AMICA

AUTOIVIATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION OFFICERS INTERNATIONAL OFFICERS CHAPTER OFFICERS

PRESIDENT NO, CALI FORNIA Bob Rosencrans Pres.: Howard Koff 36 Hampden Rd. Vice Pres.: Phil McCoy Upper Darby. PA 19082 Sec.: Dick Reutlinger Treas.: Bill Wherry VICE PRESIDENT Reporter: Stuart Hunter Richard Drewniak 191 Capen Blvd. SO. CALI FORNIA AMICA MEMBERSHIP RATES: Amherst, NY 14226 Pres,: Prentiss Knowlton Vice Pres.: Elliott N. Lacy Continuing Members: $ IS Dues SECRETARY Sec.: Evelyn Meeder New Members, add $S processing fee Isadora Kolt Treas.: Lewis Troffer 2141 Oeodara Dr. Reporter: Bill Toeppe Lapsed Members, add $3 processing fee Los Altos, CA 94022 TEXAS BULLETIN Pres.: Tony Palmer Tom Beckett . Vice Pres.: James Guinn 6817 Cliffbrook Sec/Treas.: Haden Vandiver Dallas, TX 75240 Reporter: Dick Barnes TH E AMICA NEWS BULLETIN MEMBERSHIP SECRETARY MIDWEST (New membershi ps and Pres.: Milton Cooperman mailing problems) Vice Pres.: Jim Prendergast Anita Nickels Johnson Sec./Treas.: Jim & Sue Worgull Published by the Automatic MUSical Instrument Collectors' p, O. Box 666 Reporter: Molly Yeckley Association, a non-pro.flt clUb devoted to the restoration, distribu­ Grand Junc tion, CO 81501 tion and enjoyment of mUSical Instruments uSing perforated paper PHILADELPHIA AREA musIc rolls. TREASURER Pres: Donald Wood Contributions; All subjects of Interest to readers of the bulletin Jack & Mary Riffle Vice Pres,: Larry Cornell are encouraged and Invited by the publisher. All articles must be 5050 Eastside Calpella Rd. Sec.: Barbara Macartney received by the 10th of the precedin9 month. Every attempt woll be Ukiah, CA 95482 Treas.: Doris Berry made to publish all articles of general Interest to AM ICA members Reporter: Dick Merrill at the earliest pOSSible time and at the discretion of the publisher. BOARD REPRESENTATIVES N. Cal: Frank Loob SOWNY (So. Ontario, West NY ADVERTISING S. Cal: Dick Ri99 Pres.: Stan Aldridge Line ad rate: 8'1 per word, $1.20 minimum. Texas: Steve Chapman Vice Pres.: Chuck Hannen Page rate: $12.50 per quarter page or multiple thereof. Phil.: Larry Cornell Sec,: Janet Drewniak Ad copy will be typeset (at additional cost) only If requested. Midwest: Jim Weisenborne Treas.: Tom Zorn Each phot09raph or half·tone, $5.00 SOWNY: Dave Gaudieri Reporter: Jim Brewer Rky. Mt.:Toni Hart Camera.ready copy that IS oversized or unde()lzed will be New Jer.: Dan Schacher ROCKY MOUNTAIN changed to correCt sIze at your cost. Pres.: Robert Moore Camera.ready copy must reach the Publisher by the 10th of COMMITTEES Sec.: Sharon Paetzold the preceedlng month. Technical Treas.: Carl Paetzold Cash must accompany order. Typeseltlng or size alteration Me IL uchetti Reporter: James Bratton charges will be billed separately. Make checks payable to 3449 Mauricia Ave. AMICA INTERNATIONAL. Santa Clara. CA 95051 NEW JERSEY Pres.: Peter Brown All ads will appear on the last pages of the BULLETIN, at the Vice Pres.: discretion of the publisher. Honorary Members Alf, E. Werolin Sec.: Joan Chase Treas.: 2230 Oakdale Rd. Publication of bUSIness advertisln9 In no way Implies AMICA's Reporter: endorsement of any commercial operation. However, AMICA reo Hillsborough, CA 94010 serves the fight to refuse any ad that is not in keeping w,th AMfCA's general standards or If complaints are received Indicating that said bUSiness does not serve the best Interests of the members of AMICA, according to ItS goals and by-laws.

AMICA Stationery, $3.20 (letter SIZe), $1.75 AMICA ITEMS AMICA TECHNICALITIES BOOKS: Volume I (note size). including mailing charges. Fine (1969-1971). $5.50 postpaid; Volume II (1972­ FOR SALE Quality stationery with ornate AMICA borders. 19741. $7.50 postpaid; or order both sets for AMICA BULLETINS, BOUND ISSUES: 1969. $12.50 postpaid. Reprints of interesting technl' Each packet contains 25 JeUers and matching $9; 1971, $15; 1972, $15; 1973. $15; 1974 envelopes. Send orders to Robert Lemon, 4560 calities articles which have appeared in the unbound sets. $15; 1974 bound sets, $18; AMICA Bulletin. arranged and indexed into Green Tree Drive, Sacramento, CA 94823. 1975 bound, $18; 1976 bound. $18, PRICES appropriate categories. spiral bound to lie flat. INCLUDE POSTAGE AND HANDLING. Spiral "They All Laughed When I Sat Down At The Send orders to Howard Koff. 2141 Deodara bound to Ioe flat. Send to Mary Lllien. 4260 Piano, But When IT Began To Play ..." Drive. Los Altos. CA 94022. Olympiad Drive, Los Angeles. CA 90043_ This sound and color super·8 movie, produced ROLL LEADERS: DUO-ART, Authentic. For AMICA Sterling Silver Pins, $4.25, including by AMICA members, is again available for loan order sheet, see the April, 1973 Bulletin. Nick mailing charges. Lapel pin or tie tack with to AMICA members and chapters. For more Jarrett, 3622 . 21 st Street, San Francisco, CA AM ICA design. Order from Robert Lemon, information write {o Howard Koff, 2141 94114. 4560 Green Tree Drive, Sacramento, CA 94B23. Oeodara Drive, Los Altos, CA 94022. Jnfernafional JlcJK'JBJl

While many plans are still tentative, Program '77 CONVENTION PROGRAM TAKES SHAPE Chairman Gar Britten has made firm arrangements for a visit to the gorgeous Jackling Estate in Woodside, BY LLOYD B. EGENES owned by Mr. and Mrs, Robert Lloyd. This excursion some 30 miles south of San Francisco will be on Sat­ The 1977 Convention of AMICA will be held in San urday, September 3rd. There members will enjoy a Francisco on September 1 through 5, 1977, and plans performance on the four manual, fifty-six rank are taking shape for much music and fun, according to Sally Lawrence, Convention Chairman. Convention Kilgen Reproducing Pipe Organ, which is one of the largest reproducing pipe organs west of the Missis­ headquarters is the Hotel San Franciscan at 1231 sippi. It was installed in 1938 in a "live" room Market Street 94103 (415/626-8000), where convention registration will be held from 12-5 p.m. on Thursday, some twenty-five feet wide, seventy feet long, with September 1st. Special rates have been obtained a fourteen foot ceiling. It has two reproducing players - an Aeolian Duo-Art and a Kilgen Dual Con­ from the hotel and are $23 single, $27 double~ $32 triple, and $37 family. trol. The organ has been restored and maintained by Jim Crank, and the Duo-Art was restored by Mel After the registration, all are invited to member Luchetti. It is a truly remarkable automatic musical Dick Reutlinger's marvelous restored Victorian home, instrument! which is a treat in itself, but of special in­ terest to AMICA members for his collection of re­ Later that Saturday afternoon, partIcIpants will producing pianos and photoplayers. visit Ralston Hall, the baronial 1860 Italian villa­ style residence of one of California's most famous men, William Chapman Ralston. It is an rimazing 80 room mansion including a lavish mirrored ballroom, inlaid floors of the finest craftsmanship, great wheel-like crystal chandeliers, and sterling silver hardware from the Comstock Lode.

The convention commettee is working on other and equally interesting events which will be announced when firm commitments are made . • NOVEMBER MAIL BOARD RESULTS ISADORA KOFF - SECRETARY From the November 1975 mail Board meeting the fol­ lowing motions were passed:

1. To grant a charter to the New Jersey Chapter. 2. To approve the expenditure of approximately $500 for 2000 new club publ icity brochures - final layout to be approved by the Board. 3. To approve the expenditure of $160 for 2000 printed mailing envelopes (including return ad­ dress, change of address form and "short form" membership application) for use by the Membership Secretary and Publisher. 4. To approve Joe Gold as an Honorary Member. 5. To approve the expenditure of approximately $200 The 824 Grove street home of Dick Reut1inger. to print covers, collate and bind 100 1976 Bulletin sets to be sold for $18 each postpaid.

INDEX INTERNATIONAL·AMICA 53 HONORARY MEMBER PASSES AWAY International Board Meeting 54 Winnipeg News 58 Word has just been received that Amica honorary Honorary Members 61 member EMSE DAWSON, died a short time ago. Ms. AMICA FORUM 62 Dawson was married (married name: Valerio) and re­ INSTRUMENTS 64 sided in Manhatten. She was a recording artist for ROLLS & MUSIC 67 both the Ampico and Duo-Art. NORTHERN CALIFORNIA 69 BIOGRAPHICAL SKETCHES 72 Ms. Dawson and her husband were both editors at the TECHNICALITIES 74 Ampico Recording Studio until it went out of busi­ ness. There were five editors in all. The dynamics - 53 - Jnfernafional JlJ&J(8Jl

The members of the Board began arriving in Dallas on of a recording artist's performance were electrical­ Friday evening and gathered at the Becketts' before ly recorded on a separate sheet from the roll con­ noon on Saturday. Carole announced a "light lunch" taining the note holes. This information was trans­ and we were greeted with large, beautifully arranged ferred mechanically to the music roll and an editor trays of every type of delectable sandwich meats and then molded them into a finished performance. We cheeses imaginable along with various breads, chips, are told that this required great artistry and that Ms. Dawson was considered an outstanding editor because she was such a gifted pianist herself.

Amicans wil 1 miss this fine honorary w.ember but her memory will always be wit~ us through her ski llful editing of many Ampico recordings. AEW

NOMINATING COMMITTEE The nominating committee for the nominations of club officers to be elected at the Annual meeting in September has been formed. Temporary chairman will be Anita N. Johnson and the other six members are Howard Koff, Frank Loob, Molly Yeckley, Joan Chase, Don Wood and Tom Beckett.

The only position at this time known to be filled is that of Publisher - a one year term. All other officers will be beginning the second year of their two-year terms starting with the Annual Meeting. Anita Johnson, Bill and Jo Eicher enjoy a little ... lunch before the meeting begins •

INTERNATIONAL BOARD ENJOYS dips and all other nice things that make eating such TEXAS HOSPITALITY a pleasure. Right around one thirty or so after all had eaten and renewed old friendships, the business BY nICK BARNES meeting was announced. I have noticed, on occasion, that many situations in life compare to titles of The first meeting of the Board of Directors of AMICA popular songs and the song for this occasion looked International in 1977 was held in Dallas, Texas on as if it might be "There'll be a Hot Time in the Old February 19 at the home of Tom and Carole Beckett. Town Tonight." But more light than heat was soon The ordinarily good Texas weather was especially nice generated and about seven thirty that evening the this weekend. In fact, it was more like April than supper break was announced. February.

Frank Loob, Bob Rosencrans, Dick Barnes, Howie and Dick Barnes providing live music during dinner hour Isadora Koff renewing acquaintances and old memories. under the watchful eye of Isadora Koff.

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About eleven the following morning, everyone met at the home of Charlie Johnson for Brunch. Arrivals were greeted with Bloody Marys, Screwdrivers or coffee and at this point one might say, to quote another old song, "A Nightingale Sang in Berkely Square." For Berkely Square is what the records at City Hall say this area is called and the nightingale was Doyle Cassel's Welte-Mignon piano. It played, as all the old Welte ads used to say, with the master's fingers on its keyboard. This was especially notable on Chopin and Debussy where that singing melodic line must lightly soar above a smooth flowing ac­ companimant. One certainly gains respect for Welte

L. to R.: Bill Flynt, Bob Rosencrans, Anita and Steve Johnson.

Carole's broccoli and rice casserole has become one of my favorite things and served along with a beef entree that must have an exotic name, it complimented the salad and vegetables and was topped off by no less than three desserts, plus copious amounts of •. both red and white wine. Co-hosting with the Becketts , for both meals were Amicans Wade and Becky Newton.

Though I think most would have rather relaxed at this point, the business meeting was resumed and about nine thirty or so was closed. Bob Rosencrans playing the Welte. after hearing an instrument perform as this piano did. It is housed in a very attractive case of an art style ornamented with gold and colors and del­ icately painted with floral motifs on the panels above the legs. This is, incidentally, a "Welte Original." It is the model with the drawer rather than the spoolbox above the keys, however.

By now you know the two on the left - that's Frank Loob at the right.

Relaxation was then in order by admiring and listen­ ing to the instruments in the Becketts' fine collec­ tion and gathering in groups where one of the main topics .of discussion was the forthcoming convention L. to R.: Brian Zimmerman, Gene Langkop and Texas in San Francisco. chapter president, Tony Palmer. Jnfernafional cIlJ&Jecll

Brunch proved to be a banquet! The garden room Concert in review (which houses the cars at other times) was very tastefully done in a Spring manner. Tables for the guests were set up surrounding a large center table Long-awaited Dallas recital where the food was arranged buffet style around a huge pot of bright yellow tulips. Fresh pineapple Horowit~ and. papaya cubed were served from hollowed pineapple reaffirms mastery shells followed by an egg and cheese cassercle that By JOHN ARDOIN ness of concept and the bigness of prompted many to ask Charlie for the recipe. Then Mcuk Ed.llor ofTM Htwc sound he brought to the piece. "QuaSi Horowitz returned to DaUas Sunday there were two kinds of miniature sausages, a huge Concerto" It Is titled, and Horowitz was baked ham and real grits and red-eye gravy. The afternoon. If I have to teU you his first orchestra and soloist wrapped up in name or tMt he Is a pianist, don't botb­ one. Welte and Ampico entertained during the meal and er to read any f\lrther. afterwards there was live playing by Doyle Cassel, To !!lany he is TH!,> pianist. Listening THINGS REALLY BEGAN happening our president Bob Rosencrans and Dick Barnes. to' bis bold, intensely rhythmic and with the Chopin B-flat minor Sonata. It stirring !lrand of playing at the Music was played like a inspired improvisa· Hall, bis first recital here in 25 years, I tlon, as though Horowitz was dreaming was reminded of a verdict the Englisb its phrases for the first time and find­ critic Neville Cardus once pronounced ing a voice' for them. And as must be about tbe art of Horowitz. case, his performance centered on the "I consider him to be a greater pian­ third movement FuneraiMarch. It was ist than anyone 'dead or alive,~' wrote given a' wrenchio/performance to Cardus. When this appeared in print, great immensity IlIld greater density. he was swamped with letters demand· I stood apart from the concert in ing that he qUalify this extravagant only two instances. The first, and I bad statement. adjusted to it .by the middle of the Cardus qualified it with pleasure. "I Chopin sonata, was the clangerous consider Horowitz to be a greater pian­ .sound of Horowitz' iJistrument above ist than anyone dead,. alive or as yet forte. I imagine he likes tros piano, unborn." however, for its remarkable abUlty to THESE WORDS KEPT returning to scale down to a pianissimo one feels me during Horowitz' concert, especial­ more than actualiy hears. ly during such glorious moments as his AND THEN THERE was the Chopin playing Of LiSzt' "Sonetto del Petraea A-flat Polonaise. I just didn't under· No. 104," which was a poetic enougb stand what was going on here. Horo­ performance to do credit to Byron. Or a witz couched this heroic piece in ex­ I few minutes later, during the ali·em· tremes of dynamics and eccentric bracing concentration and control lav. phrasing, bringing out crazy inner Ished on two Moments Musicals by his voices Virtually of his own creation. friend Rachmaninoff. Luckily, we were not left with this as As Is usual with HoroWitz, this was the pianist'S parting shot. He returned' not a concert so much as it· was an for four encores, all of them Horowlt­ L. to R.: Frank Loob, Bill Eicher, Isadora and adventure, a journey joyful and at zian specialties: a sonata of Scarlatti, Howie Koff, Tom Beckett and Dick Barnes. times bumpy. I wish I could like the Schumann's "Traumerel, Moszkowskt's Clementi Sonata with which Horowitz "Etincelles" and finally, and most Since Vladimir Horowitz was playing in Dallas that opened bis concert. I certainly respect breathtaking of all, the final move· It as the obVious precursor of Beethov­ ment of Rachmaninoff's B-flat Major afternoon it seemed a fitting way to end a perfect en's C·major Sonata of Op. 2. Sonata. The latter was given a perform. weekend. Ten of us in three cars led by our pub­ But It struck me as musically empty, ance wroch threatened to engulf his lisher headed for Fair Park Music Hall by the scenic and Horowitz' performance as unsta· instrument in flames. It certainly set route (in and out of cul-de-sacs) and arrived ~r ble. Yet, there was no denying the big- the audience on fire! the Fairgrounds in time to shOl~ the out-of-to",,, guests a little of the fine art deco architecture that adorns the permanent grounds of the Texas State Fair. I think all present would agree that Horowitz is a phenomenon and that day played extremely well. Truly a fitting close to a fine weekend.

