The AMICA News Bulletin Automatic Musical Instrument Collectors' Association January/February "'9 Volume 25 • Number 1 The AMICA News Bulletin Automatic Musical Instrument Collectors' Association

EDWIN WARD, Publisher 191 Riverview Drive (419) 849-2616 Woodville, Ohio 43469-9745

Published by the Automatic Musical Instrument Collectors' Association, a PUBLICATION DEADLINES FOR 1988 non-profit group devoted to the restoration, distribution and enjoyment of For JanuarylFebruary issue ...... " December 15 musical instruments using perforated paper music rolls, AMICA was For March/April issue February 15 founded in San Francisco in 1963. For May/June issue ...... April 15 For July/August issue ... _...... June 15 For September/October issue...... August 15 For NovemberlDecember issue...... October 15

CHAPTER OFFICERS FOUNDING CHAPTER IOWA Pres: Gene McGraw Pres: Rex Fritts Vice Pres: Bill Wherry Vice Pres: Leland Zimmerline Treas: Elmer Klein Sec!Treas: Ed Pousch Rep: Dick Reutlinger Reporter: Al Johnson ADVERTISING Sec: Jack & Dianne Edwards Classified: lO¢ per word, $3.00 minimum for members. SOUTHERN CALIFORNIA BOSTON AREA Non-members may advertise at twice the above rate. Pres: Jerry Pell Pres: Judy Welsh Vice Pres: Frank & Shirley Nix Vice Pres: Michael Potash • See Bulletin Deadlines ,on this page. Payment must SeclRep: Susan Pell Sec: Bill Koenigsberg accompany order. Make checks payable to: Treas: Pat Hodge Treas: Philip Konop AMICA INTERNATIONAL. Reporter: Donald Brown TEXAS NORTHERN LIGHTS • Checks or money orders from advertisers in foreign coun­ Pres: Richard Tonnesen Pres: Jerrilyn Boeh1and tries must be drawn on a U.S. Bank. Vice Pres: Becky Newton Vice Pres: Tom Wurdeman Display Advertising Sec{Treas: Janet Tonnesen Sec: Dennis Dahlman Rep: Wade Newton Treas: Robert & Katheryn Dumas Full Page 7Y2"xlO" $100.00 Reporter: Ruby Ahneman Half Page 71/2"x4%" 50.00 5 MIDWEST SIERRA-NEVADA Quarter Page 3 / S"x4%" 25.00 Pres: Liz Barnhart Pres: Bob Patton • Each photograph or half-tone $7.00. Vice Pres: Barry Leedy Vice Pres: Richard Riley Sec: Russell & Jeanne Bloss Sec{Treas: Gail Shinn • See Bulletin deadlines on this page. Treas: Alvin Wulfekuhl Reporter: Julie Riley "& Bob Patton • We recommend display advertisers supply camera-ready Reporter: Margaret Frazer copy. Copy that is oversized or undersized will be changed PHILADELPHIA AREA CHICAGO AREA to correct size at your cost. We can prepare your adver­ Pres: Paul Dietz Pres: Rob Deland tisement from your suggested layout at cost. Vice Pres: Dave Charrier Vice Pres: Barry Schultz Sec: Bob Rosencrans Sec: Fred Plank • Payment must accompany order. Typesetting, layout or size Treas: Bob Taylor Treas: Joe Pekarek alteration charges will be billed separately. Make checks Rep: Reporter: Mel Septon payable to: AMICA INTERNATIONAL. SOWNY (Southern Ontario, HEART OF AMERICA Western NY) Pres: Charles Tyler • Checks or money orders from advertisers in foreign coun­ Pres: Gary Lemon Vice Pres: Gerold Koehler tries must be drawn on a U.S. bank. Vice Pres: Jim Barley Sec!Treas: Kay Bode Sec: Janie McCleary Reporter: Willa Daniels • All ads will appear on the last pages of the Bulletin at the Treas: Mike Walter discretion of the publisher. Rep: Stan Aldridge

Publication of business advertising in no way implies AMICA's ROCKY MOUNTAIN SOUTHEAST AREA: endorsement of any commercial operation. However, AMICA Pres: Larry Kerecman Pres: Wayne Edmonston reserves the right to refuse any ad that is not in keeping with Vice Pres: Owanah Wick Vice Pres: Gordon Belcher AMICA's general standards or if complaints are received in­ Rep: Art Reblitz Sec!Treas: David Burke dicating that said business does not serve the best interests Sec: Don Wick Reporter: David Burke Treas: Jere DeBacker of the members of AMICA according to its goals and bylaws. LADY LIBERTY GATEWAY Pres: Lenny Finkel Pres: Roger Wiegand Single back issues of the Bulletin Vice Pres: Oliver Vitakis Vice Pres: Deanne Wiley Sec: Michelle Pollitt Sec:rreas: Mary Wilson are available from the Publisher Treas: John Ellems Reporter: Marilyn McGartland for $2.00 each. Rep: Dennis Valente AMICA International

INTERNATIONAL OFFICERS PRESIDENT Ron Connor AMICA - 1988 - AMICA (SOl) 636-1749 Route 4, Rogers, AR 72756 PAST PRESIDENT Terry Smythe SIL VER ANNIVERSARY (204) 832·3982 55 Rowland Ave., Winnipeg, Manitoba, Canada R3J 2N6 CONVENTION VICE PRESIDENT Robert W. Taylor (314) 875-6111 June 22-26 2508 Cimarron Dr., Columbia, MO 65203 SECRETARY Mel Septon San Francisco, California (312) 679-3455 9045 North Karlov, Skokie, IL 60076 Hosted by Founding Chapter TREASURER Larry Norman (213) 538-9461 • Do you wish to become a member of AMICA? ~ 17700 Avalon Blvd. #295, Carson, CA 90746 Write to Membership Secretary. PUBLISHER Edwin Ward Annual fee for U.S. members $22 (419) 849-2616 Canada and Mexico (air) $28 191 Riverview Drive, Woodville, OH 43469-9745 Other non-U.S. countries (surface) $28 MEMBERSHIP SECRETARY Valerie Anderson New and lapsed members add processing fee. . .. $ 5 New memberships Home (803) 791-1487 • Has your address changed? P.O. Box 172, Columbia, SC 29202 Write to Membership Secretary. BOARD REPRESENTATIVES • Do you have a contribution for the Bulletin? Founding Chapter: Phil McCoy All subjects of interest to readers of the Bulletin are en­ Southern California: Mary Ulien couraged and invited by the Publisher. Every attempt will Texas: be made to publish all articles of general interest to AMICA Midwest: Vincent Ricca members at the earliest possible time and at the discretion Phildelphia Area; Bob Rosencrans SOWNY: Jan Drewniak of the publisher. See Bulletin deadlines on previous page. Rocky Mountain; Larry Kerecman lady Uberty: John DeParis AMICA International News Bulletin Iowa: Alvin Johnson Boston Area: Sanford Ubman Volume 25 Number 1 January/February 1988 Northern Ughts; Tom Olds Sierra-Nevada; Ray Bauer CONTENTS Chicago Area: Features Heart of America: Ron Bopp 25th Silver Anniversary Convention Program Taking Shape 2 Southeast Area: Wayne Edmonston Steinway Grand Saved by Signatures...... 3 Gateway; Roger Wiegand Unanswered Questions...... 4 Ruth Bingaman-Smith...... 5 COMMITrEES Leopold Stokowski ...... 6 TECHNICAL, Harold Malakinian Piano Repair Team Rebuild Player " 7 2345 Forest Trail Dr., Troy, MI 48098 Piano Man - Player Pianos Pump Again 8 ARCHIVES, Bob Rosencrans SNC to Honor Composer Leo Ornstein, 95 " 9 109 Cumberland Place, Bryn Mawr, PA 19010 Leo Ornstein and Ampico Join Forces " 10 Shura Cherkassky Gives Concert " PUBUCATIONS, Edwin Ward 11 191 Riverview Dr., Woodville, OH 43469-9745 Brea Pair's Home is Alive with the Sound of Music " 12 Rock-Ola, the greatest jukebox name of all 13 AUDIO-VISUAL, Harold Malakinian R.S.J.O 14 2345 Forest Trail Dr., Troy, MI 48098 The Barrel Organ Goes to Church " 13 CONVENTION COORDINATOR, Uz Barnhart Dana Suesse 15 919 Lantem Glow Trail, Dayton, OH 45431 Roll Box Labels " 22 In Defense of the Original Duo-Art Expression Box " 23 Variations In The Welte-Mignon Expression Devices .. " 27 AFFILIATED SOCIETIES - See May/June 1987 issue for addresses Supplment No.2, 1986 Membership Directory Center Section The Player Piano Group (England) Departments The North West Player Piano Association (England) AMICA International 1 Netherlands Mechanical Organ Society - KDV President's Comer 2 Australian Collectors of Mechanical Musical Instruments People " " 5 Dutch Pianola Association News From the Chapters " 16 Society of Friends of Mechanical Musical Instruments (Germany) Technicalities ...... " 23 Classified Ads 32 DISCLAIMER: Acceptance of articles for publication in the AMICA News Bulletin does not imply a guarantee of the accuracy of the facts contained Cover: Honorary Ruth Bingaman-Smith at the height of her career in any article, nor an endorsement of an author's recommendation. as a Welte Recording artist, circa 1925. The President's Corner ... went through 50 (!) quarts of oil before it got home. Amicans It's hard to believe two sure have fun in interesting ways. months have gone by since I now had a couple of weeks to try to learn to play the I last sat down to jot down a few lines for the Bulletin. Orchestrelle before the Heart of America Chapter descended It's been a busy two months on us for the Christmas meeting. Dave can really make it sing, but I still make a lot of noise fumbling around for the right com­ for me. First, we helped move our son, Frank, to bination of stops, tempo, etc. while trying to keep the manual­ ly adjusted tracker bar centered on the tiny holes ofthe wander­ Houston, Texas, where he ing 116 note rolls. Really, it's fun and you'll have to ask the is begimling his career as a Heart of America members how it sounds. Next I have to find computer programmer. Then it was off to Saline, a keyboard (I think I have one located) and repair and refinish the cabinet. I do have some misgivings about covering the Michigan, to the home of beautiful work Dave and Tom did. Amicans Dave Ference and Tom Todd who have been restoring our Aeolian Solo I'm not yet used to printing lead times and realize I should Orchestrelle. We spent an enjoyable day there poking around have expressed season's greetings to you in the last issue. As local antique shops and then packed'up the Orchestrelle for its I write this we are just getting to the peak ofthe holiday season, trip back to Arkansas, accompanied by Dave and Tom. Pro­ but any wishes I express will reach you long after the season gress was hampered by the fact that this crew does not pass is over. Anyway, I hope you all had a Merry Holiday Season antique shops easily, especially when hauling a trailer that still with those dear to you. I also hope your New Year's resolu­ has some room in it. A word of warning - no matter how good tions include one to attend the San Francisco Convention. This they look, not all V-Hauls are water proof. Damage was limited is our Twenty-Fifth Anniversary celebration, and it should be to a few water spots on the valve chest but it was still annoy­ great, but it won't be as great as it can be unless you are there. ing. After a few days setting up the organ and going over the 1964 Cadillac, Dave and Tom had bought when they carne down Till next time, keep pumping those rolls. to getthe Orchestrelle, they were off for Michigan in a cloud Ron Connor, President, AMICA International of dust. Well, almost. Turned out not to be dust, as that car

*************************************************************************** 25th SILVER ANNIVERSARY CONVENTION Program Taking Shape SAN FRANCISCO - JUNE 22-26, 1988 The time has come for you to indicate your intention to attend AMICA'S Silver Anniversary Convention in San Francisco, June 22 through the 26th, 1988. Fill out the registration form (included in this issue) and send your check now. There's a big discount for your early sign up! The Convention Committee is putting final touches on an exciting program to celebrate 25 years of pleasure and fellowship brought about because of our mutual interest in automatic musical instruments. Here's a summary of the planned program for this once-in-a­ lifetime happy event: WEDNESDAY, JUNE 22nd: Board Meeting; Registration; Personal conversations with Honorary Members; Wine Tasting & Cheese Party at Dick Reutlinger's Collection and Victorian Showplace via Cable Car! Optional show event at "Beach Blanket Babylon" (a delightfully wacko musical revue· in it's 13th year!) THURSDAY, JUNE 23rd: . Annual Meeting; Performances by Honorary Members Julius Burger and Johnny Honnert; Founders Luncheon Party; Mystery Adven­ ture Tour in San Francisco; Organ Concert by Honorary Member Leonard Smith; Dinner at Fisherman's Wharf; Evening Mart Session. _ FRIDAY, JUNE 24th; T-Shirt Breakfast Party (prizes) and performances by Johnny Honnert; Technicalities Sessions; optional City Tour; Perfor­ mances by Honorary Members Ruth Bingaman-Smith and Robert Armbruster; Tea Dance (Costumes) with live music by the Royal Society Jazz Orchestra; Evening Mart Session and Discourse by Al Nelson. SATURDAY, JUNE 25th: Awards Breakfast; Optional Victorian House Tour; Technicalities Sessions; Accompaniment concert; Anniversary Banquet with a very Special Guest ArtistlPianist/Entertainer who will present a musical and humorous review of an earlier American period when player pianos were the rage! (Guess Who?) SUNDAY, JUNE 26th: Hospitality Suite Farewell Hour; Optional Bay Area Tours (such as: brunch & cruise on Hornblower Yacht, Alcatraz Prison visit, po. Wine Country Tasting tour, Nature Walk in Muir Redwoods, or a Special Limited Number Tour (first 46 sign-ups) to Monterey..t and Carmel with enroute visits to several musical instrument collections and a visit to the famous Monterey Aquarium (overnight .\ trip at cost of $230. per couple). In addition to all this, there will be activities, music and musical instrument demonstrations going on which will delight and inform you. So, register now and save - take advantage of the discounted Delta air fares for AMICAns - and firm up your plans for the greatest convention ever! Don't miss it !! - AI Werolin -2- STEINWAY GRAND SAVED BY SIGNATURES Emmett M. Ford

