The AMICA News Bulletin - Stacks are the Stanford

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The AMICA News Bulletin
Automatic Musical Instrument Collectors' Association
July/August 1989
Volume 26 • Number 4
Don Barton
The AMICA News Bulletin
ROBIN PRATT, Publisher
,
1
515 Scott Street
Sandusky, Ohio 44870-3736
(419) 626-1903
Published by the Automatic Musical Instrument Collectors' Association, a
non-profit group devoted to the restoration, distribution and enjoyment of
musical instruments using perforated paper music rolls, AMICA was
founded in San Francisco in 1963.
PUBLICATION DEADLINES FOR 1989
For
For
For
For
For
For
JanuarylFebruary issue . . . . . . . . . . . . . . . . .. December
March/April issue
February
May/June issue . . . . . . . . . . . . . . . . . . . . . . . . . . .. April
July/August issue. . . . . . . . . . . . . . . . . . . . . . . . . .. June
September/October issue. . . . . . . . . . . . . . . . . .. August
NovemberlDecember issue. . . . . . . . . . . . . . . .. October
15
15
15
15
15
15
CHAPTER OFFICERS
FOUNDING CHAPTER
ADVERTISING
Classified: lO¢ per word, $3.00 minimum for members.
Pres: Rob Thomas
Vice Pres: Don Ellison
Sec: Ginny Billings
Treas:wu Klein
Bd. Rep.:Gene McGraw
Reporter: Nadine Mota-Ross
Non-members may advertise at twice the above rate, $6.00
minimum.
SOUTHERN CALIFORNIA
• See Bulletin Deadlines on this page. Payment must
accompany order. Make checks payable to:
AMICA INTERNATIONAL.
Pres: Frank Nix
Vice Pres: Lloyd Osmundson
Sec/Rep: Shirley Nix
Treas: Ken Hodge
• Checks or money orders from advertisers in foreign countries must be drawn on a U.S. Bank.
Display Advertising
Full Page
Half Page
Quarter Page
Business Card
7lh"xlO"
7lh"x4%"
3 5/ S"x4%"
2"x3lh"
$120.00
60.00
30.00
$20.00
• Each photograph or half-tone $8.00.
• See Bulletin deadlines on this page.
• We recommend display advertisers supply camera-ready
copy. Copy that is oversized or undersized will be changed
to correct size at your cost. We can prepare your advertisement from your suggested layout at cost.
• Payment must accompany order. Typesetting, layout or size
alteration charges will be billed separately. Make checks
payable to: AMICA INTERNATIONAL.
• Checks or money orders from advertisers in foreign countries must be drawn on a U.S. bank.
• All ads will appear on the last pages of the Bulletin at the
discretion of the publisher.
Publication of business advertising in no way implies AMICA's
endorsement of any commercial operation. However, AMICA
reserves the right to refuse any ad that is not in keeping with
AMICA's general standards or if complaints are received indicating that said business does not serve the best interests
of the members of AMICA according to its goals and bylaws.
Single back issues of the Bulletin
are available from the Publisher
for $3.00 each.
TEXAS
Pres: Ken wng
Vice Pres: Richard Tonnesen
SeclTreas: Janet Tonnesen
Rep: Richard Smith
IOWA
Pres: Rex Fritt5
Vice Pres: Leland Zimmerline
Sec!Treas: Ed Pousch
Reporter: Al Johnson
BOSTON AREA
PRES: Marv Horovitz
Vice Pres: Bill Koenigsberg
Sec: Charlie Randazzo
Treas: Alan Jayne
Bd. Rep.: Sandy Libman
Reporter: Don Brown
NORTHERN LIGHTS
Pres: Dorothy Olds
Vice Pres: Jerrilyn Boehland
Sec: Tim wheat
Treas: Robert & Katheryn Dumas
MIDWEST
Pres: Liz Barnhart
SIERRA-NEVADA
Vice Pres: Barry & Bennet Leedy Pres: Bob Patton
Sec: John Fischer
Vice Pres: Julia Riley
Treas: Alvin Wulfekuhl
Sec!Treas: Sonja Lemon
Reporter: Margaret Frazer
Bd. Rep.: Ray Bauer
Reporter: Julia Riley
PHILADELPHIA AREA
Pres: Paul Dietz
Vice Pres: Dave Charrier
Sec: Bob Rosencrans
Treas: Bob Taylor
Rep: Joan Pollitt
SOWNY (Southern Ontario,
Western NY)
Pres: Gary Lemon
Vice Pres: Jim Barley
Sec: Janie McCleary
Treas: Edie Aldridge
Rep: Mike Walter
CHICAGO AREA
Pres: Jim Edwards
Vice Pres: Rob Deland
Sec: Jere DeBacker
Treas: Elsa Pekarek
Bd. Rep.: Mike Schwimmer
Reporter: Rob Deland
HEART OF AMERICA
Pres: Gerold Koehler
Vice Pres: Linda Bird
Sec!Treas: Tom Bode
Bd. Rep.: Ron Bopp
Reporter: Willa Daniels
ROCKY MOUNTAIN
Pres: Larry Kerecman
Vice Pres: Owanah Wick
Rep: Don Wick
Sec: Art Tarr
LADY LIBERTY
Pres: Alan Lightcap
Vice Pres: Paul Ciancia
Sec: Michelle Pollitt
Treas: John Ellems
Rep: Dennis Valente
SOUTHEAST AREA
Pres: David Oppenheim
Vice Pres: John Daly
Sec: Wayne Fisher
Reporter: Wayne Fisher
Treas: Don Winter
GATEWAY
Pres: Roger Wiegand
Vice Pres: Deane Wiley
Sec!Treas: Carole Wiley
Reporter: Jean Milburn
~
AMICA International
INTERNATIONAL OFFICERS
AMICA CONVENTION
PRESIDENT Ron Connor
(501) 636-1749
Route 4, Rogers, AR 72756
BOSTON, MASSACHUSETTS
August 24-27, 1989
PAST PRESIDENT Terry Smythe
-*-
(204) 832-3982
55 Rowand Ave., Winnipeg, Manitoba, Canada R3J 2N6
MBSI CONVENTION
VICE PRESIDENT Robert W. Taylor
(314) 875-6111
2508 Cimarron Dr., Columbia, MO 65203
TEANECK, NEW JERSEY
August 30 - Sept. 4, 1989
SECRETARY Mel Septon
(312) 679-3455
9045 North Karlov, Skokie, IL 60076
• Do you wish to become a member of AMICA?
Write to Membership Secretary.
Annual fee for U.S. members . . . . . . . . . . . . . . .. $22
Canada and Mexico (air)
$28
Other non~U.S. countries (surface)
$28
New and lapsed members add processing fee. . .. $ 5
TREASURER Larry Norman
(213) 538-9461
17700 Avalon Blvd. #295, Carson, CA 90746
1("
• Has your address changed?
(419) 626·1903
515 Scott Street, Sandusky, OH 44870·3736
MEMBERSHIP SECRETARY Valerie Anderson
Write to Membership Secretary.
• Do you have a contribution for the Bulletin?
All subjects of interest to readers of the Bulletin are encouraged and invited by the Publisher. Every attempt will
be made to publish all articles of general interest to AMICA
members at the earliest possible time and at the discretion
of the publisher. See Bulletin deadlines on previous page.
AMICA International News Bulletin
Volume 26 Number 4
PUBLISHER Robin Pratt
July/August 1989
CONTENTS
Convention & Hotel Registration Form.. Inside front wrapper
Keystone Music Roll Selected Service. . . . . . .. Back wrapper
AMICA Membership Application
Inside back wrapper
Features
Boston's liVing Logo
138
Leonard Grymonprez Band Organs
139
QRS Autograph Roll Master List - Part IV . . . . . . . . . .. 140
AMICA Boston - 1989. . . . . . . . . . . . . . . . . . . . . . . . .. 144
Pumper Power in Boston . . . . . . . . . . . . . . . . . . . . . . .. 148
Ruth Bingaman Smith Recalls Elly Ney
152
Leo, Last of The Legendary Lions - Jim Edwards
153
"Artiste" Reproducing Pipe Organ
154
A Visit at Bechstein
155
Search for Germaine Schnitzer
155
Leo Ornstein, Fall Gathering. . . . . . . . . . . . . . . . . . . . .. 156
Pipes and Pins in Cooperstown . . . . . . . . . . . . . . . . . .. 159
Open Letter of Commendation. . . . . . . . . . . . . . . . . . .. 159
"Pumping for Pipes" Roll Auction
160
Ruth Bingaman Smith and the Spanish Renaissance . .. 177
Departments
A Note from The President . . . . . . . . . . . . . . . . . . . . .. 138
That Special Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 152
In Memoriam
154
People
162
Technicalities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 165
Tech Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 167
News From the Chapters. . . . . . . . . . . . . . . . . . . . . . .. 169
Classified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 178
Cover: Don Barton showing AMICAn enthusiasm and style for the
Minneapolis Kimball Pipe Organ Preservation Fund Roll Auction. See
page 160 "Pumping For Pipes".
-137 -
New memberships
Home (803) 791-1487
P.O. Box 172, Columbia, SC 29202
BOARD REPRESENTATIVES
Founding Chapter: Gene McGraw
Southern California: Mary Lilien
Texas: Richard Tonneson
Midwest: Vincent Ricca
Philadelphia Area: Bob Rosencrans
SOWNY: Jan Drewniak
Rocky Mountain: Larry Kerecman
Lady Liberty: John DeParis
Iowa: Alvin Johnson
Boston Area: Sanford Libman
Northern Lights: Tom Olds
Sierra·Nevada: Ray Bauer
Chicago Area: Mike Schwimmer
Heart of America: Ron Bopp
Southeast Area: John O'Laughlin
Gateway: Roger Wiegand
COMMITTEES
TECHNICAL, Harold Malakinian
2345 Forest Trail Dr., Troy, MI48098
ARCHNES, Bob Rosencrans
109 Cumberland Place, Bryn Mawr, PA 19010
PUBLICATIONS, Robin Pratt
515 Scott Street, Sandusky, OH 44870-3736
AUDIO-VISUAL, Harold Malakinian
2345 Forest Trail Dr., Troy, MI48098
CONVENTION COORDINATOR, Liz Barnhart
919 Lantern Glow Trail, Dayton, OH 45431
HONORARY MEMBERS, Dorothy Bromage
157 School Street, Gorham, ME 04038-1026
AFFILIATED SOCIETIES & ORGANIZATIONSSee May/June 1989 for addresses
The Player Piano Group (England)
The North West Player Piano Association (England)
Netherlands Mechanical Organ Society - KDV
Australian Collectors of Mechanical Musical Instruments
Dutch Pianola Association
Society of Friends of Mechanical Musical Instruments (Germany)
Smithsonian Institution
DISCLAIMER: Acceptance of articles for publication in the AMiCA News
Bulletin does not imply a guarantee of the accuracy of the facts contained
in any article, nor an endorsement of an author's recommendation.
A Note from The President ...
It's early summer as I
write this and we ,,have just
returned from a trip to the two
events connected with our hobby. The first was the Heart of
America Chapter's band organ
rally at Fe Scott, Kansas. We
had beautiful weather and 21
organs turned out. I won't say
any more about this as I'm sure
there will be a write up in the chapter report section.
Then it was on to Union, Illinois, for the Antique Village
Musical Swap Meet. Anyone in this area the second weekend
in June should not miss this annual event. I participated in the
first one about twenty years ago when there were about six of
us with our wares spread over two card tables. Now it fills two
large exhibition buildings and spills out on the grass outside.
It began as a phonograph meet and is still heavily oriented that
way. However, there were many fine musical boxes, including
some rare ones such as a four comb New Century. There were
a few keyboard instruments, a number of organs ranging from
street organs to smaU cobb organs, and a table of automatons.
And phonograph parts! If you need something to complete an
old phonograph, this is the place to look, although I failed to
find a needed reproducer for a model 104 Hexaphone. People
Were there from both coasts and a number of foreign. accents .~:
were to be heard. It's a great place to meet friends and make::
new ones.
It started me thinking about a problem I have mentioned
before but as yet have no solution to, that of getting new people
into the hobby. Most of our instruments have reached a level
that can only be called expensive. We find the idea of sacrificing in other areas in order to afford a reproducing piano to be
a rational course of action but to non-AMICAns it seems nuts.
We need some way to get people enthusiastic about this hobby
so they will be willing to make the effort to acquire an instrument. My own entry was through a cylinder phonograph, then
musical boxes, and finally a reproducing piano. Of course
AMICA has always been an organization devoted to roll playing instruments and I am not advocating a real change in that
but perhaps we need to expand our horizons a little to provide
a way for newcomers to develop an interest in the music of
yesteryear. (No organization can continue long without new people to replace those that drop out for one reason or another.)
It would also help if we could grow a little as this would make
it easier to finance things such as our Bulletin and convention.
We need to think about our future needs so we won't be caught
unprepared.
See you at the convention!
Ron
***************************************************************************
"LIVING LOGO"
Allan Jayne.is the Treasurer/Registrar for AMICA
Boston 1989.
-138-
.:/'
GEBRUDER WEBER "MAESTO" ORCHESTRION
By Leonard Grymonprez
/'
This former renowned firm located at Bismarckstrasse
3, Waldkirch-im-Breisgau (ample miles south east of Freiburg)
has made a line of versatile models such as the most manufactured Unika; Grandezza; Brabo; Styria; Otero; Solea; Maesto
and Elite (the latter which cost 50,()(X) gold Swiss francs in
the early 1920's...). The above mentioned models range from
smallest to largest. The Maesto is a top quality Feurich piano
of 52 playing notes, the pipe ranks (28 pipes each) giving the
effects of violin, violincello, clarinet, saxophone, lotus flute and
jazz trumpet.
The rank of jazz trumpet exist of 28 pipes with the reeds
inside metalic boots and a horn shaped corpus which could
play an entire melody solo or a divided 12 c-melody and 16melody performance.
There is a Xylophone unit of 28 note bars, and percussion unit of bass drum, reiterating snare drum, tambourine,
arabic cymbal, wood block, triangle and castanets. Bass drum
and snare drum have versatile levels of expression! The
Gebruder Weber - "SOLE A" orchestrion is almost identical
in musical layout against the MAESTRO (except it doesn't
have the rank of jazz trumpet). However, SOLEA and
MAESTO music rolls are interchangable except for some
minor additional effects.
There are only TWO survived Gebruder Weber-Solea orchestrions and these are in U.S.A. collections. The first is owned by Steve Lanick, Pittsburg, Pennsylvania, the second by
Walter Bellum, Sarasota, Florida. (Dad and I sold both in the
mid 1960's.) It is well known by connoisseurs that the Maesto
orchestrion is capable of remarkable sound expressions, and
it can range from a duo or trio group of musicians who play
solo work and suddenly turn into orchestra effects as well.
The most remarkable music roll and performance as well
which I have ever heard on a Maesto-orchestrion is the 52meter long music roll performance of "Tanhausser" arranged
by Mr. Gustav Bruder. My goodness! Worthy to note is the
fact that the Xylophone unit could playa contemporary solo
with accompaniment of the piano alone! The music rolls which
are 360 millimeters wide have mostly been arranged by the
late Mr. Gustav Bruder who was involved at the firm for many,
many years as chief arranger-noteur at the Gebruder Weber
Music Roll Department. It often happened that he recut the
master roll four to five times and finally, was personally pleased
with the perfection of it.
The open-and-close motion of swell chambers which also
have a different degree of level, reqUired a skillful notice of the
music roll arrangement by Mr. Gustav Bruder as well and
which he once mentioned to me in one of his letters. The
MAESTO orchestrion usually had a light golden or middle
brownish veneered case which measured about 12 feet wide
(including both music roll side cabinets) and stood about ten
feet high.
As common with all Gebruder Weber instruments, most
components can be easily removed separately without having to dismantle the entire instrument. Components could be
checked and rebuilt one section at a time and this advantage
counted for the large and impressive Maesto orchestrion as
well!
Rumors recall close to one hundred MAESTOorchestrions have been made in the course of years. I really
don't know exactly how many, as exact figures are lost. Only
six today have survived the slaughter such as the one from
Mr. J. B. Nethercutt, California; Terry Hathaway, California;
Dr. George Coade, California; Q. David Bowers, California;
Baud Freres, SWitzerland; Claes 0. Friberg, Denmark. Three
of the above mentioned Gebruder Weber-Maestds have passed
our hands and were sold by Dad and myself in the course of
the 1960's as did the only two surviving Solea's.. .I sincerely
hope, and I trust all AMICA members as well, they will be
treasured and cared for a long time to come!
*******************************************************************
TIGER
t¥e ~I
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-139-
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•
QRS Autograph Roll Master List
By Rob Deland - Part 4
QRS Autograph Popular Roll Master List
REF.
( F)
( E)
(E)
(E)
( E)
( E)
(E)
(E)
(E)
( E)
( E)
( E)
( E)
( E)
(E,F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
(G)
(G)
(G)
( F)
( F)
( F)
( F)
( F)
( F)
(E,F)
(E,F)
(E,F)
(E,F)
(E,F)
(E,F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
(F)
( F)
( F)
( F)
Sorted by
ROLL #
100535
100536
100537
100538
100538
100538
100538
100539
100539
100539
100539
100539
100540
100540
100540
100540
100541
100542
100543
100544
100545
100546
100547
100548
100549
100550
100551
100552
100553
F 100554
F 100554
F 100555
100556
100557
100558
100559
100560
100561
100562
100562
100562
100562
100562
100562
100563
100564
100565
100566
100567
100568
100569
100570
100571
100572
100573
100573
100573
100573
100573
100573
100574
100575
100576
100577
100578
100579
100580
100581
100582
100583
100584
100584
100584
100584
100584
- 5 Perleet Day, A
TITLE
PIANIST
Roberts, Lee S.
<XMPCSER
Bond, Carrie Jacobs
One-step Medley for Dancing
- 1 Down in Honky Tonky Town
- 2 Collon Town
- 3 My Skating Girl
Fox Trot Medley for Dancing
- 1 Whose Prelly Baby Are You Now?
- 2 You're the Girl
- 3 Sometime
- 4 They Didn't Believe Me
- 1 Naughty! Naughty! Naughty!
- 2 Oh! How She Could Yacki Hacki Wicki Wacki Woo
- 3 Don1 Leave Me Daddy
Spanish Nights -- Waltz
Saxophone Sobs -- Fox Trot
Pass Around the Apples Once Again -- One-step
You May Hold a Million Girlies in Your Arms -- FT
How's Every lillie Thing in Dixie? -- One-step
That Girl of Mine -- One-step
Keep Your Eye on the Girlie You Love -- One-step
It's the Irish in Your Eyes, It's the Irish in Your Smile
They're Wearing 'em Higher in Hawaii -- One-step
That Broadway Chicken Walk -- from "The Century Girl"
Those Sighin' Hawaiian Blues
(Various)
Straight, Charley
Straight, Charley
St. Clair, Ivan
Baxter & Kortlander
Baxter & Kortlander
Baxter & Kortlander
Baxter & Kortlander
Baxter & Kortlander
(Various)
Baxter & Kortlander
Bryant, Russell
Kortlander, Max
Roberts, Lee S. (C)
Kortlander, Max
Kortlander, Max
Kortlander, Max
Straight, Charley
Straight, Charley
Straight, Charley
Straight, Charley
Redding, Walter
Redding, Walter
Kortlander, Max
(Arranged)
Smith, Chris
Puck
Hubbell & Darewski
(Arranged)
Van Alstyne, Egbert
Tierny, Harry
Kern, Jerome
(Arranged)
Vincent, Nat
Von Tilzer, Albert
Verges
Roberts, Lee S.
Erdman, Ernie
Carroll
Fischer, Fred
Gumble, Albert
Lange
Schuster, Ira
Von Tilzer, Albert
Mohr, Halsey K.
Berlin, Irving
Rubin, George F.
- 1 Roumenian Nacional Tanz
- 2 Yiddish Humoreske
Yiddish Gesang und Tanz
I Know I Got More Than My Share
From Here to Shanghai -- Fox Trot
Put on Your Slippers and Fill Up Your Pipe -- Fox Trot
There's a Little Bit of Monkey -- Fox Trot
London Taps or A Broken Doll -- Fox Trot
Homesickness Blues -- Fox Trot
Pete Wendling Dance Medley No.1
- 1 Poor BUllerfly
- 2 Yaddie Kaddie Kiddie Koo
- 3 From Here to Shanghai
- 4 I Know I Got More Than My Share
- 5 Pray For the Lights to Go Out
Buzzin' the Bee -- One-step
Syncopated Good-Bye (Apologies to Tosti)
Panamericana -- Fox Trot
Whole World Comes from Dixie, The -- One-step
Good Morning Dixieland -- One-step
You Remind Me of Dear Old Ireland -- One-step
California Ni9hts -- Waltz
Honolulu Hicki Boola Boo, The -- Fox trot
Playmor -- Fox Trot
Bull Frog Blues -- Jass Fox Trot
Rhea -- H'and Played Medley
- 1 Poor BUllerlly
- 2 Throw Me a Rose
- 3 Allah's Holiday
- 4 They're Wearing 'em Higher in Hawaii
- 5 How's Every Little Thing in Dixie?
