.. " 5,t anc1an1 !'1:u i<, Roll Co . . OQA V AR10 roU" ar f' mad .. undl"t mad " ",-,. 0 1" \( 1 ,H' "mbod" dcv iec s cnv", I"" J. b'j th e ·tllHo...... U. S. PATE NTS 659 .053 oa. . 2, 1900 692,8SJl F. b. 1I, 1902 692.989 F.·b. \ I, 1902 703.3 88 J uly I, 1902 703.3 89 J"ly I, 1902 709,296 S.pl . 16, 1902 731,279 J"no 30, 1903 739,9' \ S opt. 29, 1903 745.424 D.c. I, 1903 747,687 0.·c, 22. 1903 747.858 D.c . z z. 1903 71\7,859 D.c. 22. 1903 801.932 Oel. \ 7.1905 808,274 D.c . 26, 1905 811.621 F.b. 6, 1906 8:32,8 1\9 Oct. 9, 1906 860.965 23, 1907 964.403 12, 1910 9(,11, 'l04. 12, 1910 • 968 ,136 1\"1. .23, \910 1,057,622 lI\>ril 1.1913 1,059.0'l I I\"r;\ 15, 191:> i.o cr.os : 6. 1913 1,09'l,537. ill>,,1 28. 1914 1.156,891 oa, 19, 1915 Fonign pllt ent:. ,,,:nurd Olher U.S. "at.nl> ALLEGRO ® MODERATO RgJ,L CJ:orflJ My beart, 0 C\ \ t, it rhine fort:vcr. II Ihrill. WlIh I fo< th« alene: Its eorl!I:&.OCY fAde1 -rc\',r. . Fflbe eVer true to my own FAI R HAWAII FeFIt Ch or us foch&nting is rhe 1C'dW" ; FAir HAwaii. Oh dear t-ta"W&I i. When Ihe- t ilvO ry n:'IJO" is btamin;l; Ide of dx soodYrn su ' F' H .- ondar Ha : The tvriNl ing staN ue bright. &1t' I.WtJ l, . wall . And of your swui d\arms I' m d-e ming. Fondt , 1 All my love ..vill Iive for you you bring, to me. Hawa iian Melodies, Medley No. 4 In Vv'ahz T empo N.o . 1. Sweet Co,,:-tunc'1' (U;1, Likl. ' No 1\ No. 2. fui r Ho,....ii hy .1ohn 1\. Schmidli" Second only to "Aloha O e" is "Ua Like o A Like" the Sw eet Constancy Song of H a w aii. which . was arranged for piano by H . Berger, a band-master. long a resident of H aw aiJ . He also ar ranged "Aloha .. and numerous other native songs and ab ly assisted reward ed ucating the Hawaiians in modern musical knowledge and helped to perpetu te their melodies through publication. UA LIKE NO A LIKE. (Sw",' Com' >OC}') First r,,·u S({(m.f r,ru dlor de- -v, of eve I.t'e fallan.. Ytl hen 1M moonlight 11' Gli n'nios on d ....... lla-.vc.n lcved 10 ......... 11; And rh ... perfumed uph),t1 blew: Then M'y H urt to Tbee is There \,\, ,:'11 roam in rajxcre. h"ndtT. From OW' tryst withi n me .... ... oextl a.nd dell . In the 'tv in; ', melle:.v I110w. .1. 1' in tho pro· J" d io" oj a" IIRT" roll ". p<rfor mod or dir<el. d • art i:tt or . rt is .", . h .r" ct" th v fU.lT\ '- - I\RT o. The touch, tone dnd 01 tho orti.1 i. portrs'jt'd an d ",tmost 10"0\ 01 II,; piano owak . " od II.. m t!'dium 0( our patented «\4P'dnca\ d",,,C' c. whic" cut . nd ,eprod\lcc IIrlist", 0,"," ' ;21.1 i" II.. roll. Th. or d cr o{ m U" lci .a",s h ip "'mhodif'd i" ARTo 1"0\13 i, .... . r. n tlt,"d Y' ior\d - .. tJ ," nf t\·,,· r omv-o si ti o P\$) the- Irr, ."d tti•. ni sb appearing in ART0 and bu.ll..ti"". The AlVIICA BULLETIN AUTOMAT IC MUSICAL INS TRUMENT C OLLECTO RS' ASSOC IAT I ON JULY/AUGUST 2005 VOLUME 42, NUMBER 4
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
.. ~ "5,tanc1an1 !'1:u i<, Roll Co . .
OQAV;~.N...J
AR10 m\.& ~uC roU" ar f' mad ..undl"t mad" ",-,. 0 1"\( 1 f ro~
(" " s~cs ,H' " mbod" dcviec scnv", I""J. b'j th e ·tllHo...... i n.~
U. S. PATE NTS659 .053 oa. . 2, 1900692,8SJl F. b. 1I, 1902692.989 F.·b. \ I, 1902703.388 J uly I, 1902703.389 J"ly I, 1902709,296 S.pl. 16, 1902731,279 J"no 30, 1903739,9' \ Sopt. 29, 1903745.424 D.c. I, 1903747,687 0.·c , 22. 1903747.858 D.c . zz. 190371\7,859 D.c. 22. 1903801.932 Oel. \ 7.1905808,274 D.c . 26, 1905811.62 1 F.b. 6, 19068:32,81\9 Oct. 9, 1906860.965 J"'~ 23, 1907964.403 J"I~ 12, 19109(,11, 'l04. Ju\~ 12, 1910
Fonign pllt ent:. ,,,:nurdOlher U.S. "at.nl> ".nd;,,~
ALLEGRO ® MODERATOARTh~~RgJ,L
CJ:orflJ
My beart, 0 C\ \ t, it rhine fort:vcr.II Ihrill. WlIh I fo< th« alene:
Its eorl!I:&.OCY fAde1 -rc\',r. .Fflbe eVer true to ~~ my own
FAI R HAWAIIFeFIt Chorus
foch&nting is rhe 1C'dW"; FAir HAwaii. Oh dear t-ta"W&Ii.When Ihe- t ilvOry n:'IJO" is btamin;l; Lov~Jy Ide of dx soodYrn su 'OnmunnUtilliW1'~t"J my dcarWaili1ci. F ' H .- ondar Ha :The tvriNl ing staN ue bright. &1t' I.WtJ l, . wall .And of your swui d\arms I'm d-e ming. Fondt , 1~4"'monetAll my love ..vill Iive for you ~l('mally. you bring, to me.
Hawaiian Melodies, Medley No. 4In Vv'ahz T empo
l,\troducin~: N.o. 1. Sweet Co,,:-tunc'1' (U;1, Likl.' No 1\ Li'K ~) No. 2. fui r Ho,....iiPI.~. J hy .1ohn 1\. Schmidli"
Second only to "Aloha O e" is "Ua Like o A Like" the Sw eet C onstancy Songof H aw aii. which .was ar ranged for piano by H . Berger, a band-master. long aresident of H aw aiJ. He also ar ranged " Aloha O~ .. and numerous other native songsand ably assisted reward ed ucating the Hawaiians in modern musical knowledge andhelped to perpetu te their melodies through publication.
UA LIKE NO A LIK E. (Sw",' Com' >OC}')First r,,·u S({(m.f r,ru
Wh,~Jl dlorde--v, of eve I.t'e fallan.. Ytlhen 1M moonlight ~d, 11' ,p!~n::k>r.Glin'nios on d....... lla-.vc.n lcved 10 .........11 ; And rh... perfumed uph),t1 blew:
Then M'y Hurt to Tbee is c&lI in~ There \,\,,:'11 roa m in rajxcre. h"ndtT.
From OW' tryst withi n me .......oextl a.nd dell . In the 'tv in; ', melle :.v ~~ld'l) I110w.
Ewr~ . 1. 1' in tho pro·J"d io" oj a" IIRT" roll ".p<rfor mod or dir<el. d b~
• skil\ ~,~ arti:tt or . rt is.",.
h .r" ct" th v fU.lT\ '- - I\RT o.
The touch , tone dnd<Y "r~ tho"~hl a"d .jo.li,,~
01 tho orti.1 i. jaa hl"ll~
portrs'jt'd an d th~ ",tmost
10"0\ bro"t~ 01 II,; pianoowak . " od t hro"~" II..mt!'dium 0( ou r patented
«\4P'dn ca \ d",,,,C'c. whic"cut . nd ,eprod\lcc th~
IIrl ist", 0,"," ha"d.p\o~i"~
' ;21.1 i" II.. roll .
T h . h,~h or d c r o{m U"lci .a",sh ip "'mhodif'd i"ARTo mU ~4 c 1"0\13 i ,~ .... . r.n tlt,"d b~ ~\' tt' Y'ior\d
~·.. tJ ," r~put. t ; o" nf t\·,,·r omv-o si tioP\$) the- c.impo~
Irr , . " d th~ rccol'd ,"~ tti•.nisb a ppea ring in ART0
c.t. 'o~s and bu.ll..ti" ".
The AlVIICA BULLETINAUTOMATIC MUSICAL IN STRUM E NT C OLLECTO RS' ASSOCIATIONJULY/AUGUST 2005 VOLUME 42, NUMBER 4
Front Cover: Roll Leader #652, Hawaiian Melodies, played by John A. Schmidlin
Inside Front: Ads from World’s Work Advertiser, contributed by Robin Pratt.
Back Cover: Good Bye Broadway, Hello France Sheet Music Cover
Inside Back Cover: Ads from World’s Work Advertiser, contributed by Robin Pratt
THE AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION
Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distributionand enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963.
PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] the AMICA Web page at: http://www.amica.org
Associate Editor: Mr. Larry Givens
AMICA BULLETINDisplay and Classified AdsArticles for PublicationLetters to the PublisherChapter News
UPCOMING PUBLICATIONDEADLINESThe ads and articles must be receivedby the Publisher on the 1st of theOdd number months:
January JulyMarch SeptemberMay November
Bulletins will be mailed on the 2nd weekof the even months.
Dr. Michael A. Kukral, Publisher216 Madison Blvd.Terre Haute, Indiana 47803-1912Phone: 812-238-9656e-mail: [email protected]
BOSTON AREAPres. Bill Koenigsburg - 978-369-8523Vice Pres: Bob TempestSec: Ginger ChristiansenTreas: Karl EllisonReporter: Don BrownBoard Rep: Karl Ellison
CHICAGO AREAPres: Mel Septon - 847-679-3455Sec: Carol VeomeTreas: Joe PekarekReporter: Curt CliffordBoard Rep: George Wilder
FOUNDING CHAPTERPres: John Ulrich - 510-223-9587Vice Pres: Bing Gibbs & Karen SimonsSec: Jack and Dianne Edwards
[email protected]: Richard ReutlingerReporter: Bonnie and Bob GonzalezBoard Rep: Richard Reutlinger
GATEWAY CHAPTERPres: Yousuf WilsonVice Pres: Gary Craig - 314-771-1244Sec: Mary WilsonTreas: Cynthia CraigReporter/Bd.Rep: Gary Craig
HEART OF AMERICAPres: Tom McAuleyVice Pres: Robbie TubbsSec/Treas: Kay BodeBoard Rep: Ron Connor
LADY LIBERTYPres: Vincent Morgan - 718-479-2562Vice Pres: Aris John DousmanisRecording Sec: Bill MaguireCorresponding Sec: Richard KarlssonReporter:Buzz RosaBoard Reps: Marvin & Dianne Polan
631-673-0388Newsletter Editor: Bill Maguire
MIDWEST (OH, MI, IN, KY)Pres: Don Johnson - 248-879-7713Vice Pres: Liz BarnhartSec: Sharon NeffTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz Barnhart
NORTHERN LIGHTSPres: Phillip BairdVice Pres: Paul WatkinsSec: Jason E. Beyer - 507-454-3124Treas: Barbara WatkinsReporter: Dorothy OldsBoard Rep: Dorothy Olds
PACIFIC CAN-AMPres: Halie Dodrill [email protected] Pres: Troy TaylorSec: Brian TateTreas: Jack & Mary Lou BecvarReporter: Ron Babb Bd. Rep: Carl Dodrill - 206-236-0067
SIERRA NEVADAPres: John Motto-Ros - 209-267-9252Vice Pres: Sonja LemonSec/Treas: Doug & Vicki MahrReporter: Nadine Motto-RosBoard Rep: John Motto-Ros
SOWNY (Southern Ontario,Western New York)
Pres: Mike Walter - 716-656-9583Vice Pres: Daniel TenerowiczSec: Garry LemonTreas: Holly Walter
[email protected]: Garry & Anne LemonBoard Rep: Audrey CannizzaroPhotographer: Nancy Group & Anne
Lemmon
SOUTHERN CALIFORNIAPres: Jerry PellVice Pres: Richard IngramSec./Reporter. Shirley NixTreas: Ken HodgeBoard Rep: Frank Nix
TEXASPres: Jerry Bacon - 214-328-9369Vice Pres: Bill BoruffTreas: Vicki BradySec:Maureen BarisonekBoard Rep: Dick MerchantBulletin Reporter: John McCall
CHAPTER OFFICERS
AFFILIATED SOCIETIES AND ORGANIZATIONSATOSPresident - Fr. Gus Franklin6508 Willow Springs RoadSpringfield, IL 62707-9500Phone: 217-585-1770 Fax: 217-585-0835E-Mail: [email protected] - Dale BakerP. O. Box 51450Indianapolis, IN 46251-0450Phone: 317-838-9345E-Mail: [email protected]
ASSOCIATION ITALIANA MUSICA MECCANICAVia Comte le Monticino No. 48547020 Cesena, ItalyPhone: 39-547-346-046
AUSTRALIAN COLLECTORS OFMECHANICAL MUSICAL INSTRUMENTS19 Waipori StreetSt. Ives NSW 2075, Australia
FRIENDS OF SCOTT JOPLIN1217 St. Croix Ct.Kirkwood, MO 63122-2326website: http//stlouis.missouri.org/[email protected]
INTERNATIONAL PIANOARCHIVES AT MARYLANDPerforming Arts Library,University of Maryland2511 Clarice Smith Performing Arts CenterCollege Park, MD 20742Phone: 301-405-9224Fax: 301-314-7170E-Mail: [email protected]
PIANOLA INSTITUTEClair Cavanagh, Secretary43 Great Percy St., London WC1X 9RAEngland
PLAYER PIANO GROUPJulian Dyer, Bulletin Editor5 Richmond Rise, Workingham,Berkshire RG41 3XH, United KingdomPhone: 0118 977 1057Email: [email protected]
SMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560
SOCIETY FOR SELF-PLAYINGMUSICAL INSTRUMENTSGesellschaft für Selbstspielende Musikinstrumente (GSM) E.V.Ralf SmolneEmmastr. 56D-45130 Essen, GermanyPhone:**49-201-784927Fax:**49-201-7266240Email: [email protected]
Happy summer to all!Here in Western New York we are enjoying summertime sun and
breezes. Holly and I have just returned from the annual AMICA
convention in Minneapolis and I am going to give you a brief teaser
of sights, sounds and important events.
Minneapolis is a thriving metropolitan area that is beautiful and
clean. The residential areas have manicured lawns and well-kept
homes. The business sections of the city are filled with many people,
bustling from one place to another. There is a large grid-work of
second story walkways throughout the downtown area that enable
workers to traverse from one building to another without getting cold
or wet. Every walkway is a mini-mall, with wonderful shops on each side. During our stay, we were fortunate to be able to see
a number of sights outside of the downtown area. A couple of the tours included a visit to the interactive Mill City Museum, a former
flour mill and the Jackson Street Roundhouse, a working railroad roundhouse, complete with locomotives (steam and diesel) and
rolling stock (train cars). A visit to a carrousel and a conservatory/zoo in the Como Lake Park allowed us to see the flowers and
animals of the area in a relaxed setting.
The in-house/theatre entertainment included concerts on pipe organs, an orchestra and “Miss Jane’s Parlor”, a wonderfully
nostalgic presentation of piano music and song by Bob Berkman of Q.R.S. and Jane Romanos. Bob supplied the expertly
interpreted pianolist part while Jane’s vocal abilities filled the theatre with songs from the turn of the century.
At the annual Board Meeting, which preceded the actual convention, a couple of important items were discussed that have the
potential to affect you in a positive way.
The first item concerns this bulletin. As you know, our publisher is always on the lookout for new articles to be included on its
pages. As an incentive to write articles for our bulletin, the following offer is being made to our members:
To any AMICA member that writes an article of at least one page in length that appears in the bulletin, that member’s
subscription to the bulletin will be extended by one issue.
Of course, the decision as to what is to be included in the bulletin and when is at the discretion of the publisher.
If you have any questions about this offer, please contact the publisher or myself.
The second item concerns membership. Many members have voiced their concern over declining membership in our
organization. On the evening after the Board Meeting we had a brain-storming session in which twenty-four members
attended and wrote down their ideas for reinvigorating our organization. There were about fifty-five ideas that were
shared. A list of these appear are on the next two pages. PLEASE use or modify these ideas to suit your needs.
We want to hear how these ideas worked for you and we want to hear of your ideas not included here!
Happy listening!
Mike Walter
167
AMICA – CONVENTION DATES –
2005 Minneapolis, Minnesota June 29 - July 3
2006 Chicago, Illinois July 25 - July 30
2007 Germany/Holland July 5 - July 20(This is not set in stone yet. Hotels and buses are unable to commit this early, but it looks like this is.)
President’s Message
168
Promotional Ideas for AMICA Members
The following 55 ideas were shared at a brain-storming session at the Minneapolis AMICA Convention. Please feelfree to use or modify any of the ideas to generate interest in our hobby. The ideas are not listed in importance. If you haveadditional ideas not on these pages, please share them with us. If you try any of these ideas, we would like to hear of theresults.
Thanks very much!Mike Walter
1. Personally visit your radio, cable and tv stations and also your local newspapers. Let them know about our non-profitorganization and invite them to attend a meeting/activity. Get the name of a contact person for future press releases and publicservice announcements. Find out their advance notice times for PSAs and Press Releases. Makes sure to call them the day beforethe event to remind them of the program.
2. Invite Yamaha and/or other piano manufacturers to attend your meetings/conventions.
3. Visit piano dealers and other music related shops and ask them to place our brochures in their piano benches, or on display on acounter.
4. Contact the local high school/college and ask if a piano technician could teach or assist a Manual Arts teacher in rebuilding aplayer piano in the school. You would supply the piano.
5. Place a restored player piano in a shopping mall, theme restaurant or museum. Check back once a week to make certainthat it is working properly.
6. Offer noontime player piano concerts on college campuses.
7. Loan out restored player pianos to friends who show an interest in player pianos.
8. Hold a band organ rally at conventions or chapter meetings to get attention. Make sure to contact the media with plenty ofadvance notice.
9. Invite a guest from the local historical society or museum to attend your meetings.
10. Prepare a short movie (DVD preferably) to introduce our basic machines and promote our hobby. The best case scenario wouldhave a nationally known celebrity narrate the dialog, written by a screen writer and produced by a company such as Lucasfilms.
11. Find a grant writer who could obtain funding for such a project as #10.
12. Contact a local university Audio/Visual department to see if they could do something such as #10 using student assistants towrite dialog with some technical help concerning machines and utilizing other students to narrate. Make many copies of the finalDVD and send these to chapters for distribution to the public.
13. Place a short ad in newspapers under “Antiques – Wanted” Wanted- Members for AMICA, etc…
14. Invite small school or other groups (parents, students and/or teachers) to your home (or other place) for a demonstration of yourinstruments.
15. Invite younger adults to become members. Then, still younger ones won’t look at the age level of current members and leave.
16. Work with Music Teachers and give them a free membership.
17. Involve the public in a pumper contest.
18. Ask the children of former (deceased or not) AMICA members to join our organization.
19. Take a player piano to a fair. Place a sign on it: Pump the piano for $1.00. Proceeds to go to…”
20. Invite owners of electronic player pianos (e.g. Yamaha) to meetings.
21. Send a post card to former AMICA members urging them to request a sample copy of the “new” AMICA bulletin.
22. Distribute complimentary AMICA bulletins to other music organizations so they can see what our organization is about.
23. Have AMICA members attend and promote our organization at national musical instrument conventions.
24. Advertise AMICA to ATOS members.
25. Send promotional information about AMICA to teachers and students at music schools.
169
26. Attend and promote AMICA at music festivals around the country.
27. Have joint AMICA/MBSI meetings at the chapter level.
28. Establish a public/press reception on the first evening of every convention, following suggestions listed in #1 above.
29. Suggest that AMICA members who are dealers and restorers include a free membership in AMICA as part of the restoration/salecontract.
30. Place AMICA brochures in Pianomation kits and pianos.
31. Aggressively promote the hobby by getting our name in front of the public as often as possible.
32. Promote our organization to groups interested in the increased value of our machines (antiques dealers or their organizations).
33. Trade mailing lists with ATOS and THS (Theatre Historical Society).
34. Coordinate AMICA, ATOS and THS conventions so that their conventions do not occur at the same time.
35. Introduce automatic musical instruments to children, grandchildren, nieces and nephews and provide a foot pumper and rollsto get them started.
36. Bring guests to chapter meetings.
37. Advertise support of midi-reversible additions to roll operated instruments.
38. Find somebody to cultivate and ultimately give instruments and rolls to.
39. Offer hands-on training to those interested in learning the craft of rebuilding a player by an experienced technician.
40. Bring your own children/grandchildren to AMICA.
41. Do a low-cost local AMICA “convention” and promote it to younger people. Include a pumper contest with age appropriate rolls(Michael Jackson’s “Thriller”, etc.), midi pianos, intro of player pianos as original computers, classical music thatchildren know (cartoon music) on piano rolls.
42. Offer a scholarship to a piano history/studies student at the college/university level. Membership in AMICA would be included.
43. Partner with students interested in the midi format. Work with high school or technical school teachers.
44. Establish a trade school course in player piano restoration and promote it at the high school level.
45. Initiate an on-line membership joining/renewal program at the AMICA website.
46. Focus on local/convention programs/activities that will encourage women to participate more.
47. Contact local PBS stations and encourage them to come and record your instruments.
48. Reduce chapter dues for new members.
49. Create a list of the following items to help new/potential members enjoy their hobby more thoroughly:
a. who to contact for information on where and how to buy a player piano, etc.
b. who are the rebuilders
c. assign a mentor for one year
d. where to find rolls
e. list reference books that will cover various aspects of the hobby
Give this list to each new member on a laminated sheet. Make certain that the mentor contacts the new/potentialmember on a regular basis.
50. Make certain that all members have a supply of brochures for potential members.
51. Put new member stories in the AMICA bulletin to share with other new members.
52. Have a contest to see who can bring in the most new members. The prize could be the plane fare to the next convention.
53. Include midi information on the AMICA web site and make certain that search engines will find it.
54. If possible and/or desired in PSAs and Press Releases, include photos of instruments to be included at conventionsand organ rallies.
55. Offer to help new members find a competent rebuilder for their unrestored instrument, if the new member wishessome assistance.
Promotional Ideas for AMICA Members continued . . . .
170
BIG FEAT: By Tim Page
BACH ARIA FOUND IN SHOE BOX BY LEIPZIG ARCHIVIST
From Washington Post, 2004
Article submitted by Robin Pratt
The manuscript of a composition for
soprano and harpsichord, discovered two
weeks ago in a shoe box in Weimar,
Germany, has been authenticated as a
previously unknown early work by
Johann Sebastian Bach (1685-1750), the
Bach Archive in Leipzig announced
yesterday.
Harvard University professor
Christoph Wolff, a leading expert on
Bach’s life and art, flew to Germany to
help authenticate the score. He called the
newly discovered piece “an exquisite and
highly refined strophic aria, Bach’s only
contribution to a musical genre popular
in late-17th-century Germany.” In a
strophic piece, all of the verses are sung
to the same music, without substantive
variation.
The five-minute work was apparent-
ly composed in October 1713 by the
28-year-old Bach as a birthday present
for one of his patrons, Duke Wilhelm
Ernst of Saxe-Weimar.
The manuscript was found amid the
clutter of a box that also contained more
than 100 poems and congratulatory
letters written by others in celebration of
the same birthday. According to a report
in the London newspaper the Guardian,
the library in Weimar where material
pertaining to the duke had been stored for
several centuries recently burned down,
but by chance, the box containing the
score had already been removed. Michael
Maul, a researcher at the Bach Archive,
discovered it while conducting research
on the composer’s sparsely chronicled
life.
“After Michael and I had identified
it as Bach’s, we opened a very expensive
bottle of champagne,” Peter Wollny, the
archive’s head of research, told the
Guardian on Monday. “Michael came
back from Weimar two weeks ago and
said he had found something
interesting. We got the microfilm of the
score last week. We compared it with
Bach’s known compositions — and
bingo.
“The last time anything by Bach was
discovered was 80 years ago. So far
we’ve only heard it on the computer. But
it’s a charming little work, written for
one singer — a soprano — and a harpsi-
chord. There’s a little postlude at the end
for a string ensemble — two violins, a
viola and a cello. It takes just four or five
minutes to play.”
The archive has asked British
conductor John Eliot Gardiner to present
the world premiere and record the aria.
Gardiner said that he thought the aria
likely came from a longer cantata.
“It is absolutely beautiful,” Gardiner
told the Guardian on Monday. “So many
of Bach’s cantatas went missing after he
died. His son Wilhelm Friedemann Bach
was pretty profligate with his father’s
stuff. He sold manuscripts off, lost them,
used them as firelighters. So when
something like this turns up, it is
wonderful.”
Gardiner described it as “a reflec-
tive, meditative, soothing piece, as
Bach’s church music so often is. It’s not
going to set the world alight — enough
of Bach’s music from this early-to-mid
period has survived to give us a sense of
his musical personality at that time —
but it’s just great to have this, because
every one of his cantatas and arias is on a
completely different level from all of his
contemporaries.”
British music critic Tom Service,
who has examined the score, wrote in
yesterday’s Guardian that it is “a
charming tune in C major, full of a
natural pastoral joy, an appropriate gift
for the birthday of his patron in Weimar.”
“There’s none of the contrapuntal
seriousness that you associate with
Bach’s most involved music,” he added.
“Instead, this piece reveals an intimate
side to the composer.”
Bach was highly prolific, and there
is already a great deal of his music out
there that is rarely heard. Indeed, only in
the past quarter-century have all of
Bach’s 200-odd cantatas — choral works
he turned out, Sunday after Sunday, for
use in church services – been recorded.
Still, the modern premiere of this aria,
unheard for almost 300 years, promises
to be one of the most eagerly anticipated
classical music events of the
season, and should take place before the
end of the year.
In a statement released by the
archive, Prof. Wolff called Maul “a most
resourceful researcher. In less than three
years he uncovered an unparalleled
number of new archival Bach documents,
but this is the first time he presented a
musical discovery. The overall research
project is far from being over, and I am
quite sure that sooner or later Michael
Maul will make news again.”
Would you like to send this article to
a friend? Go to
http://www.washingtonpost.com/ac2/wp-
dyn/emailafriend?contentId=AR200506
171
THINGS THAT USE TO GOBy Shahar Eliyahu
“THUMP IN THE NIGHT”I’d gotten used to it. I had heard for so long that
“Ampicos thump” that I began to believe that there was nothing to do, no cure, and a simple live with it became mymotto. I had spent months in rebuilding my 1923 KnabeAmpico. I had the piano professionally rebuilt and refinished,and I did the Ampico works myself. I sought and followedadvice from many experts in the field. I thought logically andmade conclusions—I assembled the pump—thump, thump,thump. That was 3 years ago. Recently I have decided toupgrade and to sell my Knabe. My buyer wanted the piano buthad a condition of getting rid of the pump’s thump. I knew itwas time to act.
Let’s start with the basics—why does an Ampico pumpthump? I know of three sources—the ball bearings that keepthe rotation even of the inside spider and of the pump wheel isthe first. The second is the connecting rods. They are made ofwood with felt bushings to keep them snug against the pumpfeeder bellow and spider. The third can be the bellows them-selves. Any leak in the bellows or in the flap valves causes anuneven load on the pump—this means that part of the time themotor is working harder, part of the time it’s working easier—it’s easy to imagine here how this can cause (a) uneven supplyvacuum and (b) THUMP!