1897 Steinway Grand Piano with signatures on plate. An old antique Steinway grand piano "born» in the Golden Days George V, King of England; Alphonso xm, King of Spain and others. of Steinway craftrnanship when the company was known for the in­ During the 19th and 20th centuries, when a Steinway piano was pur­ tricate ornamental woodwork design of their pianos, custom-made chased by royalty, a practice was followed to place the names of the for the wealthy and heads of state. The ornate carvings of the legs, owner, and seals of their countries on the sound-boards of the custom- music rack, and the veneered case, was the favorite of the period. made instruments. . Steinway, had in 1875, acquired an ornamental design patent and In 1955 the College of Music merged with the Cincinnati Con­ the early 190()s'Steinway pianos were well-known for their intricate servatory of Music. The Steinway Grand then became the property woodwork. (some are now in AMICA members collections) of UC when the two schools became part of the University in 1962 This Steinway grand, from 1897, had been in the home of the and COM was formed. late Dr. Karol Liszniewski, professor of piano at the old Conservatory There was no budget for rebuilding the instruemts and several of Music in Cincinnati. After Dr. Liszniewski's death (1958) his son, practice pianos were sold to obtain the needed money for the restora­ John W. Melville, donated the piano to CCM and a studio was later tion of the historical instrument. dedicated to Dr. Liszniewski's memory. Van Walthause and Wathen restored the piands keybOard Dr. Liszniewski (1877-1958), a native of Poland and a student action and a professional piano rebuilder, Don Gibbs refinished the of Arnold Schoenberg, was a strong supporter of musical arts in Cin­ case, replaced the soundboard, and cleaned the plate. This latter cinnati. At one time Dr. Liszniewski was a government official, an operation was difficult due to the signatures occupying much of the excellent amateur pianist, and became an American citizen. space. With meticulous careand cleaning with a toothbrush around In 1908 he married the pianist, Marguerite Melville." He is credited the signatures, Don was able to save the signatures. The elaborate with being responsible for obtaining the signatures of famous artists and intricate wood carving of the legs and music shelf made it dif­ who came to the city to perform at Music Hall and they then visited ficult to refinish the case and to replace much of the destroyed veneer the Liszniewski family where Dr. Karol would ask them to autograph which had to be carefully matched. the piann He was on the faculty of CCM from 1922 until his retire­ Realizing the value of this historical grand piano after restora­ ment, September, 1958. tion, it was given a place of honor among other antiques in the Baur The piano had not been played since the 1960s and was in room"" of COM. storage in Cincinnati Conservatory of Music on its side gathering dust In 1979 Rolf Von Walthausen and Michael Wathen, CCM's piano " Marguerite Melville-Liszniewski was on the faculty as head of technicians were to remove the piano as the space was needed. The the Piano Department from September 1919 until her death 1935; men found the piano on its side, covered with old piano parts and also refer to AMICA New Bulletin, March 1981 for photo on front _a thick layer of dust. When the piano was turned upright, signatures cover and life-story inside. .-/ -were visable on the plate. It was thought the signatures were forgeries, "" The Baur Room is named in honor of Clara Baur who founded but research discovered they were authentic. On the cast-iron plate the complete shcool of musical learning in 1867. were such names as Arthur Rubinstein, Vladimir Horowitz, Gina (Permission to quote from "Old Steinway Piano Strikes a Ne wChord» Bachau~r, Isaac Stem, Arthur Schnabel and Howard Hanson dating by Sheryl H. Feuer, Public Relations Department of COM. Photo by from 1927 to 1952. In all there were 21 signatures. Also, there were Don Reimer.) royal seals of William II, King of Prussia; Nicholas 11, Czar of Russia; UNANSWERED QUESTIONS By Dick Price II. Clair de Lune. Debussy. Played by Olga Samaroff Ampico amuse but not iDove the listener emotionally. My question, 52305, ca. 1916/17. Tempo 80, QRS recut. therefore, is one of depth and complexity of perception. Tbere are To repeat the goals I have tried to set up: this is a series which those for whom the nickelodeon's happy sounds are enough to please. ?" will explore the possibility of listening to reproducing piano rolls Then there are those whom the reproducing piands nuances are (only Ampico, for the moment) as musical performances rather than wonderous. Can that wonder be extended honestly into a considera- mechanical oddities. Why bother? Because the implication is that tion of a viable performance? if reproducing rolls are not musical we. might as well put all our love­ Debussy's "Claire de Lune" is his most beloved work. That QRS ly grands in the basement, next' to the wind-up drunk' who leans recut it (but misspelled Samaroff"s name as "Samoroff) attests to against a larnpost, as CI novelty to beforgotten then rediscovered fNery that. As a matter of fact, almost anyone who has taken piano lessons decade or so. If rolls can be thought of as musical performances we attempts to play "Claire de Lune." It is nearly as popular as the may then allow ourselves to be moved emotionally by the interpreta­ Beethoven "Minuet in G." How does the roll work? Haw musical is tions we hear. What I amtalking about is a matter of aesthetics. A it? For me it pleased immensely upon first hearing and went downhill nickelodeon belting out "If You Knew Susie" quaintly out of tUne may from there as I studied the piece and got to know it. THE ARTIST Olga Samaroff (1882-1948) was born in San Antonio, Texas, as Lucy Hickenlooper. She changed her name, using that of her maternal great grandmother. She was married to Leopold Stokowski from 1911-1924. She taught at Juilliard and at the Philadelphia Conservatory. She made some phonograph records; the ones I have heard are characteriz­ ed more by a desire to capture the spirit of the piece than by technical accuracy, though her technique was sure, fluid and light. She was in her mid-thirties and therefore at the . height of her physical abilities when she made this roll. THE EDITION Debussy (1862-1918), French impressionist, published "Claire de Lune" (or "Moonlight") as part of his Suite Bergamasque in 1905. The work is now out of copyright and so may be bought very cheaply in most bookstores in a Dover edition: Debussy Piano Music, 1888-1905 for $5.95. While the Dover eqition (published in 1972) claims to contain corrections by Beveridge Webster,there is nothing in this particular piece that I can see has been changed from the original Fromont edition. Therefore what you see is a photo-copy of the same engraved plates of musiC Samaroff saw. Why is that important? One must realize that often it is impossible to ascertain what edition an artist used. If all editions were alike, it would not matter which edition was used. But there are changes of notes and changes of tempi which creep into edi- .r­ tions, most often unnoted. For example, if Beveridge Webster did make corrections in _ the Dover edition, he never showed the reader what corrections he made by means of footnotes, or even a preface. If you say "so what?" I say that if notes appear in a roll which do not appear in the printed page, who is to blame? Was it the artists adding notes in "romatic abandon" or was it something honestly played from an edition which actually printed the extra notes? The last portrait oj Olga Samaroff-Stokowski THE MUSIC Debussy has been accused of writing wispy or vague music. a Bb thereby slightly intensifying the sound. Samaroff plays the Bb The effect may be mist-like but I assure you that he was the most in both measures 15 and 17, thereby negating Debussy's effect. As accurate of draftsmen. If one must fault him, fault him for trying you can see, thiS is the kind of mistake which illustrates what I said to capture on paper effects that were new and hitherto above about the importance of knowing which edition the artist used unrecorded, .and perhaps unrecordable on paper. Samaroff arpeggiates most of the chords Debussy wrote to be Let me concentrate on that which was written; such will give played simultaneously (to arpeggiate means to break apart, usually us more than enough to work with. By the way, one of our roll reear- playing the lowest note first and rolling out the notes one by one ding friends, E. Robert Schmitz, wrote The Piano Works of to the top note of the chord). Debussy is so fussily careful that one Claude Debussy, a 1950 edition reprinted cheaply ($4.50) by is sure that if he had wanted those chords arpeggiated (see measures Dover. It is a convenient reference but is larded with the same kind 5 and 6 for examples) he would have so written them of hogwash on~ reads on the ~acks of one-sided Yictor red seal Dynamically, the roll rises to an FFF though Debussy's loudest r~ords, or Amplco leaders, e.g: .one f~ls the ex~r~su:n of a roman- marking is an F (measure 41). She pedals through rests (you'd be ttc soul, unshackled, but sensitive WIthout precIosity. surprised how important silences are, especially for dramatic effect). I will agree with Schmitz that "not all that is popular is trivial." She short-changes some measures (measures 10, 60 and 62, among "Claire de Lune" is surely popular and just as surely is serious. Debussy others). Debussy wrote the piece in 9/8 (nine eighth notes per worked very hard at the illusion of moonlight and all that moonlight measure) which means that the speed-ups and stretches are built connotes. in - precisely - built into the music. We know that he had quite As with all good and successful illusions, there exists the under- an opinion of himself (he wa.nted to be kno~ as ~Iaudeof Fran:e!) pinning nuts and bolts of reality. Tamper with these nuts and bolts H~ would not.have looked kmdly upon others adding or subtractmg and the illusion disintegrates: stretch and distort what Debussy so Snippets of hiS carefully crafted measures, as Olga does. painstakingly wrote and "Claire de Lune" is trivialized. It's a roll worth keeping - not a careful interpretation, but one~r Samaroffs roll does not trivialize, but neither does it enoble. As which ~rks superficially. What a pity Ampico only issued" one "Claire I said, upon first hearing, it was impressive But after studying the de Lune. music I find that she (or the Ampico editors) are mildly slopp~ For Next time I will compare two rolls - one of which I think is the example, Debussy, always the careful craftsman, writes an E oc- sloppiest and most unmusical roll Ampico ever fobbed off upon its tave pedalpoint in measure 15. To answer thetfhrase begun in upwardly mobile, but musically unlettered bUying public, and the other, measure 15 he begins measure 17 with the same E octave, but adds one of the best. -4- RUTH BINGAMAN-SMITH Emmett M. Ford

Honorary· Member of AMICA, Ruth Bingaman-Smith was born in Columbus, Ohio. Her parents were musical and the family' moved to San Antonio, Texas when Ruth was six years of age. Her father was employed in the piano business and played the piana Her mother sang in the church choir, where later Ruth also sang with her mother. Ruth's musical ability made itself known at an early age and at age four made'her first public appearance when she sang arid danced on a program at the Old Soldier's Home in Dayton, Ohio. Piano instruction began at the age of six. Progress was rapid and at the age of ten Ruth played the Beethoven C Major Concerto with the San Antonio Symphony Orchestra. She was heralded as a prodigy. During school years concerts were given, and a formal debut as guest soloist with the San Antonio Symphony Orchestra, was held. Ruth then went to New York for advanced studies with Ernest Hutcheson, Dean of Julliard and later with Albert Jona's for four years. Jona's had come to America due to W.W.!. She later enrolled in Yale University for courses in theory, composition, music history, and piano study with Bruce Simonds, Dean of Yale University Music School. After a New York recital, two engagements were arranged as accompanist, and assistant solOist, with two Metropolitian Opera Stars, along with a tour of the Keith-Orpheum circuit in the East and New York City. A contract was awarded to Ruth to make Welte-Mignon piano rolls in their New York recording studia A tour began (1920/1921) with comparison recitals of her playing and the take-over by the grand piano with the Welte-Mingon roll. The comparison recitals were held in piano stores in Brooklyn, New York City, Boston, Baltimore, Pittsburgh, Richmond, Virginia and Philadelphia. Ruth began a series of programs playing classics on a daily schedule in the music room on the mezzanine of the Brooklyn Paramount Theatre in New York. Over one-hundred individuals had applied for this position, but Ruth's large repertoire won the job for her. Summer engagements begin with appearances at The Inn at Buck Hill Falls in the Poconos, the Chamberlin-Vanderbilt in Virginia, and Hotel Del Monte in California playing programs for the guests. She began a radio program, "Music and Meditation", which was broad- cast weekly from stations in San Antonio, Texas and Hattiesburg, Mississippi. . Guest appearances were arranged with the San Antonio Symphony Orchestra conducted by the late Dr. Max Reiter, and with the Charleston Symphony Orchestra of Charleston, w.v., with conductor Antonio Modarelli playing the Saint-Saens' Concerto in G minor. One composition, Tchaikovski's "Fantaisie" was seldom heard, but became known to the public from Ruth's performance of the composition. A tour with Robert Weede, Met Opera baritone, was made and a joint recital in New York at the Waldorf Hotel with the violinist, Helen DeWitt. . Accepting Honorary Membership in AMICA at the 1970 San Francisco Convention, she has attended fifteen conventions, meeting members, and other Honoraries of AMICA, and playing a recital at each convention. She has never repeated a composition due to her extensive repertoire. At the time she was making Welte-Mignon piano rolls (various recording sessions) she was listed in the catalog as Ruth Bingaman. She married a graduate of West Point, who was an army officer, later killed in the Battle of the Bulge in 1944. Four years later, she married again, but divorced in 1958, moving. to San Antonio to make her home. Ruth has been recognized as a "Texas Composer of Music" and won a State of Texas Composer Prize for a cello-piano composition, "Poem Heroique." The composition was dedicated to the late 'cellist, Frederick Preston Search. ., J Songs, choral works and popular songs have been written by Ruth and performed at various clubs and concerts. Ruth enjoys life, keeping her piano technique by daily playing, writing poems (2 volumes in print) and painting. Good health, happiness, friends, and the pleasure of attending AMICA Conventions to visit members, and playing recitals, are important items in her life.

-5- LEOPOLD STOKOWSKI Emmett M. Ford

.r- the organist to Olga as "the marvelous organist, who looks like a poetic Viking." Romantic involvrnent led to Ms. Samardff becom­ ing Mrs. Stokowski. . Stokowski was determined to escape from the prison of his organ loft and when he and his new wife, Olga, planned a Euro­ pean holiday, he tendered his resignation as church organist. His desire to become a conductor had influenced his decision and his wife's friendship with famous, influential, and wealthy New Yorkers, aided her husband in his quest: Thus began his reign as conductor. His organization and seating of the orchestra members, his lush transcriptions of Bach, and his hands (minus the baton) and hair, spotlighted during the concerts, put him on the road to world-wide fame. The transcrip­ tions of Bach's works for orchestra caused a furor with musicians, critics, and the public, both pro and con. His transcriptions in­ troduced Bach's compositions to the public in a form other than the "dry" pervious harpsichord and pianoforte performances. Albums of recordings of the transcriptions were made and sent to schools and colleges to be used in Music Appreciation Classes. Stokowski made several films. FANTASIA is a classic that can still be seen as a rerun on TV, as can "100 Men and A Girl" starring Deanna Durbin.' Stokowski is listed in the Aeolian Duo-Art catalog of residence player pipe organ roUs (1920 catalog) as one of the many The St. Bartholomew Episcopal Church was organized in 1835 famous organists under contract to make pipe organ rolls. '.r- with an aristocratic membership and located below the Bowery on Lafayette Street. In 1918 it was moved to Jarger and more The church fell into hard times, living hand-to-mouth. The handsome quarters on Park Avenue and 51st Street. parishioners today are not rich as were the former Vanderbilts and Whitneys and are not the influential sources financially. Be­ Leopold Stokowski carne from England to the United States ing on valuable ground, plans were made to demolish the church in 1903 and became organist at St. Bartholomew. and build commercial towers. Members of the church would not His electrifying performances of great works amazed church sell and today it is surrounded by towering commercial buildings. members. Tertius Nobel", a fellow student of Stokowski at the " Tertius Nobel was organist at St. Thomas Church on 5th Royal College in England wrote of Stokowski's attitude after per­ Avenue and made pipe organ rolls for Aeolian Duo-Art, Welte, froming some masterpiece: "he remained motionless and stared Moller and Kimball. heavenward, displaying his Prince Charming profile." The women in the congregation adored him and the men distrusted him. ""Olga Samaroff made piano rolls. Through an introduction by a prominent society woman, Editor's Note: If any AMICAns have, or know of, any Stokowski Marie Dehon, Stokowski met the prominent American pianist, Music Rolls, Mr. Ford would be very grateful if you would con­ Olga SamaroW". She had been invited to attend a Sunday a.m. tact him and give him all pertinent data. His address: 649 N. service to hear the "charming organist." Ms. Dehon described Pinecrest, Wichita, KS 67208.

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HEAR YE -. ALL PIANOCORDER OWNERS Just before press time, word was received from AMICAn Dick Merchant on the latest arrangement for the purchase oftapes for your Pianocorder. According to information Dick received from Yamaha, they have entered into an agreement with QRS, making QRS the exclusive distributors of Pianocorder tapes in the U.S.A. So if ...... you desire to purchase Pianocorder tapes, the address and telephone number is as follows: ,/ QRS Music Rolls, Inc. 1026 Niagara Street, Buffalo, NY 14213 - Phone 1-800-247-6557 Sorry we have no information for our Canadian and Foreign Country membership at this time.

6- PIANO REPAIR TEAM REBUILD PLAYER and gain new AMICA Member

Upon completion of the instrument, Jeff and John met in my parlor and the pictures show them both at work. Dur­ ing this period, Jeff introduced me to AMICA, and encourag­ ed me to join your interesting group, which I did.

Jeff Davis assembling the Victor Player Piano in Olympia, Washington. He is a Qualified Registered Craftsman, a member of the Piano "Technicians Guild, and a member of AM/CA.

As a continuing adult student of Photo-Journalism at The Evergreen state College in Olympia, Washington, I took thiS picture series of a unique collaborative effort involving a Player Piano repair team. Jeff Davis, who operates his player piano repair business in Seattle, Washington, called in John Grace, of Grace Piano, in Olympia, Washington, for the rebuilding and tuning.

Jeff Davis working under the piano; John Grace in the foreground, and John's assistant at the tool box in the background. From the time Jeffcontacted John to work on the project in December, 1986, until the completion of the work, three month's later, the team workedon the project in different northwest cities, meeting at the home ofthe Farnsworth's in Olympia, Washington,/or the final assembling.

