The AMICA News Bulletin Automatic Musical Instrument Collectors' Association

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April 1986 Volume 23 • Number 3

The AMICA News Bulletin Automatic Musica1lnstnunent Collectors' Association

-------------------------------,--~ DOROTHY BROMAGE, PUBLISHER POB 275 CCB

12071 767-4446 Cape Elizabeth, ME 04107

Published by the Automatic Musical Instrument Collectors' Association, a non-profit club devoted to the restoration, distribution and enjoyment of musical instruments using per­forated paper music rolls, AMICA was founded in San Francisco in 1963.

ADVER'rlSING Classified: 10a: per word, $1.50 minimum. • All copy must reach the publisher by the 10th of

the preceding month. Payment must accompany order. Make checks payable to: AMICA INTERNATIONAL.

• Checks or money orders from advertisers in foreign countries must be drawn on a U.S. bank.

Display Advertising Full Page 7'J2"x10" $100.00 Half Page 7'J2"x43/4" 50.00 Quarter Page 3 5/s"x43/4" 25.00 Business Card See advertising

section for cost.

• Each photograph or half-tone $7.00.

• See Bulletin deadlines on this page.

• We recommend display advertisers supply camera-ready copy. Copy that is oversized or undersized will be changed to correct size at your cost. We can prepare your advertisement from your suggested layout at cost.

• Payment must accompany order. Typesetting, layout or size alteration charges will be billed separately. Make checks payable to: AMICA INTERNATIONAL.

• Checks or money orders from advertisers in foreign countries must be drawn on a U.S. bank.

• All ads will appear on the last pages of the Bulletin at the discretion of the publisher.

Publication of business advertising in no way implies AMICA's endorsement of any commercial operation. However, AMICA reserves the right to refuse any ad that is not in keeping with AMICA's general standards or if complaints are received indicat­ing that said business does not serve the best interests of the members of AMICA according to its goals and bylaws.

Single back issues of the Bulletin are available from

the Publisher for $2.00 each.

PUBLICATION DEADLINES FOR 1986

For January/February issue January 10 For March issue February 10 For April issue March 10 For May/June issue May 10 For July issue June ·10 For August issue July 10 For September/October issue September 10 For November issue October 10 For December issue November 10

FOUNDING CHAPTER Pres: Gene McGraw Vice Pres: Diane Lillibridge Treas: Lou Klein Sec/Rep: Pat Stutts

SOUTHERN CALIFORNIA Pres: Jerry Pell Vice Pres: George Baker Sec/Rep: Susan Stricker Treas: Pat Hodge

TEXAS Pres: Bill Flynt Vice Pres: Richard Tonnesen Sec/Treas: Janet Vandiver Reporter: Haden Vandiver

MIDWEST Pres: Edwin Ward Vice Pres: Liz Barnhart Sec: Lawrence & Margaret

Frazer Treas: Alvin Wulfekuhl Reporter: Sue Ricca

PHILADELPHIA AREA Pres: Frank Diamond Vice Pres: Jay Albert Sec: Bob Rosencrans Treas: Bob Taylor Rep: Paul Woelbing

SOWNY ISOUTHERN ONTARIO, WESTERN NYI

Pres: Janet Drewniak Vice Pres: Carl Guhlow Sec. Chris Barley Treas: Mike Walter Reporter: Bill McCleary

ROCKY MOUNTAIN Pres: Dick Kroekel Vice Pres: Owanah Wick Sec/Rep: Art Reblitz

Don Wick Treas: Jere DeBacker

LADY LlBERI'Y Pres: Lenny Finkel Vice Pres: Oliver Vitaki~

Sec: Margery Vitakis Treas: John Ellems Rep: Dennis Valente

CHAPTER OFFICERS IOWA

Pres: George Apland Vice Pres: E.H. Breckenfelder Sec/Treas: Marjorie Apland Reporter: Jack Niewoehner

BOSTON AREA Pres: Judy. Welsh Vice Pres: Michael Potash Sec: Bill Koenigsberg Treas: Philip Konop Reporter: Donald Brown

NORTHERN LIGHTS Pres: Jerrilyn Boehland Vice Pres: Tom Wordeman Sec: Tracy Tolzmann Treas: Robert & Katheryn

Duma Reporter: Ruby Ahneman

SIERRA-NEVADA Pres: Bob Patton Vice Pres: Vicki Mahr Sec/Treas: Audrey Winters Reporter: Bob and Sonja Leomon

CHICAGO AREA Pres: Mel Septon Vice Pres: Marcie Plank/

Gloria Taylor Sec: Jerry Biasella Treas: Marty Persky Reporter: Mike Ehart

HEART OF AMERICA Pres: Tom Hellstein Vice Pres: Charles Tyler Sec/Treas: Billie Pohl Reporter: Katie Hellstein

SOUTHEAST AREA: Pres: John D'Loughlin Vice Pres: Norman Arnold Sec/Treas: David Burke Reporter: David Burke

GATEWAY Pres: Paul Stelzner Vice Pres: Roger Wiegand Sec-Treas: Mary Wilson Historian! Reporter: Marilyn McGarland

AMIC41nternational

1986 CONVENTION PHILADELPHIA, PENN.

JUNE 19 - 21 HOST: Philadelphia Area Chapter

• Do you wish to become a member of AMICM

Annual fee for U.S. members Canada and Mexico (air) Other non-U.s. countries (surface) New and lapsed members add processing fee

• Has your address changed! Write to Membership Secretary.

• Do you have a contribution for the Bulletin!

$22 $28 $28 $5

All subjects of interest to readers of the Bulletin are encouraged and invited by the Publisher. All articles must be received by the 10th of the preceding month. Every attempt will be made to publish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the publisher.

See Bulletin deadlines on previous page

Original Bulletin articles, or material for reprint that is of significant historical quality 'and interest, are encouraged and will be rewarded in the form of AMICA membership dues dis~ounts. (Chapter reports and Forum inqiJires are excluded.)

AMICA Intemational News BuRetin Volume 23 Number 1

CONTENTS mtures

Traveling Workshops " An Ossip Gabrilowitsch Autograph Piano Signing in New York AMICAn Ford and Wichita State University The Themodist. A Comprehensive Roll Catalog Piano lover Keeps Great Music Rolling Morton Gould: On Music and the Player Piano Halley's Comet

Depubnenls AMICA International

That Special Rol News from the Chapters Classified Ads

April 1986

, .. 40 42

.42 43 43 51 52 53 61

39 43 57 63

1he Cover: The cover photograph shows Eugene O'Neill with the instrument he called, "Rosie." This issue of the Bulletin contains two references to Eugene O'Neill. See article on page 40 and also the Philadelphia Area Chapter report.

./ The Eugene O'Neill photograph is used with the permission of the Collection of American Literature, the Beinecke Rare Book and Manuscript Library, Yale University.

'NlFRNAnONAL Off,aRS PRESIDENT Terry Smythe

(204) 452-2180 547 Waterloo St., Winnipeg, Manitoba Canada R3N on

PAST PRESIDENT Robert M. Taylor (215) 735-2662 1326 Spruce St., #3004, Philadelphia, PA 19107

via PRESIDENT Molly Yeckley '3 (419) 684-5742 612 Main St., Castalia, OH 44824

SECRETARY Dorothy Olds (218) 326-2488 1327 Crystal Springs Rd., Grd Rpds, MN 55744

PUBUSHER Dorothy Bromage (207) 767-4446 P.O. Box 275 Cape Cottage Branch, Cape Elizabeth, ME 04107

MEMBERSHIP SECRETARY Will Wild and Y.llerie Anderson New memberships

(803) 758-8846 P.O. Box 172, Columbia, SC 29202

TREASURER Tom Olds (218) 326-2488 1327 Crystal Springs Rd., Grd Rpds, MN 55744

BOARD REPRESENTATIVES Founding Chapter: Howie Koff Southern California: Dick Rigg Texas: Haden Vandiver Midwest: Vincent Ricca Philadelphia Area: len Wert SOWNY: Rick Drewniak Rocky Mountain: Dick Kroeckel New Jersey: John De Paris Iowa: Alvin Johnson Boston Area: Sanford Libman Northern Lights: lowell Boehland Sierra-Nevada: Chicago Area: Jerry Biasella Heart of America: Ron Bopp Southeast Area: John O'loughlin Gateway: Del Sewell

COMMITIIES TECHNICAL, Melluchetti

3449 Mauricia Ave., Santa Clara, CA 95051

ARCHIVES, Jim Weisenborne 73 Nevada St., Rochester, MI 4llO63

PUBLICATIONS, Dorothy Bromage P.O. Box 275 Cape Cottage Branch, Cape Elizabeth, ME 04107

AUDIO-VISUAL, Bill Blodgett 73 Nevada St., Rochester, MI48063

AFFILIATED SOCimES The Player Piano Group (England) The North West Player Piano Association (England) Netherlands Mechanical Organ Society - KDV Australian Collectors of Mechanical Musical Instruments Dutch Pianola Association Society of Friends of Mechanical Musical Instruments

(Germany)

AMICA 1986 ANNUAL MEETING The Philadelphia Area Chapter of AMICA looks forward to having

you attend the Annual Meeting in Philadelphia June 20-21. This mini-convention will include a visit to Longwood Gardens which was one of the highlights of the 1979 Meeting. At Longwood Gardens we will hear the Aeolian Organ with 10,010 pipes played by concert organist Vernon de Tar. For your visual enjoyment we have scheduled adequate time to explore the gardens and view the colored light fountain display at the conclusion of the organ recital.