(Dick modestly failed to mention that he also pro­ vided live "Dinner Music" at the Becketts' pipe organ on Saturday evening as well as assisting with prep­ arations at the Johnson brunch the next morning. TB)

Oatlu Newsst.rr photo by Eli Groelhe, Vladimir Horowitz minus his keyboard.

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WINNIPEG NEWS 1909 Cremona 3 nickelodeon, 1927 Violano Virtuoso, 1925 Seeburg KT orchestrion, 1929 Mason & Risch by Terry Smythe DUO-ART grand, 1897 Poly phon 19 5/8 " disc music box, 1917 Victor" Schoolhouse", 1903 Berliner Last summer, a local large department store, "trademark", 1909 Edison Gem, 1908 Columbia The BAY, heard about our collection, and invited G raphophone, and a 1933 GE cathedral radio. us to put it on display in their main store for one week, as a traffic builder during a period of low sales activity. Alice and I were receptive, and we tentatively agreed upon mid-November. However, as this date drew near, it became ob­ vious that the last thing they needed at this time was a traffic builder, as Christmas sales are normally in full swing by then. So we postponed the appearance to the end of February 1977.

T he Smythe Collection lined up fo r public inspection in front of the elevators of the 3rd floor of The BAY.

A good friend of ours, Harold Braker, is a leading collector of horn phonographs. Through his gener­ osity we were pleased to display a portion of his marvellous collection alongside ours. The com­ The Smythe collection lined up as seen from plete effect was a stunning public display. the elevators on the 3rd floor, surrounded by Ladies Fashions. The first hitch appeared during Monday afternoon when the media representatives failed to arrive. On Monday morning. 21 Feb, we moved our entire We later found out that the invitations had been collection downtown to the 3rd floor of the store. prepared by one person, but another had forgotten By 3:00 P. M., we were set up ready for the media to mail them. An alternate media luncheon was representatives. On display were our 1927 Heintz­ hastily arranged for Wednesday noon, but only 3 man player piano, 1915 Cremona G nickelodeon, reps arrived for this.

Our total media cove rage was about one minute on one local television news, 10 seconds during one local radio news, and one paragraph in one of our local newspapers on the last day of the display. All we really had §,oing for us was a large display ad on the ente rtainment page of both dailie s on Saturday 19 Feb and Wednesday the 23rd.

Alice is quite busy in real estate and was able to be with me only for occasional brief visits, so I was largely alone throughout the show. On Thursday and Friday evenings, and all Saturday, Harold was with me demonstrating his machines alongside ours. t

Our show ran approximately 35 minutes and it star- ted every hour on the hour during all normal busi- Harold Braker demonstrating his Edison Gem. ness hours all week. Surprisingly, only the second - 58 - Jnfernafional JlJEJBJl

day was a long drag. I started each show with some Mason & Risch DUO-ART more than compensated snappy lively old favorite on the Heintzman player for the loss of the KT. We spent many weeks reg­ piano to capture attention, and as this finished ulating it, and throughout the show it performed immediately plunged a nickel into the Cremona G to flawlessly. Needless to say, we were delighted sustain that attention. On this machine, I had a roll with the fine contribution made by this truly mar­ of old ballad favorites to show off the flute pipes vellous instrument. to good advantage.

Following these 2 instruments I made a brief com­ mentary about the history and survival of player pianos and nickelodeons, and then moved on to the Cremona 3. I had loaded this instr~ment with a roll of sparkling ragtime tunes and it was a big hit. The clear windows which allowed people to see the busy machinery at work were appreciated by all.

The Violano was next and as always, it generated the greatest amount of disbelief and interest. I was a little nervous at first because our fully restored instrument has a new set of Mel Locher bows which were not yet broken in properly. However, as the week progressed, the instrument clearly improved daily, and by Saturday it was playing beatifully when we had our biggest crowds. Jon Jensen in the background playing his own Vestal Press Rag on both the Smythe's Cremona 3 and their Heintzman player piano, with the aid of his QRS roll.

On Saturday Afternoon, during the peak crowds, we had a most unusual visit from Jon Jensen, that brilliant young pianist, composer of crackling rag­ time (Vestal Press Rag & Smithsonian Rag among others); and arranger of music rolls for player pianos, band organs, and fairground organs. I asked him if he would try to accompany a music roll. And he said. "Why not, let's give it a whirl! " So one of Symphony colleagues sat down at the Heintzman and pumped through 4 old favorites while Jon got the feel of the experiment. Then we put on his own Vestal Press Rag and the fireworks began. The performance positively sparkled, and Terry Smythe demonstrating his nickelodeons. the enormous crowd which had gathered at that point were given a rare treat. It was so much fun we went through the roll twice. Our fully restored Seeburg KT failed miserably. It was operating beautifully when it went into the The second hitch of the show happened Thursday store one week early for a static preview. By Mon­ during the wee small hours of the morning. Six day, it was playing weakly, and as each day pro­ inches of snow in seven hours! The city nearly gressed, it became more disappointing and embarr­ came to a standstill. I managed to get to the store, asing. When we brought it home on Monday, it was but most employees and almost all the customers totally silent. We don't know what happened, but a stayed home. What a desolate day! theory has been suggested that the incredibly dry air in the store may have contributed to the problem. The BAY wanted us there to generate traffic, and There may be some truth to this, as the instrument we hoped to get leads for othe r instruments. From has started to play again, but weakly, as I write the store's viewpoint, it was only modestly suc­ this three days later. I would be pleased to hear cessful as the weather and lack of press coverage comments on this theory from other AMICAns. took its toll. We got only a few soft leads which we will check out within the next few weeks. How­ However, the superb performance of our restored ever, a very nice elderly lady appeared on the Jnf~rnafional JlcfJrJBJl • I scene and pulled out of her purse a nice 2 tune WINNIPEG FREE PRESS, SATURDAY, FEBRUARY 26,1977 musical snuff box and 'gave it to us as a gift.

This little box is in fine condition, has a black composition base, a firie 72 tooth comb, has the original key, and plays well and loudly on some Night Beat suitable wood surface. Its only identifying marks by are a small ~ under the comb and an FP under Jimmy King the governor, and serial numbered 18506. Can someone help us identify it and its age? We are very pleased with this nice little surprise. In the Bay the other day, I enjoyed a brier visit into the past and the days M silentmo\ies when a piano roll would bt, in<:ludl'd wililthc film arri\'ing at the local theatre and would be playel! un an automatic pianu in sync with the film strip, . wilen the n;ckl'lod.'ull had its place in saloons and restau­ rants before the dd.\'~ uf the juke bux ... and when the player piano was as much a part of home elllertainment as multi­ track slereos arc today. The trip to thuse bygone days was made possible by the displa~' 011 the Bay's third noor this w('ek. The show and demonstration are of the collection uf restored anlumatic ll1usicalinstruments and machines owned by Terry and Alke Smylhe of Winnipeg. The Smythe operation of finding and resloring automatic music mac.hines is one of only three in Canada. To them;a discovery of some rare music box is like a heavy gold strike to a prospeclor. They' restore the machines'i'lto mint condition and seeing and hearing them was interesting lind enjoyable.

thet;ay

Terry ::>mytne aemonStratlng nlS lVlason l\l. Kisch See and Hear the DUO-ART, with Harold Braker's Victor" School­ house" phonograph in the background. :§~~eit?!oX~~' Our last show was at 5:00 P. M., Saturday, and just moments before it started, an elderly man tage' Automatic Musical Instru­ appeared with a friend, both with an old gramophone ments, Feb. 22 - 26 hourly, in their arms, and gave them both to Harold. He 10-5, Thurs. and Fri. 'til 8, 3rd too was pleased with his gift. It almost seemed Floor Downtown. there was something for everybody.

On Friday, it was clearly evident that the show would have been a smashing success with better media coordination and weather cooperation. The store management asked if we would consider doing it again next October. Well, we had so much fun doing this show that our favourable response was a foregone conclusion.

If any other AMICAns are invited to do similar shows, feel free to contact us for more details as to moving, contract, insurance, security, crowd control, program, press coverage, PA system, etc. We'll be pleased to share our experience.

On Monday, the collection was picked up and brought home with no problem. There was no damage, no vandalism, no theft, no pranks, no trouble, only a lot of fun. And it will be bigger and bette r next time.

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HONORARY I~EMBERS OF AMI CA ELMER F. BROOKS, JR. - resides in East Rochester, (LIVING) New York. Presently president of the Aeolian-Amer­ 1~ ican Corp. manufacturer of Masin-Hamlin, Knabe, AS OF MARCH 1977 Chickering, and other makes of fine pianos. BY WILLIAM KNORP AND ALF WEROLIN JULIUS BURGER - resides in Elmhurst, New York. The following 35 celebrated persons, plus one or­ Associated with Metropolitan Opera since 1920's; ganization, have contributed in many important ways made fine four-hand recordings of overtures and to our field of automatic musical instruments. symphonies for Ampico with Milton Suskind; travelled Many are still active and continue to provide plea­ with Ernestine Schumann-Heink, the great contralto, sure and enjoyment to the general public and partic­ as accompanist. ularly to music-loving regular AMICA members. Some of these honorary members have indicated a willing­ JULIUS CHALOFF - resides in Newton, Maine. Founder ness to attend nearby AMICA Chapter meetings, if of Chaloff Piano School in Boston; pupil of great this can be conveniently arranged. Polish pianist Ignaz Friedman; teacher; Ampico re­ cordings include famous "Islamey" by Balakirew (Or­ Honorary members 'are delightful and interesting iental Fantasie). people. They seem to enjoy the opportunity of rem­ iniscing about their experiences and describing ABRAM CHASINS - resides in Los Angeles and New York their current activities to Amicans who love music City. American concert pianist and composer; pupil and the wonderful instruments which bring back such of Hoffman; recorded for Duo-Art; wrote "Speaking fine memories of great performances. of Pianists," an excellent book about some of the great concert pianists. Brief biographies about many of the honorary members have appeared in earlier Bulletins whenever infor­ WILBUR CHENOWETH - resides in Santa Monica, Califor­ mation was available. If you have descriptive ma­ nia. Great American composer, organist and concert terial about any of the individuals listed below pianist; his songs have been performed by well­ which has not appeared previously in the Bulletin, known singers; recorded several of own compositions, please send it in. Especially needed is information and those of others, for the Ampico. regarding those few honoraries for whom we have no t biographical summaries. LYLE DOWNEY - resides in Santa Clara, California. Technician who installed mechanisms in Ampico, Duo­ Finally, if you know the name and address of a re­ Art and Mills Violano instruments; presently head cording artists, or someone who has made a substan­ of Music Department, California State University, tial contribution to our field of interest, please . San Jose, California. let us hear from you. JOHN DUKE - resides in Northampton, Massachusetts. * * * Great Duo-Art and Ampico recording artist (Mac­ Dowell's works); editor in Ampico Recording Lab; PAULINE ALPERT - resides in Bronx, New York. Pop composer of many vocal compositions; presently on pianist par excellence; played on Victor records faculty at Smith College (Professor Emeritus). and for Duo-Art; composer and arranger; her rolls considered superb interpretations. MATILDA LOCUST HART - resides in Los Angeles. Duo­ Art recording artist. LOUIS ALTER - resides in Manhattan. Duo-Art record­ ing artist ("Bye, Bye Blackbird," "We'll Have A CLARENCE N. HICKMAN - resides in Jackson Heights, Kingdom"); composer of popular instrumental com­ New York. Co-inventor and developer of Ampico, positions for orchestra and popular stage and screen model B; scientist, researcher and inventor in bal­ songs; concert pianist. listics and missiles. See Larry Givens' book: "Re-e~acting the Artist" for description of his con­ ROBERT ARMBRUSTER - resides in Los Angeles. Concert tributions to the Ampico. pianist and conductor; played many superb Duo-Art rolls; pupil of Constantin Steinberg; conducted re­ URSULA DIETRICH-HOLLINSHEAD - resides in San Antonio, cordings for Nelson Eddy and film scores. Texas. American composer-concert pianist; friend of Lee S. Roberts; played in early days for Apollo ROBERT W. BILLINGS - resides in Niles, Michigan. and demonstrated it; later recorded for Ampico, Duo-Art and Recordo. EUBIE BLAKE - resides in Brooklyn, New York. King of ragtime pianists and composers; at 94 still ac­ ELMER H. HUNHOLZ - resides in Milwaukie, Wisconsin. tive and concertizing continouosly; made very early Developed and installed player mechanisms in Amphion, Ampico rolls in the late teens and is now recording Simplex, Pratt &Read, Standard Pneumatic Action, them again (among the new ones: "Memories of You" ­ Otto Heigel Metalnola (Canada); designed and built a great'hit); also recorded for Artrio-Angelus. Artis-touch players; now rebuilds Ampicos, Duo-Arts, Wrote Broadway hit musicals in the 20's. Weltes, etc.