John Grace, a black, blind technician, was trained in his craft at the Blind School in Vancover, Washington. He operates the Grace Piano Service. He has been serVing the Olympia area for over 24 years. John is involved in aU phases ofpiano repair and maintenance. He is shown at the Farnsworth's Victor Piano, "Gluing up a Gulbransen," reflects an art skill of patience. The .. concentrating on tuning the instrument. background shows many tools of the trade. Jeff Davis -j. apprenticed with his father-in-law, Larry Miller, for two years, then John disassembled my precious old Victor/Chicago Player went out to work on his own. He has been at his present Piano,' and delivered the player mechanisms to Jeff, taking his location for 12 years. part of the unit to his location. Yvonne T. Farnsworth, Keyboardist (and AMICAn) Olympia Washington -7- PIANO MAN Player pianos pump again . From Daily Courier News - August 24, 1986 - Written By Ruth Seen Pearson - Contributed by James Edwards Standing in his workshop, surrounded by uprights and grands in --- various stages of restoration, Wrasse calls the old stone building on Se­ cond Avenue his home. "J had to make a lot of sacrifices to start my own restoration busmess; he grins. "The apartment and car had to go. "It is a lot of hard work, but it is exciting and fun. My friends· are my customers. They get personally involved in what J'm doing here:' Many, like Wrasse, are members of the Automatic Musical Instru­ ment Collectors Association (AMICA). They get together to talk about their piano roll collections, trade rolls and pump out th~ extraordinary music of a by-gone day. WRASSE SAYS HIS interest in player pianos began when he was a boy in Byron, III. . "A friend in junior high was given an old player piano that didn't work~ Wrasse recalls. "He asked me to help him haul it home. "As soon as I saw it, I knew I wanted one. By the time I got into high school, I was restoring them. I pretty much taught myself. I knew then I wanted it to be more than a hobby." By 1978, he was working full time for a leading player piano restora­ tion company. Two years ago, he established his own business in St. ST. CHARLES - It was a magical, musical.era of ragtime, h~nky tonk Charles. and razz-ma-tazz. Now a master craftsman recognized throughout the ChiCago area The boys had won the war to end all wars. The girls had bobbed for his work, Wrasse has restored more than 200 uprights and gralid their hair and rouged their knees. player pianos and is so busy he is booked through December for custom Dancing the Charleston was all the rage, and the player piano was work. the cat's pajamas in the family parlor. His own handsome Mason & Hamlin grand player piano, purchas­ Ii was the height of the Roaring Twenties and the heyday of the world's ed at an auction in Richmond, Va., three years ago, is stU! waiting to be most fascinating mechanical instrument. . restored. Most anyone over 60 can recall those days with sweet nostalgia. "I work mostly on player pianos made during the 1920s and '30s;' The family would gather ~round the upright in the parlor after sup­ Wrasse explains. "Some are brought in by customers for restoration. per. Mother would pass out the solig sheets, and Father carefully load Others I buy, completely restore and sell. ,...- the perforated paper music roll into the spool box above the keyboard. "Good clean old ones are getting harder and harder to find. I chased " Then sister Susie would place her Iittie black patent Mary Janes firmly this one for three years; he says, pointing ·to an oak upright. on the foot pedals below, switch a lever to "play;' fold her hands in her "I had seen it in the home of a friend and kept trying to buy it. Final­ lap and pump her heart away. ly, they decided to sell." WITH NO FINGERS ON the keys, the ivories would ripple Wrasse will pay anywhere from $50 to $500 for an unrestored and bounce, the arpeggios and chords resound, and the hit tunes of the player piano, depending on its condition, construction and design. day would pour forth. He says he will then spend an average of 250 hours in the restoration Everybody who sat down at that old player piano was a star. work. From the early 1900s until the 1930s, the player piano reigned as A restored upright wUl sell for $3,500 and $4,500. the most popular form of family entertainment, reaching its zenith bet­ A reproducing player grand, copying exactly the playing of the pianist ween 1910 and 1925. who made the roll, can be worth as much as $60,000 fully restored. About 2.6 million player pianos, both upright and grand, were pro­ "The grands, sought today by collectors of wealth, originaily sold duced in America alone during that period. as high as $10,000, so were always reserved for the wealthy. That was When the boys went to war, the player piano went along, providing a lot of money for the day;' he says. comfort and cheer on the.battleships bound for Europe. " Collectors also tum to Wrasse for valuable old piano rolls. Sadly for the piano manufacturers, new family entertainment, in the Early Scott Joplin rags, and Gershwin melodies, played by the com­ form of the phonograph and radio, took the glow off the old upright in posers themselves, are among the most prized. the late 1920s. . Also sought are rolls cut by such masters as Rachmaninoff and The piayer piano took a dive while the stock market crashed. Paderewski. Available at a fraction of the cost of a piano, these new-fangled forms For those who are not into ragtime and classics, Wrasse also car­ of electronic amplification, coupled with the Great Depression, practically ries piano rolls produced today. wiped out. the industry. Hit tunes popularized by Michael Jackson, Bruce Springsteen and The player piano became a silent ghost, and piano rolls gathered Tma Tumer are available for player pianos, along with Broadway mUSicals, dust in grandma's attic, quaint relics of the past. sacred songs and· sing-alongs. .Many might think the story ends here. In addition to his restoration work, Wrasse finds time occasionally True player pianoaficionados, such as John Wrasse of St. to introduce the public to the fun of ali old-time player piano by donning Charles; however, will tell you the story has just begun. a 1920s bowler, rolling up his sleeves and pumping out music for parties. Player pianos are back in production. New piano rolls are on the "CHICAGO WAS THE hottest town in the country for player market, and antique player pianos are in demand. pianos in the '20s; he says. In a day when most young people are into state-of-the-art VCRs, With a new mall open now in the old Cable Piano Factory in St. r electric guitars and other high-tech fon:ns of electronicmarvels, Wrasse, Charles, he sees the Fox Valley as the perfect areafor recreating those at 31, is dedicating his life's work to the preservation and restoration of great old days. player pianos. Says a smiling Wrasse, "I'd like to see the place full of old player "My aim is not to tum them into museum pieces; says Wrasse. "The piano posters and someone sitting there in the atrium pumping out the whole idea is to get them back into the home for family entertainment. 'Jelly Roll Blues: " "Restoring player pianos is the only thing I have ever really wanted to do." -8- SNC.to honor composer Leo Ornstein, 95 Reprinted from the Compass, November 28, 1987 Contributed by John W Cherkas / A public reception will be held at 4 p.rn. at the Sensenbren­ ner Memorial Union. There, a piece entitled "Habraic Fantasy" will be played. It was originally composed and performed by Ornstein at Albert Einstein's 50th birthday celebration at the Commodore Hotel in New York. According to Edith Valentine, Ornsteins daughter, her father had never previously met Einstein. "My dad says while he was performing the piece, Albert got up and began tuming pages for him in appreciation," she said. The Pro Arte Duo of Madison, with Howard and Parry Karp, as well as pianist William Westney and members of the college faculty will perform Ornstein's works from 8-10 p.m. Born in Kremenchug, Russia, 1892, Ornstein st"udied music at the Petrograd Conservatory. At age 15, he and his family im­ migrated to America to escape anti-semitic persecution. At 19, Ornstein performed his debut recital in New York which sparked the beginning of his career. In years to follow, he acquainted the world with works by composers such as Stravin­ sky, Debussy and Ravel. Ornstein married Pauline Mallet Provost in 1918. He was deeply in love with his wife and many of his works were written with Pauline in mind. Leo Ornstem "My mother was a concert pianist and workedvery closely By Lisa Woldt with my father for some 67 years," says Valentine. of the Compass Staff "The Ornsteins had a unique system whereby Leo dictated DE PERE - "This man has lived almost 95 years and many music and Pauline would write it down;' says Mattern. people have literally forgotten him," says Gerald Mattern, associate In fact, all scores from the time of their marriage are in professor of music at S1. Norbert College in De Pere. Pauline's handwriting. From 1910-1930, Leo Ornstein, who now lives in Green Bay, Retiring from the concert stage in 1933 due to the taxing was weB-known in worldwide music circles as a futurist composer, demands of public life, the Omsteins founded the Ornstein School virtuoso pianist and mystery man of American music. of Music, Philadelphia, which they operated until 1953, when the On Friday, December 4, the S1. Norbert College Music school was transferred to a couple who taught at the school. Department and the Killeen Chair of Theology and Philosophy, "The story of Leo Ornstein is a brave one, for Oin~tein had will present a Leo Ornstein Festival to commemorate this man's the courage to take himself away from the world in order to give 95th birthday and to acknowledge his immeasurable contribu­ his best back to us;' says Vivian Perlis, the Yale School of Music, tions to music. where many of his manuscripts reside. Why hold an Ornstein festival you may ask? Ornstein composes in diverse styles and says his music has "The idea came about as an outgrowth of my 20th Century a physical presence people can respond to. He explains, "I believe Composers Class;' says Mattern. that no composer should adhere to a single style because then The day begins Dec. 4 at 2 p.rn. with an honorary Doctor he would only begin to imitate himself." of Humane Letters degree to be presented to Ornstein, with a panel discussion to follow.

******************************************************************* 1984 - 1986 INDEX NOW AVAILABLE * Dorothy Bromage* and Maury Weingart have just completed compiling the AMICA News Bulletin Index for the years 1984 thru 1~86. Copies are available from the Publisher for $2.00, including postage. Should you desire the Index covering the years 1969 thru 1986, the cost is $5.00, including postage. LEO ORNSTEIN and AMPICO JOIN FORCES

Contributed by Emmett M. Ford f

Leo Ornstein and the Am­ pico reproducing piano gave a joint concert with the Philhar­ monic in Carnegie Hall, April 23rd, 1913. The principal work of the evening was the An In/orntal Recital in Your Studio Mendlessohn concerto in C Minor. The first movement was played by the reproducing What u'ould ir be NOlonl)" worrh (0 rhe Oms!!!in, blH piano, an exact reproduction of TeacM oi rJu; Rachmaninoff. the playing of Mr. Ornstein and ConSe'Tt'Q!01)' of Qod",,,,k,, MUJicrohal'~su~h Moheiu'itSt.'h. the last two movements were an GT!isr CIS Orn· Copeland, stein T~ad'Y to pIa)" u11tt.ki.Sl.'h.wbcJ, played by Mr. Ornstein. for the Pllpi/s ar tI Donnan)"i, lind a moment's norkl'! hundred mIll'" Another feature of the program Think u·hat his ~'('ot pianists are personal ilIuscw o 1Cady to /X'T/orm was the repeating after, Mr. nons of mOdnll .nis inl:Slimllhlc Ornstein of his interpretation of tone-coloring st>""ice through l,('Olfld mean in .hcir pt!nonlll the Chopin Noctume Op 15 ,he classroom. recordings [01' The Amph:o. No. 2 (Ampico ~654H). When he had finished the piece he immediately sat back, pressed a button and the piano repeated, with every detail of phrasing, and nuance, the ex- /' act reading of Mr. Ornstein. _,,,,-­ The audience was made up of not only musicians but people from every walk of life, all in­ terested in one of the great pro­ ducts of modem science. Critics responded: POST: It was nevertheless a remarkable reproduction; AMERICAN: Leo Ornstein not only again established his claim as a musician of the highest order, but he also clos­ ed the door to controversy regarding the abilities of the Ampico; HERALD: The synchroniz­ ing of orchestra and reproduc­ Consult the Educational Department of the American Piano Company (or derails of practical co-operation ing piano was almost perfect. and special terms. (excerpts from Musical America, 1913)

,.r' EDIWR'S NOTE: Leo Ornstein is an Honorary Member of AMICA and, as indicated on the previous page was especially honored on the occasion of his 95th birthday. As further details become available, they will be printed in a future issue of The Bulletin.

-10- Honorary Shura Cherkassky Gives Concert at Carnegie Hall CARNEGIE HAIL I 9 8 7 - 8 8 S'E A SON

Monday £Veiling. November 16. 1987. al 8:00

CARNEGIE HAll presents

SHURA CHERKASSKY PirlHo

FRANCK Prelude, Chorale et Fugue " SCHUMANN CarnavaL Op. 9 Preambule Pierrot Arlequin Valse noble Eusebius SHURA CHERKASSKY Florestan By Dorothy Bromage Coquette Replique A recital November 16 at Carnegie Hall Sphinxes in New York was the most recent opportunity Papillons for AMICA members to hear Honorary A.S.C.H.-S.C.H.A. (lett res dansantesl Member Shura Cherkassky. Bob Taylor of Chiarina Phtladelphia attended the event and shares this Chopin copy of the program. Estrella Reconnaissance In 1981 and 1982, Shura appeared at Am­ Pantalon et Colombine bassador Auditorium in Pasadena, California. Valse allemande Following the April 1981 recital, a reception at Paganini the Les andAudrey Cordell home was held for Aveu him by Southern California AMICA members. Promenade Pause (See AMICA News Bulletin July 1981.) When Marche des "Davidsbundler" contre les he gave a recital at Davies Hall in San Fran­ Philistins cisco - 1982 - Heuwell Tircuit of the San Francisco Chronicle referred to him as a living Intermission legend and marvelled at his "technical securi­ tyand tonal finesse" at the age of 71. And RACHMANINOFF Variations on a theme of Corelli, Op, 42 AMICAn Bill Knorp reported that those who did not attend missed something unforgettable JOSEF HOFMANN Kaleidoskop, Gp. 40 and magnificent. Also in 1982, Shura appeared in Santa CHOPIN Nocturne in F minor, Gp. 55, No.1 Barbara, California as soloist with the Los Barcarolle in'oF-sharp major, Op. 60 Angeles Chamber Orchestra in the Chopin Piano Concerto No 1. He is a resident of lon­ LISZT Valse de l'opera "Faust" de Gounod don, but travels extensively. Other places in the world fortunate enough to hear his perfor­ mances are: Canada, Europe, the far East, Ple.Jse make certain the electronic sign.al on your.watch or pager Australia, South Africa and India. is switched off during the concert.

