CHAPTEROFFICERS

NO. CALIFORNIAPres.: Frank loobVice Pres.: Howard KoffSec.: Dick ReutlingerTreas.: Bill WherryReporter: Diane Lillibridge

SO. CALIFORNIAPres.: Prentiss Knowlton,Vice Pres. Elliott N. LacySec.: Evelyn MeederTrcas.: Jim ChristopherReporter: Bill Toeppe

TEXAS ~

Pre s.: Dick BarnesVice Pres.: Doyle CasselSec./Treas.: TOllY PalmerReporter·: James Guinn

MIDWESTPres,: Milton CoopermanVice Pres.: Jim PrendergastSec./Treas.: Jim & Sue WorgullReporter: Molly Yeckley

PHILADELPHIA AREAPres.: Larry CornellVice Pres.: Ron SwansonSec,: Barbara MacartneyTreas.: Doris BerryReporter: Bill Pilgermayer

SOWNY (So. Ontario, West N.Y.)Pres.: Richard DrewIliakVice Pres.: William HatzenbuhleSec.: Janet DrewniakTreas.: Stan AldridgeReporter: Edythe Aldridge

Felix Klempka

ROCKY MOUNTAINPres.: Robert MooreSec./Treas.: James Bratton

BOARD REPRESENTATIVESNick Jarrett, N. CaliforniaDick Rigg, S. CaliforniaHaden Vandiver, TexasRon Swanson, PhiladelphiaAlan Mueller, S.O.W.N.Y.Jim Weisenborne. MidwestAnita N. Johnson, Rucky Mtn.

OFFICERS

PRESIDENTBo.b Rosencrans

VICE-PRESIDENTRichard Drewniak

SECRETARYIsadora Koff

BULLETINTom Beckett6817 Cliffbrook DriveDallas, Texas 75240

MEMBERSHIP SECRETARY(New Memberships andMailing Problems)Anita Nickels JohnsonP. O. Box 666Grand Junction,Colorado 81501

TREASURERJack and Mary Riffle

INTERNATIONALOFFICERS

223224227228229231233235240

International AMICA(needlepoint project)

AMICA ForumRolls & MusicTexasPhiladelphiaGulbransen chartBiographical SketchesTechni cal i ti es

The December cover was created froma "Pianduto" advertisement submit­ted by Dick Dahlberg. (See p 223)

Publication of business advertising in no way Implies AMICA'sendorsement of any commercial operation. However, AMICA re­serves the fight to refuse any ad that is not in keeping with AMICA'sgeneral standards or If complaiots are received indicating that saidbusiness does not serve the best Interests of the members ofAMICA, according to its goals i:lnd by-laws.

THE AMICA NEWS BULLETIN

BULLETIN ADVERTISING IS CASH IN ADVANCE

Published by the AutomatiC Musical Instrument Collectors'Association, a non-profit club devoted to the restoration, distribu­tion and enjoyment of musIcal Instruments using perforated papermusic rolls.

Contributions: All subjects of interest to readers of the bulletinare encouraged and Invited by the publisher, All artIcles must bereceived by the 10th of the preceding month. Every attempt will bemade to publish all articles of general Interest to AMICA membersat the earliest possible time and at the discretion of the publisher.

ADVERTISINGLine ad rate: 8q per word, $1.20 minimum.

Page rate: $12.50 per quarter page or multiple thereof.Ad copy will be typeset (at additional cost) only if requested.

~ Each photograph or half-tone, $5.00~ Camera-ready copy that is oversized or underSized will be

changed to correct Size at your cost.- Camera-ready copy must reach the pUblisher by the 10th of

the preceeding month.Cash must accompany order, Typesetting or size alterationcharges will be billed separately. Make checks payable toAMICA INTERNATIONAL.

All ads will appear on the last pages of the BULLETIN, at thediscretion of the publisher.

J ,J" I " I, I J ~ . I" I" J ~ , . J I I "

THE STORY OF A CHRISTMAS EVE FANTASY

Out of the stillness distant chimes are heard ringing a strain from "Silent Night, Holy Night."A festival spirit is abroad and the merry old song, "Begone Dull Care" reaches us from far down thestreet. The band of singers comes nearer but their jolly song fades into the night as they turndown a byway. Again the chimes, and lot another group of choristers is at our very door serenadingus with the beloved old carols, "0 Sanctissima" and "Once in Royal David's City." Christmas hospi­tality demands that they be invited to join the merrymaking within. There, to Tschaikowsky's musicfor the fairy story, "The Nutcracker and the Mouse King," the children are dancing in joyful antici­pation of the morrow and the delight of exploring to the uttermost toe the stockings that are alreadyexpectantly hanging about the chimney piece. The tuning of violins prepares one for the lovely musicof Boccherini' s ."l1inuet" which sounds as fresh and dainty as when heard on Christmas Eve a century ormore ago. The ancient dance over, the chimes, still pealing their Christmas message, mingle with thesinging of "The Bells Of St. Mary's." With its concluding phrases a distant spire rings out the hourof midnight. Christmas has come - announced with the solemn splendor of Gounod's "Sanctus," the lastnotes of which bring a moment of reverent silence falling upon the scene like a benediction. To Ihearts aglow with Christmas joy, "Auld Lang Syne" renews the precious memories that cling to thoughtsof Christmas with its old yet ever delightful story.

A Christmas Eve Fantasy - Ampico #6800Arranged and played by L. Leslie Loth.

Contributed by Bob Conant &Bill and Dee Kavouras.

'< J J I ,I I , I I , I " , " ,,,,".,,. • I _I J I . , . I, I, , I I " ~

It seems once again appropriate to open the holiday issue of THE AMICA withthe descriptive story from the leader of an Ampico Christmas roll. Whileoften serving as a brief review of a particular artist's interpretation ofthe music, these "story" leaders also give historical information as tothe origin of the music. Our mail indicates that there is a continued in­terest in the reprinting of these descriptive leaders and we will be happyto provide them as long as members send them in.

Merry Christmas. and Happy New Year to aU!Tom and Carole Beckett

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Jnfernafional cJtcJr(JfBcJtFROM THE PUBLISHER

DECEMBER COVEROur beautiful December cover was the contribution ofDick Dahlberg of Maryland. The version above is acopy of the unaltered original made by John R. Grant.

"-

FABRIC DE ROLOS DE M··PIA,NAUTO

1977 DUES: In this month's BULLETIN you will finda second notice dues form. Needless to say, we hopeyou will make use of this second form if perchanceyou misplaced the copy in your November BULLETIN.vIe look forward to having ALL of you back wi th usnext year - and we anticipate hearing from many new.'Amicans as well.

1977 BULLETINS: The schedule of publication for 1977should be as it was in '76. There will be 10 issuesof the BULLETIN, starting in February (advertiserstake note - there will be no issue in January) andcontinuing monthly, with a;-as yet to be determinedone issue break in the summer while I take a vacation,until the end of the year.

I would like to express my appreciation to all whocontributed to the BULLETIN in 1976 as it was youwho provided the reading material and educationalinformation for the rest of your fellow Amicans.I hope to hear from even more of you in 1977. Also,AMICA extends its gratitude to its advertisers, inparticular American International Galleries, QRS,Play-Rite and Mechanical Systems Inc. and the manyothers who have helped support this production.

CHAPTER OFFICERS: Finally, I would like to extendcongratulations to all chapter officers of 1976.Maintaining organization, interest, and growth onthe local level takes special people and a gooddeal of effort. It might bear a reminder thatjoining a club implies that you are willing tocontribute to that club. There is some way thateveryone can help - be it on a local or nationallevel - in 1977. There probably will be a lot ofnew names on the Chapter Officers roster in theBULLETIN masthead by the next issue so we takethis opportunity to say "Thank you" to the ones whoare listed there now.

AMICA ITEMSFOR SALE

AMICA BULLETINS. BOUND ISSUES: 1969,$9; 1971, $15; 1972, $15; 1973. $15. 1974unbound sets, $15; 1974 bound sets, $18;1975 bound. $18. PRICES INCLUDEPOSTAGE AND HANDLING. Spiral bound tolie flat. Send to Mary Lilien. 4260 OlympiadDrive, Los Angeles. CA 90043.

ROLL LEADERS: DUD-ART. Authentic. Fororder sheet, see the April. 1973 Bulletin. NickJarrett. 3622 . 21 st Street, San Francisco. CA94114.

AMICA TECHNICALITIES BOOKS: Volume I(1969·1971), $5.50 postpaid; Volume II (1972·1974), $7..50 postpaid; or order both sets for$12.50 postpaid. Reprints of interesting techni·calities articles which have appeared in theAM ICA Bulletin. arranged and indexed intoappropriate categories. spiral bound to lie flat.Send orders to Howard Koff, 2141 DeodaraDrive, Los Altos, CA 94022.

AMICA Sterling Silver Pins. $4.25. includingmailing charges. Lap'el pin or tie tack withAMICA design. Order from Robert Lemon,4560 Green Tree Drive. Sacramento, CA 94823.

- 223 -

AMICA Stationery. $3.20 (letter size). $1.75(note size), including mailing charges. FineQuality stationery with ornate AMICA borders.Each packet contains 25 letters and matchingenvelopes. Send orders to Robert Lemon, 4560Green Tree Drive. Sacramento, CA 94823.

"They All Laughed When I Sat Down At ThePiano. But When IT Began To Play ..."

This sound and color super·8 movie. producedby AMICA members, is again available for loanto AMICA members and chapters. For moreinformation write to Howard Koff, 2141Deodara Drive, Los Altos, CA 94022.

Jnfernafional JlcJ](J(8Jl to. .• ,----.1

NEEDLEWORK PROJECTBY TOM BECKETT

Evidently the needlework project I proposed in theAugust/September BULLETIN (page lS3) was not takenover-seriously or else there are a lot of you outthere with good examples of the art but you're notsharing. Bless those of you who responded. Ifsome of you didn't but are still interested, I'llstill accept photos for a future feature.

"Original equipment" bench cover that carne with a1937 5'4" Mason & Hamlin Ampico B. John R. Grant.

Example of "loomed needlepoint" mass produced andavailable through pian¢ supply houses. J. R. Grant.

Pedals for reed organ (being restored for a customerby Dick Dahlberg). Black monogram on brown backgrond.(hope this photo works - TBl

Bench cover for matching 1924 Steck Duo-Art grand.Dick Dahlberg.

Organ stool cover (pre-worked pattern) by the motherof John R. Grant.

Piano bench cushion designed and worked by CaroleBeckett to compliment the music rack of our artcase Chickering (page 180 October BULLETIN). Solidcolor using ten different stitch types.

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Jnfernafional cflcJl(JrBcfl ,o.

The following is an excerpt from the WINNIPEG FREEPRESS, 10/30/76, entitled "1976 is the year forGershwiniana." Contributed by Terry Smythe.

8 color (shaded) bargello on pian%rgan bench ­design and work by Carole Beckett.

Needlepoint piano bench cover for Lingard Recordogrand - Winston and Reba Jones collection.