- 61 - JOHNNY JOHNSON - resides in West Long Branch, New among others; played with all the great symphony Jersey. Welte-Mignon recording artist. orchestras; recorded for Hupfeld, Welte, and Ampico. HENRY W. LANGE - resides in Dayton, Ohio. Famed RUTH BINGAMAN SMITH - resides in San Antonio, Texas. popular pianist and composer. ("Hot Lips, '.' among Fine concert pianist; recorded for Welte (her rolls others); played with Paul WhIteman and hIS orchestra sought after by collectors). in the 20's· recorded for Ampico, Duo-Art, Melodee and Brunswi~k. Lange, George Gershwin and Ferdie ERNEST L. STEVENS - resides in Montclair, New Jersey. Grofe were the trio of pianists who played in ini­ Made player piano rolls for several manufacturers; tial performance of George Gershwin's "Rhapsody in Artempo, Rose Valley, Gulbransen, Piano Style, etc.; Blue" with Paul Whiteman Orchestra in 1924. was Music Director for Thomas Edison (made over 600 records) • EDWIN LESTER - resides in Beverly Hills. California. Recorded Romberg Waltzes for Ampico. Founder of REGINALD STEWART - resides in Santa Barbara, Cali­ Los Angeles Civic Light Opera Association; was an fornia.' Great Canadian pianist; now associated with Ampico sales representative. Santa Barbara School of Music; recorded for Welte. MANA ZUCCA - resides in Miami Beach, Florida. Fine, ALEXANDRE TANSMAN - resides in Paris, France. Great prolific composer of over 1100 compositions (famous French composer-pianist (Segovia today plays his song" "I Love Life" composed by her); recorded some compositions); recorded for Ampico. very fine .Ampico rolls (several of which are accom­ RAMSI TICK - resides in Buffalo, New York. Presently paniments); concert pianist. president of QRS Music Rolls (for player pianos and reproducing instruments). FLORA MORA - resides in Miami, Florida. Concert pian­ ist and composer; pupil of Enrique Granados a~d in­ MAURICE ROY WETZEL - resides in Chicago, Illinois. terpreter of his compositions; Duo-Art recordIng artist. SMITHSONIAN lNSTITUTION - Division of Musical In­ struments, Washington, D.C. Collector and exhibitor MAX MORATH - resides in Manhattan, New York. Today's of automatic musical instruments. famed ragtime pianist and entertainer. - ERWIN NYIREGYHAZI - resides in Los Angeles, Califor­ nia. One of the greatest concert pianists; pupil - .- of von Dohnanyi; as a child prodigy performed at age of five; recorded many fine numbers for the Jlmioa 401'um Ampico (Liszt, Brahms, Tschaikowsky, etc.). Book - about him: "Psychology of a Musical Prodigy." - - GUIOMAR NOVAES (PINTO) - resides in Sao Paulo, STEINWAY 65/88-NOTE Brazil. Great Brazilian pianist; active until recently as a concert pianist; made reproducing TUBING DIAGRAM NEEDED rolls for WeI te and Duo-Art. . I have a Steinway and Sons model K upright player, serial number 141430, with a 65 and 88 note Aeolian LEO ORNSTEIN - resides in Brownsville, Texas. Great player action with the Themodist accent, serial num­ composer and concert pianist; recorded man~com­ ber 16305. I would like to know jf anyone might have positions on Ampico; still actively composng beau­ a tubing diagram for this player action, as most of tiful music (new LP records of his work). the tub ing has broken or come off the n i pp I es. I also cannot determine where the vacuum supply for the GENEVIEVE PITOT - resides in New Orleans, Louisiana. sustaining pneumatic is supplied. I have rebuilt Played with some of the greatest orchestras; pupil several player pianos and have also contacted Mr. of Alfred Cortot; her Duo-Art recordings, beautifully Durrell Armstrong of the Player Piano Co., and he played, are sought after. has no information on the 65 and 88 note players.

VERA RICHARDSON -resides in Santa Barbara.• Califor­ The piano is in excellent condition and I am looking ~ia. Duo-Art recording artist; forward to fully restoring it. Any information would be appreciated. Steven R. Benham, Department O. FRED RYDEEN - resides in Walnut Creek, California. of Geology, College of William and Mary, Williamsburg Retired vice president sales of Aeolian-American Virginia 23185. Corp; began working for Ampico Corporatio~ befor 1920 as a service technician; became leadIng AmplCO7 sales repre.senrative, throughout the world,. ADUO-ART NOTE GERMAINE SCHNITZER - resides in Manhatten, New York. Great concert pianist and pupil of Emi~ Sauer and BY DAN SCHACHER Raoul Pugno; played under baton of Gustav Mahler, For a long time there has been an argument as to - 62 - ,I. . Jtmica Jorum .~

the proper setting of the Theme zero dynamic. The contest and part request for help. Send in your usual Duo-Art service manual (copyright 1927) merely information to the publisher, particularly if you says "The sett i ng of t he Theme is dependen t upon the can identify the "unknowns." \~e will recognize the setting of the Accompaniment as, no matter where the "winner" of the first correct answers received for latter is set, the Theme must be one degree louder." the "Known" photo.

The following additional information is found in the 1925 Duo-Art Service Manual (copyright 1924) available from Player Piano Co.): "Naturally, the conception of one degree will vary with the indivi­ dual, but a uniformly safe rule to follow is to have the Theme pneumatic collapse one-eighth of an inch more than the Accompaniment pneumatic."

There is also an excellent section on "Adjustment of Pneumatic Top Action," left out of the 1927 man­ ual, which covers the adjustment of lost motion be­ tween the pitmans and the whippens.

PHOTO QUIZ

BY ALF E. WEROLIN THESE WE KNOW. In the next few month's issues we will be printing several photos submitted by Alf. Some of the sub­ jects are known and some are not. So this is part • THESE WE DON"T.

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The following, entitled "Proceedings - M.T.N.A., to study the problems of pipe-organ performance today knows that 1910 ", is a work resulting from the 32nd annual the amount of mechanism is enormous which is at the organist's meeting of the Music Teachers National Association command to. do the multitude of things which his massive .. house at Boston University on December 27-30, 1910. of sounds" permits. If a further application of mechanical prin­ ciples can relieve him of the tub he has heretofore managed Contributed by through keyboard action, there will be plenty yet to occupy him Roger Anderson in speeding his musical automobile over the highways of tone. The question is solely one of musical result. The organist of THE PROS AND CONS OF THE MECHANICAL fifty years aao used to pull each stop and coupler individually, PLAYER with awkward reach of ann and sway of body; now· his push­ buttons and tilting-tablets accomplish all he formerly attempted GIOBGS CPLIMAIiI Gow and open to him many new possibilities. They do what he wishes V....r College. Poul'hkeeplie, N. Y. and ~ a permanent gain. To throw them over would be like Some thirty years ago there was sold over the counter of music rejecting the Boehm flute, the valve trumpet or horn. But the shops a litde toy, to be classed with music-boxes and hand-organs, automatic keyboard must make &ODd its promise. Not musical that cranked out its wearisome tunes by the aid of perforated rolls 1011, but musical .gain, must be the price of its adoption. of paper and a set of melodion reeds. At present this same per­ Moreover, the question concerns· not what we hear, but what forated roll of paper or brass has its grasp on the best instruments we admit to the circle of musical efiects. My good fortune permits of the piano manufacturers, the most elaborate and resourceful me to live in the ,country. When I try to coax the soul of pipe-organs, the only adequate and enjoyable reed-organs, and Beethoven or Bach once more to live in my piano, a listener in bas invaded the homes of rich and poor alike throughout the world, the room has little need to shut his ears to other sounds than civilized and uncivilized. Its chief rival is that marvelous box those I make, but when I go to the city to enjoy the like conjuring with disc and megaphone which appeals to the popular ear under by the master-magician, Hoffman, or one of his peers, I summon all the avowed motto, "Every dog knows its master." To be classed my powers of concentration to shut out the rumble of trolley With the latter also are the" You touch a button and we'll do the cars and elevated road, the whir of ventilating fans, the click and mit" instruments, the best of which return faithfully what some roar of elevators, even the fuss and stir of the audience about me, ·master of music confided to it earlier. Caruso on tap in every so as to catch the undiluted sweetness of the music itself. Who 'hamletin..the land; Grieg returning from the dead at the tyro's is there that is unaware what a noisy clatter of bones we should bidding; symphony concerts in every rich man's palace, to amuse have if a master-pianist were to render his program on an instru­ his infants or entertain his guests I While these marvels are so ment without strings, or an organist to push his levers to mute near to happening that even the very elect are stirred, it is useless .pipes? If there are essentials and non-essentials of sound prac­ to cry out" Fraud," .. Imitation music,", " Bargain-counter tunes,'; tically involved in every moment of musical utterance, may there unless these words are supported by adequate and forceful argu­ not be essentials and non-essentials in the musical web it$elf? In ments. In spite of the protest of musicians, the public intelligence IUCb a case, if it be the non-essentials that give us pain or pleasure, draws its own balance of defects and advantages in the music it then should we not resolutely thrust them out of mind togethar hears; and between Paderewski on the pianola and Peter Piper with the motor horns and electric whizzes that we have learned ltumbling over the keys of his piano, it knows how to judge. to ignore so easily? In such a case, therefore, blessed be the edu­ Neither sort of music is perfect, and on the surface the question cator who can teach us to reach the soul of the composer with but appears to be mainly one of taste. On looking closer, however, it a roll of perforated paper and a wheezy melodeon. In that day, may be that there is involved a matter of very great musical eoo, no longer can my friend the musie-dealer thrust the Victor . significance. record withtut the pale as he once did by advertising" Every kind of Musical Instrument, tlnd the phonograph I" Reccody, a wann advocate of the mechanical players, who ~ For in the phonograph doth lie himself a composer and an able musician .and educator, stood under The heart of mUlic'1 myotery. fire before a group of his friends urging that through the inter­ It evident, therefore, that a search for the defense of the pIlltation that may be IPven by the use of a pianola (or its equiva­ is ~ecessarily lent) one can perfectly well reach the .. soul of the composer"­ mechanical player is a search first of all for the essence ins~­ declaring f1l1tly that pitch and time are all that is essential to of music. Granting that that be-known, the value of these music. .. What about rhythm, apart hom time-keeping? ': .. Un­ ....ts will depend upon two things: First, upon the extent· to important." .. What about color, orchestral and otherwise?" which, in skilful hands, they may be made to reveal that essence; .. Perfectly non-essentiaL" If by pfesenting the oudines of melod, and, second, upon the educative: influence of their unintelligent use. and harmony at a proximately correct pKe one may reach the Music is of value both for what it is and for its emotional .. soul of the CIlIIIlposer," all else is, let us say, ..over-soul, .. ultra­ COOteXl - for what it does and for what it reveals. A vast coo­ refinement," .. lUperf!uity." Such. creed i, definite. It may be fusion in the discussion of musical topics is due to the loose appli­ defended, or attaebd. And ~ in connection with afili­ cation of the term .. the language of the emotions" to music. meat for or against this thesis lies the case of any mechanic:al ,Music it a mirror of the emotions, to be sure, but in so speaking player which is to be guided in its career. we 'are 'involving not music alone, but also the larger context drawn from life and caught up by the suggestiveness of sounds. Before 1IIldertakiog the -. let me remind you that the Marvelous indeed is that power of association by which the vigor­ .-don of ita mechanics is immaterial. Anyone who has attempted ous and ~y pace of a music in double pulsations can conjure - 64 - Jnsfrumenfs

up the march of armed men, the wandel'ing lure of a chromatic tha composer. Such inadequate hearing is by no means confined melody and certain minor or chromatic chords can strike gloom to the amateur class. Many a professional singer, many a violin­ to the spirit or stir the heart to aching, and rich and elusive chords ist, grasps his music in terms of his own instrument merely. As with melodies that come and go among them can run the gamut you hear' him sing or play, it is clear that to much of what his of longing and passion. It would be hard to name an emotion companion, the p~anist, is doing his ear is deaf. The music is for which music cannot find a suggestive sound or group of sounds not a beautiful unity to him, but only a tune with a background. and silences; though in the case of some baser, less lovely emotions, With such a manifest variation in the capacity of accurate one must take combinations .of sound but recently' admitted to hearing among the musically minded, there comes naturally a the art. On the other hand, much of the greatest music does corresponding variation in musical taste. It does not need demon­ not appeal to localized ,emotion at all, but holds our interest and stration here that the time-keeping process in its more obvious attention through qualities all its own, the peculiar properties of manifestation is the first to tickle the ear of man; both historically this one art. Irreparable as would be the loss of that literature and logically this may be dssumed. But the more refined and of music which has given itself to the illustrative function, includ· elusive traits of musical rhythm - with its accents tonic, agogic ing as it does all dramatic music, most vocal music, and all descrip­ and harmonic, its cross-accentuations and rhythms, its expansions tive music, whether to a definite program or to the mood of an apt and contractions of group-form, which play over the sea of tone title - incalculable as would be that loss, the art of music could like the waves and wavelets of the ocean - these are quite un­ still stand secure, while there remained the wealth of created known to the primitive instincts of the average untutored man. works which are the outcome of the aesthetic impulle alone, so­ Again, we all know the charm of the simple folksong - its easily called "pure music." In these latter works one may find the analyzed pattern, with materials drawn from an obvious scale­ soul of the composer revealed by· his use of material. He takes form, arid based upon • few readily associated chords. But to purely physical effects of sound and endows them with a new follow the interweavings of several melodies, or to feel the charm meal}ing, making out of them musical effects. Thus, sounds of of a melody drawing in its course upon several scale-forms and various durations he elevates into rhythm, sounds of certain based subtly upon many and complex chords, or to thrill to the selected pitches he fuses with the rhythm into melody, synchro­ unfolding of a motif as it lends its strength or grace to an ex­ nous combinations of chosen pitches he transmutes into harmonies, tended movement - this, again, is granted to the more sensitive varied and contrasting ,qualities of tone he values as musical color. or better trained only. Again, out of these musical elements he goes on to create his work Then, too, the uplift of lusty volume, the intent of the faint of art, a musical composition. It is a structural work, an archi· and far, the restfulness of soft crooning, the passion of a yell­ It teetuJe of tone. Its pillars and arches, its walls and its buttresses this we all know in life and in music. But the exact gradations are as important as are the materials themselves. Proportions as pi tone-volume which set melody, harmony and rhythm at the well as adornments are to be recltoned with. When completed, point of KJ'Clltest effectiveness, the fine and delicate shadings that It bas its meaning in itself, apart from the fact that it may serve excite or sooth the spirit with a touch at once commanding and • worthy end. This meaning is unrolled to the hearer j is never comforting - these it is the privilege of the elect to feel• entirely revealed to him, save by anticipation, until the music is Finally, there are few who cannot find a distinctive ,pleasure finished i but is progressively disclosing itself. For its apprehen­ in the trumpet'. ringing tones, the incisive vibrations of the violin-' IiClll the rendering of the music must be such as to utilize all those string, the melting pervasiveness of the hom, or the tinkle of the IIUIRcal effects which are involved in the structure. Just so triangle. But confront the lIfJerll~. citizen (outside of Boston I) certainly as they are delivered in due proportion and completeness, with the million-hued kaleidoscope of a Strauss score, or even of Jlllt as certainly the trained listener can gain access to the meaning a Beethoven score, and "It's the brllSl band for him." I venture of the music, to the soul of the composer. to say that even in Germany, which has by now thoroughly assimi­ But right here we are met with the predicament that few lated Wagner, said citizen prefen him rende~d by the military Ifttenen are trained; and by that I mean, are actually able to hear band. what is presented. Do not misundentand me as referring to any In fine, music, which is essentially the art use of the four dis­ lOR of theoretical knowledge, valuable though that is as an aid tinctions of tone, namely, duration, pitch, volume, and timbre, in to audition. Nor am I referring to the power of memory by die course of its evolution has gone far afield from the obvious in which one moment of delight can be recalled and compared with each of these characteristics, so that most of the great art-produc­ IDOther. I am speaking of the apprehension of the musical mate­ ticlns have freely utilized, to the utmost, subtlety in all char­ .... DlOQIent by moment, as it passes. Suppose the Boston Sym· ~ristics. Rhythm, melody, harmony, and color each have their plumy Orchestra were delivering the fint strain of the prelude part to play, and a complex part, too, in every masterpiece. In ..~Parlifal. Unto many it would come as a sustained, somewhat order to feel these subtleties the ear must have learned to recognize __ tune, of wandering and perhaps indefinite values, either them with the ease of the inevitable, since only so can they convey '" Ienatb or pitch, and of no very pronounced quality. To othen fheir message from soul to soul. _ dwlge of pitch would be significant, each new tone would Conceding this to the ~tructural content of music, may help reveal a 'rhythm now subtle, now. direct, and always under­ be we ...~y it in judging as to the value of the mechanical playen. standable, each new shade of volume and of color would add its . No one will question the statement that pitch can be located as unmistakable impress. The former might be quite able to whistle Mtfectly with a self-player as when one's self is the player. Har­ or hum an approximate reproduction of what they heard, but only lIIC!IIy, then, is safe from distortion. But melody does not fare the latter would have really apprehended the Eucharist melody ...well However cleverly the new device may pick out any .. Wagner deligned it-that is, have really reached the soul of