AMICAns who have the Duo-Art catalog The photographing or sound recording of any ~rfo~m.nce or the poswssion of any devicr for such photographing will find a photograph of Shura Cherkassky ­ or sound r~cording insidt' this Iheater, without the written pltrmlssion of the man.agpmpnt. is prohlbllltd by law. age 11. Offenders m.ay be ejectltd .and Iiabl~ for d.am.agt'S and othpr l.awful rempdi~s ******************************************************************* ATTENTION: GERSHWIN FANS! Dick Kroeckel sends word that a compact disc of the Denver performance of "George Gershwin Plays Rhapsody In Blue" with Newton Wayland and the Denver Symphony Pops, using his 9' Steinway, is available on Pro-Arte CDD 352. -11- Brea Pair's Home is Alive with the Sound of Music

Contributed by Susan Pell - Los Angeles'Times - July 19, 1987 / Herbert J.. Vida Basically, they enjoy entertaining, and their parties are always well-attended. "We want people to enjoy the music, and it's nice Surprise! The music at parties in Jim and Debbi to hear them say, 'I remember when.. : People really have.fun Shrider's home in Brea is coming from a merry-go-round music going back to the time they remember sowell andwhen they had box. so much fun. And from six player pianos, a reproducing baby grand player "It's amazing how many people wUl imagine they're riding the piano, some pumper and pipe organs or from a half dozen carrousel horses when we play the merry-go-round music box. Wurlitzer jukeboxes, some worth as much as $13,000. You can see them going up and down as though they were on For the folks who love the musical sounds of the '50s, the the horse." The music box was salvaged from the carousel Shriders playa Scopitone - a sort of video jukebox - that shows destroyed by fire. films of such artists as Neil Sadaka singing "Calendar Girl." And the guest list is always expanding. "Sometimes we in­ Remember? vite two people and end up with 10," she said. "We have understanding neighbors:' said Jim Shrider, 43, Although the machines are worth fortunes, "We get too at­ whose garage and house is jammed with automatic musical tached to sell them; she said, noting they plan to add another gadgets, many waiting for restoration. "I have so much to do, I'll room to store more gadgets. Besides the automatic musical in~ never catch up:' struments, they also have antique slot machines, a machine to He calls his collection "functional arf' show how loving one is and a booze-o-meter. A one-time television repairman, Shrider said "technology "It's great for telling whether you're skunked," said London­ changes so qUickly it's hard to keep up; which is the reason he's born Debbi Shrider. repairing and restoring old-time instruments. "The way they work For Jim Shrider, a member of the Automatic Musical Instru­ doesn't change." ment Collectors Assn., the trick is in locating the old instruments For visitors, the Shrider household is a challenge. and parts for them. "Either I have to make the parts or cannibalize "We don't have any normal furniture," said Debbi Shrider, 29, one (machine) to restore another:' he said. who helps in the restoration work but who also enjoys wearing The real action to him is the restoration. "You can't imagine the vintage clothing, which she often models at benefits. "You have kick I get out of finishing one;' he said. "And then I get to play to be crazy to live with this life style, but I love it." with it:' ?'/

--{

'ROBERT LACHMAN I Los Angele:l Times Debbi and Jim Shrider admit they have "understanding neighbors." Here they shwo off a Wurlitzer,105 Band Organ Merry-Go-Round, left, and a 1941 Wurlitzer Peacock jukebox. -12- Rock-Ola, the greatest jukebox name of all Contributed by Marcel Hausammann - from The Enterprise, Monday, Feb. 9, 1987 Bob Greene the United States, as well as 52 foreign countries; Rockola said. Ever since I was a kid I have been crazy about jukeboxes. At "Sweden, Spain - they all know the name Rock-Ola. In Brazil, times I think my life has amounted to nothing more meaningful than machines that play records aren't even called jukeboxes. They're called seeking out the best jukebox in the United States. Iam constitutionally Rock-Olas. It's generic." unable to walk into a bar or a restaurant without putting money into Even though his name became almost synonymous with rock the jukebox. and roll, Rockola was never that big a follower ofrock and roll music. When I was growing up, there were three major brands of After all, he was 60 years old when it first became popular. jukeboxes. There was Wurlitzer, of course. There was Seeburg. But "I wasn't really a fan, but I was quite familiar with it," he said. the brand of jukebox I loved the most was the one with the greatest "Naturally, with all the records in all the jukeboxes, I could hardly name of all' Rock-Ola. not be aware of it." Even as a jukebox aficionado, I couldn't tell you the stylistic or At 90, Rockola is still active. He is up at 5 a.m. every day, and structural differences between the major brands. I adored Rock-Ola most days he goes to the Rock-Ola plant. He is aware that although jukeboxes simply because they were called Rock-Ola. I naturally he does not have a famous face, he has a famous name, and he does assumed that they were named in honor of rock and roll; Rock-Ola, his best to maintain his privacy. obviously, was a combination of the terms "rock and roll" and "Half of the time when I go to a restaurant, 111 make the reserva­ "Victrola." tion under the name "Simpson' or 'Rogers; " he said. "I'd rather not All through my life I have lived with that assumption. All through have them know who I am, and ask a lot of questions about my life I have regarded Rock-Ola as the coolest and cleverest jukeboxes." product name of all time. Fortunately for Rockola, he has always enjoyed listening to music. And then last week I found out the shocking truth. "It would be too bad it I didn't," he said. "I like any kind of music. There was a guy named Rockola. The fact that he manufactured No particular favorites." jukeboxes was purely a coincidence. Rock and roll had nothing to "I'm not much of a dancer, but I do like to sit and listen. One do with it. thing about rock and roll -I don't think that the younger people And ... he is still alive. His name is David C. Rockola, he just get the kick out of it that they used to. I'm not sure why that is. I celebrated his 90th birthday, and he is chairman of the Rock-Ola just get that impression. Manufacturing Corp., which used to be located in Chicago and now He realizes that 90 is pretty old to still be going to the office, is located in suburban Addison, Ill. but he has no plans to retire. "I have operated machines all through This is a person 1 had to talk to. my life," he said. "I know machines, and how to produce them." "A lot of people thought that Rock-Ola was named after rock Even though he has been around jukeboxes for his entire career, and roll; Rockola told me. "The fact is, when I started the business he does not have one in his home. in 1926, we were the Rockola Scale Co. But everyone mispro­ "When I built the house, I made provisions for a jukebox," he nounced the name. So I put the hyphen in it so that people would said. "I had speakers installed in the ceilings of every room, and I say the name correctly. I think it was in the year 1930 that the Rockola had the wiring put in. But at the last minute Mrs. Rockola said no. Scale Co. became the Rock-Ola Manufacturing Corp." She said, 'You get enough of jukeboxes at the factory. We don't need The company still produces jukeboxes, as well as coin-operated one here.' So I ended up not having one delivered." vending machines. "There are Rock-Ola jukeboxes in every state in ******************************************************************* The Barrel Organ Goes to Church From Etude, Feb. 1933 - By Edward Ellsworth Hipsher Barrel organs of the pipe variety were, in the early nineteenth century, no novelty in English churches. Though most common in the smaller parishes, there were edifices of some dignity which, besides their large "first" organ, housed one of these mechanical instruments for use in the absence of an organist. Some of these organs had as many as eight ranks of pipes with their appropriate stops. One in Milton church near Cambridge had three barrels with eleven tunes each. Of these tunes twelve were in LDng Metre, twelve in Shorte Metre, and six other metres were represented by one or two tunes, with a lone "Coronation Anthem," presumably in readiness for a possible visit of the sovereign, or members of the royal family. The easy manipulation of one of these organs made possible some amusing incidents. Thus in a Regent's Park (LDndon) church on a Christmas morning the of­ ficiating minister announced the first Christmas hymn upon which the organ at once struck up the second, Hark! the herald angels sing. Both clergyman and organ operator noticed the discrepancy, and in anXiety to save the situation the minister announced the second hymn just as the operator had changed his lever so that the organ began pealing out the strains of the first. Which doubtless brought a merry Christmas to the congregation. Barrel organs were often constructed so as to be playable also by hand. Sometimes one was converted into a "finger" instrument; and then, as at Hamstead, one might have read a notice: "Wanted, an organist; knowledge of music essential." A considerable skill was often devoted to designing the cases of these instruments. One that was built for St. Mark's of Old Bilton had a particularly beautiful case, as shown. It was converted into a "finger" organ and then, about fifty years ago, sold to A once Famous Barrel Organ a church at Wednesfield, the wings, only, remaining at Old Bilton. at Old Bilton, England -13- WILL PLAY AT THE TEA DANCE, '88 CONVENTION

THE ROYAL SOCIETY JAZZ ORCHESTRA with Carla Normand, vocalist, and Don Neely (far right).

The RSJO is an 11-piece ensemble playing the music of the 1920s and 1930s. They use the original arrangements made by the leading dance orchestras of the time, and they are superb musicians! Don Neely and Carla Normand, like many of the bandleaders and singers of the past are married. They both really do live the era now, but they came to it from different directions. Don Neely has always had an affinity for the earliest years of the 19OOs, and for music. He started piano lessons at 6, clarinet at 11, and when he was 13 he bought an old Victrola and started collecting 20srecords. Don's grandparents shared stories about the great music of the 20s and his grandmother played stride piano. Upon graduation from college in 1975, Don got some school friends together, and after some research into appropriate "period" names, called the group the "Royal Society Dance Orchestra". Since, as Don says, "20s jazz is not all dance and Dixielanef,' they changed the name to the Royal Society Jazz Orchestra; but the "dance" is still there in the music, if not in the name! Carla Normand's father was also a jazz musician who played all the old jazz standards at home. "Music was our life, and I always wanted to be a singer," Carla says with a demure downward look. After Carla joined the band, they started doing more romantic songs, more 30s songs. All of the music was originally used, unchanged, by the orchestras of the period. Maybe the title of one of their "gems" sums it up best: "Love is Good for Anything That Ails You!" The love that goes between this band and its many fans is pne of the most spetial things about dancing in San Francisco. It feels so good, you almost can't believe it's really 1988, with Carla's captivating vocals fueling the romance of the evening!

-14- at the 1939 World's Fairs in New York and San Francisco. She is also the author-composer of several musical comedies yet to be produced. In 1974 she was honored by an evening at Carnegie /' -', Hall - devoted exclUSively to her compositions, including Con­ ~n J1ll{emnriam certo Romantico and Young Man With A Harp. The Newport /" • • Music Festival (Rhode Island)-presented four of her works in their 1975 concert series. \., ./ In an April, 1987 interview in SHEET MUSIC MAGAZINE she prided herself in being active every daY,at the typewriter or at the piano, she aSSiduously devoted her mornings to her creative DANA SUESSE talents. She told writer Ed Shanaphy, "... the more seasoned your get, the better you write. rm just getting into my creative prime." At the time of her death she was busily writing a new mUSical, putting the finishing touches on "Mr. Sycamore" which had been optioned for off-Broadway, and was looking for a New York home for a straight play, "Nemesis". Married three times (once to Broadway producer Courtney Burr of Seven Year Itch fame), her last husband, Charles Edwin DeLinks died in 1981. Miss Suesse's popular songs were available primarily on Am­ pico, including Ho Hum, Whistling in the Dark, My Silent Love, The Night is Young and You're So Beautiful, Moon About Town, You Oughta Be In Pictures, Take This Ring and the Aquacade theme, Yours For A Song. A Stylish popular pianist, she was en­ ticed into making one Duo-Art recording in 1931 of the Sammy Fain melody Was That The Human Thing To Do.

1909 - 1987

Contributed by Peter Mintun

In New York, Friday morning, October 16, 1987, Dana Suesse, composer of Hollywood's unofficial anthem "You Oughta Be In Pictures" and numerous other works, died following a stroke. She would have been 78 years of age on December 3rd.

DANASUESSE gave her first piano recital at the age of eight in her home town of Kansas City, Missouri. At about the same time she began to compose, and at age ten won a tri-state American Federation of Music prize for composition. Going East to continue her studies, Miss Suesse (whose name is pronounc­ 1940 photo with Ms. Suesse seated between Andre Kostelanetz ed SWEESE) worked with her great pedagogue, Alexander Siloti and Ferde Grofe. (at "the time one of the four surviving pupils of Franz Liszt), and Rubin Goldmark, a former teacher of George Gershwin. She con­ tinued writing serious music (orchestrating it herselO after her 1932 Carnegie Hall debut. Later she studied privately in Paris with the renowned Nadia Boulanger. She began a successful career in what was then known as Tin Pan Alley, and was one of ASCAP'S youngest members when she joined it in 1932. Her popular songs include You Oughta Be In Pictures, Whistling in the Dark, My Silent Love, The Night Is Young and You're So Beautiful and the theme from The Seven Year Itch. She is one of the few composers whose works have been accepted by lovers of popular as well as serious music. Her serious works have been performed by major symphony orchestras in the United States, and she was the only American Composer other than George Gershwin to be invited to perform as composer-pianist in the now­ legendary General Motors Symphony concert series of coast-to­ coast broadcasts. A partial list of conductors who have presented " her works includes Frank Black, Frederick Fennell, Arthur Fiedler, J Eugene Goossens, Nathaniel Shilkret, and Alexander Smallens. Several of her compositions were commissioned and introduced by Paul Whiteman and his Concert Orchestra. Miss Suesse has contributed songs to the ZiegfeJd Follies and other Broadway shows, and was for several years the composer for Billy Rose's famous production, including Casa Manana and the Aquacade Age 8, First Recital

-15- ]lCCffi~mC~ClINClc&CRiCrnc::mCllilC&lCffi~~HC1CR!CRl~CC~ News from the Chapters ~IUCHClIIC~CtilCmCrnC"Cffic:mCI~C~ICJ~g:::sij~H~ffic«alaONQ«cmamafllCtl~

PHILADELPHIA AREA CHAPTER For those members of our chapter who did not attend the St. Reporter: Bob Rosencrans Paul convention last July, it was a real treat. At the business Sunday, October 25, 1987 couldn't have been a nicer more meeting following, Bd. Rep Bob Rosencrans briefly reviewed the glorious one. The fall foliage was at it's height, the sun and skies Int. Bd. meeting, and provided us with copies of AMICA's new never more beautiful; as we drove to the Hampton Lakes, N.J. publicity brochure. home of our host, Wilbur Smith, for our first time meeting there. L _ &

Collin Clarke, telling it like it is, to Bob Taylor

Host, Wilbur Smith at Aeolian Duo-Art Grand Wilbur, who is one of our newer members, is a retired mechanical engineer, whose career has included teaching assignments at the State University of NY, and General Motors. He is also an audiophile, whose interests encompasses a vast collection of fine old 78 rpm records, in addition to his collection of tapes and 33 rpm discs. And he has vintage, as well as pre­ sent day updated equipment, on which to enjoy them. (ask any of those present who lingered after most of us had left -I unders­ tand his 1951 amplifer-speaker system shook the house). In addition, this reporter learned that our host also volunteers numerous hours of reading for the blind. How commendable!

Margaret McGuire, host Wilbur, David Charrier & Frank Diamond listening to Aeolian Duo-Art.

Heddy Deitz, Frank Diamond, Dick Price The spotlight of the afternoon, was Wilbur's beautifully finish­ ed 1925 Aeolian Duo-Art grand. Our host is one of those for­ Chapter President Paul Dietz tunate individuals who is able to adjust and regulate his own piano, All in all, we had a fine turnout. We welcomed new and his pride in purchasing it upon retirement three years ago AMICANS (since Aug. 1987), Bob and Libby Jacobson, from '( is evident. After an hour or so of socializing and snacking on each Lewisburg, West Virginia, who were guests of Bob Rosencrans. other's food contribution, the afternoon scheduled event, the view­ In addition to all the above, Wilbur's German shepherd dog, Heid~ ing of Heart of America's chapter audio-slide presentation "AMICA was also a stellar attraction adding her part to make the meeting Presents, Automatic Music of Yesteryear" was enjoyed by all. so much fun. Sincere thanks to Heart of America chapter for making it available. -16- SOWNY CHAPTER Harold Hodgkins, Chairperson. Other topics reviewed were to Reporter: Stan Aldridge bring back some technical sessions to the monthly meeting and - August Meeting - a proposed donation to the Molly Yeckley Memorial fund. An The meeting was held at the home of Muriel and Harold unanimous adjournment allowed everyone to get back to the / Hodgkins, Wellendport, Ontario, Canada. Their rural combina­ pianos and the Orchestrion. See you all at the FAIR! tion home and piano shop is nestled in a country setting on the WAINFLEET FAIR bank of a tributary of the Wellend Canal. by Garry Lemon

Harold Hodgkins Harold and Muriel Hodgkins with Orchestrion. We knew we had approached our destination as we were Fall is the time for small town agricultural fairs in New York greeted by strains of "The Entrance of The Gladiators" pouring State and Southern Ontario. In Wainfleet, a small hamlet in from Capt. John Leonard's 1932 Baby Wurlitzer Band Organ set Southern Ontario, the candy floss and exhibition rides, the plant up in the drive. The tour of the player shop began with a recently and vegetable displays and horse riding contests, are reminiscent completed magnificent Oak Veneered "0" Roll Orchestrion which of rural roots in this rapidly urbanizing Golden Horseshoe. thoroughly delighted everyone including guests Barbara and , Randy Sockovie, and Ray Charles and son.

Observers at the Fair.

Randy Sockovie The cool weather didn't hamper the spirits of the younger set. They thoroughly enjoyed the 800 pool temperature while the moms and dads listened to the Chickering Upright Ampico, and the Weber Duo-Art Grand. Harold's shop has several players in various stages of restoration, but alas to the writer's dismay, had delivered the last of the completed foot pumpers just the day before. After everyone was stuffed with Murial's Bar-B-Q'd turkey and oh-so-many goodies, the official meeting was called to order. - _ Many topics were discussed including the go ahead to feature

f· a SOWNY Chapter "AMICA" room at the Wainfleet Fair, -- Wainfleet, Ontario from Sept. 24 through 26. An AMICA Banner< is being prepared to drape over the entrance to the automatic instrument display room. Several Chapter people will donate instruments for display, and volunteers are to contact Instruments on display at the Fair.