Knowing what causes thump is most of the battle, at this stage,you can evaluate the pump and its components individually.
When I rebuilt my Ampico, I was advised to replace allthe leather, including the leather in the pump. I’m now notconvinced that it was the best idea, but it’s what I did and itwas years ago and I have to leave it at that. For the inside flap,Ampico originally placed a piece of felt and a leather gasket, awire in the middle of it, and the flap sitting on top of it all witha crease to align perfectly with the wire. I don’t know howthey did this at the factory, but I have always been concernedthat I didn’t get it right. I decided to remove this “feature” andmake it a straight flat face. Next I noticed that the valve wasalso sitting on top of the small piece of felt. This was finewhen there was a gasket over the holes, but now all that it did
was to push the leather away from the wood. I removed thisfelt along with the gasket and installed a flat pump flap valve.
So—this done—how do you test the flaps for tightness? Ihave new valves installed on a new clean wood surface—howdo I know how good they are??? I didn’t want to reassemblethe pump only to find that the inside valves weren’t sealing! Ihad an idea. First let’s look at the shape of the wood on thestable board of the feeder bellows. There are 4 holes on theside that connect to a chamber that goes to the flap valve holes.I covered 3 holes with tape (and pressed down) and sucked onthe 4th. If it was too easy to suck I knew I had leaky valves. Ifit was tight, I knew it was OK. My first brainstorm camehere—I found one valve set that was tight, 3 that were leaky(somewhere!). I took out my hot-iron (I keep an old workingiron for piano work) and simply steam pressed the leatheragainst the boards. I then tested them and all 4 hadimproved—they were tight against the boards and a low levelof leakage. The movable board was more accessible and I simply checked each hole individually for air-tightness.
At this stage, I assembled the pump and checked out theoutput vacuum. I was expecting that I still needed to makesome adjustments, but I was shocked at the output I received—no vacuum whatsoever! Where was the leak? The back sideof the pump connects all the feeder bellows and needs to press
tightly against them all.I gave this a few taps allaround with my rubbermallet and screwed ittighter. I got it to thepoint where it was verytight all the way aroundand tried again. Now Iwas starting to get someresponse—but not agood one. I could hear itworking—if you takeone complete turn of thepump wheel I could hearvacuum for the first halfof the cycle, then nothing. Then vacuum,
then nothing. Half of the time it wasn’t doing anything! Trydriving your car after taking half of the spark-plugs out! Notgood. At this point I thought about how to continue testing—Icame up with a plan.
I took the bottom (cast-iron) panel off and left the toppanel (connecting channels). I also removed the spider. Now Ihad all 4 bellows that I could test individually—simply bypulling them open with their connecting rods. 3 of them wereweak, one was very strong. That didn’t make sense at first, butthen I figured it out as I continued to test. As I operated eachbellow individually, I soon noticed that as opened a feeder bellow, that one of them was drawn closed in response. I didthis a few times—each of the other 3 drew this one closed—
172
none of the other bellows were affected thusly. When I openedthis particular bellows it was the strongest of them all. Then Iunderstood my problem: the inside flap valve of this bellowswasn’t sealing (for whatever reason). The bellows are in constant motion—half of the time each is opening—drawingair, half of the time each is closing—releasing the air in thebellows to the atmosphere. Whenever this particular bellowswas in the act of closing, it would not only release its air, butthe air of the other bellows that were currently drawing air—thus half of the time it wasn’t working. I took it apart andfound the problem, then they checked out fine.
So I now had 4 feeder bellows, each supplying a goodvacuum. I re-assembled the pump and turned it by hand—thistime the vacuum was even and strong. Had I solved my problem? No—there was still a knock that was driving mecrazy. The next major problem was then the rods themselves.I took each rod and checked it for motion on the axis. Itmoved freely around the axis—this is good, but when I appliedpressure to move it in other ways, it would wobble. This wasapparently the source of all of my problems—the rods wereloose on the axis, they would cause jerky movement when theywere moved by the motor and this was causing a thump in thefinal analysis.
I took this opportunity to grease the bearings inside themetal plate. There are bearings on both sides—top and bottom. I removed the cover, then the pressure fit cover andtook some thick Teflon grease, rotated the bearings and pressedthe grease in place. I repeated this for the back side as well. Ifthey had locked, I would have taken this to a machine shop forrepair.
Now on to the task of replacing the bushings in the wooden rods. First for materials. The only cloth to buy iswoven bushing felt, available from piano supply companies.The cloth tears straight so the best way to get a good edge is totear it.
The first step: clean out the old stuff. This is done on adrill press—the old felt is simply drilled out—carefully andmaking sure that the drill does not remove any wood. Oncethe majority was removed with a drill, I used a round rasp toclean out the hole, and finally scraped the sides clean with asharp scraping knife (the type that wood-carvers use—with a
long straight blade).
Next I measured with my digital caliper the insidediameter of the hole and the diameter of the rod.The difference between them divided by two givesthe thickness of woven felt that I needed to use forbushing. To calculate the needed width of bushingcloth, you multiply the average of the 2 diameters by3.1415. This gives the width of the bushing cloth.Finally the end of the cloth is cut to a triangle—longer than the hole—this is used to start the bushing—it’s simply pulled through. When youreach the end you need to do 2 things: 1) applygraphite or Teflon powder to the inside of the cloth(2) apply glue to the outside. Here I used fishglue—it is similar to hot hide glue but works cold.Now slowly pull the cloth through, give it a slighttwist so that the edge is at an angle—not straight. Ithen pushed a dowel inside to press it against the
wall of the hole and to give me a counter to cut the cloth anddo the next.
Once all 8 holes had a new bushing and had dried in place2 hours, I put the pump back together. It now worked evenly,and quietly. I considered my job done and installed it insidethe piano.
At this point, I’d like to make a very strong recommendation to anyone that attempts to work on theirpumps: install them when the piano is resting on the side—don’t do this (in a grand) when the piano is standing. If youmust and are extremely strong, then you can use the followingmethod that I did, but please be advised—it’s difficult andpotentially dangerous if the pump should fall on you:
This is easiest if you have a stool that has a swivel to raiseit. In the lowest position, you should be able to fit the stooland pump underneath the piano—simply put the pump on thestool, slide it in place and swivel it up until it’s at the rightheight. You don’t have a swivel stool (or your wife would killyou if her antique organ stool got a scratch?) any backlesschair will work. Put the pump on the chair and push it upslowly, supporting it while inserting more and more blocks ofwood underneath (or books!). Be careful that the pile doesn’tfall when you add more and more. Here—put them underneath the pump, on top of the chair—I tried once raisingthe legs of the chair—the pump almost came down on me.
Now—when you’ve started to raise it but still haven’tpushed it all the way up, in an AMPICO, there are 6 tubes connected to the pump—and 3 of them are on the “top” side.Make sure to install at least those 3 tubes while you still haveroom to move around up there! I connected them after it wassitting directly on the stool, and double checked them in theprocess. Also at this stage, put the leather pads in place thathold the legs on.
When the pump is pressed almost as high as it should be, Ichecked and adjusted its position and then screwed the 4 supports in—I started at the end of the piano on both sides,then the front.
With a little hard work, I now have a pump that is quietand smooth, supplying a strong vacuum to the piano.
173
Submitted by A
nthony L. E
ngels
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gg Placing the Mastertouch Action in the Piano
FINISH the action as you do the ordinary-s-uo difference.REGULATE the action the same as the ordinary-except instead of bending back
check and bridle wires, regulate the set screw in the catcher for the amount of hammer-throwdesired. We recommend that with an easy blow it should not exceed 1-2 inch.
Do all other regulating, re-regulating, etc., as in the ordinary action.Pin centers and distances are the same. Therefore, while a revolution in itself.it is no
revolution to complicate or confuse you in finishing and regulating.Being non-blockable you may regulate the hammer-throw or return closer to the string.
This aids repetition because the fly movement being less, thereby will retrieve its positionquicker and be ready for another blow.
THE STAIB
MASTERTOUCHTfitADI: MARK,
PIANO ACTION
AFTER about 14 years of experiment, spent in trying out many and varied patents, wehave perfected the Mastertouch Piano Action to such a point, that we will guarantee
it the most perfect action in existence.We are not asking you to try a mere experiment, we know it will do all we claim.We placed several of these actions in player pianos and gave them a two years' test of con
tinuous playing and pounding. They have withstood all tests not only by ourselves, but byexperts in piano construction.
REPETITION:
Repetition is the ability of the fly jack retrieving its position quickly or getting underthe butt with the minimum release of the key. The Mastertouch will repeat with a half movement of the key which means double the repetition of the ordinary action.
NON-BLOCKABLE:
In the ordinary action any increase in the key depth, by reason of the key bottom sagging,the key punch compressing or being moth eaten, will block the hammer against the string. Toavoid this in the ordinary action, the hammer.throw or return is increased to an amount whichinterferes with the repetition.
In the Mastertouch Action the combination of the butt, fly and catcher is so arranged,especially with the pivotted catcher that the action cannot block, because should there be anyincrease in key depth and the hammer should attempt to block, the pivotted catcher with springwill absorb this difference and upon an over stroke draw the hammer away from the string.
This is a point very essential in a player piano. All player mechanisms stroke the action,with a greater leverage than the finger at the end of the key. Player mechanisms stroke eitheron the sticker or wippen nearer to the actual piano action movement, thereby gaining in leverage
and gives a movement to the action of greater stroke or over-stroke than obtained at the end ofthe key and tends to force the hammers against the stringswhich causes blocking.
To avoid this over-stroke or blocking in the ordinary action, an extra block rail is usedwhich tends to stop blocking but does not permit the piano action to move its full stroke andcauses a jarring of the action and player mechanism and consequent wearing of both. In theMastertouch this action rail is not needed as before explained the pivotted catcher and springabsorbs all the over-stroke leverage and consequent blocking.
NO Bridle Tape.Bridle Wire. It is noticeable that we have none of these articles.Back Check.
No bridle tape, means nothing for the mice to gnaw off and give trouble. Our bridle tapearrangement is part of the butt and inaccessible for our enemies, the mice.
No back check or bridle wires to bend and with time and playing assume a different position than intended. Our fly and pivotted catcher with its regulating set screw does the duty 01back check wire and stays in position. A set screw is better than a bendable wire.
Our Angle regulating rail.-In the ordinary action the regulating rail is a mere strip ofwood held in position by 6 or 7 bolts, the space between is such that any warping of the rail,will throw out the regulation.
The Maslertouch has an angle rail, which in itself is stronger than a mere strip of wood,and being fastened to the main rail by 18 to 20 screws strengthens it still more. All this strengthkeeps the regulation better than in the ordinary action.
We therefore claim that the Masler/ouch Action will stay longer in regulation on accountof the strength of its regulating points and will stand harder use and abuse than the ordinaryaction.
SPACE SAVED.-All the parts of the action have been confined to the space behindthe hammer rail and therefore, the space is saved that the back check, bridle wire and bridle tapeconsumes beyond the hammer rail. The saving in space is useful in player pianos for eitherreducing the depth of the case or for room for the piping of the player mechanism and there is noliability of noises accruing by the back check, etc" striking against this piping.
FINISHING AND REGULATING.-There is nothing in this action requiring anydifferent finishing than in the regular action, therefore, it should not confuse anyone. Regulating is the same except instead of bending back check wires, regulate the set screw as shown inillustration on page seven.
The centres are the same as the ordinary action, therefore keys used on ordinary actionsmay be used on the Masiertouch.
The best proportion of key to be used is the one having 3 parts to the front and 2 to the rear.While this action has been designed primarily for the player piano there is no reason why
it may not be used for any upright piano giving thereto all the perfections and playing controls.We further claim that this action gives the pianist a better control in playing than in any otherupright action and all the ability to play difficult passages now only possible on the grand.
THE STAIB-ABENDSCHEIN COMPANY13 ~Uh Street and Brook Avenue
Nothing ~ives us greater pleasure each month than to write you a letterwhen mailing you the enclosed bulletin of new releases. It lsn'~ 80 much what .ebave to 8ay 1n thes. letters as the fact that it give. u. the oPPortunity to keepin touch with those .ho we know are and should be interested 1n leIte-Mignon(Licen.ee) Reproducing Records.
'or the month at July, •• desire to call your particular attention to thepatriotic numbers that have been recorded for the Welte-Mignon Library. There iano doubt that all owners of '.lte-Ml~non Reproducing Pianos should be interestedin havln~, in their own libraries, these patriotic numbers. You will find severalof such records listed ,peclaIIy in tbe July Bulletin.
During the Summer months, music of a lighter vein i8 always more povular,and along with the ne. record8 of popular mu,io for July, there are listed on thelast pa~e of the Bulletin 80me of the most recent popular numbers and theme songeof the latest talking moving piotures. Tbeme 80nga, in particular, are provin~
great favorite••
Among true lovere ot music. tbe •• lte-Mignon (Licensee) Reproducing Pianoatill retains its hold in apite of the great inroad ot oth.r means of meohanicalmusioal reproduotion. The 'elte-Mignon (Licen.ee) 18 tb. only instrument thatgive. a lite-lite and photograpbioally accurate reproduction of the artist"~ playing. Baoking up tbis .ond.rful .echanl.M is tbe world', greatest library of reproducing record., to whiob •• are oonstantly adding new numbers reoorded by theyounger generation of piano virtuosos and old clas81cal favorites by well-knownpianists who have already made their mark in the musioal world.
Cordlall~ Jour.,
REP' Fl 0 0 v C I N G R E COR C S FOR ~el1e'f"Im'tJuo", REP A 0 0 U C I N G ACT ION S
181
~PRIL, 1926
_" I,.uxe Reproducinll' Roll C o rp ora t ion05, We~1 }I'I S~ ree l . NCIov York
'~Ir ,lt~~illaononODUCING RE~ORDS
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Standard Classical and Salon PiecesiNOlt-Each annotation in the following list of the month's new releases is followed bya suggested group of Welte-Mignon (Licensee) Reproducing Records which have thelame musical appeal as the annotated new number.)
Debussy
Debussy
Debussy
o
General Lavine
Gollywo~'sCakewalk
Jimbo's Lullaby
C-7269
C-2733b
C-2733
"Minstrels." one of several among his pianopieces that grew out of Debussy's strong Englishand American sympathies. succeeds amazinglyin epitomizing in a subtle and masterly miniaturethe prankish humor typical of the "minstrelshow." It is one of the most delightfully amusing little pieces in all piano music.
o it was Puck! I saw him yesterrrightSwung up betwixt a phlox-top and the rimOf a low crescent moon that cradled him,
Whirring his rakish wings with all his might,And pursing his wee mouth, that dimpled white
And red, as though some dagger keen and slimHad stung him there, while ever faint and dim
His eerie warblings piped his high delight;Till I, grown jubilant, shrill answer made,
At which, all suddenly, he dropt from View;And peering after, 'neath the everglade,
What was it, do you think, I saw him do?I saw him peeling dewdrops with a blade
Of st arahine sharpened on his bat-wing shoe.
Played by Walter Gieseking
C-7329 j La Danse de PuckI Minstrels Debussy $2.00
Respectively, Nos. I I and 12 of the "First Bookof Preludes," these two little pieces represent analtogether different aspect of Debussy'S geniushis whimsicality. humor, and love of fun. "Puck'sDance" is a frisky and mirth-compelling musicaldenotement of impish. mischievous frolic, quiteas original and delightful in its droll fancy asJames Whitcomb Riley's "Puck"-
Weltt"'Q.lignoltREPRODUCING RECORDS
'New Music Rolls Released for April, 1926
La Soiree dans GranadaDebussy
a Danseuses des DelphesDebussy
•
C-1827
C-2738
Played by Walter GiesekingC-7328 La Cathedrale Engloutle
(The Engulfed Cathe-d ral) Debussy $2.00
"The Engulfed Cathedral." No. 10 of the twelvepieces making up Debussy's "First Book ofPreludes for Piano" (published in 1910), was inspired by an old Armorican legend of the ancientcitv of Ys, on the coast ofBrittany, which long. longago was engulfed by theencroaching sea: butwhich, say the awe-struck
Breton fishermen who have heard the uncannysounds, sometimes in calm of early dawn makesknown the site of its watery grave by the chimingof its cathedral bells. The essential poetry ofthat legend is evoked with all of Debussy's subtlemasterv in this mystical. weird. and fascinatingpiece.. It is the chiming of cathedral bells in adream-i-an authentic vision of tonal beauty, rareand strange and evanescent, from that uniqueDream-World in which Debussy lived andwrought. It is at first puzzlingly fluid, vague.misty; but familiarity with it brings an unfailingsense of light and proportion. of grace and subtlety. Mr. Gieseking has recorded an exquisitelyfinished interpretation of this impressionisticmasterpiece that imparts its magical beauty.
~)
Welte-Mtgnon (Licensee) Records by Claude Debussy
A score of other distinguished pianists have recorded for t he Welte-Mignon (Licensee)fine interpretations of many of Debussy's compositions. The list is too long for the spacehere available. But the following list is of unique interest. because made up only of his owncompositions played by Debussy himself.
C-2736 La Plus que Lente (Valse )C-2733 Children's Corner-(l) Dr. Gradus ad Parnuss um; (2) .Jtrnbots LullabyC-2733a Children's Corner-ell Serenade of the Doll; (4) The Snow Is DancingC-2733b Children's Corner-(.';) The Little Shepherd; (61 Gollywog's CakewalkC-2739 Le Vent dans Ie Plaine; and MinstrelsC-2738a Prelude No.1: Danseuses de DelphesC-2738b Prelude No.2: La Cathedrale EngloutleC-2738c Prelude No.3: La Danse de Puck
.-\ removable order hlank is in the center of t his hook
CLAUDE DEBUSSY
G
(Signed) CLAUDE DEBUSSY
BEG I N N I NG his c~reer as an exceptionally able pianist, ClaudeDebussy developed m~o .the most original of modern French composers-one of the most strikingly original and individual composers of all
time, in fact-and the founder of a new school, or movement, or regime,known as "Impressionism" in music. His influence, more than that of anyother new leader, has dominated the development of music in the firstquarter of the twentieth century.
Debussy was born in St. Germain-en-Laye, a suburb of Paris, on August22, 1862. In childhood he studied piano with a pupil of Chopin, Mme.de Sivry, who taught him so well that he was admitted to the Paris Conservatory when only eleven years old. There he distinguished himself as abrilliant student and won many prizes, culminating in 1884 with the muchcoveted Grand Prix de Rome.
In 1892 he composed the work that made him famous, the "Prelude tothe Afternoon of a Faun," and began the opera "Pelleas and Melisande,"which occupied him for the next ten years, and which stands as a landmarkin dramatic music. He also composed many smaller works: orchestralpieces, a string quartet, songs, piano pieces.
"Pelleas and Melisande" was staged in Paris on April 30, 1902, and thereafter Debussy was universally acknowledged as the head and master of theImpressionists. His later compositions include orchestral works, ballets,choruses, chamber music, about fifty songs, and many of his most characteristic piano pieces. He died in Paris, on March 26, 1918.
There is an unswerving unity of style about all of Debussy's music. It ischaracterized by extreme fluidity, vagueness of outline, cloudlike shapes,constant flux and change; by unexpected and subtle accents, wayward andfantastic rhythms: by mystery and strangeness and an inexplicable beauty,remote yet haunting.
The piano was a favorite medium with him, and his contribution to pianomusic is significant and important. The Welte-Mignon is the only reproducing piano for which Debussy ever recorded any of his own compositions.Concerning this instrument he wrote:
"It is impossible to attain a greater perfection of reproduction than that of the 'WelteMignon' apparatus. I am happy to assure you in these line.' of my astonishment and admiration at what I heard."
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Pl ayed by Julie B ergere
B-7321 Chant d'Avril (Apr il Song)Lack $1.50
T heodore Lack , eminent as pian ist , co mpose r,a nd teacher o f pian o playing a t t he Pa ris Co n..servatory for more th a n So yea rs , was born inQuim per, Finiste rre, Fran ce, in 1846, and hasbeen a pro lific prod ucer o f sa lon musi c for
Pl ayed by A lfredo Casella
C-7326 Bruyeres (Prelu de No. 5of Book II ) Debussy $2,00
Here Alfredo Casella has recorded ver y deft lya nd poeti ca lly a not her of Debussy's Pre ludes ofd ist inct ive a nd uniqu e beaut y a nd charm ." Bruye re" is F rench for " heather," a nd t he wo rdal so mean s a heath where t he hea t her grows.T his piece, ma rk ed at t he be~i n ning of t he scor e."Ca lm, sweet ly ex press ive ," IS suc h a litt le tona llandsca pe as o nly Deb ussy could ac hieve. It isa not her magical evoca t ion fro m his Dream Worl d , exp resse d in some of his most characterist ic me lody, whole-tone ha rmon ies, and rhyt hmicpecul iarit ies-e-wit ha l a ve ry beauti ful a nd fascina t ing litt le to na l poem .
FaureFaur e
Hopekir kBeethoven
M ozart
MinuetMinuetMinu e t
Pl ayed by Z oltan de H orvathX-7331 Minuet in E
de Horvath $1.75A beau ti ful, gracefu l, a nd cha rmi ng little pianopiece is here a ut hori ta t ive ly a nd ent ra nci nglypla yed by its compose r. T his pretty Minuet isform ed , of course, on the classica l model , a nd ithas the deliciously qu a in t flavor cha rac terist icof the grac eful dan ce form of the sp ri ngti me ofmodern music. Yet it is not wit hou t mor e modern t ouches, pa rtic ula rly in its ski lful and effect ive harmoni zation , wh ich is, nevertheless, per fectly ap propria te to the theme. I ts basict he me is a melod y of d ist inc t ive an d ingra ti a t ingbea uty , sugges t ive of th e ti mes of laces, br ocades,and 'i races. I ts rhythm is excellent , adro it lyco m bining co urt ly grace an d an insist ent, ir resist ible bea t .
B-6859C- 1326B- 181
Pl ayed by Earl JHamiltonX-7335 Lamb of God (" Agnus Dei")
B izet $1.75Bizet 's fine a nd nob le re ligious song, "Lamb ofGo d " (" Agnus Dei" ), wit h it s im pressive, soaring melody- one of the most beautiful melodieseve r penn ed by t his French master-and itseq ua lly imp ressiv e a nd beau t iful ac companimentin harmonies of a lmost orchest ra l fullness a ndrichn ess of ton a l co lor ing, mak es a st riking lybeau t ifu l a nd appea ling piano piece. Ea rlHamilt on 's record of it IS a fmc and beautifulperfo rma nce- a t rue int er pret ation , no t onlytechnica lly correc t, but imbued wit h understanding and ap preciat ion of t he poet ica l content oft he mu sic- impart ing skilfully and deligh tfullyth e composer's message o f lofty beauty.
B-6700 The CrucifixB-6699 The PalmsC-6173 Cujus An iman (St a ba t
Mater) Ro ssini
provisat ion-s-poet ic, fan ciful , fine ; making adirec t a nd sure a ppea l to t he hea rt of the musiclover. Claude D uret 's mast erly performancesets forth a ll t he ent ra ncing beauty of this deligh tf ul piece.
C-66 89 Barcarolle, Op. 27, No.1Moszkowski
C-1469 Gondoliera , Op. 41 MoszkowskiC-6979 Li eb eswaltzer Moszkowski
P layed by Claude Il urei
C-7330 Moment Musical in Csharp Minor , Op, 7,No.2 Mo szkowski $2.00
Alt hough one of t he la te Moritz Moszkowsk i'sea rly compos it ions, t his " Mome nt M usica l" isrep lete wit h t hose cha rac ter ist ics for which hebecam e fam ous. Her e are his fire a nd brilli an cy ,bea ut y a nd cha rm of graceful melody, d iversifieda nd a lways effect ive ha rmony , th e fascinat ion ofst rik ing a nd at t ract ive rh yth ms, exubera nce offancy , a nd with a l, his mast ery of clea r a nd sha pely design. Th e piece is rom an ti c in co nce pt ion,a nd it neve r ha lts for lack of ide as. I t is rha psod ic in utteran ce - vind eed , a lmost like an irn-
Played by Marguerite Volavy
C-7333 Prelude in G-Minor, Op, 23,No.5 Rachmaninoff $2.00
Marguer it e Vola vy haSrecorded a fine, sp irited .vigoro us perfor mance ofthi s celebrated "Prelud e"- perha ps t he mostspiri ted a nd vigo rous of a llt he ma ny Prel udes t husfa r published by th e fer ti le R ussian mast er Serge iR ach m a n i noff . Seco ndonly to t he fa mous Csha rp Mi nor Pr elude inpublic favor , t his G Minor
Prelud e is mus ic of splendid a nd puissant imagina t ion a nd compelling power : t he work of amaster of const r uct ion a nd of piano sty le. I tgrips t he hear er's int erest at t he ver y sta rt wit hits energetic procla mation of a sturdy marti a lt heme. in st rongly marked , steady a nd powerfu lrhythm . rapid ly mount ing to mag nificen t ou t bu rst s of sound. Then co mes t he sudde n a ndviv id co nt ras t of a compara tively simple middlesect ion consisti ng of a melod y of th e R ussia nlolk-song t yp e, but a lso of a peculi a r int ensit y,set to a ra t her slow-paced acc ompa niment inso mbe r hued ha rmo nies . Anon t he march returns wit h renewe d power and pomp a nd co mpe lling swing, a nd th e piece ends in a burs t o fso norous splendor.
C -7312 Prelude, D major Rachma ninoffB.6636 Prelude, G, Op. 32, No.5
Ra chmani noffX -6761 Prelude, E-flat, Op. 26
Rac hma ninoff
Waltz from-Ballet " Na ila". Deli bes. Dohllan yi
Waltz, Faust TranscriptionLiszl
Liebesw altzer M oszkowsk iC-6979
C- 483
C-7033
t he pian o. Th e happy spirit and Ga llic gracet ha t a nima te his mu sic are well exe mplified int h is cha r ming "April Song" (Op . 147) , whi ch,a lt hough composed whe n he was old in yea rs, isas fresh and ga y and lyric a l in bot h feelin g a ndexpression as if it had been wri tten in the spri ng.ti me of his life. It s lovely, t ripping, sing ingmelod y, inst inct ive ly exp ressive of Apri l ca refree lightn ess a nd joy , a nd its backgrou nd ofsimply beauti fu l a nd a ppropriate ha rmonv a reski lfu lly a nd effect ive ly combined t o prod uce apoet ic bit of music deserving of popula rit y in t hebest se nse . Ju lie Bergere has played t his da intybright a nd grac eful mus ic cha rm ingly .
B-6988 The Brook Spindler
C-7l ll Amour Coquet Fr iml
8-6352 Val se Arabesqu e Lack
P layed by George Lieblin g
C-7325 Juliet's Waltz from"Romeo and Juliet"
Gounod -Raff $2.00l n Fran ce " Ro meo a ndIuliet" is ra nked as t hegrea te st of Go unod's operas. Elsewh ere it has notenjoyed t he ove rwhelming popul a rit y accorded tohis " Fa ust," but it hasst ead ily gain ed in pub licfavor t hr ou gh o ut t he mu sica l world, for Go unodfit te d Sha kespe are's immortal love t ragedy wit hmusi c of end uring bea u ty
a nd grea t cha rm. J uliet 's Walt z occ urs in t hefirstact of t he opera , following immediately upo nher first ent ra nce , in t he sce ne of th e festi val a tCa puler's house. It is a bright , gracef ul, rnelo d iou s walt z, q uite in th e sty le of Ard it i's fam ous"Kiss" Wal tz. R aff'' s t ra nsc ript ion of it is abrillia nt pian o piece a bo undi ng in va riet y a ndrepl et e with telling pia nist ic effects , Mr.Lieb ling has p layed it with dash a nd br illian ce aswell as gr eat tonal beauty, a nd made of it a ca pt iva t ing record- rol l.
