\"ailable on, both manuals,-in other words, the lowest three notes have to provided by the pedal department, and for dupJicated. It has distinct advantages despite its complication. as any ~d that reason also, this part of the organ should be adequately developed. ne or more stops can be for solo work accompanied by any other stop or combination of stopS, but it is a question whether the cost of the The best first J 6ft, stop for the pedal for small instruments is the contra­ bass of small scale, as its crisp incisive tone is more orchestral and suitable uplicating action (both keys and stops) would not be better used to for pla)'er-work and rapid passages than a muddy-toned bourdon. From i crease the tonal resources of the instrument by providing additional stops iof varied charader. the contra-bass, an 8ft. 'cello should be derived: this forms the smallest possible scheme for this department. If a soft manual double is provided, preferably a double duldana or contra saHcional, this may, with considerable VII. MUSIC RoLlS advantage, be borrowed for the pedal. A soft 16ft. reed, either bassoon or (n) Fortunately both the standard 58-note and 65-note music rolls are contra fagotto, should also be included: this may be an extension of the cut to the S3me gauge (six to the inch), and any description of these manual oboe, and should be enclosed in one of the swell boxes. It is some­ standard rolls can be used on a single tracker bar instrument if fitted with what surprising to notice that in the specification of the large and otherwise an adjustable take-up spool and cut-off. These rolls have also this advan­ complete Austin player organ, there are only five pedal stops to balance tage that the perforations being larger and spaced further apart than the some twenty manual stops; and. although there are no less than four 8ft. double and long tracker-bar rolls, a slight deviation to the right or left in reeds on the manuals, there is no 16ft. reed on the pedal to balance them. tracking does not matter so much, and wrong notes are seldom heard, there In the larger models of Welte instruments, a 16ft. reed is included in the being more latitude in this direction. There are some disadvantages, how­ pedal organ. c\'er. with these large perforations. In the older type of roll long slots are (h) Percussionl are very largely a matter of taste, .but true musical per­ cut for prolonged (or holding) notes, and unless sufficient bridging pieces cussions properly in tune, such as resonating gongs, harp, and celesta, are are left, these slots are apt to close up and the note goes off. Also held­ capable of beautiful effects in combination with the flue stops, or used alone chords of several notes, progressing either up or down by tones or semi­ for embellishment or arpeggio effects. Tubular bells are useful for special tones, sometimes cause a slight cockling of the roll at the junction of the effects at times, but one looks rather. askance at drums, cymbals, triangle, chords, which result in discords on wrong notes. This is avoided in the &c., which are best left for the orchestrion proper or the cinema organist later type of rolls which, for prolonged notes and chords, have a continuous to play with. series of perforations. On the other hand, this sometimes produces a slight . (t') Arrangement. With regard to two manu~l single tracker-bar in­ fluctuation of the tone, and if the action is set very fine for repetition with struments, it is desirable to arrange the tonal scheme so that the purely the roll travelling slowly, repeated notes may occasionally be heard instead accompanimental stops are assigned to the lower manual (to which the of one continuous sound. In double and long tracker-bar rolls the perfora­ player action is generally connected), and the solo stops of more pronounced tions are much slnalJer, and although this would seem to leave a larger character to the upper. This is the most useful arrangement when melodic margin of safet}' between them this is rendered nugatory by there being an action is used. With double tracker-bar instruments, this arrangement of increased number of perforations to the inch. Therefore in these rolls stops, although useful, is not so necessat')·, and the stops may be allocated correct tracking has to be assured br the use of an automatic tracking in the usual way. device, and expansion and contraction of 'the roll has to be guarded (d) Swell Bores. Enclosure is most essential to secure as much expres­ against. The following table setting out the widths and number of per­ sion (if one may use the word in its "organic" sense) as possibl~. especially forations in the music rolls of various makes may be of interest in this seeing that this type of organ is mostl)· built for home use. With t\\'o­ connection :- manual instruments, two swell boxes should be used for the manuals, and as many of the pedal stops as can (without unduly increasing the size of the box) be included, always excepting, of course, the open diapason and (for table see next page) possibly its 4ft. companion. Sometimes, as in the case of the Welte organs, the whole organ is enclosed is a sound-proof chamber with swell louvres

