marquetry on drawer-model marionette duo-arttx480zt6533/sept_oct-05.pdf · the amica bulletin...

The AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATIONSEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5

A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it.

The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box.

A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano.

This piano beganlife as a brown

Recordo. The sound board was re-engineered, as

the original ribs tapered so soon that

the bass bridges pushed through. The strings were

the wrong weight, and were re-scaled

using computer technology. Six

more wound-strings were added, and the weights of the steel strings were

changed.

Marquetry on Drawer-ModelMarionette Duo-Art

Teresa Carreno(1853-1917)

Entire contents © 2005 AMICA International Printed by Engler Printing Co., Fremont, OH • [email protected] 237

VOLUME 42, Number 5 September/October 2005

FEATURESIt’s Yesterday Once More — 244

Coin Piano Case Design — 245

Max Vogrich and the Staccato Caprice — 251

It’s All Music to Their Ears — 253

Actor and Piano Roll Maker Dwight Frye — 255

Piano Men in America Part II — 256

Convention Report and Photos — 271

No Encores as Player Piano Leaves Stage — 285

CD Review — 287

DEPARTMENTSAMICA International — 238

President’s Message — 239

Publisher’s Message — 239

Letters — 240

He Shall Be Remembered — 286

New Piano Rolls & Recuts — 288

Chapter News — 291

Classified Ads — 297

Front Cover: Marionette Duo-Art, submitted by Tockhwockh

Inside Front: Teresa Carreno (1853-1917), submitted by Mike Kukral

Back Cover: Pianos Focké, Paris 1898, submitted by Mike Kukral

Inside Back Cover: Alcoa Ad from “The Etude” February 1950, submitted by Karl Ellison

THE AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distributionand 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] the AMICA Web page at: http://www.amica.org

Associate Editor: Mr. Larry Givens

AMICA BULLETINDisplay and Classified AdsArticles for PublicationLetters to the PublisherChapter News

UPCOMING PUBLICATIONDEADLINESThe ads and articles must be receivedby the Publisher on the 1st of theOdd number months:

January JulyMarch SeptemberMay November

Bulletins will be mailed on the 2nd weekof the even months.

Dr. Michael A. Kukral, Publisher216 Madison Blvd.Terre Haute, Indiana 47803-1912Phone: 812-238-9656e-mail: [email protected]

MEMBERSHIP SERVICES

New Memberships . . . . . . . . . . $42.00

Renewals . . . . . . . . . . . . . . . . . $42.00Additional $5.00 due if renewed

past the Jan. 31 deadline

Address changes and corrections

Directory information updates

Additional copies ofMember Directory . . . . $25.00

Single copies of back issues($10.00 per issue - basedupon availability)

William Chapman (Bill)53685 Avenida BermudasLa Quinta, CA 92253-3586(760) 564-2951e-mail: [email protected]

To ensure timely delivery of yourBULLETIN, please allow 6-weeksadvance notice of address changes.

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

ISSN #1533-9726

238

AMICA INTERNATIONAL

INTERNATIONAL OFFICERSPRESIDENT Mike Walter

65 Running Brook Dr.Lancaster, NY 14086-3314

716-656-9583e-mail: [email protected]

PAST PRESIDENT Dan C. BrownN. 4828 Monroe Street

Spokane, WA 99205-5354509-325-2626

e-mail: [email protected] PRESIDENT John Motto-Ros

P.O. Box 908Sutter Creek, CA 95685-0908


SECRETARY Florie Hirsch8917 Wooden Bridge Rd., Potomac, MD 20854-2448


TREASURER Wesley Neff128 Church Hill Drive, Findlay, Ohio 45840


PUBLISHER Dr. Michael A. Kukral216 Madison Blvd., Terre Haute, IN 47803-1912


MEMBERSHIP SECRETARY William Chapman (Bill)53685 Avenida Bermudas, La Quinta, CA 92253-3586

760-564-2951 – Fax 775-923-7117e-mail: [email protected]

— COMMITTEES —AMICA ARCHIVES Tom Hutchinson

15361 Hopper Rd., Sturgeon, MO [email protected]

AMICA MEMORIAL FUND Halie Dodrill4488 W. Mercer Way, Mercer Island, WA 98040-3934

206-236-0067, e-mail: [email protected]

AUDIO-VISUAL & TECHNICAL Harold Malakinian2345 Forest Trail Dr., Troy, MI 48098

CONVENTION COORDINATOR Frank Nix6030 Oakdale Ave., Woodland Hills, CA 91367, 818-884-6849

HONORARY MEMBERS Jay Albert904-A West Victoria Street, Santa Barbara, CA 93101-4745

805-966-9602 - e-mail: [email protected]

WEB MASTER Karl B. Ellison6 Lions Lane, Salem, MA 01970-1784

e-mail: [email protected]

BOSTON AREAPres. Bill Koenigsburg - 978-369-8523Vice Pres: Bob TempestSec: Ginger ChristiansenTreas: Karl EllisonReporter: Don BrownBoard Rep: Karl Ellison

CHICAGO AREAPres: Mel Septon - 847-679-3455Sec: Carol VeomeTreas: Joe PekarekReporter: Curt CliffordBoard Rep: George Wilder

FOUNDING CHAPTERPres: John Ulrich - 510-223-9587Vice Pres: Bing Gibbs & Karen SimonsSec: Jack and Dianne Edwards

[email protected]: Richard ReutlingerReporter: Bonnie and Bob GonzalezBoard Rep: Richard Reutlinger

GATEWAY CHAPTERPres: Yousuf WilsonVice Pres: Gary Craig - 314-771-1244Sec: Mary WilsonTreas: Cynthia CraigReporter/Bd.Rep: Gary Craig

[email protected]

HEART OF AMERICAPres: Tom McAuleyVice Pres: Robbie TubbsSec/Treas: Kay BodeBoard Rep: Ron Connor

LADY LIBERTYPres: Vincent Morgan - 718-479-2562Vice Pres: Aris John DousmanisRecording Sec: Bill MaguireCorresponding Sec: Richard KarlssonReporter:Buzz RosaBoard Reps: Marvin & Dianne Polan

631-673-0388Newsletter Editor: Bill Maguire

MIDWEST (OH, MI, IN, KY)Pres: Don Johnson - 248-879-7713Vice Pres: Liz BarnhartSec: Sharon NeffTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz Barnhart

NORTHERN LIGHTSPres: Phillip BairdVice Pres: Paul WatkinsSec: Jason E. Beyer - 507-454-3124Treas: Barbara WatkinsReporter: Dorothy OldsBoard Rep: Dorothy Olds

PACIFIC CAN-AMPres: Halie Dodrill [email protected] Pres: Troy TaylorSec: Brian TateTreas: Jack & Mary Lou BecvarReporter: Ron Babb Bd. Rep: Carl Dodrill - 206-236-0067

ROCKY MOUNTAIN Pres: Larry Kerecman - 303-377-7729Vice Pres: Jere DeBackerSec: Louise LuceroTreas: Fred WilsonReporter: Jere DeBacker

SIERRA NEVADAPres: John Motto-Ros - 209-267-9252Vice Pres: Sonja LemonSec/Treas: Doug & Vicki MahrReporter: Nadine Motto-RosBoard Rep: John Motto-Ros

SOWNY (Southern Ontario,Western New York)

Pres: Mike Walter - 716-656-9583Vice Pres: Daniel TenerowiczSec: Garry LemonTreas: Holly Walter

[email protected]: Garry & Anne LemonBoard Rep: Audrey CannizzaroPhotographer: Nancy Group & Anne

Lemmon

SOUTHERN CALIFORNIAPres: Jerry PellVice Pres: Richard IngramSec./Reporter. Shirley NixTreas: Lloyd A. OsmundsonBoard Rep: Frank Nix

TEXASPres: Jerry Bacon - 214-328-9369Vice Pres: Bill BoruffTreas: Vicki BradySec:Maureen BarisonekBoard Rep: Dick MerchantBulletin Reporter: John McCall

CHAPTER OFFICERS

AFFILIATED SOCIETIES AND ORGANIZATIONSATOSPresident - Fr. Gus Franklin6508 Willow Springs RoadSpringfield, IL 62707-9500Phone: 217-585-1770 Fax: 217-585-0835E-Mail: [email protected] - Dale BakerP. O. Box 51450Indianapolis, IN 46251-0450Phone: 317-838-9345E-Mail: [email protected]

ASSOCIATION ITALIANA MUSICA MECCANICAVia Comte le Monticino No. 48547020 Cesena, ItalyPhone: 39-547-346-046

AUSTRALIAN COLLECTORS OFMECHANICAL MUSICAL INSTRUMENTS19 Waipori StreetSt. Ives NSW 2075, Australia

DUTCH PIANOLA ASSOC.Nederlandse Pianola VerenigingEikendreef 245342 HR Oss, Netherlands

FRIENDS OF SCOTT JOPLIN1217 St. Croix Ct.Kirkwood, MO 63122-2326website: http//stlouis.missouri.org/[email protected]

INTERNATIONAL PIANOARCHIVES AT MARYLANDPerforming Arts Library,University of Maryland2511 Clarice Smith Performing Arts CenterCollege Park, MD 20742Phone: 301-405-9224Fax: 301-314-7170E-Mail: [email protected]

INT. VINTAGE PHONO & MECH.MUSIC SOCIETYC.G. Nijsen, Secretaire General19 Mackaylaan5631 NM Eindhoven, Netherlands

MUSICAL BOX SOCIETY OF GREATBRITAINAlan Pratt, EditorP. O. Box 299Waterbeach, Cambridge CB4 4PJEngland

MUSICAL BOX SOCIETYINTERNATIONALRosanna Harris, Editor5815 West 52nd AvenueDenver, CO 80212Phone: 303-431-9033 Fax: 303-431-6978E-Mail: [email protected]

NETHERLANDS MECHANICALORGAN SOCIETY - KDVA. T. MeijerWilgenstraat 24NL-4462 VS Goes, Netherlands

NORTHWEST PLAYER PIANOASSOCIATIONEverson Whittle, Secretary11 Smiths Road, Darcy Lever,Bolton BL3 2PP, Gt. Manchester, EnglandHome Phone: 01204 529939Business Phone: 01772 208003

PIANOLA INSTITUTEClair Cavanagh, Secretary43 Great Percy St., London WC1X 9RAEngland

PLAYER PIANO GROUPJulian Dyer, Bulletin Editor5 Richmond Rise, Workingham,Berkshire RG41 3XH, United KingdomPhone: 0118 977 1057Email: [email protected]

SMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560

SOCIETY FOR SELF-PLAYINGMUSICAL INSTRUMENTSGesellschaft für Selbstspielende Musikinstrumente (GSM) E.V.Ralf SmolneEmmastr. 56D-45130 Essen, GermanyPhone:**49-201-784927Fax:**49-201-7266240Email: [email protected]

Greetings,The leaves are turning to mellow golds and reds and the farmer’s market is filled with butternut andacorn squash. I can’t think of a better time of year to enjoy the wonder and beauty of automaticmusical instruments inside a cozy home. In the past year I have entertained and informed severalgroups in my home about automatic musical instruments. As the only member of Amica for severalsurrounding counties, I have only had two members see and hear my collection, but my doors haveopened for continuing education students, seniors citizen groups, college students, and the Red Hat ladies. All of these people, at least I hope, have thoroughly enjoyed an afternoon of music andhistory while I explained and demonstrated various instruments. For the most part, listeners are surprised and impressed with the quality of music reproduction of both player and reproducing pianos, but the most common question still remains: “Do you ever turn all of these things on at the same time?” It never fails to be asked and I can only laugh and wonder at the origin of this question. It also never fails to amaze me that people are abnormally impressed when they see that reproducing pianos rewind andshut-off automatically. Sometimes, this seems more impressive that anything else seen or heard at my house.During the playing of my pianos I am always joined quickly by my grey cat Plagle (a musical moniker of sorts); my other cat Kittie heads under the bed whenever I even appear to be approaching a piano, guitar, or trombone. Plagle sits on the piano bench asthe piano plays and enjoys the music, watches the roll and keys, and leaves when the music is over. He even sits right next to myCoinola X orchestrion when it plays. When I was young our dog named Andy, a big border collie and Bernese Mountain dog mix,sang and howled loudly as I practiced piano or when Dad played his harmonica. Since that time, pets, like visitors these days, havebeen a part of the musical experience for me. The only question that I seem to have recently is whether or not my guests, like my pets,really appreciate the music and dedication to instrument restoration shown to them. I have concluded that it doesn’t really matter.Music is a daily part of my house and happily enjoyed by people and animals alike. Please take care of your pets and don’t excludethem, unless they choose to be, from musical events.

Mike Kukral, Publisher

The Obligations of MembershipDear friends,

To paraphrase a quote by Sir Winston Churchill: “Never...was somuch owed by so many to so few”.

As our organization is shrinking a bit in size, it is becoming moreevident that there are fewer and fewer members who are taking anactive part in our organization. An organization is an assemblage ofindividuals who share a common interest or goal. Each membershould share in the responsibilities as well as the benefits of thismembership. At the chapter level there is a need for members to opentheir homes to fellow members for meetings, or be able to suggestsites for meetings in their areas.This also includes coming up withideas for chapter activities. Encourage younger members to offer suggestions for different venues.

At the national/international level it is extremely important to share your wealth of knowledge and expertise with the rest of theorganization through the bulletin. If you feel uncomfortable writing an article for the bulletin, sit down with a friend who is good attyping or word-processing and tell them your ideas. Work on a written article that will make both of you feel good for having writtenit. For chapter representatives, you have an extremely important job! It is incumbent upon you to share information you receive from“headquarters” with chapter members. It is also imperative to respond to communications you receive from these same internationalrepresentatives. You have been elected to this position because the chapter trusts your judgment. Please respond to letters and e-mailsif requested to do so! Your opinion is important and your response is vital.

Each of you are an important part of our organization. If you are a chapter member but don’t know how you can help, ask yourchapter president. If you don’t have a local chapter nearby, contact someone at the international level and ask them how you can helpmake our organization a better one.

Job for today...Play a “Fall” piano roll.Best wishes,Mike

239

President’s Message

From the Publisher’s Desk

Plagle the Cat

Report to the Board of AMICAAdopt-a-Piano MeetingSaturday, June 25, 2005Nevada City Music Hall

Present: Jim Carpita, Site Manager, Montana Heritage Commission

John Ellingsen, Curator of History

Janna Hermanson, Acting Curator of Collections

Dave Calendine, Performer at Opera House Virginia City and Organ Restorer

Richard D. Reutlinger, AMICA Representative

We met to discuss progress of ourcampaign with the Montana HeritageCommission. Jim Carpita is in charge ofthis area for MHC reporting to JeffTiberi, Executive Director. In 2004 agrant request was prepared to theTourism Infrastructure Investment Program of Montana for $26,000 to augment our Adopt-a-Piano program torestore mechanical instruments in theNevada City Music Hall. In October2004 the grant request was turned downdue to lack of funds. Late in 2004 andearly 2005 a number of people left theMontana Heritage Commission resultingin delays toward our campaign. In MarchI contacted Jeff Tiberi for an update andlearned that Jim Carpita had beenassigned responsibility for our program.We have been in contact via e-mail and I asked Carl Dodrill to contact Jim directly about the restoration of the Wurlitzer Theater Organ via the PipeOrgan foundation in the Pacific Northwest. Carl has done so and Jim is meeting with his people about the feasibility of letting units from the organleave the premises for restoration. I alsohad asked Larry Emmons, AMICAmember in Wyoming, to contact theMHC about transport of smaller instruments to Art Reblitz’ shop forrestoration. Larry has done so.

In the meantime Dave Calendine, atheater organist and technician fromDetroit, was hired as pianist/organist toplay the Cremona Photoplayer for theVirginia City Players at the Virginia CityOpera House for the summer season. The Cremona has been neglected fordecades and barely limped along (I attend the Opera House every year).Dave immediately began to work on the instrument restoring pipe chests,xylophone and percussion to workingcondition—the Cremona sounds 200%better this season. Dave intends to continue work on the instrument in September when the season ends and also next march when he returns for next summer. He was able to purchasematerials for this restoration from a personal donation for the Cremona exclusively. He would be interested indoing some work on the instruments inthe Music Hall providing funds for materials would be available. Daveacknowledges his primary experience hasbeen with pipe organ work rather thanpneumatic instruments. He has contactedArt Reblitz for advice about the correcttype of materials for such work and Art had complied, cautioning Dave pneumatic restoration must be muchtighter. Dave is known by other bandorgan collectors as a competent restorerand willing to learn.

At our meeting it seemed apparentthat the Commission was amenable tohaving work done by Dave and possiblyother (i.e. Mills Violano, etc). Alsoamenable to putting some instrumentsthroughout Virginia City for better publicexposure and to enhance revenue.

We discussed a couple of possibilitiesfor initial restoration projects i.e. theWurlitzer Model DX with automatic rollchanger and/or the Wurlitzer 180 bandorgan. Jim Carpita felt that the “blanket”State insurance policy would coverinstruments being transported for restoration and that they (Commission)could provide transport to Art’s shop. I volunteered to check out LarryEmmon’s proposal of transport as analternative. I also volunteered to checkwith Art about the current estimate of

costs to restore either of the Wurlitzers. I feel if we could get one instrument into the process, there might be moreinterest from AMICA chapters to pledgecontributions. I will also check with DickKroeckle as to the availability of the correct Spencer blower to power the Cremona Photoplayer (it is currentlypowered by an inadequate Root blower).

I reiterated AMICA’s interest in thisrestoration project only for those instruments that will remain on display tobe played by the public; also that wewished to pay directly to the restorer forservices and supplies (we do not want tocontribute “state bureaucracy”).

After the Board meeting I was able totalk with Art Reblitz and Dick Kroeckle.Art is checking into the costs of restoringthe Wurlitzer DX and is fairly optimisticthat it could be done for the amount currently pledged by the Founding andMidwest chapters. Dick Kroeckle will behappy to donate the Spencer blower tothe Virginia City Opera House but needsto check into some repairs to be done on it.

Frank Nix asked if there is an on-siteperson to maintain the machines oncethey have been restored. John Ellingsenlives in Nevada City and has nursed themachines along for over 20 years; he has full-time responsibilities with theheritage Commission but would be able to monitor maintenance on theinstruments. He has worked with theentire historic site first for the Boveyfamily who created this site and thenwith the State of Montana since the statebought the site.

Respectfully submitted to the BoardRichard D. Reutlinger, Founding Chapter

This is a modest, grass-roots proposalfrom the Automatic Musical InstrumentCollectors’ Assn. (AMICA) to the Montana Heritage Commission. One of the primary goals of AMICA as statedin our Bylaws is “to encourage therestoration of automatic musical instruments to a condition consistent with the original intent of their

ETTERS

240

July 20, 2005

The Respighi/Casella CD is number 7 in Pierian’s ongoingseries of historic piano recordings. It includes Respighi andCasella playing the composer’s arrangement for pianos, fourhands, of The Fountains of Rome-recorded in 1925 in the NewYork Welte Deluxe studio.

Future CD releases in the series will include “Students ofLiszt Play Liszt”, “17 Composers Play their Own Compositions”

(including Bartok, Niemann, Reger, deFalla, Leschetizky andDohnanyi); and after that (if all recordings can be found) “Faureand Marguerite Long Play Faure”.

The Pierian Recording Society is a small non-profit CDcompany dedicated to the preservation of historic performancesand obscure repertoire. So far, CD sales in the US and Europehave allowed for another release every six months or so. As ofthis writing, one of the most popular releases is the Scriabin CD!

With the classical recording market generally in the doldrums, I’m amazed and grateful to see the on-going interest in these historic piano releases.

All Best Regards,Kenneth K. Caswell3336 Mt. Bonnell RoadAustin, Texas 78731512-323-0033

Pierian Recording Society CDsamazon.com • uncommonlyclassical.com

241

manufacturers”. With this in mind, one of our Founding Members, Richard Reutlinger, proposed an “Adopt-a-Piano”campaign to help finance restoration ofinstruments in the Nevada City MusicHall. He introduced the idea at last year’sNational Board Meeting and received anenthusiastic response. He then put anarticle in the National AMICA Bulletin toinform the general membership aboutthis campaign. To date, he has receivedfavorable comments from several chapters.

OUR PROPOSALTo establish a separate fund

administered by our national treasurer to fund restoration of one or more instruments in the Bovey Collection.

Individual chapters could contributefunds to restore a particular instrument orband together to fund restoration of morecomplex, larger instruments.

Art Reblitz of Reblitz Restorationswould handle to actual restoration workas he is very familiar with the collectionand has the trust of the Montana HeritageCommission from past involvement.

Once restoration work is completed,AMICA would pay Reblitz Restorationsdirectly including costs of transport andinsurance. This keeps the focus on thework and minimizes any administrationcosts.

Instruments to be considered wouldfirst be chosen by John Ellingsen, Curator of History, Jeff Tiberi, ExecutiveDirector of the Montana Heritage Commission, and Art Reblitz. Once candidates for restoration are chosenAMICA chapters could chose whichinstruments to “Adopt”.

Art Reblitz, early on, had proposedthat the restoration of these instrumentsbe solid mechanical work so that the

instruments can remain in good playingcondition for the general public to playwith their own coins. We are not con-cerned here with expensive “cosmetic”restorations where the finish is flawlessand every screw is replated. Your collec-tion is displayed in an environment notunlike their original locations.