On the way to Longwood Gardens we will visit the home of Duo-Art recording artist Josef Hofmann and an will be impressed by the extraordinary music room with carved panels of scenes from his life. The Friday schedule also includes a visit to the Wanamaker department store which houses the largest concert pipe organ in the world (originally installed in the 1904 Saint Louis Exposition).

Other events will include: a mart at which space will be provided at no additional cost; technical sessions; a presentation on the historical importance of reproducing piano rolls with particular reference to Enrique Granados' works; and open houses to view members' collections. Of course there will be the Annual Meeting of members, with election of officers.

There will be one optional event: a concert of the Philadelphia Orchestra on Thursday evening June 19 at their summer home in Fairmont Park's Mann Music Center (also known as Robin Hood Dell). An additional $5.00 per person will be charged for this event, and only registration received by June 7 can be included. The program will include a piano piece. One warning: we will be sitting outside, and the program goes on even if it rains, so come prepared.

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PIANO BABY

This contribution from Evelyn Schaller indicates the existence of an unusual piano accessory. Does anyone have a photograph of a "Piano Baby?"

Q: I have a big bisque figure of a baby iD a white ruffled Digbtsbirt. It is 11 iDcbes high. OIl tbe back it is marked "Heubacb." How old is it?

A: You own a "piano baby." The piano in the parlor of the 1880 homei was decorated like a table. A pais­o ley or a Spanish shawl with hanging fringe was draped on the top. and

. ~

'~5'" t . . .... the piano baby was' placed on the ~

. .... shawl to hold it in place. Gebruder Heubach of Lichte, Ger­~as oil

many,. made dolls and the piano =...... i. baby figures. Many of the piano·.·.·~··.·.-·..··-8 '.':;J<. '..-~ babies have been reproduced. Turn your figure upside down: If there is ~~: a pencil-point-sized hole in the bot­tom it is probably old. The new copies have large holes in the base.

The Eugene O'Neill Foundation, TAO House by Virginia Rei

The Eugene O'Neill Foundation is searching for a player piano which has disappeared.

In preparation for the centennial celebration of O'Neill's birth in 1988, our Foundation is working with the National Park Service, which now owns Tao House, to restore the furnishings at Eugene O'Neill's former California home.

In 1933, the O'Neills purchased from Wurlitzer in New York an electric piano, vintage 1890-1910. It was described as being a sickly green color, painted all over in red roses. Apparently it had come from a New Orleans bordello. This player piano, which Mr. O'Neill called "Rosie," was a great favorite of his. When the O'Neills left California in 1944, the piano was stored in California and was to have been shipped East in 1948. We have no further information on this player piano. Recently we have heard about a piano resembling "Rosie" being in a Tacoma, Washington area home in the 1950s, but have no confirmation.

We do not know that the O'Neills' piano was a Wurlitzer. Through correspondence with the Wurlitzer Company we have found that pictures we have of O'Neill's piano most closely resemble Wurlitzer Style I. Case Design 23, copies of which are enclosed.

We are appealing to anyone connected with player pianos in the hope of somehow finding the original piano that O'Neill so enjoyed. We will appreciate any ideas or suggestions you might have to aid our search.