- 6S - a- Jnsfrumenfs ~ ,,~

and ~Ir~ E. Smith (}Eolian Co.), for their kindness in allowing the author H.nn"'" oj Width 0/ Music! A/,prox. nUmberl AHrodllUlU Mtai,o/Roll I O lIO TyJI oj Itoll to inspect and try the instruments under their care; also to Mr. Hol#s i. Roll ill in,",. .'I / l#sJerineh tiitarut" Henry Tr.der._ width ofRoll 0/ Bola 'Villis for permission to reprint his opinion on player organs. Finally, if this article has in any way awakened the interest of readers of Till 0'1"" iD JBoIiaD I 6 Semi· SmCle ••••••; 58 lot iln. ••• automatic this type of instrument, and added, if only in small measure, to the general Semi- UnivenaI •••• ~.! 65 111 6 iill. knowledge of the organ and its makers, the· writer will feel sufficiently ••• automatic rewarded for his labours, and the space occupied in our valued journal Atol1aD I Semi- Double •••••• ' 116 lot 12 niD. ••• automatic justified. - ~olWl t FoB,- Dao.Art •••••• 176 151 12 niD. ._- automatic ~ Fun,. Welte ••••..1 150 151 10 niD. ••• automatic Full,- SOME DUO-ART HISTORICAL FACTS SkiDD~ ••••••1 120 14­ 9 nln. ••• automatic AND THE DUO-ART VISUOLA ATTACHMENT AustiD 12 Full,- Ouadroplez···t '240 211· niD. ••• automatic By Frank Adams It will be readily seen from this table how small, in the case of rolls having numerous perforations, the margin is between the boles and how a The direct ancestor of the Duo-Art was the "Orguinette" and it was slight movement to the right or left in tracking or expansion and contrac­ the first successful instrument to produce music from a perforated tion will produce wrong results. sheet. The Orguinette was introduced by the Aeolian Company in (IJJ'AutogralJltic Rolls.1 These rolls.. which are produced by several 1878. Seventeen years later came the Pianola, which was invented builders for use with their particular instruments, are made from. a master by Aeolian in 1895 and this 65 note player was superceded by the roll which is cut while the organist plays. Every note put down or mo\·e­ "improved Pianola" of 88 notes in 1909. The Duo-Art was first ment made by bim-be it stops, pistons, pe~als, swell pedals, or alteratiolJ of tempo, &c.-is faithfully recorded; and the music rolls cut from this introduced in 1913. The Duo-Art single roll Concertola, operated master record r~prod,Rc;e the lJlusiS4xagIX-i.~J~ A by remote control was first advertized in 1929. This single roll large amount of experiment has been made with this type of roll machine played the very rare long play Program Rolls. Only a few and it has been brought to considerable perfection. The Austin Organ Co. of these Program Rolls were issued and because of the depression state that if the owner of one of the quadruplex player instruments desires only a few Concertolas were sold. Also at this time the Aeolian one or a whole programme of pieces by a certain organist, if the artist \·isits Company introduced a 10 roll version of the Concertola and it· was their studio and plays these pieces on the standard studio organ they can deliver the next day rolls cut from the music played which will faithfully also housed in a separate cabinet operated by remote control. The ~roduce the music as it was played. The Skinner Co., 'Velte and the Duo-Art of this era also boasted a new improved tracking system '..oIian Co. record in the same way and are able to cut rolls for their organs with a moveable tracker bar instead of the complicated rods, etc., oiving a faithful rendering of the music played. It may be mentioned that that extended around the rear of the spool box. Other innovative rolls when not in use should be kept rolled up fairly tightly and secured improvements appeared at this time on the Duo-Art; the less expen­ with rubber bands or thread and stored in a dry place at a moderate temp­ sive pianos had the tubing from the tracker bar extended to the sides erature. With these precautions and care exercised in use, music rolls win of the key bed instead of going through it. However, in the Steinway last for a considerable number of years. the older method of placing the tubing through the key bed still per­ (c) Standardisation Rolls. It is much to be regretted that b)' an 01 sisted. Around 1932 some of the Duo-Art pianos appeared with an agreement between the various makers of player organs a standard music electric drive motor located to the right of the spool box, this was ro]] cannot be evolved.- A number of makers seem to bave adopted a more or less standard gauge of twelve. holes per inch width, as will be seea mounted vertically otherwise it was similar- to the Ampico B· drive from the above table; and it is a pity that they cannot agree to a standard motor. The earlier Concertolas of 1930 vintage and the late; late length of tracker-bar and width of roll also. At present, each builder cuts Duo-Art of 1936 used a fan shaped devise instead of the Accor­ rolls for his particular type of instrument, and the possessor is practically dion Pneumatics. This latter 1936 Duo-Art had a drawer installed tied by this arrangement and cannot use rolls of any other make. It would in it, similar to the Ampico B. Also this drawer type Duo-Art had be a great step forward and add much to the popularity and usefulness or a tracking system similar to the Ampico B. (In a later article I will this t)'pe of organ if both its tracker-bar and music rolls could be standard­ ised, so that rolls recorded by any organist and cut by any finn could be explain the procedure for correctly adjusting the Ampico B track­ used on any player organ. Possibly, this may come in time; it would be ing system.) very welcome. (tl) Paper for music rolls is another vexatious problem: so many condi­ THE DUO-ART VISUOLA ATTACHMENT was introduced around tions ha\1e to be satisfied. The principal conditions may be stated thus:- 1929 for teaching people to play music on the piano. By means of (I) Non-ahsorhence in order to prevent, as (ar as possible, expansiOD tiny lights placed over the keyboard---white lights for the white keys from dampness, and contraction from undue dJ)"DesL and red lights for the black. These lights would come on directly (2) Smoothness of surface to ensure easy running and freedom from over the keys to be struck. The player simply would follow the undue friction over the tracker-bar. lights, striking the keys as the lights indicated. The lights were (3) Toughness to prevent tearing between the numerous perforations. controlled either by a roll inserted in the Visuola attachment on the (4) Flexibility to secure good bedding on the tracker-bar, and at the piano, or in the case of a Duo-Art piano, by a roll inserted in the same time sufficient stiffness to prevent creasing and cockling Duo-Art Spool Box; or from a second piano, played manually by a when tracking. teacher, and equipped with a "dictating board." The latter devise It will be seen that the makers have had by no means an'easytask to satisfy communicating electrically the notes played on the teacher's corres­ all these requirements, but although trouble is occasionally experienced, ponding piano to that of the pupil's. This self-teaching was possible they seem to have solved this problem .fairly well with the Visuola attachment on a straight piano or in an even more effective way with the Visuola Duo-Art. The Visuola could be VIII. CONCLUSION ~ purchased with the piano at a small extra cost. The Visuola mech­ The thanks of the writer are due to the following:· ~fr. John T. Austin anism when installed in the Duo-Art piano was not visible on the \Austin Organ Co.), ~Ir. Ernest ~f. Skinner (Skinner Organ Co.), and Mr. outside of the instrument. (Now--who has a Visuola attachment in Edgar Smith (£olian Co.), for information received, and the loan of blocks their Duo-Art and let us hear from them.) or photos for illustration purposes; also to ft-Ir. E. D. Horwood (~fessrs. Stein,,·ay & Sons), Messrs. E. H. Aird and H. H. Brown (Harrods, Ltd.), ******************* - 66 - THE ETUDE, Nov. 1927. contributed by Peter Mintun ,

