The AMICA BULLETIN - Stacks

The AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION

MARCH/APRIL 2002 VOLUME 39, NUMBER 2

Entire contents © 2002 AMICA International 45

VOLUME 39, Number 2 March/April 2002

FEATURESSpinet Ampico Broadside — 54Instrumental Museum of Belgium — 56Abel Frans — 57From Avant-Garde to Oblivion and Back — 59Leo Ornstein — 63Grand Manner — 65Discovering a Masterpiece — 67CD Review — 68Musician Quotes — 69

DEPARTMENTSAMICA International — 46

President’s Message — 47From the Publisher’s Desk — 47Calendar of Events — 48Letters — 49People — 51Chapter News — 70They Shall Be Remembered — 75Classified Ads — 77

Front Cover: Francis Alda, Opera Singer, Dedicated to Ampico Hall, Jamaica, New York - Thanks to Robert Nachazel

Inside Front: The International Studio, January 1914, Submitted by Robert Long

Back Cover: Ampico Spinet Ad - Bowers Encyclopedia

Inside Back Cover: The International Studio, September 1910, Submitted by Robert Long

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.

ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, 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 1st weekof the even months.

Robin Pratt, Publisher630 East Monroe StreetSandusky, Ohio 44870-3708Phone: 419-626-1903e-mail: [email protected]

MEMBERSHIP SERVICES

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

Renewals . . . . . . . . . . . . . . . . . $42.00

Address changes and corrections

Directory information updates

Additional copies ofMember Directory . . . . $25.00

Single copies of back issues($6.00 per issue - basedupon availability)

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

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

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

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AMICA INTERNATIONAL

INTERNATIONAL OFFICERSPRESIDENT Dan C. Brown

N. 4828 Monroe StreetSpokane, WA 99205-5354

509-325-2626e-mail: [email protected]

PAST PRESIDENT Linda Bird3300 Robinson Pike

Grandview, MO 64030-2275Phone/Fax 816-767-8246

e-mail: OGM [email protected] PRESIDENT Mike Walter

65 Running Brook Dr.,Lancaster, NY 14086-3314


SECRETARY Christy Counterman544 Sunset View Drive, Akron, Ohio 44320


TREASURER Wesley Neff128 Church Hill Drive, Findlay, Ohio 45840

Registered agent for legal matters 419-423-4827e-mail: [email protected]

PUBLISHER Robin Pratt630 E. Monroe Street, Sandusky, Ohio 44870-3708


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

707-570-2258 – Fax 775-923-7117e-mail: [email protected]

— COMMITTEES —

AMICA ARCHIVES Stuart Grigg20982 Bridge St., Southfield, MI 48034 - Fax: (248) 356-5636

AMICA MEMORIAL FUND Judy Chisnell3945 Mission, Box 145, Rosebush, MI 48878-9718 517-433-2992

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

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

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

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

PUBLICATIONS Robin Pratt630 E. Monroe St., Sandusky, OH 44870-3708

WEB MASTER Meta Brown400 East Randolph Street, Apt. 3117, Chicago, IL 60601

312-946-8417 — Fax 312-946-8419

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

CHICAGO AREAPres: George Wilder - (630) 279-0872Vice Pres: Curt CliffordSec: Jo CrawfordTreas: Joe PekarekReporter: Kathy Stone SeptonBoard Rep: Marty Persky

FOUNDING CHAPTERPres: Bing Gibbs - (408) 253-1866Vice Pres: Mark PopeSec: Lyle Merithew & Sandy SwirskyTreas: Richard ReutlingerReporter: Tom McWayBoard Rep: Richard Reutlinger

GATEWAY CHAPTERPres: Yousuf Wilson (636) 665-5187Vice Pres: Tom NovakSec,/Treas: Jane NovakReporter: Mary WilsonBoard Rep: Gary Craig

HEART OF AMERICAPres: Ron Bopp - (918) 786-4988Vice Pres: Tom McAuleySec/Treas: Robbie TubbsReporter: Joyce BriteBoard Rep: Ron Connor

LADY LIBERTYPres./Reporter: Bill Maguire

(516) 261-6799Vice Pres: Keith BiggerSec: Richard KarlssonTreas: Walter KehoeBoard Reps: Marvin & Dianne Polan

MIDWEST (OH, MI, IN, KY)Pres: Judy Chisnell - (517) 433-2992Vice Pres: Stuart GriggSec: Judy WulfekuhlTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz Barnhart

NORTHERN LIGHTSPres: Dave KemmerVice Pres: Phil BairdSec: Jason E. Beyer - (507) 454-3124Treas: Howie O’NeilReporter: Dorothy OldsBoard Rep: Dorothy Olds

PACIFIC CAN-AMPres: Kurt Morrison - (253) 952-4725Vice Pres: Don McLaughlinSec: Halie DodrillTreas: Bev SporeReporter: Carl Kehret Board Rep: Carl Dodrill

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: Mike HamannSec/Mem. Sec: John & Diane ThompsonTreas: Holly WalterPhotographer: Garry LemonReporter: Frank WarbisBoard Rep: Mike Walter

SOUTHERN CALIFORNIAPres: Frank Nix - (818) 884-6849Vice Pres: Richard IngramSec./Reporter. Shirley NixTreas: Ken HodgeBoard Rep: Frank Nix

TEXASPres: Jerry Bacon - (214) 328-9639Vice Pres: Tony Palmer (817) 261-1334Sec./Treas: Janet TonnesenBoard Rep: Dick MerchantBulletin Reporter: Bryan CatherNewsletter Editor: Bryan Cather

SOUTHERN SKIESPres: Debra Legg - (727) 734-3353Vice Pres: Bill ShriveSec: Howard Wyman (813) 689-6876Treas: Dee Kavouras (352) 527-9390Reporter: Dick & Dixie LeisBoard Rep: Debra Legg

CHAPTER OFFICERS

AFFILIATED SOCIETIES AND ORGANIZATIONSATOSPresident - Nelson PageThe Galaxy Theatre7000 Blvd East, Guttenberg, NJ 07093Phone: (201) 854-7847 Fax: (201) 854-1477E-Mail: [email protected] - Vernon P. Bickel786 Palomino CourtSan Marcos, CA 92069-2102Phone: (760) 471-6194 Fax: (760) 471-9194E-Mail: [email protected]

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

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

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

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

MUSICAL BOX SOCIETYINTERNATIONALP. O. Box 297Marietta, OH 45750

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

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

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

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

SMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560

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

Hello and Happy Spring!

Will wonders never cease to appear from the

cob-webbed vaults of history. This outrageous postcard

picturing British actress Miss Ethel Oliver is priceless!

Although the roll is coming out of the TOP of the piano and

not the spool box, it makes one wonder just what this was

originally posed for? There is no information on the reverse

other that the personal message written to Miss Nelle Moore

from her Mate, Lizzie. Great huh?

I purchased things like this on the eBay auctions. When I

send in my payment, I include an AMICA Brochure in the

envelope so they go all over the world. Included with this

issue are a few AMICA Brochures for each member. Include

one with your eBay purchase payment or if you are writing to

a friend. I notice that several members keep a stack of

Brochures on their pianos or near their music boxes so that

visitors can join in. Try it!

This postcard is intriguing. Do you think it possible that

just maybe she is working on the prototype model for the

Stoddard note extensions patent?

Robin

President’s Message I hope everyone is enjoying the start of Spring (or for Australians, Fall) and

thinking ahead to the AMICA 2002 Convention in Arkansas. If you haven’t already,it’s a good time to fill out the form and send in your registration. The deadline isnearing and I don’t need to remind veterans how much fun our conventions can be.If you haven’t attended one before, it’s a good time to start.

Many thanks to Karl Ellison, ably assisted by Bob Tempest, for taking on thejob of the AMICA Membership Directory. This was the year for a new one and Membership Secretary Bill Chapman found he didn’t have the time to do it. Therewas a mountain of data to enter as well as many updates. All this has to be compiledinto a format usable by our printer. Karl is well along with the data entry and soonyou will be getting a form showing the Directory information we now have for you.Please review it, make any corrections, additions or deletions (don’t forget email andtelephone!) and return the correct form soon so that the updates can be made and the directory can be sent for printing as soon as possible.

As the 2002 Convention approaches, so does the annual meeting. I am beginning to develop the agenda, so any additions should be sent to me as soon aspossible. Chapters and Committee heads as always should prepare a written report in

advance of the meeting, which may be sent to me or to Secretary Christie Counterman for reproduction and distribution to boardmembers in advance of the meeting. Remember that our by-laws require that Chapters have at least three meetings a year and thatthey submit reports regularly for publication in the Bulletin. Those who do not, risk being placed on inactive status. Please view thisas encouragement to have meetings and to stay in touch rather than as a threat, but the rules were made for good reasons.

I look forward to seeing you in Arkansas.

Dan Brown

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AMICA

Memorial Fund DonationsPlease think of AMICA as a place to

remember your friends and family with adonation to the AMICA Memorial Fund.

Send to:

Judith Chisnell3945 Mission, Box 145Rosebush, Michigan [email protected]

CALENDAR OF EVENTS

CHAPTER MEETINGS

~

June 26-30, 2002 AMICA Convention, Springdale, Arkansas

Heart of America Chapter

June 1-2, 2002 - Organ rally at Lafayette Square in St. Louis, MO.It will be hosted by Cynthia and Gary Craig.

June, 2002 - AMICA International Convention

Fall, 2002 - Organ rally in Eureka Springs, AR.Linda and Galen Bird will organize.

December, 2002 - Barbara and Doug Cusick will host the annual Christmas meeting in Leawood, KS.

May, 2003 - The Tulip Festival will be held in Pella, IA. Ideal for monkey organs, but not big organs.

Organized by the Railsbacks and Craigs.

September, 2003 - Meeting in Branson, MO hosted by Billie & Bill Pohl.

Texas ChapterSunday, January 27, 2002 at 2:00 pm at Bill Flynt’s home

at 11815 Woodbridge Drive, Dallas, TX

Sunday, April 14, 2002 at 2:00 pm at the home of Larry and Jean Williams at 6502 Connie Lane, Colleyville, TX

Saturday, May 18, 2002 at 4:00 pm at Glynn Childer’s home at 6905 Meadow Road, Dallas, TX.

(Dinner afterwards in a nearby resturant.)

Contact Jerry F. Bacon at 214-328-9369 and my e-mail is [email protected].

THE NOMINATING

COMMITTEE

IS PLEASED TO REPORT

THE FOLLOWING

SLATE OF

OFFICERS:President: Dan Brown

Vice-President: Mike Walter

Secretary: Christy Counterman

Treasurer: Wes Neff

Immediate Past President: Linda Bird

Dan, Mike and Linda will be serving a secondterm. Christy and Wes will be serving their firstfull term as they were appointed by Dan Brownduring the past year. We are grateful for their willingness to continue to serve the organization.

The members of the committee are: Linda Bird, Chairman, John Motto-Ros, ChristyCounterman, Dee Kavouras, Jere DeBacker, andPaul Dietz.

We will vote on these officers at the annualmeeting in June. The floor will be open at that timefor other nominations.

Founding/Sierra Nevada ChapterSaturday, September 14, 2002 at 1:30 pm at the home of John and

Nadine Motto-Ros, 110 Allen Ranch Road, Sutter Creek, CA. This will be a joint meeting and an afternoon BBQ.

Contact John or Nadine at 209-267-9252 or [email protected]

Visit the

AMICA Web page at

http://www.amica.org

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Dear AMICA,In his otherwise excellent article about Alexander

Siloti, Denis Condon asserts that, because the New Grovehas decided to re-spell his name Ziloti, “the old spellingSiloti is no longer used”.

In their own book Dubal, Schonberg and Sitsky stillspell the name, as old Grove used to, “Siloti”.

Tut, tut. Before we mutilate all our catalogs andindices, perhaps we should consult the man himself!! Iattach his signature in evidence.

Yours truly,Gerald StonehillThe Mirrie, Denham, Bucks, England

Robin’s Reply –––––––––––––Hello,If I read your enclosed signature “semi-correctly”, it

could actually say: A. Silotit or even A. Zilotit. Maybe weneed the Psychic Network?

Robin Pratt

Gerald’s Reply –––––––––––––Dear Robin,

I see what you mean. I took your advice and loggedon to the Psychic Network, where I interrogated Siloti inboth English and Russian, in order to avoid further obfuscation. He reminded me that, although he was bornin the Ukraine, he lived from 1922 until 1945 in New York, and taught at the Juilliard School 1924-1942,where everyone knew that he spelled his name with an initial “S”.

As for his signature, it was considered good form inthose days to finish off with a flourish, as with otherexamples in the Steinway Visitor’s Book. He insists that, although he didn’t personally indulge in joined-upwriting, there is no way that anyone could imagine thatthe first letter was a “Z” instead of an “S”.

He does, however, apologize for the eccentric diagonal orientation of the flourish, but wishes to pointout that the only example of his signature which he expected the general public ever to admire was accompanied, on a Duo-Art Audiographic roll, by thespelling in clear capital letters and a photograph of hisface, with pince-nez, by way of corroboration.

Gerald Stonehill

Letters…

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Sent in by Jeffrey Morgan

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PeoplePEOPLESent in by Bennett Leedy

Leginska to Use Contest NumbersFamous Pianist to Use Them as Encores on Her Program Here.

Ethel Leginska, who will appear at the Regent Theater on February 5 in the Philharmonic ConcertCourse, in addition to being one of the world’s greatest pianists is a composer of note. On her program, twoof her original compositions will be included and two by Eugene Goossens. These will be heard for the firsttime this year. In addition to these, standard compositions by the great composers will complete the program. She will also include as an encore, one of the flint Daily Journal Music Memorycontest selections. In order to enable piano students to receive the inspirations of hearing this great artist work, a special price to students is being made. Reservations may be made by calling the office in Hotel Durant, phone 3050. The program follows:

She’s a Modernist!Leginska, Pianist, Writes Her Own Music.

Students and admirers of Ethel Leginska, the dynamic pianist, are looking forward eagerly to therecital to be given in Arcadia Auditorium, next Tuesday evening, January 30.

It has been about four years since the vivacious English pianist appeared in America. During her retirement Leginska has devoted nearly all her time to composition and recently to a limited number ofappearances in England.

The Detroit recital will open Miss Leginska’s tour and she will appear in Detroit, Flint and Lansingunder the direction of the Philharmonic Central Concert Company of which James E. Devoe is manager. The Detroit concert is the fifth in the Philharmonic series.

Following is the complete program: Eight variations on the theme, “Tandeln and Scherzen,” byBeethoven; Prelude and Fugue in C-sharp minor, by Bach; Ballade in G-minor, Op. 23, Nocturne in

B-major, Op. 62, Scherzo in B-minor, Op 20 by Chopin; Dance of the Little Clown, by Leginska; Cradle Song, by Leginska; Bacchanal, from “Nature Poems,” by Eugene Goossens; The Hurdy Gurdy Man, by Eugene Goossens;Legend, St. Francis Walking on the Waves, by Liszt; La Campanella, by Liszt.

The two pieces by Leginska and the two by Eugene Goossens will be given at this recital for the first time.

Part It. Eight Variations . . . Beethoven

On the theme “Tandeln and Scherzen”b. Prelude and Fugue in C sharp Minor . . . Bachc. Ballade in G. Minor, Op. 23 . . . Chopind. Nocturne in B Major, Op. 62 . . . Chopine. Scherzo in B Minor, Op. 20 . . . Chopin

Part IIt. Dance of the Little Clown . . . Leginska

(First Time)b. Cradle Song . . . Leginska

(First Time)c. Bacchanal (From Nature Poems). . . Eugene Goossens

(First Time)d. The Hurdy-Gurdy Man . . . Eugene Goossense. Legend, St. Francis Walking on the Waves . . . Lisztf. La Campanella . . . Liszt

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Art Triumphs in Paderewski’s Recent ReturnFamous Pianist Back Again After Seven Years’Absence.

Paderewski has come back - at 62! - scoring the greatest personal artistic achievement of the century. The world’s supreme pianist was 55 when he abandoned his artisticcareer for the patriotic service of his beloved Poland. When he had accomplished all he could forhis country, he decided at 61 to return to his piano. But could he regain his former glory? WilsonG. Smith, one of America’s foremost critics and composers, answers in the following article.

