The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JULY/AUGUST 2006 VOLUME 43, 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 • Editor Emeritus: Robin Pratt

VOLUME 43, Number 4 July/August 2006 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Rudolph Ganz ...... From Piano Mastery Vol. 1 . . . .205 Letters to the Publisher The Music World Mourns ...... From Daily News . . . .206 Chapter News Welte-Mignon Recordings by Rudolph Ganz ...... Mike Kukral . . . .207 UPCOMING PUBLICATION Duo-Art Recordings by Rudolph Ganz ...... Mike Kukral . . . .209 DEADLINES The ads and articles must be received Steinways, Warhols and Antique Cars . . . . .From The Morning Call . . . .211 by the Publisher on the 1st of the The First Jazz Piano Rolls ...... From The Boogie Beat . . . .213 Odd number months: January July Foot-Power ...... From Music Trade Indicator . . . .220 March September May November Zaharako’s Sells ...... From therepublic.com . . . .220 Bulletins will be mailed on the 2nd week Those Blues are Back ...... From Sunday News . . . .222 of the even months. Two Interesting Welte Ads ...... Jeffrey Morgan . . . .224 Dr. Michael A. Kukral, Publisher A Blip in Time ...... Yousuf Wilson . . . .227 216 Madison Blvd. Terre Haute, Indiana 47803-1912 They Remember Him ...... From Milwaukee Journal . . . .237 Phone: 812-238-9656 e-mail: [email protected] Grandpa’s Pianos ...... Katherine Emmons . . . .244 Murtogh D. Guinness ...... From The New Jersey Herald . . . .245 Mana-Zucca ...... From Miami Beach Times . . . .245 MEMBERSHIP SERVICES

DEPARTMENTS New Memberships ...... $47.00 AMICA International ...... 202 Renewals ...... $47.00 President’s Message ...... 203 Additional $5.00 due if renewed past the Jan. 31 deadline Publisher’s Message ...... 203 Address changes and corrections Letters to the Editor ...... 204 Directory information updates New Piano Rolls & Recuts ...... 246 Additional copies of They Shall Be Remembered ...... 248 Member Directory . . . . $25.00 Chapter News ...... 249 Single copies of back issues Classified Ads ...... ($10.00 per issue - based 258 upon availability) Front Cover: Rudolph Ganz. Duo-Art Editor and artist, , , conductor. Uncle of AMICA Honorary Felix Ganz. Contributed by Bill Knorp and Robin Pratt. William Chapman (Bill) 53685 Avenida Bermudas Inside Front: Two old Ads: Steinway Welte & Monola. Submitted by MikeKukral. La Quinta, CA 92253-3586 Back Cover: Photo from Wilson article. “Hitchy Koo”-In a burst of enthusiasm, I (760) 564-2951 e-mail: [email protected] managed to find a dozen matching sheet music to slide sets, but only a single piano roll turned up-“Hitchy Koo” in the collection of Palmer Mai of St. Louis. To ensure timely delivery of your Submitted by Yousuf Wilson. BULLETIN, please allow 6-weeks advance notice of address changes. Inside Back Cover: Duo-Art roll leader with Rudolph Ganz. Submitted by MikeKukral.

AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.

Entire contents © 2006 AMICA International Printed by Engler Printing Co., Fremont, OH ¥ [email protected] 201 AMICA INTERNATIONAL INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Mike Walter BOSTON AREA NORTHERN LIGHTS 65 Running Brook Dr. Pres: Bill Kownigsberg Pres: Phillip Baird Lancaster, NY 14086-3314 Vice Pres: Bob Hunt Vice Pres: Paul Watkins 716-656-9583 Sec: Ken Volk Sec: Jason E. Beyer - 507-454-3124 e-mail: [email protected] Treas: Dorothy Bromage Treas: Barbara Watkins Board Rep: Bob Hunt Reporter: Dorothy Olds PAST PRESIDENT Dan C. Brown Board Rep: Dorothy Olds N. 4828 Monroe Street CHICAGO AREA Spokane, WA 99205-5354 Pres: Mel Septon - 847-679-3455 PACIFIC CAN-AM 509-325-2626 Sec: Carol Veome Pres: Halie Dodrill [email protected] e-mail: [email protected] Vice Pres: Troy Taylor Treas: Joe Pekarek Sec: Brian Tate VICE PRESIDENT John Motto-Ros Reporter: Curt Clifford Treas: Jack & Mary Lou Becvar P.O. Box 908 Board Rep: George Wilder Reporter: Ron Babb Sutter Creek, CA 95685-0908 FOUNDING CHAPTER Bd. Rep: Carl Dodrill - 206-236-0067 209-267-9252 e-mail: [email protected] Pres: John Ulrich - 510-223-9587 ROCKY MOUNTAIN Vice Pres: Bing Gibbs & Karen Simons Pres: Larry Kerecman - 303-377-7729 SECRETARY Florie Hirsch Sec: Jack and Dianne Edwards Vice Pres: Jere DeBacker 8917 Wooden Bridge Rd., Potomac, MD 20854-2448 [email protected] Sec: Louise Lucero 301-340-6664 Treas/Bd Rep: Richard Reutlinger Treas: Fred Wilson e-mail: [email protected] Reporter: Bonnie and Bob Gonzalez Reporter: Jere DeBacker TREASURER Wesley Neff SIERRA NEVADA 128 Church Hill Drive, Findlay, Ohio 45840 GATEWAY CHAPTER Pres: Yousuf Wilson - 636-665-5187 Pres: John Motto-Ros - 209-267-9252 419-423-4827 Vice Pres: Alex Thompson e-mail: [email protected] Vice Pres: Gary Craig - 314-771-1244 Sec: Mary Wilson Sec: Sonja Lemon PUBLISHER Dr. Michael A. Kukral Treas: Cynthia Craig Treas: Doug & Vicki Mahr 216 Madison Blvd., Terre Haute, IN 47803-1912 Reporter/Bd.Rep: Gary Craig Reporter: Nadine Motto-Ros 812-238-9656 Board Rep: John Motto-Ros [email protected] e-mail: [email protected] SOWNY (Southern Ontario, MEMBERSHIP SECRETARY William Chapman (Bill) HEART OF AMERICA Western New York) 53685 Avenida Bermudas, La Quinta, CA 92253-3586 Pres: Tom McAuley Pres: Mike Walter - 716-656-9583 Phone & Fax: 760-564-2951 Vice Pres: Robbie Tubbs Vice Pres: Daniel Tenerowicz e-mail: [email protected] Sec: Rick McDowell - 816-781-1965 Sec: Garry Lemon Treas: Mike Schoeppner - 816-767-9766 Treas: Holly Walter — COMMITTEES — Board Rep: Ron Connor [email protected] AMICA ARCHIVES Tom Hutchinson LADY LIBERTY Reporter: Garry & Anne Lemon 15361 Hopper Rd., Sturgeon, MO 65284 Board Rep: Audrey Cannizzaro [email protected] Pres: Bill Maguire Vice Pres: Aris John Dousmanis Photographer: Nancy Group & Anne AMICA MEMORIAL FUND Halie Dodrill Recording Sec: Bill Maguire Lemmon 4488 W. Mercer Way, Mercer Island, WA 98040-3934 Corresponding Sec: Richard Karlsson SOUTHERN CALIFORNIA 206-236-0067, e-mail: [email protected] Reporter:Buzz Rosa Pres: Jerry Pell - 760-249-6380 AUDIO-VISUAL & TECHNICAL Harold Malakinian Board Reps: Marvin & Dianne Polan Vice Pres: Frank Nix 2345 Forest Trail Dr., Troy, MI 48098 631-673-0388 Sec./Reporter: Shirley Nix Newsletter Editor: Bill Maguire Treas: Lloyd A. Osmundson CONVENTION COORDINATOR Frank Nix Board Rep: Frank Nix 6030 Oakdale Ave., Woodland Hills, CA 91367, 818-884-6849 MIDWEST (OH, MI, IN, KY) TEXAS Pres: Don Johnson - 248-650-1840 HONORARY MEMBERS Pres: Jerry Bacon - 214-328-9369 Vice Pres: Liz Barnhart Vice Pres: Bill Boruff Sec: Sharon Neff Treas: Vicki Brady Treas: Alvin Wulfekuhl WEBMASTER MANAGER Karl B. Ellison Sec./Reporter:Maureen Barisonek Reporter: Christy Counterman Board Rep: John McCall 6 Lions Lane, Salem, MA 01970-1784 Board Rep: Liz Barnhart e-mail: [email protected] AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS FRIENDS OF 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., WC1X 9RA 5342 HR Oss, Netherlands England England 202 President’s Message By the time you read this message, a new president will have been installed at the 2006 Chicago Convention. As outgoing President, I hope you will allow me the opportunity to thank all of the members of the Executive Committee for their commitment to AMICA and their willingness to be an active part of this great organization. I also wish to thank all of the members of the AMICA Board who have taken the time out of their busy schedules to reply to the numerous e-mails that they have received from me over the past two years concerning organizational business, and who also have come to the real meetings at the conventions. I also need to thank the many movers and shakers in our organization who actually make everything work. These include all those people on the “AMICA INTERNATIONAL” page of each bulletin, and a lot of others who promote our organization but get no official recognition for their efforts. I also urge the many of you who have only a few minutes to spare each month to become more active in our organization. It doesn’t take much time to promote our organization. Send for some AMICA brochures and drop them off at your doctor’s office when you go for a visit. Take some of the brochures to a music (piano) store and leave them there. Talk to a friend about organizing a band organ rally in your area. The opportunities are endless and the rewards are so great for your community! In closing, I ask each of our members to seriously consider becoming more active in our organization. Each individual in our organization has much to contribute and we want to hear from you! AMICAbly yours, Mike Walter

From the Publisher’s Desk GONE FISHING!

Mike Kukral, Publisher

AMICA Ð CONVENTION DATES Ð

2007 Germany/Holland July 5 - July 20

203 ETTERS TO THE EDITOR VFM, and in particular the news that Mr. his outstanding compositions and Stephen Kent Goodman, a world-renown world-class arrangements to the musical arranger, has recently joined international family of automatic Hi Mike, forces with us. We intend to produce an music instrument and roll collectors. How are things? From the sound of unprecedented offering of new music Mr. Goodman is one of the greatest your message in the latest publication, rolls for a wide variety of automatic arrangers of concert band music of you are doing great. It’s a great Bulletin, musical instruments, and I would like all time. His musical experience and thanks for your work in the to inform AMICA members of our ranges from Hollywood film scoring publication of it. I went to Spain with capabilities. to arranging for symphony . my Spanish teacher in the summer His work has been repeatedly honored (1)General information about Valley of 1971, right after high school by ASCAP. Forge Music Roll Company. graduation. It was a great trip and Valley Forge Music Roll Company we spent nearly a month in Pamplona, For the near term we are focusing is dedicated to the preservation of including the running of the bulls. What upon selected band organ and popular paper roll music originally intended a fun time. I saw my teacher at the nickelodeon formats. These will include for use in nickelodeons, band organs, theater in Denver a week or two ago Wurlitzer Style 150, Artizan/BAB orchestrions, home player pianos and and he is doing well at 70 now. He was 46-key, 65-Note APP, Caliola, Pianino, many other types of instruments. We always very active and fit, and I bet Mandolin PianOrchestra, A-roll, have the capability to optically scan he’ll live many more years. He has G-roll, and 88 note formats. Band organ and cut a perfect copy of virtually stopped taking kids to Europe, but did enthusiasts will be excited to learn that ANY paper roll, regardless of the it at least 25 times while he was we intend to issue genuine period ragtime original format in terms of width or teaching. and circus music. We plan to continually perforation spacing. We also arrange expand our arrangements to cover a original music rolls, and can construct Talk with you soon. greater number of instrument formats. customized line-ups of favorite tunes Jere DeBacker Please earmark our website for our customers. Our library of 1122 Harrison Street http://www.valleyforgemusicroll.com roll music is one of the largest in Denver, CO 80206 for future announcements regarding existence, numbering in the many tens [email protected] the availability of Stephen’s unique of thousands. Our on-line roll catalog arrangements. is the largest and most comprehensive Please do not hesitate to contact me at of its kind ever assembled in the area any time regarding further information of coin-operated music, and contains about Valley Forge Music. superb examples of some of the rarest Dear Mike, Sincerely, and most exciting music roll music I’m writing to request inclusion of Frank L. Himpsl discovered to date. Included are rolls new information as well as current for nickelodeons and band organs advertising rates in the AMICA journal. which haven’t been produced for 30 I own and operate the Valley Forge Valley Forge Music Roll Company years or more. Music Roll Co. and maintain the Neilson 604 Linnet Road Musical Museum and Archives in Oaks, (2)Announcing Stephen Kent Goodman Audubon, PA 19403 PA. We often host AMICA meetings and as our musical arranger. (484)-250-7046 roll shop tour members through the collection. It is my great pleasure to announce (610)-291-1841 my cell I would very much appreciate that Stephen Kent Goodman has http://www.valleyforgemusicroll.com your help in informing the AMICA joined forces with Valley Forge Music membership of the services we offer at Roll Co. for the purpose of offering

204 Contributed by Past Editors Bill Knorp & Robin Pratt

UDOLPH GANZ From Piano Mastery Vol. 1 CONSERVING ENERGY IN PIANO PRACTISE By Harriette Brower, 1911

merely indicating the effects I wanted. “I believe in teaching tonal contrasts We began, but in five minutes I found and tone color even to a beginner. Why “One of the most necessary things is myself playing with full force and vigor. should not the child form a concept of the conserving of vital energy in piano “In regard to methods in piano study forte and piano, and so get away from practise, said the pianist Rudolph Ganz there seems to be a diversity of opinion, the deadly monotony of mezzo? I have to me one day. “The wrong way is to resulting, I think, from the various ways written some little descriptive piano continually practise the piece as though of touching the keys—some players pieces, and my small boy learned one of you were playing it in public—that is using the tip and others the ball of the them to play for me. There is a closing to say, with all possible energy and finger. Busoni may be cited as one who phrase like this,” and Mr. Ganz illustrated emotion. Some of the now before employs the end of the finger—Pauer at the piano; “it is to be played forte, and the public do this, and it always makes also; while the Frenchman, Cortot, who is followed by a few notes to be touched me sorry for them, for I know what a has an exquisite tone, plays with the hand very softly, like an echo. It was really needless waste of energy and vital force almost flat on the keys, a method which beautiful to see how the little fellow it is. An actor, studying his lines, does not certainly insures weight of hand and arm. reached out for the pedal to make need to continually shout them in order Of course players generally, and teachers the loud part more emphatic, and then to learn how they should be interpreted. also, agree on the employment of arm played the echo very softly and neatly. Neither does the lyric actress practise her weight in playing. The principles of He had grasped the first principle of tone roles with full tones, for she is well used piano technic are surely but few. Was it color—namely tone contrast, and also a to saving her voice. Why then should not Liszt who said: ‘Play the right key poetic idea. the pianist exhaust himself and give out with the right finger, the right tone and “There are so many wonder children his whole strength merely in the daily the right intention—that is all!’ It seems in these days, and many marvels are routine of practise? I grant this principle to me piano technic has been pushed to accomplished by infant prodigies. Very of savings one’s self may not be easy to its limit, and there must be a reversal; we often, however, these wonder children learn, but it should be acquired by all may return to some of the older methods develop no further; they fail to fulfil their players, great and small. I think a pianist of touch and technic. early promise, or the expectations held of should be able to practise five or six “The vital thing in piano playing is to them. hours daily without fatigue. If the player bring out the composer’s meaning, plus “A youthful wonder in the field of is accustomed to husband his vital force your own inspiration and feeling. You composition is Eric Korngold, whose during the daily routine of practise, he must study deeply into the composer’s piano sonata I played in my New York can play a long, exacting program in idea, but you must also put your own recital. I have played this work eight pubic without weariness. In every day feeling, intensity and emotion into the times in all, during my present tour, practise one often does not need to play piece. And not only must you feel the often by request. To me it is most forte nor use the pedals; a tone of meaning yourself, but you must play it in interesting. I cannot say it is logical in medium power is sufficient. Suppose, for a way to touch others. There are many the development of its ideas; it often instance, you are studying the Chopin pianists who are not cultured musicians; seems as though the boy threw in Etude Op. 10, No. 12, with the left hand who think they know their Beethoven chords here and there with no particular arpeggio work. Every note and finger because they can play a few sonatas. In reason. Thus the effort of memorizing is must be in place, every mark of phrasing music ‘knowledge is power.’ We need all considerable, for I must always bear in obeyed; but during practise hours you possible knowledge, but we also need to mind that this C major chord has a C need not give the piece all its dashing feel the inspiration. One of the greatest sharp in it, or that such and such a chord vigor and bravura at every repetition. teachers of our time holds that personal is changed into a most unusual one. One Such a course would soon exhaust the inspiration is not necessary; for the cannot predict whether the boy will player. Yet every effect you wish to make feeling is all in the music itself. All we develop further. As you say, Mozart was must be thoroughly studied, must be in have to do is to play with such and such an infant prodigy, but if we judge mind, and used at intervals whenever a a dynamic quality of tone. Like a country from the first little compositions complete performance of the piece is doctor measuring out his drugs, this that have been preserved, he began desired. master apportions so many grains of very simply and worked up, whereas “As I said before, it is often difficult power for forte, for mezzo, for piano, Korngold begins at . His to control the impulse to ‘let loose,’ if the and so on. This plan puts a damper on compositions are full of the influence of work is an exciting one. At a recent individuality and enthusiasm, for Strauss. The critics have much to say rehearsal with the Symphony Orchestra, it means that everything must be coldly for and against these early works. I do I told the men I would quietly run calculated. Such playing does not really not know the young composer personally, through the concerto I was to play, warm the heart. though he has written me. In a recent

205 continued. . . letter which I have here, he expresses the On a later occasion, Mr. Ganz said: “I “One of the novelties lately added to thought that, though the critics have thoroughly believe in preserving one’s my repertoire is the Haydn sonata in D. found many things to disapprove of in enthusiasm for modern music, even On the same program I place the the sonata, the fact that I have found it though, at first glance, it does not attract Korngold sonata. A hundred years and worth studying and bringing out more one, or indeed seems almost impossible. I more divide the two works. While I than compensates him for all adverse enjoy studying new works, and learning revere the old, it interests me to criticism. To make the work known in what is the modern trend of thought keep abreast of the new thought in the great musical centers of America is in piano work; it keeps me young and musical art and life.” surely giving it wide publicity.” buoyant.

Submitted by Mike Kukral

HE MUSIC WORLD MOURNS Chicago Daily News, RUDOLPH GANZ, BUT HIS LEGACY AS Thursday, August 3, 1972 By Bernard Jacobson MAN AND ARTIST REMAINS Daily News Music Critic A last link with the contemporary cause by dedicating one of his most substantial piano works, Liszt passes on “Scarbo” from “,” to him. In a dedicatory letter, Ravel If there is anything in the field of expressed his eagerness to meet “the music that Rudolph Ganz didn’t do, it paradoxical virtuoso who interested probably wasn’t worth doing. himself in the music for the very reason Chicago’s senior musical citizen, who that it seemed to him new, and at the very died quietly at his Lake Shore Dr. home moment when our national virtuosos Wednesday at the age of 95, was a stubbornly insisted upon revealing with composer-performer of worldwide audacity the sonatas of Beethoven.” renown, a master teacher revered by Bartok—in 1910, when he was only several generations of now established 29—was another composer to write of ex-pupils, and one of our last direct links his gratitude for Ganz’ advocacy. And with Brahms and Liszt. unlike most devotees of the new, whether My own acquaintance with this great in the arts or in other fields, Ganz kept man’s exploits was necessarily somewhat his openness of mind and his freshness of second-hand, for our first meeting came perception intact through a long life. in 1967, the year after a severe stroke When he was already in his 80s, he had put an end to his performing career Rudolph Ganz Pianist, conductor, composer and teacher revised Ernest Hutcheson’s book “The and drastically curtailed his teaching Literature of the Piano,” adding a new activities. Astonishingly, these pursuits was touching and beautiful to watch chapter on piano technique and more had continued for more than seven Esther’s devotion as she helped him than 60 pages on modern works not decades with unabated vigor—as late through the frustrations a failing body included in the previous (1949) revision. as 1962, Ganz was giving premiere inflicts on an alert mind. RUDOLPH GANZ, WHO HAD performances of Webern songs at the But even then, Ganz continued to be BEEN a U. S. citizen for 47 years at the Seattle World’s Fair in partnership with an assiduous attender at musical events, time of his death, came from a world his second wife, Esther, and his last not only when his own former pupils very different from Chicago and a time concert appearance (again with Esther, were on the bill, but whenever the very different from today. Born in this time in a program of American program promised anything out of the , , on Feb. 24, 1877, he songs) was in Pittsburgh in1966. ordinary, and particularly when there was met Liszt (a photograph treasured in the AFTER THE 1966 ILLNESS, new music to be heard. It was, indeed, as family shows the man and the boy WHICH followed a milder stroke a year an encourager of young and together), heard Brahms play in Vienna earlier, public performance was no long performers and as a champion of their and studied with Busoni in . possible. Ganz’ fabled liveliness in music that he had done some of his most Curiously, he made his public debut at conversation, too, inevitably suffered: he valuable work since the century began. the age of 12 not as a pianist but, like that was still sharply aware of everything that As long ago as 1908, Ravel-a widely other celebrated nonagenarian Pablo went on around him, but he found it disparaged musical “radical” at the Casals, as a cellist. Five years later, a much harder to express himself, and it time—acknowledged Ganz’ devotion to performance of Beethoven’s Third Piano

206 continued. . .