Virginia Rei, Chairman Restoration Committee The Eugene O'Neill Foundation POB402 Danville, CA 94526

~~~~~~~~~~~

"TRAVELING WORKSHOPS" -APROPOSAL

by Tom Beckett

Considering the popularity of Technical Sessions at AMICA conventions and the fact that they are basically only available to those who are fortunate enough to attend these conventions, I wonder if some thought could be given to putting these technical sessions (or "workshops") on the road for a broader exposure.

I propose the above (more detail to follow) because my wife, Carole, is presently attending a workshop in spinning, presented locally by an out·of·town fiber artist who has been brought in by the Dallas Handweaver and Spinners guild. Carole is active in this group and has attended several workshops on weaving and spinning in the past year. By bringing in professionals and semi-professionals from across the country, the local guild furthers the education of its members with programs that bring refined techniques and updated information in a fun format that keeps local interest in the hobby f~

high. Why couldn't AMICA do the same? A little more information on how the Weavers and Spinners Guild

makes this system work. Obviously they have to have volunteers -people who will be willing to go on the road at least part of the time

* 40 *

to pass on their knowledge. Since many of their workshops are given by professional artists, they are paid (roughly $150 per day) for their knowledge. I suspect that in the early days of their program, the volunteers weren't given this bonus. Also, the workshop leader has

~ their travel expenses paid) and food and lodging is usually provided by a local member. When several guilds in a geographic area can be served, often the leader can make sort of a "loop" and cover several cities on one tour and thereby reduce the travel expenses for the individual chapters or guilds.

I think to get such a program started in AMICA the workshop leaders would have to be content with their travel, room and board being provided by the local chapter. A willingness and eagerness to share their expertise plus the advantage of a special trip to another city at vastly reduced cost would have to be the prime motivating factor. Perhaps in time, some of the truly expert restoration professionals in AMICA could be encouraged to go on the road for a small daily fee in addition to the aforementioned expenses. I should mention here that the Weavers and Spinners Guilds do charge a fee for their local members to attend these workshops and that 3-day workshops are not uncommon. A lot of information changes hands, personal contact is made with experts, and it is a lot of fun for the attendees as well as an additional bond to keep local guilds members' interest up.

How to start: Obviously, we need people who will give "work­shops" and will be willing to go on the road with them at least every now and then. And, the workshops don't necessarily need to be technical in nature. They could be live performances at the piano (I know that in some chapters this type of "workshop" with guest AMICA Honoraries is already a reality), lectures of a historical nature, or perhaps a visuals presentation (videotapes, slides, audio tapes) of some major collections or museums that many of us have

.... never seen. I am sure there are other categories that could be covered as well and Idon't think one should have to be considered an "expert" to contribute. I offer myself as an example.

Ido not in any way claim myself as an organ expert, but Ido have a fair amount of experience. Ioriginally built my own pneumatic chest to add a rank of pipes to a nickelodeon. Then I restored a Seeburg Mortuary (piano/pipe) organ. I expanded the capabilities of that instrument to include the playing of "A" and "G" rolls. I acquired a defunct 10 rank church organ, converted it to play with direct electric magnets, and added that to the Seeburg. I acquired an Aeolian Duo-Art reproducing organ console and 10-roll Concertola, rebuilt them, expanded the organ ultimately to 20 ranks with harp, chimes, and piano and added a digital recording system to copy the organ rolls. The organ got too big so I sold it and acquired a 49 stop Allen 705 digital computer organ. I talked to the Allen factory and with their approval (to keep from voiding the guarantee), I added simple electronic devices (I am no electronic genius, either) and turned their organ into a player! Using the digital recording system, I can record a live performance and make reproducing "tapes" - the organ plays itself from a live performance, it is NOT an audio tape. I can make reproducing "tapes" from "A," "G," and 6S-note rolls by adding my own stop registrations to the music and I am about to bring on line a Moller Artiste that I have just finished restoring. Repeat, I am not an expert but in several years I have learned a lot about residence self-playing organs whether bought to restore or worked up a great deal from scratch. Ifsome group was interested, I would think I could make up a program, complete with videotape

-./ visual aids for the bigger stuff that isn't portable, and go on the road once or twice a year and I think there are many others in AMICA that could do the same.

To get such a program going we need to make a list of volunteers to lead workshops that we can publish for AMICA chapters to study.

Then the chapters need to decide when they might like to take advantage of some offering and get in touch with the workshop leader and work out some arrangements. It should be understood that the chapter, either from fees charged its attendees or from the local treasury, is expected to cover the travel, food and lodging expenses of the workshop leader as well as provide transportation while on the scene. Of course, workshop leaders can always decline some or all of these services if they feel that generous, but it should be expected that they would be provided by the host chapter.

The potential workshop leaders need to provide, in reasonable detail, to the AMICA Bulletin (through a central source for now) just exactly what sort of workshop they can deliver, whether or not they will be giving hands-on type demonstrations that require attendees to bring supplies of their own, the time length of the workshop (this should be of reasonable length - probably one day (4-6 hours) minimum if you want people to pay your way) and what days of the week and time of the year they would be willing to perform.

Well, the fellow who proposes some grand scheme usually is elected to take care of it sol duly allow as how I will be willing to compile lists of workshop volunteers to submit to the Bulletin unless someone else would like to handle this program. Once underway, potential new workshop leaders should just be able to submit their name to a "Workshop" column in the Bulletin and then deal directly with local chapters. Volunteers - don't be shy! Yes, you take the risk that no one will jump at the chance to hear what you have to say, but I expect, that like any new program, early demand will be slow until local chapters see how much interest this can generate in a group that may have become somewhat stagnant. Also, if there are any other suggestions as how to get such a program going, I am more than willing to listen to them.

Should you be inclined to be enthusiastic, write me at: 6817 Cliffbrook, Dallas, TX 75240. From about mid-May to mid-June Iam going to be involved in a major move. Hold up for awhile at that time and then write me at 1111 Via Malibu, Aptos, CA 95003.

~ Tip of the Month ~

A Helpful Hint by Don Teach

Past issues of the AMICA bulletin have covered the subject of hot glue very well. Everyone should be using hot glue for all player repair work by now. Iplug in an electric light every time I use my glue pot so it does not get left on all night. Hot glue should be covered while you are using it so that it does not require the addition of water, which tends to dilute it.

In Memoriam The Publisher has just received word of the death of

Honorary Member Eddy Hanson in Wisconsin, on February 22, 1986.

* 41 *

New Yorkers Take Note An Ossip Gabrilowitsch

From an article in the Oregonian, sent by Joe Bogle, it is noted that Kathrin Cawein was awarded the Talcott Prize from the Society of American Etchings. This interesting paragraph also occurs in the article:

Working at first as an editor of player piano record for such famous artists as Rachmaninoff, Prokofieff and Hoffman, she succeeded at that career until the advent of radio destroyed the player piano market in the 1920's. "I was one of the few who could interpret the little black dots in the score to the slits in the paper," she said. "Their minds weren't attuned to mechanics like mine was."

According to Linda Cargill, author of the article, Kathrin Cawein is a native New Yorker, currently living in Pleasantville, NY Joe Bogle notes that there may be a further story here. Perhaps some AMICAn living nearPleasantville, NY could contact Mrs. Cawein for an interview.

Printmaker Kathrin Cawein takes down her painting called "NatilJity" at conclusion ofher exhibit at Pacific UnilJersity in Forest Groue, Oregon.

Piano Signing In New York by Henry Steinway

Steinway had a sort of celebration in the New York Store at 109 West 57th, on October 17, and they dragged by brother, John, and me out of retirement to do the piano signing thing. I am no photographer, but [ brought along my idiot proof camera, and here are the results.

Autograph r

by Terry Banister

Concerning the article in the November 1985 Bulletin on auto­graphed plates, Irecently tuned the Ossip Gabrilowitsch Mason and Hamlin here in Riverside. I had not tuned this piano for several years, so took camera with me. As you can see the piano is in poor condition. The owner didn't know the strings were broken! I replaced them after the photo was taken. The piano is a 1919 Mason and Hamlin 5'8" Model "A".

From the autograph, it looks like Gabrilowitsch used the piano the summer of 1923 in Santa Barbara. The present owner doesn't know the history of the piano_ The piano needs rebuilding and, as Henry Steinway stated, to do it properly you would re-bronze the plate and the autograph would be lost.

There is also a 5'8" Baldwin Grand in Riverside with an E.R. Schmitz autograph. Duo-Art rolls are a good way to authenticate signatures.

;/

Ossip Gabrilowitsch Autograph: A fine instrument Santa Barbara - May-September 1923

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Henry Steinway signing the piano with Mrs. Hanson, buyer, watching.

* 42 *

John Steinway signs as the purchasers of the piano, Mr. Hoffman and family, witness the event.

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That Special RoD QRS #20240 Aida, Grand Potpourri de Concert Want to by or borrow to reconstruct orchestrion roll

TerryBome POB 17145 Louisville, KY 40217

Duo-Art Lesghinka (Liapunov) Played by Dai Buell

Molly Yeckly 612 Main Street Castalia, OH 44824

Paramount #5561 You Brought a New King of Love to Me

Dan Kastler 300 Atlantic Ave Syracuse, NY 13207

QRS#1O-089 Tijuana Taxi

Tim Passinault 105 Hemlock Munising, MI 49862

Marche Heroique" (Saint Saens) Reward for this roll

Randolph Herr 111-07 77th Ave Forest Hill, NY 11375

Paramount #5561 You Brought a New Kind of Love to Me

Dan Kastler 300 Atlantic Ave Syracuse, NY 13207

Is there a special roll that YOU want? Send as much information as you can to the Publisher.