By Wilson G. SmithFamous American Music Critic and Composer

Paderewski, erstwhile premier of Poland and present premier pianist of the world, has comeagain into his kingdom - the kingdom of art where he reigns with regal splendor.

Time was when he sat at the piano and like an improvisator wove tonal threads of which dreams are made, and cast the glamourof his poesy like a spell upon all who heard.

Technic, the mechanical means of expression, was lost sight and hearing of through the resplendent and ecstatic glory of hisinspiration. He was a painter of moods clothed in colors glowing with iridescence - as changeable and beautiful as the rainbow.

To the old masters he imparted an undreamed of import, call it inspiration if you like, for it had a subtle quality that differentiatedit from all others.

He molded his tonal phrases with the plastic certainty of utterance with which the deft hands of the sculptor models his clay.In his halcyon days Paderewski did more to make obvious to the public the essentials of tonal beauty as opposed to mere

technical display in piano playing than all the hords of petty tyrants of the keyboard before or since.This was Paderewski in his first estate; in later years he seemed obsessed with the idea that noise - or volume, if you like - was

the great perquisite, and banged the piano like Hercules at his Augean task or Vulcan at his anvil.The piano fairly groaned and shrieked under his titanic onslaughts. It was frenzied emotionalism carried to the ‘nth degree, with

but few traces of the subtle beauties that had characterized his former artistry.It was a most astounding debacle and can only be accounted for through psychological reasoning and analysis, complex and

subtle.But now the tale is a different one. Concisely, it is Paderewski redivivus, the supreme artist of his first estate, with all his

engaging charms of tonal beauty and interpretative inspiration reincarnated and made audible.The master is himself again; through tragic experiences his inspirational style has become more mellowed and imbued with an

even greater appeal and charm.Twelve thousand people obsessed by enthusiasm rose in mass to do him homage at the recital in Cleveland where I heard him the

other evening.To arouse such enthusiasm in a mixed audience, with a severely classical program means not mere virtuosity, but something more

far reaching and that is, personality and the intriguing charm of inspirational playing. So I made no mistake in using the term“Paderewski redivivus” - an artist supreme and unapproachable.

From the Land of the Sky-Blue Water by CadmanCadman, American - (1881)

Cadman (Charles Wakefield) is a contemporary American composer, one of a group who have sought tobuild a school of American music through using native folk songs and legends as a basis for their compositions. Cadman has taken a number of American Indian themes and idealized them. He is also knownfor his opera “Shawaneis.” He was born in Johnstown, Pennsylvania.

“From the Land of the Sky-Blue Water” is one of the most popular of his Indian themes. It tells of the futileefforts of an Indian lover to woo a captive maid, who is homesick for her own people. When hidden in theforest at dawn he plays his love serenade on the Indian flute or flageolet. The lover’s flute is heard in theintroduction, trilling his love call. Then he sings the slow sustained melody of the song, almost melancholyin its futility of hope for the return of his love. It is written in the five-tone (or pentatonic) mode of primitivemusic.

Available FormsRecords - Brunswick - 13011; Columbia - 2625; Edison - 82174; Victor - 64516, 64190, 45184Piano Roll - Chorus - Library of Buick Male Chorus

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For the NEW 2002 AMICA Membership Directory

The 2002 AMICA Membership Directory is being organized as you read this. Now isthe time to send in an advertisement for your business, your collecting wants, services orrelated items for sale or simply a “Best Wishes AMICA!”, we want your ad.

Including your ad in the new 2002 Directory will give you years of visibility as well asreference for yourself and other members. Plus, your paid ad will help AMICA directly byoffsetting some of the production costs.

Many AMICA Members refer to their Directory regularly for ads, products, services,telephone numbers and addresses. Finding others who might own a similar instrument andgetting help becomes a simple task with the instrument listing! Travel, locating and visitingother members becomes a breeze! The AMICA Directory is an excellent resource!

THE AD RATES FOR THE 2002 AMICA DIRECTORY ARE:

FULL PAGE – 7 1/2’ x 10”................................................................$200

HALF PAGE – 7 1/2” x 4 3/4” ..........................................................$110

QUARTER PAGE – 3 5/8” x 4 3/4” ....................................................$65

Photo/s included in ad @ $20 each (unless ad is complete and camera ready.)

Make your check out to AMICA and mail it with your camera ready copy to:AMICA Publications – DirectoryRobin Pratt, Publisher630 East Monroe StreetSandusky, Ohio 44870-3708

You may submit your ad in a simple written form and we will do the composition foryou and dress it up. What could be easier?

If you have any questions about your ad, its composition or cost, contact the Publisherdirectly at: (419) 626-1903 or email: [email protected]

Thanks, AMICA really appreciates your help!

YOUR AD IS WANTED!

54

Spinet Ampico BroadsideSPINET AMPICO BROADSIDEBy Mark Reinhart

I recently traveled to Philadelphia to the Acme Piano Co. just prior to the closing. As per usual, it was to buy a collection

of Welte-Mignon Licensee rolls. The rolls turned out to be nothing exciting. Still it seemed like the passing of an era withthe closing of Acme Pianos. I had been there perhaps 15 or 20years ago and there were still many prizes to be found at thattime.

My traveling companion Mark W. and I spent some timewandering the building, a nostalgic tour of sorts. The warehouse stands three stories, but by this time most of thepianos were gone or marked as “sold.” It was rather sad to seethe empty building and remaining pianos from what was athriving business for so many years.

While looking over the remaining pianos, we spotted a tinyprecious jewel amid the chaff. There was a layer of debris froma fallen ceiling on the piano. After brushing away some of theplaster pieces, we found a lovely little spinet Ampico. Thepiano was completely unrestored, and except for the ceilingdebris, really quite above average condition.

One thing led to another and before I could have the presence of mind to resist, the piano was mine. The fact thatthey had a crane to load it in the back of our pickup was anadded plus. Besides, I swear it didn’t weigh much more than ajukebox. At least it didn’t till we had to lift it off the truck. Jimtold me he knew the weight comment was a lie. Well, it wasn’tintentional.

Home again, home again, jiggity jog. The cutie pie cameoff the truck with no major difficulties. After closer examination, I noticed that it really was as original a piano as Ihad ever seen. I am told that restored, they play much betterthan one might expect from such a diminutive instrument. Sincethis is the first one I’ve closely examined in my years of pianocollecting, I thought I might share some highlights about thepiano.

First, the spinet Ampico should not be confused with thetoploader Ampico. In 1926 Ampico offered a small upright

commonly calledthe toploader bycollectors today.This piano stands3’6”. The musicroll is loaded intothe top ratherthan the front ofthe piano.

The spinet Ampico stands barely 3’1”. Larry Givens notesin his book, Re-Enacting the Artist that the spinet Ampico wasintroduced in spring 1938, making this the last new modelAmpico produced. The advertising of the period suggests thatthe piano was a perfect accompaniment for dancing and suggested its use with that British import, The Lambeth Walk.The only difference between the pianos was the fallboard decal.Offered in several brands, our piano bears the Fischer name.This piano began its life finished in mahogany. The first buyermust have required a brighter more cheery finish, and the pianowas painted ivory with silver leaf highlights. Very deco. TheFischer and Ampico decals are of the period of manufacturesuggesting that the piano was early finish, quite possibly finished East Rochester.

With the piano top covers removed, one sees the spool boxand it’s frame. A tight fit to be sure. So tight, that there is nokey cover for the keyboard of this piano. Within the spoolbox isthe rewind/play lever and tempo lever with display graduations.The electrical switch is a turned brass knob much like the Duo-Art. The spoolbox will not accommodate the jumbo longplay rolls. I believe that by spring of 1938 there were no morenew releases of so-called jumbo rolls.

55

To the left of the spool box is the tempo wind regulatorshutoff pneumatic and rewind/repeat pneumatics. Repeat is theonly additional control feature found on this model. Gone arethe Ampico off and modifying switches. There are no fingerbuttons for provision to boost the zero level for 88 note rolls.The piano speaks to me as, “I am an Ampico, love me for myAmpico or look for another piano.”

To the right of the spoolbox is the roll motor. The rollmotor is again of the type found in earlier “model A” pianos.The tracker bar is also pure model A with no holes for amplifiertrigger or subdue (sub-intensity). Of course this begs the question, were the folks at Aeolian-American simply trying to use up existing earlier components. It does have that appearance.

Below the keyboard is a drop action of the spinet type. Thepiano action is directly acted upon by a stack using model Bvalves. Interesting to note that there is more lost motion fromthe keybed in terms of additional components than from thestack. This might suggest that the performance from the Ampico has better control of the action than a human playerwould have. Tubing is routed to the sides of the case and downto the stack and expression components.

To the right side under the stack is the pump. The pump isa unique design to this piano. This was necessitated by the lackof space. A rotary box pump could not have fit the tiny space.

On the left side under the stack we find the expressioncomponents. The expression components are the model A typewith a single crescendo pneumatic as was used for B codedrolls. The universal vent block is located on the top of the pedalunit in the lower center. Automatic sustaining and soft pedalunits are mounted to the left side of the case.

It amazes me how the Ampico technicians fit all the unitsinto such a tiny space. Clearly this piano was a service person’snightmare. Access to the piano action is very limited withoutremoval of player parts. I find the design very clever overall. Ilook forward to listening to this precious little piano one day.

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InstrumentalMuseum

INSTRUMENTAL MUSEUM

OF BELGIUMBy Leonard Grymonprez

The Instrumental Museum of Belgium is estimated as

being one of the most important and one of the richest

of its kind throughout the world. It possesses over four

thousand musical instruments, housed in twenty-eight halls.

These instruments have been collected with great care and help

to give us the musical history which spans so many ages and

countries. One hundred and fifty of these rare and wonderful

masterpieces of the late instrumentmakers are really unique,

and could not be found elsewhere except for replicas.

Among these is a one-of-a-kind “Basse de Viole”

(string bass) made by Gaspard Duiffoprugnar, a French

instrumentmaker of the 16th century who had a precious

painting that represented the city of Paris at the time. This

particular string bass once belonged to the French King

Francois I.

A “Geigenwerk” (violin work), a unique and curious

instrument of design and conception manufactured in 1625 by

Truchado, a Spanish instrumentmaker, is also on display at the

Museum collection. A dozen or so “clavecins”, spinets and

virginals of the famous Antwerp instrumentmaker Ruckers

(late 16th and 17th century) that are surrounded by about a

hundred or so rare keyboard instruments of various design and

beauty which was manufactured by Belgian, English, German,

French and Italian instrumentmakers who were real masters in

their craft.

The Museum also possesses the renowned spinet of

Patavini (1550), which is decorated with amazing wood

carvings representing some characteristic aspects from the

Venetian patrician family of Bembi.

A large and versatile line of flutes, violins, and cellos are

displayed for the visitors in large glass cabinets in one section

of the Museum. Several among them are not to be found

anywhere else again.

Worthy of notice is a large section devoted to Oriental

instruments, and here again some of these are completely out of

existence except the ones to be seen at the Museum.

Worthy of notice as well is the lovely and complete line of

“cromornes” which are lying in their original cases as when

manufactured.

There is also a vast and fine collection of violins which

were made in the 17th century and were once owned by the

compte Cerrer of Venice.

A very special section at the Museum is entirely devoted to

a series of instruments made in the early days of manufacture

by the world renowned Belgian instrumentmaker and inventor

Adolphe Sax, inventor and designer of the saxhorn and the

saxophone line!

One of the rarest instruments among all at the Museum is

for sure the one-and-only Componium, made in 1829 by

Nicolaus Winkel - a large upright mechanical instrument which,

once set into motion, could play and perform endless variations

on one certain theme!

The Instrumental Museum of Belgium is located at: 17,

Place du Petit - Sablon, Brussels, and open to the public on

Tuesday, Wednesday, and Saturday from 2:30 to 4:30 p.m. and

on Sunday from 10:30 to 12:30 p.m. Coach parties can have

conducted tours around the Museum if a ten day’s notice is

forwarded to the Museum Conservator, telephone number:

Brussels 02/13.25.54.

The Museum is well associated with the Royal

Conservatory of Music in Belgium. All of the instruments it

contains awaken the keen interest, study and curiosity of

musical researchers, professionals, amateurs and students of the

general subject the world over.

Museum leaflets will be sent to you in your self-addressed

stamped envelope.

57

Abel FransABEL FRANSBy Leonard Grymonprez

Abel Frans - his Christian name is Abel, the family

name Frans, which is often confusing to a lot of

people even here in Belgium since a Christian name Abel is

very uncommon.

This is the remarkable man I have written about in brief in

my article on Mortier on pages 892-893 of the Bowers

encyclopedia in the section devoted to the composers who had

worked at Mortier. He also was the only noteur-arranger who

had put two tunes in one music book. He put the music book in

the usual manner into the key frame, when ended he pulled it

out, turned it over, put it in again, and the second tune sounded

out! Basses, accompaniment, melody and counter melody in a

perfect performance for both tunes. Abel had set it all up as a

gadget. The Mortier crew and staff people stood as struck the

day of this remarkable performance. It sounded like magic to

them all! His daughter Aldegonde Frans stated this unique event

of her dad in her first letter to me on 8th June, 1977. Well, how

to compose an article with the first spark to write it down? The

spark came early or late. I guess my article came late but

anyhow it’s here.

Although Mr. Frans is well known and remembered by

many in and around his native city Rumst-Belgium in various

tributes, little is known about him among collectors, museum

staff, and students of mechanical musical instruments and

history of the subject.

How does it happen I asked myself one day? Why is this

remarkable man unknown to many, why owners of music books

from him might not have known him?

When I attempted to compile an article on him around

mid-1977, I didn’t even know anything at all except I knew Mr.

Frans died several years ago, from some information my father

had told me since dad was a close friend of Mr. Frans in their

20’s. Mr. Frans frequently came to our city. It’s a basic fact dad

had an almost unbelievable admiration towards a particular

make of orchestrion or dance hall organ or to a person of repute

involved in our beloved field. It frequently turned out he wasn’t

pointed wrong!

I decided to make a first attempt in writing a letter to the

archivist from the city of Rumst-Belgium asking him if he

could forward me any information concerning still living

descendants of the Frans family. I received a letter back from

the archivist telling me the widow and children of Abel Frans

were still living at the city of Rumst! This information was the

real target. I didn’t wait long to write a letter to the family and I

received quite fast a letter back, a four page letter from the

daughter, Madame Aldegonde Frans on 8th June, 1977.

She is the basis of this article and with her information and

the newspaper clippings she had sent along, it all allowed me to

compile an article of her beloved father, and the beloved friend

by many around this particular area in Belgium.

Among the information she forwarded me, there is

something that will have a particular interest to our American

members especially the residents of the Detroit-Illinois area.

This was information I myself had never known before. Besides

being a composer-arranger, Mr. Abel Frans was a remarkable

poet as well and had frequent columns in the newspaper entitled

“Gazette van Detroit,” which is the only newspaper

printed inside the United States into Flemish language and

dedicated to all Flemish people and families who are working

and living in the Detroit-Illinois areas.

Great groups of Flemish emigrants came to these areas

around the turn of the 20th century. Mr. Frans daughter wrote

me when her mother took the trip to the United States in 1953,

a visit to family who came down to the city of Detroit in 1902.

OUR NATIONAL COMPOSER, HISTORIAN, POET AND FOLKLORIST,

ABEL FRANS (1899-1962)

58

She had seen organ music books composed, arranged and

punched out by her husband!

M.B.S.I. members might know the Mortier dance hall

organ “The Emperor” once owned by Paul Eakins of Sikeston,

Missouri. This organ once was set up in Detroit . . . I remember

dad told me Mr. Frans had exported a lot of his music books to

the United States in the past.

Mr. Abel Frans was born in his native city of Rumst on

April 7th, 1899, and it is known he already arranged music at

the age of twelve. Although he didn’t practice academic music

school as people usually would expect, he became a talented

pianist. At the age of eighteen he compiled and edited a bunch

of still present popular tunes and songs, all from his own

imagination and composition.

He did work out various compositions and songs for the

youth of classes and students of colleagues. Later on he became

a famous and well-known composer for operettas such as

“Meikoningin” (Queen of May), “Heide bloempje” (Flower of

the Moor), “Kempish Hart. Some of his musical works such as

“Grolpot” (Grumphy) became very famous.