One of the goals of this program isalso to make the public aware of AMICAand it’s involvement in this restorationprogram. We expect some recognition inthe form of a plaque or sign stating this.

We (AMICA) hope that this proposalmeets with the approval of the MontanaHeritage Commission.

continued. . .

“New Music Release”

Respighi and his wife, New York City 1925Photos courtesy of Maestro Adriano, Zurich, Switzerland

AMICA– CONVENTION DATES –

2005 Minneapolis, Minnesota June 29 - July 3

2006 Chicago, Illinois July 25 - July 30

2007 Germany/Holland July 5 - July 20(This is not set in stone yet. Hotels and buses are unable to commit this early, but it looks like this is.)

continued. . .

Casella , Malipiero , and D'Annunrlo, September 1924

GuarinoRespighi

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Casello, De Falla and Malipiero in Venice (Festival del 1932)

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242

continued . . .

New York, 1925:Respighi and Casella

VIA GIOVANNI NICOTERA 5

TEL. 389.417

ROMA

15 febb/1963

Mr.Kenneth Caswe11J!'orest Oil Corp.300 Oil BuildingHouston 2 - ~xas

Dear Mr. Caswe1l,

during my research of my 1ate husband's worka11 over the world I was informed from the United statesand exactly from Dr.Stein in New York, that you have somemechanics1 rolls. I would be very pleased toknow whether you keep some recorded by Alfredo Casel1awith his own music or work from the usua1 repertory.

I am 100king forward to hearing from youabout the matter, as it is very important for me togather aJ.1 he did, part1cu1ar1y this year that is his80th anniversary of birth and the nmsicaJ. circ1e is commemorating him. In case you keep this material can youma11 it to me? Or, let me know something anyway.

To the p1easure of reading you 8S soon aspossible, p1ease apo1ogize me for tbe request but you w111understand how important the matter is.

S1ncere1y yours

Yvonne Caee11!!

243

244

T’S YESTERDAY ONCE MOREBy Palmer Mai

WITH A VINTAGE PIANO ROLL COLLECTION

Palmer Mai BioThe author is a long time member of

AMICA whose interest in music startedwith piano lessons during his elementaryschool years. After a hiatus involvinghigh school, college, marriage, and service in Army, his interest in music was again stimulated by memories of the old player piano on which he practiced his lessons. That led to the purchase and restoration of a playerpiano and to the collection of rolls and sheet music.

Acquaintance and friendship withKansas City AMICANs stirred an interestin street organs. Upon his retirement as a business executive, he resurrected acharacter from the past—The OrganGrinder. He has since made an avocationas that character, making public appearances in various period costumes.Beyond the festival, party and commercial promotion venues, he presents lectures, interspersed withmusic, focusing on the history of the development of the street organ andthe historical persona of the traditionalOrgan Grinder.

Mai is also the author of a booklet onthe collection and repair of piano rolls, “Perforated Paper Patter”. It isavailable directly from him as well as from QRS and the Player Piano Company.

Palmer and his wife of 50 years, Beverly, a novelist, reside in Kirkwood,Missouri.

When I look at my vintage popularmusic player piano roll collection, I don’tjust revel in it, but appreciate what it represents. It is at once so many things.

Most of all, it is a wonderful but usually silent, even archaic, stored musicmedium now, just waiting to be awakened and enjoyed. It is a history anda musical treasure. However, the papermedium is fragile. Fortunately, some rolls are being selectively recut by

entrepreneurs and AMICANs/historians.Others are being preserved digitally withscanning processes. But inevitably itmeans some good “unsaved” songs willlive on their original punched paper issueonly as long as the paper lasts. Such is the impact of advancing technologyand changing popular music tastes. Personal rewards may be enjoyed bycareful tape repair of a damaged rollthereby “saving” it, but its life is extended only temporarily unless it iseventually scanned or recut.

Fragility and potential limited lifenotwithstanding, I consider the education, the unique experiences and thepleasure involved in bringing a vintagecollection together.

I contemplate the numerous facets of so much memorable popular musicproduced from the very late 19th centuryto the first 55 to 60-plus years of the 20thcentury. It was a musical golden age, a time of greater innocence and less complexity than now. Some would say itwas also an era of social repression inseveral respects. Otherwise, it was a timesimilar to an earlier golden age of theclassical/romantic music period that featured such a marvelous combinationof talented composers, music and musicians. Both eras produced melodyand harmony that was imaginative, pleasurable and memorable. It is sad toconsider that there may never again beanything representing a duplication of those exceptional periods, in eithermusical genre, again; complex societaland highly varied commercial considerations just do not permit.

The many unique, colorful and interesting roll labels bring to mind howmany roll manufacturers (and departmentstore labels) there were and how theycompleted and prospered initially. In that same time period, there were manymusic stores selling pianos, rolls, music,phonographs/records and other music related products. Their varied and geographically diverse advertisinglabels could typically be found on roll box tops. Then came consolidation

of the roll manufacturing companies, hastened by the financial stresses thataccompanied The Great Depression.Accordingly, a lot of the music storebusiness started to go downhill. That economic convulsion, of course, alsocontributed to widespread and complexchanges in societal factors which, in turn,influenced popular music.

There are the song titles, so varied andunique, reminiscent of the messages orstories they provided. Such a variety ofsubjects: romantic, sad, sweet, happy,imaginative, patriotic, cultural and evencommercial. Many reflected both musicstyles as well as the dance fashions of theday such as the Polka, Schottiche, CakeWalk, Turkey Trot, Rag, Barn Dance,Waltz, Maxixe, One Step, Two Step, FoxTrot, Charleston, Jazz, Tango, Rhumba,etc. Other music styles included The Ballad, The March, The Blues, Dixieland, Mountain, Country/Western,Hawaiian and songs from musical theaterand film musicals, many of which could “cross over” into the various musicstyles in a number of ways.

There were also foreign music rollsthat could be considered popular. Manyof them, however, reflected strong historical or folk tradition. Hymns alsoexperienced “popularity.”

Just looking at many individual titleson roll boxes can produce their respectivetunes in my mind’s ear. Many times some of the words are recalled too. It is a pleasant and enjoyable experience. I might not even have to play any roll at all. It is almost “…like taking a tripwithout leaving home,” as acknowledgedby banjoists, Homer & Jethro in theirrecording of “Wildwood Weed,” a contemporary cultural satire at the time,on the country classic, “WildwoodFlower.”

Rolls also represent the talent, thegenius of individual composers and of some of their partnerships and collaborations with lyricists. Some werehighly productive and very successfulwhile others had a more limited period of recognition or fame. Both groups

245

made major contributions to the successof many stage and screen productions. In so doing, they concurrently made considerable contributions to familyentertainment and unity, the nation’s culture, its morale, its economy and history.

As I review song titles, I think aboutthe varied lives of some of the composersthat I learned as the roll collection grew.There are interesting stories of how someof the songs came to be composed andpopularized, adding to a rich ongoingexperience. Over time, it became my aimto collect rolls of the music of certaincomposers.

Playing rolls naturally provided a perspective of changes in music tastesand fads. Accordingly, there could be apattern of rather similar subject titles in agiven time period. One could alsoencounter similar musical phrases thatsome composers might occasionally“borrow” from one another.

Acquiring rolls spurred an interest insheet music, first for the song wordsbecause they were not printed on rolls inthe early roll production years. Thatbrought an awareness of colorful and unusual sheet music covers, theartists, their artistic style, and featuredprominent public personalities. Thereis also the lure of unusual titles, whetheror not they are familiar or duplicated roll titles already collected.

There are, in fact, rewards in

collecting duplicate song roll titles, butwith different labels and other recordingartists with their unique musical styles.Revivals of some songs from one generation to another also provided interesting contrasts in arrangement andtempo.

With regard to music roll performances, there are the varied andunique styles of certain talented, innovative recording artists (whenacknowledged) to be noted and appreciated. A consistent performance“style,” often identifies the artist from one recording performance toanother. In addition to seeking music byparticular composers, it was a bonus tofind rolls played AND composed by thesame person.

Pseudonyms were commonly used,providing something of a challenge in associating/classifying the names ofcertain known recording artists. Pseudonyms gave anonymity to thosewho chose to be adventurous withoutbeing held to their usual style, while still broadening their general exposure.The use of pseudonyms was also a marketing strategy. A number of AMICAhistorians have contributed significantlyto documenting artists and their respective pseudonyms.

It seems to me that many of today’smusic styles are fractured and/or overlapping in types, leading to confusion about classification. To my ear,

a lot of the music doesn’t lend itself well to player roll recording, let alonepleasant listening. I wonder if youngergenerations will really know the joy of pleasant tones of rich melody and harmony. In addition, there is little subtlety in current lyrics to allow for the imagination which was one of thehallmarks of popular music in the earlyyears of the 20th century, an influence of the Victorian Age.

I’m grateful for those four years of piano lessons, practiced on an oldupright player piano so many years ago. Even though I remain a totally unaccomplished pianist, those lessonseventually stimulated a comprehensiveinterest in and appreciation for music.They were ultimately responsible for mymusic collections and diversions that I find so enjoyable.

So now and then I select some rolls to play on an old-fashioned, upright standard player piano. I place one in thespool box, hook the leader tab to thetake-up spool, engage the “play” lever,set the tempo and start to pump the footpedals. Then to me, as the music isrevived, “It’s Yesterday Once More,” as expressed in the title and words of apopular song from 1973. And it is good.

Palmer MaiKirkwood, MOCopyright 2005

continued. . .

OIN PIANO CASE DESIGNWritten & Submitted

by Mark Reinhart

WITH A VINTAGE PIANO ROLL COLLECTION

The US Patent & Trademark Officegrants utility patents for “any new anduseful process, machine, manufacture,composition of matter, or material.”What most people do not realize is thatthe US Patent & Trademark Office alsogrants Design patents.

Design patents are a separate categoryin which the decorative elements aregranted patent rights. Design patents areintended to protect the elements for how

they look rather than any function theyperform. Design patents exist for a number of piano cases. While not everymanufacturer chose to protect theirdesigns, Seeburg and Peerless felt strongly enough to seek design patentprotection. It should be noted that there are utility patents on the interiormechanisms of coin pianos which is notthe subject of this article.

Recently there was some discussion inthe Mechanical Music Digest, an onlinedigest, regarding Seeburg patents. During

the dialog regarding coin piano casedesign, it became clear that there hasbeen little published on coin pianos inthis field of intellectual property. Theillustrated patents are not meant to coverall that were granted. These representonly those that I have been able to locatefor this article.

It is interesting to note that Justus P. Seeburg was the design inventor for all the Seeburg cases that were issued as design patents. This would certainlyindicate that JP Seeburg was deeply

continued...

involved in every facet of his coin pianoproduction. This is something rarely seentoday. Most corporate heads today serveas administrators. Justus P. Seeburg wasinterested in every aspect of his pianos.In fact, it is hard to dispute the strikingbeauty of many of the Seeburg models, areal achievement for Seeburg.

The Peerless case designs werefrom two different inventors: Nels J.Nelson and Walter L. Englehardt. WalterEnglehardt was the son of the founderof Peerless, Frederick Englehardt.

Surprisingly, there were no Wurlitzerpiano case design patents found. Thereason for this is unknown.

List of Figures:US Design Patent 42,862-this design wasused for Seeburg model F

US Design Patent 44,592-this designwas used for Seeburg models K/KT/KTSpecial

US Design Patent 44,593-this design wasused for Seeburg model H

US Design Patent 45,654-this design wasused for Seeburg model L Orchestrion

US Design Patent 45,655-this design wasused for Seeburg model J

US Design Patent 41 ,6I4-this design wasused on Peerless pianos whose modelwas not specified in literature

US Design Patent 41,615-this design wasused on Peerless pianos whose modelwas not specified in literature

US Design Patent 42,189-this design wasused on the Peerless Deluxe Orchestrion

US Design patent 43,357 -this design wasused on Peerless pianos whose modelwas not specified in literature

BibliographyEncyclopedia of Automatic MusicalInstruments, Q David Bowers, VestalPress 1972

Player Piano Treasury, Harvey Roehl,Vestal Press 1980

Consulted with Don Teach, Shreveport,Louisiana, coin piano authority

©2005 Mark Reinhart, all rightsreserved. Final Draft 12 July 2005

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UNITED STATES PATENT OFFICE. UNITED STATES PATENT OFFICE.JUSTUS P. SEEBURG, OF CHICAGO, ILLINOIS.

DESIGN FOR AN ORCRESTRION-CASR

JUSTUS 1' . SEEBURG, OF CH I CAGO, ILLINOIS.

DESIGN FOR A N ORCHE STRION-CASE.

Appli oation Med Hay 22, 1913. Serial No. 769,300. Term of pa te n t 14 years . Application Illed May 22, 1913. Ser ial No. 769,299. Term of pa te n t 14 years.44,593. Speoifioa t ion for Design . Patented Aug. 26,1913. 44,592. Specifica ti on for Desig n. Patented Aug. 26 ,1913 .

1'0all whom it may concern :Be it known that I , JuSTUS P. SEEilURG, a

citizen of th e U nited S tates, residi ng at Chicago, in th e county of Cook and State ofIllinois, have invented a new, original andornamental Design for Orchest rlon .Cases ,of which the following is n specification, r eference being had to the accompanying draw ing , formingpart thereof.

T he figure is a perspective view of allorchest rion case, showing Illy new design .

I cla im :T he ornamental design for orchestrion

cases, as shown.J UST US P. SE EBURG.

W itnesses :C R AS. C . TILLJlIAN ,A. S. P n rr.r.n-s.

1'0all whcm it may concern:Be it known that I , JUSTlJS P , SIlEllURG; a

citizen of the United States, residin« atChicago, in the county of Cock and S'tal eof Illinois, have invented a new, or iginal ,and ornamental Design for OrchescrionCases, of which the following is a specification, reference being had to th e accompanying drawing, form ing par t th ereof .

T he figui 'e is n perspective view of an 01'chestrion case, showing Illy new design .

I claim :The ornamental design for orchestrion

cases, as shown. ,-J USTUS P . SEEBURG.

Witnesses :CIUS. C . TlLLU lI N ,A. S. PrrILL1Ps.

Copie. of thi. patent may be obtaJned for five cents each, by addressing the " Commi ssi oner of Patents,Washinrton, D. C."

Copies of this patent may be obtained for five cents each, by addressing the" Oommission er of Patents,Washi ngton, D. C."

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UNITED STATES PATENT OFFICE. UNITED STATES PATENT OFFICE.JUSTUS P. SEEBURG, OF CHICAGO, ILLINOIS.

DESIGN FOR AN ORCHESTRION-CASE.

JUSTUS P. SEEBURG, OF CHICAGO, ILLINOIS.

DESIGN FOR AN ORCHESTRION-CASE.

45,655. Speclllcation for Design. Patented Apr. 21, 1914.Application 1IJed February 16, 1914. Serial No. 819,125. Term of patellt 14 years.

45,654. Specification. for Design.. Patented Apr. 21, 1914.Application 1IJed February 18, 19U. Serial No. 819,124. Term of patellt 14 years.

To all whom it may concern:Be it known that I, JusTUS P. SEEIlUllG,

(\ citizen of the United States, residing atOhica~o, in the county of Cook and Stateof Illinois, have invented a new, original,and ornamental Design for an OrchestrionCnse, of which the following is a specification, reference being had to the accompanying drawing', formlllg a part thereof.

The figure is a perspective view of anorchestrion case, showing my new design.

I claim:The ornn.mentnl desig'n for an orchestrion

cnse, as shown.JUSTUS P. SEEBURG.

Witnesses:CHAS. C. Tn..r,MAN,A. S. PHILT,IPS.

1'0 aU whom it may concern:Be it known that I, JuSTUS P. SEEBURO,

l10 citizen of the United States, residing atChica/So, in the county of Cook and State ofillinOIS, have invented a new, original, andornamental Design for an Orchestrion-Case,of which the following is a specification,reference being had to the accompanyingdrawing, forming a part thereof.

The figure is a perspective view of anorchestt'ion case, showing my new design.

I claim:The ornamental design for an orcllestrion

case, as shown.JUSTUS P. SEEBURG.

Witnesses:CRAS. C. TILLMAN,A. S. PHILLll'B.

Cople! of this patent may be obtained for live cents eaoh, by addressing the" Commissioner of Patents,Washington, D. C."

Copies of thll patent may be obtained for live cents each, by addreulllr the" Commlarioner of Patenta,Washington., D.O."

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UNITED STATES PATENT OFFICE. UNITED STATES PATENT OFFICE.NELS JAMES NELSON, OF CHICAGO, ILLINOIS, ASSIGNOR TO F. ENGELHARDT & SONS,

OF ST. JOHNSVILLE, NEW YORK, A FIRM.

NELS JAMES NELSON, 01' CHICAGO, ILLINOIS, ASSIGNOR TO F. ENGELHARDT & SONS,OF ST. JOHNSVILLE, NEW YORK, A FIRM.

DESIGN FOR A PIANO-CASE. DESIGN FOR A FIANO-CASE.

41,615. Speeillcation for Design. Patented July 25, 1911.Applle..t1on 1I1ed Karch 17, 1911. Serial No. 615,123. Term of patent 7 ye..rs.

41,614. Speolllc.. tion for Design. Patented July 25, 1911.Application 1Ued March 17, 1911. Serial No. 615,122. Term of pa.tent 7 years.

To a.ll whom it may concern:Be it known that I, NELS JAMES NELSON,

a citizen of the United States, residing atChicago, illinois, have invented a new,original, and ornamental Design for PianoCases, of which the followino- is a sp~cification, reference being had to the accompanying drawing, forming part thereof.

The figure is a perspective view of apiano case, showing my new design.

I claim:The ornamental design for a. piano case,

as shown.

NELS JAMES NELSON.

Witnesses:W. H. WILMOT,C. M. OLSEN.

To all whom it mUI!J concern:Be it Imown that I, NELS JAl\IES NELSON,

a citizen of the United States, residing atChicago, lllinois, have invented a new,original, and ornamental Design for PianoCases, of which the following is a specification, reference being had to the accompanyinO' drawing, forming part thereof.

The £'gure is a perspective view of a pianocase, showing my new design.

I claim:The ornamental design for a piano case,

as shown.

NELS JAMES NELSON.

Witnesses:W. H. WILMOT,C. M. OLSEN.

Ooples of this p..tent m..,. be obtailled for Ave cent. e..ch, b,. ..ddr.asine the" Commissioner of l'atents,Washington, D. C."

Copies of this pa.tent may be obtained tor five oents e..oh, by ..ddressing the "Commissioner of l'a.tent,.Washington, D. C."

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-UNITED STATES PATENT O]-'FICE. UNITED STATES P.A.TENT OFFICE.WALTER L. ENGELHARDT, OF ST. JOHNSVILLE, NEW YORK, ASSIGNOR TO F. ENGEL

HARDT &: SONS, OF ST. JOHNSVILLE, NEW YORK, A FIR1IL

DESIGN FOR A PIANO-CASE.

NELS JAMES NELSON, OF CHIOAGO, ILLINOIS, ASSIGNOR TO F. ENGELHARDT & SONS,OF ST. JOHNSVILLE, NEW YORK. A FIRM.

DESIGN FOR A PIAll"O-CASE.

Copies ot tW. patent may be obtained fer llve cent. eaoh, by addresa1ng the "Ccmml..loner of Patenu,Waab.l.netcn, D. C."

Application mod October 17, 1912. Serial No. 728,376. Term ot patent 7 years.

Specification tor Deslp.

Oople, of tW, patent may be obtained tor live o~nts eaoh, by addresalng the "Ccmmhdcner of Patents,Washington, I>. 0."

Patented Feb. 20, 1912.Term ot patent 7 years.

NELS JAMES NELSON.Witnesses:

O. E. BERGESON,E. C. COOK.

I claim:The ornamental design for a. piano case

as shown.

Specification tor Desip.

Application med November 11, 1911. Serial No. 659,830.

42,189.

To all WMm it 1MII/ conurn:Be it !mown that I, NELS JAMES NELSON, a

citizen of the United States residing atChicago, Dlinois, have invented a newl...0riginal, and ornamental Design for .t'ianoCases, of which the following is a specification, reference being had to the accompanying drawing, forming part thereof.

The figure is a perspective view of a pianocase, showing my new design.

Patented Dec. 24, 1912.

WALTER L. ENGELHARDT.

Witnesses:ALPHONSE HE:rnRIOH,RaDT. S. CRAIG.

The figure is a perspective view of a pianocase showinll; my new design.

I claim: .The ornamental design for a piano case as

shown.

43,357.

To aZl1ohom it may concern:Be it known that I, WALTER L. ENGEL

HARDT, a citizen of the United States, residing at St. Johnsville, cotmty of :Mont,2.·omery, ana State of New York, have invented a new, ori~nal, and ornamentalDesign for Pilmo-Cases, of which the following is a specification, reference beinghad to the accompanyinll; drawing, formingpart thereof.