Concerto with the Municipal two great beauties: the Outer Drive Orchestra of Lausanne launched and its future. him on the way toward acclaim as Mr. Ganz was named president one of the most brilliant pianists in of the college in 1933 and president living memory. emeritus in 1954, when the college But even before the turn of the was incorporated into Roosevelt century, Ganz’ energies were University. too effervescent to be contained AFTER retiring from active within the single career of a teaching, Mr. Ganz kept up an virtuoso instrumentalist. Two of his active interest in the city’s cultural compositions for string orchestra life, which he said one was were performed in Lausanne “awakening.” “We are moving,” he in 1895; and when the Berlin said. Philharmonic played his Symphony He had hoped a time would in E major, Op. 1, in 1900, Ganz come when a Chicago orchestra himself conducted. would play subscription concerts in It was in 1900, too, that he Rudolph Ganz was known for his deep dedication to music. outlying towns and youngsters married his first wife, the American- from throughout the Midwest would born singer Mary Forrest (who died in and Busoni—and he said repeatedly that gather here for music festivals. 1956), and that he came to Chicago. The these composers would take their place “It is our duty as a big city to furnish latter move was made in rather one day with the great com—“It is the state with cultural resources,” he said. disillusioning circumstances—Florenz adding to it.” MR. GANZ was married twice. In Ziegfeld, founder of Chicago Musical “The new music is not taking anything 1900 he married Mary Forrest, an College, engaged Ganz as head of the away from what we already have,” he American concert singer. She died in 1956. school’s piano department, but when the asserted. “It is adding to it.” Three years later, married Esther La Berge, 23-year-old immigrant had already Another time he said that “all the great a singer who now is an associate professor crossed the Atlantic he discovered that composers, Bach and Beethoven, were of voice at the Chicago Musical College. his contract was drawn up in terms of radicals in their time. We are living in an Rolf A. Weil, Roosevelt’s president, Swiss francs, not U.S. dollars, and that age of struggle and strife and you can’t issued a statement Wednesday saying his salary was thus to be a quarter of write namby-pamby music now.” “the entire Roosevelt community is what he was expecting. Ravel expressed his appreciation to deeply grieved to hear of the passing Mr. Ganz’s American debut took place Mr. Ganz for his support by dedicating of Dr. Rudolph Ganz, Chicago Musical here on May 10, 1902, and the next year his piano work, “Scarbo,” from “Gaspard College’s president emeritus, professor of he was a soloist with the Chicago de la Nuit,” to him. piano, educator, conductor and concert Symphony. He subsequently performed MR. GANZ left the city for six years, pianist.” with the and the from 1921-27, to be director of the St. BESIDES his wife, Mr. Ganz is Boston Symphony Orchestra and over Louis Symphony Orchestra. During that survived by a son, Anton Roy; a step- the years made annual musical tours of time he directed concerts in more than 75 daughter, Colette La Berge Collester, and the , Canada, Cuba and cities. a nephew, Felix Ganz, current dean of Europe. When he returned to Chicago in 1927 the Chicago Musical College. HE ENJOYED playing the works of to become vice president of the Chicago Memorial services are being planned composers who were little know then— Musical College it was to stay. He came for September. The family requested including Ravel, Debussy, d’Indy, Bartok to love the city and said once that is has that there be no flowers or visits.

Submitted by Mike Kukral ELTE-MIGNON RECORDINGS BY RUDOLPH GANZ 3063 ABENDLIED (Evening Song), Konzert-Paraphrase, *3904 AMOURETTE DE PIERROT—Stojowski in A-Minor (trans by Raff)—R. Schumann X-3904 do (3/22-1927) C-3063 do (6/23-1927) *3826 ANDANTE DE LA 36eme SYMPHONIE (From P-3063 do (Purple Seal) Symphony No 36) (trans by Saint-Saens)—F. Haydn *3941 ALLA MARCIA, fr “Sechs Characterstuecke”, 3059 “ANNEES DE PELERINAGE”: Sonetto 104 del op 34, no 6—Sinding Petrarca, Second Year, Italy, no 5, in E—Liszt

207 continued. . .

3048 BAUERNTANZ (Peasant Dance), op 24, no 3—R. Ganz C-3938 ddo (10/23-1927) B-3048 do (5/22-1927) *3947 Op 32, no 2, in A-flat—Chopin *3936 BEAR DANCE (Baerentanz) (Medvetanc), fr “Ten *3824 Op 75, no 8, in G, fr “Album de Peterhof” Easy Pieces”—Bartok —Anton Rubinstein *3943 BERCEUSE—Heller 3050 La NUIT (Die Nacht) (The Night), Etude, *3933 CANTIQUE d’AMOUR, fr “Harmonies poetiques et Charakterstueck—Glazounow (GN) religieuses”, no 10, in E—Liszt *3828 ORIENTALE, op 7, no. 2, in C-minor—Amani *3934 COURANTE—C. Scott X-3828 do (12/22-1927) 3043 ETUDE, op 10, no 6, in E-flat minor—Chopin *3935 PASSACAGLIA, fr “Pastoral Suite”—C. Scott D-3043 do (1916-1919) (C-3043, 1923-1927) *3939 PAVANE POUR UNE INFANTE DEFUNTE (Pavane *3937 ETUDE-CAPRICE, op 14, no 4—R. Ganz For A Dead Princess)—Ravel “PRELUDES”: 3057 FEUILLES d’ALBUM (Albumblaetter) 3044 Book II: no 5, Bruyeres; Book I, no 6, General Lavine, (Album Leaves), in A-flat—Liszt Eccentric—Debussy *3905 FUNERAL MARCH OF A MARIONETTE 3045 Book 1, no 8, La fille aux cheveux de lin; Book II, (Trauermarsch einer Marionette) (Marche funebre no 3, La puerto del vino—Debussy d’une marionette), in D-minor—Gounod F-3045 ddo (1916-1919) (C-3045, 1923-1927) M-3905 do (Purple Seal) *3822 La RETRAIT (Swiss March)—unl 3047 IM MAI (In May), op 23, no 3—R. Ganz 3060 “SCENES PITTORESQUES” (Malerische Szenen) “INTERMEZZI” (Picturesque Scenes), Fourth Orchestral Suite: no 2, 3046 Op 23, no 2—R. Ganz Air de ballet—Massenet (GN) 3040 Op 118, no 6, in E-flat minor—Brahms E-3060 do (1916-1919) (C-3060, 1923-1927) *3902 IRISH TUNE FROM COUNTY DERRY, fr 9017 ddo (Pianon) “British Folk-Music Settings”, no 6—Grainger 3042 SCHIFFERLIED AUF DER WOLGA, Russisches 3054 “LYRISCHE STUECKE”: Geheimnis (Secret), op 57, Volkslied (The Volga Boatmen’s Song) (Song Of The no 4—Grieg Volga Boatmen)(Song Of The Boatmen Of The Volga) (arrg by Cady)—Old Russian (GN) C-3054 do (9-22-1927) “MAERCHENBILDER” (Fairy Tales), Op 3: C-3042 do (2/22-1927) *3829 No 4, The Elves—Korngold P-3042 do (Purple Seal) *3901 No 7, Epilogue (Das Maerchen spricht den Epilog) 9009 ddo (Pianon) —Korngold 3049 SERENADE, op 24, no 2—R. Ganz 3041 MARINE, op 38—Chaminade (GN) *3944 SERENATA (Serenade), op 15, no 1, B-3041 do (3/23-1927) in D—Moszkowski 3037 “La MASTRALIA”: Buendner Landsgemeinde- P-3944 do (Purple Seal) (L-3944) Marsch, op 8, no 2—Barblan (9.VIII.13) (GN) *3942 SLAVONIAN CRADLE SONG—J. Klein SONATA, *3825 MAY NIGHT—Palmgren Op 2, no 2, in E… D-3825 do (2-22) (C-3825, 12/22-1927) “MAZURKAS”: 3055 1st and 2nd mvts—Korngold *3946 In E-minor—Chopin (no opus number listed) 3056 3rd and 4th mvts—Korngold *3945 In F-minor—Chopin (no opus number listed) *3903 SPANISH DANCE (Danza espanole): Andaluza (Playera), op 37, no 5—Granados 3062 Op 24, Second, in G-minor—Saint-Saens (GN) X-3903 do (7-22-1927) 3051 Op 103, Fourth, in B-flat—B. Godard (GN) *3827 SPINNING SONG, op 67, no 4 (Songs Without E-3051 ddo (1916-1919) (C-3051, 1923-1927) Words, no 34)—Mendelssohn 3052 Op 127, Fifth, in A-minor—B. Godard *3840 SWEDISH WEDDING MARCH (Schwedischer 3039 Menuett (Famous) (Celebrated), in A Hochzeitsmarsch) (Broellopsmarsch) (Marche nuptiale (arrg by Plante)—Boccherini (GN) swedoise), fr “The Wedding At Ulfasa” (operetta), F-3039 do (1916-1919) (C-3039, 1923-1927) op 12, no 1 (trans by composer)—Soederman 3058 MIGNONS LIED (Mignon’s Song): “Knowest Thou 3064 TRAEUME (Dreams), fr “Fuenf Gedichte” (or, The Land?”, fr “Sechs Poesies” (Six Poems), no 3, in “Wesendonck Lieder”, five songs after poems by F-sharp—Liszt Mathilde Wesendonck), no 5—R. Wagner (GN) F-3058 do (1916-1919) (D-3058, 6/22) (C-3058, 12/22-1927) 3053 VALSE (Walzer), Second, op 56, in B-flat—B. Godard P-3058 do (Purple Seal) 3061 VALSE DE CONCERT, op 69, in F—Moszkowski *3940 MINUET, fr “Six Minuets”, op 167, no 2, in C-3061 do (5/23-1927) G—Beethoven “NOCTURNES”: P-3061 do (Purple Seal) *3938 Op 9, no 1, in B-flat—Chopin *3932 VALSE OUBLIEE, no 1, in F-sharp—Liszt 208 Submitted by Mike Kukral UO-ART RECORDINGS BY RUDOLPH GANZ

6474(-4) AFTER MIDNIGHT, op 27, no 1—Ganz (10/21) 6504(-4)ISOLDE’S LOVE-DEATH (Liebestod) fr “Tristan 10121(5) AMERICA (National Hymn sr in G)—Carey? and Isolde” (trans by Liszt)—Wagner (2/22) Or “Thesaurus Musicus”? (7/22) “LIEBESTRAUME” (Dreams Of Love) Nocturnes—Liszt 1053s(9) The ANGELS ARE STOOPING (sr accomp Sop in B-flat)—Ganz (11-21) 5513(-4) No 2, Seliger Tod (Blissful Death)—(?2/14) 6070(-4) AVE MARIA (Meditation arrg fr J. S. Bach’s 6081(-4) No 3, O Lieb’ (O Love)—(12/18) ddo: Prelude 1 in C) fr “Well-Tempered Clavichord”— see Musical Bouquet Gounod (11/18) 6418(-3) LIEBESWALZER (Love-Waltz) (Love’s Waltz), 6200(-5) BALLET MUSIC, op 26 fr “Rosamunde” Valse d’Amour fr “Spring Suite”, op 57, no 5— (arrg by Ganz)—Schubert (11/19) Moszkowski (5/21) 523-4 “The BARBER OF SEVILLE” Overture /114-4 The LORELEY (Die Lorelei)—Liszt (4/27) (arrg by Ganz)—Rossini (1/26) A-88 do (annot by Kerridge)—(11/28) 7098-3 BERCEUSE fr “Jocelyn” (arrg by Ganz)— 11449-s LOVE AND SONG (sr accomp Sop or High Vce Godard (2-27) in A)—Ganz (12/24) 74728 BOLERO—Ravel (10/33) 7311-3 MALEGUENA, op 49, no 1 fr “Boabdil, 7378-4 CANTIQUE D’AMOUR (Song of Love), no 10 in The Moorish King”—Moszkowski (3/29) E fr “Harmonies Poetiques et Religieuses”— 5719(8) MAZURKA, op 33, no 2 in D—Chopin (1/16) Liszt (1/30) 6326(-5) (Second), op 54 in B-flat—Godard (9/20) 6141 CONCERTO (First), in E-flat, 1st mvt (Piano Part 6223(-5) (Fifth), op 127 in A-minor—Godard (1/20) only)—Liszt (?mid/19)(listing fr collector) 5636(-4) MELODIE, op 3, no 3 in E—Rachmaninoff (4/15) 6142 2nd mvt: Piano Part only—(?mid/19) 6381(-3) do, op 10, no 2—Ganz (1/21) 6143 3rd mvt: Piano Part only—(?mid/19) 13288-s A MEMORY (sr accomp in G)—Ganz (6/28) 5525 CHANT D’AMOUR (Song of Love), op 26, 5629(0) MENUETT, op 14, no 2—Ganz (3/15) no 3—Stojowski (?4/14) 7373-4 “The MERRY WIVES OF WINDSOR” 5517(-4) COUNTRY DANCE—MacFayden (?3/14) OVERTURE—Nicolai (12/29) do: 68550 CUBAN ECHOES (Vuelta Abajo)—Osgood (3/25) see Bulletin roll (December) 7057-3 ELEGIE, op 3 no 1 in E-flat—Rachmaninoff (9-26) 1005(9-5) MICAELA’S AIR fr “Carmen” (aria sr accomp 6823-4 ETUDE CAPRICE, op 14, no 4—Ganz (12/24) Contralto in E-flat)—Bizet (12/19) 6993-4 GAVOTTE (Second), op 5, no 2— br0106 do (accomp Vce in E-flat)—(by9/23) Sapellnikoff (4/26) 6255(-5) MIGNON’S SONG (Knowest Thou the Land Where 6571(-3) GONDOLIERA fr “Years of Pilgrimage”: Sweet Citron Blows?) , in F-sharp—Liszt (3/20) Venezia e Napoli, no 1—Liszt (11/22) 6172(-3) MURMURING ZEPHYRS, op 21, no 4 in G-flat— 1006(8-5) GRAVE IN (sr accomp Baritone or Low Jensen (9/19) Vce in G-minor)—Ganz (12/19) 6087(-4) MY JOY (My Joys) (Meine Freuden), op 74, no 12 6369(0) HUMORESQUE (Humoreske), op 101, no 7 in fr “Polish Songs” (trans by Liszt)—Chopin (1/19) G-flat—Dvorak (12/20) 6920-3 NARCISSUS, op 13, no 4 fr “Water Scenes”— A-65 do (annot by A. Milne)—(2/28) Nevin (10/25) 6526(-5) HUNGARIAN RHAPSODY no 15 in E A-79 do (children’s roll annot by Jones)—(8/28) (“Rakoczy March”)—Liszt (4/22) 6966-4 NOCTURNE, op 32, no 2 in A-flat—Chopin (2/26) 104559 ICH LIEBE DICH (I Love Thee), op 41, no 3 (piano 5680(0) NORWEGIAN BRIDAL PROCESSION (March), solo or bld sr, English & German)—Grieg (5/30) op 19, no 2 fr “Aus dem Volksleben”—Grieg (9/15) 11618 IL FAUT AIMER (Love Must Be) ( accomp Sop A-20 do (annot by Fowles)—(by 12/27) or High Vce in E)—Ganz (erly/25) D-295 do (children’s roll annot by Winn)—(3/27) br 8010 INTERMEZZO, op 118, no 2 in A—Brahms D-685 do (annot by Fowles) (PE 11/27) 11388-s IRISH LOVE SONG (Mavourneen), op 22 Scan-7 do (annot by Winn) (sr accomp Sop)—Lang (11-24) 6470(0) The OLD REFRAIN (Viennese Popular Song “after Mattulah”)—Kreisler (9/21) 209 continued. . .

S-31140 do (alt. roll)—(by 10/24) 1094(8) No 2, Rhapsodie Mauresque (accomp First Piano 5514(-4) L’ONDINE (Undine), op 101—Chaminade (2/14) Part only)—(12/22) 6489(-4) PERPETUAL MOTION (Rondo) fr Sonata (First), 1002(8) No 3, Reverie du Soir, in A (accomp Second Piano op 24 in C, 4th mvt—Weber (12/21) Part only)—(12/19) 1207-4 POLONAISE, op 77 (for Two Pianos, accomp First 1001(9) No 4, Marche Militaire Francaise, in G (accomp Piano Part only)—Saint-Saens Second Piano Part only)—(12/19) 7417-3 PROCESSION OF THE SARDAR fr “Caucasian 6064(8) The SWAN (le Cygne) fr “Carnival Of the Sketches”, no 4—Ippolitov-Ivanov (11/30) Animals”—Saint-Saens (10/18) 6285(-4) ROMANCE—Rachmaninoff (5/20) A-136 do (annot by Rene)—(11/29) 7295-3 In A-flat—Mozart (1/29) D-903 do (annot by Rene) 5842(0) Op 24, no 9 in D-flat—Sibelius (12/16) 5420 SYMPHONY (Jupiter), no 41 (k.551), 1st mvt: Allegro vivace (arrg by Ganz)—Mozart (11/28) A-11 ddo (annot by Dunham)—(by 12/27) D-821 ddo (annot by Mason) D-285 ddo (annot by Lee)—(by 3/27) 5430 2nd mvt: Andante cantabile—(11/28) D-631 ddo (annot by Dunham)—(PE 11/27) D-823 ddo (annot by Mason) 5660(0) Op 28, no 2 in F-sharp minor—Schumann (6/15) 5440 3rd mvt: Minuet and Trio (Allegretto)—(11/28) 6397(0) The ROSARY (“free piano” arrg trans by Ganz)— Nevin (3/21) D-825 ddo (annot by Mason) 6729-3 RUSTLE OF SPRING (Fruhlingsrauschen) (Voices 5450 4th mvt: Allegro molto—(11/28) Of Spring), op 32, no 3 in D-flat—Sinding (3/24) D-827 ddo (annot by Mason) A-5 do (annot by Gartlan)—(by 12/27) 5260 SYMPHONY (From the New World), op 95, no 5 in D-57 do (annot by Lowe)—(by 10/26) E-minor, 1st mvt: Adagio; Allegro molto (arrg by Ganz)—Dvorak (11/26) D-639 do (annot by Gartlan)—(PE 11/27) 5270 2nd mvt: Largo—(11/26) S-3103-3 do (alt.roll)—(by 10/24) 5290 3rd mvt: Scherzo (Molto vivace)—(12/26) 7358-4 SCHERZO, op 16, no 2 in F-sharp—d’Albert (11/29) ddo: see Bulletin roll (November) 5300 4th mvt: Allegro con fuoco—(1/27) 6205(-4) do (Third), op 39 in C-sharp minor—Chopin (12/19) 7208-4 TO A WATER LILY, op 51, no 6 fr “Woodland Sketches”; MARCH WIND, op 6 no 10 fr“Twelve D-87 ddo (annot by Jonson) Virtuoso Studies”—MacDowell (2/28) S-3112-4 ddo (alt. roll)—(by 10/24) 6936-4 VALSE CARNAVALESQUE, op 73 (Duet for Two 6683-3 The SECRET (Das Geheimniss), op 57, no 4 fr Pianos, First Piano Part only) ( a collector states: “Lyric Pieces”, Book 6, no 39—Grieg (11-23) “Second Part of Four Hand Duet”) 74440 “SEMIRAMIDE” OVERTURE—Rossini (2/32) 5530(-4) VECCHIO MINUETTO, op 18 in D—Sgambati br 0371 Roll 1—(by 7/34) (?4/14) br 0372 Roll 2—(by 7/34) 6674-3 WALTER’S PRIZE SONG (Walther’s Preislied) 74080 SERENADE fr “Swan Songs”, no 4 in D— fr “Die Meistersinger” (trans by Jaell)—Wagner Schubert (9/30) (10/23) 540-4 SLAVIC MARCH (March Slav), op 31 (arrg by 5653(-3) WELLENSPIEL (Play Of the Waves), op 14, Ganz)—Tchaikovsky (5/28) no 1—Ganz (5/15) 6835(-4) SONATA No 7 in D: Allegro con brio; Largo; 12388-s WHAT IS LOVE? (sr accomp High Vce, Tenor or Presto finale—Haydn (1/25) Sop, in D)—Ganz (9/25) 7288-4 SONATA EROICA (Second), op 50, 3rd mvt: 541-4 “ZAMPA” OVERTURE—Herold (10/28) Tenderly, longingly, yet with passion—MacDowell (12/28) GANZ & HUTCHESON 6358(0) SONG OF THE BOATMEN OF THE VOLGA (Song of the Haulers of the Volga) (trans by Cody) 515-6 FINGAL’S CAVE Overture (The Hebrides), op 26 —Russian (11/20) (arrg for Four Hands)—Mendelssohn (2/25) A-106 do (trans by Cody, annot by Jones)—(by 5/29) A-32 do (annot by Scholes)—(by 12/27) D-785 do (trans by Cody, annot by Jones) D-605 do (annot by Scholes)—(PE 11/27) 10126(5) The STAR-SPANGLED BANNER (sr)—Smith 539-4 FINLANDIA (Symphonic Poem for Orchestra), (7/22) “SUITE ALGERIENNE” (for Two Pianos)— op 26, no 7 (arrg for Four Hands)—Sieblius (4/28) Saint-Saens 536-4 “The MAGIC FLUTE” OVERTURE (arrg for Four Hands)—Mozart (10/27) 210 By Frank Whelan