During the period when radio and dance bands increased in

quantity, he wrote lyrics and music for the renowned Belgian

dance band of the pre-World War II years named as “De Lustige

Krekels” (The Happy Crickets).

Several well known actors and musical performers such as

Willy Vervoort, Yvonne Verbeeck, Bobby Schoepen (who

manage Belgium’s most attended amusement park a la Texas,

he’s well known in Texas also), Leonard van Dyck and Kees

Brug (famed Belgian TV realisator) owes a great part of their

successful career due to Mr. Frans!

Dance hall organs and orchestrions had an important

influence on him. They bewitched me, he often said during

some of the gatherings in town. Some of his close friends said

that due to his musical abilities, he became famous for his

dance hall organ and orchestrion music books as well in

Belgium as abroad, especially in Holland.

As a versatile man and popular figure, he also gained fame

as a historian and folklorist. In 1950 he founded the harmony

band “Peter Benoit” dedicated to the late and renowned Flemish

composer Peter Benoit, and the opera group “Rupel and Nete”

dedicated to the two rivers flowing in his native area.

On April 30th, 1962, when friends from all parts came to

his funeral, the harmony band which he had founded followed

the cortege and played a former unedited mourning march

which at the very moment might well be regarded as a musical

testimony.

His former composition “Farewell Elza” was dedicated to

his wife. It’s known he played different musical instruments but

he often confessed the piano turned out to be his favorite

instrument to play on.

It’s also known and a common manner that whenever,

wherever he had a theme in mind, he immediately wrote the

music down on any possible object in reach to write on. His

daughter wrote me his composer-arranger-noteur barrel and

punch-out machine had been sold to a Dutchman in the early

1960’s and she did not know or could not remember anything

anymore.

Even around 1962, master copies from overtures and

several operas still existed. But after Mr. Frans died, these

master copies were foolishly burned by the new owners of the

“Peter Benoit cafe” at Rumst that Mr. Frans had once

maintained for his music-loving friends. Mrs. Frans wrote me

that it all unfortunately happened after the death of her father

and without the awareness of the family. We all know only too

well that many of these above mentioned events have happened

in Belgium and in a lot of countries abroad or elsewhere in our

western world. By all means, let it NEVER happen again!

To conclude this article, it’s fine to note, not only for

myself but for all other people who have known this admired

man, on Sunday, 22nd September 1963, the local Abel Frans

Committee organized and featured a full-day-long tribute to

their friend at the St. Peter Church in Rumst, following the

unveiling of a bronze plaque at the home of his birth, later on

continued by several concerts and festivities.

His wife Elza, the children and grandchildren and large

crowds of friends attended the tribute with love and admiration

to a man they all had known so well!

I’m glad I’ve written an article about this remarkable

personality and that he might be remembered for a future

generation in as much versatility of living this man always had

a want for . . .

59

This past December one of themost unusual figures of

American music celebrated a birthday.It’s not quite sure which, as he wasborn either in 1892, 1893 or 1895,depending on whom you ask or whichsource you consult. Leo Ornstein is atthe time of writing living quietly inWisconsin. He may be 108 years old.

During the second decade of thetwentieth century Leo Ornstein was onthe rise in the musical world with histalent as a pianist appearing to destinehim for great renown. But sometime in1913 or so the modern world caught upwith him. After a precocious beginningand conventional music education, hetook to composing works of such daring, of such violence, that critics,musicians and audiences wondered if itwas a joke.

It was no joke. Ornstein’s music catapulted him to international recognition as one of the most avant-garde composers of the time. He was spoken of in the same categoryas Schoenberg, Scriabin and Stravinsky and often consideredthe most extreme. ‘I never thought I should live to hear ArnoldSchoenberg sound tame’, wrote James Huneker, ‘yet tame hesounds almost timid and halting after Ornstein who is, mostemphatically the only true-blue, genuine, Futurist composeralive.’1 By 1920 Ornstein was one of the most famous American musicians in the world. Yet by 1930 he was virtuallyforgotten, relegated to minor mention in the history books, hismusic rarely performed.

Born in Kremenchug, Russia, the young boy exhibited agreat capacity for music, and following tuition from his singer-father, was enrolled at the St. Petersburg conservatory.Driven from Russia by anti-Semitic pogroms, his family settledin New York in 1907. Leo’s talent was quickly recognized by

his piano teacher and mentor, BerthaFiering Tapper, who gave him a solid,all-round musical education. Ornsteinmade his concert debut in 1911 andquickly went on to establish a reputation as a virtuoso. Meanwhile,his creative style remained simple,elegant and tonal, betraying little of

what was to come.

Around 1912, and apparently withouthaving heard any other modernisticmusic, Ornstein began creating his percussive, rhythmic and atonal soundscapes. His teacher was initiallytaken aback, but eventually came tounderstand what he was trying toachieve; meanwhile, Leo went off toEurope to display his new-found creative style. He had contact withimportant musicians (Busoni,Leschetitzky) who also overcame their

doubts, although some wondered if Ornstein was simply mad.

Ornstein performed his own compositions and also themost recent works of Schoenberg and Ravel. He was roundlyhailed as a great pianist, but merely performing the works ofothers was not for him. In his own compositions Ornsteinattacked the piano with an unprecedented fervour and vehemence. His Danse sauvage (c.1913) became particularlynotorious, with its combination of relentless rhythms and brutalcluster chords. This was music to be reckoned with. Those whounderstood, like the critic Paul Rosenfeld, discussed the musicin terms of its modernism, its futurism, its glorification of theage of machinery and giant factories. ‘It is a thing germane toall beings born into the age of steel. It is the expression of allthe men who have tried to embrace and love the towering piles,the strange, black desolate pathways that are the world today.’ 2

Ornstein has occasionally been linked with the Futurists, acoven of revolutionary poets, artists and sometime composers

Revolutionary pianist-composer Leo Ornstein was one of the most celebrated

American musicians of the 1920s, yet within a decade his music had fallen into

almost total obscurity. Gordon Rumson takes up the story

Avant-GardeFROM AVANT-GARDE TO

OBLIVION AND BACKSent in by Robert M. Taylor

INTERNATIONAL PIANO QUARTLERLYSPRING 2001

Leo Ornsteinphoto Gilmore Music Library, Yale University

60

led by Tommaso Marinetti(1876-1944), who celebratedthe modern world in a series of manifestos beginning in 1909 and by a series of groundbreaking musical productions. They believed thatthe triumph of technologyshould be the inspiration forworks of art, although theirideals quickly degenerated intofascist modernism.3

Although the onomatopoeticSuicide in an Airplane (with itshumming and roaring) wouldappear to align Ornstein withproponents of a metallic, modernistic sound world. Yet he

clearly distanced himself from the aesthetic of the Futurists andnever held to their principles. Ornstein had to find his own wayas a pianist and as a composer. The piano came to be treated asa giant percussion instrument, with harsh sounds but also awide variety of colours. He later explained:

“It was while experimenting with the music of Debussyand Ravel that I first realized how impossible it was to give asatisfactory performance with the fingers only. For months Ilaboured until I devised a system which established absolutesympathy between pedal-work and finger-work. And then Ifound I could melt shade into shade in infinite variations of thedynamic tone-pallette. But first I had to learn to breathe withthe music, so to say, to let the pedal pulsate with my own emotional perception. It is not enough to thrust down the pedalwith the foot and change with new harmonies. I found that byusing half - and even quarter-pedal I could produce the mostdelicate tonal tinges. The psychological moment comes whenyou strike the key, after having prepared your attack by liftingand shutting off the damper. It is a very delicate process, andmonths passed before I had secured absolute coordination offinger- and foot-work. Relaxation and manner of attack alsohave much to do with a varied tone-production; yetfundamentally I believe that the preparation of the pedal to

receive the stroke of the finger is the most important factor.” 4

Ornstein can easily be compared with Henry Cowell(whose own avant-garde works began appearing between 1912-13), and George Antheil, who was clearly Ornstein’s successor. All made use of the piano - the modern Steinwaygrand with its heavy touch, bell-like tone, deep bass sonorityand glittering treble - in evocations of a modern sound world.How far Ornstein’s music anticipates the encroaching madnessof the world War (indeed how far any composers of the time listened in on the looming thunder) is something we can onlyponder.

By the early 1920s, Ornstein had begun to withdraw fromthe forefront of the avant-garde (and the concert platform), eventhough a Piano Concerto was well received at its premiere.

Ornstein refused to write music merely for a fad, or toshock. Some of his subsequent works were deemed “tepid” andthere was a critical backlash. Undaunted, he declared “I’mguided entirely by just my musical instinct as to what I feel isconsequential or inconsequential, but I have no theories at all asto what kind of music one should be writing.”

Ornstein heard his compositions complete and fully formedin his mind, being required only to play them initially, and thenlater, perhaps much later, write them down. The task of musicaldictation was eventually taken over by his wife, Pauline; it wasonly her gentle prodding which ensured that many of his workswere preserved at all.

Ornstein and his wife settled in Philadelphia running amusic school until their retirement in the early 1950s. He continued composing but his reputation quite simply evaporated. The critic Virgil Thompson wrote the damningphrase: “As modernism of yesteryear, [Ornstein’s] Dansesauvage of 1915 . . . can still be listened to.” 5

What is interesting is that the trajectory of Ornstein’s lifecan so easily be compared to that of the early Russian avant-garde: an early excellent and traditional education; rapid- almost manic - development of an advanced manner; association with futurist conceptions; struggle for a fair hearing;critical acclaim in some quarters; general puzzlement; a quali-fied degree of official sanction and support; eventual withdrawal of that support; and finally a personal turning awayfrom the avant-garde towards a new simplicity. We could alsobe speaking of half a dozen different Soviet composers.

Interestingly, the pattern was the same in both communistand capitalist society. The market economy made Ornstein’savant-garde music impossible and the Communist Party did the same to Roslavets and others. “After all,” asked PaulRosenfeld, “may it not be that he has flinched? Stronger menthan he have succumbed to a hostile world. And Ornstein hasfound the world very hostile.” 6

There are three phases to Ornstein’s musical life: his earlytonal period; a second extremist phase, which established hisreputation; and the third, longest period from about 1922 duringwhich Ornstein’s musical language organized itself into a

shimmering, luminous gradationbetween simplicity and harshness. The melodies have aHebraic tint, and Ornstein doesnot shy away from placing dissonant and tonal music sideby side. This shifting of style isjust one of Ornstein’s creativetools. More importantly, there isa directness of emotion thatmakes the music genuinelyappealing. It should also benoted that his music is ideallywritten for the piano and clearlythe work of a master pianist.

While many compositions werepublished in the heady days of

Leo Ornsteinphoto Gilmore Music Library,

Yale University

Leo Ornstein on his 95th birthday

photo Turba Photography

Ornstein’s fame - a biographyalso emerged in 1918 - little ornothing of his later work wasgenerally available until recently.A few articles, a dissertation andsome recordings tried to reviveOrnstein’s reputation over theyears but with little success.However, his creative fires wereundimmed and in the early1990s he was still writing powerful works for piano solo.

Recently a number of pianists,scholars and supporters havetaken up Ornstein’s cause. Oneof the chief of these is Leo’s son,

Severo, a computer specialist who was one of the originaldevelopment team for what became the Internet, and who laterundertook to publish a modern computer edition of his father’smusic.

Several pianists have performed and recorded Ornstein’smusic, including Janice Weber, Daniele Lombardi, MarthanneVerbit, Steffen Schleiermacher, Jenny Lin, Gloria Cheng andSarah Cahill. Michael Broyles is also writing a full-length biography and may be the one to finally settle the issue of Ornstein’s birthday.

Leo Ornstein paid dearly for his early fame with severaldecades of obscurity. But the time has come to fully recognizehis achievement. Time to listen to a genuine American master.

The author wishes to thank Severo Ornstein and EdithValentine for their assistance, advice and encouragement.

Footnotes

1. Quoted in Clair R. Reis: Composers, Conductors and Critics(New York: Oxford University Press, 1955), pp.35-6.

2. Paul Rosenfeld: Musical Portraits: Interpretations of TwentyModern Composers (New York: Harcourt, Brace and Company, 1920; reprint edition; Freeport, New York; Books for Libraries Press, 1968), p. 269.

3. Cf. Glenn Watkins: Soundings: Music in the Twentieth Century (New York: Schirmer books, 1988), pp. 235ff.

4. In Frederick H. Martens: Leo Ornstein: The Man, His Ideas, His Work, (New York: Breitkopf & Hartel, 1918; reprinted New York: Arno Press, 1976), p. 56.

5. Virgil Thompson: American Music Since 1910, (New York: Holt, Rinehart and Winston, 1970-71), p. 164. Note the date given for the composition. Dating of Ornstein’s works is tricky at best in part because notation sometimes followed only after the space of a number of years. Also it seems some works were announced, planned, perhaps even performed only to disappear, perhaps never having being notated. This is the fate of the three early piano sonatas.

6. Rosenfeld, op. cit., p. 273.

61

Leo Ornstein on his 95th birthdayphoto Turba Photography

Leo Ornstein aged 103photo Robert Pue Photography

RECOMMENDED RECORDINGS

Past Futurists, Ornstein, Sonata No. 4 Arabesques (with music by Cyril Scott).Marthanne Verbit (pf). Albany TROY 070.

Valentines,Ornstein, Morning in the Woods. A la Chinoise (with music byAntheil, Dierck, Fennimore and Gershwin). Marthanne Verbit (pf).Albany TROY 071.

Bad Boys!,Ornstein, Suicide in an Airplane. Impressions de Notre-dame.Danse sauvage (with music by Antheil and Cowell). SteffenSchleiermacher (pf). Hat Hut Records ART CD 6144.

Chinoiserie, Ornstein A la Chinoise, Op. 39 (with music by other composers)Jenny Lin (pf). BIS CD-1110.

Leo Ornstein,Piano quintet. String Quartet No. 3. Janice Weber (pf); LydianString Quartet. New World Records 80509.

Piano Dance, Ornstein, Waltz #7 (with music by other composers). GloriaCheng (pf). Telarc 80549.

Leo Ornstein: The Piano WorksThis list follows the S numbers of Severo Ornstein, who has

edited the works for publication. As such it is derived from the published catalogue and is used here with permission. It is, for themost part, chronological. Several other sources were consulted to bringtogether the information presented here.

Severo Ornstein’s publications (Poon Hill Press, 2200 Bear GulchRd., Woodside, California USA 94062); Yale Archive Holdings List; Frederick H. Martens, Leo Ornstein: The Man, His Ideas, His Work,(New York: Breitkopf & Hartel, 1918, reprinted New York: ArnoPress, 1976).

The list is not intended as anything more than a shorthand reference for further research and an improved awareness of Ornstein’soutput. It is neither complete not comprehensive, as the scores to anumber of works mentioned in the literature have not been located.Further, because of the somewhat muddled state of the early chronology, this list cannot claim to be definitive.