In~

251

AX VOGRICH ANDFrom Player Piano Group

Bulletin 175 June 2005THE STACCATO CAPRICE

When I first joined the PPG one of thefirst bulletins sent to me was a celebration of the life of the esteemedReginald Reynolds “The Paderewski ofthe Player Piano”, and as you know thefather of our Vice-President Mrs. YvonneHinde-Smith. Attached with that commemorative booklet was a CD ofrecordings by Reginald Reynolds, showing how he demonstrated perfectlythe capabilities of the player piano as arespected musical instrument.

Whilst I knew most of the piecesplayed there was one that I had neverheard of before, the Staccato Capriceby Max Vogrich. It’s such an unusualpiece, delightful and quite captivating. Imanaged to find the very same roll onwhich Mr. Reynolds played; the

Met ros ty leL 3 0 0 4 3made by TheA e o l i a nC o m p a n y .This waskindly givento me byR i c h a r dStibbons athis last PPG

meeting in Cromer. It sounded a verycurious piece of music, and at the time Ithought it was probably very difficult tohand play at such speed.

I mentioned this to our ChairmanPaddy Handscombe, and this was hisreply; “Staccato Caprice is written in Fsharp major—6 sharps including E sharp(=F natural) which is fiendish to read,especially with so many leger lines abovethe treble clef! Otherwise it’s quite simple in construction, but to be the polished, effortless show-piece intendedit needs to be played very fast and sorequires absolutely perfect fingering andtechnique.”

When I found the sheet music mybrother-in-law, a classically trainedpianist, played it to me, and he immedi-ately felt it was written by a pianist for apianist. Sadly not playing the piano Iwould never understand what this

actually meant, but thank goodness forthe player piano!

It was time to find out about MaxVogrich and his Staccato Caprice andquite a few people have come into thepicture.

Max Wilhelm Karl Vogrich was bornin Hermannstadt (Romania) in 1852 anddied in New York in 1916. He was apianist as well as a composer and trainedat the Leipzig Conservatory. He touredwidely as a pianist and resided mostly inNew York, Australia and London. Hecomposed operas, symphonies, chambermusic, piano music and also edited Schumann’s works. He also wrote booksabout improving finger dexterity whenplaying fast piano. Max Vogrich alsorevised Carl Czerny’s book “The Schoolof Velocity for the Piano”. A book ideallysuited for pupils to improve finger technique when playing fast piano toadvanced level. Ah, now I see, the Staccato Caprice!

On looking for the sheet music I foundthis fascinating drawing of Max Vogrichdedicating the Staccato Caprice to hisfriend W.H. Paling. Presumably that’s thecity of Sydney in the background, andhow it’s changed. It says the piano is anErard. In 1792 Sebastien Erard fled theFrench Revolution and created a pianofactory in London. In Europe Erardpianos were used for the Ampico system(as fitted by Marshall & Co. in London.)If you look closely you’ll see many composers names in the waves.

I also managed to find beautiful drawings of Paling’s Music Warehouse inGeorge Street, Sydney with extraordinarydetail. Perhaps better actually shown onan A4 paper, and if anybody would like acopy of any of these drawings printed onKodak picture paper I would be delightedto send you a complimentary copy.

William Henry Paling (Willem Hendrik Paling) (1825-1895) was the sonof a piano builder. He was born in theNetherlands, studied violin and pianounder Bartholomeus Tours, and taught atthe Rotterdam music school for threeyears (1844-7). He emigrated to

Australia, arriving in Sydney in 1853. Hewas a concert violinist and violin teacherand became a recognized composer andconcert organizer. Affluence generated bythe gold rush, and the increasing avail-ability of cheap imported instruments inthe following decades contributed to thesuccess of his enterprise.

He was the founder of Palings musicpublishing firm, and by 1875 he hadopened an extensive showroom inGeorge Street (see picture of his musicwarehouse), where he also began to publish a modest amount of music. Hisfirm, Palings, became one of the mostsuccessful music firms in Australia and anumber of musicians kept studios at hisSydney showroom, and visiting artistsalso gathered there.

He composed ‘The Sydney RailwayWaltz’, prepared expressly for the occasion of the official opening of thefirst railway in New South Wales, in1855, which ran from Sydney to Parramatta. I’ve never heard of a pianoroll of this waltz, wonder if there is one?

As well as the many 88-note versions,I have found the ‘Staccato Caprice’ onthe following hand-played rolls (althoughI expect there are many more):

AMPICO 62861G—MargueriteVolavy. Much has been written about thisvery talented pianist, but to summarizeshe was born in Moravia 1886, andadmitted to the Vienna Conservatory atthe age of 12. She made her first visit toAmerica in 1906. She used the pseudonym of Felix Gerdts, and GeorgeKerr when recording light works forAmpico. She became a recording artistfor QRS in 1919, but in 1926 returned toAmpico both as an artist as well as anEditor. She became a teacher for theremainder of her life, and died in NewYork in 1951.

AMPICO 50183E—Victoria Boshko.She only played the one roll, the ‘Staccato Caprice’ for Ampico. She wasborn in Russia, and the daughter of thesculptor Kapton Ivanovich. She studiedwith Burmeister in Germany and Bauerin Paris. She played piano for the Czar

Reynolds’ own rather battered roll.

252

and appeared in Europe and the UnitedStates. She was a familiar figure onAmerican concert stages throughout theearly 1920’s.

DUO-ART 6436(8)—Jose Echaniz.He was born in Guanabacoa, Cuba 1905.First taught by his father, then went to theFalcon Conservatory in Havana, andbecame a professor of piano at the age of14! In 1922 he made his solo debut inNew York, and in 1929 made a concerttour of Europe. He also conducted theMillikin-Decatur Symphony Orchestra,and the Grand Rapids Symphony Orches-tra. He was on the faculty at the EastmanSchool of Music, and stayed there for 25years. He also made rolls for Ampico inthe 1920s. He died in New York in 1969.

WELTE-MIGNON 763—YolandaMero recorded the ‘Staccato Caprice’ forWelte-Mignon in October, 1905. She wasborn in Budapest in 1887 and beganpiano lessons with her father and becauseof her astonishing musical abilities wasadmitted to the Budapest Conservatory atthe age of 6. She studied under AugustRennebaum who had been a pupil ofLiszt. In 1908 she became a professor atthe Budapest Conservatory.

In 1909 she moved to America andbecame the wife of Hermann Irion, aSteinway Piano Company executive living at their estate in Rockland County,N.Y. She also made tours of Europe.

During the depression Yolanda Mero-Irion discovered that 60% of unemployedmusicians in America were singers. Withwealthy socialite Mrs. Lytle Hull, Yolanda outlined a plan which would putsingers to work and provide inexperienced American operatic artistswith a much needed stepping stone to theMetropolitan opera house in New YorkCity. In 1943 with the help of YolandaMero-Irion the ‘New Opera Company’was born. Yolanda produced a number ofoperas in the late 1940s. These operasbecame famous because they were out toprove, once and for all, that opera doesnot have to be sung by, and I quote, ‘middle-aged tenors and bulging contraltos!’ She left only a single ten-inch Victor 78 recording, the ‘StaccatoCaprice’ on one side and Liszt 4th rhapsody on the other. She died in 1963in New York. She also made piano rollsfor Duo-Art, and Ampico.

continued. . .

253

continued. . .

The Welte-Mignon piano roll byYolanda Mero is now on the Aeolia CDNo. 1003 issued with the latest PianolaJournal from ‘The Pianola Institute’,recorded on Denis Hall’s Steinway grand.

I didn’t intend this article to be solong, but at least there are a lot of pictures for you to see, and as Gershwin’ssong reminds us, ‘Summertime, and theliving is easy,’ so at least you’ll have timeto sit back and enjoy the bulletin. Alas Ihave to somewhat disagree about summer, the lawns seem to grow at atremendous rate, even overnight; a bitlike the laundry basket!

Have a happy and relaxing summer,Christine Robinson

T’S ALL MUSICSubmitted by Richard Reutlinger

TO THEIR EARS

Couple keyed intohobby nearly 40 years ago

What began 39 years ago with an

unsuccessful attempt to buy a used player

piano has turned into a rewarding

musical experience for Mike and Liz

Barnhart.

Some Miami Valley residents tend to

think small when it comes to hobbies.

Others, like the Barnharts, believe big

is best.

“My husband and I collect player

pianos and other vintage music devices,

and it all started in 1966, when I saw a

newspaper ad for an old upright player,”

Liz Barnhart said. “Neither of us plays

the piano, but we enjoy music. I told

Mike, ‘Gee, I’d like to have a player

piano.’ He said, ‘So would I.’ So we went

for it.”

As it turned out, the Barnharts didn’t

get the piano because it was already sold,

but a short time later they bought another

old upright player at a downtown Dayton

music store and their hobby was off and

running.

Over the years, that first player piano

has blossomed into a marvelous

menagerie of mechanical music machines

that includes a 1926 Double Mills

Violano piano with violins, a 25-note Pell

Monkey Organ with 37 pipes and a hand

crank, and a 79-year-old Wurlitzer

Theater Pipe Organ that once entertained

inmates at Jackson State Prison in

Michigan.

Liz is especially proud of their two

reproducing player pianos, which play

“The Collectors” - Dayton Daily NewsApril 24, 2005

By Bob Batz

Mike and Liz Barnhart listen to one of their vintage mechanical music machines. They have a large collection of instruments that fills their home, which had to be

expanded to accommodate them all.

254

rolls that are recordings of original

musical works.

“It’s a real thrill to be able to sit

in your living room and listen to

everybody from Rachmaninoff to

George Gershwin,” she said.

Mike, a former electronic engineer

at Wright-Patterson Air Force Base who

has expanded the house to make room

for their over-growing collection

of instruments, is partial to the 6-foot

Stinson Carousel Band Organ he built

two years ago. The instrument’s 200

pipes were installed by Don Stinson of

Bellefontaine.

The Barnharts—he’s 68; she’s 66—

are members of the Automatic Musical

Instrument Collectors Association, the

Musical Box Society International

and the Carousel Organ Association of

America. They attend conventions and

band-organ rallies and often entertain

visitors with their museum-like collection

of instruments.

“During a 1978 player-piano

convention at the Dayton Convention

Center, busloads of convention-goers

toured our home,” she said. “We’ve also

shown our collection to church groups,

Girl Scouts, Cub Scouts and

an entire class of chemistry

students from Stebbins High

School who had a teacher

who loved piano music.”

In 2007, Liz will lead

100 AMICA members on

a tour of Germany and

Holland.

“We will visit music museums and the

homes of other collectors,” she said.

Mike, who taught himself how to

restore instruments, is keeping busy

these days repairing the couple’s

10-foot-tall Weber Otero Orchestrion

that was made in 1916 in Germany’s

Black Forest.

“I restored it back in 1978, and it

worked fine until two months ago

when one of the pieces I didn’t

replace finally gave up the ghost,”

he said.

The future of the hobby is uncertain,

according to Liz.

“AMICA has about 1,400 members

worldwide, but, unfortunately, we’re

all getting older and younger people

really aren’t into mechanical musical

instruments.”

She said prospective collectors should

first join an organization such as

AMICA.

“It will allow you to find instruments

that are available and provide you with

tips on what to look for when shopping

for them. It will also give you the

opportunity to get to know other

collectors and meet people who make

their livings restoring the instruments.”

Then she ran a hand over the

now-refurbished 6 1/2 foot Chickering

reproducing grand piano they purchased

in 1978 from a neighbor who lived four

doors away.

“When it came time to deliver the

piano, the movers just rolled it down the

middle of the street to our house,” she

said.

continued. . .

Above, a close up of one of the player pianos owned by the Barnharts, playing Rachmaninoff.

At left, a few of the hundreds of music rolls the Barnharts have in their collection.

Mike Barnhart makes repairs to his 10 foot tall WeberOtero Orchestrion that dates to 1916 and was made

in Germany’s Black Forest.

255

CTOR AND PIANO ROLLBy Mike Kukral

MAKER DWIGHT FRYE (1889999--11994433))

I have always been a great fan of Hollywood horror films of the 1930s.Some of the images, dialogue, and make-up created at Universal Studios havebecome icons of American culture;notably Bela Lugosi as Dracula and BorisKarloff as the monster in Frankenstein. Inboth of these 1931 films we see the greatcharacter actor Dwight Frye. In Draculahe plays the mad fly-eating “Renfield,”while in Frankenstein he is the doctor’sassistant “Fritz” (it was never “Igor” inthe Karloff films). Frye brought humor

and tragedy to his roles and became afavorite of director James Whale. Nexttime that you watch the original Frankenstein (restored version availableon DVD) look for the hunchback Fritz tostop and adjust his sock while scurryingup the laboratory steps.

Dwight Frye’s stage career began asan award winning pianist during histeenage years. By 1922 he had made hisway to Broadway. In an interview that Iconducted in the 1990’s, Dwight’s sonstated his dad had said that he “paid thebills by making piano rolls” when he

went to New York around 1920. Unfortunately, that’s about all that can befound of Dwight Frye’s piano roll making experience. Can anyone addmore to this tale? Sadly, Dwight Fryejoined other screen immortals at age 44.It is said that he died from the exhaustionof working nightshifts at a wartime plantwhile spending days searching for filmroles. His favorite time of day was whenhe could relax and play the piano.

Happy Halloween!

Dwight Frye as the mad Renfield in the 1931 production of Dracula.Who can forget his laugh?

Dwight Frye at the piano with actress Dorothy Francis in his early Broadway years.

256

Many writers point to the fact that a large number of our captains of industry have been born on a farm, have lacked higher education and had to “make themselves,” inferring, if notpositively asserting, that greatness in man can only originate onthe soil or in the dwelling of the poor. In 1866 a boy was born inthe city of Brooklyn who was christened Harry B. Tremaine.The father and mother, highly educated people of culture andrefinement, brought up their boy with all the advantages which alarge city offers. Unlike the country lad, young Tremaine sawthe sky-scraping office buildings of New York go up, saw thetraffic on its thoroughfares, the ships in the harbor, loading andunloading merchandise to and from all quarters of the globe. Hewas not awestruck. It looked natural to him. He saw it every daywhen he went to school, but he observed and absorbed. Contraryto the old prescription according to which the great men of thefuture had to leave the schoolroom at the age of 13 or14 to learna trade, young Tremaine wanted to go to the high school.Instinctively, he felt that there must be a big story back of all thiscommotion on Broadway and in Wall Street, there must be lawsand system behind all of it, and he wanted to know them beforehe would attempt to take his place on the stage as one of theactors. That he would play a leading role was beyond questionfor him but he wanted to be well prepared to know his lines andwhat they meant.

In Harry B. Tremaine we meet the new element in the business world. The thorough education which he had enjoyedhad trained his mind in logical reasoning, supporting his

large vision for utilization of modern inventions anddiscovers on a large scale.Tremaine had the greatadvantage that he had nothing to forget. He alsoknew how to apply all thathe had learned in relation tomodern economics. Whenhe, in 1898, took charge ofthe business of the AeolianCompany as president, hesurveyed the situation as itpresented itself. His fatherhad laid a good foundation.Votey had perfected hisPianola. How to exploit what

he found, to its fullest extent, was the problem for Tremaine to solve. Believing with the enthusiasm of youth in the almostboundless commercial possibilities of the new automatic appliances for musical instruments, he knew that success wasonly obtainable if adequate capital could be combined with themanufacturing and selling organization then at his command. Sostrong was his faith, so plausible the plans which he had workedout that he did succeed in interesting men of affairs, andobtained capital by the millions for the furtherance of his ambitious plans. Backed by this abundant capital, he lost no timein setting his machinery in motion. The advertising campaign for the Pianola, which he inaugurated immediately, stunned theold-timers in the piano trade. Dire disaster was prophesied by many, but Tremaine knew his cards, his carefully laid plansdid not miscarry and no one today denies him the credit of having blasted and paved the way for the popularity of the player piano. Like allgreat leaders, Tremaine hasthe talent to pick the rightman for the right place. He found an able assistant in Edward R. Perkins, whojoined the Aeolian forces in 1893 at the age of 24.Perkins exhibited such ability and strength that hewas entrusted with theresponsible position of vice-president and generalmanager when the greaterorganization was completed.

William E. Wheelock came into the fold as president of theWeber Piano Company in 1903, and is now in charge of thefinancial department as treasurer of the corporation.

Tremaine understands the economy of high-priced labor.When he wanted to build the best player pianos he secured theservices of Pain, Votey, Kelly and others of ability. Just as soonas he was ready to enter the piano field proper, he associatedwith the Weber and Steck piano, and finally made a combinationwith the house of Steinway for the exclusive use of the Pianola in their instruments. Knowing that large capital can beeconomically applied only under conditions of increasingreturns, which again are only possible with relatively large

“Piano Men in America”Part II

from

P I A N O S& T H E I R M A K E R S

by Alfred Dolge

Harry B. Tremaine

Edward R. Perkins

257

markets, he branched out andwent into the markets ofEurope, Asia, South Americaand Australia. For the stimulus of the home marketbidding for the patronage of the wealthy, Tremainebuilt Aeolian Hall, in the very heart of New York’s fashionable quarters, engaging the best artists to demonstrate the value ofhis products at the elegantauditorium. In 1903 he organized the Aeolian,Weber Pianos & PianolaCompany, capitalized at$10,000,000 and controllingthe following subsidiarycompanies: The AeolianCompany, the OrchestrelleCompany (London), TheChoralion Company(Berlin), The Aeolian Company, Ltd. (Paris), The Pianola Company Proprietary, Ltd. (Melbourneand Sydney), the WeberPiano Company, GeorgeSteck & Company, Wheelock Piano Company,Stuyvesant Piano company,Chilton Piano Company,Technola Piano Company,

Votey Organ Company, Vocalian Organ Company and the Universal Music Company. These companies give employmentto about 5,000 people, scattered all over the world. Aside fromthe extensive piano factories in New York City, and the playerfactories at Garwood and Meriden, there is a Steck piano factoryat Gotha, Germany, producing 3,500 pianos annually, and a large factory for the Weber Piano Company is in course of construction at Hayes, near London. Operating as independentconcerns, these companies are capitalized at about $4,000,000.The total capital employed under the direction of Harry B.Tremaine amounts to $15,500,000 which is more than the capitalinvested in the entire piano and organ industry of the UnitedStates in 1890.

The remarkable results achieved by Tremaine within so shorta time can be accounted for by the fact that he learned from history what others had to learn in the dreary school of experience. As an observant student, he saw the potentialities of mechanical appliances for musical instruments and knew how to develop them. A genius as an organizer, he believes in combination of capital and brains, division of labor andresponsibilities, and adequate compensation for all. He has proven that a higher education is not a hindrance for advancement, but a necessity for progress in industrial,

commercial or financial pursuits. He has made his record inbreaking the path for the new school of industrial revolutionistsin the piano industry. A pioneer of the most forceful, aggressivetype, he is withal of a gentlemanly and most retiring disposition,shunning publicity to an unwarranted degree.

William B. Tremaine died in 1907, having seen his work bearfruit a thousand-fold under the magic wand of his gifted son.

How rapidly the player piano is forging to the front, with almost irresistible force, is clearly demonstrated by thetremendous growth of such factories as seem to know how toserve the public best.

Among those the Autopiano Company has made its mark byproducing a player piano of distinctly original construction andquality.

The demand for their player has always been ahead of the capacity to supply, and artists of the highest standing are praising the dominant features which distinguish this instrument from many others. Although established only 8 years (1903) the Autopiano Company, under the aggressivemanagement of President R. W. Lawrence, has risen to a position of one of the largest producers of player pianos. Manufacturing thoroughly reliable instruments and employingcomprehensive, modern business methods the Autopiano Company is rendering valuable service for the introduction ofthe player piano.

Because of the impetus given to the player-piano industry bythe extensive advertising of the Aeolian Company, Wilcox &White Company and others, a demand for a reliable playeraction made itself forcibly felt. Charles Kohler seized upon the opportunity and established the Auto-Pneumatic ActionCompany in 1900. He secured the active assistance of W. J. Keeley, Thomas Danquard and other experts. Danquard obtaineda patent in 1904 for a device called the “flexible finger,” bymeans of which the wippen of the piano action is attached direct to the player mechanism, thus eliminating the harshness of contact and imparting elasticity without interfering with the function of the piano action.

Because of their excellent quality a large number of pianomanufacturers have adopted these actions for their playerpianos. The Auto-Pneumatic Action Company is perhaps thelargest producer of player mechanism at the present time.

The Standard Pneumatic Action Company, the AmphionCompany, Ariston Company, Gulbransen-Dickinson Company,Chase & Baker Company and Simplex Piano-Player Companyare also making history for the player piano.

Among the phenomenal successes of latter days, the firm ofKohler & Campbell stands pre-eminent. Beginning with a smallcapital in 1896, this firm has placed over 120,000 pianos on themarket within 14 years.

John Calvin Campbell, born at Newark, N. J., in 1864, was a mechanical genius. After serving his apprenticeship as amachinist, he turned to construction, and invented several usefulwood and iron working machines. In 1890 he took up piano

continued. . .

George B. Kelly

Edwin S. Votey

258

making and made a scientificstudy of piano construction.He was so successful that hispianos were at once acceptedby the whole-sale trade as ofsplendid commercial value,and he saw his firm rise tounexpected magnitude. Hedied in 1908.