Light and Shade tn an Artist's Life

An Interview with the Eminent Piano Virtuoso

BENNO MOISEIWITSCH

Secured by HARRIETTE BROWER

Benno Moiseiwitsch was born in Odessa on the twenty-second of Feb­ ruary, "1890. After he had secured his musical training under famous European teachers---'including Leschetizb, with whom he studied for nearly jive years-he made his English debut at Reading, England, in 1908. Mr. Moiseiwitsch has made frequent tours throughout Europe and America.

BENNO MOlSEIWITSCH

"AB, YES, there are many exciting li\'cd at the former city and had my piano their squeaky little voices call out from As for sl.:'eing tile tow11, carriages would <.IlId also humorous moments in there, though there was a piano ready for their balcony for La Campanella. Somc­ 1Jt.~ ready at 011ce to take our party to all all artist's life; he lives in a me ill Montevideo also. times I just had 10 sit still and look at points () f ~pecial interest. \'ariccl atmosphere of contrast. One may "Brazil is a beautiful country and the the audience, ~agerly calling for tlH:'ir "\\."11<11 C()uld" I :-iCly to ,,01'1c. At last 1 was made ing sevcn hundred or thereabouts. I t' was ist's experience. At the risk of seeming music, for there is nothing like the to understand 'that the crowds T saw W('IT ~,tJtirely tilled with as eager all audience to talk of myself [ will d,'scribe my ex­ mass of concerts yon have ill New York members of se\'cral musical societies who a~ one wuuld wish to :-iCC. perience as sim'ply as possible. or other large American cities. It is had come to meet the :o;teamcr to S('(' i.f "What did I play for them? [be~an "1 arrived in Argentina earty in !\tray, quite easy to arrange a concert-it takes ther could persuade Ille to giYt~ a recital with the Bach Chromatic FUllta·is;!! and and speut all of that month and part of only a: fC'w days. Do not imagine, how­ that afternoon. At tirst r declared it Flfgue) then the SOHl1ta, Appassiollota of June vibrating not only between two e,"er, that olle call play ill a slipshod fash­ would be. impossible, that T. hafht't touched Boeth '"cn, .thc Carnc<'al, OIl. 9 of Sch,,­ cities but also two cotllltries. I would ion or that anything will go in South a piano for six. days, that I was only mann-sume Chopin, Debu:ssy and ·Lint. playa recital in Buenos Aires one evening America. The people are sim;erc music coming a~llOrc ,,,it'll a gruup of friends 1 bcgan to play about two-thirty and [ (concerts begin about half-past five in lo\··ers and thC:'y know what is good. Tf to take a look at the lown and that I was still playing at quarter of five. .-\h, South America). Then, at ten o'clock, I the artist is not "up to the mark" they couldn't vcry well disappoint these friends but they were so interested, so en~hus:· wotdd take one of the river boats that soon let him know it. They make remark' by deserting them like this. astic! It was not easy to stop when one would convey me to Montevideo. Being or even hiss or leave the hall, to show "To evcry objection I raised thcy had realized it was giving them pleasure and an all night boat, it brought me there their disapproval or distaste. On the an answer ready. They were perfectly concerts there were not -frequent. about six in the morning. This gave me other hand, if they like you, they mani­ certain I could play for them even if I "But time was passing all too cjuickly; the whole forenoon for practice. 'In the fest it most enthusiastically. One way is had not touched the piano in a fortnight. they told me I had just time to get aboard late a ftcfnoon I would p;ivc my concert in hy demanding encores. Not contcnt Tllt'fe woul<1 he lln CXl't.'I1SCS to m~'. for the steamer. Here was I dripping with per­ that eity and again ta~('; the evcning boat merely to' applaud. they call out their arranging the c(lIttert, ~\lld T was to have spiration which I vainly tried to sop up [or my return. In this way I could play wishes from different parts of the house~ the entire proceeds for mysel r. I t did witlt handkerchiefs. Some admirers had about five recitals each week. To be ex­ Bach, Schumann. Chopin or Li<7.t. Yes, not matter at all ii I played for thel\1 in woven wreaths and garlands of a large act, I ga\'c fourteen recitals ill Buenos and they will name special pieces they the white flannels I was wearing on the pink Aower which looks something like :\ires and eight in Moutevideo. (really want. It is amusing to hear the girls in steamer; in fact, it would be quite apropos. our chrysanthcmum, and these they had - 67 - ~ JJiosra Rica! a.llefcRes ~