NEXT PAGE

62

Ampico Composer/Title

6315 Chopin Ballade No. 4 in F minor, Op. 525065 Chopin Nocturne in F sharp, Op. 15 No. 2 (also 10056)5514 Chopin Waltz in A minor, Op. 34 No. 25518 Chopin Waltz in C sharp minor, Op. 64 No. 26123 Debussy Arabesque No. 1 (also 10056)5071 Debussy Images, Series 1: Reflets dans l’eau5242 Dvorak Humoresque in G flat, Op. 101 No. 76458 Grieg Improvisation on a Norwegian Folksong,

Op. 29 No. 16414 Leschetizsky Etude, Op. 43, No. 26888 Leschetizsky Souvenirs d’Italie, Op. 39 No 1

(also 10056)6333 Liszt Liebestraum No. 1 in A flat (also 10006)10006 Liszt 3 Liebestraume5042 Liszt Liebestraum No. 3 in A flat (also 10006)5160 Liszt Hungarian Rhapsody No. 13 in A minor5617 Mendelssohn Duetto in A flat, Op. 38 No. 65064 Ornstein Berceuse6506 Ornstein Prelude tragique5066 A. Rubinstein Melody in F, Op. 3 No. 16924 A. Rubinstein Piano Concerto No. 4 in D minor,

Op. 70: 1st mvt. (solo part only)5616 Schumann Arabesque, Op. 186281 Schumann Fantasiestucke, Op. 12 - No. 4, “Grillen”6812 Schumann Kreisleriana, Op. 16 - No. 26845 Schumann Kreisleriana, Op. 16 - No. 85800 Scott Danse negre, Op. 58 No. 5 (also 10056)6371 Scriabin Etude in C sharp minor, Op. 2 No. 15724 Zeckwer En bateau

Title Date S Number

Memories from Childhood 1925 S066Piano Sketch Books 1939 S068Bagatelle 1952 S100Four Impromptus c.1952?-1976 S300Seventeen Waltzes 1958 or 1966-1980? S400Sixteen Metaphors 1959-1978? S200A Moment of Retrospect 1950s? S156Tarantelle Diabolique 1960 S101Three Fantasy Pieces c.1960-1961 S440Four Legends 1960-1982 S350To A Grecian Urn ? S154Tarantelle c.1963? S155A Long Remembered Sorrow 1964 S102Four Intermezzi 1965-1968 S320Mindy’s Piece 1967 S103Evening’s Sorrow 1968 S104Some New York Scenes 1971 S105A Morning in the Woods 1971 S106Sonata No. 5 (Biography) 1974 S361Burlesca (A Satire) 1976 S107Ballade 1976 S108Valse Diabolique 1977 S109Nine Vignettes 1977 S380A Dream Almost Forgotten 1977 S110Three Tales 1977 S111Just a Fun Piece 1978 S114A Small Carnival 1978 S115Solitude 1978 S116The Recruit and the Bugler 1978 S117An Autumnal Fantasy 1978 S118An Autumn Improvisation 1978 S119Barbaro: A Pantomime 1978 S120A Reverie 1979 S150A Chromatic Dance 1978 S151Sonata No. 6 1981 S362The Deserted Garden 1982 S152Six Journal Pieces 1987-1988 S330Sonata No. 7 1988 S363Sonata No. 8 1990 S364Four-Hand Piano WorksPiece Pour Piano 1913 ?Quatre Impressions de la Suisse c.1913 ?Two Improvisations 1921 ?Seeing Russia with Teacher 1925 S552Piano Concerto - 2-piano version ? ?Other WorksPiano Quintet 1927 ?Danse Arabe 1914* ?Eleven Short Pieces, Op. 29 ?* ?“Scenes from a Parisian Life”* ? ?Seven Fantasy Pieces ? ?Galop Fantastique 1914 ?Impressions of Norway ? ?“Valley of Tears”*Impressions of Switzerland Op. 27 ? ?[piano 4 hands, quartet & chorus*?]The Masqueraders c.1916/17 ?4 Religious Impressions, Op.38* c.1913? ?Sonata, Op. 25* 1914 ?Sonata, Op. 35* ? ?Sonata, Op. 36* ? ?Sonatina, Op. 15 ? ?(uses Greek Folksong in ms*)

* indicates that some information about this work was compiled from FrederickMarten’s book. Some of these compositions are not mentioned elsewhere, have dif-ferent titles and/or may never have been completed or notated.

ORNSTEIN ROLLOGRAPHY COMPILED BY GORDON RUMSON

Title Date S Number

Solo Piano WorksNocturne ? S001At Twilight 1911 S002Piano Pieces 1913 S003Dwarf Suite, Op. 11 Spring 1913 or 1915? S052Danse Sauvage Op. 3 #2?* c.1913 S054Nocturne No. 2 ? S004Three Moods ‘Anger, c.1914 S005Peace, Joy’*Cossack Impressions c.1913/14 S055Impressions of Notre Dame, Op. 16* c.1914 or 1913* S056Pygmy Suite 1914 S070Three Preludes c.1914 S057Suite Russe, Op.12 c.1913/14* S058Improvisata 1914* ?Suicide in an Airplane ? S006Nine Miniatures, Op. 7?* 1915 S072Poems of 1917 1917 S061Barcarolle ? S008A la Chinoise, Op 39 pre-1918 S060An Allegory pre-1918 S007Burlesques, Op. 30 early* ?Moment Musical 1918 S071(after Schubert)Serenade 1918 S050Sonata No. 4 1918 S360A la Mexicana pre-1919 or 1920 S059Impressions of the Thames 1920 S053Six Water Colors 1921 S067(9) Arabesques 1921 S062Nocturne No. 1 c.1922 S153In the Country 1924 S063Prelude Tragique 1924 S069Two Lyric Pieces 1924 S064Musings of a Piano 1924 S065

63

GIFTED PIANIST, AVANT-GARDE COMPOSER

Leo OrnsteinLEO ORNSTEIN

Leo Ornstein, a Russian-born composer and pianist whoin the early 20th century was a leading figure of the

American avant-garde, died February 24 in Green Bay, Wisconsin. He was either 108 or 109.

Viewed as a radical composer, Mr. Ornstein was rankedwith Stravinsky and Schoenberg in the 1920s, and with Vareseand Antheil in the 1940s, first as an innovator and ultimately asa maverick. His early works made use of tone clusters,polyrhythms and other new techniques before they were widelyknown.

Audiences, predictably, were divided between horror andadulation. In 1918 the critic James Huneker called him “theonly true-blue, genuine Futurist composer alive.” At the sametime, The Observer of London described the “insufferablehideousness” of his “so-called music.”

Mr. Ornstein first came to fame as a piano virtuoso, performing his own works along with more conventional fare topacked houses. In 1918, when he was in his 20s, The NewYork Times described an audience for a matinee at Aeolian Hallclinging “to walls, to organ pipes, pedalbase stairs, or any nicheoffering a view.”

The same year a biography was published, “Leo Ornstein:The Man, His Ideas, His Work” by Frederick H. Martens. It described the pianist, among other things, as “an evil musicalgenius, wandering in a weird No-Man’s Land haunted with tortuous sound.”

But in 1983, Mr. Ornstein, who disliked performing, retiredfrom the stage. After the St. Louis symphony performed theworld premier of his “Nocturne and Dance of Fate” in 1937 hevanished into near-obscurity.

He did continue working in the 1970s, during a revival ofinterest in his work, he turned out to be living in a mobile homein Texas, happily composing.

His final work, the Eighth Piano Sonata, was composed in1990, when he was in his late 90s.

Leo Ornstein was born in December of either 1892 or1893. The son of a cantor, he began studying piano at 3. Beforehe was 10 he had entered the conservatory of St. Petersburg,where he studied with Glazunov.

In 1907 his family fled the growing anti-Semitism in pre-revolutionary Russia and settled in New York, where hestudied at the Institute for Musical Arts (now the JulliardSchool).

On December 11, 1918, he married Pauline C. Mallet Prevost, who also studied at the institute. The unusual unionbetween an immigrant from the Lower East Side and a ParkAvenue debutante lasted for 67 years, until her death in 1985.

“Fame never had much meaning or appeal to me,” Mr.Ornstein told Harold C. Schonberg of The New York Times in1976. “It was not worth it. If my music has any value, it will bepicked up and played. If it has no value, it deserves its neglect.”

By Anne Midgette

THE NEW YORK TIMESFROM THE PITTSBURGH POST GAZETTE

MARCH 6, 2002

Leo Ornstein

Russian born composer and pianist Leo Ornstein diedpeacefully on 24 February 2002 in Green Bay,

Wisconsin, USA. He was born in December of either 1892 or1893, making him either 108 or 109 years old.

Ornstein was recognized as a piano prodigy at an early age.He studied at the St. Petersburg Conservatory under AlexanderGlazounov but in 1906 was forced to flee with his family toAmerica where he studied at what would one day become theJuilliard School. He started giving concerts in 1911 and withina few years achieved notoriety, not only as a gifted pianist

performing works of Debussy, Ravel, Scriabin, Schoenberg,and Bartok for the first time in the US, but also through performances of his own radical ‘futurist’ compositions whichcreated a furor. A biography and analysis of his work was written by Frederick H. Martens when he was still in his twenties.

He was internationally known as a virtuoso pianist, and asa composer he was ranked with Stravinsky and Schoenberg. Inthe late 1920s, however, at the height of a successful concertcareer, he abruptly ceased performing. A few years later, together with his wife Pauline Mallet-Prevost, he formed amusic school in Philadelphia where he taught until retiring in

Sent in by Michael Walter

64

the mid 1950s. After that he devoted his time entirely to composing. His final work, an 8th Piano Sonata, was composedin 1990 when he was in his late 90s, making him perhaps theoldest active composer ever. That sonata and works from hisearly years will be performed by Marc-Andre Hamelin on 26March 2002 at Columbia’s Miller theater.

Although best known for a collection of radical earlyworks, throughout his life he wrote in diverse styles. Such stylistic eclecticism confounded his listeners which, in turn,may explain why he chose to retire from the concert stage inorder to follow his muse away from public pressure and scrutiny.

Having thus shunned the music world it is not surprisingthat the music world quickly began to ignore him, and as timepassed most people forgot about him altogether. Then in the1970s, along with a revival of interest in American music of theearly part of the century, he was ‘rediscovered’ and since then adozen or more records have been produced and many moreworks have been published. In 1975 he received the MarjoriePeabody Waite Award from the National Academy of Arts andLetters and The National Institute of Arts and Letters. Hismusic continues to be performed and recorded both in the USand abroad, and a biography is currently being written by themusicologists Michael Broyles and Denise Von Glahn. Hismanuscripts are held at the Yale Music Library; much of hismusic has been edited and published by his son under the imprimatur of Poon Hill Press.

He is survived by his daughter Edith Valentine of De Pere,Wisconsin, his son, Severo Ornstein of Woodside, California,five grandchildren, and four great-grandchildren.

Leo Ornstein, Dec 11 1895 - Feb 24 2002

Leo Ornstein, who died recently, is treasured in theAmpico world for his 25 roll recordings for that system

(including two of his own compositions). Throughout his life,though, he was dogged by controversy. Grove 1929 records hisdate of birth as above, but sources (that also dispute the spellingof fellow-Russian, Siloti’s, name) claim that Leo was born on Dec 2 1892 - which would make him 109 years old!

In 1907 Leo’s family fled Russia for the USA, where heentered, what is now called, the Juilliard School and studiedunder Bertha Fielding Tapper, who was, he asserted, “the greatest single influence on my life and music”. He made hisNew York début in 1911 before touring Europe in 1913 -1914.

Although most of the musical world has now forgottenOrnstein, in his 1918 heyday he was hailed as “the only true-blue, genuine Futurist composer alive”. Others were notquite so happy. When Ornstein played his Danse Sauvage forLeschetitsky, the master stigmatised it as “a bad joke”.

His À la Chinoise Op.39 was dedicated to another reproducing-piano eminence, Rudolph Ganz. Indeed, such washis fame in those early days that a biography of him appearedas early as 1920 - Frederick Marten’s Leo Ornstein, The Man,His Ideas, His Work. In this is written, “To many (he) represents an evil musical genius wandering without the utmostpale of tonal orthodoxy, in a weird No-Man’s Land hauntedwith tortuous sound, with wails of futuristic despair, with cubistshrieks and post-impressionistic cries and crashes”.

His work was inspired by several highly respectable composers, such as Grainger, Stravinsky and Schoenberg, butlacked their permanence. As his fortunes waned in 1925, hejoined the piano faculty of the Philadelphia Musical Academy.And in the late 1930’s he and his wife established their ownmusic school in Philadelphia, where he continued teaching,until he retired twenty years later.

Ampico owners can rejoice in the prodigious prowess ofhis pianism even in the system’s more conservative repertoire.For them he will certainly not be forgotten.

Sent in by Gerald Stonehill

Leo Ornstein aged 103photo Robert Pue Photography

65

Grand MannerGRAND MANNERBy Moriz Rosenthal

Sent in by Robert M. Taylor

A Conference Secured Expressly forTHE ETUDE Music Magazine

After an absence of seven years, MorizRosenthal has returned, at the age of seventy-four, for a transcontinental concerttour of the United States. One of the greatestmaster pianists of all time, Rosenthal studiedwith Joseffy and Liszt, and enjoyed the friendship of Brahms and Rubinstein. In theirenthusiastic reviews of his first concert, theNew York critics were unanimous in stressingtwo points: first, that Mr. Rosenthal’s amazingtechnical virtuosity seems to defy the ordinarymuscular wear and tear of the years; and second, that his performance stands supremeas one of the few remaining examples of thetruly “grand manner” of piano playing. In aninterview with The Etude’s correspondent, Mr.Rosenthal gave his opinions on those twopoints. -Editorial Note.

The pianist’s technic, like all of the component elements

of his playing, is a highly individual affair. Some

hands are by nature more pianistically endowed than others,

with more naturally flexible muscles. Technic can be acquired

by all types of hands, of course; but it comes more easily to

those which are, so to speak, born to develop it. And once

technic has been acquired, it is again an entirely individual

matter as to how long and how well it will endure. Some

people’s bodies stay young longer than others. Some are active

and vigorous at eighty, while others begin to show signs of

wearing out at fifty. This condition is governed partly by the

person’s inherited constitution, and partly by the process of

general metabolism. But, to a certain extent, it can be controlled

by the sort of life the person leads. To keep one’s self fit by

wholesome, regular living, and plenty of exercise, mental as

well as physical, is the best prescription for warding off the

onslaughts of time. A mind that has never been given a chance

to grow “soft” will retain its vigors. The same thing is true of

the muscles. I am heartily fond of outdoor exercise, taken in

wisely regulated doses. I have learned the highly interesting

Japanese art of Jiu-Jitsu, and I take keen pleasure in swimming.

Recently, I discovered that I can float, not only lying flat on my

back but also standing straight upright. That is a pleasant

accomplishment.

But the matter of physical exercise

can be overdone. This applies to the

pianist’s fingers as well as to his general

muscular development. One can work at

pianistic exercises in such a way as to

strengthen the fingers. One also can

overwork in such a way as to break down

his resistance. Finger work never should

be overdone. That, of course, is not the

equivalent of saying that it should be

neglected. The Latin poet, Horace,

advocated the golden mean in all things;

and, although he never saw a piano, his

counsels are very useful to follow in

keyboard work.

A Balanced SchemeI find it best to begin the day’s work with something that

engages the brain and the spirit rather than merely the fingers.

Work at interpretations while your mind is at its freshest, and

make yourself think. When those first, most zealous thought

processes have begun to cool down a bit, there is time enough

left to work at purely technical studies.

Now what shall those purely technical studies be? There

are those masters who advocate scales, scales, and nothing but

scales. Saint-Saens was one of them. I do not hold to this view.

Scales are highly important, and must be learned. Not only

must they be played, but they must also be felt. They must

come to lie naturally to the hand. Certain pieces, by Chopin and

Liszt, require fleet, even perfect scales as part of their

performance; and the scales must be there. But they are not the

best means of acquiring finger strength.

This is why. Think of the regular fingering of the regular

scale. The thumb, the second, and the middle fingers, which are

naturally the strongest, are used twice; while the fourth and fifth

fingers, which are the weakest, come into use only once.

Indeed, the fifth finger is used only to end the scale; and in

scales which begin with a black key it is not used at all. Such a

system is hardly helpful in building up strength where it is most

The “Grand Manner” in Piano Playing

THE ETUDEMAY, 1937

Moriz Rosenthal

66

needed. Thus, while scales must be practiced, for their value as

scales, they should not be regarded as the highest holy ritual of

finger development.

It is a better plan to practice the scales in thirds and in

sixths. Thus, the fourth and fifth fingers come into use as much

as the naturally stronger ones. It is, of course, much more

difficult to play these thirds and sixths; but for practice

purposes, they can be begun very slowly. Then even a less well

developed hand can undertake them; and it will derive actual

benefit while doing so. There are a vast number of excellent

published exercises available, but I purposely prefer not

mentioning any of them. Their value depends in so large a

degree upon the natural hand-structure and degree of

advancement of the player, that the individual teacher remains

the best authority to recommend the individual exercises that

each student should play.

The grand manner of playing? A great many people speak

of it as though it were the special manifestation of a special

period of time, like crinolines or snuffboxes. I do not believe

this to be the case. Again it is entirely a matter of individual

capacities, and the time epochs have little to do with it, except,

perhaps, in the historic sense that the time and environment in

which a person lives influence the shaping of his processes of

thought. No, the grand manner did not “come in” at one special

date, and “go out” at another. The grand manner is, very simply

- a grand manner. A manner of playing which forms itself upon

grand concepts, makes such concepts personal by grand

enthusiasms, and paints its pianistic pictures in bold, brilliant,

grand strokes. It is a matter of personal convictions, personal

inspirations, personal thought. At this point, perhaps, the

question of time enters the discussion. The more typical repre-

sentatives of this modern day seem less concerned with a free

outpouring of generous enthusiasms, than with the practical

means of achieving some goal. It is not considered “smart” to

give unfettered expression to one’s deepest emotions. One must

be nonchalant and practical.