TEINWAYS, The Morning Call WARHOLS AND ANTIQUE CARS Sunday, June 11, 2006 delightful performances. Chelsea A. At-Home Steinway A Dehner, Moravian ’08, held the room spellbound during a delightful Hit At Sunset Acres rendition of the song, first in German then in English, of “My Little Nest of They were singin’ in the rain out at Heavenly Blue” from Franz Lehar’s Sunset Acres on Friday, June 2. But 1932 operetta “Frasquita.” The despite the storm that struck the applause that greeted the performance Lehigh Valley that evening things was wonderful to hear. were warm and cheerful at the Dehner was accompanied by a former A. K. Laros estate in Suburban 1929 Knabe Ampico Reproducing Bethlehem, now the home of Richard Piano, the queen instrument of its day. Groman and his partner, that TC When Groman announced that the Grand Guy, Frank Shipman. dress Dehner was wearing was one The event was the second in Richard Groman (right) holds plaque for Pam and that had belonged to his grandmother Moravian College’s At-Home Erv Rokke (left), retiring president of Moravian College, and had been purchased in Paris in Steinway Series. In its quest for in a ceremony presenting a new Steinway piano to 1927, a second round of applause musical excellence, the college is in Moravian College. Also pictured is Jane Schultz, co-chair shook the room. the process of replacing its current of the At-Home Steinway Series concerts with Groman, at whose Bethlehem home the piano was unveiled. Dehner was followed by Shirley pianos with Steinways. Hart McBride, Moravian ’63, with a This fundraising event brought center of a circle of friends and clearly wonderful violin piece “Madrigale” by A. about 90 folks, including Scene, out on enjoying himself. Dr. Robert Wilson- Simonetti, also accompanied by the the damp June evening to hear and enjoy Black, Moravian’s vice president for Knabe Ampico. It was greeted by wide the player pianos of Richard Groman, institutional advancement, and wife Juli applause. Moravian Class of ’78. Wilson-Black were on hand. Scene Mark J. Love of Jacobs Music Co., The “Great Gatsby”- like setting of enjoyed our chat with Dr. Wilson-Black, the regional representative of Steinway, the event made it a truly exceptional who seemed delighted at the turn-out. then gave a preview of their latest cre- evening. Groman and Shipman have been Few in the room could miss Moravian ation, a 2006 Steinway & Sons Inc. Opus in the process of restoring the home to its College’s president Ervin Rokke and with the latest in player piano technolo- pre-stock-market-crash grandeur and are wife, Pam. It was while attending a gy. It is a truly wonderful instrument that doing a marvelous job. “I came out for concert with Rokke that Jane Schultz is a home entertainment system in itself the music,” one guest who asked to was inspired to create the At-Home and promises well for the future of remain incognito whispered to Scene, Steinway series. Schultz noted to Scene the industry. But I hope Scene will be “but I also really wanted to get a look at her family ties to Hugh E. Crilly, a 19th- forgiven for giving my heart to Groman’s this house.” and early 20th-century traction magnate 1929 Knabe Ampico. Groman and Shipman were perfect who, during his long local career, was The evening closed in the foyer hosts and seemed to be everywhere at both an ally and rival of Gen. Harry of Sunset Acres with the special once seeing to the comfort of their Trexler himself. presentation of Moravian’s newest guests. As the champagne and canapés When word spread that the concert Steinway in honor of the Rokkes. A flowed on a back porch by the pool, was about to begin, the porch quickly stirring rendition of “Proud Moravian” the guests mingled. T. Robin Cook of emptied and the living room filled. played by recent Moravian grad Keith Rob-Win Press noted to Scene what a After a brief welcome from Groman LaBar was the first piece performed on it. wonderful time he was having. and Rokke, the program, a brief tour The third At-Home Steinway event will Richard “Dick” Schantz, who d’horizon of player piano history by be held in June 2007 at the home of founded Moravian’s Music alliance, Groman followed, to which the guests Angeline (Jo) and Robert Pearce, with which aids in funding Moravian’s music listened with interest. Susan and George Boyer as co-hosts. projects was seen deep in conversation When he was done, the big room Stay tuned for more details. with local classical music maven George echoed to the sound of Groman’s 1910 Boyer. Schantz was kind enough to state Technola Player Piano’s playing of a little Wow of a Warhol Gala how much he enjoys “your social and ragtime ditty called Russian Rag. It at Art Museum history columns.” Thanks, Dick. was very period for those of you who To judge from the crowed of 1,200 Lehigh Valley Chamber Orchestra remember Robert Redford in “.” that gathered at the Allentown Art music director Donald Spieth was at the The “rag” was followed by two Museum on Saturday, June 3, the Lehigh

211 continued. . .

Valley has gone madly for Andy. The LCHS is on the lookout for items The crowd for the Warhol Preview from Hess’s to use for the exhibit. They Party was greeted by floral would appreciate any and all Hess’s arrangements wrapped in posters of related items that you might be willing the Great One’s works. There was the to loan to them for the show. For more ever popular Marilyn and those ever information, contact Erin Firestone at iconic soup cans standing by for the LCHS, 610-435-1074 ext. 20. guests to ogle. The menu stuck to the Warhol Diversity Network Photo Show theme. There was crabmeat mousse at Theatre Outlet with crackers prepared with For many years it was common to Campbell’s Mushroom Soup, hear people say they didn’t know any Pringles potato chips and Shake n’ gay people. The struggle for gay civil Bake Chicken. For the more rights and the tragedy of AIDS have upwardly mobile types, there were changed that. gourmet cheese with grape clusters, Allentown Gay activist Liz Bradbury decorated brie, steak au poivre bites is doing her part to give faces to the gay and duck a la orange skewers. people of the Lehigh Valley. She has Who was there? Well, Scene could taken photos of gay couples, some of go on. But life is short, art long and whom have been together for 30 years, we have to draw the line somewhere. Chelsea A. Dehner, Moravian College Class of 2008, for her exhibit, “100 couples: Facing Among the politicos were Charlie sings ‘My Little Nest of Heavenly Blue’ by Franz Lehar. Inequality.” and Pam Dent, Karen Beyer and She is accompanied by Richard Groman’s 1929 Knabe The photos will have their first public Ampico Reproducing Piano during a concert at showing on Thursday, June 15 at Ed and Lisa Pawlowski. Groman’s Bethlehem home. William and Mary Ann Heydt the Theatre Outlet at the SilkWerks were there, as were Heather Rodale, College, 3835 Green Pond Road, building, 930 N. Fourth St., Allentown. It Mal and Janet Gross and Ruth and Bethlehem. Admission is $17, adults; $5, is being coordinated with the comedy Charlie Marcon. Dick and Connie children 6-12; free children 5 and under. play “Psycho Beach Party.” The photo Cowen were in attendance, as were Ann Saturday’s events include an show begins at 7:45 p.m. The play at and Craig Bartholomew. Ann Eliza- automobile and memorabilia auction 8:30 p.m. The play will run until June 24. beth Schlegel—yes, the artist Ann Eliza- preview from 10 a.m. to noon and a In a prepared statement, Bradbury beth Schlegel of South Bethlehem—Jett Garden Party Reception and Dinner from says she got the idea for the project and Norman Sarachek and Edie Ritter 6:30 p.m. to 10 p.m. At 10 a.m. on when she heard a comment by came to enjoy the event. Sunday, the show field opens to Republican candidate for Pennsylvania Music was provided by Craig the public. From 10 to 11:30 a.m., the governor Lynn Swann in support Thatcher and Roger Latzgo, and guests Concours will be held. of a constitutional amendment banning went home with free exhibition The event funds the Burn Prevention gay marriages. posters and copies of Lehigh Valley Style. Foundation and the Lehigh Valley “Mr. Swann seemed to be implying According to the museum’s Shana Herb Hospital Burn Center. Tickets go on sale that if there were some kind of Johannessen, 25 people signed up as new at 8 a.m. Saturday. For more information, discriminatory constitutional amendment museum members. go to www.concourseast.org on the Web. the gay population of Pennsylvania Sounds like Andy’s still a draw. So would disappear,” says Bradbury. much for those famous 15 minutes. Lehigh County Historical “He and I guess many other people Society Puts Out A Call don’t seem to realize that we’re here, The Concours D’Elegance Hess’s lovers! The Lehigh County we’ve been around forever and that we’re Rides Again Historical Society wants you! If you are not going away. We’re good citizens, we It was the 1930s. If you were rich, like Scene, you undoubtedly have pay taxes, we’re your neighbors.” things were cheap. If you poor, thing something in the closet or attic that came Tickets for the event and play were cheap—but you had no money to from Hess’s department store. Scene still Thursday are $18, which includes a buy them. Crazy men with dreams of war cherishes a wonderful Harris Tweed gala reception with light food and wine. haunted Europe and Asia. And some of jacket purchased nearly 30 years ago, Cost of play tickets on other nights the most beautiful cars ever seen on and with tug here and there we can still range from $10 to $25. God’s green earth were created. fit in it. For more information on the The Concours d’Elegance of the On Oct. 7, 2006, the Lehigh County play call 610-820-9440 or visit Eastern United States looks back at that Historical Society plans to open an www.theatreoutlet.org. lost time. “The 1930s: A Decade of exhibit titled “The Wonderful World of Gay and lesbian couples who want Delight and Contradictions” is the theme Hess’s.” It will include a luncheon at the to be a part of the Pennsylvania for this year’s event that will be held Lehigh Valley Heritage Center on that Diversity Photo project or just want more on Saturday, June 17 and Sunday, date, and, on Nov. 3, a gala tribute at the information, can call 610-432-5449. June 18 at Northampton Community Holiday Inn Fogelsville.

212 By Independent Music Historian Mike Montgomery

HE FIRST JAZZ The Boogie Beat-Volume 3, Issue 1 PIANO ROLLS TO GET ON RECORD Winter/Spring 2005 AND THE BOOTLEG 78 REISSUE INDUSTRY There seem to be three categories of prices records and rolls at five or ten There were scads of records in music lovers who buy records (and CDs). cents each. And even though the those days. A lot of 78s supposedly There’s the casual record buyer who leads collectors probably did not have working disappeared during 1941-45 in the many a full and rewarding life and whose record player pianos at home to listen to the jazz scrap drives that were held to aid the U.S. collection is no more than 1,000 pieces rolls they picked up, they knew they war effort. In my town, bacon grease was (even including 78s, rerecorded cassette should rescue the obvious gems. turned in, and old tires contributed to tapes and CDs). He attends concerts, dines In addition to Morton rolls, they the remanufacture of new tires for the out, travels, does community volunteer picked up rolls credited to James P. military; and the shellac in old 78s work, and is good to his mother. Then Johnson, Thomas “Fats” Waller, was also reclaimed for some wartime there’s the record collector who more Eubie Blake, Cliff Jackson and Teddy purpose. Record buffs lament the number seriously haunts record stores, flea Weatherford; even Jimmy Blythe. As of great jazz records that were lost in this markets, estate sales and library book early as 1937, a group calling itself process, but I am skeptical to think that sales. This guy buys for himself and the United Hot Clubs of America got the collecting world lost items that keeps an eye open for things friends of permission to reissue out-of-print jazz couldn’t be found in the millions of items his may want. Other than that, he’s fairly 78s. The experts peg 1935 as the year the that escaped the scrap drives. normal. He is probably married, has a day “swing” era began. Jazz didn’t disappear; By 1950, the pages of the Record job, one or two cars and children. But the it just got a new name. And there were Changer were full of original 78s that serious Record Collector is the one who’s thousands, maybe millions (nation wide) could be won by bids of just two or obsessed about hunting and gathering of old records to buy—cheap. three dollars, and the record reissue recorded sound, in any form. In the early 1940s, a publication called phenomenon was now in high gear. The Record Collectors of old are the the Record Changer came into being. Below is a short list of some of the many ones who, if they had the money to This was primarily for the hot jazz and record labels that were cranking out spend, picked up new releases as soon as blues crowd. Each issue devoted the reissues of old, rare, out-of-print 78s. The they appeared on the shelves of the stores first half of the magazine to editorial Big Four (shown in bold caps below) in the late 20s. There are a few legendary comments, feature stories (with photos), were occasionally reissuing gems from guys who fit this description, but they’re label-of-the-month columns, and their vaults, but the proliferation all gone now. The second wave of display advertising. The last of items by other smaller Record Collectors got turned on to jazz half of each issue was for entrepreneurs shows that the and blues 78s in the 1930s and 40s. record disposition— Jazz Record Collectors These guys were smart enough to look straight priced sales, apparently wanted it for ragtime sheet music (if they saw it) and auctions of all; the newly-recorded and glance at the labels of used piano records. The Big stuff and the old stuff. rolls as they headed to the piles of Guys could take The prices ranged shellac. A few perceptive ones noticed that entire pages to list from 79 cents to Jelly Roll Morton’s name occasionally their records, and the $1.25 for two-sided appeared on piano rolls. There was so Little Guys could pay stuff. (Asterisks mean much of this stuff to look through that the for just a few lines for these labels reissued junk shops, to get rid of the stuff, usually their disposables and wants. old records.) *American Music Castle HMV *Parlophone Apollo *Century *HRS Rampart Atlantic Circle *Jazzman Savoy Atomic *COLUMBIA *Jazz Classics *Steiner-Davis Aladdin Commodore Jazz Info Signature Ash Coral Jump Swing *AFCDJ Comet Keynote *Special-Edition Blue Disc *Creole King Stinson Bluenote *Decatur London Sunrise *BRS *DECCA Mercury Swing Society *BRUNSWICK Dial *Mouldie Fygge *UHCA Black and White Exner MGM United Blue Star Good Time Jazz Paradox *VICTOR Bandwagon *HJCA *Paramount *West Coast Capitol 213 continued. . .

There was an unspoken state of mind went out of business I used to pump a mean foot-treadle in all this: “The reissued 78s must be in Feb. 1927, myself. Anyway, Mr. Jelly (better known the best of the bunch. Why would anyone when it was perhaps as The Great One) cut himself a rerecord any sides that weren’t top-notch purchased by few too, and this is a fine example, and musically?” And QRS, still in one that Sam Meltzer can be mighty so the panic business in proud of in every way. These two Jelly was on. the Bronx, standbys take on a whole different A few NY as the shading here and I wouldn’t come law suits Imperial up with the shorts on this one for took Industrial Co. anything-animal, mineral or vegetable. place Had anyone Git it!” (JCA 607) (B.M.) when thought to approach At last jazz fans who appreciated Jelly the small QRS for permission, Max Kortlander3 Roll Morton could hear a sample of his reissuers, would probably have been pleasantly roll performances. It is interesting to known as surprised and would have given his speculate that these 1924 Jelly rolls were Bootleggers, approval wholeheartedly. He might probably reaching a vastly wider and copied originals have asked for a credit line that more appreciative audience than they still in the vaults of the Big Four. The Big mentioned Imperial, but I doubt that ever got in the 1920s. Four were making money issuing current Max subscribed to the Record Changer So, by 1950 a few jazz and rag rolls recording artists like Les Paul and Mary or that he even knew about the HJCA began appearing on 10-inch 78 as Ford, Doris Day, Harry James and so on. and Biltmore reissues. So no harm done. reissues, enabling jazz lovers the chance Their decisions not to reissue the obscure And Jelly died in 1941 in California, so to enjoy and analyze some of the stuff were plain business decisions— he wouldn’t complain. legendary piano solo recordings made in they weren’t going to sell enough to The key reissue man in this country the 1920s by “name” pianists. Until the (probably) break even. was Sam Meltzer, a jazz record dealer in Record Collectors began picking these One amusing story concerns RCA- the Bronx, HJCA, Biltmore (which was gems out of the second-hand stores of the Victor. Each of the Big Four had special the first to reissue the only known copy country, few remembered them at all and service divisions which would take the of King Oliver’s 78 of Zulu’s Ball on almost all the roll companies had either entire output. One time, a Bootlegger Gennett), and Century were labels owned gone out of business or had destroyed the went to Victor and ordered a quantity and operated by Sam. In the Record “master” rolls. And no one, it seemed, of old Victor jazz records which Changer of March 1950, Sam’s ad had a concept – or a list – of all the great Victor, itself, didn’t recognize as its own offering jazz classics and HJCA reissues piano rolls that might be found. The list out-of-print material! [Each of the main had this plea for piano rolls: on the following page shows the few companies during the 1920s did this too. “Wanted Wanted Wanted Wanted rolls that were reissued, the 78 reissue Gennett, for example, issued records for labels, the original roll companies and the Ku Klux Clan using the Klan’s label. Any 44, 66 or 88 key player piano serial numbers, the artists (of course), They also recorded material for Homer rolls wanted by early jazz artists or and relevant remarks such as the names Rodeheaver, the white gospel singer, for ragtime piano stylists. Send lists of of the collectors who donated their rolls his Rainbow label. And Gennett made it your dispositions or send for our for reissue. (None of these names are possible for small jazz bands to get, say, want list.” known to me.) 100 disks of their own playing for local Sam was clearly fishing for good rolls There was a prevailing misconception sale and distribution. We call these but did not have a good handle on the that the rag rolls that turned up were, in Gennett Personal Recordings.] rare jazz rolls that were out there to find. all cases, played by their composers. The first jazz piano roll reissues onto Nevertheless, the Record Collectors Most of these rolls were not hand 78s were being advertised during 1950. responded as best they could. played by anyone. They were all The first two rolls were played by Jelly The Record Changer had two staff arranged by staff musicians who worked Roll Morton, thanks to some sharp-eyed writers at the time who faithfully for the various roll companies unless Record Collector, who in turn loaned reviewed (and usually touted) the new the label itself said “Played by…” These them to a Bootlegger to reissue onto a 78. reissues: George Avakian and Bucklin arrangers worked from published sheet Morton’s Vocalstyle rolls of Grandpa’s Moon. Moon, in the March 1950 RC, had music to convert the printed notes Spells and Stratford Hunch were issued this to say: into perforations, adding whatever was on a HJCA (Hot Jazz Club of America) “This is one of those records I’d like appropriate so that the finished 12” recording (HJCA 607). These cost to stand out on the street corner and performance was satisfying and true to $1.25. These same rolls were almost peddle myself, not that I need the the composer’s intent. immediately also issued on the (10”) change (ha!) but merely because I think Biltmore label. There was no original roll every family ought to have at least one. data shown on these labels. No one at the The era of the piano roll was a great one time seemed to know that Vocalstyle which many of you may have missed, but 214 continued. . .

Reissue Label & No. Roll Titles Original Roll Labels & Artists Remarks HJCA 607 Stratford Hunch Vocalstyle 50485-JRM A 12” Record HJCA 607 Grandpa’s Spells Vocalstyle 50487-JRM Sold for $1.25 Biltmore 1035 Stratford Hunch Vocalstyle 50485-JRM Now a 10” record Biltmore 1035 Grandpa’s Spells Vocalstyle 50487-JRM Sold for $0.79 Century 4000 Dead Man Blues QRS 3674-JRM Century 4000 Hock Shop Blues QRS 3616-CJ From H.H. Hollis Century 4001 18th Street Strut QRS 3377-TW From H.H. Hollis Century 4001 Make Me a Pallet on the Floor QRS 3626-JPJ From H.H. Hollis Century 4021 Dead Man Blues No. 2 Imperial 06515-JRM From H.H. Hollis Century 4021 King Porter Stomp Vocalstyle 50480-JRM From Stan Blachman Century 4022 Grace & Beauty Rag Unknown N/A (James Scott) Century 4022 Ragtime Oriole Unknown N/A (James Scott) Century 4023 Charleston QRS 3143-JPJ From Aubrey Fink Century 4023 “Monkey Man Wiggle” QRS 1338-JPJ From Sam Fink Correct title: Don’t Tell Your Monkey Man (Monkey Man Blues) Century 4024 St. Louis Rag (Turpin) Unknown N/A Century 4024 American Beauty Rag Unknown N/A Lamb Century 4025 “Last Man Blues” QRS 2444-TW From Sam Fink Correct title: You Can’t Do What My Last Man Did Century 4025 Boll Weevil Blues Melodee 4259-EB From Stan Blachman Jazz Classics 533-A Scott Joplin’s New Rag Unknown N/A, from Jack Whitstance (Scott Joplin) Jazz Classics 533-B Fig Leaf Rag Unknown N/A, from Emerson Parker (James Scott) Jazz Classics 534-A Unknown N/A, from Roger Williams (Scott Joplin) Jazz Classics 534-B The Entertainer Unknown N/A, from Aubrey Fink (Scott Joplin) ***London (Eng) L-808 Laughin’ Cryin’ Blues QRS 2215-TW ***London (Eng) L-808 Roumania QRS 1479-JPJ Key to abbreviations: NOTE: ***London (Eng) L-808 Laughin’ Cryin’ Blues and Roumania (pictured on the Artists: JRM=Jelly Roll Morton following page) is the only overseas reissue of jazz rolls that I have found. Joe Showler JPJ=James P. Johnson of Toronto sent me a copy of an article in the Melody Maker for May 12, 1951, in TW=Thomas Waller which the history of this English reissue is detailed. A British Collector, Jack Fisher, traded with one or more US Collectors (records for rolls) and obtained the two rolls (“Fats” would come later) that appeared on this London 78. On June 5, 1950, Jack himself took his Pianola to EB=Eubie Blake Broad Hurst Gardens and personally pumped these rolls while Decca engineers ran the CJ=Cliff Jackson recording equipment. Another of Jack’s rolls Sugar Foot Stomp played by Theodore HJCA=Hot Jazz Clubs of America “Teddy” Weatherford, might also have been issued but no suitable roll could be found N/A=No Artist-not hand played for the second side. Thanks for that tidbit, Joe!