Boshko, Victoria
Boshko, Victoria
Boshko, Victoria
Wendling, Pete
Wendling, ass. by G. H. B.
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Kortlander, Max
Straight, Charley
Straight, Charley
Straight, Charley
Roberts, Lee S. (C)
Straight, Charley
Straight, Charley (C)
Baxter & Kortlander
(Various)
(? )
Redding, Walter
Kortlander, Max
Redding, Walter
Straight, Charley
White
White
Bohimer, J.
Johnson
Berlin, Irving
von Tilzer, Harry
Monaco
Tate, James W.
Hess, Cliff
(Arranged)
HUbbell, Raymond
Meyer, George W.
Berlin, Irving
Johnson
Skidmore, Will E.
Wells, Jack
(Arranged)
Herbert, Victor
Hanley, James F.
Marshall, Henry I.
Mohr, Halsey K.
Roberts, Lee S.
Von Tilzer, Albert
Straight, Charley
Brown & Shrigley
(Arranged)
HUbbell, Raymond
Kalman, Emmerich
Friml, Rudolf
Mohr, Halsey K.
Gumble, Albert
Kortlander, Max (C)
Baxter & Kortlander
Roberts (C) & Kortlander
Baxter & Kortlander
Straight, Charley
Straight, Charley
Straight, Charley
Straight, Charley
Straight, Charley
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Kortlander, Max
Tilford & Caldwell
Roberts, Lee S.
Roberts, Lee S.
Von Tilzer, Albert
Piantadosi, AI
Ball
~
-
1
2
3
4
Pepless Pete -- Fox Trot
Down Where the Niggers Walk the Dog -- Jass Fox Trot
Northern Nights -- Jass Waltz
Ching Chong -- Jass One-step
Eve Wasn't Modest 'Til She Ate That Apple -- One-step
I Wonder What They're Doing Tonight -- One-step
I'm Going Back to California
Those Hawaiian Melodies -- Fox Trot
Just Keep on Skating -- One-step
Pete Wendling Dance Medley NO.2
M-i-s-s-i-s-s-i-p-p-i
Way Down in Iowa
There's a Little Bit of Monkey (Still Left in You and Me)
That Broadway Chicken Walk -- from "The Century Girl"
Rob DeLand 12/2/88
-140-
. DATE
3-17
1916
1914
1916
1-17
1-17
1-17
1-17
1-17
1-17
1-17
1-17
1-17
1-17
1-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
2-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
3-17
l..a1ge
Pollock
(Arranged)
Tierney, Harry
Meyer, George W.
Monaco
Berlin, Irving
Page 13
,:.
-
ORS Autograph Popular Roll Masler List
REF.
( F)
( F)
(F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
(F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
(BB)
(E)
( E)
( E)
(E)
(E)
(E)
( E)
( E)
( E)
( E)
( E)
(AM)
(E,F)
( F)
(F)
( F)
( F)
( F)
( F)
(F)
( F)
( F)
(E,F)
(E,F)
(E,F)
(E,F)
(E,F)
( F)
(F)
( F)
Sorted by
ROLL #
100585
100586
100587
100588
100589
100590
100591
100592
100593
100594
100595
100596
100597
100598
100599
100600
100601
100602
100603
100604
100605
100606
100607
100608
100609
100610
100611
100612
100613
100614
100614 100614 10061 4 100615
10061 5 100615 10061 5 100616
100616 100616 100617
100618
100619
100620
100621
100622
100623
100624
100625
100626
100627
100628
100629
100630
100631
100632
100633
100634
100635
100636
100637
100638
100639
100640
100641
100642
100642 100642 100642 100642 100643
100644
100645
100646
100647
TITLE
Havanola (Have Another) -- Fox Trot
For Me and My Gal -- One-step
PIANIST
Wendling, Pete
Wendling, Pete
Get Off My Foot -- Fox Trot
Kortlander, Max
Someone Else May Be There While I'm Gone -- JFT
Baxter & Kortlander
When Those Sweet Hawaiian Babies Roll Their Eyes-FT
Straight, Charley
Far Away in Honolulu They've Got the Tango Craze -- JFT Baxter & Kortlander
Love is a Wonderful Thing _. Jass One-step
Baxter & Kortlander
Let's Make Believe We're Back to Childhood -- One-step
Straight, Charley
Bring Back Those Days to Me _. One-step
Straight, Charley
Somewhere in Dixie -- Fox Trot
Straight, Charley
Italian Nights -- Waltz; Written on Famous Italian Airs
Roberts, Lee S.
Auf Wiedersehn -- "Blue Paradise" -- Marimbaphn. Arr. Baxter, Ted
From Here to Shanghai -- Jass Fox Trot
Baxter & Kortlander
Itsit -- Fox Trot
Let's All Be Americans Now -- One-step
Wendling, Pete
America, Here's My Boy
Straight, Charley
I Wasn't Born to Be Lonesome -- Jass Fox Trot
Baxter & Kortlander
You're in Love -- Fox Trot from "You're In Love"
Redding, Walter
Indiana (Back Home in Indiana) -- Fox Trot
Wendling, Pete
When the Girls Grow Older They Grow a Little Bo¥ler
Wendling, Pete
If You Ever Get Lonely
Redding, Walter
Baxter & Kortlander
1 Poor BuUerfly
Baxter & Kortlander
2 If a Baby ... Never Grow Older, A Mother ... Never Grow Sad Baxter & Kortlander
3 Everybody Loves a Jazz Band
Baxter & Kortlander
Baxter & Kortlander
4 There's Egypt in Your Dreamy Eyes
Baxter & Kortlander
5 If You Ever Get Lonely
Baxter & Kortlander
6 I Can Hear the Ukuleles Calling Me
Baxter & Kortlander
Jazz Waltz Medley
Baxter & Kortlander
1 Dearie 0' Mine
Baxter & Kortlander
2 When I Dream in Dreamland
Baxter & Kortlander
cx::MPCSER
Frey, Hugo
Meyer, George W.
DATE
Kernell
Berlin, Irving
Ruby
Leightons, The
Friedland
Glogau, Jack
Harris, Will J.
von Tilzer, Harry
Roberts, Lee S.
Romberg, Sigmund
Berlin, Irving
Straight, Charley
Meyer
Sterling & Lange
Von Tilzer
Frlml, Rudolf
Hanley, James F.
Schwartz
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
4-17
(Arranged)
HUbbell, Raymond
1916
3-17
3-17
(Arranged)
(Arranged)
Hong Kong
Baxter & Kortlander
Pascoe, Van Holstein, Sanders
L'Amour Se Rend (Love's Surrender) -- Waltz
II's a Long, Long Time Since I've Been Home -- F. Trot
Alice in Wonderland -- from "The Century Girl" -- JFT
Triangle Jazz Blues .- Fox Trot
There's Only One Litlle Girl -- One-step
There's Something About You Makes Me Love You -- FT
Huckleberry Finn
Kortlander, Max
Wendling, Pete
Scott & Walters
Kortlander, Max
Straight, Charley
Straight, Charley
Wendling, Pete
Moret, Neil
Vail, Josephine E.
Berlin, Irving
Leclere, Irving P.
Cohan, George M.
Wendling, Pete (C)
Straight, Charley
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Wendling, Pete
Roberts (C), Ass. by M. K.
Wendling, Pete
Berlin, Irving
Vincent
(Arranged)
Meyer, George W.
Vail
Ruby
Roberts, lee S.
6-17
6-17
6-17
6-17
6-17
6-17
6-17
6-17
6-17
Baxter & Kortlander
Scott & Watters
Nunez, Alcide & Ray lopez
Kern, Jerome
8-17
7-17
Mamma's Baby -- Fox Trot
There Are Two Eyes in Dixie •• One-step
Oh You Daddy -- Fox Trot
Pete Wendling Dance Medley NO.3
1 For Me and My Gal
2 She's Dixie All the Time
3 It's a Long, Long Time Since I've Been Home
4 When Those Sweet Hawaiian Babies Roll Their Eyes
Skaters, The -- Waltz ("Oed. to the Patrons of this Sport")
Livery Stable Blues -- Jass Fox Trot
You Said Something -- Jass Fox Trot
Rob Deland 12/2/88
5-17
5-17
5-17
5-17
5-17
5-17
5-17
l..a1ge
Hess, Cliff
Page 14
CRS Autograph Popular Roll Master List
REF.
( F)
( F)
( F)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
( F)
(TT)
(TT)
(TT)
(TT)
(TT)
(TT)
(TT)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
(F)
( F)
( E)
( E)
( E)
( E)
(El
(E)
(E)
(E)
(E)
(E)
( E)
( E)
( E)
(E)
(E)
(E)
( F)
( F)
(F)
( F)
( F)
( F)
(E,F)
( F)
( F)
( F)
( F)
Sorted by
ROLL #
PIANIST
TITLE
100648
Chicken Pranks -- Fox Trot
Kortlander, Max (C)
100649
Till the Clouds Roll By -- Jass Fox Trot
Baxter & Kortlander
100650
Out Steppin' -- Fox Trot
100651
(? )
(? )
100651 - 1 Honey Mine
100651 - 2 Till the Clouds Roll By
Baxter & Kortlander
(? )
100651 - 3 Million Dollar Smile
100652
(?)
Dahm, Phil
100652 - 1 Ragtime Soldier Man
100652 - 2 Alexander's Back from Dixie With His Ragtime Band
(? )
(? )
1 00652 - 3 Somewhere On Broadway
100653
Roamin' Around -- Fox Trot
Johnson, E. Arnold (C)
100654
100655
100656
100657
100658
100659
Dance Medley
(? )
100659 - 1 Waltz With Me -- Jazz Waltz
(? )
100659 - 2 Somewhere On Broadway -- Jazz One-step
(? )
100659 - 3 Wandering Blues -- Jazz One-step
(? )
100659 - 4 You're a Grand Old Flag -- Jazz One-step
(? )
100659 - 5 Where Those Collon Blossoms Grow -- Jazz Fox Trot
(? )
100659 - 6 Far Away in Honolulu They've Got the Tango Craze -- JFT ( ?)
100660
Let's Try It -- Fox Trot
Kortlander, Max (C)
100661
Since They're Playin' Hawaiian Tunes in Dixie -- JFT
Scali & Wallers
100662
While the Incense is Burning -- Jass Fox Trot
Baxter & Kortlander
100663
I've Got the Nicest lillie Home in Dixie -- Jass F. Trot
Baxter & Kortlander
100664
Cherry Blossoms -- Jass
Scali & Wallers
100665
Somewhere With Someone, Some Day -- Jass
Baxter & Kortlander
100666
You Can Tell II's Time to Say Good-bye -- Jass FT
Scoll & Wallers
100667
I'm So Glad My Daddy's Coming Home -- Jass Arr.
Baxter & Kortlander
100668
'My Sweet Hawaiian Doll -- Jass One-step
Scoll & Wallers
100669
Along the Way to Waikiki -- Jass Fox Trot
Baxter & Kortlander
100670
You're Some Prelly Doll -- Jass Fox Trot
Baxter & Kortlander
100671
100672
100673
100674
100675
100676
100677
100678
100679
100680
100681
100682
100683
100684
(? )
100684 - 1 Mama's Baby Boy
(?)
100684 - 2 Send Me Away With a Smile
Wendling, Pete
100684 - 3 Rolling In His Litlle Rolling Chair
( ?)
100685
~
(Various)
100685 - 1 Smiles
(?)
100685 - 2 Mystery MC!0n
Roberts, Lee S. (C)
100685 - 3 Huckleberry Finn
Wendling, Pete
100686
(Various)
100686 - 1 My Sweet Hawaiian Doll
Scali & Wallers
100686 - 2 Bring Me a Doll
( ?)
100686 - 3 Good-bye Broadway, Hello France
Wendling, Pete
100687
(Various)
100687 - 1 Along the Way to Waikiki
Baxter & Kortlander
100687 - 2 Some Night
(?)
100687 - 3 For Me and My Gal
Wendling, Pete
100688
Pete Wendling Patriotic Medley
Wendling, Pete
100688 - 1 Over There
Wendling, Pete
100688 - 2 Let's All Be Americans Now
Wendling, Pete
100688 - 3 I May Be Gone for a Long, Long Time
Wendling, Pete
100688 - 4 Send Me Away With a Smile
Wendling, Pete
100688 - 5 Good-bye Broadway, Hello France
Wendling, Pete
100689
Dreamy Hawaiian Moon -- Hawaiian Band Arrangement
Roberts, ass. by A. H.
100690
Some Sunday Morning -- Jass Fox Trot
Scali & Wallers
100691
Please Don't Go -- Jass One-step
Osborne & Howe
100692
I May Be Gone for a Long, Long Time
Scali & Wallers
100693
Daddy Found You Down Beside the Garden Wall -- JFT
Baxter & Kortlander
Rob DeLand 12/2/88
-142-
DATE
CCMF05ER
Kortlander, Max
Kern, Jerome
Straight, Charley
(Arranged)
Kern, Jerome
7-17
7-17
7-17
1917
(Arranged)
Berlin, Irving
Carroll, Harry
Johnson, E. Arnold
1917
8-17
(Arranged)
Carroll, Harry
1917
Leightons, The
Kortlander, Max
Lange
Smith, Walter
Donaldson, Walter
Raymond
Verges
Breuer
Sizemore
1917
9-17
9-17
9-17
9-17
9-17
9-17
9-17
9-17
9-17
9-17
9-17
Rose
Kahn & Whiting
Williams, Clarence
(Arranged)
Piantadosi, AI
(Arranged)
Roberts, Lee S.
Roberts, Lee S.
Hess, Cliff
(Arranged)
1917
1918
1917
Rose
Baskette, Billy
(Arranged)
Kahn & Whiting
1917
Meyer, George W.
(Arranged)
Cohen, George M.
Meyer
Von Tilzer, Harry
Piantadosi, AI
Baskelle, Billy
Roberts, Lee S.
Whiting, Richard
Baskette
Von Tilzer, Harry
OIman
1917
10-17
10-17
10-17
10-17
10-17
10-17
10-17
10-17
10-17
10-17
10-17
Page 15
CRS Autograph Popular Roll Master List
REF.
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( E)
( E)
( E)
( E)
( E)
( E)
( E)
( E)
( E)
(E)
(E)
(E)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
(E)
( E)
(E)
(E)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
( F)
(F)
( F)
( F)
Sorted by
ROLL #
100694
100695
100696
100697
100698
100699
100700
100701
100702
100703
100704
100705
100706
100707
100708
100709
100710
100710
1 0071 0
100710
100711
100711
100711
100711
100712
100712
100712
1 0071 2
100713
100714
100715
100716
100717
100718
100719
100720
100720
100720
100720
100721
100721
100721
100721
100722
100722
100722
100722
100723
100723
100723
100723
100724
100725
100726
100727
100728
100729
100730
100731
100732
100733
100734
10073.5
100736
100737
100738
100739
100740
100741
100742
100743
100744
100745
100746
100747
TITLE
So Long, Mother -- Jass One-step
Where the Morning Glories Grow -- Jass Fox Trot
Over There -- Jass One-step
Joan of Arc
Rockaway -- Jass Fox Trot
-
-
PIANIST
Baxter & Kortlander
Baxter & Kortlander
Baxter & Kortlander
Osborne & Howe
Osborne & Howe
Cheer Up, Liza -- Jass One-step
Scolt & Walters
Melody Land -- Cello Rag Fox Trot
Scolt & Walters
Black Jack Rag -- Fox Trot
Lil Joe -- Fox trot
Kortlander, Max (C)
It's a Long Way to Berlin, But We'll Get There -- JO-s
Scolt & Walters
They Go Wild, Simply Wild Over Me -- Jass One-step
Baxter & Kortlander
Story Book Ball, The -- Cello Rag Fox Trot
Baxter & Kortlander
(?)
1 There's a Liltle Home in My Land
(? )
2 Please Don1 Go
Osborne & Howe
3 La Paree
(?)
Medley
(?)
1 All I Need Is a Girl Like You
...
(? )
2 Over There
(?)
3 Daughter of the Nile
( ?)
Medley
(?)
1 Where the Morning Glories Grow
Baxter & Kortlander
2 Some Sunday Morning
Scolt & Walters
3 Come Along Ma Honey, Down Upon the Swanne
(? )
Leave it to Jane -- Jass Fox Trot
Baxter & Kortlander
Homeward Bound -- Jass One-step
Scolt & Walters
Somewhere In France is Daddy -- Cello Rag One-step
Kortlander, ass. by A. H.
China, We Owe a Lotto You -- Cello Rag, Fox Trot
Kortlander, Max
Hello, Aloha, Hello -- Jass Fox Trot
Osborne & Howe
I'll Take You Back to Italy
Scolt & Walters
Oh You Wonderful Girls -- Fox Trot
Kortlander, Max
(Various)
1 Pray for Sunshine
( ?)
2 They Go Wild, Simply Wild Over Me
Baxter & Kortlander
3 Homeward Bound
Scolt & Walters
(Various)
1 Through Twilight Lae
(?)
2 Story Book Ball, The
Baxter & Kortlander
3 I'll Take You Back to Italy
Scolt & Walters
( ?)
1 Somewhere In France is Daddy
Kortlander, ass. by A. H.
2 When Yankee Doodle Learns to 'Parlez Vous Francais'
( ?)
3 I Don't Want to Get Well
( ?)
( ?)
1 Oh You Wonderful Girls
Kortlander, Max
2 What Will Become of Your Little Doll Girl
(?)
3 Leave It To Jane
( ?)
At the Colton Picker's Ball -- Fox Trot
Thomas, Harry
L-i-b-e-r-t-y
Barron, Ted S. (C)
Private Tommy Atkins -- Jass One-step
Scolt & Walters
Honey Boy -- Jass One-step
Osborne & Howe
Yock-A-Hilo Town -- One-step
Kortlander, Max
Way Down in Macon, Georgia -- Fox Trot
Wendling, Pete
Blue Moon -- Cello Rag Fox Trot
Kortlander & Roberts (C)
Tom, Dick, Harry and Jack -- One-step
Kortlander, Max
There's a Service Flag Flying at Our House -- J. One-step Scolt & Walters
Sweet Liltle Bultercup -- Fox Trot
Baxter & Kortlander
That's Why You're Like an Angel to Me -- Fox Trot
Kortlander, Max
Drop Me Down in Dixieland - Cello Rag One-step
Kortlander (C), assl./A. H.
One Day in June -- Jass Fox Trot
Baxter & Kortlander
Liberty Bell (It's Time to Ring Again) -- One-step
Wendling, Pete
She's SaVing It All for Me - One-step
Kortlander, Max
Siren's Song, The -- Fox Trot
Baxter & Kortlander
Fancy You Fancying Me -- fro 'Odds & Ends of 1917" -- FTWendling, Pete
Whenever I Think of You -- Fox Trot
Wendling, Pete
Rob DeLand 12/2/88
-143-
DATE
Van Alstyne, Egbert
Whiling, Richard
Cohan, George M.
Wells
Roberts, C. Luckeyth
10-17
10-17
10-17
10-17
10-17
Hubbell
Hubbell
Straight, Charley
Kortlander, Max
Flatow
Fischer, Fred
Montgomery
(Arranged)
11-17
11-17
11-17
11-17
11-17
11-17
11-17
Baskelte
(Arranged)
Cohen, George M.
1917
(Arranged)
Whiting, Richard
Whiting, Richard
1917
1917
Kern, Jerome
Meyer
Howard
Ager
Meyer
Berlin, Irving
Friedland
(Arranged)
12-17
12-17
12-17
12-17
12-17
12-17
12-17
Fischer, Fred
Meyer
(Arranged)
1917
Montgomery
Berlin, Irving'
(Arranged)
Howard
1917
Jentes, Harry
(Arranged)
Friedland
1917
Kern, Jerome
Abrahams
Barron, Ted S.
1917
1-18
1-18
1-18
1-18
1-18
1-18
2-18
2-18
2-18
2-18
2-18
2-18
2-18
2-18
2-18
2-18
2-18
2-18
Von Tilzer
Donaldson
Klickmann
Kortlander & Roberts
Ager
Brown
Paley, Herman
Verges
Kortlander, Max
Hanley, James F.
Mohr
Jentes, Harry
Kern, Jerome
Weston, R. P. & Bert Lee
Grant
Page 16
WELCOME
NEW
TO
ENGLAND
.• AND TO AMICA' S FIRST CONVENTION IN THIS REGION
>
WELCOME TO THE BOSTON TEA PARTY AND AMICA'S
FIRST PUMPER CONTEST
>
WELCOME TO TWO ROLL PLAYED PIPE ORGANS:
BOSTON UNIVERSITY AND THE HOROVITZ HOME
>
WELCOME TO AN EXCITING MART AND INFORMATIVE SEMINARS
>
WELCOME TO THE STAHNKE BOSENDORFER AND TO A SILENT
MOVIE WITH FOTOPLAYER ACCOMPANIMENT
>
WELCOME TO A BAND ORGAN RALLY AND UNIQUE BANQUET
ENTERTAINMENT
WE'VE GOT THE WELCOME MAT OUT FOR yOU
AND WE'VE GOT MOXIE!