~ --- -
, ~.
~".'"
Girl With Flaxen Hair Debussy
R everie Debussy
Ce Qu ' a vu Ie vent d'OvestDebussy
Y·6513
C·1908
B-6397
Played by Ray Farnum
X-7336 The Alp Maid's DreamLabitzky $1.75
August La bi tzky' s "A lp Maid 's Drea m, " 0 P. 45,is a ver y pr etty sa lon piece th at has long enjoyedpo pula rity by reason of its limpid , smoot h flow.ing, a ppea ling melody, it s nicely varied a ndeffect ive ha rm o niza tion , it s id y llic suggest ion.It s com pose r ca lled it a n Id yl , a nd suc h It is- alight , gracefu l, fan cifu l, poet ica lly conceived ,a nd wel l-writ ten lit tl e piece, of universa l a ppea l.Ra y F arnu m 's fine record of t his old favor it eca nnot fa il to ma ke a host of new fri en ds for it .
X-6035 Midsummer M cqua rre
X-6026 Pe arls M orel
X-601 3 Sparklets Miles
o ;~
Q-c ")
"" 1,THE MASTER'S FINGERS ON YOUR PIANO
~
P layed by P ersis Cox
X-7334 Sundown Hopekirk $1.75
Sarabande-Rameau Godousky
No cturne - F r om the Landof a T h ousa n d Lakes Si belia s
Noct u r na l Tangler Godo,,'sk~'X -7242
C-7034
B-7234
In t his exq uisite a nd ca pt iva t ing bit of music t hemodern F renc h pian ist-co mpose r Ga br iel Grovlez(he was born a t Lille , in 1879) has de ft ly caughtth e mood as well as revived th e sha pe of th eSa ra ban de,a sta te ly ancient da nce of harpsich orddays, once ext remely popula r in Spa in, F ra nce,a nd Engla nd , a nd proba bly of Or iental origin.He has devised an adorable an d t rick sy lit tl emelod y, of a lmost na ive simplicity, an d has setth is to a n appropriate ly simp le acco mpa nimentmost ly in harp-like tones, a nd t he result is a ltogether charming in it s delicate grace, sheer tona lbea uty , a nd poetic feeling. And M me. Brardhas played it exq uisitely.
Bohemian Danse S metanaPolka, Op. 7, No .1 Sm etan aPolka de W. R. R achmani noff
8-6790B-68838-6438
THE MASTER'SFINGE~S ON YOUR PIANO
~P layed by Richard Singer
X-7332 Souvenir de Boheme (InForm of a Polka)
Smetana $1.75Based on t ypi ca l Czec h melod ies, of most ingrati atingly sweet and plain ti ve q uali ty ; devel opedin strikingly beaut iful, rich, a nd varied harmon ies , wit h compelling rh yt hmi c swing, in va ryi ngpace ; a lte rnat ing dai nty delicacy a nd exqui sit egrace with impassioned vigor a na a ba ndon- t hisis an excep t ionally beautifu l and a n ent ra ncingpiece. It is a Polka , but suc h a Polka as cou ldhave been composed by no one bu t Bed richSmetana , " t he Fat her of Bohemian Music, " forit is sta mped in eve ry ba r wit h his rema rkablea nd shining individu al it y. Richard Singer 'srecorded performance of it is a lmost uncanny inits ra nge a nd diversity of pianistic effects , in itsravish ing t onal bea uty , in it s und erst and ing delivery of a ll t hat t he composer intend ed to sa y.This is a t ru ly marvelous record-roll.
Sca rlattiSca rlattiS carlatti
Concert AllegroCa pr icci o in B-f1atAllegro Vivacissimo
X -70968 -6746B-1911
vas t number of pieces for th e clav ichord a nd t heharp sichord which he called sona ta s. T hey a renot so na tas, of course , in th e sense of toda y,thoug h they for eshad ow th e modern so na ta formin t he cont rast ing mood of th eir principa l th emesa nd t he key relationships in which t he th emesa re presented . Sca rla tt i d id not a im a t emot iona lexpression in th ese pieces. " Amat eur or professor, whoeve r th ou art ," he sa id in th e prefaceto a collectio n of his Son at as, "seek not in t heseSona tas for a ny deep feeling. T hey are only afro lic in ar t, intended t o incr ease th y confidencein th e clavier." T he t wo " Sonat as" heregrouped toget her well exemplify Sca rla tt i'sbri llia nt sty le an d pr ovid e an effective co nt ras t;t he first being in slow and pensive vein, th e ot hervery lively , fleet a nd nimble.
Dr ea my, restful , soo t hing , a ltoget her ent rancingis thi s ver y beau ti ful a ndmusicianl y aura l denote ment of th e mood of ea rlyevening q uiet a nd peace, adelectable andante sostenuto by t he eminent Scot tish pianist a nd co mpose rHel en Hopeki rk, lon g resident in New E ngla nd. Itwas inspired by, and is afine tran smuta t ion into
tona l poet ry of th e following lines from t heBritis h poet Willia m Ern est Henley 's "Marga rita! Sorc ri":
(~'"?-- ~, ~,,,
Pla yed by H eniot L euy
C-7323 Variations on an OriginalTheme, Part I L evy $2,00
C-7324 Variations on an OriginalTheme, Part II L evy $2.00
T he Th eme wit h Variat ion s is on e of t he oldestand mos t hackneyed ofmusica l forms. Yet Heniot Levy here demonst ra tes t hat, in th e ha ndsof a co mposer who hassomet hing to sa y a ndknows how to say it , t hisso met imes abused andofte n ma ligned form issti ll serviceable for t heutteran ce of new musica l
th oughts a nd th e de light-gi ving proclam ation offresh , new a nd inspirit ing musica l beauty. Hehas st arted wit h a shor t a nd ra th er simp le, butexpressive Theme, and on th at as a basis hasfashioned a grea t series of Vari ations th at fai rlyastound t he enrapt ured listener wit h th eir wea lt hof musical pa t te rn s, th eir colorful, glowing . a ndgorgeous harmonies, th eir wide divergences inrh yth m a nd in dynam ics ; a nd no less wit h t heoverflowin g ab undan ce of t heir imaginat ive andpoeti c ideas. Some of t hese Va riations are oft ran scendent beau ty ; and th e work as a whole ismasterly both in inspirat ion a nd in tech nica laccomplishment. Th is is music to be list ened toover and ove r again, reveal ing new bea uty wit heac h rep eated heari ng. It is enormously d ifficu ltto pla y, a nd in mak ing his tw o superfine reco rdsof it Mr . Levy has wrou ght wonders in int er pretat ive pia nism.
C-716 8 Theme a n d Var iat ions CheviltardC- 457 Theme a n d Var ia tions BeethovenC- 1379 Theme Var ie Pa derewski
Persis Cox has here reco rded a skilful a nd sy rnpathet ic inte rpreta t ion of thi s fine ly wroughtmusica l expressi on of a finely chosen vision .
A nd fr om t he wes t ,Wh ere t he s un, his da y 's wo r k ended.Lingers as in co nt ent ,T here fa lls on the old. gra y cityAn influence lum inou s a nd serene,A sh ini ng pea ce.
Played by A lfr edo Casella
C-7327 Sonatas in E and GScar latti $2.00
Alfredo Casella , most modern of Ita lian mas te rs,has here made an excellent record-roll of tw oqu ain t and delight ful old pieces com posed for aprecu rsor of t he pian o by a n It al ian master whoflou rished in th e da wn of inst rument a l music inIt al y. Dom enico Sca rlatt i (168,,-17.'i7) wrote a
C-72508 -685 98-6823
Serenade H opek irkMinuet form Suite H opekirkOld Irish Cradle Song Poc hon
00VI
B-7340 A Cottage Smal1 By a Water-fall (Word Roll) l l anle y Oscar Haase $1.50
B-7339 If We Should Part (WordRoll) - .';(!zerlzingrr ( rsca r Haase 1.50
Y-7341 Rhythm of the Day (l nst ru-mental Novelt y: .Vfurphy & Lindley Howard Lutter 1.25
Accompaniment Records
:New Records of Popular Music
Tamiami Trail-Fax-Trot Friend and Sa nth. Ralph Reichenthal
~~ro~~ro~~ro~xm~xro~~
~ Welte-Mignon (Lim",,) Repmdu<ing Rnlls Issued Sin", Last ~General Catalog@ (Titles in heavier type are Releases of the Last Two Months) ~
~ STANDARD CLASSICAL AND SALON PIECES ~B6814 Adieu - - - - - - - - - Edna S. Hart - - Zamecnik - - S1.50
~C7074 Afternoon of a Faun. The (Part I) - Richard Singer • - Debussy 2.00 ~C7075 Afternoon of a Faun,_ The (Part II) Richard Singer _ _ Debussy 2.00'" oJX7174 A la Valse, Op. 91, No.7 - - Harriette Cady - - Schytte 1.75C7149 Allegro Classique, Op. 94 • - Marguerite LeGrand Ravian 2 00 ~Y6714 Aloha Oe (Hawaiian Folk Song) . ~
~CI076 Barcarolle in F sharp. on. 60 .. ~ Annette Esalpoff .. Chopin - - • 2.00 ~X7222 Bells of St. Mary's, The (With Words) Oscar Haase ~. - A. Emmett Adams 1.75
~C6747 /2. M£:~',;lnb-' (Li;t1e - C;eo!; Doli of Alfredo Oswald Villa-Lobas - 2.00 ~
Papier-Mache) .. - .. .. _.. ., .B6988 Brook, The _ _ _ _ _ _ _ _ Katmka Nannska Spm<\ler - 1.50B7013 Butterfly Etude, G-F1at, Op. 25, No.9 Lefl Pouishnoff - Chopin - 1.50 ~C6964 By the Seashore _ .. _ _ _ • • Marguerite V,.,lavy Smetana .. .. 2.00X7268 By the Waters of Minnetonka _ • Leon Mitsz.ki - Lieurance 1.75
~ ~1. Caboc1inha (Little Brazilian Indlan( ~
C6748 Doll of Terra Cotta) - - - - Alfredo-Oswald _. Villa-Lobas ,- 2,002. Mulat inha (Little Mulatto Doll of -
~ Rubber) - - - - - - - •
~~®~~~~~~~~~~~~~~
1.50
1.25
1.25
1.25
1.25
Price
1.25
1.25
1.25
$1.50
Earl Hampden
Earl Hampden
Howard Lutter
Johnny J oh nson
ArtistV,xa I Intcrpretation of
Leslie Frick, accornpanied by Howard R.Thatcher
Vocal Interpretation ofLeslie Frick, accompanied by Howard R.ThatcherBurlrig]:
Da.J1·d
.1 kst
WhitinR and Simon Johnny Johnson
Like a(A-Aat.
Low or
ritl.. ComposerNobody Knows de Trouble
I've Seen (F-Majar, Accompaniment far 1.ow or MediumVoice) - - - Burlcrg):
Sometimes I FeelMotherless ChildAccompaniment farMedium Voice)
e' Ie
THE MASTER'S FINGERS ON YOUR PlANO
~
Chinky Butterfly-Fox-Trot
Dinah-Fax-Trot
Sweet Child-Fax-Trot
Everything's Gonna Be Al1Right-Fax-Trot - Doris and Akst Ralph Reichenthal
t> 'z;;; ""''A Ii ..... '03''';Z;;:
In the Middle of the Night-Waltz Song - - Donaldson
Say It Again-Fax-Trot Sih-rr
B-7338
Y-7342
No.B-7337
Y-7345
Y-7343
Y-7344
Y-7346
Y-7347
Y·7348
000-,
~~ ~\ It,
CJ u o
for
~
APRIL, 1926
To THE DEALER: This order blank is for your convenience in orderingthe month's releases
BLANKORDER
Each month we show on the center four pages of this bulletinthe new releases, together with40 records that should be inevery library. Check off therecords required, sign name and
address in space indicated,detach from wires and
forward to us
ORDER BLANK
l:J{eleases of WELTE-MIGNON RECORDS(Licen.ee)
REMOVABLE
~xm~xm~xm~~m~~m~~
~ ~B7157 Callirhoe--Air de Ballet Raymond Burt Chaminade .11.50X6870 Canzonetta- - • • • - • • • Richard Singer Godard _ 1.75B6U6 Capriccio in B-flat _. _. Auatin Conradi Scarlatti-Hutcheson. 1.50 @
~86716 Dense Orientale a la Chinoise ..... Harriette Cady Cady ... ... ... ... ... 1.50 ~C7059 Danae Rituelle du Feu • -. - Cecile de Horvath de Falla - • _ _ 2.00C7081 Deep River (Old Negro Spiritual) Oscar Haase...... Transcription by Cole-
GodowskyRachmaninoffRosenthalYradierDelibes-Dohnany<BartleuFrim!LieblingBizet- M oszkowskiBall-RothBenkha,dtBrahmsLisztOffenbach-ElyThomasTosti-RothRossiniChaminade
~B7085 Etud. In A-flat Minor, Op, 72, No. 13 Marta MUlnowU:! - - Moukowski • • • 1.50 ~C6782 Etude in E flat. No.2· • - - Cecil. d. Horvath - Paganini-Llsat - - 2.00X6724 Etude in E Minor, Op. 25, No.5 - - Henior Levy > • Chopin - - - 1.75C7031 Etud. in the Form of a Waltz, Op. 52, S
No.6· - ... ... ... .. .... Maadeleine Brard Saint-Saens..... 2.00CI665 Etude in G Minor • • - • • - Gertrud. Peppercorn Zarembski 2.00
1. Rock of Ages - • Halting.2. I Heard the Voice of Jesus Say - - - - - - Dykee3. Jesue, Lover, of My Soul - - - - - - - - Manh @4:. jerusalem, the Golden ... ... ... ... • ... • ... ... Ewing
~B6815 Hungarian Dance, No.5... Richard Singer Brahsm .... 1.50 ~ X6985 Melody Dorothy Miller Duck- Vice-Pres. Charles G. .B6792 Hungarian Dance. No.8 Richard Singer Brahms •• 1.50 r1.J witz ....... Dawes ... 1.75
~~~g ~~~::~~:~ g:~~~: ~~: ~O ... ...... ~:~~:~~ ~:~:~~ ~~:~~: LZZ ~~1:: ~~litri~~?'J:ert~re - t~~~~rle:~dry ~~~~;8 : i:~gC6888 Hungarian Rhapsody. No.2 Richard Singer Lisat - 2.00 ~ ~ X7124 Miniature Polonaise. Op. 47, No. I George Liebling - Liebling. - - 1.75 eC7275 Hemgarfan Rhapsody. No. 14 Carol Robinson Liszt ... 2.00 ~ ~ 86859 Minuet (From Suite for Piano) ... ... Persis Cox Hopekirk ...... 1.60 ~
Gl C6828 Hymn to the Sun (From "The Golden C7151 Miserere from "II Trovatore"Cockerel") ... ...... ...... Richard Singer Rimsky-Koraakoff- (Concert Paraphrase).. Franz SerH Verdi-Gottschalk 2.00
No.3.. .. .. .. .. .. .. .. ... Marguerite Le Grand Reinhold .. 2.00 87297 Moto Per etuo, Op. 46, No.2 - .. Virainla Castelle .. .. MacDowell 1.50
~ C7204 Impromptu in Fceharp, Op. 36· • - Vladimir de Pachmann Chopin - 2.00 ~ C6993 Murmure Yu Vent (Sighing Breezes) Dorothy Parker - Sauer - - - 2.00 ~B6688 Impromptu. Op, 90. No.4 - - - - George F. Boyle - - - Schubert • - 1.50 ~ B6867 Murmuring Brook - - - - - Julie Bergere.· Poldlni 1.50B6715 Improvisation on "Just a Wearyin' for X6958 Musetta's Waltz Song (From "La
You" and "I Love You Truly" - - Rolf Roth - - Jacobs-Bond-Roth 1.50 ~ Boheme") - - - - Leon Mltzski Puccini • 1.75
~X7127 In an Irish Jaunting Car • - - - Marta Milinowski Whitfield - 1.75 ~ B7171 My Heart Ever Faithful Marta Mllinowski Bacb-Lavlgnac - 1.50C7169 In Autumn (En Automne), Op. 36. No. C6785 Nachfalter (The Moth)
4 Cecile de Horvath Moszkowakl .. 2.00 ~ (Waltz-Caprice).. Theodor Koenemann Strauss-Tauaig .. .. 2.00
~X6920 Indian Summer - - - • - - - Edna S. Hart - - Herbert • 1.75 C7035 Nachetuck. Op. 57 • George Liebling • Liebling 2.00C7051 Intermezzo 11 from "Jewels of the Ma- C6928 Nazareth - - - - - - Ray Farnum » • Gounod· - - 2.00
~+ X7009 Irish Washerwoman. The - - - - Cecile de Horvath Sowerby • 1.75 @ ~ ~ I. Negrtnha (Little Negro Doll of } TC01::W
~B6804 Island Spell. The - - - - - - - Persis Cox - - Ireland 1.50 ~ ~ C6749 , Wood) _. - - - - - - Alfredo Oswald ViIla-Lobas 2.00 ~C7244 Italian Concerto, Part I-Allegro 2. Pobreslnha (The Poor Rag Doll) -
Animato ... .. .. ... .. Vladimir de Pachmann Bach ... ~ 200 86846 Negro Spiritual: "Sometimes I FeelC7245 Italian Concerto, Part II-Andante Like a Motherless Child" - ... ... ... Persis Cox Coleridge-Taylor - 1.50 ~
Molto Espressivo ... _.. Vladimir de Pachmann Bach 2.00 t...~ X7242 Nocturnal Tangier (T'riakontameron,C7246 Italian Concerto, Part III-Presto ~ No. 1) - ~ - ... - - - ... ... Sam Reichman ... Godowsky ...... 2.00
@Giojoso ............ - ~ .. Vladimir de Pachmann Bach ~... 2.00 ~ C7294 Nocturne for Left Hand Alone, Op, ~
X7145 Itarian Song of the Sixteenth Century- Carol Robinson Arc. by Alaleona 1.75 9, No.2... - ... ... - - _... Magdeleine Brard > ~ Scrtabln - ... 2.00C7173 { Jerusalem. Thou City Built on High .) Edward Rechlin _ _{ Frank - - - - ) 2 00 ~ C7263 Nocturne In B.Major, oe. 3l, No.1 Vladimir de Pachmann Chopin l,OO
~Now Thank We All Our God - - - Crueger - • -' ~ C6960 Nocturne in C Minor. Op. 48. No. I • Fannie Bloomfield-
B6701 Jesus Christ 10 Risen Today (Easter Zeisler •• - Chopin.. - - %.00Hymn) - - Jan Van Remden From the Lyra e6g78 Nocturne in C Sharp Minor. Op. 27.
~B7085 Etude In A-flat Minor, oe.72, No. 13 Marta MUinoWlId • - M.-kowski - - • 1.50 ~C6782 Etude in E ftat, No.2 - - - - Cecile de Horvath Paganini-Liszt - - 2.00X6724 Etude in E Minor, Op. 25, No.5 - Heniot Levy - -. Chopin - 1.75C7031 Etude in the Form of a Waltz, Op. 52, S
No.6 - - • - - -. - Magdeleine Brard Saint-Saena· - 2.00CI665 Etude in G Minor - - - - - - Gertrude Peppercorn Zarembskl - 2.00
1. Rock of Ages ...... .. - .. .. .. .. Haerings2. I Heard the Voice of jesus Say • - - - - - Dykes3. jesUI, Lover. of My Soul • - •• - - •• Marsh @4. jerusalem, the Golden - - - • - - - - Ewing
X7011 First Bagatelle - -'. - •• Sylvan Levin • SCott - 1.75
e C7057 First Nocturne, in &flat Minor, o». 23 ~No.1.. .. .. .. .. .. .. .. .. Magdeletne Brard .. Faure > .. 2.00
B6910 First Noel, The (with words) - • - Mettler Davis - - Traditional 1.50
~C7275 Hungarfan Rhapsody, No. 14 Carol Robinson Llszt - 2.00 1::1 ~ B6859 Minuet (From Suite for Piano) - - Persis Cox - - Hopekirk - I.IlOC6828 Hymn to the Sun (From "The Golden ~ C7151 Miserere from "II Trovatore" ~
Cockerel") - -. -.. Richard Singer Rimsky-Korsakoff- (Concert Paraphrase) - .. .. Franz Serli verdt-Gouechatk 2.00Singer - - 2.00 B6890 Moment Musical - • - - - Anton Bilotti Schubert-Godowsky 1.50
X7130 Idilio, Op. 134 • - • - - - Edna S. Hart Lack - - - 1.75 C7123 Moment Musical In F-Minor, Op. 94,B6896 II Bacia Waltz (Valse Lente) - - - Ray Farnum - Arditi-Lanner 1.50 No.3 _. - - - - - - • Leff Pouishnoff • Schubert-Godowsky 2.00~ C 222 Impromptu in A-flat· - • - • - Alfred Grunfeld - Schubert • 2.00 ~ C6857 Moonlight on Capri - - - - - - Richard Singer Singer - - • - 2.00
No.3· - - - - - - - - Marguerite Le Grand - Reinhold - 2.00 B7297 Mota Per etuo, Op. 46. No.2 - - Vlrllinia Castelle - - MacDowell - - 1.50 n oJC7204 Impromptu in F-sharp, Op. 36 - - .. Vladimir de Pachmann Chopin _.. - 2.00 C6993 Murmure Su Vent (Sighing Breezes) Dorothy Parker .. Sauer - 2.00 ~B6688 Impromptu, Op. 90, No.4 - - - - George F. Boyle - - Schubert _. - 1.50 ~ B6867 Murmuring Brook - - - - - Julie Bergere « - Poldlni 1.50B6715 Improvisation on "Just a Wearyin' for X6958 Musetta's Waltz Song (From "La
You" and "I Love You Truly" • - Rolf Roth - - Jacobs-Band-Roth 1.50 ~ Boheme") - - - - Leon Mlt.skl Puccini - 1.75
~X7127 In an Irish Jaunting Car - - - - Marta Milinowski Whitfield - - - 1.75 ~ B7171 My Heart Ever Faithful Marta Mllinowski - - Bach-Lavlgnae 1.50C7169 In Autumn (En Automne), Op. 36, No. C6785 Nachfalter (The Moth)
~+ X7009 Irish Washerwoman, The - - - - Cecile de Horvath Sowerby - 1.75 ~ ~ ~ I. Negrinha (Little Negro Doll of ~ .~
~B6804 Island Spell, The - - - - • • - Persis Cox • -. Ireland - 1.50 ~~ ~ C6749 . Wood) •• - - • - - - Alfredo Oswald VilIa-Lobas - - 2.00 ~C7244 italian Concerto, Part I-Allegro 2. Pobreslnha (The Poor Rag Doll) -
Animato .. .. - - .. Vladimir de Pachmann Bach 200 B6846 Negro Spiritual: "Sometimes I FeelC7245 Italian Concerto, Part II-Andante Like a Motherless Child.... ... ... .. Persis Cox Coleridge-Taylor 1.50 ~
Molto Espressivo - - ..... Vladimir de Pachmann Bach - 2.00 ~ X7242 Nocturnal Tangier (Triakontarneron,C7246 Italian Concerto, Part III-Presto No. 1) .. ... - ... .. ... - - .. Sam Reichman - Godowsky ... - - 2.00
~Gioioso _.. - - - - - - Vladimir de Pachmann Bach ~ 2.00 ~ C7294 Nocturne for Left Hand Alone, Op, ~
X7145 Itarian Song of the Sixteenth Century- Carol Robinson Arr. by Alaleona 1.75 9, No.2... .. .. .. - _ -.. Magdelelne Brard.. .. Scrlabln ... _ 2.00C7173 ( Jerusalem, Thou City Built on High .) Edward Rechlin _ _( Frank - - - - ) 2 00 ~ C7263 Nocturne In B_Major, Op. 32. No. I Vladimir de Pachmann Chopin 2.00
~Now Thank We All Our God - - - Crueger - -.' ~ C6960 Nocturne in C Minor, Op. 48, No. I • Fannie Bloomfield-
B6701 Jesus Christ Is Risen Today (Easter Zeisler _.. Chopin. - - - 2.00Hymn) - - - Jan Van Remden From the Lyra C6978 Nocturne in C Sharp Minor. Op. 27.
Zeisler .. .. - .. Moszkowski .. - 2.00 fO Sacred Head and WOUnded} { }C7185 Light Cavalry Overture - - - Howard Lutter - .. - von Suppe - - 2.00 (Herzlich tut mich verlangen) .. ... Hassler....