215 continued. . .

Collector and Record Changer sub- “Dear Ambrose- 1/10/50 Later in 1950, Rudi Blesh (co-author scriber Ambrose Cayuga wrote to Sam Thanks for your offer of the Fats of the book that changed my life, They Meltzer in January 1950 with an offer to Piano Roll. At the present, I can’t use it, All Played Ragtime, 1950) recorded six loan one of his Waller rolls for this reis- as I’ve so many others that I want to piano (and Pianola) rolls from Doc sue project. Ambrose received (and record. Most of them have been sent to Pruett’s collection in St. Louis. Rudi saved) a post card, dated Jan. 10, 1950, me for gratis, but I usually give the per- wrote the liner notes to an album written in longhand from Sam. It gives an son 5 records of their choice. Wouldn’t (“Pianola Ragtime,” Circle Album CD- idea of how Sam treated those who pay royalty on any piano rolls. Too much 30N) containing six of Pruett’s rolls. The loaned him rolls, and it reads: cost involved in manufacturing them. details are: Thanks, Sam Meltzer”

Reissue Label Roll Titles Original Label & Artists Remarks Circle Documentary D-5003-A Connorized 10265 Yes, played by Joplin (Scott Joplin) “as played by Scott Joplin” D-5003-B Hilarity Rag Unknown Not hand played (James Scott) “as played by James Scott” D-5004-A Unknown Not hand played (Scott Joplin/Scott Hayden) “as played by Scott Joplin” D-5004-B Excelsior Rag Unknown Not hand played (Joseph F. Lamb) D-5005-A Rag Connorized 10277 Yes, played by Joplin (Scott Joplin) “as played by Scott Joplin” D-5005-B Quality Rag- Unknown Not hand played A High Class Rag “as played by James Scott” (James Scott)

Doctor Hubert S. Pruett (pictured left Woogie and Blues Festival concert pro- at the pianola) was one of the original gram of Oct. 16, 2004.) Perhaps you can Record Collectors who looked for jazz see how tantalizing these few piano rolls 78s, piano rolls and sheet music. I met were to an impressionable teenager like Pruett in 1955 on a visit to St. Louis. It me. Beginning in 1951 for the next 53 was Pruett who mentioned to me that years I spent my spare time trying to find Jack Baker, Columbus, Ohio, had a col- out which jazz and blues rolls were pro- lection of 78s, jazz films and piano rolls, duced because no one else seemed to be and that he was interested in selling his doing this. I sought original catalogs, roll collection. (The story of my meeting interviewed surviving artists and bought Jack Baker and buying his roll collection (and traded for) all the hot piano rolls in 1956 has been told in my article in the there were to find. At long last, now I AMRF 6th Annual Motor City Boogie pretty well know!

3 Max Kortlander-Joined QRS as a lad and rose to become the chief of the recording department. He purchased the assets of the company when QRS went bankrupt in 1930. He then formed a new firm and named it the “Imperial Industrial Company.” 216 Submitted by Mike Walter

The following is a radio program. By the time this bulletin is published this exact program will have gone by, but I believe that their website has live broadcasts, so anyone on-line can pick the show up.

90.3 MHzFM

THE RAGTIME MACHINE CONTINUES TO MAKE RADIO HISTORY

TWENTY-FIFTH ANNIVERSARY OF WEEKLY SHOW AIRS JULY 3, 2006 The only program of its kind in the world celebrates over 1300 weekly shows. In what may be a broadcast record, producer David Reffkin hosts The Ragtime Machine every week without reruns, co-hosts, substitutes or missed shows.

"MUSIC FROM '1'HE CONCER'1' HALLS AND BARROOMS Opt AMERICA" premiering on July 4, 1981, The Ragtime Machine broadcasts ragtime music, interviews and news. The hour-long show airs on Monday nights, 9-10 pm and is netcast in streaming audio at kusf. org. Featuring thousands of recordings and interviews and. the widest assortment of ragtime-related segments to be found anywhere, Reffkin draws from the entire ragtime community as well as his extensive background as the director of The American Ragtime Ensemble and a noted researcher. (See enclosed for more on the program and David Reffkin. ) In the history of American radio there have only been a few programs devoted exclusively to ragtime music. The Ragtime Machine succeeds in entertaining and enlightening a· large devoted audIence "every·w:e"ek".-··Many"· of l)a.vId's~nterviews with composers and performers, and his reviews, appear in a leading trade paper for ragtime fans, The Mississippi Rag (mississippirag.com). He won their Readers' Poll as UBest Ragtime Journalist." Ragtime, the predecessor of jazz, is America's first original mus ic • The increase in its popularity and the modern blossoming of recordings and concerts since the 1970s is a true musical revolution. The 25th Anniversary show airs Monday, July 3, 9-10 pm (PDT). David Retfkin is available for interviews. Email him at [email protected], or call KUSF at 415-386-5873. The complete program guide is available at kusf.org.

UNIVERSITY OF SAN FRANCISCO· 2130 FULTON STREET, SAN FRANCISCO, CALIFORNIA. 94117·1080 • (415) 386·KUSF

217 o

90.3 MHzFM

THE RAGTIME MACHINE

Ragtime music from the concert halls and barrooms of America

The Rag'time Machine is a weekly one-hour radio program presented Monday nights, 9:00-10:00 on KUSF, produced and hosted by DAVID REFFKIN. The purpose of the program is to develop an audience for ragtime performance by providing entertaining and informative broadcasts featuring music, interviews and news. It is the only program of its type in the country.

Since its inception on July 4, 1981, The Rag'time Machine continues to offer recordings and taped live performances of ragtime compositions and artists. The program also features interviews with the creators and performers of the music and coverage of ragtime-related topics. Among the highlights of past shows: * interviews with Donita Fowler (Scott Joplin's niece), Harold Scott (James a Scott's nephew), Patricia Lamb Conn (Joseph Lamb's daughter), Neil Daniels (Charles Daniels's son), Lalo Schifrin (film composer, arranger/conductor for The Sting II), Gunther Schuller (Director, New England Ragtime Ensemble) * exclusive broadcast of ragtime peformances, including the original 1972 concert of The New England Conservatory Ragtime Ensemble, as well as recordings from around the world

* broadcast of the lq83 USPS Joplin postage stamp commemoration at the Scott Jopll.n Qatj:time ¥ee'tival * the first comprehensive interview with Larry Melton, creator of the Scott Joplin Ragtime Festival

Air time for The Rag'time Machine is provided by the University of San Francisco, which owns and operates KUSF. Underwriting is solicited from organizations ansd individuals to help cover production costs. Donations are taX-deductible, and acknOWledgement is given in each program, in the quarterly program guide and in subsequent pUblicity.

a

UNIVERSITY OF SAN FRANCISCO. 2130 FULTON STREET, SAN FRANCISCO, CALIFORNIA· 94117·1080 • (415) 386·KUSF

218 DAVID REFFKIN is the producer and host of The aagti.. Machine. He is a violinist and graduate of The New England conservatory, where he was a recording engineer on tiThe Red Back Book" album of the NEe Ragtime Ensemble, with which he has performed. As a professional violinist, he plays with a variety of and small groups. In 1973, he founded The American Ragtime Ensemble, which performs the popular music of 1890-1920, including salon music from around the world, from the original orchestrations. David and his ensemble are featured in highly successful commercial recordings, and he has emerged as an authority on ragtime orchestration and performance. He is a contributing editor and reviewer for The Mississippi Rag, which features transcribed interviews from The Ragtime Machine.

SAMPLE OF INTERVIEW GUESTS:

Elliott Adams John Arpin Paul Asaro ~ltr1r1!hw.nder 'J3'6b Ault Jeif .BAr_ai€, Ed Berlin Mimi 81ais Neil Blaze Rudi Blesh William. Balcom Nan Bostick Tom Brier Tony Caramia Judy Carmichael Ann Charters Sam Charters Yvonne Cloutier Bill Coffman Michael Cogan Susan Curtis David Dallwitz Neil Moret Daniels Bob Darch John De Chiaro Pete oevine Neville Dickie Jan Douglas Brian Dykstra Phillip Dyson Roy Eaton Marty Eqgers Gloria Ekrom Phil Elwood John Farrell Ann Fennessy Gale Foehner George Foley Frank French Robin Frost John Gill (US) John Gill (AU) Dan Grinstead Johnny Guarnieri Alex Hassan John Hasse Brian Holland Nora Hulse Dick Hyman MasonabU Ikemiya Hal Isbitz Martin Jaeger David Jasen Glenn Jenks Leslie Johnson Molly Kaufmann Brian Keenan Sue Keller Scott Kirby Janet Klein DiCk Kroeckel Arthur LaBrew Morten Gunnar Larsen Carl Sonny Leyland Bob Long Peter Lundberg Johnny Maddox Dave Majchrzak Tom McDermott Larry Melton Rod Miller Bob Milne Mike Montgomery Max Morath Joan Morris Peter Muir John Novacek Calm O'Brien Terry.'&t'rish 1:ltlinfttt' P~!1h :tMfftl $It!!" Torsten Ratzkowski Addison Reed Robbie Rhodes Dalton Ridenhour Richard Riley David Thomas Roberts Reginald Robinson Al Rose wally Rose Ron Ross Jack Rummel Bill Ryden Kevin Sanders Alex Sandor cynthia Sayer Lalo Schifrin Gunther Schuller Mike Schwimmer Joe Scotti Bob Seeley Ed Sprankle Michael Stalcup Ann Steele Ittzes Tamas Butch Thompson Jan Thomsen Trebor Tichenor Virginia Tichenor Jim Turner Craig Ventresca Terry Waldo Kjell Waltman Brent Watkins Ian Whitcomb David Wright Tex Wyndham Adam Yarian Brett Youens Judith Lang Zaimont Dick Zimmerman

219 Submitted by Mike Kukral

OOT-POWER Music Trade Indicator STODDARD-AMPICO READY April 1, 1916 American Piano Company Shows familiar to the entire trade, but in the New Instrument Possessing Many production of the foot power, Stoddard- Connorized April Rolls Important Features—Dealers Will Ampico, through an invention of the New York, March 30—The April Regard This as a Most Important experts of the American Piano Company, list of the Connorized Music Company Addition to Their Line and by the use of the hand-played rolls contains a large variety of hand-played New York, March 30—In the which contain an exceedingly wide range rolls, including those by Emanual Wad, development of the player-piano, in all of expression, the operator can obtain who was recently secured by this of its various branches, the American the most exquisite degrees of expression company. Two numbers from Chopin, Piano Company has taken a most and shading without touching a single and a minuettino by Mr. Wad are prominent part, and has brought to the expression device, and whether he pumps included in the list. The “Maple Leaf industry many important inventions, hard or easily, the music is not affected. Rag” and the “Magnetic Rag,” by Scott and improvements which have been For instance, in demonstrating this Joplin, the well-known rag-time player, embodied in their instruments, which player, it was noted that the operator was are among the lighter numbers offered, have led the way in many instances pumping very hard, but the music was and the other hand-played rolls are along the line of artistic achievements. heard in a delicate pianissimo. by Miss Muriel Pollock, C. Herman The latest instrument which they By the simpe turn of a lever, the Kornbau, and Ed Bergeson. Some have brought out, and the first one of various expression devices of the up-to-date new music is included in which was seen at the offices of the Stoddard-Ampico come into play and the list, including a selection of the American Piano company this week, was the operator can follow his or her popular “Katinka” music. the Stoddard-Ampico foot power player, interpretation of the music. as installed in the Knabe piano, which is The development of the Stoddard- an instrument which dealers all over the Ampico has been along the lines of the country will delight in calling to the greatest advance in the player industry, attention of their most fastidious trade. and this latest mechanism is one which The Stoddard-Ampico mechanism is possesses many refinements.

Submitted by Mike Walter

AHARAKO’SSELLS Wednesday, March 8, 2006 ANTIQUE PIPE ORGAN the republic.com the wealthy, had fallen into disrepair The instrument, which cost $5,000 often in recent years, according to new, was valued at $35,000 in 1972, Lenore Preston remembers listening Lew Zaharako, who owns the turn-of- according to The Republic archives. It to Zaharako’s Welte self-playing pipe the-century restaurant and soda fountain played about six German tunes. organ often after Central High School with his brothers. “Sometimes, though, it was hard to basketball games 70 years ago. No real options. tell when one song ended and another The downtown confectionery was “I hope people will understand and began,” said Zaharako. the place to be then, according to the not be too angry,” said Zaharako, who The orchestrations within the 87-year-old Preston of Columbus. began working at the family business as a instrument included trumpets, drums, “When the organ was playing, there 14-year-old. “I know we’ve taken away cymbals, triangles and flutes, according was a festive atmosphere in there,” she something from people. to the 1972 Republic story. said. “But we felt like we had no real The Welte instruments became Zaharako’s sold the 98-year-old options.” popular especially after the World musical instrument to a California He said Indianapolis-area organ Fair in Chicago in 1893 and St. Louis businessman Feb. 28 for an undisclosed repairers had gotten to the point that in 1904. They were later installed in sum. they could no longer provide the beer gardens, parks and luxury ocean A crew removed the organ at 329 detailed service the instrument needed. liners. Washington St. piece by piece Saturday, Zaharako said he is limited about The local confectionary has been placed the parts in a Penske moving what he could say about the sale closed for more than a month truck and hauled it to an organ restoration because the purchase contract includes because Zaharako was hospitalized in firm in the northeast. a non-disclosure clause, as requested Indianapolis, but it will reopen soon. “I hate to see it go,” said Preston. “But by the buyer. Zaharako and his brothers plan whoever bought it probably paid a pretty The businessman, who contacted the to replace the organ. good price.” brothers about three weeks ago, plans to The 185-pipe organ, built by a install the organ in his house, according German firm that frequently catered to to Zaharako. 220 Submitted by Vincent Morgan

221 Submitted by Mike Kukral

HOSE PIANO ROLL From Sunday News, July 12, 1964 BLUES ARE BACK By Michael Iachetta After 30 Years of Silence, the Rolling Rhythm of Foot-Power Pianos is Being Heard Again

Ex-tugboat captain John Duffy of Palisades Park, N.J., fell in love with a vintage player piano. Fortunately, his wife, Marilyn, also liked its music and they played their one roll—“Begin the Beguine”—till the piano broke down. Duffy took his old player apart carefully, studied each piece and figured out what it was supposed to do when he sat down to play. After he memorized each part and knew where it should go, Making comeback he managed to get his player in working after 30 years in oblivion, bulky order with some rubber tubing. player piano of yesteryear has been repackaged in sleek, compact form to suit modern tastes. “I had to,” Duffy said the other day. “We had grown to love the player piano. But player piano So had our children…and friends who sales crept up to came over to sing along with us during the tune of 5,000 our cookouts.” in 1961, 7,500 The Duffys and their friends are in 1962 and 10,000 typical of the growing number of last year. Today, Americans who are salvaging player nine companies are pianos from basements, attics, garages making them…In and barns and restoring them to rumpus 1923, 347,589 play- rooms, living rooms, rathskellers and ers were produced. taverns. Of course the Besides, gleaming modern compact player piano roll player pianos are being sold every day. business is feeling Mrs. Vivian Manucia of Staten Island got twinges of prosperity. one as a 36th wedding anniversary gift, Over at Macy’s in and a satellite tracker in Jupiter, FL., Herald Square, for Worth $7,000, this gussied-up job enables pedaler to become one-man ordered one because he longed to hear example, 200 to 400 band. Activated by levers, instruments tinkle, tootle and thump along with the piano. Rumpus-room model offers built-around bar to those old piano roll blues again. player piano rolls encourage sing-alongs, as dealer John Duffy and family demonstrates All in all, an estimated 200,000 player a week are sold here. Happily, player pianist needs talent only in feet. pianos are producing their kind of music nowadays against from coast to coast today. 40 to 50 per week The first ripples of reviving interest five years ago. in player pianos came in 1956, when an Show tunes like ex-player piano salesman, nostalgic for “Hello, Dolly!” and the good old days, talked his company pop songs like the into marketing a new player—something Beatles “I Wanna that hadn’t been done in almost 30 years. Hold Your Hand” Barely 400 new player pianos were are big sellers at sold in 1956. Better leave the past dead Macy’s. There a and buried, music industry insiders said. customer can choose No one had been interested in player from 2,500 rolls— pianos since the late 1920s, when radio including hymns, and phonograph music captured the Strauss waltzes, market. sentimental favorites,

222 continued. . .

In sequence above, l. to r. oldtimer J. Lawrence Cook, one of vanishing breed of piano-roll punchers, checks musical The Music Comes arrangement with sales executive John Out Here-Shirt- Gettel. Then he works out score, note by sleeved Hi Babit note, on complicated puncher-piano that and Herman turns out those delightful ricky-tick rolls Kortlander take that make everyone a ragtime virtuoso, final look at particularly when beer barrel is rolled master roll out for party. With player, no one can before it goes to say, “They laughed when I sat machine which down to play…” turns out finished rolls. If you’re pop classical selections, polkas, arrangement on a piano equipped with less than 40 Dixieland, jazz, ragtime, blues, twists pulleys, levers, extra keys and a foot years old, you and cha-chas. lever attached to a device called the don’t know that sing-along words are printed on rolls, which is Every player piano roll in Macy’s punch press. what worker is supervising here. Shelves that stock is supplied by the Imperial When he knows exactly what notes he gathered dust for years now are filled with Industrial Co. in the Bronx, where wants to cut, his fingers hit the keyboard music as a new generation discovers those they have been making QRS brand of his special piano as though he were old piano roll blues. rolls since 1905. playing a regular piano. At the exact Piano Roll Business Up 50% moment he hits the keyboard, though, he Over Past 5 Years pumps the foot lever, which activates “Business is up about 50% over the pneumatic tubes on the press. past five years,” said Herman Kortlander, There is a clicking sound like who has been with Imperial Industrial for castanets as the keys on the press dance more than 32 years. “My brother Max forward, computer-like, to punch holes started in this business around 1932. Max into a master roll. died last year. Now his wife and I…we Babit usually needs three or four days try to carry out his ideas.” to complete a master roll that satisfies As he spoke, he glanced around the him. “Sometimes it takes more time, some Imperial plant, which is filled with less,” said Babit. “You have to work until machines, wires, loops, spools, conveyor you get away from that mechanical sound. belts and boxes and boxes of QRS rolls. You want to give the roll a human touch, Forneaux patented what appears to be About 15 workers were adding to the 50 interpretation, flavor…” the first player operating on pneumatic million or so rolls the factory has spun A master roll is placed on a production principles. His pianista, as he called it, out over the years. perforator that can punch out as many as was operated by means of a hand crank “We had the depression and the 30 rolls at a time. Then the words to the which produced a vacuum to work a set phonograph and radio…and TV. But we song are inked on the copy, alongside the of “fingers.” These fingers played the never did stop turning out rolls. Some punctures that cause the notes to be keyboard on an ordinary piano. people just wouldn’t give up their sounded. A year later, John McTammany, an players.” Finally, the rolls are labeled, put on Ohio agricultural machinery repairman, While he talked, Kortlander walked spools and boxed. (Retail price: from 95 began working independently on his own into a small room where arranger- cents to $.1.25.) version of the player. McTammany had perforator Hi Babit sat hunched over a Kortlander placed a roll on a player been critically wounded while fighting as special piano, producing another number. piano and flicked a lever. The keys a Union soldier in the Civil War. Babit is one of the four or five men danced on their own, and the room was During his convalescence, he was in the country who can punch out a filled with “The Old Piano Roll Blues.” repairing a music box and thought of a piano roll tune. He works out a new In 1862, a Frenchman named new musical instrument which would be 223 continued. . . worked by depressions instead of motor in case you pins and staples. He considered his want to get up and invention finished in 1876 when he dance…Just turn the filed a caveat which described his player on and away idea fully and gave him two years to you go.” file for a basic patent. Meantime, Duffy, For some reason, he never did. But the ex-tugboat McTammany’s invention made many captain, has built player pianos run as manufacturers a new life out of modified his ideas and put them to work. player pianos since In 1887, paper player piano rolls he patched up his were introduced. And in the early own. He rebuilds, In 1920s, status-seekers disguised their players in 1900s, somebody thought of using remodels and sells classic grand-piano form. electric power to run the pumps old ones and offers patching the 200 odd feet of rubber in the players. Approximately 42 new models, too. tubing that all but fills the inside of companies were turning out player He said his business grossed more a player and tinkering with the 83 tiny pianos in 1914, with about 14 companies than a quarter of a million dollars last bellows which operate the hammers that producing rolls. year. strike the wires to produce the sounds. Modern Player Pianos “I went from fixing my player to Countless hours, sometimes days, Are Slimmer, Trimmer repairing players for friends. I was were spent getting a piano to play. But, There were players in parlors, dance spending so much time, I started when it did, Duffy could resell it for halls, department stores, lunch charging. There was such a demand I anywhere from $275 to $400. rooms, amusement parks, hotels had to quit my job to go into players New players are priced from $575 to and clubs. full time.” $1,400. Today, players have been redesigned In the beginning, he advertised for “Why are people buying players to give slimmer, trimmer proportions. used instruments in local papers. “You again?” Duffy mused. “Because you Most of them are built so they can would be surprised how many people just would feel mighty silly standing in also be played as regular pianos, but moved away and left them behind on the front of you hi-fi or stereo and singing they are equipped with foot pedals third or fourth floor of buildings,” said along with the music. But you can sing and an electric motor. Duffy. “You had to pay to have your along and play along with your player as “You need the foot pedals,” a player taken away. Some people couldn’t the words spin by on your roll. salesman explained, “because creating afford it.” “People don’t want to just watch your own expression to the music is He paid from $25 to $40 for an old any more,” he said. “They want to half the fun. And you need the electric player. Then he went to work on it, participate.”