REGISTER NOW FOR THIS UNIQUE EVENT
Come to the convention and you'll have Moxie. too!
AMICA BOSTON 1989
Convention· August 24-27. 1989
Host: Boston Area Chapter
-144-
AMICA BOSTON 1989
WELCOME PILGRIMS
WELCOME TO THE CONVENTION
The members of the Boston Area Chapter are looking forward to seeing you at AMICA Boston 1989 - the first AMICA
convention to be held in New England. If you have never been to this special part of the US, you can be sure you will see highlights
of the Boston area and also places of historical interest in the outlying areas, such as Lexington and Concord. Perhaps this is
not your first trip to New England, then you know the charm of this area and you'll have an interesting time in store, as the focus
on musical instruments in the area puts you in new and intriguing surroundings.
Registrations are still being accepted. Some reminders: tee shirts are ordered by entering the information on the convention
registration form. They are royal blue with white design-both front and back. Mart tables are also reserved by indicating this
on convention registration form.
The Burlington Marriott Hotel is a choice hotel for conventions and has ample free parking. For those who want to keep
fit, there is a beautiful indoor pool, fully equipped with health club saunas and whirlpool. Joggers will find a surfaced trail surrounding the property, complete with exercise par course. The Burlington Mall is one mile away for convenient shopping, and free
shuttle service is provided on demand by the hotel.
*
*
*
*
CONVENTION FEATURES
Tour of Boston
Band Organ Rally
Pumper Contest
Special Banquet Entertainment
*
*
*
*
Seminars
Moxie wnch
Home Tours
Boston Univ. Organ
HOW TO BE A 1989 PILGRIM
Fill out Convention registration form on the mailing cover of this issue of the Bulletin.
Don't forget to order a T-shirt if you want one (or more). They are royal blue with white design.
Note deadline for Early Registration. Regular Registration fee is $175 for AMICA member, and
the fee for each additional person in the same household is $165. This allows for one Banquet table
favor per household.
The first 200 registrations received (at $175) are guaranteed a Banquet table favor.
Mart tables are reserved by filling in the line on the registration form and paying $10 per table.
Mart Chairman Bob Bowerman will contact you.
When your registration form is received, a hotel reservation card will be sent to you with your
Convention confirmation. Or use the form on the mailing cover. Send directly to hotel.
..
The Boston Marriott HotellBurlington is called the "Burlington Marriott" for short. It's in Burlington, Massachusetts, a suburb 20 miles north of Boston.
Bringing an instrument to the Band Organ Rally? Rallymaster Marv Horovitz would like to know.
Please indicate the instrument on the registration form. Marv will contact you.
If you will attend the AMICA Board Meeting, note that it begins at 9:00 a.m. on Wednesday,
August 23.
-145 -
IMPORTANT CONVENTION DATES
*
*
*
*
*
Early Registration - registration form sent with postmark on or before June 24.
Mart-Convention reservation form sent with postmark on or before August 2.
First Convention activity for all Conventioneers:
buses load at 12:30 p.m., Thursday, August 24, for Guided Tour of Boston.
Pumper Contest entry forms postmarked on or before August 2.
Hotel reservation - to assure room availability, the hotel reservation card must be postmarked on or
before August 2.
-*IMPORTANT CONVENTION ADDRESSES
Registrar
Allan Jayne
(603) 889·1111
p.o. Box 762
Nashua, NH 03061·0762
Mart Chairman
Bob Bowerman
222 Miantonomi Ave.
Middleton, RI 02840
(401) 846-7366
Band Organ Rallymaster
Marv Horovitz
3 Taft Circle
Winchester, MA 01890
Dorothy Bromage
157 School St.
Gorham, ME 04038-1026
(617) 729·3212
Routes 128 and 3A
Burlington, MA 01803
(617) 229-6565
or call (800) 228·9290
Convention Chairman
Burlington Marriott
(207) 839-5700
-*;
"INTERMISSION"
1989 is the year of the Tandem Conventions:
AMICA - August 24-27
Musical Box Society International - August 30 - September 4
If you will be attending both conventions, the period of August 28-30 is your opportunity for rounding
out your trip. Both in the Bulletin and at the AMICA Convention, assistance will be offered for:
*
*
*
Exploring the Boston Area
Side trips around New England
Travel by bus from Burlington, Massachusetts to Teaneck, New Jersey
via "The Convention Connection" Tuesday, August 29th
-146-
CONVENTION SCHEDULE
(tentative)
THURSDAY, AUGUST 24
Registration
Pumper Practice
9:00 a.m. - 9:00 p.rn.
(time to be announced)
. . . Lunch on your own . . .
BUSES WAD AT 12:30
6:00 p.rn.
GUIDED lDUR OF BOSlDN
BOSlDN TEA PARTY
Dinner and entertainment
Pumper Contest
FRIDAY, AUGUST 25
Continental Army Breakfast
SEMINARS
7:30 a.m.
9:00 ·10:00 a.m.
10:15 - 11:15 a.m.
11:30 a.rn.
MOXIE LUNCH
Speaker and special treat
BAND ORGAN RALLY & PARADE
lDUR: MIT (Stahnke Bosendorfer)
and BOSlDN UNIVERSITY
(organ concert and tour of organ)
. . . light supper included
1:30 - 4:30 p.m.
,
BUSES WAD AT 5:00 p.rn.
SATURDAY, AUGUST 26
Set up Mart at 7:00 a.m.
. . . Breakfast on your own . . .
MART
HOME lDURS
.and sightseeing
. . . lunch included
Happy Hour
BANQUET
Pianola demonstration and concert
8:00 . 10:00 a.m.
Bus Group A leaves at 10:30
Bus Group B leaves at 11 :30
6:30 - 7:30
7:30 p.rn.
SUNDAY, AUGUST 27
FAREWELL BREAKFAST AND ANNUAL MEETING
9:30 a.rn.
SEMINARS AS CURRENTLY SCHEDULED
1. Automatic Instruments Play in the Movies of the 1930's
3. History of the Mason and Hamlin Company
2. Comparison of Popular Piano Roll Artists and Records
4. The Steinway Story
5. Presenting the Disklavier
CONVENTION HIGHLIGHTS
The Stahnke Bosendorfer at Massachusetts Institute of Technology - Demonstration/Concert
This is the first stop on a trip to Boston on Friday of the convention. The Bosendorfer 290 SE system combines the efforts of Wayne
Stahnke, a California computer designer and engineer, the Rand D resources of Kimball International, and Bosendorfer, which is totally
handcrafted in Vienna. This system perfectly recreates a performance, with all the sound, personality and sensitivity of the artist. One
of the system's first applications is at the Massachusetts Institute of Technology, where one of its uses is the archiving of master works
by various artists. The system consists of the Bosendorfer 9'6" Imperial Grand Piano, optical sensors, light emitting diode, slitted hammer
shanks, stack assembly mounted under piano, key shift solenoid, control box with three PC boards, tape recorder and edit package with
dual floppy diskettes and a CRT terminal. This system in no way alters the touch or sensitivity of the instrument. Nor does it affect mobility.
The Boston University Symphonic Organ - Concert and Tour
While in Boston on Friday, after a light supper, we will visit the location of this unique instrument. Discovered waterlogged and mute
in a millionaire's mansion, the Boston University Symphonic Organ is now restored to its former grandeur. Our tour through the instrument includes the dramatic story of its rescue and restoration, as well as roll and computer operated performance.
BANQUET ENTERTAINMENT
We welcome two musicians of international fame as pianolists. Rex Lawson and Denis Hall of London, England have presented concerts
in the U.S. and Canada as well as European countries. Rex is a professional pianolist and has a busy international concert career. He
has travelled with his pianola by plane, ship, hovercraft and even, in Venice, by gondola along the Grand Canal. In May 1988, both men
performed in Lincoln Center's Alice Tully Hall. Most recently (July 12) Rex performed at Carnegie Hall. Denis Hall has for many years
organized and performed in concerts in London's South Bank Arts Centre. They are preparing a varied program for the Banquet, the
culmin~ting event of AMICA Boston 1989, and will include music written FOR pianola in the same sense that music is written FOR
the violin, etc.
-147 -
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THE CONVENTION
CONNECTION
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On Tuesday, August 29, a chartered bus will
depart from the Burlington Marriott, arriving that
evening at the MBSI Convention Hotel, lDews
Glenpointe in Teaneck, New Jersey with a visit to
a collection along the way. Travel Agents International is the travel office handling arrangements for
the trip. If you will be attending both conventions,
you may wish to call their toll free number for
details of the travel between hotels on August 29.
Call 800-669-6151. Final arrangements cannot be
made until the number of people interested is
known.
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AMICA - MBSI
The Convention Connection
Tuesday, August 29
*******************************************************************
PUMPER POWER
Do you enjoy doing the pumping for piano rolls? Do you find it satisfying to pump expression into the music while applying
your thumbs to levers that add just the right amount of pedal or change of tempo? Then you are the person we are looking for
to be in the AMICA Boston 1989 Pumper contest. Actually, competition is not the main point; the idea is to feature an aspect
of automatic musical instruments that doesn't usually get much attention - namely that of interpreting music rolls by hand and
foot and heart.
And you need not buy the roll that every participant will play. On Thursday morning of the convention, pianos will be available
at the hotel, complete with the "William Tell Overture" roll ready to go. A few times through, and you'll be all set to demonstrate
the unique way that you interpret the music. Then interpret a roll of your choice, and that's all there is to it. Barry Kasindorf, Pumper
Contest Chairman, is looking forward to hearing from you. His address is: 8 Maymont Dr., Framingham, MA 01701.
By the way, the prizes are highly desirable-and not attainable any other way.
You may disregard the previously announced deadline. We are anxious to have additional contestants, so contact Barry and
be a part of the first Pumper Contest.
-148-
CON
J
E
V
E
0
PAR
N
T
ION
D
Y
In the manner of the popular television game show, here is a set
of answers to which there are appropriate questions.
THE ANSWERS
1.
The year the Boston Tea Party took place
2.
Of Portland, Maine; Seattle, Washington; and st.
Paul, Minnesota, the one that is farthest south
3.
The US city with the oldest pUblic subway
4.
European capitol closest in latitude to Boston,
Massachusetts
5.
Physical phenomenon ~ssociated with a window in
the 200-year old house in Concord, Massachusetts
6.
US city with the first underwater tunnel for mass
transit
7.
Of Portland, Oregon and Portland, Maine, the one
that is farther north
8.
Boundary correction required to make this map
accurate
9.
State where manufacturing was begun of Mason &
Hamlin and Chickering pianos
10.
State with the shortest coastline
NEW ENCLAND
THE QUESTIONS
1.
What is 1773?
2.
What is Portland, Maine?
3.
What is Boston?
4.
What is Rome?
5.
What is that glass is liquid?
6.
What is Boston?
7.
What is Portland, Oregon?
8.
What is that New Hampshire comes between Maine and
Massachusetts at the coast?
9.
What is Massachusetts?
10.
What is New Hampshire?
-~-
(17 miles)
AMICA BOSTON 1989 - THE HOME TOUR
Joe and Pat Lavacchia (pronounce it lah-VAH-kee-ah) live in Woburn, Massachusetts. Highlights of their collection
include a 1928 Double Mills Violano, an Ivers and Pond Telectric/brass roll 65-note player (c. 1910), a 1917 American
Fotoplayer from the Newport Theatre in Newport, NH, and a Style 146 Wurlitzer Band Organ. If you admire wicker
and other collectibles, you'll enjoy this home. You also may take in a silent movie which will have accompaniment using
the Fotoplayer.
Enjoying the Fotoplayer at the Lavacchias' home.
******~*********************************************** *************
In the town of Winchester is the large carriage house of what used to be the Pond (of Ivers and Pond) estate.
Marv and Zelda Horovitz bought the house partly remodeled to be a residence. They completed the transformation
and the unusual home is a must-visit for AMICAns. You'll see a swimming poolffish pond in the basement, Chickering
Ampico 1923 Anniversary Edition, Wurlitzer 153 Band Organ, North Tonowanda Band Organ (that was converted
from a barrel organ to play Wurlitzer 125 rolls), a Chicago Electric A roll nickelodeon and other collectibles.
Best of all, a 1920 Marr and Colton theatre organ for which there are roll mechanisms that play (1) Arburo Dance
Organ rolls; (2) Nickelodeon 0 rolls; (3) Wurlitzer 165 Band Organ rolls; and (4) 88-note player piano rolls. The visit
will include a mini-concert on the theatre organ - both automatic and live.
The Horovitz home in Winchester, Mass.
*******************************************************************
THE CONVENTION CONNECTION
When registrations are sent to the Convention Treasurer, he will respond with a confirmation material which will
include a flyer with more information about the bus tour from the Burlington Marriott to the MBSI hotel, Loew's Glenpointe in Teaneck, NJ. This will be door-to-door. All details will be handled by the official travel agency for the convention: Travel Agents International in Burlington, Massachusetts, near the convention hotel.
-150-
CONVENTION CLEARINGHOUSE
Compiled by Dorothy Bromage, March 1989
When I first devised this chart three years ago, I didn't know if it would help or not, but apparently it has, so here goes again.
There are some additions - the information was available, so why not. You'll notice that the month of June is no longer on the
calendar. As we learned in preparing for AMICA Boston 1989, June is usually out for meetings at hotels because the number
of weddings keeps them busy. School calendars tend to go well into June, also, which has the effect of excluding conventions
from that month.
Many thanks to these people who provided the up-to-date information: Liz Barnhart, Tim Needler, Jim Doheny, Sandy Libman and Tracy Tolzmann.
SOME UPCOMING CONVENTIONS
1989
J
U
L
ATOS
* Detroit *
July 3-8
1990
1992
1991
Sons of the Desert
* Clearwater * <'
July 12-15
ATOS
* San Francisco *
July 4-9
ATOS
* Valley Forge *
July 3-8
AMICA
* CLEVELAND *
July 11-15
AMICA
* New Orleans *
AMICA
(maybe So. Cal.)
MBSI
* San Francisco *
Aug. 27-Sept. 1
MBSI
* Washington, DC*
3rd Weekend in Aug.
y
A
U
G
U
S
AMICA
* Boston *
August 24-27
ATOS
* Indianapolis *
August 4-9
T
S
E
p
T
0
C
T
MBSI
* Teaneck, NJ *
Aug. 3D-Sept. 4
MBSI
* Indianapolis *
Sept. 13-16
ACS
* Anaheim/Disneyland
Sept. 28-0ct. 1
NCA
* San Diego/LA *
Oct. 11-15
AMICA
MBSI
Musical Box Society International
ATOS . . . . American Theatre Organ Society
NCA .... National Carousel Association
ACS . . . . American Carousel Association
Sons of the Desert .... Club of Laurel & Hardy buffs with conventions in even-numbered years
-151-
ATTENTION MEMBERS AND COLLECTORS
THAT REAL SPECIAL, SPECIAL ROLL
Your friends and comrades that are involved in the organization of activities, conventions and the like, need your
help in the worst way! The following. roll is needed for purchase, loan or duplication for you.
For the Cleveland Convention 1990:
AMPICO 209811 - My Ohio Home
Contact: Jim Weisenbome,
73 Nevada, Rochester Hills, Michigan 48309,
or, if you have any Ohio rolls or other versions of the above number PLEASE contact Jim A.5.AP.
*******************************************************************
HELP WANTED -
'LOST' DE LUXE ROLLS
AMICA member Charles Smith is compiling a complete Welte-Mignon catalog in a similar format to his recently published
Aeolian Duo-Art catalog. Label data on the folloWing De Luxe Welte-Mignon numbers is at this point unknown. Your help is sought
with these titles.
Y-75207
Y-75491
Y-75543
Y-75544
Y-75545
Y-75546
Y-75547
Y-75549
Y-75550
Y-75551
Y-75553
Y-75557
Y-75558
Y-75563
Y-75569
Y-75570
Roll Y-75429: "Deep Night~ assisted by King. The artist is unknown, missing from the De Luxe bulletin. Please supply if possible. Also, any De Luxe numbers Y-75572 and beyond, if such exist.
Send inquiries and information to Charles Smith, 914 Norumbega Drive, Monrovia, CA 91016.
*******************************************************************
AMICAN HONORARY MEMBER RECALLS ELLY NEY RECITAL
By Emmett M. Ford
AMICA Honorary Member, Ruth Bingaman Smith wrote
a complimentary letter relative to my sketchs of Elly Ney
printed in the July, 1986 AMICA News Bulletin.
notes with her warmth and emotion than others precisely correct but leaving us cold. She was a darling whose lovely personality swept over her audience. We loved her."
Ruth writes:
"The article on Elly Ney in the last Bulletin brought back
the memory I have of hearing her twice in New York City at
Carnegie Hall in recitals. It must have been about 1922. A
close friend, Kathleen Blair, a pianist and composer, and I
always took in everything. I can recall how Elly Ney thrilled
us. The critics printed she sometimes played wrong notes.
Kathy and I said vehmently we would have rather heard wrong
Regardless of the critics mentioning wrong notes, others
and the audiences felt her stage presence, her devotion to the
music and to those who attended the recitals. She was giving
recitals in Europe in her eighties still delighting her followers
of many previous recitals. Her bobbed heavy head of white
hair and 1920's tea gowns fascinated the audience.
-152 -
LEO, LAST OF THE LEGENDARY "LIONS'
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AMICA thankfully still has many cherished honoraries,
but Leo Ornstein represents one of the last of the prolific piano
rolls artists still among us.
St. Norbert College in DePere, Wisconsin, on the occasion of Leds 95th birthday held a festival of Ornstein music
in 1987. The concert featured the musical compositions of
Leo Ornstein. The brochure for this excellent festival was a
masterpiece of publicity for it asked the question on everyones
mind..:'What ever happened to Leo Ornstein?" The brochure
happily reported that..:'The Mystery Man of Music. is Alive
and WeiLand Still Composing in DePere, Wisconsin:'
Now in the summer of 1989, I am glad to report the same
good news...Leo is alive and well, and still composing!
It seemed to me, at the time of the Festival of Ornstein
Music in 1987, that there was another dimension to the art
of Leo Ornstein: Ornstein the concert pianist. What better way
to study his piano powers than by listening to the compact
disc of the 1920's-the supreme product of the player piano
industry-the Reproducing Piano. Why not then have another
concert at St. Norbert College so that AMICAns and Ornstein followers can hear their beloved Leo at the height of his
piano prowess?
Nothing gets the old red blood-cells to pumping for many
player piano fanatics like the possibility of a public performance
featuring a player piano Such performances allow us to gather
and share the great records left us by piano roll artists and
perhaps more importantly, help draw new supporters for the
piano roll.
Everyone seemed to pitch in to support this project.
Seventy-three phone calls later and countless help from my
fellow Chicago AMICAns who funded' the project and our
friends at St. Norbert, WE HAVE A LIFlDFF!
Please join us for this special occasion; this is a once in
a lifetime opportunity for AMICAns to meet (bring those rolls,
folks) and honor one of the true musical national treasures
of the United States.
Run, do not walk to the phone and call in your motel reservation, 494-3441, and mail me the money for general registration. Rumor has it that there will even be Ornstein T-shirts
and rolls for sale on hand. Come hear the Lion roar.
Don't believe that Leo "roared" as a keyboard artist? It
appears he gave even Grainger and Liszt a run for their money.
Two music critics of the 1910's described Leo at the keyboard
as follows:
"Yet I do bewail the murderous means of expression with
which Leo Ornstein patrols the piano. He storms its keys,
scooping chunks of slag and spouting scoriae like a vicious
volcano...I was stunned, especially after glissandi that ripped
up the keyboard and fizzed and foamed over the stage." Huneker
(Ornstein's playing gave) "the unique impression of a grand
piano frothing at the mouth:'
- unknown commentator.
-153-
ARTISTE REPRODUCING MOLLER PIPE ORGAN
By Emmett M. Ford
When construction began for the giant Fox Theatres in
1927, pianos were designed for the interiors to blend with the
furnishings and interiors to please the public.
ing to 5 and 7 and 10 p.m. on Saturday and Sunday. (2) Play
a loud march at opening. When the show is on always play .
the softer rolls as noted in No.8. (3) Change the roll every
hour. (4) When starting a roll, see that it is pulled taut and
fitted snugly across the perforated brass bar and between the
gUide levers before turning on the motor. (5) Never allow the
organ to overheat! At any time the motor chamber becomes
too warm, turn off the organ for a half hour, leaving doors
of motor chamber open. (6) Keep the rolls in the organ room
sorted and neat at all times. (7) Never move the tempo lever
to the right of the center mark. (8) Play only the rolls marked
"very soft" during the performance when all the doors from
the lobby to the main floor are open. (9) Rolls marked "soft"
may be played dUring the performance when only one door
from the lobby to the main floor is open. The "medium" and
"loud" rolls may be played at opening and any such times that
the show is not on. Important: No rolls other than those labeled "very soft" are to be played when all doors from the lobby
to the main floor are open.