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~al tune from the harmonic masses, there still remains the die teat of success for an organ or pianoforte transcription of an ""talent of that melody itself, due to the relation of melody to orchestral composition is not that the former contains all that was rhythmic accent. Accent, it must be insisted, is no mere matter in the latter (a thing absurd on the face of it), but that, in con­ of 'noise. .Every thoughtful listener must be impressed by the nection with the inevitable omission and substitution of material 'ran*>' with which cultivated music uses accent created by volume from the latter, in order to obtain clarity and cohesion, there has of lOne. Far more frequently length of tone, slight modification been infused into the former that sense of inevitableness which not of time, or treatment of chord, is relied upon to create the rhyth­ merely proclaims the work great, but shows it to have a wort!ly 1Dil: mng. The mechanical pJayer does not easily lend itself to enunciation, even if it be not the original one. tbiJ varied treatment of accent; so that one of the most evident Just here comea the wholly strong feature of the automatic disapPointments of the cultivated listener is in the crude, monoto­ finger-mechanism. It renders with absolute fidelity and insistence IlP'II leveling down of that life of the' music, rhythm. Still fur­ certain of those features of a musical art-work which transcend ther, lIPecial volume is frequently applied to only a portion of the the peculiar medium of expression - without which in every lQIIC8 sounding at a given moment, or one portion is increasing medium it could not be known to be a work of art - pitch and pace in tolume, while the other is decreasing or halting at a given level. . _ wanting which there is nothing, but with which the giant out- The mechanical player cannot as yet admit that sensitive line may always be seen, however dimly. This is not the same as adaptation of loud and soft to the requirements of each moment aaying II non-essential," II immaterial" to every other quality; yet which the composition demands. In fact, if it did, there would it is sufficient to warrant musical educators in hailing with cordial probably be substituted for /inger-technique another technique well delight'the mechanical player, and utilizing it in the most effective nish as complicated. To reply that a skilful player can fre­ way. The automatic instrument has far more to fear from its quently e;et nearly as much light and shade as a pianist, still more, friends than from its foes. Why not confess that there is plenty as m organist does, is 'only to remind us again of the defective of music which wholly transcends any limit to which the pianola hearing of the average listener. or on:hestrelle has approximated as yet? One may find perhaps the best illustration of this, not among the subtle, intricate and And what about color? As to this we need only remark that indefinite creations of the modern French school, but in the banal color on the pianoforte is largely m effect of touch and of pedal­ commonplaces of early nineteenth-century Italian opera. Who technique, and that color on the organ frequently demands three could imagine from a pianola rendering of "Caro nome" that or four keyboards (including the pedal) at a time, in order to audiences would have listened breathless to its worn cadences and set forth the limitations in this particular. With the mechanical feeble harmonies? But let our friend the megaphone turn back player one can create a chromo, but not a painting; can see a to our ears the hint, be it only the travesty. of a wonderful voice, color photograph, all sicklied o'er with the cast of its filter-screens, md some echo of the power that made our grandfathers weep or but not the glorious landscape of a creator. about themselves hoarse has touched us and we see a little into the In brief, the manipulated playing-machine is at present too lOul of the composer. Not outline, but color, is the essence of such crude to give with exactitude my of the finer distinctions, aave rusk. Again, let an Aeolian Organ present to us a transcription of pitch, that enter into a work of musical art. To listen those of the Mozart G minor Symphony and much pure delight can to its rendering is like looking at a badly retouched photograph, be our meed - not at all because the pipe-organ is a good imita­ in which the lines that reveal character have often disappeared tion of m orchestra (indeed, if it were, so much the worse), but md a 'UllPicion of caricature is over all that one sees. The best because clarity of outline, the firm, incisive upbuilding of manuflCtUrers are aware of it, md are doing all that an enlight­ the climax with a minimum of material, the charm of recurrent moed ened busiDeaa instinct can to remedy the defect.'. and of reticent ending - these come before us in organ tones with In the meanwhile, must we musicians scorn and reject these lOIDething of the aame conviction as in the orchestra. On the would-be interpreters of music', message? Well, to begin with, contrary, the Tschaikowsky Pathetique can be made to surge into let him that is without siD cast the first stone. Suppose I were wonderful climactic roars of passion and pain, can die into in­ to catalogue in a corresponding. fashion the sins of the average finitesimal murmurs of organ whisper, compared to which my musicim. (not to aay amateur) - missing or wrong notes, the orchestrl1 climax is weak, any hush of muted strings assertive, dittorted time, the left band that knoweth not what the right yet .till the organ leaves us cold md IJnconvinced; the common band doeth nor when, the unintelligent pound of the keys, the ground of musical essence has been lJIissed here. monotonous and faulty color, the thousand inaccuracies and in­ The automatic player, then, is a two-bladed Ill: in the hmd. felicities that strew the pat'hway of performance-would not the of the educator. With it he must hew, not wildly, but to the balmce of defect lie far upon this side? mark. In wielding it he must utilize those compositions wherein .. But," you aay, II such arraignment cannot be made of the its peculiar excellences .tlnd out, or if he trespass this line, he best performmce, nor even largely of that of really talented stu­ must neither minimize its defecta nor fail to stimulate the imagi­ dentl of music." Gflftted. And, moreover, the entire literature nation 10 as to rectify hearing. Its use for studenta of audition of keyboard music for piano, for organ, harpsichord, or clavichord, it two-fold: ( I) to permit every composition that comea within all has grown out of the sensitive endeavor of finger md feet to ita proper acope to become familiar in the way possible only through create a music in which the apecial advantage which that particular frequent repetition; (2) to arouse attention to the factors in which keyboard instrument has should lend its own value and aid to the it exc:da, md prepare for a keener listening to other and better whole art-work. This iJ true of the adapted literature equally renderinl8 of the same music. A teacher who makes systematic: . with that originally cooceived for the given instrument. Thu. md extended use in this way of the perforated roll can accomplish moet valuable results.

- 66 - ~olia Jnafrumenfa - and -cJJfusic

B~t what about the machine as wielded by those who -.re inno­ "Good News" -A snappy foxtrot from the picture cent of any ambition save the ambition to make a facile noise? "Good News" with copyright by DeSylva, Brown and Well, just here, in .my estimation, the automatic player justifies Henderson. The roll is Pianostyle #30426 played by itself beyond cavil. I call to mind a friend who twenty years ago Bob Shoemaker. As with most Pianostyle rolls, the used to bombard heaven with his raucous .. I think of thee, Mar­ arrangement is very fancy with plenty of key changes. cuerite" and .. Over the garden wall" to the stumbling tinkle A good tune and a good roll. of his young wife's accompaniment or his own untutored pound. "I Never Knew" -A foxtrot written by Kahn and Unto him came the use of an orchestrelle, richly endowed with Fiorito with copyright by Irving Berlin Inc. The rolls of the march and ~-time variety, a few Wagner excerpts, roll is US #43421 and is played by Robert Billings. some Liszt transcriptions of great songs and a little Chopin. Ten This is the same music roll that J. Lawrence Cook years later a good selection of orchestral transcriptions, some Bee­ used to make the orchestrion style "G" roll that thoven, even some Bach, testified to new tastes; his songs had was' used in the Jack Webb movie "Pete Kelley's c:ome to be Schubert's" Wanderer" and .. The Two Grenadien" Blues." Mr. Billings' style and arrangement makes of Schumann, while his little son was not only an excellent manipu­ this song a classic and still there are few who lator of the rolls, but was showing in the care with which he are not haunted by the sound of that Seeburg "G" orchestrion playing the song in the movie. worked under a good teacher that he had learned the lesson of a fIcl1e and accurate finger, and was becoming acute to see and "Mandy" -A song written by Richard Kerr and Scott render the subtler values of music not well presented by his English and copyright by Screen Gems, Columbia mechanical player. Music in 1971. The roll is QRS #10-530 and is Lut summer two business men stepped into a vacation concert played by Rudy Martin. The original record disc of the Chicago orchestra. Soon one of them grew tired and reo­ recording by Barry Manilow is a masterpiece. How­ IIIIJ'ked, .. Let's move on I" .. Wait a moment," replied his friend, ever, theQRS roll doesn't showas.much love in its .. they are playing the Midsummer Night's Dream Overture." perforations with a lack of expression and mechan­ ical drop-out of notation here and there. There -But I didn't know you cared for music," said the former... That are some good signs of arrangement in the rol I but .. true; but last winter I bought a pianola. Isn't it wonderful?" this only begins to occur in the last two feet of ... the answer that heralded a new grip on life. the roll. The writer can only wish that more time AI the clavier drove out the lute, as the piano dispossessed and care had been taken with the making of this roll . ..c:ottage organ; '80, I am sure, some more perfect interpreter of anIIblloveliness will crowd to the back the punctured roll. !wry imperfect struggles toWard perfection j and the honest critic STORY ROLLS who welcomes all that climb into the path over whatever wall CIiIIl aftord to extend a helping hand to the pioneen and point them BY MARK D, ZAHM to the House Beautiful. Ampico #1261 -I Hear You Calling Me Marshall played by Milton Suskind

This song is known and loved the world over. The ~olla sentiments of its lyrics and its m~lody are of such and Jf{uaic beauty that its popularity is readily accounted for. There i~ in this piece a fine sympathy between words and music - the contrasting effects, the arrangement of its climax, and the poignant beauty of the whis­ pered concluding phrase, are of immense effectiveness, PIANO ROLL REVIEW and display the fine musical and poetic sense of its composer. The song has reached a wide circle of BY DAN TUTTLE admirers through the singularly beautiful and touch­ ing singing of John McCormack. It is his interpre­ tation that has guided Mr. Suskind in his playing of it. "Tears" (of Love) -A foxtrot with words written by Frank H. Warren and music by S.R. Henry. Music was Ampico #60873 - Eugerie Oneguine, Parap~ase de publ ishedby Jos. W. Stern and Co. in 1918. This Concert QRS roll #809 is played by Ted Baxter and Max Kort­ Tschaikowsky-Pabst lander and plays at a tempo of 90 which keeps the played by Juan Reyes music light and peppy. This song can best be des­ cribed as an awkward answer to the famous Lee S. The story of this, the best known of Tschaikowsky's Roberts song "Smi les." Just as the song "Smi les" operas, deals with the love affairs of Eugene One­ compares all the different types of smiles, "Tears" guine, its hero. A lover's quarrel leads to a duel also compares all the different kinds of tears there in which he kills his friend and rival. Grief­ are with less than tearful music. stricken he betakes himself on extended travels in an effort to forget the tragedy. After a year or more he returns and attends a brilliant entertain­ responding to the musical understanding of the ment at the house of Prince Gremin. There he meets listener. the wife of the Prince, and is much shocked and sur­ prised to discover that it is his beloved Tatiana. Th~ skilled technician does not always possess His old passion for her returns with renewed vigor. sURerior musicianship, likewise we find musicians Tatiana, however, cannot forget the old, sad days of high standing devoid of technical ability. A and remains faithful to the Prince sendihg Oneguine development of the natural love for music coupled away forever. In this recording the most popular with the ability to produce it presents the ideal music of the opera is welded together in a concert combination - the coveted goal of the average normal paraphrase. The basis of the transcription is the person. celebrated waltz which occurs in the third act at the entertainment in the house of the Prince Germin. To effect this is, in' part,the purpose of the Q.R. S. Educator Set. In addition. it should be of in­ terest to learn that wi th the advent of Q. R.S. Ed­ STORY ROLLS ucator Home Study Rolls~ the intrinsic value of the player piano has been further ei;llphasized, because to BY RUTH J, PARKER its pleasure-giving value this educational feature has been added, the possibilities of which are Rythmodik #J 100333 - There's A Long, Long Trail limitless. played by Annette Frances The thought of performing miracles however, had no There is an extraordinary charm about this piece, part in its conception and the same conscientious and it lies not only in the fascinating rhythm of application of its instructions is as necessary for the music but in the suggestion offered in the lyrics. success with it as would obtain if the student were They voice an enduring love and devotion and a hope under personal guidance. Hones ty in study, practi ce that will find an echo in the heart of all who learn and self-examination are necessary adjuncts to even to love this,song. "The Long, Long Trail" has al­ meaiocre attainment. Such application will bring a ways been a phrase that touched the heart, referring, degree of proficiency in direct porportion to its as it must, to life's journey made hand ~n hand with use. the beloved comrade whose companionship grows the sweeter with the advancing years, even to t~e mo­ The continuity of progression on which the course is ment of parting at the threshold of the great beyond. constructed makes it imperative that each roll be thoroughly mastered before the next one is under­ Rhythmodik #D 12792 - March of the Clowns taken. The rolls must be used in'sequence - one fbl­ William E. Haesche lowing another from roll #1 to roll #6 without a played by Felix Gerdts break. Too much stress cannot be laid on this point. The child learns to walk only one step at a time; This grotesque little march is one that will appeal the towering structurei's €rected, a single stone to lovers of the unusual. It is not-) unlike the upon another. "Funeral March of A Marionette" in its simplicity and quaintness, and at the same time is very graphic Even as the most efficient teacher can but gLlide in that it clearly suggests to the hearer a picture and by example show the pupil how selected phrases of the serio-cornie march of the Clowns in their should be played, so is this course able to do no varied and absurd dress - their odd grimace and more and in each case the progress of the pupil is entirely dependent upon his own individual 'efforts. gesture. .. . As the course proceeds and the pupil begins the study of classical works, the tremendous latent possibil­ 'QRS EDUCATOR HOME STUDY ities of the vast Q.R.S. Player Roll Library become ROLL SERIES apparent. What better "coach" could one wish for than Paderewski in playing his own famous "Minuett" BY MIKE SCHWIMMER (sic) or Harold Bauer in his conception of Chopin's "Scherzo" b flat minor? These and a host of others The following is the foreword to the QRS Educator are found in the Q.R.S. Concert Series. Home Study Rolls series. This was a set of 6 rolls put out in 1922 by Lee S. Roberts and the Q'RS Company, No thought of competing with the personal element in and enabled the player,piano owner- but non-piano piano instruction is to be found in the underlying player - to learnt.the basics of piano playing. thought that prompted the creation of this method. On the contrary, it is a direct aid to the teaching FOREWORD profession and the entrance of the piano teacher may be happily marked by the conclusion of the ~ Love for music is inherent in every human being. course or in fact at any time. , Even so, the rythmical beating of the aboriginal tomtoms, the tonal majesty of the modern orchestra Genius often lies dormant. A suggestion may cause - each has carried an appeal only in a degree cor- its awakening. In your own family, your circle of