By Jeffrey Morgan WO INTERESTING WELTE ADS

As the May/June second ad appeared (in 1925), Frank C. the entire American reproducing piano issue of the AMICA McCown, Jr. is openly listed as an industry is subject to our patents, and is Bulletin went to press, the following two Estey-Welte Corp. director. licensed by us with royalty agreements, ads appeared on my doorstep via FedEx. These ads tend to underscore the our stock represents a sound investment. They were graciously forwarded to me verity of facts presented in several of my Hence, you should buy it. by Nelson Barden (president of Nelson previous articles. The pertinent text is Ironically, investors retaining Estey- Barden Associates, restorers in residence shaded for the convenience of Bulletin Welte Corp. stock after January 25, 1927 at Boston University) as a result of his readers. The italics, underlining, and were in for a rather rude disappointment. ongoing research efforts. Both ads capitalization, however, appear just as And, as neither Welte-Mignon Corp. nor appeared in the financial pages of The they did in the original ads. It should Estey-Welte Corp. assets were controlled New York Times. The first ad appeared on be noted that patent rights and royalty by Welte family members by the time December 12, 1922, the second on May agreements are explicitly touted as major these ads appeared, they emphasize, once 8, 1925. company assets. And, there is no timidity again, what I expressed in prior articles. Both announce stock offerings by apparent in the statements that all That is: It’s doubtful that Edwin Welte McCown & Co., a major (if not the chief) reproducing pianos manufactured in ever received compensation for his broker for the Estey-Welte Corporation, a America were affected by such rights and patents appropriately proportionate to the holding company. Indeed, by the time the agreements. The ads implied: Because royalties collected under them.

224 1922 Submitted By Jeffrey Morgan Submitted By Jeffrey

225 1925 Submitted By Jeffrey Morgan Submitted By Jeffrey

226 By Yousuf Wilson BLIP IN TIME THOSE WONDERFUL ILLUSTRATED SONG SLIDES publicize a song, but every new & Van Altena. Both firms made quality Did you ever wonder how a song title could not be pushed this way. slides with Scott & Van Altena being was chosen to appear on a piano roll, There were, of course, a number of noted for their brilliantly colored phonograph record; and at the same professional singers and musicians who slides. The natural and beautiful color time be heard on every music machine were paid to introduce songs, but they achieved in these slides is credited nationwide? Some songs were obvious could not reach the rural public or all the to Jack Scott of Scott & Van Altena. Scott choices; but others had to be selected urbanites. A method was needed to reach insisted on using highly diluted colors, from among thousands flowing from the potential purchasers fast, sell them on passing the slides down a line of women Tin Pan Alley, the rest of the country, a particular song and get them to buy colorists several times until the desired and Europe every year. Without some the sheet music. One idea that worked brilliance was achieved. The single-dab idea of the public’s acceptance, a few amazingly well, the illustrated song method used by some firms resulted in wrong choices could result in thousands slides, started with a single slide. some very poor quality slides entering of sheet music, piano rolls or phonograph The magic lantern (the fast the market. records remaining unsold. From 1895 to disappearing slide projector of today) Of course, photogenic models were 1918, a method was found to not only had for some time been a fixture of any needed for the “boy and girl” in the love reach the entire country quickly, but have public entertainment establishment songs, so local boys and girls, many of theater owners, film distributors and the world wide. The slide projector was high school age, were used. The east public foot part of the bill. used along with appropriate slides to coast, being the birthplace of the early Events happen throughout history that, accompany poem recitation, travelogue silent movies, lured many of the models at the time and to the people involved, lectures, and push various Victorian for illustrated song slides to the movie appeared too important or too involved moral causes, among other uses. With a studios. Several became leading movie with every day life to be forgotten in slide projector on hand, stage electrician, stars of the silent era, including Norma the span of a lifetime. All of us fascinated George Thomas, used a single slide to Talmadge and Frances X. Bushman, by mechanical music and the time accompany a particularly melodramatic names not recognized by the present span involved are confronted by this scene and song in the stage play “The generation but still remembered by a “disappearing” act. Many machines and Old Homestead”. few old timers. ideas in their time were as important Being a sharp-witted and astute Although illustrated song slides were as a color TV or digital recordings are member of the entertainment crowd, he very successful in introducing new songs today. Sadly, some events do not rate easily connected the dots and realized in burlesque shows, vaudeville houses the smallest footnote in history; and the use of the right slides would help and various other formats, by 1905 or illustrated songs seem to be one of these fix a song in a listener’s memory. 1906 their effectiveness began to wane. items. He convinced a couple of aspiring song Just in the nick of time, came our “White Shortly before 1900 an idea and writers to try his idea on their ballad, Knight”, the nickelodeon theater. product appeared on the music scene “The Little Lost Child”. Accompanied by Short silent films were being exhibited like a bright comet, at least in the various slides, the song was well for a number of years before 1906 but United States. This bright flash was the received by the audience and soon noted the producer/distributor/exhibitor “Illustrated Song Slide”, a novel but by other music publishers. partnership did not exist. A film company important idea for selling the sheet This event occurred in 1894; and soon might show their own film, rent it, or music of the hundreds of songs being the professional song plugger, along sell it. Some early entrepreneurs would produced by booming “Tin Pan Alley.” with the house pianist were accompanied buy a few films, each running 10 minutes Although lasting barely 20 years, by a set of slides made to illustrate or less, and exhibit them along the illustrated song slides were an integral the particular song at hand. If you were east coast. Everything about the film part of song plugging, vaudeville, and fortunate enough to attend a certain industry was evolving, including the the early Nickelodeon movie theaters. burlesque show, you would have seen movie projector. Since the slide projector These slides are unknown today by many a young Al Jolson, or some other and its slides was the direct forerunner of collectors of early music, theater and upcoming star, belt out a ballad while the movie projector and film, some vaudeville memorabilia. standing beside a screen on which was movie projectors were constructed by Getting a song heard throughout flashed brilliantly colored slides. removing the slide holders from a slide the country in 1900 by the sheet music A sideline to the music publishing projector and substituting a mechanism buying public was a problem. Giving business, manufacturing song slides, was for the film strip. For a short period, or “loaning” the sheet music to a soon established and flourished on the these early itinerant movie exhibiters popular singer, musician or vaudeville east coast. Two of the more dominate harked back to the earliest magic act was an accepted method to firms were DeWitt C. Wheeler and Scott lanternist and organ grinders who

227 continued. . . roamed Europe as much as two centuries string of nickelodeon theaters. Within of a sheet music cover. The piano player earlier. weeks or at most a couple of months, plays a strain from an unfamiliar song as By 1906, the movie industry was the latest film and hoped for hit song a young girl walks up and stands next to beginning to take the form that still exists had reached the remotest corners of the the piano. The first illustrated slide today. The films were shown in a fixed country. This pairing of silent movies appears as the girl starts singing to the location, anything from a former grocery and illustrated song slides was a match unfamiliar melody. It turns out to be a store to the second floor storage area of a made in heaven. love song with lilting lyrics and a nice hardware cleared every Saturday night In live theater, cabarets and vaudeville beat. The musical pair had ample time to for the weekly movie1. The films stopped houses, the song being plugged had to practice the new song as the movie film, being sold to individual exhibitors but compete with a number of songs used by illustrated song slides and sheet music were rented along with illustrated song various musical acts and the sometimes had arrived several days earlier. As the slides to the nickelodeon theaters by rowdy crowds that attended. It was hoped songstress and piano accompaniment a distributor. This format proved very that the melody remembered was the continue, appropriate slides appear that practical; and these one-room movie right one and not some other catchy tune follow the song story. houses quickly spread across the entire used in a vaudeville act. Suddenly, an especially bright and country. This was not the case with songs beautiful slide appears that draws oohs The stage was set for the blossoming accompanied by illustrated song slides. and ahs from the rapt audience. The of the sing-along slide, much to the When used as a filler or added performance continues until the last delight of song writers and music entertainment in a nickelodeon theater, illustrated scene, an overly protective publishers. The path from words and there was no song competition, the father slamming the front door shut on an music first put on paper to appearing on tinkling piano accompanying the movie unsuccessful suitor, fades away. This piano rolls and phonograph records and was remembered as part of the film, brings a chuckle from the crowd as the heard on every mechanical instrument if at all. verse ends. The words of the chorus are we collect today, usually followed the Although the slides were only an flashed on the screen; and the girl and same route. advertisement to plug the latest song, pianist paired together sing it through A song with promise was presented they were always presented to the public once. The duo then invites the patrons to a slide manufacturer by a music as entertainment. The song was intended to sing along, and the chorus is publishing house to prepare a set of to be the important part with the slides repeated several times. If the participants slides. The set usually consisted of 16 playing only a minor role. The best of the are regular movie goers, they know slides, the first slide a photo of the sheet slides, as stated by some who lived what to expect and gladly sing along. music cover, and the last slide having through this era, reversed these roles. For some, the sing-along is the highlight the words of the chorus. The rest of (This scenario seems all too familiar, like of the evening. the slides presented scenes hopefully watching the Super Bowl to see the new The crowd exits into the chill winter matching images in the wording of the commercials.) air; but the thought of an enjoyable song. If Scott & Van Altena was selected The silent films, with little plot or evening lingers and many hum or for this work, the publisher could expect storyline still fascinated the audience; whistle the new ballad as they head something special. Topnotch color but it was often the slides that drew home. Next day, the local music store was just one of Scott & Van Altena’s people to stay for two or more will sell a dozen copies of the new tune, specialties. The company had amassed a performances, if allowed by the and then wait anxiously for the piano roll large stash of scenery negatives from management. or phonograph record to make their around the world, and for every season, After viewing a few of the now rare appearance. so they could prepare a set of slides with slides, it doesn’t take much imagination This is how the illustrated song slides cherry blossoms, orange blossoms, or to conger up this oft repeated scene. were supposed to work; and indeed this apple blossoms, whatever the song (It’s late winter and the local nickelodeon is how they did work. In some of the called for. This work could be done in theater is crowded with families weary larger movie houses, before the slides the dead of winter and usually had their of the cold and drab winter scenes. The faded away, a concession stand would be competitors scratching their heads. movie is ending, and after a harrowing set up in the lobby; and sheet music Scott & Van Altena also made some rescue from the villain, the hero gets the would be hawked to the patrons before of the best “trick or effect” slides. A girl. There is no kiss; but after holding they left the premises. complicated method of layering slides hands and, with the pianist playing a By the 1930’s, very few slides produced these effects. They amaze some sentimental tune, the movie fades away. remained; but other clues hint at their of us almost a century later, even in a After a round of applause dies down, importance. Figure 1 is a good example. world filled with special effects. there is nothing heard but a murmur from This flyer or mailer and trade cards of After a set of slides was approved the crowd and the scraping of chairs the St. Louis Calcium Light Co. was and additional copies were made, they and benches on which they are seated. mailed to theaters, burlesque houses, and usually ended up, along with appropriate Suddenly the screen is brightly other entertainment centers throughout sheet music, with a film distributor who illuminated by a slide projector; and the the United States if the statement, “All then rented the latest film and slides to a first slide appears, a hand-colored image orders to any part of the United States 228 continued. . .

Filled promptly”, can be believed. The song in the memorabilia from his own advertising sure to convince a patron the large print in the advertisement, “Lubin’s company, he contacted everyone he knew event was worth the price. Moving Picture Machine and Films for that had any connection with the slide It’s evident that by 1910, just four or Sale” seems to date this flyer before 1909 business, but never turned up a complete five years after the nickelodeon theater or after 1912. set! Needless to say, the article in “Life” spread across the country, the illustrated Known only to a few movie buffs of never appeared. song had assumed a life of its own. the early silent film era, Sigmund Lubin Certainly, several million illustrated Getting equal billing with the latest film appeared on the movie scene in the song slides were made; but, with the as seen in Figure 7, illustrated songs were 1890’s and had the reputation of pirating coming of large movie palaces and music viewed by movie patrons as an integral and copying other people’s films ( not such as Ragtime or fast dance tunes that part of the evenings entertainment, and it as bad as it seems as this was a common did not fit the sing-along, the illustrated obviously paid to make a production of practice). Lubin was also known for song slides quickly disappeared from the the sing-along. his films of heavyweight fights or scene. Being a commercial product and The illustrated slides were made to be other newsworthy events. Billed as not worth the storage space required, used like a movie poster, accompanying scoops or on the spot film, what people they ended in city dumps by the millions. the latest film until the country had been saw were actually reenactments shot Collectors of early movie and Tin Pan blanketed, and then traded in for the on a Philadelphia roof top. Lubin Alley memorabilia ran into frequent latest song and film, never to be seen was also part of a combine of nine film mention of these slides; but the slides again. However, theater proprietors and companies, including Edison, that tried themselves rarely turned up. A few slide film rental firms soon realized that the to squeeze everyone else out of the sets had ended up at remote nickelodeons slides, especially ones of popular songs movie industry permanently. or at other sites and were kept out of like (“Take Me Out to the Ball Game”, or The combine, known as the “Patents sentimentality or appreciation as the “Down by the Old Mill Stream”, both Co.” lasted from 1909 to 1912 and had best hand-colored slides ever made. introduced with illustrated song slides, exclusive distributors. The St. Louis As collector’s do, these specialized could be rented over and over again. Calcium Light Company was not one of collectors dreamed of a few hundred When theaters were through with the these distributors and would not have slides turning up from time to time. But slides, they were rented to the general handled Lubin’s films or equipment that didn’t happen. Instead, a stash of public for private parties, public during this period. 20,000 slides turned up. As you probably entertainment, etc., as evidenced by These advertisements almost contain guessed, this hoard was the slides from the St. Louis Calcium Company’s enough information for a book. The the St. Louis Calcium Light Company. advertisements. “Single and Double Stereopticon” in the By 1950, almost 40 city blocks along Illustrated songs and the public’s flyer and trade cards are simply an the St. Louis riverfront had been expectation of musical entertainment improved slide projector capable of demolished for the site of the Jefferson certainly helped weld music and film special effects. This snapshot in time not National Memorial, the St. Louis Arch together before the talkies, and may have only hints at the commercial ventures grounds. This area had been crowded influenced the choice of photo players, existing at this time; but offers a glimpse with block after block of warehouses and orchestrions, and pipe organs that were at the lifestyle, entertainment, and dance business sites of early St. Louis, many installed in the movie palaces. craze—“Serpentine or skirt dance slides dating to the steamboat era. One of the How illustrated songs that were for sale or rent” in vogue. The lime buildings demolished for further known to almost every man, woman, and pencils mentioned for sale, when heated improvement of downtown St. Louis was child in the United States could be by a gas flame flared into a brilliant light the former home of the St. Louis Calcium forgotten in a generation is simply and were used extensively early on Light Company; and in the basement, amazing, even when compared to this for stage lighting and slide and movie undisturbed for many years and in their same era’s wonderful music machines projecting. The theatrical term “In the original storage and shipping boxes were that are slipping away. Limelight”, still used today, derives from the slides (See Figure 2). Some of the Whether the next generation will this era or earlier. boxes were coming unglued; but the be impressed enough with this bit of The flyer boasts 1200 sets of slides were as colorful as the day they nostalgia to preserve it is doubtful—it is illustrated song slides for rent at this time were made. The slides accompanying this hard enough to impress them with the or a total of 19,200 slides (1200 x 16). article are from this find and a part of my wonderful music machines we collect, This is a drop in the bucket compared small collection. including the photo players that replaced to the total made. Some may think I have overstated the illustrated song slides. Oh well! Some Ed Van Altena of Scott & Van Altena the importance of illustrated song slides day, someone will pull one of these slides estimated that he and his partner alone in their day; but the fact that they from its box, hold it up to the light; and were responsible for a half-million slides were advertised along with the latest its brilliance will amaze the viewer like a produced. In 1938, Ed Van Altena had an movie and live performance on a comet in the night sky. idea for an article in the picture magazine Nickelodeon Theatre’s marquee, should “Life”. When he could not find a be an indication. See Figures 3 thru 7. complete set of slides from a popular Space on a marquee was reserved for 229 continued. . .

“How Would You Like to Make Love to Me?”- A 1912 slide by DeWitt C. Wheeler, made near the peak of slide production. “Hear Those Chimes”-Identified as a Curtis Bi-Plane by fellow Amican, John Washburn, this slide accompanied the words “I Was on My Way to Glory; But I Lost My Way”.

“Good Night Moonlight”-What can I say? Color at its best! “Harvest Days Are Coming, Jennie”-For the illustrated song slides, harvest day came and went all too soon.

234 continued. . .

This 1918 coming attraction slide used the same format as the Illustrated “I Want You All the Time”-Sure to draw oohs and ahhs Song Slide, but its obvious sophistication shows a change that had from the audience. These were a Scott & Van Altena specialty. already doomed the Illustrated Song Slides. Often, a coming attraction slide or newspaper ad is the only evidence a film ever existed. Women were seldom, if ever, mentioned in silent film history as anything but actresses; but “The Risky Road” seems to be an all-female effort with screenplay by Katherine L. Robbins, producer-Ida May Parks and the star Dorothy Phillips controlling the production company.

“I Wonder Why It’s You”-Aladdin’s lamp, here a two handled “I’d Like to Have You Like Me as Much as I Like You”- Chinese jar, conjures up a scene complete with the Sometimes special effects like this example made up eternal symbol of love, a white dove. over half the slides in a set.

231 continued. . .

“I’m Bugs About You”-How would you have liked to have seen “I’m Longing For the Old Days Marguerite”-A rarity among the rare, this slide as a 10-year-old and then dreamed about it that night? this full blown kiss slide was from a lesser known slide company “Simpson’s Celebrated Slides”. In some theaters, it was certainly pulled from the set and not shown.

“I Love the Name of Mary”-Note that titles in my collection all begin “I Miss You Honey, Miss You All the Time”-Holy Smokes!- with G, H, I, or M. The St. Louis Calcium Light Company kept the Is that marijuana he’s smoking? slides in boxes in alphabetical order; and this is how I acquired them.

232 continued. . .

“Go Easy Mabel”-Comical songs were popular along with sentimental “I’m going to Steal Some Other Fellow’s Girl”-An attention-getter. ballads. Here, the self-proclaimed dandy, Percy, has been fleeced to It’s no wonder music publisher’s often preferred Scott & Van Altena. the amusement of Mabel, her mother and sister.

“I’m Always Home on Sunday”-Besides the studio, the sets could be “I Live Uptown”-This street corner scene apparently shows a subway anywhere-a city park, beach front, or street corner. Here the set is an entrance marked “downtown”. Can anyone identify the city and street apartment kitchen, with a cast iron coal-burning stove, warming clos- corner? ets above and a water heater tank in the corner.

233 continued. . .