When they entered the Fox in San Francisco to see a film,
they heard subdued music from the $11,000 Artiste Reproducing Moller pipe organ on the second mezzanine overlooking
the Grand Lobby.
The music was to soothe and be enjoyed by those waiting
for seats. The organ could be played manually or by paper
rolls. It was Opus 5497 and the console was 4 manual and
12 ranks with two chambers in the back of the console. (Ref.
photo P-314 of "Fox: the Last Word" by Preston J. Kaufmann.)
A contract for the purchase of the organ was signed
December 17,1928 and completion date was April 1, 1929.
The console was embellished with fancy ormolu designs and
William Fox's coat of arms. The style blended into its surroundings. There were four other theatres that had installed player
organs, the Detroit Fox, S1. Louis Fox, the San Francisco Fox
and New York Roxy.
On the console was a bronze ornament (24" x 10" x 6")
of a girl and goat, signed by S. Gory, on a specially made scarf
with William Fox's initials draped over the console.
The 864 pipes consisted of Solo-tibia clausa, Viole celeste,
Open diapason (8'), Viole D'Orchestra, Oboe, Vox Humana
and harp, the great-tuba harmonic, concert flute, open
diapason (16'), clarinet, saliconal, gamba and Chimes. At the
opening the organ was played by Erma Falvey at 6 p.m.
Fortunately, there are some excellent lp recordings
possibly of the Moller and the Wurlitzer by Everett Nourse,
Tiny James and other organists who shared the console. Excellent photographs, both color and black and white, and a
370 page text is in Preston J. Kaufmann's "Fox: the Last Word"
(1979, Showcase Publication, P.o. Box 744-C, Pasadena, CA
91104. Purchase from Vestel Press $35.00 plus postage.)
With the organ were instructions when the organ would
be played with rolls, the kind of music, instruction of using
the roll, etc. One instruction was: Organ plays from opening
to 2:30 and again from 7 to 9 on weekdays. Organ plays open-
*******************************************************************
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BOB CHERNEY
JOHNNY GREEN
As a founding member of AMICA it is always sad to
report the death of a member from any period. Founding
Member Bob Cherney passed away May 2, 1989, and he will
be remembered as a true aficionado of fine Duo-Art performances, and he had a thorough knowledge of the system. He
had a true appreciation for the golden age pianists and singers.
I remember many wonderful meetings at Bob and Roberta's
Redwood City home from the early days - 1963 up to more
recent times. Their enthusiasm and knowledge rubbed off on
both their sons, David and Danny, and their families. Bob will
be truly missed. When I was in the concert management
business, the Cherneys attended several recitals, some by roll
artists still active at the time. We will remember those joyous
days of growth in AMICA.
Bill Knorp
John W. Green composer died May 15,1989 in Beverly Hills,
CA. He had won five Academy Awards and scored three films,
"Easter Parade", "An American in Paris~ and "Oliver~ His compositions were recorded on nine Ampico rolls by such pianists·
as Adren, Edgeworth, Carroll, Milne, Kerr, Lester, Farquaar and
in collaboration with Carmen Lombardo wrote "Sail Boat in
the Moonlight" recorded for Ampico (216153) by Milne.
His compositions were recorded for Duo-Art by Milne,
Pitot and possibly other pianists.
A little research may reveal his compositions were recorded for QRS and other 88-note rolls.
-154-
Mr. Green was 80 years of age at the time of his death.
• some are pseudonyms
Emmett M. Ford
A VISIT AT BECHSTEIN
By Nicholas L. Zanow - Contributed by Robin Pratt
A stay in West Berlin, even considering the infamous
Berlin Wall locking the city in, offers a wide range of opportunities to the visitor. In addition to the inevitable sightseeing
and shopping exploits, one would certainly consider performances of the Berlin Philharmonic Orchestra, the Berlin Opera
and other cultural events. For a visiting piano technician,
however, a tour at the Bechstein factory would be an
imperative.
Tuning is done only aurally. To my question if an electronic
tuning device were used, Mr. Lemke resolutely shook his head:
None, absolutely! His firm denial, almost questioning the propriety of my inquiry, made me withhold a comment that such
devices enjoy some popularity in the States.
Tuning a grand does not yet make it ready for the
showroom. A professional pianist will have to play it for 5-6
hours to give a nod of approval or to suggest some refinement. Mrs. Tamura was the pianist we heard. The sound was
great and she visibly delighted in the experience. We knew that
this grand will next move into the showroom.
That is why my very first phone call dUring my recent visit
in this city was to the Bechstein people. The factory conducts
tours for groups of 10 or more and I was delighted when Mr.
Lemke, after learning that I came from so far away, was willing to give us a personal tour. My wife and I took off right away.
An old solid 6-story bUilding was the home of Bechstein.
The patina covered iron gate, the monumentality of the place
and the mere awareness of entering the home of a great tradition set us in a mood of reverence and expectation. Bechsteins have been the beloved instruments of many legendary
figures such as Liszt, Debussy, Brahms, Bartok, Rubinstein,
Leonard Bernstein and many others. Will my visit here, I
thought, let me understand what makes the Bechstein great?
To describe Bechstein as a factory would be a misnomer.
This is actually an atelier with only a modicum of machinery.
The skilled hands of the Bechstein craftsmen are still the prime
creator as in 1853 when the first piano was built.
It takes over one year to build a grand, the type of pianos
built in Berlin. Plates and soundboards are left to rest for years
before installation. It takes a worker two full days to fit a
pinblock onto the plate. No resin pastes, a convenient shortcut today, are used to speed up work. Sanding and finishing
the plate and case is done solely by hand. Even tapering the
ends of ribs is done by hand and chisel. An extraordinary interaction between man and matter.
And all this time I felt I was missing something and I could
not define it. Yes, it was the noise and hustle of the big place.
Here things happen almost silently. You begin to think that
this is how great instruments come into existence.
I mention showroom and this is perhaps where the piano
was to go. I doubt that much warehousing is done. Bechstein
only builds some 300 grands a year, mostly made to order.
<-
There are five model grands: 5'2", 5'11" 6'8",7'3': and 9'2':
All come with genuine ivory keyboards. At another factory
in West Germany Bechstein builds its uprights, mainly because
of the low annual volume: a total of some 1,000-1,500 pianos.
Bechsteins are built, Mr. Lemke stated, to perform without
major repairs for 100 years. A small museum room housed
an upright, No. 40, dating from 1855. It had been rebuilt but
it still contained its original pinblock untouched. throughout
the keyboard it sounded clean and beautifully. Another piano,
a grand dating from 1862, also had its original pinblock in
its original condition. It, too, sounded beautifully.
The final stop was at the showroom. To look at the
impressive array of instruments, embodying the spirit and the
tradition at Bechstein, was a memorable moment. Will we be
allowed to play a little, I thought? Of course, Mr. Lemke
inVitingly gestured.
My wife selected a seven footer and began playing a
Schubert scherzo. The music came out precise, pure and
delightful, charged with a vibrant vitality - the characteristic
Bechstein brilliancy. You cannot but sense an interaction with
the instrument - it ceases to be inert matter. Achieving this
qulity of the instrument was the passion, I thought, which
drove its makers in 1853 and which is still the underlying force
at Bechstein today.
*******************************************************************
SEARCH FOR PHOTOGRAPH OF GERMAINE SCHNITZER
By Emmett M. Ford
The music magazine, THE MUSICIAN of March, 1926 had an excellent photo of the late AMICA Honorary Member, Germaine Schnitzer. A letter (March 25, 1982) to E. F. Brooks, Jr., President of Chickering & Sons was a request for a photograph
as the firm was listed as haVing the photograph. Mr. Brook's reply indicated they had a desire to have such a photo and possibly
it was either inadvertently or purposefully discarded when Chickering & Sons relocated from Boston, Massachusetts to East Rochester,
NY. in 1929. A contract existed with Mme. Schnitzer initiated February 14, 1921 andf terminating with the last royalty payment
on January 30, 1932.
*******************************************************************
Ayatolloh Khomeini warned of the narcotic effects of music ... "music is no different from opium - both create the same effect.
If you want your country to be independent - eliminate music."
Sent in by Emmett M. Ford
-155-
Public Relations
•
51. John's Hall, St. Norbert College, De Pere, WI 54115
•
(414) 337-3020
June 13, 1989
Dear Mr. Pratt:
Some information for the June-July issue of AMICA News Bulletin that I think will be of interst to many AMICA members On Saturday, October 21 S1. Norbert College and the Chicago Chapter of AMICA will co-sponsor a unique program entitled,
"Leo Ornstein - The Ampico recording of 1916-28;' a concert of music recorded by composer Leo Ornstein dUring the peak of
his illustrious, but short-lived performing career. Mr. Ornstein is expected to be the guest of honor.
The event will take place on the S1. Norbert campus in De Pere, Wis. (near Green Bay) at 2 p.rn. It is presented as part of
the college's "A Year of the Arts at S1. Norbert College;' celebrating the re-opening of the expanded, renovated Abbott Pennings
Hall of Fine Arts.
AMICA's Chicago chapter is providing the instrument and the piano rolls.
A highlight of the program will be a finale in which Mr. Ornstein's recording of Rubenstein's Concerto No.4 will be accompanied by an orchestra made up of S1. Norbert College instrumentalists and a string section from the Green Bay Symphony Orchestra conducted by S1. Norbert music professor Gerald Mattern. More information in the next newsletter.
Cordially,
Betsy Foley, Director
Communications and Public Relations
"In full realization that in the Ampico I am leaving a permanent record of my playing, I feel impelled
to say that the Ampico is without a peer" - Leo Ornstein
MEMBERS OF AMICA AND MBSI ARE CORDIALLY INVITED
TO ATTEND A SPECIAL FALL GATHERING·
Saturday, October 21, 1989 at St. Norbert College
DePere, Wisconsin
to honor
LEO ORNSTEIN, LEGENDARY PIANIST
'Gathering to consist of a Concert with Orchestra featuring the rolls of Mr. Ornstein, three workshop presentations, and a candlelight
banquet dinner. Mr. Ornstein is to be our honored guest for the day.
R.s.VP. Jim Edwards, Chicago AMICA and Budgetel Inns
-156 -
FALL GATHERING
TENTATIVE SCHEDULE OF EVENTS
Saturday, October 21, 1989
12:00 - 1:30 Luncheon in Student Dining Hall, St. Norbert College
2:00 - 2:45 Session 1 - "A Discussion of Recent Reproducing Pianos in Concert with Orchestra and Pianola Concerts"
Presenter: Jim Edwards, President Chicago AMICA
This session is intended for both AMICAns and the general public.
This presentation will focus on how one goes about setting up such concerts, what the specific goals are for such concerts,
and will include color video tape clips of some of the most spectacular concerts which have been held over the last ten years.
Comments from the audience will be a part of the program.
PLACE: Abbot Pennings Hall of Fine Arts, St. Norbert College
ADMISSION: free
3:00-3:45 Session 2 - "Everything You Need to Know Abouf the AMPICO Reproducing Piano"
Presenter: Robert Taylor, Vice President, AMICA International
This session is intended for AMICAns and the general public.
Mr. Taylor will briefly cover the history of the reproducing piano and then acquaint the audience with specific information
about the Ampico system - how it works, what are its strengths and its weaknesses. The audience will be encouraged
to COME ON STAGE and examine the internal parts of a reproducing piano.
ADMISSION: free
4:00-5:30 - "A Concert Featuring the Leo Ornstein Ampico Recordings - 1916-28"
This gala concert will feature eight of the outstanding Ampico recordings made by Mr. Ornstein. A member of the piano
faculty at St. Norbert College will be our narrator for the evening and will proVide information about Mr. Ornstein and his
roll recording between musical selections. After intermission, St. Norbert music professor Gerald Mattern will lead an orchestra made up of St. Norbert College instrumentalists and a string section from the Green Bay Symphony Orchestra in
the first movement of the Rubenstein Piano Concerto No.4, Op. 70. The pianist will be LEO ORNSTEIN who recorded
in 1928 the piano part to this concerto! The orchestra will be a full Chamber Symphony size. At the conclusion of the concerto movement, Mr. Ornstein will be presented with a special award on stage by Chicago AMICA.
ADMISSION: $5.00
5:15-5:45 . Session 3 - "A Panel and Audience Evaluation of the Musical/Historical Importance of the Ornstein Ampico
Recordings"
Presenters: to be announced
This concluding session will perhaps be the most rewarding and interesting. Do these recordings accurately preserve the
piano art of Mr. Ornstein or are they only of historical importance? This is an important question. Come and attend the
concert and help us reach a final resolution to the question!
ADMISSION: free with concert ticket
EVENT ONLY FOR AMICAns AND HONORED GUESTS
7:00-9:00 Banquet, private dining room, St. Norbert College complete with candlelight!
Honored guests invited to this banquet will include-Mr. Leo Ornstein, his daughter and son Severo
Ornstein, and Betsy Foley, Directory of Communications .and Public Relations, St. Norbert College.
-*-*-*-*REGISTRATION FOR THE FALL GATHERING
This weekend event is not only open to AMICA and MBSI members but to the general public. If you have friends who would
like to. attend the gathering, bring them along with you.
Registration fee for Fall Gathering is $25.00. This fee includes one concert ticket and all banquet expense-taxes and tips. Please
remit this fee at once to: Jim Edwards, Chicago AMICA, 38Wl40 Hunting Trail, Batavia, Illinois 60510
Note: the best seats in the concert hall have been reserved for Gathering attendees.
-157 -
FALL GATHERING SITE INFORMATION
The scenery is spectacular in Wisconsin in October. Fall colors are out in their full splendor.
MINNESOTA
~l~l
C<'lld'R"lJ~I~~
MOTEL ARRANGEMENTS
Due to our co-sponsor, St. Norbert College, we have arranged
special rates at an almost new Budgetel Inn, in Green Bay a few
short miles from St. Norbert. The savings we have arranged at this fine motor inn will cover your Gathering
expense!
Single person in room .. . . . . . . .. special rate $28 per day
Two people in one bed
_
special rate $31 per day
Two people, two beds .. _
, special rate $32 per day
Above rates do not include tax. To get these special rates you
must mention St. Norbert College and AMICA rate at time of
booking.
In U.S. and Canada call toll·free
reservation number 1-800-428-3438.
*******************************************************************
Recording Sessions
for Welte Piano Rolls
The Chicago Public Library in its Mozart
Commemoration January 21,1956, presented the
late AMICA Honorary Member, leo Podolsky in
a program devoted to the shOWing of Professor
Podolsky's photographic slides made in and
around Salzburg. Some of the slides were sent to
him by the Mozarteum in appreciation of the work
he did to aid the reconstruction of Mozart's home
while he (Podolsky) was a guest of the Mozarteum
faculty.
By Emmett M. Ford
Edwin Welte attracted musicians to his Rhine
castle to make piano rolls and the group consisted
of a long list of important musicians of the time,
Busoni, Carreno, Paderewski, Lhevinne,
Gabrilowitsch, Hoffmann and other pianists along
with composers, Greig, Ravel, Faure, Mahler,
Granados and others. Rolls at the time were expensive to make and the Vorsetzer expensive to
maintain. Production ceased about the time of
World War I. Later the factories were destroyed
by bombs, but the rolls had been saved and later
reproduced on a series of long play dics by
Columbia.
(leo Podolsky, an Honorary Member of
AMICA, died in October of 1987.)
-158 -
News/rom
NEW YORK STATE HISTORICAL ASSOCIATION and THE FARMERS' MUSEUM
Po. Box 800, Cooperstown, New York 13326 (607)547-2533
PIPES AND PINS IN COOPERSTOWN
COOPERsmWN, NY . . . A special afternoon with historic organs on exhibit at Fenimore House and The Farmers' Museum
here will be held Sunday, September 10. The event is a part of the James Fenimore Cooper Bicentennial of Birth Celebration
being held throughout the summer.
At 2:00 p.m., a lecture-demonstration of a recently restored Howe barrel organ will be held at Fenimore House Ballroorn. Sydney
Chase of the Chase Organ Company of Worcester, NY, will present mechanical and restoration details of the early, 19th century
instrument that was purchased about 1802 by Judge William Cooper, the town's founder, for his Otsego Hall mansion here.
Built in the William Howe shop which operated in New York City from 1797 to 1805, the instrument preserves on its fiVe,
pin-studded barrels some fifty popular early American tunes. Katheryn Boardman, associate curator of The Farmers' Museum,
will present research she has compiled about the instrument, and will play a number of its tunes.
At 4:00 p.rn. in the Village Crossroads Church of The Farmers' Museum, a recital on an 1840s Giles Beach (Gloversville,
NY) tracker action organ will be presented by organist members of the Oneonta and Central New York Chapters of the American
Guild of Organists. A brief history of the Beach organ will also be presented.
A reception in the Museum's Bump Tavern Carriage Shed will follow the 4:00 p.rn. recital.
Advance registration and a $10.00 donation is required for the event. The donation includes admission to both museums
and the reception. Oneonta and Central New York Chapter, AGO members, and Organ Historical Society members will be admitted free upon presentation of a current membership card.
A 30-minute, professionally recorded cassette tape of the Howe barrel organ is available from Fenimore Book Store by mail
order for $19.95 plus $1.50 for postage and handling. New York residents add 6 percent Sales Tax.
*******************************************************************
AN OPEN LETTER OF COMMENDATION
55 Rowand Ave.,
Winnipeg, Manitoba R3J 2N6
Mary Lilien
4260 Olympiad Drive
Los Angles, CA 90043
Dear Mary,
I have just received a delightful piece of good news! I understand you have been successful in negotiating a Joint AMICA/MBSI
Convention for 1993 in Los Angeles. Wonderful !
I recall distinctly the commitment you made to the Board 2 years ago that such an event was achieveable, and expressed
complete confidence that the members of both Chapters would be supportive. We applauded you then in private. The time and
opportunity are here now to applaud you in public.
Mary, you and Ben exemplify the positive attitude, the depth of commitment, and the spirit of teamwork that all Associations
desperately need for long term survival. AMICA and MBSI are clear beneficiaries of your tireless efforts and continuing achievements
in promoting our mutual goals.
As a member of AMICA since 1971, I have good knowledge of your many successes, and exceptional contributions in furthering the aims and objectives of our avocation, coupled with positive links with noteworthy charitable organizations. That you so
often open your hearts and your home to the world deserves public commendation. In this world of "givers" and "takers", you
are undeniably one of the finest examples I know of what it means to be a "giver':
Please accept my most sincere appreciation and heartfelt thanks for your tireless, gracious, and totally unselfish efforts on
behalf of our Associations. You provoke a great sense of gratitude and admiration, which I sincerely believe is shared by many.
You are wonderful people and we are all ever so much richer for our association with you both.
To you both, a very special and very public Thank You for all you have and are doing for all of us.
.
Most sincere regards, and hope to see you in Boston in August.
Terry Smythe
International Past President
-159-
ANNOUNCING ...
The "Pumping for Pipes" Piano Roll Auction
for the benefit of the Kimball Pipe Organ Preservation Fund
On June 16, 17 and 18, at the Minneapolis Convention Center Mr. Don Barton, a member of AMICA and a member of the
Preservation Committee for the Kimball qrgan "pumped for pipes" for the thirty-six hours and thirty minutes as he attempted to
become the individual to pump an authentic, pneumatic player piano for the longest known recorded time. No one, to his knowledge,
had tried to set a record of this nature before.
During this attempt, brand new QRS player piano rolls were used and we are now offering them in an auction to members
of AMICA. By supporting the auction, members will obtain a wonderful piano roll complete with commemorative stickers of this
historic occasion but also have the knowledge that all funds raised through this auction will be used to support the preservation
of one of the finest and most magnificent pipe organs in our country.
So.Jock over the enclosed list of rolls still available...make a bid...and send yours in. We will notify winners and send them
out to you.
DO PUT IN A BID TODAY...it's for a great cause...and remember if you don't want to bid but just make a donation to help
the effort, all contributions are welcome! For further information, call (612) 348-8300 and ask for Jinx Ring.
- Auction Bid Form Use this form to bid on rolls - Tear out and mail to: PUMPING FOR PIPES AUCTION
315 E. Grant St., Minneapolis, MN 55404. Attention: Ms. Jinx Ring
NAME
_
Street & Number
_
City & State
_
Zip Code _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Telephone Number
All rolls are QRS rolls, are new, will be used only in thiS record setting attempt and will be marked with a special commemorative
sticker marking the occasion.
Item No.
Roll Title
Amount You Bid
...
If you are not bidding on rolls but would like to help preserve the 10,000 Pipe Kimball Organ and
be added to their mailing list, please check the box and include your contribution for the fund. Fill
out the name and address portion of the above sheet and send in your donation to the above address.
o
Yes, I would like to help preserve the 10,000 Pipe Kimball Organ.