~C6912 Lithuanian Song • - - • • George F. Boyle - - - Chopin-Sgambati 2.00 ~ C7143 l Sleepers. Awakel (Wachet auf, ruft Edward Rechlin - 2.00B6841 Little Windmills. The .. - - Austin Conradi.. - Couperin • 1.50 una die Stimme) .. .. ... - .. - Nicholai .. - - ...B689S Longing for Home ... - .... Edna S. Hart _.. Jungmann .. - 1.50 B6699 Palms. "Faure's" .. _ - ... ... _ Katinka Narinska· Leybach-Narinska .. 1.50
~C7175 Lorelei, The • - - Bendetson Netzorg· Liszt·· - 2.00 ~ ~ X7006 Papillons _ - - - - - - • • Marguerite Volavy - Rooenthal ••• 1.75 ~B6864 Love'. Dream After the Ball • • - Ray Farnum - - - • Czibulka - • - - 1.50 X7220 Pas des Amphores (Air de Ballet, No.2) Claude Duret Chaminade - - 1.75X7159 Love's Plaint - ... - - - Werner Janssen.. .. .. Janssen - .... 1.75 C7199 Pastorale Intermezzo - - - .. - Arnold CorneJiuen - Corneliseen ... .. ... 3.00C6818 Man lebt nur einmal (O"e Lives but e1 B6824 Pell Street - - - - - • - • Penis Cox - - • - Whitehorn • • • 1,50
Once) - - • • - • - Augusta Tollefsen • • Strauss-Tausig - • 2.00 B7078 Pierrette - - - - • - - - - George F. Boyle - • • Boyle· • - • • 1.50C6812 March Grotesque... .. .. - Bendetson Netzorg Netzorg - .. - 2.00 B7079 Pierrot.. .. .. ... _ _ - .. - - George F. Bo}'le - - - Boyle - ... .. ... - 1.50e B6783 March Mignonne - - - .. .. Werner Janssen - Janssen.. .... 1.50 ~ e A6969 Pizzicall (The cockatrice of Columbine) Thomas Reid .. - - Detibes - .. .. ... 1.00 ~C6922 March from "Tannhauser"' - - Richard Singer - WagnE'I-Liszt - 2.00 A2151 Playing of Chimes Vladimir Rebikofl - - Rebikofl - .. ... - 1.00
~ B7077 Marionette March • - • • George F. Boyl· • Boyle - • - - • 1.50 ~ X2068 Poeme, Op. 32, No. I - - - • Alexander Scriabin Scriabin. -. 1.75
~~®~~®~~~~~~~~~~~~~~~~®~~®~~®~~~~~
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~ B6883 Polka, Op-.t, No. I - - - - - • Richard Singer • - • Smetana - - - - SI.50 e~ ~ B7048 { Smilin' Thr'!ugh - - - - - - -j Llll" A L bt w • _ {Penn - .-} - -$1.50 ~~~ B6II16 Pclka-Mlnierure, Op. 6. No.2_ • - Marguerite Volavy. Sapellnlkoff. _ _ 1.50 ~ When Song 's Sweet • • _ • • _ Ian. ue 0 Sans SoUCI
~. C61l68 Polonaise in B-IIal oe, 71, No, 2 - • Bendetson Netzori - • Chopin • • _ • 2 00 ~ ~ C 372 Sonata in C. Op, 53 ("Waldstein") - Ter... Carreno - Beethoven • 2.00 ~
X67l1l1 Prelude • - • • •• •• Marguerite Le Grand • Rummel _ - 1:75 C 373 Sonata ID C, Op. 53 ("Waldstein")C6860 Prelude in C...harp Minor. Op. 3. No.2 Leonidaa Leonardi .. .. Rachmaninoff .. ... 2.00 Adagio Molto .. - • .. .. .. .. Teresa Carreno Beethoven 2.00
~C. 7 {I. Prelude In C - • • • • • -).. C373a Sonata in C. Op. 53 ("Waldstein");
v 44 2. Lavender and Old Lace ... .. ... ... Anton BdotU ....... BtloUi 2.00 Third Movement, Part I-AllegretoX6909 Prelude du Deluge ... .. .. .. .. .. Katinka Narinaka .. .. Saint-Saens 1.75 ("l" Moderato ... .. .. .. .. .. .. .. Teresa Carreno ..... Beet hoven .... 2.00
~X6822 Prelude (From Suite, "Pour Ie Piano") Dorothy Miller Duck- ~ C373b Sonata in C, Op. 53 ("Waldstein");
witz .......... Debu8IY .... .. 1.75 Third Movement, Part Ll-e-Pres-C7312 Prelude in D, Op, 23, No.4.. .. .. Katharine Bacon... .. Rachmanlnoft' 2.00 tissimo Teresa Carreno Beethoven ...).. 2.00X6761 Prelude in E-IIat, oe. 26 •••• Theodor Koenemann • Rachmaninoff • - 1.75 ~E) ~ C 734 Sonata in A-flat, Op. 26-Scherzo George Schumann • • Beethoven " 2.00 ~t€)C6990 Prelude in E-llal Minor. Op, 23, No.9 Leff Poulshnoff • • • Rachmaninoff • • 2.00 C734-A Sonata in A-llat., Op. 26-FuneraJ •B6694 Prelude in G. Op. 28. No.3... .. ... .. Austin ConradI ..... Chopin........... 1.50 March on the Death of a Hero - George Schumann Beethoven ..... 2.00
~X7148 Prelude 10 "Carnaval Miinon" C734-B Sonata In A-flat, Op. 26-Allegro - George Schumann • - Beethoven • 2.00
Suite, Op, 48, No. I • - - • • Carol RoblDlOn • - • SchUtt • _ _ 1.75 ~~ Y6713 Song of Songs, The (Ballad with ~C68{5 Preludea: Op, 16, No.3. in Gollat - - Words) • - - - • • • - Howard Lutter • • - Moya· •• - 1.25
~Op, 17, No. 3,In D-llal • • t Austin Conradi • Scriabin • 2.00 ~ C6759 Songs of the Cascade .,. George F. Boyle _. Boyle > - 2.00Op. II, No. 23, in F Major - f X6801 Songs of Long Ago (With Words): Earl Hamltcn • • • - - - - - • 1.75
C6821 Preludes: Op. 22, No.4, in B Minor - ~ All Through the Night, _ _ - • - - • _. - Old Wesh
~Op. 22, No.3. in B Major • Theodor Koenemann Scriabin .. 2.00 Flow Gently Sweet Afton - SpilmanOp, 11, No.3, in G Major ... ~ Sweet and Low > .. .. - .. - - .. .. Barnby ~
X68{3 Pre1udea: Op, 28. No. 23, In F Major X7122 Song of Love (Canto de Amor)", - Adolfo Giron. Giron - - 1.75No. 21. in B-flat ... ..... Austin Conradi ..... Chopin 1.75 86722 Song of Spring _.. - ..... Hanna van VoUenhoven Tonning... 1.50
B6844 Preludes in E, Gosharp Minor. and F- C7103 Sounds from the Vienna Woods Marguerite Volavy - • Strauss-SchUtt • 2.00sharp • - - • • - _. Theodor Koenemann Scrlabin· - _ 1.50 C7007 Splnnlng Girls at Carantec, Op, 13, No.~ _. Pree de la Mo. O. ~. N.' •• George ,. Bcv • Arenskv r.so ~~ ,,~ Bretagne) • • • •• M~".'. Volav , • Rhene-Baton •• aoo ~
C7105 "Prince of Pilsen. The. "Selectione > .. Edna S. Hart Luders 2.00 ~ GJ 87158 Spinning Song Bendetson Netzorg Mendel.sohn...... 1.50 ~B6760 Rapelle-toil • - - - _. • Cecile de Horvath Sgambati 1.50 C6967 Spring Dawn • - • - • - - Katinka Narinska • Mason - - 2.00X7182 Reconciliation Polka (From the C7028 Spring, Beautiful Spring > - - - Franz Serli - - - - Lincke - - _ 2.00
Ballet "Harlequin's Millions"} ... .. Franz Serli .. .. Drigo... 1.75 C6729 St. Francis Walking on the Waves - Anton Bilotti .. Liszt...· 2.00B7219 Remembrance > .. - • - .. Lyman Stanley ... Davies .. 1.50 Y6734 Stars and Stripes Forever. The (March) Howard Lutter SoU!3." .. 1.25~ C6965 Rendezvous (Trtakontameron, No.4)· Richard Singer. • Godowsky - - 2.00 ......_~. C7025 Strophes, oe, 71, Nos. 3 and I - • - Sylvan Levin Friedman - 2.00 ,..,.._
-::D' X7095 Rhapsody in Blue -. - •• Vee Lawnhursl • • • Gershwin " 1.75 ~ -::D' B6866 Study (Butterfly Chase) _. " Richard Singer Spannuth 1.50 ~
~B6786 Rlgaudon (From Suite "Le Tombeau ~~ B671;1 Sweet Forget-Me-Nots • - Earl Hamilton Miles - • - - 1.50 ~
C7201 "Rigoletto" Fantasia X7099 Tango Americaine Dorothy Miller Duck-(As played by de Pachmann) Vladimir de Pachmann Verdi ..Liszt ... - 2.00 witz .......... Carpenter 1.75
C6784 Rigclettc Paraphrase Augusta Tollefsen • • Verdi-Liazt. • • - 2.00 e B6887 Taranlella. - - Richard Singer • - Pieczonka 1.50 t€)~
€'J C7270 Sheherazade-Part 1, The Sea and ~ ~ No.2 & .. Marguerite Volavy Stojowski - 2.00 ~Sindhad'a Ship • - - - - - Richard Singer Rlmsky_Korsakoll 1.00 B6802 Valse Danseuse • - Edna S. Hart • - Miles - - 1.50
C7171 Sheherazade-Part 1, The Tale of X7169 Valse Graclle Zoltan de Horvath de Horvath 1.75the Kalendar..Prince - ~ - .. Richard Singer .. Rimsky_Korsakoff 2.00 86853 Valse Lente - .. ... Howard Lutter ... & Lutter 1.00
C7171 Sheherazade-Part 3, The Young C7150 Valse, Op. 2 • - Kalinka Narinska - Levitzki 2.00~ Prince and the Young Prine... - Richard Singer Rlmsky.Kotsakoff 2.00 ~ C7024 Valse Parisienne. Op. 84. No. I - Fannie Bloomfield- ~
~(;7213 Sheherazade-Part 4. Festival at ~ ~ Zeisler .. - .. Schlitt 2.00 ~
BaQdad, The Sea. The Ship Is X7218 Valse Tendre, Op. 89, No.2 Louis Victor Saar Saar 1.75Wrecked on a Rock Surmounted B1687 Valse Triste ... ... .. Charlton Keith MacDowell 1.50by a Bronze Warrior. Conclusion Richard Siniter .. - Rimsky_KorsakoJf 2.00 C6959 Valse Triste, Op. 44 .. Thomas Reid SibeHus 2.00
Y6745 Shepherd's Hey ... .. - .. - ... .. Margaret Nikoloric Grainger 1.25 B6720 Valsette - .. - • Werner Janssen - Janssen 1.50X7226 Silent Night, Holy Night (Wilh Words) Clarence Dickinson Gruber 1,75 ~ B6830 Vanishing Lane, The - Werner Janssen - Janssen 1.50 S
~ C2035 Sixth Waltz, in A Major • - - L. Kaschperoff - - • Balakireff • - 2.00 ~ B6789 Wallz in A-Flal, Op. 42 - - - - - Katherine Bacon - Chopin - - - - 1.50
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
•
-\0tv
87065
B7311
KI.. In the Dark, A (Word RoIl-Accompaniment for Low or MediumVoice. Key of C) - - - - • •
Kiss Me AQaln (G Major, ViolinAccompaniment) .. _ - - -
Vocal Interpretation ofLouise Bavet Accom-panied by James F.Caskey _ - . . . Proch
• 1.50
1.50
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~~mmx~mmx~rom~~mmx~mmx~~~~mx~mmxxmmxxmmxxm~~
~ DANCE AND SONG ROLLS WITH WORDS ~e ~ Y6903 No One Knov.,;\\ hat: It', All About (Fox Yi260 Sleepy Time Gal (Fox Trot) ~@Trot) Y7042 So Am I-from "Lady, Be Good" (Fox
Y7319 A Cup of Coffee a Sandwich and You Y7115 If You Knew Susie (Fox Trot) Y6777 Oh Baby (Fox Trot) Trot)
~ (Fox Trot) , , A7120 II Duce (The Dictator) ~ GJ Yi068 Oh, How I Miss You To-night (Waltz Y6880 Some~od,y Love, ,!de - from "George ~Y6775 After the Storm (Fox Trot) Y7160 I'll Sing Thee Song, of Araby (Ballad) Song) White's Scandals (Fox Trot)Y7016 Alabamy Bound (Fox Trot) Y7317 I Love My Baby (Fox Trot) Y7017 Oh, Lady Be Good-from "Lady Be Good" Y67?4 Someb,ody Stole My Gal (Fox Trot)Y6976 All Alone (8<?ng) " Y7258 I'm Sitting on Top of the World (Fox Trot) (Fox ~rot) Y72o~ SometlII!e (Waltz ~~g) '"~~ Y6806 All Alone WIth You In a LIttle Rendes- Y7U93 In Shadowland (Waltz Eong) r~ Y7043 0 Kathanna-from "Chauve Souris" (One Y7l60 Some TIme-from Some TIme (Song)
~ vous (Fox Trot) Y6934 Indian Love Call-from "Rose-Marie" ~ Step) Y7181 Song of the Vallabond. from "The
~ Y7216 Alone At Last (Ballad) (Song Rol!) ~ ~ Y6740 One I Love Belongs to Somebody Else, Y7164 So val1a(~ondTKln)11" (Ballad) ~Y7310 Alway. (Waltz) Y6741 In the Evening (Fox Trot) ):1 oJ The, (Fox Trot) nya ox rot .Y7262 Argentine Tango B7117 Inatrumentat Medley Y7261 Only a Rose (Song) Y6931 Sou~hern Rose (Fox Trot wtth Words)(d Y6709 A Smile Will Go a Long, Long Way (Fox Sweet Georgta Brown e Y6995 Only Only One The (Fox Trot) yA76~8797 SSpam
l(hTasnhgo Flo(xFTroTt, In)"rumentall ~
Trot) Craving " M pan s aw OJ: rotY6877 Bagdad (Fox Trot) Ukulele Lady Y7018 Out of the Dust to You (Song) Y7114 Steppin' In Society
@ Y7313 Bamboo1a (Plano Novelty) X7088 Irish Songs of Old ~ ~ Y7191 Paddlln' Madelln' Home (Fox-Trot) Y6816 Step Henrietta (Fox Trot) ~Y6766 Big Boy (Fox Trot) Y6773 Itching Fingers [Instrumental) (Fox Y7217 Pal of My Cradle Day. (Waltz) B7235 Stomp Medley {Instrumental)Y7023 Bing Bing (Novelty Piano Solo) Trot) Y7119 Pale Moon (Ballad) E.verybody Stomp
~ Y7136 Can't Yo' Heah Me Callin', CarolineI Y6772 It Had To Be You (Fox Trot) ~ B7306 Peaceful Valley (Word RoIl) FIve Foot Two, Eyes of Blue(Song) Y7232 It Must Be Love from "Merry Merry" Y6973 Peter Pan (Fox Trot) Sweet Man.. ..
~Gonna Charleston Back to Charleston Y7166 I Want Another Chance With You ~ (Fox Trot) Y7284 Sunny-From Su~~y (Fox Trot) .. ~Charlestonette (Waltz Song) Y6850 Please (Fox Trot) Y6929 Tea for Two-from No, No, Nanette
Y6873 Charley, My Boy (Fox Trot) Y7315 I WantlSomebody to Cheer Me Up e Y7118 Prisoner's Song, The Y6936 T (InrruT'enta} Fox,,~rotk N "Y7210 Collegiate (Fox Trot) (Fa); Trot) B6735 Ragamuffin (with Apologies to Chopin) ea or wo- rom 0, 0, anetteY6874 Come Back to Me (Waltz) Y6879 I Want to be Happy-from "No, No (Novelty Fox Trot Instrumental) Y7020 T (11SoHng ~Oltl)h S·' f "M' ~
~Cossack Love Song Nanette" (Fox Trot) C7161 Recollections-Series 1 e er In e p~!ngt1me- rom USIC ~t'Z:1 Y7318 Song of Flame Y7191 I Wish That I'd Been Satisfied with ~ Q /, Marcheta " Box Revue 19~,5 (Fox Trot) ~
"'.., (Fox Trot . Mary (Waltz) "'.., 2. Sometime B7091 Tell Me More (MedleyY6765 Cover Me Up With the Sunshine of Y6974 I Wonder What's Become of Sally 3. Ki.. Me Again Kr'~~tr,u~en8:l) d A
Virginia (Fox Trot) (Song) 4. A Kiss in the Dark c n t e f ou sway~~ Y7239 Cross My Heart, Mother (Waltz Song) Y7187 I Wonder Where My Baby Is Tonlllht r~ 5. Sparklers ~ ¥,e r~e, Y~ B7037 Dancing Medley No. r (Instrumental) (FoxTrot),.._ ~ 6. Auf Wiedenehen B? 0 ve ou~. Show Me the Way Y 77 I (F T ) ~ ~ C7186 Recollect.iona-c-Seriea g 7 a,y ~~ Because They All Love You 6 6 Jea ous ox rot ~ 1. I Love You Trul Y 290 That Certain Feeling (Instrumental) ...~
I'll See You In My Dreams ~~tg j~~: ~~~~hlF~~eJ;.~St)s (Song) 2. Su,nshine of Youi Smile SWT::s.~nd Low Down-From "Tip-Oh Mabel , . , 3, Ml ht Lak' a Rose
~ B7072 Dancfng Medley No 1 (Instrumental) Y7189 Kinky KId. Parade (Fox Trot) e ~ 4 B ~t 1ft Y7l86 That Certain Party (Fox Trot) ~Isn't She the Swe~testThlnll Y7236 La Mora (Danzon) 5' A~ Der y. Y7092 That'. All There II (Fox Trot) .~Charleston Y6770 La Vloletera (Instrumental) (Tango) . ,awmng ,Y7314 Then I'll Be Happ (Fox Trot)The Doo Bab (From Puzzles of 1915) Y6739 Lazy (Fox Trot) 6, B~Ieve ~~ If All Those Endearing Y6742 There', Yesl Yes! in Vour Eye, (Fox Trot)t'Z:1 B711l Danctng Medley No 3 (Instrumental) Y7090 Let It Rain, Let It Pour (Fox Trot) ~ c.::l 7 B .rung arm, B7305 The West, a Neat, and You (Word Roll) ~
"'.., Brown Eyes, Why 'Are You Blue Y72.6 Let Us Waltz A, We Say Goodbye (Waltz ~ C7183 Re~oll:c::::'~: Series 3 Y7067 Titina-from "Puzzle. of 1925" (FoxTrot)
~You Told Me to Go ,Song)", ~ Home Sw~et Home Y6971 Too Tired (Fox Tmt)Bam, Bam Bamy Shore Y6769 Limehouse Bl,1!es-from Charlot 8 Re- Aloha'Oe Y7069 Un Peu d'Amour (A Little Love A LittleMy Sweetie Turned Me Down .vue .of 1924 ~~ox Trot),,, Clribirlbln Kiss) (Song)
~. B7094 Dear Old Pal of Mine (Song) Y7044 Listening-e-from 1925 Music Box Revue .a:- ~ On the Road to MaudaIay Y6997 Waiting for the Dawn and You (Song)~ Y6906 Dear One (Fox Trot) (Waltz) ~ ~ La Paloma Y7257 What Could Be Sweeter Than You (Fox ~
~Y6975 Deep in My Heart-"Student Prince in Y6900 Little Old Clock on the Mantel, The (Fox ~ ~ Lillht Cavairy Trot) ~
Heidelberg" (Song) Trot) Y7214 Red Hot Henry Brown Fox Trot) Y6737 What'll I Do (Waltz)Y7116 Don't Bring Lulu (Fox Trot) Y7071 Lovely Lady (Wallz Song) Y6875 Red Hot Mamma (FO~ Trot) Y7021 When You and I Were Seventeen (Waltz)Y6736 Don't Mind the Rain (Fox Trot) Y6996 Lover', Waltz (Waltz Song) e Y6904 ROBe Marie-from "Rose Marie" (Fox Y70I9 Where My Caraean Ha. Rested (Song) ~V7045 Don't Ten Me I've Just Been Dreaming Y6999 Lucky Kentucky (Fox Trot) Trot) Y684S Where the Dreamy Wabash Flows (Fox
(Waltz) Y7237 Madonna, You Are Fairer (Instrumental) Y6878 Sally Lou (Fox Trot) Trot)e Y7288 Don't Walt Too Long (Fox Trot) (Ballad) ~ ~ Y6778 Savannah (Fox Trot) Y7185 Who/-From "Sunny" (Fox Trot) ~Y7316 Drlftlnll Apart (Fox Trot) Y6808 Mandaiay (Fox Trot) Y7213 Sav rr Y6764 Who is the Meanest Gal in Town?Y6807 Driftwood (Fox Trot) Y7190 Manhattan-from "Garrick Gaieties" (Fox Y6767 Sa e ~o~ So 07 (Fox"not) r h" (F Josephine (Fox Trot)
~Y6930 Eliza (Fox TlOt with words) Trot) ~ t ) gam- rom oon I~ I ox Y704t Will You Remember Mel (Fox Trol)Y7137 Ev'ryone Home Is A.klng for You (Waltz) Y7167 March Medley , rot Y6771 Worried (Fox Trot)Y6970 Ev'rything You Do (Fox Trot) National Emblem Y6805 S~me (Fox Trot) Y7066 Yearning (Just For You) (Fox Trot)
~Y6738 Feeling the Way I Do (Fox Trot) Hand. Across the Sea ~ ~ Y7187 S~lver Head (Fox Trot) Y7l38 Yes Sir, That', My Baby (FOX Trot) ~Y6907 Follow the Swallow (Fox Trot) Y7140 Marguerite (Fox Trot) Y7139 Sing Loo (Fox Trot) Y6987 You and I-from "My Girl' (Song)Y6763 From One TiJJ Two (Fox Trot) Y6847 Martbelle-Argent.ine Tango (Instrumental) Y7238 Sing Me to Sleep (Ballad) Y7192 You Forget to Remember (Waltz)B7211 Garrick Gefeuee Geme (Fox Trot) Y6972 Me and the Boy Friend (Fox Trot) e (d Y6768 Sleep (Waltz) Y7056 You're So Near (AndY., So FarHFox Trot) t€)B7111 Garrick Gaiety Gems Y7022 Melody That Made You Mine, The
Sentimental Me (Ballad)
@ On With the Dance Y6994 Me Neenyah (Fox TlOt) ~ ~ ~Manhattan Y6905 Memory Lane (Waltz-Ballad)
Y699) Golden Days-from "Student Prince in Y7191 Miami-from "Big Boy" (Fox Trot)Heidelberg" (Song) Y7ll3 Midnight Waltz
Y6902 Good Night, Sleep TIght (Fox Trot) Y6711 Mindin' My Bu,'ne.. (Fox Trot)~ Y685t Grass is Always Greener The (Fox Trot) Y7162 Moonlight and Rose. (Fox Trot) ~
~Y6933 Gypsy Love Song (Son,,'Roll) Y6712 Mr, Radio Man (Fox Trot) ~ ~ ~Y7089 Honey. rm in Love with You (Fox Trot) B7259 Musical Comedy Gems (Instrumental)Y6998 I Ain't Got Nobody to Love (Fox Trot) Here in My ArmsY6876 I Can't Get the One I Want (Fox Trot) Fond of You ~ @Y7163 I Miss My Swiss-from"Chauve Soutls" When You Smile
(Fox Trot) Y7070 My Wild Iri'h Ro,e (Song)
@ Y7188 If I Had a Girl Like You (Fox Trot) YG932 Na'hville Nightingale (Fox Trot) ~ @ ~Y7047 If Only Roses Could Tell (Song) Y6852 New Kind of Man, A (Fox Trot)Y7233 If You Hadn't Gone Away, (Slow Shuffle) Y6710 No Means Yes (Fox Trot)
~ ~ a~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
194
“Piano Men in America”Part I
from
P I A N O S& T H E I R M A K E R S
by Alfred Dolge
AMERICA
The history of prominent piano men and firms of the
United States portrays not only the restlessness of the
American people, differing from the conservatism of the old
world, but also demonstrates in a large degree that America is
the land of unlimited opportunities and possibilities. Nowhere
else have firms founded on meritorious production and sane
business methods gone so quickly into oblivion, and nowhere
else have such stunning successes been achieved as in the
United States.
The progress in technical as well as commercial
development has been rapid because America could draw from
the old world its best minds, or benefit by their products,
assimilate and improve them. It had the whole civilized world
to draw from, and was never slow in producing original ideas.
The seemingly endless natural resources of a whole continent
were at the command of the industry, and its only drawback in
the early days was the lack of a sufficiently large clientele of
cultured people who would buy the instruments, as compared
with Europe. Hence we find that, although square pianos were
made in America at about the same time as in England and
Germany, it took about fifty years longer to develop the
industry to anything like the magnitude which it had
approached in Europe.
Benjamin Crehore, who had established a reputation as an
expert make of violins, cellos and other musical instruments,
exhibited a harpsichord in 1791, and soon thereafter built
pianos at Milton, near Boston. In his shop he had John Osborn,
Alpheus and Lewis Babcock as pupils. In 1810 the Babcock
brothers began to make pianos in Boston. The great panic of
1819 ruined their business, but we hear of Alpheus Babcock
again in 1821, in partnership with John MacKay, that
commercial genius who later assisted so strongly in building
up the fame of the Chickering firm.
John Osborn, the most talented of Crehore’s pupils, started
in business in 1815. It was in Osborn’s shop that Jonas
Chickering learned the art of piano making. Born in New
Ipswich, N.H., on April 5, 1798, Chickering came to Boston
about 1817, after he had served his apprenticeship as a cabinet-
maker and joiner. Well educated and possessing decided
mechanical talents of a high order, Chickering was attracted to
the art of piano making and was fortunate in finding a master
like Osborn as teacher. He was fortunate in finding a master
like Osborn as teacher. He studied with Osborn until 1823,
when James Stewart, who had come from Baltimore to go in
partnership with Osborn, but soon quarreled with him,
proposed partnership to
Chickering, which the
latter accepted, and the
firm of Stewart &
Chickering opened their
shop on Tremont Street in
that year.
Steward was one of
those restless, unsettled
inventors, who needed the
methodical and painstak-
ing young Chickering to
give to his inventions the
practical form. It soon
developed, however, that
Chickering was not only
the better workman of the
two, but also the far more
scientific piano maker.
The firm was dissolved in
1826. Stewart went to London to take a prominent position
with collard & Collard. Jonas Chickering continued the
business, making excellent pianos, but his talents were more in
the line of inventing and constructing than merchandising. He
also suffered from lack of capital, so that his progress was
rather slow until John MacKay, who had left Babcock, joined
him as a partner. This closed the chain of Chickering’s
connection with Crehore, the founder of the Boston school,
consisting of Osborn and Lewis Babcock, pupils of Crehore;
and Alpheus Babcock, partner of MacKay, the latter joining
Chickering.
MacKay had had considerable experience as a merchant,
having traveled much to England and other foreign countries,
and was unquestionably a commercial genius. With sufficient
capital at his command, and faith in Chickering’s excellent
pianos, MacKay started an aggressive selling campaign,
making the Chickering piano known in all the cities of the
United States. Chickering, freed from all financial and business
cares, devoted his whole time and attention to the development
J. Chickering
195
and improvement of his piano, and many of his best inventions
were perfected during the period of his partnership with
MacKay, which came to an untimely end in 1841. MacKay,
having gone in a ship of his own to South America to procure
fancy woods for the Chickering factory, never returned from
that voyage, nor was his ship ever heard from.
Once more Jonas Chickering had to assume entire charge
of the business. He continued MacKay’s aggressive policy
with great energy, maintaining the highest possible prices for
his pianos, and spending money liberally for the necessary
publicity. He exhibited his pianos at every important
exposition, going to the World’s Fair of London in 1851 with a
number of instruments; engaged prominent virtuosos to play
his grand pianos in concert; and took active part in the musical
life of his home city, acting as vice-president of the great
Handel and Haydn Society as early as 1834, and later on as its
president for seven years.
While paying proper attention to the commercial and
artistic necessities of his great establishment, Jonas Chickering
was ever true to his love for scientific research and
experiments, to improve his pianos. He was not an empiric,
who would experiment hap-hazard with an idea. Whenever he
had discovered a possible improvement, he would work out the
problem in its entirety on his drawing board, until he had
proven to his own satisfaction its practicability, and not before
would he turn it over to his mechanics for execution. It was
this painstaking care down to the smallest detail which assured
the Chickering piano the place of honor in the first ranks.
When at the height of his prosperity Jonas Chickering met
with a great calamity. On December 1, 1852, his factory was
totally destroyed by fire, involving a loss of $250,000.
Undaunted, Chickering at once designed plans for a new and
larger factory, which was soon erected, and stands to this day
on Tremont Street, Boston, as a monument to the exceptional
ability, talent and courage of Jonas Chickering. Even now,
nearly 60 years after its erection, this factory is considered one
of the best for its purpose.
Jonas Chickering died on December 8, 1853 in his fifty-
sixth year. The extraordinary nervous strain of the short period
from the destruction of his old factory to the completion of the
new works had, no doubt,
affected his constitution.
He had educated all of his
three sons as practical
piano makers and admitted
them to partnership in
1852, when the firm was
changed to Chickering &
Sons. The three brothers
made a rare and most
fortunate combination.
Thomas E. Chickering, the
eldest son, soon exhibited
pronounced commercial
talents and, as a man of
the world, represented the
firm with excellent results
in social circles, making
friends among artists,
literary and scientific men.
His promising career was
prematurely cut short by
his death on February 14,
1871.
This sad event made
C. Frank Chickering, born
at Boston on January 20,
1827, the head of the firm.
Having inherited his
father ’s talents as a
designer and inventor, he
had been in charge of the
construction department
since his father’s death in
1853. While studying, as a
young man, he had
impaired his health and, upon the advice of his physician, in
1844 he went on a voyage to India in a sailing vessel. He took
with him a number of pianos, which he sold in India at good
prices, and thus the firm of Chickering became the first
exporters of American made pianos.
In 1851 Frank accompanied his father to London to take
care of their exhibit at the World’s Fair. The prolonged stay in
what was then the home of the most advanced piano
construction was of great and lasting advantage to young
Frank. It gave him the opportunity to study and compare the
work of the best brains of the industry as it then existed in
Europe, and furthermore he became acquainted with the
advanced manufacturing methods of the celebrated London
establishments. Returning from abroad, Frank utilized his
experiences with effect, greatly improving the Chickering
pianos.
Appreciating the importance of New York as an art center,
Chickering & Sons opened extensive warerooms there under
the direct management of C. Frank Chickering, and in 1875
erected Chickering Hall, on Fifth Avenue. In this hall,
virtuosos like Bulow, Joseffy, de Pachmann, Henry Ketten and
many others gave their never-to-be-forgotten concerts on the
Chickering grand pianos, designed and constructed by C.