Now piano playing goes deeper than a mere matter of

sitting down before a piano and touching the keys. It is, rather,

an expression of the sum total of the player’s spiritual powers.

The person who thinks and feels grandly, will also play grandly.

The person who thinks and feels practically, will play

practically. That is the entire difference. One cannot possibly

practice a piece for three months, thinking only of one’s

technic, one’s comfort, the impression one hopes to make, and

the chances for future success, and then expect to appear one

fine evening upon the concert stage and suddenly begin to play

with inspiration. The muse requires assiduous courting - not

chasing. Every moment of every practice period should be

dedicated to the same intensive and inspirational application

with which one hopes to surround the finished performance.

Now you perceive why I said, earlier, that the thoughtful work

should be taken while the mind is freshest.

The grand manner of playing is built upon the habit of

thinking in large terms: in terms of courage, of brilliancy. Any

age can produce it - if the representatives of that age will take

the trouble to cultivate those habits of thought.

That Individual TasteAnother question entering into the formation of a musical

style is that of taste. It is absolutely necessary to learn to make

one’s own judgments, independently of printed criticisms or

popular fads. Let me illustrate by pointing to the tremendous

vogue which has come into being during the past few years, for

Bach. Certainly, I intend no disparagement of Bach. He stands

to all thinking musicians as one of the greatest composers of the

world; but he has his limitations. The complete artist is

fashioned from two elements: what he does and what he is.

Now the Bach cult seems to lose sight of this fact. Its insistence

upon Bach’s magnificent craftsmanship (that is to say, what he

did), tends to blot out the fact that what he was, as revealed in

his powers of original thought and emotion, is not nearly so

original, so revolutionary, though often quite as sublime as

Beethoven. And even in the field of accomplishment,

Beethoven’s task was infinitely greater. Bach’s compositions

are formed of many smaller units, not one of which requires or

shows the greatness of a single movement of a Beethoven

symphony. Those who learn to think for themselves will

appreciate this.

They will understand that while Bach, one of the greatest

poet-composers of all time, can be as sublime as Beethoven, he

is sublime in a different way. Beethoven’s personality is richer,

more complex. Bach’s characteristics are chiefly God-fearing

piety, true depth of emotion, sincerity, contemplative thought,

pride, and a sort of old-gentlemanly humor. But there is lacking

the full wealth of upsoaring, even erotic, passion that stands

revealed in Beethoven. Nor can it be said that this is due to the

time in which Bach lived, for those qualities are evident in

Shakespeare and even in Ovid, both of whom lived long before

Bach. It is entirely a matter of personal chemistry, and this must

be carefully studied and understood in the formation of a

musical judgment.

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MasterpieceDISCOVERING A MASTERPIECE

How Two Musical Sleuths of Britain found “Rosamunde”

The night train from Salzburg to Vienna was slow andcrowded. Trying to sleep in their seats, Grove and

Sullivan found it hard to cross their legs, because of two largemen opposite them. But no inconvenience of traveling coulddispel their happy mood, for they were music lovers on a pilgrimage to the Mecca of Musicians. Distinguished men of music, themselves (Sir Arthur Sullivan, composer of the“Mikado” and other light operas, and Sir George Grove, writerand compiler of the famous “Dictionary of Music and Musicians”), they were journeying to Vienna to do homage toone greater than either of them - Franz Schubert.

It was the autumn of 1867, thirty-nine years after the deathof the great composer, and his music was just beginning to beappreciated at its true value. The two Englishmen had comefrom London with the hope of finding many unpublished andunknown manuscripts of Schubert. In particular they intendedto search for the missing parts of the captivating “Rosamunde”music. The beauty of the known had given promise of evenmore enchanting loveliness to be discovered.

In Vienna they visited Spina, the music publisher. He gavethem the freedom of his shop. For a week they ransacked dusty

shelves and drawers. They made the acquaintance of an agedclerk who remembered Beethoven’s visits to that very store.

Spina introduced the visitors to Dr. Schneider, a relative ofSchubert. The doctor gave them an overture and two symphonies but did not think the “Rosamunde” music was inexistence. But the search continued: for the men who weremaking it would not quit a worthy task.

Finally, however, when it seemed that the desired manuscript had been irretrievably lost, Grove and Sullivandecided to leave for Prague. But first they must say farewell toDr. Schneider. At the doctor’s home Grove reverted to the subject of the “Rosamunde” music. Dr. Schneider dimlyrecalled having once possessed a sketch of the wholecomposition. Grove begged to be allowed to look for it himself.He was taken to a cupboard long closed to the world. There in adark corner under the dust of forty years lay the orchestral partbooks of the complete score of “Rosamunde.”

That night the happy admirers of Schubert worked untiltwo in the morning copying the parts. When their task was finished they played leapfrog.

By Palmer Van GundySent in by Robert M. Taylor

THE ETUDEMAY, 1937

Ruhlm

an Music P

ub. Co. – F

ront of Ad

Sent in by Mike Kukral

68

Frick’s orchestrion CD like trip back through timeA visit to Henry Clay Frick’s mansion along Penn Avenue,

like many another historic site, takes you back in time visually.The coke/steel baron’s castle, however, goes most such

sites one better: it can take you back in time aurally, as well.Your visit with the Ghost of Audio Past begins on the enclosedporch.

Listening to Frick’s “music box,” better known as theOrchestrion, not only fills your ears with the same soundsAndrew Carnegie and other visitors would have heard a centuryago, it fills you with admiration that 19th century technicianscould have crafted such a thing.

The huge wood-encased machine is not just an artifact ofdays past: it demands that its present presence be recognized.Reminding somewhat of the sound source in the center of themerry-go-round at Kennywood, the Orchestrion is muchgrander.

Would the exemplar of conspicuous consumption have pur-chased anything less?

The amazingly diverse sounds coming from the originallyclock mechanism-run unit (purchased in 1894, electrified adozen years later) have been captured on “OrchestrionFavorites From the Frick.”

Much like a player piano, Orchestrion songs were deter-mined by perforated paper roles. The Frick collection numbers

around 130 titles; 15 of them are included here, leaving roomfor many disc sequels.

The self-playing pipe organ with rhythm and other sounds(restored a decade ago) is a product of its time. In other words,no country music, no rock, no rap.

Instead, the selections reflect the best-seller list that QueenVictoria could have scanned (who’s to say she didn’t have herown Orchestrion in one of her castles?) We’re talking, in otherwords, mostly classical and marches.

Of the latter, it’s no surprise that John Phillip Sousa is represented. His “Bride Elect March” is joined by others fromlesser-known composers: “Dixie Doodle Girl March,”“Yankiana March and Two-Step” and others.

“Broadway Rag” links the mansion here with Frick’s othermajor home in New York City. Dancers also can move to“Intermezzo Waltz” from Delibes’ “Naila” and pick up theirpace with “LebenHeisst Geniessen Galop.”

In a concert mood: Try Weber’s “Jubal Overture” andselections from Ponchielli’s “La Gioconda.”

Let it run through the other titles, and you have more thanan hour of ear-filling power. “Orchestrion Favorites” allowsyou to think you’re somewhere else, and some-time else.

The CD is available at Frick Art & Historical Center, the complex that includes the mansion, 7227 Reynolds St.,Pittsburgh, 15208.

CD ReviewCD REVIEW By David Sallinger, Daily News Lifestyles Editor

Sent in by Terry Smythe

‘Orchestrion Favorites From The Frick’

THE DAILY NEWS(PITTSBURGH, PA, USA)

FEBRUARY 25, 2002R

uhlm

an M

usic

Pub

. Co.

– B

ack

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69

My sole inspiration is a telephone call from a producer. - Cole Porter

Don’t bother to look, I’ve composed that already. - Gustav Mahler to Bruno Walter, who had stopped to

admire mountain scenery in rural Austria.

I would rather play “Chiquita Banana” and have my swimmingpool than play Bach and starve.

- Xavier Cugat

(Musicians) talk of nothing but money and jobs. Give me businessmen every time. They really are interested in music and art.

- Jean Sibelius, explaining why he rarely invited musicians to his home.

The amount of money one needs is terrifying. - Ludwig van Beethoven

Only become a musician if there is absolutely no other way youcan make a living.

- Kirke Mecham, on his life as a composer

I am not handsome, but when women hear me play, they comecrawling to my feet.

- Niccolo Paganini

Flint must be an extremely wealthy town: I see that each of youbought two or three seats.

- Victor Borge, playing to a half-filled house in Flint, Michigan

If one hears bad music it is one’s duty to drown it by one’s conversation.

- Oscar Wilde

Critics can’t even make music by rubbing their back legstogether.

- Mel Brooks

Life can’t be all bad when for 10 dollars you can buy all theBeethoven sonatas and listen to them for 10 years.

- William F. Buckley Jr.

You can’t possibly hear the last movement of Beethoven’s Seventh and go slow.

- Oscar Levant, explaining his way out of a speeding ticket

Wagner’s music is better than it sounds. - Mark Twain

I love Beethoven, especially the poems. - Ringo Starr

If a young man at the age of 23 can write a symphony like that,in five years he will be ready to commit murder.

- Walter Damrosch on Aaron Copland

There are still so many beautiful things to be said in C major. - Sergei Prokofiev

I never use a score when conducting my orchestra. Does a liontamer enter a cage with a book on how to tame a lion?

- Dimitri Mitropoulos

God tells me how the music should sound, but you stand in the way.

- Arturo Toscanini to a trumpet player

Already too loud! - Bruno Walter at his first rehearsal with an American

orchestra, as the players reached for their instruments

I really don’t know whether any place contains more pianiststhan Paris, or whether you can find more asses and virtuososanywhere.

- Frederic Chopin

When she started to play, Steinway himself came down person-ally and rubbed his name off the piano.

- Bob Hope, on comedienne Phyllis Diller

Never look at the trombones, it only encourages them.- Richard Strauss

In opera, there is always too much singing. - Claude Debussy

Oh how wonderful, really wonderful, opera would be if therewere no singers!

- Gioacchino Rossini

Movie music is noise. It’s even more painful than my sciatica. - Sir Thomas Beecham

I think popular music in this country is one of the few things inthe 20th century that has made giant strides in reverse.

- Bing Crosby

Theirs (the Beatles’) is a happy, cocky, belligerently resource-less brand of harmonic primitivism . . . In the Liverpudlianrepertoire, the indulged amateurisness of the musical material,though closely rivaled by the indifference of the performingstyle, is actually surpassed only by the ineptitude of the studioproduction method. “Strawberry Fields” suggests a chanceencounter at a mountain wedding between Claudio Monteverdiand a jug band.

- Glenn Gould

Musician QuotesMUSICIAN QUOTESSent in by Robert Ridgeway

Sandy Persky (far right) with family and friends and an87-key Gavioli organ

70

NewsFrom

The Chapters

Once again, Jasper and Marion Sanfilippo opened uptheir beautiful home and collection to host the Chicago Chapter Holiday party. The 44,000 square foot home (not atypo!) is one of the largest residences in the country. It is situated on 57 acres in Barrington Hills, a suburb of Chicago.It contains a vast collection of automatic musical instrumentsof every type, restored steam engines, and a 5 manual 80 ranktheater organ, the world’s largest. In addition to the residence,there are other buildings on the property including a hugestorage building, workshop for restoration work and a 20,000square foot building that contains the Eden Palais, an ornateFrench salon carousel measuring 46 feet in diameter, as wellas an extensive collection of band organs, dance organs, moresteam engines and a restored antique steam locomotive.

We started the evening by gathering in the carousel building for a delicious catered buffet dinner surrounded bythe instruments. After dinner, we proceeded to the house totour the collection. Member Rob Deland gave a presentationcomparing Ampico and Duo-Art rolls using Jasper’s 9’ KnabeAmpico and 7’ Steinway Duo-Art. After Rob’s program, wewere treated to a concert by the theater organ. The organ canbe played either by hand or in this case via its computer thathas a huge library of the performances of many of the worldsbest organists programmed into its memory.

It is always a treat to view the Sanfilippo’s vast collection. Their warmth and hospitality always make peoplefeel very welcome in their home. Special thanks also toMarty and Sandy Persky who helped organize this meetingand who coordinated the plans with the catering staff.

Mark, Frank andHope Rider with

military bandorgan

CHICAGO CHAPTERReporter: Kathy Stone

President:George Wilder (630) 279-0872

Jo Crawford in frontof the Eden Palaisfaçade

Joanne and Jim Tharpwith Cremona

Orchestral “K”

Bob Cobb with Wurlitzer “LX”

71

Mel Septon and Kathy Stone with Jasper’s restored steam locomotive

Barry Leedy, Chester Kuharski, and John Bower with 9’ Knabe Ampico and 5 manual organ console

Members dine in the carousel building in front of the 42’ high by 89’ wide Eden Palais façade

Jasper and Marion Sanfilippo in front of the Eden Palais Carousel

HEART OF AMERICA CHAPTERReporter: Kay Bode

President: Ron Bopp (918) 786-4988

The Heart of America Chapter of AMICA met for theirChristmas meeting on Dec.1 & 2 at the home and musicalmuseum of Gerald and Linda Koehler in Joplin, MO.

Saturday afternoon began with an AMICA 2002 Convention Planning Committee Meeting and then all chaptermembers were treated to an entertaining tour of the Koehler’slarge musical collection, which will be included on theSpringdale, AR, AMICA 2002 Convention tours. The museumcovers two floors and includes a wide spectrum of musicalinstruments and other related objects. Convention attendeesare in for a treat!

The Koehlers provided a delicious meal in the attachedapartment. After the meal, ice cream treats were served in thespacious recreation room/soda fountain. The Heart of America Thespian band provided several selections on various improvised instruments. Paul Morgenroth led thegroup and played melody on the harmonica and Dee Tylerplayed the electric autoharp. The talented (debatable) groupwas well received by all in attendance. (Perhaps there will bea reprise at the convention.) (Do I hear snickers? )

Everyone was surprised at the sudden appearance of agroup of faux Afghan women who sang a special putdownabout Osama Bin Laden. (Who were those veiled women?We’ll never tell!)

The regular chapter meeting was held on Sundaymorning followed by a gift exchange.

It looks like the “ole swimmin hole” now, but by June of 2002, Convention tour attendees will be greeted by a

landscaped piano shaped pond.

72

Our annual holiday party was held on Saturday, December 8 at the home of Dennis and Cindy Eiland inStow, Ohio. It was their first time hosting a chapter gathering,and they had a wonderful evening planned for us. We certain-ly didn’t go hungry as we were treated to several appetizers, adelicious dinner buffet and desserts, including a specialAMICA cake made by the Eilands’ next door neighbors.

After dinner, Dennis demonstrated his latest CD recordings on the Story and Clark nickelodeon. He has beenworking with QRS Music Technologies for quite a while andhe showed the group his recording setup incorporating thecomputer. The first two QRS releases are Merry-Go-Roundand Polka Party.

We tried out the 1927 Haines Bros. Ampico Model Agrand in the living room, where we were surrounded byCindy’s fantastic display of Department 56 Village buildings.Part of the group went downstairs to take turns pumping theH.C. Bay 88 note upright. And their Welte upright continuedthe entertainment until the gift exchange began. The familyroom was surrounded beautifully with white lights, and highlighted by a 10 foot tree featuring Coca-Cola ornaments.Everyone brought a music-related gift, which ranged from traditional piano rolls to a musical door wreath.

After the exchange, we got an update on the chapter’sReproduco project. The machine was purchased from a localestate and came with a nice collection of rolls. We hope tomove it to the national First Ladies’ Museum in Canton, Ohiosometime this spring. Our members will install it and dowhatever work is needed to get it playing well. Hopefullywe’ll be able to attend the dedication, along with several former First Ladies.

The evening endedwith caramel-coveredbrownies and coffee, energy for the next day’sjourney home via localantique malls in Ravennaand Medina. We’d like to thank our hosts for awonderful evening and lookforward to returning to thearea soon.