Petitpoint piano bench cover for 1925 Baldwin Weltegrand - Winston and Reba Jones collection.

Needlepoint piano bench cover for Artrio-Angelusgrand - Winston and Reba Jones collection.

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By TOM SHALESThe WashlngtoJl Post

It's very clear Gershwin ishere to stay. George Gersh­win's name is, more than thatof any other composer, onethat personifies U,S. music tomost people, even thoughGershwin died 39 years ago,Composers who outlived himhaven't been able to touch hisverSatility, his gift for mel­ody, and his uncanny popularappeal.

As if to certify Gershwin'sstanding as the -ultimate U.S.composer, the Bicentennialyear has seen a tremendousrevival of Gershwiniana ­more so even than during197~, the 75th anniversaryyear of Gershwin's birth.

The jazz age he embodiedmay have long since ended,but we are still living in whatbiographers Edward J ablon­ski and Lawrence D. Stewartcalled The Gershwin Yea'rs.And this year seems evenmore Gershwin than most.

Porgy and Bess not only gotIts first full-fledged and full-'length opera tic production, italso got its first full-fledged,full-length recording. LorinMaazel's spectacular if belat­ed revival on London Records.Other new recordings or reis­sues of Porgy highlights arejust out or 00 the way.

But the splashiest newGershwin record has to beColumbia's tricky new ver­sion of that warhorse pf war­horse, Rhapsody In Blue, thebest-known American concertpiece In the world. ConductorMichael Tilson Thomas andproducer Andrew Kazdin tooka small, 25-plece jazz band, anold Duo·Art piano roll of theRhapsody cut by Gershwinhimself, put them all togetherin a studio and got a version ofthe Rhapsody conceivablycloser than most recordings tothe version first played byGershwin and Paul Whit­man's Palais Royal Orchestraat Aeolian Hall in New Yorkon Feb. 12, 1924.

The recording (ColumbiaXM 34205) is obviously a gim­micky little outing - one firstconceived by former Colum­bia producer Thomas Z. She­pard, now an executive atRCA Victor - and more en­tertaining than convincing,and yet it's a welcome addi­tion to the innumerable Rhap­sody recordings available.

Part of the surprise in thenew Columbia recordingcomes from the speed withwhich the rhapsody is dashedoff - 13 minutes and 40 sec­onds. This is close to the origi­nallcngth but far shorter thanmost subscquent - and oftenlaboriously padded - record­ings.

There are also some ratherabrupt fits of tempo changing.This is all because it wasdecided by the conductor torush along with the Gershwinpiano roll just as Gershwinrecorded it, .even thoughGershwin was playing the soloplano version.

Producer Kazdin says twoversions of the plano roll, onedoctored, were played for Til­son Thoma's. "On one I re­corded some of those particu­larly fast sections at a slowerspeed. Perhaps becauseGershwin was such a free­wheeling sort of soloist, heopted for tempos faster thanhe would have used If he'dbeen playing with an orches­tra behind him.

Both tap'es were offered toMichael Tilson Thomas andhe chose tile fast version. Hefelt that' was the way Gersh­win did it. The slow versionmay have been more tradi­Ilona1, but not as echt. SoMichael's derring-do securedus complete legitimacy. Notampering was done at aIL"

Of course, since Gershwinwas playing the solo planoversion, it tnclul!ed the pas­sages normally played by anorchestra_ These were si­lenced when the piano roll wasrecorded.

"There's one possible flawIn our approach," Kazdin~oncedes. "There are two re­cordings of him playing withWhiteman and we know hedidn't take off like a shot whenthere was an orchestraaround. So under the guise ofauthenticity, we might not beauthentic. What we do have isthe best stereo version of theJazz-band orchestration."

The orchestration used wasoriginally unearthed from theLibrary of Congress by theNational Symphony Orches­tra, which performed it inConstitution Hall a few yearsago.

While the ghost of Gershwinplays for Columbia's jazzband, however, RCA has re­Issued a historic If acousti­cally insufferable version ofthe rhapsody which Gershwinhimself recorded with White­man's band on June 10, 1924.

This is on Gershwin PlaysGershwin (Victrola AVMI­1740), which also includesGershwin's solo perfor­mances of his three preludes(again at a speed akin tobreakneck) and some of hisJauntiest and most infectiousshow tllncs.

The Rhapsody Is drasticallyabbreviated because It had tobe fitted onto two sides of a 78RPM disc, and the recordedsound remains a mess; still,it's another version thatRhapsody lovers will have toown.

Jnfernafional Jlcf!{J(8Jl

The player •plano ain't dead yet

News-Sun Photo

Contributed by Bert Plonien.

AI Gibbons tunes up piano in Prairie View shop

Schwimmer says, "somedaywe'll have a factory and man­ufacture player instruments ofall kinds." But right there iswhere the whole organizationgets cagy Wld clams up likea general who has just beenasked how the new gUidancesystem on a Polaris missileworks.

The only thing anyone at thecenter will say is, "isn't it alittle ridiculous to confineplayer mechanisms to stringinstruments that weigh 7:,0

pounds? Why not player gui­tars, or ukuleles or fiddles orbass violas or even saxo­phones...."

"Saxophones?" you /lsk.And they smile and turnaway. At least for the present,the company seems to besticking to player pianos and amodification of the player Uleyc,all an ampico reproducingpiano. While a regular playerjust plays the tune and that'sit, this reproducing piano canre-enact the performances offamous musicians like Rach·maninov or Paderewskl he­cause it can play fortissimosaod pianissimos (loud andsoft) thus catching the moodand feeling the individual art­ist intended to portray.

Schwimmer denies that onlyconnoisseurs of music canever want an ampico repro­ducing piano. "Look," he says,"if you aren't a musician, allyou can be is a musical voy­eur. This piano is the nexthest thint; to playin~ yourselfhecause the speed. snund andvohl;lle of lhr music is varia­hie."

Because every player pianocan also be played manually.any parent who has ever hadvisions of his little Johnnie be­coming another Van Cliburnhas a way to hedge the longshot bet and investment in­volved when up to $2,000 isshelled out for a piano. If youbuy a player and Johnniethrows a temper tantrum afterhis third lesson threatening toplay the piano with an ax if h3ever has to touch it again, allyou have to do is plug in a rollof your favorite music andsend Johnnie out for baseballpra,ctice.

Play it again Sam.

Tl1e center considers $1,000to ~1,800 a "re~,sonable cosL"fol' a one shot lifetime enterlainment investment.The way Schwimmer talks theplayer piano is the greatestboon for togetherness sinceGod made Eve, But the Play­er Piano Center isn't about :0open an ad campaign aroundthe siogan, "the family thatplays together stays togeth­er."

"We're convinced we areit'tfooling <:round with a fad,"

practical approach too. "Wz

all have problems we can'tcope with and try to escapefrom - at least momentarily- through entertainment. Thetrouble i' many forms of en­tertainment are becoming soexpensive that heing enter­tain~d at a reasonable cost be­comes a problem in itself. Eu­ter the player piano."

the player piano. The depres,sian didn't help sales either.

Okay, with stereo compo,nents and FM stations booming, "'hats. bringing the playerback? Schwimmer can't sayfor sure, but he can guess.ll.art at it is the resurgence ofnostalgia," he says. "Thesemachines are symbolic of atime when life was simple andmaybe people who buy aplay·er piano just want to grab apiece of that era - maybe."

But Schwimmer has a more

But the fact remains the cen·ter is the only place aroundwhere a granite-eared musicJover can flick a switch andcommand men like Thomas"Fats" Walker and Victor Ar­den to tickle the ivories withtunes like "Ma, He's'MakingE~es at Me," "Annie Laurie,""Pack Up Your Troubles (inyour Old Kit Bag,)" "Red HotMama" 0r "Papa Joes."

What really amazes sam"people however, is that withthe same flick of that wristand after the WHrrrrrrackaracrackphomrackpJackplackni. Itseems to serve as a prelude toevery song, the same pianothat just ground out "PrettyBaby" can turn right aroundand come up With, "I'd LikeTo Teacn The World To Sing,"Beatie Gcorge'Harrison's "MySweet Lord" or "The ThemeFrom The Summer of 42,"

Mike Schwimmer, one orseven men who own and oper·ate the center, says a playerpiano renaissance is takingplace in the United States. Al­though Pra.\rie View mightseem an unlikely "Florence"for this renaissance, SchwJm­mer says total industry salesare running right off the scalcand the few remaining comp~­

nies that make piano rollscan't keep up with the de­mand.

In case you are too y.oung toremember, player pianos werchot items in the years from1900 until the stock marketcrash in 1929. According toSchwimmer and the historybooks, the Increased fidelity ofrecords and radio, and thedecline in price as these novel­ties became common killetl

By DON RUHTERStaff Writer

In a former roadhouse atthe edge at Prairie View,piano versions at "AbaDaba Honeymoon", and "TheVarsity Drag", compete forthe listeners attention with"American Pie" and "JesusChrist Superstar", only thereis no one at the keyboard.

The Player Piano Center atU.S. Rtes., 22 and 83 is billedby its owners as the only re­tail player piano outlet in theMidwest specializing exclu­sively in player pianos. An­tique dealers say this may bestretching the point a little,but they admit its the only onethey know at this side of St.Louis.

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Jlmica

The following letter was submitted by Bill Eicherwith the permission of Charles Hanley and Henry Lange.

Dear Mr. Lange:

I understand you are a member of AMICA. I am also amember. Well, my purpose in writing you this letteris the fact I listen on our Steinway Concert Grand Duo­Art to some of the musical numbers you recorded forthe Duo-Art.

Some time ago, I picked up Duo-Ar~ roll 19275, a re­cording you made in 1923 entitled "I Love You," com­posed by Archer. But on the roll leader is a pictureof you on the steam ship Leviathon. Then below thepicture it says "Henry Lange, one of the best knownplayers of popular music, whose recordings have been anoutstanding feature of Duo-Art popular rolls, returnedin August on the Leviathon, from several months tourof Europe. The photograph shows Mr. Lange on boardship in New York Harbor. He is a pianist for PaulWhiteman." It's a nice picture and one that I willnever part with it.

I plan to be in Dayton September, 18th at the AMICAconvention and I hope to have the pleasure of meetingyou.

I have been a Duo-Art tech. since 1932 and I have metseveral Duo-Art artists during that period.

Kindest Regards,Very truly yours,

ChM. W. Hanle.y

ALTERNATE METHODFOR REMOVING PNEUMATICS

BY ROBERT THOM

In the October issue of the BULLETIN an article byRoger Anderson explained how to remove the pneumaticsfrom a Gulbransen glued stack.

There is another way, wh i ch I like bet ter, a I thoughothers may not care for that method namely - putthe stack in a deep freeze and freeze i! good. Thepneumatics will pop off with just a nice tap andleave no broken wood. This may sound crazy, but itworks.