1-Footnote The first time I encountered illustrated song slides was around 1980. A friend told me about some colorful magic lantern slides he had seen in an antique store in St. Louis County; and about a week later, I went to see them for myself. I’m sure when I picked up the first of many slides and held it up to the light, my mouth dropped open in amazement. The slides were obviously photographic images and dated well before colored film. I had seen tinted slides before, but what I was looking at was so supe- rior, I simply had no explanation. Within a couple of weeks, I had traded the only music box ever in my possession, a 15 inch Regina, for all the slides and some cash. Unknown to me, the antique dealer had acquired these slides from the St. Louis Calcium Light Company stash, but they hadn’t sold well. The slides were probably overpriced at the time, but I’ve never doubted I got the best of the deal. I rate them at the top with a few other rarities I’ve encountered. For the next few months, I inquired of friends, visitors, etc. about the slides but gained absolutely no information. When my dad, who was in his 80’s at this time, paid a visit, I immediately queried him about my find. For the first time I got an inkling of the illustrated song slides place in history. Here is what dad related—[As a young boy attending grade school in our home town of Nokomis, IL, he had a job at the local hardware store. His job was sweeping the floor and straightening up each night after school. On Friday or Saturday (my memory lapse, not dads), he had the additional chore of straighten- ing up the second floor storage area of the store and setting up chairs for the weekly movie. During the evening’s entertainment, it was his responsibility to hand the projectionist the illustrated song slides in correct order and position]. Here was the only person, my own father, I ever encountered who had a direct connection with these slides. The slides involved almost certainly came from the St. Louis Calcium Light Company; indeed, Dad may have handled some of the slides I possess today! “My Prairie Song Bird”-the first slide in a set of Illustrated Song Slides was the cover of the sheet music. A striking example like this 1909 slide would help identify the sheet music if the title had been forgotten.

“My Prairie Song Bird”-A slide like this was made by photographing the model against a black background; and after being developed, scraping away all but the “I want you all the time”-The last slide, the words of the chorus, in this image of the model. case also contained the visual invitation “All join in the chorus” and the publisher and slide maker.

230 continued. . .

The illustrated slide and Figures 1 and 2 were furnished by Yousuf Wilson; and the theater illustrations, Figures 3 thru 7 are used with the permission of Q. David Bowers and are from his book “Nickelodeon Theaters and Their Music”.

Figure 2 - The slides from the St. Louis Calcium Light Company in original boxes.

Figure 1 - Advertisements from the St. Louis Calcium Light Company.

235 continued. . .

Figure 3 - This small nickelodeon theater in a park setting gave equal billing to illustrated songs and moving pictures. Evidently a theater that featured illustrated songs along with moving pictures was more successful than a theater that featured films only.

Figure 4 - My favorite of the 20 plus theaters advertising illustrated songs in “Nickelodeon Theaters”, this 1908 shot of the Dreamland advertises the movie of the day and the song of the day. Evidently the small building at the right is the ticket booth or combination concession stand. Perhaps a block of ice was placed in the barrel, with its spigot, to pro- vide ice water for the patrons.

Figure 5 - This impressive front on a 1909 nickelodeon theater has illustrated songs along with moving pictures written in stone on the top of its façade. Although the Colonial also featured vaudeville, famous singers were sometimes employed in all sizes of theaters in connec- tion with illustrated songs.

Figure 6 - An obvious store front conversion, this theater proprietor certainly believed in advertising. The featured song of the day is “It is Not the Cowl That Makes the Friar”.

236 continued. . .

Figure 7 - In Dave Bower’s intriguing book, “Nickelodeon Theaters and Their Music”, illustrated song advertisement is obvious in over 20 of the theater photos. Illustrated songs are incidentally mentioned in several captions, but not mentioned in the “Theater Music” section. This is in keeping with the way the slides were treated originally by theater and music historians. Although illustrated songs mushroomed into much more than a cheap filler between reels, or a song plugging device, they were never connected directly with the silent movies and the music that accompanied them.

Submitted by Mike Kukral By Walter Monfried Of the Journal Staff

HEY REMEMBER HIM The Milwaukee Journal ON THE BANKS OF WABASH August 27, 1972 Paul Dresser is bet- Republic” and many other enduring of those sentimental ‘90s, we are ter known as the songs. George M. Cohan, the Self-styled reminded by David Ewen in his newly Yankee Doodle Dandy, wrote “Over revised “Great Men of American Popular older brother of There” on the day after the United States Song” (Prentice Hall). He was born John novelist Theodore entered World War I. Paul Dreiser Jr., in 1857, in Terre Haute, Dreiser, but the The “Gay ‘90s,” which likewise were Ind., and brother Theodore grew up to song writer from the overly sentimental ‘90s, are not even become a great novelist. John Paul Jr., a memory to 99% of the people today. the oldest of a dozen children, adopted Terre Haute has But their songs in tribute to heaven, Paul Dresser as a stage name. his own niche in home and mother have a permanent niche Family Poor and Unhappy American Music. in the archives of Americana. Paul Dresser wrote a tune, “I Believe The Dreiser family, which moved A nations’ history It, for My Mother Told Me So,” and from one Indiana town to another, was and moods are reflected in its popular when he sang it for his parents, brothers miserably poor and unhappy. The songs. In the era of our Revolution, and sisters, his young brother Theodore father was a religious fanatic and he William Billings wrote flaming patriotic wept. disciplined his children accordingly. and revolutionary tunes. The Civil Dresser is the representative tunesmith Paul, a rebellious sort, got into trouble War gave us “The Battle Hymn of the early. He was jailed on suspicion of 237 continued. . . robbery and served another brief term for it? The Wabash River? It’s as good as any forgery. The lawyer who won the youth’s other river and you grew up beside it.” freedom had seduced one of Paul’s sis- Paul realized it was a fine idea and ters, as W. A. Swanberg notes in his biog- persuaded the reluctant Theodore to write raphy of Theodore Dreiser. a few lines of words. Paul immediately Considering Paul incorrigible, his turned out the musical part and reworked father sent him to a seminary at Evans- Theodore’s words into verses that would ville. There the boy taught himself to scan and fit the music. The result was play piano and guitar and learned many “On the Banks of the Wabash Far Away,” minstrel show songs which he sang to his with its famous chorus: own accompaniment. “Oh, the moonlight’s fair tonight At 16 he ran away from the seminary along the Wabash. From the Fields there and joined a traveling minstrel troupe as comes the breath of new mown hay, a black face entertainer and song writer. Through the sycamores the candle lights The troupe dispensed Dr. Hamlin’s Wiz- are gleaming On the banks of the Wabash ard Oil, “guaranteed to cure all ills.” This photo, from “Dreiser,” by W. A. Swanberg, far away.” Paul was a natural in the song and is captioned in that book, “The far greater The song became a hit and made a entertainment business and was billed brother is forgotten in Terre Haute.” lot of money for Paul, who took credit as “a sensational comique.” He made this lucrative market, as Ewen points out, for the words as well as the music. his way to New York, joined a Bowery with such tearful ballads as “My Mother But generous as always, he forced a theater company and became an end man Was a Lady,” “She Was Happy Till She good share of the royalties upon (jester and wisecracker) in the popular Met You,” “She May Have Seen Better Theodore, who accepted it disdainfully. Primrose and West Minstrel Company. Days,” “Gold Will Buy Most Anything Theodore, never noted for his sweetness He was well paid and he didn’t forget his but a True Girl’s Heart.” of character, was jealous of Paul and destitute family back in Indiana. He sent In his 30s Dresser married a burlesque resented his prosperity and popularity. money home and occasionally he made a queen, May Howard, who was flagrantly The brothers were alike in having visit. unfaithful, left him, returned and finally energetic minds and the ability to work long and hard. In later years Theodore Paul’s Visit Brought Sunshine left permanently. His unhappiness said that he was not happy if he wasn’t Theodore later recalled one visit: inspired him to compose “The Curse of grinding out 5,000 words a day. A wag in “Paul strode in, plump, well fed, the Dreamer.” Tin Pan Alley once remarked that “Paul beaming, wearing a silk hat and fur Dresser, six feet tall, weighted 300 Dresser is slowing up; he hasn’t written a coat, brandishing a gold headed cane. pounds. “And every ounce of him oozed song in the last 30 minutes.” It was like the sun or a warm, cheering with generosity and sentimentality,” fire. Soon he produced a thick wallet Ewen relates. “A needy friend, an actor Paul Composed Hundreds of Tunes and peeled off greenbacks.” without a booking, a family lacked funds In his lifetime Paul earned a half Paul, as did Theodore later, found for a funeral, all found him ready with million dollars, the equivalent of several his lifelong diversion in the company of handsome money gifts. He carried a roll millions today. About 160 songs were the wenches. As a young man he began of $20 bills and was quick to remove one published in his lifetime and he wrote to acquire mistresses in houses of ill for a passing acquaintance obviously hundreds of others. repute and never broke the habit. The come upon hard times. He never passed But he tossed away his money as title character of one of his most popular a beggar without handing out a dole. rapidly as it came in. When he was in his songs, “My Gal Sal,” was such a madam. He had as much trouble curbing his 40s he had lost his ability to please the “A wild little devil but dead on the level beneficence as he did alcohol and public, business declined and his song was my gal Sal,” he recalled musically. women.” publishing firm went bankrupt. In his In his 20s Dresser had such success in Theodore, who endured a long period adversity he was forced to move into the writing songs that he could forsake of poverty and failure, occasionally home of a sister living in New York and his actor’s career and concentrate on visited Paul in New York and received there he died of heart disease at 48. He composing. a hearty welcome and substantial gifts did not leave enough money to pay for The public of the 1890s created an of cash. his funeral, which drew a large throng to enormous market for tear jerking music. Brother Theodore Was Disdainful St. Francis Xavier Church. “If he sinned, he always repented,” Dresser described an unhappy romance On a Sunday afternoon in 1897 Paul said the priest who celebrated the in “The Letter That Never Came.” was improvising on the piano and told requiem mass. “The Convict and the Bird” presented a Theodore: “Why don’t you give me an The last song he had written, but prisoner in his cell visited by a bird who idea for a song, sport?” lacked the means to promote, was “My sings “Come to me, I pray, come to me “Me?” Theodore said, with a touch of Gal Sal, or They Called Her Frivolous each day.” But the lonely man dies in contempt. “I can’t write those things. Sal.” Immediately after Dresser’s death his cell without being able to accept the Why don’t you write something about the song began to have a huge sale. That invitation. “The Pardon Came Too Late” a state or a river? Look at ‘My Old and other songs he left earned large sums was another Dresser product dealing with Kentucky Home,’ ‘Dixie,’ ‘Swanee for his estate in the ensuing years. In prison life. River.’ Why don’t you do something that 1948 “My Gal Sal” was made into a suggests a part of America? People like Other Writers Cashed In, Too movie, with Victor Mature taking the that. Take Indiana, what’s the matter with There were other writers who enjoyed Paul Dresser role.

238 239 240 241 242 243 Submitted by Larry Emmons RANDPA’S PIANOS connected to a little tube that sucks in one of the bellows with her fingers. air. When the paper passes over the “They’re old. One had a family of By Katherine Emmons holes, they get plugged up. Except…” mice living in it. They used the felt PO Box 203 • Poway CA 92074 “When there’s also a hole in the from the piano’s hammers for a nest, [email protected] paper.” Emily was panting from all that and nibbled the glue that held the exercise. “Then it plays a note,” she cloth to the bellows.” “I’m here!” said Emily, giving Grand- added. As they walked back to the house, pa a big hug. His beard tickled her. “I’m “Exactly.” Grandpa told Emily how during a time taking piano lessons. I want to try out The harder Emily pumped, the called the Great Depression, people your piano.” louder the piano played. Mom came couldn’t afford to buy pianos. The “Go right ahead, my girl.” Grandpa’s and began to sing, reading words companies that made player pianos voice sounded gruff, but he had a twinkle that were printed on the roll of paper. went out of business. A lot of pianos in his eye. Pack up all my care and woe, were left behind or thrown out as Emily sat down at a dark red-brown Here I go, singing low, people moved to find work. piano that sat in the hallway. Bye bye blackbird “These old pianos are survivors. “That’s my Wurlitzer,” said Grandpa. When the song was over, the When he was a boy, your Great- “Wur-lit-zer,” Emily repeated, and roll switched directions and spooled Grandfather’s family had a Wurlitzer carefully lifted up its keyboard cover. back up. just like mine,” Grandpa said. “But his The notes sounded clear and rich, “More Grandpa,” said Emily, catching father lost his job. My dad, your echoing off the wood floor and smooth her breath. She spotted a whole cabinet great-grandfather, had to chop the walls. Emily played her favorite song, all full of long narrow boxes. Some of Wurlitzer up into firewood so the the way up to the part that was too them looked as old as boxes in a family could stay warm a little longer.” difficult. museum, and had a musty smell. Emily almost choked. Chopping a “That’s beautiful,” said Grandpa. “Hang on. I’ll show you the beautiful piano into firewood? “It’s an old song, called Für Elise. nickelodeon first,” said Grandpa “When he grew up, your Great- But even old songs sound good when you “But Grandpa,” Emily said, “I don’t Grandfather found one just like it that play them on a piano. What can you want to watch Nickelodeon. I want to survived. It didn’t work, but one day play?” see your pianos. Please?” I was old enough to try to fix it Grandpa rubbed his beard. “I’ll just Grandpa bent down so he could look myself. I didn’t know what I was doing have to show you, my girl.” Emily in the eye. “My girl, you’ve never at first, but I learned. My dad was so He slid open a door at the base of the seen a nickelodeon like this.” happy to hear it finally play.” Wurlitzer, and tipped out some strange The nickelodeon was a tall piano with For the rest of the afternoon, Emily pedals. colorful glass on the front. Grandpa played song after song on the Wurlitzer. “Those look like the pedals on Mom’s placed a nickel in Emily’s palm. “Go Grandpa had hundreds of rolls. Getting exerciser,” said Emily. ahead, put the nickel in. No pumping on through all of them would take the whole Grandpa laughed. “On this player this one,” he said. “It’s electric.” visit, Emily thought. She loved the piano, the more you exercise, the more When the nickel clanked down to quick, happy songs, with names like music you get.” a hidden coin box, the piano belted out Five Foot Two, Eyes of Blue, and Let a He opened up another door above the a series of bright, noisy tunes. So that Smile Be Your Umbrella. But she liked keyboard. “We’ll put a roll right in was a nickelodeon! Emily got up and the William Tell Overture, and Hungarian there.” He got out a long, narrow box started to dance with Grandpa, three Rhapsody, too. They sounded deep and with a roll of paper inside. He fastened songs in a row. mysterious, or bold and adventuresome. the roll inside the piano. “In the 1920’s this nickelodeon Emily even found a roll of Für Elise. “Sit down, Emily, and get your played in a bar,” said Grandpa when “I like the way you play that one exercise,” he said. “Pump!” the roll began re-rolling. “When better, Emily,” said Grandpa. Emily pushed: left, right, left. It was customers wanted to sing and dance, “Me too,” said Emily, “but I like hard! She stopped with surprise when they spent a nickel to hear their hearing your new songs. I mean your she heard a flutter of piano notes. favorite songs. It was a big hit. But new-old songs.” “Keep going, pump harder!” said let’s go out to my workshop now.” “Bringing new life into old songs,” Grandpa. Emily pumped and listened. Three more player pianos were said Grandpa. “That’s the best part of it She watched, too, as the paper unrolled there, being repaired. The insides of all.” from the top and re-rolled at the bottom, one lay on Grandpa’s workbench. revealing tiny holes, up and down and “Here you can see eighty-eight Author’s note: across the paper. pneumatic bellows, Emily. When you When the author was twelve years old, “See the paper passing over the pumped those peddles on the Wurlitzer, she helped her father restore a 1929 holes on this metal bar?” asked they opened and closed to make the notes Wurlitzer player piano. It now sits in her Grandpa. He had to shout over the play.” living room, for her own children to enjoy noise. “Eighty-eight little holes, as “Why are they broken, Grandpa?” the new-old songs. many as keys on the piano. Each Emily asked. She opened and closed

244 URTOGH D. GUINNESS Submitted By COLLECTION GETS NEW WING Karl Ellison

By JEANETTE CALO, heir to an Irish brewing company, who community, we’re talking to ourselves.” New Jersey Herald Staff Writer collected music boxes, fairground organs During Monday’s groundbreaking, and other mechanical items for most a group of pupils from Denville MORRISTOWN - The Morris of his life. After the wing is completed, participated in one of the museum’s Museum broke new ground Monday the museum will receive a $7 million educational programs by creating their for an $8 million expansion project that endowment from the Guinness estate to own automata. will house one of the largest collections care for the collection. The endowment “This place never feels quite right of music and motion. could not be used for the gallery’s unless it has a group of kids here,” Board As part of a $15 million campaign, the construction, museum officials said. Chairwoman Mary Chandor said. museum will add a wing to house The Building the Guinness wing is only A selection of 60 pieces from Murtogh D. Guinness Collection. The part of the museum’s expansion and the Guinness collection - which 700 mechanical musical instruments, renovation project. emphasizes technology, entertainment which date from the late 16th century to So far, $5.8 million of the $8 million and craftsmanship - is currently on early 20th century, include music boxes, the museum needs to raise for the display at the museum. One piece that player pianos and automata. Automata project has been pledged. Other plans attracted guests was a upright piano are mechanical figures that mimic human include a new two-story pavilion through with three violins, built in Germany in and animal behavior. which guests can enter the museum and 1912. Curator Ellen Snyder-Grenier said When the 4,300-square-foot gallery Bickford Theatre, as well as a Family the piece, which was Guinness’ favorite, is completed, the museum will have Discovery Place for children and a was advertised as very reliable. the first major exhibit in the Western Science Learning Center to house “They said you didn’t have to worry Hemisphere devoted to mechanical music Natural History of New Jersey galleries about the same thing you would if and automata that is open to the public, and a science laboratory and classroom. you hired a human performer,” said museum officials said. Work is scheduled Plans also include renovating the historic Snyder-Grenier. “But the violins do not to be completed by summer 2007. Twin Oaks home, built in 1913, in which self-tune...so you do need a human to “This is not for Morris Township, not the museum is housed. come in anyway.” Morristown, but for the entire area,” Steven Miller, the museum’s Several of the pieces in the extensive Chairman Emeritus Peter Mancuso executive director, said the project will collection were crafted in New Jersey. said at the groundbreaking ceremony, help the museum to enhance its “I’ve said that New Jersey is the most which attracted donors and Morris educational programs and become creative state in the Union,” Miller said. County officials. a cultural hot spot. “And I haven’t heard that it wasn’t - no The collection, awarded to the “The community we serve covers the other states called up anyway.” museum in October 2003, is from the whole northern half of New Jersey,” estate of Murtogh D. Guinness, a wealthy Miller said. “Without serving a

Submitted by Mike Kukral

ANA-ZUCCA From Miami Beach Times GRAND DAME OF MUSIC November 29, 1973

Mana-Zucca relaxes in the living flute, recorder, cello, saxophone, ballets She remains a charming and unassuming room of her Miami Beach home, her and orchestra. person. refreshing smile adding to the warmth of And, amazingly, she has 1,000 more “You don’t think of yourself”, she this room filled with the memories of a works still waiting to be published. explains. “Those people who think they composer, singer and pianist. She is particularly excited about her are famous are really not famous.” Mana-Zucca was and is all of that. latest work, a sonata, that she calls “my She laughs, remembering how she Rightfully known as the grand dame of best work.” once told a musician friend of a work she Miami music, she has lived a life as She has lived in Paris, Berlin and had published that was becoming popular. different and exotic as her name. London and as a gifted child composer “Is it as bad as all that?” her friend Her bright eyes flash today with the was known by all the great musicians asked. same spirit of life that she personified for of America and Europe. Mana-Zucca has seen many changes future generations in her famous song, “I sat on more famous laps than any in her world and she has formed her own “I Love Life.” A child prodigy who child in the world,” she laughs. “The opinions about most of them. began to compose at the age of four, called me a lap-lander.” About men’s and women’s fashions Mana-Zucca has published over 1,100 Success and fame have accompanied today she says: “We’re going to have a songs, sonatas, concertos and chamber her throughout her life, but neither neuter gender. Boys looking like girls music etudes, written for piano, violin, have succeeded in turning her head. and girls looking like boys. If it looked