To his surviving partner,Charles Kohler, the credit isdue of organizing the greatbusiness in such a manner asto keep pace with thedemand for their pianos.Born at Newark, N. J., in1868, he attended the public

school and studied for one year at Princeton College. At the age of 20 he turned to piano making. Establishing the firm ofKohler & Campbell, he found opportunity to display his remarkable talent as a factory organizer and businessman. Supplementing Campbell’s ingenious construction with thorough workmanship in all details of the piano, he madeadvantageous use of modern methods in manufacturing and produced a fine piano, which he could offer at tempting prices to large distributors. The remarkable fact is to be recorded that among his largest customers are piano manufacturers ofnote who carry the Kohler & Campbell pianos in their variousretail warerooms.

Naturally modest and of a retiring disposition, Kohler has notbeen active in any of the general trade movements, but that hewill be called upon to take his part in time to come is warrantedby the record which he has made.

The American Piano Company of New York, incorporated in June, 1908, is another of the modern combinations of large establishments. Capitalized at $12,000,000, it controls thefactories of Chickering & Sons, in Boston; William Knabe &Company, in Baltimore; Haines Brothers, Marshall & Wendell,Foster & Company, Armstrong, Brewster and J. B. Cook companies, located at Rochester, N.Y. C. H. W. Foster of Chickering & Sons is president of this company, with George C.Foster, George L. Eaton, Charles H. Eddy and William B. Armstrong as vice-presidents. While maintaining retail warerooms at New York, Boston, Baltimore and Washington,this company distributes its products elsewhere through dealers exclusively.

The house of Wing & Son, New York, was founded in 1868 by Luman B. Wing, as partner in the firm of Doane, Wing & Cushing. Luman B. Wing died in 1873, and was succeeded by his son, Frank L. Wing, who admitted R. Delano Wing (his son) to partnership in 1905. This firm is probably the pioneer of the mail-order business in pianos. Building a reliable instrument, the concern has met with uninterrupted success during the 43 years of its existence.

New York is proud of such names as Kranich & Bach, Strich& Zeidler, Mehlin & Sons, Behr Brothers, Lauter (of Newark),Wissner, Stultz & Bauer, Ludwig & Company, Pease Piano Company, Winter & Company and others who are makinghistory as manufacturers of meritorious pianos.

Philadelphia has, besides the time-honored Schomacker, theBlasius, the Lester and the Cunningham Piano companies—allof whom are as true to the traditions of honest values in pianosas any the old Quaker City has ever produced.

Among the firms whohave done much to keepBoston to the front is theHenry F. Miller & SonsPiano Company. Henry F.Miller, born at Providence,R.I., on September 25, 1825,was educated as a musicianand acquired a reputationespecially as an organist. Hiscommercial inclinationprompted him, however, toaccept an offer of the Bostonpiano makers, Brown &Allen, to join their forces in1850. After studying withthis concern for seven years,he accepted a more promising position with enterprising Emerson, and in 1863 started, in connection with J. H. Gibson,who was an expert scale draughtsman and constructor, to makethe “Miller” piano. Success followed his efforts, and in course of time he admitted his five sons to partnership, incorporatingfinally under the name of Henry F. Miller & Sons Piano Company. He died on August 4, 1884, at Wakefield. His sonstook up the work of their father under the leadership of Henry F.Miller, Jr., continually improving their product so that many ofthe greatest virtuosos are using the Miller grand pianos in their concert work. Besides paying proper attention to the development of the musical character of their instruments,Miller & Sons were among the first and most persistent advocates of architecturally correct designs for piano cases, andachieved marked success inthat direction as well.

Aside from the manyillustrious names foundedmany years ago, Boston canproudly point to youngerfirms, who by superior meritof their production areadding new luster to its fameas a piano-producing centerof the highest order. It was in1883 that Frank A. Leejoined the John ChurchCompany of Cincinnati, andin November of that year theEverett Piano Company was

continued. . .

Henry F. Miller

John Church

John C. Campbell

259

started in Boston through his efforts. The name Everett was chosen by Church because of its euphonious clearness, whichmakes it as easy to remember as it is easy to spell. John Churchand the other associates of Lee, having been piano dealers formany years, started out to build a commercial piano, but as soonas Lee became president of the Everett Piano Company hechanged that policy and began to make pianos of the highestorder. It took years of perseverance, and often discouraging trials, to obtain for the Everett piano that recognition as an artistic piano which it deserved. Lee never lost faith in its ultimate success, and through his determination, ably assisted bythe artistry of his superintendent, John Anderson, he finally hadthe satisfaction of seeing his concert grands used by Reisenauer,Dr. Neitzel, Chaminade, Carreno and other leading virtuosos,and the Everett pianos admitted among the selected leaders ofthe world’s pianodom.

The John Church Company also controls theHarvard Piano Company ofDayton, Ky., and, with itslarge catalogue as musicpublishers, is a great factorin the music world. Frank A. Lee, as president, hasguided the destiny of thisgreat company since 1894.

The Ivers & Pond, Briggs,Merrill, Hume, Jewett andPoole Companies, TheodoreJ. Kraft and others are maintaining the traditions of famous Boston Makersand assisting creditably in making history for the future.

Turning to the West, we encounter a galaxy of brilliant mento whose exceptional talents, business acumen, shrewdness andcourageous farsightedness the unparalleled development of theindustry in that part of the country must be ascribed. The mostprominent figure was William Wallace Kimball. Descendingfrom good old English stock, Kimball was born on a farm inOxford County, Maine, in1828. After passing throughthe high school he practicedteaching for a while, butsoon became a commercialtraveler. In his wanderings hecame to Chicago, and was soimpressed with the futurepossibilities of the little citythat he made it his home andestablished himself as apiano dealer in 1857. He soldthe Chickering, Hallet &Davis and Emerson pianoslargely in his early days.When Joseph P. Hale intro-duced his commercial piano,

Kimball took hold of it with such energy that he soon becamethe largest piano dealer in the West. The great Chicago fire of1871 did not spare Kimball’s warerooms, which were entirelydestroyed. Kimball immediately ordered a new stock of pianosfrom his manufacturers, turning his home into an office and thebarn into a piano wareroom until he could find new quarters inthe business center of the city. In what high esteem Kimball washeld by the people of whom he bought is shown by the fact thatHale, of New York, telegraphed him on the day of the fire, “Youcan draw on me at once for $100,000.” Hale appreciated thegood customer and demonstrated unlimited faith in Kimball’sintegrity.

A born organizer, Kimballoutgrew the limited sphere ofthe local piano dealer. Hebranched out and became ajobber on a large scale.Among his first employeeswas a lank and lean farmer’sboy from Wisconsin, whoshowed such aptness for thebusiness that he soon becameKimball’s right-hand man.Edwin Stapleton Conwaywas just the man to carry outKimball’s far-reaching plans.The west being sparsely settled in those days, butrapidly filling up with a splendid class of wealth-producingfarmers, pianos were not in great demand. Kimball resolved tobring the pianos to the farmer’s door. He made Conway the general field organizer, whose duty it was to travel from place toplace and select in each town the brightest young fellow whocould be trusted with consignments of organs and pianos, whichhe was to sell to the farmers of his neighborhood. Conway’s personality, his energy, power of persuasion and convincingmanners fitted him excellently for that work, and many a prosperous dealer of the middle west proudly calls himself todaya “Conway Boy,” meaning that he was induced by Conway toenter the field and profited by Conway’s coaching. Pretty soon Kimball had a net of agencies covering the entire westerncountry and the proceeds of his yearly sales of pianos and organsran into the millions of dollars.

Bright and early, on a spring morning, Conway blew into theauthor’s office, in New York, explaining in a few words that hehad finally convinced the “Governor” of the necessity of makinghis own organs at Chicago, and now wanted all the informationhe could get, in order to buy material. Kimball had resolved toclimb a step higher and become a manufacturer. Success was aforegone conclusion, because he controlled the outlet of thousands of organs, and even his piano sales at that timeexceeded the imposing number of 4,000 per year. When theorgan manufacturing was well under way, he started in 1882 hispiano factory. At stated before, Kimball was a born organizer.With unerring eye he always understood how to pick the rightman for the right place and to keep him there. When his manufacturing department assumed greater proportions he sent

continued. . .

Frank A. Lee

W.W. Kimball

Edwin S. Conway

260

for his nephew, W. Lufkin,and charged him with themanagement thereof,although Lufkin had, up tothat time, never been insideof a piano or organ factory.Kimball was original in allthat he did. He reasoned that,for the management of such big factories as he contemplated, a man broughtup at the work-bench or at anoffice desk would have toonarrow a vision. He wanted a man who would just asreadily plan to make 30,000instruments a year as 5,000.Lufkin was that man. He made the first 5,000 pianos, and isturning out 30,000 instruments per year now, including mostimposing church organs. Without a doubt, the Kimball factoriesstand without a parallel. Not only are they producing all parts ofthe piano, from the case up, including iron plates, actions andkeys, but since 1904 the entire mechanism of the player pianohas been also made there, including the music rolls. To the smallparlor organ, the building of church organs was added in 1890.Kimball reversed the order of things. Two hundred years ago thechurch-organ builders made pianos as a side issue. Kimball,evolving from a small retail dealer to the largest piano manufacturer in the world, became a church-organ builder aswell.

Kimball, not so bold as Conway, listened carefully to the latter’s aggressive plans, worked them down to the line of safepossibility and then charged Lufkin with making the goodswhich Conway had to sell. A splendid trio, with a most ableleader, and hence the unparalleled success. Kimball saw hisbusiness grow to an institution with a turnover of over$4,000,000 per annum. He died on December 15, 1904. The corporation is continued with C. N. Kimball as president, E. S.Conway, vice-president, and W. Lufkin, treasurer.

H. D. Cable, born at Walton, N.Y., in 1849, spent his early days on a farm. After attending the WaltonAcademy, he turned to teaching, with such successthat at the age of 17 he waselected principal of theschools at Easton, PA., and a year later appointedsuperintendent of schools atWilliamsport, PA. In 1869the publishing house ofBarnes & Company sent himto Chicago as manager oftheir western department, andfor 11 years Cable filled thatresponsible position withgreat success and fidelity. In

1880 he formed a partnership with the organ builder, F. R.Wolfinger, organizing the Wolfinger Organ Company, whichwas changed to the Western Cottage Organ Company, and lateron to the Chicago Cottage Organ Company.

Cable applied the methods used in selling books, as far aspossible, to the organ and piano business, with amazing success.Like Kimball, he was a born organizer and an excellent judge ofmen and their abilities. The training which he had enjoyed in thebook-selling business impelled him to introduce system in hismanufacturing and selling organization, with all that this wordimplies in modern business management, and perhaps he wasthe first in the piano industry to profit by the application of scientific accounting. At all events, his success was so rapid, andhis business assumed such immense proportions, that it becamethe wonder of his contemporaries.

Of an exceedingly nervous temperament, Cablewas not only a rapid thinker,but also a worker of extraordinary capacity. Himself the soul of honorand integrity, he treatedeverybody on that basis, andhis keen judgment assistedhis intuition in making boldmoves on the chessboard oftrade with advantageousresults. Starting out in hisenterprises by catering to thedemands of the masses, heaimed for the highest in hispiano production, and in1890 he consolidated the business of Conover Brothers, of NewYork, with his own, securing at the same time the valuable assistance of that eminent piano constructor, J. Frank Conover,for the manufacture of the Conover piano. As his businessassumed larger proportions, he called his brothers, Hobart M.and Fayette S. Cable, to his aid, and, although he had surrounded himself with a number of able men, his close personal application to the complexities of his large businessfinally undermined his constitution and he died prematurely onMarch 2, 1899, at the age of 50.

The business, having been incorporated, has been continued,but the name of the company was changed to the Cable Company, in honor of the founder. F. S. Cable served as president until 1903, when he started in business on his ownaccount. He was succeeded by F. S. Shaw, under whose ablemanagement the company largely extended its activities, adding a department for player pianos, and paying careful attention to the development of the artistic Conover piano,preparing for the introduction of the same on the concert platform. In the short space of 20 years the Cable Company has attained a position as one of the great leaders of the westerncontinent, and the genius of H. D. Cable has shown to contemporaries the great possibilities of the piano business in itslegitimate channels.

continued. . .

W. Lufkin

J. Frank Conover

H. D. Cable

261

Lucien Wulsin, born inLouisiana in 1845, came with his father’s family toCincinnati in his early childhood. He went throughthe Cincinnati public schooland part of the high school.At the age of 19 he enlistedwith the Union army, at firstserving in a Kentuckyinfantry battalion, and fromJanuary, 1864, until the endof the war, in the FourthOhio Cavalry. In March,1866, he entered the employof D. H. Baldwin, a musicteacher, who was selling theDecker Brothers’ pianos in Cincinnati. Wulsin started in as aclerk, bookkeeper and general factotum, and made himself souseful that he was admitted to partnership in 1873, the firmname becoming D. H. Baldwin & Company.

An era of expansion and larger activity was inaugurated. Asthe first move, a branch store was opened at Indianapolis. In1878 the Louisville branch was started under the management of R. A. Johnston, who was made a partner in 1880. After Johnston’s death in 1882, George W. Armstrong, Jr., ClarenceWulsin and A. A. Van Buren, who had been employed by thefirm for a number of years, became partners. With the growth ofthe business the necessity of manufacturing became more andmore apparent, and in 1889 the Hamilton Organ Company wasorganized as a subsidiary concern for the making of organs—theBaldwin Piano Company, Valley Gem Piano Company andEllington Piano Company soon following. Later on the Hamilton Piano Company was formed, and the firm of D. H.Baldwin & Company changed into a corporation under the titleof The Baldwin Company, the latter controlling all the abovesubsidiary companies.

D. H. Baldwin died in 1899, leaving the bulk of his estate formissionary purposes. Ordinarily this would have meant thewinding up of the business, in order to pay out the large amountwhich represented Baldwin’s interest, but Wulsin did not propose to have the work of his life destroyed through an act ofthe man whom he had made wealthy by his 33 years of faithfuldevotion. Together with Armstrong he arranged to buy all thestock of the Baldwin estate and of the only remaining partner, A.A. Van Buren.

Freed from all interference, the two partners set to work todevelop the business to its fullest possibilities. They were anexcellent team. Wulsin, the man of ideas and business foresight,enthusiastically believing in the progress of the American peopleand the perpetual growth of the nation, planned the ultimateexpansion. Armstrong, the mathematician and man of figures,worked out the details of the plans to never-failing exactness. Asa matter of good business policy, stress was laid in the beginningupon the commercial—the money-making—part of the business,with proper regard for the building up of a reputation for reliable

goods, but just as soon as an efficient number of artisans hadbeen trained, under the guidance of Superintendent Macy, thedevelopment of the artistic Baldwin piano was taken in handwith avidity and with corresponding success.

Lucien Wulsin’s inborn love for the noble and beautiful isstamped upon every part of the great institution. The factories,located opposite beautiful Eden Park, at Cincinnati, are modelsof decorative architecture. Instead of imprisoning his menbetween four plain brick walls, Wulsin engaged an architect todesign his factories, with orders to combine the beautiful withthe practical, paying attention to hygienic improvements.Always kept scrupulously clean, the workrooms in the Baldwinfactory impress the visitor much more as artists’ ateliers than aspiano makers’ workshops. The walls of the spacious offices are decorated with pictures of Greek and Roman structures ofarchitectural beauty, to train the eyes of the workman for properand correct forms; flower-beds surround the factories and living flowers are to be found at the factory windows. An air ofrefinement permeates the entire establishment and gentlemanlybehavior is a characteristic of the Baldwin employees.

The sound policy underlying the management of this greatbusiness is best described in Wulsin’s own words, which he used in a letter to the author: “I realize that the welfare of ourcompany and the success of its people will come from a fairtreatment of all our men and the awakening in them of the idealsand enthusiasm which, after all, do exist in the average humanbeing.”

It is not to be wondered at that the Baldwin pianos carried off the highest prizes, wherever exhibited, gaining even thatmuch-coveted distinction, the Grand Prix at the Paris Expositionof 1900. Nor does it require an explanation why Pugnoexclaims, “The Baldwin tone is boundless; you can’t get to thebottom of it—can’t pound it out,” and when, on the other hand,aesthetic de Pachmann whispers his enchanting Chopin pianissimo passages on that same piano. The Baldwin piano isan art product, made by artists who are living and working in anartistic atmosphere, because the man who created the Baldwininstitution is an idealist. Lucien Wulsin was decorated with theCross of the Legion of Honor at the Paris Exposition of 1900.

As far back as 1849 anAlsatian by the name ofTrayser made pianos andmelodeons in Indianapolis.Drifting about the country, hecame to Ripley, Ohio, in1869, where he started apiano factory, which wasremoved to Richmond, Ind.,in 1872, when James S. andBenjamin Starr acquired aninterest in the concern. In1878 Trayser retired, andMilo J. Chase entered thefirm, the name of which waschanged to the Chase PianoCompany. In 1884 the Starr

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Brothers obtained control of the business and changedthe name to the Starr PianoCompany, with BenjaminStarr as manager. Upon theretirement of James Starr,Henry Gennett and associatesobtained control of the company and began a campaign of expansionwhich has made the concernone of the leaders of the middle west. Gennettassumed the business management and opened distributing warerooms inmany leading cities of thewestern and southern States. Benjamin Starr superintended thefactories, ably assisted by Harry Gennett. The business assumedimmense proportions under the guidance of Henry Gennett,while his son Harry developed into a good piano constructor,who has done excellent work in improving the Starr piano andpromises more as a piano maker for the future. Benjamin Starrdied in 1903, having had the satisfaction of seeing the small factory with which he started grow to an establishment producing annually about 18,000 pianos of a quality above theordinary market instrument. It is the laudable ambition of HarryGennett to see in the near future the Starr concert grand,designed and constructed by him, used by artists of note in theirpublic concerts.

In the romantic vales ofBunifort, County of Cork,Ireland, a boy was born onMarch 17, 1840, to farmerHealy, the thirteenth child ofa poor but happy family. Theboy was christened PatrickJoseph. When the good “ouldsod” would not yield enoughto support this growing family, Healy senior packedup his worldly goods andtook his family to the land ofpromise and possibilities.Patrick Joseph was 10 yearsof age when he landed inBoston. Attending the publicschools, he had an eye for earning money, and we find himworking the bellows of a great church organ for the organist,Bancroft. This man became interested in the Irish lad, and whenHealy had finished his school course Bancroft secured for him aposition as errand boy with the music dealer, George P. Reed.The errand boy soon advanced to be a clerk, and we next findhim in a responsible position in the great music publishing houseof Oliver Ditson & Company.

Ditson had a keen perception of the possibilities in the rapidly developing cities of the west and planned the

establishment of branch houses at Cincinnati, St. Louis andChicago, Healy wisely decided for the latter, and in 1864 thefirm of Lyon & Healy was established under the protection ofthe parent house of Oliver Ditson & Company. To encourage theyoung men, Ditson predicted that they would do a business of$100,000 per year within 10 years. Healy reported sales of overthat amount before the first 12 months had passed! The pianotrade of America has produced a large number of “great workers,” but it is the opinion of all who knew him that Healyoutworked them all. The great results achieved by him are, however, due not only to the amount of work which he performed, but largely to the systematic methods he applied.

The author will ever remember Healy’s first visit to his NewYork office. After the usual greeting, and every-day question,“How is business with you?” Healy pulled out of his pocket asmall black note-book and read off statistics as to how many letters had been received daily by his firm during the past monthas compared to the same month of one, two and three yearsbefore. The methodical statistician, the mind which from thesmall detail could construct a prognostication of the future, wasthus displayed. It was the key to Healy’s great achievements.Nervously working at the store during the daytime, he wouldtake memoranda of the day’s doings to his home and there workout statistics to guide him in his bold undertakings. Those whowondered at Healy’s positive, unfaltering aggressiveness did notknow how well he had fortified himself with unfailing figuresand facts, gathered from his comparative statistics, proving the correctness of his conclusions. Thus Healy was able toaccomplish more in one lifetime than would ordinarily be possible for the combined efforts of several business men.

However, searching for the main cause of the success of theman who built the greatest music house in the world, we find itin the character of P. J. Healy. Although exacting to a degree, hissympathetic character enabled him to draw from his employeesthe best that was within them in a manner which made all of hisyoung men enthusiasticworkers for the success ofthe firm. Just and fair underall conditions, he displayed asincere solicitude for all whoworked with him. Like allleaders, he had the faculty of picking the right man and putting him into the right place. As Kimballfound his Conway, so Healydiscovered in another Wisconsin farmer’s boy thequalities which only need opportunity for developinginto the making of a strongman. Charles N. Post enteredthe employ of Lyon & Healyas a bookkeeper in 1864, when 16 years of age. He grew up tobe Healy’s right-hand man, and when the business had outgrownthe sphere of merely dealing in musical merchandise, and themanufacturing of instruments became a necessity, young

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P.J. Healy

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Post was charged with the responsibility of managing thatdepartment.