flung over my arms and around my neck. in a year and a half instead of taking (I cannot refrain from begging the "Fortunately, Leschetizky seemed to like I ought to have had a snap shot of the three years for it, and the middle grade reader of this amazing story to believe it me and my work. People ask me some­ scene. The money taken in from sale of I accomplished in a little over a year. has been transcribed just as it fell from times of 1 am ever qervous when I play tickets had perhaps not even been counted, But 1 was never elated when my name was the artist's lips. It seems a proof of his -<>r if I was so i,) ·these. days." Perhaps SiHCC there was 110 time to make up ac­ always read out at the top, after the ex­ innate modesty' al)~L selflessness, even at I have the kind o(.nerves' that-dire one counts. So they began stuffing it into my aminations, as ready for promotion to the that early time. Could an American boy to do one's best, not the sort tl~at..,p~ral)'zc coat pockets by the handfuls, and then !lext class. Indeed I seemed the least -conld any other. boy-have kept such a thought and action. I helieve ''[ grow they rushed me to the steamer which had moved of anybody. secret as this?) more nervous as time pas.s:es, for,'!. realize· been held back a few moments on my "Of course, the.re was great commotion more keenly the responsibilities of an account. At all events I just managed to The Forgetfulness of Genius that day in ou~ IJome. All the papers artist. scramble ahoard before we started. announced my suc~~ss; my parents were "Leschetizky alwa)·s .held artists' eveil­ "Such was my first exciting visit to "I T HAPPENED in my ninth year very pleased with me, atid there was much ings, twice a month,' at which' the most Honolulu. Three other times I have that the announcement Was made jubilation by onr frierlds. But I went on advanced students played: The "audiences stopped there, when I was not in quite that the Rubinstein prize was awaiting an with my work just the same. Do not on these occasion:; were the most critical such a hurry as the first time. In the four incumbent, as the person who had held think, from this, that I was entirely ex­ that could be imagined. There ,'vere many visits 1 have made there '[ have given it had passed away and it was now vacant. emplary? No, I was' the worst boy in musicians of renown present; also, artists seven recitals, always to absorbed listeners. This news made much stir. Articles ap­ school-that is, the most mischievous and who were passing .through VieJ1\la were "Perhaps one of the exciting events of peared in many of the papers and much fullest of pranks.'· But in my musical invited. So it was, to say the least, a my childhood may be of interest. It is curiosity was expressed as to who would studies I endeavored to be studious and very difficult place to play in-for the in regard to our national prize. Now the be the fortunate student to secure it. I faithful. artist student. only real prize in music we have is the seemed to have had but little curiosity my­ "I remained at the Odessa .conservatory "1 was asked to play at each music even­ Rubinstein prize, in hOllor of our great 'elf, though T heard a great deal of talk about seven years, and afterward went to ing. What is more, I was the ,only one-­ Anton Rubinstein. This is awarded for and conjecture over it. Vienna, to Leschetizky. With him I stayed I say this with no feeling of pride-who exceptional talent and for high standing . liThe time drew near when the decision about two years and a half. He was a was ever asked to give an encore. The in study. It can be won by any student. was to be made. and expectation ran high. wonderful man and a very exceptional master was very critical and the least flaw of the Conservatory who possesses the It was said that on a certain day, in the master. would often upset hi m. necessary qualifications, no matter in what afternoon, it would be decided. There "One evening I seemed especially to were no examinations for this prize; the grade he may happen to be. There is Incurring Leschetizb's DisplelUiure please him and he asked me to play again. only one prize and whoever captures it choice, as I said, depended on talent and When I finished he asked for another holds it through his musical course, while industry. " BEFORE I came actually under his piece. So it became a tradition in the he attends the institution. HThat evening there was much talk about guidance I was present at a. recital class that there had never been an encore "The Conservatorium in Odessa, my the prize in the home circle; my parents given by some of his gifted students. before--

tours and arranged two of Scott's compositions, "Handel ian Rhapsody" for piano and published in 1909 CYRIL SCOTT and "Solemn Dance" for 7 strings, harmonium, piano BY EMMETT M. FORD and percussion in 1933. In addition to his composing, Mr. Scott published Cyril Meir Scott, British composer, pianist of exceptional ability, poet and Duo-Art and Welte-Mignon recording artist was born at Oxton, Cheshire, Septem­ ber 27, 1879. His father was a noted Greek scholar. At the age of two and a half years he showed mu­ sical talent by playing the piano by ear. Scott's local instruction in piano was at the age of six and at the age of twelve, he was sent to the Hoch Con­ servatorium at Frankfurt. For his general education, he was returned to Liverpool, England. Returning later to Frankfurt, he had a three-year study with Ivan Knoor, a liberal modern German teacher of mu­ sical composition. A fellow student, Percy Grainger, and Scatt became close friends and musical associates throughout their lives. It was from Scott's influ­ ence that Grai nger became acquai nted wi th the mus i c of ~ Tchiakovsky, Grieg, and Debussy. When Scott played the opening of Grieg's "Ballade" and the beginning of an "Air and Variations" by Tchaikovsky, Grainger was stunned, bewi tched, and became a moderni st. The young men became members of the "Frankfourt Group." Grainger performed many of Scott's compositions during his