This is the second time I've heard of this methodso Robert is not the only one having success withit. TB

40rum

STEINWAY GRAND LENGTHSI am aware that there are letter designations forthe lengths of Duo-Art Steinways, such as XR for 6',OR for 6'6", and AR for 6'11". Does anyone havea list of letter codes for the other sizes? Inparticular, what are the letters for grands over

- 6' 11" in length? Geoffrey Kaiser, Box 222,Sumneytown, PA 18084.

REPRINTS BEING CONSIDEREDA TREATISE ON THE ART OF PIANOFORTE CONSTRUCTION bySamuel Wolfenden.

As you know. Unwin Bros. Ltd. reprinted the above book.and it has recently sold out. A second reprint is nowbeing considered and it will contain an appendix oftables brought up to modern standards.

If any member is interested in purchasing one of thesebooks. a line to Unwin Bros. Ltd •• The Gresham Press.Old Waking. Surrey. England indicating intention topurchase a hook may assist in bringing the book up inthe priorit~' list of their publishing division.

The MODERN PIANO by Lawrence M. Nalder.

The demand for this book is such that Unwin Bros. Ltd.have made a definite decision to produce a fascimilereprint. They would similarly be pleased to hear frominterested members of AMICA as they are now compilinga list for pre-publication sales.

Greetings to you all.Yours sincerely.

hank HoUandThe Musical Museum - England.

DUO-ART QUERYBY JOHN R, GRANT

An article on page 104 of the Technicalities bookletrelates to the pallet valve found on the soft pedalof some Duo-Arts. The 1924 Stroud upright I am pres­ently working on has this feature (see photo) and Iam having a little trouble buying the explanationgiven which was to activate intensities #1 and #2 "toprevent the (accompaniment) pressure from droppingout when the soft peda lis on." Th i s seems to meto be working at cross purposes: calling for softpedal, then raising accompaniment level. If the_"drop out" is due to the additional air being usedby the soft pedal actuator, then it would seem thatthe regu I ators (both peda I and accompan iment) are /not doing their job properly. The mechanism was un­tubed when I got it so I am unable to say it wasn't

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Jlmica dorum aotts and cJJ(usic

tubed that way. Neither is the restoration to thepoint that I can test the suggested arrangement. Isthere confirmation of this scheme? Why was this notalso a problem on grands? (Only uprights have thisvalve to my knowledge.) Why does the technical

literature not address this point? Illustration "N"of the 1925 service manual shows the valve in place(although with only one nipple instead of two) butshows no tubing attached to it nor is any mentionmade in the narrative sections about it. Guidancewill be greatly appreciated. Please contact JohnR. Grant, 12318 Kemmerton Lane, Bowie. MD 20715 ortelephone (301) 464-2391.

~ ~ ~

aotts and cJJ(usic

PIANO ROLL REVIEWBY DAN TUTTLE

SS-NOTE ROLLS

"Christmas Special Medley" - The word "special" is thebest description of this medley of three Christmascarols. The roll is Melodee #302925 and includes thecarols "0 Tannebaum," "Ihr Kinderlein Kommet," and"Hark! The Herald Angels Sing." The first song, "0Tannebaum," is done with mandolin interpretation fortwo choruses and then the arrangement of the secondsong "Ihr Kinderlein Kommet" takes on the feel of amusic box although it is not a treble section musicbox interpretation. "Hark! The Herald Angels Sing"quiets things down to a relaxing blend of chimes whichcloses the roll.

"The Snow King" - A march written by F.R. Powell, Jr.and music copyrighted in 1921 by Jenkins Sons MusicCompany, words copyrighted by QRS Music Co. in 1921.The roll is QRS #1662 and plays at the tempo of 80.The words to this song are more of an inspiration tothe title than the music. As a march, it is all right,but nothing special.

"White Christmas" - The song written by Irving Berlinin 1942 has been a Christmas favorite of just abouteveryone except for, of course, Mr. Scrooge and theGrinch, but even they are enlightened with song beforethe season is up. Max Kortlander plays this Christmasfavorite on QRS #7742 which contains a good set ofchoruses plus the verse. The arrangement is smoothand easy going as much as the styles of this era areexpected to be. The QRS roll #9756 of this song isplayed by Dick Watson which is also a very good ar­rangement but contains no verse. Oh well, those verselovers who haven't got #7742 will just have to listento "Bing" in that famous movie this season.

"Sleigh Ride" - A QRS roll # 9283 played by Ted Baxter.The song is written by Parish and Anderson. AnotherChristmas favorite, this arrangement can best be des­cribed as being an interpretation of the Arthur FiedlerBoston Pops recording of this song.

STORY ROLLSBY BILL &DEE KAVOURAS

Ampico #68771 - Turkish March (Ruins of Athens)Beethoven-Rubinsteinplayed by Sergei Rachmaninoff

It was as incidental music to a play "Ruins of Athens"that this spirited march was first heard. With Bee­thoven's music it was the drama which opened the NewTheatre at Pesth on February 9, 1812. There areeight numbers in the entire suite but with the ex­ception of the Overture and this March they are un­famil iar to music lovers of today. The Turkish Marchhas been a favorite work of Beethoven for over a cen­tury. It is frequently interpreted, as done orginal­ly by Anton Rubinstein, as if it were the mU3ic fora procession coming from a distance and passing inreview before the hearer - beginning softly, risinggradually to a climax after which it dies away. Mr.Rachmaninoff, however, treats it as absolute music,and gives us a very individual and beautiful readingof the work and one doubtless much nearer what Bee­thoven had in mind when composing it. It is gay andspirited, and the effects of drums and fifes kindlea genuine enthusiasm and create a vivid picture ofa passing procession.

Mme. Samaroff, who has also recorded it for theAmpico, follows the picturesque conception of Rubin­stein. It will be interesting to compare the twoequally beautiful and equally individual interpreta­tions of this famous old march.

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aotts and cJ!tusic to.. .• r---"I

Ampico #67793 - Woodland Sketches Op. 51No.1 To A Wild Rose; No.4 In AutumnMacDowe 11played by Homer Samuels

MacDowell loved the hills and streams of his nativeNew England, and the reaches about his woodland homespoke to him in a language that he well understood.What they whispered to him he has translated for usin these beautiful "Woodland Sketches." Such musicas is offered in these exquisite pieces seems theideal expression of the mood and picture he wouldcreate. The fragile beauty of the wild rose and thegolden splendor of autumn in the New Hamshire hillsare truly depicted in these 1ittle tone poems.

Ampico #67841 - Rosamunde (Ballet Music)Schubert-Godowskyplayed by Mieczyslaw Munz

About 1820 Schubert was fired with an Qmbition to ad­dress the larger publ ic of the theatre, and this ledhim to accept a commission to prepare the incidentalmusic for a spectacular play "Rosamunde, Princess ofCypress." Schubert completed the music, which con­sisted of several parts, in five days. It is recordedthat the Overture played at the first performance onDecember 20, 1823 was twice redemanded, and that theother numbers were loudly applauded by an audiencewhich called for Schubert himself at the close.

In spite of the beauty and success of this incidentalmusic the play was a complete failure. Its plot wastedious and improbable, and as a drama it has entirelydisappeared. Schubert's part in the performance stilllives. One of the loveliest of its several parts isthis exquisite ballet music. It is singularly grace­ful and a beautiful musical setting for a balletpicture. Schubert's melodies seem plucked from thelyre of Apol 10 himself, and he weaves a spell forthe hearer in every note of his exquisite inspiration.

Schubert publ ished several of the pieces from his"Rosamund" suite but the ballet music was lost sightof unti 1 1867 when the manuscript was discovered inVienna by Sir George Grove and Sir Arthur Sullivan.

Ampico # 67751 - Etude, Op. 10, No.8, F MajorChopinplayed by Nicolas Orloff

Huneker, in writing of this Etude, speaks of its rich,brilliant sweep and rejoices in the beauty of sound itevokes from the piano. "It elbows the treble to thelast euphonious point, gl itters and crests itselfonly to fall away as if the sea were melodic andcould shatter and tumble into tuneful foam." Thework is not deeply emotional - "frankly, a show piecefor the fashionable concert hall. One catches atits close the over-tones of bustling plaudits and theclapping of gloved palms." It presents difficultiesfor the pianist. He must bring an aristocratic ease

to the loosening of Chopin's imprisoned iridescentbubbles and turn and stay them so that they can catchthe light to shine and sparkle with the beauty forwhich they were created.

Ampico # 6800 - A Christmas Eve Fantasy (see page222 of this BULLETIN)

d'e:cas

OCTOBER MEETING AT THE HOLCOMB'SBY JAMES GUINN

A beautiful fall afternoon, Sunday, October 10, fou~d

members of AMICA-Texas assembled at the home of Stanand Ginny Holcomb in Richardson. A good time was hadby all, with hearing and playing the collection ofautomatic instruments the order of the day. In theHolcomb's living room is an Aeolian player reed organ,which dates from 1895 and plays 46-note rolls. Thismodel preceded the Aeolian Grand and the Orchestrelle.In the den are the Reproduco piano-pipe organ and theseven-rank pipe organ with Aeolian console and player.The pipe organ is to have later additions and further

Host and Hostess Stan and Ginny Holcomb at the Aeolianpipe organ console.

- 229 -

crezas ,e.. ..~

-

Brian Zimmerman and Haden Vandiver relax by the"for sale" items table.

James Guinn, James Kelsey, Dick Barnes, and Del Lyonstudy the new Reblitz book.

Highlights of the business meeting were the announc­ment of the December Christmas dinner and party onSaturday, December 18, at the home of Dr. and Mrs.John Armstrong in Fort Worth. The party will begin at4:30 P.M. We are looking forward to good food andmusic by Dr. Armstrong's Aeolian pipe organ and MillsViolano Virtuoso. President Richard Barnes asked fornominations for chapter officers for next year. Sincenone were offered, this item of business was deferreduntil December. Bill Flynt brough his copy of PianoServicing, Tuning, and Rebuilding, by Arthur Reblitz.The book, which Bill recommended highly, can be obtainedfrom the Vestal Press, Player Piano Company in Wichita,Kansas, or from the author. The cost is $15.00. BillFlynt also had some used vacuum gauges for sale at$8.00 each, and Merrill Baltzley brought some Themodist

Wade Newton, Richard & Janet Tonnesen, and BeckyNewton.

Part of the overhead pipe assembly.

rebuilding of the player mechanism, but it performedadmirably Guilmant's March on "Lift Up Your Heads" andthe Bach "Little Fugue in G Minor," along with Meyer­beer's "Coronation March" from "Le Prophete" and somepopular tunes. Also in the den is a Hammond player piano#43881, which dates from 1923, has had very little res­toration, and still performs excellently. This piano,a product of the Straube factory, is equipped withtheir Artronome player mechanism and the pneumatically­controlled "Melo-Harp," which, according to the 1926

Presto Buyer's Guide, adds "harp tones to the music atthe touch of the operator's finger." Stan is also inthe process of rebuilding a two-manual Estey reed organof 1920 vintage. This organ was located in a chickenhouse at Marshall, Texas, where it had been used fornesting and roosting for some time after it had left achurch in the area.

