ALLEGRO ® MODERATO ARTh~~ RgJ,L Hawaiian Melodies, Medley No. 4 AR10 m\.& ~u C roU" ar f' mad .. T h . h,~h ord c r o{ In Vv'ahz T empo undl"t mad" ",-,. 0 1"\( 1 f r o ~ l,\troducin ~ : L i 'K ~) m U"lci.a",sh ip "'mhodif'd i" N.o . 1.Sweet Co,,:-tunc'1' (U ;1, Likl.' No 1\ No. 2. fui r Ho,....ii (" " s ~cs ,H' " mbod" dcviecs ARTo mU ~4 c 1"0\13 i , P I . ~ . J hy .1ohn 1\. Schmidli" cnv", I"" J. b'j th e ·tllHo...... i n.~ ~ .... . r.n tlt,"d b~ ~\' tt' Y'ior\d Second only to "Aloha O e" is "Ua Like o A Like" the Sw eet C onstancy Song U. S. PATE NTS ~·..tJ ," r~ pu t. t ; o " nf t\·,,· of H aw aii. which .was ar ranged for piano by H . Berger, a band-master. long a 659 .053 oa. . 2, 1900 r omv-o si tioP\$) the- c.i m po ~ resident of H aw aiJ . He also ar ranged " Aloha O ~ .. and numerous other native songs 692,8SJl F. b. 1I, 1902 692.989 F.·b. \ I, 1902 Irr, . " d th ~ rcco l'd ,"~ tti•. and ably assisted reward ed ucating the Hawaiians in modern musical knowledge and helped to perpetu te their melodies through publication. 703.388 J uly I, 1902 nisb appea ring in ART0 703.389 J"ly I, 1902 c.t. ' o ~s and bu.ll..ti" ". UA LIKE NO A LIK E. (Sw",' Com' >OC}') 709,296 S.pl. 16, 1902 First r,,·u S({(m.f r,ru 731,279 J"no 30, 1903 W h ,~Jl dlorde--v, of eve I.t'e fallan.. Ytlhen 1M moonlight ~d, 11' ,p !~ n::k>r. 739,9' \ Sopt. 29, 1903 Ew r ~ . 1. 1' in tho pro· Glin'nios on d...... lla-.vc.n lcved 10 ...... 11 ; And rh... perfumed uph),t1 blew: Then M'y H urt to Tbee is c&lI i n~ There \,\,,:'11 roa m in rajxcre. h"ndtT. 745.424 D.c. I, 1903 J"d io" oj a" IIRT" roll ". From OW' tryst withi n me ...... oextla.nd dell . In the 'tv in; ', melle:.v ~~ld'l) I110w. 747,687 0.·c , 22. 1903 p
The AlVIICA BULLETIN AUTOMATIC MUSICAL INSTRUMENTC OLLECTO RS' ASSOCIATION JULY/AUGUST 2005 VOLUME 42, NUMBER 4
ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens
VOLUME 42, Number 4 AMICA BULLETIN
Display and Classified Ads July/August 2005 Articles for Publication Letters to the Publisher FEATURES Chapter News UPCOMING PUBLICATION Promotional Ideas — 168 DEADLINES The ads and articles must be received Big Feat — 170 by the Publisher on the 1st of the Odd number months: January July Things That Used To Go Thump In The Night — 171 March September May November The Staib Mastertouch — 173 Bulletins will be mailed on the 2nd week of the even months. Welte Mignon Reproducing Records — 182 Dr. Michael A. Kukral, Publisher 216 Madison Blvd. Piano Men in America — 194 Terre Haute, Indiana 47803-1912 Phone: 812-238-9656 Metropoliton Opera House — 211 e-mail: [email protected]
MEMBERSHIP SERVICES
DEPARTMENTS New Memberships ...... $42.00 AMICA International — 166 Renewals ...... $42.00 Additional $5.00 due if renewed past the Jan. 31 deadline President’s Message — 167 Address changes and corrections New Piano Rolls & Recuts — 213 Directory information updates Additional copies of Chapter News — 215 Member Directory . . . . $25.00 Single copies of back issues Classified Ads — 229 ($10.00 per issue - based upon availability) William Chapman (Bill) Front Cover: Roll Leader #652, Hawaiian Melodies, played by John A. Schmidlin 53685 Avenida Bermudas La Quinta, CA 92253-3586 Inside Front: Ads from World’s Work Advertiser, contributed by Robin Pratt. (760) 564-2951 Back Cover: Good Bye Broadway, Hello France Sheet Music Cover e-mail: [email protected] Inside Back Cover: Ads from World’s Work Advertiser, contributed by Robin Pratt To ensure timely delivery of your BULLETIN, please allow 6-weeks advance notice of address changes.
AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.
Entire contents © 2005 AMICA International Printed by Engler Printing Co., Fremont, OH ¥ [email protected] 165 AMICA INTERNATIONAL INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Mike Walter BOSTON AREA NORTHERN LIGHTS 65 Running Brook Dr. Pres. Bill Koenigsburg - 978-369-8523 Pres: Phillip Baird Lancaster, NY 14086-3314 Vice Pres: Bob Tempest Vice Pres: Paul Watkins 716-656-9583 Sec: Ginger Christiansen Sec: Jason E. Beyer - 507-454-3124 e-mail: [email protected] Treas: Karl Ellison Treas: Barbara Watkins Reporter: Don Brown Reporter: Dorothy Olds PAST PRESIDENT Dan C. Brown Board Rep: Dorothy Olds N. 4828 Monroe Street Board Rep: Karl Ellison Spokane, WA 99205-5354 CHICAGO AREA PACIFIC CAN-AM 509-325-2626 Pres: Mel Septon - 847-679-3455 Pres: Halie Dodrill [email protected] e-mail: [email protected] Vice Pres: Troy Taylor Sec: Carol Veome Sec: Brian Tate VICE PRESIDENT John Motto-Ros Treas: Joe Pekarek Treas: Jack & Mary Lou Becvar P.O. Box 908 Reporter: Curt Clifford Reporter: Ron Babb Sutter Creek, CA 95685-0908 Board Rep: George Wilder Bd. Rep: Carl Dodrill - 206-236-0067 209-267-9252 FOUNDING CHAPTER e-mail: [email protected] ROCKY MOUNTAIN Pres: John Ulrich - 510-223-9587 Pres: Larry Kerecman - 303-377-7729 SECRETARY Florie Hirsch Vice Pres: Bing Gibbs & Karen Simons Vice Pres: soon 8917 Wooden Bridge Rd., Potomac, MD 20854-2448 Sec: Jack and Dianne Edwards Sec: soon 301-340-6664 [email protected] Treas: soon e-mail: [email protected] Treas: Richard Reutlinger Reporter: soon TREASURER Wesley Neff Reporter: Bonnie and Bob Gonzalez Bd. Rep: soon 128 Church Hill Drive, Findlay, Ohio 45840 Board Rep: Richard Reutlinger SIERRA NEVADA 419-423-4827 Pres: John Motto-Ros - 209-267-9252 e-mail: [email protected] GATEWAY CHAPTER Pres: Yousuf Wilson Vice Pres: Sonja Lemon PUBLISHER Dr. Michael A. Kukral Vice Pres: Gary Craig - 314-771-1244 Sec/Treas: Doug & Vicki Mahr 216 Madison Blvd., Terre Haute, IN 47803-1912 Sec: Mary Wilson Reporter: Nadine Motto-Ros Board Rep: John Motto-Ros 812-238-9656 Treas: Cynthia Craig e-mail: [email protected] Reporter/Bd.Rep: Gary Craig SOWNY (Southern Ontario, MEMBERSHIP SECRETARY William Chapman (Bill) [email protected] Western New York) 53685 Avenida Bermudas, La Quinta, CA 92253-3586 Pres: Mike Walter - 716-656-9583 760-564-2951 – Fax 775-923-7117 HEART OF AMERICA Vice Pres: Daniel Tenerowicz e-mail: [email protected] Pres: Tom McAuley Sec: Garry Lemon Vice Pres: Robbie Tubbs Treas: Holly Walter — COMMITTEES — Sec/Treas: Kay Bode [email protected] AMICA ARCHIVES Tom Hutchinson Board Rep: Ron Connor Reporter: Garry & Anne Lemon 15361 Hopper Rd., Sturgeon, MO 65284 Board Rep: Audrey Cannizzaro [email protected] LADY LIBERTY Pres: Vincent Morgan - 718-479-2562 Photographer: Nancy Group & Anne AMICA MEMORIAL FUND Halie Dodrill Vice Pres: Aris John Dousmanis Lemmon 4488 W. Mercer Way, Mercer Island, WA 98040-3934 Recording Sec: Bill Maguire SOUTHERN CALIFORNIA 206-236-0067, e-mail: [email protected] Corresponding Sec: Richard Karlsson Pres: Jerry Pell AUDIO-VISUAL & TECHNICAL Harold Malakinian Reporter:Buzz Rosa Vice Pres: Richard Ingram 2345 Forest Trail Dr., Troy, MI 48098 Board Reps: Marvin & Dianne Polan Sec./Reporter. Shirley Nix 631-673-0388 Treas: Ken Hodge CONVENTION COORDINATOR Frank Nix Board Rep: Frank Nix 6030 Oakdale Ave., Woodland Hills, CA 91367, 818-884-6849 Newsletter Editor: Bill Maguire MIDWEST (OH, MI, IN, KY) TEXAS HONORARY MEMBERS Jay Albert Pres: Jerry Bacon - 214-328-9369 904-A West Victoria Street, Santa Barbara, CA 93101-4745 Pres: Don Johnson - 248-879-7713 Vice Pres: Bill Boruff 805-966-9602 - e-mail: [email protected] Vice Pres: Liz Barnhart Treas: Vicki Brady Sec: Sharon Neff Sec:Maureen Barisonek WEB MASTER Karl B. Ellison Treas: Alvin Wulfekuhl 6 Lions Lane, Salem, MA 01970-1784 Board Rep: Dick Merchant Reporter: Christy Counterman Bulletin Reporter: John McCall e-mail: [email protected] Board Rep: Liz Barnhart AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS FRIENDS OF SCOTT JOPLIN MUSICAL BOX SOCIETY PLAYER PIANO GROUP President - Fr. Gus Franklin 1217 St. Croix Ct. INTERNATIONAL Julian Dyer, Bulletin Editor 6508 Willow Springs Road Kirkwood, MO 63122-2326 Rosanna Harris, Editor 5 Richmond Rise, Workingham, Springfield, IL 62707-9500 website: http//stlouis.missouri.org/fsjoplin 5815 West 52nd Avenue Berkshire RG41 3XH, United Kingdom Phone: 217-585-1770 Fax: 217-585-0835 [email protected] Denver, CO 80212 Phone: 0118 977 1057 E-Mail: [email protected] INTERNATIONAL PIANO Phone: 303-431-9033 Fax: 303-431-6978 Email: [email protected] Editor - Dale Baker ARCHIVES AT MARYLAND E-Mail: [email protected] P. O. Box 51450 SMITHSONIAN INSTITUTION Performing Arts Library,University of Maryland NETHERLANDS MECHANICAL Division of Musical History Indianapolis, IN 46251-0450 2511 Clarice Smith Performing Arts Center Phone: 317-838-9345 ORGAN SOCIETY - KDV Washington, D.C. 20560 College Park, MD 20742 A. T. Meijer E-Mail: [email protected] SOCIETY FOR SELF-PLAYING Phone: 301-405-9224 Wilgenstraat 24 MUSICAL INSTRUMENTS ASSOCIATION ITALIANA MUSICA Fax: 301-314-7170 NL-4462 VS Goes, Netherlands MECCANICA E-Mail: [email protected] Gesellschaft für Selbstspielende Musikinstrumente (GSM) E.V. Via Comte le Monticino No. 485 INT. VINTAGE PHONO & MECH. NORTHWEST PLAYER PIANO Ralf Smolne 47020 Cesena, Italy MUSIC SOCIETY ASSOCIATION Emmastr. 56 Phone: 39-547-346-046 C.G. Nijsen, Secretaire General Everson Whittle, Secretary D-45130 Essen, Germany AUSTRALIAN COLLECTORS OF 19 Mackaylaan 11 Smiths Road, Darcy Lever, Phone:**49-201-784927 MECHANICAL MUSICAL INSTRUMENTS 5631 NM Eindhoven, Netherlands Bolton BL3 2PP, Gt. Manchester, England Fax:**49-201-7266240 19 Waipori Street Home Phone: 01204 529939 MUSICAL BOX SOCIETY OF GREAT Business Phone: 01772 208003 Email: [email protected] St. Ives NSW 2075, Australia BRITAIN DUTCH PIANOLA ASSOC. Alan Pratt, Editor PIANOLA INSTITUTE Nederlandse Pianola Vereniging P. O. Box 299 Clair Cavanagh, Secretary Eikendreef 24 Waterbeach, Cambridge CB4 4PJ 43 Great Percy St., London WC1X 9RA 5342 HR Oss, Netherlands England England 166 President’s Message
Happy summer to all!
Here in Western New York we are enjoying summertime sun and breezes. Holly and I have just returned from the annual AMICA convention in Minneapolis and I am going to give you a brief teaser of sights, sounds and important events. Minneapolis is a thriving metropolitan area that is beautiful and clean. The residential areas have manicured lawns and well-kept homes. The business sections of the city are filled with many people, bustling from one place to another. There is a large grid-work of second story walkways throughout the downtown area that enable workers to traverse from one building to another without getting cold or wet. Every walkway is a mini-mall, with wonderful shops on each side. During our stay, we were fortunate to be able to see a number of sights outside of the downtown area. A couple of the tours included a visit to the interactive Mill City Museum, a former flour mill and the Jackson Street Roundhouse, a working railroad roundhouse, complete with locomotives (steam and diesel) and rolling stock (train cars). A visit to a carrousel and a conservatory/zoo in the Como Lake Park allowed us to see the flowers and animals of the area in a relaxed setting. The in-house/theatre entertainment included concerts on pipe organs, an orchestra and “Miss Jane’s Parlor”, a wonderfully nostalgic presentation of piano music and song by Bob Berkman of Q.R.S. and Jane Romanos. Bob supplied the expertly interpreted pianolist part while Jane’s vocal abilities filled the theatre with songs from the turn of the century. At the annual Board Meeting, which preceded the actual convention, a couple of important items were discussed that have the potential to affect you in a positive way. The first item concerns this bulletin. As you know, our publisher is always on the lookout for new articles to be included on its pages. As an incentive to write articles for our bulletin, the following offer is being made to our members: To any AMICA member that writes an article of at least one page in length that appears in the bulletin, that member’s subscription to the bulletin will be extended by one issue. Of course, the decision as to what is to be included in the bulletin and when is at the discretion of the publisher. If you have any questions about this offer, please contact the publisher or myself. The second item concerns membership. Many members have voiced their concern over declining membership in our organization. On the evening after the Board Meeting we had a brain-storming session in which twenty-four members attended and wrote down their ideas for reinvigorating our organization. There were about fifty-five ideas that were shared. A list of these appear are on the next two pages. PLEASE use or modify these ideas to suit your needs. We want to hear how these ideas worked for you and we want to hear of your ideas not included here!
Happy listening!
Mike Walter AMICA – CONVENTION DATES –
2005 Minneapolis, Minnesota June 29 - July 3 2006 Chicago, Illinois July 25 - July 30
2007 Germany/Holland July 5 - July 20 (This is not set in stone yet. Hotels and buses are unable to commit this early, but it looks like this is.)
167 Promotional Ideas for AMICA Members
The following 55 ideas were shared at a brain-storming session at the Minneapolis AMICA Convention. Please feel free to use or modify any of the ideas to generate interest in our hobby. The ideas are not listed in importance. If you have additional ideas not on these pages, please share them with us. If you try any of these ideas, we would like to hear of the results. Thanks very much! Mike Walter
1. Personally visit your radio, cable and tv stations and also your local newspapers. Let them know about our non-profit organization and invite them to attend a meeting/activity. Get the name of a contact person for future press releases and public service announcements. Find out their advance notice times for PSAs and Press Releases. Makes sure to call them the day before the event to remind them of the program. 2. Invite Yamaha and/or other piano manufacturers to attend your meetings/conventions. 3. Visit piano dealers and other music related shops and ask them to place our brochures in their piano benches, or on display on a counter. 4. Contact the local high school/college and ask if a piano technician could teach or assist a Manual Arts teacher in rebuilding a player piano in the school. You would supply the piano. 5. Place a restored player piano in a shopping mall, theme restaurant or museum. Check back once a week to make certain that it is working properly. 6. Offer noontime player piano concerts on college campuses. 7. Loan out restored player pianos to friends who show an interest in player pianos. 8. Hold a band organ rally at conventions or chapter meetings to get attention. Make sure to contact the media with plenty of advance notice. 9. Invite a guest from the local historical society or museum to attend your meetings. 10. Prepare a short movie (DVD preferably) to introduce our basic machines and promote our hobby. The best case scenario would have a nationally known celebrity narrate the dialog, written by a screen writer and produced by a company such as Lucasfilms. 11. Find a grant writer who could obtain funding for such a project as #10. 12. Contact a local university Audio/Visual department to see if they could do something such as #10 using student assistants to write dialog with some technical help concerning machines and utilizing other students to narrate. Make many copies of the final DVD and send these to chapters for distribution to the public. 13. Place a short ad in newspapers under “Antiques – Wanted” Wanted- Members for AMICA, etc… 14. Invite small school or other groups (parents, students and/or teachers) to your home (or other place) for a demonstration of your instruments. 15. Invite younger adults to become members. Then, still younger ones won’t look at the age level of current members and leave. 16. Work with Music Teachers and give them a free membership. 17. Involve the public in a pumper contest. 18. Ask the children of former (deceased or not) AMICA members to join our organization. 19. Take a player piano to a fair. Place a sign on it: Pump the piano for $1.00. Proceeds to go to…” 20. Invite owners of electronic player pianos (e.g. Yamaha) to meetings. 21. Send a post card to former AMICA members urging them to request a sample copy of the “new” AMICA bulletin. 22. Distribute complimentary AMICA bulletins to other music organizations so they can see what our organization is about. 23. Have AMICA members attend and promote our organization at national musical instrument conventions. 24. Advertise AMICA to ATOS members. 25. Send promotional information about AMICA to teachers and students at music schools.
168 Promotional Ideas for AMICA Members continued . . . .
26. Attend and promote AMICA at music festivals around the country. 27. Have joint AMICA/MBSI meetings at the chapter level. 28. Establish a public/press reception on the first evening of every convention, following suggestions listed in #1 above. 29. Suggest that AMICA members who are dealers and restorers include a free membership in AMICA as part of the restoration/sale contract. 30. Place AMICA brochures in Pianomation kits and pianos. 31. Aggressively promote the hobby by getting our name in front of the public as often as possible. 32. Promote our organization to groups interested in the increased value of our machines (antiques dealers or their organizations). 33. Trade mailing lists with ATOS and THS (Theatre Historical Society). 34. Coordinate AMICA, ATOS and THS conventions so that their conventions do not occur at the same time. 35. Introduce automatic musical instruments to children, grandchildren, nieces and nephews and provide a foot pumper and rolls to get them started. 36. Bring guests to chapter meetings. 37. Advertise support of midi-reversible additions to roll operated instruments. 38. Find somebody to cultivate and ultimately give instruments and rolls to. 39. Offer hands-on training to those interested in learning the craft of rebuilding a player by an experienced technician. 40. Bring your own children/grandchildren to AMICA. 41. Do a low-cost local AMICA “convention” and promote it to younger people. Include a pumper contest with age appropriate rolls (Michael Jackson’s “Thriller”, etc.), midi pianos, intro of player pianos as original computers, classical music that children know (cartoon music) on piano rolls. 42. Offer a scholarship to a piano history/studies student at the college/university level. Membership in AMICA would be included. 43. Partner with students interested in the midi format. Work with high school or technical school teachers. 44. Establish a trade school course in player piano restoration and promote it at the high school level. 45. Initiate an on-line membership joining/renewal program at the AMICA website. 46. Focus on local/convention programs/activities that will encourage women to participate more. 47. Contact local PBS stations and encourage them to come and record your instruments. 48. Reduce chapter dues for new members. 49. Create a list of the following items to help new/potential members enjoy their hobby more thoroughly: a. who to contact for information on where and how to buy a player piano, etc. b. who are the rebuilders c. assign a mentor for one year d. where to find rolls e. list reference books that will cover various aspects of the hobby Give this list to each new member on a laminated sheet. Make certain that the mentor contacts the new/potential member on a regular basis. 50. Make certain that all members have a supply of brochures for potential members. 51. Put new member stories in the AMICA bulletin to share with other new members. 52. Have a contest to see who can bring in the most new members. The prize could be the plane fare to the next convention. 53. Include midi information on the AMICA web site and make certain that search engines will find it. 54. If possible and/or desired in PSAs and Press Releases, include photos of instruments to be included at conventions and organ rallies. 55. Offer to help new members find a competent rebuilder for their unrestored instrument, if the new member wishes some assistance.
169 By Tim Page BIG FEAT: BACH ARIA FOUND IN SHOE BOX BY LEIPZIG ARCHIVIST
From Washington Post, 2004 Guardian on Monday. “Michael came “There’s none of the contrapuntal Article submitted by Robin Pratt back from Weimar two weeks ago and seriousness that you associate with said he had found something Bach’s most involved music,” he added. interesting. We got the microfilm of the “Instead, this piece reveals an intimate The manuscript of a composition for score last week. We compared it with side to the composer.” soprano and harpsichord, discovered two Bach’s known compositions — and bingo. Bach was highly prolific, and there weeks ago in a shoe box in Weimar, is already a great deal of his music out Germany, has been authenticated as a “The last time anything by Bach was there that is rarely heard. Indeed, only in previously unknown early work by discovered was 80 years ago. So far the past quarter-century have all of Johann Sebastian Bach (1685-1750), the we’ve only heard it on the computer. But Bach’s 200-odd cantatas — choral works Bach Archive in Leipzig announced it’s a charming little work, written for he turned out, Sunday after Sunday, for yesterday. one singer — a soprano — and a harpsi- use in church services – been recorded. Harvard University professor chord. There’s a little postlude at the end Still, the modern premiere of this aria, Christoph Wolff, a leading expert on for a string ensemble — two violins, a unheard for almost 300 years, promises Bach’s life and art, flew to Germany to viola and a cello. It takes just four or five to be one of the most eagerly anticipated help authenticate the score. He called the minutes to play.” classical music events of the newly discovered piece “an exquisite and season, and should take place before the The archive has asked British end of the year. highly refined strophic aria, Bach’s only conductor John Eliot Gardiner to present contribution to a musical genre popular the world premiere and record the aria. In a statement released by the in late-17th-century Germany.” In a Gardiner said that he thought the aria archive, Prof. Wolff called Maul “a most strophic piece, all of the verses are sung likely came from a longer cantata. resourceful researcher. In less than three to the same music, without substantive years he uncovered an unparalleled variation. “It is absolutely beautiful,” Gardiner number of new archival Bach documents, told the Guardian on Monday. “So many but this is the first time he presented a The five-minute work was apparent- of Bach’s cantatas went missing after he ly composed in October 1713 by the musical discovery. The overall research died. His son Wilhelm Friedemann Bach project is far from being over, and I am 28-year-old Bach as a birthday present was pretty profligate with his father’s for one of his patrons, Duke Wilhelm quite sure that sooner or later Michael stuff. He sold manuscripts off, lost them, Maul will make news again.” Ernst of Saxe-Weimar. used them as firelighters. So when The manuscript was found amid the something like this turns up, it is Would you like to send this article to clutter of a box that also contained more wonderful.” a friend? Go to than 100 poems and congratulatory Gardiner described it as “a reflec- http://www.washingtonpost.com/ac2/wp- letters written by others in celebration of tive, meditative, soothing piece, as dyn/emailafriend?contentId=AR200506 the same birthday. According to a report Bach’s church music so often is. It’s not in the London newspaper the Guardian, going to set the world alight — enough the library in Weimar where material of Bach’s music from this early-to-mid pertaining to the duke had been stored for period has survived to give us a sense of several centuries recently burned down, his musical personality at that time — but by chance, the box containing the but it’s just great to have this, because score had already been removed. Michael every one of his cantatas and arias is on a Maul, a researcher at the Bach Archive, completely different level from all of his discovered it while conducting research contemporaries.” on the composer’s sparsely chronicled life. British music critic Tom Service, who has examined the score, wrote in “After Michael and I had identified yesterday’s Guardian that it is “a it as Bach’s, we opened a very expensive charming tune in C major, full of a bottle of champagne,” Peter Wollny, the natural pastoral joy, an appropriate gift archive’s head of research, told the for the birthday of his patron in Weimar.”
170 THINGS THAT USE TO GO By Shahar Eliyahu “THUMP IN THE NIGHT”
I’d gotten used to it. I had heard for so long that was to push the leather away from the wood. I removed this “Ampicos thump” that I began to believe that there was felt along with the gasket and installed a flat pump flap valve. nothing to do, no cure, and a simple live with it became my So—this done—how do you test the flaps for tightness? I motto. I had spent months in rebuilding my 1923 Knabe have new valves installed on a new clean wood surface—how Ampico. I had the piano professionally rebuilt and refinished, do I know how good they are??? I didn’t want to reassemble and I did the Ampico works myself. I sought and followed the pump only to find that the inside valves weren’t sealing! I advice from many experts in the field. I thought logically and had an idea. First let’s look at the shape of the wood on the made conclusions—I assembled the pump—thump, thump, stable board of the feeder bellows. There are 4 holes on the thump. That was 3 years ago. Recently I have decided to side that connect to a chamber that goes to the flap valve holes. upgrade and to sell my Knabe. My buyer wanted the piano but I covered 3 holes with tape (and pressed down) and sucked on had a condition of getting rid of the pump’s thump. I knew it the 4th. If it was too easy to suck I knew I had leaky valves. If was time to act. it was tight, I knew it was OK. My first brainstorm came here—I found one valve set that was tight, 3 that were leaky Let’s start with the basics—why does an Ampico pump (somewhere!). I took out my hot-iron (I keep an old working thump? I know of three sources—the ball bearings that keep iron for piano work) and simply steam pressed the leather the rotation even of the inside spider and of the pump wheel is against the boards. I then tested them and all 4 had the first. The second is the connecting rods. They are made of improved—they were tight against the boards and a low level wood with felt bushings to keep them snug against the pump of leakage. The movable board was more accessible and I feeder bellow and spider. The third can be the bellows them- simply checked each hole individually for air-tightness. selves. Any leak in the bellows or in the flap valves causes an At this stage, I assembled the pump and checked out the uneven load on the pump—this means that part of the time the output vacuum. I was expecting that I still needed to make motor is working harder, part of the time it’s working easier— some adjustments, but I was shocked at the output I received— it’s easy to imagine here how this can cause (a) uneven supply no vacuum whatsoever! Where was the leak? The back side vacuum and (b) THUMP! of the pump connects all the feeder bellows and needs to press tightly against them all. I gave this a few taps all around with my rubber mallet and screwed it tighter. I got it to the point where it was very tight all the way around and tried again. Now I was starting to get some response—but not a good one. I could hear it working—if you take one complete turn of the pump wheel I could hear vacuum for the first half of the cycle, then nothing. Then vacuum, Knowing what causes thump is most of the battle, at this stage, then nothing. Half of the time it wasn’t doing anything! Try you can evaluate the pump and its components individually. driving your car after taking half of the spark-plugs out! Not When I rebuilt my Ampico, I was advised to replace all good. At this point I thought about how to continue testing—I the leather, including the leather in the pump. I’m now not came up with a plan. convinced that it was the best idea, but it’s what I did and it was years ago and I have to leave it at that. For the inside flap, I took the bottom (cast-iron) panel off and left the top Ampico originally placed a piece of felt and a leather gasket, a panel (connecting channels). I also removed the spider. Now I wire in the middle of it, and the flap sitting on top of it all with had all 4 bellows that I could test individually—simply by a crease to align perfectly with the wire. I don’t know how pulling them open with their connecting rods. 3 of them were they did this at the factory, but I have always been concerned weak, one was very strong. That didn’t make sense at first, but that I didn’t get it right. I decided to remove this “feature” and then I figured it out as I continued to test. As I operated each make it a straight flat face. Next I noticed that the valve was bellow individually, I soon noticed that as opened a feeder also sitting on top of the small piece of felt. This was fine bellow, that one of them was drawn closed in response. I did when there was a gasket over the holes, but now all that it did this a few times—each of the other 3 drew this one closed—
171 long straight blade). Next I measured with my digital caliper the inside diameter of the hole and the diameter of the rod. The difference between them divided by two gives the thickness of woven felt that I needed to use for bushing. To calculate the needed width of bushing cloth, you multiply the average of the 2 diameters by 3.1415. This gives the width of the bushing cloth. Finally the end of the cloth is cut to a triangle— longer than the hole—this is used to start the bushing—it’s simply pulled through. When you reach the end you need to do 2 things: 1) apply graphite or Teflon powder to the inside of the cloth (2) apply glue to the outside. Here I used fish glue—it is similar to hot hide glue but works cold. Now slowly pull the cloth through, give it a slight twist so that the edge is at an angle—not straight. I then pushed a dowel inside to press it against the none of the other bellows were affected thusly. When I opened wall of the hole and to give me a counter to cut the cloth and this particular bellows it was the strongest of them all. Then I do the next. understood my problem: the inside flap valve of this bellows wasn’t sealing (for whatever reason). The bellows are in Once all 8 holes had a new bushing and had dried in place constant motion—half of the time each is opening—drawing 2 hours, I put the pump back together. It now worked evenly, air, half of the time each is closing—releasing the air in the and quietly. I considered my job done and installed it inside bellows to the atmosphere. Whenever this particular bellows the piano. was in the act of closing, it would not only release its air, but At this point, I’d like to make a very strong the air of the other bellows that were currently drawing air— recommendation to anyone that attempts to work on their thus half of the time it wasn’t working. I took it apart and pumps: install them when the piano is resting on the side— found the problem, then they checked out fine. don’t do this (in a grand) when the piano is standing. If you So I now had 4 feeder bellows, each supplying a good must and are extremely strong, then you can use the following vacuum. I re-assembled the pump and turned it by hand—this method that I did, but please be advised—it’s difficult and time the vacuum was even and strong. Had I solved my potentially dangerous if the pump should fall on you: problem? No—there was still a knock that was driving me This is easiest if you have a stool that has a swivel to raise crazy. The next major problem was then the rods themselves. it. In the lowest position, you should be able to fit the stool I took each rod and checked it for motion on the axis. It and pump underneath the piano—simply put the pump on the moved freely around the axis—this is good, but when I applied stool, slide it in place and swivel it up until it’s at the right pressure to move it in other ways, it would wobble. This was height. You don’t have a swivel stool (or your wife would kill apparently the source of all of my problems—the rods were you if her antique organ stool got a scratch?) any backless loose on the axis, they would cause jerky movement when they chair will work. Put the pump on the chair and push it up were moved by the motor and this was causing a thump in the slowly, supporting it while inserting more and more blocks of final analysis. wood underneath (or books!). Be careful that the pile doesn’t I took this opportunity to grease the bearings inside the fall when you add more and more. Here—put them metal plate. There are bearings on both sides—top and underneath the pump, on top of the chair—I tried once raising bottom. I removed the cover, then the pressure fit cover and the legs of the chair—the pump almost came down on me. took some thick Teflon grease, rotated the bearings and pressed Now—when you’ve started to raise it but still haven’t the grease in place. I repeated this for the back side as well. If pushed it all the way up, in an AMPICO, there are 6 tubes they had locked, I would have taken this to a machine shop for connected to the pump—and 3 of them are on the “top” side. repair. Make sure to install at least those 3 tubes while you still have Now on to the task of replacing the bushings in the room to move around up there! I connected them after it was wooden rods. First for materials. The only cloth to buy is sitting directly on the stool, and double checked them in the woven bushing felt, available from piano supply companies. process. Also at this stage, put the leather pads in place that The cloth tears straight so the best way to get a good edge is to hold the legs on. tear it. When the pump is pressed almost as high as it should be, I The first step: clean out the old stuff. This is done on a checked and adjusted its position and then screwed the 4 drill press—the old felt is simply drilled out—carefully and supports in—I started at the end of the piano on both sides, making sure that the drill does not remove any wood. Once then the front. the majority was removed with a drill, I used a round rasp to With a little hard work, I now have a pump that is quiet clean out the hole, and finally scraped the sides clean with a and smooth, supplying a strong vacuum to the piano. sharp scraping knife (the type that wood-carvers use—with a 172 Submitted by Anthony L. Engels
173 174 175 176 177 178 179 ...... gg Placing the Mastertouch Action in the Piano and gives a movement to the action of greater stroke or over-stroke than obtained at the end of the key and tends to force the hammers against the stringswhich causes blocking. FINISH the action as you do the ordinary-s-uo difference. To avoid this over-stroke or blocking in the ordinary action, an extra block rail is used REGULATE the action the same as the ordinary-except instead of bending back which tends to stop blocking but does not permit the piano action to move its full stroke and check and bridle wires, regulate the set screw in the catcher for the amount of hammer-throw causes a jarring of the action and player mechanism and consequent wearing of both. In the desired. We recommend that with an easy blow it should not exceed 1-2 inch. Mastertouch this action rail is not needed as before explained the pivotted catcher and spring Do all other regulating, re-regulating, etc., as in the ordinary action. absorbs all the over-stroke leverage and consequent blocking. Pin centers and distances are the same. Therefore, while a revolution in itself.it is no NO Bridle Tape. revolution to complicate or confuse you in finishing and regulating. Bridle Wire. It is noticeable that we have none of these articles. Being non-blockable you may regulate the hammer-throw or return closer to the string. Back Check. This aids repetition because the fly movement being less, thereby will retrieve its position quicker and be ready for another blow. No bridle tape, means nothing for the mice to gnaw off and give trouble. Our bridle tape arrangement is part of the butt and inaccessible for our enemies, the mice. No back check or bridle wires to bend and with time and playing assume a different posi THE STAIB tion than intended. Our fly and pivotted catcher with its regulating set screw does the duty 01 back check wire and stays in position. A set screw is better than a bendable wire. MASTERTOUCH Our Angle regulating rail.-In the ordinary action the regulating rail is a mere strip of TfitADI: MARK, wood held in position by 6 or 7 bolts, the space between is such that any warping of the rail, PIANO ACTION will throw out the regulation. The Maslertouch has an angle rail, which in itself is stronger than a mere strip of wood, FTER about 14 years of experiment, spent in trying out many and varied patents, we and being fastened to the main rail by 18 to 20 screws strengthens it still more. All this strength A have perfected the Mastertouch Piano Action to such a point, that we will guarantee keeps the regulation better than in the ordinary action. it the most perfect action in existence. We therefore claim that the Masler/ouch Action will stay longer in regulation on account We are not asking you to try a mere experiment, we know it will do all we claim. of the strength of its regulating points and will stand harder use and abuse than the ordinary We placed several of these actions in player pianos and gave them a two years' test of con action. tinuous playing and pounding. They have withstood all tests not only by ourselves, but by SPACE SAVED.-All the parts of the action have been confined to the space behind experts in piano construction. the hammer rail and therefore, the space is saved that the back check, bridle wire and bridle tape consumes beyond the hammer rail. The saving in space is useful in player pianos for either REPETITION: reducing the depth of the case or for room for the piping of the player mechanism and there is no Repetition is the ability of the fly jack retrieving its position quickly or getting under liability of noises accruing by the back check, etc" striking against this piping. the butt with the minimum release of the key. The Mastertouch will repeat with a half move FINISHING AND REGULATING.-There is nothing in this action requiring any ment of the key which means double the repetition of the ordinary action. different finishing than in the regular action, therefore, it should not confuse anyone. Regulat ing is the same except instead of bending back check wires, regulate the set screw as shown in NON-BLOCKABLE: illustration on page seven. In the ordinary action any increase in the key depth, by reason of the key bottom sagging, The centres are the same as the ordinary action, therefore keys used on ordinary actions the key punch compressing or being moth eaten, will block the hammer against the string. To may be used on the Masiertouch. avoid this in the ordinary action, the hammer.throw or return is increased to an amount which The best proportion of key to be used is the one having 3 parts to the front and 2 to the rear. interferes with the repetition. While this action has been designed primarily for the player piano there is no reason why In the Mastertouch Action the combination of the butt, fly and catcher is so arranged, it may not be used for any upright piano giving thereto all the perfections and playing controls. especially with the pivotted catcher that the action cannot block, because should there be any We further claim that this action gives the pianist a better control in playing than in any other increase in key depth and the hammer should attempt to block, the pivotted catcher with spring upright action and all the ability to play difficult passages now only possible on the grand. will absorb this difference and upon an over stroke draw the hammer away from the string. This is a point very essential in a player piano. All player mechanisms stroke the action, THE STAIB-ABENDSCHEIN COMPANY with a greater leverage than the finger at the end of the key. Player mechanisms stroke either 13 ~Uh Street and Brook Avenue on the sticker or wippen nearer to the actual piano action movement, thereby gaining in leverage NEW YORK Sixteen ') ,) \.) tLuxt t~ on 652 7f!esi 52~a01reei MIDDLE WEST DISTRIBUTOR PACIFIC COAST DISTRIBlITOR w. W. KIMBALL COMPANY ~~rlv PACIFIC MUSIC COMPANY WABASH AVE. &: JACKSON BLVD.• CHICAGO. ILL 137 TURK STREET. SAN FRANCISCO, CAUFORNIA MIDDLE ATLANTIC DISTRIBUTOR RAMSDELL & SONS 1:17 sotrrH 12<11 STREET. PHILADBLPHIA. PA. June 19, 1929.