-17 - SOWNY Chapter continued - The SOWNY Chapter sponsored a display aptly called "Let's Get Acquainted" with AMICA. A backdrop of QRS posters and framed sheet music provided the setting for our display of many / small automatic musical instruments - music boxes, early I;:dison record players, and missionary organ - to the large Heintzman player piano. The smallest band organ from the Wurlitzer Com­ pany fitted well into the "Fall Fair Theme" and the newly built or­ chestrion by fellow AMICAn, Harold Hodgkins, proved to be a favorite of the fair.· A "Thank You" to the management of the Wainfleet Fair for their generosity and to the donors and assistants for. their enthusiastic support. - OClDBER MEETING ­ Reporter:, Stan Aldridge Rain, wind, impared visibility, nothing stopped dedicated SOWNY members from arriving at"the October 24th chapter Garry Lemon at Rick's Steinway Duo-Art treating the crowd to meeting. The doorbell on the Drewniak's lovely Colonial Home, some piano arrangements. in Tonawanda, plays 29 tunes, all of which were heard at least The evening ended all too soon; it's a long way home for our once as a record number of AMICAns arrived. While Jan put the Canadian friends, thank goodness the clocks move back and we last minute items in the oven for the evening buffet, Rick get that much needed extra hour of sleep. Looking forward to dissapeared for a brief period, returning with a jug of brew under the next meeting, what treats are in store? I'll just have to wait each arm. Right then we knew we were in for a smashing evening. and find out! Pictures were circulated showing the AMICA display room at the Wainfleet Fair which, as reported by our preSident, over 2000 people attended. The musical instruments and memorabilia on display instantly became the highlight of the fair. We all owe ouT thanks to Harold Hodgkins, Garry Lemon, and aU their helpers for a job well done. More on the fair in a separate report. The group devoted time to a technicalities session and then on to a tour of Jan & Rick's· collection of music boxes, MIDWEST CHAPTER /.,,-' phonographs, and the writers favbrite, a sprightly little Seeburg "E~ Reporters: Liz Barnhart and Margaret Frazer The dinner bell rang and everyone scurried off to a food break The Midwest Chapter met on Saturday, October 10th at the - OH'H'· fresh baked acorn squash, Jan you're a dear! home of Bennet and Barry Leedy in Coloma, Michigan. After a short trip next door to brother Bob Leedy's collection we all assembled back at Bennet and Barry's to enjoy their 1924 Kurt­ zmann Welte, 1925 Weber Duo-Art, 1927 Haines Bros. Ampico A Louis XV Art Case and 1927 Hampton Upright Pumper. For dinner we journeyed to the nearby Paw Paw Village Inn, a former theater. After an excellent buffet dinner we returned to the Leedy's for a concert featuring performances of artists or com­ positions available only on Welte rolls. The ladies of our group also enjoyed looking at Mrs. Leedy'sphotograph albums and her huge collection of antique glassware. Our Sunday meeting was held at the home of Randy Strehle in Kalamazoo We all were impressed with the room addition Ran­ dy is bUilding which will house his 1920 Chickering Ampico A, 1924 Marshall & Wendell Upright Ampico, 46 note Aeolian Player Reed Organ and other musical items such as his extensive 78 rpm record collection. Anne Lemon, Holly Walter; Mike Walter and Fred Buchwald cut­ ting birthday cake, and Toni. The President assembled everyone for the meeting, which covered a multitude of topics and reports. A unanimous vote was taken to support the Molly Yeckley Memorial Museum Fund, and a nominating committee appointed to select a roster of candidates to be next years officers. With the meeting adjourned, and everyone assembled; we y were treated to some piano arrangements on Rick's Steinway Duo­ Art by none other than our master piano tester, Garry Lemon. Rick showed us, it really plays rQlls too, a beautifully restored in­ strument appreciated by all.. International Secretary MelSepton MIDWEST CHAPTER continued - of America Chapter, who used excess monies from the 1984 Con­ vention in Kansas City, to produce and provide every AMICA We welcomed AMICA International Secretary Mel Septon chapter with the program. It gave a short history of AMICA and and he, and several other members, reported on the International Joint Convention of AMICA-MBS in St. Paul, Minnesota. showed instruments from the first push-up player piano in pro­ gression oi instruments to the annual International Convention J- Our thanks to all our hosts including the Leedy's parents, and our honorary membership. After the business meeting, Miriam for a very enjoyable weekend. served a delicious lunch. The afternoon was spent touring the -NOVEMBER- Presidential Home of Rutherford B. Hayes, 19th President of the United States, at Spiegel Grove in Fremont, Ohio. The Midwest Chapter met again on November 14th and 15th ~~- in Woodville, Ohio at the home of Miriam and Edwin Ward. The afternoon was enjoyed listening to Ed's collection.

Anxious AMICAns waiting for the slide show.

Host Ed Ward at his 1924 Marshall & Wendell In the evening we motored to Tiffin, Ohio for dinner at "Secrets" before going to the Ritz Theater to see the stage play "performance of "I Remember Mama". The Ritz Theater is a grand -theater of the 1920's. It is being restored as it was when it was J dedicated December 20, 1928. Contrary to the art-deco styling prevalent at the time, the Ritz is Italian Renaissance architecture. After the performance we were given a tour noting the beautiful paintings, the tiffany glass and the gold and glitter of yesteryears.

Jim Weisenborne indulging.

Ritz Theater Marquee, recently restored The Hayes Mansion at Spiegel Grove. Sunday morning the group again met at the Wards for the The Hayes home is furnished in the style of (he Victorian business _meeting. A slide presentation, "Automatic Music of era. The first Presidential Library is located here. It contains the Yesteryear", complete with synchronized sound program, was personal collection of papers, diaries, and other memorabilia of shown. This 16-minute presentation was made possible by Heart President Hayes and the surrounding communities.

-19- SOUTHERN CALIFORNIA CHAPI'ER Reporter: Shirley Nix On December 5 the annual Christmas Party was held in com­ bination with M.B.S1 at the home of Richard and Millie Riggs. ,r This is fast becoming a tradition, with the Rigg's home decked out in all it's Christmas finery. (we all know Richard spends many hours decorating the house - it shows.)

Cashmere plays !

Our hosts Dick and Millie Rigg with Cashmere. Each year gifts are exchanged, and this year it seemed that the gifts were exceptionally nice and imaginative. It's not easy being that clever when you are looking in the $5-$10 range. . Santa Claus got tied up in the freeway traffic and couldn't make it, but Mr. and Mrs. Charles Dickens made an appearance, and graciously agreed to step in and see that the gifts were handed out, and a fine job they did, too. (Mr. and Mrs. Dickens looked Our new officers (I-r) - Ken Hodge, Treasurer, Shirley Nix, ;."­ suspiciously like Jan and Mallory Geller, but that must be my Secretary-Reporter, Frank Nix, President, Lloyd Osmundson, : imagination). Vice-President, Mary Lillien, International Board Rep. Everyone had a good time, and we even set a new record for any of our meetings, I think - we had dessert left over. It must be that 1988 is going to be the year of the slim and trim AMICA Club of Southern California. (The members, not the Club).

...

Mrs. Dickens looks like she's checking on husband Charles. . (Jan & Mallory Geller) Added to that, we were again treated to a piano recital by Cashmere (the cheese-loving dog), and the improvement since last year was really amazing to all. (Perhaps Gloria Schack After the gifts were exchanged everyone seemed to have chanting "We want Cashmere" gave the inspiration that had been something held up to their ear. lacking previously.) We were even treated to a one Paw rendition Coming up in February is a meeting at Rudy and Norma Ed­ of Dick's favorite song. (He didn't tell us the name of the song.) wards home. We are all looking forward to that. where else but at an AMICA party? Looking even further forward, of course the Convention iny' Time was taken out for an election for AMICA. Our new June, and a meeting at the lovely San Sylmar in August. All in 1 President is Frank Nix, Vice-President is Lloyd Osmundson, all, the outlook is for a full and exciting 1988. Treasurer is Ken Hodge, SecretarylReporter is Shirley Nix, and International Board Rep. is Mary Lillien. Now from all of us in Southern California to all of you everywhere - may 1988 be the best year yet - full of happiness, good health, and all the things that make life worthwhile.

-20- CHICAGO CHAPTER Reporter: Mel Septon December 13th found the members of the Chicago Chapter gathering at the home of Jim and Sherrie Krughoff, southwest ./ of Chicago, for our annual Christmas party. The Krughoffs generously provided roast sirloin of beef, turkey, and ham for the main course and each member brought either a side dish or a dessert. One member observed that there was enough food to feed an army, but I doubt that any army ever ate this well.

Tim Traeger, Jerry Biasel/a, Toni Ramey, and Dee Kavouras with the Krughoffs' Fotoplayer.

Our hosts Sherrie and Jim Krughoff The evening began with a cocktail hour with drinks and hor d'oeuvres served at the Krughoffs' beautiful antique bar. Members were free to wander through the house to listen to the many fine instruments including a Seeburg H, original Wurlitzer "8" Harp, . Ramey Banjo, Weber Unika, etc. My favorite was their Sheraton _art-cased Mason Hamlin Ampico B which is one of the best soun­ -",ding reproducers that I have ever heard.

Margaret Bisberg (don't take my picture), Fred Schwimmer, Mike Schwimmer and Ann Schwimmer.

Rob Deland and Sue Choffnes examine the Mason Hamlin At 6:00 p.m. the dinner bell rang and all proceeded to the feast. The many home cooked items attested to the culinary talents of our members. After dinner a brief business meeting was held at which time Jasper Sanfilippo draws a cup of "java" we expressed our best wishes to Bob and Gloria Taylor and family As the evening grew late and members began leaving, a word who are moving to Missouri. The Taylors have been major con­ of caution was given, to be sure to turn right when leaving the tributors to the success of the Chicago Chapter and we will all Krughoffs' driveway. Failure to do so will put you on the private miss them. Mel Septon made a proposal that we consider a pro­ runway which ends in front of their house. So that's why Jim has ject for spring. This would involve taking an Ampico piano to such wide doors on that oversized garage next to the house. 1987 -.-/DePere, Wisconsin, the home of honorary member Leo Ornstein. was a very good year for Chicago AMICA with many fine It is our J31an to hold an afternoon with Mr. Ornstein in 1988, meetings and an opportunity to make some new friends. and honor him via his many fine 1920s recordings. This event will be held at St. Norbert College and further details will be published as plans are firmed up.

-21- DAVE BENNETT By Emmett M. Ford The Chicago Chapter News in the July'August, 1987 AMICA theatre pit orchestra and acted as an arranger for the fikn music News Bulletin, mentioned Dave Bennett as a guest at their meeting the group played. He was also the arranger for various leading and was shown playing Jim Edward's George Steck Duo-Art grand name bands and radio shows. In various radio studios he was piano for the chapter members. an orchestra leader, and later organized a concert band. Mr. Mr. Bennett was born in Ida Grove, Iowa, September 2, 1893. Bennet! was also an arranger for Carl Fischer Publishers in New He studied harmony, theory and counter point with various York City. teachers at the Chicago College of Music. His compositions include the popular song, "Bye, Bye Blues; As a member of the Municipal Band in Sioux City, Iowa, he ~orks for clarinet,. flute, sa~aphone,,, trumpet and other played the clarinet. He played piano and clarinet for the local Instruments, and a plano solo, Repartee. ******************************************************************* - ROLL BOX LABELS - By Dick Price There are two reasons to make up new roll box labels, the (hoping to find ink which does not fade) and Base-Lock rubber first is to replace labels on boxes which have disintigrated or type of several sizes. I made a few roll labels with the Base-Lock so,?ehow been de~troyed. The ~econd is to replace r~lIl~bels ~ype (example 3, Hesitation Waltz) but I found that the ink got which have been pooted by QRS In the last decade or so In dlsap- 1Oto the pores of my fingertips from handling those little rubber pearing ink. (Example 1, QRS Shirley Temple Hits.) letters (a pair of tweezers comes with each box of type, but they In the past I have used my typewriter to type upon pre-printed ?on't work very well and are an exercise in frustration). Besides, blank labels for my Ampico or QRS rolls, or two inch square blank It takes a long time to set up a stamp. Finally, each line must gummed labels for other brands (gummed labels are available at be the same distance from its neighbor which wastes space if stationery stores). (Example 2, My Own lona.) one is using small sized letters (for example, to say "played by"). Now I do not own a computer or word processor with a Then an artistic friend suggested using something called justification for centering lines - if I did I'd use it for making roll Chartpak transfer lettering. There are other brands, but "Chart- labels. What to do, then, without shelling out lots of money? pak" is the one I happened to buy. These are transparent acetate There are two solutions that I have come across so far for sheets of transferable letters which can be pressed, one by one, making professionallooking roll box labels. There is a third solu- onto a ~olll~bel (example 4, Some?f These D;'lVs). C~ntering the tion which some readers may want to consider but which is not letters IS.still a proble!U, but your f10gers d?nt get dirty and the practical for me, and that is to copy the roll label on an office letters Will not fade. I m not very good at It (as you can see by copier. The problem with that is finding stock which will not tum the example), but you can ~ead the .label: For those who want brittle and curl over the years of being exposed to light. And what to try their hands, the roll titles are 10 Mlcrogramma Bold Ext.- about color? 12CL (l/8"). Lee Sims' name is in Cloister bold 24 pt. and the Well, my first solution was to go out and buy a stamp pad numbers are in Helvetica medium 8 pt. Have fun!

Pertection .~.. ' .~·""""f~'" Example 1 Q·~·SF Example 2 Word Roll MY .. OWN IONA

';rp./.~ 1 "7;·7 ., '..... t- 1 Gilbert. Priedland ~L·,i" 1 . ,.• , ll~, hI!:Y a1:1q .[; and Morgan ~~!...,~1 ':"' .' I~' \ "P"I'" _:.:..' . ! _" . .plllJe4 by JohD A.8thmidli~

HESITATION Example 3 Example 4

WALTZ ... 6863...3.. .6934.3 ..J MEDLEY NO.2 .S_OME.OF.THESE I .__ ~OAYB_&'------_ OWNWHERETHE 88 NOTE 22327 UN.GOES .DOWN _.L. e e . S i mS-2.10/28' -22- Technicalities