Frank Chickering.
Chickering Hall was chosen as a permanent home by
leading glee clubs, such as the Mendelssohn, the English Glee
Club, the New York Vocal Society and by those eminent
apostles of classic chamber music, the New York Quartette,
composed of C. Mollenhauer, M. Schwarz, George Matzka and
F. Bergner, and the Philharmonic Club under the able
leadership of Richard Arnold. Remenyi and Wilhelmi appeared
as soloists with Gotthold Carlberg’s Orchestra, and Frank Van
der Stucken conducted symphony concerts for several seasons
in Chickering Hall, to be followed by Anton Seidl and the Bos-
ton Symphony Orchestra with Frank Rummel, Xaver Schar-
wenka and Richard Hoffmann as soloists. The great building
contained, besides the concert hall with a seating capacity of
2,000, the showrooms for the Chickering pianos, offices, repair
shops and also the drafting rooms, where C. Frank Chickering
designed and worked out his inventions.Thomas E. Chickering
C. Frank Chickering
196
It was but natural that in New York, as in Boston, Frank
should be in close touch with artistic and literary circles.
Among his personal friends was one J. H. Paine, a composer
and critic of considerable ability. He was generally known as
“Miser” Paine, and would gladly accept Chickering’s
hospitality and aid at all times. He was considered a poor man
by all who knew him. One day he brought to Frank Chickering
a bundle wrapped up in a bandanna handkerchief, asking
Chickering to kindly place the package in his safe. Chickering
assumed that the bundle contained manuscripts of Paine’s
compositions and accepted the charge. About 17 years there-
after Paine died, without leaving a will or any disposition of
the aforesaid bundle. Chickering sent for Paine’s legal
representative, the bundle was opened in his presence and
found to contain over $400,000 worth of bonds and currency.
Chickering delivered the valuable package to the lawyer, who
was obliged to hunt up distant relatives of Paine to distribute
the heritage.
C. Frank Chickering was in all respects one of nature’s
noblemen. In appearance he reminded one forcibly of the
Grand Seigneurs of Louis XIV’s time. He died in New York,
March 25, 1891.
George H. Chickering,
the youngest of the broth-
ers, was born at Boston on
April 18, 1830. After
acquiring an excellent
education, he turned to the
bench and worked under
his father’s tutelage. For
many years George made
every set of hammers used
in their concert grands. He
was an exceedingly neat
and artistic mechanic.
After 1853 he took charge
of the factory management
and performed his arduous
duties most faithfully until
his death, on November
17, 1896. All three of the
brothers, like their father, took an active part in the artistic life
of their home city and each of them served in turn with honor
as president of the Handel and Haydn Society.
The Chickering pianos were always awarded the highest
honors wherever exhibited, and, at the World’s Fair at Paris,
1867, C. Frank Chickering was decorated by the Emperor of
the French with the Cross of the Legion of Honor.
The business of this renowned firm is successfully carried
on by a corporation which has joined the American Piano
Company, maintaining the high character of its products. True
to the traditions of the honored name, Chickering & Sons have
of late years been instrumental in reviving interest in the
beauties of the old clavichord, and are building such
instruments for those who enjoy the study of the compositions
of Johan Sebastian Bach, Scarlatti and others who wrote for
the clavichord. The factory on Tremont Street, Boston, has
become a landmark of that historic city, but Chickering Hall,
New York, had to give way to a modern building for business
purposes.
Next to Chickering & Sons, the Bacon Piano Company of
New York is most closely connected to the founders of the
industry in America. Robert Stodart of London started in New
York in 1820. In 1821 Dubois joined him and the firm was
Dubois & Stodart until 1836, when Stodart retired and George
Bacon and Chambers joined. Five years later Dubois and
Chambers withdrew and Raven joined, the firm being changed
to Bacon & Raven, which was again changed to Raven &
Bacon, when George Bacon died in 1856 and his son, Francis
Bacon, entered as partner. In 1904 the firm was incorporated
under the title of the Bacon Piano Company, with Chas. M.
Tremaine as president and W. H. P. Bacon, son of Francis, as
vice-president.
James A. Gray, born at
New York in 1815, learned
his trade with Firth & Pond
of New York from 1831 to
1835, when he was called
to Binghamton, N. Y., to
superintend Pratt’s piano
factory. In 1836 William
Boardman of Albany
induced him to take charge
of his establishment, and
two years later the firm
became Boardman & Gray.
Possessing decided talents
as an inventor, Gray made
many very interesting
experiments, among which
his isolated iron rim and frame and the corrugated soundboard
are the most noteworthy. For a time he had great faith in the
value of those inventions. He even took a number of pianos
containing the same to London for exhibition in 1850, but after
a comparatively short time he discarded all of them, preferring
to build a fine piano along conventional lines. He educated his
sons, James S. and William James, as thorough piano makers,
and the time-honored firm maintains its reputation for high-
class production to this date. William Boardman, who retired at
an early date from the firm, died January 5, 1881, at the age of
81 years. James A. Gray took a more or less active part in the
business until his death on December 11, 1889. His sons, Wil-
liam James Gray, born June 13, 1853, and James Stuart Gray,
born September 7, 1857, are continuing the business with suc-
cess.
One of the pioneers who attempted to force civilization in
its higher development upon the “Far West” was William
Bourne. He started a piano factory at Dayton, Ohio, in 1837, at
a time when the savage Indian was still a “near neighbor.”
Evidently Bourne did not find the expected encouragement at
Dayton, and removed in 1840 to Cincinnati. Even here his art
was not appreciated, and he therefore accepted in 1842 a
position in the Chickering factory, where he remained until
1846, when he organized the firm of William Bourne & Com-
pany. A piano maker of the old school, Bourne could turn out
nothing but thoroughly first-class pianos. Since his death, in
George Chickering
James A. Gray
197
1885, the business has been
continued by his son,
Charles H. Bourne.
A.M. McPhail started his
business in Boston in 1837.
Born at St. Andrews, New
Brunswick, he came to
Boston as a boy, and was
apprenticed to the
renowned piano make, Gil-
bert. He learned to make
pianos so well that he soon
established a high
reputation for his own
product. He was a piano
maker of the old school,
who took pride in his work
and considered the artistic success more than the commercial,
although in his long career,
from 1837 to 1891, he met
all of his obligations with
never failing promptness.
As a citizen he took a great
interest in educational,
artistic and musical affairs,
and also served as
representative in the Mass-
achusetts Legislature. He
retired in 1891, and died at
Omaha, October 6, 1902.
The business is carried on
by the A. M. McPhail
Company, a corporation.
Among the many illus-
trious Germans who have
done so much for the
uplifting of the piano industry in New York, William Lindeman
deserves particular credit for being the first who had the
courage to combat successfully the unworthy prejudice and
attitude of the people of his day toward the German element.
Born at Dresden, Germany, in 1795, where he also learned his
art of piano making, Lindeman came to New York in 1834 and
established his business in
1836. Although his pianos
were of the highest order,
success came slowly, but
when his son Henry
brought out his “Cycloid”
piano, a rather happy com-
promise between a grand
and square piano, in 1860,
the firm secured a strong
hold upon the piano-buy-
ing public. The Civil War
interfered seriously with a
more rapid development,
and it was left to Henry to
push the firm into the front
rank.
Henry Lindeman, born in New York on August 3, 1838,
was admitted to partnership in 1857, and after the death of Wil-
liam Lindeman on December 24, 1875, assumed the manage-
ment and continued the work of his father. Henry’s son,
Samuel G., was admitted in 1901, and the firm name of Henry
and S. G. Lindeman was adopted.
In 1838, shortly after
Lindeman’s appearance in
the arena, Johann Heinrich
Schumacher, who changed
his name to John Henry
Schomacker for expedi-
ence’ sake, established him-
self in partnership with
William Bossert in
Philadelphia. Schomacker,
born in Schleswig-Holstein
on January 1, 1800, learned
piano making in the master
schools of Vienna. About
1830 he established himself
at Lahr, Bavaria, and came
to America in 1837. For
one year he worked with E. N. Scherr, one of Philadelphia’s
best-known makers of those days. Schomacker was not only an
excellent and thorough piano maker, but also a very forceful
man with almost boundless ambition. His partner was conserv-
ative and perfectly satisfied with a moderate income.
Schomacker finally decided to go his own way, and the part-
nership was dissolved in 1842. With restless energy Schomack-
er first improved his pianos, and in 1845 he was awarded the
silver medal of the Franklin Institute of Philadelphia for the
“best” piano exhibited. At the American Institute Exhibition in
New York in 1848, he received the first prize, a silver medal, in
competition with a number of American pianos, and at the
great World’s Fair at the Crystal Palace in New York, in 1853,
he carried off the gold medal. To meet the demands of his ever-
growing business, he erected in 1855 the great factory which
stand today at Catherine and Eleventh Streets, Philadelphia. In
1856 he organized his business into a close corporation under
the title of Schomacker Piano Company. With his ambition sat-
isfied, he quit the field of activity in 1872, and died on January
16, 1875.
His son, Henry C. Schomacker, born in Philadelphia in
May, 1840, served his apprenticeship under his father and
spent several years in Germany, studying under the leading
masters. The company, under the able management of I. B.
Woodford as president, and Henry C. Schomacker as secretary,
is maintaining the glory of the old firm, producing most excel-
lent pianos of the highest order.
While Lindeman in New York and Schomacker in
Philadelphia earned laurels for the German school of piano
making, William Knabe was busy preparing himself for his
great career in Baltimore. Born at Kreutzberg, Germany, in
1803, he received a superior education, intending to follow a
learned profession. When the time for ultimate decision came,
William preferred, however, to learn the art of piano making.
He served the customary apprenticeship and acquired further
experience while working for various masters in Germany.
A.M. McPhail
William Lindeman
John Henry Schomacker
Henry Lindeman
198
Coming to Baltimore in 1833, he found an engagement with
Henry Hartje, who had won quite a reputation as an inventor.
Conservative and careful, Knabe waited until he had mastered
the English language and had become thoroughly familiar with
the business conditions of the new country. It was, therefore,
not until 1839, that he ventured in business, associating him-
self with another German piano maker, Henry Gaehle, under
the firm name of Knabe & Gaehle. The enterprise was moder-
ately successful and the association continued until 1854, when
Gaehle withdrew. From that time on Knabe was able to
demonstrate his exceptional ability as a piano maker and busi-
ness man without hindrance. His pianos were second to none
in the market, and he han-
dled the commercial end of
his business so cleverly that
by 1860 his firm almost
controlled the entire market
of the southern States. The
civil War temporarily
destroyed that market, and
the firm of William Knabe
& Company went through a
trying period for over five
years. Wearied from over-
anxiety, care and worry,
Knabe passed away in
1864, leaving the care of
the great business, which
he had founded and built up
to magnificent proportions,
to his sons, William and
Ernest. Both had enjoyed a
most liberal education and
had been thoroughly
trained by their father in the
art of piano making. Wil-
liam, being by nature of a
quiet, retiring disposition,
took upon himself the man-
agement of the factories,
while Ernest assumed with-
out any wavering the grave
responsibilities as head of
the house. When Ernest
Knabe took the reins the
outlook was very gloomy.
Not only was their main market, the rich southern States,
entirely destroyed by the Civil War then raging, but their cus-
tomers for the same reason could not meet their obligations.
The work in the big factory, with its hundreds of employees,
dragged along in an uncertain way and the day seemed to be
near when the factories would have to be temporarily closed.
Ernest found a solution. He concluded to make a pro-
longed trip through the northern and western States which
were not so seriously affected by the war, determined to estab-
lish agencies for the sale of his pianos in this new territory.
Money had to be provided to meet the weekly payroll during
his absence. He boldly went to his bank and asked for a credit
of $20,000 for the term of six months. Considering the critical
times, such a demand upon a bank in the city of Baltimore was
almost preposterous, and when finally the banker asked Ernest
what security he had to offer and the reply came, “Nothing but
the name of Knabe,” the banker shook his head and told the
young man that he would submit the proposition to his board
of directors. They decided that under existing conditions the
loan could not be made. When delivering this ultimatum to
young Ernest, the banker questioned him as to what he could
or would do. Knabe answered promptly, “I shall go down to
my factory and tell my employees that I am compelled to dis-
charge them all because your bank refused a loan to which I
am entitled,” then took his hat and left the banker to his own
contemplations. Before he reached his factory office a messen-
ger from the bank had arrived there with a letter from the presi-
dent, stating that the account of Knabe & Company had been
credited with $20,000, to be drawn against as wanted.
Ernest did not go back to the bank, but packed his trunk
and went on his journey. Within two months he had sold
enough pianos and opened up sufficient connections to keep
his factories busy to their limit, and when he returned home he
called on his banker to thank him for the loan, of which his
firm had not been obliged to use a single dollar. Ernest Knabe
knew that just at that time the banks of Baltimore could not
afford to have the doors of the city’s greatest industrial estab-
lishment closed and hundreds of men thrown out of employ-
ment, for lack of funds, and he won out against the timid and
shortsighted banker.
An era of great activity now commenced for the firm of
Knabe & Company. A branch house was opened in New York,
and later one in Washington. Ernest Knabe designed new
scales for concert grands and upright pianos. Additional facto-
ries were built and equipped with the best of modern machin-
ery, in order to produce pianos in keeping with the reputation
of the firm as leaders in the industry. Wherever the Knabe
pianos have been exhibited they were invariably awarded high
prizes for superior construction and workmanship, notably so
at the great Centennial Exposition in Philadelphia in 1876,
where their large concert-grand piano was greatly admired.
Leading virtuosos like D’Albert, Saint-Saens and many others
used the Knabe grand pianos in their concerts and were enthu-
siastic in their praise of the Knabe tone quality.
A princely entertainer, Ernest Knabe was an enthusiastic
lover of music. He would often take the noon train from Balti-
more to New York, consult with his New York manager while
eating dinner, go to the opera to hear Sembrich, Lehmann or
Niemann sing, or attend a Rosenthal or Joseffy concert, return
by midnight train to Baltimore and appear the following morn-
ing bright and early at the factory or city warerooms to take up
the every-day routine of work. He was an indefatigable worker
and seemed never to tire. Of a most genial disposition, warm-
hearted, helpful, he was adored by his workmen and beloved
by all who knew him.
In the midst of the greatest developments misfortune came
upon the house. William Knabe died suddenly in January,
1889, at the early age of 48. This sad event doubled the bur-
dens of Ernest and he succumbed to the inevitable result of
over-exertion on April 16, 1894. Ernest Knabe had ever been
one of the strong pillars of the piano industry, on intimate
terms with his competitors, enjoying the close friendship of
Ernest Knabe
Wm. Knabe
199
William Steinway, Albert Weber and other leaders. He left a
gap which could not easily be filled. The great business was
turned into a corporation which finally joined the American
Piano Company, under whose care the traditions of the house
are reverently safeguarded.
Among the historic Boston firms, the Hallet & Davis
Piano Company can trace its origin to the year 1835, when
Brown & Hallet started in business. Brown was a graduate of
the Chickering factory and obtained several patents for
improvements. He retired from the firm in 1843, and his place
was taken by George H. Davis, the firm changing to Hallet,
Davis & Company, under which title it continued with more or
less success. After the death of George H. Davis on December
1, 1879, the business was incorporated. Under the management
of E. N. Kimball as president, C. C. Conway, treasurer, and E.
E. Conway as secretary, the concern has recovered its old-time
prestige and is counted among the most progressive of the pre-
sent day.
During the decade from 1830 to 1840 a coterie of piano
makers lived at Albany, whose influence upon the piano indus-
try of America has been of a lasting character. John Osborn
came from Boston in 1829 and made pianos for Meacham &
Company, dealers in musical instruments. F. P. Burns studied
under Osborn in Meacham’s shop which probably was the first
piano factory west of New York City. Henry Hazelton came
from New York to work for Boardman & Gray. James H.
Grovesteen, founder of Grovesteen, Fuller & Company of New
York, came to Albany in 1839 and started to make pianos in
1840. A. C. James, later of James & Holmstrom, New York,
learned piano making in Grovesteen’s shop and, after working
for Boardman & Gray, became a member of the firm of Mar-
shall, James & Traver, later known as Marshall & Wendell.
Myron A. Decker was also one of the Albany pioneers with
George Gomph, P. Reed and others. F. Frickinger made pianos
in 1837, but soon after started action making as a specialty. His
business is continued by Grubb & Kosegarten Brothers at Nas-
sau, N.Y.
Francis Putnam Burns, born at Galway, New York, on
February 6, 1807, learned cabinetmaking and studied piano
making under the genial John Osborn. In 1835 he commenced
business on his own account. Of an artistic temperament and
an excellent mechanic, he
would never permit piece-
work in his shop, impress-
ing his workmen with the
idea that a piano is a work
of art, requiring the most
painstaking efforts, without
regard to time consumed in
its construction. While pro-
ducing most elegant and
durable pianos, Burns did
not accumulate wealth, and
when the Civil War pros-
trated business he could not
stand the strain. His son
Edward M. Burns, who was
serving as a commissioned
officer in the army, coming
home disabled for further activity in the field, had to assume
the management of the business. Although the United States
Government retained him in military service for 18 months
after peace was declared and desired his further service in the
army, young Burns felt that filial duty demanded his devotion
to his father’s business. He picked up the remnants of the once
flourishing business, injected new life and not only succeeded
in maintaining the high reputation of the pianos, but had the
great satisfaction of squaring all the old obligations in a most
honorable manner. It was a loss to the piano industry of Albany
when Edward M. Burns retired in 1869 to seek more remuner-
ative activity in another field.
A man who for over 60
years can enjoy the respect
and friendship of his com-
petitors in business must be
a strong character, with a
lovable disposition. Such
was Henry Hazelton, born
in New York City in 1816.
He served a seven years’
apprenticeship with Dubois
& Stodart, being released in
1831. Soon thereafter he
joined the Albany colony,
and in 1840 started the firm
of Hazelton, Talbot &
Lyon. Not fulfilling his
expectations at Albany,
Hazelton returned to New York and joined his brother Freder-
ick, under the firm name of F. & H. Hazelton, in 1850. Later
on a younger brother, John, was admitted to partnership and
the firm name changed to Hazelton Brothers. All three brothers
were artisans of high order, who eschewed commercial tactics,
depending for ultimate success entirely upon the high quality
of their product, and to this date the firm has a strong hold
upon New York’s Knickerbocker aristocracy as a clientele, in
who circles grandmother’s piano bears the name of Hazelton.
After the death of the founders, the business came under sole
control of Samuel Hazelton, who had enjoyed a thorough train-
ing with his uncles and was made a member of the firm in
1881. He is ably assisted by his son Halsey in maintaining the
traditions of the respected firm.
Toward the close of the 18th century a Vienna piano
maker in his wandering arrived at Naples, Italy. Somehow
attracted by the place, he made it his home and began to make
pianos, which found favor with the court, and young Fischer
was appointed “Piano maker to King Ferdinand I, of Naples.”
He taught his art to his son, who afterward studied for a num-
ber of years with Vienna masters, and upon his return to
Naples continued the father’s business. His two sons, John U.
and Charles S. Fischer, followed in the footsteps of father and
grandfather, becoming expert piano makers. The inborn “wan-
derlust” of the Fischers landed these two young men in New
York City in 1839. Taking at once employment with William
Nunns, they became his partners soon thereafter under the firm
name of Nunns & Fischer. Nunns retired in 1840, and the firm
was changed to J. & C. Fischer. Building a reliable piano, they
soon accumulated great wealth, and in 1873 John U. FischerFrancis Putnam Burns
Henry Hazelton
200
retired with a competency,
to spend the rest of his days
in his homeland, Italy.
Charles S. then admitted
his four sons, who had been
thoroughly trained in all
branches of the business, to
partnership. The vigorous
activity of the young men,
under the wise guidance of
their father, brought them
rapidly to the front as great
producers, increasing their
yearly output to 5,000
pianos, at the same time
studiously improving the
quality. In 1907, the firm
was changed to a corporation.
Hugh Hardman, who was born at Liverpool, England, in
1815, came to the United States and began to make pianos in
New York City in 1840. His son John was admitted to partner-
ship about 1874. This firm was among the first to manufacture
good commercial upright pianos, and met with distinctive suc-
cess. In 1880 Leopold Peck bought an interest in the firm, the
name being changed to Hardman, Peck & Company. Under
Peck’s able management the firm has risen to a recognized
position among the makers of high-grade pianos, their instru-
ments ranking among the best in the market.
To change from teaching music and languages to dealing
in pianos, and finally to become the founder of one of the
largest and most respected piano manufacturing firms, was the
career of Charles M. Stieff. Born in Wurtemburg on July 19,
1805, Stieff was educated at Stuttgart. In 1831 he emigrated to
America and settled at Baltimore, where he took the chair in
Haspert’s school as professor of languages and also acted as
leader of a church choir. In 1842 he imported his first pianos
from Germany, and opened regular piano warerooms on Liber-
ty Street in 1843. Observing the success of the various piano
manufacturers in Baltimore, Stieff undertook an extensive trip
to Europe in 1852, studying the methods of the best piano
manufacturers there. Upon his return he admitted his sons into
partnership and started the manufacture of the “Stieff” piano,
intrusting the management
of the factory to Jacob
Gross, an expert piano
maker of the old school.
Born in Wurtemburg on
July 26, 1819, Gross learned
his trade in Stuttgart and
afterward worked in some of
the leading factories of
Germany, Switzerland,
Spain and Paris. Coming to
America in 1848, he famil-
iarized himself with the
methods prevailing here and
joined his brother-in-law,
Stieff, in 1856. It was an
excellent combination, the
professional musician and
businessman, Stieff, sup-
ported by the artistic piano
maker and factory expert,
Gross. The product of the
firm was at once accepted
as of superior merit and
received distinguished
awards wherever exhibited.
The founder of the firm
having passed to the
unknown beyond, the busi-
ness is carried on most suc-
cessfully by his sons,
Charles and Frederick P.
Stieff, the technical man-
agement of the factories
being in the hands of Charles J. Gross, who was educated by
his father, the late Jacob Gross. It was remarkable that the great
fire which destroyed nearly the entire business portion of the
city of Baltimore in 1904 should stop short in its northward
flight on the wall of the Stieff building, on North Liberty Street
just as if it had had respect for this landmark where the Stieffs
had sold pianos for 63 years. The firm of Charles M. Stieff
distributes its products almost entirely through its own stores,
which are to be found in every prominent city of the southern
States, as well as at Boston and elsewhere.
Following the chrono-
logical order, we find that
Christian Kurtzmann estab-
lished a piano factory in
Buffalo in 1848. After his
death in 1886, the business
was taken over by a corpo-
ration.
William P. Emerson,
who started in Boston in
1849 had perhaps more
business acumen than
mechanical talent and artis-
tic inclinations. He started
to make a low-priced
instrument and built up a
very large and profitable
business within a few
years. In 1854 he engaged
C. C. Briggs, an expert
piano maker of standing, to
improve the piano, which
was accomplished with
such success that a reputa-
tion for superior quality
was soon established and
the name of Emerson
became a valuable trade-
mark. Emerson died in
1871, and the business
came into possession of
William Moore, who soldJacob Gross
Frederick P. Sieff
Christian Kurtzmann
Chas. C. Briggs
Charles S. Fischer
201
his interest in 1879 to P. H.
Powers, O. A. Kimball and
J. Gramer. They organized
the Emerson Piano Compa-
ny, with Patrick H. Powers
as president. Under his able
management the business
grew to commanding pro-
portions. The product was
continually improved to
maintain its position as a
high-class instrument, and
the company enjoyed an
enviable reputation for
integrity and reliability.
P. H. Powers retired from
active management in
1910, at the age of 84, after
a most distinguished career
as a business man, covering
a period of 60 years. He is
succeeded in the presidency
by Edward S. Payson, who
assisted Powers for many
years as acting secretary of
the company.
In the old town of Milton,
where Crehore built his
first piano, James Whiting
Vose was born, on October
21, 1818. Learning the
cabinetmaker’s trade, he
soon became a piano
maker, getting his experi-
ence in various Boston factories. In 1851 he made his first
piano, and laid the foundation for a business which is counted
among the leaders of the American piano industry. Educating
his three sons in all branches of the business, he admitted them
to partnership and changed the name to Vose & Sons. In 1889
the concern was incorporated, the stock being owned by the
Vose family. James W. Vose served as first president of the
Vose & Sons’ Piano Company for a number of years. After his
retirement his eldest son, Willard A. Vose, succeeded him as
president and manager, with marked ability, maintaining and
improving the distinguished standing of the Vose piano.
One of the most interesting characters in the history of
American piano makers is Napoleon J. Haines. Born in
London in 1824, he came to New York when eight years of
age. He made the trip across the Atlantic alone with his
younger brother Francis. His father, who had preceded the
boys to New York, had paid the ship’s steward thirty dollars to
assure good meals for the youngsters. Napoleon, aware of that
fact, objected to the poor coffee and “hard tack” with which
the steward regaled the boys, throwing the stuff overboard and
demanding “something fit to eat.” He caused such a distur-
bance that the captain was called, who promptly sided with the
rebellious boy and admonished the steward to do his duty
henceforth. It is said that young Haines after his arrival in New
York, not from necessity, but from his desire to make headway,
earned money as a bootblack after school hours. Whether that
is true or not, young Napoleon certainly always demonstrated a
restless disposition and a desire to advance. At the age of fif-
teen he apprenticed himself and brother to the New York Piano
Manufacturing Company, learning all branches of the art. In
1851 he started in business with his brother under the firm
name of Haines Brothers. Beginning with an output of two
pianos per month, their business soon assumed large propor-
tions, so that the erection of a factory, with a capacity of 20
pianos per week, became necessary in 1856.
Napoleon J. Haines
was a thorough piano
maker, whose name is also
on record as an inventor in
the United States Patent
Office, but, besides that, he
was a born financier and
shrewd business man. One
of the founders of the
Union Dime Savings Bank
of New York, he served as
vice-president and presi-
dent of that great institution
for 21 years. Napoleon J.
Haines died April 19, 1900.
The business has been
merged with that of the
American Piano Company, under whose auspices the Haines
Brothers piano is produced in larger quantities than ever.
Real genius always leaves an indelible mark in its sphere
of activity, and its influence is as lasting as it is permeating at
the time of its birth. To observe a man rising from the lowest
rung of the ladder to the height of a most prominent manufac-
turer, educating himself meanwhile to become a musician of
acknowledged talent and versatility, handling complex
financial problems with masterly daring and withal acquiring a
position of social influence, requires a combination of talents,
an exercise of willpower and self-denial seldom found. Albert
Weber, born in Bavaria July 8, 1828, landed in New York when
16 year of age. Endowed with a liberal education, he had good
knowledge of music, playing the organ efficiently. Attracted to
the art of piano making, he went through a regular apprentice-
ship with Master Holden of
New York, and later
worked in the celebrated
shop of Van Winkle. To pay
his board, young Weber
gave music lessons
evenings, and played the
organ at church on Sun-
days. When 23 years of age
he started in business with
a very small capital. Fire
destroyed his shop during
the third year of his
existence as a piano manu-
facturer. Nothing daunted,
he rented much larger
quarters and within a short
Patrick H. Powers
James Whiting Vose
Napoleon J. Haines
Albert Weber
202
time acquired a leading position among the piano firms of New
York City. His energy and ambition knew no bounds. In 1869
he opened extensive warerooms at Fifth Avenue and Sixteenth
Street, a move which astonished his competitors by its very
boldness. Weber had invaded the abode of New York
swelldom, with characteristic foresight, judging the future
importance of this thoroughfare as a center of fashionable
establishments. With this move his aggressive campaign for
supremacy in the piano world commenced.
Although not given to inventing or creating anything new
in piano construction, Weber was such a thorough piano maker,
and perfect performer on the piano, that he knew how to utilize
the best-proven methods of construction. He would engage at
any cost the best workmen, the best talent to be found among
piano makers, neither would he spare any expense or reckon
the cost of any real improvement in the tone or general quality
of his pianos. He inspired his men to take pride in their work.