- 68 - Jtolls" and cJJ(uaic

friends there may be one for whom the musical impetus given by this course will prove the starting point Bursens, Arburo '. Ideal rolls for another Paderewski, another Kriesler, a Patti or the inspiration of another "Traumerei," another 1 - Temple block 1 36 - E-, "Smiles," the creation of music that makes for bet­ 2 -" "2 chromatically thru 3 " "3 43 - B..J ter and happier living. If even ONE should result, 44 - Violin on (melody) the time and expense necessary for this work's pro­ 4 Tenor drum 5-" " 45 - Clarinet on (melody) duction would in the estimation of its producers, 6 - Blank 46 - Shutoff have been well spent! 7 - Blank 47 - Rewind 8 - Blank 48 - Jazz flute on (mel.) * * * 9 - Saxaphone on 49 - Countermelody cont'd (countermelody) C chro. up to Note the inclusion of "Smiles." I wonder if Lee 10 - Bass drum 54 -F Roberts - who wrote this foreword - was getting a 11 - Hi-hat cymbal 55 - Melody G little plug in for his big hit? 12 - Snare drum, 56 - A -, (reiterating) chro. up to 13 - Snare drum (brush) 72 - D ...J .... 14 - Wood block 73 -E 15 -" " 74 - Celeste on (count-mel) ROLL TRACKER SCALES 16 - Crash cymbal 75 Cello on (" ") 17 - Bass"G 76 - General tremolo BY ART REBLITZ 18 - A 77 - Swell shutters open 19 - A# 78 - General cancel Here are some scales to compare with those sent in 20 - B 79 - ? by Don Teach and published in the November '76 21 - C 80 - ? Bulletin. 22 - 0 81 - Jazz tremolo (for 23 - E flute) The scale listed fo"r Peerless style "0" is for the 24 - F 82 - Accordion off Peerless style "44" keyboardless piano. The style 25 - Accomp. G 83 -" on o roll is as follows: . 26 - A -, It chromatically thru 84 - l B1 "nlr 1 - Releases suction (?) 10 - Sustaining pedal 31 0 ---l 87 ~ 2 - Low C (note C which should 32 - E 88 Maracca 3 - Soft pedal off be here is at hole 2) 33 -F 4 - Soft pedal on 11 - C# -, 34 Countermelody C Accordion "on" cancels 5 - Low G chromo through 35 - 0 all other stops. 6 - G# 70 - C ....J Some instruments have 7 - A 71 - Rewind viqla in place of clarinet. 8 - A# 72 - Shutoff 9 - B

Endless-roll mode~s ignore the rewind hole. The OX has bass &snare drum holes in the margins as listed in Don's DX scale. The "Limonaire Freres book organ - Tom Fretty col­ Bali/ornia lection"resembles the original "42-48 Limonaire" scale which follows: Right to ~ KOFFS HOST JANUARY MEETING 1 - Triangle 13 -F 2 - BT (register?) 14 - Accomp. G BY STU HUNTER 3 - Blank 15 -A -, 4 - Snare drum chromo through The January meeting of the Founding Chapter was held 5 - Shutoff 24 _ F#---l on Saturday, the 22nd, at the home of chapter pres­ 6 - Bass G 25 - Melody G -, ident Howie Koff and his wife, Isadora. As usual, 7 -A chromo through the hosts provided a warm and friendly atmosphere 8 - A# 44 - D ---I for the many guests. 9 -B 45 - E 10 -C 46 - F While primarily a business meeting, there was still t 11 - D 47 - Bass drum time for the other amenities. The Koff's 6'2" 12 -E 48 - Snare drum Steinway Duo-Artis magnificent and Mel Luchetti's Cremona nickelodeon with stained glass panels (tem­ porarily stored at the Koff's) provided a pleasant

- 69 - Bali[ornia

A number of important items were on the business agenda, but the '77 Convention was, of course, in the. forefront. Sally Lawrence is the Chapter chair­ person, and under her experienced guidance, committee members were selected for the many tasks that will be necessary to make this convention the "best ever."

Ruth and Jack Maiman sample the refreshments

Bob and Roberta Cherney and Barbara whiteley.

Charles Goldfarb at the Packard Reed Organ. background of mechanized melody. Then, of course, there was the Packard reed organ, and last but not least, a beautiful 7 foot Mason and Hamlin grand.

Frank Loob and Sally Lawrence discuss convention plans.

Piano Player in fine condo Best offer over $100. ­ Advertisement in the Mount Vernon (N.Y.) Daily Argus.

Yeah, but does he take care of himself?

Contri~uted by Peter Mintun. Meeting in progress - Howie presiding. - 70 - Contributed by Donald Breen. Rical 8liefcRea

solo performances, but until he died in 1944 his was BOOK REVIEW, the solo career in the family.

BY CAROLE BECKETT The Lhevinnes had an interesting, stimuiating, if not always peacefUl, marriage. The story. of Josef's ~ Century 2!. ~ Maki n9: The ~of Josef and Rosina Lhevinne, Robert K. Wallace, successful career, of their life and teaching toget­ ~na-university Press, 1976, $17.$0. her, and of her amazing success as teacher and per­ former after his death, ma~es fascinating reading. This book is the first biography of either Josef'or There are man>, pictures of both Josef and Rosina and Rosina Lhevinne and Mr. Wallace has done a good job of their family. AMICAns' will especially appreciate of researching their lives, both artistic and per­ the lists of records and piano rolls (by title, not number) which the two recorded during their span of sonal. Within a year of his first meeti~g with Rosina Lhevinne he had become her private secretary music making. Al though the book isexpensive, it is and married one of her students. Not long after a worthwhile addition to the library of the student that he began part of this book for a dissertation. of past piano greats. It was written with Mrs. Lhevinne's help and approv­ al. His many sources included interviews with her and with those who knew or had studied with her and her husband, n~wspaper and magazine articles, un­ published material in the Julliard School files, material from the Moscow'Conservatory, and personal memorabilia which she allowed him to rummage through. Josef Lhevinne was born in 1874 and Rosina Bessie in 1880. Both were Russian and both were Jewish,al­ though neither c~e from a very religious background. As a child Rosina led the life of a sheltered hot­ MIECZYSLAW MUNZ house flower. Josef, on the other hand, came from a large, rather haphazard family. This difference in BY EMMETT M,FORD backgrounds often'caused misunderstanding and dis­ Mieczyslaw Munz, pianist, teacher and Ampico roll agreement between them in. near.ly every area of .their artist, was born In Cracow. Poland', Vienna Academy of Music and but also great mutual respect, which susta.nned the at the Hochschule.furMlAsikin Berl in. Further study relationship for 46 years. was with Ferrucclo Busoni. In 1920 his debut was wi th the I~erl in Symphony; when Mr. Munz played two When Rosina was 9 years old, her music teacher at concertos, the Brahms "D Minor" and the Liszt "A the Moscow Conservatory fell ill and the director ,of ,Ma-Jqr,ll',:completingthe <;on<;ert with Franck's "Sym­ the school reconlmended that his star pupil, 14-year­ phonic Variations," a technical .feat for a young f~ll ~~ old Josef, should fill in. She evidently pianist. love with him therilindthere,although he took NO special notice of her until ,she was. sixteen. He In 1922.he came to the United States, making his heard her play theChop:l.ri EMinor Concerto and lost debut in Aeo I ian Hall, October 20,1922~ Later he his heart very' suddenly to this pretty, diminuitive was soloist with the New York Symphony•. Other girl who "playedso beautifu,Uy." appearances .as soloist were with variOlAS orchestras and in r.ci~als which gained him artistic stature Lhevinne graduated in 1892 with. the gOld medal--the and fame in the music world. ' highest award bestowed by the Conservatory. 'Only students of extraordinary merit were selected to Durirftthe winter of 1921~28, he'':'Ien~ to Warsaw where receive this honor and some years none were awarded his dazzl ing technique drew rav,s.'from the famous at alL In 1892, three other students, all pianists, 'pianist, I. J.Paderewski. It w~~"t this time he ~achmaninoff, also received the gold medal--Maximov, married Nela Mlynarska and the ~9un§ ~~ple departed and Scriabin--themost ever named in a single year, i'~rtbe Mun%;~ecame to that date. .. , Un itedStateswhere Professor of Piano at the Curtis Institute orM!Jsic in Philadel"; 1898proaric~ti;more phia, a. famous rnl,JS ic schoql then dIrected by Josef Rosina's class of ;goldmedallsis Hofmann. Mr. Munz ~l teach ing and heavy schedu I e of than any other in the history of the Conservatory. concert appea:ranc~$>kE;Pthlm busy. His father-In-law, The five winners included pianists Friedman, Karda­ Emil Mlynarskl, was in delicate health from an in- sheva, and Rosina Bessie, who was only the fifth s Idlousrorm of arthritis which terminated his man­ girl ever awarded the medal and the youngest. One aging a major opera house in Russia and came to the week after her graduation she and Josef were married. United States to be Instructor in conduct ing and And although many professed to prefer her playing to opera at the Curtis Institute of Music. Josef's, she decided to limit her career in defer­ ence to his. She frequently joined her husband for Mr. Munz's marriage was brief; they were divorced two piano recitals and she was often asked to give in 1932 and she later married Arthur Rubinstein.

- 72 - JJioorapRical JSllefcRes

In 1938 he gave a recital in Town Hall and during Emanuel Ax* who won the Arthur Rubinstein Interna­ the 1940 season, was soloist with orchestras con­ tional Piano Competition in Tel Aviv in 1974. Mr. ducted by notable conductors such as Serge Koussevit­ Ax studied with Mr. Munz from 1964 to 1975. Among sky, Bruno Walter, Fritz Reiner, Eugene Goosens and his other students were renowned pianists Ann Schein, Victor de Sabata. When appearing in Europe as solo­ Eugene Indjic and Walter Hautzig. ist with orchestras, he performed under the direction of. Gabrilowitsch and·Mendleberg. In 1941 he per­ In 1966 the Argo Record Company of London produced formed in Carnegie Hall with the National Orchestra a series of recordings called THE GOLDEN AGE'OF PIANO conducted by Leon Barzin. VIRTUOSI. The records contained a masthead reading "The Ampico, How a Miraculous Invention Brings You the' Living Art of the Great Pianists." Record num­ ber 3 included Professor Munz playing the Liszt "Paganini Etude E Flat G140 No.2." The jacket stated with respect to Professor Munz: "The Ampico Company listed Mieczyslaw Munz among such greats of the piano as Rachmaninoff and Lhevinne."

During Professor Munz's career, he pl~yed for royalty throughout the world, including the Emperor of Japan and President and Mrs. Franklin Delano Roosevelt at the Wh i te House.

In 1942 Josef Hofmann was scheduled to give a concert at Carnegie Hall. He became ill and unable to ful­ fill this engagement and asked Columbia Artists to request Mieczyslaw Munz, his beloved colleague, to fulfill this engagement for him.

Professor Munz attended a piano recital by the great Rachmaninoff. After the concert he went back stage t Mr. Munz began a world-wide tour returning to the to congratulate the Maestro. Rachmaninoff said, "Get United States to teach at the Peabody Conservatory away from here; people keep telling me that you play of Music in Baltimore. When Dr. Peter Mennin became my rhapsody better than I do." president of Julliard, he invited Professor Munz to join the faculty and he remained an important member Mr. George Popkin states that Professor Munz was a of the piano faculty for twelve years. In the spring beloved teacher, a devoted friend and a most charm­ ing person wi th IJreat wi t and intellect. As a teach­ of 1975, he was invited to be a Visiting Professor er his interests in his students did not stop at the of the Piano Faculty of Music in the Tokyo National end of a lesson. He was uncle, father and teacher University of Fine Arts and Music and took this post to all his students and guided them through the in October, 1975. Julliard gave Professor Munz a beginnings of their professional careers and opened leave of absence so he could take this prestigious doors for them making it possible for them to further position. Unfortunately, Mr. Munz became ill in their careers.' Among his many efforts to encourage May of 1976 and had to return to the United States young performers to become great professionals was where .he seemed to make a substant ia 1 recovery. his interest in Young Concert Artists, Inc. of which When he appeared to be on the road to recovery, he he was a founding member of the Board of Advisors. was invited to return to Jul1iard by Dr. Peter Mennin, He assisted Susan Wadsworth, its Executive Director, its president. His death occurred suddenly on August in choosing pianists for careers and offered his 25, 1976 at the age of 76. His funeral service was time and talent by auditioning prospective member August 26 at the Riverside Chapel, Amsterdam Avenue artists of Young Concert Artists and thereafter and 76th Street in New York. There were no survivors. coaching those whom he expected to become important artists. One of his close friends, conductor Arthur Rodzinski and his wife Halina, knew Mr. Munz in Poland. The Professor Munz made many excellent piano rolls 'for friendship between Mr. Rodzinski and Mr. Munz helped Ampico and it was important to AMICA to ·have him both in their artistic careers. The Rodzinskis accept Honorary Membership. The piano rolls will be called him Miecio. Rodzinski was on a United States a reminder and evidence of his great talent and' tour when his wife sailed from Europe and he was dedication to music. unable to meet her. Halina Rodzinski in her inter­ esting book "Our Two Lives," tells of her arrival in RCA LP ARL1569 Chopin Emanuel Ax, pianist. New York harbor, knowing only a few English phrases, * to see the tal I figure and broad smi Ie of Miecio, (My appreciation to Mr. George Popkin for the use of easing all the concern of her facing a new country. the photograph of Professor Munz, his consideration and cooperation to furnish some of the information Mr. Munz, a successful teacher, had students who won for this article. E.M.F.) prizes and began successful careers. He taught

- 73 - to bring the back end of the fingers closer to their VIoLANO SERVICE NOTES magnets at the rear (drawing number 10, page 11 of PART II the Service Book). A slight reduction in the air gap over the magnets will greatly increase the pull­ BY CHARLES INNES in force (magnetic force is inverse to the square of the gap distance). Some of the remaining discussions will involve work­ ing with Violano wiring where the insulation may be The stop bars are marked G-D-A-E in drawing number very fragile and tends to flake off. Be sure that 12, page 12 of the Service Book and in drawing 8, any contemplated changes are justified and then page 10. To lower the stop bars you must first disturb only as much wire as is necessary. When loosen the screw in the center of the hollow hex the change is completed, check to see that any bared stud at each end of the stop bar (see sketch). wires are not touching where this would cause a Then loosen the binder screw at the side (some mod­ short or other problem. Insulation is not always els have, a lock nut instead of the binder screw). critical - as, for example, where several wires Then the hollow stud can be turned as required for terminate at a common ground. adjustment.