P. I. Minor l Son, Inc., Batavia, N. Y. Gentlemen:
Nothing ~ives us greater pleasure each month than to write you a letter when mailing you the enclosed bulletin of new releases. It lsn'~ 80 much what .e bave to 8ay 1n thes. letters as the fact that it give. u. the oPPortunity to keep in touch with those .ho we know are and should be interested 1n leIte-Mignon (Licen.ee) Reproducing Records.
'or the month at July, •• desire to call your particular attention to the j patriotic numbers that have been recorded for the Welte-Mignon Library. There ia no doubt that all owners of '.lte-Ml~non Reproducing Pianos should be interested in havln~, in their own libraries, these patriotic numbers. You will find several of such records listed ,peclaIIy in tbe July Bulletin.
During the Summer months, music of a lighter vein i8 always more povular, and along with the ne. record8 of popular mu,io for July, there are listed on the last pa~e of the Bulletin 80me of the most recent popular numbers and theme songe of the latest talking moving piotures. Tbeme 80nga, in particular, are provin~ great favorite••
Among true lovere ot music. tbe ••lte-Mignon (Licensee) Reproducing Piano atill retains its hold in apite of the great inroad ot oth.r means of meohanical musioal reproduotion. The 'elte-Mignon (Licen.ee) 18 tb. only instrument that give. a lite-lite and photograpbioally accurate reproduction of the artist"~ play ing. Baoking up tbis .ond.rful .echanl.M is tbe world', greatest library of repro ducing record., to whiob •• are oonstantly adding new numbers reoorded by the younger generation of piano virtuosos and old clas81cal favorites by well-known pianists who have already made their mark in the musioal world.
Cordlall~ Jour.,
REP' Fl 0 0 v CING R E COR CS FOR ~el1e'f"Im'tJuo", REP A 0 0 U C I N G ACT ION S
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I ;\:1 il ' :i 'II.;','~';I\1 1 !I 1 I." I II: I if 11 11',:11/1 I! '~Ir ,lt~~illaonon ~ .1 1: ,':: '{(ueODUCING RE~ORDS :1II,'''Il.'1 REPR' cd '" III 1 I '1"1'· ~ 1111 MASTER'S1F~lNiaiGERS. 'OrN 11 1 11 ''' ;:'' 1 ]1"1 'THE YOUR PIANO : 'i',I":I!.'" I: !.'III I 1 1 :I : 1\\111111"'1,' ::: ; ..h~\\i,\'I1!'" 11 :','1 I , 1 I'" 'Ii 'I - - "',,hollllll, I _" I,.uxe Reproducinll' Roll C o rp ora t ion " 05, We~1 }I'I S~ ree l . NCIov York 1 l "i'''!I!(:':'!'i:~:;:", n 'I ': {1111:i !I!
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Submitted by Ken Caswell
182 G ~) o
CLAUDE DEBUSSY EGINNING his c~reer as an exceptionally able pianist, Claude Debussy developed m~o .the most original of modern French composers B-one of the most strikingly original and individual composers of all Weltt"'Q.lignolt time, in fact-and the founder of a new school, or movement, or regime, known as "Impressionism" in music. His influence, more than that of any REPRODUCING RECORDS other new leader, has dominated the development of music in the first quarter of the twentieth century. Debussy was born in St. Germain-en-Laye, a suburb of Paris, on August • 'New Music Rolls Released for April, 1926 22, 1862. In childhood he studied piano with a pupil of Chopin, Mme. de Sivry, who taught him so well that he was admitted to the Paris Conser vatory when only eleven years old. There he distinguished himself as a brilliant student and won many prizes, culminating in 1884 with the much Standard Classical and Salon Pieces coveted Grand Prix de Rome. iNOlt-Each annotation in the following list of the month's new releases is followed by In 1892 he composed the work that made him famous, the "Prelude to a suggested group of Welte-Mignon (Licensee) Reproducing Records which have the the Afternoon of a Faun," and began the opera "Pelleas and Melisande," lame musical appeal as the annotated new number.) which occupied him for the next ten years, and which stands as a landmark in dramatic music. He also composed many smaller works: orchestral Played by Walter Gieseking Played by Walter Gieseking pieces, a string quartet, songs, piano pieces. C-7328 La Cathedrale Engloutle C-7329 j La Danse de Puck "Pelleas and Melisande" was staged in Paris on April 30, 1902, and there (The Engulfed Cathe- I Minstrels Debussy $2.00 after Debussy was universally acknowledged as the head and master of the d ral) Debussy $2.00 Respectively, Nos. II and 12 of the "First Book Impressionists. His later compositions include orchestral works, ballets, "The Engulfed Cathe choruses, chamber music, about fifty songs, and many of his most character of Preludes," these two little pieces represent an dral." No. 10 of the twelve altogether different aspect of Debussy'S genius pieces making up De istic piano pieces. He died in Paris, on March 26, 1918. his whimsicality. humor, and love of fun. "Puck's bussy's "First Book of There is an unswerving unity of style about all of Debussy's music. It is Dance" is a frisky and mirth-compelling musical Preludes for Piano" (pub denotement of impish. mischievous frolic, quite characterized by extreme fluidity, vagueness of outline, cloudlike shapes, lished in 1910), was in constant flux and change; by unexpected and subtle accents, wayward and as original and delightful in its droll fancy as spired by an old Armori James Whitcomb Riley's "Puck"- fantastic rhythms: by mystery and strangeness and an inexplicable beauty, can legend of the ancient citv of Ys, on the coast of remote yet haunting. o it was Puck! I saw him yesterrright The piano was a favorite medium with him, and his contribution to piano Brittany, which long. long Swung up betwixt a phlox-top and the rim ago was engulfed by the Of a low crescent moon that cradled him, music is significant and important. The Welte-Mignon is the only reproduc encroaching sea: but Whirring his rakish wings with all his might, which, say the awe-struck And pursing his wee mouth, that dimpled white ing piano for which Debussy ever recorded any of his own compositions. And red, as though some dagger keen and slim Concerning this instrument he wrote: Breton fishermen who have heard the uncanny Had stung him there, while ever faint and dim sounds, sometimes in calm of early dawn makes His eerie warblings piped his high delight; "It is impossible to attain a greater perfection of reproduction than that of the 'Welte known the site of its watery grave by the chiming Till I, grown jubilant, shrill answer made, Mignon' apparatus. I am happy to assure you in these line.' of my astonishment and ad of its cathedral bells. The essential poetry of At which, all suddenly, he dropt from View; miration at what I heard." that legend is evoked with all of Debussy's subtle And peering after, 'neath the everglade, What was it, do you think, I saw him do? (Signed) CLAUDE DEBUSSY masterv in this mystical. weird. and fascinating I saw him peeling dewdrops with a blade piece.. It is the chiming of cathedral bells in a Of st arahine sharpened on his bat-wing shoe. Welte-Mtgnon (Licensee) Records by Claude Debussy dream-i-an authentic vision of tonal beauty, rare A score of other distinguished pianists have recorded for t he Welte-Mignon (Licensee) and strange and evanescent, from that unique "Minstrels." one of several among his piano fine interpretations of many of Debussy's compositions. The list is too long for the space Dream-World in which Debussy lived and pieces that grew out of Debussy's strong English here available. But the following list is of unique interest. because made up only of his own wrought. It is at first puzzlingly fluid, vague. and American sympathies. succeeds amazingly compositions played by Debussy himself. misty; but familiarity with it brings an unfailing in epitomizing in a subtle and masterly miniature sense of light and proportion. of grace and sub the prankish humor typical of the "minstrel C-2736 La Plus que Lente (Valse) Debussv tlety. Mr. Gieseking has recorded an exquisitely C-2733 Children's Corner-(l) Dr. Gradus ad Parnuss um; (2) .Jtrnbots Lullaby Debussy show." It is one of the most delightfully amus finished interpretation of this impressionistic ing little pieces in all piano music. C-2733a Children's Corner-ell Serenade of the Doll; (4) The Snow Is Dancing Debussv masterpiece that imparts its magical beauty. C-2733b Children's Corner-(.';) The Little Shepherd; (61 Gollywog's Cakewalk Debussy C-2739 Le Vent dans Ie Plaine; and Minstrels Debussy C-1827 La Soiree dans Granada C-7269 General Lavine Debussy C-2738a Prelude No.1: Danseuses de Delphes Debussv Debussy Gollywo~'s Cakewalk Debussy C-2738b Prelude No.2: La Cathedrale Engloutle Debuss» C-2738 a Danseuses des Delphes C-2733b C-2738c Prelude No.3: La Danse de Puck Debussy Debussy C-2733 Jimbo's Lullaby Debussy .-\ removable order hlank is in the center of t his hook 't' "JE;;*,'----:-," hi'kTIo R,,;;;;:;;;;0 ..... 00w ~ 00 .j:>. ------"" _-~ THE MASTER'S..FINGERS ON YOUR PIANO THE MASTER'S" FINGERS ON.. YOUR PIANO fiWr 1~ Pl ayed by A lfredo Casella t he pian o. Th e happy spirit and Ga llic grace t ha t a nimate his mu sic are well exe mplified in Played by Marguerite Volavy provisation-s-poet ic, fan ciful , fine ; making a C-7326 Bruyeres (Prelu de No. 5 t his cha rming "April Song" (Op . 147), whi ch, direc t a nd sure a ppea l to t he heart of the music of Book II ) Debussy $2,00 alt hough composed whe n he was old in yea rs, is C-7333 Prelude in G-Minor, Op, 23, lover. Claude D uret 's mast erly performance as fresh and ga y and lyric a l in bot h feelin g a nd No.5 Rachmaninoff $2.00 sets forth a ll t he ent ra ncing beauty of this de expression as if it had been wri tten in the spring. lightf ul piece. Here Alfredo Casella has recorded ver y deft ly Marguer it e Vola vy haS a nd poeti ca lly a not her of Debussy's Pre ludes of ti me of his life. It s lovely, t ripping, singing C-66 89 Barcarolle, Op. 27, No.1 melod y, inst inct ive ly exp ressive of Apri l ca re recorded a fine, sp irited. Moszkowski dist inct ive a nd uniqu e beauty a nd charm. vigoro us performance of " Bruye re" is F rench for " heather," a nd t he wo rd free lightn ess a nd joy, a nd its backgrou nd of C-1469 Gondoliera , Op. 41 Moszkowski simply beautifu l a nd a ppropriate ha rmonv a re thi s celebrated "Prelud e" also mean s a heath where t he hea t her grows. - perhaps t he most C-6979 Li eb eswaltzer Moszkowski T his piece, ma rk ed at t he be~ i n ni ng of t he scor e. skilfully a nd effect ive ly combined t o prod uce a poet ic bit of music deserving of popula rit y in t he spiri ted a nd vigo rous of a ll "Ca lm, sweet ly ex press ive,"IS suc h a little tonal t he ma ny Prel udes t hus landsca pe as o nly Deb ussy could ac hieve.It is best se nse. Julie Bergere has played t his da inty Pl ayed by Earl JHamilton bright a nd grac eful mus ic charm ingly. fa r published by th e fer a not her magical evocat ion fro m his Dream tile R ussian master Serge i X-7335 Lamb of God (" Agnus Dei") Worl d, exp resse d in some of his most characteris B-6988 The Brook Spindler R ach m a n i noff . Seco nd tic melody, whole-tone ha rmon ies, and rhyt hmic B izet $1.75 C-7l ll Amour Coquet Friml only to t he fa mous C pecul iarities-e-wit ha l a ve ry beautiful a nd fas sha rp Mi nor Pr elude in Bizet 's fine a nd nob le re ligious song, "Lamb of cina ting litt le to na l poem . 8-6352 Val se Arabesque Lack public favor, t his G Minor God " (" Agnus Dei" ), wit h it s im pressive, soar ing melody- one of the most beautiful melodies Prelud e is mus ic of splendid a nd puissant imagi Y·6513 Girl With Flaxen Hair Debussy eve r penn ed by t his French mast er-and its nat ion a nd compelling power : t he work of a eq ua lly imp ressiv e a nd beau tiful ac companiment C·1908 R everie Debussy P layed by George Lieblin g master of construct ion a nd of piano sty le. It in harmonies of a lmost orchest ral fullness a nd grips t he hear er's int erest at t he ver y sta rt wit h B-6397 Ce Qu ' a vu Ie vent d'Ovest richn ess of ton al co loring, mak es a st rikingly C-7325 Juliet's Waltz from its energetic proclamation of a sturdy martia l beau tiful a nd appealing piano piece. Ea rl Debussy t heme. in st rongly marked , steady a nd powerfu l "Romeo and Juliet" Hamilt on 's record of it IS a fmc and beautiful rhythm. rapidly mounting to mag nificen t ou t perfo rma nce- a t rue int er pret ation , not only Played by Ray Farnum Gounod -Raff $2.00 bu rst s of sound. Then co mes t he sudde n a nd technically correc t, but imbued wit h understand vivid co nt ras t of a compara tively simple middle ing and ap preciation of t he poet ica l content of X-7336 The Alp Maid's Dream ~ ---- l n Fran ce " Ro meo a nd sect ion consisti ng of a melod y of th e R ussia n Iuliet" is ra nked as t he t he mu sic- imparting skilfully and delightfully Labitzky $1.75 lolk-song t yp e, but also of a peculi ar int ensit y, th e composer's message of lofty beauty. grea test of Go unod's op set to a ra t her slow-paced acc ompa niment in B-6700 The Crucifix Faure August Labitzky' s "A lp Maid 's Drea m, " 0 P. 45, , ~. eras. Elsewh ere it has not so mbe r hued ha rmo nies . Anon t he march re is a ver y pr etty sa lon piece th at has long enjoyed enjoyed t he ove rwhelm turns wit h renewe d power and pomp a nd co m B-6699 The Palms Faur e po pularity by reason of its limpid , smoot h flow. ing popul arit y accorded to pelling swing, a nd th e piece ends in a burs t of C-6173 Cujus An iman (St a ba t ing, a ppea ling melody, its nicely varied a nd his " Fa ust," but it has so norous splendor. Mater) Ro ssini st eadily gain ed in pub lic effect ive ha rm o niza tion , it s id yllic suggest ion. C -7312 Prelude, D major Rachma ninoff It s com pose r ca lled it a n Id yl, a nd suc h It is- a ~". favor t hr ou gh o ut t he mu sica l world, for Go unod B.6636 Prelude, G, Op. 32, No.5 Pl ayed by Z oltan de H orvath light , gracefu l, fan ciful, poet ica lly conceived , Ra chmani noff a nd wel l-writ ten lit tle piece, of universa l appea l. fit te d Sha kespe are's im X-7331 Minuet in E Ra y Farnum 's fine record of t his old favor it e mortal love t ragedy wit h X -6761 Prelude, E-flat, Op. 26 ca nnot fail to ma ke a host of new fri en ds for it . musi c of end uring bea uty Rac hma ninoff de Horvath $1.75 a nd grea t charm.J uliet 's Waltz occ urs in t he A beau tiful, gracefu l, a nd cha rming little piano X-6035 Midsummer M cqua rre firstact of t'"he opera , following immediately upo n piece is here a ut horita t ive ly a nd entra nci ngly her first entra nce , in t he sce ne of th e festi val a t P layed by Claude Il urei X-6026 Pe arls M orel pla yed by its compose r. T his pretty Minuet is Ca puler's house. It is a bright , gracef ul, rnelo form ed , of course, on the classica l model, a nd it X-601 3 Sparklets Miles diou s waltz, q uite in th e style of Ard it i's fam ous C-7330 Moment Musical in C has the deliciously qu aint flavor cha rac terist ic "Kiss" Wal tz. R aff''s t ra nsc ript ion of it is a sharp Minor, Op, 7, of the grac eful dan ce form of the sp ri ngti me of brillia nt pian o piece abo undi ng in variet y a nd No.2 Mo szkowski $2.00 modern music. Yet it is not wit hou t mor e mod repl et e with telling pia nist ic effects, Mr. ern t ouches, partic ula rly in its skilful and effec Pl ayed by Julie B ergere Liebling has played it with dash a nd br illian ce as Alt hough one of t he late Moritz Moszkowsk i's tive harmoni zation , wh ich is, nevertheless, per B-7321 Chant d'Avril (Apr il Song) well as gr eat tonal beauty, a nd made of it a ca p ea rly compos it ions, t his " Moment M usica l" is fectly ap propriate to the theme. Its basic tiva ting record- roll. rep lete wit h t hose charac terist ics for which he t he me is a melod y of d istinctive an d ingra tiat ing Lack $1.50 becam e fam ous. Her e are his fire a nd brillian cy, bea uty, sugges t ive of th e ti mes of laces, br ocades, C-7033 Waltz from-Ballet " Na ila" bea ut y a nd charm of graceful melody, diversified and 'i races. Its rhythm is excellent , adroit ly T heodore Lack , eminent as pian ist , co mpose r, .Delibes. Dohllan yi a nd a lways effect ive ha rmony , th e fascinat ion of a nd teacher of pian o playing a t t he Pa ris Co n.. co m bining co urtly grace an d an insist ent, irresis C- 483 st riking a nd att ract ive rh yth ms, exubera nce of t ible beat . servatory for more th a n So yea rs, was born in Waltz, Faust Transcription fancy, a nd with a l, his mast ery of clea r a nd sha pe Quim per, Finiste rre, Fran ce, in 1846, and has Liszl ly design. Th e piece is rom an tic in co ncept ion, B-6859 Minuet Hopekir k been a prolific prod ucer of sa lon musi c for C-6979 Liebesw altzer M oszkowsk i a nd it neve r ha lts for lack of ide as. I t is rha p C- 1326 Minuet Beethoven sod ic in utteran ce - vind eed , a lmost like an irn- B- 181 Minuet M ozart C~:;;;: gi Wb dt< ~
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THE MASTER'S"" FINGERS ON1, YOUR PIANO THE MASTER'SFINGE~S ON YOUR PIANO ~ ~ Pla yed by H eniot L euy vas t number of pieces for th e clav ichord a nd t he harpsichord which he called sonata s. T hey a re P layed by Richard Singer Played by Mugd eleine Brard C-7323 Variations on an Original not sonatas, of course, in th e sense of toda y, Theme, Part I L evy $2,00 thoug h they for eshad ow th e modern sonata form X-7332 Souvenir de Boheme (In C-7322 Sarabande (L'Alm anach aux in t he cont rasting mood of th eir principa l th emes Form of a Polka) C-7324 Variations on an Original a nd t he key relationships in which t he th emes Images) Grovlez $2.00 a re presented . Sca rlatti did not aim a t emotiona l Smetana $1.75 Theme, Part II L evy $2.00 In t his exq uisite a nd ca pt iva ting bit of music t he expression in th ese pieces. " Amat eur or pro Based on t ypi cal Czec h melod ies, of most ingra fessor, whoeve r th ou art," he said in th e preface ti atingly sweet and plain ti ve quali ty ; devel oped modern French pian ist-co mpose r Ga br iel Grovlez T he Theme wit h Varia (he was born at Lille, in 1879) has deft ly caught t ion s is on e of t he oldest to a collectio n of his Son at as, "seek not in t hese in strikingly beautiful, rich, a nd varied harmon Sona tas for a ny deep feeling. T hey are only a ies, wit h compelling rh yt hmi c swing, in va ryi ng th e mood as well as revived th e sha pe of th e and most hackneyed of Sa ra ban de,a sta te ly ancient da nce of harpsichord musical forms. Yet Hen fro lic in ar t, intended t o increase th y confidence pace ; alternat ing dai nty delicacy a nd exqui sit e iot Levy here demon in th e clavier." T he t wo " Sonat as" here grace with impassioned vigor a na a ba ndon- t his days, once ext remely popular in Spa in, F ra nce, st ra tes t hat, in th e ha nds grouped toget her well exemplify Sca rla tt i's is an excep tionally beautiful and a n ent ra ncing a nd England , a nd proba bly of Oriental origin. of a co mposer who has brillia nt style an d provid e an effective co nt ras t; piece. It is a Polka , but suc h a Polka as cou ld He has devised an adorable an d t rick sy lit tle somet hing to sa y a nd t he first being in slow and pensive vein, th e ot her have been composed by no one bu t Bed rich melod y, of almost naive simplicity, an d has set knows how to say it , t his very lively, fleet a nd nimble. Smetana , " t he Fat her of Bohemian Music, " for th is to a n appropriate ly simp le acco mpa niment it is sta mped in every ba r wit h his rema rkable somet imes abused and X -7096 Concert Allegro Sca rlatti most ly in harp-like tones, a nd t he result is a lto ofte n ma ligned form is a nd shining individu alit y. Richard Singer's gether charming in its delicate grace, sheer tona l sti ll serviceable for t he 8 -6746 Ca pr icci o in B-f1at Sca rlatti recorded performance of it is a lmost uncanny in beauty , a nd poetic feeling. And M me. Brard utteran ce of new musical B-1911 Allegro Vivacissimo Scarlatti its ra nge a nd diversity of pianistic effects, in its has played it exquisitely. th oughts a nd th e de light-giving proclam ation of ravishing t onal beauty , in it s underst anding de fresh , new a nd inspirit ing musica l beauty. He livery of a ll t hat t he composer intend ed to sa y. has st arted wit h a shor t a nd rath er simp le, but This is a t ru ly marvelous record-roll. C-7034 Sarabande-Rameau Godousky P layed by P ersis Cox expressive Theme, and on th at as a basis has No cturne - Fr om the Land fashioned a great series of Vari ations th at fairly 8-6790 Bohemian Danse Smetana B-7234 astound t he enrapt ured listener wit h th eir wea lt h X-7334 Sundown Hopekirk $1.75 B-6883 Polka, Op. 7, No .1 Sm etan a of a T h ousa n d Lakes Si belia s of musical patte rns, th eir colorful, glowing . a nd 8-6438 Polka de W. R. R achmani noff X -7242 Noct u r nal Tangler Godo,,'sk~ ' gorgeous harmonies, th eir wide divergences in Dr ea my, restful, soot h rh yth m a nd in dynam ics; a nd no less wit h t he ing , a ltoget her ent rancing overflowin g ab undan ce of t heir imaginat ive and (~ is thi s ver y beau ti ful a nd poetic ideas.Some of t hese Va riations are of musicianl y aural denote tran scendent beau ty ; and th e work as a whole is ment of th e mood of ea rly masterly both in inspiration a nd in tech nical '"?-- ~ evening q uiet a nd peace, a accomplishment. Th is is music to be list ened to , ~ delectable andante sosten over and over again, revealing new bea uty wit h uto by t he eminent Scot eac h rep eated heari ng. It is enormously difficult tish pianist a nd co mpose r to pla y, a nd in mak ing his two superfine reco rds Hel en Hopeki rk, lon g resi ,,, dent in New E ngla nd. It of it Mr . Levy has wrou ght wonders in int er pre tat ive pianism. was inspired by, and is a fine tran smuta tion into C-716 8 Theme a n d Variations Cheviltard tona l poet ry of th e following lines from t he C- 457 Theme a n d Varia tions Beethoven Britis h poet William Ern est Henley's "Mar C- 1379 Theme Var ie Pa derewski ga rita! Sorc ri": A nd fr om t he wes t, Wh ere t he sun, his da y's wo rk ended. Lingers as in co nt ent , Played by A lfr edo Casella T here fa lls on the old. gra y city An influence lum inou s a nd serene, C-7327 Sonatas in E and G A sh ini ng peace. Scarlatti $2.00 Persis Cox has here reco rded a skilful a nd sy rn pathet ic inte rpretat ion of thi s finely wrought Alfredo Casella , most modern of Italian mas te rs, musica l expressi on of a finely chosen vision . has here made an excellent record-roll of tw o qu ain t and delightful old pieces com posed for a precu rsor of t he pian o by a n It al ian master who C-7250 Serenade H opek irk flou rished in th e da wn of inst rument al music in 8 -685 9 Minuet form Suite Hopekirk It al y. Dom enico Sca rlatt i (168,,-17.'i7) wrote a 8-6823 Old Irish Cradle Song Poc hon
00 VI 00 0-, ~~ro~~ro~~ro~xm~xro~~
e' Ie THE MASTER'S FINGERS ON YOUR PlANO ~ Welte-Mignon (Lim",,) Repmdu
t> 'z;;; ""''A Ii..... '03''';Z;;: ~~®~~~~~~~~~~~~~~
~~ ~\ It, CJ u o ~xm~xm~xm~~m~~m~~ ~ B7157 Callirhoe--Air de Ballet Raymond Burt Chaminade .11.50 ~ X6870 Canzonetta- -•••-••• Richard Singer Godard _ 1.75 B6U6 Capriccio in B-flat _. _. Auatin Conradi Scarlatti-Hutcheson. 1.50 @ ~ C7001 Caprice In G, Op. 14, No.3. •• Left" Pouiahnoff ••_ Paderewski _. 2.00 ~ \;,.~ C7032 Caprice SUf 1M Aira de Ballet d'Ajceete Magdeleine Brard Gluck-Saint-Saena 2.00 C7181 Caprice-Valse, Op. 1...... Jose Valaequee .. Castro...... 2.00 ORDER BLANK C7102 Cascade of the Chaudron, Op.139.No. 5 Augusta Tollefsen Bendel _ •• 2.00 ~ C6797 Chanson Boheme from "Carmen"... Richard Singer .... Bizet-Moaakowaki 2.00 X6986 Chant des Montagnee, No.3· •- Harriette Cady • Elie. _ • _ • 1.75 for C7176 Chase. The- ...... Bendetson Netzorg Paganinl-Liszt.... 2.00 ~ CaD15 Chelsea Reach Mareuerite Volavy Ireland.... 2.00 C72')5 Children's Pieces (Pezzi Infantlll) 1 Prelude; 2. Val8e Diatonique; S ~ 3 Canon. 4. Bolero; 5 Homage APRIL, 1926 _to Clementi; 6 Sicillana ...... - Alfredo Casella Casella...... _ 2.00 C729~ Children's Ptecee (Pezzl Infantlll) ~ @ 7 Glltue; 8 Minuet; 9 Carl11on; 10 Berceuse; 11. Gstop Final - Alfredo Casella _ Casella _ _ _ _ 2.00 X7223 Chimes of St. Patrick's, On, 40, No.2 - Persis Cox \Vhithorne 1.7,:') ~ C6027 Christmas Carols (with words)· - Leon Mitzski _ _ • 2.00 l:J{eleases of WELTE-MIGNON RECORDS 1. Scantisaima (SIcilian Folk Song) 2. Tannenbaum (0 Verdant Fir) ~ (Licen.ee) (German Song) 3. Holy Night (Canttque de Noel) L7231 Christmas Carols (with words), "God ~ Rest Yet Merry Gentlemen," "Joseph, S Tender Joseph Mine," "Good King ~. wenceslaa" ------Clarence Dickinson - 2.00 ~ '"~ <- 7224 Christmas Carols (with words) "Song of the Angels," "What a Wonder;" "Shepherd's Christmas Song" Clarence Dickinson. • • 2.00 ~ C7221 Christmas Legend: "\Vhat Child Is This?" --- - -• Richard Singer -. Huson! 2.00 ~ X7132 Cirbiribinv > - • - - • Frana Serli • -. Peataloasa-Serf 1.75 ~ B6917 Clair de Lune. Op. 46. No.2 Marguerite Volavy. Faure.. 1.50 ~~ X7:Z74 Coastlnll ---- Lillian Mallnuson - Burlellth - \.75 A6756 Comic Song (The Mosquito) Russian Each month we show on the cen . Folk-Song --• - Harriette Csdy Cady -- 1.00 ~ B6871 Con Amore • ----- Edna S. Hart ...... Beaumont... _ 1.50 ter four pages of this bulletin X7096 Concert Allegro in A ••• David A.hton Scarlatti-Godowsky - 1.75 S C7058 Concert Etude in A.flat - -.. Leff Pouishnoff _ Liszt • _. 2.00 C8968 Concert Etude in D-flat ...... Katherine Bacon Liszt ...... 2.00 ~ the new releases, together with @ C7104 Contrapuntal Dance. Op. 30A, No.2 Richard Sinaer ... Busoni.... 2.00 C7080 Cortege Dorothy Miller Duck- witz .... -... Debuuy.. 2.00 40 records that should be in ~ 80819 Cossack Folk-Song, (Fair Minka) Harriette Cady •_ Cady _ _ • _ 1.50 ...::t!>L X6923 Coune Folie. Op. 73. No.3 - Richard Singer •-- Moszkowskl • _ 1.75 0::- every library. Check off the ~ C6831 Cradle-Song .. ""''' Theodor Koenemann .. Tschaikowsky ... 2.00 f~ 80823 Cradle-Song (Old Irish) -- -. Penis Cox •- Pochon _ _ 1.50 ~ X6863 (Cradle-Song •--• -) Anton Bilotti _(I,iadow - ) 1.75 records required, sign name and Dance Lente .. ... - Franck • ...... X7036 Cross. The > ... - Harriet Ware Ware ... 1.75 S ~ 86700 Crucifix- - ...... Earl Hamilton .... Faure ... 1.50 address in space indicated, B6639 Cubist --•-•- Thomas Grieene Griselle _ 1.50 87125 Dance of the Butterflies, Oo. 69 Marguerite Balihe Charles Godard 1.50 ~ C7152 Dance of the Hour. (Ballet from detach from wires and e "La Gloconda") ... .. Franz SerH ...... Ponchielti... 2.00 X7179 Dance of the Jewell. Op. 3 Marguerite Volavy Friml...... 1.75 forward to us B6882 Dancing Leaves ...... - Julie Bergere > - Miles ...... 1.50 ~ B7251 Danae Andalouse, Op. 37, No.3.. .. Persis Cox - .. ... MacDowell...... 1.50 86716 Dense Orientale a la Chinoise ..... Harriette Cady Cady ...... 1.50 ~ C7059 Danae Rituelle du Feu • -. - Cecile de Horvath de Falla - • _ _ 2.00 ~ C7081 Deep River (Old Negro Spiritual) Oscar Haase...... Transcription by Cole- ~ Y669a Distant Bells (Novelette) ... -... Julie Sergere...... Hendricks.ridge-Taylor ... 1.252.00 S Y6826 Dixie Patrol (Souvenir d'America) (March)"; ...... Angelo Patricolo Patricolo...... 1.25 ~ B6743 Dream Daddy (Ballad with Words) Howard Lutter .... Herscher and Keefer 1.50 @ C7084 Dream Flowers ...... • ..... Oscar Haase...... Translateur .... 2.00 C72')9 Dream in the Twillllht (Traum durch die Dammerunll) --• Walter Gleseklnlt •_ Strauss.Retter • 2.00 ~ C6981 Eglogue •---•--- Alfredo Oswald - _ Liozt _ • _ _ • 2.00 B6827 Eighteenth Century Dance (Allegro ~ molto) ..... -...... Bendetson Netzor& ... Schobert...... 1.50 B68W Elfin Dance -- -• Anton Bilotti ••- Bilotti _... 1.50 To THE DEALER: This order blank is for your convenience in ordering X6753 En Bateau -•--••• Dorothy Miller Duck- ~ wltz ••••• Debu8lY - • • _ 1.75 the month's releases C6885 En Bateau ;•---•- Eustace Horodvaki •• Debussy • • • _ 2.00 S~ @ C7144( E II nNie~Frappe a___•_____ la Porte •-•- -) Marta M'lI1 nowskI •• Ashton - • • • 2.00 ~ B6725 Erotlkon, Op. 10, No.3 --•-• Ruth Blnllaman. •• Sjogren • • • • 1.50 REMOVABLE ORDER BLANK ~~~~~~~~~~~~~~~~~ ...... 00 -.J -00 00 WELTE.. MIGNON (Licensee) RECORDS ORDER BLANK
APRIL RECORDS 1926 'New Records of Popular Rolls No. Title Composer Artist Price No. Title Composer Artist Prire 8-7340 A Cottage Small by a Waterfall C-7328 La Cathedrale Engloutte (The (Word Roll) Hanley Oscar Haase $1.50 Engulfed Cathedral) Debussy Walter Gieseking $2.00 8-7339 If We Should Part (Word Roll) Schertzinger Oscar Haase 1.50 La Danse de Puck C-7329 =} Debussy Walter Gieseking 2.00 Y-7341 Rhythm of the Day (Instrumental { Minstrels -- - mental Novelty) Murphy and C-7326 Bruyeres (Prelude 1\0. 5 of Book Lindley Howard Lutter 1.25 II) Debussy Alfredo Casella 2.00 Y-734l Chinky Butterfly-Fox-Trot David Earl Hampden 1.25 X-7336 The Alp Maid's Dream Labitzky Ray Farnum 1.75 Y-7343 Sweet Child-Fox-Trot - Whiting and Simon Johnny Johnson 1.25 B-7321 Chant d'Avrll (April Song) - Lack Julie Bergere 1.50 i Y-7344 Dinah-Fox-Trot Akst Johnny Johnson 1.25 C-7325 JulIet's Waltz from "Romeo and Y-7345 Everyrhfngs Gonna Be All Right Juliet" ------Gounod-Raff George Liebling 2.00 .1 -Fox-Trot Davis and A kst Ralph Reichenthal 1.25 X·7335 Lamb of God ("Agnus Dei") - Bizet Earl Hamilton 1.75 Y-7346 Tamiami Trall-Fox-Trot Friend and Santly Ralph Reichenthal 1.25 X-7331 Minuet in E - de Horvath Zoltan de Horvath 1.75 Y-7347 Say It Al1ain-Fox-Trot Silver Howard Lutter 1.25 C-7330 Moment Musical in C-sharp Y-7348 In the Middle of the Nil1ht Minor, Op, 7, No.2 --- .\foszkowski Claude Duret 2.00 Waltz Song Donaldson Earl Hampden 1.25 C-7333 Prelude in G-Minor, Op, 23, No. S ------Rachmaninoff Marguerite Volavy 2.00 C-7322 Sarabande (L'Alrnanach aux No. Title Artist Composer Images) - - - - - Grovlez Magdeleine Brard 2.00 C-6754 Liebesleid Leonardi Kreisler- RlUhmaninofJ 8-6792 Hungarlan Danse 8 C-7327 Sonatas in E and G-- Scarlatti Alfredo Casella 2.00 Singer Brahms C- 543 Rhapsody, No. II Pugno Liszt X-7332 Souvenir de Boheme (In Form of C-6677 In the Forest Bilotti Liszt Richard Singer 1.75 a Polka) --- - Smetana 8-6640 Hearts Ease - DeHorvath Beach. X-7334 Sundown - Hopekirk Persis Cox 1.75 C-7176 Florence (Grand Valse Brillante), Op. 12 Liebling Liebling Gondoliera Bloomfield- C-7323 Variations on an Origtnal Theme C-6962 Zeisler Liszt Part I------Levy Heniot Levy 2.00 C-6965 Rendezvous - Singer Godowsky C-7324 Variations on an Ortgtnal Theme C-6860 Prelude, C-Sharp Minor Leonardi Rachmaninoff IIeniot Levy 2.00 1 Part II - -- - Levy X-7006 Papillons Volavy Rosenthal ,) 8-7027 La Paloma Giron Yradier C-7033 Naila Waltz - Pouishnoff Delibes-Dohnany< C-6073 Polka de Concert Narinska Bartleu Accompaniment Records C-6563 Concert Waltz Netzorg Frim! X-7304 Venetian Lace Liebling Liebling B-7337 Nobody Knows de Trouble I've C-6797 Chanson Boheme Seen (F Major, Accompaniment Singer Bizet- M oszkowski for Low or Medium Voice) - - Burleigh Vocal Interpretation of X-6665 Mother Machree Roth Ball-Roth Leslie Frick, accom X-6025 Carnations d'Giovanni Benkha,dt panied by Roward R. B-6488 Hungarian Danse VI Davis Brahms Thatcher $1.50 C-7171 Liebestraum, No.3 Volavy Liszt B-7338 Sometimes I Feel Like a Mother B-7014 L'Amour de L'Apache Serli Offenbach-Ely less Child (A-flat, accompani- C-7164 "Mi~non" Overture Lendry Thomas ment for Low or Medium Voice) Burleigh Vocal Interpretation of Leslie Frick, accom X-6820 Goodbye Roth Tosti-Roth panied by Howard C-7302 Semiramide Overture - Lendry Rossini R. Thatcher 1.50 X-7120 Pas des Amphores (Air de Ballet, No.2) Duret Chaminade Removable Order Form-detach gently from wires