- 230 -

rolls to sell. We enjoyed the refreshments of chipsand dips, cookies, punch, coffee, etc., and hope thatStan and Ginny will invite us again. The hospitality,the instruments, and the food were all super-fine!

Listening to the Reproduco o

~iiila.Ee!pRia

PHILADELPHIA AREA CHAPTER MEETBY BILL PILGERMAYER

President Larry Cornell in full command of the bus­iness portion of the meeting.

~~Ri!adetpRia

This meeting report may sound 1ike a Southern Cal i­fornia chapter "Hollywood" function, but it was ac­tually held at a beautiful mainl ine home in MalvernPennsylvania. Ron and Gloria Swanson - yes - GloriaSwanson, hosted our first meeting of the season onSunday, September 19. By the way; we also have aRobert Taylor.

A few of the girls gather in the kitchen for a littlechat o It's about the only room in the house with­out a piano. But not for long because Ron is on thelookout for either an Ampico or a Welte with a built­in refrigerator!

This group is all ears as host Ron Swanson divulgessome of his highly successful tape recording tech­niques.

The Swanson collection is quite complete having allthe major manufacturers products represented. Ronhas restored to perfection a 1919 Knabe StoddardAmpico grand. This piano was played continuously bythe guests. The den housed a beautiful 6 foot 3 inchWelte Baldwin grand under restoration. This piano

- 231 -

4RiladelpRia

will be fabulous when finished. Ron recently addeda Steinway Duo-Art grand to their collection. Wow!Knabe, Steinway, Baldwin - what a family.

Hostess Gloria just finishes bringing out the goodiesas the crowd moves in.

The first portion of the business meeting involvednominations for next years' officers. Member AlanLightcap went over the finalization of plans for thereproducing piano concert to be held by our chapterat West Chester College on October 14. The SteinwayDuo-Art from the collection of International Presi­dent Bob Rosencrans will be featured.

Tentative plans were made for an AMICA silent filmfestival in Apri I at the Colonial Theater in Phoenix­ville, Pennsylvania. It is a beautiful theater with

He~fl There are a few in the basement. Larry Cornell(right) explains different systems to new memberJohn Herman. Knabe Ampico - Cunningham Recordo.

a large Kimball the~ter pipe organ which will beused to accompany the film. Members Mike Naddeoand John Berry have offered to make available a nick­elodeon and reproducing piano for a lobby display.A firm date wi 11 be announced at our next meeting.

Many thanks to Ron and Gloria for their hos?itality,good food and good music.

In fact, I almost forgot what I really came for ­Gloria's autograph.

Bob Taylor and Jeff Kaiser listening to the KnabeAmpico in the Swanson living room"

HERMAN

, .hf·,·.:.

"Hey you. 'I'm trying to watch television;'!

Contributed by Terry Smythe.

- 232 -

dJioorapRical &KefcRes

HENIOT LEVYBY EMMETT M. FORD

Heniot Levy, pianist, teacher, composer and Welte-Mig­non roll artist was born in Warsaw, Poland, July 19,1879. His family was musical and Mr. Levy attendedthe Royal High School of Music in Berlin and acquiredhis piano training under Professor Oscar Ralf and Pro­fessor Heinrich Barth. Composition was studied underProfessor Freiherr von Herzogenburg and ProfessorBargiel. Further study in composition was in a specialclass conducted by the distinguised composer, Dr. MaxBruch at the Royal Meisterschule. Mr. Levy twice re­ceived the Felix Mendlessohn prize and his Sonata forPiano and Violin won the first prize in Warsaw.

While residing in Berlin, he concertized throughoutEurope attaining a prominent position in the musicalworld as a pianist and composer. It was Leopold God­owsky's recommendation which resulted in Mr. Levy'sfirst engagement in Halifax, Canada.

"GJfere I am .,-Sitting in this ~hair.,-'~ and yet I am in that Tiano" ..

_~C7\IfILD INTEREST- then ~~lpt ;luenrion-:thcn "'onder and 'amazemenr- .V O-l f(·gistercd in (he' f,tC_c of Helllo~ ~VYt o.f (he Amt'rica!l Con~~~:l.[Or)' .

of Music. Chicago. as he listened for the Ii"t time to a.WELT:C.MIGN9N.~:

reproduCtion of his plaring of one of his own compoSluons: ~mpo~,ble.he said. "fof hNC I am Sluing In thiS (half-and yet. I am IU, Ibat P/(I1{O. .

MoSt great pianists-skeptical. of all· repwducing. pianos-expreSs equalwonder and :101:lZ,"mcnt,3C che "magica!" fidclil)' of· the ~/~l.TE.MIGNON."

reproducing (l((lO!l- rbyrb11l, /IJ"c, (olor! quality, limr) imlj,'idlM/il)'.. .

.Olle hllllllr('~' :l1lJ thr(.'~ leading AmNlcllri pl3ll0 ll'l"a.nu~;lnUr("rs h3Vl" ~tle~ted\\ rLTI ,\l!(,NON- as [h<: ol1ly"u:proJucing a~tion (or (h~'lr pl.IOt)S. There(ore. whenyuu .sell'.! J rt'pruducing pi:lOO, s.e1ect om: c:quirp,,1 with ~TI"T1AtllGNO'\:.t. .

(illelt£",OQiBnon,,!O"U-'l ,PIANO

Coming to the u.S. in 1900, he was highly recommendedby Leopold Godowsky for the position as a teacher inthe American Conservatory. Mr. Godowsky's letter ofrecommendation was as follows:

"My Dear Mr. Hattstaedt:Having just returned from Austria I hasten to com­

ply with your request in suggesting to you a leadingpianist and teacher for the American Conservatory. Ofsuch as would be capable to accept the position andpossess the ability to fill it with honor to themselves,to your institution and to me I know of none more suit­able than Mr. Heniot Levy. Mr. Levy is a pianist ofunusual attainments and an exceedingly gifted composerand teacher. He enjoys an excellent reputation inBerlin and no less a man than Prof. Joseph Joachimgladly conducted his compositions in Berlin. He pos­sesses a very large repertoire and would be a notableacquisition to the pianistic element of Chicago. Trust­ing that you may succeed in bringing Mr. Levy to yourcity and wish you every success, believe me.

Very sincerely yours,

Leopold Godowsky"

Mr. Levy's acceptance of the position was announced ina Conservatory bulletin dated 1904.

In 1912, a prize of 1,500 francs was offered by thePrince of Monaco for a compcsition. Mr. Levy receivedthe award for his composition of a trio. The contestwas held in Paris. Among the judges for the contestwere Saint-Saens, Debussy and other musical celebrities.

Mr. Levy appeared often as a soloist with the ChicagoSymphony Orchestra under the conductorship of FredericStock. He also performed with the Minneapclis Sym­phony and as a member of the Kneisel Quartet. He gavesolo recitals in the u.S. and Europe.

His composition, Variations on an Original Theme forpiano, was recorded by Mr. Levy-;n two Welte-Mignonrolls, numbers C7323 - Part I and C7324 - Part II. Healso made other rolls for welte-Mignon and they are"Etude E Minor Op. 25 No.5" - Chopin (X6724); "EtudeNo. 25 F Minor" - Chopin (B6737); "Mazurka B Minor Op.33 No.4" - Chopin (C7534); "Nocturne E Major Op. 62No.2" - Chopin (C6562); "Prelude A Minor" - Bach-Liszt(C6591); "Waltz No.1" - Levy (X6559); and "Waltz No.2" - Levy (C7365).

Mr. Levy compcsed a piano concerto, a string sextet,one string quintet, two piano quintets, four stringquartets, two piano trios, a cello sonata and numerouspiano pieces and songs.

Mr. Levy later became Associate Director of the Amer­ican Conservatory of Music in Chicago.

Some of Mr. Levy's students who became successful wereBeatrice (Epstein) Eppinelle, who had a successfulCarnegie Hall debut in the mid-forties, Zennon Tuezyn­ski, a prodigy, Joseph Brinkman*, who was head of thePiano Department at the University of Michigan until

- 235 -

JJioorapRical dllefcRes

his death in 1960, a Mr. Shaw, who became director ofthe Oberlin Music School and many others. Learn Piano Tuning

LEVY

Contributed byEmmett M. Ford.

Women's Lib 1909.

THE. NILES BRYANT SCHOOL OF PIANO TUNINGI:) :'olonument Square, n... T"I.X CRU::II.., 'Mlcn,. U, S. A-

A Profession that Can be Oonverted Into

Money at Any Time or Place In the CIvil­

ized World, at an Hour's Notice.

We tenth hy PE:HSOS AL corrcllpolldf>n('f'; lmtrtle-

f~O~nd;r[\~~i~~t;~~i.l~e~';.~~~~~~!:l;~~~'.~~i~~~~'~l'~r~t8~~~~~BryaDt.. Our courl'C 18 Nl/ltpl". C()fIll)lett', p,-oclictll. It.tborough!v "'O\'(-r~ cvt>ry brandt of the tuoer'lt art-

TUDing.~{~OJ:l:i~g~~~O.?a8~eli~1~tllri~g..~~~~~r.IDg~0118ulng.'Fre.ndl l'ollBhfoK Rod StalnloEC.

By the aid of our cleur leMon!!, our peuollul

bnH(f:ntol~LB~~ tis~R~.~~\! U:'~'~\8~i~r;~~g_ti~~;:~practice aL your own borne will fully equIpyou A8 nn expert to earn tIl£! splendId rewardl!lof " TlfF. PAI':LOn PHOr.SSIO~-:'

a~::pfe~O:h~Q~g~r:~~~::1}DJr~gr:;~~~f/~cl:''J~r~r1~i~~c~~~1~O(,\'ontalnlng an IllulItrnted au­tlreRs by President Bryant,

TH':: ACTIO'" MOO'::L, Cnllll('d." 'VI;:il\IZiO IXDX'LOUlrd «> l>1\l-luU. l'.:XII!:::"CE."

HENIOT

(Credits: Chas. Moore - Registrar, American Conser­vatory of Music; Mr. ~m. Browning - American Conser­vatory of Music; Ann B. Ikler - Chicago Public Library;Ada Honderick - Chairman of Artist Foriegn GoodwillConcert Tour; James Bratton and Bill Pixley for thelist of Welte-Mignon rolls made by Mr. Levy; and Mrs.Alexander Kipnis. Note: Mr. Levy's brother, Stanley,was the author's piano instructor in Wichita in 1938­1939. Stanley always talked about his brother's ex­cellent musical ability - emf.)

*Joseph Brinkman recorded for Duo-Art. Two of hiscompositions are "Melody" (S-31838) and "Minuetto"(S-31788) •

Heniot Levy's death was in Chicago, June 16, 1946.