2. BOW MAGNETS (Bow Lever Electromagnets) This adjustment will raise the. fingers closer to the strings at th~ fro~t; do not get them too close Most Violanos were originally set up to operate from or they will interfere with the vibration or ampli­ a scant 110 volts; today's line volyages are con­ tude of the open string notes. siderably higher. One result of this may be exces­ sive heating of the bow lever magnets. These are constantly in use when the Violano is operating and therefore most subject to overheating which could be detrimental. After playing several tunes in succession, hold your finger on the steel plate to which the bow lever magnets are attached (behind the violin). It is normal for this plate to get very warm, but if it is uncomfortably hot it may indicate too much vol­ tage. Some machines have an adjustable resistor on the "Staccato Block" (under the violin board, draw­ ing number 35 in the Service Book), other models do not. In either case it is possible to drop this voltage with minimum distmrbance to tOe original wiring as follows: Locate the "M" (minus or ground) terminal post on the staccato block. There may be several leads con­ nected to this post. Find the M lead from the violin and insert a suitable wirewound power resistor, in series, in this line. The resistor can be mounted at any convenient place in the lower cabinet area using sufficient new lead wire to make the hook-up. The object is to add as much resistance as possible without affecting violin performance, usually about .sTOP ..BAR AlJ,JUSTMENT 100 ohms.. The resistor wattage rating should be about 50 watts. There is no concern if the added resistor gets hot; it is ceramic core, also it is 3.2 Fingering Noise. expendable - the violin magnets are not. Wirewound power resistors are available from Allied and other Some fingering noise is inevitable - most noticeable electronics supply houses. on "G" when it solos. Be sure the violin is in ex­ act string line; this will reduce finger noise to 3. VIOLIN FINGERS a minimum.

3.1 If Fingers Do Not Come Up. Adjustment of violirr'to string line is covered in the Service Book page 11. Note you must take off Adding resistance in the violin circuit as outlined the fingerhead cover and press down on the back end above will decrease the voltage at the finger magnets of the fingers - pushing them up from the f~ont is as well as at the bow lever magnets. If then some misleading. You will also be mislead if your line fingers do not come up, the apPP9priate stop bars of sight is not directly over the string; ie.,your at the top of the finger head may be low~red so as head must be directly over the violin. The fingers

- 74 - at the neck end as weU'as'tMse'nearest the br'idge tell'youtillat valve size wHl be';larigeal'ldtf\8Vel should &e checked and adjusted. if ,necessary~ will bEl' "!'eiy small iArlO'th~rthingitwi';llten 'you' is You"~hould'ret'llbe with:5/32'ltrad:ey.:bar tUbing 3'.3 If Violin Fingers SUck. i fitdoes not' have aprtmary val ve and tr$es the nor­ mal length rul'ls of tubing; FOr this sy$tem. un" Annoying sporadic sticking or hang-up may occur on clogged tubing runs are a must. . . some fingers ,spoiling .subsequent notes on tMt· string, even;,though the fingers: seem to be clean; welloilech and free:itl thd:\:, slots. This problem iSU5ua.lly. due :to a ~hin, oil-varnish which has ·built up over t~years'on,t.he s,ides of the fingers. On-the-machine attempts at cleaning and re-oiling generally. only worsen the,¢.oi'li:1Hion .. ie. ,reslllt in Ii g_ing.':~t,tlie,fillll.' .,

Do not.attempt'to correct this by bending the springs. The proper solut.ion is to removera.1Fthe fingers and lay them:oilt} in order, on a table. 'Do no~,mi1( themup'.'Then, poliS'h..;rub the sides:6feach f~n'l!r~w:here,·h dontaC:~W t~e\gu.iQ.e lllots,'usitlg the end ~f,a$ma1J]:f!I*'oil5tt>n.t)t~pp'8d'hfisOlv~nt' •. The idea· is. to smoe>thout th.$jwe.f~mU~jiaiGl'to" remlWe the varnish.' Do not try to'tlemove:!the' w.a:t,il!la:t'I~s1' just polish or blend them in•. When replacing ,the fingersapplY'8thi:n film of oil in the 'avea'of the we,t· marKS "onlY i T9 remQvl!>the fingers. the guide plate or 'comb on ~h~. ftdnt.,candallfc>Ur·s'!:ap.'bars on···the top of the slot' co~~ct~ i ndi{~i'dua 1 ft'l1ik hea:d.:mustjbe .Uken,'ot'if' 'l1md '.. then the f;ingers ' holes ·tt,··.·.tmospl'tere. can. "e.relll~v~: se(il.lel\tlally. Totem,vethest6p . bat's, .loosen,the'i¢etltell' f&$teiJing screw which' can The lead we i;gh t in ·the(\l.alv'JRn,umatiQK,,~ps,llhe,; ... be seen in;thecent~l'!.df the hollow f).e:xstud'at' v~lye normaHy"up. Wl'ten air,lNl1;e,rS;,!tnepfH",,,natia; it each;,end:;Of. thegtC{p';~~:tr$\~ Do not turn the stud or ~uffS out, •. ,~~ns\:!~.,aA4Iil.u$~l!$tbe l(;a1v'40\1ll'l tpthe . loosentli~!;binders(,liijw;a~\,the,s;ide;' these be.£or ower seat. , adjustlng1:he level of the stop bars to regulate the at-rest position of the fingers. The one basic proj)lem'aStl'fuU~ valvel'tas)1sthe, sut~tPttbiHty to pinhol1n~ intl'te valve pneumatic, This jQb. Upecial!ly the replac~ment of the fingers a funny looki1'l911 ttl epr\~umatk about t~1!;'6n9atild in,tt,le'Sw0:tlte/il; guidepihiUirEiquires . considerab~e a half inch\'tfde~SO'whtn;YQliAtElcover"it. Irecom'" patief.\ce and' ilng~nuUybUllonced?ne;it"stlould!:>e mend· a mateY'iieJ;'$~GI1 :i·a~f$ilned pouch n,eathQ¥'ior,oet.. good fcl>~i;anoth~tfi~tyyears. '.. '.' terst111. poly~(jn .~h1 thwOl not getporUiFor ;rot~ STACKREMQVAL: . . .' The Schultz stack is diffjcult to handle with its' l1inged·topaetfon f and nO blockltElfstandttofl and, REBUILDING THE SCHULTZ STACK can only bel8!(j.Oll*tsfacewith~ut'damage. 1sug.. · gest beingca,.eljltllh~l:lenYou.remove'this;act1on'... \it can get'awayi/'fl'lOm.you. ',' , I NnIALJPREPARATIONS~·; Take a ~trip of ;p'lywoodan,inchwideiand,tapesome pa.pe·rtap"·\Ol" add 1n9"ma,e'l!ttn&·t.~e,j/,'Oo \it..\;'Before \re,.; movifng the staCk, bUt\t\l ..lM;,stripagal!:ll1st<,tne,;l:iass . cheekiM the ,pialtGal'ld ;markwherethe;el'ld~,()f,the. pla.Yt~"'i.tt afaR i't();ucbes tij, stri p~ThhWHl::reg.ister t~/ ',tU'&~ tb* ,ltlarks~ .Heavy,up·,tAU,"l ioe. 'l~ove the: action ~now aAd umaf!lk,centersi;,,·the'-'top' row" of .'. wonen prod~fttOris.:wfti.o~:}a;re .gllAtd'tQl\the action $tickers~Do thes.allle.for the o·th&r.two.. rows of· pro­ JecttOIlS, _lid ... u"a:,.•:f~f e"..-.t',\angth ',Illar k'if,folt:. ElI.dl.·· r.0.w.lfni:..S. d.'l·:i{ll..•,i.k_.'.p.". tft~t,;.r~s ..(.id.1V,... fe.rent.it~'fOt'..;.; you... .I'· 9lfaI"IMt",}Il!\ati:yO;(t:;wiU sIS,;;ab$Q!l<.tlte.ly .' de- lighted tha.t YQ:u followed this step.TI1~ &chultt, a'etion 1s dirj!ctb1ow and the stiekers of the pi ano

"-75 .. actiol'l,\tlarp·\~"d~tst." Evel!l if 'Joucou1(LgJu~ElQCh HI NGHIG'THE STRlKIiR· PNEUMAHGS: pneumatic'bi¢k,j\'ldP~f\feoidi:90ment, the chancEl$, are Wh'E!n you lay·.your. pne'umatic,leav&sias~deto dry you':' you would stl;lh4:r,Cl;ve ifi'v.ear;six n,~teli, that ,jam up may as well lay them on a roll of wax paper on a or that;iW~1!l}~, $}Mi kee "t,wo,nQte~at a, ,tida 1so .Wtlen dry,,cutdlpart. feed blocks a~e glued andscr'iwE!tfi6ut theepaper ollt"of VALVEPNhj~:p~~~]<)~~Rlrl' '..~". someo! the valve holes·wham YG~ cl,ealilit up., 'rt'QN,:. 'f' h: . To.remov,e"t'U:\I,J'.,V,e .,p.. eUlllJtlC$; lr;.s~,Us.e.a <~av.y .. ' Clean off both; sides oLthe \I,ah'edllutton :andscrape bl'ode. dl~,.. ".,,~.. ·.,.~~..>.· ..::;.•. :••~•.. \i.f~,a.nd... b.u. t.ti.n9.. the. el1d.,Qf ea.,C.h.. / •. she1fi f1'iw~11;J;DI11er'q$~ a.tackhamme~ .and sharply "i'ti"slTlooth'; :Replace .. 'any felt· button:stl\l~:t,,~e',m~ss.,.' rap' eacb one. Unless someone ',nis Peen, 1n there; . ingduetomoth larvae. No\~ find some thin valve before, they.s~ou1d'PQ,p' 0ffnice1y.' "I~YOMjQs~;a 1ea.tfli¥\itlii~!h,\'as, .•'Q2() tbtQ~ "lfs'~'i~;<'l'ljH'f'e.-G l'ter, the. 1i tt1e,tI". fffii~~t~tI1~ff1.·your glue or gl1.1ea\'1~k~aw-::, sm~)"l!li"'Oilfiitl!ltilrf'of"tt:W1th'rd~i:lble;cottoll··..·thi1"l dust will .,f'\lt'['f;$ii1jack'. :' i . motGlf'd,~,1:t;'tIh'l;/ rG\loe'it Sl1lGodih\ltd" flst."iEMt;,.wi 11., bEn ~

:~~.J ~d J.'.J. ,a,~~e P .~.~fh ~~f I);;;..' . " Remov~'llbe::t:lOf1k$' i al'tlf'tHrow Jt/lt4Jse:.l i t'tlei!~en.lI11a'~ftes .with,.eth".r.e.,.t'tl'e'.'ho.. or;¢Ve's ·.·tll:,t;..r'.'•.•. ,l1!to 'Qell~~~r,e .onZO"or 39 r,einfol"ced .Nowstao~·),f1);lr.Ir,Ql'!\;f1-ve) ;~ijt1d'Jji to, l"cbi~V(l~~'I'~i~,t!l"rr;,WlfU,tmatic.p1acemen:!+.. i. ,'YQu , punching $ fI;'gi tOl" maydO'f~l:Iei~Si"'e,i::to tbj:t"~r-ttneQg~. Cut' oRen; ttll!!.pneu­ geth~r with a marked one QIl,t,op and;wHh ·aiimdl mattes and tear off.the,mOveab1e boards. Don't both.. punch 'of the correct si'z,e. punch them aHout at er numbal(lng.' them - you'll see why Jater." onC~L'" it's, e'as}' .•, . ~eep ..,.the ,pUl1c!:l.v-ettlcl:l.•.. }{;QU . ,: :",., "'~<'". • i,_"d;~aa~d;HYO'\W"$'aw,i~s bac.J..1c1l;': . ,I" •.. .. • , ! , the rti!iltctf -;,~{Jt\-'-, not lar!t'll'lop_ hlll~~'\Q:~pilfll!li'!'J:y" thrQygl'l "'~ :"; ':?'\_Y' .. ' ' \ ~F ~/'}!, r.~,; ~ "~'f~'-~- ;·.,:i::t-i:;~,) ~'. SKetr\fiRtPARAf'IONi'~~~;\ , .: "'>';;-' . '.' f Stack)yayt )mo,.'" l.~pn.•Ji{nA~'~'Il~ lU~~s verUcal1,vJA:; USe) a PQw.tr sander ors~ndingb10ck andsmo()'ttrclown'----+- a pO't', that'wi' "'''.mbo!,:, ftle9f1~ntV.t1:wtt~out. ,soakht'9: . ~;l ~h~, :s~~.,! ,~.' T.a.·.~". ~· ll.l'''~i,.de. t~ .. 1Y.. .•.$! •...•.•.... '.a: .•.;s...'!l .. b.MC.·'.k ,w. i , }', the .;jij:!'tafll.!j~j.,t,,~Jt<~~,:1*'~'.Y\l.hOIit 1~r PEl .' read1: J 1."V"1-... ntf!..FU.,.l.i.m.t~C!lj,gh.,'. s·an~Be:sult~,.t~:.. ;.!~.j:l.'.e.r ,a·.I'\d.,.·V~;C\iu.Il1,orb.1.. s.. m.0.0,1;/1 .,'t.rye.'. v.a.Q~il.,,~.·~Ou,t"~an..••....m'l·e ulll.a.'.ti C·'.'. :. '. to cle.~: ~~. ~2:x~:JI~';~,,' i';..; , ' ,the."hpl,e.$, "n '; <, r';" ";: tnt:~,e sh~!tv~Ja:n¢'b1bWClUt",~he ,ntpplebQ)es. 'StZ',~: ' I .- \. .., ",._' "," _\~,:' ~/~,.., - .'•. , '. ,". . • - , crecRnicalltiea

both sides with thin hot glue and let dry'. You may penetrate the rubber. Let that dry completely. want to draw lines before sizing. Now lightly talcum the leather and rub it in until it's velvety. You now have a close cousin to silicon PNEUMATIC PLACEMENT: rubber but much more flexible. It will glue with Once you've covered the striker pneumatics you can #320 plastic glue. Do not put any rubber or sealant install them first. Line them up with the 1ines or on the rough side of the leather or you will ruin it. , marks you've made and coat the bottom of.each' com­ pletely with heavier consistency hot glue. Before If you use my method of covering valve pneumatics you stick down any pneumatics I suggest laying a all you need to do is tear 90 strips of polylon strip of thin nameboard felt in the slot under the 1 1/8" wide by 4" long. Pour some #320 glue into a valves as provided - don't bother gluing it except cup and let it thicken somewhat while you put to­ on ~he ends. When the shelves are filled with pneu­ gether ajig to recover this little rascal. The mat1cs and dry, haul out your plywood strip with the front should open up to 1 1/8" when you recover. marks on it, line it up with the bass end of each Granted the original was I". The space between the shelf in turn and put a centerline mark on the open leaves at the rear hinge should be between 1/8" and end of each pneumatic where its finger should be 3/16'" and I use the 1arger space. If you draw a side located. Next coat the moveable board of each pneu­ view of the pneumatic using these dimensions and draw in the ~" supp1y hole, you will see how a jig can be matic with hot glue and stick down the finger. made. It has a handle and the valve leaves are im- ' Placement of the rear stop on the same pneumatic can paled on its little blades to hold them positioned' also be done now and can be lined up with the button. and firm while all four sides can be wrapped at COVERING THE VALVE PNEUMATICS: once. If you do not use the jig, I suggest cutting Either leather or polylon is recommended although five covers at a time under a cardboard pattern and leather is easier. If you use pouch leather use thin begin gluing by pressing them on the cloth on their leather and seal it first with Western Auto tire side, then wrapping around the ends. patch rubber. Thin with naptha and brush it on a piece of leather stretched on a board with thumb VALVE PNEUMATIC EXTRACTOR tacks. When dry, spray wi th the same si 1i con sea1er recommended earlier. Don't wipe it because it will 3/4" brads (2) SCHULTZ VALVE PNEUMATIC COVERING JIG / (prototype) ,,,~5/64" holes I==~--'-:~--':""---';~L_"'J..]}"