, Dorothy Bromage POB274CCB

AMICAn Ford and Wichita State University

Memorabilia of Thurlow Lieurance is on view in the Durksen Fine Arts Center of the Wichita State University. The showing is of his piano rolls, American Indian flutes, statuary, photos, music and records. Thurlow Lieurance was Dean of Music at the University for many years. He spent his early life living with the American Indians and recording their music. The piano roll is Duo-Art No. 67347 of Mr. Lieurance playing his piano arrangement of his famous song "By the Waters of the Minnetonka." Emmett M. Ford, owner of the roll shows the leader to Larry D. Edwards, Interim Dean of College of Fine Arts. An article about the display will be in a forthcoming issue of the magazine, HORIZON.

"The Themodist" by Mark Reinhart

I was recently looking through some back issues of the AMICA Bulletin and noticed a query about the origins of the themodist. The article mentioned conflicting statements as to who the inventor was. f did not see a response to the article, so ( thought I would respond with a somewhat timely answer.

The texts of the period generally cite Skinner and Crooks as the inventor of the themodist. I am submitting both the Skinner 637,736 patent and the Crooks 663,118 patent. The granting of patents to both men recognizes each as inventor of a particular aspect of the art. The Crooks patent has the earlier filing date yet each has laid claim to what was considered patentably distinct inventions.

The Skinner Figure 3 shows the music roll which controls the theme and accompaniment. The Crooks Figure 7 shows its music roll control. All of the Crooks drawings have been are included here to define the environment of the invention. The answer to the query is that both men are inventors and each has made significant contributions to the art.

The Pain 980,555 patent is also included here. The Pain reference is what most people associate as themodist. The Pain citation is the earliest reference showing the "snake bite" concept that I have found. It is important to note that the Pain application for a patent was filed nearly a decade after the Crooks patent application. Themodist, like so many things, was not the effort a single individual, rather it bears the mark of effort by many men. The themodist is the sum of its parts and not the single inventive concept of one man.

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Jlo. 673,736. Patented May 7, 1901. E. M. SKINNER.

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*50 *

A Comprehensive Roll Catalog by Dorothy Bromage

From time to time, the subject arises concerning the creation of a comprehensive roll catalog. Those who are interested in this have varied requirements. The most frequently mentioned wish is for a complete catalog that includes all known Ampico, Duo-Art and Welte reproducing piano rolls. Other AMICAns would like to include rolls for other expression pianos, as well.

Even if it only includes the three major systems, how feasible is a data compilation? To begin exploring this, [ request suggestions be sent to me. (It may turn out that such a catalog is already in the works somewhere!)

If I were to start from square one and begin a comprehensive catalog, I would look at computer generated roll listings that people have shared with me. Ahti Petaja, AU Werolin, the Koffs, and Sandy Libman are examples of people who have well·developed formats for their personal collections. These formats are all quite similar to each other and to my own. This makes me believe it would not be hard to devise a format, publicize it, obtain a consensus and get going, either as a Chapter project or AMICA International project.

[t never has been found feasible to create an AM[CA archive of actual rolls, in spite of persuasive arguments for doing so. If it were possible at least to know where rolls are, in private and public collections, then one would know where to begin looking when borrowing or taping was desired. When you read Alf Werolin's list, you can tell the physical location of the roll in his house ~ that is,

which closet or other area he has commandeered over the years. It is theoretically possible, in a giant comprehensive roll listing, to include where each known roll "resides." The problem with putting the theory into practice is that the list could never be accurate, given the constant ebb and flow of collections.

An actual roll catalog is not practical at this time, but an "issued rolls" listing, (perhaps with Elaine Obenchain's Ampico catalog as a model) is worth pursuing, in my opinin. A recent "find" in Portland, Maine, is a business with a working system that takes 5-y-! disks from any of about 90 different hardware configurations and translates them to the resident system (Macintosh) for printing out according to the typesetting requirements of the customer.

When Ivisited G & G Laser Typesetting in Portland and described an automatic musical instrument roll catalog, they immediately understood the possibilities. I felt that AMICAns interested in the project could be anywhere in the world and contribute, provided the format and certain limitations were adhered to.

The G & G Laser Typesetting is an outputting service for documents (text and graphics) created on the Apple Macintosh computer, or text generated on IBM compatibles and numerous other PC's. Output is available on either the Apple LaserWriter or the new Allied (Mergenthaler) Linotronic LlOO Typesetter. The Data Transfer Configuration is as follows:

Ideas sent to me will be summarized in a future issue of the Bulletin. Perhaps there can be some dialogue on the matter at the June mini-convention in Philadelphia.

DATA TRANSFER CONFIGURATION

YOUR DISKETTES

FROM

KAYPRO

MS - DOS

PC - DOS

CPM

TRS

SANYO

OSBORNE

IBM

EAGLE

EPSON

ZENITH

PLUS MOST

OTHERS

TANDY 1000

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YOU DO MOST OF THE WORK AT YOUR SHOP AND THEN BRING YOUR DISK TO G&G LASER. AFTER TRANSFERRING DATA TO OUR "MAC", WE MAKE DESIRED CHANGES (FONTS, SIZES, STYLES, ETC.) AND THEN PRINT OUT YOUR CAMERA.READY COPY.

ALLIED SERIES 100

POSTSCRIPT DEVICE

* 51 *

2C THE WICHITA EAGLE-BEACON Sunday, January 5, 1986

Piano Lover Keeps Great Music Rolling at Home lillie about the exteriot of the

modest frame bome hints at the musical and artistic wonderS to be found Inside, but tbere is one clue - the stained glass windows.

"I found them at a junk dealer's place in Wellington," said Emmell Ford, who owns tbe tlOuse. "He said tbey came from a fine old bouse but he had them so long he couldn't remember wbere it had the special quality of his pianos. been or wbo owned it. 1 bought They are player pianos. The grand tbem and had them installed. is an Ampico; the upright is a DU~

They give privacy and still let the Art. Piles of piano rolls are near light in." each. Stacks of rolls are kept in a

Ford bought the house in 1953, small room at the rear of the 15 years after he came to Wichita house. Eac.h ts cataloged on file .. from Englewood to stUdy piano cards kept in drawer after drawer

en with Stanley Levy at Friends Uni· after drawer. r-:> versity. He has remodeled the.. bouse extensively. One of his first "I'VE GOT more than a tbou·

.changes was remove the wall sep. sand rolls," FO~ said. "Rolls. araling ~ ~the two r~r!22..ms made by Padere ski, .Horowitz, from the living room. blS gave Debussy, Gershwin; HUbie Blake. h~O pianos. . I've got" a roll made by Tburlow

• Lieurance (first dean of the Wicbi· ONE ~a grand. It Is in the ta State University College of Fine

liVing roOm'\"ihe otber is an up- Arts) playmg a speCial arrange­right. It is in the space tbat was ment of his composition, 'Tbe Wa· once a bedrhQllJ. But Ford doesn't ters of Minnetonka.' And rolls by play either on~He lost he use of\. Hoffman, Levitsky, RUbenstein, his.kft ann, so far as piano p II .,,:;'1 Enescu." ing"TsCOiiCerned, many years ago. 1 The pianos are a major part of . "It gives me a lot of pain in cold Ford's involvement with music weather and somellmes it swells," and art, but there is much more. he said. "I think 1 damaged a He writes book reviews and stories nerve when 1 was riding in a Mod- about musicians, mostly pianists, el T Ford with some kids in Engle- for Amica, the journal of tbe Auto­wood and the driver drove into a matic Music Institute Collectors ditch. I was tbrown forward and Association, a national organiza· hit my head on tbe da,shboard. I tion dedicated to instruments actio think it pinched a nerve to my vated by perforated materials. arm." He has received two certificates

Ford's ann InjUry helps explain of appreciation from Arnica. Tbey

AnlI10ny Reed/Staff Photographe,

Longtime Wichitan Emmett Ford maintains an extensive collec­tion of music for the two player pianos in his home.

are framed and displayed on the "I got them by writing for wall over his typewriter. tbem," he said. "Sometime I

would like to have a display of THE WALLS of the living room them in the Wichita Art Associ·

are filled with portraits of musi· ation or some appropriate place."cians. Most are pbotographs, with Until tben, the pictures are safe­the name of each artist on the ly stored. Eacb has a label on the back in Ford's neat typing. Some back prepared by Ford. Each is are pastels. The most magnificent wrapped in heavy paper and kept is of an unidentified singer. It in an indiVidual heavy paper sack. dominates the wall near the grand . All(! there is more, much more. piano. Ford,~ 72, is a bacllelor who

Pbotographs. Ford has stacks of worked in the inspection depart· pictures, all pbotos of famous per­ ment of Beecb Aircraft Corp. from formers, stored in the small room 1940 until his retirement in 1979. where he types his stories and This provided time and money for keeps some or the piano rolls. another hobby, antiques.

"I USED to drive around during the '40s and '50s before there was tbis big rage for antiques that sent tbe prlcers sky bigh. I got some pretty good things, some to keep, some to sell.' But I got out of an­tiques years ago. Tbere were too many fakes.'"

Ford's house gleams with the furniture and antique art objects he kept.

"Tbis is a fine piece of Sevres porcelain," he said. "It's a patch box."

"Patch box?" "Wben sypbilis was common In

Europe 200 years ago many peo· pie had lillie sores on their faces. They covered them with patChes cut in tbe sbape of stars, moons or other decorations and pasted them over the sores, Tbe patches were kept on tbeir dressing tables in boxes like this."

Ford bas other examples of Sevres and many pieces' of Wedg­wood cbina, most of it framed and displayed on his walls.

:\ i)\,..- N / WI HAD to do that because of

people like tbe man who mashed out a cigar in a Wedgwood bOWl," be said.

Unthinking visitors have been a problem for Ford.

"I used to let ladies clubs tour tbe house," he said. "But 1 quit after a lady threw a purse With a lot of sequin things on it rigbt on top tbe grand. I took it off and put it on the "oor and told her tbat if the finish was damaged I was the one Who had to pay for it."

Other guests have caused Ford esthetic distress.

"I used to Invite people to bear the pianos," be said, " .,. but al· most everytime 1 start the piano roll, people listen for a While and then they begin to yak."

FORD HAS made plans for tbe disposal of his treasures.

"I've made my will," be said. "~Pianos and tbe rolls and eve bing about the plano will go to th Ampico Archives in Roches­ter, Minn., wbere they plan a mu· seum. Then I've set up a scholar'