Mr. Levy and his wife had two children, a daughterMildren, wife of the former basso with the MetropolitanOpera, Alexander Kipnis, and a son, Hans L., who wasan instructor at the Chicago Conservatory and directorand conductor of the Utah State Symphony Orchestra inSalt Lake city and conducted the Vienna, Moscow, Denver,Seattle and Evanston Orchestras. He also conducted theGrant Park concerts in Chicago. His death was in 1960in Westport, Connecticut.

Pianist Scores a Splendid Success in Recital, Wigmore Hall, London, England, June 27, 1922

I,OI,./Hn Up/,'r,>,-. Jill:, .2. 1922-

"This artist has a powerful and Auent tech-nique which was used with confidence. > •

showed perception of the construction of theworks and climax."

1"//(, I./H/{t"" nfli/.' '/ "I,':.:rtlIJh. jlllll' :!H. I t):l:!_.

"Heniol Levy POs$(':'o .... es virtut"s h('ynn.:ardi:1Jry. Not only is his tcxecution good. buth~~ tone j~ beautifully warm and resonant. andit 11(·\'cl" loses its quality or at.:qui:-es an ele­ment wf :larshness or hardness in the fulles!"iortissimo. and his fortissimi can be very fullindeed. his performances oi three Cho·pin Ballades and the B Minor Sonata wereboth strong and sympathetic and he realizedtheir poetry without ever becoming mawkishlys.entimental."

1,OlltiOll Jf'e,,,'mill,dpr (;a:;ell,'. JlIIlt· 2H, ]922­

"There was plenty of go about the playing ofMr. Heniot Levy. an American pianist whomade his first appearance in London. The vig­our with which he attacked the last movementof Chopin's B Minor Sonata, for instance. wasexhilarating in the extre-me. those- Qual­ities include not only brilliant execution. butalso sound musical understanding and a nicesense of style."

l.muhm !flurnin{! PO&I. 11111(' 28, 1922­

"This pianist indicated the possessionof a breadth of vision which justified his r •. oiceof works so often played. The essential sound­ness of his musicianship . , ' notable author­ity. His own variations supplied evidence of acultivated imagination."

I.olld"" I-'iumll';ul Tim'· .... Jul,' :L )1':!2_··

m.l~nifIL·ent tt''lo2~tnHJll(" perf('\."trenderin~ of SOIllt' o~ the :no:-.t dd:\'U\1 mu ... i\..for the piano,"

/'o"don_ 1"1". 1·;",,·... -

p\aye-d wirh true expres:::.l0n,

I.OIIJOII I,m/.". Jill., h~ I f):!2-

"His tone is very powerful and at times it re­minds one of the sound of a very low tonedben.·· -

,\Ju~i('nl IlIIf'ri,'o. Jul~' ] 5~ 1922-

"Another American musician, Heniot Levy.made a nnc impression at his recenr red tal.He gave a program of wide range with assur·ance and a tine exhibition of temperament.·'

.1lU:";(,fll r"uri,-r. "\1I~1I';1 10, 1922--

"H eniot Levy has an unusually easy technicalfacility, an apparently unlimited range ofpower from massive strength to the veriestshade of delicacy. a rich and singing tone. andthe musical intelligence of a born, as well a.san experienced artist. Nothing now remainsfor Heniot Levy to do but to come again andkeep on coming. London ought to be placeddefinitely on his musical map."

Kimball Hall, Chicago Recitals and Concerts- 236 -

JJiosra Rical ~KefcRe8

L. LESLIE LOTH

B EGINNING his musical cal'eer in Richmond, Virginia, L. LeslieLoth gave voice to musical expression as a boy soprano in a vestedchoir. Having been endowed, from birth, with a greater musical

urge than is found in the average choir boy, he soon showed talent inother directions. An early grasp of piano technic was only one phase ofhis pronounced musicianship. At twelve he began to compose and twoyears later his first published composition appeared.

Then began a busy period of development and intensive training inNew York, where, in addition to his studies, time was devoted to direct­ing a women's chorus of five hundred voices, concertizing as soloist oras accompanist to various artists. This was followed by seven years ofadditional training under European masters.

While abroad, Mr. Loth taught 'piano and theory, showing an earlyflare as a pedagog and numbering among his pupils, artists and studentsfrom Europe and America. In addition to the demands made upon himas a teacher, he found time to create. The better known musical fOl1nswere selected as a means of expression, and his first Symphon~' in Amajor was performed by the Breslau Symphony Society, an organiza­tion that has been conducted at various times by such masters as Grieg,Joachim, Rubinstein and Nikisch.

Following this first symphony, there appeared chamber music works,songs, piano compositions as well as two other symphonies. These havebeen performed by leading organizations and prominent artists, in con­certs and on the radio.

Mr. Loth's success as an artist and composer was sensational, and inno less degree has he established himself in New York as an arrangerand teacher, meticulous in his attention to the individual requirementsof numerous clients and pupils.

COMPOSITIONAs a composer, the name of L. Leslie Loth stands prominently to

the fore among musicians the world over. He is both mood painter andmelodist. Whatever form of expression he attempts, there is a noticeablecommand of the instrumental idiom, combined with a certain imaginativequality, that earn for its creator an enviable reputation.

One seeks in vain for so-called "thick instrumentation," "stuffed"phrases or "dead" moments. In fact, originality of treatment is one ofthe chief factors that has contributed towards Mr. Loth's popularity.

Many press clippings testify to the fact that Mr. Lothdisplayed much temperament and aballdon.

. is a musician of signiMant knowlcduc and temperamental smsibilities.

. has technical armor, lofty conceptioll, and creative imaginatimJ of a highdegree.has attained sitch a high state of artistic development and virtuosity thathe may unhesitatingly be placed am0l19 the chosen few.

- 237 -

JJioarapRicaf ~llefcRe8

ARRANGINGAs an arranger and editor, Mr. Loth brings to his work a back­

ground of accomplishment and experience which stamps his work as thatof a Master. His 500 or more published compositions bear evidence of thehigh order of his musicianship and of his editorial skill.

Many of his orchestral arrangements are heard on the radio and inconcerts. Numero.us catalogues of publishers list works with Mr. Loth'sfingering, phrasings, marks of expression, and other editorial require­ments.

Writers from every state in the union send their work to Mr. Lothfor analysis and professional opinion. This has been particularly truein the field of song writing, and it has been Mr. Loth's pleasure to guidethese aspirants to song writing fame, into the proper lines of procedure.

Song writers seem especially to be in need of this kind of assistance,and numerous are the letters of appreciation Mr. Loth has received fromclients who had hitherto suffered financial loss and much mental disturb­ance due to their previously misguided efforts.

TEACHING PRINCIPLESWhile exhaustively scientific and original in his manner of solving

technical difficulties, Mr. Loth is deeply concerned with developing in thepupil an understanding of the inner meaning of music.

Through long teaching experience and unusually broad musical con­tacts, Mr. Loth has acquired the happy faculty of presenting ideas topupils in a simple, direct way. His application of technical methods ofmodern schools is supplemented by the creation of original exercises forsolving the problems of each pupil. By studying the individual charac­teristics of pupils, Mr. Loth extends his own knowledge to the pupil. Thisassists the pupil to solve his own problems to the extent that he maygain greater freedom of expression through his personality. This hasbeen true not only in his teaching of piano, but in his teaching of har­mony, composition and orchestration as well.

Letters from former students, pianists, teachers and directors fromall parts of the country attest the splendid results these musicians haveachIeved as the result of association with his stimulating and inspiringpersonality, and they further tell of the success they have attained intheir own teaching and performing through the applIcation of the prin­ciples of artistic performance he has imparted to them.

AMPICO RECORDINGSIn the days of its popularity, Mr. Loth was one of the most popular

of the younger artists recording exclusively for the Ampico. Many ofhis delightful compositions found awaiting them a wide appreciation oftheir many beauties at the hands of Ampico owners.

Of his shorter works recorded for the Ampico which especially at­tracted attention, were Papillons, Arabesque-Intermezzo, two Capricesof unusual charm of lilt and rhythm, and his little idyls of the outdoorswhich may be placed beside the "Woodland Sketches" and "New EnglandIdyls" of MacDowell. Of his larger works, the recordings of the ConcertParaphrase on Waltz-Themes from Gounod's FAUST and a similar para­phrase on Waldteufel's waltz, THE SKATERS, stood out prominently asexamples in which the composer and artist were united moo a creationof remarkable interest.

- 238 -

ti

Puffin' and pumpin' his way through the blues is the author, GarthStouffer, on his own player piano complete with "headlights,"

From ragtime to blues,classics to 'pop' _

. pump your way along

- 239 -

In December, 1917, the companybegan to use one of the famousMelville Clark Apollo grand pianosas a "marking piano" to cut therolls and that system is stillused today.

By the early 1920s, as the warended and prosperity returned,ARS was releasing three roll titlesa day. . about 1,000 each year.

Seeing that prosperity, manysmaller companies and some largerones, too, got into the business ofmaking rolls. The piano rollbusiness peaked in 1926 when some11 mill ion rolls were' sold in thesingle year.

Things looked good peoplehad money a,nd they had playerpianos, -, . and QRS like the otherscontinued to grow and expand.

But the depression that startedin 1929 dropped a bomb on thebu~iness, QRS (by that time as·sociated with the DeVry company)was bankrupt and the world-wideempire tumbled.

Max Kortlander, a QRS artistand composer who had joined thearranging staff in 1914, salvagedthe QRS piano roll from the rubbleof the backruptcy, pU rchased thproll division and began to maufa.ture QRS rolls under his Imperia.-"Industrial Company.

People quit buying player pianosand eventually everyone quitmaking them, The Aeolian Com­pany did stay in manufacturinguntil the late 1930s, but then therewere no new players being built

. and the sale of 88-note rollsdwindled until in the early 1950sonly about 200,000 rolls a year werebeing marketed.

Mr, Kortlander, rescuer of theQRS rolls, died in 1961, and hiswidow sold the company to oneRamsi P. Tick in 1966, who put newlife in the old outfit:

Returning to the QRS lable andcorporate name, Mr. Tick movedthe one remaining player pianomusic roll manufacturing plantfrom the Bronx to Buffalo, N.Y"and it is from that factory that agrowing number of ~olls - nowwell over 600,000 a year - are be·ing cu t each year.

Availability of new music rolls,along with the traditional playerpiano music, is giving the playerpiano a new life ... and in an ageof inflation it's comforting to knowthat the rolls today - anythingfrom the latest Broadway orHollywood show to the Old PianoRoll Blues - cost only fractionallymore than the rolls did when Mr.Clark put out his first QRS rollback in 1901.

From the BRANDON SUN.Contributed by Terry Smythe.

the matching hole in the trackerbar, a small valve is activated, per­mitting a rod to lift the hammerinside the piano which strikes theappropriate string and musicresults,

In over-simplification, that's howa player piano works. . as long asthe tubes are sound, the bellowsoperational, the music roll in goodshape and a pumper able to keepthe pedals going up and down, theplayer piano will make the samekind of good music that it has sincethe late 19th century. when thefirst enterprising piano techniciandecided to transfer musical talentfrom the hands to the feet of everywilling amateur in the land.