- 68 - J Ct· JJiogra Rieal 8.KefeRes

\ several volumes of poetry, works on the aesthetics ll Edwin & Dianne CouJeur Lyric 51 Recorda of music, the IIPhi10sophy of Modernisms and under an 658 Courtland Circle assumed name (refused to reveal) several works on Western Springs, IL 60558 occult matters. His compositions include a one act opera, liThe 312 246 4816 A1chemist ll , a setting of Keats ll liLa Belle Dame Sans ll ll Donald C. Dertien 1923 Adam Schaff upr plyr; Merci , two Passacig1ias, IINativity Hymn . for chorus PSC Box 7701 1923 Aeolian Stroud Duo-Art and orchestra, one piano concerto, one 1I0verture to APO San Francisco, CA 96328 Pr"i ncess Ma 1ei nell, two 1101 d Engl i sh Dances II, a IIRhap­ ll ll sody for Orchestra , an IIAubade for orchestra, 1 11 ll Gerald E. Fieldhouse 1923 Apollo 5 3 "Christmas Overture , IIArabesque" and numerous works 313 Polk Street X (88, X, XP Nickelodeon) for piano and voice. Later compositions were a sym­ Dodgeville, WI 53533 phony, four overtures, two rhapso~ies, two stri~g . quartets, a piano sextet and a qUlntet, and a vlo11n 608 935 3847 sonata. His "Symphonic Dance" Number 1 was arranged Wayne & Alice Finger 1920 Autopiano upr plyr by Grainger for two pianos and made into a roll for 607 N. Center St. Duo-Art in 1922 (DA 6514-1) with Scott and Grainger. Perry, FL 32347 It was released recently on an LP record, K1avier KS'102. 904 584 3168 ll His famous IIDanse Negre Ope 58 Number 2, was Mil ton N. Hill Holland upr·Simplex; Werner recorded by Scott on Welte-Mignon, number C1697 and 1126 Anderson Rd. upr Shulz by Carolyn Cone Baldwin on Duo-Art 5996 and by Adler Duluth, MN 55811 on Duo-Art 53723F, and on Columbia record C1697. 218 72~7193 Mr. Scott recorded, as listed in the 1917 We1te­ Mignon catalog, two of his own compositions, "Lotus Ken & Peggy Johnson 1926 Steinway grand Duo-Art Land ll Ope 37 number 1 (Welte C1696) and IIS from the ll ong BOX 668 art case East Ope 54 number 2 (Welte 1697). Grand Junction, CO 81501 Mr. Scott1s American debut was in the season of 1920-21 in which he presented recitals of his own James & Bernice Killmeyer 1934 Stroud 5 1 2" Duo-Art; compositions. 1294 Dickens St. 1925 Knabe 5 1 4" Ampico A Mr. Scott and Elgar, another English composer, Pittsburg, PA 15220 Apollo upr Red x Welte orig; attracted much attention and are popular in the music 412 922 1764 . Franklin upr Ampico world. Mr .. Scott's music is strongly tinged with modernism and often lIesoteric" and has enjoyed a vogue il Richard G. Lallasher Jr 1921 Otto Altenburg upr which might be called IIPopu1ar because of its sheer 139 Cedar Ave. player; 1914 Brouton upr beauty and rare exotic charm. Linden, NJ 07036 player 201 862 0990

NEW MEMBERS Louis & JQan Loprinzo 1931 Marshall & Wendell upr RD #2 A; Capitol nickelodeon upr Peter Braun Crown Combinola player std. Putnam Valley, NY 10579 A-roll 772 Elizabeth St. Brinkerhoff Recordo Schultz 914 526 3003 Wa t e r 100 , N•S•W Austral ia 2017 Donald K. Melvin 1916 Weber 5 1 111 Duo-Art 130 Sunrise Dr. Edwin K. Arnold 1919 Aeolian Pianola~~pr 604 N. Miami St. player Themodist Metrostyle Woodside, CA 94062 West Milton, OH 45383 415 851 1266 513 698 4610 Donald W. McNamee W. Gordon & Sylvia McTavish Alan Butler 1907 Wolfframm Dresdan upr 232 S. St. Andrews Pl 164 San Gabriel Ct. 917 Richmond Rd. player simplex 65-note Los Angeles, CA 90004 Sierra Madre, CA 91024 Victoria BC 213 384 5035 213 355 0618 Canad V85 3z4 604 598 3638 Norman P. Otto Bob Suchyta 6376 Seneca 7433 Ave. Jim & Larry Callahan 1921 Steck 5 1 6 1 Duo-Art; Mentor, OH 44060 , MI 48210 776 Kingston Ave. 1921 Gubransen upr player; Piedmont, CA 94611 1916 Cable & Sons upr plyr; Robert & Shirlee Smith Loren Sannes 415 654 3903 misc. gramaphones 20 Briarwood Rd. 229 Harvard Naugatuck, CT 06770 South Lyon, HI 48178 Mr. & Mrs. Albert Choffnes Greg Fi lardo 313 437 1238 415 326 0992 1630 Little John Ct. 6105 S. 108th St. 1 11 Highland Park, IL 60035 Hales Corners, WI 53130 William & Kathryn Monson 1921 Steinway 6 5 312 831 4298 185 Walter Hays Dr. Duo-Art grand Palo Alto, CA 94303