~SbiP at WSU for plano stUdents. 1 bad lunch with Paul Reed (a member of the plano faculty) who is a real nice fellow, and he helped me set it up."

Ford's home companion is an aristocratically aloof cat, a big, tougb animal named Buddy.

"Buddy runs thing; bere," Ford admitted. bapplly. "He tbinks 1am here just to let him in and let him out and prepare his meals. 1 found him in the parking lot at Beecll in 1973, a little thing just about fro­zen. He developed into a terrible fighter, and hl! runs tbing; in this neighborhood as far as cats.are concerned.

"The vet told me Buddy wouldn't fight so much if 1 had him neutered. 1 had him neutered, and be fOUght twice as mUCh. The last time I took bim to the vet to get blm sewed up after a fight, It cost me S58 - which is more than it costs me wben 1 go to tbe doc­tor.'"

Comments on the Beacon Article by Emmett Ford

A newspaper reporter called me, and expressed an interest in pianos and rolls and wanted to come and talk. Here is the article he finally put together. How can a man stand in my 12 x 15 ft. living where there are one Geo. Steck Duo-Art 5'8H and a J & C Fisher Ampico5Y grand and write that the Ampico is an upright! He tells of separating one of two bedrooms and this is untrue, plus he magnified the condition of my left hand, which is not useless. There are days when I may drop my coffee cup, pencil or cigar, and cold weather creates pain, but not like he describes it. He mispelled George Enesco's name, no one mashed a cigar in a piece of Wedgewood (I had bought a tray in Houston that had a cigarette burn, but one removes the black with a soft toothbrush and toothpaste) and then he zeros in on the cat. He left out so much valuable information. Concerning his lengthy item on the framed photos - all Idid was put them in paper bags, write the name of the person and put them on shelves - he writes like Ispent hours storing them. Irecall a famous person said he never gave interviews, as things were distorted. Once the paper asked me to write an article so I did but somebody changed it all around, and a distorted result was printed. Regardless, Ireceived many calls about the article, and Iguess it created interest.

Setting Record Straight On Piano Roll Article I have received II telephone Therese Tietjens (1831·77).

calls and one letter from read· My age is incorrect; birthdaY' ers of Don Granger's Jan. 5 arti· come around fast enough with­cle, "Plano Lover Keeps Great out an increase prior to my Music Roiling at Home," telling birthday. of their interest in reading the I never had a cigar smashed article. I appreciate their inter· in a Wedgwood bowl. I had re­est. ferred to a small tray bougbt in

At Mr. Granger's· request, I Houston that had a cigarette had him visit me and discuss bum which was removed by tile history of the reproducing using a toothbrush and tOOUl­pianos, the rolls and pianists paste. The small Wedgwood who made the rolls. I do re­ trays are gifts 8JId not at my search and write for the month· collecting, and they are put, In Iy AMICA News Bulletin, and shadow boxes to prevent 'any realize that with the amount of damage. work Involved and regardless of My pianos and rolls will not care, errors can occur. go to the Ampico Ar~ves;

I did study piano with Stanley there is no such organization.. Levy, but not at Friends Univer­ The framed photos of pianists sity. Mr. Levy had a studio on who made plano rolls and cer­the fourth floor of the Winnie tain books will go to the AMlCA Building. (Automatic Musical Instrument

In my 12-by-15-foot living Collectors' Association, world­room, I have a George Steck wide membership club,. whose Duo-Art 5-1oot 8-lnch grand, and members find and restore musl· at the other end Is the J&C Fish· cal Instruments using paper er 5-foot 6-lnch Ampico grand. I rolls) Archives. don't know where Mr. Gl'!lnger When I bad my will made, it saw a Duo-Art upright; there Is was listed that my estate would an extreme difference between go to an Emmett'M. Ford Plano an upright and a grand plano. Scholarsllip at WSU.. I was inVit­

The trouble with my left hand ed to a lunch attended by Dean did not begin until 10 years ago. Edwards, Paul Reed, MurryI stopped plano playing when I Blackwelder and Monica Hart. began to work for an aircraft It was Monica Hart who worked factory. in 1940. The war effort 'with me to establish the endow· created a work schedule of 10· ment. to 12·hour seven-days, which I am not critical of Mr. eliminated any activity in piano Granger's efforts and know study. many enjoyed the artlcle, but

It· was Euble Blake and errors are often accepted and George Enesco Who made piano quoted as truths, and I feel such rolls and their names are mis­ should be corrected. spelled.

The 35-by·58-inch pastel is EMMETT M. FORD Identified as the great singer 1/14/1986 Wlclilta

Al and Pat De Lancey contributed the following, from a publication of the Aeolian Music Foundation.

MORTON GOULD: ON MUSIC AND

THE PLAYER·PIANO Few contemporary American composers haue won the respect and acclaim accorded Morton Gould. As a composer-artist, he has successfully spanned the realms of classical, semi-classical and popular music. One of the foremost composers of our era, he has made a lasting contribution to the American musical scene.

Morton Gould was born in Richmond Hill, New York, on December 10, 1913. By the age of four, he was already playing the piano and composing, and at six, had one of his compositions published. Through his ability to improvise on a given theme, he gained early critical attention as a child prodigy.

Mr Gould's talents have incompassed the entire scope of music. His creativity has made its impression on symphonic band literature and Broadway musicals, including "Billion Dollar Baby" and "Arms and the Girl". He has also been active in movies with scores for "Cinerama Holiday" and "Windjammer"; and has earned musical credits for such special television programs as "Turn of the Century" for CBS-TV and "The Secret of Freedom" for NBC-TV.

Currently writing a full-length ballet in conjunction with chore­ographer George Ballanchine, Mr. Gould still finds time for a series of articles and lectures on the place of music in our time, in addition to extensive recording sessions. A member of ASCAP for many years, he is presently on their Board of Directors.

Mr. Gould's works have been widely performed and recorded both here and abroad, and today he is acknowledged as one of the most prolific and versatile artists of the musical world.

Among his compositions are: three symphonies, "Foster Gallery", "Cowboy Rhapsody", "Spirituals for Orchestra", "Interplay for Piano and Orchestra", "Concerto for Orchestra", "Fall River Legend Ballet", "Serenade of Carols", "Symphony for Band", "Tap Dance Concerto", "Dance Variations for Two Pianos and Orchestra", and "Jekyll and Hyde Variations". Commissioned works include: "Declaration Suite", "Inventions for Four Pianos, Wind, Brass and Percussion", "St. Lawrence Suite", "Rhythm Gallery" and "Dialogues for Piano and Strings".

THE MOUNTING INTEREST IN THE COMTEMPORARY PLAYER-PIANO RAISES THE QUESTION OF ITS IMPORTANCE AND VALUE IN OUR PRESENT SOCIElY TO APPRAISE THE ROLE OF THE MODERN PLAYER-PIANO, AND TO EXPLORE THE REASONS BEHIND ITS GROWING POPULARITY, THE AEOLIAN MUSIC FOUNDATION VISITED THE EMINENT AMERICAN COMPOSER, MORTON GOULD. MR. GOULD'S FAMILIARITY WITH THE PLAYER-PIANO IS OF LONG STANDING, AND HIS CANDID, UNABRIDGED COMMENTS ARE HEREWITH REPRINTED IN FULL.

Interviewer: In a recent television program, you spoke of your experiences as a child with the player-piano. Mr. Gould: Yes, nostalgic memories. Ido believe I'm reaching that age where I can recall my youth with painful or pleasurable detail. Yes, I remember that old-fashioned upright with affection.

* 53 *

Interviewer: As you look back, do you feel that this old-fashioned player was a help in your early musical development? Mr. Gould: It was a decided factor in launching my interest in music, and was, as a matter of fact, the source of the first music Iever heard. They tell me that as a baby, Isat in my high-chair listening and observing the action of the keys as the piano rolls reeled off the repertoire of the day. Then too, my father, who was an amateur violinist, would often play while accompanying himself on the player­piano. This involved playing while pumping continuously with his feet-no mean feat in coordination!

Interviewer: Iunderstand that you were known as a child prodigy. Mr. Gould: I'll agree with your terminology if I may be allowed to split it up. I definitely was once a child ... and Isuppose you would say that I was "musical" since I started to play the piano and compose when I was about four years old. I had no previous background or tutoring, and my family history contained no professional musicians. So you see, the player-piano was my first authentic aural and visual entrance to the world of organized sound which civilization calls music. Through this medium, I heard some of the great piano literature ... as well as transcriptions of the popular and orchestral literature. Indeed, to this day, perennials such as "The Poet and Peasant Overture", "The Light Cavalry Overture" and so many others remain so imbedded in my mind that hearing them immediately recalls the player-piano.

Interviewer: Would you say that the player-piano was actually an influence on your musical growth? Mr. Gould: An influence, yes. How important is difficult to assess. Obviously, it's impossible to make an accurate estimate of the actual learning Imay have gained from observation and imitation. However, in my case, the player-piano served as a means of exposure to the world of music.

Interviewer: To what "status" would you assign the player-piano today? Mr. Gould: I believe you will first have to remember the era in which my own experiences took place before we can evaluate the importance of player-pianos in today's world. What chance did the child in the nineteen-twenties have to hear music? If he lived in a metropolitan city, he might have had the opportunity to hear a symphony orchestra. If he were doubly lucky, he was able to take music lessons, or perhaps his family was one of the few who owned a phonograph. Possibly he had, as I did, a plyer-piano in the living room. Otherwise, his knowledge of music was most likely limited to the local band concert, popular songs and a smattering of the classics.

Today all has changed ... and for the better! Music, like every other art form, is available at the touch of a dial, the push of a button. Radio, television, tape, records ... why today, the average listener can hear more great music in a month's time than his counterpart of not too many years ago could hear in a lifetime of concert-going. Even the word "concert" has lost much of its rigid categorical meaning. A concert can mean most anything today ... jazz, classics, a solo performance by a popular recording star. Our present concept of music is now one of familiarity and acceptance, and in this light we should appraise the present place of the player-piano.

Formerly, the player was both a means of education as well as entertainment. Look at the artists who cut music rolls - Rubenstein, Rachmanioff ... incidentally, Ieven cut several myself. The music for the player-piano encompassed a wide range of musical literature, and for many, this was the sole source of great music. Now we must look at the player as one of many means of home entertainment, and - when used with discrimination - as an introduction of the musical world to the child.