In Defense of the Original Duo-Art Expression Box By Chester Kuharski The original Duo-Art expression box is a wonderful piece of very often in the rolls, and often is present when a theme per­ design work which, no doubt, took a considerable amount of time foration is seen unaccompanied by theme dynamic perforations. to perfect. It is the heart of the system, and accomplishes a This cannot happen at accompaniment zero, of course, because number of important functions. Some of these are very subtle, the zero setting for theme is higher than accompaniment, but is and are not recognized by the uninitiated and are not even describ­ generally found when accompaniment is somewhat higher than ed in the material published by the manufacturer. zero. SECOND, the pump suction can be made to vary, and is The master pneumatics are the heart of the expression box, done, in some of the rolls, by varying the position of the spill valve, one for accompaniment and one for theme. These master this being done by varying the dynamics on the theme side, when pneumatics are opened by springs, and these springs are different the theme is not being used in the normal way. THIRD, in addi­ in different pianos, and between accompaniment and theme in tion to this, the hammer rail or the action may be shifted to pro­ most pianos. Each master pneumatic accounts for, when duce softening effects, the latter (soft shift) is only used in some equalibrium has been reached, 16 steps of dynamic, (loudness), of the larger pianos. under the same conditions, that is, the same number of notes So it can be seen that the spring operated master pneumatics being played at each level, with differing numbers of notes played, are a necessary part of the system, and cannot be eliminated if the loudness varies in each step. With but one note being played the piano is to play the Duo-Art rolls correctly, as the original ex­ at each step, the largest step is no more than approximately 1 pression box was used in coding the rolls, and the characteristics decibel different from the adjacent step. One decibel is the amount of that box determined exactly how they were coded. Any other of change of sound level that can be just detected by the most expression system would have to incorporate all the original sensitive ear, the average ear takes a step of three decibels to be boxes's characteristics, and the easiest way to do that would be heard. As the scale of dynamics is ascended, these steps become to use the original type box. 1expect that to make one of a dif­ . progressively smaller, so, it can be seen the steps at the very softest ferent design would be nearly impossible, and if the characterisitcs ,./ end of the scale of dynamics are the most important. With an varied in the slightest degree, the rolls would all have to be accompaniment zero level of say 4 inches, the softest notes may re-coded to suit that box. be played anywhere down to something like 1Y2 inches of water, Another feature of the original box is that its dynamic scale depending upon the individual piano. Considerations can be varied to meet the demands of the range of sizes of pianos, affecting how low this might be are: weight of the hammers, and in the same way to be adjusted to meet the personal tastes eveness of the regulation and friction within the action, and of the owner, often involving the size and acoustics of the room eveness of the player stack. Dynamics will be different from the in which the piano is located. This is done by varying the posi­ 16 steps when the master pneumatic is not at equalibrium. This tion of the first arm starting from the accordions, on its shaft, can occur when the position of the knife valve is such that the a position parallel with the back of the box gives a lesser range, master pneumatic is either rising or falling because the pump is and with a position farther back at the bottom, of about 1/8" a removing more air than the stack is supplying, or the opposite, larger range is obtained. These were the two positions used by when the stack is supplying more air than the pump is removing. the factory. The geometry of the linkage system was discussed When the latter is true, the piano is playing from energy stored at length at the 1972 AMICA Convention, by Dave Saul, and in the master pneumatic spring. Besides the 16 steps supplied 1 entered into the discussion since I had discovered this by movements of the accordions, others are supplied in other characteristic of the expression box earlier. Dave had made a ways, and these are extremely important at the softer playing model of the system, which clearly showed how the range of levels. FIRST is the inter-play between the theme and accompani­ dynamics was changed by varying the normal position of the arm. ment master pneumatics. The manufacturer said that theme is In a system employing bleeds to provide the 1-2-4-8 steps, it would always higher than accompaniment, but did not exactly define seem a very difficult proposition to provide bleeds of varying sizes the term theme. Many take this to mean when a theme perfora­ and of different proportionate steps to give these characteristics. tion is in the roll on either side. This is incorrect, whether or not Also how would one provide feedback from the stack suction theme is in operation is determined by the flap valves, and when to the pouch to give the same characteristics as the link to the the flap valve is closed on either side, then theme is in operation. toe of the knife valve did in the original box? The flap valve closes only when the suction in the theme master With all this in mind, I would say, the finest Duo-Art restora­ pneumatic is greater than that in the accompaniment master pneumatic, and then, yes, theme is higher than accompaniment. tion would incorporate a properly restored original expression box. However there are times when the theme perforation (snake bite) The restoration of an original Duo-Art expression box today, , .appears, when suction in the theme master pneumatic is lower is not all that difficult with the knowledge and skills developed '.than in the accompaniment master pneumatic, and when this since the "early" days previous to 1972. FIRST, thedifficulty that ...,./'happens. the accompaniment master pneumatic takes some air some experienced with seasonal changes in the sizes of the ac­ from the theme master pneumatic as well as from the stack. This, cordions has been pretty much, if not completely, overcome by of course, causes the piano to play softer than if the accompani­ the use of bilon cloth on them. I have used bilon cloth on my ment was not so affected. The entire keyboard is playing from accordions for many years, and have yet to have the first cloth the accompaniment master, the flap valves are open. This is found put on to fail. SECOND, the trouble with touchy adjustment In Defense ofthe Original Duo-Art Expression Box continued ­ as the original glue both sides of the gasket. When installing the of the crash valve pallet, and its failure to operate correctly, has knife valves, the lever that operates the knife valve is placed so been completely solved by use of a 4 pouch (and valve) device that the spring is parallel to the knife valve at the point of pressure c~n which was described in 1976 in an AMICA Bulletin article by Lubricate the friction points with graphite, "l.ockeze" be us- Roger Torkelson. I immediately made one, and it is still in my ed for some points, or grease made of petroleum jelly and graphite .­ piano, and I have since made more of these, and they can be powder may be used. When sealing the pneumatic outer cloth, obtained by contacting me. With this unit installed in place of use heavy pump cloth, use only hot glue, double coat method, . the crash activation pallet valve, crash will occur precisely as put on one coat, rub on the cloth and immediately remove it and demanded by the roll, impossible with the original system, and apply a second coat, rub and iron a few minutes later with a flat without any adjustment needed. The original system fell down iron set to press cotton. Very shortly, the glue will ooze around because it required complete evacuation of the theme accordions the edges, indicating the glue has penetrated to the rubber layer before the crash level was available to the theme perforation. This inside SIXTH, Replace the flap valves, using similar leather. worked OK where there were at least 4 sets of perforations of Lubricate and smooth the box and the knife valve of the spill. the 4 needed (1,2,4,8) but on many rolls this was not the case, When gluing on the top seal cloth use the same method describ- often in popular rolls, there is only one set perforated, and ac­ ed above Clean and lube all the friction points in the accordion cordions can not be evacuated in that short time, regardless of links. how tight the accordions are This device operates instantly, as EQUAllY IMPORTANT is the stack. It must be perfectly the pouches have only to feel the suction leading to the accor­ restored also for the "perfect Duo-Art': Here special methods must dion to operate The system operates so fast that it will operate be used. Cloth to be used on the pneumatics may be bilon or perfectly at tempo 150 with only one set of perforations (1,2,4,8) rubber cloth, Aeolus preferably, can be obtained from Player Piano ! I feel certain, that if the Duo-Art had been made longer, they Co. or Schaff Co. Bilon requires PVC glue, and I have found that would have used a similar device, as it would have been simple it often comes loose during hot humid weather. I have not found for the factory to make it. THIRD, trouble with worn bushings it troublesome on stack pneumatics, but have found it in the sides of the box is simple to repair, with a new bushing. troublesome on larger pneumatics, which have suction in them If this bushing is worn, the knife valve shaft may merely move for extended periods of time When applying the pneumatics to laterally on #1 and #2 dynamic, instead of rotating as it should, the decks, use new pouch leather gaskets made of thin leather, simple to repair. FOURTH, sometimes the theme secondary and and use hot glue Warm the deck for a short time with a flat iron, crash secondary pouch valve pouches are porous, and must be glue the gasket to the pneumatic, apply glue to the outer side of replaced. This used to be a very worrisome repair, generally not the gasket also, and apply to the warm deck and hold, or clamp, so today. With an original factory box, the glue holding the two being certain it does not move afterward. While doing this, have main sections of the box together, is very brittle To get to the the valves out, so a finger can be applied to the port, so the secondary valves, generally take the box apart, including the pneumatic can be tested that it be perfectly air tight. There must master pneumatics, which must be removed along with the be practically no leakage here, be fussy, even re-clothing the gaskets between them and the box. This will expose the heads pneumatic if it cannot be made tight. Sometimes a screw hole. of approXimately 7 to 9 screws holding the box together. At least is the cause, use masking tape to cover them while testing. Duo­ 3 constructions were used, so be certain to get them all. Place Art pneumatics have springs in most of them on each deck. The the box with the top down on some layers of carpet and using first 9 do not, beginning with #10, there are springs. Do not use a piece of dowel about 1" in diameter, break the box apart by the old ones, they will be weak. Use #6 music wire, bend at 90 driving the dowel against the pouch deck in the middle of the degrees, about 3/8" long, and with small nose pliers, insert in the box with a sharp blow using a carpenter hammer. Usually one pneumatic at the proper point. Put pneumatic in a vise to do this. blow will break it apart because the old glue is brittle There is, Make the second bend at the proper point, and bend so the bent therefore, no need to find and cut the seam on the outside of portion stands upright, pointing away from the pneumatic, twist the box. When re-assembling, use a thin pouch leather gasket and insert as was done on the other end. The 10th and 11th to facilitate taking the box apart in another 50 years, because pneumatic springs are transitional, and about 112 strength, bend you will now use a different glue Ido not use the hot glue because accordingly. There are 3 decks, so there will be 6 of these After it sets too qUickly for the amount o(work to be done, Franklin the pneumatics are glued on, test each with a postal scale, number liquid hide glue will do nicely, and gives plenty of time Apply glue 12 and up should be about 2 ounces, numbers 10 and 11, a bit to both sides of the gaskets, and promply screw the box together. less, and 1 through 9 a bit less than that. Done correctly, no outside seal will be needed. The pouch leather When taking out the valves, keep all parts in order. Be careful used for the valves should be the same as used for valves in the of paper gaskets, as they will be re-used. Clean the lower seat stack, about .fYJ7" thick, and can be put on with either hot glue with a damp cloth, seal each by applying shellac with an artist or liqUid hide glue I also replace the leather facings on the valve brush, usually dip brush twice, and obtain a full flowing coat on heads, be sure to use leather of the same thickness as the top of the old shellac seal. Do not remove the old seal. Clean originals. When sealing the pouch leather of these valves, place the upper seat. Replace the leather faces, (very important). Do a V4" punching of masking tape in the center, while sealing with not use commercially available faces, they will not work proper­ liquid shoe polish, one coat put on with an artists brush. Remove ly. Use a fine calf skin on the lower, which should be the same the punching and glue on the head with only hot glue FIFTH, thickness as the original, and with a similar nap. Glue on the 10\.Ver remove the knife valves and seats. Make sure there are no cracks facing and press on a board with a hole in it. Select a leather in these, I have found them cracked at times, not often, but a for the upper facing seat that has a finer nap than the lower, and crack will give some very peculiar characteristics to the box. Take is about .040" thick. I have used deer skin for this. You may want medium sandpaper on plate glass, and rub the face of the seat to press the facings in a flat face vice before installing, as there a few times until all the old graphite is removed and the wood is some "give" in this material. When installing, use a dial/""' is smooth and absolutely flat. Do the same with the knife valve micrometer mounted in a drill press to measure the travel, using Apply graphite to both pieces by wetting the surface with a finger the pouch to blow up the valve to test travel. Make them travel dipped in water. Then apply graphite powder with an old piano .032", plus or minus .002", no more, this is very important. Put hammer, and rub until there is an even and glossy coat. The sta­ on new pouches, however if you are experienced, and judge that tionary seat must have a new leather gasket, make a pattem from the original leather is still in excellent condition, it might be the seat, obtain leather that is soft and about the same thickness -24- In Defense ofthe Original Duo-Art Expression Box continued ­ the wire. To adjust, use the piano for a month or so, then take used again. New leather should be given the proper dip, so that off the back stack cover, attach the hoses temporarily, and using a finger tip will easily touch bottom in the center of the pouch. a test roll, at very very low suction, compare the strength of play­ '\ Seal the pouches (old or new) with a 50% mix of clear rubber ing note to note. After this is done, leave the stack cover off for -,.../; cement and naptha. This can be put on with a finger dipped in a while, find rolls with fine trills at very low dynamic, and if the the sealant, one coat is all, and blow the sealant into the leather notes in the trill do not play perfectly even, adjust accordingly, with a piece of rubber hose, or use a pump to draw it in. Talcum you will be very gratified with the results. A good roll to use is the dry sealant. Adjust the valves to the pouches so there is a Pastorale Variee, (Mozart), played by Reisenberg, a copy is 1/32" clearance, and be certain of uniformity. available from Play-Rite rolls. Also the second movement of Sonata in A Major, Mozart, PB Iturbi The latter is a rare roll so The model B Ampico used a system for varying the playing may not be available to you. However, it will show off the perfor­ strength of each pneumatic. This can be installed in the Duo-Art mance of your piano, should you have it. Be certain there is no grands, and it is a simple modification, very very worth the trou­ binding at the pneumatic fingers. With all other parts of the system ble. It allows the strength of any pneumatic to be varied to bring properly done you should have a Duo-Art that performs as it in eveness of the playing of trills at extremely low playing levels, should. and generally even up the playing at extreme pianissimo. All that is reqUired is to place a leather nut on the poppet wire under the I have a Steinway XR grand, 1926 manufacture, with wood poppet, but just above the guide strip at the very top of keyboard shift. It plays normally with about a 4" zero level on the stack. Use a thick (about 1/8") felt punching between the guide accompaniment, and about 4-3/8" on theme. The very low zero strip and the leather nut. The purpose of the nut is to limit the level attests to the very airtight system, and as a result the play­ downward motion of the wire, and this should be about the same ing is superb. as it was originally. Originally, the pneumatic came to rest on a Tracking problems can be often traced to these faults: FIRST, felt strip under the pneumatic, this should be removed. Now the suction to the upper items above the keys, being too low, this pneumatic is controlled in its movement by the metal wire. It is can be raised by tightening the spring on the modulator pneumatic. now possible to adjust the movable board of the pneumatic up SECOND, tracker pneumatic not centering up with both tracker or down the wire, without affecting the relationship of the pop­ triggers closed or open, often due to unequally air tight pet to the piano action. The playing strength of the pneumatic pneumatics, simply take a voicing needle, and poke the stronger can be varied by adjusting the leather nuts on either side of the one through the fabric, as needed to equalize. pneumatic finger, allowing the board to be moved up or down

******************************************************************* TECHNICAL INQUIRY - Early Stoddard-Ampico Upright

'=' Please note the follOWing characteristics of the piano: 1. Instead of intensity pneumatics it has two piston assemblies (l ea. for base & treble). 2. The #1 and #5 holes on the tracker bar connect to a valve and pneumatic switch and then to the crescendo pneumatic. 3. There is not an auto replay. 4. The piano player action is manufactured by Auto Piano. 5. The #8 hole on tracker bar on the base end is not a note. (I don't know what it is for). 6. The spool box has a metal name plate stamped "Stoddard Ampico" (Piano is Haines Bros. Upright). 7. The main bellows look like this:

In the 1919 Ampico Service Manual it states that an early model of the Stoddard-Ampico was recalled and replaced with a new model at no charge. I'm wondering if this piano could be one that was missed. If you have, or know of, any information on the above I sure would appreciate your letting me know. ~ Charles Moen 2804 North Blackstone Fresno, CA 93703 Early Stoddard-Ampico drawing on next page -

-25- EARLY STODDARD-AMPICO ~---'--""--..-- ...... lo

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r~ "'\ I i I i I I I! II I j :II' Ii I 'I· 'TO rA I(E uP I I, ~£&.I.. II , ~ ! I I I!