- 69 - John & Grace Penny 1926 Lester upr plyr; 1924 FOR SALE: Knabe grand 5'6" Ampico 'A' 1921­ Box ;33 Bellare upr plyr Prat Reed; Player action rebuilt 1974. New bass strings Newr), PA 16665 1929 York upr plyr; Stroud in 1975. $3,500.00. Allan Bergstrom, 325 Bodega 814 695 8320 upr plyr Aeolian themodist Ave., Petaluma, CA 94952

" Georue J. Perzel 1926 Weber 5'~' Duo-Art WANTED: Hammer rail lift pneumatic (5" x 1 3/4") 9 Eastview Ter. for 1927 Weber Duo-Art grand. Also need transmis­ Tolldnd, CT 06084 sion shift linkage and other small D-A parts. 203 872 4695 Please write: Bill Koenigsberg, 14 Southwick Rd., No. Reading, Mass 01864 or call (617) 664-4201. Joel & Frances Roberts 1923 Steinway up Duo-Art S 2132 Manchester Rd. FOR SALE: 8 Violano Virtuoso rolls, what offers? San Leahdro, CA 94578 Will consider trade for? (see roster). Terry 415 276 5097 Smythe, 71 De Bourmont Bay, Winnipeg, Manitoba, Canada, R2J 1K2. Murry G. Ward 1908 Price-Teepie upr plyr; 261 San Luis St. 1903 Davenport Traecy upr WANTED: Complete set of wide-set AMPICO "B" legs Pomona, CA 91767 plyr which run from the edge of keyboard to the curve of 714 629 4606 the grand piano. ROBERT R. PERRY, 123 Corbett Ave., San Francisco, CA 94114. Telephone (415) 864-7440. John C. Semmens 1925 Franklin upr Ampico A; 251 Ne~rim Road 1906 Aeolian organ Orches­ FOR SALE: Reproduco Piano-Pipe Organ. 88-note Carnegie, Victoria trelle mdl. Y; 1923 Hamilton spool box type with reservoir, bench, five original 3163 Australia 5' Welte Licensee rolls and several recuts. No pump or blower. Rebuilt and playing except for a few easily acces- Carl & Veronica Rose Ringer 1916 N. Tonowanda band sible, unrestored parts. $3500 Wade Newton, R2 organ; 1923 Tangley 1015 Dawnview, Arlington, Texas 76014. New Berlin, IL 62670 Calliope; 1923 Marshall & Telephone: (817) 265-6977. 217 488 6298 Wendell upr Ampico; 1929 ------,Mort. Organ, 1920 Reproduco; FOR SALE: Marshall &Wendell 1922 Ampico Grand, Dr. & Mrs. Ralph Terracel 1950 Scopitone; home-built 5'-0", Spanish-style case, walnut, refinished. 149 Old Short Hills Rd. band or~hestrion; 1975 Arnpico recently rebuilt; good expression. Original Short Hills, NJ 07078 I Hammond B3 organ w/plyr; hammers, strings, and ivories. With about 50 1928 Gulbranson melodian; original rolls and matching bench. $3200. W. E. numerous players Flynt, 1722 Iroquois Dr., Garland, TX 75041. (214) 272-3561 (bus.), (214) 278-8093 (home).

BUSH &LANE WELTE - Burled Walnut case with matching ~ bench. Completely rebuilt. This is one of the most beautiful walnut cases I've ever seen on an upright. WANTED: Complete Duo-Art mechanism from either a 60 rolls included. $1,900.00 - Circa 1923. Steinway, Weber, or Steck Grand Piano; I will buy and parts. Please write or call me collect. Gerald RECORDO GRAND - 5'2" Settergren. Beautiful mahogany. Rowden, 2359 Glen Ellen Cir., Sacramento, CA 95822. Striker pneumatics recovered. In playing condition. Telephone (916) 421-4285. Needs some additional work to put in top order. Circa 1925. $1,400.00 FOR SALE: Knabe Arnpico 5'3" mahogany case #98596. contact Partially rebuilt and working. Asking $2500.00 or David Askey, 1000 E. Tallmadge Ave., Akron, OH best offer. Hal Kemp, Box 128, East Rochester, 44310. Telephone (216) 633-6373. New York 14445. Ph. 1-716-586-3811.

WANTED: Entire coin mechanism (slide, chute, ac­ cumulator) or parts thereof suitable for Cremona style 'G', Nickelodeon. Terry Smythe, 71 De 1975 BOUND BULLETINS: NOW ON SALE! Bourmont Bay, Winnipeg, Manitoba, R2J 1K2. Canada. Only $18.00 postpaid. Send orders to: Mary Lilien, 4260 Olympiad Drive, Los Angeles, CA FOR SALE: 1924 Steinway Duo-Art Grand Model XR 90043. (Serial No. 227212) in fine playing condition. Dark mahogany straight case. Piano is all original. Duo-Art has been professionally rebuilt. $6500.00 Michael White, 9831 North P Avenue, La Porte, Texas 77571. Phone: 713-471-0884.