MIDWEST CHAPTERReporter: Christy Counterman

President: Judy Chisnell

Norb and Charlene Torer with treasures from the gift exchange.

A ride in this hearse is not a part of the tour, but it is a beauty which has been a part of many parades and celebrations.

Heart of America Thespians from left to right.

Back row: Charlie Tyler, Ron Bopp, Kay Bode, Jim Fletcher, PaulMorgenroth, Robbie Tyler, and Tom Hellstein.

Front row: Dee Tyler, Cynthia Craig, and Katie Hellstein.

Tom Hellstein waits by the soda fountain to start the museum tour.

73

A miniature train revolves aroundthe Coca-Cola Santa snowglobe

for Sherri Neff.

Dennis Eiland explains his latest recordings for thenickelodeon to Ken Vinen and Jeff Brabb.

Wes Neff and Jim Fleissnerenjoy holiday tunes on the Ampico.

Hosts Dennis and Cindy Eilandunwrap their gifts.

Judy Chisnell, Jeff Brabb, Judy Beaver, Rollie Chisnell and JimFleissner show off their finds.

Bernie the dog is very interested in what Donna Counterman and the Neffs are opening!

Wes Neff takes his turn pumping the Bay upright.

An impromptu repair check and the Ampico is playing perfectly!

74

TEXAS CHAPTERReporter: Brian “Catt” Cather

President: Jerry Bacon (214) 328-9369

Bill Flynt Hosts Successful Texas Chapter Meeting

The afternoon of Sunday, January 27 found many TexasChapter members and their guests at the home of Bill Flynt inDallas. Meetings at Bill’s house are always special, for hisliving room is home to a magnificent 9 foot Knabe grand towhich Bill has added a superb Ampico player action. Thispiano has quite a pedigree, having been used for many yearsby the Metropolitan Opera. Bill found it, and was able todetermine for the way the piano is structured that the originalintention was to install an Ampico action, but that this hadnever been done. Ever the resourceful enthusiast, Bill simply(simply? ….HA!) installed one.

Our program consisted of two songs sung by JudyRichey, a dear friend of the chapter, accompanied by Ampicoaccompaniment rolls. These rolls were originally intended toaccompany a singer or instrumentalist, therefore they have no melody, just the accompaniment. To a singer or instrumentalist playing with them they present a bit of a challenge, because instead of the piano accepting cues abouttempo, etc, from the performer, the performer must tailor theirperformance to the “locked in” accompaniment of the roll.

We were also treated to another performance, this time inBill’s garage, upon his calliope. Bill played several pieces forus and explained the fun he has had playing in parades and forother area events in the year or so he has had his calliope.

One of the other things that made this a good meeting isthat we got to see several new faces. Glynn Childers broughttwo guests: Conrad McCarty, who has attended one previ-ous meeting, and Danny Milburn, who had recently acquireda Kimball spinet player and was eager to learn more aboutmechanical music. Haden Vandiver also brought a guest,Dave Johnson, from Mesquite, TX . Bill had invited BobKershner who plays with Bill in his combo, the Blue Diamond Trio. We were all glad to meet these new musicalfriends. It was also good to see Mel Sutter from Bernice,OK. Many years ago Bill was our chapter reporter, and hebrought his digital camera, and is responsible for the photosthat accompany this report.

Naturally, there were lots of goodies to munch on anddrink, and we all had a wonderful time hearing great music,meeting new friends and renewing existing friendships aswell. Our thanks to Bill Flynt for opening his home to theTexas Chapter for a wonderful meeting.

Bill Flynt playing his calliope.....boy was it loud!

Bill Hoot and Bryan Cather found a nice quiet spot for conversation...underneath the Ampico!

Bill Flynt and Judy Richy before their performance

75

Bill Coffman, a ragtime keyboardistwho helped buy a Wurlitzer pipe organ asold as he was, acquire an even older movietheater to house it, and then turn the combination into the popular Old TownMusic Hall in El Segundo, has died. Hewas 75.

Coffman died last Friday while napping at the theater as he waited for hisbusiness partner, Bill Field, to present anafternoon program. Melvin D. Horowitz, anattorney and friend, said Coffman died ofcomplications from cardiac and pulmonarydisease.

Gigantic in sound and size, the mightyWurlitzer that Coffman and Field restoredover a period of years literally inhabited the188-seat theater the two men bought in1968. In 1995 the California Assembly declared the Old TownMusic Hall a living museum for silent film, classic talkies andold-time music.

Born in Mena, Arkansas, Coffman taught himself to playpiano by watching and listening to automatic player pianos andmatching his fingering to the keys as the ivories were depressedby signals from the perforated music rolls.

Encouraged by an aunt to pursue music away from hisstrict, religious family, he became a nightclub pianist andorganist. For 16 years, he entertained six nights a week at a barin Wilmington called Sirocco.

Eventually, he became intrigued by the pipe organs built bythe Rudolph Wurlitzer Organ Co. in the early 1900s to accompany silent films. And in the 1950s, he was able to studywith Jesse Crawford, who had accompanied silents in NewYork’s Paramount Theater and later retired to Los Angeles.

Coffman met the younger Field, an organist for churchesand skating rinks, through Field’s teacher in 1958. That yearthey paid $2,000 to rescue the Wurlitzer from the former FoxWest Coast Theater in Long Beach, where it had been installedin 1925.

Like others of its dwindling kind, the massive one-manband - about 16 feet wide and 30 feet tall with 26 ranks of 1,600

pipes, 268 instruments and 244 keys on four keyboards - wasmodified to include sound effects needed for soundless motionpictures. Included were horns, bells, sirens, whistles, gongs andgizmos to duplicate such sounds as horses’ hooves, machine

guns, surf, rain and smashing crockery.

“It isn’t the volume that makes thepipe organ so striking. It’s that you’re hearing the music live,” Coffman told TheTimes in 1982 during a demonstration of hisrestored Wurlitzer. “It’s sort of like a 1925 computer.”

The American Theater Organ Society has estimated that about 7,000 ofthe special instruments were built beforetalkies replaced silent films, and that by1995 fewer than 300 still existed.

After Coffman and Field boughttheir Wurlitzer, they gathered available partsfrom similar organs at Los Angeles’decaying Paramount and United Artistsmovie palaces, an old Chicago theater and acondemned Los Angeles church.

As they worked on the massive machine, Coffman andField hauled it around to shopping centers and other venues totest their improvements in improvisational concerts. Then theyfound the vacant old State Theater - vintage 1922, at 140 Richmond Street, El Segundo - and moved in.

They opened for business in 1969, with Coffman typicallyplaying an introductory piano and organ concert of ragtime andearly 20th century popular music. Sometimes he would playwhile the audience sang along on such songs as “Bill Bailey,”“My Gal Sal” and “Shine On Harvest Moon.”

Then, while Field took over the organ to provide the background “orchestra” and sound effects for the featured silentmovie, Coffman would introduce the 1927 classic “Wings” orthe 1925 Lon Chaney version of “Phantom of the Opera.”

Coffman ran the projector, sold refreshments and evencleaned the bathrooms.

Coffman is survived by a sister, Lou Bass of Mena; and abrother, Mark Coffman of Alameda, California.

Services are pending.

Memorial donations can be made to Old Town Music HallInc., 140 Richmond Street, El Segundo, CA 90245.

Bill Coffman, 75; Pipe Organist Performed at His Music Hall

By Myrna Oliver Los Angeles Times Staff Writer

76

Walter Heebner, a veteran record producer who gave newlife to a series of unique early 20th-century piano roll recordings that captured the nuances of original performancesby Paderewski, Mahler, Debussy, Ravel and other legendarypianists and composers, has died. He was 84.

Heebner, a Studio City resident who also produced westernbandleader Spade Cooley’s popular show on KTLA-TV in theearly 1950s, died of cancer February 10 in Burbank.

As a versatile recording director for RCA Victor and Capitol in the ‘40s and ‘50s, Heebner produced artists such asLeopold Stokowsky and Spike Jones. He also recorded MarioLanza, Tony Martin, Andre Previn, Jascha Heifetz, Frank Sinatra, Shirley Temple, Tommy Dorsey, Roy Rogers, theCount Basie Orchestra, Desi Arnaz and many others.

But it was his transferring to stereo analog the master tapesof some 500 vintage classical music piano rolls of 1905-20 -“The Welte Legacy of Piano Treasures” - in the 1960s thatHeebner considered his major artistic contribution to music.

Imagine sitting in the room listening to Debussy playingDebussy or Ravel playing Ravel. That’s what it was like listening to Welte piano rolls played by a Vorsetzer, a squat,700-pound machine with 88 felt-covered, human-sized “fingers” and felt covered “feet.”

Literally translated from the German as a “before-sitter,”the Vorsetzer would be placed in front of a grand piano and,guided by electronic impulses, play the piano rolls. But unlikeplayer pianos, which roll out only note for note, a Vorsetzerplayed back the music with the same emotion, dynamics andshading of the artist who originally played it.

That was made possible by the first step in the recordingsystem perfected in 1904 by Edwin Welte of the German firmM. Welte & Sohne.

The great pianists Welte invited to play sat at a specialgrand piano equipped with carbon rods that extended downward from each key. When the keys were struck, the rodsdipped into a trough of mercury and completed an electric circuit that controlled the pressure of an inked rubber wheelturning against a roll of thin paper.

If the pianist struck a key softly, the wheel marked thepaper faintly. If a key was struck forcefully, the rod sank deeperinto the mercury and intensified the current.

When the rolls were played back on a piano by the companion Vorsetzer machine, listeners not only heard themusic but the personality of the original performance. Indeed,when the widow of Italian virtuoso Ferruccio Busoni heard oneof the Welte rolls a few months after her husband’s death, she issaid to have run from the music salon screaming, “Ferruccio!Ferruccio!”

Before phonographs supplanted the demand for Welte’sVorsetzer, he had recorded performances of more than 100pianists and composers.

By World War II, however, the Welte legacy was largelyforgotten. But in 1948, an American named Richard Simontonacquired a set of master rolls that had been hidden in a caveduring the war.

Early attempts to make modern recordings of the Welterolls never quite met contemporary sound standards. Then, in1962, Simonton turned the historic rolls over to Heebner.

Heebner played the rolls back on a modern Steinway - thesame concert grand piano used in recording sessions by ArthurRubenstein - in an acoustically ideal studio with seven sensitivemicrophones. The resulting sound was better than even Weltecould have imagined.

“Those recordings are every bit as good as they might havebeen had the masters themselves been around to play for theStereo Age,” Time magazine wrote in 1963.

“I remember we’d be sitting in the recording studio andyou’d swear it was a human being in there playing,” recalledHeebner’s daughter Mary.

Heebner produced more than 50 Welte piano roll albums,which were released through his Recorded Treasures company.

Born in Wissinoming, Pennsylvania, in 1917, Heebnerbegan studying the saxophone and voice at age 9. By 13, hewas donning a tuxedo and playing in a ballroom orchestra threenights a week.

He graduated with honors from Temple University in 1938and studied pre-law at the University of Pennsylvania. But hehad continued playing music throughout school, and music wonout over a career in law.

In 1940, while continuing to play clarinet and saxophone invarious society orchestras, he landed a job in sales at RCAVictor in New York. While in the Army during World War II, heproduced V-Disc recordings in New York for the armed services. And after the war, he returned to RCA, which sent himto Hollywood as its Artist and Repertoire director.

He left RCA in 1950 to produce “The Spade CooleyShow,” which was broadcast live from a ballroom on the SantaMonica Pier. But after three years, he missed the recordingbusiness and returned to New York, where he started CapitolRecords’ Custom Division.

In 1955, he created a Q-Music Library for Capitol, aneight-hour repertoire of musical cues that is still in use today inradio, television and film.

Heebner also wrote the words and music for 20 songs,including “Purple Islands” and “Eternally,” which were recorded in the ‘50s.

In addition to his daughter Mary of Santa Barbara, Heebneris survived by his wife of 52 years, Claire; three other daughters, Dorothy Patrick of Chatsworth, Lesa Heebner of Del Mar and Toni Heebner of Sherman Oaks; and four grandchildren.

W. Heebner, 84; Revived Music of Piano GreatsBy Dennis McLellan, Times Staff Writer

From the Los Angeles Times, February 27, 2002Sent in by Bill Blair

77

ADVERTISING GENERAL INFORMATION ABOUT

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

Robin Pratt630 East Monroe StreetSandusky, Ohio 44870-3708Phone (419) 626-1903 e-mail: [email protected]

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

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

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

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

CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimumfor AMICA members. Non-members may advertise double themember rates ($10.00 minimum). Because of the low cost ofadvertising, we are unable to provide proof copies or “tear sheets”.

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

Non-member rates are double for all advertising. 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 first week of theeven months.

(Rev. 6-98)

There are two kinds of fools.

One says, “This is old, and therefore good.”

And one says, “This is new, and therefore better.”

~Dean Inge

FOR SALEORANGE COAST PIANO 17 A-100 series Link Orchestrion rolls callfor a list of titles and make-n-offer various music box shells call for sizes& prices, 2 Marshall & Wendells both built in 1927 5’ 4” AMPICOGrands, one completely restored and the second 100% unrestored.Franklin AMPICO Upright built in 1926 100% unrestored make offer!Steinway Duo-Art 6’ OR fully restored! Ebony satin with matchingbench and a 40 roll Library $17,850.00 or near offer. Weber Duo-Art 5’ 8” unrestored — make offer! English built vertical George Steck Duo-Art expression pumper unrestored — make offer! Imhof & Mukle Barrel Orchestrion 50 key 114” high with nickel plated trumpets veryimpressive instrument. A similar model can be seen on page 466 rightside lower part of page in Bower’s Encyclopedia. Comes with 12 tunebarrels. Call now for more details. Pierre Eich “Super Violin”Orchestrion. This instrument is now restored and sounds great! make-n-offer. Weber “Unica” excellent condition with beautiful beaded lamp shades. This is a wonderful mechanical musical instrument,1893 very rare North Tonawanda 25-key with tremolo Monkey Organ9-tune barrel. Late Model 1929 Mills Violano-Virtuoso mahogany caseworks great with 4 incredible rolls 2 recuts and 2 original also with service manuals make-n-offer! 3 Nickelodeon’s from “Knott’s BerryFarm”, Englehardt style “A” tiger oak with 3 original art glass panels$4,750.00. Link “2E” keyboardless needs new spoolframe. Seeburgmodel A with violin pipes. Call for more information and prices at (714) 432-7426 ask for Kim. We also carry a very large collection ofMusic Box Disks (sizes rounded off): Britannia: 9’s & 11’s Celesta: 15’s Criterion: 15’s Harmonia: 16’s Kalliope: 5’s, 7’s, 9’s & 13’s Komet: 8’s, 13’s & 20’s Mira: 15’s & 18’s Orphenion: 16’s Olympia: 11’s, 15’s& 20’s Polyphon: 6’s, 8’s, 11’s, 14’s, 15’s, 19’s, 22’s & 24’s Regina:11’s, 15’s & 20’s Symphonion: 5’s, 8’s, 9’s, 10’s, 11’s, 13’s, 15’s, 21’s & 27’s Stella: 13’s & 17’s. We are now America’s largest used playerpiano roll dealer. We carry Ampico, Welte, Duo-Art, Recordo and 88note player piano rolls by the 1,000’s. You now can see a lot of this stuff and even buy it through (Paypal) on our website at (http//www.playerpianos.com) We now ship Worldwide! (714) 432-7426 ask for Kim (1-03)1911 STEINWAY GRAND THEMODIST-METROSTYLE. ThisSteinway-A Grand was completely restored by John Farnsworth in 1985.It is not electrified and plays by its original foot pumping mechanism. Aone-of-a-kind collector’s item! Remains in excellent condition. $20,000firm. Call or e-mail for details. Michael Bauer 607-547-6231 [email protected] (3-02)1927 HAINES BROS. SPANISH art case grand with twisted iron bars inlegs with matching bench. Original unrestored condition. $4500. 1970’SOPERATORS PIANO CO. large orchestrion. $9000. For more infor-mation phone 828-327-2181, Hickory, NC, David Swanger. (3-02)1928 KNABE AMPICO GRAND PLAYER PIANO, Serial #104802.Completely rebuilt with new pin block and restrung in 1970’s. Excellentexterior condition. Tuned regularly. Plays rolls beautifully on manual sys-tem. Needlepoint bench and approximately 55 rolls (most original, somenew) included. Piano located in Charlottesville, Virginia area. Seller inConnecticut. Price $1,800. Call 203-869-8412, fax 203-629-2088 oremail [email protected] (3-02)WURLITZER ELECTRIC SPOOL FRAME $1200 with 15 10-tuneWurlitzer rolls; PHOTO PLAYER DOUBLE SPOOL BOX and track-ers $250; assorted Ampico and Duo-Art Parts; WESTERN ELEC-TRIC SELECTRA A ROLL COIN PIANO, oak $3000 to be rebuilt.Dave Shoemaker, 719-580-7529. (3-02)HAINES/AMPICO UPRIGHT 54” height, #68672. Plays, needs caseredone and touchup on the pouches. It was tuned last year and all thestrings are in good shape, all new bass strings. Rolls and bench available.Call 740-695-2292 evenings. (3-02)MILLS VIOLANO Serial #3282, Mahogany case, 6 rolls, completerestoration by Alan Erb in 1996, $35,000. Earl Scheelar, 510-843-9862,San Francisco Area; [email protected] (3-02)