The result was that he produced pianos which were acknowl-
edged second to none, and preferred by many leading
virtuosos, especially by opera singers, for their sympathetic
musical tone.
Because of his acute and musically trained hearing he
succeeded introducing in his pianos, through his expert
workmen, what he proudly called the “Weber tone.” To listen
to his playing for a prospective customer was a treat indeed,
and seldom would an intending buyer leave his warerooms
without having secured a piano. The man’s enthusiasm, the real
love for his piano was so intense, so genuine that he impressed
the same on every person who would listen to his playing. Well
read, a keen observer of men and things, Weber was a most
interesting entertainer. His ready wit became proverbial and
oftentimes served to clear unpleasant situations. For example,
when during the strike of the journeymen for higher wages,
shorter hours, etc., a committee of the workmen met with the
assembled manufacturers, submitting their most unreasonable
demands, the latter were dumbfounded by the boldness of the
men. Weber broke the silence, complimented the men, arguing
that it was their privilege to ask for all that they might want,
but in his opinion they had not asked enough—they had
forgotten to ask for free Saturday afternoons with full pay, so
that they could play tenpins, the bosses to pay for the beer and
set up the pins for the men. With this remark he took his hat
and left the conference. The strike was called off. With his
timely sarcasm Weber had shown the men the ridiculousness of
their demands and had turned the embarrassing conference into
a merry laughter.
Many pertinent anecdotes could be cited to illustrate the
quick-working mind of this remarkable man. He had one
serious shortcoming, however, which finally caused his
untimely end. Ceaselessly planning to extend his business and
enlarge his personal influence, Weber did not surround himself
with sufficient competent assistants who could relieve him
from dreary detail work, and consequently the management of
his great factory, of the wholesale and retail departments, all of
the financial affairs—in short, every detail of his great
business—rested upon his shoulders. Working from morning
until evening at his business, he would attend opera, theaters
and clubs at night. Being of a decidedly Bohemian tempera-
ment, he enjoyed the gay life of New York among brilliant men
and women, but the everlasting strain was too much, even for
this nervy man, and he succumbed, at the age of 50, on June
25, 1879, to the overtaxing of his brain and body.
The great business which he has founded, the great name
which he made for his piano, are becomingly perpetuated by
the Weber Piano Company, a corporation affiliated with the
Aeolian Company of New York. The fame of the Weber piano
has extended to all the art centers of the globe to such an extent
that the erection of a mammoth factory in London has become
a necessity, in order to supply the ever-growing foreign trade.
The name of Albert Weber will live, as long as pianos are built
in America, as one of the great leaders who believed in the
artistic mission of the instrument and impressed this belief
upon the mind of the public.
History teaches that
hardship, adverse condi-
tions and trying circum-
stances are the making of
great men. Henry Engel-
hardt Steinweg’s career is a
confirmation of this
doctrine. Born at Wolfsha-
gen, Germany, as the
twelfth child of a strong
mother and a respectable
father on February 5, 1797,
he had to pass during his
youth through all the mis-
eries and privations brought
upon people by protracted
warfare. Napoleon’s hordes
devastated Germany,
burned up the Steinweg home and killed several of his brothers
in battle. To fill his cup of misery he finally lost his father and
remaining brothers in an accident, from which he alone
escaped as by a miracle, and found himself an orphan at the
age of 15, without home or shelter.
At 18 years of age he was drafted for the army and took
part in the battle of Waterloo. Returning from the field of
battle, he found the soldier’s life in the barracks very dreary, to
counteract which he managed to build a zither, upon which he
would play the patriotic songs of the time accompanied by the
voices of his soldier comrades. Having never handled tools nor
received even elementary instruction in music, his accomplish-
ment in making and playing the zither clearly pointed to the
road which he was to travel to achieve fame and wealth.
Having served his time in the army, he sought employment
with a cabinetmaker, but being then 21 years of age, and
engaged to a lovely girl, he did not cherish the idea of serving
a five-year apprenticeship as the guild of cabinetmakers
demanded. He wanted to learn the use of tools to build musical
instruments, and we find him, therefore, soon in the shop of an
organ builder at Seesen, where he also filled the place of
organist in the village church. In 1825 he married the woman
of his heart, and his wedding present was the first piano built
by Steinweg’s own hands. It was a fine instrument, which soon
found a purchaser. Constructing pianos, earning his daily bread
by repairing organs and all kinds of musical instruments, Stein-
Henry Englehardt Steinweg
203
weg prospered, and in 1839 exhibited at the fair of Brunswick
one grand and two square pianos of his own make. The great
composer, Albert Methfessel, played on these instruments and,
as chairman of the jury, recommended that the highest prize, a
gold medal, should be awarded to Steinweg for his superior
instruments. It is said that the Duke of Brunswick bought the
grand piano, paying therefore the large price of 3,000 marks.
Steinweg’s reputation as a master piano builder was now
established and he had to employ workmen to fill the orders
which he received. His sons, Theodore, Charles and Henry,
joined him in business as they grew to maturity and the
prospects for the future looked very bright, when suddenly
adversity came again through the political upheaval and
revolution of 1848 and 1849, which paralyzed business all over
Germany. The second son, Charles, had been during this
excitement rather active in the ranks of the progressives, or
revolutionists, and found himself compelled to flee as soon as
the people’s cause was lost. He escaped to Switzerland and
went by way of Paris and London to New York, where he
landed in May, 1849.
Charles sent such glowing reports regarding the possibili-
ties for the family in the new world as compared with their
homeland, and urged their coming to America so strongly and
persistently that the entire Steinweg family, except Theodore,
engaged passage on the steamer Helene Sloman from
Hamburg, which landed them at New York on June 9, 1851.
Instead of venturing into business at once, Henry E. Steinweg
wisely chose first to gain practical knowledge of the language
and business methods of the new world. He and his sons
accepted employment in different piano factories. For two
years the three men gathered experience, and on March 5,
1853, the firm of Steinway & Sons started on its brilliant
career. The very first step in that direction, the changing of the
name from Steinweg to Steinway, showed not only the
business sagacity of Henry E. Steinway, but also the strong
faith which he had in his ability to build a better piano than
known at that time. Hence he wanted a distinct trade-mark,
which could not be imitated, even if his pianos should be.
From the beginning the firm of Steinway & Sons was a
happy combination of various talents, making success
imperative. Henry E. Steinway was an experienced piano
maker and careful business man. His son Charles managed the
factory, for which he was eminently fitted. A fine mechanic, he
possessed a highly developed sense for exactness and system-
atic organization, while the younger son Henry was a genius as
an inventor, a good musician and a splendid mixer with artists,
professionals and literary men.
At the Metropolitan Fair, held at Washington, D. C.,
March, 1854, Steinway & Sons exhibited a square piano and
received a prize medal, but their great triumph came at the
great fair of the American Institute in New York in 1855,
where their over-strung square piano with full iron frame creat-
ed a sensation in the piano world. As a result their business
expanded so rapidly that in 1859 the erection of that mammoth
factory on Fifty-third Street and Fourth Avenue, New York,
became a necessity. Henry E. Steinway planned the factory and
superintended its building. It is said that he would not permit a
beam or rafter in the entire structure which contained a single
knot or showed the least imperfection. The precision of the
master builder dominated in whatever he did!
Gradually he permitted his sons to assume the responsibil-
ities of managing the affairs of the great business. Successful
beyond his fondest dreams in his enterprise, Henry E. Stein-
way had to bear the deep sorrow of losing his faithful co-work-
ers and beloved sons, Charles and Henry, in the prime of their
manhood. This great bereavement, together with the advancing
years, began to bear upon that strong character, who had fought
the battle of life so valiantly, and, after planning and
superintending the erection of Steinway Hall in 1866, he
retired more and more from active participation, going to his
rest on February 7, 1871, at the age of 74. Beloved by all who
knew him, respected by the community and famous as an
inventor and manufacturer in the entire civilized world, a self-
made man who had to wring success from fate’s unwilling
hand under most trying conditions, Henry Engelhardt Stein-
way’s name will ever be revered.
His eldest son, C. F.
Theodore Steinway, was one
of those who show great
brilliancy in their youth, but
whose genius then lies dor-
mant for a number of years,
to break out with irrestible
force after middle life,
astonishing the world with
their accomplishments. At
the age of 14 Theodore was
an accomplished pianist, so
much so that he was given
the task of showing off his
father ’s pianos at the
Brunswick Fair in 1839.
Enjoying the advantages
offered by the Jacobsohn College at Seesen, a celebrated
institute of learning, he studied acoustics under Dr. Ginsberg,
who took great interest in the brilliant boy, in return for which
Theodore built the models needed by Dr. Ginsberg for
demonstration in his lectures on acoustics. This intimate
relation to the scientist in his youth prevented Theodore from
ever becoming a mere empiric. It was the cause of the restless
search he later so forcibly demonstrated for the scientific laws
underlying the construction of the pianoforte. After going
through college, he went to work at the bench in his father’s
shop, and, when the family sailed for New York in 1851, he
was charged with winding up the affairs of business and
following the family. Fate decreed otherwise. He met the only
maid whom he would marry, stayed at Seesen and continued
the business founded by his father. Success crowned his
efforts, and seeking a larger field he removed his piano factory
to Brunswick in 1859, where he built up a substantial business.
However, when his brothers, Charles and Henry, died, filial
duty demanded that he should assist his father in New York.
He sold his business to three of his most able workmen and
became a partner in the firm of Steinway & Sons, New York.
Theodore took charge of the construction department, and
commenced those revolutionary improvements which have
made the Steinway a synonym of perfection in piano building.
C.F. Theodore Steinway
204
Theodore’s inventive and constructive genius had for all
these years been tethered by the every-day care of managing
all departments of his Brunswick factory. Freed now, with
unlimited capital, an excellent factory organization and the
most expert workmen at his command, Theodore Steinway had
opportunity seldom offered. He made the best use of it. Step by
step he invaded the fields of modern science, investigating and
testing different kinds of wood in order to ascertain why one
kind or another was best adapted for piano construction, then
taking up the study of metallurgy, to find a proper alloy for
casting iron plates which would stand the tremendous strain of
75,000 pounds of the new concert-grand piano that was already
born in his mind, calling chemistry to his aid to establish the
scientific basis for felts, glue, varnish, oils,—in short, nothing
in the realm of science having any bearing on piano construc-
tion was overlooked. Having thus laid his foundation, he
returned to Germany to be near Helmholtz and benefit by that
great savant’s epoch-making discoveries. It was but natural
that in time he became an intimate friend of Helmholtz, and the
world was benefited by that friendship. Theodore made
Brunswick his home again, going to New York at regular
intervals to superintend the execution of his inventions. At his
Tusculum in Brunswick he had one of the most complete
collections of musical instruments of every character, ancient
and modern, and he knew the characteristics of each so well
that it was a treat to listen to him whenever he was in the mood
to show and talk about his gems. To widen his horizon of
knowledge, he traveled extensively, meeting the shining lights
of science, art and literature wherever he went. Germany was
just then in its greatest period of scientific, artistic and
industrial Renaissance. Theodore profited greatly, being a keen
observer, and he set to work to bring to life in his piano the
discoveries of Helmholtz, Tyndall and others. The crowning
result was his Centennial concert-grand piano, with the duplex
scale, bent-rim case, cupola iron plate and improved action
which would lift that heavy hammer made of 23-pound felt by
the slightest touch of the key, setting the strings, which were of
a length and thickness heretofore unknown, in vibration.
Theodore was an intense and enthusiastic worker. Once
engaged upon a problem, he knew no limit of time. The author
has often discussed problems of piano building with him, the
experimental piano before us, until the early morning hours.
Physically and mentally very forceful, imbued with quite
Teutonic strength, he aimed to create a piano which would
respond to the demands of the modern dynamic compositions
of a Liszt, Wagner or Rubinstein, and would, orchestra-like, fill
the large modern concert hall to its remotest corners. He
accomplished this object without sacrificing that desired
nobility of singing tone quality.
While Theodore Steinway has not created anything
positively new in piano construction, he revolutionized piano
making and all auxiliary industries by forcing the acceptance
of scientific methods upon all who desired to stay in the
progressive march. He demonstrated to what extent science
can aid in the development of the piano by his own produc-
tions, and thus broke the path for the enormous development of
the industry during the past 30 years. This is more than all the
empirics have ever done. Theodore Steinway died at
Brunswick, March 26, 1889.
Compensation is one
of the inexorable laws of
nature. Great results can
only be achieved by great
efforts and corresponding
sacrifice. Steinway & Sons
had to pay their tribute to
the law of compensation!
Charles Steinway, born
on January 1, 1829, was
one of those silent workers
who fill most important
places in the world of activ-
ity. Of a modest and retir-
ing disposition, wrapped up
in his arduous duties of
organizing and managing
the ever-growing factories,
Charles knew no bound for his labors. He simply exhausted
himself and died a the early age of 36 on March 31, 1865,
leaving behind him as his monument the piano factory parexcellence, a foundation for Theodore and William to build
upon, without which neither one of these two great men could
have achieved their tri-
umphs.
Henry Steinway, Jr.,
born on March 27, 1831,
also paid the penalty for too
intense application to the
furtherance of ambitious
plans. Naturally of a highly
artistic, nervous tempera-
ment, Henry devoted him-
self to the nerve-racking
activity of inventing
improvements, and the
patent records speak loudly
for his great achievements.
Seeking food for his rest-
less brain—enlightenment
as to the demands of the
artist—Henry was at night-
time a studious citizen of
Bohemia, and during the
day nervously at work on
his drawing-board. Burning
the candle of life thus
brightly at both ends, it
could not last long, and the
talented young man died on
March 22, 1865, aged only
34 years.
The great calamity of
losing the two brothers
within three weeks’ time
threw the entire burden of
managing the great busi-
ness upon young William,
the aged father having
Charles Steinway
Henry Steinway, Jr.
William Steinway
205
gradually withdrawn from active assistance. William Steinway
was born at Seesen on March 5, 1835, at a time when the
Steinway family was enjoying prosperity and father and moth-
er were in their prime. He was a strong, healthy boy, physically
and mentally. Like his brother Theodore he attended the Jacob-
sohn College, but unlike Theodore devoted himself to the
study of languages and music proper, rather than listening to
dreary lectures on acoustics.
At the age of 14 he had a good command of English and
French, played the piano acceptably and had such a musical
ear that he could tune a three-stringed grand piano to perfec-
tion. When the family arrived in New York, William was
offered the choice of studying music, for which he had shown
pronounced talent, or learning piano making. He chose the lat-
ter and was at once apprenticed to William Nunns & Company,
one of the best-known New York piano firms of that time. As
soon as his father started in business William joined him, and
worked for several years at the bench, until the commercial
end of the business demanded closest attention. William was
by unanimous agreement chosen as the head of the financial
and commercial departments of the firm. It was his proper
sphere and furnished another illustration of the keen judgment
of Henry E. Steinway, Sr. He placed each of his sons where his
particular talents might produce the best results.
Being only 29 years of age when called upon to manage
an establishment of enormous proportions, William did not
waver. With the grit and determination inherited from his
father, he began to plan greater extensions. Theodore was
building pianos, William had to sell them. His pet scheme, a
great concert hall, was soon carried out—Steinway Hall was
opened in 1867 by Theodore Thomas’ orchestra, with S. B.
Mills as soloist at the piano. The opening of this hall was the
inauguration of a new era in the musical life of America. Anton
field-Zeisler, Rafael Joseffy, Eugene D’Albert, Leopold Dam-
rosch and Anton Seidl made their bows to select audiences
from the platform of Steinway Hall. William Steinway knew
that the American people needed musical education. He pro-
vided it, and no one man has done as much for musical culture,
or has inspired the love for art among the American people, as
William Steinway.
Supporting Theodore Thomas’ great orchestra, so that it
might make its celebrated journeys through the entire country
(and without the aid of Steinway this would have been impos-
sible), William by most liberal offers induced leading Euro-
pean virtuosos to come on concert tours to America. He was
the ever-helping friend to young students and teachers. His
inborn liberality would often let the heart be master of better
judgment, but he never regretted his acts of benevolence, even
if sometimes repaid with base ingratitude.
To the astonishment and chagrin of the older and more
conservative houses in the piano trade, William started an
aggressive and heretofore unheard-of advertising campaign. As
a competent judge he knew that his factories turned out the
best pianos that could possible be made, and he was bent not
only on letting the world know it, but on making the world
believe it, as he did. This was revolutionary, even shocking,
but William persisted until he carried his point.
Having established the fame of his piano in America
beyond dispute, William looked for other worlds to conquer,
and opened a branch house in the city of London about the
year 1875. Steinway Hall in London was formally opened in
1876. In 1880 the Hamburg factories were started, to supply
the ever-growing European trade.
While thus engaged in building up this great market forthe products of the factories, William fostered ambitions inother directions. He wanted to see the name of Steinway on themap of New York; and with that end in view he bought 400acres of land on the Long Island Sound in 1880, and there cre-ated the town of Steinway. Starting with the erection of asawmill and iron foundry, in course of time the case and actionfactories were erected, and since 1910 the entire piano worksof Steinway & Sons have been located at Steinway, L. I., NewYork.
William Steinway was a strong man in every sense of the
word. As a young man he was counted among the invincible
athletes of the German Turn Verein, and even in his later years
it was one of his pleasantries to compare muscular strength
with friends. To say that mentally he was a giant is no exagger-
ation. Whoever can contemplate the multitude of details, aside
from the larger schemes, to which William Steinway paid clos-
est attention, the complex financial problems which confronted
him in times of business depression, the demands made upon
his time by artists, members of the press, etc., must wonder
how he could pay any attention to society or public affairs. Yet
we find that he was often called upon to lead a movement in
politics or municipal affairs, to which he would respond with
unwonted energy and ability. For 14 years he acted as president
of the Liederkranz, the leading German singing society of New
York. He was director in several banks and an active member
of leading clubs. Broad-minded and liberal to a degree, Wil-
liam Steinway could always look far beyond Steinway Hall
when danger threatened the piano industry or a helping hand
could be extended for uplifting. It is unfortunate that history
never will record his manly and heroic actions in the interest of
the entire piano industry of America during the dark days of
the great panics of 1893 and 1896. He stood like the Rock of
Gibraltar against the waves of destruction rampant in those
days, and by his great influence in financial circles, his sound
judgment and counsel, protected the credit and fair name of the
industry, often by timely
action preventing impend-
ing disaster to worthy
firms. He applied himself
with such intensity and
abandon to his duties that
even his wonderfully robust
constitution had to give
way under the protracted
strain and exertion. He died
prematurely on November
30, 1896, a martyr of con-
scientious devotion to duty
as he saw it. Carl Schurz
delivered the funeral ora-
tion and New York was in
mourning.Albert Steinway
206
The youngest son of Henry Engelhardt, Albert Steinway,
born on June 10, 1840, like his brothers had chosen piano mak-
ing as his life work, and after the death of Charles assumed the
management of the factories. He made the application of
machinery for manufacturing, modern heating and lighting sys-
tems his special study and thus kept the Steinway factories in
the front rank of progressive industrial establishments. The
development of the village of Steinway was mainly his work,
and the planning and erection of the sawmills, iron foundry,
metal shops and case factory were entirely in his hands. With
that restless zeal so characteristic of the Steinway family, urg-
ing him to accomplish in a given time more than his bodily
strength would permit, he undermined his none too strong con-
stitution and died at the age of 37 on May 14, 1877.
It is almost needless to say that in course of time honors
were showered upon the house of Steinway, in recognition of
its many valuable contributions to science, art and industry.
Theodore and William were elected Member of the Societies
of Art in Berlin, Paris and Stockholm, and William was deco-
rated with the Cross of the Red Eagle by Emperor William of
Germany. The highest prizes for meritorious products have
invariably been awarded to the firm wherever their pianos have
been exhibited, and the leading courts of Europe and Asia
bestowed the honor of appointment as “special purveyors” to
Steinway & Sons.
Charles H. Steinway, the president of the corporation, has
been honored by the Sultan of Turkey with the Order of the
Liakat; by the Republic of France with the Cross of the Legion
of Honor; by the Shah of Persia with the Order of the Lion and
Sun, and by the Emperor of Germany with the Order of the
Red Eagle.
All of the founders of the great house having passed to the
unknown beyond, their work is continued in most effectual
manner by their scions, who, true to tradition, divide the mani-
fold duties among themselves, according to their talents and
training.
Charles H. Steinway, son of the late Charles, directs the
commercial and financial policy of the corporation. His broth-
er, Frederick T., is in charge of the factories, assisted by
Theodore Cassebeer, grandson of Doretta Steinway-Ziegler.
Henry Ziegler, son of Doretta, and pupil of the late
Theodore Steinway, is in charge of the construction depart-
ment, assisted by the late William Steinway’s son, Theodore F.,
whose elder brother, William R., is in charge of the European
business.
Following their chosen leader cheerfully, just as Henry
Englehardt’s sons acknowledged their father’s authority under
all conditions, the active members of the House of Steinway
not only uphold the foremost position to which the founders
had attained, but are adding new laurels to the illustrious name
by constantly improving the quality of their instruments and
extending their influence, as leaders of the industry, to all parts
of the civilized world.
Theodore A. Heintzmann is perhaps entitled to the name
of father of the piano industry in Canada. Born at Berlin, Ger-
many, on May 19, 1817, he started as a cabinetmaker, learned
keymaking with Buchholtz
and perfected himself as a
piano maker under
Grunow. After traveling
extensively on the Conti-
nent of Europe, he landed
in New York in 1850,
where he found work in
Lighte & Newton’s factory.
Charles Steinway had his
work-bench in the same
room with Heintzmann. In
1853 he went to buffalo
and started the Western
Piano Company, which
enterprise had to be aban-
doned during the panic of
1857. Moving to Toronto in
1860 he started a piano shop without any capital, but his instru-
ments were of such a high order that he found purchasers for
them quite easily. The busi-
ness grew steadily under
his energetic management
and ranks today among the
leading industrial establish-
ments of the Dominion.
Heintzmann died on July
25, 1899. The business has
been taken over by a corpo-
ration, in the management
of which four sons of the
late Heintzmann take active
part.
Among the many
Germans who left their
fatherland after the failure
of the Revolution of 1848,
was Ernest Gabler. Born in
Glogau, Silesia, he landed
at New York in 1851, and
started in business in 1854.
Building a substantial piano
at a moderate price, he met
with considerable financial
success. He died February
27, 1883.
A peculiar character,
with many strong traits, we
find in Freeborn Garrettson
Smith. Learning his trade in
Baltimore, he worked for
some time in Chickering’s
factory. In 1861 he became
superintendent for William
B. Bradbury. Bradbury was
a musician by profession, who had bought an interest in the
firm of Lighte & Newton (established in 1848), and when he
dissolved partnership with Lighte, he found in Smith a good
manager for his factory. After Bradbury’s death in 1867 Smith
Theodore A. Heintzmann
Ernest Gabler
Freeborn Garrettson Smith
207
bought the business, continuing the name of Bradbury. Imme-
diately the commercial instincts of Smith came to the surface,
and he developed greater talents as a distributor of pianos than
as a maker. Original in his methods, he published for a long
time a testimonial of the well-known preacher, T. DeWitt Tal-
mage, in which the latter declared that if the angels are using
musical instruments in heaven, the Bradbury piano would sure-
ly be there, because of its sweet tone.
Smith was among the first who opened warerooms in lead-ing cities, selling his product direct to the public rather thanthrough dealers. He is counted among the wealthiest of thosemen in the piano trade who have accumulated their fortunes bythrift, energy and exceptional business ability.
While working at the melodeon factory of George A.Prince & Company of Buffalo, Emmons Hamlin made theimportant discovery of “voicing” organ reeds, so that a givenreed could be made to imitate a clarinet, violin or other instru-ment. He developed this discovery to perfection and in 1854formed a partnership with Henry Mason under the firm nameof Mason & Hamlin, for the purpose of manufacturing a newmusical instrument called “organ harmonium.” Hamlin was apainstaking, exact working mechanic, with considerable geniusas an inventor.
Henry Mason, reared under the best musical traditions ofBoston, and graduated from a German university, was imbuedwith that artistic devotion to music, which we find to this dateexpressed in the almost flawless instruments produced by theMason & Hamlin Company.
Starting with a small capital, but determined to producethe very best instruments only, the firm met with almost instantsuccess. Not content with the manufacture of their humbleinstrument, they soon developed what has become known asthe American Cabinet Organ. This instrument won for the firma world-wide reputation and the highest possible honors andawards were bestowed upon their products at all World’s Expo-sitions, wherever exhibited.
In 1881 the manufacture of pianos was added to theirindustries. The Mason & Hamlin piano advanced rapidly inpopular favor and is accepted by the most eminent virtuososand musicians of the day, as an artistic instrument of the high-est order.
Among the pioneers of the melodeon and organ industry
was Bernhar Shoninger, a
native of Germany, who
landed in America in 1847,
and started his factory at
New Haven, Conn., in
1850. Branching out to the
making of pianos, he
secured for his instruments
the same enviable reputa-
tion which had been
accorded to his organs.
Bernhard Shoninger died
on June 3, 1910. The busi-
ness is continued under the
able direction of his son, S.
B. Shoninger.
Myron A. Decker, born at
Manchester, N. Y., on January 2, 1823, served a four-year
apprenticeship with Van Winkle at the time when Albert Weber
was taking his post-graduate course in the same shop. He then
went to work for Boardman & Gray at Albany, and started a
factory in that city in 1856. At the State Fair held at Syracuse
in 1858 Decker received a diploma for the best piano exhibit-
ed. In 1859 he removed to New York, occupying for many
years the historic building on Third Avenue and Fourteenth
Street, in which Osborn, and later Worcester, had made pianos
many years before. In 1877 his son, Frank C. Decker, was
admitted to partnership and the firm changed to Decker & Son.
Myron A. Decker died
in 1901. He was one of the
old school of master
mechanics, more concerned
in designing and building a
thoroughly artistic piano
than in accumulating
wealth. The firm was
changed to a corporation in
1909, with Frank C. Decker
as president and manager.
Frank C. Decker, Jr., grand-
son of the founder, is
preparing himself, under
the tutelage of his father, to
perpetuate the well-earned
fame of the name of Decker
in the piano world.
Among a few who devoted their lives to the one object,
the improvement of the piano, especially its tonal qualities,
George Steck’s name will ever be mentioned as one of the first.
Born near Cassel, Germany, on July 19, 1829, Steck studied
with that celebrated master, Carl Scheel of Cassel. Coming to
America in 1853, he started his factory in 1857 and met with
such exceptional success that he was able to open Steck Hall
on Clinton Place, New York City, in 1865, where his concert
grand pianos were played by the leading artists of the day.
Later on a larger hall was opened on Fourteenth Street to meet
the demands of a steadily growing business.
Steck was one of those restless natures who are never
satisfied with the best of their work. As a scale drawer he had
no superior. His scales for both grand and upright pianos have
been industriously copied by makers of commercial pianos,
because of their exceptional
merit for clear and large
tone. His concert grands
have been highly endorsed
by Richard Wagner, Sophie
Menter, Annette Essipoff,
Sir Julius Benedict and
many others. Because of
the exceptional solidity of
the Steck piano, it has been
chosen for years by many
schools and colleges all
through the United States,
and has become known as
the “school piano.”Bernhard Shoninger
Myron A. Decker
George Steck
208
Personally, George Steck was a most lovable character,
who had no enemies, finding pleasure in the pursuit of his art,
with no particular regard for the commercial end of the busi-
ness. To assure for his co-workers proper compensation for
faithful service, Steck incorporated his business in 1884, allot-
ting shares of stock to his employees. Gradually shifting the
responsibilities and cares upon younger shoulders, he retired
from active participation in 1887. The last 10 years of his life
were devoted entirely to his pet scheme of constructing a piano
which would stand permanently in tune. His experiments in
that direction were very interesting, but he could not see the
fulfillment of his dream. He died on March 31, 1897. In 1904
the business was consolidated with the Aeolian Company of
New York, under whose direction the manufacture of the Steck
pianos is continued with great energy and ability. The business
having outgrown the home facilities, large additional factories
have been established at Gotha, Germany, to supply the foreign
demand for these pianos.