245 continued. . . better I’d say fine but it doesn’t. A girl “Why don’t you publish something didn’t even want to hear the song because should look like a girl.” else?” it was not written by a Spaniard. On women’s liberation she is in “I told her, ‘That’s a good idea,’” “You have to be Spanish to get the sympathy with the libbers demands for recalls Mana-Zucca. “ ‘I think I’ll do it.’” right feeling,” he said. equal pay for equal work, but, she adds, One of Mana-Zucca’s most famous Undaunted, Mana-Zucca removed her “I like to have men take care of me. I like fans was the Duke of Windsor. While name from the song and substituted a men to open doors, give me a seat and visiting England once, she ran into two Spanish name. A short time later she saw carry my packages. Do these women performers who hold her that the Duke her friend again and he immediately fell want to go to war and dig trenches?” was enchanted with one of her songs. in love with the song, not realizing it was On today’s rock music she says: “I Later in New York other musician the same one he had turned down so like anything that’s well done. The rock friends told Mana-Zucca the same story. abruptly before. music I’ve heard I didn’t like but I’m Then fate intervened. One afternoon, she “He told me, ‘See what I mean, this sure it must be better or else it wouldn’t watched the door to the elevator of her could only have been written by a be popular.” New York apartment open and there he Spanish person,’” Mana-Zucca laughs. But she is quick to add that she wishes was in flesh and blood, the Duke of In at least one instance, however, more modern popular songs had soft Windsor. Mana-Zucca’s own name was more melodies. The Duke had been posing for a important than her work. A woman wrote “I write more melodic things,” she portrait on the top floor of the apartment her an apology saying that as a child she says. “I believe in melody. You need and by coincidence was descending in and her brothers and sisters could not use inspiration for melody.” the elevator just as Mana-Zucca rang for profanity so when they were angry they Being famous means having fans and it. would shout ‘Mana-Zucca!’ Mana-Zucca has her share. “We shook hands and he said the song “We took your name as a swear She remembers fondly the letter she was his favorite one,” she remembers. word,” the woman wrote. “We feel we received addressed to: “Beloved Although for her fans it would be hard owe you an apology.” Mana-Zucca, composer I Love Life and to believe, Mana-Zucca has at times had Through all the years Mana-Zucca 1,000 others, Mazzica Hall, Miami, difficulty getting some of her works says she has never lost her own love of Fla—Yes she’s in Florida, locate.” performed. life. Then there was the woman who She laughingly recalls one incident “I am most proud of the things I am recognized Mana-Zucca one night at a when she had just written a “Spanish going to write,” she says. “I want them to performance of the Miami symphony. song” and asked a friend who handled remember me as a composer.” The fan congratulated the composer on “I Spanish music to perform it. The man, Love Life” and then suggested to her, somewhat haughtily, told her that he

EW PIANO ROLLS & RECUTS

New from David Caldwell 400 Lincoln Lake Ave., N.E. Lowell, MI 49331 ¥ Phone (616) 897-5609 ¥ [email protected] ¥ www.malli.net/~uni/Caldwell

AMPICO NEW RECUT MEDLEY LARGE & EXLARGE ROLLS 68853F Musical Comedy Favorites No. 10..Selections from “Funny Face”, Gershwin. P/B Vic Arden..(1) ‘S Wonderful; (2) What Am I Gonna Do; (3) He Loves And She Loves; (4) Funny Face. 71103 Outstanding Hits Of The Day, FoxTrot Medley No. 11..P/B Bob Edgeworth..(1) My Cousin in Milwaukee; (2) Suzanne; (3) Forty Second Street; (4) Why Can’t This Go On Forever; (5) Hey Young Fella. 71113 Outstanding Hits Of The Day, FoxTrot Medley No. 12. P/B Edgeworth, (1) Goofus; (2) Strike Me Pink; (3) A White House Of Our Own; (4) Farewell To Arms; (5) Give me A Roll On A Drum; (6) Goofus. 71233 Popular Hits Of The Day, FoxTrot Medley No. 19. P/B Frank Milne…(1) Our Big Love Scene; (2) You Alone; (3) No More Love; (4) Flying Down To Rio; (5) Coffee In The Morning. 215923 (1) You Came To My Rescue (Robin-Rainger); (2) Here’s Love In Your Eye (Robin-Rainger); (3) Swingin’ the Jinx Away (Cole Porter)…Played by Victor Lane.

246 continued. . .

AMPICO NEW RECUT LONG PLAY MEDLEY ROLLS 71333 Popular Hits Of The Day, FoxTrot Medley No. 26..P/B Frank Milne…(1) I’m In Love; (2) I’ll Close My Eyes To Everyone Else; (3) Out In The Cold Again; (4) Fun To Be Fooled; (5) Sweetie Pie. 71473 Outstanding Hits Of The Day, FoxTrot Medley No. 35..P/B Frank Milne..(1) I’m the Echo; (2) Life Begins At Sweet Sixteen; (3) If You Were Mine; (4) I’ve Got Love; (5) Hypnotized.

PLEASE VISIT THESE SUPPLIERS OF RECUT ROLLS

Rob Deland: Robin Pratt: Scott Boelman: Blues Tone Rolls Artist’s Choice Music Rolls Lazy Dog Piano Rolls www.bluesrolls.com www.wiscasset.net/artcraft/pratt.htm www.lazydogpianorolls.com [email protected] [email protected] [email protected] Phone: (847) 548-6416 Phone: (419) 626-1903 One Olive Street, 516 Pierce Street Ladera Ranch, CA 92694 Sandusky, OH 44870-4725 Phone: (949) 218-0108 Bob & Ginny Billings: Rock Soup 14010 Rim Rock Drive, Steve Bentley: David Caldwell Reno, NV 89521 Playrite Music Rolls 400 Lincoln Lake Ave., N.E. toadhall @sprynet.com 1536 N. Palm St., Lowell, MI 49331 Phone: (775) 853-4659 Turlock, CA 95380 U.S.A. Phone: (616) 897-5609 Phone/Voice: (209) 632-5784 DavidWFrom [email protected] Fax: (209) 667-8241 www.malli.net/~uni/Caldwell Leedy Brothers Music Rolls 4660 Hagar Shore Road Coloma, MI 49038 QRS Music Technologies, Inc. Dick Hack: www.leedyrolls.com 1026 Niagara Street, Hack Mechanical Music Phone: (269) 468-5986 Buffalo, NY 14213 2051 Chesapeake Road Fax: (269) 468-0019 Phone: 1-800-247-6557 Annapolis, MD 21409 Fax: 1-716-885-7510 [email protected] www.qrsmusic.com (410) 279-5859 Cell Days Larry Norman: (410) 757-2164 Home Evenings Rollertunes www.home.earthlink.net/~rollertunes David Saul: [email protected] Precision Music Rolls Frank L. Himpsl: Phone: (540) 721-7188 1043 Eastside Road Valley Forge Magic Melodies & Keystone El Cajon, CA 92020-1414 Music Roll Company 360 Lawless Road [email protected] 604 Linnet Road Jamestown, KY 42629 Audubon, PA 19403 Phone: (270) 343-2061 (484)-250-7046 roll shop Joyce Brite: (610)-291-1841 my cell Player Piano & Musical http://www.valleyforgemusicroll.com Don Teach: Music Exchange Shreveport Music Co. http://mmd.foxtail.com/Exchange/ 1815 E. 70th Street, http://mmd.foxtail.com/Exchange/rollpage.htm Tim Baxter: Shreveport, LA 71105 Meliora Music Rolls [email protected] www.members.aol.com/meliorarol/index.htm Phone: (318) 798-6000 [email protected] Fax: (318) 797-4572

247 THEY SHALL BE REMEMBERED They went to every convention up to Mary Lilien, taken at the time Ben’s health made it impossible, a convention in STAN with the last one they attended being Chicago, with Mary in Sandusky, Ohio. Mary always missed in period clothes. ALDRIDGE She really loved going, but she had such an upbeat this particular It is with great sadness that the attitude about everything, and just picture. S.O.W.N.Y. Chapter reports that one of figured one day at a time. it’s founding members, Stan Aldridge, They did a lot of charity work, having passed away on April 7, 2006. Stan had full dinners at the house, with lots and been a long-time member of AMICA and lots of music from their fine collection. had been instrumental in bringing many They usually recruited friends to help new faces to the chapter in his over the demonstrate the instruments and share in thirty-plus years with S.O.W.N.Y. His the fun. There were numerous plaques love of player pianos, pipe organs and and awards on the walls from the various other automatic musical instruments was organizations which benefited from the contagious. His presence at chapter Lilien’s dedication. meetings will be missed. They took their calliope out for parades and outings, and Mary loved dressing up as a clown to sit at the MARY keyboard and pretend to play. LILIEN Mary also collected vintage clothing, and she organized fashion shows for Submitted by Shirley Nix any hospital, convalescent home, or organization which asked her, again Mary Lilien died on June 15 at the age recruiting friends as models. of 90. They were instrumental in several of Mary and her husband Ben had been the table favors for AMICA and MBSI, solid supporters of AMICA for many, and Ben had a full shop in his garage, so many years, and she will be missed by the work was done at their home, with her many friends. (Ben died earlier.) wonderful food and music as the reward. The Liliens hosted many meetings, When Mary and I went shopping it both for AMICA and MBSI, at their was amazing…she came out of the home, and anyone who was at their store knowing the salesclerks life’s convention dinners will remember the history, who she married, how many steaks and full dinners served there. kids she had, and all the little problems Mary always insisted guests at her and accomplishments in this complete home, no matter their number, eat many people had made plans which stranger’s life. It was the same at on real plates with real silverware… couldn’t be changed, so there were only restaurants. She had such a love for no paper or plastics for Mary, much to about six of us from the Automatic Music people, and they responded in kind. the dismay of her granddaughters, who Field, and even less from the car club, They had exchange students live with pulled dishwashing duty. (At the although I know she was in the thoughts them, and stayed in touch with all of memorial, one of her granddaughters of many, many people that day. them to the end. We met a couple of the remembered that they finally convinced Mary and Ben were special friends of Japanese who had been their guests, and her to buy plastic plates for a family ours, and there is a hole in the universe they looked on Mary and Ben as their picnic…but she gathered them all up without them. She had friends all over American family. when they were done, took them home, the world, and I’m sure they all feel the Her family had a memorial service and you guessed it…had them washed same way. It’s the end of an era. We for her at the house, and it was a lovely and ready for the next event!) count ourselves lucky to have known gathering. They had a large, loving Mary and Ben welcomed everyone them and to have had them as friends. family, and many memories were shared to their home, and you were not only by all. Unfortunately, we got very short welcome to their home, but to their notice, and since it was father’s day hearts and lives, and felt like family.

248 News From The Chapters

“Three Roses,” its beautiful sounds complemented the beautiful weather for the Boston Area Chapter Spring meeting.

The motel’s attractive sign out front assured members they were in the right place.

BOSTON AREA CHAPTER Reporter: Dorothy Bromage President: Bill Kownigsberg

Photos by Phyllis Konop Following the business Ed O’Brien joined AMICA early this year after attending meeting, Bob Hunt the winter meeting of the Boston Area Chapter. He demonstrated his midi immediately offered to host a meeting. Boston Area Chapter e-valve system, and Bill members just as quickly took him up on this, and a successful Koenigsberg paid attention. meeting was held Sunday, May 7, at the Franconia Notch Motel which he owns in Lincoln, NH. Ed’s Dutch Street Band Organ was on site and delighted members, a well as passers-by on the main street in Lincoln, gateway to the remarkable scenery of the Franconia Notch area of the White Mountains. Indoors was his 1927 Kohler & Campbell baby grand 88-note Auto Deluxe reproducing piano. With ideal weather for May, most of the time was spent in foot-tapping happiness around the band organ as it played—midi operated—tunes of popular and classical nature. There was also a mart and a business meeting chaired by President Bill Koenigsberg to keep members busy. As part of the meeting, discussions centered on members’ interests and questions and the project of restoring the Aeolian player piano to be presented to the Charles River Museum of Industry in Waltham, MA. The 2004 band organ, “Three Roses,” came from Netherlands Boekorgal Centrum. It was built in Hilvarenbeek, Netherlands by Anton Heesbeen and Chris Van Laarhoven. Prior to visiting Ed, we had a look at the organ by visiting his web site: www.franconianotch.com. We appreciated When “The Light Cavalry Overture” plays, you have to pretend to the hospitality of Ed O’Brien and Denys Draper and the gallop, at least this is what Dorothy Bromage believes. By the band instruments they shared that day. organ, Ed Everett and Ed O’Brien are more pensive. 249 Aldo Mancusi rolls his Hoffbauer crank organ into place for the rally.

Pat and Joe Lavacchia danced to the insistent rhythm of a fox trot. Some of the motel’s cabins are in the background.

Vince Morgan keeps an eye on the monkey organs as the rally sets up for the day.

Bob Hunt and Bill Koenigsberg chatted, refreshments in hand. Phil Konop soaked up the sunshine and the music.

Dianne Polan, Gene Massucci and Leasa Mancusi enjoy a laugh during the rally.

LADY LIBERTY CHAPTER Reporter: Buzz Rosa President: Bill Maguire - (214) 328-9369

On April 9, 2006 the first ever Organ Rally was held in NY City. Our president Vince Morgan teamed up with local Coney Island promoter Todd Robbins also known as “Coney Island Todd” to organize this rally. It was held across the street from the Coney Island Subway station starting at the Coney Island Museum and going down West 12th St. which Pete Zorlenzan was closed to motor vehicle traffic. Lunch was available a and Bob Stuhmer block away at the famous Nathans Hot Dog Stand with picnic discuss the tunes tables supplied by the Museum. Many people learned of the on a Wurlitzer 150 roll. rally from news reports the night before. After the rally the Lady Liberty chapter members held their meeting at the new home of Ira and Norma Malek and enjoyed seeing their music and car collection.

250 Ira Malek plays one of his restored players and answers questions from the public.

Paul de Vries explains to Dale Rowe how his monkey organ plays midi files from a palm pilot seen on top —no paper rolls or cylinders.

Bob Yorburg’s Homebuilt Pell Organ and super wood carvings.

Vincent and Gene Massucci brought their monkey organs in this 1930 Model A Pickup Truck.

Rapid T. Rabbit as portrayed by Rich Conception discuss the musical dynamics of the street organ with Dale Rowe.

Bill Maguire foot pumps his Stroud player piano as Ira Malek and Dianne Polan sing along.

Pete Zorlenzan’s Wurlitzer 153 “Miss Kay” was a crowd pleaser.

Marvin Polan demonstrates a Castlewood and a Molinari crank organ to the public. 251 Josh Rapier had put together a program for us featuring Aldo Mancusi the 1928 Steinway AR Duo-Art 7’ Grand, the 1924 explains the workings Hallet Davis Atrio-Angelus 5’ 8” grand, the 1924 Baldwin of a Hoffbauer to the Welte-Mignon Licensee 6’ 4” Grand, The 1920 Knabe curious during the Ampico Grand, Model A with B drawer, the 1909 Aeolian XY rally. Solo Orchestrelle, Duo-Art capability added and the 1920 A.B. Chase foot-pumped upright player with custom recordo added. Josh always presents a program which gives each instrument it’s share of the spotlight, and it is certainly a treat to hear the wide variety of music he chooses. To add to our pleasure, Tawnya Rapier, Josh’s wife, made up very professional looking programs, making it easy to follow along. Among the selections were “Gypsy Airs”, “Butterfly”, “Humoresque”, “The Whistler and His Dog”, “Liebestraume Nocturne No. 3”, “The Music Box”, “New York Days and Nights Suite”, and many others. Todd Robbins expertly plays Bill Maguire’s Terry and Reese were top restorers of reproducing grand Stroud player piano pianos, and many pianos were saved due to their knowledge to the delight of and abilities. They did some remarkable work, and we have the public them to thank for our Steinway Duo-Art, which we love. They are retired now, but Josh has worked with them for quite a while prior to retirement, and he is taking over the work. It’s good to see a young person coming into his own in the field of restoration. It was a lovely day, and the weather was perfect for the intermission with refreshments on the patio. We had a good turnout, with some faces we haven’t seen in a while, which is always a good sign. We owe Reese, Terry, Josh and Tawny a real vote of thanks for hosting the meeting, and putting in the work to make it such a success. Local Street Talent was attracted to the unique music of the rally and performed. Our hosts Josh Rapier, Reese and Terry Banister.

At dinner after the meeting- Ed & Peggy Cooley, Jack Conway, Diane Minsey, Jerry Pell, Josh & Tawnya Rapier.

SOUTHERN CALIFORNIA CHAPTER Reporter: Shirley Nix President: Jerry Pell - (760) 279-6380

April found us at the lovely Victorian home of Terry and Reese Banister for a meeting. It’s a great setting, and the home alone is worth the trip, but there was so much more. 252 Don Henry and Robin Biggins.

Kelly Peters in the workshop. Lloyd Osmundson, local treasurer, give Bill Chapman pointers.

June Meeting June 24 was the date for our last meeting, a barbecue put on by Frank and Shirley Nix at their home in Woodland Hills. We had seventy plus people attend, which is a very high number for an AMICA meeting, particularly since the weather didn’t cooperate very well, with the temperature over 100. The weather didn’t dampen the spirits of the AMICAn’s, though, and we enjoyed lunch in the shade of the carport in the backyard, with Steve Nix, son of Frank and Shirley, doing the barbecuing of the hamburgers and salmon burgers, and his wife, Tara, keeping him supplied with meat and buns and whatever he needed. We really owe them a great big thanks, since it would be extremely hard to put this on without their help. Mike Ames and Frank Nix having a mini consultation. We had lots of food, not wanting anyone to go home hungry. Poor Steve shut down the barbecue when everyone was done, and then people arrived who had been stuck in traffic, or for one reason or another arrived late. He started back up and everyone got fed. Before and after lunch the music room was open, and Frank demonstrated the instruments for anyone who wandered in. (After lunch Steve took over some of those duties, too…he’s a multi-talented man.) The Ramey Banjo Orchestra is always a favorite with any crowd, and this was no exception. In fact, Ed Cooley, who just ordered one, sat and listened to it as long as anyone would play it. I think he decided he had made a good buy! Everything was playing well, and the Hupfeld Helios, the Lloyd Osmundson, Don Henry, Jerry Pell and Frank Nix. Mortier, the Duwyn, the Weber Styria, the Mills Violanos, and the Imhof-Mukle were all in exceptionally good voice. The small instruments were not forgotten, either. The KT, the Coinola Midget, the Wurlitzer BX and the Wurlitzer CX-B all joined in, along with various other instruments, to entertain the AMICAns. In the house the Weber Unika and the Steinway Duo-Art took center stage, with various music boxes and miscellaneous items pleasing the visitors. The organ house, which Frank hadn’t figured on opening, since he didn’t think anyone would be interested, had to be readied in a hurry, since he had many requests to go inside and hear the organs. Several people tried their hand at cranking the Ruth Organ, Diane Minsey, Jerry Pell, and Richard Ingram take a break. which is a chore at any time, but with the heat outside it made 253 it all the harder. They seemed to enjoy doing it though. The room is air-conditioned, so it really wasn’t all that bad. Even the music box room upstairs got its share of attention. It’s so nice to have a group of collectors, who really enjoy everything. The first attendee arrived at 10:00 a.m., and the last to leave was at 10:00 p.m., so it was a full day. It was very rewarding for us to put it on, since everyone seemed to have so much fun.

Jack Conway in background, Don Barr & guest Olga, Erwin Cohen. Weber Styria in back.

Who says music doesn’t soothe one’s soul? Ron Burchard enjoys listening while Ardis Prescott & Rochelle Mercer take advantage of the air-conditioned room to take a snooze!

Bill Blair, Robin Biggins, Warren Deasy and Peggy Cooley brave the heat.

Michael Choate & family, Nora and Bill Klinger, Mike Ames. Ed Cooley on right, checks out the interior of the banjo orchestrelle while Joe Renaudo looks on. (Ed just ordered one, so he was super interested.)

Steve & Tara Nix relax after doing all the hard Leslie Hoffman, Richard and Beverly Ingram enjoying the music. (and hot) work.

254 Supper was at a Greek restaurant in the trendy Allentown area of Buffalo. Many antique stores and arts/crafts shops line the street and are the backdrop to the Taste of Buffalo Festival and the Allentown Antique Festival. Buffalo is worth visiting. During our supper, Mike conducted a meeting and we remembered our friend and a founding member of SOWNY, Stan Aldridge. Stan died recently but will be remembered for this thoughtfulness, dedication to the club, commitment to the Riviera Theatre, his fondness for sport cars and his wonderful cooked beans. He knew service and served his country well S.O.W.N.Y. CHAPTER and was a friend to us. We will miss him. Reporter: Garry Lemon President: Mike Walter - (716) 656-9583

Photos by Nancy Group and Anne Lemon It was May and it was that time of year for our SOWNY group to renew friendships and to make new adventures. Our first visit was to the Wilcox Mansion in Buffalo. The large house was originally built as an army barracks in 1838 but was later re-fashioned into a house for the Wilcox family. It was almost 105 years ago to the date of our visit that Presi- dent McKinley was assassinated in Buffalo while he attended the Pan-American Exposition. It was here, in the Wilcox Mansion, that Theodore Roosevelt took the oath of office to be president of the United States. Harrold and Muriel, Anne, Joanne, Garry, John and Mike at the It was in the small library room off the front hall and with Theodore Roosevelt Inauguration Site. the stroke of a pen that the American presidency took a different path. This room is one of three in which the oath was officially taken outside of Washington. McKinley’s popularity and Roosevelt’s vision shaped American domestic and foreign policy for years to come. Buffalo has many other interesting sites for visitors. Many readers visited QRS during the AMICA Convention of 1998. For those who did not, you will view several photos from our re-visit. Mike Walter, our chapter president and also AMICAn president, was our host and guide. We gathered in the lobby and listened to a violano, accompanied by a synthesized piano and capable of being connected to pianomation. This recent creation from QRS is a rare and intriguing musical instrument. An original Marking Machine is also on display and demonstrates how playing on the piano will record graphite markings on paper. A testimonial to Melville Clark Library in Wilcox House, site of Roosevelt’s inauguration. and his innovations was placed close to this instrument. Mike took us upstairs to the Master Roll ‘editor and arranger’ room. By depressing individual keys, the editor/arranger could perforate the master roll. Our trip continued downstairs to the manufacturing room. Adam, a QRS employee, had set up the Perforating Machine to show how the several rolls of paper could be coordinated to pass through the machine and be perforated. Next in the process was the Stencil Machine. Mike explained that variations in humidity, paper, ink thickness and the actual speed of the motor all impact on the accuracy of imprinting the lyrics. The leading edge is trimmed by double blades and an end tab is glued onto the roll. The eyelet of the end tab is fashioned on a machine that was made in 1886 and originally used to make leather eyelets for shoes. Adaptation of machinery and creation of new technology was as important in the early Display of Roosevelt’s connection with Buffalo. 1900s as it is today.