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~xmmxx~mxx~mxxmmxxmmx~ ~ B6911 Ethiopian Serenade lTriakontam.ron ~ No. 12) • • • - - - - - • KaUnka Narinaka •• Godowsky -- -SI.50 ~ No. TitJe C7241 Etude Capric. •---••- Sam Reichman •-• Sauer - - - - 2.00 Artist CMnPOStlf' X7121 Etud. Mllnonn. In D, Op, 16, No. I • David A.hton •-• Schutt _. - - 1.75 ~ C-7193 Neapolitan Favorites Hamilton C7010 Etude a Mouvemeet Semblabl. et @ Perpetuel - • • - - • • • AusUn Conradt •-• Alkan-MacDow.ll • 2.00 C-7201 "Rtgolerto" Fantasia Dc Pachmann Verdi-Liszl X6727 Etude d. Concert In F sharp, Op, 36 • Ausnota Tollef.... -• MacDowell • - • 2.00 Y-7192 C7005 Btude aponai.., Op. 27, No.2· • Marsuerite Vola _. Poldlnl • • • • 1.75 Remember (You Forgot To) Gregory Berlin ~ B7052 Etud. fn A-flat, Op, 72, No. 11 - • - Marta MUlDDWSkf •- Moukowskl • • - 1.50 Y·725! Sometime Lutter Fiarilo B7085 Etud. In A-flat Minor, Op, 72, No. 13 Marta MUlnowU:! -- Moukowski • • • 1.50 ~ C6782 Etude in E flat. No.2· •-- Cecil. d. Horvath - Paganini-Llsat - - 2.00 Y-7318 Cossack Love Song-s-Song of the Flame X6724 Etude in E Minor, Op. 25, No.5 -- Henior Levy > • Chopin --- 1.75 "From Song of the Flame" Perrella Stothart and Gershwin C7031 Etud. in the Form of a Waltz, Op. 52, S No.6· - ...... Maadeleine Brard Saint-Saens..... 2.00 Y-7287 Is ~ I Wonder Where My Baby Tonight- CI665 Etude in G Minor ••-••- Gertrud. Peppercorn Zarembski 2.00 Fox-Trot -•--- Johnson Kahn and Donaldson X6980 Etud. Melodique -----• Dorsey Whlttington Rogers - - 1.75 ~ C7029 Etude Melodlque, No. I, in A-flat - • KaUnka Narinaka -• Rail - - - - 2.00 Y-7258 I'm Sitting on Top of the World - Lawnhurst Henderson @ C6788 Etude, Op. 25, No.3------Harriette Cady -- Arenskv - - - 2.00 Y7319 B7178 Etude in Sixths In D-f1at 00. 25, No.8 Bendeteon Nereorg -- Chopin - - - 1.50 A Cup of Coffee, a Sandwich and You B 207 Evening, oe, 12, No. I (From "Fan- Fox-Trot - Lutter Mayer ~ taale Plecee" ) ------Alfred Grunfeld - Schumann - 1.50 X6886 Evening in Granada .An » ...... Anton Bilotti .... Bilotti ...... 1.75 ~ Y·7320 Always-Waltz Lutter Berlin C7166 Evocation (From "Iberta") --- Alfredo Ca.ella Alb.nlz l.OO Y·7291 I Wish That I'D Been Satisfied With Y6698 Fair Debutante ~atNcvelettej > - - - Marguerite Bailh. - Reynard - • 1.25 Mary-Waltz Lutter Henderson B6762 Fairy Tale in B Minor (Marchem » Theodor Koenemann ... Medtner .. .. • • 1.50 S ~ C7293 FantallY on Themes from "Boris Y·7217 Pal of My Cradle Days-Waltz Lutter Piantadosi Godounov" ...... Carol Robinson - .. Mouuorallky.. C-7186 Recollections No.2. Lutter Fruhllnll •• l.1O ~ B6895 Farewell to the Piano ... - ...... Julie Bergere > ... Beethoven 1.50 I. I Love You Truly • Jacobs-Bond @ Cfl8119 Favorite Hymns (WIth Words) - Mettler Davis -- _.. - - - - 2.00 2. Sunshine of Your Smile Ray 1. Com. Thou Almighty King ------Giardini 2. Abide With M. ------Monk 3. Mighty Lak' a Rose • Nevin ~ 3. Nearer, My God to Thee ------Arranged by Mason _,Y"_ 4. Butterfly Grieg ~ 4. Lead, Kindly Light -•_------_. - Dvkee ~ 5. At Dawning C7030 Favorite Hymns, No.2 (With Words) - jean Fabre ------• - - - 2.00 ~ Cadman 1. Rock of Ages - • Halting. 6. Believe Me, If All Those Endearing 2. I Heard the Voice of Jesus Say ------Dykee Young Charms • Old Irish 3. Jesue, Lover, of My Soul ------Manh @ 7. Badinage •• Herbert 4:. jerusalem, the Golden ...... • ... • ...... Ewing ~ X7011 Fint Bagatelle • -' -- •• Sylvan Levin • Scott - • - 1.75 Y-728S Who?-From "Sunny"-Fox-Trot - Lawnhurst and C7057 Fint Nocturne, in E-f1at Minor, 00. 23 ~ Lutter Kern No.1...... • ...... Magdelelne Brard Faure .. .. 2.00 @ B6910 First Noel, The (with words) - - - Mettler Davis -- Traditional - - 1.50 Y-7292 Paddlin' Madelin' Home-Fox-Trot Lutter Wood B6780 Flirtation ------•-- Marguerite Ballhe Cross -- -' 1.50 C-7283 Recollections, Series 3 - Gregory C7276 Florenc. (Grand Val.e Brlllante), ~ Op. 1l ------Geollle Llebllnll LI.bllnll -- 2.00 Home, Sweet Home Gollschalk ..,::u eJOI4 Four Album Leevee ---•- Charle. H. Steinway Stelnway -- l.OO s:r:- Aloha Oe Queen LilUuokaJani ~ C 537 Fourth Ballet (scene) Op. 33 - - - Michael von Zadora - Busoni - - 2.00 TfOlO:""' Ciribiribin C7076 Fourth Nocturne, In E-f1at Major, 00. ~ PestaloftUJ-Serli 36 ...... Maadeleine Brard... Faure...... 2.00 On the Road to Mandalay Speaks C7207 Franeoelech (Wal••rmasken, No. 14) • Vladimir d. Pachmann Oodowekv - - 2.00 La Paloma Yradier B7039 Fruhlingalauten, Op. 57, No.2 (From ~ Light Cavalry von Suppe ~ "Fruhling") ------George Liebling -- Moszkowskl - • • 1.50 C7106 Fugato-Humoreaque on the Theme of "Dixie." Op. 21 ...... Marguerite VoJavy... Zucca ...... 2.00 ~ B6637 Gabrlell. ----•-- Thoma. Grieelle _. Gilbert - - - 1.50 ~ B6779 Garden Dane. ------Marguerite BaUh. Vargas -- 1.50 X6838 Gavotte ...... Cecile de Horvath ... Gluck-Brahms 1.75 86638 Gavotte Intermezzo - ...... Thomas Grlselle Saar • .. 1.50 ~ C6728 Gavotte and Muaette • - • - Georg. F. Boyle - - Boyle - - - - 2.00 V6721 Gavotte Piquante Marguerite BaUhe Pierson... .. • ... 1.25 ~ Gavott e ------• • • ) I' 11 I C678 1 { Spanish Dance _ _ ...... Anton B JotU.. B ott .. .. 2.00 C7267 "General LSl'lne"-Ecceotrlc ~ Alfredo Casella Debussy·. 1.00 ~ Y6935 Glow-Worm, The (Novelette) •__ Howard Lutter _- Linck. - - 1.25 t..."",~ C6962 Gondoliera -. -----• Fannie Bloomfield- Zeisler - - - - - Llszt • - - - 2.00 ~ N..ame. _ X6820 Goodbye ------• Rolf Roth •• -• Tosti-Roth • - - 1.75 @ B6717 Good Night (from "A Day In Venice"), Op. 25, No, • •--•--- Margaret Nlkoloric Nevin - - • - 1.50 B3657 Granada (No. I, from "Suit. Eopall- ~ nole") ---•----- Ignacio Telleria - Albeniz -. 1.50 C7098 Guitarre, oe. 45, No.2· ---- Georg. F. Boyle _. MOlIZkowski - 2.00 ~ Street _ C6892 Habanera ------Georg. F. Boyle - - Boyle - - - 2.00 B6702 Hallelujah Chorus from "The Messiah" Jan Van Remden Handel 1.50 C7131 Harlequin, Op. 12, No. I _. Franz Serll -- Roberts - - - 2.00 S X6811 Harmonious Blacksmith, The Bendeteon N.tzorg Hand.l - - 1.75 ~ CI318 H.lv.tia Waltz _- Raoul Pulno -- d'indy - - - 2.00 C7194 Holy City, Th. -- Earl Hamilton - St.ph.n Adams 2.00 F) City C7142 Hom., Sw••t Hom. - Ang.lo Patricolo Bishop-Gotuehalk - 2.00 ~@ CI768 Hommal. a Rameau ----- Richard Buhli~ ••- DebUBBY - • - - 2.00 ~ Stau _ ~~~~~~~~~~~~~~~~~
00 \0 ~- ~m~~m~~m~~m~~m~~~~m~~m~xm~~m~~m~~ ~~ ~ ~ Y6865 Hornpipe Polka ------Ray Farnum ---- Smith - - - - $1.25 C7206 Mazurka. Op. 00. No.2; and On, 56 - Vladimir de Pachmann - Chopin ---- $2.00 ~ B7184 Humoreaquec Op. 101. No. I - - - Richard Singer - Dvorak 1.50 ~ C7247 Mazurka in A Minor, Op. 67, No 4 - Vladimir de Pachmann Chopin - 2.00 ~ X7153 Humoresque Miniature 10 D, Op. 90. ~ B7177 Mazurka in F-Iharp Minor. oe, 6. ~ No.2 -- - • - ...... Marguerite Volavv Schlitt 1.75 No.1...... - - - .. Bendetson Netzorg - Chopin 1.60 tZ.J B6855 Humoresque in G-flat, Op. 101, No.7.. Richard Singer - Dvorak 1.50 C7229 Mazurkas, Op, 67. No.1 in G. and Op. ""~ B6692 Hurdy Gurdy Man, The, and March of 24, No.4 in B-flat Minor Vladimir de Pachmann Chopin 2.00 The Wooden Soldiers - - .. - - Cecile de Horvath Goosens -.. 1.50 ~ ~ X6955 Meditation. Op. 72, No.5 Harriette Cady .... Tschaikowsky 1.75 ,.l'J( B6837 Hungarian Dance, No.3 ---- Richard Singer Brahms 1.50 C7083 Meditation, Op. 72, No, 5 Marguerite Volavy - Tschaikowsky 2.00 ~ B6924 Hungarian Dance, No.4.. Richard Singer Brahms 1.50 ~ ~ C6918 Melodie, oe. 3. No.3 George F. Bovle ; Rachmaninoff 2.00 ~. B6815 Hungarian Dance, No.5... Richard Singer Brahsm .... 1.50 ~ X6985 Melody Dorothy Miller Duck- Vice-Pres. Charles G. . B6792 Hungarian Dance. No.8 Richard Singer Brahms •• 1.50 r1.J witz ...... Dawes ... 1.75 ~~~g ~~~::~~:~ g:~~~: ~~: ~O ...... ~:~~:~~ ~:~:~~ ~~:~~: LZZ ~~1:: ~~litri~~?'J:ert~re - t~~~~rle:~dry ~~~~;8 : i:~g ~ C6888 Hungarian Rhapsody. No.2 Richard Singer Lisat - 2.00 ~ ~ X7124 Miniature Polonaise. Op. 47, No. I George Liebling - Liebling. -- 1.75 C7275 Hemgarfan Rhapsody. No. 14 Carol Robinson Liszt ... 2.00 ~ ~ 86859 Minuet (From Suite for Piano) ...... Persis Cox Hopekirk ...... 1.60 e~ C6828 Hymn to the Sun (From "The Golden C7151 Miserere from "II Trovatore" Cockerel") ...... Richard Singer Rimsky-Koraakoff- (Concert Paraphrase).. Franz SerH Verdi-Gottschalk 2.00 Gl Singer ...... 2.00 86890 Moment Mueical > • ... Anton Bilotti Schubert..Godowsky 1.60 X7130 Idtliu. Op. 134 - - - • - - - Edna S, Hart Lack - -. 1.75 C7123 Moment Musical In F-Minor. Oo. 94, ~ B6896 11 Bacio Waltz A·~'·(Valse Lente) ••• A>~Ray FarnumG,",'~- Ardit&""~rt··i-Lanner 1.50 ~ ~~ No.3 - • - - - - - • Leff Pouishnoff • Schubert-Godowsky 2.00 ~ C Impromptu in . • • • . '.00 C6857 Moonlight on Capri ••---- Richard Singer Singer ---- 2.00 C7128,n Impromptu in C-sharp Minor, On, 28, 86872 Morning Prayer ...... -- ... Edna S. Hart .... Streabbog 1.50 No.3...... Marguerite Le Grand Reinhold .. 2.00 87297 Moto Per etuo, Op. 46, No.2 - .. Virainla Castelle .. .. MacDowell 1.50 C7204 Impromptu in Fceharp, Op. 36· •- Vladimir de Pachmann Chopin - 2.00 ~ C6993 Murmure Yu Vent (Sighing Breezes) Dorothy Parker - Sauer --- 2.00 ~ B6688 Impromptu. Op, 90. No.4 ---- George F. Boyle - - - Schubert • - 1.50 ~ B6867 Murmuring Brook ----- Julie Bergere.· Poldlni 1.50 ~ B6715 Improvisation on "Just a Wearyin' for X6958 Musetta's Waltz Song (From "La You" and "I Love You Truly" - - Rolf Roth -- Jacobs-Bond-Roth 1.50 ~ Boheme") ---- Leon Mltzski Puccini • 1.75 X7127 In an Irish Jaunting Car •--- Marta Milinowski Whitfield - 1.75 ~ B7171 My Heart Ever Faithful Marta Mllinowski Bacb-Lavlgnac - 1.50 C7169 In Autumn (En Automne), Op. 36. No. C6785 Nachfalter (The Moth) ~ 4 Cecile de Horvath Moszkowakl .. 2.00 ~ (Waltz-Caprice).. Theodor Koenemann Strauss-Tauaig .. .. 2.00 X6920 Indian Summer ---•--- Edna S. Hart -- Herbert • 1.75 C7035 Nachetuck. Op. 57 • George Liebling • Liebling 2.00 C7051 Intermezzo 11 from "Jewels of the Ma- C6928 Nazareth ------Ray Farnum » • Gounod· - - 2.00 ~ donna" ...... Franz SerH ...... Wolf-Ferrari ... 2.00 ~ C7193 Neapolitan Favorites ...... Earl Hamilton ...", ...... 2.00 ~ ~+ X7009 Irish Washerwoman. The ---- Cecile de Horvath Sowerby • 1.75 @ ~ ~ I. Negrtnha (Little Negro Doll of } TC01::W B6804 Island Spell. The ------Persis Cox - - Ireland 1.50 ~ ~ C6749 , Wood) _. ------Alfredo Oswald ViIla-Lobas 2.00 ~ C7244 Italian Concerto, Part I-Allegro 2. Pobreslnha (The Poor Rag Doll) - Animato ...... Vladimir de Pachmann Bach ... ~ 200 86846 Negro Spiritual: "Sometimes I Feel C7245 Italian Concerto, Part II-Andante Like a Motherless Child" - ...... Persis Cox Coleridge-Taylor - 1.50 ~ Molto Espressivo ... _.. Vladimir de Pachmann Bach 2.00 t...~ X7242 Nocturnal Tangier (T'riakontameron, ~ C7246 Italian Concerto, Part III-Presto ~ No. 1) - ~ - ... - - - ...... Sam Reichman ... Godowsky ...... 2.00 Giojoso ...... - ~ .. Vladimir de Pachmann Bach ~... 2.00 ~ C7294 Nocturne for Left Hand Alone, Op, ~ X7145 Itarian Song of the Sixteenth Century- Carol Robinson Arc. by Alaleona 1.75 9, No.2... - ...... -- _... Magdeleine Brard > ~ Scrtabln - ... 2.00 @ C7173 { Jerusalem. Thou City Built on High .) Edward Rechlin __{ Frank - - - - ) 2 00 ~ C7263 Nocturne In B.Major, oe. 3l, No.1 Vladimir de Pachmann Chopin l,OO Now Thank We All Our God - - - Crueger -• -' ~ C6960 Nocturne in C Minor. Op. 48. No. I • Fannie Bloomfield- B6701 Jesus Christ 10 Risen Today (Easter Zeisler •• - Chopin.. -- %.00 ~ Hymn) -- Jan Van Remden From the Lyra e6g78 Nocturne in C Sharp Minor. Op. 27. ~ Davidica.1708 1.50 ~ No. I - - - - - • • • • Fannie Bloomfield- £:&- ~;l C6963 Juggleress. The -•- Fannie Bloomfield- +~ ~ Zeisler -••- Chopin - - • • 2.00 TC01::W Zeisler ~ ~ ... Moszkowski ~ 2.00 ~ ~ C7002 Nocturne in D-6at, oe, 27, No.2.. ... Fannie Bloomfield- ~:..4 C7141 Kiss Waltz Paraphrase Bendetson Netzorg Strauss-Schutt ... 2.00 Zeisler ...... -- Chopin ... - 2.00 . ''''\.'' C6757 La Campanella --- Augusta Tollefsen Paganini-Liszt..... 2.00 C7202 Nocturne in E Minor, Op. 72, No.1 Vladimir de Pachmann > Chopin .. 2.00 ~) C7240 La Campanella (Paganini Etude) ~ B 539 Nocturne in Ecflat, Op. 36 -. -. Raoul Pugno » --- Faure - • 1.50 ~ No.3...... ~ --- ... Sam Reichman - ...... Liszt-Busoni _ .. 2.00 C7203 Nocturne in F Minor, Op. 55, No.1 - Vladimir de Pachmann - Chopin - .. 2.00 ~ > ...... B6758 Lady Butterfly Ballet .. - Werner Janssen - Janssen -.. 1.50 B6884 Nocturne in F Sharp Minor Harriette Cady ... Scrlabin .. 1.50 C6813 "Lady Butterfly" Selt"ction...... - Werner Janssen _... Janssen..... - .. 2.00 ~ ~ B7243 Nocturne. OPt 51, No.3 (Impressions ~ B7014 L'Amour de L'Apache - -. - Franz Serli - • - Offenbach-Ely - - 1,50 from the Land of a Thousand Lakes) Sam Reichman _ - Sibelius - - - 1.50 ~ B7027 La Paloma ... - .. - ...... Adolfo Giron -- Yradier~Giron.. - 1.50 X6908 Noel - ... .. - .. .. - .. - .. Persis Cox .. - .. .. Gardiner - _.. 1.75 C6956 Largo (From the "New World Sym- X7225 0 Come. All Ye Faithful (Adeste phony") - .. ... - Katinka Narinska ... .. Dvorak ...... 2.00 Fidelea) ...... Clarence Dickinson Anon .. 1.75- ~ Y6695 La Rosita (Novelette) •-- Earl Hamilton Dupont - • - - 1.25 ~ B6691 Old Chinese Lullaby -• - •- Harriette Cady -•• Transcribed by Cady 1.60
B6984 Le Coucou > .. - - .. Austin Conradi --- Daquin .. - ... .. 1.50 ~ ~ C6825 Ondine (From Suite "Gaspard de la ~ B6799 Legende --••• - Richard Singer •-- Rozycki - • - • 1,50 Nuit") ----•--•- Katherine Bacon - Ravel· • - • • 2.00 X7196 Liebesfreud (Love's JOY) • - • - Julie Bergere --- Kreisler • - • • 1,75 X6894 On the Road to Mandalay C6754 Liebesleid (Love's Sorrow) •• • Leonidas Leonardi • - Kreisler-Rachmanin- ~ (With Words) ------Ray Farnum » • .Kipling-Speaka • • 1.76 ~ off • - • - 2.00 { 1, 0 Polichinello (The Punchiuello) • ) f vui Lob ~ C7172 Liebestraum. No.3· ••--- Marguerite Volavy - - Liszt _ _ • _ 2.00 C6750 2. Bruxa (The Witch) • _ _ _ _ Al redo Oswald - - a- as·· - 2.00 C6979 Liebeswalzer. Op, 57. No.5 --- Fannie Bloomfield- ~ ~ X71O'1 Original Hesitation Waltz •-•• Ray Farnum - Ilgenfritz. • • • 1,75 ~ Zeisler .. .. _... Moszkowski .. 2.00 Sacred Head and WOUnded} { } @ C7185 Light Cavalry Overture .... - .. Howard Lutter ... von Suppe - .. ... 2.00 10 (Herzlich tut mich verlangen) .. .. Hassler..- C6912 Lithuanian Song - •----- George F. Boyle - Chopin-Sgambati 2.00 C7143 l Sleepers. Awakel (Wachet auf. ruft &lward Rechlin - :Z.OO B6841 Little Windmills, The ...... Austin Conradi - ... Couperin .. .. 1.50 uns die Stimmel ...... Nicholai - .... ~ B6898 Longing for Home •-- Edna S. Hart •• Jungmann -. 1.50 ~ B6699 Palms. "Faure's" -----• Katlnka Narinska - Leybach-Narinska· 1.60 C7175 Lorelei. The ---- Bendetson Netzorg - • Liszt • • - 2.00 ~ ~ X7006 Papillons _--••---• Marguerite Volavy - Rosenthal ••• 1.75 ~ B6864 Love's Dream After the Ball Ray Farnum -••- Czibulka - - - - 1.50 X7220 Pas des Amphores (Air de Ballet. No.2) Claude Duret Chaminade - - 1,75 X7159 Love's Plaint - .. - - ...... Werner Janssen ...... Janssen .... - 1.75 C7199 Pastorale Intermezzo .. - .. Arnold Cornelissen .. Corneliseen ...... 2.00 C6818 Man lebt nur elnmal (One Lives but ~ B6824 Pell Street -----•-- Pems Cox - - - • Whitehorn - • • 1,60 Once) ...... Augusta Tollefsen ...... Strauss-Tausig .. 2.00 B7078 Pierrette ...... - ... .. - .. .. George F. Boyle.. -- Boyle...... 1.50 ~ C6812 March Grotesque... - ...... Bendetson Netzorg - Netzorg .. .. - 2.00 B7079 Pierrot _ - - - - .. - .. - .. George F. Boyle...... Boyle...... 1.50 B6783 March Mignonne -.. -... - Werner Janssen ..... Janssen...... 1.50 ~ ~ A6969 Pizzicati (The cockatriC'e of Columbine) Thomas Reid • .. Delibes - .. 1.00 ~ C6922 March from "Tannhauser" ...... - Richard Singer .. - Wagnpr-Liszt - 2.00 A2151 Playing of Chimes - .. - ...... - Vladimir Rebikoff .. - Rebikoff 1..00 ~ B7077 Marionette March •• •• - George F. Boyl, - Boyle - - - • 1.00 ~ X2068 Poeme, Op. 32. No. I - - - - • Alexander Scriabin - Scriabin • 1.75 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
il ,,~ C) v ~} u
~xm~xm~~m~xm~xm~~ ~ B6911 Ethiopian Serenade ITriakontameron ~ No. 12) - • • - • - - - - Katinka Narlnoka •• Godowsky •• -11.50 No. Tille Artisl CompoSM C7241 Etude Caprice --••--- Sam Reichman _-_ Sauer - - _ _ 2.00 S X7121 Etude MllIIlonne In D, Op, 16, No. I - David Alhton ••• Schutt --•• 1.75 ~ C-7193 Neapolitan Favorites Hamilton C7010 Etude a Mouvement Sembiable et Perpetuel --•••--- Austin Conradi ••- Alkan-MacDowell • 2.00 C-7201 "Rigoletto" Fantasia De Pachmann Verdi-Lislll e X6727 Etude de Concert In F sharp, Op, 36 • AuKUSta Tolleloen •• MacDowell • • • 2.00 Y-7192 Remember (You Forgot To) C7005 Etude Japonaise, Op. 27, No.2. • Marvuerite Volavy •• Poldini -••• 1.75 Gregory Berlin ~ B7052 Etude In A·flat, Op. 72, No. 11- •• Marta MUI"",,"k1 -• M.-kowski • • • 1.50 Y-72SS Sometime Lutter Fittriu B7085 Etude In A-flat Minor, oe.72, No. 13 Marta MUinoWlId • - M.-kowski - - • 1.50 ~ C6782 Etude in E ftat, No.2 - - - - Cecile de Horvath Paganini-Liszt - - 2.00 Y-73t8 Cossack Love Song-v-Song of the Flame X6724 Etude in E Minor, Op. 25, No.5 - Heniot Levy - -. Chopin - 1.75 "From Song of the Flame" - Perrella Stothart and Gershwin C7031 Etude in the Form of a Waltz, Op. 52, S Y-7287 I Wonder Where My Baby Is Tonight- ~ No.6 -- • -- -. - Magdeleine Brard Saint-Saena· - 2.00 CI665 Etude in G Minor ------Gertrude Peppercorn Zarembskl - 2.00 Fox-Trot ------Johnson Kahn and Donaldson X6980 Etude Melodique ----- Dorsey Whlttmgton Rogers 1.75 ~ C7029 Etude Melodtque, No. I, in A-ftat -- Katinka NarllUlka - Rail -• 2.00 Y-7258 I'm Sitting on Top of the World - Lawnhurst Henderson ~ C6788 Etude, Op, 25, No.3 ------Harriette Cady - Arensky • • - 2.00 Y7319 B7178 Etude in Sixths In D·ftat Op. 25. No.8 Bendetson Netzorg Chopin·. 1.50 A Cup of Coffee, a Sandwich and You B 207 Evening, Op. 12, No. I (From "Fan- Fox-Trot - Lutter Mayer ~ tasie Pieces") - - - - • - - Alfred Grunfeld - Schumann • 1.50 X6886 Evening in Granada .An > ...... Anton Bilotti ...... Bilotti 1.75 ~ Y-7320 Always-Waltz Lutter Berlin C7246 Evocation (From "Iberia") • -- Alfredo Casella Albenlz 1.00 Y-7291 I Wish That I'D Been Satisfied With Y669S Fair Debutante (Neveletter > ...... Marguerite Bailhe Reynard .. ... 1.25 Mary-Waltz Lutter Henderson 86762 Fairy Tale in B flat Minor (Marchern « Theodor Koenemann Medtner > .. 1.50 @ ~ C7293 Fantasy on Themes from "Boris Y-7217 Pal of My Cradle Days-Waltz Lutter Piantadosi Godounov" ...... Carol Robinaon ... .. Mouuortlaky_ c.::1 Fruhllnll _. l.to ~ C-7186 Recollections No.2. Lutter \:;,...~ B6895 Farewell to the Piano ...... Julie Bergere .. Beethoven.... 1.50 I. I Love You Truly • Jacobs-Bond C1I800 Favorite Hymns (With Words)· •- Mettler Davis -- • ------2.00 2. Sunshine of Your Smile Ray I. Come Thou Almighty King --•-- Giardini 2_Abide With Me - - • - - - - • ---- Monk 3. Mighty Lak' a Rose • Nevin ~ 3. Nearer. My God to Thee Arranged by Mason ~ 4. Butterfly Grieg ~ 4. Lead. Kindly Light -- _. --•••-- Dykes T<:li::"" 5. At Dawning C7030 Favorite Hymns, No.2 (With Words) jean Fabre _. ------2.00 ~ Cadman 1. Rock of Ages ...... - ...... Haerings 6. Believe Me, If All Those Endearing 2. I Heard the Voice of jesus Say • - - - - - Dykes Young Charms • Old Irish 3. jesUI, Lover. of My Soul • - •• -- •• Marsh @ 7. Badinage Herberl 4. jerusalem, the Golden ---•--- - Ewing ~ X7011 First Bagatelle - -'. - •• Sylvan Levin • SCott - 1.75 Y-7285 Whoi-From "Sunny"-Fox-Trot Lawnhurst and C7057 First Nocturne, in &flat Minor, o». 23 ~ Lutter Kern No.1...... Magdeletne Brard .. Faure > .. 2.00 B6910 First Noel, The (with words) - • - Mettler Davis - - Traditional 1.50 Y-7292 Paddlln' Madelln' Home-Fox-Trot Lutter Wood e B6780 Flirtation -----•-- Marguerite Bailhe • Crose - • - - 1.50 C-7283 Recollections, Series 3 - Gregory C7176 Florence (Grand Valse Brillante), ~ Op. 11 •-- - -• - -• Geor e L1ebllnll - - Llebltng _. l.OO Home, Sweet Home GoUschalk ~ C3014 Four Album Leavee _. -- • Char'.. H. Steinway • Stelnway 1.00 i& Aloha Oe Queen LilliuokaJani ~ C 537 Fourth Ballet (scene) Op. 33 • -• Michael von Zadora Busoni - 2.00 ~ Ciribiribin Peslalollsa-Serli C7076 Fourth Nocturne, In E-ftat Major, Op. ~ 36 - - - • - • - - - - Maideleine Brard -- Faure - • - • • 2.00 On the Road to Mandalay Speaks C7207 Franeoetech (Wateermasken, No. 14) - Vladimir de Pachmann Godowsky •• 2.00 La Paloma Yradier B7039 Fruhlingalauten, Op. 57, No.2 (From ~ Light Cavalry von Suppe ~ "Fruhling") • ----- George Liebling _. Moszkowski - • • 1.50 C7106 Fugato-Humoreaque on the Theme of ~ "Dixie," Op. 21 ... A Marguerite Volavy Zucca 2.00 B6637 Gabrielle --- Thomas Griselle Gilbert· - • 1.50 ~ B6779 Garden Dance A'" Marguerite BaUhe... Vargas - ..... 1.50 X683S Gavotte ---••---- Cecile de Horvath - Gluck-Brahms - 1.75
B6638 Gavotte Intermezzo ...... A ... Thomas Griselle ... Saar .. 1.50 ~ C6728 Gavotte and Musette _. • George F. Boyle - Boyle - 2.00 ~ Y6721 Gavotte Piquante ...... A .. Marguerite Bailhe... Pierson ...... 1.25 Gavotte ------j . 11 i 2 00 C6781 { Spanish Dance ...... A Anton Bilotti .. ... B ott . C7267 "General Lavlne"-Eccentrlc Alfredo Casella Debuesy ; 2.00 Y6935 Glow-Worm, The (Novelette) --• Howard Lutter • Lincke. _-- 1.25 '2-"'" ~ C6962 Gondoliera Fannie Bloomfield- ~ J'Xame _ Zeisler •-- Liszt -- 2.00 ~ X6820 Goodbye - • - - - - • - • Rolf Roth ••- Tosti-Roth _. 1.75 ~ B6717 Good Night (from "A Day In Venice"), Op. 25, No. 4: ...... Margaret NikoJoric ... Nevin...... 1.50 B3657 Granada (No. I, from "Suite Kapai- ~ nole") • -•-•---• Ignacio Telleria - Albenlz _. 1.50 C7098 Guitarre, Op, 45. No.2 -••-- George F, Bcvle > M"""kowski 2.00 ~ Street. _ C6892 Habanera •-•----- • George F. Boyle - Boyle • 2.00 B6702 Hallelujah Chorus from "The Messiah" jan Van Remden Handel 1.50 C7131 Harlequin. Op. 12. No. I _. -- Franz Serli - - Roberts 2.00 S X6811 Harmonious Blacksmith. The Bendetson Netzorg Handel 1.75 ~ CI318 Helvetia Waltz _- Raoul Pugno > - d·Indy· • - • 2.00 C7194 Holy City, The Earl Hamilton - Stephen Adams 2.00 City C71f.2 Home, Sweet Home ... Angelo Patricolo Biahop-Octtschalk .. 2.00 F) ~ CI768 Hommage a Rameau - Richard Buhlig • Debueev - • • - 2.00 ~ State _ ~~~~~~~~~~~~~~~~~ 00- \D ...... 8 ~~~~~~~~~~~~~m~~~~m~~~~~~~~m~~m~~ ~~ ~ V6865 Hornpipe Polka ------~ Ray Farnum > - ... - Smith -- ~ ... 11.25 C7206 Mazurka. Op. 50, No.2; and On, 56 ... Vladimir de Pachmann > Chopin ...... $2.00 ~ B7184 Humoresque, Oo. 101, No. I - - - Richard Singer -- Dvorak 1.50 ~ C7247 Mazurka in A Mmor, Op. 67, No.4 _ Vladimir de Pachmann - Chopin - _ 2.00 ~ X7153 Humoresque Miniature in D. OPt 90, ~ ~ B7177 Mazurka in Feeharp Minor, Op, 6, No.2 -- ... -- ...... Marguerite Volavy Schutt 1.75 ~ No.1...... - ... - ... - - ... Bendetaon Netzorg - Chopin 1.60 ~ b1 B6855 Humoresque in G-tlat. Op. 101, No.7... Richard Singer ... Dvorak 1.50 C722Sl Mazurkas, Op. 67. No.1 in G. and Op. \;,."< B6692 Hurdy Curdy Man, The, and March of 24, No.4 in B-flat Minor Vladimir de Pachmann Chopin 2.00 The Wooden Soldiers ... - -... Cecile de Horvath Goosens 1.50 X6955 Meditation, Op. 72, No.5 Harriette Cady ...... Tschaikoweky 1.75 ..l'J( B6837 Hungarian Dance, No.3 --• Richard Singer Brahms 1.50 ~ C7083 Meditation, Op. 72, No.5 Marguerite Volavy - Tschaikowaky 2.00 ~ B6924 Hungarian Dance, No.4 --- Richard Singer Brahms 1.50 ~ C6918 Melodie, oe. 3. No.3 George F. Boyle - Rachmaninoff 2.00 ~. B6815 Hungarian Dance, No.5.. Richard Singer Brahsm 1.50 ~ X6985 Melody -. Dorothy Miller Duck- Vice-Pres. Charles G. B6792 Hungarian Dance. No.8 Richard Singer Brahms •• 1.50 ~.J witz •• - Dawes - 1.75 ' ~3~8 ~~~::~~:~ g:~~~: ~~: ~O -.. ~:~~:~~ ~:~:~~ ~~:~~: tgg 2~~ ~M?:gd.i~~P·J:ert~re" ~~~~~rle:~dry ~r~:~~8 : ~:~g ~ C6888 Hungarian Rhapsody, No.2 -- Richard Singer Liszt - 2.OG ~ ~ X7124 Miniature Polonaise, Op. 47. No. I George Liebling Liebling • - - 1.75 ~ C7275 Hungarfan Rhapsody, No. 14 Carol Robinson Llszt - 2.00 1::1 ~ B6859 Minuet (From Suite for Piano) -- Persis Cox - - Hopekirk - I.IlO C6828 Hymn to the Sun (From "The Golden ~ C7151 Miserere from "II Trovatore" ~ ~ Cockerel") - -. -.. Richard Singer Rimsky-Korsakoff- (Concert Paraphrase) - .. .. Franz Serli verdt-Gouechatk 2.00 Singer - - 2.00 B6890 Moment Musical -•--- Anton Bilotti Schubert-Godowsky 1.50 X7130 Idilio, Op. 134 • - • - - - Edna S. Hart Lack - - - 1.75 C7123 Moment Musical In F-Minor, Op. 94, B6896 II Bacia Waltz (Valse Lente) --- Ray Farnum - Arditi-Lanner 1.50 No.3 _. ------• Leff Pouishnoff • Schubert-Godowsky 2.00 ~ C 222 Impromptu in A-flat· -•-•- Alfred Grunfeld - Schubert • 2.00 ~ C6857 Moonlight on Capri ------Richard Singer Singer - - • - 2.00 C712S Impromptu in C-sharp Minor. Op. 28, ~ ~ B6872 Morning Prayer -- ... - - - .. Edna S. Hart .... Streabbog ... .. 1.50 ~ No.3· ------Marguerite Le Grand - Reinhold - 2.00 B7297 Mota Per etuo, Op. 46. No.2 -- Vlrllinia Castelle -- MacDowell - - 1.50 n oJ C7204 Impromptu in F-sharp, Op. 36 - - .. Vladimir de Pachmann Chopin _.. - 2.00 C6993 Murmure Su Vent (Sighing Breezes) Dorothy Parker .. Sauer - 2.00 ~ B6688 Impromptu, Op. 90, No.4 ---- George F. Boyle - - Schubert _. - 1.50 ~ B6867 Murmuring Brook - - - - - Julie Bergere « - Poldlni 1.50 ~ B6715 Improvisation on "Just a Wearyin' for X6958 Musetta's Waltz Song (From "La You" and "I Love You Truly" • - Rolf Roth - - Jacobs-Band-Roth 1.50 ~ Boheme") ---- Leon Mlt.skl Puccini - 1.75 X7127 In an Irish Jaunting Car ---- Marta Milinowski Whitfield - - - 1.75 ~ B7171 My Heart Ever Faithful Marta Mllinowski -- Bach-Lavlgnae 1.50 C7169 In Autumn (En Automne), Op. 36, No. C6785 Nachfalter (The Moth) ~ 4 - - ...... - .. • - Cecile de Horvath Moszkowskl - - 2.00 ~ (Waltz-Caprice) Theodor Koenemann Strauss-Tausig 2.00 X6920 Indian Summer _. --•• Edna S. Hart Herbert _. 1.75 C7035 Nachstuck, Oo. 57 • - • George Liebling •- Liebling - - - 2.00 C7051 Intermezzo II from "Jewels of the Ma- C6928 Nazareth ------Ray Farnum > - Gounod - • - 2.00 ~ donna" - .. • - .. - - .. .. Franz SerH ...... Wolf~Ferrari 2.00 ~ C719g Neapolitan Favorites ...... Earl Hamilton ...... --- 2.00 ~ ~+ X7009 Irish Washerwoman, The - - - - Cecile de Horvath Sowerby - 1.75 ~ ~ ~ I. Negrinha (Little Negro Doll of ~ .~ B6804 Island Spell, The ----••- Persis Cox • -. Ireland - 1.50 ~~ ~ C6749 . Wood) •• --•--- Alfredo Oswald VilIa-Lobas - - 2.00 ~ C7244 italian Concerto, Part I-Allegro 2. Pobreslnha (The Poor Rag Doll) - Animato .. .. - - .. Vladimir de Pachmann Bach 200 B6846 Negro Spiritual: "Sometimes I Feel C7245 Italian Concerto, Part II-Andante Like a Motherless Child...... Persis Cox Coleridge-Taylor 1.50 ~ Molto Espressivo -- ..... Vladimir de Pachmann Bach - 2.00 ~ X7242 Nocturnal Tangier (Triakontarneron, ~ C7246 Italian Concerto, Part III-Presto No. 1) .. ... - ...... - - .. Sam Reichman - Godowsky ... - - 2.00 Gioioso _.. ------Vladimir de Pachmann Bach ~ 2.00 ~ C7294 Nocturne for Left Hand Alone, Op, ~ X7145 Itarian Song of the Sixteenth Century- Carol Robinson Arr. by Alaleona 1.75 9, No.2...... - _ -.. Magdelelne Brard.. .. Scrlabln ... _ 2.00 ~ C7173 ( Jerusalem, Thou City Built on High .) Edward Rechlin _ _( Frank - - - - ) 2 00 ~ C7263 Nocturne In B_Major, Op. 32. No. I Vladimir de Pachmann Chopin 2.00 Now Thank We All Our God - - - Crueger - -.' ~ C6960 Nocturne in C Minor, Op. 48, No. I • Fannie Bloomfield- B6701 Jesus Christ Is Risen Today (Easter Zeisler _.. Chopin. - - - 2.00 ~ Hymn) --- Jan Van Remden From the Lyra C6978 Nocturne in C Sharp Minor. Op. 27. ~ Davidica.1708 1.50 ~ No. I - - • - - - - • - Fannie Bloomfield- ~ ~ C6963 Jugglere.., The --•• Fannie Bloomfield- ~ ~ Zeisler _••_ Chopin. _. 2.00 T~ Zeisler ...... Moszkowski .. 2.00 ~ ~ C7002 Nocturne in D-flat. Op. 27, No.2 -- Fannie Bloomfield- \...... C7141 Kiss Waltz Paraphrase Bendetson Netzorg Strauss-Schutt .. 2.00 Zei!l:ler .. .. - - Chopin .. 2.00 ~'\. '3 C6757 La Campanella .. .. -- Augusta Tollefsen Paganini-Liszt.. - 2.00 C7202 Nocturne in E Minor. Op. 72, No. I - Vladimir de Pachmann > Chopin - - - 2.00 );,1 C7240 La Campanella (Paganini Etude) ~ B 539 Nocturne in Eeflat., Op. 36 -. -•- Raoul Pugno » --- Faure - • 1.50 ~ ~ No.3 - ...... - - ...... Sam Reichman ... - ... Lisat-Husoni - - 2.00 C7203 Nocturne in F Minor. Op. 55. No. I ... Vladimir de Pachmann - Chopin - - 2.00 B6758 Lady Butterfly Ballet - Werner Janssen Janssen _.. 1.50 B6884 Nocturne In F Sharp Minor - - - .. Harriette Cady --- ScrIabin .. 1.50 C6S13 "Lady Butterfly" Selection - - - .. Werner Ja!1ssen ... - Janssen ...... - 2.00 ~ @ B7243 Nocturne. Op. 51. No.3 (Impressions ~ B7014 L'Amour de L'Apache - ... .. - - Franz Se~h - ...... Offen!Jach:EIY - - 1.50 from the Land of a Thousand Lakes) Sa~ Reichman... - Sibelius - .. - .. 1.50 ~ B7027 La Paloma - - • - - - - • Adolfo Giron -. Yradler-Giron - - 1.50 X6908 Noel ------• • - Persis Cox - - - - Gardiner - - - 1.75 C6956 Largo (From the "New World Svm- X7225 0 Come, All Ve Faithful (Adeste phony").. --- ... --- Kadoka Narlnska Dvorak .. 2.00 Fideles) - .. - .. - - -... Clarence Dickinson Anon .. 1.75 ~ Y6695 La Rosita (Novelette) --•- Earl Hamilton - Dupont - • - - 1.25 ~ B6691 Old Chinese Lullaby ---•- Harriette Cady -•- Transcribed by Cady 1.50 B6984 Le Coueou - - .. - • ... .. Austin Conradi .. - Daquin - - 1.50 ~ ~ C6825 Ondine (From Suite "Gaspard de la ~ B6799 Legende --•--•••- RIchard Singer -- Rozycki - • • - 1.50 Nult") --•----•- Katherine Bacon • Ravel· • • - • 2.00 X7196 Liebesfreud (Love's Joy) •-•- Julie Bergere --• Kreisler • • - • 1.75 X6894 On the Road to Mandalay C6754 Liebesleid (Love's Sorrow) •-•• Leonidas Leonardi Kreialer-Rachmanin- ~ (With Words) -••---- Ray Farnum -•-• .Kipllng-Speak. - • 1.75 ~ off •• • - 2.00 C (I. 0 Polichinello (The Punchinello) .) V ~ C7172 Liebestraum, No.3 ---• Marguerite Volavy - - Liszt - - • _ 2.00 6750 2. Bruxa (The Witch) _____ Alfredo Oswald -- llIa-Lobas - - • 2.00 C6979 Liebeswalzer, o».57. No.5· -- Fannie Bloomfield- ~ ~ X710'1 Original Hesitation Waltz --•• Ray Farnum -- Ilgenfritz. • • • 1.75 ~ Zeisler .. .. - .. Moszkowski .. - 2.00 Sacred Head and WOUnded} { } ~ C7185 Light Cavalry Overture --- Howard Lutter - .. - von Suppe - - 2.00 fO (Herzlich tut mich verlangen) .. ... Hassler.... C6912 Lithuanian Song • - - • • George F. Boyle - - - Chopin-Sgambati 2.00 ~ C7143 l Sleepers. Awakel (Wachet auf, ruft Edward Rechlin - 2.00 B6841 Little Windmills. The .. - - Austin Conradi.. - Couperin • 1.50 una die Stimme) ...... - .. - Nicholai .. - - ... ~ B689S Longing for Home ... - .... Edna S. Hart _.. Jungmann .. - 1.50 B6699 Palms. "Faure's" .. _ - ...... _ Katinka Narinska· Leybach-Narinska .. 1.50 C7175 Lorelei, The •-- Bendetson Netzorg· Liszt·· - 2.00 ~ ~ X7006 Papillons _------•• Marguerite Volavy - Rooenthal ••• 1.75 ~ B6864 Love'. Dream After the Ball • • - Ray Farnum ---• Czibulka - • - - 1.50 X7220 Pas des Amphores (Air de Ballet, No.2) Claude Duret Chaminade - - 1.75 X7159 Love's Plaint - ... - - - Werner Janssen...... Janssen - .... 1.75 C7199 Pastorale Intermezzo - - - .. - Arnold CorneJiuen - Corneliseen ...... 3.00 C6818 Man lebt nur einmal (O"e Lives but e1 B6824 Pell Street -----•-• Penis Cox - - • - Whitehorn • • • 1,50 ~ Once) - - • • - • - Augusta Tollefsen •• Strauss-Tausig - • 2.00 B7078 Pierrette ----•---- George F. Boyle - • • Boyle· •-•• 1.50 C6812 March Grotesque...... - Bendetson Netzorg Netzorg - .. - 2.00 B7079 Pierrot...... _ _ - .. - - George F. Bo}'le - - - Boyle - ...... - 1.50 B6783 March Mignonne - - - .. .. Werner Janssen - Janssen...... 1.50 ~ A6969 Pizzicall (The cockatrice of Columbine) Thomas Reid .. - - Detibes - ...... 1.00 ~ C6922 March from "Tannhauser"' -- Richard Singer - WagnE'I-Liszt - 2.00 e A2151 Playing of Chimes Vladimir Rebikofl -- Rebikofl - .. ... - 1.00 e~ B7077 Marionette March • - • • George F. Boyl· • Boyle - • - - • 1.50 ~ X2068 Poeme, Op. 32, No. I - - - • Alexander Scriabin Scriabin. -. 1.75 ~~®~~®~~~~~~~~~~~~~~~~®~~®~~®~~~~~