ALL CHECKS EITHER FOR THE AUCTION OR TO SUPPORT THE PRESERVATION FUND
SOULD BE MADE PAYABLE TO:
The Minneapolis Organ Trust Fund
Convention Center Project
315 E. Grant Street
Minneapolis, MN 55404
-160-
LIST OF ROLLS AVAILABLE FOR BID - "PUMPING FOR PIPES" AUCTION
The • preceding a roll indicates a medley, a celebrity or classical
MINIMUM BID ON SINGLES - $6.00, Others - $8.50
(All rolls are new QRS rolls, used only for this record attempt)
No. Title
1 The Aba Daba Honeymoon
2 After the Ball
3 ·Ain't Misbehavin' (Med)
4 Ain't She Sweet
5 Ain't We Got Fun?
6 Alexander's Ragtime Band
7 All in the Family
8 Alley Cat
11 ·Amadeus (Med)
12 Amazing Grace
13 America the Beautiful
14 ·Amtrak Boogie Woogie
15 ·Andrew Sisters' Medley
17 Aquarius
18 Around the World
19 Autum in New York
20 Ave Maria
21 Baby Face
22 Baby, It's Cold Outside
23 Bad, Bad Leroy Brown
25 Basin Street Blues
26 ·Beach Boys (Med) .
27 ·Beatles Hits, (Med)
28 Beautiful Dreamer
29 Beautiful Ohio
31 Begin the Beguine
32 Behind Closed Doors
34 Bicycle Built for Two
35 ·Big Chill Medley
36 Bill Bailey
38 Blue Danube Waltz
39 Bolero
40 Boogie Woogie
41 Boogie Woogie Bugle Boy
42 A Boy Named Sue
43 Brahm's Lullaby
44 Bridge Over Troubled Water
46 Bushel and a Peck
47 Bulton Up Your Overcoat
48 By the Ught of the Silv'ry Moon
49 Bye Bye Blackbird
50 Carolina in the Morning
52 Charleston
53 Chattanooga Choo Choo
56 ·Concerto in B-Flat Minor
First Movement (Tchaikowsky)
57 ·Concerto No. 2 in C Minor
Second Movement
(Rachmaninoff)
58 The Continental
59 Copacabana
60 La Cucharacha
62 Dill Pickles Rag
63 Disney Classics
64 Dizzy Fingers
65 Do-Re-Mi
66 Does Ydur Chewing Gum
Lose Its Flavor
67 Down by the Old Mill Stream
68 Du, Du Uegst Mir 1m Berzen
69 Duelling Banjos
70 Themes from EJ.
71 Easter Parade
72 Eccentricity
73 ·Echoes From the
Metropolitan Opera House
74 Edelweiss
75 ·1812 Overture, Op. 49
76 Eighteenth Street Strut
77 ·Duke Ellington Medley
78 Elvira
80 ·Everly Brothers Rock 'n' Roll
82 •Favorite Italian Songs
83 Favorite Old·Time Waltzes
86 The 59th Street Bridge Song
87 Fig Leaf Rag
88 Five Foot Two, Eyes of Blue
90 Flight of the Bumblebee
91 ·Forty-Second Street (Part 1)
92 •Forty-Second Street (Part 2)
93 Frankie and Johnny
95 Galway Bay
96 The Gambler
99 Getting to Know You
100 Give My Regards to Broadway
102 Great Balls of Fire
103 Hallelujah Chorus
105 Happy Days are Here Again
106 Havah Nagilah
107 ·Hello Dolly (Medley)
108 Hello! Ma Baby!
109 How You Gonna Keep'em
Down on the Farm?
110 ·Hungarian Dance No.5
(Brahms)
111 I'm an Old Cowhand
112 I'm Popaye, the Sailor Man
113 I Get a Kick out of You
115 I Heard It
Through the Grapevine
116 I Just Called to Say I Love You
117 I Love a Piano
118 I Want a Girl
120 In Heaven, There is No Beer
121 In My Merry Oldsmobile
123 In the Mood
124 • Irish Songs (Medley)
125 ·Michael Jackson Medley
127 Joplin Medley No. 1
128 Kansas City
129 Kitten on The Keys
130 Lady of Spain
131 Let Me Call You Sweetheart
132 ·Statue of Liberty (Medley)
133 Life Is (Zorba's Theme)
134 Theme From Love Story
135 McNamara's Band
136 Mack the Knife
137 Maglagoena
139 Song from M·A·S·H
142 ·Memory Songs (Medley)
143 Mickey Mouse March
145 ·Glenn Miller Hits No.2
146 ·Minuet in G (Beethoven)
147 Mississippi Mud
150 Morning Has Broken
151 ·The Muppet Medley
152 ·Ann Murray Hits (Med)
153 Music Box Dancer
155 Music! Music! Music!
156 Muskrat Ramble
158 My Way
159 Never on Sunday
'50 New York, New York
161 Nine to Five
162 No SWingin' in Here
163 0 Susanna
165 Old MacDonald Had a Farm
166 The Old Piano Roll Blues
167 On a Slow Boat to China
168 On the Atcheson,
Topeka and Santa Fe
169 On the Sunny Side of the Street
170 On Top of Old Smoky
171 Peg O'My Heart
172 Piano Man
173 ·Polonaise in e-Sharp Minor
Op 26 No.1 (Chopin)
174 ·Polonaise in A-Flat, Opus 53
(Chopin)
175 ·Popular Songs of Other Days
(Medley)
176 •Porgy and Bess (Medley)
177 ·Prelude in C-Sharp Minor Op. 3
(Rachmaninoff)
178 ·Elvis Presley (Medley)
179 Pretty Baby
181 Put Another Nickel In
182 ·Put on a Happy Face
(Played by Charles Strouse)
183 Puttin On the Ritz
184 Ragtime Cowboy Joe
187 Rock Around the Clock
188 ·Rustle of Spring (Sinding)
189 SI. Louis Blues
190 Send in the Clowns
191 Sentimental Journey
192 The Shadow of Your Smile
193 She'll Be Comin' Around
the Mountain
194 Shine on Harvest Moon
195 ·Shirley Temple Medley
197 Shuffle Off to Buffalo
198 Side By Side
199 Sidewalks of New York
201 ·Frank Sinatra Medley
202 Singin' in the Bathtub
204 The Skater's Waltz
205 A Song of Joy
206 A Song of Joy (Beethoven)
-161-
207 ·Sophisticated Ladies (Part 1)
208 ·Sophisticated Ladies (Part 2)
209 The Sound of Music (Medley)
210 ·South Pacific (Part 1)
211 ·Best of Springsteen Medley
213 Star Wars (Theme)
214 Swanee (by George Gershwin)
215 Sweet Georgia Brown
217 Take the "1\' Train
218 Take This Job and Shove It
219 Tea for Two
220 Teddy Bears' Picnic
221 Shirley Temple Hits (Medley)
222 Thanks for the Memory
223 That Old Gang of Mine
224 There's No Business
Like Show Business
225 This Land Is Your Land
226 Tiger Rag
227 To All The Girls
I've Loved Before
228 Toot, Toot, Tootsie
229 Top Hat, White Tie and Tails
230 Turkey in the Straw
232 ·Unfinished Symphony NO.8
in B Minor (Schubert)
233 Wabash Cannon Ball
234 Waltzing Matilda
235 Washington Post March
236 Way Down Yonder
in New Orleans
237 We Are the World
238 When Irish Eyes Are Smiling
239 When the Red Red Robin
240 When the Saints
Come Marchin' In
241 When You're Smiling
242 When You Wish Upon A Star
243 ·Who Framed Roger Rabbit?
(Medley)
244 Who's Afraid of
the Big Bad Wolf?
245 ·William Tell Overture
248 The Yellow Rose of Texas
249 Yes! We Have No Bananas
250 You Are My Sunshine
A PIANO GIANT IS RESCUED FROM GHOSTDOM
By Harold C. Schonberg - New York Times, Sunday, June 11, 1989
Contributed by Bill Knorp
This is not a complete Godowsky; the sponsors-Appian
Publications and Recordings in England-have called it an anthology. The issue is in two CD albums, two disks to the
album. (CDAPR 7010 and 7011). The same material is also
available on two LP albums, again two disks to the album
(APR 7010 and 7011).
A.PR. had to work from masters, test pressings and borrowed copies of commercial Godowsky records. The preelectrics can be very noisy. Curiously, for some reason, the
acoustic recordings sound much better on LP than on the CD's
in this transfer. As for the electrics, both LP and CD sound
pretty much the same, though the CD's have been recorded
at a higher level. In all cases a direct comparison with the
original favors the modern transfers.
Godowsky was a giant. Listening to these records, one
had forgotten how great he was. He is at his best in the later
recordings. When electrical recordings came in, musicians were
no longer limited to a small dynamic spectrum, and
Godowsky's performances of Schumann's "Camaval~ the Grieg
Ballade, 12 Chopin Nocturnes and the B flat minor Sonata
are breathtaking in their color, elegance, suavity and, when
needed, strength.
When piano buffs get together to talk about the great
ones, the names of Hofmann, Rachmaninoff, Lhevinne, Cortot and Friedman invariably come up. Seldom is the ghost of
Leopold Godowsky (1870-1938) invoked. For that there might
be several reasons. There never was, until a short time ago,
any transfer of the Godowsky 78 r.p.rn. records to LP Another
is that even considering the generally low quality of acoustic
recordings (the electrical process did not begin until 1925),
Godowsky's playing was dismally recorded.
Now, with the APR release of four compact disks devoted
to the Godowsky acoustic recordings and the electrical ones
he made for British Columbia in 1929 and 1930, there can
be a re-evaluation. The remastered sound is much more vital
than the originals. And, as the sponsors of the release suggest, the use of hitherto unissued masters rather than those
put on the market originally provide a new perspective. For
Godowsky, that most flawless of technicians, worked and
worked on a record, anxious to have it perfect. They came
out perfect, but also somewhat vitiated. On the altemate takes
there may be a smudge or two, but the total effect is much
more spontaneous than what one experiences on the originally
issued takes.
-162 -
He was a Romantic pianist, so the emphasis in his playing is on glorious sound and leeway of rhythm, always keeping the basic meter intact. However, Godowsky does one thing
that his great colleagues of the time seldom did, and that is
touch up the music a bit. Thus in the Liszt "Liebestraum" he
adds a few notes to the cadenza, even changing the harmony.
In this literal age such a practice is condemned. But Liszt
himself would have been the last to complain at a feat carried
off so deftly and imaginatively. He let pupils he trusted do all
kinds of things to his music, as witness the piano rolls of Alfred
Reisenauer and Bernhard Stavenhagen.
Highlights in this anthology? There is the incomparable
aristocracy of the Chopin Nocturnes, the perfectly controlled
acrobatics in the Liszt "Rigoletto" paraphrase. There is the fastmoving "Carnaval;' full of personality and interesting ideas,
demonstrating a more impulsive kind of playing than is nOfmally associated with Godowsky. There is a wonderful Liszt
"Leggierezza" (touched up a bit). Sinding's "Rustle of Spring"
is made to sound like a masterpiece. There is some deadwood
in the anthology, minor pieces by negligible composers that
for some reason interested Godowsky. Why A.PR included
these instead of some much more important Godowsky
material is inexplicable. But this series is simply majestic as
it stands.
A Piano Giant is Rescued From Ghostdom continued The Godowsky disks can be ordered from Appian
Publications and Recordings, P.o. Box 1, Wark, Hexham, Northumberland NE48 3EW, England. The price for the CD
albums is $85 the pair, and for the LP's, $60. The CD and
LP albums are also available individually at $45 and $32.
APR has also published a biography, "Godowsky-the
Pianist's Pianist," by Jeremy Nicholas, with a foreword by Jorge
Bolet. The book is $60, or $55 if ordered along with a pair
of CD or LP sets.
A seven-disk LP album of music by Franz Liszt, played
by great pianists of the past on Welte Mignon rolls dating mostly from the early 1900's, raises the old question of rolls versus disks. Recorded Treasures has brought together such
giants as Ferruccio Busoni, Josef Hofmann, Eugen d'Albert,
Teresa Carreno, Josef Lhevinne, Raoul Pugno, Bernhard
Stavenhagen, Alfred Reisenauer, Emil Sauer, Vladimir de
Pachmann, Ignaz Paderewski and others. These are available
from Recorded Treasures, Box 1278, Studio City, California
91604, for $95.
was recorded on an LP disk at an insane speed.
Nor could Welte Mignon, or even the more sophisticated
mechanisms later developed, handle dynamic subtleties. There
is a famous story attributed variously to Stravinsky or
Schnabel in which Aeolian asks Stravinsky (or Schnabel) to
make rolls. "We have seven degrees of expression," the company boasts. Back comes a telegram: "Sorry. I have eighe
..
It is true that modern transfers of rolls to LP have a certain superficial glitter. The best of them have been recorded
with the most modern electronic equipment on well regulated
concert grands with the player mechanisms in good shape.
Thus the sound is state of the art, without a background of
surface noise, while the sound of pre-electric piano disks of
the past can be dim and noisy. But there are those, this writer
among them, who claim that the oldest, noisiest, dimmest disk
gives a truer idea of what the pianist was about than the more
impressive-sounding piano rolls. If nothing else, it was impossible to tamper with a 78 r.p.m. disk.
The considerable Busoni contribution to this collection
is also separately available on a compact disk. He plays such
things as the E major Polonaise, the "Norma," "Don Juan" and
"Rigolettd' paraphrases and some smaller pieces. These are
historically important, as are the performances of those two
Liszt pupils, Reisenauer and Stavenhagen, neither of whom
ever made a disk.
Having said all this, it nevertheless has to be admitted
that certain piano rolls, if only for textual reasons, are of
unusual musical interest. Take the Liszt 12th Rhapsody played
by Stavenhagen. The original roll states: "As played by Franz
LiszC Shortly after the opening, Stavenhagen dives into a
grand, splashy cadenza that appears in no printed score.
Stavenhagen makes other changes, some of them significant,
in the music, as does Reisenauer in the 10th Rhapsody.
Of all the pianists here, Busoni comes off the strongest
- the one with the most individual profile, the most incredible fingers, the one who above all has a towering personality.
If he could really play with the accuracy and unbelievable
technique he displays in "Norma" and "Rigoletto," he fully lives
up to his reputation. Certainly the few disks he made in the
1920's do not give a comparable idea of his strength. But the
question arises: could he really play like this?
Now, these two were among Liszt's most respected pupils,
and presumably they had some kind of sanction for this
wholesale kind of alteration. We know that Liszt was notably
tolerant about his music when he trusted an artist. He let his
beloved Hans von Bulow, for instance, replace the ending of
the 12th Rhapsody with the ending of the 6th at public
concerts.
It is a legitimate question, because piano rolls could be
doctored almost as much as magnetic tape these days.
Technical errors could be cleaned up and a shining, perfect
performance released. But the Welte process (and also the improvements made by later companies) could not reproduce
much in the way of dynamics and pedaling. Rhythms tend
to be tight and inflexible. Tempos are not to be trusted, because
the player piano had a speed regulation device that could hurry
up things considerably, and not too long ago a Josef Lhevinne
performance of Chopin's A flat Polonaise from a piano roll
Of course any pianist today who tried such shenanigans
would be pillOried. But there is a reason behind everything that
Stavenhagen and Reisenauer do. In the process they make the
music terribly exciting; and they also appear (on the evidence
here) to have been brilliant pianists with an extraordinary flair
for Lisztian pyrotechnics - if (again comes the nagging question) the rolls really give an idea of their powers. One thing
we do leam from these rolls, and that is the disparity between
the printed note and what those two Liszt pupils actually play.
Could Liszt have taught it to them this way? Probably. Make
of it what you will.
*******************************************************************
A BIT OF WIT (Actually fact)
Sent in By Dick Birner
A very good customer of mine has an old all original player that still plays reasonably well. This gentleman is a prominent doctor
that I know quite well and has a humorous nature.
He called and said: "Dick, my piano is sick and needs a doctor~
My, reply was: "Sir, I'm sorry I don't make house calls anymore. Just give the patient two asprins and in the morning bring
the patient in:'
A lull came on the other end of the line. It seemed like minutes and then my ear drum was almost ruptured with laughter.
Of course I made the service call at his home and put life back into his old player.
-163-
REV. VICTOR I. ZUCK,
ELECTRONIC ORGAN PIONEER MAN OF THE CLOTH
By Emmett M. Ford
accepted an exclusive license agreement in 1934. Zuck and /
Haschke left Hagerstown to oversee the manufacturing of the
instrument. The first production model was used in the 250th .
anniversary of Johann Sebastian Bach's birth with about 4,000
people attending the world premier of the Everett "Orgatron"
in the auditorium in Milwaukee, Wisconsin.
Hoschke's death was August of 1936 (age 60), leaving
Zuck to continue their work. At Hoschke's funeral in New York
City, Zuck met his future wife, the former Nathalie Peterson.
The marriage was celebrated by their 52nd wedding anniversary in 1989 with their daughter and two grandsons.
Zuck received 13 patents on the electronic organ·but WW
2 created a ban on the production of musical instruments so
wooden caskets and parts for cargo gliders could be made
of plywood. Zuck was appointed to oversee the production
of parts for gliders used in the war to ferry troops to parachute
into combat areas.
AMICA Honorary, Victor I. Zuck reached the age of 81
January, 1989, recalling his fame and fortune in helping to
develop the world's first electronic organs. His childhood
dreams, first was in the pipe organ business and second to
pursue a career in the ministry. The latter didn't occur until
the age past retirement to receive a master of sacred literature
degree in 1982 and a doctor of ministry degree in Trinity
Theological Seminary in Newburgh, Indiana in 1984.
Fifty-three years ago he had left Hagerstown. It was there
in the Irvin Avenue house working with the late Frederic A.
Hoschke to develop the electronic organ. In the basement of
Haschke's house the experimental work with electro-acoustic
inventions were developed for the pioneering musical instrument. Both Zuck and Hoschke were employees of the M.P.
Moller Pipe Organ works on North Prospect Street in
Hagerstown. Zuck had joined Moller at the age of sixteen
(1924) to serve as an apprentice to learn the bUilding and installation of organs throughout the U.S. and Canada. His
mother played the old·fashioned reed organ at church services
in the Calvary Brethren Church. Zuck never learned to professionally play the instrumeht but was more interested how
the intricate instrument worked. In 1926 he assumed the position as musical director for Moller. He and Hoschke in the
1920s designed and built the "Artiste", the automatic attachment for playing the organ with rolls which reproduced an
organist's playing preserving every nuance and individuality.
Renowned organists of international reputations came to
Hagerstown to record their favorite compositions as well as
orchestral transcriptions.
In the 1930s the two men were experimenting in
Hoschke's basement with electro·acoustic inventions. Thus the
world's second commercially successful electronic organ was
to be introduced to the public. Moller passed on the production of the pipeless organ since they were the builder of pipe
organs, giving the reason they didn't want to be involved in
any electronic manufacturing.
When the war ended Zuck went to New York City to be
general manager and technical coordinator for the organ division of the Rudolph Wurlitzer Co. from 1945 to 1953.
Wurlitzer purchased the exclusive rights from Everett to
manufacture the "Orgatron:' Wurlitzer changed the name to
Wurlitzer Organ and ten thousand were built and sold, the
last one now in Zuck's family room. While he was with
Wurlitzer he designed an organ for the Upper Grotto of the
crypt of St. Peter's Basilica at Vatican City.
When the 17-yearpatent expired on the tone-producing
system in the "Orgatron" (1953) Zuck left Wurlitzer to start
his own company in Pittsburgh. For twenty years the Victor
I. Zuck Pipe Organ Co. built new pipe organs and rebuilt others.
He retired from the pipe organ business in 1973.
J
At this time Zuck was sales representative for M.P. Moller
in western New York, eastern Ohio, northern West Virginia
and western Pennsylvania. Zuck still visits the Moller factory
and recommends the Moller pipe organ.
Zuck began to fulfill his second childhood dream and
began studying for the ministry at Trinity School for the
Ministry and the Pittsburgh Pastoral Institute. In 1975 he was
ordained deacon in the Episcopal Church and a year later ordained to the priesthood,receiving the appointment as priest
in charge of St. Luke's Episcopal Church at Georgetown, Pennsylvania. In 1982 Zuck received a master of sacred literature
degree and a doctor of ministry degree at the Trinity
Theological Seminary in Newburgh, Indiana in 1984. Later
joining the staff at St. Paul's Episcopal Church at Mt. Leganon,
Pennsylvania, where he remained as the priest in residence
until September of 1989 when he moved back to his native
town of Hagerstown. Now currently as associate for pastoral
care for St. John's Parish on S. Prospect Street and a consultant to the U.S. Military Academy at West Point, New York
in the proposed changes in the pipe organ, the largest church
.
organ and the third largest in the world.
Dr. Zuck is quite active and comments, "at age 81, I don't
feel much different than I did at 55~
.../
He now resides at 30 Mealey Parkway in Hagerstown,
Maryland 21740.