FOR SALE: 1926 Knabe grand piano, reproducing 'A' Arnpico, 5'8", mahdgany, serial #99722. Best bid over $3,000. Also 36 rolls. Inquire: Mrs. William T. Lacey, 3214 Torquay Rd., Muncie, IN 47034. Telephone: 1-317-282-9147

~ANTED: WURLITZER 5 AND 10 TUNE NICKELODEON ROLLS AND CALIOLA ROLLS. PAYING $30.00 EACH FOR ANY CALIOLA'ROLL I CAN USE: WANT ANY WURLITZER ROLL CATALOGS. E. J. SPRANKLE, 1768 LEIMERT BLVD. OAKLAND, CA 94602. ASUPERB SELECTION OF REPRODUCING PIANOS!

Interested in a fine reproducing piano? American International Galleries has a superb selection. The instrument pictured above is a Chickering Ampico hand carved in the 1920's at an original cost of close to $30,OOO! It is undoubtedly the most ornate reproducing piano of any kind in existence anywhere in the world; at least we know of no competition in this regard. It is available, subject to being unsold, for $24,995.00. ',- Also currently available are several Steinway Duo-Art pianos, including one in a magnificent Italian art case with matching bench; several of the famed Model B Ampico grand pianos, including two of the formidable Mason & Hamlin marque; several Welte pianos; several Hupfeld pianos; plus quite a few other interesting things! Over the years we have been prime suppliers to discriminating AMICA members. Through our hands have passed many of the finest reproducing pianos ever to be sold--including nearly all of the reproducing pianos currently in the incomparable San Sylmar Collection of Mr. J. B. Nethercutt.

Reproducing pianos are not all you'll find at American International Galleries. Beautiful classical orchestrions by Welte, Hupfeld, Wurlitzer, and others await your selection--as do colorful nickelodeon pianos, player pianos, player organs, and hundreds--yes, hundreds--of disc type music boxes by , Symphonion, Kalliope, Regina, and other manufacturers.

Our new American International Galleries "Review" No.6 has just been published. Copies are available for $2.00 each, or a $10.00 subscription to the next six issues. Send your money without risk, for here's our guarantee: If you don't find our catalogs to be the best you've ever seen anywhere, just keep your copy and we will refund your money! By the way, no one has ever asked for a refund--and over the years we have distributed tens of thous­ ands of catalogs! Our latest issue contains 76 pages of what we consider, to be the best buys in the automatic musical instrument field--a treasure trove of fascinating items! There is a catch: As you know if you have been one of our past customers, our catalogs tend to sellout quickly--so for the finest selection send your catalog order now!

Also is the 1,008-page "Encyclopedia of Automatic Musical Instruments," written by one of our directors, Q. David Bowers. Autographed copies of the latest edition are available for 030.00 postpaid. Complete satisfaction is guaranteed.

Plan to visit California on visit or pleasure? Stop by to see our showroom. We are open Wednesday through Saturday (closed Sunday through Tuesday) from 10 to noon and 1 to 4 P.M. Bring your "want list" Ivith you and expect to see a lot! Also for sale are books, records, and lots of piano rolls, discs, supplies, and related items. There is no place like it anywhere in the world!

AMERICAN INTERNATIONAL GALLERIES, INC. l717A Stanford St. Santa Monica, CA 90404 Tel. (213) 829-1808 Directors: Bonnie Tekstra, Terry Hathaway, Claes O. Friberg, Q. David Bowers (Our European office is under the direction of Claes O. Friberg and is located at the Mekanisk Musik Museum, Vesterbrogade 150, Copenhagen, Denmark) ...... KlavierMusicRolls (ThePowells)

HASPURCHASEDALLEQUWMEN~ RIGH~ TITLE AND INTEREST IN: ~ {Re diano ao!! f/)ivision ~1 ~ 0/ {Re ~ Jleo!ian Jlmerican eorp. ~ 10515 Burbank Boulevard, North Hollywood, California 91601, U.S.A., Telephone: (213) 980-8254 ~

MASON &HAMLIN PLAYER/REPRODUCER RESTORATION AMPICO Earl D. Orcutt, Technician 141 Fort St. - 1927 - Forty-Fort, PA 18704 (717) 287-0940 5'-8/1 MAHOGANY Serving Northeast Pennsylvania with FIRE GRAIN quality rebuilding. COMPLETELY REBUILT Experienced with players, "Big 3" reproducers, reed organs and player 125 ROLLS reed organs. BEAUTIFUL CONDITION Dealer in NEW piano rolls -- all 3 major American brands. $6500.00 WATCH SOON FOR RETAIL STORE OPENING IN ROBERT L. RUBIN GREATER WILKES-BARRE BOX 654 WANTED: Educator rolls for player pianos - QRS, Ampico, etc. Full SPARKS~ NEV. 89431 matched sets preferred. Must be in suitable condition for copying. Will 702-359-3416 buy or lease for copying purposes. JACK L. MEYER and COMPANY CENTRAL CITY BUSINESS PARK 1105-A3 Colorado Lane

ARLINGTON, TEXAS 76015 Phone JACK L. MEYER AC 817 President 274-6723 S. J. TREFILETTI Vice-President PAT HILL Secretary- Treasurer

Dear Friends:

We Are proud to announce the opening of our new Player Piano Parts and Supply Company.