il i~ o Q t:.:J o ~xm~xm~xm~xm~~~m~~~~m~~m~~m®xxm~xm~~ ~ e~ ~ ~~ B6883 Polka, Op-.t, No. I - - - - - • Richard Singer • - • Smetana - - - - SI.50 B7048 { Smilin' Thr'!ugh ------j Llll" A L bt w • _ {Penn - .-} - -$1.50 ~ B6II16 Pclka-Mlnierure, Op. 6. No.2_ • - Marguerite Volavy. Sapellnlkoff. __ 1.50 ~ When Song 's Sweet ••_••_ Ian. ue 0 Sans SoUCI . C61l68 Polonaise in B-IIal oe, 71, No, 2 - • Bendetson Netzori -• Chopin • • _ • 2 00 ~ ~ C 372 Sonata in C. Op, 53 ("Waldstein") - Ter... Carreno - Beethoven • 2.00 ~ X67l1l1 Prelude • - •• •• •• Marguerite Le Grand • Rummel _ - 1:75 C 373 Sonata ID C, Op. 53 ("Waldstein") ~ C6860 Prelude in C...harp Minor. Op. 3. No.2 Leonidaa Leonardi .. .. Rachmaninoff .. ... 2.00 Adagio Molto .. - • ...... Teresa Carreno Beethoven 2.00 . 7 {I. Prelude In C - ••••• -).. C373a Sonata in C. Op. 53 ("Waldstein"); Cv 44 2. Lavender and Old Lace ...... Anton BdotU ...... BtloUi 2.00 Third Movement, Part I-Allegreto ~ X6909 Prelude du Deluge ...... Katinka Narinaka .. .. Saint-Saens 1.75 ("l" Moderato ...... Teresa Carreno ..... Beet hoven .... 2.00 X6822 Prelude (From Suite, "Pour Ie Piano") Dorothy Miller Duck- ~ C373b Sonata in C, Op. 53 ("Waldstein"); witz ...... Debu8IY ...... 1.75 Third Movement, Part Ll-e-Pres- C7312 Prelude in D, Op, 23, No.4...... Katharine Bacon... .. Rachmanlnoft' 2.00 tissimo Teresa Carreno Beethoven ...).. 2.00 X6761 Prelude in E-IIat, oe. 26 •••• Theodor Koenemann • Rachmaninoff • - 1.75 ~E) ~ C 734 Sonata in A-flat, Op. 26-Scherzo George Schumann •• Beethoven " 2.00 ~t€) C6990 Prelude in E-llal Minor. Op, 23, No.9 Leff Poulshnoff ••• Rachmaninoff • • 2.00 C734-A Sonata in A-llat., Op. 26-FuneraJ • ~ B6694 Prelude in G. Op. 28. No.3...... Austin ConradI ..... Chopin...... 1.50 March on the Death of a Hero - George Schumann Beethoven ..... 2.00 X7148 Prelude 10 "Carnaval Miinon" C734-B Sonata In A-flat, Op. 26-Allegro - George Schumann •- Beethoven • 2.00 Suite, Op, 48, No. I • - - •• Carol RoblDlOn • - • SchUtt •_ _ 1.75 ~ ~ Y6713 Song of Songs, The (Ballad with ~ ~ C68{5 Preludea: Op, 16, No.3. in Gollat - - ~ Words) •---•••- Howard Lutter •• - Moya· •• - 1.25 Op, 17, No. 3,In D-llal •• t Austin Conradi • Scriabin • 2.00 C6759 Songs of the Cascade .,. George F. Boyle _. Boyle > - 2.00 Op. II, No. 23, in F Major - f X6801 Songs of Long Ago (With Words): Earl Hamltcn • • • - - - - - • 1.75 ~ C6821 Preludes: Op. 22, No.4, in B Minor - ~ All Through the Night, _ _ - • - - • _. - Old Wesh Op. 22, No.3. in B Major • Theodor Koenemann Scriabin .. 2.00 Flow Gently Sweet Afton - Spilman
Op, 11, No.3, in G Major ... ~ Sweet and Low > .. .. - .. -- .. .. Barnby ~ X68{3 Pre1udea: Op, 28. No. 23, In F Major X7122 Song of Love (Canto de Amor)", - Adolfo Giron. Giron -- 1.75 No. 21. in B-flat ...... Austin Conradi ..... Chopin 1.75 86722 Song of Spring _.. - ..... Hanna van VoUenhoven Tonning... 1.50 B6844 Preludes in E, Gosharp Minor. and F- C7103 Sounds from the Vienna Woods Marguerite Volavy - • Strauss-SchUtt • 2.00 ~ sharp •--••-~. _. Theodor Koenemann Scrlabin· - _ 1.50 ~ ~ C7007 Splnnlng,,~ Girls at Carantec, Op, 13, No. M~".'. ~ _. Pree de la Mo. O. N.' •• George ,. Bcv • Arenskv r.so Bretagne) ••• •• Volav , • Rhene-Baton •• aoo C7105 "Prince of Pilsen. The. "Selectione > .. Edna S. Hart Luders 2.00 ~ 87158 Spinning Song Bendetson Netzorg Mendel.sohn...... 1.50 ~ ~ B6760 Rapelle-toil •--- _. • Cecile de Horvath Sgambati 1.50 GJ C6967 Spring Dawn •-•-•-- Katinka Narinska • Mason - - 2.00 X7182 Reconciliation Polka (From the C7028 Spring, Beautiful Spring > - - - Franz Serli - --- Lincke - - _ 2.00 Ballet "Harlequin's Millions"} ... .. Franz Serli .. .. Drigo... 1.75 C6729 St. Francis Walking on the Waves - Anton Bilotti .. Liszt...· 2.00 B7219 Remembrance > .. - • - .. Lyman Stanley ... Davies .. 1.50 Y6734 Stars and Stripes Forever. The (March) Howard Lutter SoU!3." .. 1.25 ~ C6965 Rendezvous (Trtakontameron, No.4)· Richard Singer. • Godowsky - - 2.00 ...... _~. C7025 Strophes, oe, 71, Nos. 3 and I-•- Sylvan Levin Friedman - 2.00 ,..,.._ -::D' X7095 Rhapsody in Blue -. - •• Vee Lawnhursl ••• Gershwin " 1.75 ~ -::D' B6866 Study (Butterfly Chase) _. " Richard Singer Spannuth 1.50 ~ B6786 Rlgaudon (From Suite "Le Tombeau ~ ~ B671;1 Sweet Forget-Me-Nots • - Earl Hamilton Miles - • - - 1.50 ~ de Couperin") .. • .. ... - Dorothy Miller Duck- X7155 Tango Espagnole...... Werner Janssen...... Janssen...... 1.75 witz ...... Ravel > .. 1.50 C7000 Tango ...... - Leff Pouiahnoff ..... Albeniz..Godowsky... 2.00 C7201 "Rigoletto" Fantasia X7099 Tango Americaine Dorothy Miller Duck- ~ (As played by de Pachmann) Vladimir de Pachmann Verdi..Liszt ... - 2.00 witz ...... Carpenter 1.75 C6784 Rigclettc Paraphrase Augusta Tollefsen • • Verdi-Liazt. • • - 2.00 e B6887 Taranlella. -- Richard Singer •- Pieczonka 1.50 t€) X6862 Romance -•-•••- - • Angelo Patrieolo •- Patricolo - • - - 1.75 ~ GJ B6693 Tarantelle, Op. 77 Marguerite Le Grand - Nollet - • 1.50 ~ 86889 Romance Without Words ..... Julie Bergere c .. Faure > ...... 1.50 B6787 Tears ...... Julie Bergere > .. - Zamecnik - 1.50 ~ C7049 Rondo Capriccioso .. ... _.. Leff Peuishnoff ... Mendelssohn...... 2.00 C7208 Theme, La Gondola ..... Vladimir de Pachmann Henselt-de ~ C7126 Salome (An Oriental Intermezzo) Angelo Patricolo .. Loraine-Patricolo 2.00 Pachmann ... 2.00 r C7034 Sarabande > ---•-- • Cecile de Horvath - Rameau-Godowsky 2.00 r l::t C7168 Theme and Variations, Op. 5 • Magdeleine Brard Chevillard 2.00 ~ C6893 Scherzo ("Midsummer Night'S ~ C7060 Third Valse-Caprice .. - Magdeleine Brard Faure... -... 2.00 ~ Dream") •• - --••- Katherine Bacon • MH:~=~-. _ • 2.00 @ ~ gm i:'~~ t:i~~t~c~~r~~u ~Is: die Ruh) 'X~~~~ g~~~~~~~~ .- ~~~rr::.t;Liszt - tgg +~ e7181 Scherzo in F.sharp, Op. 16. No.1- Katherine Bacon _. d'A1bert· • - • 1.00 ~ ~ B6723 To the Spring, Op. 7, No.3 -• Metller Davis -- Torjussen 1.50 ~ X6687 Scherzo in G, from "Two Piano Pieces" George F. Boyle... Boyle...... 1.75 C6829 Triana (From Suite, "Iberia") Katherine Bacon Albeniz.. -- ... 2.00 C7097 Scherzo-Valse (No. 10 from "Pictur- 86913 Trinity Chimes ...... Leon Mitzskl .... Decker 1.50 esque Piece8") .. .. -- MagdeJeine Brard ... .. Chabrier ...... 2.00 ~ X7129 Tulips ...... - ... .. Julie Bergere.... Miles... .. 1.75 @ ~ X7146 Second Arabesque· --•• Carol Rohinson " Debussy - - - - 1.75 Y6752 Two Lillie Spanish Waltzes - Dorothy Miller Duck- X6992 Second NocturnE". Op. 12 Dorothy Parker...... Leschetizky...... 1.75 witz .... Granado8 - 1.25 C7302 "Semlramide" Overture ..... Ludwilt Lendry ...... Rossiol ...... 2.00 ~ A1702 Uncle Remus, From ... .. Colin Taylor MacDoweU 1.00 ~ C6803 Serenade _. •--• Richard Sinier - Drlio-Sinier - • • 2.00 @ B7038 Ungeduld, Op. 57, No. I (From "Fruh· ~ C6961 Serenade ...... Fannie Bloomfield- ling") ...... • ...... - George Liebling M09Zkowski 1.50 Zeisler ... .. Brockway..... 2.00 ~ ~ C7109 Union, The (Concert Paraphrase: The C7250 Serenade ...... - - _... Persis Cox ...... Hopekirk ..... 2.00 Star-Spangled Banner, Yankee ~ Y6957 Serenade (From "Harlequin's Doodle, Hail Columbia) .. - - Angelo Patricolo Gottschalk 2.00 Million.") - ... - .. - Thomas Reid .... Drigo..... 1.25 ~ ~ B7063 Valcik - .. Marguerite Bailhe Mokrejs ~ 1.50 ~ X7200 Serenade. Gp. 29 • .. - .. Leon Mitzski Chaminade... 1.75 X7183 Valse-Bluette - .. • ... Franz Serli - & Drigo-SerH 1.75 X7198 Serenata in D, Op. 15, No.1... .. Claude Duret ...... M08zkowskl ... .. 1.75 C7303 Valse Brfllante. Op. 20 ...... Marguerite Volavy Mana Zucca 2.00 X7133 serenate and Romanza (Suite Ilalienne. ~ X7012 Valse Caprice, Op. 74, No.7 Sylvan LeVin Scott -• 1.75 @ ~ Op.42) - -••- - -•- George Uebllng -. Liebling. - • 1.75 X7252 Valse Caprice, Op. 33 • - _ •• Claude Duret -•- Chaminade •• 1.75 B3656 Sevilla (Suite EapaKno)e No.3) ...... Ianacio Telleria Albeniz ...... 1.50 C6982 Valse. Danae, HumoreSQue, Op. 12, ~ ~ ~ C7270 Sheherazade-Part 1, The Sea and No.2 & .. Marguerite Volavy Stojowski - 2.00 Sindhad'a Ship •----- Richard Singer Rlmsky_Korsakoll 1.00 B6802 Valse Danseuse •- Edna S. Hart • - Miles - - 1.50 €'J C7171 Sheherazade-Part 1, The Tale of X7169 Valse Graclle Zoltan de Horvath de Horvath 1.75 ~ the Kalendar..Prince - - .. Richard Singer .. Rimsky_Korsakoff 2.00 86853 Valse Lente - .. ... Howard Lutter ... & Lutter 1.00 C7171 Sheherazade-Part 3, The Young C7150 Valse, Op. 2 • - Kalinka Narinska - Levitzki 2.00 ~ Prince and the Young Prine... - Richard Singer Rlmsky.Kotsakoff 2.00 ~ C7024 Valse Parisienne. Op. 84. No. I - Fannie Bloomfield- ~ (;7213 Sheherazade-Part 4. Festival at ~ ~ Zeisler .. - .. Schlitt 2.00 ~ BaQdad, The Sea. The Ship Is X7218 Valse Tendre, Op. 89, No.2 Louis Victor Saar Saar 1.75 Wrecked on a Rock Surmounted B1687 Valse Triste ...... Charlton Keith MacDowell 1.50 by a Bronze Warrior. Conclusion Richard Siniter .. - Rimsky_KorsakoJf 2.00 C6959 Valse Triste, Op. 44 .. Thomas Reid SibeHus 2.00 ~ Y6745 Shepherd's Hey ... .. - .. - ... .. Margaret Nikoloric Grainger 1.25 ~ B6720 Valsette - .. - • Werner Janssen - Janssen 1.50 X7226 Silent Night, Holy Night (Wilh Words) Clarence Dickinson Gruber 1,75 B6830 Vanishing Lane, The - Werner Janssen - Janssen 1.50 S 111011 Silhouette in F-sharp, Op. 53, No.3- Max Reger • - • Reger· - 1.50 ~ X7304 Venetian Lace •-••••• GeorQe Llebllnl1 -• Llebllna - _ - 1.75 ~ C7100 Singende FonUine, Op. 30 ..... George Liebling.. - Niemann ~ 2.00 @ C6921 Waldweben (From "Slegfned") Richard Smger - Wag'!er-Hrassin 2.00 ~ C2035 Sixth Waltz, in A Major •- - L. Kaschperoff - - • Balakireff • - 2.00 ~ B6789 Wallz in A-Flal, Op. 42 - - --- Katherine Bacon - Chopin -- - - 1.50 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ..... '-0 •
-\0 tv
• 1.50 Vocal Interpretation of Louise Bavet Accom- panied by James F. Caskey _ - . . . Proch 1.50 87065 KI.. In the Dark, A (Word RoIl-Ac companiment for Low or Medium Voice. Key of C) - - - - • • B7311 Kiss Me AQaln (G Major, Violin Accompaniment) .. _ - --
~:1 ./~ Il~ v v u ~~mmx~mmx~rom~~mmx~mmx~~~~mx~mmxxmmxxmmxxm~~ ~e ~ ~@ DANCE AND SONG ROLLS WITH WORDS Y6903 No One Knov.,;\\ hat: It', All About (Fox Yi260 Sleepy Time Gal (Fox Trot) ~ Trot) Y7042 So Am I-from "Lady, Be Good" (Fox Y7319 A Cup of Coffee a Sandwich and You Y7115 If You Knew Susie (Fox Trot) Y6777 Oh Baby (Fox Trot) Trot) (Fox Trot) , , A7120 II Duce (The Dictator) ~ Yi068 Oh, How I Miss You To-night (Waltz Y6880 Some~od,y Love, ,!de - from "George ~ ~ Y6775 After the Storm (Fox Trot) Y7160 I'll Sing Thee Song, of Araby (Ballad) GJ Song) White's Scandals (Fox Trot) Y7016 Alabamy Bound (Fox Trot) Y7317 I Love My Baby (Fox Trot) Y7017 Oh, Lady Be Good-from "Lady Be Good" Y67?4 Someb,ody Stole My Gal (Fox Trot) Y6976 All Alone (8
~ -\.;.l “Piano Men in America” Part I from PIANOS & THEIR MAKERS by Alfred Dolge
AMERICA like Osborn as teacher. He was fortunate in finding a master like Osborn as teacher. He studied with Osborn until 1823, The history of prominent piano men and firms of the when James Stewart, who had come from Baltimore to go in United States portrays not only the restlessness of the partnership with Osborn, but soon quarreled with him, American people, differing from the conservatism of the old proposed partnership to world, but also demonstrates in a large degree that America is Chickering, which the the land of unlimited opportunities and possibilities. Nowhere latter accepted, and the else have firms founded on meritorious production and sane firm of Stewart & business methods gone so quickly into oblivion, and nowhere Chickering opened their else have such stunning successes been achieved as in the shop on Tremont Street in United States. that year. The progress in technical as well as commercial Steward was one of development has been rapid because America could draw from those restless, unsettled the old world its best minds, or benefit by their products, inventors, who needed the assimilate and improve them. It had the whole civilized world methodical and painstak- to draw from, and was never slow in producing original ideas. ing young Chickering to The seemingly endless natural resources of a whole continent give to his inventions the were at the command of the industry, and its only drawback in practical form. It soon the early days was the lack of a sufficiently large clientele of developed, however, that cultured people who would buy the instruments, as compared Chickering was not only with Europe. Hence we find that, although square pianos were the better workman of the made in America at about the same time as in England and two, but also the far more Germany, it took about fifty years longer to develop the scientific piano maker. J. Chickering industry to anything like the magnitude which it had The firm was dissolved in approached in Europe. 1826. Stewart went to London to take a prominent position Benjamin Crehore, who had established a reputation as an with collard & Collard. Jonas Chickering continued the expert make of violins, cellos and other musical instruments, business, making excellent pianos, but his talents were more in exhibited a harpsichord in 1791, and soon thereafter built the line of inventing and constructing than merchandising. He pianos at Milton, near Boston. In his shop he had John Osborn, also suffered from lack of capital, so that his progress was Alpheus and Lewis Babcock as pupils. In 1810 the Babcock rather slow until John MacKay, who had left Babcock, joined brothers began to make pianos in Boston. The great panic of him as a partner. This closed the chain of Chickering’s 1819 ruined their business, but we hear of Alpheus Babcock connection with Crehore, the founder of the Boston school, again in 1821, in partnership with John MacKay, that consisting of Osborn and Lewis Babcock, pupils of Crehore; commercial genius who later assisted so strongly in building and Alpheus Babcock, partner of MacKay, the latter joining up the fame of the Chickering firm. Chickering. John Osborn, the most talented of Crehore’s pupils, started MacKay had had considerable experience as a merchant, in business in 1815. It was in Osborn’s shop that Jonas having traveled much to England and other foreign countries, Chickering learned the art of piano making. Born in New and was unquestionably a commercial genius. With sufficient Ipswich, N.H., on April 5, 1798, Chickering came to Boston capital at his command, and faith in Chickering’s excellent about 1817, after he had served his apprenticeship as a cabinet- pianos, MacKay started an aggressive selling campaign, maker and joiner. Well educated and possessing decided making the Chickering piano known in all the cities of the mechanical talents of a high order, Chickering was attracted to United States. Chickering, freed from all financial and business the art of piano making and was fortunate in finding a master cares, devoted his whole time and attention to the development
194 and improvement of his piano, and many of his best inventions friends among artists, were perfected during the period of his partnership with literary and scientific men. MacKay, which came to an untimely end in 1841. MacKay, His promising career was having gone in a ship of his own to South America to procure prematurely cut short by fancy woods for the Chickering factory, never returned from his death on February 14, that voyage, nor was his ship ever heard from. 1871. Once more Jonas Chickering had to assume entire charge This sad event made of the business. He continued MacKay’s aggressive policy C. Frank Chickering, born with great energy, maintaining the highest possible prices for at Boston on January 20, his pianos, and spending money liberally for the necessary 1827, the head of the firm. publicity. He exhibited his pianos at every important Having inherited his exposition, going to the World’s Fair of London in 1851 with a father’s talents as a number of instruments; engaged prominent virtuosos to play designer and inventor, he his grand pianos in concert; and took active part in the musical had been in charge of the life of his home city, acting as vice-president of the great construction department Handel and Haydn Society as early as 1834, and later on as its since his father’s death in C. Frank Chickering president for seven years. 1853. While studying, as a While paying proper attention to the commercial and young man, he had artistic necessities of his great establishment, Jonas Chickering impaired his health and, upon the advice of his physician, in was ever true to his love for scientific research and 1844 he went on a voyage to India in a sailing vessel. He took experiments, to improve his pianos. He was not an empiric, with him a number of pianos, which he sold in India at good who would experiment hap-hazard with an idea. Whenever he prices, and thus the firm of Chickering became the first had discovered a possible improvement, he would work out the exporters of American made pianos. problem in its entirety on his drawing board, until he had In 1851 Frank accompanied his father to London to take proven to his own satisfaction its practicability, and not before care of their exhibit at the World’s Fair. The prolonged stay in would he turn it over to his mechanics for execution. It was what was then the home of the most advanced piano this painstaking care down to the smallest detail which assured construction was of great and lasting advantage to young the Chickering piano the place of honor in the first ranks. Frank. It gave him the opportunity to study and compare the When at the height of his prosperity Jonas Chickering met work of the best brains of the industry as it then existed in with a great calamity. On December 1, 1852, his factory was Europe, and furthermore he became acquainted with the totally destroyed by fire, involving a loss of $250,000. advanced manufacturing methods of the celebrated London Undaunted, Chickering at once designed plans for a new and establishments. Returning from abroad, Frank utilized his larger factory, which was soon erected, and stands to this day experiences with effect, greatly improving the Chickering on Tremont Street, Boston, as a monument to the exceptional pianos. ability, talent and courage of Jonas Chickering. Even now, Appreciating the importance of New York as an art center, nearly 60 years after its erection, this factory is considered one Chickering & Sons opened extensive warerooms there under of the best for its purpose. the direct management of C. Frank Chickering, and in 1875 Jonas Chickering died on December 8, 1853 in his fifty- erected Chickering Hall, on Fifth Avenue. In this hall, sixth year. The extraordinary nervous strain of the short period virtuosos like Bulow, Joseffy, de Pachmann, Henry Ketten and from the destruction of his old factory to the completion of the many others gave their never-to-be-forgotten concerts on the new works had, no doubt, Chickering grand pianos, designed and constructed by C. affected his constitution. Frank Chickering. He had educated all of his Chickering Hall was chosen as a permanent home by three sons as practical leading glee clubs, such as the Mendelssohn, the English Glee piano makers and admitted Club, the New York Vocal Society and by those eminent them to partnership in apostles of classic chamber music, the New York Quartette, 1852, when the firm was composed of C. Mollenhauer, M. Schwarz, George Matzka and changed to Chickering & F. Bergner, and the Philharmonic Club under the able Sons. The three brothers leadership of Richard Arnold. Remenyi and Wilhelmi appeared made a rare and most as soloists with Gotthold Carlberg’s Orchestra, and Frank Van fortunate combination. der Stucken conducted symphony concerts for several seasons Thomas E. Chickering, the in Chickering Hall, to be followed by Anton Seidl and the Bos- eldest son, soon exhibited ton Symphony Orchestra with Frank Rummel, Xaver Schar- pronounced commercial wenka and Richard Hoffmann as soloists. The great building talents and, as a man of contained, besides the concert hall with a seating capacity of the world, represented the 2,000, the showrooms for the Chickering pianos, offices, repair firm with excellent results shops and also the drafting rooms, where C. Frank Chickering Thomas E. Chickering in social circles, making designed and worked out his inventions.
195 It was but natural that in New York, as in Boston, Frank New York, had to give way to a modern building for business should be in close touch with artistic and literary circles. purposes. Among his personal friends was one J. H. Paine, a composer Next to Chickering & Sons, the Bacon Piano Company of and critic of considerable ability. He was generally known as New York is most closely connected to the founders of the “Miser” Paine, and would gladly accept Chickering’s industry in America. Robert Stodart of London started in New hospitality and aid at all times. He was considered a poor man York in 1820. In 1821 Dubois joined him and the firm was by all who knew him. One day he brought to Frank Chickering Dubois & Stodart until 1836, when Stodart retired and George a bundle wrapped up in a bandanna handkerchief, asking Bacon and Chambers joined. Five years later Dubois and Chickering to kindly place the package in his safe. Chickering Chambers withdrew and Raven joined, the firm being changed assumed that the bundle contained manuscripts of Paine’s to Bacon & Raven, which was again changed to Raven & compositions and accepted the charge. About 17 years there- Bacon, when George Bacon died in 1856 and his son, Francis after Paine died, without leaving a will or any disposition of Bacon, entered as partner. In 1904 the firm was incorporated the aforesaid bundle. Chickering sent for Paine’s legal under the title of the Bacon Piano Company, with Chas. M. representative, the bundle was opened in his presence and Tremaine as president and W. H. P. Bacon, son of Francis, as found to contain over $400,000 worth of bonds and currency. vice-president. Chickering delivered the valuable package to the lawyer, who was obliged to hunt up distant relatives of Paine to distribute James A. Gray, born at the heritage. New York in 1815, learned his trade with Firth & Pond C. Frank Chickering was in all respects one of nature’s of New York from 1831 to noblemen. In appearance he reminded one forcibly of the 1835, when he was called Grand Seigneurs of Louis XIV’s time. He died in New York, to Binghamton, N. Y., to March 25, 1891. superintend Pratt’s piano George H. Chickering, factory. In 1836 William the youngest of the broth- Boardman of Albany ers, was born at Boston on induced him to take charge April 18, 1830. After of his establishment, and acquiring an excellent two years later the firm education, he turned to the became Boardman & Gray. bench and worked under Possessing decided talents his father’s tutelage. For as an inventor, Gray made many years George made many very interesting every set of hammers used experiments, among which James A. Gray in their concert grands. He his isolated iron rim and frame and the corrugated soundboard was an exceedingly neat are the most noteworthy. For a time he had great faith in the and artistic mechanic. value of those inventions. He even took a number of pianos After 1853 he took charge containing the same to London for exhibition in 1850, but after of the factory management a comparatively short time he discarded all of them, preferring and performed his arduous to build a fine piano along conventional lines. He educated his George Chickering duties most faithfully until sons, James S. and William James, as thorough piano makers, his death, on November and the time-honored firm maintains its reputation for high- 17, 1896. All three of the class production to this date. William Boardman, who retired at brothers, like their father, took an active part in the artistic life an early date from the firm, died January 5, 1881, at the age of of their home city and each of them served in turn with honor 81 years. James A. Gray took a more or less active part in the as president of the Handel and Haydn Society. business until his death on December 11, 1889. His sons, Wil- The Chickering pianos were always awarded the highest liam James Gray, born June 13, 1853, and James Stuart Gray, honors wherever exhibited, and, at the World’s Fair at Paris, born September 7, 1857, are continuing the business with suc- 1867, C. Frank Chickering was decorated by the Emperor of cess. the French with the Cross of the Legion of Honor. One of the pioneers who attempted to force civilization in The business of this renowned firm is successfully carried its higher development upon the “Far West” was William on by a corporation which has joined the American Piano Bourne. He started a piano factory at Dayton, Ohio, in 1837, at Company, maintaining the high character of its products. True a time when the savage Indian was still a “near neighbor.” to the traditions of the honored name, Chickering & Sons have Evidently Bourne did not find the expected encouragement at of late years been instrumental in reviving interest in the Dayton, and removed in 1840 to Cincinnati. Even here his art beauties of the old clavichord, and are building such was not appreciated, and he therefore accepted in 1842 a instruments for those who enjoy the study of the compositions position in the Chickering factory, where he remained until of Johan Sebastian Bach, Scarlatti and others who wrote for 1846, when he organized the firm of William Bourne & Com- the clavichord. The factory on Tremont Street, Boston, has pany. A piano maker of the old school, Bourne could turn out become a landmark of that historic city, but Chickering Hall, nothing but thoroughly first-class pianos. Since his death, in