One of the prominent
piano manufacturers of the
early days was Henry
Behning. Born at Hanover,
Germany, on November 3,
1832, he learned piano
making with Julius Gercke
and came to America in
1856. He found employ-
ment in the shop of Lighte
& Newton. At the outbreak
of the Civil War he enlisted
with the Union Army,
taking part in the hostilities,
but was soon honorably
discharged for disability. In
1861 he started a business
making a good commercial
piano. In 1880 he admitted his son Henry to partnership, under
the firm name of Henry Behning & Son. He retired from
business in 1894 and died on June 10, 1905. The firm was
changed in 1894 to the Behning Piano Company, a corporation
under the management of Henry Behning, Jr., and Gustav
Behning.
Hugo Sohmer, born in the
Black Forest, Germany, in
1846, had the benefit of a
classical education, includ-
ing a thorough study of
music. He came to New
York at the age of sixteen
and served his apprentice-
ship with Schutze &
Ludolff. Returning to Ger-
many he studied piano
making for two years in
some of the leading
factories there. In 1870 he
founded the firm of Sohmer
& Company, by taking over
the business of Marshall &
Mittauer. Sohmer is a
thorough piano maker who
has patented many
improvements, enhancing
the value of his product.
With strongly developed
artistic inclination, Sohmer
has ever been satisfied to
produce an artistic in-
strument, rather than to
merely manufacture large
quantities.
Among the firms that
have succeeded in produc-
ing a high-grade piano and
scoring at the same time a
remarkable financial
success, Jacob Brothers
stand pre-eminent. Charles
Jacob studied piano making
with Calenberg & Vaupel,
who stood high among the
masters of their day, while
his brother, John F. Jacob,
worked for years with
Hardman, Peck & Com-
pany, and Billings &
Wheelock. They started in
business in 1878. After the
death of John F. in 1885,
the youngest brother, C.
Albert, was admitted to the
firm, and in 1902 the
business was incorporated.
Besides their own extensive
factory, this corporation owns the Wellington Piano Case
Company, the Abbott Piano Action Company and has also
taken over the Mathushek & Son Piano Company, and the old
established business of James & Holmstrom, all of which are
continued with marked success under the presidency of
Charles Jacob, assisted by his brother Albert.
One of the most interesting characters in the history of the
piano industry was Frederick Mathushek, born at Mannheim
on June 9, 1814. He learned piano making at Worms. After
serving his apprenticeship, he traveled through Germany and
Austria, and finally landed in Henri Pape’s shop at Paris, where
he became thoroughly infected with that inventor’s bacteria.
Returning to Worms, he began to build freak pianos similar to
those he had seen at Pape’s. One of his octagon “table pianos,”
built at Worms, is among the collection of antique pianos at the
Ibach Museum at Barmen. Although a splendid workman and
particularly gifted tone specialist, which enabled him to build
superior artistic pianos, his business was not a success
financially.
In 1849 Mathushek landed in New York, and was
immediately engaged by John B. Dunham to draw new scales
and make other improvements. It is said that Mathushek drew
a scale for overstrung square pianos in Dunham’s shop in
1850. It has never been disputed that the reputation which the
Henry Behning
Hugo Sohmer
Charles Jacob
C. Albert Jacob
209
Dunham pianos enjoyed in their day was due to the work of
Mathushek. It was here, also, that he constructed his piano
hammer-covering machine, which has been used as a
foundation for all later improvements in that line.
In 1852 Mathushek
started again on his own
account, continuing until
1857, when Spencer B.
Driggs tempted him with
most liberal offers to work
out the vague, not to say
wild, notions which Driggs
had conceived of revolu-
tionizing the construction
of the piano. It was impos-
sible for even so great and
versatile a genius as
Mathushek to achieve any
practical results by follow-
ing Driggs’ ideas, and we
find him in 1866 as head
of the Mathushek Piano Company, at New Haven, Conn. It
was here that he did his best work. His invention of the
linear bridge and equalizing scale enabled him to produce in
his small “Colibri” piano a tone richer and fuller than could be
found in many a large square piano, while his orchestral square
piano has never been excelled, if it ever had its peer. In volume
and musical quality of tone these orchestral square pianos were
far superior to many of the short grand pianos of the present
time, possessing, especially in the middle register, an almost
bewitching sweet mellowness of tone, reminding vividly of the
cello tones. Unfortunately for Mathushek, the owners of the
company soon commercialized the product, and his dream of
some day building a concert grand piano such as he had in his
mind was never realized.
He drew many grand piano scales for other manufacturers,
but, strange as it may sound, Mathushek’s scales were only a
success when he could work out the entire piano as he
conceived it in his own mind. It is no exaggeration to state that
Matheshek could, as a voicer, produce a tone quality in his
own pianos that no other man could imitate. The author had the
privilege of working alongside Mathushek for a number of
years at the New Haven factory and observed the radical
transformation of tone quality after Mathushek had gone over
the hammers with his tools. A good player of the piano, with a
wonderfully sensitive and trained ear, he quickly detected an
almost imperceptible shortcoming and usually knew how to
correct it. His fault, if it is to be called so, was his irrestible
restlessness in seeking for improvements, which often robbed
him of his night’s rest and prompted continual changes while a
large number of pianos were in course of construction. Modern
manufacturing methods do not permit of too much experiment-
ing, and like his master, Pape, Matheshek died a poor man. In
1871 he left New Haven, and with his grandson started the
firm of Mathushek & Son in New York. It was finally changed
to a corporation and consolidated with Jacob Brothers, under
whose able management the business has flourished.
It is impossible to discuss or even to enumerate the mani-
fold inventions of Frederick Mathushek. He was even more
prolific than Henri Pape, but differed from Pape in not being
given to merely experiment with ideas for the sake of novelty.
Mathushek’s whole existence was dominated by the desire
to produce in a piano that ideal musical tone which he could
hear mentally, just as the deaf Beethoven heard his symphonic
poems when he wrote them. Mathushek never had an opportu-
nity to develop what he had in mind and felt in his soul. He
came near to it in his orchestral square piano, and almost
accomplished his aim in his equilibre system. The piano
industry of America is largely indebted for its wonderful
development to the genius of Frederick Mathushek. He died
November 9, 1891.
With hope and high
ambition, William E.
Wheelock entered the trade
in 1873, at the age of twen-
ty-one years, as a member
of the firm of Billings &
Wheelock. In 1877 the
partnership was dissolved,
and he began the manufac-
ture of the Wheelock piano.
In 1880 the firm name
became William E. Whee-
lock & Co. The demand for
the Wheelock piano had
increased so rapidly that
better facilities became
necessary, and a large
“Table Pianos”
Frederick Mathushek
William Wheelock
210
factory with grounds comprising 21 city lots on 149th Street,
New York, was acquired. In 1886 the Stuyvesant Piano Com-
pany was started to meet the demand for a medium-priced
piano, and in 1892 control of the business of the late Albert
Weber was obtained. Wheelock and his partners, Charles B.
Lawson and John W. Mason, organized the Weber Piano
Company and thus became the first manufacturers who could
offer to the trade a full line of the most merchantable grades:
the Weber, a piano of the highest reputation and qualities; the
Wheelock, as a first-class instrument, and the medium-priced
Stuyvesant—all made in separate factories, but practically
under one control and management. This idea, later on, was
successfully followed by many of the leading concerns in the
United States. When the opportunity to consolidate his three
companies with the Aeolian interests presented itself in 1903,
Wheelock saw the greater possibility for the future of his enter-
prise in such a combination and entered into the arrangement
whereby he became treasurer of the new and larger corporation
then formed, while remaining president of the several piano
companies of which for many years he had been the head.
Educated as a musi-
cian, becoming a violinist
and orchestra conductor of
note, Simon Krakauer, born
at Kissingen, Germany, in
1816, came to America in
1854 and started manufac-
turing pianos in 1869, with
his son David, who had
learned the trade in A. H.
Gale’s shop and later on
worked for Haines Brothers
and other New York
makers.
It was but natural that
the thorough musician,
Krakauer, should strive to build an artistic piano, making
quality the dominant effort,
seeking to obtain musical
tone quality. In 1867 Julius
and Daniel Krakauer
joined, and the firm was
changed to Krakauer
Brothers. In 1903 the con-
cern was incorporated.
David Krakauer died in
1900, and his father in
1905.
William B. Tremaine,
born in 1840, entered the
piano business in 1868 as a
member of the firm of Tre-
maine Brothers. A man of restless disposition, cultured and
versatile, he seized upon opportunities whenever presented.
When Mason J. Mathews had his orguinette ready for the mar-
ket, Tremaine organized in 1878 the “Mechanical Orguinette
Company,” and marketed these automatic instruments by the
thousands. Later on the “Celestina” (an enlarged orguinette)
was introduced with considerable success, and in 1883 the
Aeolian organ was brought out. Acquiring in 1888 the patents
and stock in trade of the Automatic Music Paper Company of
Boston, Tremaine organized the Aeolian Organ & Music Com-
pany, manufacturing automatic organs and music rolls. Success
crowning his efforts, he purchased in 1892 all the patents
owned by the Monroe Organ Reed Company of Worcester, and
in 1895 introduced the “Aeriol” self-playing piano.
W. B. Tremaine was the founder of the business of manu-
facturing automatic playing musical instruments. Before the
advent of the “Pianola” there was neither competition nor
encouragement from the piano trade, and it required a man of
keen foresight and courage to meet these conditions and make
a success of the business, as he did, up to the time of his relin-
quishing it to his son.Simon Krakauer
William Tremaine
RICHARD SINGER RECITALFrom New York Times (1857-Current file): May 5, 1924; ProQuestHistorical Newspapers The New York Times (1851-2001) pg. 19
Pianist Wins Approval of Audience, Especially in Chopin.
Richard Singer, a pianist well known in Europe, gave his first New Yorkrecital at the Aeolian Hall yesterday afternoon. Mr. Singer, who has formedhis style on Busoni and Leschetisky, recalled Moritz Rosenthal, to whom hebears a striking likeness, in his manner of playing Bach; the same weightypronunciamento, with the same clear and definite exposition. When he playedLiszt, he reminded the listener of the elder school, for he built his interpreta-tion of the Weimar pianist on the authority and authenticity of Busoni.
When he came to Chopin, represented by the “Andante e Spianato Polon-aise,” he revealed himself as a romantic of a fine order; it was a beautifullyproportioned performance, ductile in tone and emotional in content. Theaudience had by this time convinced itself of Mr. Singer’s high qualificationsand recalled the pianist after every piece. Three braceted numbers introducedMr. Singer as a composer of varied moods, a somber prelude preceding a“Moonlight at Capri,” where the melody was effectively upborne by theground-swell of the ocean, and an eccentric tarantella. The remainder of theprogram permitted contrasts between Debussy, MacDowell and a concerttranscription from “Carmen,” in all of which Mr. Singer carried the approvalof his audience.
Obituary
RICHARD SINGERFrom New York Times (1857-Current file): March 1, 1940; ProQuest
Historical Newspapers The New York Times (1851-2001) pg. 26
Richard Singer, concert pianist, died of a heart attack on
Wednesday night while rehearsing in a studio at 66 Fifth
Avenue. He was 61 years old and lived at 504 West 166th
Street.
Mr. Singer, who was born in Budapest, studied under
Busoni in Berlin and Theodore Leschetizky in Vienna, the
latter being the teacher of Ignace Paderewski. He had
appeared under many well-known conductors, among them
Richard Strauss, Felix Weingartner, Sir Henry J. Wood and
Josef Stransky.
He came to this country about 1924 and maintained a
studio for some years in Steinway Hall. He had formerly
been on the faculty of the New York School of Music and
Art.
Mr. Singer had been connected with the Federal Music
Project for various periods during the last few years.
-JO I~I (0 ·Terr ified of the ocean, Granados nevertheless sailed to New York for the premiere of theopera on 28-1-1916.
METROPOLITANOPERA HOUSE
Sunday Evening, May 7, 1916
BENEFJT CONCERT EXTRAORDINARY
Granados was scheduled to perform at a Carnegie Hall benefit concert on 15-III-1916
"for the musicians for the Paris Conservatoire, sufferers of the war~ He had planned to
depart New York immediately afterward, but an unexpected in vitation to perform at the
White House changed his plans. Granados and Dutch soprano Julia Culp performed
there on 7 -III-1916. Granados and his wife left for Europe almost immediately. Theyspent several days in London as guests of the Catalan sculptor Ismael Smith and on 24-III
they boarded the British ship Sussex, bound for France. While crossing the English Channel
the vessel was torpedoed by a German submarine and both Granados and Amparo wereimmediately drowned.
TUI TU~AT.t: MAGAZIJIl!. Co.• PvaLIiHun.
Under the Auspices of the
*~/~~f:/~~
/'
Witnesses claimed that Granados, safely in a lifeboat, saw Amparo struggling in the water
and leapt in to save her. Still others said that it was Amparo who tried to save her husband
and that the y were last seen in each others arms before disappearing in the waves . However,
given the hour of the attack-around 1 PM., the couple were almost certainly in the first
cla ss salon, and died instantaneously. The torpedo struck only part of the Sussex, leaving the
rest of the ves sel intact. It was brought to Boulogne and th e Granados' luggage and personaleffects were recovered.
/~~~~
~a;:f1z~;;;4-=--COENRAAD V. BOS
FRITZ KREISLERJOHN McCORMACKIGNACE PADEREWSKI
EDWIN SCHNEIDER
For the Orphan Children of
ENRIQUE GRANADOS
BOARD OF DIR.ECTORSOF THE
METROPOLITAN OPERA COMPANY
ANDREA DE SEGUROLA
MARIA BARRIENTOSJULIA CULPPABLO CASALS
IV
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caw of ftH11 ...I" quif'tJr f110 nhe til" I II' diu f'tir III erder to I"lIi,l p2ui,:.
Metropolitan Opera House
Sunday Evening. May 7th. 1916. at 8: 30 0'clock
Benefit Concertfor the Orphan Children of Enrique and Amparo Granados
Under the Auspices of the Buard of Directorsof the Metropolitan Opera Com pall}'
-to SO;-';GS (a) "Come Ae;ain Sweet Love"(b) Miinonctte -(c) Seandchen - I(d) ClDu bist die Ruh" I
AIM£. ClILl'! wi•• Mil.. COESII.AAII v, BOS II .h. Pi....
5. PIANO SOLI (a) Marche Funebre(b) Berceuse(c) Polonaise. A Flat
Mil. PADEREWSitl
Il<...,k, -Mil. ANDRF.A lit: Sf-GUII.OLA
6. (a) Amor y Odio (Love and Hate) - ~
(b) EI Majo Discrete (The Discreet Lover)( c ) Eleltia Eterna - - - - ,
MM£. BARIlIENTOS ,,"h tolR. CASALI II the Pi....
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C/,opin
Granados
TWO DUETS(a) Berceuse., "Angel's Guard Thee" (from Jocelyn) Godard(b) Le Nil - - - - - - - uroux
New Roll releases from Dave Caldwell: (see his website for more deails if you wish)
214
June 2005 We are delighted to announce that John Farrell and Bob Billings have released another batch of exciting 88-note pianorolls featuring a variety of jazz piano styles including James P. Johnson, Teddy Wilson and others playing a varied selection of tunesin their own unique, jazzy way. No matter what your preference is in jazz piano there will be something here which will appeal toyou.
The 6 titles listed below are available now, and for a small additional charge you may order previously issued rolls from our extensivearchive which is published on John’s website. The rolls are issued on the JAM label, so if jazz, blues, boogie-woogie and hot dancemusic are your cup of tea then these are certainly for you. Below are the details of our current offerings with a brief note on each byJohn. You may listen to midi files of these tunes, which are exact replicas of the rolls, before you buy on John’s website at
The rolls are priced at $15 each, plus postage (Europeans can pay John in pounds or euros if they wish), we also accept payment byPayPal and Western Union. Order from John (European) at [email protected] or Bob (US) at [email protected] (or via snailmail at 14010 Rim Rock Drive, Reno NV 89521, USA). Payment in advance, please. Shipping to US addresses is $3.50 for the first1 - 2 rolls, plus $.50 for each additional, via media mail. Shipping to European addresses is $10.00 for the first 1 - 2 rolls, plus $1.00for each additional, via surface.
Let us know your email address and we will send future offerings by email. If you are interested, we will email you a file of the rolltitles and prices.
JAM 231 – Sunday as played by Teddy Wilson. Transcribed from Wilson’s 1939-40 recording session for Keystone when he was atthe peak of his elegant pianistic prowess. No fireworks here, just great swinging piano from beginning to end.
JAM 232 – My Monday Date as played by Claude Bolling. Another of John’s transcriptions, this one from the brilliant Frenchpianist Bolling’s 1972 Philips recording on which he emulates the style of the composer Earl Hines.
JAM 233 – Old Fashioned Love as played by James P. Johnson. One of James P.’s most famous and popular tunes which John hastranscribed from the definitive 1944 recording. Jazz piano doesn’t get much better than this!
JAM 234 – On The Sunny Side Of The Street as played by John Farrell. Written by the dream team of songsmiths Dorothy Fieldsand Jimmy McHugh, John’s jazzy version explores every nook and cranny of this beautifully constructed foot-tapping number.
JAM 235 – 133rd Street Boogie as played by Sammy Price. Sammy, one of America’s most accomplished boogie-woogie pianists,composed this one. John has transcribed the 1945 recording, be warned that this roll will give your piano a real workout.
JAM 236 – Pick Yourself Up as played by John Farrell. Dorothy Fields again, this time teamed with revered composer Jerome Kern.Pick Yourself Up has got to be one of Kern’s very best, John’s arrangement does the complicated harmonic sequence full justice whilemaintaining an infectious rhythmic beat throughout.
HHOOTT PPIIAANNOO RROOLLLLSS!!
New from Bob & Ginny Billings - Rock SoupPhone: (775) 853-4659 • 14010 Rim Rock Drive • Reno, NV 89521 • [email protected]
Possible Wurlitzer 10-Tune APP Roll Recuting Project
If you are interested in obtaining mostly never-before-recut Wurlitzer 10-Tune APP (Automatic Player Piano) rolls, including at least 1 - all Blues & Mainly Pre-WWI material, let me know. Tune list and prices have not been finalized. Run will be limited to 17 sets of Aprox. 36-40 rolls. Full sets for sale only. If we can get enough people interested a list of rolls and a final price will be established.
or my Mail: Stephen Kent Goodman5731 E. Bernadine Dr.Tarpey Village, CA 93727-7235
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NewsFrom
The Chapters
An April meeting was held at Chapter President Jerry
Pell’s home in Wrightwood.
This small town is located northeast of Los Angeles at a
6,000 foot elevation.This is one of those Southern California
areas which in the wintertime if you do not have a four-wheel
drive vehicle, you better stay home till the snowplow clears
the roads.
We had no such trouble, as it was a perfect spring day. It
made a scenic drive for us who live in the boundaries of a big
city.
Jerry’s piano collection consisted of a 5 foot 8 inch 1919
Knabe Ampico “A” and a Kawai 7 foot semi-concert grand.
Also of interest was a restored Edison upright phonograph
which plays 78 RPM or Diamond Disc records.
Jerry’s real passion is band organs, as many as he can get
into his home. We saw and heard three Wurlitzers: 103, 125
and a 146 “A”. His latest addition and pride and joy is a circa
1900 67 keyless Gebruder Bruder fairground organ playing
book music. Everything was in perfect condition; even his
workshop was neat and clean with everything in its place.
Since our host was busy getting his collection ready for the
meeting, Ardis Prescott and Brooke Osmundson volun-
teered to furnish treats for the members, which they did. Since
this was our first meeting at our host’s home, I’m sure we all
left with a better knowledge of band organs, if not a ringing in
our ears.
SOUTHERN CALIFONIA CHAPTERReporters: Lloyd Osmundson and Richard Ingram
Pictures by Lloyd Osmundson and Bill Klinger
After the first part of the meeting at the home of Jerry
Pell concluded, the members made their journey to the home
of Richard and Beverly Ingram, stopping for lunch along
the way.
On display at the Ingram’s were a wide variety of player
pianos, including a Melville Clark Apollo Player, a Haines
Ampico Upright, and a MIDI equipped Stroud Duo-Art Grand
Piano. The Spencer Chase MIDI system utilizes a laptop com-
puter to play any of 2,600+ songs. The recent installation of
the MIDI system combines the nostalgic piano with modern
technology without compromising its’ roll playing capability.
A short demonstration was given of an electronic key-
board being played by an Aeolian 65 Note Push-Up Player
that Richard won on eBay from David Ramey. He was fortu-
nate to get this instrument working (at least somewhat) the
day before the meeting. A few people sang along with the
piano roll “Owed (Ode) to Richard”, which is part of his
extensive piano roll collection. This is a parody song written
by Bob Denerson to the tune of “On Top of Old Smoky”. A
fun time was had by all.
Our hosts Richard and Beverly Ingram and a small portion of theirhuge roll collection.
Richard playing for the sing-along –notice the LARGE words on the roll.
216
SOUTHERN CALIFORNIA
ORGAN RALLIESReporter: Shirley Nix
Photographers: Bill Klinger and Jack Conway
This chapter held two organ rallies so far this year. The
first one was our annual presentation at Descanso Gardens.
This is always a favorite, both with us and with the crew at
the Gardens. Descanso sends out almost 10,000 mailers and
arranges articles in the local newspapers. Add to that the fact
that Huell Howser will run his program, which he did at
Descanso covering the organ rally a few years ago, every year
a couple of weeks ahead of our appearance, and you have a
media bonanza.
This year the date came when Southern California had
been having record rainfall, and the morning didn’t look too
promising, but we brought tarps and umbrellas to face the day.
We had a few drops from time to time, but I do mean a few.
The attendance wasn’t quite as high as normal, but still
good. People look forward to hearing the music they
remember, and enjoy the weekend.
There were organs all over the Gardens, with Jerry Pell
and Lloyd Osmundson both bringing their new Bruder
Organs, both having had work done (the organs, not Jerry and
Lloyd), and both playing like they should, and looking great.
Dave Bernstein brought his Limonaire, and Charlie and
Jackie Porter came up from San Diego. There were several
other medium organs, and lots of monkey organs. It filled the
Gardens, and everyone, both the public and the organ owners,
had a good time.
Bill Blair and an Edison phonograph which plays Diamond Discs or78 RPM records.
L to R: Members Robin Biggins, Ken Hodge, and Richard Ingramwatching the Gebruder Bruder musical book feed operation.
Richard Ingram handles the Nix Limonaire while Frank and Shirleytake a lunch break.
Lloyd Osmundson’s Bruder, the facade restored by his wife Brooke.
Jerry Pell’sorganizedworkshop.
Jerry Pell and his Wurlitzer 125
217
The second rally was held in Pasadena for their
“Museums of the Arroyo” Day. This was our second year
there, and it is also a nice venue for the organs. They are
placed at several locations. The Mota Day Celebration brings
out good crowds, and the museums furnish shuttles from
place to place. There were organs at the Museum parking lot,
at the Gamble House, at the Heritage Square, and a few other
spots. This is another great family day, with the organs and
also craftsmen showing off the skills of the era.
Frank and I missed this one, as we had received a call to
bring a small organ to the Los Angeles Sister Cities Festival,
where one of the speakers was to be the Mayor of Berlin.
They wanted a German organ playing German music, so we
took our Hofbauer to that event.
We have a couple of tentative organ rallies planned for
the summer, but no set dates as yet.
Our next meeting will be July 9 at the home of Frank
and Shirley Nix, with a barbecue planned. There will be
music also. It should be fun.
In October we are hoping to have a meeting in Northern
California. We are, at this time, trying to find out if there is
interest in hiring a bus for this one.
December will probably find us back at the Nix home for
the Christmas Meeting.
Of course, the very next event will be the Convention in
Minneapolis, which we are looking forward to. It’s always fun
to see friends from around the world.
Bill Klinger and his monkey organs
Peter Breede demonstrating his monkey organ.
The Ingram piano (patriotic piano) on the porch at Heritage Square.
One of the craftsmen displaying his skill.
A future AMICAn? Catch them young!
218
LADY LIBERTY CHAPTERReporter: Buzz Rosa
President: Vince Morgan
Photos by Buzz Rosa
In July we had a barbecue at the home of Bill Maguirewhere we were treated to view a very rare Mason and Hamlinpiano with no tuning pins. We were informed that this type ofpiano would go out of tune so rarely that the piano techunions forced the company to abandon the production. Eachpiano came with its own tuning device and instructions for theowner to tune his own piano. Our workshop, presented byBarry Dennis was on the fine points of restoring a Duo-Artpiano.
In October we met at the lovely home of Paul Cianciaand Dennis Westervelt in New Jersey. The beautifullyrestored Hupfeld Phonoliszt-Violina stole the show. Even theMills Violano Virtuoso sat silent as we watched the violinsdance in the top of the Hupfeld. We did listen to both Ampicoand Duo-Art pianos between rolls, but they were no match forthe star performer.
Our end of the year meeting was held in the home ofGlen Thomas and his lovely wife, Kim Kleason. The weather cooperated nicely as we listened to the Ampico piano,Link nickelodeon, Wurlitzer changer and more. Kim and hermother prepared the wonderful dinner; while her father set upa Lionel train to represent trains in Manhattan.
Due to inclement weather our first meeting of 2005 washeld off until mid March. To make up for lost time together,this was a triple-header. We began at the home of our president and his lovely wife, Vincent & Maryam Morganwith a home-cooked meal that brought many complimentsand some people asking if they could stop by often for dinner.Business was taken care of and discussion of a new chapterlogo took center stage, with several options being presentedby our resident artist, Bob Stuhmer. No decision was madeat that time, but people were asked to think about the variousoptions and we would vote on them at the next meeting. Italso turned out that over the years so many of the members ofthe chapter had a hand in repairing and restoring the KnabeAmpico piano currently owned by the Morgans that it seemsas if it was an unofficial chapter project.
Following the business session we had two open houses.One group went to Keith Bigger’s home to hear a concert onhis Haines Bros. Ampico piano that was once owned byMelville Dewey (inventor of the Dewey Decimal System ofcataloguing books) and his Moller Artiste Reproducing PlayerPipe Organ. The other group went to the home of Dave Palter to see his vast collection of steam and electric trains,listen to his pianos, music boxes and Edison 24 changer-andto view his 1936 Auburn, which is in factory showroom con-dition. Then the groups switched places.
Dave Palter enjoys the sound of a double Mills Violano-Virtuoso
Keith demonstratesthe crescendosystem used inAmpico reproducing pianos
Paul Ciancia and Paul Manganaro discuss restorationmethods during the meeting
Paul Cianciademonstrates avery loud violin
invented byJohn Stroh in1904 — now
called a Strohviolin withresonator.
Keith Bigger holds the award he received from AMICA Internationalfor outstanding work and leadership. Thank you Keith for restoringinterest in the Lady Liberty Chapter
219
Randy Herr, Paul Manganaro and Hugh Kleasen enjoy theorchestrion music and watch the Lionel trains run
Dale Rowe examines the rewind mechanism of the Style C orchestrion
Hugh checks for aloose wire or railjoint on the Lionellayout
Glenn stands by hismodel IX Wurlitzer
which holds six5-tune rolls andhas pipes and a
xylophone
Glenn and KimThomal pose infront of theirWurlitzerViolin-FluteStyle Corchestrion
Viewing the back of the model IX reveals the rank of pipes and thexylophone
Ray and Jane Scheffy playrequests on the Ampico
A group tour of Glenn’s roll collection creates interest in someunusual titles.