(Photo courtesy of Richard T. Meagher)
The Everett Piano Company of South Haven, Michigan,
-164-
MISUNDERSTOOD PARTS
The Duo-Art Cross Valve
By Richard Geddes
A favorite among misunderstood parts is the cross valve,
simple and ingenious. The temptation to replace them with
round hole plates should be avoided, and here's why.
What happens when the tracker bar hole opens...air
rushes in and the pouch inflates because more air rushes in
under the pouch than can be sucked out again through the
bleed. The pouch pushes up on the wooden mushroom at the
bottom of the valve stem. There is resistance because there
is atmospheric pressure holding the bottom valve seat down
on its plate, and vacuum underneath the plate. Remember that
it is the same vacuum which is pulling upwards on the pouch
which gets it to inflate when the tracker bar opened. Also it
is the same vacuum which is sucked through the bleed in
hopes of keeping the pouch un-inflated. So the pouch is now
inflating and pressing upwards on the valve stem against the
resistance of the seated lower valve. When that seat tears itself
loose from being a good seal, air rushes around the edge of
that seat and suddenly there is a sharp reduction in that
resistance, and the valve moves heavenward through part of
its tiny travel.
Unfortunately, during this travel both valves are open, both
the top valve which will in a moment seal off the entry of room
atmosphere, and the bottom valve which has just torn open
to connect the note pneumatic to the stack. Room air therefore
rushes around the edge of the top valve and then around the
edge of the bottom valve, causing an unproductive waste of
stack vacuum. This is unavoidable in the valve design. The
trick is to keep the valve travel short so that this leak doesn't
last long. Unfortunately again, as the valve facings shrink with
age, they shrink in opposite directions so that the increase in
valve travel is doubled. Moving onward...as the valve reaches
its top position and presses the top valve closed, there is a
sudden increase in resistance because there is room atmosphere pressing downwards on the top surface of the top
valve everywhere that that leather facing is exposed. Now in
order for the top valve to seat, the pouch must be larger than
the exposed part of the top valve face so that the pouch can
.overpower that top seat.
Now you must see that since the valve travel is so small,
the valves don't really open up a hole, but rather a crack with
a long edge. A round valve plate opens up an edge whose
length is the circumference of the circle. That is the shortest
~
edge length you could get with the greatest possible exposed
valve seat area. It therefore offers the greatest possible
resistance to the pouch for that amount of edge length and
is the worst possible choice ~f shapes. It is easily manufactured though. Any shape at all would give a better edge to
area ratio than a circle. A star shape would be great, but would
be hard on the tool and die people. The "X" shape however,
lends itself very well to the machine shop, has plenty of edge
length for not so much exposed top area, and plenty of air
may pass through the crack when that valve cracks open 1/32
of an inch. Brilliant huh?
There's more. With this reduction in seating resistance,
it is possible to make the pouches smaller, the bleeds smaller,
the valves smaller (and lighter), and you might be tempted to
dispense with the whole row of primary valves. If this keeps
up you might consider going to the moon! Now haVing made
these design modifications, you can see that it would be
disastrous or at least unfortunate and depressing to have some
misinformed restorer come along sixty years later and complain that there is an "X" shaped impression in the antique
leather valve facings and that the valve seats should be replaced with round ones. Upsetting the "golden proportion" gained
by the cross valves would result in a weaker seating of the
now-too-powerful top valves and you might have to face a terrible fact.
The test roll, you know the part that says "Dumb, dumbdumb-dumb-dumb" also causes the valves to say "Pss, fssfss-fss-fss" etc. and know that there's nothing you can do about
it. Then you would have to face the terrible fact that your otherwise superb rebuilding job feels bad in the foot pumping
department and you KNOW that nothing else leaks. Of course
it will feel better than it did before rebuilding, but when you
hear those top valves hiss, you'll have your dirty little secret
and it will feel so bad. And worse still if it is the only thing
that prevented your having one of those thrilling "tight-as-adrum" players. These players are so useful we often forget that
they're antiques. When in doubt, copy what's there, don't innovate in an antique. The designers had more experience than
you have.
-165-
ON THE SUBJECT OF INTENSITY SETTINGS
By John R. Grant
Many, many technical articles in the past have attempted to address reproducing mechanisms' intensity regulation
in terms of absolute and consistent (though arbitrary) vacuum
values. While I find nothing particularly "wrong" with Yousuf
Wilson's analysis in the May/June 1989 Bulletin, it shares a
common shortsightedness with similar discussions in the past:
Why is it that no one seems to consider the PIANO action
and regulation as being at least as important, if not the most
important variable in the "art" of reproducing piano fidelity?
It's as if folks think that reproducing mechanisms operate in
a VACUUM (you should pardon the EXPRESSION [ditto]).
Now, I will tell you right up front that I am not a piano technician, although I have maintained an associate membership in
the Piano Technicians Guild (PTG) for many years. The
amount I don't know about piano actions would fill a large
library. In this time, however, I have come to the realization
that every piano has its own distinct personality and response
to the physical and environmental forces to which it is subjected. Any travelling concert artist (who uses the house piano)
will verify that this is indeed the case. Also, ask a sensitive
artist to rate five different pianos for you, and you will probably get six opinions. It is a wonder that we get any repeatibility at all with a given piandreproducer playing a given roll, much
less repeatibility among several pianos. That was the goal of
the manufacturers, of course, but they must have soon realized there was no way to achieve absolute and consistent fidelity,
and so chose to present the scant adjustment information they
did in terms that made it appear that uniformity and fidelity
were the automatic results of using the given vacuum settings.
As the man said (I forget which one), "Folks, this is only the
beginning~ The instruction needed to achieve absolute fidelity in a given piandreproducer COMBINATION (emphasis added) would have been so detailed, parochial, and voluminous
as to completely overwhelm the average piano technician who
(typically) would have only a limited knowledge and appreciation of pneumatic technology.
A piano which will be used with a reproducing mechanism
places a much stronger burden of performance on the piano
technician than one which will only be hand played. The
technician must have a thorough understanding of the frictional forces at work within the piano action, and strive to
make them as absolutely consistent as possible. A live artist,
after a few moments at the keyboard can recognize, perhaps
unconsciously, minute frictional differences from note to note,
and can compensate, again perhaps unconsciously, by striking notes with greater frictional values with slightly more force
to achieve evenness of intensity. The reproducing mechanism,
while wondrous in its own way, is not nearly so smart.
Moreover, such other variables as hammer firmness and
uneven soundboard response work to make consistency even
more elusive. To require all Ampicds to work between 5" and
28" of water is equivalent to requiring all Americans to wear
size 7B shoes; the requirements of the personality are ignored.
This is why "averaging" the settings of a large number of
mechanisms (with the implication that all should be reset to
this averaged value) is not only unnecessary, it is potentially
dangerous and could cause many fine sounding instruments
to lose their aural identities.
ol-
To my way of thinking, there is only one test ot'the proper adjustment of reproducing piano intensity settings: If it
sounds right, it probably is. And if you think that sounds sub-·
jective, you're absolutely right. I rebuilt a Duo-Art mechanism
(happened to be in a Steinway) that played the piano so loudly in its small room setting that I had to a) put a SMALLER
pulley on the motor, and b) reduce the distances the accordion pneumatics collapsed by about 40 percent. By the same
token, I rebuilt another Duo-Art (happened to be in a smaller
Weber) which, due to the relative softness of hammer felt
(chosen by the piano rebuilder), the regulation of the action
to a rather "heavy" touch, and that the piano was going to
be used in a large concert hall for a special Gershwin program,
made it necessary to a) put a larger pulley on the motor, and
b) hang lead weights from the theme and accompaniment
regulator boards, effectively increasing the tension of the
regulator springs when their maximum practical settings still
didn't give enough "punch~ How I avoided breaking hammer
shanks I1l never know. The vacuum developed during "crash"
was in the 90" - 95" range. Adjustment of either of these
mechanisms to "book specs" would have resulted in unconvincing performances. I do feel, however, that the Duo-Art test
procedure has the best chance of minimizing piano-to-piano
differences. But before you ever put the test roll on, take time
to UNDERSTAND and make the regulator spring adjustments.
Realize that the tension of the regulator springs determines
the MAXIMUM playing intensity of the mechanism. This is
why the Duo-Art manual instruction to "have a little tension
on [the regulator springs1when the pneumatic is wide open,
just enough to keep them from rattling~ is of little help, especially considering what the Weber in the above example needed.
It might be helpful to choose a musical passage (such as the
end of the Paderewski performance of Liszt's Hungarian Rhapsody No.2, Duo-Art roll number 6568) that you can either
play or have played for you as loudly as possible by hand.
Then using the roll and BEFORE setting the zero level, adjust the regulator springs to achieve an eqUivalent performance.
Once you are happy with this adjustment, proceed with the
test roll.
The zero adjustment sections of the test roll are, I believe,
quite optimistic. If I really get the accompaniment zero setting down to the point where the notes are the lightest feather
strikes, the mechanism will almost always drop light notes
when playing a "real" roll. So you might as well set it a little
higher to begin with. From now on out, resist the easy temptation to adjust the regulator springs (instead of the zero settings) to make seasonal adjustments, otherwise you will be
"uncalibrating" the maximum playing intensity you set
previously. The "Play-Don't Play" tests are somewhat useful
in determining raw accordion pneumatic settings, but to my
way of thinking, the most important, useful, and telling test
on the roll is the series of five repeated chords for both accompaniment and theme. If your ear tells you that the intensity of these chords builds up evenly from soft to maximum,
then the mechanism is probably adjusted correctly. If you do
not get even bUild-up here, then you must adjust the collapsing distance of individual accordion pneumatics to compensate in the direction needed to achieve evenness. I won't even
mention the complication of the spill valve position/adjustment
on all of this. Don't plan on being home for supper.
-166-
On the Subject of Intensity Settings continued Notice I have made no reference to any specific vacuum
level reading during this adjustment procedure. The vacuum
levels will come out to be what they will be when you are
satisfied with the mechanism's performance. Don't let the tail
wag the dog.
In the Ampico A mechanism, I almost never have need
to use the test roll. Apart from adjusting the pump spill value
for maximum believable intensity and the crescendo pneumatic
springs such that no notes drop (in a "real" roll), there is little
you can do. Since the crescendo speeds are governed by fixed orifices (except in the earlier "Stoddard" design and perhaps
some early true A's) which you will Wisely not attempt to
change, the crescendo "time" tests are actually additional roll
tempo tests: i.e., if the time separation of the two chords matches the crescendo collapse time, your tempo is calibrated at
60. Strictly speaking, since the crescendos are timed devices,
they can be "tested" using only a stop watch, observation, and
manual opening/closing of the appropriate tracker bar tubes.
The test roll is of no use at all in this instance, and in fact
may give confusing results if the tempo is incorrectly calibrated.
It is more important that you should adjust the tempo to match
the crescendo collapse characteristic, not adjust the crescendo to match the time-distance of the two chords on the test
roll. (See tail/wag/dog discussion.)
If the A test roll had a chord bUild-up test (similar to the
Duo-Art test), and you were not getting an even build-up of
intensities, the only way you could make any intermediate intensity adjustments would be to vary the width of cloth on
the three square intensity pneumatics, i.e., less slack in the cloth
gives more force to the pneumatic. I trust you know why this
is so, since a discussion of the physics involved is beyond the
scope of this discussion (and my ability to explain it.) And
you thought adjusting the Duo-Art's accordion pneumatics
took a long time! In the Ampico B where you have only orifice
sizes to work with in adjusting intermediate intensities, making "cut and try" changes seems even less advisable.
The bottom line: Treat every reproducing piano with the
individual attention it requires (and deserves). Do not deceive
yourself that some arbitrary vacuum values, even if they are
put forth by the manufacturer as THE specifications, are going to guarantee that the piano will perform with the fidelity
of which it is ultimately capable.
As usual, there are few absolutes in this business, and
the foregoing is my personal opinion. Dissenting viewpoints
are always welcome.
*******************************************************************
GREAT IMPROVEMENT IN AMPICO PUMPS
Regarding your new "TIPS" section, this isn't a 15 minute
fiX, but a great improvement in Ampico pumps.
The thump in an Ampico pump is caused by a sympathetic reaction in a crank rod to any form of imbalance while
running. This can be geometric, as in the case of loose hinges
or out of align crank rods, or pneumatic, such as an inside
flap leaking more than the other three. The stress created on
the rod which will eventually begin to thump both compresses
the felt bushings and stretches the maple holes into an oval
shape. Rebushing the oval hole doesn't help, ultimately,
because after realigning everything in the pump or tightening
the slow sealing inside flap, the eccentricity of the stressed
crank rod will now continue the problem.
The solution, once the pump's integrity is ascertained, is
to make new rods out of delignite pin plank plywood. This
By Craig Brougher
wood is so much harder and better cured than maple it will
not likely deform. The felt bushings I prefer is American Piano
Cds No. 33892 or Schaffs No. 302. These are glued in with
hot hide glue. Lubrication should be long-fiber axle grease
thickened with powdered graphite to a paste.
The dimensions of the rod should also be modified. Increase the thickness of the rod 1/8" and be sure the slot allows
no side play for the wedges. Laminations should be across
the bearing holes, so that when looking at the installed rod,
only the top ply is seen. When glUing the felt bushings, a drill
1/64" smaller than the bearing pins is used as a press through
the bushing while drying.
Alignment of the holes in the rod is critical. Use a fixture
that assures good alignment and spacing, or your troubles are
just beginning!
*******************************************************************
-TECH TIPSI
~~~~~
•
II
----
------
TECH TIPS By John R. Grant - TECH TIP NO. 1 To remove a brass nipple which has been glued tight into a wooden board without deforming it, first select and insert the shank
end of a drill bit with a diameter that just fits the inside diameter of the nipple. Wrap the nipple with several layers of scrap packing
leather and use pliers to twist it out of the wood. If a corroded nipple breaks off at the surface, it can frequently be removed using
standard left-hand spiral screw extractors.
TECH TIP NO. 2 - To help remove old pneumatic cloth, wet the surface of the cloth with a solution of wallpaper remover. I
use "Metylan" brand (probably available at any wallpaper store worth its salt.) It comes in concentrated form (a 6 oz. bottle makes
four gallons of solution!) and is very inexpensive. Let the item set for 5-10 minutes before pealing the old cloth. Some experimentation will give the proper time for each situation. Careful, if you forget to peal and let it dry, the old glue will become even more tenacious.
-167 -
ROLL CABINETS FROM OLD 1:\1. CABINETS
By Dick Bimer
/
What can you do with an old TV that is past economical
repair but the case is in perfect condition? Recycle it into a
cabinet for piano rolls or what-ever.
is the cut off line to remove the back edge so as to set the •
depth. I used a radial power saw guided with a straight edge
clamped to the side being cut. Put masking tape on the good
side of the cut to prevent marring the surface with the saw.
A recycled TV cabinet that I just completed is shown in
the photo. It holds 84 regular rolls. The shelves could be spaced for larger rolls such as Ampico or a half and half
combination.
6. After this is cut off, salvage the back frame members
that were cut off and reglue them 1/4" in from the new back
edge of the cabinet.
Any type of doors could be put on; leaded glass as shown,
solid or sliding but personally the leaded glass doors make
the cabinet.
7. From here on is new construction. I used 3/16"
mahogany plywood. 1/4" plywood or masonite could be used. Line the two inside sides and bottom with the plywood.
Spacer blocks will have to be added to keep the surface of
the plywood flush with the front frame members. It will take
about a 4' x 8' sheet of plywood so plan your pieces before
cutting.
Following is a general outline for converting a TV to a
roll cabinet.
1. Select a good TV cabinet-one that has good wood
sides and a good finish.
8. Make and install the shelves. I won't go into detail as
this should be straight forward for anyone that has got to this
point on modifying the original cabinet. Finish them before
installing.
2. Study what has to be removed on the inside. Then
determine the sequence of removal and how to remove each
piece.
9. Cut a piece of plywood for the back so as to fit into
the 1/4" recess. Finish the inside surface before installing.
3. Remove all screws that hold the parts to be removed.
4. With a sharp 1" to 1 1/2" wood chisel, tap it into the
glue joint to break it loose. You will find that most joints will
separate with little or no wood splinters.
10. Next, decide what style of doors will be used. The
frames should be made from poplar as most of the cabinet,
frames are made from poplar.
5. This step has to be done with care. Measure and mark
14" back from the inside of the front side frame upright. This
will set the depth of the cabinet so the ends of the roll box
will be near the front. Measure the distance from this mark
to the back edge of the cabinet (will be about 3"). Now on
the outside of the cabinet, mark a line at this distance (about
3") from the back around the four sides of the cabinet. This
11. The final operation is staining. Some experimenting
on scrap pieces may be necessary so to get a good color match
to the original finish.
Good luck. I would like to hear from anyone that has questions or has completed a recycled TV cabinet.
.--
News from the Chapters
PHILADELPHIA AREA
CHAPTER
Reporter: Robert wylor
Here is a whole year's meetings of the Philadelphia Area
Chapter in one report. That is what happens with a substitute
reporter who is a procrastinator and no firm deadline. Such good
intentions!
This past year has been an active one for our chapter with
both longtime members and new members attending meetings
in both familiar and new locations. While we were not overwhelmed with candidates for officer positions (the former officers all
continued to serve by acclamation) we are pleased to have over
30 active memberships.
The fall season was opened in October by Chapter President Paul Dietz when he and his wife, Hedy, opened their home
to us. Since Paul's retirement from a regular job several years ago,
he has continued his active involvement with rebuilding player
pianos and has introduced many of his customers and friends
to AMICA. It is great to have a member like Paul who always
has a technical tip to share with us or an idea to enliven our
meetings.
/
Paul Dietz shows us how to make new boxes with a steel rule
die. Clark Cressman looks on in amazement. Want an order for
1O,OOO?
Because this was a meeting featuring foot pump pianos, Bob
Taylor brought along three new rag rolls that are available from
Keystone Music Roll Company. The artist that hand-played them
is Don Kawash who is known to AM[CANs who attended the
1979 convention in Philadelphia because Don and his partner
Karen performed a revue after the Saturday night banquet. Several
took their tum at pumping these rolls and adding their own little
touches to them. Great fun!
Frank Diamond uses his feet, Bob wylor watches, and Paul Dietz
tells how it was done.
The Dietz collection consists of foot pump pianos that Paul
has specialized in. Nothing so unusual there. What is unusual
about Paul and Hedy's collection is that they have both a foot
pump Ampico and a foot pump Duo-Art. [t is absolutely
fascinating to pump your favorite reproducing roll-talk about participation in a performance! If anybody ever gives you an opportunity to try to pump a reproducing piano be sure to take them
up on it.
/
Bob Taylor shows off the master roll of Rialto Ripples. A new
Keystone roll.
Never to be left out was the ever popular buffet. What started
out a few years ago as light refreshments has turned into a major banquet. Most members brought a specialty and these added
to Hedy Dietz' multitudinous dishes, we were faced with all parts
of delicious surprises - salads, meat, vegetables, and a great array of desserts. Nobody should have gone away hungry as there
was enough for the entire chapter to bring a guest or two.
Delicious! Many thanks to Paul and Hedy Dietz for a delightful
opening to the new year ~f meetings.
[n the "technical tips" part of the meeting Paul showed us
how he makes NEW boxes for rolls when the old ones have been
lost or damaged beyond repair. As you can see from the accom. panying photos, Paul has a steel rule die that cuts the outline of
the box bottom and lid (he taps the paper board with a nylon
head hammer to cut the profile). Then the box is formed up, corners taped, and exterior paper covering applied. Two die are needed to make one box: one for the bottom and one for the lid. A
fascinating demonstration Paul, and now when do you want that
order for 10,000 boxes?
-169-
Philadelphia Area Chapter continued -
in public places (bars?) that had a separate screen that projects
the words to the songs (with graphics in some cases) as the piano
plays; the Pollitt's have one much to our delight!
Bob Lopez sings while Richard Wagner pumps one of Paul Dietz'
pianos.
The Christmas Party at Duncan and Joan Pollitt's home has
quickly become a tradition with the Philadelphia Chapter. Getting together for enjoyment of the Steinway Duo-Art, the Steinway pianocorder, hand playing accompanied by harmonica and
voice, and a pre-Christmas feast made this a memorable gathering (as usual). In a time of the year that is usually too full of things
to do, it was a pleasure to have a relaxed afternoon together.
/'
Hedy Dietz, Sharon Buckholz and Diane Wagner in the Christmas
spirit.
,
,/
Duncan Pollitt and Wilbur Smith discuss the finer points of the
Duo-Art.
Our annual Christmas caroling - led by hosts Duncan and Joan
Pollitt with Bob Lopez on the harmonica and Sam Samuelian
helping sing along.
Among the new members of the Philadelphia Area Chapter
is Bob Lopez, and as you can see from photos in this (and
previous chapter reports), Bob enjoys singing with great enthusiasm. This year we have come to learn of his talent with the
harmonica. As you can see our song-fest even had a microphone.