196 1885, the business has been Henry Lindeman, born in New York on August 3, 1838, continued by his son, was admitted to partnership in 1857, and after the death of Wil- Charles H. Bourne. liam Lindeman on December 24, 1875, assumed the manage- A.M. McPhail started his ment and continued the work of his father. Henry’s son, business in Boston in 1837. Samuel G., was admitted in 1901, and the firm name of Henry Born at St. Andrews, New and S. G. Lindeman was adopted. Brunswick, he came to In 1838, shortly after Boston as a boy, and was Lindeman’s appearance in apprenticed to the the arena, Johann Heinrich renowned piano make, Gil- Schumacher, who changed bert. He learned to make his name to John Henry pianos so well that he soon Schomacker for expedi- established a high ence’ sake, established him- reputation for his own self in partnership with product. He was a piano William Bossert in A.M. McPhail maker of the old school, Philadelphia. Schomacker, who took pride in his work born in Schleswig-Holstein and considered the artistic success more than the commercial, on January 1, 1800, learned although in his long career, piano making in the master from 1837 to 1891, he met schools of Vienna. About all of his obligations with 1830 he established himself never failing promptness. at Lahr, Bavaria, and came As a citizen he took a great to America in 1837. For John Henry Schomacker interest in educational, one year he worked with E. N. Scherr, one of Philadelphia’s artistic and musical affairs, best-known makers of those days. Schomacker was not only an and also served as excellent and thorough piano maker, but also a very forceful representative in the Mass- man with almost boundless ambition. His partner was conserv- achusetts Legislature. He ative and perfectly satisfied with a moderate income. retired in 1891, and died at Schomacker finally decided to go his own way, and the part- Omaha, October 6, 1902. nership was dissolved in 1842. With restless energy Schomack- The business is carried on er first improved his pianos, and in 1845 he was awarded the by the A. M. McPhail silver medal of the Franklin Institute of Philadelphia for the Company, a corporation. “best” piano exhibited. At the American Institute Exhibition in Among the many illus- New York in 1848, he received the first prize, a silver medal, in trious Germans who have competition with a number of American pianos, and at the William Lindeman done so much for the great World’s Fair at the Crystal Palace in New York, in 1853, uplifting of the piano industry in New York, William Lindeman he carried off the gold medal. To meet the demands of his ever- deserves particular credit for being the first who had the growing business, he erected in 1855 the great factory which courage to combat successfully the unworthy prejudice and stand today at Catherine and Eleventh Streets, Philadelphia. In attitude of the people of his day toward the German element. 1856 he organized his business into a close corporation under Born at Dresden, Germany, in 1795, where he also learned his the title of Schomacker Piano Company. With his ambition sat- art of piano making, Lindeman came to New York in 1834 and isfied, he quit the field of activity in 1872, and died on January established his business in 16, 1875. 1836. Although his pianos His son, Henry C. Schomacker, born in Philadelphia in were of the highest order, May, 1840, served his apprenticeship under his father and success came slowly, but spent several years in Germany, studying under the leading when his son Henry masters. The company, under the able management of I. B. brought out his “Cycloid” Woodford as president, and Henry C. Schomacker as secretary, piano, a rather happy com- is maintaining the glory of the old firm, producing most excel- promise between a grand lent pianos of the highest order. and square piano, in 1860, While Lindeman in New York and Schomacker in the firm secured a strong Philadelphia earned laurels for the German school of piano hold upon the piano-buy- making, William Knabe was busy preparing himself for his ing public. The Civil War great career in Baltimore. Born at Kreutzberg, Germany, in interfered seriously with a 1803, he received a superior education, intending to follow a more rapid development, learned profession. When the time for ultimate decision came, and it was left to Henry to William preferred, however, to learn the art of piano making. push the firm into the front He served the customary apprenticeship and acquired further rank. Henry Lindeman experience while working for various masters in Germany. 197 Coming to Baltimore in 1833, he found an engagement with times, such a demand upon a bank in the city of Baltimore was Henry Hartje, who had won quite a reputation as an inventor. almost preposterous, and when finally the banker asked Ernest Conservative and careful, Knabe waited until he had mastered what security he had to offer and the reply came, “Nothing but the English language and had become thoroughly familiar with the name of Knabe,” the banker shook his head and told the the business conditions of the new country. It was, therefore, young man that he would submit the proposition to his board not until 1839, that he ventured in business, associating him- of directors. They decided that under existing conditions the self with another German piano maker, Henry Gaehle, under loan could not be made. When delivering this ultimatum to the firm name of Knabe & Gaehle. The enterprise was moder- young Ernest, the banker questioned him as to what he could ately successful and the association continued until 1854, when or would do. Knabe answered promptly, “I shall go down to Gaehle withdrew. From that time on Knabe was able to my factory and tell my employees that I am compelled to dis- demonstrate his exceptional ability as a piano maker and busi- charge them all because your bank refused a loan to which I ness man without hindrance. His pianos were second to none am entitled,” then took his hat and left the banker to his own in the market, and he han- contemplations. Before he reached his factory office a messen- dled the commercial end of ger from the bank had arrived there with a letter from the presi- his business so cleverly that dent, stating that the account of Knabe & Company had been by 1860 his firm almost credited with $20,000, to be drawn against as wanted. controlled the entire market Ernest did not go back to the bank, but packed his trunk of the southern States. The and went on his journey. Within two months he had sold civil War temporarily enough pianos and opened up sufficient connections to keep destroyed that market, and his factories busy to their limit, and when he returned home he the firm of William Knabe called on his banker to thank him for the loan, of which his & Company went through a firm had not been obliged to use a single dollar. Ernest Knabe trying period for over five knew that just at that time the banks of Baltimore could not years. Wearied from over- afford to have the doors of the city’s greatest industrial estab- anxiety, care and worry, lishment closed and hundreds of men thrown out of employ- Knabe passed away in ment, for lack of funds, and he won out against the timid and 1864, leaving the care of shortsighted banker. the great business, which An era of great activity now commenced for the firm of Wm. Knabe he had founded and built up Knabe & Company. A branch house was opened in New York, to magnificent proportions, and later one in Washington. Ernest Knabe designed new to his sons, William and scales for concert grands and upright pianos. Additional facto- Ernest. Both had enjoyed a ries were built and equipped with the best of modern machin- most liberal education and ery, in order to produce pianos in keeping with the reputation had been thoroughly of the firm as leaders in the industry. Wherever the Knabe trained by their father in the pianos have been exhibited they were invariably awarded high art of piano making. Wil- prizes for superior construction and workmanship, notably so liam, being by nature of a at the great Centennial Exposition in Philadelphia in 1876, quiet, retiring disposition, where their large concert-grand piano was greatly admired. took upon himself the man- Leading virtuosos like D’Albert, Saint-Saens and many others agement of the factories, used the Knabe grand pianos in their concerts and were enthu- while Ernest assumed with- siastic in their praise of the Knabe tone quality. out any wavering the grave responsibilities as head of A princely entertainer, Ernest Knabe was an enthusiastic the house. When Ernest lover of music. He would often take the noon train from Balti- Knabe took the reins the more to New York, consult with his New York manager while Ernest Knabe outlook was very gloomy. eating dinner, go to the opera to hear Sembrich, Lehmann or Not only was their main market, the rich southern States, Niemann sing, or attend a Rosenthal or Joseffy concert, return entirely destroyed by the Civil War then raging, but their cus- by midnight train to Baltimore and appear the following morn- tomers for the same reason could not meet their obligations. ing bright and early at the factory or city warerooms to take up The work in the big factory, with its hundreds of employees, the every-day routine of work. He was an indefatigable worker dragged along in an uncertain way and the day seemed to be and seemed never to tire. Of a most genial disposition, warm- near when the factories would have to be temporarily closed. hearted, helpful, he was adored by his workmen and beloved by all who knew him. Ernest found a solution. He concluded to make a pro- longed trip through the northern and western States which In the midst of the greatest developments misfortune came were not so seriously affected by the war, determined to estab- upon the house. William Knabe died suddenly in January, lish agencies for the sale of his pianos in this new territory. 1889, at the early age of 48. This sad event doubled the bur- Money had to be provided to meet the weekly payroll during dens of Ernest and he succumbed to the inevitable result of his absence. He boldly went to his bank and asked for a credit over-exertion on April 16, 1894. Ernest Knabe had ever been of $20,000 for the term of six months. Considering the critical one of the strong pillars of the piano industry, on intimate terms with his competitors, enjoying the close friendship of 198 William Steinway, Albert Weber and other leaders. He left a home disabled for further activity in the field, had to assume gap which could not easily be filled. The great business was the management of the business. Although the United States turned into a corporation which finally joined the American Government retained him in military service for 18 months Piano Company, under whose care the traditions of the house after peace was declared and desired his further service in the are reverently safeguarded. army, young Burns felt that filial duty demanded his devotion Among the historic Boston firms, the Hallet & Davis to his father’s business. He picked up the remnants of the once Piano Company can trace its origin to the year 1835, when flourishing business, injected new life and not only succeeded Brown & Hallet started in business. Brown was a graduate of in maintaining the high reputation of the pianos, but had the the Chickering factory and obtained several patents for great satisfaction of squaring all the old obligations in a most improvements. He retired from the firm in 1843, and his place honorable manner. It was a loss to the piano industry of Albany was taken by George H. Davis, the firm changing to Hallet, when Edward M. Burns retired in 1869 to seek more remuner- Davis & Company, under which title it continued with more or ative activity in another field. less success. After the death of George H. Davis on December A man who for over 60 1, 1879, the business was incorporated. Under the management years can enjoy the respect of E. N. Kimball as president, C. C. Conway, treasurer, and E. and friendship of his com- E. Conway as secretary, the concern has recovered its old-time petitors in business must be prestige and is counted among the most progressive of the pre- a strong character, with a sent day. lovable disposition. Such During the decade from 1830 to 1840 a coterie of piano was Henry Hazelton, born makers lived at Albany, whose influence upon the piano indus- in New York City in 1816. try of America has been of a lasting character. John Osborn He served a seven years’ came from Boston in 1829 and made pianos for Meacham & apprenticeship with Dubois Company, dealers in musical instruments. F. P. Burns studied & Stodart, being released in under Osborn in Meacham’s shop which probably was the first 1831. Soon thereafter he piano factory west of New York City. Henry Hazelton came joined the Albany colony, from New York to work for Boardman & Gray. James H. and in 1840 started the firm Grovesteen, founder of Grovesteen, Fuller & Company of New of Hazelton, Talbot & Lyon. Not fulfilling his York, came to Albany in 1839 and started to make pianos in Henry Hazelton 1840. A. C. James, later of James & Holmstrom, New York, expectations at Albany, learned piano making in Grovesteen’s shop and, after working Hazelton returned to New York and joined his brother Freder- for Boardman & Gray, became a member of the firm of Mar- ick, under the firm name of F. & H. Hazelton, in 1850. Later shall, James & Traver, later known as Marshall & Wendell. on a younger brother, John, was admitted to partnership and Myron A. Decker was also one of the Albany pioneers with the firm name changed to Hazelton Brothers. All three brothers George Gomph, P. Reed and others. F. Frickinger made pianos were artisans of high order, who eschewed commercial tactics, in 1837, but soon after started action making as a specialty. His depending for ultimate success entirely upon the high quality business is continued by Grubb & Kosegarten Brothers at Nas- of their product, and to this date the firm has a strong hold sau, N.Y. upon New York’s Knickerbocker aristocracy as a clientele, in who circles grandmother’s piano bears the name of Hazelton. Francis Putnam Burns, born at Galway, New York, on After the death of the founders, the business came under sole February 6, 1807, learned cabinetmaking and studied piano control of Samuel Hazelton, who had enjoyed a thorough train- making under the genial John Osborn. In 1835 he commenced ing with his uncles and was made a member of the firm in business on his own account. Of an artistic temperament and 1881. He is ably assisted by his son Halsey in maintaining the an excellent mechanic, he traditions of the respected firm. would never permit piece- work in his shop, impress- Toward the close of the 18th century a Vienna piano ing his workmen with the maker in his wandering arrived at Naples, Italy. Somehow idea that a piano is a work attracted by the place, he made it his home and began to make of art, requiring the most pianos, which found favor with the court, and young Fischer painstaking efforts, without was appointed “Piano maker to King Ferdinand I, of Naples.” regard to time consumed in He taught his art to his son, who afterward studied for a num- its construction. While pro- ber of years with Vienna masters, and upon his return to ducing most elegant and Naples continued the father’s business. His two sons, John U. durable pianos, Burns did and Charles S. Fischer, followed in the footsteps of father and not accumulate wealth, and grandfather, becoming expert piano makers. The inborn “wan- when the Civil War pros- derlust” of the Fischers landed these two young men in New trated business he could not York City in 1839. Taking at once employment with William stand the strain. His son Nunns, they became his partners soon thereafter under the firm Edward M. Burns, who was name of Nunns & Fischer. Nunns retired in 1840, and the firm was changed to J. & C. Fischer. Building a reliable piano, they Francis Putnam Burns serving as a commissioned officer in the army, coming soon accumulated great wealth, and in 1873 John U. Fischer 199 retired with a competency, professional musician and to spend the rest of his days businessman, Stieff, sup- in his homeland, Italy. ported by the artistic piano Charles S. then admitted maker and factory expert, his four sons, who had been Gross. The product of the thoroughly trained in all firm was at once accepted branches of the business, to as of superior merit and partnership. The vigorous received distinguished activity of the young men, awards wherever exhibited. under the wise guidance of The founder of the firm their father, brought them having passed to the rapidly to the front as great unknown beyond, the busi- producers, increasing their ness is carried on most suc- yearly output to 5,000 cessfully by his sons, pianos, at the same time Charles and Frederick P. studiously improving the Stieff, the technical man- Charles S. Fischer Frederick P. Sieff quality. In 1907, the firm agement of the factories was changed to a corporation. being in the hands of Charles J. Gross, who was educated by Hugh Hardman, who was born at Liverpool, England, in his father, the late Jacob Gross. It was remarkable that the great 1815, came to the United States and began to make pianos in fire which destroyed nearly the entire business portion of the New York City in 1840. His son John was admitted to partner- city of Baltimore in 1904 should stop short in its northward ship about 1874. This firm was among the first to manufacture flight on the wall of the Stieff building, on North Liberty Street good commercial upright pianos, and met with distinctive suc- just as if it had had respect for this landmark where the Stieffs cess. In 1880 Leopold Peck bought an interest in the firm, the had sold pianos for 63 years. The firm of Charles M. Stieff name being changed to Hardman, Peck & Company. Under distributes its products almost entirely through its own stores, Peck’s able management the firm has risen to a recognized which are to be found in every prominent city of the southern position among the makers of high-grade pianos, their instru- States, as well as at Boston and elsewhere. ments ranking among the best in the market. Following the chrono- To change from teaching music and languages to dealing logical order, we find that in pianos, and finally to become the founder of one of the Christian Kurtzmann estab- largest and most respected piano manufacturing firms, was the lished a piano factory in career of Charles M. Stieff. Born in Wurtemburg on July 19, Buffalo in 1848. After his 1805, Stieff was educated at Stuttgart. In 1831 he emigrated to death in 1886, the business America and settled at Baltimore, where he took the chair in was taken over by a corpo- Haspert’s school as professor of languages and also acted as ration. leader of a church choir. In 1842 he imported his first pianos William P. Emerson, from Germany, and opened regular piano warerooms on Liber- who started in Boston in ty Street in 1843. Observing the success of the various piano 1849 had perhaps more manufacturers in Baltimore, Stieff undertook an extensive trip business acumen than to Europe in 1852, studying the methods of the best piano mechanical talent and artis- manufacturers there. Upon his return he admitted his sons into tic inclinations. He started partnership and started the manufacture of the “Stieff” piano, to make a low-priced intrusting the management instrument and built up a Christian Kurtzmann of the factory to Jacob very large and profitable Gross, an expert piano business within a few maker of the old school. years. In 1854 he engaged Born in Wurtemburg on C. C. Briggs, an expert July 26, 1819, Gross learned piano maker of standing, to his trade in Stuttgart and improve the piano, which afterward worked in some of was accomplished with the leading factories of such success that a reputa- Germany, Switzerland, tion for superior quality Spain and Paris. Coming to was soon established and America in 1848, he famil- the name of Emerson iarized himself with the became a valuable trade- methods prevailing here and mark. Emerson died in joined his brother-in-law, 1871, and the business Stieff, in 1856. It was an came into possession of Jacob Gross excellent combination, the William Moore, who sold Chas. C. Briggs 200 his interest in 1879 to P. H. earned money as a bootblack after school hours. Whether that Powers, O. A. Kimball and is true or not, young Napoleon certainly always demonstrated a J. Gramer. They organized restless disposition and a desire to advance. At the age of fif- the Emerson Piano Compa- teen he apprenticed himself and brother to the New York Piano ny, with Patrick H. Powers Manufacturing Company, learning all branches of the art. In as president. Under his able 1851 he started in business with his brother under the firm management the business name of Haines Brothers. Beginning with an output of two grew to commanding pro- pianos per month, their business soon assumed large propor- portions. The product was tions, so that the erection of a factory, with a capacity of 20 continually improved to pianos per week, became necessary in 1856. maintain its position as a Napoleon J. Haines high-class instrument, and was a thorough piano the company enjoyed an maker, whose name is also enviable reputation for on record as an inventor in integrity and reliability. the United States Patent Patrick H. Powers P. H. Powers retired from Office, but, besides that, he active management in was a born financier and 1910, at the age of 84, after shrewd business man. One a most distinguished career of the founders of the as a business man, covering Union Dime Savings Bank a period of 60 years. He is of New York, he served as succeeded in the presidency vice-president and presi- by Edward S. Payson, who dent of that great institution assisted Powers for many for 21 years. Napoleon J. years as acting secretary of Haines died April 19, 1900. the company. The business has been Napoleon J. Haines In the old town of Milton, merged with that of the where Crehore built his American Piano Company, under whose auspices the Haines first piano, James Whiting Brothers piano is produced in larger quantities than ever. Vose was born, on October Real genius always leaves an indelible mark in its sphere 21, 1818. Learning the of activity, and its influence is as lasting as it is permeating at cabinetmaker’s trade, he the time of its birth. To observe a man rising from the lowest James Whiting Vose soon became a piano rung of the ladder to the height of a most prominent manufac- maker, getting his experi- turer, educating himself meanwhile to become a musician of ence in various Boston factories. In 1851 he made his first acknowledged talent and versatility, handling complex piano, and laid the foundation for a business which is counted financial problems with masterly daring and withal acquiring a among the leaders of the American piano industry. Educating position of social influence, requires a combination of talents, his three sons in all branches of the business, he admitted them an exercise of willpower and self-denial seldom found. Albert to partnership and changed the name to Vose & Sons. In 1889 Weber, born in Bavaria July 8, 1828, landed in New York when the concern was incorporated, the stock being owned by the 16 year of age. Endowed with a liberal education, he had good Vose family. James W. Vose served as first president of the knowledge of music, playing the organ efficiently. Attracted to Vose & Sons’ Piano Company for a number of years. After his the art of piano making, he went through a regular apprentice- retirement his eldest son, Willard A. Vose, succeeded him as ship with Master Holden of president and manager, with marked ability, maintaining and New York, and later improving the distinguished standing of the Vose piano. worked in the celebrated One of the most interesting characters in the history of shop of Van Winkle. To pay American piano makers is Napoleon J. Haines. Born in his board, young Weber London in 1824, he came to New York when eight years of gave music lessons age. He made the trip across the Atlantic alone with his evenings, and played the younger brother Francis. His father, who had preceded the organ at church on Sun- boys to New York, had paid the ship’s steward thirty dollars to days. When 23 years of age assure good meals for the youngsters. Napoleon, aware of that he started in business with fact, objected to the poor coffee and “hard tack” with which a very small capital. Fire the steward regaled the boys, throwing the stuff overboard and destroyed his shop during demanding “something fit to eat.” He caused such a distur- the third year of his bance that the captain was called, who promptly sided with the existence as a piano manu- rebellious boy and admonished the steward to do his duty facturer. Nothing daunted, henceforth. It is said that young Haines after his arrival in New he rented much larger York, not from necessity, but from his desire to make headway, quarters and within a short Albert Weber 201 time acquired a leading position among the piano firms of New and women, but the everlasting strain was too much, even for York City. His energy and ambition knew no bounds. In 1869 this nervy man, and he succumbed, at the age of 50, on June he opened extensive warerooms at Fifth Avenue and Sixteenth 25, 1879, to the overtaxing of his brain and body. Street, a move which astonished his competitors by its very The great business which he has founded, the great name boldness. Weber had invaded the abode of New York which he made for his piano, are becomingly perpetuated by swelldom, with characteristic foresight, judging the future the Weber Piano Company, a corporation affiliated with the importance of this thoroughfare as a center of fashionable Aeolian Company of New York. The fame of the Weber piano establishments. With this move his aggressive campaign for has extended to all the art centers of the globe to such an extent supremacy in the piano world commenced. that the erection of a mammoth factory in London has become Although not given to inventing or creating anything new a necessity, in order to supply the ever-growing foreign trade. in piano construction, Weber was such a thorough piano maker, The name of Albert Weber will live, as long as pianos are built and perfect performer on the piano, that he knew how to utilize in America, as one of the great leaders who believed in the the best-proven methods of construction. He would engage at artistic mission of the instrument and impressed this belief any cost the best workmen, the best talent to be found among upon the mind of the public. piano makers, neither would he spare any expense or reckon History teaches that the cost of any real improvement in the tone or general quality hardship, adverse condi- of his pianos. He inspired his men to take pride in their work. tions and trying circum- The result was that he produced pianos which were acknowl- stances are the making of edged second to none, and preferred by many leading great men. Henry Engel- virtuosos, especially by opera singers, for their sympathetic hardt Steinweg’s career is a musical tone. confirmation of this Because of his acute and musically trained hearing he doctrine. Born at Wolfsha- succeeded introducing in his pianos, through his expert gen, Germany, as the workmen, what he proudly called the “Weber tone.” To listen twelfth child of a strong to his playing for a prospective customer was a treat indeed, mother and a respectable and seldom would an intending buyer leave his warerooms father on February 5, 1797, without having secured a piano. The man’s enthusiasm, the real he had to pass during his love for his piano was so intense, so genuine that he impressed youth through all the mis- the same on every person who would listen to his playing. Well eries and privations brought read, a keen observer of men and things, Weber was a most upon people by protracted interesting entertainer. His ready wit became proverbial and warfare. Napoleon’s hordes Henry Englehardt Steinweg oftentimes served to clear unpleasant situations. For example, devastated Germany, when during the strike of the journeymen for higher wages, burned up the Steinweg home and killed several of his brothers shorter hours, etc., a committee of the workmen met with the in battle. To fill his cup of misery he finally lost his father and assembled manufacturers, submitting their most unreasonable remaining brothers in an accident, from which he alone demands, the latter were dumbfounded by the boldness of the escaped as by a miracle, and found himself an orphan at the men. Weber broke the silence, complimented the men, arguing age of 15, without home or shelter. that it was their privilege to ask for all that they might want, At 18 years of age he was drafted for the army and took but in his opinion they had not asked enough—they had part in the battle of Waterloo. Returning from the field of forgotten to ask for free Saturday afternoons with full pay, so battle, he found the soldier’s life in the barracks very dreary, to that they could play tenpins, the bosses to pay for the beer and counteract which he managed to build a zither, upon which he set up the pins for the men. With this remark he took his hat would play the patriotic songs of the time accompanied by the and left the conference. The strike was called off. With his voices of his soldier comrades. Having never handled tools nor timely sarcasm Weber had shown the men the ridiculousness of received even elementary instruction in music, his accomplish- their demands and had turned the embarrassing conference into ment in making and playing the zither clearly pointed to the a merry laughter. road which he was to travel to achieve fame and wealth. Many pertinent anecdotes could be cited to illustrate the Having served his time in the army, he sought employment quick-working mind of this remarkable man. He had one with a cabinetmaker, but being then 21 years of age, and serious shortcoming, however, which finally caused his engaged to a lovely girl, he did not cherish the idea of serving untimely end. Ceaselessly planning to extend his business and a five-year apprenticeship as the guild of cabinetmakers enlarge his personal influence, Weber did not surround himself demanded. He wanted to learn the use of tools to build musical with sufficient competent assistants who could relieve him instruments, and we find him, therefore, soon in the shop of an from dreary detail work, and consequently the management of organ builder at Seesen, where he also filled the place of his great factory, of the wholesale and retail departments, all of organist in the village church. In 1825 he married the woman the financial affairs—in short, every detail of his great of his heart, and his wedding present was the first piano built business—rested upon his shoulders. Working from morning by Steinweg’s own hands. It was a fine instrument, which soon until evening at his business, he would attend opera, theaters found a purchaser. Constructing pianos, earning his daily bread and clubs at night. Being of a decidedly Bohemian tempera- by repairing organs and all kinds of musical instruments, Stein- ment, he enjoyed the gay life of New York among brilliant men 202 weg prospered, and in 1839 exhibited at the fair of Brunswick knot or showed the least imperfection. The precision of the one grand and two square pianos of his own make. The great master builder dominated in whatever he did! composer, Albert Methfessel, played on these instruments and, Gradually he permitted his sons to assume the responsibil- as chairman of the jury, recommended that the highest prize, a ities of managing the affairs of the great business. Successful gold medal, should be awarded to Steinweg for his superior beyond his fondest dreams in his enterprise, Henry E. Stein- instruments. It is said that the Duke of Brunswick bought the way had to bear the deep sorrow of losing his faithful co-work- grand piano, paying therefore the large price of 3,000 marks. ers and beloved sons, Charles and Henry, in the prime of their Steinweg’s reputation as a master piano builder was now manhood. This great bereavement, together with the advancing established and he had to employ workmen to fill the orders years, began to bear upon that strong character, who had fought which he received. His sons, Theodore, Charles and Henry, the battle of life so valiantly, and, after planning and joined him in business as they grew to maturity and the superintending the erection of Steinway Hall in 1866, he prospects for the future looked very bright, when suddenly retired more and more from active participation, going to his adversity came again through the political upheaval and rest on February 7, 1871, at the age of 74. Beloved by all who revolution of 1848 and 1849, which paralyzed business all over knew him, respected by the community and famous as an Germany. The second son, Charles, had been during this inventor and manufacturer in the entire civilized world, a self- excitement rather active in the ranks of the progressives, or made man who had to wring success from fate’s unwilling revolutionists, and found himself compelled to flee as soon as hand under most trying conditions, Henry Engelhardt Stein- the people’s cause was lost. He escaped to Switzerland and way’s name will ever be revered. went by way of Paris and London to New York, where he His eldest son, C. F. landed in May, 1849. Theodore Steinway, was one Charles sent such glowing reports regarding the possibili- of those who show great ties for the family in the new world as compared with their brilliancy in their youth, but homeland, and urged their coming to America so strongly and whose genius then lies dor- persistently that the entire Steinweg family, except Theodore, mant for a number of years, engaged passage on the steamer Helene Sloman from to break out with irrestible Hamburg, which landed them at New York on June 9, 1851. force after middle life, Instead of venturing into business at once, Henry E. Steinweg astonishing the world with wisely chose first to gain practical knowledge of the language their accomplishments. At and business methods of the new world. He and his sons the age of 14 Theodore was accepted employment in different piano factories. For two an accomplished pianist, so years the three men gathered experience, and on March 5, much so that he was given 1853, the firm of Steinway & Sons started on its brilliant the task of showing off his career. The very first step in that direction, the changing of the father’s pianos at the name from Steinweg to Steinway, showed not only the Brunswick Fair in 1839. business sagacity of Henry E. Steinway, but also the strong Enjoying the advantages C.F. Theodore Steinway faith which he had in his ability to build a better piano than offered by the Jacobsohn College at Seesen, a celebrated known at that time. Hence he wanted a distinct trade-mark, institute of learning, he studied acoustics under Dr. Ginsberg, which could not be imitated, even if his pianos should be. who took great interest in the brilliant boy, in return for which From the beginning the firm of Steinway & Sons was a Theodore built the models needed by Dr. Ginsberg for happy combination of various talents, making success demonstration in his lectures on acoustics. This intimate imperative. Henry E. Steinway was an experienced piano relation to the scientist in his youth prevented Theodore from maker and careful business man. His son Charles managed the ever becoming a mere empiric. It was the cause of the restless factory, for which he was eminently fitted. A fine mechanic, he search he later so forcibly demonstrated for the scientific laws possessed a highly developed sense for exactness and system- underlying the construction of the pianoforte. After going atic organization, while the younger son Henry was a genius as through college, he went to work at the bench in his father’s an inventor, a good musician and a splendid mixer with artists, shop, and, when the family sailed for New York in 1851, he professionals and literary men. was charged with winding up the affairs of business and following the family. Fate decreed otherwise. He met the only At the Metropolitan Fair, held at Washington, D. C., maid whom he would marry, stayed at Seesen and continued March, 1854, Steinway & Sons exhibited a square piano and the business founded by his father. Success crowned his received a prize medal, but their great triumph came at the efforts, and seeking a larger field he removed his piano factory great fair of the American Institute in New York in 1855, to Brunswick in 1859, where he built up a substantial business. where their over-strung square piano with full iron frame creat- However, when his brothers, Charles and Henry, died, filial ed a sensation in the piano world. As a result their business duty demanded that he should assist his father in New York. expanded so rapidly that in 1859 the erection of that mammoth He sold his business to three of his most able workmen and factory on Fifty-third Street and Fourth Avenue, New York, became a partner in the firm of Steinway & Sons, New York. became a necessity. Henry E. Steinway planned the factory and Theodore took charge of the construction department, and superintended its building. It is said that he would not permit a commenced those revolutionary improvements which have beam or rafter in the entire structure which contained a single made the Steinway a synonym of perfection in piano building.