The player, naturally, got itsstart in North America, probablybecause the necessary combinationof mechanical ability and affluentsociety was available, and for thelast 15 years of the 1800s and thefirst quarter of the current centurythe indus'tr'y flourished.

Originating as a 65-note player,with 65 holes spaced across the11 \!4 inch bar, the player piano wasexpanded to the full 88·note rangeof the piano in 1901, when the Mel­ville Clark Piano Company madethe switch, . and started a war.

The war was between the peoplewho made the oiano rolls . an88-note roll wou-Idn't fit the 65-notepiano and until 1908 when the in­dustry decided to standardi:ze onthe 88-note roll there was a battle.

One of the leading figures in theplayer piano history was a NewYorker called Melville Clark, amusician, businessman andmusical instrument maker who wasborn in Rome, N,Y" raised inSyracuse where he apprenticed inthe trade of piano and organbuilder u.ntil moving to Quincy,N.Y., in 1872 to open his own organmanufacturing facility.

Putting the three initials ofthose three cities of his early lifetogether, Clark came up with QRS... the name that by 1905 hadbecome the biggest in the whole in­dustry of piano roll making.

In the early years of the 1900s­until the First World War turnedattention to less gentle thoughts­the piano and player piano industryreally boomed. By 1917 Mr. Clark'and QRS had factories in DeKalb,Ill., New York City, San Francisco,Toronto, Sidney, Australia, andUtrecht, Holland.

The Melville Clark Piano Co.went to Wurlitzer in 1919, a ·yearafter Mr. Clark had died and twoyears after he'had sold the businessto his vice-president, ThomasPletcher.

Mr. Pletcher retained QRS andcontinued to produce piano rolls

. a good buiness.The QRS catalogue of 1916, for

instance, listed more than 10,000roll titles, most of which were"arranged" music punched ongraph paper direct from sheetmusic.

••While there is no recorded his­

tory of a self-playing jungle'drum,it would appea'r that man has 111­ways sought an easier way to makemusic.

Today that might mean aquadraphonic record-tape playingsystem, or a stereo set that evenchanges its own records. . but atthe turn of the century the latestgimmick to hit the market was theplayer piano.

Working on a similar system as

Combining with the suction tomake music, a music roll is put intothe mechanism ... a 25 to 80 footlong role of paper about a foot wide,"decorated" with a precise arran­gement of holes cut through thepaper.

Whenever one of the holes isdrawn across the tracker bar of thepiano, and air is allowed to besucked into the mechanismthrough the hole in the paper and

. ".'fI'-­-.the old pump organs that gracedchurches and parlors alike formany years, the player pianoutilizes a set of bellows that are ac­tivated by a pair of foot pedals onthe piano.

As the pedals are pumped, air issucked through a complex series ofsmaller bellows and hundreds offeet of rubber tubing, ,activat­ing a bewildering bunch of gearsand cams as it goes.

Richard Creasy, player pianotechnician, at the ,keyboard,

c1'ecRnica fifies to.. .• r---'

RE-DOING THE DUO-ARTby Roger Torkelson

PART III: Showing Your Stack

This "improvement" is mostly just for fun. You knowhow some of your guests love to sit and watch thekeys jiggle, while others (especially if you have agrand) are hammer-and-damper freaks. You can givethem a third alternative by literally showing themwhere the action is.

One day when I had the access panel off the stack,for some long-forgotten reason, I decided to replaceit with a sheet of plastic. I took a sheet of 1/4"acrylic plastic ("Plexiglas") in a smokey-bronzecolor, and using the old wooden panel as a template,marked out the dimensions and where the screw holeswere supposed to go.

While I was at it, I replaced the wooden dowels thatserve as stand-offs for the middle of the panel withmetal ones threaded to take a #6-32 machine screw.(The wooden dowels were shot, since the screws wentinto them on the end-grain.) The holes for the newstand-offs were drilled after the new panel was inplace, to quarantee correct location for them.

Some hose clamps and the "BB-note pneumatic" mountto this panel. For them, I drilled holes in the newplastic panel and tapped the holes for '6-32 screws.

Striker pneumatics seen through plastic panel. Newmetal stand-off visible.

Black felt strips glued lightly to the edges of thecase, and black felt washers under the screw headskeep things from rattling.

Under normal room lighting, and down there in theshadows, the panel appears black and opaque. Butwhen illuminated, as for this photograph, you cansee the action clearly. Many guests love it, andI no longer have to explain to them "what makes thekeys go?" They can see for themselves.

A possible practical use for plastic panels of thiskind would occur during trouble-shooting. If you

can see what's happening -- or not happeningwithout having to dis-assemble the unit, you arepoints ahead.

Acrylic plastics can be cut and drilled easily withordinary wood-working tools. A "do-it-yourself"booklet with complete fabrication directions ispublished by RobIn & Haas, and you can get it freefrom your local plastics distributor.

ACOMPARISON OF THE HALESIGHT-O-TUNER AND THE CONN STROBOTUNER

BY ROBERT L. BARNS

A few months ago, I spent about 5 minutes trying outa Hale Sight-O-Tuner. This experience resulted in acompletely negative attitude - I felt that it was verypoor relative to a Strobotuner (which I have used forsome time).

More recently, Bob Baker was kind enough to loan mehis Hale for a more thorough trial. This has resultedin a complete change of mind.

My Strobotuner is a fairly old tube type (but I in­stalled the high intensity neon lamps). I have checkedits accuracy against a very accurate digital counterand found it correct within the accuracy of the test ­about ± 1 cent. Such long-term (15 years?) stabilityis gratifying. Also, I felt justified in using it asa standard for testing the Hale. Another, even older,Strobotuner which I checked was very badly off cal­ibration, as much as 20 cents between notes. It mayhave been tampered with as its history was obscure.

The Hale is a much more convenient package than theConn. It is battery operated (two 9V transistor radiobatteries which are widely available) and the micro­phone is built-in. Thus, there are no wires to unwindand drape over the piano and an AC outlet is not re­quired. This would be an advantage for a tuner goinginto a customer's house and especially handy for wan­dering about inside a pipe organ.

The Hale is much smaller and lighter than the Conn(especially the current model of the Conn), anothernlus for portable use.

Internally, the Hale is built on a single, large printed

~ec6nica{ifie8

wiring board. The quality of the soldering on the boardis only fair, at least in the unit #595 examined, andmight cause unreliability. The circuitry consists of5 integrated circuits, about 30 discrete transistors,many diodes, resistors, etc. These components appearto be of high qualityo

There are 12 trimmer potentiometers connected to thenote selector. Apparently, the pitch of each note isindividually adjusted. I find this disturbing as theexact setting of an ajustable resistor can be unstableand there is no internal check of pitch accuracy. Thetapped inductor which determines the pitch of eachnote in the Strobotuner is inherently much more stable.The Strobotuner has the advantage of being able to usethe 60 Hz. line freqency to set its basic pitch. TheHale has no internal means for checking calibration,but a tuning fork is easily used for this purpose. Idid not check how well calibration is maintained as thebattery voltage falls or as the temperature of the unitchanges.

In spite of all these potential errors, I found the Haleto be accurate within 1 cent in both absolute accuracy(of A-440) and relative pitch between notes on the even­tempered scale.

The controls are reasonably easy to use except that thedetents on the octave selector dial, which is also theon-off switch, are much stiffer than necessar~. Also,why is there provision for 9 octaves? (I didn't havethe advantage of reading the instruction manual - maybethis peculiarity is explained.) The note selectorwould be easier to get used to if it were a pointer in­dicating against marks on the case rather than havingmarks on the dialo This would make a clockwise rota­tion of the knob correspond to an increase in pitch.

Two dials are provided as the pitch vernier on theSight-O-Tuner. The coarse dial indicates from -50 to+50 cents and the fine dial is from -6 to +6 cents. Itseems silly to provide a dial with more than 180 de­grees of rotation required for a range of 12 cents oAlso, the coarse dial is a continuous potentiometerand its uncertainty of setting negates the accuracyimplied by the large spacing between 1 cent graduationsof the fine dial. A much better arrangement would beto make the coarse dial a multi-position switch with10 cents per step and to give a range of ± 10 cents onthe fine dial.

On the Hale device, there is no volume control and oneis not needed. The sensitivity is excellent. A usableindication of pitch persists longer than on my Strob­otuner (for the "good" octaves, see chart). Extran­eous noises are rather effectively rejected.

The display is a circle of eight red light-emittingdiodes (with one in the middle) and is plenty bright.I found the display easier to interpret with a patchof masking tape obscuring the center LED. With theoctave selector switch on "octave I," all lights werecontinuously (dimly) lit. Maybe the manual explainsthis, but it didn't seem to affect the performance.

Finally, after a long preamble, we get to the heart ofthe matter. How well does the Sight-O-Tuner work? Ashort table summarizes the definiteness of the indi­cation of pitch deviation.

Octave Strobotuner Sight-O-Tuner

1 lousy fai r2 lousy good3 good good4 good good5 good good6 good poor7 good lousy8 fair lousy9 none ?

Personally, I prefer to have help in the high octavesrather than in the low octaves, so my vote would go(marginally) to the Conn but opinions on this willdiffer. For laying the temperament, both devices areexcellent. Since the Hale displays only one octave ata time, the inharmonicity of each string is more dif­ficult to observe than with the Conn. This is a rel­atively small disadvantage because such a measurementis made only a few times per tuning and only with par­ticular systems of determining the proper stretch.

A slide-rule device for calculating stretch is suppliedwith the Hale. I didn't have the manual, so I don'tfully understand how it is to be used. It appears thatthe calculations for all strings in the piano are based'­on the measured inharmonicity of one string. I suspectthat this procedure is quite inferior to the proceduredescribed in the manual (available for $2) from Conn.For a discussion of inharmonicity, see Reblitz' newbook, page 53.

Finally, I suspect that if the Hale is made in reason­able quantities the manufactoring cost might be lessthan $100 - a small B &WTV receiver is much more com­plicated and some retail for less than $100. Hence,the $400 price of the Hale is unreasonably high.

To summarize, the Sight-O-Tuner is smaller, lighter,and more convenient to use than the Strobotuner and ismore effective in the low bass. The Strobotuner isless expensive and more effective in the higher octaves.Both provide completely adequate accuracy.

RUBE'S CORNEROR

STOP ME IF YOU'VE TRIED THIS ONE!BY RICHARD PARKER

A product called "Vinyl Patch Cement" when run in asmall bead along small feather-edging (up to about1/2" tears) and rubbed in with a finger does the samejob as Scotch tape without the build-up problem forroll repairs. Just don't roll the paper up until theglue dries! Also I find making the torn edges lie

- 241 -

A Tiny Player PianoSo small that it fitsalmost anywhere

~-

~

J'ecRnicafifies.~

down for this treatment easier if a fairly wet spongeis used to unfold torn edges and then the music isrolled up for a day or two until the paper dries.Don't try this on good rolls until we find out how theglue lasts as compared to tape.