After success was secured in the making of guitars, mandolins, etc., Healy’s ambitionwas to build an instrument of thehigher order. Although the Erardharp was at that time considered tobe perfection, Healy knew fromexperience that even that renownedmake was not satisfactory, and he charged Post with the work ofproducing a harp which would beacceptable to the artists as superiorto the Erard. Post engaged the services of George B. Durkee, aninventor of note, and the two menset to work to construct a harpwhich made the name of Lyon &Healy famous wherever orchestramusic is played. Durkee went at his problem with a well-trainedscientific mind and succeeded in constructing a mechanismwhich did away with the irritating “buzzing” so common to theordinary harp. He further developed a scale so perfect as tomake the playing of the instrument much easier. By enlargingthe soundboard he furthermore increased the volume of toneperceptibly. The first harp was turned out in 1886, and Healyhad the satisfaction of seeing his instruments accepted by theGewandhaus orchestra of Leipsic, and by nearly all the leadingorchestras of Berlin, Vienna, Stuttgart, St. Petersburg, NewYork, Boston, Chicago, etc.

The building of church organs was the next addition to themanufacturing department, which had grown to such magnitudethat in the year 1890 over 100,000 instruments were turned out.The business, started in 1864 in a modest manner, had steadilygrown until it was known all over the globe as the greatest establishment of its kind. When Lyon retired from the firm in1890, the corporate form was adopted, with P. J. Healy as president, Charles N. Post, vice-president, and Robert B. Gregory, treasurer. The concern continued in its onward marchunder Healy’s inspiring leadership, extending its influence in alldirections, but Healy had to pay the penalty for drawing toexcess on nature’s limitations. He died on April 5, 1905, at theage of 65, mourned by all who knew him, honored by the mem-bers of the trade with the sobriquet, “The grand old man of themusic trade,” leaving his footprints behind as an example tocoming generations that honesty of purpose, application of duty and fairness in all dealings with fellow-men make life worth living to a much greater degree than the mere accumulation of wealth.

Charles N. Post succeeded Healy in the presidency until1908, when he retired to the pleasant life of a gentleman farmer,on his ranch in southern California. Healy’s fourth son, Paul, has since been the active head of the great corporation, and uponhis instigation the manufacture of pianos has been added. The

factories are in charge of his brother, Mark Healy, who is studiously preparing himself for the career of a master builder of the Lyon & Healy piano.

Coming from a family ofmusical-instrument makerswho pursued that art for generations in the little townof Schoneck, Saxony,Rudolph Wurlitzer landed inNew York about 1854. Hiscareer was such as usuallyfalls to the lot of young German emigrants who land here without means, but endowed with a thorougheducation and expert knowledge of their profession. Struggling for the first few years to earn a living, he finally found his bearings in Cincinnati, where he established himself as an importer of musical instruments in 1856. With the enthusiasm and optimism of youth, he overcame the many obstacles and difficulties facing a youngbusiness man who has to earn his capital, and gradually climbed up the ladder until he was recognized as a power by hiscontemporaries. In 1890 his eldest son Howard was admitted topartnership. By studying the musical-instrument business in allits phases for several years in Europe, young Howard was wellprepared for his work and soon made his presence felt, and therise of the house of Wurlitzer to its pre-eminent position datesfrom that time. Incorporating in 1890 with a capital of $200,000,as the Rudolph Wurlitzer Company, it has now increased its capital to $1,000,000, and owns the Rudolph Wurlitzer Manufacturing Company, also with a capital of $1,000,000. Inthe course of time two other sons, Rudolph H. and Farney Wurlitzer, joined the concern, each taking charge of a department, so that at the fiftieth anniversary, in 1906, RudolphWurlitzer, Sr., was able to retire from active participation and enjoy the well-merited rest of private life. The WurlitzerCompany at present is perhaps the largest manufacturer of mechanical instruments,including player pianos, itsbusiness connection coveringall parts of the globe.

Among the many remarkable men who have made their mark in thedevelopment of the pianoindustry of the west, William H. Bush stands outas one of those sturdy characters whom misfortuneonly spurs on to greaterefforts.

Coming from good oldHolland stock, William

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Lyon & Healy Harp

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Henry Bush was born in 1829 on a farm near Baltimore, MD.One of the first railroads built in the United States ran throughthe Bush farm to the City of Baltimore, and we find William as alad of 14, with remarkable enterprise, contracting for the use ofthe steam engine and the one freight car of which the railroadcould boast to carry his vegetables to Baltimore, so as to be thefirst in the marketplace. In 1854 he landed at Chicago and soonengaged in the lumber business, accumulating a fortune. Thegreat fire of 1871 burned up his lumber yard and reduced himagain to the point where he had started 17 years before. Successwas his, and in 1886 he started in partnership with his son,William Lincoln Bush, and John Gerts, under the firm name ofW. H. Bush & Company, for the manufacturing of pianos.

William L. Bush, born in 1861, had served his apprenticeshipwith Geo. H. Woods & Company as an organ and piano maker,and from 1881 to 1883 as salesman for the W. W. Kimball Company. John Gerts had learned piano making in Germany,thoroughly mastering all branches of the art.

With W. H. Bush at the head as financier, the concern prospered from the very start, and was changed to a corporationin 1891 with a paid-up capital of $400,000.

Philanthropically inclined, the elder Bush planned to createfor Chicago an institution which should serve music and the arts,but before his well-conceived plans materialized he passed awayin 1901 at the age of 74.

The Bush Temple of Music was started in 1902 and completed in 1903, and stands as a monument to the enterprise,energy and liberality of the Maryland farmer boy, as one of Chicago’s landmarks.

The Conservatory of Music connected with the Bush Templewas founded by William Lincoln Bush in 1901, with KennethM. Bradley as Director and Mme. Fannie Bloomfield-Zeisler at the head of the piano department, the position now beingoccupied by Mme. Julie Rive King. Among the teachers of notewho have given luster to this school, the great violinist, OvideMusin, may be mentioned.

William L. Bush, a talented musician himself, is very solicitous for the lasting success of this music school, which hasachieved a far-reaching reputation. He also established similarinstitutions at Dallas, Tex., and Memphis, Tenn., thus assistingin the propaganda for musical development not only as a manufacturer of excellent pianos, but also as a lover of the artfor art’s sake.

The Bush & Gerts Piano Company is known for its zeal inupholding and defending the ethics of the piano trade. WilliamL. Bush is using his forceful pen with telling results in the warfare against the illegitimate stencil and dishonest methods of selling, insisting that the maker’s name should be on everypiano and a fixed selling prices established by the maker.

Albert Krell, born at Gelbra, Germany, on September10,1833, came to America in 1848 and settled at Cincinnati in1849. Coming from a family of musical-instrument makers, hewas an expert violin builder, and started in business at the age of 16, renting a small shop in the rear of a drug store. He

established a reputation as arepairer of old violins, andbuilt altogether about 300new instruments, which hesold at prices ranging from$150 to $300 apiece. In 1889he, in conjunction with hissons, Albert and Alexander,who had studied piano making with George Steck,started a piano factory underthe name of the Krell PianoCompany. Alexander died in1895, and Alert Krell, Sr., in1900.

After his brother’s death,Albert, Jr., retired from thecompany and organized the Krell-French Piano Company ofSpringfield, Ohio. This concern, after a disastrous fire, moved toNew Castle. Albert Krell resigned from this company in 1905and started the Auto Grand Piano Company of America in Connersville, Ind., making the manufacture of player pianos a specialty.

Among the successfulpioneer piano makers of thewest Braton S. Chase hasmade his mark. Tracing hisconnection with the tradeback to 1869 when his fatherstarted the Chase PianoCompany at Richmond, Ind.,Braton acquired a thoroughand practical knowledge ofthe art under his father ’s tutelage.

In 1889 he formed a connection with C. H. Hackley, the philanthropiclumber king of Muskegon,Mich., and started the Chase-Hackley Piano Company, for which enterprise he soon secured recognition as one of theleading piano producers of the west, fully realizing Hackley’sdesire to bring fame to the City of Muskegon as the home of theChase Brothers and Chase Hackley pianos.

Among the many sturdy and thrifty German emigrants whohave done so much in the development of the great middle west, Mathias Schultz was one of those typical characters whosewill-power could not be downed by adversity or obstacles. Bornat Warburg, Germany, in 1842, his mother being left a widow at the time of his birth, the child had a necessity to beplaced with relatives until he reached the age of 11, when hebecame entitled to the privileges of the military orphan asylumat Potsdam because of his late father’s services as a soldier. Atthe age of 14 he was apprenticed to a cabinetmaker. Just as soonas he had served his time he took to “wandern” and started tovisit his dear mother. Arriving at his home town, he learned that

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his mother had been buried two weeks previous. Broken-hearted, he started on his journey again, leaving it to fate wherehe might land.

Sentimentally inclined, young Schultz felt his lonesomenessintensely and resolved to enlist as a soldier, just to get comradesand companionship, to find someone who would take an interestin him and for whom he could care. But, fortunately for him,fate intervened. The day before his physical examination by themilitary authorities he broke his should-blade and was notaccepted. With no prospect for a military career, he longed to goto America, and started for London, where he expected to earnenough money to pay his passage to New York. He found workin a piano factory and learned the art as it had then been developed. After a two years’ stay in London he sailed for New York in 1868 and made his home in Chicago. The pianoindustry being then in its infancy in America, Schulz returned tocabinetmaking and, in partnership with two colleagues, started a shop at Chicago in 1869. In 1876 Schultz bought out his partners. With remarkable energy he overcame all the difficultieswhich beset a young manufacturer, who lacks experience as wellas capital, and his superior craftsmanship, extraordinary capacityfor work, together with his inborn honesty and integrity, soonbrought prosperity and his business grew steadily. In 1889 it hadassumed such large proportions that it was incorporated underthe name of M. Schultz Company, with his son, Otto Schultz, asvice-president. The manufacturing of organs and pianos wasnow made a specialty.

Like many pioneers, Schultz had overtaxed himself in theattempt to satisfy ambition and passed away in 1899 at the ageof 57.

His son, Otto Schultz,succeeded him as president.Under his aggressive leadership the company has forced its way to thefront rank of large producersin the piano industry. The business started by the German orphan boy has grown to imposing proportions, with splendidprospects for future development.

Born in Suavia about 60 years ago, John V. Stegerinherited all the characteristicspeculiar to the scions of the Bajuvarian tribe. Energetic, shrewd and tenacious, they are known to make their w a y, i r respect ive of surroundings or conditions.

At the age of 17 Steger landed at Chicago and found employment in a brass foundry. Having accumulated a small capital, he formed a partnership with a piano tuner and opened a piano store. It was but a short time after, when Steger became sole owner of the business, in which he prospered beyond his fondest dreams.

Observing how other pianodealers had drifted into piano manufacturing with great success, Steger bought out a small concern which owneda factory near Chicago, andfollowing the example set byJ. P. Hale, commenced tomanufacture a commercialpiano for the wholesale trade.Satisfied with a comparativelysmall margin he soon created a large demand for his product. Around the permanently increasing factory buildings in theprairie, the town of Stegergrew up. Ambitious to be counted among the leaders of the industry, he made use of every opportunity to enlarge his business. A shrewd financier and one of the boldest manipulators in the piano trade, Steger accumulated great wealth in a comparatively short period and is at present counted among the largest producers of pianos in the west.

Among the pioneers of western piano trade, Julius Bauer &Company has always maintained a reputation for producing ahigh-grade piano of merit. Founded in 1857 by Julius Bauer, thebusiness, since the death of the founder in 1884, has been underthe able management of his son, William M. Bauer.

History is made for the west by such names as ChickeringBrothers, Bush & Lane, George P. Bent, Newman Brothers, theMelville Clark Piano Company, Schumann Piano Company,Gram-Richtsteig, Grinnell Brothers, the Farrand Company—famous for the manufacture of high-grade instruments.

The fact that Chicago has, during the past decade, become the greatest piano market in the world is largely due to the energy and enterprise of firms like Smith, Barnes & StrohberCompany, Price & Teeple, Hobart M. Cable Company, Schaeffer Piano Mfg. Company, Cable-Nelson Piano Company,Adam Schaaf, Schiller Piano Company, the Haddorff PianoCompany, the Straube Piano Company, P. A. Starck Company,Arthur P. King, H. P. NelsonCompany, and others, whomanufacture pianos in quantities of from 3,000 to 15,000 per year in theirmodern establishments. It is claimed that the largewestern factories are at present able to give the greatest value in the market,which accounts to someextent for the unprecedentedgrowth. Although scarcely 25 years old, the western factories supply to-day fully half the pianos sold

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Otto Schulz

John V. Steger

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in the United States.

All the pioneers in theorgan trade of the UnitedStates have eventually turnedto piano making, in mostinstances discarding theorgan altogether.

F a r m i n g i n N e w Hampshire has ever been amost precarious occupation,the rocky soil and long winters seldom enablingeven a hard-working andintelligent farmer to supporthis family. Jacob Estey wasborn on such a farm nearHinsdale, N. H., on September 30, 1814. When only four years of age he had to leave his parents’ home to be supported by a neighboring farmer. The boy had to work very hard for his meals and scant clothing, but, being made ofthe right stuff, he ran away when 13 years of age and escaped toWorcester, Mass., where he was apprenticed to a plumber. Afterserving his apprenticeship he took to traveling, following hisprofession, and landed in 1834 at Brattleboro, VT., the townwhich was to become famous all over the world because of theorgans which Estey, later on, made there and sent to all parts ofthe globe.

In 1835 he established his own plumbing shop. Thrift andeconomy brought him wealth, so that in 1848 he could erect alarge building on Main Street. The upper part of this building herented to a melodeon maker by the name of Greene. Having surplus money to invest, Estey bought an interest in themelodeon business, continuing, however, his profitable plumbing establishment. Fire destroyed the building in 1857,and Estey found himself almost a poor man once more, as all hismoney had finally been invested in the melodeon factory. Withthe grit of the Yankee, Estey did not give up. He had observedthe possibilities of the organ business, and within a year he started again to build parlor organs.

In 1860 he engaged Levi K.Fuller as engineer. Fuller wasthen only 19 years of age, buthad studied mechanics so thoroughly that he becamemost valuable to Estey. Thebusiness grew by leaps andbounds. Superior quality wasthe watchword all throughthe factory. Fuller was admit-ted to partnership togetherwith Estey’s son Julius in1866, when the Estey OrganCompany was organizedwith Jacob Estey as president, Levi K. Fuller,vice-president, and Julius

Estey, secretary and treasur-er. From its small beginningthe production of the Esteyfactories rose to an output of1,800 organs per month. TheEstey factory became thealma mater of a number ofyoung students who later onmade names for themselvesin the organ world. Joseph Warren, of Clough & War-ren; the four Whites, fatherand sons, of Wilcox & Whitefame; Stevens, of the StevensOrgan Company; Putnam, ofthe Putnam Organ Company,Wright, of Mason & Hamlin,and last, but not least, Votey, of the Aeolian Company, are allgraduates of the Estey school of organ building. In 1885 the Estey Piano Company was organized, establishing a largefactory in New York City. Branch stores had been established inNew York, St. Louis, Philadelphia, Boston, Chicago, London(England), and elsewhere. Wherever exhibited, the Estey pianosand organs carried off highest awards for superior constructionand workmanship.

Jacob Estey was a man of firm character, molded in theschool of adversity from his earliest childhood, but, perhapsbecause of his own sufferings, he became a very sympatheticemployer and enjoyed the respect and love of his employees. Hedied on April 15, 1890.

Levi K. Fuller was a born scientist and did valuable service in the improvement of the Estey organ. A great reader and student, he was well versed in acoustics, and his collection oftuning-forks and acoustic apparatus exhibited at the World’sFair, Chicago, in 1893, was honored with a special award by thejudges. Fuller served as Governor of the State of Vermont, andreceived numerous other public honors in recognition of hisability. Ambitious and conscientious to an exalted degree, Fullerwould often overwork himself in a manner which finally causedhis untimely demise on October 10, 1896, at the age of 55.

Julius Estey, like his father, was an enterprising but carefulbusiness man. After the death of his two senior partners, the management of the business rested upon him, and with theinborn Estey spirit he sought for new fields in which to expandthe business and spread the fame of the name of Estey. He commenced the building of large church organs in 1901, erecting a special factory with the most modern equipment forthat purpose. It was not for him to see the full development ofthis new enterprise. He died on March 7, 1902, aged 57. Hissons, Jacob Gray Estey and J. Harry Estey, succeeded him asmanagers, enjoying the services of their trusted office manager,L. W. Hawley, who has been in the continued service of theEstey Company for over 50 years.

John Boulton Simpson acquired control of the Arion Piano in1869, and manufactured high grade pianos until 1885, when heformed a combination with the Esteys, by which the name was

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changed from Arion Piano Company to Estey Piano Company.

A large factory with modern appliances was erected in New York, and the Estey grand and upright pianos soon becamea dominant factor in the piano trade. John Boulton Simpson is still president of the company, assisted by Jacob Gray Esteyand J. Harry Estey as active business managers, maintaining the prestige of the Estey reputation for high-class products.

Every now and then wehear of a genius, born on therocky soil of New England,who has music in his soul.Being the exception, this trait,when existing, is usually soforceful that such a man’s lifewill be entirely wrapped up init, in contra-distinction to hisfellow-Yankee, who as a ruleis shrewd and practical, butcannot whistle a simple tunecorrectly. Henry Kirk Whitewas born and raised on a farmnear Hartford, Conn. His fam-ily dates back to the good oldEnglish stock of the early set-tlers who landed at Nantasket, Mass., in 1630. Supposed tospend his life on the “home place,” Henry thought more of music than of farming. With no opportunity for musical education, his natural ability made him a teacher of singing and leader of choruses at the age of twenty. He learned the art of tuning pianos and organs, and traveled from place to placefollowing that profession, acquiring valuable knowledge as tothe various constructions of these instruments. In 1845 he beganto make musical instruments and two years later manufacturedmelodeons at New London. In 1853 he removed his factory toWashington, N. J. The Civil War compelled him to abandon hisenterprise and take up his abode at Philadelphia, where he founda rich field as a tuner and repairer of pianos and organs. Heestablished a reputation as an expert tuner, and in 1865 the great Estey Organ Company called him to Brattleboro, VT., assuperintendent of their tuning department. He worked with theEstey Company twelve years, and during that time taught histhree sons the art of organ making.

When in 1877 that great captain of industry. H. H. Wilcox ofMeriden, made White and his sons a tempting offer to start anorgan factory, the family packed up their belongings and movedto Meriden, Conn. The Wilcox & White Organ Company, capitalized at $100,000, was organized, and the White familybegan to make their imprint on the history of organ and pianobuilding in the United States.

The oldest son, James H. White, born on September 26, 1847,had served for a number of years in the Wanamaker house atPhiladelphia, studying commercial usages and merchandising,before he learned organ building at Estey’s. It was but natural,therefore, that he should be intrusted with the business management of the new concern. Like his father, born with

considerable talent and lovefor music, we find him as a young man playing the organ in this church atBrattleboro, VT.

Having acquired a thorough knowledge of theworks of the great composers,and being an expert judge of tone and tone quality,James H. White would eversearch for the highest in toneproduction, and, together withhis brothers, supplemented theinventions of his father. Therecords of the United StatesPatent Office speak volumesof the valuable contributionswhich the White family hasmade to the industry, but his greatest service to thecompany was the courage andenergy which he displayed intimes of stress and danger,steering the ship clear ofbreakers and advancing theprosperity of the concern inthe face of apparent adversity.Strong as his father and brothers were as inventors andtechnicians, without the artistic and commercial geniusof James Henry, the companywould hardly have reachedthat dominant position whichit occupies today.

Edward H. White, bornApril 5, 1855, inherited theinventive genius of his fatherand made his mark, especiallyby inventing the Angleuspiano player, which at oncebrought that company to thefront in the industry of piano-playing mechanism. He diedSeptember 16, 1899, at theage of forty-four years.

Howard H. White, theyoungest of the three talented brothers, was born on September9, 1856. After he had mastered all branches of the art he wasintrusted with the management of the large factories, which inthe course of time had grown to a huge establishment. Heapplied himself so zealously to his manifold duties that hepassed away on December 9, 1897, aged only forty-one years.The founder, Henry Kirk White, died January 13, 1907. JamesH. White, the only surviving member of the founders, still

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guides the destiny of the great corporation, which now employs a capital of$450,000.

After the decease of Edwardand Howard White, Frank C. White, son of James Henry,was placed in charge of themechanical department of thefactory. He was always of a very decidedly inventive turnof mind, and to him are duemany valuable improvementsand devices that have madethe Angelus world renowned.

As a commercial enterprisethe Sterling Company ofDerby, Conn., is one of theearliest successes in history.Taking over the assets of“what was known as theBirmingham Organ Companyin 1871, Charles A. Sterlingorganized in 1873 the SterlingOrgan Company with a capitalof $30,000. The manufacturingof pianos was commenced in 1885. Shortly after, J. R.Mason joined the company,acting as secretary and treasurer until 1901, when hewas elected to the presidency.

A thorough piano-man, with many years of experience in thewest, where he was born in 1847, Mason developed the businessof the company to its present magnitude, improving the qualityof the instruments in every respect, being particularly successfulin producing a satisfactory player piano. The company is nowcounted among the largest producers of pianos, and the capitalstock has been increased from $30,000, in 1873, to $1,000,000.