Interviewer: You mention today's wide availability of music. Would you also say that the appreciation of music has kept pace with other art forms? ' Mr. Gould: A good question ... so let's take a look. There has been a phenomenal developing of reading habits ... if more than three and a half billion books now sold each year is a fair barometer. And today, statisticians confirm that over fifty-five million people continue their education through the higher grades. All this, of course, is impressive, but even more outstanding - to my mind - is the growth of musical audiences and amateur musicians!

Last year, the total classical music box office outdrew baseball by more than five million dollars. To me, this is a gratifying statistic -not that I love baseball less; merely that I love music more. Our combined community and professional orchestrs represent sixty percent of all such groups in the world ... not to mention the myriad number of small neighborhood bands and institutional ensembles. this year, more than ten million children will be receiving musical instruction, both through their schools and privately. To anyone who loves music, it is dramatically exciting to watch this interest pyramid. And the calibre of material performed! I've seen concerts, operas, workshops ... productions done by students that surpass many a professional effort on the concert stage.

Interviewer: Let me ask this question: how do you think the player-piano fits in with today's world ... or to phrase it bluntly, do you think the player-piano has a place in current society? Mr. Gould: I admire your candor in taking the "bull by the horns" attitude. But you can breathe easily; the answer or answers are twofold, and both are positive. Each answer, by the way, would appear to be a product of our accelerated pace of living. First, I believe that there is a genuine resurgence of family ties and family life. Today, families are looking for things to do "together". And the player-piano, as a live centerspot of family entertainment, offers exactly this. Certainly it provides a warm, happy setting for all members of the family to share in each other's company, creating their own recreation. If it did nothing else, this alone would make it important. And, as we both know, it does many other things.

Interviewer: You said there were "two" answers. Mr. Gould: Yes, there's another part to the problem of accelerated living: the need for immediate success. How many people really want to devote the time to learn to play an instrument:

Take the businessman who enjoys music, but has never learned to play. Or the wife who took piano lessons as a child but now has forgotten practically everything ... much as high-school French. Here are people who honestly don't have the time for practicing, but who sincerely want to make music in one way or another for the pleasure of themselves and their listeners. And it is here that the advantages of the player-piano are readily seen. For the player gives them the opportunity to create music without sacrificing the time and energy which practicing and lessons consume. And, personally speaking, I feel that whether or not the player-piano is a nostalgic throwback to the "good old days", the image of a family and friends grouped around the player-piano is awarmly human sight.

Interviewer: Fine for the adult, but what about the child? Can the player-piano actually contribute to the child's musical education? Mr. Gould: First of all, I can't imagine any child not receiving the same thrill from the player-piano that I received as a child. True, to ( the older child, the player-piano becomes less of a magic toy and· more a means of learning. Here of course, is the nub of it ... the "learning". Is or isn't the child going to take music lessons? It's the perennial question that parents have to decide. Naturally, I'm in favor of letting as many children as possible be exposed to music. These are our future audiences! And ... as a composer as well as a

* 54 *

conductor and pianist, [seek ideal listeners who have an understand­ing of what I intended in writing a particular composition. Education, if you will, is simply the means to knowledge and appreciation.

Interviewer: Well put ... but where does the child start for his education? Mr. Gould: "Where" is a matter of opinion.

Interviewer: But your opinion is ...? Mr. Gould: ... that the piano is the best introduction to the wealth of music, that it's the most basic and satisfying instrument insofar as music training is concerned.

Interviewer: What do you mean by "satisfying''? Mr. Gould: Fun.

Interviewer: "Fun',? Mr. Gould: Yes, fun. Let me probe for a moment. Most of us are born with some inherent ability to distinguish between sound, noise and music. But to develop this ability in a child, we necessarily turn to music lessons. At first, music is a wondrous game of tone and rhythm ... an instinctive response to the tempo and beat. The child has no conception of the complex apparatus of writing, arranging or performing. Nor should he have. The child genuinely enjoys music for music's sake alone - and just so long as this pleasure continues, he learns and absorbs with avidity. How important is this joy of learning? Very!

Interviewer: Then you feel that "joy" is the incentive factor in the learning process? Mr. Gould: Exactly. Dictatorial discipline for its own sake is nonsense. Let's keep music, on the introductory level, as a game, Before music becomes an impersonal art form or a difficult task, introduce the child to the fun of making music. For this, the player­piano can be an excellent means. It presents an effortless way to make music without inhibiting the creative or "fun" incentive. You know, the child between the ages of four and eight has a decidedly limited span of attention, as ['m sure any parent will delight in confirming. But watch the child at the player-piano. He won't stay at it forever ... but while he's there, it's a fascinating, magical toy. Strangely enough, it's equally fascinating - on another level, of course, to the adult. Truly, the player-piano is an ingenious combination of music, activity and movement.

Interviewer: Again, however, what happens to the child? Is there any possibility that as the child learns to discover music as a game through the player-piano - that it might retard his learning to play manually? Mr. Gould: Idon't believe so. Igather you're overly concered that "Johnny" will find it too easy to play the piano as a player, thus forsaking practicing. In the first place, "Johnny" will learn a great deal more if he gets a kick out of learning. Secondly, no one like drudgery, and there is no present way (nor will there likely be one) to eliminate the practice which does, indeed, make for perfection. With the player-piano, you stir the child's appetite by letting him see how he could play, hear how he could sound. And plain curiosity and competitiveness will impell him to practice. When the child gains the desire and determination to activate his listening experience into a playing one ... then you'll have a music student.

Interviewer: I appreciate these long-range effects. However, are ther more immediate aids that the player-piano offers a child?

/' Mr. Gould: Three basics: an association from the key beign depres~d . . . and a certain tone resulting; exposure to the horizontal movement of the keys; and a resulting sense of phrase patterns.

Musicians often have a sense of pitch - commonly known as "perfect pitch". Most people have to learn to develop this gift ... then begin to utilize it. The player-piano affords an easily identifiable realtionship between key and pitch. The student is thus able (if taught to look for it) to develop this "pitch association" with a little concentration.

Secondly, if you ever took piano lessons, you'll probably remember learning a piece of music in which the right hand had all the work and the left was relegated to playing chords and keeping the beat. Compare this to the player's action. Both hands are used almost equally - and, to the student, this realization can be a considerable help when he or she becomes more involved with advanced work. And - the importance of the "linear" or horizontal movement? The student gains a visual sense of playing "across" the entire range of the keyboard.

Thirdly, the musical phrases that make up a compositon and that differ with each composer are apparent, both aurally and visually.

Interviewer: That was brief ... but a very illuminating explanation. Now, you're allowed to the later advancement of a student. How many would you say actually go on? Mr. Gould: How man choose music as their profession? I would say - about as many who have the necessary qualities (assuming that they are talented) to withstand the competition, the arduous hours of practicing, the low pay, the hundred and one problems that present themselves to the professional musician. And this, I'm afraid, boils down to a very small percentage. I would venture that the quality most necessary would be an unwavering compulsion to make music. Without this, there can be no drive. As for talent, I believe some "flair" must accompany it. Perhaps you would call this "personality". In any case, the flair or personality allows the artist to sell his talent to his audience, and this may well be the determinant of his success.

Interviewer: I notice that you have paid little mention to the teacher. Mr. Gould: Only because the teacher has really been the underlying thread for all of this.

Interviewer: Then you don't think the player-piano can "replace" the teacher? Mr. Gould: No more than the automobile will replace walking. The teacher, of course, is absolutely basic and necessary. The relationship between the teacher and student is fundamental. Obviously, the child learns better and more easily from the teacher whom he likes. Now - qualified music teachers today are well versed in their art, aware of the latest techniques in teaching, new materials, new compositions, new concepts. The question begging is the child's reaction to music lessons.

Interviewer: You mean interest? Mr. Gould: I mean interest. Let's say the child has been taking lessons for some time. If, after this period, he shows practically no interest in his lessons, little curiosity or is not eager to continue ... it's time for the parents to evaluate the worth of the music lessons and try to discover the causes of the problem. Possibly, the child is not yet ready for such concentrated l'xposure to music, or, at the moment does not have the desire or "motor" ability. These are the variables that have to be determined by both the parent and the music teacher. Perhaps he needs a little more "play time" with the piano to arouse his interest to the point at which he is willing to work at his lessons. In any event, no music lesson is ever really wasted ... for the child has gotten something ... a sense of accomplishment (or the experience of non-accomplishment); an exposure to discipline and concentration; and a beginning introduction to the world of music .

... 55'"