Another useful product for GEM ROLLER ORGAN owners is"Pringles Potato Chips." Buy a few boxes, throw the"chips" away, clean out the salt, and you have a ready­made container for all your spare "cobs" complete withcorrugated liner. I have had mine for three years inhumid Iowa weather and the pins show no signs of rust.

Duo-Art owners know about the red fibre washers on theAeolian valves that break either themselves and/or yourfingernails as you remove them for valve clearanceadjustments and then must either be replaced, or worseyet, glued down. I cut 1/16" slices off of 5/32" neo­prene tubing to make little "doughnuts" which fit per­fectly over the wooden stem and can be removed anytimefor further adjustments. Again, nothing ventured thatcan't be returned to original if necessary.

I love Kuharski's idea of the dial micrometer for set­ting valve clearances. Lacking a drill press for mount­ing the mike, we substituted our photo enlarger withan adapter in the lens mount which is very easy to setfor zero on the dial and very handy to use on the kit­chen table.

Everyone's favorite tool, the "leather nut driver",around this house is an inexpensive push drill with theknurled drill tightener removed. Inside are three"fingers' intended to clamp down on the drill, butwhen spread out will accept most leather nuts whichspin merrily on when the push drill is pushed. usually.

The J-VuriitzerSludio Piauo,wi/holll player ac/ioll, sta"dsbut J jet'! 8 inches Iz~,!!l. full7~j rxtn'1.I(J(ale. The pClfertsmall piaI/o, aI/wI! Prices,$295 (Jut! up,j. o. b.lac/ory.

Page 143

From the ETUDE magazine, February, 1926.Contributed by David Burke.

T IMITED space in your standard size music rollL home no longer means with the full round tonesthat you must go without a and fine shades of ex­rlayer piano. This remark- pression you'd expect onlyable little Studio Player from a much larger andstands only 4 feet 1 inch much more costly player.high and only a few inches You'll be equally delightedwid er than its standard with its artistic qualitieskeyboard. A room could when playing yourself.hardly be too small for it.

This exquisite instru­Yet in spite of its compact- ment can be yours forness, this Studio Player is a as little as $445, F. O. B.perfect Wurlitzer Instru- Factory.And theWurlitzerment in every sense of the dealer will be glad to ar-word. It plays from any range convenient terms.

THE RUDOLPH WURLITZER MFG. Co., North Tonawanda, N. Y.PrjlJcipal Warlitser Stores

NEW YORK, 120 W.nnJ St. • PHrLADELPHIA, /0]/ Chm"It' S.. .. BUF"FALO.tJU M",. St.CLEVELAND. 1017 E/lcllti AVt• • CHICAGO.120S. Waha,hAv,. ~ CINCINNATI.1UE, Fourth S,.ST. LOU1S.rooO O/iVt $,. • SAN FRANCISCO,2jO SttJdtQIJ $,. ~ LOS ANGELES.BI4 S. 8rMdway

Sold by W"Tli~eTdealers weTyWheTe

WU~~1IiE~Studio 'Player

PIANOS • ORGANS • HARPS • MUSICAL INSTRUMENTS

- 242 -

Franciska Ritchey1901 Alsuna LaneHuntington Beach, CA 92648

PIANO ROLL AUCTIONS: 88 &65-note - monthly. Repro­ducing - 3-4 times yearly. Your rolls sold onconsignment. 5 stamps get you on mailing list.Mike Schwimmer, 241 Harbor, Glencoe, IL 60022.

CHANGE OF ADDRESS

Art &Mary Arnold5122 Underwood Ave.Omaha, NE 68132

Richard A. Bellin1021 Arling~on Blvd. #408JArlington, vA 22209

Herbert Scheffy, Jr.5742 Morning Glory Ln.Littleton, CO 80123

WANTED: Phillips PM rolls in good condition.are the same as the Wurlitzer PianOrchestra.Otnes, 148 Stacia St., Los Gatos, CA 95030.Ph. (408) 354-3004.

TheseBob

Allen R. Miller5M Sutton PlaceBloomfield, CT 06002

R. Dean Harmon370 Grandpark Cir.San Jose, CA 95136

D. F. Ghigo1262 Ann TerraceMadison Heights, MI 48071

Rick &Janet Drewniak191 Capen Blvd.Amherst, NY 14226

MUST SELL! 1897 upright 19 5/8 Polyphon 104 coin­operated disc music box, 24 discs, plays well, $2200;1906 Aeolian Pianola, unique mottled walnut case,refinished, unrestored but working, $800; large 3­manual, approx. 20+ rank pipe organ, totally dis­mantled, $2000; Mermod Freres 8" cylinder music box,10 tunes, rough but restorable, $175. For photos anddetails - Terry Symthe, 71 De Bourmont Bay, Winnipeg,Manitoba, Canada R2J 1K2. Ph. (204) 256-2134.

MAGAZINE1927

FOR SALE: Cabinet only for Victor Electrola-Radiolamodel 9-55. Ornate carved walnut SO" x 49" x 28".Cost $1550 in 1927. Good condition. Ideal for rollstorage. $400. Robert Baumbach, 21520 Velicata St.,Woodland Hills, CA 91364. Ph. (213) 884-6924.

CONTRIBUTED BY BILL FLYNT10 AMP leo

erhe ~Barefoot errail..If wlndi", ""iI th,,*t.h fhl m,.J,U! "'IIU tina 'IItr II

shin;,,!. hilt"

T HERE is a recording in rheAmpico Caralogue, a song widelyknown through its having been

sung by John McCormack. It is called"The Batefoor Trail.·· "A windingtrail through rhe meadow grass andover a shining hill:' And the refrain:

"Oh, fhl hart/"f "tli[l,MS wind;n!.Through the ),ars ,/ 1IJtmtJry;

Tht 'liB an4 the prtJt1If binJi,,&'In" U!rmatr/u/ dnam !qr m,:'

It is a wonderfully appealing songand It brings a rush of memories ofdays that are gone, of the delightsthat are no more. It carries one infancy back through the years, touchingthe hea.rt and making life sweeter,for the song takes us to the very topof ,~le "shining hill" and we see thebygone days with all their wonderfulmoments stretched out before us.

There are moments in the lives of allof us that are incomplete withoutmusic-times when an actual need formusic is felt. A longing to hear againa favorite song, perhaps long-forgotten,to experience once more the thrillwhich came on hearing a great per­formance of a favorite work by agreat pianist, to enjoy again the upliftthat came with a noble musical utter­ance, poignant and full of meaningbecause interpreted hr a greal artise.

Great artists arc required not onlyfor the playing of the gteat pianoworks but for the old song, for it,{no, is often a masterpiece anJ one(If far-reaching anJ. potent in{1ucncc:,!Ike the "Bardo"t Tr.lil" so beautifullvsung bv John MCC"rl11.lck. .

The wonderful gift of lt1u~ic ·-musicof all kinds rr,ld\' to \'ouchsafe theyiew frorn l!H: "shining hill," readyto unlock the d\H)r of Il1crnon' ,If1J re­create the ~rCl[ nwrnents and lead toncwcxrcrienc~ .l!hl ~lcJights.hccoll1cs thcro~­.... c,Slllll oj till' nUll who uwns an /\l1lpico

And home is the ideal place to enjoymusic. The ideal and happy surround­ings, rhose one loves nearby, the quietand comfort, the leisure that arriveswith the end of day-all contribute tothe perfect setting and receptive moodthat comes with being at home.

Yes, music is a wonderful thing,and everyone who possesses an Ampicohas at hand an amazing treasure ofmusic-a store of the greatest thatthe music masters of the world, com­posers and artists, have produced.

Do you realize this, and are yougetting the most out of your Ampico?An adequate supply of the recordingsbrings a rich reward in pleasure­are you missing it by neglecting youtAmpico library?

A subscription ro the "SelectedRecordings Service" will bring youautomatically three of the new pieceseach month, selected by a committee ofarrisrs and musical authorities. The"Favorite Fifty" is a collection offavorite numbers that has brought tomany an Ampico owner a realizationof what even a small, carefully cho,en,library can mean. We Can help youto a full enjoyment of the Ampico-­to a full return for vour investment.Do not neglect your' Ampico library.Subscribe to the "Selected RecordingsService. "

Selected 7i;cordin!,s ServiceTHE numbers from this month's

Bulletin chosen by the Committeefor subscribers to the Selected Record­ings Service are:

ROSAMUNDE, Schuber"GodowskyPlayed by MUnz

WHEN IRISH EYES ARESMILING, Ball. Played by Fairchild

JUST LIKE A BUTTERFLY,Woods Played by Carroll

FOR SALE: Chickering Ampico A, late 1927, 5'4".Restored and refinished. Excellent condition. In­cludes matching bench and 20 rolls. $6,800.00 PeterLevine, 11295 E. Vassar Dr. Denver, CO 80232.Ph. (303) 751-3205 •

AMPICO ROLLS FOR SALE: 63 fine rolls. $5.00 eachor the lot for $260.00. Send 13¢ stamp for list.DYNAVIOCE PIANO PLAYER: Rare. Add this unusual de­vice to your collection. Excellent condition. Re­tubed with neoprene to eliminate vinyl problems.Best offer takes it by 12/30/76. David Askey, 1000E. Tallmadge Ave., Akron, OH 44310. (216) 633-6373.

FOR SALE: REPRODUCING PIANO, WEBER 5'8" GRANDwith DUO-ART SYSTEM. Player completely rebuilt - hasnew set of hammers. Original case and finish good condition.$4,000 or best offer. Contact John G. Ravert, Sr., Box 85,Vicksburg, Pa. Tel. (717) 966-1367 after 7 P.M. exceptWednesdays.

STEINWAY XR DUO-ART. Hint restoration. Offers over$6500. Weber 5'8" Duo-Art. Circa 1929. Beautifuloriginal tiger mahogany case. Excellent action.Player fully restored. Offers over $3200. Coinpiano trades considered. Paul Ciancia, M.D., 10Glenwood Ave., Leonia, NJ 07605. (201) 944-1288after 7 PM.

FOR SALE: 1920 Weber Duo-Art grand 5'10", mahoganycase, good original condition, with bench, $1795.00.1930 Weber Duo-Art 5'8" grand, mahogany case, "B"Duo-Art system, choice unrestored condition, withbench, $1895.00. Both instruments can also be pur­chased fully restored and refinished. DeHaas PlayerPiano, Maple Street, Georgetown, Conn. 06829, Phone(203) 544-8750.

FOR SALE: Vacuum gauges, Marshalltown brand, 2 1/2"face, 0 to 30 inch H20, with snubbing orfice and5/32" nipple. Used; reconditioned, calibrated,guaranteed. $9.00 postpaid in U.S.; W. E. Flynt,1722 Iroquois Drive, Garland, TX 75043.