A number of working-men skilled in the art of organ building started the Detroit Organ Company on a co-operativeplan in 1881. Like all such Utopian undertakings, the enterprise did not succeed, and in 1883 C. J. Whitney, a prominent music dealer, and E. S. Votey, a practical organmaker, bought the business and incorporated the Whitney Organ Company. In the same year W. R. Farrand joined the corporation, assuming the financial management, the manufacturing being in charge of Votey. In 1887 Whitney retired and the name was changed to the Farrand & Votey Company. Ambitious to extend its business, the company commenced to manufacture church organs in 1888. Consummating an advantageous deal for all the patents of the renowned organ builder, Frank Roosevelt of New York,the company was in a position to build most excellent instruments, and scored a decided success at the Chicago Exposition of 1893, where Guilmant and Clarence Eddy gave

memorable concerts upon the immense pipe organ erected by the Farrand & Votey Company.

E. S. Votey displayed his ingenuity as an inventor by devising many improvements in church-organ mechanism, and more especially in his work on piano players. He had such implicit faith in the future of the piano player that he joined the Aeolian Company in 1897, buying the pipe-organ and player-piano departments of the Farrand & Votey Company,and building his first thousand of Pianolas in the Detroit shops.The company’s name was now changed to “The Farrand Company,” and special attention was given to its own creation,the Cecilian player piano, an instrument of merit and high quality. The company has also put upon the market a metallicpiano-player action.

An expert reed-organ builder, Isaac T. Packard interested a number of capitalists to start an organ factory at Fort Wayne,Ind., in 1871. Packard was a fine mechanic and inventor, producing an instrument of superior quality. Under the conservative guidance of S. B. Bond, as president of the company, steady progress was made, the concern depending more upon the superior quality of its product thanupon the ordinary business propaganda.

S. B. Bond, born at Lockport, N. Y., October 17,1833, came with his father’sfamily as pioneers to FortWayne in 1842. At the age of13 young Bond went to workas a porter and assistant clerkfor the State Bank of Indiana,which at that time was underthe management of HughMcCulloch, who later onacquired fame as Lincoln’sSecretary of the Treasury. In 1874 Bond was electedpresident of the Fort WayneNational Bank. He remainedin the presidential chair untilDecember, 1904, when he resigned in order to devote his wholetime to the growing business of the Packard Company.

Although identified with banking from boyhood, Bond wasin love with the inspiring atmosphere of the organ and piano factory, which he always preferred to the cold walls of the banking house, though he made his mark in both. He died July 20, 1907.

His son, Albert S. Bond, entered the service of the PackardCompany as an apprentice at the age of 16, in 1879. After fiveyears’ experience on the bench, young Albert spent two yearstraveling as salesman for the Company and was elected generalmanager in 1886. Under the guidance of his father he soonexpanded the business. Well educated, with distinct artistic inclinations and full of progressive enthusiasm, he added themanufacture of pianos in 1893. Maintaining the high standard ofthe Packard name, the pianos were readily accepted by the trade

continued. . .

J.R. Mason

S.B. Bond

Charles A. Sterling

269

as high-class instruments, and since the successful introduction of the PackardPlayer Piano the business ofthe corporation has assumedcommanding proportions. The Packard products are valued for musical qualityof tone and most exquisiteworkmanship in all details.

Another concern which has strongly assisted in establishing the reputation for the highest quality ofwestern-made pianos is the A. B. Chase Company of Norwalk, Ohio. Starting in 1875 to manufacture organs, it began the making of pianos in 1885. A. B. Chase died in 1877, when Calvin Whitney assumed the management. Whitney was a strong character, who impressed his personalityindelibly upon the enterprise. Born at Townsend, Ohio, on September 25, 1846, he started in business at the age of 19 witha capital of $400, which he had saved from his earnings as astore clerk. A man of lofty ideals, he aimed in whatever he undertook for the highest and purest. With unfaltering faithhe conquered all the difficulties which the western pioneer manufacturers had to encounter and had the satisfaction of seeing his company rank in the lead of high-class piano manufacturers. He was among the first to take up the player piano earnestly, and in 1905 produced the Aristano grandplayer piano. Whitney died on June 6, 1909, having lived a strenuous but very useful life. L. L. Doud has served the company as secretary since its start in 1875, and still fills hisposition with zeal and ability. W. C. Whitney, son of Calvin,educated in the factory and office of the Chase Company, is preparing himself for greater work in the future,acting at present as vice-president of the company.

Among the pioneers of themusic trade in the west,Hampton L. Story’s namestands foremost. Born at Cambridge, VT., June 17,1835, he showed an inborntalent for music, and his firstemployment was in a musicstore at Burlington, VT., at theprincely salary of $50 permonth and board. Havingsaved a small capital from hiswages as schoolteacher, hebought out his principal in1859. Not satisfied to merelya dealer, he joined a pianomaker by name of Powers,manufacturing the Story & Powers piano in 1862. This was perhaps the first piano factory in the State of Vermont.

The business prospered, but the field was too limited forenterprising Story, and when in 1867 Jacob Estey offered himthe agency for the Estey organs, in the western states, Storyclosed out his business at Burlington and established himself atChicago. In 1868 he admitted Isaac N. Camp as partner. Thefirm of Story & Camp soon became one of the leaders in thepiano and organ trade of the west, having stores at Chicago andSt. Louis, controlling a large wholesale and retail trade throughthe entire west.

With his characteristic keenness and foresight, Storyobserved that the west would eventually manufacture its ownmusical instruments, and he therefore retired from the firm ofStory & Camp and in 1884, with Melville Clark and his son,Edward H. Story, founded the firm of Story 7 Clark, for themanufacture of reed organs.

Melville Clark was knownas an expert reed-organbuilder, who had patentedmany improvements. Thebusiness was successful fromthe start, and in 1888 the Story & Clark OrganCompany was incorporated,with E. H. Story, son of thefounder, as president, and Melville Clark, vice-president. The foreign tradegrew so rapidly that a factorywas erected at London, England, in 1892, under themanagement of Charles H. Wagener, and another in 1893at Berlin, Germany.

The organs designed andmade under the supervision of Melville Clark were of the highest order in qualityand tone, and when in 1895the making of pianos wascommenced, the same highstandard was maintained.Melville Clark severed hisconnection with the companyin 1900, to start the Melville Clark Company, and the management has since been in the hands of Edward H. Story. The demand forpianos increased at such a rate that the erection of larger factories became necessary, and in 1901 the company erected its model plants at Grand Haven, Mich. Counted among thelargest producers of high-grade pianos, the company is its owndistributor, controlling a chain of warerooms in the principalcities of the United States.

Melville Clark’s name will forever be printed upon the pagesof the organ and piano industry as one of the most prolific

continued. . .

Calvin Whitney

Hampton L. Story

Melville Clark

E.H. Story

270

inventors. Born in Oneida County, New York, he inherited a love for music and became an enthusiastic student. Desirous to learn all about the construction of pianos and organs, he served an apprenticeship as a tuner and took to traveling.Landing finally in California, he started a factory for the production of high-grade organs. The enterprise was a success,but the market for the product was limited, and in 1877 he soldout his interest. After a short stay in Quincy, Ill, we find him in 1880 at Chicago making organs under the firm name of Clark& Rich.

In 1884 he joined H. L. Story under the firm name of Story &Clark. Desirous of devoting himself entirely to the developmentof the piano-player mechanism, Clark severed his connectionwith the Story & Clark Piano and Organ Company in 1900, after16 years of zealous activity, and started the Melville Clark PianoCompany with a capital of $500,000, erecting modern factorybuildings at DeKalb, Ill. The patent records tell the story ofClark’s activity and success in his efforts in that direction. Clarkproduced his first 88-note cabinet player in January, 1901, andhis 88-note interior player piano in 1902, while his first grandplayer piano was completed in 1904. He had the satisfaction ofseeing his self-playing grand piano used in a public concert atNew Orleans in December, 1906, under the auspices of L. Grunewald & Company. Among the many improvements inplayer mechanism for which Clark obtained patents may bementioned the application of the downward touch of the key andhis transposing device, the latter having been adopted by otherplayer-piano makers under Clark’s patent.

The career of FrederickEngelhardt, senior partner of Engelhardt & Sons, is inter-esting. Born in Germany, hecame with his parents to NewYork at the age of 10. Havinggone through the publicschool, he was apprenticed toa cabinetmaker. After servinghis apprenticeship, desirous ofseeing something of the life ofthe “Wild West,” he enlistedas a cavalryman in the UnitedStates Army, and took part inmany of the early battles withIndians on the far-westernplains, narrowly escaping themassacre of Custer’s force by Sitting Bull. After his dischargefrom the army he entered the employ of the author, and wassoon advanced to the position of superintendent of the soundboard department at the Dolgeville, N. Y., factories. Hedesigned and executed the exhibit of that department for theParis exhibition of 1879, for which the highest award was granted by the jury.

Ambitious to be more than a mere soundboard maker, Engelhardt sought a position in a piano-action factory. He finally found employment with Steinway & Sons, where forseven years he had charge of the action department as foreman.

In January, 1889, he formed a partnership with A. P. Roth, who had acquired a thorough business training in the author’sstore and general offices in New York, and the firm of Roth &Engelhardt began business as makers of piano actions. In 1898the firm placed their first player piano on the market. It wasknown as the “Peerless” self-playing piano. This was soon followed by the “Harmonist” player piano, and later on by thecoin-operated automatic player piano with endless tune sheet.

A.P. Roth retired from the firm on January 1, 1908, andEngelhardt admitted his sons, Alfred D. and Walter L., to partnership under the firm name of F. Engelhardt & Sons. Still inthe prime of life, Engelhardt has seen his enterprise grow fromthe smallest beginning to one of the largest establishments of its kind, with the prospect that its future is guaranteed by theactivity of his sons.

Another firm which graduated from the Steinway school isWessell, Nickel & Gross, action makers. Otto Wessell, born inHotstein, Germany, in 1845 came to America with his parents in1847. Graduating from the New York public school, he wasapprenticed to a cabinetmaker, and improved upon that by learning the piano trade afterward. While in the employment of Steinway & Sons he advanced to a position of trust and responsibility. In 1875 he started in business, forming a partnership with his colleagues, Nickel and Gross, who werealso employed as action makers by Steinway & Sons. Becauseof their practical experience in producing the highest class ofwork, the business was a success from the start and the firm hasever since maintained the leading position for quality.

Otto Wessell was a self-made man. With fewopportunities in his youth, he achieved his prominentposition in the business worldby force of character, unimpeachable integrity and that peculiar noblesse and liberality which is usuallyacquired only by those whohave to commence at the bottom rung of the ladder. Thewriter often met Otto Wessell,in his early days, at piano factories loaded with twoupright actions, which he hadcarried from his shop, partlyto save the expense of hiring an expressman, but also to seewhether his customer was satisfied, and a broad smile would run over his genial face when the actions were accepted withoutcriticism.

From those small beginnings Wessell saw his firm rise toprominence second to none in America, employing over 500hands and counting among his customers the foremost makers of high-class pianos. An indefatigable worker, Wessell, like others of his kind, drew too rapidly on nature’s bounty andpassed away on May 25, 1899, at the age of 54. The business is continued by his partner, Adam Nickel, with Henry Nickel,

Otto Wessell

continued. . .

Frederick Engelhardt

271

Jr., and Arthur and FernandoWessell, sons of the founder,as junior partners.

Among the o ld - t imehammer coverers, John Frederick Schmidt stood in the front rank during the period of his activity. Bornat Marburg, Germany, in1823, he learned the trade ofcabinet-making. He went in partnership with PeterDeWitt Lydecker in 1864,succeeding Ole Syverson,who had founded the businessin 1856. In 1877 Lydeckerretired, and Schmidt continued until 1886, when ill health compelled him to seek the quietude of private life. His firm has ever enjoyed an enviable reputation for excellent workmanship in hammer making. He died on September 26,1906. His son, David H. Schmidt, is carrying on the business asa corporation with marked ability and success.

Charles Pfriemer is anotherSteinway graduate who madehis mark.

Born in 1842, under theshadow of the romantic oldcastle Hohenzollern, wherethe forefathers of the Emperorof Germany dwelt, Pfriemerperformed his duty as a soldier during the Austro-Prussian War and came toAmerica in the latter part of1866.

A cabinetmaker by trade,he learned hammer making in Steinway’s shop, and lateron assumed charge of the hammer department in Albert Weber’sfactory. In 1874 he started in business on his own account, andwas among the first to use iron hammer-covering machines.Achieving an enviable reputation for making a peculiarly pear-shaped hammer, Pfriemer built up a large and lucrativebusiness. He died in 1908. The business is carried on by his two sons.

John Frederick Schmidt Charles Pfriemer

continued. . .

ONVENTION REPORTWritten & Submitted

by Phillip L. Baird

Phillip L. BairdPresident Northern Lights

Chapter of AMICA19 August 2005

Northern Hospitality

One of the best complimentaryremarks came from a couple of AMICANs leaving early Sunday 3 Julyfrom the Marriot in Minneapolis. Theywere impressed with the variety of activities and the general good spirit ofthe whole convention and were sorry tomiss the continued activities of Sundayafternoon home visits. Of course I wasvery pleased to hear the positive remarks.

Eighteen months ago our small Northern Lights Chapter of AMICAquestioned how we would put a convention together and be successful.Our convention committee of twelvesomehow made it through monthly andthen weekly meetings and we are still

friends. I still can remember that bittercold January third 4:00 am meeting in theSt. Paul Como Park offices to reserve apavilion for six months later. Anyonewho has been on an AMICA conventionplanning committee must know of whatlengths one must go for success.

Realizing we did not have one or twovast collections to visit, our committeedecided to capitalize on all the assets of the twin city area and present thoseactivities to make a convention fun andinteresting. Both Minneapolis and St.Paul have desirable places of historicalsignificance and we chose those places ofgreatest appeal. On Wednesday afternoon43 people took a guided bus tour of bothMinneapolis & St. Paul. It proved to mehow much I take for granted and foundhow much I truly enjoyed the tour myselfas host for the afternoon.

Our basic plan was to spend one dayin each city. The logo theme was the Minneapolis Foshay Tower, so onThursday the first tour started with a trip to the tower observation deck.

Then groups embarked on one of the oldMinneapolis city transit busses for a visitto the flour milling district living historymills. A guided history of the building,complete with a panorama, while sittingon an elevator.

The afternoon offering was a trip to a restored neighborhood theater and newly installed theater organ. Liveentertainment was presented by MissJane’s Parlour. Thursday evening highlight was the pumper contest. Allentrants were excellent, but first awardwent to “Mr. Alex.”

Friday was a full day of activities.Three tours were arranged and executedin a schedule that included the PavekMuseum of Radio History, the wonderfulcollection of reproducing pianos andbeautiful home of Ronnie Olsen. For thenature lovers the tour included a drivearound the lakes area, Minnehaha Fallsand Rose Gardens.

Then on to the city of twodomes…Minnesota State Capital and the Cathedral of St. Paul. However,

272

AMICANs always travel best on theirstomachs, so a picnic in one of St. Paul’scrown jewels, Como Park. While enjoying a picnic the strains of the Wurlitzer band organ could be heardfrom the restored 90 year old CafesjainsCarousel. Most AMICANs hopped on for a grand ride. The Marjory McNeelyConservatory afforded a splendid array offlora and fauna in its 19th century glassbuilding including the newly openedaddition.

For those inclined to railroads andrailway history, the Minnesota Museumof Transportation was the place to be.Restoration of steam locomotives andancient railway passenger cars were allpresent for inspection.

With railways the afternoon theme,the tour entered the grand mansion ofJames J. Hill, founder-builder of theGreat Northern Railway. This was thetime to relax and explore this great houseof Summit Avenue. The dinner of trueScandinavian fare was served for all tosavor. The evening event was a shortwalk through the gardens to DOVEHILL, which was the home of Louis B.

Hill, son of James J. Hill. The home isnow the private residence of Richard andNancy Nicholson. A concert on the ballroom Aeolian pipe organ was presented by Phillip Baird & DavidMertesdorf. The concert consisted ofclassics, show tunes and ended with Starsand Stripes by Sousa. Our host, NancyNicholson, conducted house tours andthen dessert was served on the terracewhile fireworks were displayed from theTaste of Minnesota. Thus ended a longday and groups boarded their busses for a trip back to Minneapolis and muchneeded rest.

Saturday was devoted to some excellent seminars on very good topics.Those leaders are to be congratulated fortheir presentations. Then of course, thereal highlight and of any convention is tocavort around the MART and see whateverybody else is willing to stuff intobags and drag home. Not wanting to beundone, I was fortunate to find somegreat Welte reproducing piano rolls. Afterthe Mart one and all needed refreshmentand time to do whatever one does to looksplendid for the evening gala.

After plenty of time for personalityadjustment refreshment, the grand banquet was underway accompanied by aquality dance band and vocalist.

Sunday breakfast included updates onAMICA business and presentations of theChicago 2006 convention and Germany2007 convention. Sunday afternoon wasdevoted to open houses. I must relate, asone who had an open house, I was verypleased with the number of guests whoattended and it gave further opportunityto make lasting friendships.

Our Northern Lights AMICA chapterwas truly pleased to present the 2005AMICA convention. We wanted to present a variety of events and displayour northern hospitality. We sincerelythank all who came to Minneapolis andare pleased with all the positive remarks.We sincerely hope one and all enjoyedtheir stay with us. For those first timevisitors, you now know we are notalways frozen up here.

Phillip L. Baird, PresidentNorthern Lights ChapterSt. Paul, MN

continued. . .

Ladies at Cross Stitch

Don Barton presiding at convetion Don Barton & Mel Septon

Marriott Banner

OPENING

273

continued. . .

Dorothy OldsAMICA Banner

HOSPITALITY

Dorothy Olds in stitches

Bob Anderson, Don Johnson, Bennett Leedy

Hospitality Room

Dick Kroeckel giving impromptu concert

Bill Chapman

The White Elephant

Don Barton checking things out

Paul Watkins & Bill Chapman and snacks

274

continued. . .

Palmer Mai

Alex Thompson, Ron Connor, Mike Walters

Ed Copeland, Dorothy Olds, Don Jones

Bode Bode

Hospitality Time

Mary Ellen and Ron Connor

John Motto-Ros

Bennett Leedy

Galen Bird

Alex Thompson testing pumping

Karl Eihlers

PAVEKMUSEUM

OFRADIO

HISTORY

275

continued. . .

PAVEK

MUSEUM

OF

RADIO

HISTORY

Marjory McNelly Conservatory

Barbara Hartwell, Halie and Carl Dodrill at the Como Park Conservatory

COMO

PARK

Yousuf Wilson, Tom Bode

Kathy Stone, Liz Barnhart, Dorothy Olds

Alex Thompson and Cecil Grace

276

continued. . .

Mel Septon, Paul Watkins, Kiven Lukes

Group

RON

OLSEN

HOUSE

Paul Watkins, Jason Beyer

MUSEUM

OF

TRANSPORTATION

Ed Copland demonstrator of Dove Hill Organ

AMICAns enjoying organ concert

Gallery Organ

277

continued. . .

Jackson Street Roundhouse

DOVE

HILL

HOUSE

Packard Peacock

Nancy Nicholson, owner of Dove Hill House

Phillip and David, performers

Karl Eilers at the Height’s organ

HEIGHTS THEATRE

278

continued. . .

Alex Thompson

skit

skit

Alex Thompson

skit

skit

skit

skit

Alex Thompson

PUMPER

CONTEST

High atop the Foshay Tower, Lindaand Galen Bird check out the view

from the observation deck

279

continued. . .

Ed Coplund workshop

MISCELLANEOUS

St. Paul Cathedral

Minnehaha Falls, Minneapolis

Don Jones, Tim Wheat, Jerrillyn Boehland

280

continued. . .

Mike & Liz Barnhart

John Motto-Ros

Terry Smythe workshop

Faye Cressman, Sarah, Karen &Walter Pridham

281

continued. . .

Mike Walter

Bill Chapman

Carousel Pig

BANQUET Carousel Ticket Booth

Dorothy Olds, Ruth Fell,

Barb Watkins

282

continued. . .

Mike Walter

John Motto-Ros, Art Reblitz

Jerrilyn Boehland, Don Jones, Don Barton, Howie O’Neill

Art Reblitz, Bennett Leedy

Durrell Armstrong of the Player Piano Co.

Halie Dodrill, Kurt Morrison, Ron Babb

Phillip Baird, Paul Watkins

Dorothy Olds, Ruth Fell, Barb Watkins, Paul Watkins

Kathryn Dumas, Bob Dumas, Faye Cressman

283

continued. . .

Dennis Dahlman, Phillip Baird, Ron Olsen, Dick Kroeckel, Art Reblitz

Bob Dumas, Kathryn Dumas, Tim Wheat

Charlene & Norbert Torer

Dan Brown, Bob Rosencrans, Bill Chapman, Denny Dahlman

Jerrilyn Boehland, Tim Wheat, Cecil & Boo Grace

Murray Willyard, Dick Koreckel, Bill Chapman, Ron Olsen

284

continued. . .

From The Australian,30junOS

Jane Albert

grants, and doesn't look set to now.Owner Barclay Wright, who has run

the company for almost 48 years, said hecould no longer afford to cover costs."I'm distraught," Mr. Wright said. "ButI'm in my seventies and it requires a lotof effort."

Mr. Wright has approached theHeritage Council of NSW for assistancebut was told there was little it could do."We wouldn't see it as our role," said thecouncil's spokesman Murray Brown."Sometimes you have to reach theconclusion this relied on the enthusiasmof Barclay Wright, and if there's no onein the wings willing to take it on thenperhaps it's had its day." The PowerhouseMuseum is considering storingand displaying the heritage-listedinstruments.