203 Theodore’s inventive and constructive genius had for all Compensation is one these years been tethered by the every-day care of managing of the inexorable laws of all departments of his Brunswick factory. Freed now, with nature. Great results can unlimited capital, an excellent factory organization and the only be achieved by great most expert workmen at his command, Theodore Steinway had efforts and corresponding opportunity seldom offered. He made the best use of it. Step by sacrifice. Steinway & Sons step he invaded the fields of modern science, investigating and had to pay their tribute to testing different kinds of wood in order to ascertain why one the law of compensation! kind or another was best adapted for piano construction, then Charles Steinway, born taking up the study of metallurgy, to find a proper alloy for on January 1, 1829, was casting iron plates which would stand the tremendous strain of one of those silent workers 75,000 pounds of the new concert-grand piano that was already who fill most important born in his mind, calling chemistry to his aid to establish the places in the world of activ- scientific basis for felts, glue, varnish, oils,—in short, nothing ity. Of a modest and retir- in the realm of science having any bearing on piano construc- ing disposition, wrapped up tion was overlooked. Having thus laid his foundation, he in his arduous duties of returned to Germany to be near Helmholtz and benefit by that organizing and managing Charles Steinway great savant’s epoch-making discoveries. It was but natural the ever-growing factories, that in time he became an intimate friend of Helmholtz, and the Charles knew no bound for his labors. He simply exhausted world was benefited by that friendship. Theodore made himself and died a the early age of 36 on March 31, 1865, Brunswick his home again, going to New York at regular leaving behind him as his monument the piano factory par intervals to superintend the execution of his inventions. At his excellence, a foundation for Theodore and William to build Tusculum in Brunswick he had one of the most complete upon, without which neither one of these two great men could collections of musical instruments of every character, ancient have achieved their tri- and modern, and he knew the characteristics of each so well umphs. that it was a treat to listen to him whenever he was in the mood to show and talk about his gems. To widen his horizon of Henry Steinway, Jr., knowledge, he traveled extensively, meeting the shining lights born on March 27, 1831, of science, art and literature wherever he went. Germany was also paid the penalty for too just then in its greatest period of scientific, artistic and intense application to the industrial Renaissance. Theodore profited greatly, being a keen furtherance of ambitious observer, and he set to work to bring to life in his piano the plans. Naturally of a highly discoveries of Helmholtz, Tyndall and others. The crowning artistic, nervous tempera- result was his Centennial concert-grand piano, with the duplex ment, Henry devoted him- scale, bent-rim case, cupola iron plate and improved action self to the nerve-racking which would lift that heavy hammer made of 23-pound felt by activity of inventing the slightest touch of the key, setting the strings, which were of improvements, and the a length and thickness heretofore unknown, in vibration. patent records speak loudly for his great achievements. Theodore was an intense and enthusiastic worker. Once Seeking food for his rest- engaged upon a problem, he knew no limit of time. The author less brain—enlightenment has often discussed problems of piano building with him, the as to the demands of the Henry Steinway, Jr. experimental piano before us, until the early morning hours. artist—Henry was at night- Physically and mentally very forceful, imbued with quite time a studious citizen of Teutonic strength, he aimed to create a piano which would Bohemia, and during the respond to the demands of the modern dynamic compositions day nervously at work on of a Liszt, Wagner or Rubinstein, and would, orchestra-like, fill his drawing-board. Burning the large modern concert hall to its remotest corners. He the candle of life thus accomplished this object without sacrificing that desired brightly at both ends, it nobility of singing tone quality. could not last long, and the While Theodore Steinway has not created anything talented young man died on positively new in piano construction, he revolutionized piano March 22, 1865, aged only making and all auxiliary industries by forcing the acceptance 34 years. of scientific methods upon all who desired to stay in the The great calamity of progressive march. He demonstrated to what extent science losing the two brothers can aid in the development of the piano by his own produc- within three weeks’ time tions, and thus broke the path for the enormous development of threw the entire burden of the industry during the past 30 years. This is more than all the managing the great busi- empirics have ever done. Theodore Steinway died at ness upon young William, Brunswick, March 26, 1889. the aged father having William Steinway 204 gradually withdrawn from active assistance. William Steinway Having established the fame of his piano in America was born at Seesen on March 5, 1835, at a time when the beyond dispute, William looked for other worlds to conquer, Steinway family was enjoying prosperity and father and moth- and opened a branch house in the city of London about the er were in their prime. He was a strong, healthy boy, physically year 1875. Steinway Hall in London was formally opened in and mentally. Like his brother Theodore he attended the Jacob- 1876. In 1880 the Hamburg factories were started, to supply sohn College, but unlike Theodore devoted himself to the the ever-growing European trade. study of languages and music proper, rather than listening to While thus engaged in building up this great market for dreary lectures on acoustics. the products of the factories, William fostered ambitions in At the age of 14 he had a good command of English and other directions. He wanted to see the name of Steinway on the French, played the piano acceptably and had such a musical map of New York; and with that end in view he bought 400 ear that he could tune a three-stringed grand piano to perfec- acres of land on the Long Island Sound in 1880, and there cre- tion. When the family arrived in New York, William was ated the town of Steinway. Starting with the erection of a offered the choice of studying music, for which he had shown sawmill and iron foundry, in course of time the case and action pronounced talent, or learning piano making. He chose the lat- factories were erected, and since 1910 the entire piano works of Steinway & Sons have been located at Steinway, L. I., New ter and was at once apprenticed to William Nunns & Company, York. one of the best-known New York piano firms of that time. As soon as his father started in business William joined him, and William Steinway was a strong man in every sense of the worked for several years at the bench, until the commercial word. As a young man he was counted among the invincible end of the business demanded closest attention. William was athletes of the German Turn Verein, and even in his later years by unanimous agreement chosen as the head of the financial it was one of his pleasantries to compare muscular strength and commercial departments of the firm. It was his proper with friends. To say that mentally he was a giant is no exagger- sphere and furnished another illustration of the keen judgment ation. Whoever can contemplate the multitude of details, aside of Henry E. Steinway, Sr. He placed each of his sons where his from the larger schemes, to which William Steinway paid clos- particular talents might produce the best results. est attention, the complex financial problems which confronted him in times of business depression, the demands made upon Being only 29 years of age when called upon to manage his time by artists, members of the press, etc., must wonder an establishment of enormous proportions, William did not how he could pay any attention to society or public affairs. Yet waver. With the grit and determination inherited from his we find that he was often called upon to lead a movement in father, he began to plan greater extensions. Theodore was politics or municipal affairs, to which he would respond with building pianos, William had to sell them. His pet scheme, a unwonted energy and ability. For 14 years he acted as president great concert hall, was soon carried out—Steinway Hall was of the Liederkranz, the leading German singing society of New opened in 1867 by Theodore Thomas’ orchestra, with S. B. York. He was director in several banks and an active member Mills as soloist at the piano. The opening of this hall was the of leading clubs. Broad-minded and liberal to a degree, Wil- inauguration of a new era in the musical life of America. Anton liam Steinway could always look far beyond Steinway Hall Rubinstein, Annette Essipoff, Teresa Carreno, Fannie Bloom- when danger threatened the piano industry or a helping hand field-Zeisler, Rafael Joseffy, Eugene D’Albert, Leopold Dam- could be extended for uplifting. It is unfortunate that history rosch and Anton Seidl made their bows to select audiences never will record his manly and heroic actions in the interest of from the platform of Steinway Hall. William Steinway knew the entire piano industry of America during the dark days of that the American people needed musical education. He pro- the great panics of 1893 and 1896. He stood like the Rock of vided it, and no one man has done as much for musical culture, Gibraltar against the waves of destruction rampant in those or has inspired the love for art among the American people, as days, and by his great influence in financial circles, his sound William Steinway. judgment and counsel, protected the credit and fair name of the Supporting Theodore Thomas’ great orchestra, so that it industry, often by timely might make its celebrated journeys through the entire country action preventing impend- (and without the aid of Steinway this would have been impos- ing disaster to worthy sible), William by most liberal offers induced leading Euro- firms. He applied himself pean virtuosos to come on concert tours to America. He was with such intensity and the ever-helping friend to young students and teachers. His abandon to his duties that inborn liberality would often let the heart be master of better even his wonderfully robust judgment, but he never regretted his acts of benevolence, even constitution had to give if sometimes repaid with base ingratitude. way under the protracted To the astonishment and chagrin of the older and more strain and exertion. He died conservative houses in the piano trade, William started an prematurely on November aggressive and heretofore unheard-of advertising campaign. As 30, 1896, a martyr of con- a competent judge he knew that his factories turned out the scientious devotion to duty best pianos that could possible be made, and he was bent not as he saw it. Carl Schurz only on letting the world know it, but on making the world delivered the funeral ora- believe it, as he did. This was revolutionary, even shocking, tion and New York was in but William persisted until he carried his point. mourning. Albert Steinway
205 The youngest son of Henry Engelhardt, Albert Steinway, keymaking with Buchholtz born on June 10, 1840, like his brothers had chosen piano mak- and perfected himself as a ing as his life work, and after the death of Charles assumed the piano maker under management of the factories. He made the application of Grunow. After traveling machinery for manufacturing, modern heating and lighting sys- extensively on the Conti- tems his special study and thus kept the Steinway factories in nent of Europe, he landed the front rank of progressive industrial establishments. The in New York in 1850, development of the village of Steinway was mainly his work, where he found work in and the planning and erection of the sawmills, iron foundry, Lighte & Newton’s factory. metal shops and case factory were entirely in his hands. With Charles Steinway had his that restless zeal so characteristic of the Steinway family, urg- work-bench in the same ing him to accomplish in a given time more than his bodily room with Heintzmann. In strength would permit, he undermined his none too strong con- 1853 he went to buffalo stitution and died at the age of 37 on May 14, 1877. and started the Western Piano Company, which It is almost needless to say that in course of time honors enterprise had to be aban- were showered upon the house of Steinway, in recognition of doned during the panic of Theodore A. Heintzmann its many valuable contributions to science, art and industry. 1857. Moving to Toronto in Theodore and William were elected Member of the Societies 1860 he started a piano shop without any capital, but his instru- of Art in Berlin, Paris and Stockholm, and William was deco- ments were of such a high order that he found purchasers for rated with the Cross of the Red Eagle by Emperor William of them quite easily. The busi- Germany. The highest prizes for meritorious products have ness grew steadily under invariably been awarded to the firm wherever their pianos have his energetic management been exhibited, and the leading courts of Europe and Asia and ranks today among the bestowed the honor of appointment as “special purveyors” to leading industrial establish- Steinway & Sons. ments of the Dominion. Heintzmann died on July Charles H. Steinway, the president of the corporation, has 25, 1899. The business has been honored by the Sultan of Turkey with the Order of the been taken over by a corpo- Liakat; by the Republic of France with the Cross of the Legion ration, in the management of Honor; by the Shah of Persia with the Order of the Lion and of which four sons of the Sun, and by the Emperor of Germany with the Order of the late Heintzmann take active Red Eagle. part. All of the founders of the great house having passed to the Among the many unknown beyond, their work is continued in most effectual Germans who left their manner by their scions, who, true to tradition, divide the mani- fatherland after the failure fold duties among themselves, according to their talents and of the Revolution of 1848, Ernest Gabler training. was Ernest Gabler. Born in Charles H. Steinway, son of the late Charles, directs the Glogau, Silesia, he landed commercial and financial policy of the corporation. His broth- at New York in 1851, and er, Frederick T., is in charge of the factories, assisted by started in business in 1854. Theodore Cassebeer, grandson of Doretta Steinway-Ziegler. Building a substantial piano Henry Ziegler, son of Doretta, and pupil of the late at a moderate price, he met Theodore Steinway, is in charge of the construction depart- with considerable financial ment, assisted by the late William Steinway’s son, Theodore F., success. He died February whose elder brother, William R., is in charge of the European 27, 1883. business. A peculiar character, with many strong traits, we Following their chosen leader cheerfully, just as Henry find in Freeborn Garrettson Englehardt’s sons acknowledged their father’s authority under Smith. Learning his trade in all conditions, the active members of the House of Steinway Baltimore, he worked for not only uphold the foremost position to which the founders some time in Chickering’s had attained, but are adding new laurels to the illustrious name factory. In 1861 he became by constantly improving the quality of their instruments and superintendent for William extending their influence, as leaders of the industry, to all parts Freeborn Garrettson Smith B. Bradbury. Bradbury was of the civilized world. a musician by profession, who had bought an interest in the Theodore A. Heintzmann is perhaps entitled to the name firm of Lighte & Newton (established in 1848), and when he of father of the piano industry in Canada. Born at Berlin, Ger- dissolved partnership with Lighte, he found in Smith a good many, on May 19, 1817, he started as a cabinetmaker, learned manager for his factory. After Bradbury’s death in 1867 Smith
206 bought the business, continuing the name of Bradbury. Imme- Manchester, N. Y., on January 2, 1823, served a four-year diately the commercial instincts of Smith came to the surface, apprenticeship with Van Winkle at the time when Albert Weber and he developed greater talents as a distributor of pianos than was taking his post-graduate course in the same shop. He then as a maker. Original in his methods, he published for a long went to work for Boardman & Gray at Albany, and started a time a testimonial of the well-known preacher, T. DeWitt Tal- factory in that city in 1856. At the State Fair held at Syracuse mage, in which the latter declared that if the angels are using in 1858 Decker received a diploma for the best piano exhibit- musical instruments in heaven, the Bradbury piano would sure- ed. In 1859 he removed to New York, occupying for many ly be there, because of its sweet tone. years the historic building on Third Avenue and Fourteenth Smith was among the first who opened warerooms in lead- Street, in which Osborn, and later Worcester, had made pianos ing cities, selling his product direct to the public rather than many years before. In 1877 his son, Frank C. Decker, was through dealers. He is counted among the wealthiest of those admitted to partnership and the firm changed to Decker & Son. men in the piano trade who have accumulated their fortunes by Myron A. Decker died thrift, energy and exceptional business ability. in 1901. He was one of the While working at the melodeon factory of George A. old school of master Prince & Company of Buffalo, Emmons Hamlin made the mechanics, more concerned important discovery of “voicing” organ reeds, so that a given in designing and building a reed could be made to imitate a clarinet, violin or other instru- thoroughly artistic piano ment. He developed this discovery to perfection and in 1854 than in accumulating formed a partnership with Henry Mason under the firm name wealth. The firm was of Mason & Hamlin, for the purpose of manufacturing a new changed to a corporation in musical instrument called “organ harmonium.” Hamlin was a 1909, with Frank C. Decker painstaking, exact working mechanic, with considerable genius as president and manager. as an inventor. Frank C. Decker, Jr., grand- Henry Mason, reared under the best musical traditions of son of the founder, is Boston, and graduated from a German university, was imbued preparing himself, under with that artistic devotion to music, which we find to this date the tutelage of his father, to perpetuate the well-earned expressed in the almost flawless instruments produced by the Myron A. Decker Mason & Hamlin Company. fame of the name of Decker in the piano world. Starting with a small capital, but determined to produce the very best instruments only, the firm met with almost instant Among a few who devoted their lives to the one object, success. Not content with the manufacture of their humble the improvement of the piano, especially its tonal qualities, instrument, they soon developed what has become known as George Steck’s name will ever be mentioned as one of the first. the American Cabinet Organ. This instrument won for the firm Born near Cassel, Germany, on July 19, 1829, Steck studied a world-wide reputation and the highest possible honors and with that celebrated master, Carl Scheel of Cassel. Coming to awards were bestowed upon their products at all World’s Expo- America in 1853, he started his factory in 1857 and met with sitions, wherever exhibited. such exceptional success that he was able to open Steck Hall In 1881 the manufacture of pianos was added to their on Clinton Place, New York City, in 1865, where his concert industries. The Mason & Hamlin piano advanced rapidly in grand pianos were played by the leading artists of the day. popular favor and is accepted by the most eminent virtuosos Later on a larger hall was opened on Fourteenth Street to meet and musicians of the day, as an artistic instrument of the high- the demands of a steadily growing business. est order. Steck was one of those restless natures who are never Among the pioneers of the melodeon and organ industry satisfied with the best of their work. As a scale drawer he had was Bernhar Shoninger, a no superior. His scales for both grand and upright pianos have been industriously copied by makers of commercial pianos, native of Germany, who because of their exceptional landed in America in 1847, merit for clear and large and started his factory at tone. His concert grands New Haven, Conn., in have been highly endorsed 1850. Branching out to the by Richard Wagner, Sophie making of pianos, he Menter, Annette Essipoff, secured for his instruments Sir Julius Benedict and the same enviable reputa- many others. Because of tion which had been the exceptional solidity of accorded to his organs. the Steck piano, it has been Bernhard Shoninger died chosen for years by many on June 3, 1910. The busi- schools and colleges all ness is continued under the through the United States, able direction of his son, S. and has become known as B. Shoninger. the “school piano.” Bernhard Shoninger Myron A. Decker, born at George Steck
207 Personally, George Steck was a most lovable character, Mittauer. Sohmer is a who had no enemies, finding pleasure in the pursuit of his art, thorough piano maker who with no particular regard for the commercial end of the busi- has patented many ness. To assure for his co-workers proper compensation for improvements, enhancing faithful service, Steck incorporated his business in 1884, allot- the value of his product. ting shares of stock to his employees. Gradually shifting the With strongly developed responsibilities and cares upon younger shoulders, he retired artistic inclination, Sohmer from active participation in 1887. The last 10 years of his life has ever been satisfied to were devoted entirely to his pet scheme of constructing a piano produce an artistic in- which would stand permanently in tune. His experiments in strument, rather than to that direction were very interesting, but he could not see the merely manufacture large fulfillment of his dream. He died on March 31, 1897. In 1904 quantities. the business was consolidated with the Aeolian Company of Among the firms that New York, under whose direction the manufacture of the Steck have succeeded in produc- pianos is continued with great energy and ability. The business ing a high-grade piano and having outgrown the home facilities, large additional factories scoring at the same time a have been established at Gotha, Germany, to supply the foreign remarkable financial Charles Jacob demand for these pianos. success, Jacob Brothers One of the prominent stand pre-eminent. Charles piano manufacturers of the Jacob studied piano making early days was Henry with Calenberg & Vaupel, Behning. Born at Hanover, who stood high among the Germany, on November 3, masters of their day, while 1832, he learned piano his brother, John F. Jacob, making with Julius Gercke worked for years with and came to America in Hardman, Peck & Com- 1856. He found employ- pany, and Billings & ment in the shop of Lighte Wheelock. They started in & Newton. At the outbreak business in 1878. After the of the Civil War he enlisted death of John F. in 1885, with the Union Army, the youngest brother, C. taking part in the hostilities, Albert, was admitted to the but was soon honorably firm, and in 1902 the discharged for disability. In business was incorporated. C. Albert Jacob Henry Behning 1861 he started a business Besides their own extensive making a good commercial factory, this corporation owns the Wellington Piano Case piano. In 1880 he admitted his son Henry to partnership, under Company, the Abbott Piano Action Company and has also the firm name of Henry Behning & Son. He retired from taken over the Mathushek & Son Piano Company, and the old business in 1894 and died on June 10, 1905. The firm was established business of James & Holmstrom, all of which are changed in 1894 to the Behning Piano Company, a corporation continued with marked success under the presidency of under the management of Henry Behning, Jr., and Gustav Charles Jacob, assisted by his brother Albert. Behning. One of the most interesting characters in the history of the Hugo Sohmer, born in the piano industry was Frederick Mathushek, born at Mannheim Black Forest, Germany, in on June 9, 1814. He learned piano making at Worms. After 1846, had the benefit of a serving his apprenticeship, he traveled through Germany and classical education, includ- Austria, and finally landed in Henri Pape’s shop at Paris, where ing a thorough study of he became thoroughly infected with that inventor’s bacteria. music. He came to New Returning to Worms, he began to build freak pianos similar to York at the age of sixteen those he had seen at Pape’s. One of his octagon “table pianos,” and served his apprentice- built at Worms, is among the collection of antique pianos at the ship with Schutze & Ibach Museum at Barmen. Although a splendid workman and Ludolff. Returning to Ger- particularly gifted tone specialist, which enabled him to build many he studied piano superior artistic pianos, his business was not a success making for two years in financially. some of the leading In 1849 Mathushek landed in New York, and was factories there. In 1870 he immediately engaged by John B. Dunham to draw new scales founded the firm of Sohmer and make other improvements. It is said that Mathushek drew & Company, by taking over a scale for overstrung square pianos in Dunham’s shop in Hugo Sohmer the business of Marshall & 1850. It has never been disputed that the reputation which the 208 bewitching sweet mellowness of tone, reminding vividly of the cello tones. Unfortunately for Mathushek, the owners of the company soon commercialized the product, and his dream of some day building a concert grand piano such as he had in his mind was never realized. He drew many grand piano scales for other manufacturers, but, strange as it may sound, Mathushek’s scales were only a success when he could work out the entire piano as he conceived it in his own mind. It is no exaggeration to state that Matheshek could, as a voicer, produce a tone quality in his own pianos that no other man could imitate. The author had the privilege of working alongside Mathushek for a number of years at the New Haven factory and observed the radical transformation of tone quality after Mathushek had gone over the hammers with his tools. A good player of the piano, with a wonderfully sensitive and trained ear, he quickly detected an almost imperceptible shortcoming and usually knew how to correct it. His fault, if it is to be called so, was his irrestible restlessness in seeking for improvements, which often robbed him of his night’s rest and prompted continual changes while a large number of pianos were in course of construction. Modern manufacturing methods do not permit of too much experiment- ing, and like his master, Pape, Matheshek died a poor man. In 1871 he left New Haven, and with his grandson started the firm of Mathushek & Son in New York. It was finally changed to a corporation and consolidated with Jacob Brothers, under whose able management the business has flourished.