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- .-.------_.- --+--L lEv '0 U1 3<> IN> f>D 60 -- "TEMPO-ii:'EVE:1C'S£ CoHT: TO A.#2 -'-0 WlAIIJ ~c.<.T~ MoTO!t. TO MAiH SwcrlOlJ ~J,J~PJ.Y SUPPL.Y VARIATIONS IN THE WELTE-MIGNON EXPRESSION MODULATION DEVICES By Mark Reinhart

The reproducing system sold under the trade name of modulator of figure 2 was in use by 1907 as evidenced by Welte­ "Mignon" or "Welte-Mignon" underwent several design changes Kabinett no 19505. The adjustment for crescendo forte is found of its expression devices during the production life. The modula­ on the valve block for each respective regulator. The adjustment tion devices as conceived in 1904 were built using the same for crescendo piano and forzando piano is the felt packing of the technology applied to the orchestrions made by M. Welte and atmosphere bleed ports shown in figure 2. Sons. As the technology advanced the systems may have been Figure 3 shows the mostly commonly found 100 scale simplified for both construction and regulation. A system which modulation device. The screw adjustments are all labeled and easi­ is highly sensitive to seasonal changes or which can not be ly accessible for system regulation. This type of modulator was regulated to perform well by field technicians will not survive in in use circa 1910. the market place. The Welte-Mignon clearly was able to main­ tain its market appeal even with roll format changes as evidenc­ Figure 4 embodies the 98 scale system which used the so ed by its durability in the market place. called green paper Welte rolls. The T-98 format was never marketed in the Unitep States. The modulator of figure 4 differs The firm of M. Welte and sons of Freiburg i.B. recognized from figure 3 primarily in the valve control of the crescendo and the utility of production facilities in the United States and the forzando on,bff. The 98 scale also makes use of an atmosphere valuable market to be captured there. In 1906 the Welte-Mignon bleed port above the regulator valve which is actuated by the was sold in the United States with production facilities in forzando piano valve. Poughkeepsie, New York and marketed through the company us­ ing the trade names M. Welte and Sons, Inc. and Welte Artistic Figure 5 represents the expression modulator found on Player Piano Company. The music roll format sold in the United pianos built by the Welte Mignon Corporation and sold as the States and abroad at that time was the 100 scale or T-loo com­ "Original Welte-Mignon~ This system was made available to those monly referred to as red paper or red roll Welte today. At the onset wishing to have it installed in a customers own piano The of the first world war, the Alien Custodian Act brought about the beautiful Steinway-Welte owned by Dr. R. E. Gilson is an excep­ _ seizure of the Welte assets in the United States which severed tional example of this type of custom installation. This system ties with the parent firm. After the sale of the Welte assets in was marketed in a vorsetzer style but this type Welte-Mignon March of 1919, the company traded under the name Welte employing the smaller 11 1;4" format roll is quiterare today. The Mignon Corporation. The Welte Mignon Corporation manufac­ vorsetzer of the Welte Mignon Corporation is far less plentiful tured the so called "Original Welte-Mignon" which used the smaller than the earlier 100 scale vorsetzers made both in Germany and format roll referred to as Purple Seal, Licensee, and Deluxe the United States. The sirnUarities between the apparatus of figure reproducing rolls. The Auto-Pneumatic Action Company licens­ 5 and its European origin ancestors is clear. ed the rights to the Welte-Mignon patents and produced their own Figure 6 is truly divergent from the other embodiments of system known as the Welte-Mignon Licensee. the Welte-Mignon. The Auto-Pneumatic Action Company licensed Figures 1-6 represent six major variations in the expression the rights to the Welte-Mignon patents and music roll library for modular design of the Welte-Mignon. Figures 1-3 are embodiments its own manufacture. This made possible the Welte-Mignon of the 100 scale which employed T-loo or so called red paper License and the Euorpean origin rolls for the licensee and Deluxe rolls. Figure 4 is an embodiment of the 98 scale which employed reproducing rolls. T-98 or so called green paper rolls. Figure 5 and 6 utilize the 111;4" The staff of Auto-Pneumatic Action Company designed and size Purple Seal, Licensee, and Deluxe reproducing format rolls. engineered for their own production, the expression units of the Figure 1 is derived from U.S. Patent no 1,008,291 which Welte-Mignon Licensee based on the Welte/Bockisch patents. It was filed 17, August, 1904. This figure represents the Welte­ is interesting to note the departure from the design then in use. Mignon expression modulation device as originally conceived by The basis for the system built by the Auto-Pneumatic Action Edwin Welte and Karl Bockisch. I understand there is a vorsetzer Company is apparently the U.S. Patent no. 1,225,902 filed extant which uses a baffle style regulator. This system was qUickly 25, May, 1914. An announcement in the 28, October, 1916 issue replaced with a modulator which offered more reliable operation. of the Music Trader Review states, "the Auto-Pneumatic Action Co will put out a player equipped with the Welte-Mignon ~eproduc­ Figure 2 represents the embodiment which evolved into the ing devices~ The Welte-Mignon Licensee system was available more familiar type of regulators found in figures 3, 4, and 5. The to piano manufacturers from about 1916-1932.

Drawings on the follOWing pages -

-27- Eo WELTE. PRESSURE CONTROLLING MECHANISM FOR AUTOMATIC MUSICAL INSTRUMENTS. APPLICATION FILED MAY 25, 191~. 1,225,902. Patented May 15, HHi. 3 SHEETS-SHEET 2.

22

WITNESSES T" INVENTOR Edi..,..Jn J1I8./&8, ~ ~~ ATTORNEY 'e .:rl

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Figure 1 Figure 2

MEOHANIBh1 FOR REGULATING THE EXPRESSION WELTE.:MIGNON

E. WELT"E & K. BOCKISCH. AtJG. 11, 1904. 100 Scale j1.. ~ g~n G e e a RADRR. a Smem~ ___DiHt n::

~

I ~ I R = ,qulatlng bellow. K = rqulatlng nl\·c " = dlaln M= kathcr buaoa N =cx~ bellow. S = hit ofthccxprcsslon bell"....s o = mClzofonc bellow. H = mczzofonc hook

Figure 3 figure 4

THE WELTE MIGNON WELTE=MIGNON

100 Scale 98 Scale

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ChaftndP'rom V"w No. 2 On No. 1 0« ,. Tube F..... Reculatlnc Screw v - • Crescendo Off No.3 Valve Main Lead from Crescendo BloCk Reculatlnc Serew·-...~]:B~\-~~f~::---o No 4 Valve On ..

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Figure 5 Figure 6

WELTE-MIGNON The Original Welte-Mignon (LICENSEE)

Expression Unit EXPRESSION DEVICE ****************************************************************************************** CL.ASSIFIED * •••••••******•••********.**************************************************************** FOR SALE WURLITZER 7·RANK THEATER ORGAN with player unit. SEEBURG STYLE "L" cabinet model, smallest electric made, Organ will fit in a 12'x12' room with 9' ceiling. Most of the chests plays"N rolls, 4-door model, older restoration, plays great - perky! and percussions are on plugs. Blower is 3 horse, single phase. This looks good - $6050. Seeburg M.O. pian%rgan, uses MSR roll instrument plays, but needs work. Price $7,000.00, or trade for - great case, mostly complete - $2000. John Motto-Ros, (707) nickleodeon, antique car, etc. David P. Graber, 311 Kendall Place, 642-8792. Columbus, OH 43205. (614) 258-0909. SPANISH AMPICO as pictured on page 278 of the encyclopedia. KNABE AMPICO GRAND PIANO, 6'5" with 150 rolls and This highly unique piano has thoroughly charmed collectors visiting cabinet, all in very good condition. $10,000. Gordon Ireland, 1010 our collection. Finish is original and in very good condition, the ivories Clay St., Ashland, OR 97520. (503) 482-2215. are almost perfect. Ampico and piano action are rebuilt. Plate and piano interior refinished and new strings. Matching bench. $12,500. STROUD 5 Ft. DUO-ART GRAND, mahogany case. Call for more details; Also Mason & Hamlin Ampico "B", 100% Unrestored $2,400, restored $6,000. Also player uprights, restored original and unrestored, 5'8", RA41111 , $12,000. Last, a Louis XV and unrestored. Nicholas Fiscina, 20-17 Jackson Ave., West Islip, Mason & Hamlin Ampico "8", 5'8", walnut, unrestored. Bob Taylor, NY 11795. (516) 661-9270. 2508 Cimarron Dr., Columbia, MO 65203. (314) 875-6111. 1929 MASON & HAMLIN AMPICO "B". Aorentine art case, OLD PIANO ROLLS for sale, over 40,000 rolls in stock, also sheet highly figured walnut, original ivories, fully restored, many rolls in­ music. Catalogues available. We buy collections of sheet music and cluded, $22,500. Jim Blanchard, 2203 W. Third St., Pecos, TX. rolls. Ragtimes, Box 367, Port Washington, NY 11050. (915) 445-5150 or 2800. GASKETS by Phone - Pay After Delivery. Duo-Art Cross Valve, NEW AEOLIAN DUO-ART ROLL CATALOG. Complete Ampico NAmphion (vertical slots), Ampico A & B (diagonal holes), listings of U.S. and British issues by artist (with notes), composer, Simplex Gulbransen, Aeolian: $18.5O/Set. Pouches 1-7/16, 1-5/8: number and title. Hardbound, 325 pages with dust cover. $40.00 $23.50/Set. Lifter Discs, Duo-art Expression Gaskets: $2.00/Set. plus $2.00 postage and handling ($4.00 outside U.S., surface mail). (313) 751-8055. Call after 11 pm (your time) or weekends to save Order from author Charles Smith, 625 S. Myrtle Ave., Monrovia, money. State name, address, parts needed, and conventional or over­ CA 91016. night shipment. Send check to Fullsound, Box 1875, Pontiac, MI NICKELODEONS (2) build-ups, coin op, "N roll, leaded glass, 48056. box pump, mandolin bar. Rebuilt in and out, choice condition. (1) VHS VIDEOS of the first MBSI-AMICA Convention in St. Paul.­ $4,000, (1) $4,600. or make offer. Tony Misiano, Mass. (317) Also available: 12th Annual Band Organ Rally in Columbus, Ohio.' 233-1851. $20.00 each. Please specify St. Paul or Columbus Rallies. Buzz Rosa, One UPRIGHT STECK DUO-ART and one UPRIGHT 474 Jefferson Ave., Brentwood, NY 11717. FISHER AMPICO. Every pneumatic, valve, pouch, etc. rebuilt 1926 BREWSTER MARQUE-AMPICO UPRIGHT, Serial on both pianos three years ago. Pianos in storage since rebuilding. 186871, instrument complete, original, unrestored. Mahogany case, Need to make storage room. $1,500 each. J. M. Seamans, 13718 keyboard intact, excellent condition. Also 1912 Weber Themodist Apple Tree, Houston, TX 77079. (713) 465-6189. Upright Pumper, serial 67492, Tracker bar for 88 & 65 note rolls, PHONOGRAPH, MUSIC BOX, AUTOMATED INSTRU­ mahogany case, keyboard original, excellent condition, style 56-8. MENT SHOW. Cranford, New Jersey, Sunday, April 24, Best $900.00. Bill Koenigsberg, 77 High Pine Circle, Concord, MA 01742. Western, Exit 136, Garden State Parkway. Records, parts, (617) 369-8523. memorabilia, repairs. World's largest one-day show of its kind. Lynn DUO-ART ROLLS, lot of 90, best condition, famous pianists, Bilton (216) 758-5001. cut around 1936. Delivered export packaged, local aircargo, against Two Oak HEXAPHONES, models 103 & 104, 15Y2" oak table payment, bank references. Write: G. Solomon, Apartado 310, 5 Santiago, Dominican Republic, W.I. model Regina, 14" table model Stella, 8V2" Regina, 7 / 8" Symphonium, Link "E" Keyboard with xylophone, Clam Shell Mutoscope, original ROLLS & INSTRUMENTS: 20 Wurlitzer #150 Band Organ Ampico rolls, "Mint", $8.50 each or 100rolls - random titles $450.00. original rolls $500; Mortier Dance Organ, 84-key, 350 pipes, 15' wide, Bill Toth, P.O. Box 533, Dana Point, CA 92629. (714) 496-2772. exc. cond., $35,000; 35 Apollo Concert Grand rolls $280; Red Welte cabinet-styled piano, oak, unrest. (encyl pg 333) $2,900; 20 solo WEBER DUO-ART UPRIGHT, rebuilt, approximately 100 Apollo rolls $160; Western Electric Mascot (Model C) Nickelodeon, choice rolls, $2,500. Franklin Ampico upright, rebuilt, 25 rolls, restored, oak (encyl pg 658) $6,500; 2 Estey Pipe Organ rolls $30; $1,350. Welte Residence Organ playing Wurlitzer 165 band organ European Orchestrion, Phillips Voline, oak, choice restored (pg 574 rolls, full percussion, excellent condition, $7,900. $2.00 (refundable) of encyl) $29,000; 5 Wilcox & White Artistyle Angelus 65-note Piano for photos of above instruments. Timothy E. Westman, RD #2, Box rolls $40; Peerless Nickelodeon, Style "0" (encyl pg 555) $6,000; 275, Woodsville, NH 03785. (603) 747-3758. 105 Art Echo rolls $1,050; Hupfeld Animatic Phonolitz European Reproducing Player Piano/nickelodeon, oak, restored, $3,900; 6 Used 88· Note Player Piano Rolls, reasonably priced. Some Wurlitzer Theater Orchestra rolls $210; Bremond Cylinder Music classical numbers. Send stamp for new list. Robert Purdie, 8119 Box, rare, has 17 brass flute & piccolo pipes in full view plus 13 Braes River, Houston, TX 77074. organ reeds, 4-tune, 11" cylinder, choice condition $14,000; 22------­ MASON & HAMLIN AMPICO "B" aeolian parlor grand Cecilian Farrand piano rolls $110; Wurlitzer 150 Band Organ; restored, chOice, $35,000; 6 Peerless Nickelodeon "D" endless rolls Reproducing Player Piano. Perfect condition, great investment. $180; Apollophone (piano w/phonograph) restored $3,900; 27 Serious offers or inquires, write P.O. Box 160383, San Antonio, TX Angelus Symphony Wilcox White Organ rolls $324, Wayne Ed­ 78280-2583. monston, 2177 Bishop Estates Rd., Jacksonville, FL 32223. (904) 287-5996. -32- For Sale continued -

PIANO ROLL AUCTIONS. Since 1970, we've been conducting monthly auctions of vintage reproducing and 88-note rolls. We also ~' issue re-cuts of all types of rolls and produce our own exclusive original FOR SALE rolls of classic jazz and ragtime performances. We now serve many AMICAns, so won't you give us a try for your roll needs? Mike & Fred Schwimmer, Box 145, Hubbard Woods, IL 60093. SteinwaylWelte HUPFELD HEllOS KEYBOARD ORCHESTRION. Featured in Bowers Encyclopedia; most complete instrumentation Reproducer Grand Piano of its type, includes violin, cello, clarinet & lotos flute pipes, accor­ dion, snare and bass drums, orchestra bells, cymbal, expression piano, six roll changer. Complete in all respects, excellent condition, com­ Hamburg built, serial No. 22531, plete with 80 rolls - $28,500.00. Also Regina 27" 1899 changer with 14 discs, oak case, plays well, - $10, 950.00. John Armstrong, 911 black ebony, & three legs with bench, 6th Ave., Ft. Worth, Texas 76104 (817) 332-1945 days or 927-5988 external vacuum pump, nights. and approx. 270 red rolls. AUCTION - PIANO ROLLS, reproducing, 88-note, organ, records, sheet music. Send name & address to: Larry Norman, 17700 Avalon Blvd., No. 295, Carson, CA 90746. Call or write Robert Brost. WANTED 51 Skyline Terrace, Mill Valley, CA 94941 SEEBURG MORTUARY ORGAN BWWER. Other suitable blowers considered Also want MO tracker bar. Stan Rhine, Box 3943, Phone (415) 381-2915. Albuquerque, NM (505) 268-1365. 15~" REGINA MUSIC BOX WANTED. Any condition. Also want large cylinder music box with interchangeable cylinders. Arnold Levin, 2634 Woodlawn Road, Northbrook, IL 60062. (312) 564-1587. MILLS VIOLANO VIRTUOSO in good playing condition. Ken Rosen, 10447 Danube Ave., Granada Hills, CA 91344. (818) .= 891-5250 or 7210. WANTED ROLLS, for: Aeolian pipe organ (116 note), Aeolian AMICA ITEMS FOR SALE Grand, other organs. Duo-Art piano, 65-note piano. Have some to trade. Also want organ roll player, ranks suitable for Aeolian residence AMICA BULLETINS, BOUND ISSUES: 1971, 1972, organ and toy counter. Howard Towlson, 3661 Cold Springs Rd., 1973 bound Bulletins at $15 each. 1974, 1975, 1976, 1977, 1978,1979,198OboundBulIetinsat$18each.1981,1982,1983 Baldwinsville, NY 13027. (315) 622-3326. bound Bulletins at $21 each. 1984, 1985 and 1986 bound DICS AND CYLINDER MUSIC BOXES WANTED. Also Bulletins at $24 each. PRICES INCLUDE POSTAGE AND HANDLING. Spiral bound to lie flat. Send order to Mary Lilien, music box parts, discs, or anything music box related. Top prices 460 Olympiad Dr., Los Angles, CA 90043. paid. Arnold Levin, 2634 Woodlawn Road, Northbrook, IL 60062. (312) 564-1587. AMICA TECHNICALITIES BOOKS: Volume I ...... (1969·1971), $9.50 postpaid ROLLS: Any and all types including Red Welte, Pianino, Welte Volume" ...... (1972-1974), $7.50 postpaid Volume III ...... (1975-1977), $8.50 postpaid Licensee, Duo-Art, Ampico, Nickelodeon, Orchestrion, Band Organ, Volume IV ...... (1978-1980), $6.50 postpaid MSR, Mills Violano, Pipe Organ, Aeolian Orchestrelle, etc. No quan­ Reprints of interesting technical articles which have appeared in tity too large. Wayne Edmonston, 2177 Bishop Estates Rd., Jackson­ the AMICA News Bulletin, arranged and indexed into appropriate ville, FL 32223. (904) 287-5996. categories. Brian Meeder, 1206 Miramonte Dr., Santa Barbara, CA 93109. 11W' rolls. Dick Price, 227 W. Vorsetzer for Welte Licensee, Roll Leaders: Duo-Art, AMPICO and Welte: Excellent replicas. Lafayette Ave., Baltimore, Maryland 21217. (301) 523-7722. For order form, see mailing cover of Bulletin or write to Brian Meeder, 1206 Miramonte Dr., Santa Barbara, CA 93109. Send Hupfeld Phonoliszt Violina. Premium price paid for right in­ order to Brian. strument. Paul Ciancia, 683 Birchwood Drive, Wyckoff, NJ 07481. (201) 891-6842 eves. AMICA STATIONERY: $3.50 (letter size), $3.20 (note size), including mailing charges. Fine Quality stationery with ornate MUSIC BOXES WANTED. BUying disc and cylinder music AMICA borders. Each packet contains 25 letters and matching boxes, monkey organs, unusual organettes, musical clocks & envelopes. Send orders to Tim Passinault, 105 Hemlock St., watches, mechanical birds, automata, etc. Martin Roenigk, 26 Bar­ Munising, Ml 49862. ton Hill, East Hampton, CT 06424. (203) 267-8682. AMICA STERLING SILVER PINS: $8.00 each, postpaid. Very attractive on your lapel or dress. Send orders to Tim Passinault, 105 Hemlock St., Munising, MI 49862. Please make ALL CHECKS payable' to AMICA INTERNATIONAL

-33- -WANTED-

Steinway "OR" Pedal Grand 88 Note Player Piano.