78

AMICABROCHURES

(Free)

and

BROCHURE HOLDERS($3.00 each Post Paid)

Order from:

ROBIN PRATT630 East Monroe Street

Sandusky, Ohio 44870-3708

Phone: 419-626-1903

e-mail: [email protected]

For Sale a block or single: Reproducing 1 Grand KNABE & CO.Ampico; 1 Grand BALDWIN Welte Mignon; 1 Grand GEORGESTOCK Duo-Art; 1 Upright WEBER Duo-Art; 1 SPINTT Ampico;1 Player Pianola; 1 HURDY GURDY LUIS CASALI,BARCELONA street piano without ape; 2 square Piano STEINWAYAND CHICKERING; 1 VOSS & SON’S Grand; 1 Player mechanismin a case for every piano. All instruments are in need of restoration.Rudolf Hauschild, 41046 Leesburg, Florida 34788; Phone 352-669-5616. (3-02)RED WELTE (T-100), Philharmonic pipe organ and Orchestrion rollflanges, large - 3”and small 2 3/8” - $5/pair, 20 pair min. Postpaid in continental U.S. Mark Reinhart, Master Welte Studio, 118 N. LawrenceSt., Charles Town, WV 25414; e-mail: [email protected] (3-02)3RD ANNUAL PIANO ROLL FLEA MARKET, April 27, 2002,9am-1pm. Buy or sell. $10 table/$5 half table. Some restrictions onnew roll sales. Barton Player Piano, 2715 Fourth Street, S.E., Minneapolis, MN 55406; 612-378-1102. (3-02)HANSJORG LEIBLE’S HANDMADE BARREL AND PNEUMATIC ORGANS made in Germany. With moving figurinesand a lot of humorous surprises. See: www.magic-mechnaical-music.deMusik & Spiel, Automaten - Geratebau D-79400 Kandem/Holzen,Kirchstr. 2. Tel: 07626-7613, fax 07626-971009. (3-02)CHICKERING PLAYER GRAND PIANO - walnut satin finish,matching bench, completely reconditioned, rolls included - $15,000 orbest offer. Marjorie, 214-441-1866 or 214-356-0135. (3-02)AUTOELECTROLA Coin operated player piano, stain glass damage;SEEBURG 1930’s art deco wood case 10 record jukebox; both needrepair and restoration; absentee bids welcome. Call Archer Auction,888-772-1350; [email protected]; www.KansasAuctions.net/archer(3-02)NEW PIANO ROLL BOXES - 2 sizes available for 88 note: Large

(fits 2 3/4” Flange)covered with Black Alligator Paper(Top), BlackLeather (Bottom) or Brown Leather Paper (Top & Bottom)$2.50 ea. +Shipping. Small (fits 2” Flange) Covered with Black or Tan LeatherPaper (Top), White Litho (Bottom)$1.20 ea. + Shipping. 65 Note RollBoxes Maroon Paper (Top), White Litho (Bottom) $2.25 ea. + Ship-ping. A 10% Discount will be given on orders over $10.00, and a 20%Discount on orders over $100.00. Many other Repair Supplies available(Parchment Leaders, Flanges,Tubes, Tabs, Repair Tissue) CaliforniaPlayer Roll Co. www.calroll.com (760) 244-ROLL (7655) (3-02)3,000+ Used 88 Note Piano Rolls. Starting at $3.00 ea. Too many to

list! Please send your WANT LIST to [email protected] or RichIngram 8060 Royce Ave., Hesperia, CA 92345-7559. I will let youknow what I find, and the cost. NEW QRS ROLLS 20% off CatalogPrice for orders over $100.00, 10% on orders less than $100.00. Refur-bished Rolls (New Leader, Tab, Labels, and Box)$6.00 ea. CaliforniaPlayer Roll Co. www.calroll.com, (760) 244-ROLL (7655) (3-02)1916 WURLITZER 125 MILITARY BAND ORGAN mounted on 4’x 6’ small wheel parade trailer, very good condition. Can deliver westto Midwest, pictures on request, $24,000. WATLING OWL 5¢ SLOTMACHINE with music box, oak and nickel, very good condition,$12,500. Ervin Canada, 909-882-2297 (CA). (2-02)Great American Orchestrions for sale!!! SEEBURG G Orchestrionfully restored, $55,000 - a bargain! Rare SEEBURG L Orchestrionrestored, $55,000. Historic SEEBURG H Orchestrion with many rolls,unrestored; rare COINOLA SO Orchestrion, restored, one of threeknown to exist! Spectacular AMPICO CONCERT GRAND! bySchiedmayer of Stuttgart, Ampico A, stunning inlaid furniture finishcase with warm Mason-like tone! Tim Trager, 630-654-1145,[email protected] (2-02)LARGE COLLECTION FOR SALE: Over 1250 rolls includingapproximately 100 Welte, 110 Soloelle, 100 65-note, 115 Cecilianorgan rolls, 100 Angelus 65-note, 5 Wurlitzer, also some Melodant,Angelus, Themodist, Recordo, Solo Carola, Art Echo, Artrio Angelus,Gulbranson instruction rolls, O rolls, A rolls and 88-note rolls. 58-notepush-up player (walnut), Pianocorder kit, Pianocorder push-upplayer, “Sally” animitronic piano player and singer. Call DickLeonard, 415-665-7916. (2-02)WILLIAM KNABE COMPANY GRAND PIANO with Ampico “A”Reproducing Player System (restored), retubed, new tuning pins,dampers, and hammers (1983), dark walnut case, matching bench, androll collection. F. Moon, 417-886-6280. (2-02)

CLEVELAND PIANO KEY - quality key services at competitiveprices. Serving the trade for over 30 years. Our service available in topand front replacement, sharps, key bushings, blast cleaning and polishing. Call or write for complete pricing information. Other services available upon request! Richard Salamone or John Hoelzl,[email protected]; 440-933-3906; UPS to: Richard Salamone,4700 Lakeside Avenue East, Cleveland, Ohio 44114. (2-02)PLAYER AND REPRODUCING ROLLS for sale. Newly re-cut“Magic Melodies” DUO-ART and AMPICO rolls and new “Top Hat” 88 note roll. Original and other re-cut rolls; program rolls for AMPICO and DUO-ART. All in excellent condition. Write or call forlistings. Magic Melodies, 360 Lawless Road, Jamestown, KY 42629, call 270-343-2061. (6-02)TANGLEY CALLIAPHONE, Model CA-43 (Miner Mfg. Co.) automatic/hand play, great condition, with trailer, Honda generator and 8 rolls, $7750 firm, fob Houston. Call for info and photos. Dick Howe, 713-680-9945. (4-02)REPRODUCO, Operators Piano Co., complete with all pipes and manyrolls, good condition, $5200. Jukebox AMI D-80, very good condition,$1150. Jerry Cuda, 417-753-2063, e-mail: [email protected] (5-02)AMPICO, DUO-ART & WELTE Rolls, great selection of popular, classical and medleys. Also, 88-Note Piano Rolls, hundreds of used rolls,- $3.00 each plus shipping. Also New Old Stock QRS Rolls, $5.00 each. Will furnish lists on request. Dave Caldwell, 400 LincolnLake Road NE, Lowell, Michigan 49331; (616) 897-5609 (6-02)

WANTEDDUO-ART (176 NOTE ROLL PLAYER) CONSOLE or a remoteDUO-ART PLAYER FOR AN AEOLIAN residence pipe organ.Looking for 58 note Aeolian grand and/or Angelus/symphony rolls.Looking for a Subbass Box with reeds for an Aeolian reed organ. H.Towlson, 315-622-3326 or e-mail [email protected] (3-02)

ARTRIO-ANGELUS reproducing rolls and catalogs wanted. DavidKrall, 4218 Torrence Ave., Hammond, IN 46327, 219-932-2322 (4-02)AMPICO, DUO-ART & WELTE RECORDO Rolls wanted. I’ll buysmall or large collections. Now is the time to clean out duplicates andunwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. Lowell,MI 49331, phone 1-616-897-5609, E-mail: [email protected] (2-03)

79

John WrassePiano Moving

Specializing in:Player Grands, Nickelodeons, & Orchestrions

Anywhere in Continental US & Canada• • • • •

25 years experienceKnowledgeable Rebuilder and Collector

Well-known • References AvailableInsured• • • • •

Your instrument is wrapped, padded andsecured for transport in an insulated and

clean custom-built heavy-duty trailer.Professional and personal service.

John P. WrassePhone: 563-872-3495 - Cell: 563-580-2472

E-mail: [email protected] 216th St., Bellevue, IA 52031

(6-02)

BENNET LEEDY ROLLSTHE PIANO ROLL CENTER

LEEDY BROTHERS MUSIC ROLLS

4660 Hagar Shore RoadColoma, Michigan 49038

Phone 616-468-5986 • Fax 616-468-0019Email: [email protected]

Ampico, Welte, Duo-Art, 88 and 65 Note, Nickelodeon, andother rolls. Send for your auction and reissue lists today.

Serving collectors since 1970.Web page: www.leedyrolls.com

(2-02)

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

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

Ben Gottfried464 Dugan Rd. • Richfield Springs, NY 13439

315-858-2164 (6-02)

A Complete Restoration ServiceFor The Pneumatic Piano

Ben’s Player Piano Ser vice

AMICA Pacific Can-Am Chapterinvites you to its second

with the Annual Kite Festival

May 31, June 1&2, 2002 in scenicOcean Shores, Washington

Join us at the Ocean Shores Convention Center for aweekend of American and European fair organs, streetorgans, and calliope, and a host of other mechanical musicalinstruments. Enjoy the large organs outside, then go indoorsto the exhibit and demonstration rooms. Registration feeincludes a banquet, two box lunches, open house, doorprizes, and discount coupons from local businesses.

Located on the Pacific Ocean, mid-way between Seattleand Portland, our rally site is only minutes from beautifulsandy beaches. Galleries, shops, good restaurants, and recreational activities abound, all within easy walking distance of the rally. The host hotel, Linde’s Landing, is offering 2 nights for 1 (50% discount) or with a 3rd nightanother discount.

For Information & Registration: Norm or Sally Gibson, 125 Taholah St. SE, Ocean Shores, WA 98569-9549

Registration Forms at: www.thegibsonsbandb.com

80

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(6-02)

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For a preview of this important new book, please visit our website:

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Only $120 each, plus $5 postage and handling for single copy USA ground shipment.For payment information, shipping rates on multiple copies, air mail, insurance, and outside the U.S., contact:

81

– ANNOUNCING!–

THE BILLINGS ROLLOGRAPHY, VOL. VI:

THE TEL-ELECTRIC COMPANY, 1905-17This unique company made an all-electric piano player that used brass rolls. It was in business only 12

years, until the start of the U.S. entry into WWI, but in that time issued as many as 8,000 titles!

Volume VI contains a catalog of over 6,000 of known titles issued by the Tel-Electric Company, arranged by roll number, title and composer, plus pictures of some of the pianists for the

hand-played series. This is an interesting snapshot of the music enjoyed by the wealthy in the first 20 years of the 1900’s.

We have compiled the first ever history of Tel-Electric, with many previously unkown pictures of the facility and machinery. Also included is a large technical section with descriptions, pictures and schematic

diagrams of the various models of players, and many patents. Over 600 pages, hard-bound.

TO ORDER: Send $75.00, plus $3.50 postage to : ROCK SOUP

14010 Rim Rock Drive, Reno, NV 89511-7347Phone: (775) 853-4659 • Fax (775) 853-3261

***********************Also specializing in the sale of RECORDO ROLLS, recut and original.

1926 5’8” Weber Duo-Art GrandCompletely restored:

• Pneumatic system rebuilt• New pin block and strings

• New hammers - complete regulation• Original ivories - perfect condition

• Soundboard refinished• Case refinished• Artist’s bench

• Matching roll cabinet and 50 Duo-Art rolls

$13,500Barton Player Piano Service

2715 Fourth Street - S.E. • Minneapolis, MN 55406612-378-1102

83

AMICA TechnicalitiesSince 1969, AMICA has been publishing into bound vol-umes, collections of technical articles written and con-tributed by its members for publication in The AMICABulletin. They may be purchased as follows:Vol 1 - 1969 to 1971 . . . . . . . . . . . . . . . . . . . . . . .$10.00Vol 2 - 1972 to 1974 . . . . . . . . . . . . . . . . . . . . . . . . .8.00Vol 3 - 1975 to 1977 . . . . . . . . . . . . . . . . . . . . . . . . .9.00Vol 4 - 1978 to 1980 . . . . . . . . . . . . . . . . . . . . . . . . .7.00Vol 5 - 1981 to 1988 . . . . . . . . . . . . . . . . . . . . . . . .20.00Vol 6 - 1989 to 1993 . . . . . . . . . . . . . . . . . . . . . . . .20.00

Postage PaidPlease note: Supplies of the earlier volumes may be

temporarily unavailable as stock is depleted. Overseas orders may take longer than domestic shipments.

AMICASTATIONERY

andENVELOPES

This is a reducedsample of

the small letterheadswhich can be purchased.

AMICA ITEMS FOR SALE

AMICA STATIONERY & ENVELOPESFor Quantities and Pricing contact:

Stuart GriggGrigg Graphic Services, Inc.20982 Bridge StreetSouthfield, MI 48034

Fax: (248) 356-5636e-mail: [email protected]

The AMICA Bulletin1971 through 1999 bound annuals

of the AMICA Bulletins$24.00 (U.S. Dollars) per year postage paid

Make checks payable to: AMICA International

Send Orders to: Stuart GriggGrigg Graphic Services, Inc.20982 Bridge StreetSouthfield, MI 48034Fax: (248) 356-5636e-mail: [email protected]

Get the Whole Story !In Stock Now Shipped Immediately !

The AMICA Bulletin remains the single source of complete information about the technical andsocial aspects of our hobby. No home library would be complete without a FULL SET of theAMICA Bulletins, bound into sets by year.

In addition, technical articles published in the bulletin have been extracted and published asinvaluable reference volumes. More than 30 years of knowledge, discovery and revelation can befound in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space!

ORDER TODAY! In stock for immediate shipping via United Parcel Service or US Mail.

Attention Chapters!AMICA Brochure Holders

are now available for $3.00 each.

They are clear plastic with AMICA Logo imprinted

on a gold label.

Included will be as many AMICA New Member Info Brochures

as you wish at no charge.

Make checks payable to AMICA International.

Order from:Robin Pratt

AMICA Publications630 East Monroe Street

Sandusky, OH [email protected]

84

REPLACEMENT LEADERSThese 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types ofreproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes.To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharpknife, discard scrap, and butt-join with magic mending tape on top surface.

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

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

C. Black on ivory (Most common)

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

E. Green on ivory (Most common)

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

G. Welte Brown on buff (Most common)

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

Please make checks payable toAMICA INTERNATIONAL, And send to:

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

e-mail address for orders:[email protected]

Checks or moneyorders from for-eign countriesmust be drawnon U.S. bank.

Style QuantityA ______________

B ______________

C ______________

D ______________

E ______________

F ______________

G ______________

Total Quantity ______________

Price: $ 1.00 eachMinimum Order: $10.00

Postage and Handling $ 5.50

Roll Order $ ________

Total Amount (U.S. $) $ ________

President's MessageI hope everyone is enjoying the start of Spring (or for Australians, Fall) and

~ thinking ahead to the AMICA 2002 Convention in Arkansas. If you haven't already,it's a good time to fill out the form and send in your registration. The deadline isnearing and I don't need to remind veterans how much fun our conventions can be.If you haven't attended one before, it's a good time to start.