Having Duncan and Joan's friends and family join in to help
make us comfortable, help prepare the wide variety of delicious
food, help prOVide the hand played music, and just enjoy good
conversation made this a most enjoyable occasion. The chance
to once again sing a variety of Christmas carols helped make this
a special time for us.
The wonderful Steinway Duo-Art was played by nearly every
AMICAn - to the great enjoyment of all. Those of us that have
smaller pianos do love the sound of a larger piano and the Pollitt's
OR Steinway is a delight to hear; now if only WE could find one
in a garage sale! A good installation of a pianocorder can also
provide a remarkable listening (and visual) experience. Why visual?
Because there were a few special pianocorder kits made for use
Frank Diamond and Lee Werkheiser.
A most enjoyable and relaxing afternoon was had by all the
guests. let's hope that Joan and Duncan will have us back again.
Our spring meeting in mid-April was at the home of new
members Diane and Richard Wagner. They purchased their foot
pumper piano from Paul Dietz and are just beginning to get the
"bug" that the rest of us have for player pianos. We had decided
to have a small mart to exchange items within the chapter. As
is our custom the hosts get first choice and Richard bought like
a champ. It was great fun to play the rolls before purchasing.
As usual there was a feast for us. Diane had to leave to be
taxi service for their children. We ate, played the piano, chatted,
had a short business meeting, discussed plans for the annual
meeting, made plans for the fall, and generally had a good time.
I.
:-r
Philadelphia Area Chapter continued The final meeting of the year was in May at Keystone Music
Roll Company in Bethlehem, PA. Richard Gromand and Bob
Taylor had agreed to open it for us again on a Saturday. To be
able to wander the aisles, pick out rolls that you didn't have, play
them to be sure the selection was to taste, all with refreshments
in hand was a real treat. We were also pleased to see long-time
Lady Liberty Chapter members Mary and Adam Lejowski who
came for a drive in the country that day. The open house started
at 11 am. and continued until 3 p.m., a nice leisurely search yielded
a treasure for nearly everybody.
Have a good summer and we'll see you in the fall.
Paul Dietz pumps while Bob Rosencrans, Hedy Dietz, Ken
Buckholz sing along. Richard Wagner looks at rolls he is about
to purchase.
FOUNDING CHAPTER
(Northern California)
Welcoming new members and then having them open their
home to us is most generous. We all tend to forget how we started
as AMICANs - a handful of rolls that we're SO proud of and
a piano that we played and played until it nearly collapsed. Thanks
to the Wagners for a great spring day in the country.
Reporter: Nadine Motto-Ros
Martin Lilley was host of our April 23 meeting at his Fremont, California, home. A special treat was a video-tape of Frank
Holland's British Piano Museum shown on Martin's giant-size
screen. Those of you who attended the AMICA Convention in
San Francisco last summer had an opportunity to meet Mr.
Holland. In addition to the video, Martin, a fellow Englishman,
telephoned Mr. Holland in England.
.
/
Richard Wagner and Ken Buckholz are eating, looking at all the
Keystone Ampico rolls. What a selection!
Martin talking with Frank Holland in England.
Oh yes, it's midnight in England.
Martin's collection includes three Duo-Arts, one art case
Chickering Ampico, a Hupfeld Vorsetzer and two electronic
organs. His Ludwig Recordo is fitted with a self-designed piano·
corder type of cassette player. He has plans to add a large wing
to the rear of his home for a future -pipe organ. This may be an
organ he has looked at in England. Yes, one very large container
to get it here.
Lee Werkheiser, Bart Ott, Paul Dietz, and Ken Buckholz listen
to Adam Lojewski tell them how HE engineered it!
-171-
Richard Reutlinger, Bill Wherry, Roy Powlan, Wes Cavet.
Founding Chapter (Northern California) continued folks, we lucked out this time. No, we didn't have pheasant under
glass or pate de fooey grass, but we did have a nice selection
of finger foods, dips, salads, and a good selection of drinks, leaded
and un-leaded, hot or cold, red or white, clean or (never mind).
Enough on the food.
John and Nadine are restoring the house to a semblance of .
it's original state. Lately, though a rumor is circulating they are
planning to move to California's Gold Country in the next few
years. We wish the best of luck to them.
Many thanks, John and Nadine for a pleasant Sunday
afternoon.
Artie A. (Submitted by Bill Wherry; Artie is too modest to
admit she writes_..maybe she's right!)
* * * *
MIDWEST CHAPTER
Rachel SWirsky and Dad, Lyle Merithew, at Ampico Chickering.
Reporter: Margaret Frazer
April 29th and 30th, 1989
Cincinnati was the place of the Spring AMICA meeting of
the Midwest Chapter. Thirty -three members gathered at the home
of Russell and Jeanne Bloss on Saturday afternoon to enjoy their
collection and hospitality. Mark and Eleanor Walker were hosts
for a delicious dinner, after which the group motored to the
Historic Emery Theater, where Tom Barton played on the 3/30
Wurlitzer theater organ and accompanied the classical film, "The
Son of the Shiek".
..J
Martin at the Art Case Chickering.
Our resident pianist, Roy Powlan, played several selections
on the art case Chickering Ampico. A good afternoon was had
by all. Thanks; Martin, for hosting a fine meeting.
MAY AMICA MEETING AT MOrrO ROS'
Gosh! Gee Whiz! Golly! I'm a little late again, but I simply
must scribe a few well-chosen (well-worn?) words about the
AMICA meeting at John and Nadine Motto-Ros' home up to
Valley Joe (Vallejo). If you haven't guessed by now, this your
favorite, revered, feared, un-smeared, dear-ed reporter name of
Artie Angelus. Just plain Artie will do, like, when it's time to party, ask Artie, she will be smartie and write good things about the
party.
Anyhow, John and Nadine live in one of Vallejds earlier
homes where at one time you had to pump your own water, and,
I guess... frequent a small building out back known in polite circles
as "Les Salles Des Bain~ Artie only frequents polite circles.
John has a nice collection of automatic instruments. They
are: Marshall & Wendell Ampico B, lately restored, Coinola C2,
Seeburg KT Special, Aeolian upright player, and a curious Seeburg
Automatic phonograph using player and nickelodeon parts to
operate. This last named instrument dates from 1928-29. It's hard
to say which instrument is the best; they all played well. Also
seen were early phonographs, radios, and accessories to the
automatic piano trade like remote cOin-boxes, placards, etc.
The Northern California weather was favorable (Isn't it always
in May?) at least it wasn't raining or snowing or hailing, or no
volcanos were spouting ash and cinders. Well, that's enough on
the weather; (we're not supposed to write about the weather).
The food, Ah the food! Again, I know we're not supposed
to expand a lot of words upon what was perceived at one time
by an editor to be un-important, but I must get my twenty cents
worth in. We usually potluck these affairs, and let me tell you,
-172-
New member Nyla Balint
and Russ Bloss.
Bob Rosencrans
_"'J!"
Miriam Ward, Lawrence Frazer, Robert Porter.
Midwest Chapter continued -
MIDWEST CHAPTER June Meeting
Reporter: Margaret G. Frazer
The Midwest Chapter of AMICA meeting was hosted by Bennet and Barry Leedy at the home of their parents in Coloma,
Michigan, June 17th and 18th, 1989. We enjoyed the Leedy's collection: Haines 1927 Louis 15th Ampico, Kurtzmann 1924 Welte,
1925 Weber Duo-Art and the Hampton 1927 upright pumper.
Bob Rosencrans and Russ Bloss.
The group returned to the home of Mark and Eleanor Walker
on Sunday morning for the business meeting. Liz Barnhart president presided over a short business meeting. The Group adjourned to meet again in June at the home of the Leedy Brothers in
Coloma, Michigan.
1925 Weber Duo-Art.
We toured Bennet's shop of old parts and rolls, rolls, rolls.
What a collection! A mart was set up for those who wished to
purchase.
Mrs. Leedy, an avid collector of Carnival Glass, showed us
her collection and told how it came into being. Everyone was interested in Bennet and Barry's audio and video system.
John Fischer, Barry Leidy and Liz Barnhart at business meeting.
Some of Mrs. Leedy's Carnival Glass.
Did you know Bennet is a fireman when he isn't working on
pianos? He also collects trains and Amusement Park Commemorative plates.
A delicious picnic dinner was served in the evening, after
which everyone lingered to play another roll before returning to
the hotel.
The Group at Walkers.
Bob Rosencrans, Liz Barnhart, Alberta Farrett, Mark Walker.
-173 -
Midwest Chapter continued Sunday morning we returned to the Leedys for the business
meeting, with president Liz Barnhart presiding.
'7'
Since Buffalo cannot have the 1990 Convention, Midwest
Chapter will host the Convention in Cleveland, Ohio with Robert
Porter as Chairman. The meeting closed with plans to meet in
Cleveland in September.
S.Q.W.N.Y. CHAPTER NEWS
THREE REPORTS FOR THE PRICE OF ONE
Reporter: Michael L. Walter
It was a cloudy and slippery Sunday afternoon when we all
went to the new home of Randy and Barb Sockovie on March
5th. Despite the inclement weather, a respectable group of
AMICANs from both sides of the border descended upon the
quiet neighborhood to revel into the late evening. Their upright
pumper, a Canadian Piano Co. pumper, was given a good
workout. There were also a Story & Clark upright and a Newton
upright which were in the middle of restoration. Also a OW. Karn
Reed Organ made a brief appearance for interested guests. An
impromptu demonstration of turn of the century "Medical" apparatus was presented and the experience could only be described
as "Hair Raising". While there were tech talks in one part of the
house, there were also discussions in the other part of the house
on blending old pianos with modern furniture. After the tech sessions and fantastic feast, we all agreed to come together again
at the end of May at the restored Allan Herschell Co. museum
in North Tonawanda, NY.
The outside of the Allan HerscheJI Carrousel Building.
really took place inside the factory walls. The most fun, though
was being able to actually ride a carrousel set up in the building
were it had been originally assembled over 70 years earlier. The
Chapter members were very impressed with the care that is being taken in restoring all parts of the museum, from the bUilding
itself all the way down to the intricate restoration of the horses
and the stenciling of the beams on the carrousel itself. Were also
proud that there are other groups in Western New York who are
actively involved in the preservation of our special historical past.
.:;t
A newly restored set-up building for newly built carrousels.
Our host Randy Sockouie (on left side of piano bench) explaining a finer detail of their pumper to Harry Marciniak, while Stan
Aldridge, Anne Lemon and Jim Barley are otherwise occupied.
May 28th found us at the door of the Allan Herschell Co.
Inc. museum. The Carousel Society of Western New York has
purchased the bUilding and is in the process of completely restoring this important part of North Tonawanda, and actually, world
history. We were given an in-depth tour of the factory by the chief
conservator. The tour included a trip down memory lane to the
turn of the century when the "Merry-Go-Round" business was
flourishing in North Tonawanda. A large photographic display
made the tour more impressive and the samples of various horses
and other machines made by the company brought us closer to
the company's past but the wood carvers who were actually carving while we were there really gave us the best idea of what
...,..
Harold Hodgkins is not about to get off his high horse for this
picture.
continued -
S.O.WN.Y. Chapter continued in the pool.
Remember gang of our $3.00 per person for noncontributing members and a charge of $3.00 per person for
guests that you bring.
REMEMBER 10 R.SVP. to your host and hostess! Pot
luck dinners are planned for the occassion. PLEASE BRING
LAWN CHAIRS!
./
Directions: From Peace Bridge - follow Highway 3 to
Chamber's Corner's, Highway 3 turns LEFT there. DO NOT
TURN. Go straight on Regional Road 24 to the 2x4 Diner.
Turn left on Regional Road 27 and go two miles. You will come
to a white country church on the right side, turn right onto
Boyle Road. Hodgkins is the second house.
A small band organ merrily playing away with the help of
modern technology.
On June 25th we made our first official trip of the year
to Niagara Falls, Canada to meet at the home of Garry and
Anne Lemon. The weather was beautiful, the falls was
beautiful and we had a wonderful time. This seemed more like
a picnic than an official gathering, with all the swimming, chatting, eating and comparing notes. But we did have a meeting
and decided to rebuild a player to sell, for purposes of
educating neophytes in the ways of rebuilding a player and
also to raise money for our Chapter. We also planned a couple of meetings for the future including a trip into Pennsylvania
to see a large collection of machines and then visit the Groups
in Erie, PA. Before we go there, though, we MUST make
./ another trip to the Hodgkins where the pianos keep changing
size and shape and there's an in-ground pool for the acquatic
set and large shade trees for those not so inclined. We all are
certainly looking forward to both trips.
From the Rainbow Bridge - follow Highway 20 to the
1st stop-light past Fonthill. Anhe stoplight, turn left onto
Regional Road 24, follow 24 to the 2x4 Diner. Turn right onto
Regional Road 27, go two miles to the white country church
on the right side. Turn right onto Boyle Road. Hodgkins is
the second house.
CHICAGO CHAPTER
Reporter: Rob DeLand
After waiting for the last threat of snow to pass (which ought
to take us into June or July), Chicago AMICA's first 1989 meeting
was held on Sunday, April 30th. John Wrasse, a member of
Chicago AMiCA and full-time pianev'AMI restorer, hosted a
meeting at his shop in S1. Charles, IL. The meeting was planned
around a local slot machine show, and included an informal
technical session for those who were interested. After a business
meeting held by president Jim Edwards, we walked to a riverside
restaurant (where I had the lasagna, Marty had ... I'M JUST KiDDING!). We all thank Stephanie Fania for preparing the meeting
announcement which included information on the slot show,
restaurant, and a thorough visitor's guide to S1. Charles!
Our second '89 meeting was held in conjunction with the
Antique Phonograph/Music Box Fair at Union, IL on Saturday,
June 10th. The meeting served primarily as an update for plans
regarding the 1992 AMICA convention which we are scheduled
to host (lots to do!).
As you can see, no one is hiding in any corner at the Lemons.
S.O.W.N.Y. CHAPTER
NORTHERN LIGHTS CHAPTER
Dear AMICA Members,
Since your secretary is busy harvesting a cherry crop and
won't have the time to get to her typewriter, she is sending
.you a special date at this time to mark on your calendar for
../ our next social function.
Harold and Muriel Hodgkins - Sunday, August 20th, 1989
at 3:00 P. M. - Wellandport, Ontario, Canada 416-386-6123
Don't forget your bathing suits and towels for a cool dip
-175 -
Reporter: Ruth Anderson
The weekend of June 10·11 was a most enjoyable for several
members of the Northern Lights Chapter. The meeting was held
at the home of Tom and Dorothy Olds on Pokegama Lake about
5 miles south of Grand Rapids, Minnesota.
Some of our members arrived about noon on Saturday, June
10th to enjoy the Parade celebrating the Judy Garland Festival,
honoring the fiftieth anniversary of the "WiZARD OF OZ" movie.
Grand Rapids is the home of Judy Garland.
Northern Lights Chapter continued we all enjoyed the socializing and the Old's collection of pianos
and other musical instruments. An excellent meal was :;erved to
us by Dorothy.
We were entertained by Ron Strang who demonstrated his
musical talents at the piano.
Dorothy Olds and Ruth Anderson checking out the "Yellow Brick
Road"
We walked the YELlDW BRICK ROAD and searched for
the engraved bricks with our chapter name and also one for
AMICA. We found the one engraved AUlDMATIC MUSICAL
INSTRUMENT COLLEClDRS Assoc. but not the other.
However, the engraver assured us that if he didn't locate it, he
would engrave another.
Terry Smythe watches Ron Strang at the Olds piano.
f
Eleanor Smythe, Ruth Anderson, Terry Smythe, Tom Olds, Warren Anderson on the deck at Olds~
The "Yellow Brick Road" Grand Rapids, MN
The ''AM/CA'' brick.
We were then entertained by the Itasca Symphony Orchestra
on the grounds of the OLD CENTRAL SCHOOL We sat on
the well groomed lawn under'the shade of a willow tree, which
is well over 100 years old. There were many tourists and
townspeople enjoying the music.
,.
The OLD CENTRAL SCHOOL is in the center of town and
houses a small antique shop and the Itasca Art Association, the
Itasca County Historical Society and a restaurant called the FIRST
GRADE. There is also a small fabric shop which caters to quilters,
sweatshirts, and some needlework. The building also has a unique central stairway.
Saturday evening found us back at the Old's home, watching
the sunset over beautiful Polegama Lake and eating pasties.
On Sunday some of the members met at The Sawmill Inn
including Terry and Eleanor Smythe from Winnipeg, Warren and
Ruth Anderson from Wayzata and Jerrilynn Boehland from
Blaine, along with the aids where we enjoyed a most satisfying
brunch.
At 1:00 PM. other members arrived from "down south" and
-176 -
Ron and Dorothy did a duet with Dorothy playing her Stumpf
Fiddle. Other members tried the Stumpf Fiddle but none could
match Dorothy's talent.
A brief business meeting was held. Some members will be
assisting Don Barton in his attempt to set a world record in continuous pumping of a player piano. The event will be held beginning June 16th through Sunday June 18th at the Minneapolis
convention Center, and the funds raised will be used to help
restore and replace the KIMBALL PIPE ORGAN in the
auditorium. Don hopes to get in the Guiness Book of World
Records.
Our next meeting will be at the home of Ruth and Warren
Anderson in Wayzata on the shores of Lake Minnetonka. on
July 30th.
J: ,
i
~7"~i;_!
.... ~.:1 ~
SOUTHERN CALIFORNIA
CHAPTER
Our last meeting was the Berkshire Villa, owned by Warren
./ Deasy.
The Villa is an old house, which has been restored beautifully,
and Warren has sold it now, so this was our last visit at this site.
The home seemingly was made for entertaining a crowd, and
Warren had a crowd of AMICAns to take advantage of his home
and hospitality. We were entertained in grand fashion.
We had a pot luck dinner, and there was lots of GREAT food.
Boy, can AMICAns cook! We also had a mart with lots of in·
teresting items.
We, of course, enjoyed Warrens collection of musical in·
struments, and it was a gorgeous California day.
We had a meeting, which Frank opened without the talents
of our Sergeant·At·Arms, and boy, did we miss Derwood. We
found out just how valuable his services are.
At the meeting, Dick Riggs talked about the combined MBSI
. AMICA convention to be held in Southern California in 1993.
I know that sounds like a long way off, but hosting a convention
takes a tremendous amount of planning, and help is going to be
needed in a wide variety of areas. Things will be getting going
soon, so ask yourself how you can help - - Maybe your talents
run to making table favors, working on various committees, plan·
ning activities, or some other field. At any rate, there will be
something for everyone who is Willing. As a veteran of the Long
Beach MBSI Convention, I can tell you it is a wonderful ex·
perience. Frank and I helped make table favors, acted as bus cap·
tains, and worked in the fashion show. We also did other minor
things as they came up, and we always felt fortunate that we joined
MBSI shortly before the convention, so we got in on all the ac·
./ tivities right off the bat, which helped us to get to know a wide
range of people and made us feel a part of the organization. It
has always been a favorite fond memory, and I can't urge each
of you enough to GET INVOLVED. You will be glad you did.
Mary and Ben Lillien would like anyone with an idea for table
favors to make up a sample and give it to them. We will need
to make lots of them for the convention (1,000?), it won't be too
long before we get started. If you have a good idea, be sure you
get the prototype over to Lilliens soon· we will have to pick the
design to use and get things under way.
Frank also mentioned at the meeting that he will be getting
..,.
together with some of the other members to choose a nominating
committee for next years officers. If you are called either to be
on the committee or to be on the slate to serve as an officer, please
don't say no...this is your club, and we all have to help. Besides,
being an officer really is more fun than work.
We took up a collection at the meeting for Matilda Locust
Hart, who is an honorary member. She used to make piano rolls.
She is in every bad financial straits, and has written to us asking
for help. We raised $67.00, which [ sent her, and she sent me
a very enthusiastic letter of thanks. She asked us to thank each
and every member who was kind enough to donate (her words),
and she said it would help a great deaL
We also mentioned at the meeting that Larry Norman had
a very bad accident at work, and broke two vertebrae. In a way,
though, he was very fortunate, since the injUry did not happen
in a place where it would have caused permanent injury, or even
paralysis. As it is, he is healing nicely, and is back on his feet,
feeling pretty good, and even back bUying more piano rolls. Boy,
is he bUying piano rolls!!! We are all glad to know he is ok, and
he will be at the MBSI meeting in July.
NEXT MEETING
Our next meeting will be in October, but the location is not
set yet, so you will receive notice sometime in September. We
had a meeting set, but it fell through due to illness. We are hop·
ing it may still work out, but in the meantime we are looking into
other locations. If anyone would like to have a meeting, or has
an idea for a meeting, call us or drop a note. (818-884-6849 .
we would like to have someone as backup in case our planned
site doesn't work out).