Interviewer: How do you feel about a typical family investigating in a player-piano? Mr. Gould: Ownership of just about any product is best decided by the individual needs of the particular family .If the Player fits into your way of life . .. there's your answer. Perhaps, for your family, a Console or Spinet ... or a Grand piano would better serve. The home-loving family which plans to spend (or would like to spend) more time with each other may well be better off with a player, in that it allows everyone to participate. But, in short, what I feel to be the major criterion in selecting a piano is simply to choose one that will complement your way of living and your family activities.

Interviewer: I'd like to thank you for your personal comments about the player. From your remarks, the giant revival of the player is easily understandable. One last point: would you personally recommend the player-piano for the family? Mr. Gould: In a general sense, yes - or rather the idea of the player-piano as we have discussed. It has certain unique attributes and can be enjoyed in a number of ways. Let me remind you again that today we have so many means of entertainment. They have their individual importance ... but the real enjoyment of music, however, comes from being a part of making or producing it. On this point, the modern player-piano can offer both fun and involvement - a "two-in-one" contribution. Although the reproduction aspects have limitation - and all reproduction does - the instrument can be played "live", a virtue in itself. Does that answer your question?

Interviewer: Yes, thank you ... it does indeed.

MUSIC I;) ERVANT and master am I: servant of

those dead, and master of those living. Throul::"h me spirits immortal speak the message that makes the world weep, and laug·h. and wonder and worship.

I tell the story of Love, the story of Hate, the story that saves and tl:e story that damns. I am the incense upon which prayers float to Heaven. I am the smoke which palls over the field of battle where men lie dying with me on their lips.

I am close to the marriage altar, and when

the graves open I stand near by. I call the wanderer home, I rescue the soul from th~

depths, I open tl:e lips of lovers, and through me the dead whisper to the living.

One I serve as I serve all; and the king I make my slave as easily as I subject his slave. I speak through the birds of the air, the insects of the field, the crash of wate18 on rock-ribbed shores, the sighing of the wind in the trees, and I am even hea.rd by the soul that knows me in the clatter of wheels on city streets.

I know no brother, yet all men are my brothers; I am father of the best that is in them, and they are fathers of the best that i. in me; I am of them, and they are of me.

For I am the instrument of God.

I AM MUSIC

The Academy of Modern Music Room 202,

Mt'tropole BuildinJt

Sh('rbr(K)ke, Qut'. Phone 111:'.

Contributed by Arthur Galwin

* 56 *

~:JffiCllmcfficmlClHlC.PJCCllIClllCffiR~c~a~I~~

News f,.(",,, t'"e C'''R1Jte,.s

GATEWAY Reporter: Marilyn M. Gartland

The Gateway Chapter's annual Holiday party was "over the River and past the farms" to Deane and Carole Wiley's house in nearby Glen Carbon, Illinois. A visit to view their collection and experience their hospitality is a Christmas gift for any AMICAN.

The genesis of the Wiley's musical collection was probably a music box given Deane by a family member. For over twenty years he has collected Edison phonographs and cylinders, 4,000 pieces of sheet music, 78 r.m.p. records, tapes of 43,000 tunes of jazz and Big Band music and piano rolls, all titles cataloged and computerized. An Autopiano built before 1905 plays 65-note rolls. Next to it stands a 1910 Wurlitzer reed organ and an electrified upright player. A 1922 Fisher 5Y2" Ampico played Christmas music from a 200-roll-selection.

During the business meeting new officers were elected: President - Paul Stelzner, Vice-President - Roger Wiegand, Secretary­Treasurer - Mary Wilson, Historian-Reporter -Marilyn McGartland A gavel was given to out·going President Del Sewell in appreciation for his efforts in starting the Gateway Chapter.

The calendar for 1986 was arranged with members deciding to meet quarterly in the new year.

PHILADELPHIA AREA Reporter: Paul Woelbing

On Saturday, March 22, Philadelphia AMICAns had the opportun· ity to attend a performance of "Ah Wilderness!" a play by Eugene O'Neill presented by the Hedgerow Theater. This play is of particular interest to AMICAns because the set directions specifically call for a player piano, to evoke the feeling of the era.

Bob Taylor, Frank Basil and Paul Woelbing with cast of "Ah Wilerness!"

The Hedgerow Theater, the country's first reperatory theater, turned to AMICA for assistance in locating a suitable instrument and specific rolls. These six musical pieces were important to the development of the plot and they set the mood for each act.

At the conclusion of the performance, several cast members specifically mentioned how much they enjoyed the piano, as few of them have had the opportunity to experience a player piano before.

SOWNY Reporter: Bill McCleary

On October 26th, Canadian hospitality beckoned AMICANs from S.O.W.N.Y. to Esther and Walter Pinchin's in Port Colborne for their Halloween meeting.

Business consisted of plans for members to attend the recital of Robert Wolfe at Shea's in Buffalo on November 3rd. and the formation of a nominating committee to select officers for 1986.

As usual, everyone enjoyed Walter's Haines Bros. Ampico as well as his various projects underway in his basement workshop. One item of particular interest was his Wurlitzer band organ under complete restoration.

After a scrumptuous buffet supper, members reluctantly pulled themselves away after having enjoyed a very pleasant evening.

Duncan Pollitt back stage with cast.

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Walter Pinchin beside his Wurlitzer band organ which is under complete restoration.

Esther and Walter Pinchin at their Haines Bros. Ampico

* * * * * The November meeting of S.O.W.N.Y. chapter was hosted by

Josie Woodbridge, assisted by Betty Walker at Josie's historic home in Lockport. This home built in 1830 exceeds the opulence of a bygone era with its wrought iron fence, gate house, thick stone walls and parklike grounds.

As we toured the inside, we could not help but be impressed with the many outstanding features of the various rooms from the

Josie Woodbridge's music box.

Laverne Griffith and Dr. Saari, a prospective new member, in deep discussion.

/

Stan Aldridge at foot pumper. Stan Aldridge, Jim Brewer and Jim Barley admiring Josie's disc player.

... 58'"

Holly Walter, Jan Drewniak, Mike Walter and Chris Barley enjoying luncheon.

intricate hand carved panels and the winding stairs to the beautiful party room at the lowest level whose wood-tiled ceiling is supported by huge carved pillars.

Josie's musical collection consists of some small music boxes, an Olympian disk player, a foot pumper, and a beautiful. sounding Steinway grand. As is usual when AMICANS get together, we not only pumped away at the player, but also removed panels so the curious experts could peer and probe inside.

Although the Steinway was not a player piano, we were fortunate to have Betty Walker as a piano player. Betty certainly gave us some

.../ delightful music on a superb instrument. After taking care of the sumptuous lunch - an important part of

any S.O.W.N.Y. meeting - a short business discussion concluded the evening with everyone going home determined to accept Josie's invitation to come back again when the trees are green and the flowers are in bloom.

BOSTON AREA Reporter: Don Brown

The winter meeting of the Boston Chapter was again held at the home of Pat & Joe Lavacchia. This time there were TWO band organs playing as we arrived! Our members brought rolls & rebuild materials for sale, yummies to eat, and stories to tell. Some members down from Maine, and some up from Rhode Island, to share the pleasures of the Lavacchia's hospitality. We played a Telectra and a Mills Double Violano, and we gaped at the three-cabinet Photo Player that was soon to be gutted for a complete rebuild, as a joint project by Joe, Ken Volk, and Alan Pier.

.-/ Duripg our business meeting, we discovered a new reproducer-piano group in California that was forming with music, rather than social or technical aspects of AMICA meetings to be their prime interest. Bill Koenigsberg demonstrated a brass polish which contains oxalic acid and does an excellent job cleaning up piano

Phil Konop's treasurers report is obviously acceptable.

Ken Volk presenting Fair Organ Slide Show

Joe's newest band organ, finally assembled and playing

* 59 *

".

Judy Welsh notes mixed feelings from group.

Judy Welsh - in action.

~

Herbert Magidson, lyricist and who wrote the song "The Continen­tal" (movie "The Gay Divorcee) died in the UCLA Medical Center in Los Angeles, 1/2/86 at the age of 78. The song won the first best­song Oscar in 1934. Magidson had collaborated with Conrad. The song was recorded on piano rolls, and the one1recall is the Arden & Carroll Duo-Art 0990.

- Emmett M. Ford

parts. It is made under the "Colonial" brand by Virginia Metalcrafters of Waynesboro. It is available locally. Bill also informed us that during a Chickering Ampico-B rebuild, all valves were B variety except one. He cautions that in dis-assembly, one must watch out for a valve mix, and be sure to replace in exact order removed, or the performance will be affected. Our President Judy Welsh will rent the QRS video for a future meeting. Dorothy Bromage reported on the Pianola Institute group in Britain, that covers all instrument types and that ,'" they hope to have concerts ... $15 to join the Institute. '

The feature of the ,afternoon was a slide show, with stereo sound accompaniment of fair organs at the Great Dorsett Steam Fair in England last September, presented by Ken Volk. The fair organs shown were both vintage and brand new! The sound heard with each instrument as the actual sound of that instrument, recorded on site, or 'borrowed' from cassette sold by its owner. The fairground was large and the locals came equipped with Wellington boots to cope with the mud which soon formed. The only power available on the field was generated by the dynamos on the beautifully restored steam vehicles. All steam equipment were fully operational, and some in competition as well as for show. Our group responded to the show with interest in going to England to see the fair for themselves next fall.

,JI;

A Little Whimsy On leaving the doctor's office, a man asked for,his cardiogram so :­

he could examine it at home. Returning from work the next day, he ; asked his wife if she had seen it. She said she found it on the kitchen table, and not knowing what it was, tried it on the player piano and heard a nice arrangement of "Nearer My Goo to Thee." (Contributed by Don Breen)

* 60 *

Halley's Comet This is the year-and the month-of the comet! Thanks to Phil and Hazel Wenker for the sheet music covers, copyright

dates 1906-1911, saluting the comet. According to a note inside one of the pieces of music, piano rolls were available. Does anyone have knowledge of the existence of such rolls?

* 61 *

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CLASSIFIED

FISCHER AMPICO "An - Gorgeous Florentine Art Case - Restored - plays FOR SALE great. Bench & rolls included $6,900 or B.O. Rolls: Welt Licensee, 29 for

AMPICO, DUO-ART, WErrE parts for sale. Large quantity available. Please send SASE & $2.00 for list. Jim Brady, 5259 Tacoma #14, Indpls, IN 46220.