Many thanks to Karl Ellison, ably assisted by Bob Tempest, for taking on thejob of the AMICA Membership Directory. This was the year for a new one andMembership Secretary Bill Chapman found he didn't have the time to do it. Therewas a mountain of data to enter as well as many updates. All this has to be compiledinto a format usable by our printer. Karl is well along with the data entry and soonyou will be getting a form showing the Directory information we now have for you.Please review it, make any corrections, additions or deletions (don't forget email andtelephone!) and return the correct form soon so that the updates can be made andthe directory can be sent for printing as soon as possible.

As the 2002 Convention approaches, so does the annual meeting. I ambeginning to develop the agenda, so any additions should be sent to me as soon aspossible. Chapters and Committee heads as always should prepare a written repolt in

advance of the meeting, which may be sent to me or to Secretary Christie Counterman for reproduction and distribution to boardmembers in advance of the meeting. Remember that our by-laws require that Chapters have at least three meetings a year and thatthey submit repOlts regularly for publication in the Bulletin. Those who do not, risk being placed on inactive status. Please view thisas encouragement to have meetings and to stay in touch rather than as a threat, but the rules were made for good reasons.

I look forward to seeing you in Arkansas.

Dan Brown

:J6.dh ~~r~~

lA;( ~~

J~

I purchased things like this on the eBay auctions. When I

send in my payment, I include an AMICA Brochure in the

envelope so they go all over the world. Included with this

issue are a few AMICA Brochures for each member. Include

one with your eBay purchase payment or if you are writing to

a friend. I notice that several members keep a stack of

Brochures on their pianos or near their music boxes so that

visitors can join in. Try it!

Will wonders never cease to appear from the

cob-webbed vaults of history. This outrageous postcard

picturing British actress Miss Ethel Oli vel' is priceless!

Although the roll is coming out of the TOP of the piano and

not the spool box, it makes one wonder just what this was

originally posed for? There is no information on the reverseother that the personal message written to Miss Nelle Moore

from her Mate, Lizzie. Great huh?

Robin

Hello and Happy Spring!

This postcard is intriguing. Do you think it possible that

U,' -·\ust maybe she is working on the prototype model for the

.~ -,' oddard note extensions patent?

~~-----------------------------------

47

\ ~ 2..?The Philharmonic Society of New York

r 4.~

FOUNDED 1842

Merged 1921 with

The National Symphony Orchestra

1923 EIGHTY-SECOND SEASON1782ND CONCERT

1924

WOOLSEY HALLNew Haven, Conn.

Tuesday Evening, October 30, 1923AT ]tIGHT-FIFTeeN

Under the management of Mr. Rudolph Steinert

Under the Direction of

WILLEM VAN HOOGSTRATEN r"___J

Assisting Artist:ALEXANDER SILOTI

PROGRAM

1. W AGNItR Overture to "The Flying Dutchman"

2. TCHAIKOVSKY Symphony No.6 ("Pathetic"), in B minor, Op. 74I. Adagio j Allegro non troppo.

II. Allegro con grazia.III. Allegro molto vivace.IV. Finale: Adagio lamentoso.

INTERMISSION

3. SCHUBERT-LISZ·r...."Wanderer" Fantasy, for Piano and Orchestra,in C major (Op. 15)

ALEXANDER SILOTI

4 W ( ) "T .. "("0 OJ). AGNER............................ a raume reams(b) Introduction to Act III, "Lohengrin"

ARTHUR JUDSON, ManagerD. EDWARD PORTER, Associate Manager

THE STEINWAY is the Official Piano of The Philharmonic Society

0.~

Sent in by Jeffrey Morgan

50

Memories from Childhood 1925 S066Piano Sketch Books 1939 S068Bagatelle 1952 S100Four Impromptus c.1952?-1976 S300Seventeen Waltzes 1958 or 1966-1980? S400Sixteen Metaphors 1959-1978? S200AMoment of Retrospect 1950s? S156Tarantelle Diabolique 1960 S101Th ree Fantasy Pieces c.1960-1961 S440Four Legends 1960-1982 S350To A Grecian Urn ? S154Tarantelle c.1963? S155A Long Remembered Sorrow 1964 S102Four Intermezzi 1965-1968 S320Mindy's Piece 1967 S103Evening's Sorrow 1968 S104Some New York Scenes 1971 S105A Morning in the Woods 1971 S106Sonata NO.5 (Biography) 1974 S361Burlesca (A Satire) 1976 S107Ballade 1976 S108Valse Diabolique 1977 S109Nine Vignettes 1977 S380ADream Almost Forgotten 1977 S110Three Tales 1977 S111Just a Fun Piece 1978 S114A Small Carnival 1978 S115Solitude 1978 S116The Recruit and the Bugier 1978 S117An Autumnal Fantasy 1978 S118An Autumn Improvisation 1978 S119Barbaro: A Pantomime 1978 S120 '--.-/A Reverie 1979 S150AChromatic Dance 1978 S151Sonata NO.6 1981 S362The Deserted Garden 1982 S152Six Journal Pieces 1987-1988 S330Sonata NO.7 1988 S363Sonata NO.8 1990 S364Four-Hand Piano WorksPiece Pour Piano 1913 ?Quatre Impressions de la Suisse c.1913 ?Two Improvisations 1921 ?Seeing Russia with Teacher 1925 S552Piano Concerto - 2-piano version ? ?Other WorksPiano Quintet 1927 ?Danse Arabe 1914* ?Eleven Short Pieces, Op. 29 ?* ?"Scenes from a Parisian Life"* ? ?Seven Fantasy Pieces ? ?Galop Fantastique 1914 ?Impressions of Norway ? ?"Valley of Tears" *Impressions of Switzerland Op. 27 ? ?[piano 4 hands, quartet & chorus*?]The Masqueraders c.1916117 ?4 Religious Impressions, Op.38* c.1913? ?Sonata, Op. 25* 1914 ?Sonata, Gp. 35 * ? ?Sonata, Op. 36* ? ?Sonatina, Op. 15 ? ?(uses Greek Folksong in ms*)

",---,,'

* indicates that some information about this work was compiled from FrederickMarten's book. Some of these compositions are not mentioned elsewhere, have dif-ferent titles and/or may never have been completed or notated.

'-- 1 COMPILED BY GORDON RUMSON

6315 Chopin Ballade NO.4 in Fminor, Gp. 525065 Chopin Nocturne in Fsharp, Gp. 15 NO.2 (also 10056)5514 Chopin Waltz in A minor, Gp. 34 NO.25518 Chopin Waltz in Csharp minor, Gp. 64 NO.26123 Debussy Arabesque NO.1 (also 10056)5071 Debussy Images, Series 1: Reflets dans I'eau5242 Dvorak Humoresque in Gflat, Gp. 101 NO.76458 Grieg Improvisation on aNorwegian Folksong,

Gp. 29 NO.16414 Leschetizsky Etude, Gp. 43, NO.26888 Leschetizsky Souvenirs d'italie, Gp. 39 No 1

(also 10056)6333 Uszt Liebestraum NO.1 in Aflat (also 10006)10006 Uszt 3 Liebestraume5042 Uszt Liebestraum NO.3 in Aflat (also 10006)5160 Uszt Hungarian Rhapsody No. 13 in A minor5617 Mendelssohn Duetto in Aflat, Gp. 38 NO.65064 Ornstein Berceuse6506 Ornstein Prelude tragique5066 A. Rubinstein Melody in F, Gp. 3 No. 16924 A. Rubinstein Piano Concerto NO.4 in Dminor,

Gp. 70: 1st mvt. (solo part only)5616 Schumann Arabesque, Op. 186281 Sch~mann Fantasiestucke, Op. 12 - No.4, "Grillen"6812 Schumann Kreisleriana, Op. 16 - NO.26845 Schumann Kreisleriana, Op. 16 - NO.85800 Scott Danse negre, Op. 58 NO.5 (also 10056)6371 Scriabin Etude in Csharp minor, Op. 2 NO.15724 Zeckwer En bateau

Title Date S Number

Solo Piano WorksNocturne ? S001At Twilight 1911 S002Piano Pieces 1913 S003Dwarf Suite, Gp. 11 Spring 1913 or 1915? S052Danse Sauvage Op. 3 #2?* c.1913 S054Nocturne NO.2 ? S004Three Moods 'Anger, c.1914 S005Peace, Joy' *Cossack Impressions c.1913/14 S055Impressions of Notre Dame, Op. 16* c.1914 or 1913* S056Pygmy Suite 1914 S070Three Preludes c.1914 S057Suite Russe, Op.12 c.1913/14 * S058Improvisata 1914* ?Suicide in an Airplane ? S006Nine Miniatures, Op. 77* 1915 S072Poems of 1917 1917 S061Barcarolle ? S008Ala Chinoise, Op 39 pre-1918 S060An Allegory pre-1918 S007Burlesques, Op. 30 early* ?Moment Musical 1918 S071(after Schubert)Serenade 1918 S050Sonata NO.4 1918 S360A la Mexicana pre-1919 or 1920 S059Impressions of the Thames 1920 S053Six Water Colors 1921 S067(9) Arabesques 1921 S062Nocturne NO.1 c.1922 S153In the Country 1924 S063Prelude Tragique 1924 S069Two Lyric Pieces 1924 S064Musings of a Piano 1924 S065

62

TH££TVD£MAy, J937

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f'i""" " ..."" _' ",", "" 1,;JI' • ... i -·v· : (' ;_ m, ,-

D1SCOVtRl~'~ AjM~T£RP1£C£By Palmer Van Gundy

Sent in by Robert M. Taylor

;~

I

1 How Two Ml'sical Slel'tl1s of13ritail1 fOl'l1~ HRosaml'l1~e".~:

" .

The night train from Salzburg to Vienna was slow andcrowded. Trying to sleep in their seats, Grove and

Sullivan found it hard to cross their legs, because of two largemen opposite them. But no inconvenience of traveling coulddispel their happy mood, for they were music lovers on apilgrimage to the Mecca of Musicians. Distinguished menof music, themselves (Sir Arthur Sullivan, composer of the"Mikado" and other light operas, and Sir George Grove, writerand compiler of the famous "Dictionary of Music andMusicians"), they were journeying to Vienna to do homage toone greater than either of them - Franz Schubert.

It was the autumn of 1867, thirty-nine years after the deathof the great composer, and his music was just beginning to beappreciated at its true value. The two Englishmen had comefrom London with the hope of finding many unpublished and

~'unknown manuscripts of Schubert. In particular they intended, to search for the missing parts of the captivating "Rosamunde"

music. The beauty of the known had given promise of evenmore enchanting loveliness to be discovered.

In Vienna they visited Spina, the music publisher. He gavethem the freedom of his shop. For a week they ransacked dusty

shelves and drawers. They made the acquaintance of an agedclerk who remembered Beethoven's visits to that very store.

Spina introduced the visitors to Dr. Schneider, a relative ofSchubert. The doctor gave them an overture and twosymphonies but did not think the "Rosamunde" music was inexistence. But the search continued: for the men who weremaking it would not quit a worthy task.

Finally, however, when it seemed that the desiredmanuscript had been irretrievably lost, Grove and Sullivandecided to leave for Prague. But first they must say farewell toDr. Schneider. At the doctor's home Grove reverted to thesubject of the "Rosamunde" music. Dr. Schneider dimlyrecalled having once possessed a sketch of the wholecomposition. Grove begged to be allowed to look for it himself.He was taken to a cupboard long closed to the world. There in adark corner under the dust of forty years lay the orchestral partbooks of the complete score of "Rosamunde."

That night the happy admirers of Schubert worked untiltwo in the morning copying the parts. When their task wasfinished they played leapfrog.

PIANO TUNING ANn PLAYER WORK

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Cash or Easy-Payment PlanSend for Prices and Terms

JOHN S. RUHLMAN

Dealer in

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...,'"


67

THE DAllY NEWS(PITTSBVRGH. PA. VSA)f"£BRVARY 25. 2002

CD<1t£V1£W By David Sallinger,Daily News Lifestyles Editor

Sent in by Terry Smythe

r.-.-J

·Orc'hestriol1 Favorites From The Friclt·Frick's orchestrion CD like trip back through timeA visit to Henry Clay Frick's mansion along Penn Avenue,

like many another historic site, takes you back in time visually.The coke/steel baron's castle, however, goes most such

sites one better: it can take you back in time aurally, as well.Your visit with the Ghost of Audio Past begins on the enclosedporch.

Listening to Frick's "music box," better known as theOrchestrion, not only fills your ears with the same soundsAndrew Carnegie and other visitors would have heard a centuryago, it fills you with admiration that 19th century technicianscould have crafted such a thing.

The huge wood-encased machine is not just an artifact ofdays past: it demands that its present presence be recognized.Reminding somewhat of the sound source in the center of themerry-go-round at Kennywood, the Orchestrion is muchgrander.

Would the exemplar of conspicuous consumption have purchased anything less?

The amazingly diverse sounds coming from the originallyclock mechanism-run unit (purchased in 1894, electrified adozen years later) have been captured on "OrchestrionFavorites From the Frick."

Much like a player piano, Orchestrion songs were determined by perforated paper roles. The Frick collection numbers

around 130 titles; 15 of them are included here, leaving roomfor many disc sequels.

The self-playing pipe organ with rhythm and other sounds(restored a decade ago) is a product of its time. In other words,no country music, no rock, no rap.

Instead, the selections reflect the best-seller list that QueenVictoria could have scanned (who's to say she didn't have herown Orchestrion in one of her castles?) We're talking, in otherwords, mostly classical and marches.

Of the latter, it's no surprise that John Phillip Sousa isrepresented. His "Bride Elect March" is joined by others fromlesser-known composers: "Dixie Doodle Girl March,""Yankiana March and Two-Step" and others.

"Broadway Rag" links the mansion here with Frick's othermajor home in New York City. Dancers also can move to"Intermezzo Waltz" from Delibes' "Naila" and pick up theirpace with "LebenHeisst Geniessen Galop."

In a concert mood: Try Weber's "Jubal Overture" and r'-selections from Ponchielli's "La Gioconda." --../

Let it run through the other titles, and you have more thanan hour of ear-filling power. "Orchestrion Favorites" allowsyou to think you're somewhere else, and some-time else.

The CD is available at Frick Art & Historical Center,the complex that includes the mansion, 7227 Reynolds St.,Pittsburgh, 15208.

Dept. C

u'I Few Choice Pieces of Sheet~usic that will Please You

"':l

""'&~

~I

c3

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P LAYER-PIANO music will get torn,and your favorite selections-the

ones you play the oftenest-are mostapt to get damaged. But this is nocause for worry. With a RuhlmanPatented Guide Card (Repair Kit)anyone can repair a damaged roll in afew minutes time. Each outfit includes enough material to make 12damaged rolls as good as new. Atyour music dealers for 50 cents orpost-paid from us for 60 cents.

~hlman ~usic Pub. (0.P. O. BOX 777

Trenton, N. J.

VOCALBoom-a-Laddie Boom, March Song f. S. RuhlmanCome Home to Mamma....•............ . f. S. RuhlmanIk Bad Man Will Ketch yo' .]. S. RuhlmanEverybody Thinks the World of Mother j. S. RuhlmanSweet Helen May j. S. RuhlmanTrust in God Rudolph RuhlmanWhen I Was young Rudolph Ruhlman

INSTRUMENTALA No. I March Rudolph RuhlmanDewey Did, Two Step March j. S. RuhlmanEnterprise Polka j. H. P,t<rmanLittle Pearl's Favorite, Schottish j. S. RuhlmanNaval Reserve March 0 •••••• 0 •• oR. B. Gr"nwoodQueen Margaret Gavotte R. B. GrunwoodSweet Helen May Waltz 0 0 ••••• 0 ••• oj. S. Ru'lmanStudents Pride March 0 •••• 0 0 0 0 ••• fo S. RuhlmanYankee Statesman, March. 0 •••• o' 0 0 o•.•.. j. S. Ruhlman

Sent post-paid at25 cents each or 5 jar $1.00. 0-

,-.--J


68

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