By now you all know the AMICA annual meeting conven·
tion is in Boston August 24·27. We strongly urge you to attendyou will have a great time, meet people literally from all over the
world with interests similar to yours, and you will probably learn
a lot at the workshops. The conventions are great, and if you
don't go you are missing a lot. If you can afford the time and
money, go to both AMICA and MBSI since they are very close
time-wise, and distance wise, with bus transit between the two.
You need to make up your mind and do it, as the hotels only
offer the special rates for a limited time, and the discount we get
is tremendous. (At one convention we wanted to stay an extra
day, and called too late for the discount and our room would have
been $185 for the extra night. Needless to say, we stayed
somewhere else.) The conventions are real bargains!!!
That's all for now, see you in Boston.
Ruth Bingaman Smith and Rob Thomas with J. & C. Fischer Ampico Spanish
Renaissance. Bill Knorp is the owner of the Ampico.
-177 -
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CL.ASSIFIED
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~
FOR SALE
1923 Fischer Ampico Grand, 5'4", Ser. No. 148702,
mahogany case, complete, original, unrestored, $3,100. Also,
116-note Aeolian organ player spoolbox, roll motor, electropneumatic
pouch assemblies, original, complete, unrestored, $400. Call or write
Bill Koenigsberg, 77 High Pine Circle, Concord, MA 01742,
1-508-369-8523.
WURLITZER 125 BAND ORGAN, 19161st yearofproduction, restored in & out. Hand painted Equestrian scene on front by
Ohio artist Susan Schultz, white and gold case. $20,000.
419-625-1162.
Three full-sized SPANISH BARREL PIANOS, coin-op, all
are spring wound, unrestored condition at 1970's prices, $550 each,
or 1,500 for all 3. A very inexpensive way to build your collection.
Mechanical Music Center, Box 1078, South Norwalk, CT 06854,
or call 203-852-1780.
ROLLS: Buy 1 or as many as you wish of the following (write for
list of titles with prices): 3 Berry-Wood endless 11 VtI" rolls. 300
Aeolian Grand 58-note rolls. 140 Pianino lO-tune rolls. 72 Pianino
5-tune rolls. 125 Art Echo rolls. 3 Wurlitzer Theatre Orchestra rolls.
60 Red Welte rolls. Also selling follOWing rolls in lots only (no list
available): 30 Piano 65-note rolls $120. 300 Ampico rolls original
$1,500.58 Wilcox-White Angelus/Angelus-Symphony 58-note organ
rolls $580. 27 Angelus 65-note Piano rolls $216. 7 pin-end 88-note
OrganlPiano rolls $84. 5 Wurlitzer MO rolls $50. 60 Piano 58-note
rolls $540. 165 Aeolian Pipe-Organ 116-note rolls $1,980. 15
Aeolian Organ 46-note rolls $195.10 Link Nickelodeon RX endless
rolls $250. INSTRUMENTS: Mortier Dance Organ 15' wide 84-key
350 pipes $35,000. Red Welte cabinet-styled piano, oak, needs total
restoration, $2,900. Phillips Violine European Orchestrion w/9 instruments, oak, restored/refinished w/70 5-tune rolls. Western Electric Mascot Nickelodeon, oak, restored $7,500. MANY OTHER
NICKELODEONS & ORCHESTRIONS FOR SAlE ... call or write.
BUYING: all types of music boxes, musical items. Wayne Edmonston, 2177 Bishop Estates Rd., Jacksonville, FL 32259. (904)
287-5996.
BAND ORGAN, North Tonawanda style 55 Band Organ converted to a Wurlitzer style 125 paper roll by Tussin - circa 1920.
Recently completely restored and playing beautifully. Includes 15 style
125 rolls. Can be seen by appointment in Boston area. $22,500.
Marvin Horovitz, 617-729-2059 or 617-721-0550.
1927 Mason & Hamlin 6'2" Ampico A grand, RAA 36397, Ampico missing, mahogany case, professionally refinished, piano original,
unrestored, $7,500.1933 Knabe 5'4" Ampico B grand, 110962A,
burled walnut case, book-matched pattern, style A, original, complete, unrestored instrument, no bench, $9,000. 1923 Fischer 5'4"
Ampico A grand, 148702, mahogany case, original, complete,
unrestored, $3,000. 1922 Chickering Upright Ampico,
135536, original, complete, unrestored, with bench, $1,950. Call
or write Bill Koenigsberg, 77 High Pine Circle, Concord, MA 01742.
1-508-369-8523.
In 1982 Mechanical Music Center, made and sold 60 handcrafted
replicas of the Seeburg KT Special Nickelodeon. Years of planning .-'"
and $200,000 in engineering and overhead costs were necessary to ]make that project successful. All rights to the project are now for
sale, including the following: 56 engineering drawings; complete parts
list imd supplier's names; twelve wooden patterns - the harp casting
pattern alone cost $12,000 when new; hundreds of jigs, fixtures,
and tooling; one sample of each metal stamping; xylophone test
bench with keyboard; assignment of rights to use the Seeburg name;
reasonable amounts of consulting without charge; rights to the service manual; rights to the best "G" roll ever and test roll. With a
number of modifications and less emphasis on marketing an exact
replica, these instruments could be made much easier to build and
should be sold profitably in the $7-8,000 range. Price for all the above:
$12,500. For more information or inspection, contact: William H.
Edgerton, Box 88, Darien, CT 06820. (203) 655-0566.
1926 Haines Brothers Ampico Upright Reproducing Piano,
original condition, still playing weakly as an automatic player piano.
Exterior in excellent refinished condition, asking $925. George J.
Betor, 51 Dawes Avenue, Trenton, NJ 08638. 609-882-7783.
Phonograph - music box - automated instrument show.
Sunday, September 24, 8 a.m. - 4 p.m. Cranford, New Jersey,
Coachman Inn - Days Inn, Exit 136, Garden State Parkway. Records,
parts, memorabilia, repairs, World's largest one day show. Only
minutes from Newark Airport. Details: Box 25007, Chicago, IL
60625.
WONDERFUL DISCOVERY! Brand new Edison Diamond
Discs from an original dealer's stock. Thousands of records available,
both popular and operatic. Guaranteed unplayed, 1925 prices! Send
large SASE for auction list. Tom Hawthorn, 2143-A Second Ave.,
Sacramento, CA 95818. (916) 454-9120.
1925 6 Ft. Knabe Grand Piano, electric Ampico reproducer,
great original condition, plays fine $10,000. Phone 916-725-1864.
AMPICO. John Broadwood and Sons English Grand Piano. 5',
circa 1923, unrestored with good tone and 70 original rolls. $4,300.
Chuck Sorensen, 361 Kendale Road, Buellton, CA 93427. (805)
688-4171.
Organ Reproducing Kimball Electronic Rolls - like new·
65 note, pin end rolls - good to excellent. A. Payea, Box 297A, R.D.
2, Plattsburgh, NY 12901. Tel. 518-561-1380. I collect Ampico
reprodUcing rolls.
1927 STEINWAY DUO-ART 6'1" in gorgeous carved walnut
Spanish art-case, choice unrestored $19,500. Mason & Hamlin
5'8" Ampico"A" 1929 Sheraton style art-case, excellent unrestored
$12,500. Seeburg KT Special (Edgerton replica) nickelodeon
$13,500. Bill & Dee Kavouras, 2740 Lighthouse Ct., Lynwood, IL
60411. (312) 474-8787.
1927 Weber (Genuine) 5'8" Grand Piano in Florentine case, pecan
color, w/Aeolian electric Duo-Art player. Loud/Soft expression excellent condition. $15,000. w/30+ rolls. 415-253-1911.
~
AEOLIAN DUO-ART pipe organ roll player unit with electropneumatic pouch boards attached. Has 7-section expanding
tracker bar, which receives Duo-Art pipe organ rolls. Original condition, unrestored, dates from about 1926. $1,100. Call or write Bill
Koenigsberg, 77 High Pine Circle, Concord, MA 01742. (508)
369-8523.
200 DUO-ART REPRODUCING ROLLS, all originals in fine
playing condition, $6.50 each. Individually selected titles $7.50 each.
Audiographic Duo-Arts, $10.00 each. Bill Koenigsberg, 77 High Pine
Circle, Concord, MA 01742. (508) 369-8523.
NEW AEOLIAN DUO-ART ROLL CATALOG. Complete
listings of U.S. and British issues by artist (With notes), composer,
number and title. Hardbound, 325 pages with dust cover. $45:00
plus $2.50 postage and handling ($5.00 outside U.S., surface mail).
Order from author Charles Smith, 625 S. Myrtle Ave., MonrOVia,
CA 91016.
PIANO ROLL AUCTIONS. Since 1970, we've been conduc-~
ting monthly auctions of vintage reproducing and 88-note rolls. We
also issue re-cuts of all types of rolls and produce our own exclusive
original rolls of classic jazz and ragtime performances. We now serve
many AMICAns, so won't you give us a try for your roll needs? Mike
& Fred Schwimmer, 325 E. Blodgett, Lake Bluff, IL 60044.
-178-
FOR SALE continued 1925 KNABE AMPICO 5'6", mahogany, and 1927 Knabe Ampico 5'6", walnut (some veneer work needed). Both complete and
unrestored_ $2,500.00 each, aho. W. E. Flynt, 214-494-1931 (Dallas
area).
PIANOCORDER™
MIDI UPGRADE
STEINWAY DUO-ART GRAND PIANO,1928, in walnut case,
Model XR262176, 6'2~ original, unrestored condition, with bench,
rolls avaiiable.$9,050.00. call Bill Koenigsberg, 77 High Pine Circle,
Concord, MA 01742. 1-508-369-8523
PIANO ROLL AUCTION. 6,000 88-note rolls. My personal collection of 35 years. Mostly popular and show music of the 20's, 30's,
and 40's. Send for free list. John Gourley, 1301 Somerset Ave., Windber, PA. 15963.
STROUD DUO-ART, 5'2" walnut Chinese art case, nine legs, 1932
late model with all controls in spool box. Excellent restorable condition. $3,250.00. Ron Olsen 612-529-4998.
SALES, AUCTIONS: Rolls, discs, Records, ephemera. Nostalgia,
Dept. A, Regina & Harriet, Whippany, NJ 07981.
Take your Pianocorder equipped piano and add our
easily installed MC-1 MIDI Converter. Throw in an
electronic keyboard or synthesizet; and what happens?
You can add strings (or horns or chimes...) to your
piano performances. Want to make new tapes but
don't have the Pianocorder record option? Simple.
Just play a MIDI keyboard th rough the Me-l and
your tape library grows. Put a MIDI sequencer (or
MIDI equipped computer) in your "recording studio"
to record, orchestrate, compose, transpose, and edit
new music or old tapes.
. . . ··.·.·>·.·.Wa-rltlkij~rnot¢.tij)~tMIDI'?········
WANTED
Duo-Art Upright - prefer Steinway or Weber in good unrestored
condition. Bruce Mercer, 1226 S.E. Second St., Evansville, IN 47713.
812-423-9706.
DISCS and CYLINDER MUSIC BOXES wanted, any conditon. Also want large monkey organ, Steinway Duo-Art Artcase
model. Arnold Levin, 2634 Woodlawn Road, Northbrook, IL 60062.
Phone 312-564-2893.
AMPICO "A" TRACKER BAR, Harold Braker, 2906 Camrose
Drive, Burnaby BC Canada V5A 3W6.
Steinway Duo-Art wanted: any size. unrestored or restored, art
case, or plain case which has been restored properly. Will pay fair
price. Bill Edgerton, Box 88, Darien, CT 06820, or call 203-655-0566.
Need empty case for Seeburg "K". Will buy outright or trade
for other coin piano parts or pay finder fee for purchase. Have a lot
of good restorable coin pianos, come take a look. Coinolas, Cremona,
./ Seeburgs, Wurlitzers, Marshal-Wendall Reproducing, Kingsbury, Foot
Pumper - repaired - refinished, built by Cable Ca Will deal, make
me a reasonable offer. Write or call eves, 515-356-4926, Duane
Engels, Box 225, 106 - 3rd St., Vincent, Iowa 50594
ONE ANTOMATIC MUSIC ROLL PUNCH (pocket size). This
is like the ones Player Piano Company sold a few years ago. Andy
James, Pier 54 - Alaskan Way, Seattle, WA 98104.
$100 paid for information which leads to purchase of Arburo
Dance Organ with accordian, good playing condition. Want Organ
pictured on page 833, Bower's Encyclopedia of Automatic Musical
Instruments. Organ is 6 ft. 101/2 in. high, 4 ft. 2 in. back to front,
8 ft. 3 in. across front. Or an organ similar to the one described.
Harold Shaner, 1042 Myrtle St., Cumberland, MD 21502. (301)
724-6492.
PLAYER PIANOS, NICKELODEONS, Music Boxes,
Changers, Orchestrions, Band Organs, Monkey Organs, Juke Boxes,
Player Organs, Automata, Fairground Organs, Musical Clocks, etc.,
regardless of condition. Wayne Edmonston, 2177 Bishop Estates Rd.,
Jacksonville, FL 32259. (904) 287-5996.
PAPER. All types of literature pertaining to mechanical musical instruments: sales brochures, advertisements, rollkiisc catalogues, monthly bulletins, technical manuals, posters, etc. Also need trade
catalogues, trade cards, post cards, stamps, posters, advertisements,
covers, etc. for pianos, organs, juke boxes, slot machines, lamps, and
pool tables. Will purchase one page or large collections. Will also
exchange copies with other collectors. Richard Howe, 73 Saddlebrook
Lane, Houston, TX 77024. (713) 680-9945.
COINOLA style X, 0, or K. Unrestored preferred. Ampico - top
loading studio upright. John Gourley, 1301 Somerset Ave., Windber, PA. 15963. (814) 467-6007.
NOTICE ! ! !
When ordering your
Technicalities V, please make your check payable
to: AMICA International.
Thank you, Brian K. Meeder, 904 A. W. Victoria
Street, Santa Barbara, CA 93101-4745.
~
~Mtl~i~tb#lg}-t.·.MJI)I~b)'Miclt~¢l • •B9()m • i$. the best·.
.. pt~li~~rt>dl.ll.1ti@-w~'ve<f~mt.P\lb1islJedby
····Mi¢to!lQftl':~ss~3Q2·pag~~;ffi9JtyJl\l1$,tratiQri.s.··
'.10·
9rQeiipO~pll-i¢Pl~¢senij$22.cheplc.ormQney
9'tdei .• (q.uit•• rys~9~·.~.··$[josales • ta~.)
.
[Plano Automationl
™
65l-A Morse Street, San Francisco, CA 94112
(415) 239-2703
DEALER INQUIRES INVITED
Pli-uunrderllollS i1 reglstp.fHi lrm1ermrk d Marantz CO.lrx-;
~.~I~~~:~~~·&ID~-~<=~~-~---~~X-It.~_Z:_~';~~~~-~l!
BROUGHER RESTORATIONS
,' I
Reprod~cers, Nickelodeons
and Fme Grand Pianos
~r')i'~
COMPLETE RESTORATION
FACILITIES
!~I j
OWNER OPERATED
21 years of experience in each related field
of restoration.
CASE AND VENEER REPAIRS
FINEST HAND-RUBBED MIRROR FINISHES
OR SATIN FINISHES AVAILABLE
VOICING AND ruNE SPECIALIST
Concert Quality Regulation
Lowest Prices, Known References,
Guaranteed Work.
only the worlds finest known grades of materials are used.
They are always fresh and continually checked.
HOI glue and original materials used throughout
wherever possible
Craig Brougher
3500 Claremont
(816) 254-1693
Independence, MO
64052
[~1:
l~!
[f
IP!
I
'"
More than Chopin had in his studio
you can now have in your home
eAMPICO
C9j/ze- ALL if the- PIANO
j
AMICA ITEMS FOR SALE
AMICA BULLETINS, BOUND ISSUES: 1971, 1972,
1973 bound Bulletins at $15 each. 1974, 1975, 1976, 1977,
1978,1979,1980 bound Bulletins at $18 each. 1981, 1982, 1983
bound Bulletins at $21 each. 1984, 1985, 1986 and 1987 bound
Bulletins at $24 each. PRICES INCLUDE POSTAGE AND
HANDLING. Spiral bound to lie flat. Send order to Mary Lilien,
460 Olympiad Dr., Los Angles, CA 90043.
AMICA TECHNICALITIES BOOKS:
Volume I .............. (1969-1971), $9.50 postpaid
Volume II ............ _ (1972-1974), $7.50 postpaid
Volume III ........ _.... (1975-1977), $8.50 postpaid
Volume IV .. _. _...... _ (1978-1980), $6.50 postpaid
Volume V ... _. _...... (1981-1988), $20.00 postpaid
Reprints of interesting technical articles which have appeared in
the AMiCA News Bulletin, arranged and indexed into appropriate
categories. Brian Meeder. 904A West Victoria Ave., Santa
Barbara, CA 93101.
Roll Leaders: Duo-Art, AMPICO and Welte: Excellent replicas.
For order form, see mailing cover of Bulletin or write to Brian
Meeder, 904A West Victoria Ave., Santa Barbara, CA 93101.
AMICA STATIONERY: $3.50 (letter Size), $3.20 (note size),
including mailing charges. Fine quality stationery with ornate
AMICA borders. Each packet contains 25 letters and matching
envelopes. Send orders to Tim Passinault, 105 Hemlock St..
Munising, MI 49862.
AMICA STERLING SILVER PINS: $8.00 each, postpaid.
Very attractive on your lapel or dress. Send orders to Tim
Passinault, 105 Hemlock St., Munising, MI 49862.
Please make ALL CHECKS payable to
AMICA INTERNATIONAL
we
ADVERTISING
Classified:
per word, $3.00 minimum for members. Nonmembers may advertise at twice the above rate. ($6.00 minimum.)
• See Bulletin Deadlines on inside front cover. Payment must
accompany order. Make checks payable to:
AMICA INTERNATIONAL.
• Checks or money orders from advertisers in foreign countries
must be drawn on a U.S. Bank.
Display Advertising
Full Page
7W'xlO"
$120.00
Half Page
7W'x4%"
60.00
Quarter Page
3 5 / S"x4%"
30.00
2"x3V2"
Business Card
20.00
• Each photograph or half-tone $8.00.
• See Bulletin deadlines on mast head.
• We recommend display advertisers supply camera-ready
copy. Copy that is oversized or undersized will be changed
to correct size at your cost. We can prepare your advertisement from your suggested layout at cost.
• Payment must accompany order. Typesetting, layout or size
alteration charges will be billed separately. Make checks
payable to: AMICA INTERNATIONAL.
• Checks or money orders from advertisers in foreign countries must be drawn on a U.S. bank.
• All ads will appear on the last pages of the Bulletin at the
discretion of the publisher.
Publication of business advertising in no way implies AMICA's .endorsement of any commercial operation. However, AMICA
reserves the right to refuse any ad that is not in keeping with
AMICA's general standards or if complaints are received indicating that said business does not serve the best interests
of the members of AMICA according to its goals and bylaws.
~
~
BROADMOORE
AUTOMATIC INSTRUMENT RESTORATIONS
I RESTORERS OF MUSICAL AUTOMATA AND PIANOS FOR 23 YEARS I
1709 "c" First Street • San Fernando, California 91340
(818) 365-6231
-
QRS PIANOMATION
-
It is now possible for us to recommend a MODERN reproducing-piano system
- QRS PIANOMATlON, developed by Mr. Wayne Stahnke.
Far superior to the Pianocorder, Pianodisc and Disklavier. PIANOMATION is
even superior in performance to the Ampico, Welte and Duo-Art, which until now
outperformed all modern systems, when correctly restored. (We therefore
never desired to install any modern reproducing system, until the advent
of PIANOMATION.)
PLEASE DO NOT carelessly dismiss PIANOMATION as "just another system".
We wish to restate clearly and without question: PIANOMATION IS VASTLY
SUPERIOR IN PERFORMANCE TO THE DISKLAVIER, PIANO DISC AND PIANOCORDERI
These systems are deficient in subtlety of expression, in ability to play softly
without dropping notes, in the ability to playa genuine fortissimo and in other
ways, such as having no graduated pedal expression. The sustaining pedal
in these systems snaps on and off like a switch! Only PIANOMATION has
GRADUATED pedalling.
To California AMICAns, we wish to offer our services as PIANOMATION
installers. As expert piano technicians. we offer highly exacting standards
of workmanship with careful attention to detail.
Our installations are done exactly according to the intentions of Mr. Stahnke,
the inventor, with whom we communicate closely. We are honored to have
his endorsement and recommendation as installers of PIANOMATION kits.
PLEASE BE AWARE: IMPROPER INSTALLATION
OF PLAYER RETROFIT KITS CAN DAMAGE YOUR PIANO!
Those offering "discount" installations can .on/y do so by taking
dangerous short cuts (and sometimes dangerous long cuts - across
the keybedD Many instruments wind up with an underside dripping
with hardware-store junk, meant to activate the pedals, instead of
carefully crafted linkages of the same quality as the piano company
saw fit to use.
~.
~
~

The AMICA News Bulletin - Stacks are the Stanford

Transcription

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