Player pianos - or pianolas as they areoften incorrectly labelled - were one ofthe most popular forms of family homeentertainment in Australia during the20th century. Since it began operating in1919, Mastertouch has recorded 2500master rolls with six to eight tunes oneach, ranging from the classics to DeltaGoodrem. With their paper music scrollsand distinctive sound, player pianossurvived the Great Depression, the"talkies" and even television. But theincreasingly cheap cost of homeentertainment systems and a decreasinginterest in the instruments of yesteryearhave meant the business is no longerviable.

Mastertouch received a $150,000 loanwhen it moved to a disused fire station inPetersham, but has never received any

o ENCORES ASPLAYER PIANO LEAVES STAGE

FOR 25 years Greg Crease has beenrecording player piano music rolls for theMastertouch Piano Roll company, one ofonly two companies in the world stillmaking them.

But today the factory in inner-citySydney, which also holds a museumexhibiting 30 antique instruments, willshut its doors because of a lack of fundsand dwindling interest in the century-oldplayer piano.

"We've reached a place economicallywhere people will only pay a certainamount," said Crease of the rolls, whichcost between $25 and $27. "People lookon them as a luxury item so that's thefirst to go if you're in the country andsuffering from the drought, and lots ofour customers are."

From Encyclopedia ofAutomatic Musical Instruments - by Q. David Bowers, page 535

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-Page 535-

285

286

Thomas BentonFryer

Thomas Benton Fryer passed awayJune 22, 2005 at Stanford, a few weeksbefore his 80th birthday. He will beremembered by family and friends as avery kind, generous, & interesting man.He was a very loving and devoted husband and father who contributed & accomplished more in his lifetime thanmost would ever dream of.

Thomas Fryer was born and raised inPeking (Beijing), China on July 17, 1925.He graduated from the Univ. of Michiganin Electrical Engineering in 1945. Heworked at NASA Ames Research Centerfor 30 years. Mr. Fryer inventedimplantable devices which revolutionizedthe space program and the medical field.In 1980 he received the highly acclaimed“Inventor of Year” award. In 1993 he wasinducted in the “Space Technology Hallof Fame”. In 1980 he launched his owncompany, Biomedical Monitoring Systems Inc. where he designed medicalinstruments that are still in use today forepilepsy & sleep studies. He was a truegentleman who had a very kind heart,deep devotion to family, and energeticlively spirit.

He is survived by his wife of 54 years,Idalene Fryer of Saratoga, his son,Thomas Fryer, Jr. of Cozumel, Mexicoand his daughter Darlene Fredell of SanFrancisco. He is preceded in death by hisdaughter Alberta Fryer Nacke.

Thomas Fryer, 79 NASA Researcher

His inventions were used in the space program

By Betty BarnacleMercury News

Thomas Benton Fryer was a geniuswho also was extremely modest.

He won acclaim in his field when hefound a way to stop monkeys, dogs andother research animals from scratchingand pulling out the pesky wires attachedto them. The breakthrough allowed

scientists to effectively monitor animalsin orbit, which would eventually allowhumans to safely travel in space.

Although she always knew her father“truly was an incredible man,” DarleneFryer Fredell only learned from talking toother scientists at NASA Ames ResearchCenter who knew and worked with himthat “he was far beyond that.”

“He really influenced and changedmany lives, careers, the space programand the medical industry,” his daughtersaid.

Mr. Fryer died at age 79 on June 27 ofa rare cancer of the intestines that wasdiagnosed in April.

Thomas Fryer, Jr. and his sisterproudly described Mr. Fryer’s patentedinvention of the first implantable devicethat not only enabled accurate readingsfrom test animals but also was fine-tunedby Mr. Fryer for use in medicine to helptreat head injuries.

In 1980 after he patented his induction-powered biological radiosonde,Mr. Fryer was named NASA’s inventorof the year, and in 1993 he was inductedinto the Space Technology Hall of Fame.

Other inventions that grew out of his brain-monitoring research led topacemakers and other implant devicesinvolved with sleeping problems.

Eph Konigsberg, who worked withMr. Fryer and joined him in the spacehall of fame, said he also was inducted in1993 “by following Tom’s lead” in otherspace developments.

“But Tom definitely was a pioneer,”he said of his work on the space program.“Because of him, they could keep recordsand reduce the number of animals used.He was a very generous person whohelped a lot of people.”

Both men later started their own companies. After he retired from NASA in 1979, Mr. Fryer establishedBiomedical Monitoring Systems, makinginstruments that used his device in otherways.

Although many in his family wereCalifornians, Mr. Fryer was born in Beijing, where his mother, Frances Kerry Jones, daughter of the dean of the University of California-Berkeley

law school, went to visit her sisterafter she graduatedfrom UC-Berkeleywith a historydegree. There she met an Englishman,Stanley Fryer, Far East manager of theBritish American Tobacco Co.

The couple married, traveled throughout China for Stanley Fryer’swork and had their son, Thomas. Whentheir boy was 13 and fluent in Mandarin,the family returned to the United Statesbecause of China’s growing politicalunrest and settled in San Carlos. Mr.Fryer graduated from Redwood HighSchool, participated in a special Marineprogram and was sent by the military tothe University of Michigan. He graduatedin 1949 and four years later was hired byAmes Research Center, which in 1958became NASA Ames. He worked therefor 30 years.

He met Idalene, his wife of 54 years,at a YMCA dance in San Francisco. Thecouple lived in Sunnyvale and Cupertinobefore settling in Saratoga in 1967.

Mr. Fryer’s son said his father, withhelp from his mother, built houses fromscratch, one in Cupertino and three on the Saratoga property, only hiring professionals when permits requiredthem. His daughter said he also renovated a Victorian home in San Francisco’s Alamo Square by himself.

He traveled the world for business andpleasure, his children said, and like his mother was a history buff. He discovered he was a great-great-grandsonof Thomas Hart Benton, a DemocraticParty leader and senator from Missouri,and was related to John Charles Fremont,Benton’s son-in-law and a leader in theU.S. battle against Mexico for California.Fremont was the brother-in-law of Mr.Fryer’s great-grandmother, Eliza BentonJones.

Mr. Fryer hoped to write a book abouthis famous ancestors but his wife andchildren figure he was star enough to bethe subject of a book of his own.

287

AMICA 2006 – CHICAGOJuly 26th thru July 30th, 2006

The 2006 AMICA convention will be headquartered at the Hyatt Regency WoodfieldHotel in Schaumburg, Illinois, a northwestern suburb of Chicago. We were able to obtain aroom rate of $85.00 per night plus tax for single, double, triple or quad occupancy. Theconvention will include a full day (Saturday) at the Sanfilippo collection with optionaltours of the Krughoff collection on Wednesday and Thursday and an optional tour of theChoffnes collection on Thursday. We are currently negotiating for additional collectiontours. Because of the inclusion of these fantastic collections, we are expecting a verystrong turnout. Convention registration will be limited to 300 registrants. As in the past,registrants must be members of AMICA International to attend. We will be sending outconvention registration information in late February or early March 2006. The mailing willbe staggered so as to hopefully arrive around the same time worldwide. I can not stresshow important it will be to send in your registration as soon as possible. In 1992 wereached the 300 limit in just six weeks. A more detailed description of the convention willbe published in the next edition of the AMICA Bulletin.

Mel Septon – Convention Chairman

CD REVIEWThe Aeolian Pipe Organ Plays Duo-Art Organ Music,

Retrovox XPMM1510592For those interested in renditions of

literature recorded for automatic organs,this CD will be very satisfying. It has a lush selection of 19th century musicrecorded by leading organists of the day,and other selections recorded or producedby unknown organists designated as “A.O.G”. The later are very nicelyrecorded and edited pieces and are thoroughly enjoyable.

One would need to listen long and hard to find a better rendition of“Liebesfreud”, played by Rollo Maitland.Great sensitivity is heard in this old war-horse, sweet but short of saccharine.The occasional chime does not add to thewarmth of the piece.

The CD contains one popular tune“Meadowbrook”, that might be better leftto a dance organ as the organ does notcontain required un-nicked pipework to

render needed sharp tonal attacks and harmonics.

All over, the recording is good. The recording process might have been slightly improved by changing microphone placement. At times there is a slight imbalance in accompanimentand melody but the quality of the musicovercomes it. To get the most of this CD itshould be played on the high-end stereowith ability to produce deep bass. Exceptfor the Vox Humana, Celeste and Clarinet,higher harmonics are absent, reflecting thetrue 1920’s organ voicing.

“A Deed of the Pen” may be playedslower to give a crisper sound to rapidlyrepeated chords. One would question if the roll speed was set too fast to get the best rendition. Similarly “Noel andVariations” played by Marcel Dupre,seems too fast when the swell shades

seem to open and close too fast in relationto the melody.

That this organ is heard again is truly amazing considering its history. The 176-note player was originally commissioned in 1919 by Lord KennethCrossley at Mobberly Hall, Cheshire. He was a wealthy motor and bus manufacturer. Upon his death the organ went into storage and subsequentlyunderwent several moves. Finally it wasrebuilt in 1998 and installed in a residencein Devon, England, where this recordingwas made.

The CD is available from Paul MorrisMusic, 27 Blackall Rd, Exeter EX4 4HE,U.K. $15, bulk rate available email:[email protected]

Review by Bill Chapman

288

New from David Caldwell Music Rolls400 Lincoln Lake Ave., N.E., Lowell, MI • Phone: (616) 897-5609 • [email protected]

EW PIANOROLLS & RECUTS

AMPICO:

205171 “Somebody Loves Me” Gershwin. P/B Grofe. One of the best known and loved Gershwin songs. Grofe was a friend of Gershwin and gives it that great touch!

208681 “Ain’t She Sweet” Ager. P/B Carroll. Probably up there with the top ten 1920s songs! Hot piano playing by Adam Carroll!

206411 “Ah Ha” Monoco. P/B Confrey. You can’t go wrong with a Zez Confrey recording! Practically the inventor of “Novelty Piano Playing”.

65581 “Dizzy Fingers” Confrey. P/B Confrey. This is a signature Novelty Piano Piece of Zez. Expertly played and interpreted for the Ampico!

66821 “Jay Walk”. Comp/P/B Confrey. A personal favorite, this lesser known novelty number is a GREAT piece both pianistically and musically! SNAPPY!

New Roll releases from Dave Caldwell: (see his website for more deails if you wish)

DUO-ART:

713125 “Ah Ha” Monoco. P/B Moran. Super number played here by Alan Moran. Bouncy fox trot with great piano tricks!

0990 “The Continental” Conrad. P/B Adam & Carroll. Fred and Ginger made this one famous. One of the best recordings for reproducing pianos has your feet tapping!

713194 “Who”. Moran. P.B Moran/Milne. One of the BEST recordings of this 1920s standard. Four-handed recording that fills the keyboard!

0686 “Am I Blue”. Arranged/P/B Lieberman. Great old blues number given the dance treatment. Just about everyone recorded this number due to its immense popularity!

“O” ROLLS

I have just had two O rolls recut that I believe have not been recut before. One is O-798 with Dizzy Fingers, At Peace With the World,My Pal Jerry, What a Man, Bye Bye Blackbird, Tamiami Trail, Somebody’s Lonely, Talking to the Moon, I Found A Round AboutWay to Heaven, and Horses.

The second roll is O-893 containing Glad Rag Doll, I Fall Down and Go Boom, I’m In the Jail House Now, Carolina Moon, DreamTrain, Marie, My Inspiration Is You, Good Little Bad Little You, Four or Five Times, Everybody Loves You.

NNeeww RRoollll RReelleeaasseess

New from Don Teach - Shreveport Music Co.Phone: (318) 798-6000 • 1815 E. 70th Street • Shreveport, LA 71105 • [email protected]

289

Possible Wurlitzer 10-Tune APP Roll Recuting Project

If you are interested in obtaining mostly never-before-recut Wurlitzer 10-Tune APP(Automatic Player Piano) rolls, including at least 1 - all Blues & Mainly Pre-WWI material, let me know. Tune list and prices have not been finalized. Run will be limited to 17 sets of Aprox. 36-40 rolls. Full sets for sale only. If we can get enough people interested a list of rolls and a final price will be established.

Please let me know if you are interestedE-Mail: [email protected]

or my Mail: Stephen Kent Goodman5731 E. Bernadine Dr.Tarpey Village, CA 93727-7235

Rob Deland: Blues Tone Rollswww.bluesrolls.com

[email protected]: (847) 548-6416

David Saul: Precision Music Rolls1043 Eastside Road

El Cajon, CA [email protected]

Bob & Ginny Billings: Rock Soup14010 Rim Rock Drive, Reno, NV 89521

toadhall @sprynet.comPhone: (775) 853-4659

Leedy Brothers Music Rolls4660 Hagar Shore Road

Coloma, MI 49038www.leedyrolls.com

Phone: (269) 468-5986Fax: (269) 468-0019

Larry Norman: Rollertuneswww.home.earthlink.net/~rollertunes


Don Teach: Shreveport Music Co.1815 E. 70th Street, Shreveport, LA 71105

[email protected]: (318) 798-6000Fax: (318) 797-4572

Magic Melodies & Keystone360 Lawless Road

Jamestown, KY 42629Phone: (270) 343-2061

Robin Pratt: Artist Choice Music Rollswww.wiscasset.net/artcraft/pratt.htm


Tim Baxter: Meliora Music Rollswww.members.aol.com/meliorarol/index.htm

[email protected]

Joyce Brite: Player Piano & Musical Music Exchange

http://mmd.foxtail.com/Exchange/http://mmd.foxtail.com/Exchange/rollpage.htm

Steve Bentley: Playrite Music Rolls1536 N. Palm St.,

Turlock, CA 95380 U.S.A.Phone/Voice: (209) 632-5784

Fax: (209) 667-8241

QRS Music Technologies, Inc.1026 Niagara Street, Buffalo, NY 14213

Phone: 1-800-247-6557Fax: 1-716-885-7510www.qrsmusic.com

Scott Boelman: Lazy Dog Piano Rollswww.lazydogpianorolls.com

[email protected] Olive Street, Ladera Ranch, CA 92694

Phone: (949) 218-0108

David Caldwell400 Lincoln Lake Ave., N.E.

Lowell, MI 49331Phone: (616) 897-5609

DavidWFrom [email protected]/~uni/Caldwell

PLEASE VISIT THESE SUPPLIERS OF RECUT ROLLS

290

From Encyclopedia of Automatic Musical Instruments - by Q. David Bowers, page 307

291

NewsFrom

The Chapters

SUMMER PARTY ATDON ELLISON’S HOUSE

Saturday, July 16, 2005

AMICA members were treated to an afternoon of vintagemusic at Don Ellison’s home. His large two story home is furnished with a plethora of wonderful musical instruments.The star of the lineup is a nicely restored Seeburg KTSpecial. Don played a number of 10 play rolls on it. There arealso four player pianos including a Knabe Ampico grand, aSchaeffer upright once owned by Don’s parents and completely rebuilt and Piano Disc equipped by Bing Gibbs, aFarrand 88 note pumper upright, and a Schimmel grand piano equipped with a Piano Disc system with all the bellsand whistles. If these instruments are not enough for you, sitdown at Don’s lovely three manual Conn theater organ.

The instruments are set against a background of antiquefurniture and artifacts that transported the attendees to agraceful and elegant bygone era.

Outside on the patio members relaxed with glasses ofpunch and wine while music from the various instrumentsdrifted out through the open windows. The source of musicwas not solely from mechanical instruments. Chris and JackBradshaw and Nan Bostick provided live ragtime entertainment. Banjo accompaniment by Bill Armstrong. Themusic was grand.

Grilled sausages, salads and desserts kept the energy of the AMICA group at peak levels – not to mention the

seemingly bottomless punch bowl. The entire afternoon was the epitome of a delightfully long, languid summer day. Thank you Don.

FOUNDING CHAPTERReporter: Don Ellison

President: John Ulrich - (510) 223-9587

CHICAGO CHAPTERReporter: Kathy Stone

President: Curt Clifford - (630) 279-0872

Our latest meeting was held in June at the home of our chapter president Mel Septon and his wife Kathy Stone.On the agenda for business was our continued discussion on the preparation for the 2006 convention. Committees were formed for hotel reservations, convention reservation,transportation, finances, swap mart and convention souvenirs.Al Choffnes, Joe Pekarek, Marty Persky, George Wilder, Jerry Biasella and Fred Plank will head these up. Mel Septon will orchestrate the entire event. Still open for discussion are various planned side trips and other places of interest.

After the meeting we enjoyed a delicious meal providedby our host and hostess and contributing members of ourchapter. To top things off we were all treated to an after dinner concert from classical to popular tunes on Mel’s 9’ 6”Steinway model “D” Duo-Art reproducing piano, only one of a few known still to exist.

292

Saturday, April 2 began with a late snowstorm and ended with a beautiful sunset and 50 degree temperatures. Wetraveled almost to the shore of Lake Michigan to begin ourafternoon at the adjacent houses of Bennet Leedy and BarryLeedy. Bennet’s collection includes a front room with back to back grands including his 1927 Haines Brothers Ampico in a Louis XV case, a 5’10” 1924 Kurtzmann Welte and a1925 Weber Duo-Art. Roll collections were upstairs anddownstairs and his mom’s extensive display of carnival glassamazed us all. He restores pianos downstairs and the Leedy Brothers Roll Auction operates here too. After enjoyingappetizers and listening to the many rolls, we went out for dinner at the Lake Michigan Hills Golf Club. The viewover the golf course was perfect as the sun went down. Theevening was highlighted by a concert at Barry’s, featuringScott Bower playing Gershwin on the 1925 Mason and Hamlin Ampico grand. Barry also has a very nice SteinwayWelte upright which is in the midst of restoration. The collection of vintage National Park memorabilia was a nicereflection on his summer job at Yellowstone.

On Sunday morning, we were back at Barry’s for breakfast and the business meeting. Our chapter project of

MIDWEST CHAPTERReporter: Christy Counterman

President: Stuart Grigg- (248) 356-5505

selling the Mechanical Music books by Kevin McElhone isgoing well, and many members purchased copies to give out.We voted to order 200 more and Liz Barnhart will take them to the Convention. Stuart Grigg has been producing ourChapter mailings for many years, and we appreciate hisefforts. Mike Barnhart has agreed to help with the mailings in the future. We discussed locations for future meetings and decided that we would meet again at the Minneapolisconvention. In electing officers, the chapter voted Don Johnson as our new President, and he will be one of our hosts for Oktoberfest on October 15.

Thanks to the Leedy families for organizing and hostingour weekend!

Don, Ken and host Barry enjoy another roll on the Ampico.

Scott Bower played Gershwin-without the roll!

Tim Needler takes his turn at Barry’s walnut AmpicoGrand with a Duke Ellington selection.

293

Mike Barnhart shows his restoration work to Jerry and Karl.

Hose Bennet Leedy puts another roll on the Kurtzman Welte Licensee.

Mike Barnhart showsJerry Brasella his dad’scrank organ.

Carol Thiel serves up a treble cleffrom the cake.

President Don Johnson, surrounded by chapter members, holds our charter.

Sisters Jody Trittipo and MiriamHanscom model musical red sweaters

Midwest ChapterMinneapolis Meeting

August Meeting

Here is a brief description of our meeting in Minneapolis – the pictures will tell the story.

The Midwest Chapter had 22 members attending theMinneapolis convention, so we took the opportunity to holdour business meeting after the pumper contest. Outside thehospitality room of the Marriott was a large atrium where wediscussed upcoming meetings. After our fall meeting north ofDetroit, we plan to visit Cincinnati and perhaps Indianapolisin 2006. Quite a few of our members drove around the surrounding areas to visit towns such as Stillwater and RedWing, not to mention visiting close by attractions such as the Metrodome for a Twins game and of course, shopping atthe Mall of America. Many of us have wonderful souvenirsfrom exploring on our free time. We enjoyed visiting oldfriends and meeting some new ones.

The Midwest Chapter had 22 attendees in Minnesota.

294

Miriam Hanscom, Jody Trittipo and Liz Barnhart competein the special AMICA edition of Quiz Show.

Charlene Torertakes a turn atplaying the original NBCchimes used onradio programs.

Jody Trittipo, Donna and Hal Estry at host Phillip Baird’sArts and Crafts living room.

Huston Place. Showing off the originalsteel door are Tim Needler, Bob

Andersen and Don Johnson.

Larry and MarilynReichert enjoy the view

in the Como Park Conservatory.

Christy Counterman andSherri Neff at the cornerwhere Mary Tyler Moorethrew her hat into the airin downtown Minneapolis.

Quite a few Southern Californians attended the Convention in Minneapolis, and everyone who went had a great time. There were so many trips and visits for us, many in places we would never have found or been able to getinto on our own, and each one had its’ own excitement and charm. (We’ll never forget sitting in the backyard of amansion watching fireworks over the river after having had awonderful organ concert and super desserts. It just doesn’t getany better than that.) Minneapolis is a fascinating city, with aninteresting history, and lent itself well to entertaining us.

Don Barton and his crew really did a great job, and weall owe them a vote of thanks. They worked hard and made asuper convention for all of us.