It is our goal to offer rebuilding materials of the highest quality at the lowest possible prices.

In addition to selling good First Class materials to you, we are offering many services to you not offered by other companies. For example, key recover- ing, custom made Stained glass and Beveled glass sliding doors and nickel- odeon fronts. Complete rebuilding of your player actions. Custom built parts at $15.00 per shop hour, FULLY REBUILT player instruments rebuilt to PERFECTION and guaranteed as a new instrument, and MUCH, MUCH, MOREl

Our catalog is at the printers now. To receive a copy, please send us three l3¢ postage stamps to cover the mailing cost. We will refund this to you on your order of five dollars or more.

You may buy your rebuilding supplies etc. from us on your BankAmericard or Master Charge.

We will be looking forward to doing business with you.

Musically yours,

• PLAYER PIANO REBUILDING PARTS & SUPPLIES • World's Largest Selection of MUSIC BOXES! NOTICE TO LINE ADVERTISERS: Music boxes! Nickelodeon pianos! Circus organsI Repro­ ducing pianos! Orchestrionsl Hundreds of antique automatic musical instruments for sale at wholesale prices. Send $2 for Current production costs make a fascinating large illustrated catalog. You've never seen another catalog like itl Satisfaction guaranteed. Or, send it necessary to raise our past $10 for sUbscription to next six issues. per word rate from 6¢ to 8¢ for Over 500 instruments are now in stock-the world's largest selection. Complete facilities for low cost shipping to you all further issues of the from our American or European warehouses (our European BULLETIN. office is directed by Claes O. Friberg, Mekanisk Musik Museum, Vesterbrogade 150, Copenhagen, Denmark). Our network of buyers in America and in Europe give you the Please observe the lOth of the best selection at lowest prices -- there are no middlemen or agents to pay. It is no wonder that we are America and month preceeding deadline. Europe's main wholesale source. Our California showroom is open Wednesday-Saturday All advertising is CASH IN AD­ 9 A.M. to noon and 1 to 4 P.M. Visit us the next time you are in the Los Angeles area. A wonderland of instruments VANCE. Please make checks out awaits you! We can also supply the seven-pound, 1,008-page to AMICA INTERNATIONAL and illustrated "Encyclopedia of Automatic Musical Instruments" for $30. postpaid -- the standard reference book in the forward your payment with the field. Over 7,000 copies sold. Satisfaction guaranteed. ad copy to the publisher. For the best deal in buying or selling automatic musical instruments think of us. Directors of American International Galleries are: Terry Hathaway, Claes O. Friberg, Bonnie Tekstra, and Q. Da-vid Bowers. Thank you AMERICAN INTERNATIONAL GALLERIES 1717 A Stanford St. - Dept. F Santa Monica, California 90404 Tel. (213) 828-2886

MECHANII:AL SYSTEMS INC. MSI LUBBOCK, TEXAS ~eissues Orchestrioilll Components AMPICO *AMP-1027 HAPPY DAYS ARE HERE AGAIN Played by Victor Arden tAMP-1028 HUNGARIAN DANCE and Supplies Played by Marguerite Volavy DUO-ART

*DA-1027 HAPPY DAYS ARE HERE AGAIN Played by Ralph Addison tDA-1028 HUNGARI".N DANCE Played by HarOld Bauer SOUNDS OF THE TWENTIES

Q-214 STUMBLING Played by Kortlander, Arden & Confrey SOUNDS OF THE THIRTIES MUSICALS

Q-215 WHO'S AFRAID OF THE BIG BAD WOLF From "The Three Little Pigs" (1933) Q-216 BROTHER CAN YOU SPARE A DIME From "Americana" (1932)

SEND FOR COMPLETE CATALOG FREE'

P. O. Box 1094 Q·R·S MUSIC ROLLS, Inc. Tel. 716- 885-4600 lubbock. texas 79408 1026 NIAGARA ST.-BUFFALO. N.Y. 14213 ~~~~~~~~ '~ll:\\

~NOW IN PRODUCTIONfor~/1~l Rolls

If:!:;! WURLITZER :;\1\\\ ~\ Band Organ Styles 125, 150, 165 'II!!l Automot~;:~~er Pionos ~:'!I\I

Distributed by ~\ Ray Siou 1612 E. 14th Street Oakland, California 94606 l "? A good ,"pply of Co;"olo Style' 0, OS, o"d NOS ",

~~PLAY.RITE MUSIC ROLLS-A PRODUCT OF PROGRESSIVE EXPERIENCE~~

BULLETIN Nonprofit Org. Tom Beckett u.s. POSTAGE AMICA Publisher PAID AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Addison. Tx. 6817 Cliffbrook Dallas. Texas 75240 Permit No. 19 DATED MATERIAL

RETURN POSTAGE GUARANTEED

ADDRESS CORRECTION REQUESTED