“Table Pianos” It is impossible to discuss or even to enumerate the mani- fold inventions of Frederick Mathushek. He was even more Dunham pianos enjoyed in their day was due to the work of prolific than Henri Pape, but differed from Pape in not being Mathushek. It was here, also, that he constructed his piano given to merely experiment with ideas for the sake of novelty. hammer-covering machine, which has been used as a foundation for all later improvements in that line. Mathushek’s whole existence was dominated by the desire to produce in a piano that ideal musical tone which he could In 1852 Mathushek hear mentally, just as the deaf Beethoven heard his symphonic started again on his own poems when he wrote them. Mathushek never had an opportu- account, continuing until nity to develop what he had in mind and felt in his soul. He 1857, when Spencer B. came near to it in his orchestral square piano, and almost Driggs tempted him with accomplished his aim in his equilibre system. The piano most liberal offers to work industry of America is largely indebted for its wonderful out the vague, not to say development to the genius of Frederick Mathushek. He died wild, notions which Driggs November 9, 1891. had conceived of revolu- tionizing the construction With hope and high of the piano. It was impos- ambition, William E. sible for even so great and Wheelock entered the trade versatile a genius as in 1873, at the age of twen- Mathushek to achieve any ty-one years, as a member practical results by follow- of the firm of Billings & ing Driggs’ ideas, and we Wheelock. In 1877 the find him in 1866 as head Frederick Mathushek partnership was dissolved, of the Mathushek Piano Company, at New Haven, Conn. It and he began the manufac- was here that he did his best work. His invention of the ture of the Wheelock piano. linear bridge and equalizing scale enabled him to produce in In 1880 the firm name his small “Colibri” piano a tone richer and fuller than could be became William E. Whee- found in many a large square piano, while his orchestral square lock & Co. The demand for piano has never been excelled, if it ever had its peer. In volume the Wheelock piano had and musical quality of tone these orchestral square pianos were increased so rapidly that far superior to many of the short grand pianos of the present better facilities became necessary, and a large time, possessing, especially in the middle register, an almost William Wheelock
209 factory with grounds comprising 21 city lots on 149th Street, quality the dominant effort, New York, was acquired. In 1886 the Stuyvesant Piano Com- seeking to obtain musical pany was started to meet the demand for a medium-priced tone quality. In 1867 Julius piano, and in 1892 control of the business of the late Albert and Daniel Krakauer Weber was obtained. Wheelock and his partners, Charles B. joined, and the firm was Lawson and John W. Mason, organized the Weber Piano changed to Krakauer Company and thus became the first manufacturers who could Brothers. In 1903 the con- offer to the trade a full line of the most merchantable grades: cern was incorporated. the Weber, a piano of the highest reputation and qualities; the David Krakauer died in Wheelock, as a first-class instrument, and the medium-priced 1900, and his father in Stuyvesant—all made in separate factories, but practically 1905. under one control and management. This idea, later on, was William B. Tremaine, successfully followed by many of the leading concerns in the born in 1840, entered the United States. When the opportunity to consolidate his three piano business in 1868 as a companies with the Aeolian interests presented itself in 1903, member of the firm of Tre- William Tremaine Wheelock saw the greater possibility for the future of his enter- maine Brothers. A man of restless disposition, cultured and prise in such a combination and entered into the arrangement versatile, he seized upon opportunities whenever presented. whereby he became treasurer of the new and larger corporation When Mason J. Mathews had his orguinette ready for the mar- then formed, while remaining president of the several piano ket, Tremaine organized in 1878 the “Mechanical Orguinette companies of which for many years he had been the head. Company,” and marketed these automatic instruments by the Educated as a musi- thousands. Later on the “Celestina” (an enlarged orguinette) cian, becoming a violinist was introduced with considerable success, and in 1883 the and orchestra conductor of Aeolian organ was brought out. Acquiring in 1888 the patents note, Simon Krakauer, born and stock in trade of the Automatic Music Paper Company of at Kissingen, Germany, in Boston, Tremaine organized the Aeolian Organ & Music Com- 1816, came to America in pany, manufacturing automatic organs and music rolls. Success 1854 and started manufac- crowning his efforts, he purchased in 1892 all the patents turing pianos in 1869, with owned by the Monroe Organ Reed Company of Worcester, and his son David, who had in 1895 introduced the “Aeriol” self-playing piano. learned the trade in A. H. W. B. Tremaine was the founder of the business of manu- Gale’s shop and later on facturing automatic playing musical instruments. Before the worked for Haines Brothers advent of the “Pianola” there was neither competition nor and other New York encouragement from the piano trade, and it required a man of makers. keen foresight and courage to meet these conditions and make It was but natural that a success of the business, as he did, up to the time of his relin- the thorough musician, Simon Krakauer quishing it to his son. Krakauer, should strive to build an artistic piano, making
RICHARD SINGER RECITAL Obituary From New York Times (1857-Current file): May 5, 1924; ProQuest RICHARD SINGER Historical Newspapers The New York Times (1851-2001) pg. 19 From New York Times (1857-Current file): March 1, 1940; ProQuest Historical Newspapers The New York Times (1851-2001) pg. 26 Pianist Wins Approval of Audience, Especially in Chopin. Richard Singer, concert pianist, died of a heart attack on Richard Singer, a pianist well known in Europe, gave his first New York Wednesday night while rehearsing in a studio at 66 Fifth recital at the Aeolian Hall yesterday afternoon. Mr. Singer, who has formed Avenue. He was 61 years old and lived at 504 West 166th his style on Busoni and Leschetisky, recalled Moritz Rosenthal, to whom he Street. bears a striking likeness, in his manner of playing Bach; the same weighty pronunciamento, with the same clear and definite exposition. When he played Mr. Singer, who was born in Budapest, studied under Liszt, he reminded the listener of the elder school, for he built his interpreta- Busoni in Berlin and Theodore Leschetizky in Vienna, the tion of the Weimar pianist on the authority and authenticity of Busoni. latter being the teacher of Ignace Paderewski. He had When he came to Chopin, represented by the “Andante e Spianato Polon- appeared under many well-known conductors, among them aise,” he revealed himself as a romantic of a fine order; it was a beautifully Richard Strauss, Felix Weingartner, Sir Henry J. Wood and proportioned performance, ductile in tone and emotional in content. The Josef Stransky. audience had by this time convinced itself of Mr. Singer’s high qualifications and recalled the pianist after every piece. Three braceted numbers introduced He came to this country about 1924 and maintained a Mr. Singer as a composer of varied moods, a somber prelude preceding a studio for some years in Steinway Hall. He had formerly “Moonlight at Capri,” where the melody was effectively upborne by the been on the faculty of the New York School of Music and ground-swell of the ocean, and an eccentric tarantella. The remainder of the Art. program permitted contrasts between Debussy, MacDowell and a concert Mr. Singer had been connected with the Federal Music transcription from “Carmen,” in all of which Mr. Singer carried the approval of his audience. Project for various periods during the last few years. 210 -JO I ~I (0 ·
Terr ified of the ocean, Granados nevertheless sailed to New York for the premiere of the opera on 28-1-1916.
METROPOLITAN Granados was scheduled to perform at a Carnegie Hall benefit concert on 15-III-1916 "for the musicians for the Paris Conservatoire, sufferers of the war~ He had planned to OPERA HOUSE depart New York immediately afterward, but an unexpected in vitation to perform at the White House changed his plans. Granados and Dutch soprano Julia Culp performed May there on 7 -III-1916. Granados and his wife left for Europe almost immediately. They Sunday Evening, 7, 1916 spent several days in London as guests of the Catalan sculptor Ismael Smith and on 24-III they boarded the British ship Sussex, bound for France. While crossing the English Channel BENEFJT CONCERT EXTRAORDINARY the vessel was torpedoed by a German submarine and both Granados and Amparo were immediately drowned. Under the Auspices of the Witnesses claimed that Granados, safely in a lifeboat, saw Amparo struggling in the water BOARD OF DIR.ECTORS and leapt in to save her. Still others said that it was Amparo who tried to save her husband OF THE and that the y were last seen in each others arms before disappearing in the waves . However, METROPOLITAN OPERA COMPANY given the hour of the attack-around 1 PM., the couple were almost certainly in the first class salon, and died instantaneously. The torpedo struck only part of the Sussex, leaving the For the Orphan Children of rest of the ves sel intact. It was brought to Boulogne and th e Granados' luggage and personal ENRIQUE GRANADOS effects were recovered. *~ /~ ~f:/~~
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MARIA BARRIENTOS FRITZ KREISLER JULIA CULP JOHN McCORMACK /~~~~ PABLO CASALS IGNACE PADEREWSKI ANDREA DE SEGUROLA EDWIN SCHNEIDER COENRAAD V. BOS ~a;:f1z~;;;4-=--
IV TUI TU~AT.t: MAGAZIJIl!. Co.• PvaLIiHun...... IV IV
I :..!~ '''f'IUt...htn l'ill"d 10 ItS car~"lt~. <'anbe COttll"i!".: ;II ,h" mltlutr-. C.:huu1ie 1I1f' n":&tC".~' r,;J np'" JRli r, caw of ftH11 ...I" quif'tJr f110 nhe til" I II' diu f'tir III erder to I"lIi,l p2ui,:. -to SO;-';GS (a) "Come Ae;ain Sweet Love" ()/d EII.(lisir (b) Miinonctte - lI't(ltrli" (c) Seandchen - I &lzuDtrt Metropolitan Opera House (d) ClDu bist die Ruh" I AIM£. ClILl'! wi•• Mil.. COESII.AAII v, BOS II .h. Pi.... Sunday Evening. May 7th. 1916. at 8: 30 0'clock
5. PIANO SOLI (a) Marche Funebre (b) Berceuse C/,opin (c) Polonaise. A Flat
Benefit Concert Mil. PADEREWSitl Il<...,k, -Mil. ANDRF.A lit: Sf-GUII.OLA for the Orphan Children of Enrique and Amparo Granados
Under the Auspices of the Buard of Directors 6. (a) Amor y Odio (Love and Hate) - ~ of the Metropolitan Opera Com pall}' (b) EI Majo Discrete (The Discreet Lover) Granados ( c ) Eleltia Eterna - - - - ,
MM£. BARIlIENTOS ,,"h tolR. CASALI II the Pi.... Programme I. (a) Aria (from the D Major Strinr Suite) J. S. Bad, (b) Minuetto con variazioni Haydn 1. T RIa, Op. i9 (B Flat) - - - - L. 1'. B((th~-vrll MR. CA~AI_' ..it" !tfk. KR":I~r.f.1l at lite Pianu I. AJleiro Moderato. II. Scherzo. Allegro. III. Andante Cantabile ma pero con moto. l:l. TWO DUETS IV. Alleiro Moderato. (a) Berceuse.,"Angel's Guard Thee" (from Jocelyn) Godard "IE.~SR~. PAJ)~R~W'''I. KRIiISLEII. .nd CASA'.5 (b) Le Nil ------uroux
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o (;\ n EW PIANO ROLLS & RECUTS
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New Roll releases from Dave Caldwell: (see his website for more deails if you wish) AMPICO ROLLS: 40031 Sleigh Ride (Leroy Anderson) arranged by Dave Junchen- a hit for Christmas! This roll is also available on Duo-Art. 72001 Rain Drops Keep Falling on my Head (Bacharach), p/b Dave Junchen. Oscar winner! 213761 Goodnight Sweet Heart, p/b Arden & Carroll, best arrangement ever! 215351 When I Grow Too Old to Dream, p/b Shipman (Carroll), “B” coded. 60943 Chinese Tambourine (Kreisler) p/b The Original Piano Trio, hot chop suey! 202281 Dear Old Southland, p/b The Original Piano Trio, a spiritual ‘deep river.’ 20201 Bimini Bay, Foxtrot p/b The Original Piano Trio, great Prohibition song!
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Rob Deland: Blues Tone Rolls Magic Melodies & Keystone Steve Bentley: Playrite Music Rolls www.bluesrolls.com 360 Lawless Road 1536 N. Palm St., [email protected] Jamestown, KY 42629 Turlock, CA 95380 U.S.A. Phone: (847) 548-6416 Phone: (270) 343-2061 Phone/Voice: (209) 632-5784 Fax: (209) 667-8241 David Saul: Precision Music Rolls Robin Pratt: Artist Choice Music Rolls 1043 Eastside Road www.wiscasset.net/artcraft/pratt.htm QRS Music Technologies, Inc. El Cajon, CA 92020-1414 [email protected] 1026 Niagara Street, Buffalo, NY 14213 [email protected] Phone: (419) 626-1903 Phone: 1-800-247-6557 Fax: 1-716-885-7510 Bob & Ginny Billings: Rock Soup Tim Baxter: Meliora Music Rolls www.qrsmusic.com 14010 Rim Rock Drive, Reno, NV 89521 www.members.aol.com/meliorarol/index.htm toadhall @sprynet.com [email protected] Scott Boelman: Lazy Dog Piano Rolls Phone: (775) 853-4659 www.lazydogpianorolls.com Joyce Brite: Player Piano [email protected] Leedy Brothers Music Rolls & Musical Music Exchange One Olive Street, Ladera Ranch, CA 92694 4660 Hagar Shore Road http://mmd.foxtail.com/Exchange/ Phone: (949) 218-0108 Coloma, MI 49038 http://mmd.foxtail.com/Exchange/rollpage.htm www.leedyrolls.com David Caldwell Phone: (269) 468-5986 Larry Norman: Rollertunes 400 Lincoln Lake Ave., N.E. Fax: (269) 468-0019 www.home.earthlink.net/~rollertunes Lowell, MI 49331 [email protected] Phone: (616) 897-5609 Phone: (504) 721-7188 DavidWFrom [email protected]
213 New from Bob & Ginny Billings - Rock Soup Phone: (775) 853-4659 • 14010 Rim Rock Drive • Reno, NV 89521 • [email protected] HOT PIANO ROLLS! June 2005 We are delighted to announce that John Farrell and Bob Billings have released another batch of exciting 88-note piano rolls featuring a variety of jazz piano styles including James P. Johnson, Teddy Wilson and others playing a varied selection of tunes in their own unique, jazzy way. No matter what your preference is in jazz piano there will be something here which will appeal to you. The 6 titles listed below are available now, and for a small additional charge you may order previously issued rolls from our extensive archive which is published on John’s website. The rolls are issued on the JAM label, so if jazz, blues, boogie-woogie and hot dance music are your cup of tea then these are certainly for you. Below are the details of our current offerings with a brief note on each by John. You may listen to midi files of these tunes, which are exact replicas of the rolls, before you buy on John’s website at ttp://homepages.tesco.net/~stridepiano/midifiles.htm The rolls are priced at $15 each, plus postage (Europeans can pay John in pounds or euros if they wish), we also accept payment by PayPal and Western Union. Order from John (European) at [email protected] or Bob (US) at [email protected] (or via snail mail at 14010 Rim Rock Drive, Reno NV 89521, USA). Payment in advance, please. Shipping to US addresses is $3.50 for the first 1 - 2 rolls, plus $.50 for each additional, via media mail. Shipping to European addresses is $10.00 for the first 1 - 2 rolls, plus $1.00 for each additional, via surface. Let us know your email address and we will send future offerings by email. If you are interested, we will email you a file of the roll titles and prices. JAM 231 – Sunday as played by Teddy Wilson. Transcribed from Wilson’s 1939-40 recording session for Keystone when he was at the peak of his elegant pianistic prowess. No fireworks here, just great swinging piano from beginning to end. JAM 232 – My Monday Date as played by Claude Bolling. Another of John’s transcriptions, this one from the brilliant French pianist Bolling’s 1972 Philips recording on which he emulates the style of the composer Earl Hines. JAM 233 – Old Fashioned Love as played by James P. Johnson. One of James P.’s most famous and popular tunes which John has transcribed from the definitive 1944 recording. Jazz piano doesn’t get much better than this! JAM 234 – On The Sunny Side Of The Street as played by John Farrell. Written by the dream team of songsmiths Dorothy Fields and Jimmy McHugh, John’s jazzy version explores every nook and cranny of this beautifully constructed foot-tapping number. JAM 235 – 133rd Street Boogie as played by Sammy Price. Sammy, one of America’s most accomplished boogie-woogie pianists, composed this one. John has transcribed the 1945 recording, be warned that this roll will give your piano a real workout. JAM 236 – Pick Yourself Up as played by John Farrell. Dorothy Fields again, this time teamed with revered composer Jerome Kern. Pick Yourself Up has got to be one of Kern’s very best, John’s arrangement does the complicated harmonic sequence full justice while maintaining an infectious rhythmic beat throughout.
Possible Wurlitzer 10-Tune APP Roll Recuting Project If you are interested in obtaining mostly never-before-recut Wurlitzer 10-Tune APP (Automatic Player Piano) rolls, including at least 1 - all Blues & Mainly Pre-WWI material, let me know. Tune list and prices have not been finalized. Run will be limited to 17 sets of Aprox. 36-40 rolls. Full sets for sale only. If we can get enough people interested a list of rolls and a final price will be established. Please let me know if you are interested E-Mail: [email protected] or my Mail: Stephen Kent Goodman 5731 E. Bernadine Dr. Tarpey Village, CA 93727-7235
214 After the first part of the meeting at the home of Jerry Pell concluded, the members made their journey to the home of Richard and Beverly Ingram, stopping for lunch along the way. News On display at the Ingram’s were a wide variety of player pianos, including a Melville Clark Apollo Player, a Haines Ampico Upright, and a MIDI equipped Stroud Duo-Art Grand From Piano. The Spencer Chase MIDI system utilizes a laptop com- puter to play any of 2,600+ songs. The recent installation of the MIDI system combines the nostalgic piano with modern The Chapters technology without compromising its’ roll playing capability.
SOUTHERN CALIFONIA CHAPTER Reporters: Lloyd Osmundson and Richard Ingram Our hosts Richard and Beverly Ingram and a small portion of their huge roll collection. Pictures by Lloyd Osmundson and Bill Klinger A short demonstration was given of an electronic key- board being played by an Aeolian 65 Note Push-Up Player An April meeting was held at Chapter President Jerry that Richard won on eBay from David Ramey. He was fortu- Pell’s home in Wrightwood. nate to get this instrument working (at least somewhat) the day before the meeting. A few people sang along with the This small town is located northeast of Los Angeles at a piano roll “Owed (Ode) to Richard”, which is part of his 6,000 foot elevation.This is one of those Southern California extensive piano roll collection. This is a parody song written areas which in the wintertime if you do not have a four-wheel by Bob Denerson to the tune of “On Top of Old Smoky”. A drive vehicle, you better stay home till the snowplow clears fun time was had by all. the roads. We had no such trouble, as it was a perfect spring day. It made a scenic drive for us who live in the boundaries of a big city. Jerry’s piano collection consisted of a 5 foot 8 inch 1919 Knabe Ampico “A” and a Kawai 7 foot semi-concert grand. Also of interest was a restored Edison upright phonograph which plays 78 RPM or Diamond Disc records. Jerry’s real passion is band organs, as many as he can get into his home. We saw and heard three Wurlitzers: 103, 125 and a 146 “A”. His latest addition and pride and joy is a circa 1900 67 keyless Gebruder Bruder fairground organ playing book music. Everything was in perfect condition; even his workshop was neat and clean with everything in its place. Since our host was busy getting his collection ready for the meeting, Ardis Prescott and Brooke Osmundson volun- teered to furnish treats for the members, which they did. Since this was our first meeting at our host’s home, I’m sure we all Richard playing for the sing-along – left with a better knowledge of band organs, if not a ringing in notice the LARGE words on the roll. our ears.
215 SOUTHERN CALIFORNIA ORGAN RALLIES Reporter: Shirley Nix Photographers: Bill Klinger and Jack Conway This chapter held two organ rallies so far this year. The first one was our annual presentation at Descanso Gardens. This is always a favorite, both with us and with the crew at the Gardens. Descanso sends out almost 10,000 mailers and arranges articles in the local newspapers. Add to that the fact that Huell Howser will run his program, which he did at Descanso covering the organ rally a few years ago, every year a couple of weeks ahead of our appearance, and you have a media bonanza. This year the date came when Southern California had Jerry Pell and his Wurlitzer 125 been having record rainfall, and the morning didn’t look too promising, but we brought tarps and umbrellas to face the day. We had a few drops from time to time, but I do mean a few. The attendance wasn’t quite as high as normal, but still good. People look forward to hearing the music they remember, and enjoy the weekend. There were organs all over the Gardens, with Jerry Pell and Lloyd Osmundson both bringing their new Bruder Jerry Pell’s Organs, both having had work done (the organs, not Jerry and organized Lloyd), and both playing like they should, and looking great. workshop. Dave Bernstein brought his Limonaire, and Charlie and Jackie Porter came up from San Diego. There were several other medium organs, and lots of monkey organs. It filled the Gardens, and everyone, both the public and the organ owners, had a good time.
L to R: Members Robin Biggins, Ken Hodge, and Richard Ingram watching the Gebruder Bruder musical book feed operation.
Richard Ingram handles the Nix Limonaire while Frank and Shirley take a lunch break.
Bill Blair and an Edison phonograph which plays Diamond Discs or 78 RPM records. Lloyd Osmundson’s Bruder, the facade restored by his wife Brooke.
216 A future AMICAn? Catch them young! The Ingram piano (patriotic piano) on the porch at Heritage Square.
Bill Klinger and his monkey organs
The second rally was held in Pasadena for their “Museums of the Arroyo” Day. This was our second year there, and it is also a nice venue for the organs. They are One of the craftsmen displaying his skill. placed at several locations. The Mota Day Celebration brings out good crowds, and the museums furnish shuttles from place to place. There were organs at the Museum parking lot, at the Gamble House, at the Heritage Square, and a few other spots. This is another great family day, with the organs and also craftsmen showing off the skills of the era. Frank and I missed this one, as we had received a call to bring a small organ to the Los Angeles Sister Cities Festival, where one of the speakers was to be the Mayor of Berlin. They wanted a German organ playing German music, so we took our Hofbauer to that event. We have a couple of tentative organ rallies planned for the summer, but no set dates as yet. Our next meeting will be July 9 at the home of Frank Peter Breede demonstrating his monkey organ. and Shirley Nix, with a barbecue planned. There will be music also. It should be fun. In October we are hoping to have a meeting in Northern California. We are, at this time, trying to find out if there is interest in hiring a bus for this one. December will probably find us back at the Nix home for the Christmas Meeting. Of course, the very next event will be the Convention in Minneapolis, which we are looking forward to. It’s always fun to see friends from around the world.
217 LADY LIBERTY CHAPTER Reporter: Buzz Rosa
President: Vince Morgan Paul Ciancia Photos by Buzz Rosa demonstrates a very loud violin invented by In July we had a barbecue at the home of Bill Maguire John Stroh in where we were treated to view a very rare Mason and Hamlin 1904 — now piano with no tuning pins. We were informed that this type of called a Stroh piano would go out of tune so rarely that the piano tech violin with unions forced the company to abandon the production. Each resonator. piano came with its own tuning device and instructions for the owner to tune his own piano. Our workshop, presented by Barry Dennis was on the fine points of restoring a Duo-Art piano. In October we met at the lovely home of Paul Ciancia and Dennis Westervelt in New Jersey. The beautifully restored Hupfeld Phonoliszt-Violina stole the show. Even the Mills Violano Virtuoso sat silent as we watched the violins dance in the top of the Hupfeld. We did listen to both Ampico and Duo-Art pianos between rolls, but they were no match for Keith Bigger holds the award he received from AMICA International the star performer. for outstanding work and leadership. Thank you Keith for restoring Our end of the year meeting was held in the home of interest in the Lady Liberty Chapter Glen Thomas and his lovely wife, Kim Kleason. The weather cooperated nicely as we listened to the Ampico piano, Link nickelodeon, Wurlitzer changer and more. Kim and her mother prepared the wonderful dinner; while her father set up a Lionel train to represent trains in Manhattan. Due to inclement weather our first meeting of 2005 was held off until mid March. To make up for lost time together, Keith demonstrates this was a triple-header. We began at the home of our the crescendo system used in president and his lovely wife, Vincent & Maryam Morgan Ampico with a home-cooked meal that brought many compliments reproducing pianos and some people asking if they could stop by often for dinner. Business was taken care of and discussion of a new chapter logo took center stage, with several options being presented by our resident artist, Bob Stuhmer. No decision was made at that time, but people were asked to think about the various options and we would vote on them at the next meeting. It also turned out that over the years so many of the members of the chapter had a hand in repairing and restoring the Knabe Paul Ciancia and Paul Manganaro discuss restoration Ampico piano currently owned by the Morgans that it seems methods during the meeting as if it was an unofficial chapter project. Following the business session we had two open houses. One group went to Keith Bigger’s home to hear a concert on his Haines Bros. Ampico piano that was once owned by Melville Dewey (inventor of the Dewey Decimal System of cataloguing books) and his Moller Artiste Reproducing Player Pipe Organ. The other group went to the home of Dave Palter to see his vast collection of steam and electric trains, listen to his pianos, music boxes and Edison 24 changer-and to view his 1936 Auburn, which is in factory showroom con- dition. Then the groups switched places.
Dave Palter enjoys the sound of a double Mills Violano-Virtuoso 218 Glenn and Kim Thomal pose in front of their Wurlitzer Violin-Flute Style C orchestrion
Viewing the back of the model IX reveals the rank of pipes and the xylophone
Ray and Jane Scheffy play requests on the Ampico
Dale Rowe examines the rewind mechanism of the Style C orchestrion
A group tour of Glenn’s roll collection creates interest in some unusual titles.
Randy Herr, Paul Manganaro and Hugh Kleasen enjoy the orchestrion music and watch the Lionel trains run
Keith Bigger demonstrates his Haines Bros AMPICO to a Hugh checks for a full basement of loose wire or rail AMICANS joint on the Lionel layout
Glenn stands by his model IX Wurlitzer Keith demonstrates to which holds six Bob Stuhmer the roll 5-tune rolls and player mechanism of has pipes and a the Artiste Reproducing xylophone Player Pipe Organ.
219 Dale Rowe stands by the Bass pipes located near the rear of the basement
Dave Palter tells us the history of his World War I Era Marklin Keith manually Trains - some of which actually burn alcohol and run on steam. plays the Artiste Pipe Organ as Dale Rowe and John Dousmanis watch.