..Jead weight Leaves are 5" x 1 3/4" x 1/4" and '------'--..i,._~-J are made from maple. L top board rests on blue spring/'"' rod end i mpa 1ed on steel (blades blade If you use the jig, remove each pneumatic with the have edge) extractor press (see drawing). Don't worrv too impaled much if some of your corners pucker slightly: Puck­ ers on the bottom leaf are filled with the'hot glue they're put down with and puckers on the top can be filled anytime with #320 glue. Remember that a cor­ ner filled with glue is mechanically better than a perfectly tight corner. But after doing several of these set~ you get so you can pull them tight and neat. I Just don't want you to think your first set handl e will look as nice as' your tenth. Be careful- not to get excess glue around the inside of these pneumatics NOTE: a better model because they operate closed. ' would include a top leaf support that cen­ When you have finished the recovering, trim and f~ld tered itself in the ~y inserting a fingernail in the hinge .end, a finger bleed hole with an off­ 1n the front and while blowing through the lower hole, set for alignment and a collapse them with your fingers. This gives them side blade to hold it t~eir sh~pe. Crease the polylon fold flaps on the straight. sldes Wh1Ch blow outward with your fingers and press down tight on'the table~'

After creasing, cut a 6 foot strip of rayon seam tape (~" wi de materi a1) into I" 1engths and gl ue to o the back of each pneumatic. Don1t, glue across the - 77 - .,~ ". :.

covering, but glue it to the top and bottom boards Make sure you aren't resting on dried glue under the of each pneumatic with #320 glue. Rayon is best valve seat. Then make slight hook adjustments. If because itwill not shrink that final 2% when water your valve touched the side of the hole first, slight­ based glues are drying in it. ly twist the hook the other direction. If it touches the back of the hole first, drive (press) the hook Use an Xacto knife point to find and cut out the further fnto the leaf. If it touches the front of hole in the top board for the hook and insert the the hole closest the hinge, pull the hook out very hook. It's a good idea to shake all these pneumatics slightly. After everything else has been dOlle cor­ in a talc sack sometime before this is done (install~ rectly, forgetting this step will lead to valve prob­ ing hooks) after checking for limberness. The talc lems. will take care of all the sticky ones and the pneu­ matic should easily collapse completely of its own One other problem to watch for is a sloppy hinge or wei ght and shoul d also Goll apse even after the hook loose tape. If you've used #320 glue you can peel is installed. Do not glue the hook. the tape off the top leaf and reglue in a minute. VALVE INSTALLATION: TESTING THE SHELVES: Replace the buttons in their holes "snakeyes uP." Clamp (don't screw) the covers on and throw a strong Put four· dots of #320 glue on the top seat hole and vacuum into the shelf being tested,covering any large lightly press the top valve seat into place, leaving holes. Use a three foot length of rubber tubing for no more than about .035 clearance and no less than proper nipple loading and a plug in the end with a .020 between the valve and seat. Let it set and 5/64" hole to simulate the tracker bar hole. You'll then seal the seat with a thin ring of #320 glue. be surprised how this will disclose sluggish keys If you need to get inside that valve again sometime that don't show up until you've put the stack to­ you'll be glad you installed it this way. This valve gether. The plug should be an inch long. uses a very small clearance. If your leather was too thi ck you'll need a valve spacer• Do not attempt to You may fi nd some that allow the stri ker pneumati c seta general precedence foraH valve clearances.' to close stowly on you with your finger covering the , There is no such thing as an optimum clearance for hole. It is a Schultz trademark for ciphering valves. any kind of valve... They will all be different. It means that either the upper valve seat is not flat, the button is not parallel, the hinge is too ~ VALVE PNELIMATICr'NSTALLATION sloppy or the valve button has a bump on it. You'll ~ To install the little pneumatics you can use either need to play with a few of them to find the trouble. #320 or hot glue. Be careful because it will clog The hook also may be too tight in the leather. Test the bottom hole. Cover the entire bottom of the it also for good repetition with a fast finger. pneumatic, then hook the stem through the captured valve button and press the pneumatic down in the REASSEMBLE THE STACK: trough over the hole. The main thing here is to I recommend new gaskets at this point unless the old make sure it is straight with the. valve hole center~ ones are very good. Even with all the clamping 1ine. Do a shelf at a time and then test with a screws the Schul tz shel ves are noted for 1eaks. Don't piece of tubing by blowing into the nipple and re~ forget to glue and screw the spacing blocks' back on leasing. Don't suck unless you enjoy clogging an before you close up the shelves. There are interior otherwise open hole witb glue. If some seem to be screws on a few of them. Reglue tbe stack nipple slower thall others, remove them and .c1ean out the in the hole. It 'is loose. A good way is to take a hole. It will be almost closed off with glue. Be strip of muslin a~ soak it in #320 glue. wrap One careful not to blow the pneumatic off the shelf. I turn around the nipple, insert and cut off the excess. usually hold the bottom l~af down. Blowing will also Sorry, but hot gl ue- will just break if you use it find your leaks ~ cover the bleed with a finger. on this fibre nipple and Elmer's will shrink away too much. SETTING THE VALVES: All you need to worry about is that the button valve When retubing, use 5/32 tubing, 200 feet of it. Be- is held parallel to the top valve face and that it gin with the #44 hole and fill up the bottom row of is in the center. First move the hooks in or out of tracker bar nipples first. Lay a ruler across the. the valve pneumatic top leaf in order to center the back of the spool box for. the tubing to form over. valve (be sure you are supporting the pneumatic). It will space the tubing away from the spool box so Next, bend tm( hook left or right slightly with two that adjustment of the tracker bar will be free and pairs of pliers to center any valves not quite cen~ easy. Don't forget the. two tubing gui de strips. tered sidewiiYs. When you tube up, do it from the front of the stack through the longer gui de strip, a1ternati ng every After the hooks are in the center of each valve face, other hole, then through the 1nstde row of holes on operate the valve pneumatic and watch it come back the black guide strip directly below the back of the up. It should be limber and return by its own weight spool box, and then up to the tracker bar. Pull it ... but the valve button should not touch one side of the snug across the ruler and then find your length ~ top seat before it completely seats. If it does, down to the valve nipple on the front. here's how- to correct it.

- 78 - little play. The rear Gollar is sweatedoh first MISCELLANEOUS I ~STALLATIO~ NOTES ~ . after the valve shell is installed and the unit is I sugges tadding,a 1~ x 4 hardwood b10Gk to the assembled into eaGh valve block before the finger treble .endof the of the .lower .shelf for the stack is bent. The front Gollar is slipped on. spacea. to res t on .•. · If it I 5 9Tued, f1 ush wi th the edge 9f the and 1i ghtly sweated in PT ace. Fi na lTy the blocks staGk it wi Jl not interfere with the keys and wll.1 are placed above the traGker bar and the finge~s be easy to. tube u~ and work on later. are ~haped with two pair of smooth pliers. AdJust­ If,your button adjustments on the front are rusted ment is made 1ater by bendi ng toward the paper. don't try to turn th~m t)nlessyou,are pr:pared for breakage and twisted off eyelets.Sometlmes you have no GhoiGe but they Gan be adjusted a little by adding felt or removing felt. A neat triGk is to lay a str>5pofheavy Gotton soaked in hot glue aGross .the back-elf ,a'T~ the striker pneumatiGs when you glue the fingers on. This strip wilT thecnspaGe the rear fing­ ers' lower than they ever w~r,e an~giveyouample Gl earance for a,<:Iding felt lf yq~:nee9 to. ~e~ure that the tear fi ngers on the bott.om row ar,e the ones wi~the chamfer on the underside to clear the keys~ Now comes the fun p.art. This funny.-looking thillg aC~;1jlalTy works and wipnthe exception of the 0­ traGki ng Weih1o. roll track4 ng.d1scotilbo~ulation; tAi s ,piano finger ~. is a prize. . bend laS~ , PAPER TRACKING BLOCK - left side. front.· THE ROLL TRACKER: .. (right side ismirror image of Teft) . For want of a better name I '11 call it tha t. AGtua 1­ ly iLdoesn't,track the paper. it really track,S the spool ends. No system ever tracked ,spool fl anges A) 1/2" brass tubing va.lve shell fil1ed quite as well. but I've never seen It·trackaroTl. with solder. Clamp oli a smooth'sur­ If you want to make it work. just use thedt"awing face to fi 11 '. sch~me provided and you'll have a really excellent trackingmecbar:ltsm. B) CblTars made from 1/8" brass>tubing and swest soldered. A NEW TRACKING MECHANISM FOR THE SCHULTZ You can leave this "-.-/weighted prl'eumatic & its roller bar in . . paper I j place. ltwon t hurt 1i ne IJP1J" anything. switch supply j) #68~' LEFT BLOCK bleed (assembled) I I left " I I SIDE VIEW finger . L.,. :....:_ .oj, ;/ ~ tracker bar Differential V aGtually use 5/32" p,neumatic paper edge sensors side view el bow to pi-oject through rear of ,/ spool box. It ConstruGtion is simple and left to thetebuilder•..' Note that· the braS'S' tUbingispressed into the rock mapT e and proJeetsfrom each end just enough togive the sweated >coHars a bearingsu·rface. Leave a - 79 - NEW MEMBERS C.W. &Cora Creighton 1920 Bursens dance org ­ Jerry Biasella 6718 N 15th St. book; 1920 Gulbransen upr 286 W. 14th PI. Phoenix, AZ 85014 p1yr; 1920 Behr upr plyr; Chicago Hts, IL 60411 referred by Simon Zivan 602 266 9031 1920 Wurlitzer band org 105; Aeolian pipe org Rice &Lola Berkshire James B. Williams plyr. 1330 Clark Rd: 799. Maple Street E1 Centro, CA 92743 Ogden, UT 84403 714 352 8850 801 3047263 FOR SALE: REPRODUCING PIANO, WEBER 5'S" GRAND with DUO-ART SYSTEM. Player completely rebuilt - has Gerald &Ginny Carlson 1924 Mason & Hamlin 5'8" new set of haminers. Original case and finish good condition. 5528 12th Ave. Ampico A. $4,000 or best offer. Contact John G. Ravert, Sr., Box 85, So. Minneapolis, MN 55417 Vicksburg, Pa. Tel. (717) 966-1367 after 7 P.M. except 612 825 5124 referred by Gene Skarda Wednesdays. Jack Carling &Morris Garber 1925 Steinway 6'5" 200 West Repplier Rd. Duo-Art Sheraton: FREE LISTS: All Types Rolls, Cylinder Records & Machines, Banning, CA 92220 referred by L. Hargrove Discs, Cobs, Sheet Music, Catalogs & Literature. Mechanical Music & Much More. Our 20th Year . Don &Sandra Weber 1905 Chandler upr plyr; 5921 Belvedere Rd. 1914 Howard upr plyr' Vi & Si's Antiques 8970 Main St., Clarence, N.Y. 14031 West Palm Beach, FL 33406 manualo. 305 683 5706 BUYING:' AMPICO, DUO-ART, WELTE & OTHER TYPE OF ROLLS. DESCRIBE AND PRICE. William R. Baab 1932 Stroud 5'1" Duo­ ALTMAN, 8970 Main St., Cll\I'ence, N.Y. 14031. 619 Second Ave. Art B. Bethlehem~ PA 18018 FOR SALE: Vacuum gauges, Marshalltown br nd, 2~" 215 868 5431 referred by Wm. Dean face, 0 to 30 inch H20, with snubbing orifice and 5/32" nipple. psed, reconditioned, calibrated, Alvin Wulfekuhl 1929 Weber 5'8" Duo-Art; guaranteed. $9.00 postpaid in U.S.; W.E. Flynt, 540 Terrace Ave. 1927 Marshall &Wendell 1722 Iroquois Drive, Garland, TX 75043. Cincinnati, OH 45220 5'1" Ampico A; 1920 Ho 513 281 8327 ward (Baldwin) 5'2" Welte; REPRODUCING ROLL AUCTION! Ampico, Duo-Art, Welte, 1955 Piano Lodeon. Apollo, Artrio-Angelus, Artecho rolls plus Welte & Apollo catalogs. Send l3¢ stamp to Mike and Fred Thomas H. Harr 1923 Chicago electric Schwimmer, 241 Harbor, Glencoe, Illinois 60022. Rt #1 Box #222 coin piano A roll; Bainbridge, OH 54612 Francis Bacon upr plyr. STEINWAY DUO-ART XA (6'2") #154721. Player excel­ 614 634 2675 lently restored. Includes 50 rolls. $8500•. R. IBellin, 7407 Buffalo Ave. Takoma Park, MD200l2. T. Bruce Bodalski 1922 Knabe 5'3" Ampico A; Phone (301) 585-9195. 18220 Winslow Rd. 1924 Knabe 5'3" Ampico A; Shaker Hts., OH 44122 1926 Fischer 5'3" Ampico WANTED: Any Duo-Art rolls played by Carlos Salzedo. 216 283 4363 A; 1924 Marshall &Wen­ Dick Barnes, 1711 S. Clinton, Dallas, TX 75224. dell Ampico A; 1920 Me­ lodigrand upr plyr.. FOR SALE: 1921 STEINWAY DUO-Art GRAND 6'1" (XR 205334) Ebony over mahogany. Original Oklahoma City Edward J. Nalborczyk Gulbransen upr plyr; piano, ivories perfect, restored, second owner, no 806 North Leonard Rd. Wheelock upr Duo-Art. bench•. Ca 150 rolls go along with it. $7,500.00. Saint moseph, MO 64506 S.B. Flynn;. 3237 Harvey Pky, Oklahoma City, OK 73118. 816 232 4609 1926 6 ft. Steinway XR, Duo-Art player, near perfect Dr. Robert W. Berry 1928 Mason & Hamlin 5'8" original walnut case, restrung, regulated, keys 425 Rockhill Circle Ampico A; 1923 Francis recovered, player completely rebuilt and regulated. Bethlehem, PA 18017 Bacon upr plyr. Joseph R. Richardson, 521 No, Irena Ave., Redondo 215 691 6339 referred by Robert barns Beach, CA 90277. Ph. 1-213-376-4936•.

Richard &Mary Skwarek 1924 Fischer upr Ampico Stroud Duo-Art grand. Unrestored. $2,500.00. 3600 Penrod Lane A. 611-527-7165, c/o E. McDonald, 704 Centre st. Minneapolis, MN 55418 Newton, Mass. 02158. 612 788 5342 ". WANTED: At least one usable roll for a 28-note, Edwin &Miriam Ward 1923 Marshall &Wendell 4-1/8" wide spool, TanzBar. Desperate. Richard 191 Riverview Dr. upr Ampico A. Parker, RR#l, Oskaloosa, Iowa 52577. Woodville, OH 43469 419 849 2616 1926 KNABE PARLOR GRAND PIANO FOR SALE including bench and 50 rolls, Ampico electric reproducer, Robert &Margaret Wilcox 1920 Morton upr plyr. mahogany finish, choice unrestored, one family 1825 Shasta St. ownership, offers considered. James Barber, 1672 Richmond, CA 94804 East Grand River, Apartmemt 151, East Lansing, MI 415 525 4182 referred by Dale Lawre~ce 48823. Phone (517) 332-8084.