- Also Wanted - 88 Note Rolls of Classical Music and Waltzes.

Please send description with price to: Danilo Konvalinka P. 0. Box 604 Wiscasset, ME 04578 Telephone 207-882-7163 or 409-763-5088 (December . March)

I I i-.' UNUSUAL ODDITIES

"'"

Organ pipe facade, Mission style quarter-sawn golden Theremin RCA with original model 100 speaker. Very oak, circa 1930; oak weave lattice on both sides of limited number made during 1930. Plays by waving your unvoiced pipes. 12' x 12' as pictured or 8' x 12' without arms through the air. Scareysoundsguaranteed to send the mantle. Outstanding museum quality. $5700. your neighbors dog into heat. Extremely rare. $2500. ALSO RARITIES • Ukelin, bow playing ukulele. Good condition, original box - $250. 1:-"":--:-" • Concertone coin operated nightstand radio - $250. Deane Fehrman 1490 Overhill Rd. • Golden, CO 80401 • (303) 233-7795 DELNERY POSSIBLE

-34- 9/Ja1Jid f!76offl/a~ f!JloJ()ItI~ J Roberto Clemente (..J flJ,IJHJ0ftaI6d ullu~ieal INteRNatioNal Jteffl/oltial) ORGAN LEA'CHERS is available from ARTCRAFT Music Rolls ~~ Roberto Clemente, the sensitive and moving Leathers Ragtime tribute to the humanitarian ballplayer, utifitin9 the same t:amla9in9 is available from ARTCRAFT as a significant process used since the earlY 1800's Interpretive Arrangement. Treat yourself to this 1979 musical masterpiece, featuring "live" • Lowest prices in the country automatic pedal and expression annotations. • 1 Day sliippiJ19 New ARTCRAFT Cassette: tt KING of RAGTIME"! Send $9.95 for ARTCRAFT Cassette No. 1305, KING lN1eRNatioNal of RAGTIME - featuring 60-minutes of Interpretive Arrangements (all ARTCRAFT Rolls) performed by L. ORGAN LEA'CHERS Douglas Henderson at the AR Steinway Duo-Art, using 1222 East Soutft. Su~ct the "Pianola" controls. Great listening! Add $1.50 for SOl/VI Bend, Indiana 46615 shipping 1-4 Cassettes via domestic First Class Mail. (219) 234-8831 ARTCRAFT Music Rolls and Recordings PO Box 295, Wiscasset, Maine 04578 U.S.A. Telephone: (207) 882-7420 for orders, Cats., and Info.

IRVING BERLIN ROLL PROJECT A year has passed since my 1st custom roll project (Halley's Comet Rag) and I now find myself anxious to produce another unusual and historically significant piano roll that can be attributed to our wonderful organization. Also this roll project will be very appropriate as Irving Berlin, one of America's most brilliant song writers, is celebrating his lOOth birthday ! What I am trying to organize is a long playing custom roll consisting of 3 movie music scores, 2 from "White Christmas" and 1 from "Holiday Inn", I might add, however, these are not seasonal or holiday songs as the movie title in which they appear might suggest. "Be Careful, It's My Heart" sung by the immortal Bing Crosby in "Holiday Inn" was written in 1942. This one-of­ a-kind song, I feel, is one of the most beautiful scores Berlin ever wrote. The 2nd song, "Love, You Didn't Do Right By Me" was sung by the great Rosemary Clooney in the movie "White Christmas". Written in 1953, this very unique and beautiful song has a style all ofit's own, somewhat haunting in nature, which I'm sure will be everyones favorite. Last but not least is the comical song "Sisters", Written in 1953 for "White Christmas" and sung by Rosemary Clooney and Vera Ellen, this song was used in a sisters act they performed in a night club. Later this same song was used in a mimical routine for Danny Kaye and Bing Crosby dressed in drag. If you've never seen it, you really missed something! I am offering an audio (cassette) tape to borrow if you are not familar with the songs in question. Just send me your request! I am sure you all will agree this would be a highly desirable roll considering the vast styles contained within. In a recent letter from Ramsi Tick, President of QRS Music rolls, he graciously accepted to take on our unique roll project and has also offered it to us at an almost unheard of price, considering it is a custom roll; however we must take a minimum of 32 rolls with words. I stress the fact that these will be not only historically significant but also a valuable addition to your roll collection for the future, as this will be a limited edition of only 32. What I ask of you, is to write to me at the address below and remit your check in the amount of $20.00 for each roll, this includes postage and packaging. I will hold all monies until our goal is met. Ifit is not, I will be more than happy to return your checks. I will set a deadline of March 5th, 1988. Let's all get together and celebrate the 100th birthday of one of Americas' greats, Irving Berlin! ..~ AMlCA'bly Tim Passinault 105 Hemlock Street Munising, Michigan 49862

-35- The Ampico Reproducing Piano

The Barden Interviews: - Adam Carroll THE AMPICQ Reproducing - Emse Dawson Piano - Clarence Hickman - Angelico Valerio

The Hickman Diaries 1925-1928

Forthe first time the collector/enthusiast ofAmpico reproducingpianos finds in one book the fascinating interviews con­ ,- . ducted by Nelson Barden in 1959 of ... ~:.- four ofthe leading piano roll artists who recorded during the golden years of the Ampico. Also included are the complete diaries of Clarence Hickman, inventor of the Ampico mechanism. Edited by Richard Howe, this book is 316 pages in length measures 81/2" x 11 ", and has dozens of Hickman's original illustrations. This remarkable book is limited to 500 copies and is a must for serious students of musical history and for all who enjoy the Ampico reproducing piano. A must reference book. To order send a check for $20.00 + $2.00 shipping to Musical Box Society, c/o Angelo Rullt Editor, 1300 E. Third St., St. Paul, MN 55106.

>u~ >I~ M~ >l1C ~ F~ M-, BROUGHER RESTORATIONS ~ BROADMOORE AUTOMATIC ~ Reproducers, Nickelodeons INSTRUMENT RESTORATIONS and Fine Grand Pianos COMPLETE RESTORATION Restoration of orchestrions ~ and reproducing pianos ~ FACILITIES our specialty. OWNER OPERATED ~~.~ ~ Finest materials used. ~ 20 years of experience in each related field of restoration. ~l "Each part is treated as the most important part in the machine." CASE AND VENEER REPAIRS I ~ We are authorities on authenticity. FINEST HAND-RUBBED MIRROR FINISHES OR SATIN FINISHES AVAILABLE Prices of restoration vary according to the grade of VOICING AND lONE SPECIALIST work you select - from "Excellent" to "Perfect." Concert Quality Regulation No trade secrets - we will gladly discuss procedures ! Lowest Prices, Known References, thoroughly with any customer. Guaranteed Work. ~ 21 years experience - only the worlds finest known grades of materials are used. n references proudly given upon request. They are always fresh and continually checked.

Hot glue and original materials used throughout U Laurence Broadmoore, Owner .~, wherever possible 1709 "C" First 51. ~ Craig Brougher ~ n San Fernando, CA 91340 3500 Claremont Independence, MO (816) 254-1693 64052 U 818/365-6231

balC H oa- oak II :-Ji~ -r ij -36- AMR P.O. BOX 3007 ARLlt\IGTON, WA 98223 PHONE (206) 659-6434 VISA and MASTERCARD orders accepted by mail or phone Add $2.50 shipping for any number of books. Overseas and Canada add $3.50 for shipping. •UKEBDXBDDKS You may send for our catalog listing over 350 jukebox books, W service manuals for jukeboxes, radio and phonograph books,ete Our other catalog lists publications for player pianos, etc.

SEEBURG JUKEBOXES 1928-1987 by Frank Adams WURLITZER JUKEBOXES 138 pages. 1927, Seeburg produced their ROCK-OlA JUKEBOXES last nickelodeon and tooled up for their first 1935-1987 by Frank Adams 1934-74 and other nice things. jukebox. This is the long 60 year pictorial Volume I byFrank Adams presentation of this transition from a pneumatic 170 pages. The first few pages cover the operated jUkebox to the current laser presenta­ pre-jukebox era before 1935. After seeing this This quality book of 246 pages has photos tion. Includes a first hand report from a former volume, the response from the Rock·Ola firm of all yearly model jukeboxes produced by Wur­ employee who began his career with Seeburg in was "It's excellent, you have information and litzer during this 40 year span of American 193B and 40 years later retired from this firm. photos in this book that we do not have." ­ production. Specifications, remote equipment Printed on enamel stock. Special quality vinyl and then they ordered a box of the books. (wall boxes, speakers, etc). new model announce­ covers on this spiral bound volume. ISBN-O· 8Y. by 11 inches, spiral bound with special ments, related news articles frqm the era and 939971-07-0. DELUXE EDITION. quality covers.ISBN-G-939971-17-8. much other information. Many libraries use this Order No. R-450 $24.50 book as the reference sourc;e on Wurlitzer juke­ R-400 $24.50 boxes. Over 1000 publications were researched by Dr. Adams in gathering the data for this vol- , Spiral bound, 8Y. by 11 inches, paperback. .'~-0-913599-43-3. See Special Offer. R-232 $14.95 RHINO RECORDS PRESENTS Rhino records has recently received a national award for excelIence in the manufacture of these records!!

"...... 78RPM. t.. jiJi(E"BOX:~X"~'':'CZ ..... ·'Ii':·';cs·. ".' Eachasset comess with pre-printed title strips. THE FIRST AND ONLY AUTHORIZED FROM THE ORIGINAL MASTER TAPES 78 RPM ROCK AND ROLL SET EVERLY BROTHERS BYE BYE LOVE WAKE UP UTILE SUSIE 25 10-INCH RECORDS IN A DELUXE ALL I HAVE TO DO IS DREAM THE OLYMPICS WESTERN MOVIES 50 SONG BOX SET FRANKIE AVALON VENUS BETTY EVERm SHOOP SHOOP SONG VOLUME I RITCHIE VALENS LA BAMBA DONNA Regular Price $125.00 -- AMR C'MON LETS GO BOBBY DAY ROCKIN' ROBIN WURLITZER JUKEBOXES bargain price is $115.00 LlL' BITIY PREllY ONE Add $ 3.50 shipping for 4th class mail or JERRY LEE LEWIS WHOLE LOTIA SHAKIN' Volume II. More from before 74 $9.50 for 1st class mail. GREAT BALLS OF FIRE CARL PERKINS BLUE SUEDE SHOES and those that came after BOBBY LEWIS TOSSIN' & TURNIN' by Frank Adams AMR Order No. R-407 $115.00 JIVE FIVE MY TRUE STORY THE SPANIELS GOODNIGHT SWEETHEART 16B pages. The fi rst 63 pages give the con­ ONE FREE 1988 JUKEBOX THE DEUS OH WHAT A NIGHT tents, production statistics and covers primarily CALENDAR (value $8.95) with THE IMPRESSIONS FOR YOUR PRECIOUS LOVE the 1940-50 era, with a few pages on up to each set of records. THE ELODRADOS KNOCKIN' AT MY FRONT DOOR 1974. Several photos from brochures of the era THE CHDRDmES MR. SANDMAN LOLUPOP are in full color. Includes photos of the yearly JOHNNY CASH I WALK THE LINE THE TEDDY BEARS TO KNOW HIM IS TO LOVE HIM model Wurlitzer jukeboxes produced in West GENE CHANDLeR DUKE OF EARL WILBERT HARRISON KANSAS CITY Germany from 1975 throUgh 1984. along with UDYD PRICE STAGGER LEE PHIL PHIWPS SEA OF LOVE '~ifications on each. Printed on 100 lb. enamel DON & JUAN WHATS YOUR NAME ROSIE & THE ORIGINALS ANGEL BABY .k. The full color covers are IlImlnated in DEL VIKINGS COME GO WITH ME GLADYS NIGHT EVERY BEAT OF MY HEART heavy duty 10 mil plastic. ISBN-Q-913599-5D-6. WHISPERING BELLS DEL SHANNON RUNAWAY JOHNNY PRESTON RUNNING BEAR HATS OFF TO LARRY See Special Offer. R-295 $14.95 JAN & DEAN BABY TALK UTTU CAESAR THOSE OLDIES BUT GOODIES DION & THE BElMONTS TEENAGER IN LOY~ FREDDIE CANNON PALLISADES PARK SPECIAL OFFER. Save $4.90 THE WANOERER DEE CLARK RAINDROPS Purchase both Wurlitzer books R-232 RUNAROUND SUE HEY LmLE GIRL and R-295. THE MYSTICS HUSHABYE MARATHONS PEANUT BUTIER Order R-232A $25.00 THE CHIFFONS ONE FINE DAY JERRY BUTLER HE WILL BREAK YOUR HEART HE'S SO FINE THE DIXIE CUPS CHAPEL OF LOVE Contributed by Richard J. Howe The Literary Digest for March 17, 1917

TWO INTERPRETATIONS of the SAME MASTERPIECE Of these two Ampico rolls, one is Brockway's , rendering of Liszt's Liebestraum and the other is " Ornstein's interpretation of the same work. Both rolls are played and approved by the artists .themselves. Notice the difference, both in the note perforations and in the side perforations which de­ termine 'the intensity. Notice also the difference in the tempo of the first four measures. ~ . Each is a thoroughly delightfUl performance of the work-as satisfying artistically when played on the Ampico as if the artist performed in person. And they are as different as one could well imagine. Brockway's is the traditional interpretation of the piece while Ornstein's interpretation is new and original. That the Ampico accurately reproduces the playi~g of the artist has been .proved again and again by the public "comparison concerts" in which the Ampico actually encored the interpretations of Godowsky Ornstein, Adler and other celebrated artists. Write for catalogue and further information. The Ampico may be had in the world's oldest and best pianos: ,he Knabe (1837), Haines Bros. (1853), Marshall and Wendell (1836) and the renowned Chickering (1823)' THE AMERICAN PIANO COMPANY 437 Fi/th A'Venue, New York

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