TEXAS CHAPTER Some of the trumpet pipes were required to do a 360 Degree turn to Reporter: Suzanne & John McCall fit in the pipe chamber. President: Jerry Bacon - (214) 328-9369
FEBRUARY MEETING How lucky can a chapter get? Two spectacular meetings in two months! Walter and Jessie Moore hosted the chapter at their home in Lake Highlands are of Dallas on February 26th assisted by their son Charles. They have a large collection of both reed and pipe organs, dating from 1870. All of these are in top working order due to the expertise and repair talent of Walter and his son Charles. Also in the collection is a 15-inch disk music box and pump organ, vintage 1870, and many cylinder music boxes. Charles Moore designed and built a computer driven Ira Malek listens to machine to put pins in a wooden cylinder for music boxes. He Dave Palter’s sells these worldwide. They also own several hand crank reed Edison Autophone organs. Walter has many great stories of discovery of big organs and the difficulty of transport and installation into his home. Jessie Moore has a beautifully displayed doll collection. Some of these dolls were elaborately dressed in period clothes by her daughter, Karen Vaughn, Doll Artisan of the former magazine, Doll Makers Workshop. This meeting was a wonderful afternoon and especially Ira and Walter Kehoe significant due to the gracious tour and demonstration of each enjoy Dave’s Seeburg G instrument by the Moores.
220 Jessie Moore with 19th century pump organ and her “dolls”.
Art Eltzroth (center) surrounded by his Family. Mr. Eltzroth’s estate provided a beautiful setting for the catered Mexican Dinner and entertainment. This included Bill Thacker on the Roland Electronic Keyboard, Jesse Mears on the fiddle, and Kathy McVickerson on the guitar. Bill Boruff and his beautiful wife Sharron danced a mean Polka to the music. The audience cheered the entrance of Galen and Linda Bird’s animated toy monkey on a tricycle. The Bird’s also helped to organize the meeting and set up the instruments at the Spring Fest on Saturday.
Walter Moore demonstrating his Charles Moore with music collection. box wooden cylinder.
Kathy McVickerson on guitar, Bill Thacker on electric keyboard, Jesse Mears on fiddle at Art Eltzroth’s.
Charles Moore’s music box cylinder maker. Animated toy monkey on APRIL MEETING tricycle owned by Galen and Art Eltzroth, Cleburne, Texas, hosted a spectacular Linda Bird. dinner meeting at his 200-acre lake front estate on April 22, Attendees enjoyed listening to Art Eltzroth’s collection of 2005. Some 100 members plus guests of the Texas Chapter instruments. These included several Stinson Band Organs, an and the Heart of America Chapter were his guests for a great Encore Banjo, and a Calliophone. evening. Members who transported instruments for the Spring Fest The planning and execution of this event was the result of event are: Ron & Mary Jo Bopp, Jay, Oklahoma – 1915 Texas Chapter VP Bill Boruff collaborating with Mr. Eltzroth Gebruder #107 Fairground Organ; Leonard & Billie and the Annual Spring Fest in Cleburne, Texas. This event Railsback, Kansas – Stinson Organ; Larry Kern, El Paso, provided a perfect venue for the band organ rally the Texas – Stinson Ambassador Band Organ; Tom & Kay Bode, following day, Saturday, April 23, 2005.
221 Kansas City – Jaeger Brommer 20 key Acrylic Monkey Organ; Dwayne & Beverly Steck, Dallas, Texas – Wurlitzer 153 Band Organ; Richard McDowell, Liberty, Missouri – Self Playing Accordian plus an Ed Schmidt Concert Band Organ with 315 wood pipes; Walter, Jessie, and Charlie Moore, Dallas, Texas – a Grand Roller Organ; and Gerald Koehler, St. Louis, Missouri – helped Art Eltzroth set up the instruments. This meeting and the band organ rally the following day are a tribute to the perpetuation of the goals of AMICA – keeping automated musical instruments alive. This concept was beautifully described in a publicity article about Spring Fest in the Cleburne Times-Review, April 22, 2005 (no author Larry Kern’s Stinson Ambassador Band Organ listed): “Examples of technology such as these performed in brought from El Paso. the Royal Palaces of Europe, elegant drawing rooms of New York, Speakeasies in Chicago and the finer Saloons of the Wild West. They were a staple of any upscale event from the 1890s to 1920s. At a time without benefit of television or radio or movies with sound, automatic instruments offered a window to a future of automation. Wealthier families may have possessed their own player piano or polyphone or cylinder music box. Larger organs and instruments, which recreated a multitude of sounds, often appeared at street fairs.” What a wonderful weekend – Viva Art Eltzroth!
Leonard Railsback’s Stinson Band Organ.
Ron Bopp and Sharron Boruff with Ron’s 1921 Gebruder Fairground Organ. Elaborate player piano at Art Eltzroth’s.
Art Eltzroth’s Stinson Band Organ. Wurltizer Cabola Replica-Art Eltzroth. 222 Dee Tyler, Robbie Tubbs, Charles Tyler with their OGM Band Organ at Art Eltzroth’s.
Tom Griffith shares his Rafffin with a young visitor
HEART OF AMERICA CHAPTER Reporter: Gordie Davidson President: Tom McAuley
Let the music season begin! Annnnnd .. so it did as the HOA Chapter conducted their 25th Annual Band Organ Rally, April 16th at Historic Fort Leavenworth, Kansas. The rally was conducted in conjunction with the annual Fort Leavenworth Historic Homes Tour. Fort Leavenworth, located on the western bluffs of the Missouri River, has been Jim Fletcher an active military installation since 1827. The fort is rich with with his Raffin American history and 19th century structures. It was the starting point for both the Oregon and Santa Fe Trails. Approximately 40 members with 20 instruments from 4 area States attended. The weather was absolutely perfect along with an enthusiastic group of visitors. This year marked the 10th anniversary since the first HOA rally conducted at Fort Leavenworth in 1995. The day was completed with good ole fellowship and dining in Historic Weston, Missouri. Charlemagne’s European Bistro provided an intimate dinner setting with an absolutely stunning menu. Co-located with the restaurant is the National Silk Art Museum which houses the premier collection of individual silk art pieces in the United States. Judge T.F. Plunkett, a Weston local, welcomed Gary & Cynthia the group to town and clarified what their responsibilities are Craig with as visitors – mainly – drink responsibly and spend generously. their Stuber
223 After touring the museum Saturday, Blaine and his lovely wife, Armeda took us to dinner at his favorite restau- rant. Sunday morning, chapter president Tom McAuley called our meeting to order. After the meeting, the members headed home, very impressed with the improvements to the Thomas Museum.
Members relax on O’Malley’s Pub Terrace
Blaine Thomas and Galen Bird. Big Boy makes a big entrance
Chapter President Tom McAuley welcomes members to Charlemagne’s
Blaine Thomas, his daughter and grandchildren pay a visit.
Judge T.F. Plunkett welcomes members to Weston
JUNE MEETING A collection of WWII posters. Heart of America chapter members met June 4, 2005 at the Thomas Museum in Manhattan, Kansas. Blaine Thomas has just completed an extensive expansion of the museum and was eager to share it with our members. Ed Schmidt, one of our members, had been working for weeks rebuilding the organs. He had just completed a Bursens and the Mortier. This is an excellent example of Art Deco in the 30’s. Blaine is now having another Bursens Dirk Kirklin rebuilt that came out of the Miles Musical Museum in admires the Eureka Springs, AR. Steinway
224 Perlee Dutch street organ. These organs are now on the Historical Register in Holland.
This Gebruder Bruder band organ was made in Waldkirck, Germany
This very rare Fidelio was made in Germany around 1910. It has a Swiss movement.
HOA members relax and enjoy the sunshine.
This Steinway Duo Art makes beautiful music.
Jason York and Billie Railsback
Newly restored Decap. A great example of art decor in the 30’s. The Dutchess, a 1938 Dance Hall organ.
225 The museum also has something The museum has something old new (figure from Star Wars)
Western Electric 1925 coin operated piano with Xylophone.
This Ruth Organ was made in Waldkirck, Germany
This Wurlitzer Military Band Organ is all original.
Wurlitzer 125 with bells is all original
226 SIERRA-NEVADA CHAPTER Reporter: Nadine Motto-Ros President: John Motto-Ros (209) 267-9252
In June, we had a two-day (June 11 and 12), two-club (AMICA Sierra-Nevada Chapter and MBSI Golden Gate Chapter), two-home (Motto-Ros and Williams) event. Day one was at the home of John and Nadine Motto- Ros in Sutter Creek—a Gold Rush location on the historic California State Highway 49. Prior to lunch, members enjoyed roaming the house to check out the Marshall & Wendell Ampico B and Mira (Empress) Concert Grand disc music box in the living room. Nearby in a large hallway is a John Haskey, Bing Gibbs and Cyndy Haskey. Mason & Hamlin upright grand which plays manually or by a PianoDisc system. The Cremona G is across the hall in the office (see photo of Chip Lusby playing by hand). Down- stairs in the entry hallway on the way to the music room is a Seeburg KT Special and Encore Banjo. The music room houses John’s pride and joy—a 1912 Seeburg G restored last year by Dave Ramey. An Aeolian upright player piano, Link 2E Nickelodeon, Coinola C2 Orchestrion, Empress Electric Y Orchestrion, and 1927 Seeburg Audiophone Jukebox are also located in the music room. For a change of pace, we enjoyed “live” music provided by ragtime pianist Tom Brier. Day two we met at the mountaintop home of Kent and Sonja and Bob Lemon with the Cremona G. Margie Williams in Newcastle, CA, where the view was Arlo “Chip” Lusby clear in every direction for as much as a hundred miles. From playing the Cremona G late snow in the High Sierra, past the Sutter Buttes, across the Coast Range and the wine country hills to Mt. Diablo and Lake Folsom, the 350-degree spectacle is a sight to behold. The house is a dodecahedron (12-sided structure) maximizing the spectacle in all directions. The new music room is packed with cylinder and disc boxes, hand-crank organs, phonographs, Victrolas and miniatures of all sorts. Their Wurlitzer 103 band organ is mounted on a 1920’s trailer behind a 1930 Ford Cabriolet Model A, plays 125 rolls, and has an added glockenspiel. Kent still has his first instrument, a heavy oak upright player piano by Leopolo De Visscher which plays 60-hole rolls, 13-1/2 inches wide, approximately Dave Ramey, Jr. and 11 holes per two inches. Kent plays this instrument, just John Motto-Ros slightly modified from its 1881 configuration, with a in front of the restored Seeburg G. computer driving his Pianocorder solenoid system. It is further upgraded to run on downloaded midi files, a set of xylophone bells, and a full-featured synthesizer completes the orchestra sound using Cakewalk software. Other items on display are an extensive antique bottle and glass collection, old pistols, religious antiquities, worldwide masks, clocks, Bennett and Erte’ bronzes, and much more. Margie’s magnificent pink English transferware collection dominates most rooms, a museum quality display on its own. Her collection is being reflected in two books she is writing about early dinnerware.
Bob Lemon, George Cunningham, Doug & Vickie Mahr relaxing on the Motto-Ros patio.
227 BOSTON AREA CHAPTER Secretary: Ginger Christiansen President: Bill Koenigsburgs (978) 369-8523
Minutes – 6/5/05 Ginger and Chris Christiansen’s home, Nashua, NH
President Bill Koenigsberg called the meeting to order. There were 19 people present: one new member – Greg Flynn, and one guest: Merrill Furbush Old Business: Judy Caletti, Bob Lemon, John Motto-Ros, Bob Caletti, Caludine Jones, and Bing Gibbs in the music room. 1) Discussion on the progress of the CRMI. The chapter needs to re-establish contact with the museum. Delivery of piano to museum to take place 3 months from today – Sept. 2, 2005. 2) Membership – lack of growth – possible solutions were discussed. Announcement in Musical Digest for next meeting to see if that will help. New Business: 1) Karl Ellison resigned as treasurer. Appointment of some- one to fill this position until election was discussed 2) Dorothy Bromage showed pictures of past meetings. 3) Moment of silence for Sanford Libman who passed away. 4) Results of Skinner Auction from his estate. There is a list of salable items – non-musical remaining.
Kent & Margie Williams’ Wurlitzer band organ. 5) Merrill Furbush brought in a box of pieces of wood. It turned out to be a reed organ bench. 6) Beehive Organ Reeds is no longer in business as a source for restorers 7) Bill Koenigsberg recommended PC World as source of helpful information. Treasurer’s Report: Current balance is $1551.46 Secretary Report: Was not read Next Meeting: 4 places were offered: Gerry and Gale Bay in RI, Ed & Jean Everett in NH, Bob Hunt in ME and Clair and Bob Bowerman in RI.
Some of the group enjoying the Williams’ beautiful backyard; Members toured Chris’ shop, generally entertained them- don’t see anyone in the pool! selves, bought and sold items, and enjoyed a varied repast. Respectfully submitted, Ginger Christiansen, Secretary AMICA - Boston Area Chapter
228 MECHANICAL MUSIC by Kevin McElhone As an AMICA project, the Midwest Chapter has available copies of the book “Mechanical Music” by Kevin McElhone for a very reasonable cost. The 4”x 8” paperback book is an excellent introduction to all aspects of automatic musical instruments including history, descriptions, and basic principles of operation. The book has 48 pages with over 100 color photographs including a photograph of J. Lawrence Cook at his arranging piano. The book is ideal to acquaint individuals to automatic music and encourage prospective collectors to participate in AMICA. AMICA members who host groups and individuals for display and demonstration of their instruments should have a number of copies on hand to make available to people that wish to learn more and/or have a memento of their visit. Each book will be provided with a large AMICA label on the inside front cover and an AMICA membership pamphlet insert. The book is to be provided at cost including postage within the continental US for $6.00 each for 1 to 9 copies and $5.00 each for 10 or more copies. Payable by cash or personal check made out to Michael Barnhart. Contact Mike Barnhart, 919 Lantern Glow Trail, Dayton, OH 45431, phone 937-254-5580, e-mail [email protected]
The Augustiner Museum Freiburg, Germany Announces the Opening of the Grand Exhibit “100 Years of the Welte-Mignon Piano” September 16, 2005 to January 8, 2006 See and hear the history, instruments (some on special loan to the museum), people, and artists of a past and glorious age of piano music recording. The exhibit includes many items never before displayed from personal collections around the world! Exhibition Catalog available a must for all piano and music collectors.
For details and additional information please contact: [email protected] Mike Kukral recommends accommodations a few hundred feet away from the Museum at “Hotel Schwarzwaelderhof”. E-mail: [email protected] (5-05)
229 ADVERTISING FOR SALE G ROLL COIN OPERATED PIANO with Xylophone and Pipes GENERAL INFORMATION ABOUT $5500. Coin operated barrel Street Piano wih bells $1800. Apt. size ALL ADVERTISING IN THE AMICA BULLETIN early Player Piano Elect. or pump $1200. Paul Cuoco, 113 Monument All advertising should be directed to: Ave., Wyoming, PA 18644 Phone 570-693-2764. (5-05) Mike Kukral 4’-8” AMPICO grand, 1931 Haines Bros. William and Mary case 216 Madison Blvd. with matching bench, restored A/B player works beautifully. $15,000. Terre Haute, Indiana 47803 offers. Available: 5’-4” Knabe AMPICO “A” mahogany (1925), 5’-2” Phone: 812-238-9656 MW AMPICO “A” mahogany (1924), MW studio AMPICO A/B e-mail: [email protected] Ad copy must contain text directly related to the product/service (1930), Knabe, large upright AMPICO “A” (1919). 404-378-1949 being offered. Extraneous text will be deleted at the Publisher’s (Georgia) (1-06) discretion. All advertising must be accompanied by payment in MANY AMPICO parts including pumps, SIX player pianos in good U.S. funds. No telephone ads or written ads without payment will condition, benches, stacks, air motors, motors, etc. All for $1200. be accepted. This policy was established by a unanimous vote of Contact Bruce Mercer at [email protected]. (4-05) the AMICA Board at the 1991 Board Meeting and reaffirmed at the 1992 meeting. AMICA reserves the right to edit or to 1929 CHICKERING ART CASE AMPICO A Grand scarce 5’4” reject any ad deemed inappropriate or not in keeping with Spanish Mediterranean harpsichord style, with 9 legs, spreaders and AMICA’s objectives. wrought-iron furniture. I’m only aware of one other in a collection. Older restoration plays well, with a little very minor finish crazing. The BULLETIN accepts advertising without endorsement, implied or otherwise, of the products or services being offered. Bench, roll cabinet and numerous rolls included for $15,995. Charlie Publication of business advertising in no way implies AMICA’s Poulton, Tampa FL 813-973-7030 [email protected] (5-05) endorsement of any commercial operation. PIANOLA “PUSH UP” piano player. Very rare 65-88-note version AMICA PUBLICATIONS RESERVES THE RIGHT TO (one of two known). Mfg. by The Orchestrelle Co., London, circa 1908. ACCEPT, REJECT, OR EDIT ANY AND ALL Restored circa 1995. With 80 rolls, including original 65-note test roll. SUBMITTED ARTICLES AND ADVERTISING. Photos available. $7,500 firm. Dick Howe, 73 Saddlebrook Lane, Houston, TX 77024, 713-680-9945 [email protected] (5-05) All items for publication must be submitted directly to the 1923 MARSHALL AND WENDELL GRAND Piano with Ampico Publisher for consideration. attachment Serial No. 107203. Bench included with many rolls. Major CLASSIFIED AD RATES FOR AMICA MEMBERS: overhaul and recent cleaning by Vincent Wukmir of Piano Masters, 1-50 Words ...... $10.00 Upland CA. Contact Helen Storland 357 N. Trayer Ave. Glendora CA 51-100 Words ...... $20.00 91741, 626-335-4796 or [email protected] (4-05) 101-150 Words ...... $30.00 PIANOCORDER P-100 KIT, SER. NO. 07530 (=1987), In orig. Non-member rates are double for all advertising. factory carton, never installed in piano, $500. Tape deck, power supply and some circuit boards are replacements because I used originals to DISPLAY ADVERTISING service piano installations, but everything is new condition. Wade 1 Full Page — 7 /2 " x 10" ...... $150.00 Johnson, RI [email protected] 401-934-3049 Also tape Vols. Half Page — 71/2 " x 43/4" ...... $ 80.00 2, 3, 7, 11, and 12, $30 each. (4-05) Quarter Page —35/8 " x 43/4" ...... $ 45.00 Business Card — 31/2 " x 2" ...... $ 30.00 1926 KNABE 5’4” Ampico grand player piano. Very good condition, Special 6 for 5 Ad Offer - Place any ad, with no changes, for a plays well. Serial #14800. Mahogany bench included, rolls included. full year (6 issues), and pay for only 5 issues. Payable in advance. Call Richard at 949-489-3717 or cell 949-280-1943 $3,000.00 (4-05) Photographs or halftones $15.00 each HANDMADE BARREL AND PNEUMATIC ORGANS made in Loose Sheet or Insert Advertising: Inquire Germany. With moving figurines and a lot of humorous surprises. We recommend that display advertisers supply camera-ready See: www.magic-mechanical-music.de Musik & Spiel Automaten copy. Copy that is oversized or undersized will be changed to Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2; correct size at your cost. We can prepare advertisements from Tel: 07626-7613, Fax 07626-971009 (6-05) your suggested layout at cost. 1924 STEINWAY OR Duo-Art walnut Art case w/veneer damage PAYMENT: U.S. funds must accompany ad order. Make check from fire on one side, rebuilt player, in crates, w/new Ivory keys payable to AMICA INTERNATIONAL. Typesetting and $11,500 Condition: D; 1995 BALDWIN 4’7” red polish Mah. layout size alterations charges will be billed. W/Pianodisc $8,900 Cond.: A; 1987 YAMAHA G2 Ivory polish DEADLINES: Submissions must be received no later than the s/Pianomation $8,900 Cond.: A; 1920 FRANKLIN 56” Ampico Mah. first of the odd months (January, March, May, July, September, $3,500 Cond.: B+; MARIONETTE AMPICO GRAND original November). The Bulletin will be mailed the second week of the complete w/matching bench $2,500 Cond.: C-; 1995 STORY & even months. CLARK 42” Wal. $2,500; AMERICAN PLAYER PIANO 48” (Rev. 5-05) Studio, $2,900. Contact: Schroeder’s Pianos 562-923-2311 (4-05) NEW PIANO ROLL BOXES-Duo-Art Audiographic series-Exactly like the originals! Maroon with Gold Printing, all 3 sizes available! (small & medium are “Top Hat” style) $7.00 ea. Quantities are limited, so get them before they are all gone! AMPICO “Top Hat” boxes-Black “Talent is a target no one else can hit; Leather with Gold Printing and False Bottom, Exactly like the originals, $4.00 ea. 88 note roll boxes in two sizes-Large (fits 2 3/4 flange) Genius hits a target no one else can see.” covered with Black Alligator paper (Top), Black Leather (Bottom). Or Brown Leather Paper (Top & Bottom) $3.00 ea. Small (fits 2” flange) - Arthur Schopenhauer (1788-1860) Covered with Black or Tan Leather Paper (Top), White Litho (Bottom) $1.50 ea. Other repair supplies available-Parchment Leaders, Tabs, Tubes, Flanges, Repair Tissue. Quantity discounts available. Rich Ingram [email protected] (760) 244-ROLL (7655) (4-05) 230 STEINWAY RED WELTE GRAND (T-lOO),Hamburg Model 0 , with original rolls. Please contact [email protected] for additional information. Alejandro Radchik , Av. Mexico 37-507 , Condesa 06 100, Mexico, OF. [Mexico City] Tel.: 0 11- 52-555-419-5374 (4-05) BENNET LEEDY RESTORATIONS AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS. 4660 HAGAR SHORE ROAD New Recuts and Originals, including "Jumbo" and Program Rolls. Also N.O.S. QRS 88 Note rolls. Dave Caldwell, 400 Lincoln Lake Ave. N.E. COLOMA MI 49038 Lowell, MI 4933 1; Check out my website: www.revealer.corn/caldwell/ Phone 269-468-5986 email: DavidWFromMI @webtv.net; phone: 616-897-5609. (1-06) Fax 269-468-0019 WANTED email: [email protected] OAK BENCH or STOOL for 1879 oak pump organ. Please call or email at469-698-0560 0r brun05000@ea rthlink.net (5-05) The THREE FOOT PEDALS for an Ampico Upright Piano. These High quality restorations of Ampico, piano pedals have a hole and set screw. Vince Ricca (614) 488-4208, Duo-Art, Welte and other reproducing cricca@w ideopenwest.com (4-05) pianos . All makes of 88 note player FILMUSIC, PICTUROLLS, AND SUPERTONE PIANO ROLLS wanted. Call Alex at 209-478-0099. (4-05) pianos , and other automatic instruments. RED WELTE MIGNON piano rolls (T-100). Paying top dollar. Mike Kukral 812-238-9656 or Kukra [email protected] (6-05) WANTED: 88-NOTE ETHNIC ROLLS, especially Russian, Greek, Jewish, Hungarian, and Syrian. Happy to buy, trade, or borrow rolls for copying. Excellent references. Help spread diversity! Contact Bob Berkman at bobb@qrsinc com or 716-882-1826 (4-05) ANNOUNCEMENTS A tour of Mechanical Music and Christmas Markets in Black Forest. Museum and Private Collections in Freiburg - "100 Years Welte"; Triberg, Waldkirch; Elztall; Furtwangen Musical Clocks; Welte Restoration in Ettlingen; Speyer and famous Bruchsal. Dec 1-10, 2005. $1 ,795 per person including air from NYC. Brochure? 1-800-262-4284 or [email protected]
www.BluesRolls.com ** Since 1988 ** Rare vintage player piano rolls reissued - over 400 great ragtime, blues and popular 88-Note music rolls; Ampico, Duo-Art, and Welte Licensee rolls ofpopular and classical music are available, as well as "A" roll recuts for your nickelodeon piano. A NEW LIST of fine Duo-Art classical (and some pop) music and Welte popular (and some classical) rolls is now IN STOCK and READY TO SHIP! Twenty of each, plus new 88-note BLUES recuts by such greats as James P. Johnson and "Fats" Waller. Browse to www.bluesrolls.com or email for details: robdelandeabluesrolls.com. You can also call or write for a list - please specify which type of roll interests you! BluesTone Music Rolls Rob DeLand / 485 Gatewood Lane Grayslake,IL 60030 / 847-548-6416 (6-05)
231 BENNET LEEDY ROLLS
.JOHN WRASSE THE PIANO ROLL CENTER <; ) , PIANO MOVING 4660 HAGAR SHORE ROAD COLOMA MI 49038 Specializing in: Phone 269-468-5986 Player Grands, Nickelodeons & Orchestrions Fax 269-468-0019 Anywhere in Continental US email: [email protected] ••• • • • 25 years experience Reproducing, 88 note, 65 note, rolls. Knowledgeable Rebuilder Well-known. References Available Musical related publications and other Insured collectibles for sale by mail auctions. • •• • •• Serving collectors since 1970. Your instrument is wrapped, padded and Contact us to receive our auction lists. secured for transport in an insulated, clean custom-built heavy-duty trailer. Professional and personal service. f ~ . .;.,~" ~'
John P. Wrasse, Piano Pro . " I 31449 216th St., Bellevue, IA 52031 Vj Phone: 563-872-3495 - Cell: 583-580-2472 - E-mail: [email protected] -
(6-05) Web Page: www.leedyrolls.com (4·05)
I 'I ~ ' r WANTED TO BUY =:; ': MUSIC BOXES .. MUSICAL CLOCKS MECHANICAL ORGANS Always in the market for better quality disc and cylinder music boxes, musical clocks, singing birds, band organs, ---.-- ,._._- player organs, monkey organs, Wurlitzer 78 rpm jukeboxes, ;::,~:;-:~' - slot machines. Any condition. ?~,~, >.,1 '.!.'.;,.. ~ "~t MARTIN ROENIGK ~; t" \ 75 Prospect Avenue , .. ,;.'; ·t.[ ' ~ : : ~.~ Eureka Springs, AR 72632 '" ,"
-~ ~.,- -" " , ....- ..... I (800) 671-6333 • (479) 253-0405 ___ r . ~ . - ""- --. J ~ www.mechantiques.com·[email protected] ~ 232 LEEDY BROTHERS MUSIC ROLLS 4660 HAGAR SHORE ROAD COLOMA MI 49038 Phone 269-468-5986 Fax 269-468-0019 email: [email protected] Welte Licensee DUO-ART AMPICO 88 NOTE Limited edition reissues and new music rolls. Contact us or check our web page for our latest list of music rolls. Web page www.leedyrolls.com
(4-05)
TRAIN TOUR & AMPICO - DUO-ART CONVENTION WELTE - RECORDO 88 NOTE Join us for a unique tour of the premier minia ture railways-- of Northern California. This tour, Including, Jumbo, Program and Medley Rolls which will visit world renown railroads, such as the Redwood Valley RJory. and Sonoma Offering listings of new recut and original rolls Irainiown, will also take you to very private of above for direct purchasing, without bidding. and exclusive railway s that can only be seen Also buying small and large collections on one of our tours. Dates: September 25 October 2, 2005. Write or e-mail for listings and prices. Include P.O. address Can't get away for a tour? Come join us for and type you're interested in. our one-of-a-kind Grand Scales Convention, Sept. 30 - Oct. 2, 2005, in Reedley, California http://www.revealer.com/caldwell/ (near Fresno). There you will be treated to Dave Caldwell plenty of train rides, be educated and enter tained by our seminar speakers, and can even 400 Lincoln Lake Ave., N.E. run a locomotive! For details, please contact Lowell, MI 49331 530-527-0141 or visit our web site: 616-897-5609 www.grandscales.com [email protected] (1-06)
233 n~\ Northwest Band Organ Rally ~t {l\a"er Vianv IerJll A Complete Restoration Service Ce \ The Pacific Can-Am Chapter of AMlCA is Sponsoring For The Pneumatic Piano .i their third Band Organ Rally, this year in Complete pianos and player systems restored using factory Leavenworth, Washington original techniques by an experienced professional. Complete August 20 and 21, 2005 or partial systems can be sent to my shop for restorations. I supply special UPS cartons for this unique service . in the Cascade Mountains of Washington . What a wonderful place to spend part of your vacation Ben Gottfried in the Evergreen State of Washington! 464 Dugan Rd.. Richfield Springs, NY 13439 _Leavenworth is on Highway 2 which goes across the 315-858-2164 (6-05) - mountainrangefrom Seattle to Wenatchee just east of ..._ Steven's Pass ; The village made itself over in the : Bavarian Style . You wouldn't know that you weren 't --- .- in the German Alps when/ou drive into town. -In addition to the Happy' Sound of our member's Organs . of alldescriptions there are.lots of shops within hearing distance. Of course German food is plentiful. On top of this, the village ishosting a Wine Tasting Festival Visit the AMICA Web Page sponsored by the CascadeFoothills Farmland-Association! Travelingwith a Monkey Organ? Hurdy Gurdy?20ft. Fair Organ? at 'Join-us.There's no registration fee! Just let lis know you're ~c~~ng , in that case , so we can ~ake room for you. For more information write or call: www.amica.org Robert K. Wilson 2564 38th Ave W, Seattle, WA 98199-3202. Phone: 206-282-5248, Fax: 206-691-9963 E-mail: [email protected] (4-05)
.~""'~O";. u - ee- ~ j ~s& BARTON PlAYER PIANOS Full pneumatic and piano restoration services -30 yrs. expo ~ 2715-4TH ST. S.E., Mpls., MN 55414 612 378-1102 * 100s ofnew and used piano rolls * restored 1928 FischerspinetAmpico $8500 reduced to $6500 * 1931 Stroud Grand wi"late" Duo An System (easy to maintain piano action). Piano in good original condition. Player 90% restored. $5,995. * Marshall & Wendell Ampico Grand. Rebuilt B.a. * Stunning 1912 Schimmel UR Refinished 1/4 sawn Oak case wi planomation system. $8995 folowing pianos not on site * 1925 Mason & Hamlin AmpicoA. Case refinished. Ampico system rebuilt 20 yrs. ago. Piano XL original condition. $15,000 reduced to $13,500. * 1917Anniversary edition Melville Clark 6' Chickering I. \, - Grand. Good to fair original condition. $3500
www.banonplayerpianos.com (3-05)
234 MARTY PERSKY Automatic Musical Instrument Specialist Serving Collectors and the Trade Worldwide Instrument Brokering & Locating Collections / Estates / Individual Instruments Appraisals / Inspections / Free Consultation Some Great Instruments Offered Ð Call for Images & Videos
6’2” RAA Mason&Hamlin AMPICO A Knabe Ampico B Link E with xylophone super piano must sell 12,000 w / Ampichron and torch glass 17,000
Nat’l Dog Race w / Selector 23,000 Big Bruder Playing 165 rolls 18,500 Paillard 31cyls 22,500
Also Regina 27” Changer 23,000, Mills Single Violano unrestored 18,750, Regina Desk 14,500, Wurlitzer 146 A with bells, Polyphon Mikado 16,000, other Music Boxes, Automata, Books, etc.
Website: www.MechMusic.com
Tel. 847-675-6144 6514 N. Trumbull Ave. Fax. 847-675-6160 Lincolnwood, IL 60712 USA E-mail: [email protected] (6-05)
235 REPLACEMENT LEADERS These 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types of reproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes. To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharp knife, discard scrap, and butt-join with magic mending tape on top surface.
A. Brown on buff B. Black on ivory C. Black on ivory D. Black on ivory (For early red label boxes) (Area for reusable (Most common) (Very late rolls by combined artist photo) Aeolian/American)
Note: Early Welte’s with blue leaders may be repaired with this brown leader. Many of these when reissued had brown leaders.
E. Green on ivory F. Green on ivory G. Welte (Most common) (Favorite Fifty & Brown on buff Selected Roll Service) (Most common)
Please make checks payable to Checks or money Price: $ 1.00 each Style Quantity AMICA INTERNATIONAL, orders from foreign Minimum Order: $10.00 A ______And send to: countries must B ______be drawn on C ______BRIAN K. MEEDER U.S. bank. D ______904A West Victoria Street Postage and Handling $ 5.50 Santa Barbara, CA 93101-4745 E ______Roll Order $ ______F ______e-mail address for orders: G [email protected] Total Amount (U.S. $) $ ______Total Quantity ______
236
BIG SONG HIT OF "PASSING SHOW OF 1917"at N.Y. WINTER GARDE
WORDS BY C.FRANCIS REISNER AND ENNY DAVIS MUSIC BY ILL: ~ BASl POPULAR Lr. EDITION LEO. FEIST'N C: -~ NEWYORK HERMA" DAAEWSKI MUSIC PUBUSHJHG CO.LOHDON.[IilG.