Roger D. Morrison 1933 Steinway 6'4" MASON & HAMLIN 6' grand. Built in 1920's. Original 1420 Barrington Way, Apt. 11 OR Ampico B &Duo-Art Ampico player mechanism has been removed. Good play­ Glendale, CA 91205 Louis XVI ing condition. Make offer. Fred Langner, 116-B 213 241 5090 Meleana Place," Honolulu, Hawaii 96817. FOR SALE J.P. Seeburg piano/pipe organ, 3 ranks (stopped diapason, melodia, quintadena) with chimes as described in AMICA BULLETIN "Technicalities" December, 1974. Instrument partially rebuilt - new tubing throughout, stack recovered, exposed pallet valve facings r€placed, various pneumatic control devices rebuilt, and case re-varnished in 1973.

This instrument is presently tubed to play (through a unique custom­ built pneumatic "switch") "A", "G", or 65-note (re-spooled to "A" cores) piano rolls from the original spoolbox. Return to M.O. roll capability requires only simple tracker bar tubing changes. $2900.00 or will trade for a good restorable "A" roll keyboardless nickelodeon.

Also available is a custom-built pneumatic-to-electric interface (as described in BULLETIN "Technicalities", June 1974) and a special 23 stop tab nameboard for addition of e~tra (external) pipe ranks. $100.00

Tom Beckett - 6817 Cliffbrook - Dallas, Texas 75240 - (214) 239-5019 THE CC-3 CASSETTE CONVERTER UNIT PAYS FOR ITSELF!

The CC-3 Cassette Converter Unit which attaches to any restored Ampico reproducing piano (upright or grand, model A or B) will pay for itself! Skeptical? Well, you should be - for the CC-3 Cassette Converter Unit, a product of precision research and craftsmanship, sells for $2,495, not exactly what you would call inexpensive. Read on ... This unit operates the piano by means of tape cassettes and attaches easily to the Ampico piano without in any way disturbing its originality or collector's value. At the same time the unit is attached, the piano can be played with normal paper rolls if desired. Likewise, the unit can be conveniently detached. Original Ampico rolls were used to encode a library of cassette tapes. These tapes sell for just $9.95 each and con­ tain an hour's worth of music each. A wide program of classical, pupular, old favorites, and other tunes is available. Now with the CC-3 Cassette Converter Unit you don't have to rush around changing rolls every few minutes - just snap a tape into place on the remote cassette player (which can be located any distance from the piano) and the concert will play for an hour! How will the unit pay for itself? Simple: $500 worth of cassette tapes provides the same amount of music that would cost $2,500 to $5,000 to buy on paper rolls! So, if you are an active user of your Ampico you will find that the unit will pay for itself in roll savings alone! Ad­ ditional savings can be obtained in handling and storage. No longer will you have to store your rolls in clumsy boxes or expensive shelving or set aside in an area of your home fo'r this purpose. Indeed, a vast library of Ampico music can now be kept in a table top drawer or in a small shoebox! Another way to look at the savings is the fact that owners of the CC-3 Cassette Converter Unit report that they use their Ampico much, much more often than before the CC-3 Cassette Converter Unit was installed. Let's assume that your restored Ampico is worth $5,000 - certainly a conservative and low figure, for most restored Ampicos are worth much more than this. If you triple or quadruple your enjoyment and use of it, then by means of some logic (what type of logic we're not quite sureO, you are "increasing the value" of your instrument to $15,000 to $20,000 - all by attaching the CC-3 Cassette Converter Unit. No matter what way you look at it, the CC-3 Cassette Converter Unit means a new dimension of enjoyment for Ampico owners. Isn't it about time you found out more? Send us your name and address and we will send to you by return mail an attractive brochure which gives all details. A nation-wide dealer network is being established, so chances are good that you will be able to hear and see one of these in your own area soon if not right now. Write to us today. Once you have your CC-3 Cassette Converter Unit you'll wonder why you wainted so long!

INTERNATIONAL MUSICAL INDUSTRIES 1717A-A Stanford Street • Santa Monica, CA 90404 Return withus now to those thrilling days of theViolano~irtuoso.

Take a step back in time as you look Violano·Virtuoso! This book was orig· ferent Viola no models, and dozens of through this wonderful picturebook of inally produced by the Mills Novelty letters from happy Violano custo.mers. yesteryear. See old-time ice cream Co. for its salesmen, and records with Discover items of the period such as parlors, candy shops, billiard halls, great detail the style and ambiance of advertising signs, coin-operated ma- pharmacies, restaurants, and more. these fascinating establishments of chines, store fixtures, etc. It is ideal Imagine yourself there at the counter the teens and twenties. It contains over as a decorating aid and a valuable listening to the most fantastic coin- 150 pages (81/2 by 11), featuring more reference. You don't have to own a operated machine ever built: The than 100 photos, 4 color pages of dif· Violano to enjoy this book. Order now this limited re-edition. Only $9.95 K & F Publishing, P.O. Box 240, GPO, Brooklyn, N. Y. 11202

.M PLAYER PIANO OWNERS - t A~~ffrft':/ RE-CUT YOUR STANDARD POPULAR ROLLS /,I/:~' ~'0 '·'., i (r'~' '"'~,-l "z '. . 'J/" I $20.00 PER TITLE \~~ ,/J~ <.. ¥~' ADDITIONAL COPIES $4.00 EACH ~ PIANO CD. mODESTU til. f, fJJ NO MINIMUM ORDER OR QUANTITY PLAYER PIANOS and player piano con- That's right! Now you may order just Qllil. re-cut of version kits - orchestrion or 88 note start- your favorite popular standard roll (20-30 feet). Don't '',~.J')]!. ing at $595. Fits 90% of all uprights without pay for unwanted copies. Frayed edges are no problem ~ changing the outward appearance. Pneu- for us. We use a full quality, lint free, 3 pI. dry waxed matically operated and great for a replace- paper for our re-cuts. All old rolls are returned along ment stack. Also coin operated orchestrlons your new re-cuts - packaged in new boxes for your pro­ , i starling at $1200., made from fine old up- tection and storage". Be certain to include any special ~i rights. Cast aluminum, art style "0" ROLL instructions for multiple copies. Allow 6-8 weeks for 'i\ " delivery. No reproducing rolls at tl}is time, please. spool frame, on sale now thru April 30, ill 1977, for only $2651 Tracks perfectly and YOU MUST BE SATISFIED!! I) j has solid state tempo control. All types of Clip and return with order y orchestrion products for sale at wholesale prices. Genuine 24 note Rosewood XYLO­ CRAIG'S PIANO SHOPPE 925 SOUTHOVER J PHONE only $335., replacement stack only ! TOLEDO, OHIO 43612 (419) 478-4711 t/?::.~'." $295! Replaces old player stacks including Name _ ~._/ ~ Arllpico! Ready to install! Lower prices Phone (-l---- '. \. available with volume purchasing. Old Complete Address _ " \\~ pianos gladly accepted In trade. Send $2. for V.~f \ catalogue to: Total # Rolls to be Re-Gut_ x $20.00 = $ _ '-'~' Ragtime Automated Music I{ 'i~ ~. 310 Hackberry Ave., Dept 1a Total Additional Copies_x $ 4.00 = $._---- /P'.) Modesto, Ca. 95354 . Postage & Handling $._~$~3~.O"_'O'____ C . or Phone (209) 526-1973 \ TOTAL (Check or Money Order MUST ~~~\ ~ ih~'f)..,ri?~· accompany your order) $._---- t 2: <' SEND YOUR ROLLS INSURED AND SPECIAL ~;,c~~~~~~Y~(' 4TH CLASS SOUND RECORDING RATE. )(~~)()(~@ i)()(~@ i)()(~@ i)( ~ We Walfi to Spettd

)( to meet our customers' needs we want to spend $1,000,000.00 on music boxes, nickelodeons, band )( )( organs, and other automatic musical instruments -- single pieces, groups and entire collections. )( Thinking of selling? Write or call today with a brief description of your holdings. We'll make an ~ immediate decision on all items offered. We'll make complete confidential cash payment in full for ~ all items purchased. In past years we have purchased more instruments than any other dealer in the world. You'll be assured of a pleasant transaction. And, we'll take care of complete packing and shipping arrangements. t Here is a partial list of what we want to buy: ~ CYLINDER MUSIC BOXES - Fine-quality Swiss cylinder music boxes/especially those with \ )( multiple cylinders, matching tables, fine instruments, drums and bells, or other interesting )( )( characteristics.' , " ~)( DISC MUSIC BOXES - Fine quality Regina, Polyphon, Symphonion, Kalliope, Komet, Mir , Stella, Criterion, Olympia, and other disc music boxes. Automatic changers. Musical clocks. We c use just'about anything and everything! ., '. . l NICKELODEONS AND ORCHESTRIONS - All models, unrestored, restored, or in any con­ dition, made by Seeburg, Wurlitzer, Hupfeld, Popper, Weber, Welte, Link, Western Ele.ctric, Coinola, Berry-Wood, National, Nelson-Wiggen, and others. 'Also want Hupfeld Phonoliszt-Violina, Mills Violano-Virtuoso, Encore Banjo, Wurlitzer Harp, etc. In the past month we've purchased THREE large collections of nickelodeons and orchestrions - and we want more! The more, the better! One instrument or a dozen or a hundred! ') BAND ORGANS - All types of band organs, fairground organs, etc. by Wurlitzer, Bruder, Gavioli, Limonaire, Mortier, Decap, etc. Large ones, small ones, etc. REPRODUCING PIANOS - Mason & Hamlin Model B Ampico desperately wanted / in fact, we would like to buy a half dozen! Also other fine-quality reproducing grands. OTHER ITEMS - Automata, organettes, calliopes, and other self-playing automatic musical instruments from the 1850-1930 era. .

INSTRUMENTS FOR SALE: Interested in BUYING instruments? Send $3 for our large illustrated Catalogue No.8, just released, offering hundreds of items - or send $15 subscription for the next six issues.

)( THINKING OF SELLING??? Write or call today. We have the cash. You have the instruments. )( ( Let's get together! )II J \~J AM~8~~~~~g~t~!~~'~~C~~f~n~9~~4 ?~\~~~7~~'~{77INc' ~

'DireC~~~s: '" Bonnie Tekstra/Q. David Bowers/Claes O. Friberg. Offices in Europe and America. Visit our huge ~t 26,000 square-foot warehouse/showroom. Over 500 instruments for sale. Open Wednesday through Saturday 9 a.m. tn 4 p.m. Come early - it"; w;trlan; of fa"inating in"mmen", clo,ks, etc. and ",n't be oov"ed in a ill",t time' l)(~~)( ~)()(~ f)~)()(~~)( ...... ,. ---/ FOR SALE We have for sale the following instruments: I Orchestrion made by H. Peters & Co, Leip­ World's Largest Selection of zig. Contains piano, xylophone, drums, cym­ AUTOMATIC MUSICAL INSTRUMENTS! bal, 5 ranks of pipes, 140 rolls, is a bas­ I Music boxes! Reproducing pianos by Ampico, Duo-Art, and ket case and priced at only $7000.00. Welte! Nickelodeons! Orchestrionsl Hundreds of automatic musical instruments for sale at wholesale prices! Send $3 for II Chickering 5'8" Louis XV art case grand. our fascinating .. AIG Review." You've never seen another catalog like it. Satisfaction guaranteed. Or, send $10 for a Magnificant carving, late model A system, subscription to the next six issues. sere #143817. unrestored $7000.00. Restored Nearly 1,000 instruments are now in stock-the world's $10,500.00. largest inventory. Complete faci lities for low cost shipping to you. Our network of buyers in America and in Europe III Steinway Mod. XR 1920, sere #200422. (Claes Friberg in Copenhagen is our European director) gives you the best s.eleetion at lowest prices-there are no middle­ Plain mahogany case with matching bench. Com­ men or agents to pay. pletely professionally restored and refin­ Our California showroom is open Wednesday through Satur· ished (hand-rubbed lacquer), new everything, day 9 A.M. to noon and 1 to 4 P.M. We are a quick 15 & mat~rial minute drive south of Disneyland, just a few minutes from polylon, bylon nylon used. Price the nearest freeway. Visit us the next time you are in the $10,500.00. Comes with 50rrolls, mainly . Los Angeles area. A won.derland of automatic musical in~tru. ·ments awaits you! In addition you can see fabulous or hes­ t:lassical. trions, organs, and pianos in our educational exhibit. IV Steinway Mod. XR gran9, mahogany case. We can supply the seven-pound, 1,008 page, illustr ted "Encyclopedia of Automatic Musical Instruments" for $30 Piano & player rebuilt 2 years ago by Stein­ postpaid-the standard reference book in the field. Over way in New York City. C~mes with 145 rolls. 7,000 copies sold. Satisfaction guaranteed. ./ Price $7,500.00 ? Are you an active collector, dealer, or museum? Then being on the AIG mailing list is " MUST! Directors of American V 1929 Cable & Sons baby grand, Recordo sys­ International Galleries are: Bonnie Tekstra, Terry Hathaway, Dave Bowers,. Claes O. Friberg. 1>-NAl'l tem, good unrestored condition, comes with ~~, 0", 40 rolls, plain mahogany case, inexpensive AMERICAN INTERNATIONAL "+-1;,... "< GALLERIES :;:' ~ at only $1,500.00. ~, .,/" 1l102·A Kettering Street £ Irvine, CA. 92714 U.S.A. '\ ~ Write or call: r De Haas Player Piano's, 11 Tel. (714) 754·1777 ,,~. Maple Street, deorgetown, CT 06829. Phone .I'L.--- (203) 544-8750'''). ~_

~eissues M81 SEND FOR COMPLETE FREE CATALOGI

AMPICO DUO·ART HAPPY DAYS ARE HERE AGAIN Orchestrion Components *AMP-1027 *DA-1027 Played by Victor Arden (Ass't.) Played by Ralph Addison HUNGARIAN DANCE No.5 (Brahms) . and Snpplies tAMP-1028 tDA·1028 Played by Marguerite Volavy Played by Harold Bauer

LIEBESTRAUM, NOCTURNE No.3 (Chopin) ttAMP-1029 ttDA·1029 Played by Leo Ornstein Played by Rudolph Ganz THESE FOOLISH THINGS REMIND ME OF YOU Ten-tune spool frames *AMP·1030 *DA.1030 Played by Robert Farquhar Played by Robert Farquhar Automatic tambourines POMP AND CIRCUMSTANCE blocks, cymbals, tri­ ttAMP-1031 ttDA·1031 angles, Equa-vac vac­ Played by Kmlta & Lambert Played by Edna Bentz uum pumps. Custom SOUNDS OF THE THIRTIES MUSICALS * \ * fabrication. Q·215 WHO'S AFRAID OF THE BIG BAD WOLF From "The Three Little Pigs" (1933) Q-216 BROTHER CAN YOU SPARE A DIME Write for free illus­ From "Americana" (1932) Q·217 YOU TURNED THE TABLES ON ME trated catalogue. From "Sing Baby, Sing" (1936) Q·218 IT LOOKS LIKE RAIN IN CHERRY BLOSSOM LANE Introduced by Guy Lombardo (1937)

Q·R·S MUSIC ROllS, Inc. P. O. Box 1094 1 <'I 71h Bil'. 4fJ on l,j/I, Nlllr.llrH.. '" .r'llJ~ III! \' Ny ',1:'1\ lUbbock. texas 79408 Mcmufadurer of Aulomaled Musical Inshumenls 2235 'H' Slreel Bakersfield Coif 93301 . 805.322.5058 Now Larger & BeHer Than Ever

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