Keith Biggerdemonstrates his
Haines BrosAMPICO to a
full basement ofAMICANS
Keith demonstrates toBob Stuhmer the rollplayer mechanism ofthe Artiste ReproducingPlayer Pipe Organ.
220
Dale Rowe stands by theBass pipes located nearthe rear of the basement
Some of the trumpet pipes wererequired to do a 360 Degree turn tofit in the pipe chamber.
Ira Malek listens toDave Palter’sEdison Autophone
Ira and Walter Kehoeenjoy Dave’s Seeburg G
Dave Palter tells us the history of his World War I Era MarklinTrains - some of which actually burn alcohol and run on steam.Keith manually
plays the ArtistePipe Organ as
Dale Rowe andJohn Dousmanis
watch.
TEXAS CHAPTERReporter: Suzanne & John McCall
President: Jerry Bacon - (214) 328-9369
FEBRUARY MEETING
How lucky can a chapter get? Two spectacular meetings
in two months!
Walter and Jessie Moore hosted the chapter at their
home in Lake Highlands are of Dallas on February 26th
assisted by their son Charles. They have a large collection of
both reed and pipe organs, dating from 1870. All of these are
in top working order due to the expertise and repair talent of
Walter and his son Charles. Also in the collection is a 15-inch
disk music box and pump organ, vintage 1870, and many
cylinder music boxes.
Charles Moore designed and built a computer driven
machine to put pins in a wooden cylinder for music boxes. He
sells these worldwide. They also own several hand crank reed
organs. Walter has many great stories of discovery of big
organs and the difficulty of transport and installation into his
home.
Jessie Moore has a beautifully displayed doll collection.
Some of these dolls were elaborately dressed in period clothes
by her daughter, Karen Vaughn, Doll Artisan of the former
magazine, Doll Makers Workshop.
This meeting was a wonderful afternoon and especially
significant due to the gracious tour and demonstration of each
instrument by the Moores.
221
APRIL MEETING
Art Eltzroth, Cleburne, Texas, hosted a spectacular
dinner meeting at his 200-acre lake front estate on April 22,
2005. Some 100 members plus guests of the Texas Chapter
and the Heart of America Chapter were his guests for a great
evening.
The planning and execution of this event was the result of
Texas Chapter VP Bill Boruff collaborating with Mr. Eltzroth
and the Annual Spring Fest in Cleburne, Texas. This event
provided a perfect venue for the band organ rally the
following day, Saturday, April 23, 2005.
Mr. Eltzroth’s estate provided a beautiful setting for the
catered Mexican Dinner and entertainment. This included Bill
Thacker on the Roland Electronic Keyboard, Jesse Mears on
the fiddle, and Kathy McVickerson on the guitar. Bill Boruff
and his beautiful wife Sharron danced a mean Polka to the
music. The audience cheered the entrance of Galen and
Linda Bird’s animated toy monkey on a tricycle. The Bird’s
also helped to organize the meeting and set up the instruments
at the Spring Fest on Saturday.
Attendees enjoyed listening to Art Eltzroth’s collection of
instruments. These included several Stinson Band Organs, an
Encore Banjo, and a Calliophone.
Members who transported instruments for the Spring Fest
event are: Ron & Mary Jo Bopp, Jay, Oklahoma – 1915
Gebruder #107 Fairground Organ; Leonard & Billie
Railsback, Kansas – Stinson Organ; Larry Kern, El Paso,
Texas – Stinson Ambassador Band Organ; Tom & Kay Bode,
Jessie Moore with 19th centurypump organ and her “dolls”.
Walter Moore demonstrating hiscollection.
Charles Moore with musicbox wooden cylinder.
Charles Moore’s music box cylinder maker.
Art Eltzroth (center) surrounded by his Family.
Animated toy monkey ontricycle owned by Galen andLinda Bird.
Kathy McVickerson on guitar, Bill Thacker on electric keyboard,Jesse Mears on fiddle at Art Eltzroth’s.
222
Larry Kern’s Stinson Ambassador Band Organbrought from El Paso.
Leonard Railsback’s Stinson Band Organ.
Elaborate player piano at Art Eltzroth’s.
Wurltizer Cabola Replica-Art Eltzroth.Art Eltzroth’s Stinson Band Organ.
Ron Bopp and Sharron Boruffwith Ron’s 1921 Gebruder Fairground Organ.
Kansas City – Jaeger Brommer 20 key Acrylic Monkey
153 Band Organ; Richard McDowell, Liberty, Missouri –
Self Playing Accordian plus an Ed Schmidt Concert Band
Organ with 315 wood pipes; Walter, Jessie, and Charlie
Moore, Dallas, Texas – a Grand Roller Organ; and Gerald
Koehler, St. Louis, Missouri – helped Art Eltzroth set up the
instruments.
This meeting and the band organ rally the following day
are a tribute to the perpetuation of the goals of AMICA –
keeping automated musical instruments alive. This concept
was beautifully described in a publicity article about Spring
Fest in the Cleburne Times-Review, April 22, 2005 (no author
listed): “Examples of technology such as these performed in
the Royal Palaces of Europe, elegant drawing rooms of New
York, Speakeasies in Chicago and the finer Saloons of the
Wild West. They were a staple of any upscale event from the
1890s to 1920s.
At a time without benefit of television or radio or movies
with sound, automatic instruments offered a window to a
future of automation. Wealthier families may have possessed
their own player piano or polyphone or cylinder music box.
Larger organs and instruments, which recreated a multitude of
sounds, often appeared at street fairs.”
What a wonderful weekend – Viva Art Eltzroth!
223
Band Organ at Art Eltzroth’s. Dee Tyler, Robbie Tubbs, Charles Tyler with their OGM
Tom Griffith shares his Rafffin with a young visitor
Gary & CynthiaCraig withtheir Stuber
HEART OF AMERICA CHAPTERReporter: Gordie Davidson
President: Tom McAuley
Let the music season begin! Annnnnd .. so it did as the
HOA Chapter conducted their 25th Annual Band Organ Rally,
April 16th at Historic Fort Leavenworth, Kansas. The rally
was conducted in conjunction with the annual Fort
Leavenworth Historic Homes Tour. Fort Leavenworth,
located on the western bluffs of the Missouri River, has been
an active military installation since 1827. The fort is rich with
American history and 19th century structures. It was the
starting point for both the Oregon and Santa Fe Trails.
Approximately 40 members with 20 instruments from 4 area
States attended. The weather was absolutely perfect along
with an enthusiastic group of visitors. This year marked the
10th anniversary since the first HOA rally conducted at Fort
Leavenworth in 1995. The day was completed with good ole
fellowship and dining in Historic Weston, Missouri.
Charlemagne’s European Bistro provided an intimate dinner
setting with an absolutely stunning menu. Co-located with
the restaurant is the National Silk Art Museum which houses
the premier collection of individual silk art pieces in the
United States. Judge T.F. Plunkett, a Weston local, welcomed
the group to town and clarified what their responsibilities are
as visitors – mainly – drink responsibly and spend generously.
Jim Fletcherwith his Raffin
224
Members relax on O’Malley’s Pub Terrace
Chapter President Tom McAuleywelcomes members to Charlemagne’s
Judge T.F. Plunkett welcomes members to Weston
Big Boymakes a big entrance
Blaine Thomas and Galen Bird.
Blaine Thomas, his daughter and grandchildren pay a visit.
A collection of WWII posters.
Dirk Kirklinadmires the
Steinway
JUNE MEETING
Heart of America chapter members met June 4, 2005 at
the Thomas Museum in Manhattan, Kansas. Blaine
Thomas has just completed an extensive expansion of the
museum and was eager to share it with our members.
Ed Schmidt, one of our members, had been working
for weeks rebuilding the organs. He had just completed a
Bursens and the Mortier. This is an excellent example of Art
Deco in the 30’s. Blaine is now having another Bursens
rebuilt that came out of the Miles Musical Museum in
Eureka Springs, AR.
After touring the museum Saturday, Blaine and his
lovely wife, Armeda took us to dinner at his favorite restau-
rant.
Sunday morning, chapter president Tom McAuley
called our meeting to order. After the meeting, the members
headed home, very impressed with the improvements to the
Thomas Museum.
225
This Gebruder Bruder band organ was made in Waldkirck, Germany
HOA members relax and enjoy the sunshine.
Jason York and Billie Railsback
Newly restoredDecap.A great exampleof art decor inthe 30’s.
Perlee Dutch street organ.These organs are now on
the Historical Registerin Holland.
This Steinway Duo Art makes beautiful music.
The Dutchess, a 1938 Dance Hall organ.
This very rare Fidelio was made inGermany around 1910.
It has a Swiss movement.
226
The museum has something oldThe museum also has something
new (figure from Star Wars)
This Ruth Organ was made in Waldkirck, Germany
Western Electric 1925 coin operated piano with Xylophone.
This Wurlitzer Military Band Organ is all original.
Wurlitzer 125 with bells is all original
227
SIERRA-NEVADA CHAPTERReporter: Nadine Motto-Ros
President: John Motto-Ros (209) 267-9252
In June, we had a two-day (June 11 and 12), two-club
(AMICA Sierra-Nevada Chapter and MBSI Golden Gate
Chapter), two-home (Motto-Ros and Williams) event.
Day one was at the home of John and Nadine Motto-
Ros in Sutter Creek—a Gold Rush location on the historic
California State Highway 49. Prior to lunch, members
enjoyed roaming the house to check out the Marshall &
Wendell Ampico B and Mira (Empress) Concert Grand disc
music box in the living room. Nearby in a large hallway is a
Mason & Hamlin upright grand which plays manually or by a
PianoDisc system. The Cremona G is across the hall in the
office (see photo of Chip Lusby playing by hand). Down-
stairs in the entry hallway on the way to the music room is a
Seeburg KT Special and Encore Banjo. The music room
houses John’s pride and joy—a 1912 Seeburg G restored last
year by Dave Ramey. An Aeolian upright player piano, Link
2E Nickelodeon, Coinola C2 Orchestrion, Empress Electric Y
Orchestrion, and 1927 Seeburg Audiophone Jukebox are also
located in the music room. For a change of pace, we enjoyed
“live” music provided by ragtime pianist Tom Brier.
Day two we met at the mountaintop home of Kent and
Margie Williams in Newcastle, CA, where the view was
clear in every direction for as much as a hundred miles. From
late snow in the High Sierra, past the Sutter Buttes, across the
Coast Range and the wine country hills to Mt. Diablo and
Lake Folsom, the 350-degree spectacle is a sight to behold.
The house is a dodecahedron (12-sided structure) maximizing
the spectacle in all directions. The new music room is packed
with cylinder and disc boxes, hand-crank organs,
phonographs, Victrolas and miniatures of all sorts. Their
Wurlitzer 103 band organ is mounted on a 1920’s trailer
behind a 1930 Ford Cabriolet Model A, plays 125 rolls, and
has an added glockenspiel. Kent still has his first instrument,
a heavy oak upright player piano by Leopolo De Visscher
which plays 60-hole rolls, 13-1/2 inches wide, approximately
11 holes per two inches. Kent plays this instrument, just
slightly modified from its 1881 configuration, with a
computer driving his Pianocorder solenoid system. It is
further upgraded to run on downloaded midi files, a set of
xylophone bells, and a full-featured synthesizer completes the
orchestra sound using Cakewalk software. Other items on
display are an extensive antique bottle and glass collection,
old pistols, religious antiquities, worldwide masks, clocks,
Bennett and Erte’ bronzes, and much more. Margie’s
magnificent pink English transferware collection dominates
most rooms, a museum quality display on its own. Her
collection is being reflected in two books she is writing about
early dinnerware.
John Haskey, Bing Gibbs and Cyndy Haskey.
Sonja and Bob Lemonwith the Cremona G.
Dave Ramey, Jr. andJohn Motto-Rosin front of therestored Seeburg G.
Bob Lemon, George Cunningham, Doug & Vickie Mahr relaxing onthe Motto-Ros patio.
Arlo “Chip” Lusbyplaying the Cremona G
228
BOSTON AREA CHAPTERSecretary: Ginger Christiansen
President: Bill Koenigsburgs (978) 369-8523
Judy Caletti, Bob Lemon, John Motto-Ros, Bob Caletti,Caludine Jones, and Bing Gibbs in the music room.
Kent & Margie Williams’ Wurlitzer band organ.
Some of the group enjoying the Williams’ beautiful backyard;don’t see anyone in the pool!
Minutes – 6/5/05
Ginger and Chris Christiansen’s home, Nashua, NH
President Bill Koenigsberg called the meeting to order.
There were 19 people present: one new member – Greg
Flynn, and one guest: Merrill Furbush
Old Business:
1) Discussion on the progress of the CRMI. The chapter
needs to re-establish contact with the museum. Delivery of
piano to museum to take place 3 months from today – Sept. 2,
2005.
2) Membership – lack of growth – possible solutions were
discussed. Announcement in Musical Digest for next
meeting to see if that will help.
New Business:
1) Karl Ellison resigned as treasurer. Appointment of some-
one to fill this position until election was discussed
2) Dorothy Bromage showed pictures of past meetings.
3) Moment of silence for Sanford Libman who passed away.
4) Results of Skinner Auction from his estate. There is a list
of salable items – non-musical remaining.
5) Merrill Furbush brought in a box of pieces of wood. It
turned out to be a reed organ bench.
6) Beehive Organ Reeds is no longer in business as a source
for restorers
7) Bill Koenigsberg recommended PC World as source of
helpful information.
Treasurer’s Report:
Current balance is $1551.46
Secretary Report: Was not read
Next Meeting:
4 places were offered: Gerry and Gale Bay in RI, Ed & Jean
Everett in NH, Bob Hunt in ME and Clair and Bob
Bowerman in RI.
Members toured Chris’ shop, generally entertained them-
selves, bought and sold items, and enjoyed a varied repast.
Respectfully submitted,
Ginger Christiansen, Secretary
AMICA - Boston Area Chapter
229
MECHANICAL MUSIC by Kevin McElhone
As an AMICA project, the Midwest Chapter has available copies of the book “MechanicalMusic” by Kevin McElhone for a very reasonable cost. The 4”x 8” paperback book is an excellentintroduction to all aspects of automatic musical instruments including history, descriptions, andbasic principles of operation. The book has 48 pages with over 100 color photographs including aphotograph of J. Lawrence Cook at his arranging piano. The book is ideal to acquaint individuals to automatic music and encourage prospective collectors to participate in AMICA.AMICA members who host groups and individuals for display and demonstration of their instruments should have a number of copies on hand to make available to people that wish tolearn more and/or have a memento of their visit. Each book will be provided with a large AMICAlabel on the inside front cover and an AMICA membership pamphlet insert. The book is to beprovided at cost including postage within the continental US for $6.00 each for 1 to 9 copies and$5.00 each for 10 or more copies. Payable by cash or personal check made out to Michael Barnhart.
“100 Yearsof the Welte-Mignon Piano”SSeepptteemmbbeerr 1166,, 22000055 ttoo JJaannuuaarryy 88,, 22000066See and hear the history, instruments (some on specialloan to the museum), people, and artists of a past andglorious age of piano music recording. The exhibitincludes many items never before displayed frompersonal collections around the world!
Exhibition Catalog availablea must for all piano and music collectors.
For details and additional information please contact:[email protected]
Mike Kukral recommends accommodations a few hundredfeet away from the Museum at “Hotel Schwarzwaelderhof”.
ALL ADVERTISING IN THE AMICA BULLETINAll advertising should be directed to:
Mike Kukral216 Madison Blvd.Terre Haute, Indiana 47803Phone: 812-238-9656e-mail: [email protected]
Ad copy must contain text directly related to the product/servicebeing offered. Extraneous text will be deleted at the Publisher’sdiscretion. All advertising must be accompanied by payment inU.S. funds. No telephone ads or written ads without payment willbe accepted. This policy was established by a unanimous vote ofthe AMICA Board at the 1991 Board Meeting and reaffirmed atthe 1992 meeting. AMICA reserves the right to edit or toreject any ad deemed inappropriate or not in keeping withAMICA’s objectives.
The BULLETIN accepts advertising without endorsement,implied or otherwise, of the products or services being offered.Publication of business advertising in no way implies AMICA’sendorsement of any commercial operation.
AMICA PUBLICATIONS RESERVES THE RIGHT TOACCEPT, REJECT, OR EDIT ANY AND ALL SUBMITTED ARTICLES AND ADVERTISING.
All items for publication must be submitted directly to thePublisher for consideration.
Special 6 for 5 Ad Offer - Place any ad, with no changes, for afull year (6 issues), and pay for only 5 issues. Payable in advance.Photographs or halftones $15.00 eachLoose Sheet or Insert Advertising: InquireWe recommend that display advertisers supply camera-readycopy. Copy that is oversized or undersized will be changed tocorrect size at your cost. We can prepare advertisements fromyour suggested layout at cost.PAYMENT: U.S. funds must accompany ad order. Make checkpayable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed.DEADLINES: Submissions must be received no later than thefirst of the odd months (January, March, May, July, September,November). The Bulletin will be mailed the second week of theeven months.
(Rev. 5-05)
FOR SALE
G ROLL COIN OPERATED PIANO with Xylophone and Pipes$5500. Coin operated barrel Street Piano wih bells $1800. Apt. sizeearly Player Piano Elect. or pump $1200. Paul Cuoco, 113 MonumentAve., Wyoming, PA 18644 Phone 570-693-2764. (5-05)
4’-8” AMPICO grand, 1931 Haines Bros. William and Mary casewith matching bench, restored A/B player works beautifully. $15,000.offers. Available: 5’-4” Knabe AMPICO “A” mahogany (1925), 5’-2”MW AMPICO “A” mahogany (1924), MW studio AMPICO A/B(1930), Knabe, large upright AMPICO “A” (1919). 404-378-1949(Georgia) (1-06)
MANY AMPICO parts including pumps, SIX player pianos in goodcondition, benches, stacks, air motors, motors, etc. All for $1200.Contact Bruce Mercer at [email protected]. (4-05)
1929 CHICKERING ART CASE AMPICO A Grand scarce 5’4”Spanish Mediterranean harpsichord style, with 9 legs, spreaders andwrought-iron furniture. I’m only aware of one other in a collection.Older restoration plays well, with a little very minor finish crazing.Bench, roll cabinet and numerous rolls included for $15,995. CharliePoulton, Tampa FL 813-973-7030 [email protected] (5-05)
PIANOLA “PUSH UP” piano player. Very rare 65-88-note version(one of two known). Mfg. by The Orchestrelle Co., London, circa 1908.Restored circa 1995. With 80 rolls, including original 65-note test roll.Photos available. $7,500 firm. Dick Howe, 73 Saddlebrook Lane, Houston, TX 77024, 713-680-9945 [email protected] (5-05)
1923 MARSHALL AND WENDELL GRAND Piano with Ampicoattachment Serial No. 107203. Bench included with many rolls. Majoroverhaul and recent cleaning by Vincent Wukmir of Piano Masters,Upland CA. Contact Helen Storland 357 N. Trayer Ave. Glendora CA91741, 626-335-4796 or [email protected] (4-05)
PIANOCORDER P-100 KIT, SER. NO. 07530 (=1987), In orig. factory carton, never installed in piano, $500. Tape deck, power supplyand some circuit boards are replacements because I used originals toservice piano installations, but everything is new condition. Wade Johnson, RI [email protected] 401-934-3049 Also tape Vols.2, 3, 7, 11, and 12, $30 each. (4-05)
1926 KNABE 5’4” Ampico grand player piano. Very good condition,plays well. Serial #14800. Mahogany bench included, rolls included.Call Richard at 949-489-3717 or cell 949-280-1943 $3,000.00 (4-05)
HANDMADE BARREL AND PNEUMATIC ORGANS made inGermany. With moving figurines and a lot of humorous surprises. See: www.magic-mechanical-music.de Musik & Spiel Automaten Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2;Tel: 07626-7613, Fax 07626-971009 (6-05)
1924 STEINWAY OR Duo-Art walnut Art case w/veneer damage from fire on one side, rebuilt player, in crates, w/new Ivory keys$11,500 Condition: D; 1995 BALDWIN 4’7” red polish Mah.W/Pianodisc $8,900 Cond.: A; 1987 YAMAHA G2 Ivory polishs/Pianomation $8,900 Cond.: A; 1920 FRANKLIN 56” Ampico Mah.$3,500 Cond.: B+; MARIONETTE AMPICO GRAND original complete w/matching bench $2,500 Cond.: C-; 1995 STORY &CLARK 42” Wal. $2,500; AMERICAN PLAYER PIANO 48”Studio, $2,900. Contact: Schroeder’s Pianos 562-923-2311 (4-05)
NEW PIANO ROLL BOXES-Duo-Art Audiographic series-Exactlylike the originals! Maroon with Gold Printing, all 3 sizes available!(small & medium are “Top Hat” style) $7.00 ea. Quantities are limited,so get them before they are all gone! AMPICO “Top Hat” boxes-BlackLeather with Gold Printing and False Bottom, Exactly like the originals,$4.00 ea. 88 note roll boxes in two sizes-Large (fits 2 3/4 flange) covered with Black Alligator paper (Top), Black Leather (Bottom). OrBrown Leather Paper (Top & Bottom) $3.00 ea. Small (fits 2” flange)Covered with Black or Tan Leather Paper (Top), White Litho (Bottom)$1.50 ea. Other repair supplies available-Parchment Leaders, Tabs,Tubes, Flanges, Repair Tissue. Quantity discounts available. RichIngram [email protected] (760) 244-ROLL (7655) (4-05)
“Talent is a target no one else can hit;
Genius hits a target no one else can see.”
- Arthur Schopenhauer (1788-1860)
STEINWAY RED WELTE GRAND (T-lOO),Hamburg Model 0 ,with original rolls . Please contact [email protected] for additionalinformation . Alejandro Radchik , Av. Mexico 37-507 , Condesa 06 100,Mexico, OF. [Mexico City] Tel.: 0 11- 52-555-419-5374 (4-05)
AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS.New Recuts and Originals, including "Jumbo" and Program Rolls. AlsoN.O.S. QRS 88 Note rolls. Dave Caldwell, 400 Lincoln Lake Ave. N.E.Lowell, MI 4933 1; Check out my website: www.revealer.corn/caldwell/email: DavidWFromMI @webtv.net; phone: 616-897-5609 . (1-06)
WANTEDOAK BENCH or STOOL for 1879 oak pump organ. Please call oremail at469-698-0560 0r brun05000@ea rthlink.net (5-05)
The THREE FOOT PEDALS for an Ampico Upright Piano . Thesepiano pedals have a hole and set screw. Vince Ricca (614) 488-4208 ,cricca@w ideopenwest.com (4-05)
FILMUSIC, PICTUROLLS, AND SUPERTONE PIANO ROLLSwanted. Call Alex at 209-478-0099. (4-05)
High quality restorations of Ampico ,Duo-Art, Welte and other reproducingpianos . All makes of 88 note player
pianos , and other automatic instruments.RED WELTE MIGNON piano rolls (T-100). Paying top dollar. MikeKukral 812-238-9656 or Kukra [email protected] (6-05)
WANTED: 88-NOTE ETHNIC ROLLS, especially Russian, Greek,Jewish, Hungarian, and Syrian. Happy to buy, trade, or borrow rollsfor copying. Excellent references . Help spread diversity! Contact BobBerkman at bobb@qrsinc com or 716-882-1826 (4-05)
ANNOUNCEMENTSA tour of Mechanical Music and Christmas Markets in Black Forest.Museum and Private Collections in Freiburg - "100 Years Welte";Triberg, Waldkirch; Elztall; Furtwangen Musical Clocks; WelteRestoration in Ettlingen; Speyer and famous Bruchsal. Dec 1-10 , 2005.$1 ,795 per person including air from NYC. Brochure? 1-800-262-4284or [email protected]<mail to: [email protected]> (5-05) Web Page: www.leedyrolls.com (4-05)
www.BluesRolls.com** Since 1988 **
Rare vintage player piano rolls reissued - over 400 great ragtime, blues and popular 88-Note musicrolls; Ampico, Duo-Art, and Welte Licensee rolls of popular and classical music are available, as wellas "A" roll recuts for your nickelodeon piano.
A NEW LIST of fine Duo-Art classical (and some pop) music and Welte popular (and some classical)rolls is now IN STOCK and READY TO SHIP! Twenty of each, plus new 88-note BLUES recuts bysuch greats as James P. Johnson and "Fats" Waller. Browse to www.bluesrolls.com or email fordetails: robdelandeabluesrolls.com. You can also call or write for a list - please specify which type ofroll interests you!
BluesTone Music RollsRob DeLand / 485 Gatewood Lane
Always in the market for better quality disc and cylindermusic boxes, musical clocks, singing birds, band organs,player organs, monkey organs, Wurlitzer 78 rpm jukeboxes,slot machines. Any condition.
--Join us for a unique tour of the premier miniature railways of Northern California. This tour,which will visit world renown railroads, suchas the Redwood Valley RJory. and SonomaIrainiown, will also take you to very privateand exclusive railway s that can only be seenon one of our tours. Dates: September 25October 2, 2005.
Can't get away for a tour? Come join us forour one-of-a-kind Grand Scales Convention,Sept. 30 - Oct. 2, 2005, in Reedley, California(near Fresno). There you will be treated toplenty of train rides, be educated and entertained by our seminar speakers, and can evenrun a locomotive! For details, please contact
530-527-0141 or visit our web site:
www.grandscales.com
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(6-05)
Northwest Band Organ RallyThe Pacific Can-Am Chapter of AMlCA is Sponsoring
their third Band Organ Rally, this year in
Leavenworth, WashingtonAugust 20 and 21, 2005
in the Cascade Mountains of Washington .What a wonderful place to spend part of your vacation
in the Evergreen State of Washington!
_Leavenworth is on Highway 2 which goes across the- mountain range from Seattle to Wenatchee just east of..._ Steven's Pass ; The village made itself over in the: Bavarian Style . You wouldn't know that you weren 't--- .- in the German Alps when/ou drive into town.
-In addition to the Happy' Sound of our member's Organs. of alldescriptions there are.lots of shops within hearing
distance. Of course German food is plentiful.
On top of this, the village ishosting a Wine Tasting Festivalsponsored by the CascadeFoothills Farmland-Association!
Travelingwith a Monkey Organ? Hurdy Gurdy?20ft. Fair Organ?'Join-us. There's no registration fee! Just let lis know you're
~c~~ng , in that case , so we can ~ake room for you.
For more information write or call:Robert K. Wilson
Some Great Instruments Offered – Call for Images & Videos
Also Regina 27” Changer 23,000, Mills Single Violano unrestored 18,750, Regina Desk 14,500, Wurlitzer 146 A with bells, Polyphon Mikado 16,000, other Music Boxes, Automata, Books, etc.
Website: www.MechMusic.com
Tel. 847-675-6144 6514 N. Trumbull Ave.Fax. 847-675-6160 Lincolnwood, IL 60712 USA
6’2” RAA Mason&Hamlin AMPICO Asuper piano must sell 12,000
Knabe Ampico Bw / Ampichron
Link E with xylophoneand torch glass 17,000
Nat’l Dog Race w / Selector 23,000 Big Bruder Playing 165 rolls 18,500 Paillard 31cyls 22,500
(6-05)
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REPLACEMENT LEADERSThese 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types ofreproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes.To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharpknife, discard scrap, and butt-join with magic mending tape on top surface.
A. Brown on buff (For early red label boxes)
B. Black on ivory (Area for reusable artist photo)
C. Black on ivory (Most common)
D. Black on ivory (Very late rolls by combined Aeolian/American)
E. Green on ivory (Most common)
F. Green on ivory (Favorite Fifty & Selected Roll Service)
G. Welte Brown on buff (Most common)
Note: Early Welte’swith blue leaders maybe repaired with thisbrown leader. Many ofthese when reissuedhad brown leaders.
Please make checks payable toAMICA INTERNATIONAL, And send to:
BRIAN K. MEEDER904A West Victoria StreetSanta Barbara, CA 93101-4745