When we got back to “normal living”, whatever that is, itwas time to plan our next Southern California meeting, whichwas held July 9th at the home of Frank and Shirley Nix.

The attendance was good, with over seventy people there.We had a lot of guests and family members, which pleased usvery much. Bill Whitney, our badge guru, brought his sonDarrell and his family, and Richard and Mary Thomasbrought their son and his family. It’s such a pleasure to seesome younger people attend the meetings, and we reallyenjoyed having them.

July, of course, is outdoor living time, so the Nixes

SOUTHERN CALIFORNIA CHAPTERReporter: Shirley Nix

President: Frank Nix- (818) 884-6849

295

Lloyd and Brooke Osmundson,anticipating all the fun ofLloyd’s being treasurer.

Ken Hodge assures LloydOsmundson he’ll love

being treasurer.

Bill Blair and Jean Hurley at theFoshay Tower.

How much fun is anAMICA convention?

Ask Rochelle Mercer,Roy Beltz and Diane Lloyd.

planned a barbecue in the afternoon, with lots of hot dogs,hamburgers, and salmon burgers, salads and munchies, toppedoff with ice cream sundaes, all accompanied by lots and lotsof good music. Lunch was served outdoors, and the Ruth andCarl Frei organs furnished most of the music during lunch.

Steve Nix did all the cooking, and without any complaints, (from him or the guests that is) and Doug Nixdemonstrated the machines in the Music Haus while Frankattended to other matters.

Steve’s wife, Tara Nix did most of the set up and clean up chores were handled by Tara and Doug’s girlfriendBarbara Nielsen. These four really worked, and helped makeit all happen.

We had a short meeting, as is normal, but this time wehad to let everyone know that Ken Hodge would be stepping down as Treasurer after only a seventeen-year stint.He is selling his home in Lancaster and moving to Colorado.It will be the Rocky Mountain Chapter’s gain, but a big lossto us. Ken was presented with a plaque thanking him, butwhat can you say to someone who has been so devoted to hisjob…We all said “Thank You”, but that hardly begins to tellwhat we all feel. We hate to lose Ken, but wish him well onhis new adventures. He has been a staple at our organ rallies,too, and that will be another hole that’s hard to fill.

However, Ken had been busy and convinced LloydOsmundson to take over as Treasurer, so our money will stillbe in good hands. Lloyd is another person we depend on a lotin this Chapter. He is always there with a smile when we need him…well, almost always with a smile. We feel veryfortunate to have him come in to take Ken’s place. We had topromise him a plaque, too, if he held the job for seventeenyears! (We did that gladly…)

Frank gave a rundown on upcoming events, such as theorgan rallies and a planned trip to Northern California for ourfall meeting.

One of our members, Josh Rapier, got married, and wewish the young couple all the best in their life together. Joshdoes a lot of piano work in the area, having trained under thewatchful eyes of Reese and Terry Banister.

The meeting adjourned, and everyone was free to enjoythe music. Everything was playing well, whether ones tasteran to the large Helios, Duwyn, Styria, Imhof Mukle or to the smaller items like the Wurlitzer BX or CXB or the Coinola Midget or Seeburg KT. The violanos also had theirshare of admirers, particularly the two singles Frank has onmidi playing duets.

Upstairs the music boxes displayed their charms andentranced those who ventured up. This room has a charm allits own, with many different types of boxes on display.

Of course, if the bold (and loud) sound was one’s choice,there was the organ room, with the outdoor instruments. TheRuth was set up to crank, and it was well used all afternoon. Iguess a lot of people felt the need to work off their lunch, andit does burn up the calories.

In the house itself the Steinway Duo-Art was playing upa storm, along with the Weber Unika. Also on display was thephonograph lamp, a birdcage with a family of two adults andtwo babies, and the writer automaton. There are a few musicboxes in there, too.

When the time came to leave, I think everyone had had a

good time. At least I hope so. We love doing these meetings,and summer is the perfect time, with the outdoor theme.

Two weeks later we were asked to host a tour for theCoin Op Collectors, who were having their convention near-by. We agreed, and again called on other members and familyto help, and just like the cavalry, they came to the rescue.

Robin Biggins took over the upstairs music box room,Lloyd Osmundson played the street organs, Steve Nixdemonstrated the Music House machines, Herb Mercer lent ahand anywhere he was needed, and Brook Osmundsonmanned the punch bowl and good table. There were about 75COCA members who arrived by bus, and they seemed toappreciate the machines and generally had a good time. Frankgave them a pitch to join our organizations as well, whichnever hurts. Our neighbors are finally getting used to thebuses coming I guess…no one was out on their porch thistime, wondering what in the world the Nixes are doing now.

296

Ken Hodge shows his “retirement”plaque.

Bill Whitney with his family at the Nix meeting.

The work crew-Barbara Nielsen, Doug Nix,Tara Nix and Steve Nix.

Nice to have Virginia and Jerry Doring attend.

Maya Thomas, 7 year old granddaughterof members Richard and Mary Thomas,shows off her considerable talent at theNix Steinway.

From Encyclopedia of Automatic Musical Instruments - by Q. David Bowers, page 562

297

ADVERTISING GENERAL INFORMATION ABOUT

ALL ADVERTISING IN THE AMICA BULLETINAll advertising should be directed to:

Mike Kukral216 Madison Blvd.Terre Haute, Indiana 47803Phone: 812-238-9656e-mail: [email protected]

Ad copy must contain text directly related to the product/servicebeing offered. Extraneous text will be deleted at the Publisher’sdiscretion. All advertising must be accompanied by payment inU.S. funds. No telephone ads or written ads without payment willbe accepted. This policy was established by a unanimous vote ofthe AMICA Board at the 1991 Board Meeting and reaffirmed atthe 1992 meeting. AMICA reserves the right to edit or toreject any ad deemed inappropriate or not in keeping withAMICA’s objectives.

The BULLETIN accepts advertising without endorsement,implied or otherwise, of the products or services being offered.Publication of business advertising in no way implies AMICA’sendorsement of any commercial operation.

AMICA PUBLICATIONS RESERVES THE RIGHT TOACCEPT, REJECT, OR EDIT ANY AND ALL SUBMITTED ARTICLES AND ADVERTISING.

All items for publication must be submitted directly to thePublisher for consideration.

CLASSIFIED AD RATES FOR AMICA MEMBERS:1-50 Words . . . . . . . . . . . . . . . . . . . . . . . . . . . $10.0051-100 Words . . . . . . . . . . . . . . . . . . . . . . . . . $20.00101-150 Words . . . . . . . . . . . . . . . . . . . . . . . . $30.00

Non-member rates are double for all advertising.

DISPLAY ADVERTISINGFull Page — 71/2 " x 10" . . . . . . . . . . . . . . . . . . $150.00Half Page — 71/2 " x 43/4" . . . . . . . . . . . . . . . . $ 80.00Quarter Page —35/8 " x 43/4" . . . . . . . . . . . . . . $ 45.00Business Card — 31/2 " x 2" . . . . . . . . . . . . . . . $ 30.00

Special 6 for 5 Ad Offer - Place any ad, with no changes, for afull year (6 issues), and pay for only 5 issues. Payable in advance.Photographs or halftones $15.00 eachLoose Sheet or Insert Advertising: InquireWe recommend that display advertisers supply camera-readycopy. Copy that is oversized or undersized will be changed tocorrect size at your cost. We can prepare advertisements fromyour suggested layout at cost.PAYMENT: U.S. funds must accompany ad order. Make checkpayable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed.DEADLINES: Submissions must be received no later than thefirst of the odd months (January, March, May, July, September,November). The Bulletin will be mailed the second week of theeven months.

(Rev. 5-05)

FOR SALE

1920 MARSHALL & WENDELL Upright Early “A” Ampico playermechanism 80% rebuilt. Pnuematic Stack and Expression Units benchtested. Bronze Transmission: brass switches, “B” box valve springclamps. New strings, new hammers custom bored are yet to be hung.Cabinet refinished brown mahogany. Not much work needed to finishthe restoration and have it playing $4500. Vince Ricca Columbus, Ohio614-488-4208, [email protected] (6-05)

1919 CHICKERING & SONS Upright Early “A” Ampico playermechanism complete original condition to be restored. Piano acoustical-ly rebuilt with new strings, hammers, dampers, action felts. Cabinet isoriginal mahogany painted white with matching bench. $2000. VinceRicca Columbus, Ohio 614-488-4208, [email protected] (6-05)

1928 CHICKERING Model 59 LF Ampico A grand. 5’9” walnutLouis XV artcase with matching bench and 50 Ampico rolls. Ampicorestored 10 years ago. Piano action rebuilt, including new hammers,shanks, and flanges 2 years ago. Refinished and restrung by a previousowner. $9500. Kenneth Snowden 415-334-3673 or [email protected] (6-05)

1929 STEINWAY XR from the Harvey and Marion Roehl collection, a Mike Kitner restoration, excellent player, approximately 200 rolls.$15,000. Conchon 10 tune 15 inch cylinder music box with six bells,drum and castanet, with matching table $4,950 Don Scheetz, 828-890-8994 [email protected] (6-05)

1923 5’2” KIMBALL WELTE Licensee Grand, Mahogany, Serial#350911. Re-strung, new hammers, action regulated, refinished,includes original bench, Welte totally rebuilt. Bodine Motor/Minarikspeed control for accurate temp. Incredible expression. $9,000. RonOlsen 763-535-6662 4155 Quail Ave. N., Robbinsdale, MN 55422 (4-06)

MASON AND HAMLIN Red Welte Upright Piano with bench and125 rolls. Pristine original. $7500. Paul Ciancia 201-569-8255 days,201-891-6842 eves (6-05)

SAVE THESE PIANOS! 88 note uprights—need restoration. Claren-don, Milton. Claviola missing stack, matching roll cabinet. 1923 Chick-ering baby grand, not a player. Christy 330-864-4864 (Ohio) (5-05)

G ROLL COIN OPERATED PIANO with Xylophone and Pipes$5500. Coin operated barrel Street Piano wih bells $1800. Apt. sizeearly Player Piano Elect. or pump $1200. Paul Cuoco, 113 MonumentAve., Wyoming, PA 18644 Phone 570-693-2764. (5-05)

4’-8” AMPICO GRAND, 1931 HAINES BROS. William and Marycase with matching bench, restored A/B player works beautifully.$15,000. offers. Available: 5’-4” Knabe AMPICO “A” mahogany(1925), 5’-2” MW AMPICO “A” mahogany (1924), MW studio AMPICO A/B (1930), Knabe, large upright AMPICO “A” (1919). 404-378-1949 (Georgia) (1-06)

1929 CHICKERING ART CASE AMPICO A Grand scarce 5’4”Spanish Mediterranean harpsichord style, with 9 legs, spreaders andwrought-iron furniture. I’m only aware of one other in a collection.Older restoration plays well, with a little very minor finish crazing.Bench, roll cabinet and numerous rolls included for $15,995. CharliePoulton, Tampa FL 813-973-7030 [email protected] (5-05)

PIANOLA “PUSH UP” piano player. Very rare 65-88-note version(one of two known). Mfg. by The Orchestrelle Co., London, circa 1908.Restored circa 1995. With 80 rolls, including original 65-note test roll.Photos available. $7,500 firm. Dick Howe, 73 Saddlebrook Lane, Houston, TX 77024, 713-680-9945 [email protected] (5-05)

HANDMADE BARREL AND PNEUMATIC ORGANS made inGermany. With moving figurines and a lot of humorous surprises. See: www.magic-mechanical-music.de Musik & Spiel Automaten Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2;Tel: 07626-7613, Fax 07626-971009 (6-05)

STEINWAY RED WELTE GRAND (T-100), Hamburg Model O,with original rolls. Please contact [email protected] for additionalinformation. Alejandro Radchik, Av. Mexico 37-507, Condesa 06100,Mexico, DF. [Mexico City] Tel.: 011- 52-555-419-5374 (6-05)

“We’ve heard that a million monkeys ata million keyboards could produce thecomplete works of Shakespeare; now,thanks to the Internet, we know that isnot true.”

- Robert Wilensky

AMPICO - DUO-ARTWELTE - RECORDO

88 NOTEIncluding, Jumbo, Program and Medley Rolls

Offering listings of new recut and original rollsof above for direct purchasing, without bidding.

Also buying small and large collections

Write or e-mail for listings and prices.Include P.O. address

and type you're interested in.

http://www.revealer.com/caldwell/

Dave Caldwell400 Lincoln Lake Ave., N.E.

Lowell, MI 49331

616-897-5609

AMPICO. DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS.New Recuts and Originals, including "Jumbo" and Program Rolls. AlsoN.O.S. QRS 88 Note rolls. Dave Caldwell, 400 Lincoln Lake Ave. N.E.Lowell, MI 49331; Check out my website: www.malli.net/-uni/caldwellemail: [email protected]; phone: 616-897-5609. (1-06)

1922 Welte-Mignon "Autograph" grand (plays Licensee rolls). 5'6"brown mahogany Louis XVI artcase with matching bench and 100Welte rolls. Welte restored 10 years ago. Piano action rebuilt, includingnew hammers, shanks, and flanges 9 years ago. Serviceable originalfinish with some wear, not alligatored. $4800. Kenneth Snowden 415334-3673 or [email protected] (6-05)

1924 STEINWAY OR Duo-Art walnut Art case w/veneer damagefrom fire on one side, rebuilt player. in crates, w/new Ivory keys$11,500 Condition: D; 1995 BALDWIN 4'7" red polish Mah.W/Pianodisc $8,900 Cond.: A; 1987 YAMAHA G2 Ivory polishs/Pianomation $8,900 Cond.: A; 1920 FRANKLIN 56" Ampico Mah.$3,500 Cond.: B+; MARIONETTE AMPICO GRAND originalcomplete w/matching bench $2,500 Cond.: Co; 1995 STORY &CLARK 42" Wal. $2,500; AMERICAN PLAYER PIANO 48"Studio, $2,900. Contact: Schroeder's Pianos 562-923-2311 (6-05)

WANTEDOAK BENCH or STOOL for 1879 oak pump organ. Please call oremail [email protected] (5-05)

FILMUSIC, PICTUROLLS, AND SUPERTONE PIANO ROLLSwanted. Call Alex at 209-478-0099. (5-05)

RED WELTE MIGNON piano rolls (T-100). Paying top dollar. MikeKukral 812-238-9656 or [email protected] (6-05)

ANNOUNCEMENTSA tour of Mechanical Music and Christmas Markets in Black Forest.Museum and Private Collections in Freiburg - "100 Years Welte";Triberg, Waldkirch; Elztall; Furtwangen Musical Clocks; WelteRestoration in Ettlingen; Speyer and famous Bruchsal. Dec 1-10,2005.$1,795 per person including air from NYC. Brochure? 1-800-262-4284or [email protected] (5-05)

[email protected] (1-06)

r~'

r'"V

.III..T_I.TM

~._·137001· __I.J

www.BluesRolls.com** Since 1988 **

Rare vintage player piano rolls reissued - over 400 great ragtime, blues and popular 88-Note musicrolls; Ampico, Duo-Art, and Welte Licensee rolls of popular and classical music are available, as wellas "A" roll recuts for your nickelodeon piano.

A NEW LIST of fine Duo-Art classical (and some pop) music and Welte popular (and some classical)rolls is now IN STOCK and READY TO SHIP! Twenty of each, plus new 88-note BLUES recuts bysuch greats as James P. Johnson and "Fats" Waller. Browse to \vww.bluesrolls.com or email fordetails: [email protected]. You can also call or write for a list - please specify which type ofroll interests you!

298

BluesTone Music RollsRob DeLand I 485 Gatewood Lane

Grayslake, IL 60030 I 847-548-6416(6-05)

r.J

299

(3-06)

JOHN WRASSEP I A N O M O V I N G

Specializing in:Player Grands, Nickelodeons & Orchestrions

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Professional and personal service.

John P. Wrasse, Piano Pro31449 216th St., Bellevue, IA 52031

Office (Korin): 815-398-4861Cell (John): 563-580-2472

E-mail: [email protected](6-05)

(3-06)

WANTED TO BUYMUSIC BOXES

MUSICAL CLOCKSMECHANICAL ORGANS

Always in the market for better quality disc and cylindermusic boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78 rpm jukeboxes,slot machines. Any condition.

MARTIN ROENIGK75 Prospect Avenue

Eureka Springs, AR 72632

(800) 671-6333 • (479) 253-0405

www.mechantiques.com • [email protected]

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Richard S. ComrasPost Office Box 1826Rancho Mirage, CA 92270

Potential Buyers,

For the past thirty-five years we have lived in Tarzana and have recently moved to RanchoMirage. 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, hasrinky-tink, electric playing, and also has foot pumps. The piano was manufactured in 1925 andcarries 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 fullauthorization to handle the transaction.

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

Sincerely,Richard S. Comras

Motivated Buyers-please make an offer!

(4-06)

301

Complete pianos and player systems restored using factoryoriginal techniques by an experienced professional. Complete

or partial systems can be sent to my shop for restorations. I supply special UPS cartons for this unique service.

Ben Gottfried464 Dugan Rd. • Richfield Springs, NY 13439

315-858-2164 (6-05)

A Complete Restoration ServiceFor The Pneumatic Piano

Ben’s Player Piano Ser vice

Visit the AMICA Web Page at

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The Augustiner MuseumFreiburg, Germany

Announces the Opening of the Grand Exhibit

“100 Yearsof the Welte-Mignon Piano”September 16, 2005 to January 8, 2006See and hear the history, instruments (some on specialloan to the museum), people, and artists of a past andglorious age of piano music recording. The exhibitincludes many items never before displayed frompersonal collections around the world!

Exhibition Catalog availablea must for all piano and music collectors.

For details and additional information please contact:[email protected]

Mike Kukral recommends accommodations a few hundredfeet away from the Museum at “Hotel Schwarzwaelderhof”.

E-mail: [email protected](5-05)

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MARTY PERSKYAutomatic Musical Instrument Specialist

Serving Collectors and the Trade WorldwideInstrument Brokering & Locating

Collections / Estates / Individual InstrumentsAppraisals / Inspections / Free Consultation

Some Great Instruments Offered – Call for Images & Videos

Also Regina 27” Changer 23,000, Mills Single Violano unrestored 18,750, Regina Desk 14,500, Wurlitzer 146 A with bells, Polyphon Mikado 16,000, other Music Boxes, Automata, Books, etc.

Website: www.MechMusic.com

Tel. 847-675-6144 6514 N. Trumbull Ave.Fax. 847-675-6160 Lincolnwood, IL 60712 USA

E-mail: [email protected]

6’2” RAA Mason&Hamlin AMPICO Asuper piano must sell 12,000

Knabe Ampico Bw / Ampichron

Link E with xylophoneand torch glass 17,000

Nat’l Dog Race w / Selector 23,000 Big Bruder Playing 165 rolls 18,500 Paillard 31cyls 22,500

(6-05)

303

OpportunitiesSilver Anniversary Auction

Newnan, Georgia

Where Rare is Common1981 March 17 & 18, 2006 2006

An Opportunity to Expand Your Collection

Offering Includes:

1. The ultimate in Phonographs: Opera with Mahogany horn, manyVictors with Wooden Horns. Including Victor 6, and most otherVictor models, Columbia, Edison and Others (Over 30)

2. Early Specialty Items. Hexaphone, Reginaphone, and more.

3. Dozens of Musical Boxes: Outstanding Cylinder and Disc Type.(27” Changer, etc.)

4. Peerless Nickelodeon, etc.

5. Numerous coin-operated machines including very uncommonarcade machines.

Preston Evans (G.A.L. 1287)

31 Redbud TrailNewnan, GA 30263

770-502-0028 or www.prestonopportunities.com

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All details of Auction are in free one sheet advertisement. Notavailable until February 1. Our illustrated color catalog will beavailable around February 8th. The cost is $25.00, admits one tothe auction and applies to any purchase.

AAuuccttiioonn llooccaattiioonn:: 19 First AvenueNewnan, Georgia(2 blocks from town square) (5-05)

304

REPLACEMENT LEADERSThese 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types ofreproducing 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 sharpknife, discard scrap, and butt-join with magic mending tape on top surface.

A. Brown on buff (For early red label boxes)

B. Black on ivory (Area for reusable artist photo)

C. Black on ivory (Most common)

D. Black on ivory (Very late rolls by combined Aeolian/American)

E. Green on ivory (Most common)

F. Green on ivory (Favorite Fifty & Selected Roll Service)

G. Welte Brown on buff (Most common)

Note: Early Welte’swith blue leaders maybe repaired with thisbrown leader. Many ofthese when reissuedhad brown leaders.

Please make checks payable toAMICA INTERNATIONAL, And send to:

BRIAN K. MEEDER904A West Victoria StreetSanta Barbara, CA 93101-4745

e-mail address for orders:[email protected]

Checks or moneyorders from foreign

countries must be drawn on U.S. bank.

Style QuantityA ______________

B ______________

C ______________

D ______________

E ______________

F ______________

G ______________

Total Quantity ______________

Price: $ 1.00 eachMinimum Order: $10.00

Postage and Handling $ 5.50

Roll Order $ ________

Total Amount (U.S. $) $ ________

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marquetry on drawer-model marionette duo-arttx480zt6533/sept_oct-05.pdf · the amica bulletin...

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