255 Display of Pan-American Exposition Staircase with presidential decoration. QRS Violano. in Buffalo.

Arranger/Editor at the piano. QRS Player Saxophone.

Story & Clark orchestrion. Mike explaining the Marking Machine. Making the master.

256 Mike at the stencil machine.

Supper-Anne, Garry, Mike, Holly, Janet, John, Nika, Daniel, prospective new members from Buffalo, Ed, Nancy, Muriel and Harrold.

Mike preparing the leader.

TEXAS CHAPTER Reporter: Maureen Barisorek President: Jerry Bacon - (214) 328-9369

Sunday, May 27, 2006 The Texas Chapter AMICA gathered in the parish hall of St. John’s Episcopal Church in Dallas for their May meeting. But the concert and lecture prior to the meeting in the church itself was just heavenly. St. John’s is a small, modern church built in 1961. It’s lovely setting off White Rock Lake enhances the architecture and adds beauty to the services held within. Jerry Bacon, the chapter president, arranged for the meeting at St. John’s. He is the curator of the church’s Aeolian-Skinner organ. On this day, the organ was brought to life though the gifts and talents of the three men who played it. Each man chose Rolls for perforation machine. very different music, showing off the organ’s versatility and bringing out the best that this instrument had to give. A little history of the organ—the original three manual Reuter organ was installed in St. John’s in 1964 containing 15 ranks of pipes. In 2002, funds were given to the church which allowed it to complete the organ. At that time, a three manual 31 rank 1953 Aeolian Skinner organ, located at the Manhattan School of Music (formerly Julliard School of Music), was available for purchase. Once the organ was in Dallas, the challenge was to find a company to put all the pieces together. The Range Organ Company was selected to reinstall the Julliard organ. The mandate was to maintain the original tonal integrity and keep the overall appearance as near to original as possible while fitting it into the St. John’s space. What St. John’s organ committee and all Perforation machine, Walter, Nancy and Holly listen who worked on this project accomplished was to preserve to machine operator, Adam. a great instrument, to successfully integrate it with the 257 original organ and to add state-of-the-art components to make an instrument that feels like it has been part of the church for a very long time. The music from this instrument fills the church with an amazing sound from narthex to altar. The musical program began with Jim Quashnock. A member of the Texas chapter, Jim is the organist for Sacred Heart Catholic Church in Wichita Falls, TX. Jim began with a 17th century French piece by Louis Couperin, Chaconne (a dance). This was very loud, dramatic and reedy. More French music followed, this time of the mid-twentieth century, Jean Langlais’ Chant de Paix (Song of Peace). Here, the music shows off the strings and its theme is played with the feet. The third song was by the Italian, Marcello Benedetto. Heavens Declare Psalm 19 is a well-known piece among organists. It was a very impressive ending to his program. Jerry Bacon played for the group next. He began with music from the German composer Sigfreid Karg-Elert entitled Landscape in Mist from the Seven Pastels. Jerry described it as a romantic and complex piece popular in the 60’s. Following the romantic theme, Jerry played American http://www.revealer.com/caldwell/ composer Hugh McAmis’ 1929 Dreams. At the time of its composition, McAmis was living in San Antonio, TX. Jerry ended with Bach’s Fanfare Fugue. And then, just to throw us off a little, added Scott Joplin’s The Entertainer. To end the musical program, Daniel Harp, the organist from Kessler Park United Methodist Church in Dallas, TX, delighted the group with a portion of Cesar [email protected] (6-07) Franck’s Chorale in A Minor and JS Bach’s Deck Myself Thy Soul. What a magnificent performance. Throughout their playing, Jim, Jerry and Daniel talked with the group about the technical of the organ—the four organs in one, the keyboards, the feet, the reed chorus, the principal sounds, the string tone, the harp and chimes (elec- tronic both, but very good “fakes”), performance anxiety FOR SALE and all those buttons. For this musical meeting of the Texas Chapter AMICA, they really did “pull out all the stops.” OR TRADE

WEBER UNIKA Beautiful Oak Case from famous Chicago area collector and recent mechanical work by D. C. Ramey Piano Company. 100 ORIGINAL AND RECUT ROLLS AVAILABLE.

J. Uhler Box 126 • Ingomar, PA 15127 724-940-4331 (4-06)

258 ADVERTISING FOR SALE ORCHESTRION “Solo Concerto” Custom built Serial # 65376 in GENERAL INFORMATION ABOUT H.C. Bay Co, Makers, Chicago piano. It is an electric “buildup”. ALL ADVERTISING IN THE AMICA BULLETIN Piano, triangle, tambourine, bell, wood block, drums and 2 cymbals. All advertising should be directed to: Includes 2 rolls (possibly more if there are any) Nice leaded art glass Mike Kukral case. In storage in a dry place but needs some work. Must sell as 216 Madison Blvd. too tall for the place we planned to use it. Best offer over $2,000. Terre Haute, Indiana 47803 [email protected] (603) 934-3287. Lakes Region, Phone: 812-238-9656 New Hampshire (4-06) e-mail: [email protected] Player Grands $5,000 up; 1000 QRS Ampico, Duo-Art Rolls $5.00 Ad copy must contain text directly related to the product/service up-victorpianos.com 305-751-7502 (3-07) being offered. Extraneous text will be deleted at the Publisher’s 1920 Piano Roll QRS original cabinet, holds 125 rolls; 1930 100 roll discretion. All advertising must be accompanied by payment in cabinet; 1928 100 roll cabinet; 1910 Duo-Art player piano with bench, U.S. funds. No telephone ads or written ads without payment will needs repair; make offer. Call 410-968-3078. (4-06) be accepted. This policy was established by a unanimous vote of the AMICA Board at the 1991 Board Meeting and reaffirmed at Moving sale-bad health forces sale of the following items: Steck the 1992 meeting. AMICA reserves the right to edit or to Duo-Art Grand, 5’ 6”, partially restored; Apolla Art-Echo Baby Grand, reject any ad deemed inappropriate or not in keeping with needs total restoration; Bona-Antoniazzi coin operated barrel piano, AMICA’s objectives. needs restoration; Gulbransen Rialto Model K Theatre Organ with the two original isomonic Leslie 4 channel speakers, sounds great. Other The BULLETIN accepts advertising without endorsement, miscellaneous items. Make offer and take all. David Watkins. implied or otherwise, of the products or services being offered. Call 386-427-4076 Edgewater, FL. (4-06) Publication of business advertising in no way implies AMICA’s 1 endorsement of any commercial operation. 1926 Mason Hamlin 5’ 8 ⁄2” ebony cabinet. Ampico A system original untouched, piano restrung, shimmed board, new hammers, AMICA PUBLICATIONS RESERVES THE RIGHT TO new keytops, needs cleaning. Minor cabinet defects, $4,000. 1929 ACCEPT, REJECT, OR EDIT ANY AND ALL Weber Duo-Art player, original with belly cloth in place, late model SUBMITTED ARTICLES AND ADVERTISING. with tubing around cheek blocks. Mahogany cabinet, replaced keytops & hammers, nice clean piano, $1,000. Photos available upon request. All items for publication must be submitted directly to the Louis A. Gentile, 96 Federal Avenue, Quincy MA 02169, Publisher for consideration. 617-471-2494, [email protected] (4-06) CLASSIFIED AD RATES FOR AMICA MEMBERS: Important living estate sale-Wurlitzer Fotoplayer, Model U Link 2E; 1-50 Words ...... $10.00 American Fotoplayer, Style 15-only one known to exist; Seeburgs A, E, 51-100 Words ...... $20.00 F & L; Belgium Weber Unika with 100 rare rolls; Coinola X; Welte 101-150 Words ...... $30.00 Mignon Welte Concertola Grand, one of only seven built; Weber 5’ 9” Duo-Art with 150 rolls; Encore Banjo; Cylinder Music Boxes; Hellar Non-member rates are double for all advertising. Model A; Outstanding Autopiano in mission styled oak case; Wheelock DISPLAY ADVERTISING Themodist Aeolian-controls in key cover; Tom Thumb Records; Full Page — 71/2 " x 10" ...... $150.00 original Chinese Motif case; additional rare rolls & pieces. Jim Harvey Half Page — 71/2 " x 43/4" ...... $ 80.00 185 Lamplighter, Lewisburg, WV 24901, info @ greenbrierpianos.com Quarter Page —35/8 " x 43/4" ...... $ 45.00 304-645-6579, 304-667-9564 (4-06) Business Card — 31/2 " x 2" ...... $ 30.00 WEBER UNIKA, COINOLA “X” with Bells Oak Cabinet; Seeburg Special 6 for 5 Ad Offer - Place any ad, with no changes, for a “E” with xylophone “A”roll piano with art glass scene; Wurlitzer 1015 full year (6 issues), and pay for only 5 issues. Payable in advance. Jukebox; Encore Banjo “Ramey” replica, some original Encore items 1 Photographs or halftones $15.00 each used in assembly, many rolls; Cylinder music box 10 tune; cylinder 14 ⁄4 inches long inlaid mosaic top $3,500.00; cylinder music box 20 tune, 2 Loose Sheet or Insert Advertising: Inquire 1 tunes per turn, cylinder 7 ⁄2 inches long, lid with tune sheet $3,000.00. We recommend that display advertisers supply camera-ready All items professionally restored and refinished. J. Uhler – Box 126 – copy. Copy that is oversized or undersized will be changed to Ingomar, PA 15127 – 724-940-4331 (5-06) correct size at your cost. We can prepare advertisements from your suggested layout at cost. THE GOLDEN AGE OF AUTOMATIC MUSICAL INSTRUMENTS. Art Reblitz’ Award-winning reference that brings PAYMENT: U.S. funds must accompany ad order. Make check history, musical and technical information to life with hundreds of payable to AMICA INTERNATIONAL. Typesetting and spectacular color photos. 448 oversize pages. Get your copy today! layout size alterations charges will be billed. $120 plus $5 S/H (single copy USA ground shipment). MECHANICAL DEADLINES: Submissions must be received no later than the MUSIC PRESS-A, Wild Ammonoosuc Rd., Woodsville, NH 03785. first of the odd months (January, March, May, July, September, 603-747-2636. http://www.mechanicalmusicpress.com (2-07) November). The Bulletin will be mailed the second week of the even months. 1923 KIMBALL WELTE-MIGNON Licensee Reproducing Player (Rev. 5-05) Grand piano, 5’2”, serial #350911. Restrung, new hammers, action regulated, refinished, includes original matching bench and 20 rolls. Welte-Mignon mechanism completely rebuilt. Bodine motor/Minarik speed control for accurate tempo. Incredible expression! $9,000. Call Ron Olsen 763-535-6662 or write 4155 Quail Ave. N., Robbinsdale, “For a list of all the ways technology has MN 55422 (2-07) 1920 HAINES BROS. AMPICO REPRODUCING UPRIGHT failed to improve the quality of life, PLAYER PIANO with Bench. The Ivories are Near Perfect, and Original. The Player Action was rebuilt about 30 Years ago (I was told) please press three.” and still sounds Great! The Case is Mahogany, and does not have the - Alice Kahn original Finish. It has a Dampp-Chaser Humidifier/De-Humidifier System installed. 30 Ampico Rolls are Included. $3,000 Please email [email protected] for Photos. (6-06)

259 NEEDED: A sincere Piano/Player Technician to buy my Piano Shop & FILMUSIC, PICTUROLLS, AND SUPERTONE PIANO ROLLS Business and serve a large area of the country by keeping it in operation. wanted. Call Alex at 209-478-0099. (6-06) My piano shop was featured on CBS News “Sunday Morning” and is ARTRIO ANGELUS rolls and literature/catalogs/brochures/bulletins. located a few hours north of Denver in western Nebraska. It includes a Also want combination motor/generator set for Tel-Electric/Telektra piano nice building in a small town of 500 people with I-80 nearby, with good player system. Motor 110 volts A.C., 1/4 h.p., generator 15 volts, D.C. 10 schools, hospitals, lakes- a great escape from the problems of the big amps. Various makes ok such as Westinghouse, GE, Robbins & Meyers. city. The shop comes will all equipment, supplies, parts, more than a David Krall, phone 219-932-2322, email [email protected]. (6-06) dozen players, a few square grands, and other pianos. Please call me and let’s talk about it; Klint Schlake, 308-889-3522. P. O. Box 88, 409 Pine St., Big Springs, NE 69122.(5-06) 1924 WURLITZER BABY GRAND 4’10” professionally refinished walnut plain case with bench. Serial #61388. Restored ART ECHO/ APOLLO with 20 original rolls. $5000.00 OBO. More rolls available. Ina Spady 425-746-7182, Seattle area or [email protected] (6-06) UNRESTORED 1933 STROUD DUO-ART WITH BENCH, $3,000. Serial number 104176. The case is mahogany in excellent original condition with nice detailing and minor checking. The tubing is around the ends of the action. A small collection of Duo-Art rolls will be included with the piano. This piano is from the estate of Sandy Libman. Proceeds of this sale will go directly to the AMICA Memorial layer Piano S Fund. For more information and photos, please contact Dorothy n’s P er vi Bromage, 8 Skyline Drive - Billerica, MA 01821 978-670-1269 or Be A Complete Restoration Service ce e-mail: [email protected] (5-06) For The Pneumatic Piano NEW PIANO ROLL BOXES - Duo-Art Audiographic series - Exactly like the originals! Marroon with Gold Printing, all 3 sizes Complete pianos and player systems restored using factory available! (small & medium are “Top Hat” style) $7.00 ea. Quantities original techniques by an experienced professional. Complete are limited, so get them before they are all gone! AMPICO “Top Hat” or partial systems can be sent to my shop for restorations. boxes- Black Leather with Gold Printing and False Bottom, Exactly like I supply special UPS cartons for this unique service. 3 the originals, $5.00 ea. 88 note roll boxes in two sizes- Large (fits 2 ⁄4 Ben Gottfried flange) covered with Black Alligator paper (Top), Black Leather (Bottom). or Brown Leather Paper (Top & Bottom) $3.00 ea. Small (fits 464 Dugan Rd. • Richfield Springs, NY 13439 2” flange) Covered with Black or Tan Leather Paper (Top), White Litho 315-858-2164 (6-06) (Bottom) $1.80 ea. Other repair supplies available- Parchment Leaders, Tabs, Tubes, Flanges, Repair Tissue. Quantity Discounts available. Rich Ingram [email protected] (760) 244-ROLL (7655) (6-06) AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS. 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. Lowell, MI 49331; Check out my website: www.revealer.com/caldwell email: [email protected]; phone: 616-897-5609. (1-07) STEINWAY RED WELTE GRAND (T-100), Hamburg Model O, with original rolls. Please contact [email protected] for additional information. Alejandro Radchik, Av. Mexico 37-507, Condesa 06100, Mexico, DF. [Mexico City] Tel.: 011- 52-555-419-5374 (6-06) WANTED Tangley Calliope Wanted. Looking for an indoor style Tangley Calliope with muted volume and organ style cabinet. Also looking for an advertising vehicle customized by the Tangley Factory with a Tangley calliope installed in it. Martin Roenigk, 75 Prospect Ave, Eureka Springs, AR 72632. 479-253-0405. Email [email protected] (6-06) WELTE-MIGNON LICENSEE AND DELUXE REPRODUCING piano rolls. Mike Kukral 812-238-9656, email [email protected] (1-09) RED WELTE MIGNON piano rolls (T-100). Paying top dollar. Mike Kukral 812-238-9656 or [email protected] (6-06) BOOK: WELTE-MIGNON — ITS MUSIC AND MUSICIANS by Charles Davis Smith printed for AMICA by Vestal Press. Do you have a copy you are not using that is sitting on the shelf or in a box? Let me know. Robin Pratt, [email protected] 419-626-1903 (3-06) NEEDED: A sincere Piano/Player Technician to buy my Piano Shop & Business and serve a large area of the country by keeping it in operation. My piano shop was featured on CBS News “Sunday Morning” and is located a few hours north of Denver in western Nebraska. It includes a nice building in a small town of 500 people with I-80 nearby, with good schools, hospitals, lakes- a great escape from the problems of the big city. The shop comes will all equipment, supplies, parts, more than a dozen players, a few square grands, and other pianos. Please call me and let’s talk about it; Klint Schlake, 308-889-3522. P. O. Box 88, 409 Pine (1-08) St., Big Springs, NE 69122.(5-06)

260 JOHN WRASSE PIANO MOVING Specializing in: Player Grands, Nickelodeons & Orchestrions Anywhere in Continental US ¥ ¥ ¥ ¥ ¥ ¥ 25 years experience Knowledgeable Rebuilder Well-known - References Available Insured ¥ ¥ ¥ ¥ ¥ ¥ Your instrument is wrapped, padded and secured for transport in an insulated, clean custom-built heavy-duty trailer. Professional and personal service.

John P. Wrasse, Piano Pro 31449 216th St., Bellevue, IA 52031 Cell (John): 563-580-2472 E-mail: [email protected]

(6-06) (3-06)

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. MARTIN ROENIGK 75 Prospect Avenue Eureka Springs, AR 72632 (800) 671-6333 • (479) 253-0405 www.mechantiques.com • [email protected]

(3-06)

261 STEINWAY DUO-ART Motivated Seller-Buyers, please make an offer!

Richard S. Comras Post Office Box 1826 Rancho Mirage, CA 92270

Potential Buyers,

For the past thirty-five years we have lived in Tarzana and have recently moved to Rancho Mirage. We have no room in our new desert home for our wonderful upright Steinway Duo-Art Player Piano. We’ve had this instrument for the last thirty years. It is in excellent condition, has rinky-tink, electric playing, and also has foot pumps. The piano was manufactured in 1925 and carries the serial number 230525. It comes with a beautiful bench and many player rolls.

We are motivated sellers and have placed a reasonable price of $18,500.00 on this wonderful instrument. A friend of ours who owns the Ivy Antiques Shop at 12318 Ventura Blvd, Studio City, CA 91604, has allowed us to leave it with her for viewing and sales. Ms. Dio, the owner, has full authorization to handle the transaction.

While looking at the piano be sure to look through the shop. It is large, beautiful, and has many unusual and fantastic items.

Sincerely, Richard S. Comras (4-06)

262 TEST ROLL PROJECT A number of months ago it became evident that a source of Test Rolls for AMICA members should be made. I contacted a number of roll manufacturers about the proposed project and all were enthusiastic about it. Bob Billings was selected to do the perforating. I am very pleased with the rolls he has produced and I am sure you will be too. Since this is the first offering of test rolls made for AMICA members, quantities are limited. This current offering includes:

Ampico 55743 Installation Test Roll – This roll was used in the factory and in the field to make certain that the instrument was performing to specification. The end of the roll includes a run up the scale in thirds. The roll includes printing as found on the roll.

Ampico 58434 Special Amphion Tester – This roll was used in the factory only to test the capabilities of the Amphion stack. The end of the roll includes a part of Ampico roll #50977K Poet & Peasant Overture played by Volavy & Brockway. Since this roll was used only in the factory, there are no instructions to accompany the roll.

Ampico 201873 Special Staccato Tester – This early test roll was used to check playing and repetition capabilities at low intensities. Included on this roll is a portion of #52315 Caprice Burlesque, played by Olga Samaroff. This roll does not include instructions, only a keen ear by the technician is needed.

QRS Recordo 6910 Test Roll – Originally produced by QRS, this is a very thorough test roll identifying the different functions of the Recordo system. An enclosed instruction sheet as well as printing on the roll makes this roll extremely easy to use. An added bonus of the “Sphynx Waltz” at the end rounds out an extremely useful roll.

The cost of each roll is $12.00 U.S. ($10.00 plus $2.00 shipping) for U.S. orders. Outside of the U.S. shipping costs will depend on overseas rates. Since only a limited number of rolls are available at present, backorders may be necessary. Please be patient if this occurs. I will try to fill orders as quickly as possible.

Additional test rolls are planned for the future. These would include test rolls for the Welte and Duo-Art systems.

To order a roll(s), please make out a check to AMICA International and send it to:

Mike Walter 65 Running Brook Drive Lancaster, New York 14086

Make certain that you specify which roll(s) you are ordering. If you have any questions, you may send an e-mail to: [email protected] or call me at 716-656-9583.

263 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 ______

264