WANTED: One copy of Graham Webb's book, "CylinderMusic Box Handbook." Terry Smythe, 71 De BourmontBay, Winnipeg, Manitoba, Canada, R2J 1K2

(~n:~mIOg~~~==~~,==:t~=~jJ on our superb AIG Review No. ~. If you are on our mailing list you will receive your copy in January. If not, $3.00 ~

lwill assure you of receiving a copy upon publication - or we invite you to subscribe to our next six catalogs for just ~

$15. These nominal charges, by the way, are much less than it costs us to prepare, publish, and distribute these exten-sively illustrated catalogs - so for this reason subscriptions and individual orders are solicited only from activecollectors and dealers. Orders from others are respectfully declined. Complete satisfaction guaranteed.

As most AMICA members know, we have long been headquarters for desirable reproducing pianos. For example, we~ supplied nearly all of the reproducing instruments to Mr. J. B. Nethercutt's fabulous San Sylmar Collection, the world's ~

~largest exhibition of this type of instrument. It would delight us to supply your needs too! ~

To describe our stock of reproducing pianos in detail would take quite a few pages. Suffice it to say that at themoment we have four different Steinway Duo-Art reproducing grands, including a superbly restored Model XR in abeautifully refinished case - an instrument all set up and ready to go at $12,995 and an art style Steinway Duo-Artgrand in an elegant Italian carved case identical to that pictured at the lower left of page 301 of the "Encyclopedia of

lAutomatic Musical Instruments," in choice unrestored condition at $11,995. Then for about half the price of those ~we have several unrestored Steinways in regular cases. Still on the subject of Steinway, we should mention a superbSteinway-Welte "Red Welte" reproducing piano made in New York by Steinway - in a very tall upright case withinlay and matched rare woods. Here is a museum piece for just $3,995 !

In the line of Model B Ampico grand pianos we have not just one but actually quite a few different for you to choose

~from - almost like visiting a reproducing piano showroom back in 1930! These and others will be featured in our ~forthcoming catalog No.8.

We recently acqUired a beautiful collection of nickelodeon pianos and orchestrions - all of which will be featured inour upcoming list. Several different Seeburg instruments ranging from A roll pianos to the elegant Style G orchestrion,

la couple of Nelson-Wiggen nickelodeons with xylophone, a Mills Violano-Virtuoso, and quite a few other things - ~

actually several dozen instruments in all.

Then in the field of music boxes we have hundreds and hundreds of different ones for you to choose from - rangingfrom small table model Regina, Symphonion and Polyphon instruments to tall vertical pieces standing six to eight feettall - and just about everything else in between.

~If your travels on business or pleasure bring you to Southern California stop by to see our fabulous 26,000 square lfoot showroom and warehouse. You've never seen anything like it! We're open Wednesday through Saturday, 9 A.M.to 4 P.M. We're conveniently located just 15 minutes south of Disneyland. Come early, for the warehouse cannot beseen in a short time! In addition to a fabulous stock of automatic musical instruments - the world's largest - you will

)( find between 500 and 1,000 clocks, ornate carved sideboards, dozens and dozens of cabinets (suitable for storing )()( piano rolls!), paintings, glass, and just about everything else imaginable - including arcade machines, antique printing )(

lpresses and other things! ~

In addition you will want to visit our "boutique" which features an extensive selection of new recut reproducingpiano rolls made by Harold Powell's Klavier Company and a modest selection of new recut reproducing piano rollsdistributed by Frank Adams (sorry, no mail orders on these).l Get '''Iuaint,d with Am,,".n Int,m.tion.1 G.ll,d" - .nd let ns ilia" 0"' enthnmsm with yon! ~

~ ~ ~ ~

~ AMERICAN ~~~~,~.~~~~~w~~~~~b~gLLERIES,INC. ll

1802·A KETTERING STREET ~/ IRVINE, CALIFORNIA 92714

Tel: (714) 754-1777

)(~~)()(~ + t1~)()(~ t1~)()(~~)(

"ASK THE MAN WHO OWNS ONE I"

"Ask the man who owns onel:' a familiar advertising slogan that was used by the Packard Motor Car Company in the 1930s,is just as appropriate today--perhaps not with Packard cars (which are no longer being made, unfortunately) but with asensation on today's collectors' market: the International Musical Industries' CC-3 Cassette Converter Kit. As you probablyknow if you have been active in AMI CA circles, have read our advertisements, or have tal ked to owners of this remarkabledevice, enthusiasm for it is tremendous.

In the several months since the introduction of the unit we have found that our best salesmen are not ads in the AMICABulletin but, rather, are owners who have previously.acquired units and who are delighted with them. It seems that eachunit sells another! Actually, a more convincing testimonial to a product's worth could not be imagined.

The CC-3 Cassette Converter Kit enables the owner of a restored Ampico reproducing piano (model A or B, upright or grand)to have an extensive roll "library" in the form of a few convenient tape cassettes. This ingenious device easily attaches to theAmpico without disturbing its originality or collector's value in any way. Likewise, it can be just as easily removed. Bymeans of a tape deck and specially encoded cassettes (available from us in a wide selection of programs covering popular,classical, and old favorite tunes), you can hear a long uninterrupted concert on your instrument without the necessity ofhaving to change rolls. (Of course, anytime you want to playa roll this can be done as well--for the CC-3 CassetteConverter Kit in no way interferes with this.) Each cassette sells for just $9.95 and contains one hour worth of music-­encoded from original Ampico rolls.

The fabulous CC-3 Cassette Converter Unit has many, many advantages. From an enjoyment viewpoint you will triple orquadruple your use of the instrument (based on what others who have had the units have told us), for no longer do you haveto jump up and down and continually change rolls. From a financial viewpoint you will save untold dollars. For example, acassette tape library costing $500 represents what would cost $2,500 to $5,000 for an equivalent amount of music on paperrolls! Then there is the convenience factor--this amount of rolls would require special shelving or perhaps even a specialroom to store them--whereas the same amount of music on tapes could be carried in a small satchel!

Interested in the CC-3 Cassette Converter Kit? Join the bandwagon and find out more about it. Once you have a CC-3Cassette Converter Kit attached to your Ampico you will wonder how you ever did without it. Our list of patrons includessome of the most important collections in America.

Contact your local dealer (a dealer distribution network is now being set up) or write to us directly for a brochure givingall details without obligation.

INTERNATIONAL MUSICAL INDUSTRIES1717A-A Stanford Street • Santa Monica, CA 90404

FOR SALE

COLLECTION OF OVER FI FTY

World's Largest Selection ofAUTOMAl'IC MUSICAL INSTRUMENTS!

ARTRIO-ANGELUS

Music RollsAll rolls and boxes (except one box) in

ORIGINAL CONDITIONfrom

ORIGINAL OWNER'S FAMILY

WILL SELL ONL Y AS A COLLECTION

Pianists include: Bauer, Berge, Buhling, Chaquette,Epstein, Favier, Galston, Gerdts, Godowsky, E,H.Harris, Harwood, Himmelreich, Hofmann, Kaplun,Kvan, Leginska, Leith & Moran, Menth, Mera,Paderewski, Freddie Rich, Cornelia Rider-Possart,Romayne, Beryl Rubinstein, Marion Stanford andEdwin Wood. Also some odd swedish rolls.

Send a stamped, self~addressed envelope for a de*tailed list.

Enrich your ARTRIO·ANGELUS library now for$300. plus shipping out of San Francisco Bay Area.

Write or call: Mr. Thomas W. High637 Powell StreetSan Francisco, California 94108(415) 781·4211, extension 4262

Music boxes! Reproducing pianos by Ampico, Duo-Art, andWelte! Nickelodeons! Orchestrions! Hundreds of automaticmusical instruments for sale at wholesale prices! Send $3 forour fascinating "AlG Review." You've never seen anothercatalog like it. Satisfaction guaranteed. Or, send $10 for asubscription to the next six issues.

Nearly 1 ,000 instruments are now in stock-the world'slargest inventory. Complete facilities for low cost shippingto you. Our network of buyers in America and in Europe(Claes Friberg in Copenhagen is our European director) givesyou the best selection at lowest prices-there are no middle­men or agents to pay.

Our California showroom is open Wednesday through Satur­day 9 A.M. to noon and 1 to 4 P.M. We are a quick 15minute drive south of Disneyland, just a few minutes fromthe nearest freeway. Visit us the next time'you are in theLos Angeles area. A wonderland of automatic musical instru­ments awaits youl In addition you can see fabulous arches­trions, organs, and pianos in our educational exhibit.

We can supply the seven-pound, 1,008 page, illustrated"Encyclopedia of Automatic Musical Instruments" for $30postpaid-the standard reference book in the field. Over7,000 copies sold. Satisfaction guaranteed.

Are you an active collector. dealer, or museum? Then beingon the AI G mailing list is a MUST! Directors of AmericanInternational Galleries are: Bonnie Tekstra, Terry Hathaway,Dave Sowers, elaes O. Friberg. ~;~l'iAT10

AMERICAN INTERNATIONAL ,+< .." "'«GALLERIES ~, ~

1802-A Kettering Street ~. EIrvine, CA. 92714 U.S.A. ....~ ?t-',Ifj

Tel. (714) 754-1777 ",q;

1181 MECHANICAL SYSTEMS INC.LUBBOCK, TEXAS

~"~~,.",.,'~5S,»,,,w~

Q'R-S'" 1'1 HIH HOII"!- (l't BettI'," .,.:- .: ~ ~" >.....

... ~ ,. ~./........... ":::! '

R..eissuesEND FOR COMPLETE FREE CATALOGl

Orchestrion Components

and Supplies

AMPICO DUO-ARTHAPPY DAYS ARE HERE AGAIN

*AMP-I027 *OA-I027Played by Victor Arden (Ass't.) Played by Ralph Addison

HUNGARIAN DANCE No.5 (Brahms)tAMP-I028 tDA.I028Played by Marguerite Volavy Played by Harold Bauer

POMP AND CIRCUMSTANCE

* SOUNDS OF THE THIRTIES MUSICALS *

LIEBESTRAUM. NOCTURNE No.3 (Chopin)ttAMP-I029 ttDA.I029Played by Leo Ornstein Played by Rudolph Ganz

ttDA·I031Played by Edna Bentz

WHO'S AFRAID OF THE BIG BAD WOLFFrom "The Three Little PigS" (1933)

BROTHER CAN YOU SPARE A DIMEFrom "Americana" (1932)

YOU TURNED THE TABLES ON MEFrom "Sing Baby, Sing" (1936)

IT LOOKS LIKE RAIN IN CHERRYBLOSSOM LANE

Introduced by Guy Lombardo (1937)

Q·215

Q-216

Q-217

Q-218

ttAMP-I031Played by Kmlta & Lambert

Q·R·S MUSIC ROLLS, Inc.Tel 716 885 4600

107h NIAGARA ST -BUFFALO NY 14213

THESE FOOLISH THINGS REMIND ME OF YOU*AMP-1030 *OA-I030Played by Robert Farquhar Played by Robert Farquhar

P.O. Box 1094lUbbock. texas 79408

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Ten-tune spool framesAutomatic tambourinesblocks, cymbals, tri­angles, Equa-vac vac­uum pumps. Customfabrication.