MASON &HAMLIN OR STEINWAY REPRODUCING PIANO with art case unrestored also music box from old slot machine and coin operated singing birds. Mike Gorski, no Dover Center, Westlake, Ohio 44145 (216) 871-6071

PlAYER PIANO ROLLS for sale at super discount. SASE for catalog and price list. Baley's, 310 Grandview, Kalamazoo, MI 49001.

DEVILBISS SPRAY GUNS for refinishing pianos. Model JGA with quart cup only $140.00 ppd. Frostner bits all sizes for building player components. These are not the cheap imports but are American made. They are for W' drill press. Six inches long, no tip out bottom. These are the BEST. Write Shreveport Music Co., 3019 Highland Shreveport, LA 71104.

HAINES AMPICO GRAND unrestored $2,500. Knabe 5'8" Ampico Grand unrestored (a really good piano) $4,500. Louis XVI Marshall and WendaII Ampico grand unrestored $4,000. Seeburg "G" wanted. Shreveport Music Co, 3019 Highland, Shreveport, LA 71104.

LINK STYLE C lYLOPHONE COIN-PIANO with traps, restored, $9,500.00; MOLLER ARTISTE RESIDENCE PLAYER PIPE ORGAN in mint original playing condition, self-contained in gothic walnut lumber case with 41 Artiste organ rolls, $10,500.00; 92-KEY MORTIER CAFE ORGAN, baroque facade, hand-carved, complete except for topmost finial, $48,000.00; WURLITZER LODGE PIPE ORGAN, 2 manual, 3-rank, ideal for keyframe operation, complete, partially restored, $1,500.00; MORTIER/GAVIOLl84-key Cafe Organ Main Chassis #663, no pipework,

/ $5,000.00 excluding 2 unoriginal Mortier side-cabinets. CAFE ORGAN PlPEWORK and chests from DeCap Fiesta, including Univox; ABECO ORGAN-ROLL PERFORATOR with paper cutter, $2,500.00; MELVILLE CLARK APOLLO UPRIGHT PlAYER PIANO, partially restored, $750.00 PAUL LOSCHE SOLO FLUTE, VIOLIN, CLARINET ORCHESTRION with Digital Player System and cassette changer, prof. refinished and completely restored and playing, over 8 hours of programming, with original Losche 69-note rolls; best offer over $30,000.0, will consider partial trades. DIGITAL PLAYER SYSTEMS for Band Organs, Cafe Organs & Orchestrions. Above prices are Exclusive of crating and shipping. Robert L. Baker, Electric Orchestras, Inc., 29962 No. Terre Drive, Libertyville, IL 60048 (312) 367-7996 day or evenings.

RECUT WURLITZER STYLE 17 PIANORCHESTRA ROLLS, also known as Philipps Pianella (P) or Regular PianOrchestra (RPO). Easily adaptable on PhilippslWuriitzer style 88-hole tracker bars, i.e. photoplayers or instru­ments that play PM or PC rolls. 150 tunes - classical, ragtime, show-tunes -all pre-1915 with excellent arrangements. Brad Reinhardt (209) 226-1332.

1927 MASON & HAMLIN AMPICO A GRAND.s'4" mahogany case, original unrestored instrument (drawer tubing, control switches, roll transmission, twill hoses, have been replaced), Serial No. RT 36041. Ampico plays, piano in excellent condition, original ivories, a collector's dream! $6,950.00 Bill Koenigsberg, n High Pine Circle, Concord, MA 01742, (617) 369-8523.

1929 MASON & HAMLIN AMPICO GRAND 5'8" Model A with B pump. Ser. # RA39262 in cherry fruitwood. Original ivories, fully restored $8500.0 for quick sale. AI Novak (313) 541-43n Detroit.

1920 WEBER DUO ART UPRIGHT MOD. 59P Mahogany case, original ~ ivories, player restored. Magnificent tone. $3800.00. AI Novak (313) 541­

c/ 43n Detroit.

WEBER UPRIGHT DUOART, mahogany case. Fully restored and playing beautifully. $3000 or best offer. Autopiano, foot pumped upright, maho­gany case. $1200 or best offer. Henry Bruning 3880 NW 48th Place, Gainesville, FL 32606 904-3n-n14

RED WELTE VORSETZER and 125 Red Welte rolls. Restored by noted technician. Asking $7995.00. Randolph Herr, 111-07 nth Ave., Forest Hills, NY 11375 (718) 520-1443.

$200.00; Artecho, 24 for $230.00; Hupfield Helios, 4 for $70.00; QRS played by Pete Wendling 19 for $90.00. Scopitone films (10 different for $60.0 ppd.) Bill & Dee Kavouras, 2740 Lighthouse Ct., Lynwood, 11.60411 (312) 474-8787.

STEINWAY 7' PLAYER GRAND PIANO, DUO-ART system, Mod AR, Ser. #235908, Ebony, good unrestored condition, original ivories, $8,900.00 H.W. PERLMANN 4'9" player grand piano, Recordo system, Ser. # 41681, Player was rebuilt in 1970, Comes with 50 Recordo rolls, $1950. BECHSTEIN 6'6" GRAND PIANO, #90792 (1909), very elegantly styled, unrestored, $4100. WE RESTORE PIANos, REPRODUCERS. PLAYERS. contact us for quoted. Lieuwe DeHaas, 11 Maple Street, Weston, CT 06883. Phone (203) 544-8750.

CRANFORD, NEW JERSEY, SUNDAY, APRIL 27 - LARGEST SHOW AND SALE of vintage phonographs, music boxes and automated instruments in the eastern United States. One day only, 8am-4pm, no early buyers fee. Visit us at the best Western Coachman Inn, adjacent Exit 136, Garden State Parkway. Hundreds attended our fall event, come see why. Whatever you are looking for, you will find it at Cranford: restored and unrestored machines, parts, memorabilia, records, supplies, literature, repairs, etc. The motel offers room discounts and pick-up service to nearby Newark Airport. L. Bilton, Box 25007, Chicago 60625.

1924 STEINWAY, AR, 7' (Ser. #226465) Duo-Art grand, dark brown mahogany, with bench, excellent condition, $18,750. 1928 KNABE,6'4" Ampico A, Louis XV grand, (Ser. #103371) matched, original shaded walnut case, mint restored condition with matching bench. $26,000. Pianos are from the estate of Robert Moore. Contact: Mrs. Evelyn Moore or Jack Moore, 2985 Idlewild Drive, Reno, NV 89509, (702) 323-1864.

AMPICO 1922 FISHER 5'8" GRAND. Refin/Rebuilt - excellent condition, dark mahogany, 70 rolls. Family SAC $60000 ($6K) OBO. K. Boka, 1380 Dunning Dr., Laguna Beach, CA 92651 (714) 494-6066.

CHICKERING AMPICO A. 5'4", Florentine Art Case, similar to style 52, p. 286 in Encyclopedia, including gold leaf trim. Professionally rebuilt, restrung, refinished, regulated, detailed to a very high standard. Must see and hear. $13,500. CONOVER (CABLE CO.) RECORDO 5'2", Nice older refinish, restrung, player thoroughly rebuilt. $3950. STEINWAY OR DUO-ART, 6'5". First-class restoration to finish in late '86. Photos and video available of all. Tim Wheat (612) 574-5972 weekdays, 780-5699 evenings and weekends.

I HAVE 6 SETS OF GENUINE IVORY, $250.00 a set, includes glue wafers. (915) 445-5150 - Jim Blanchard.

WANTED WELTE ROLLS - Dick Howe, 9318 Wickford, Dr., Houston, TX n024 (713) 680-9945.

WANTED: Any information (history, technical, personal experience etc.) concerning Vose and Sons upright players and actions. Schematic diagram of circa 1916 or similar model would be ideal. Robert Bonn, 338 Duncan Ct., Loring AFB, ME 04751. (207) 328-7158.

PIANO ROLLS OR STEREO RECORDINGS of rolls by Wm. Edward Berge. He played for Ampico, Artrio Angelus, Voltem & Rythmodile. Please call collect (512) 656-8547, George Berge Bernier.

MISCELLANEOUS SELL OR TRADE OLD GRABER OAK CABINET, accordion with pneuma­tics, small cylinder box (basketcase), 12" Regina (nice), Cremona pump, Coinola vacuum resevoir, large Swiss chalet music box, 15 note pipe chest (2 rank), band organ rolls (6W' wide Artrean), toy counterfor large organ; I want 2 G roll machine, a band organ or other pipe organ, Coinola bells, xylophone and/or violin pipes, 15V2", 27" Regina discs, 150 Band organ rolls. Will trade brass band organ trumpets or 18V2" Mira discs for wooden violin pipes. A. Jabson, 500 Sansome St., 7th floor, San Francisco, CA 94111. Call eves. (415) 783-5068.

~ }--u~'-G?-~~~~...----~

NEW ADVERTISING SERVICE

See your business card printed in the AMICA News Bulletin! The cost is as follows:

1 issue $10 2 issues 18 3 issues 25 4 issues 32 5 issues 39 6 issues 45 7 issues 51 8 issues 56 9 issues (1 yr.) 60

• A reminder will be sent prior to expiration, if multiple issues are requested.

• Make check payable to AMICA International. • The card will appear on VB page in the ad section

of the Bulletin. A card with dark print on a white or very light background is best. Please note that some colors, such as light blue, do not reproduce well. If in doubt, make a photocopy of the card to check this aspect, before sending.

• Send to: Publisher, AMICA News Bulletin P.O. Box 275 CCB Cape Elizabeth, ME 04107

BULLETIN DEADLINES ARE PRINTED ON THE INSIDE OF THE FRONT COVER.

AMICA ITEMS FOR SALE

AMICA BULLfTINS, BOUND ISSUES: 1971, 1972, 1973 bound Bulletins at $15 each. 1974, 1975, 1976, 1977, 1976, 1979, 1980 bound Bulletins at $16 each. 1981, 1982, 1983 bound Bulletins at $21 each. 1984 and 1965 bound Bulletins at $24 each. PRICES INCLUDE POSTAGE AND HANDLING. Spiral bound to lie flat. Send order to Mary Lilien, 460 Olympiad Dr., Los Angeles, CA 90043.

AMICA TECHNICALITIES BOOKS: Volume I (1969-1971), $9.50 postpaid Volume II (1972-1974), $7.50 postpaid Volume III (1975-1977), $6.50 postpaid Volume IV (1976-1960), $6.50 postpaid

Reprints of interesting technical articles which have appeared in the AMICA News Bulletin, arranged and indexed into appropriatE' categories. Brian Meeder, 1206 Miramonte Dr., Santa Barbara, CA 93109.

Roll Leaders: Duo-Art, AMPICO and Welte: Excellent replicas. For order form, see mailing cover of Bulletin or write to Brian Meeder, 1206 Miramonte Dr., Santa Barbara, CA 93109. Send order to Brian.

AMICA STATIONERY: $3.50 (letter size), $3.20 (note size), including mailing charges. Fine quality stationery with ornate AMICA borders. Each packet contains 25 letters and matching envelopes. Send orders to Tim Passinault, 105 Hemlock St., Munising, MI49862.

PLEASE MAKE ALL CHECKS PAYABLE TO AM/CA INTERNATIONAL

I

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'i'

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'1 ~ ;1

~

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MUSICAL ANTIQUES specializing in Reproducers, all grands,

refinishing, and all player pianos.

COMPLETE RESTORATION FACILITIES

OWNER OPERATED 17 years of experience in each related field

of restoration.

CASE AND VENEER REPAIRS any carving can be duplicated

FINEST HAND-RUBBED MIRRORS FINISHES OR SATIN FINISHES AVAILABLE

ART CASES RESTORED Concert Quality Regulation

Lowest Prices, Known References, Guaranteed Work.

only the worlds finest known grades of materials are used. They are always fresh and continually checked.

Hot glue and original materials used throughout wherever possible.

Craig Brougher

3500 Claremont Independence, Mo. (816) 254-1693 64052

Ir4;~$~II~§$*HI~~'~

The Automatic Music Company

Sales and Restoration

Orchestrions

Reproducing Grands

&nd Organs

Player Pianos

We rover the full scope of restoration. Lifetime experience with a commitment to quality and ariginality.

Your instrument is our pride and reputation.

Tim]ackson

Box 752

Quitman, TIC 75783

( 214) 763- 2 918

• •

Roger C. Zeitz Se1bstspielende Musikinstrumente

Automaten mit Musik Reparatur - Restauration - Rekonstruktion - :'J"eubau

RORer Co 7.cltz." Ifc('k~hCT",traSc 48·2000 l-IamhurJil 20

Ihr Zelchen Ihre Nnchrlcht YOm Unser Zelchen Hamburg. den February 1986

- punching press according to system BOSSMANN ­

Please note that from April 1986 we shall deliver a punching press for cardboard books.

Technical data Cast steel type with inset art nouveau ornaments Punching tool made of high-alloyed tool steel Adjustable prismatic precision guiding Standart type for treadle operation Usable working width 450 mm (for largest organs) Punching tool and spacing control are specially adjusted for every type of cardboard books

Price DM 5000.-- + taxe (West German mark)

Warehouse Hamburg,plus transport and packing

Information from:

Roger ZEITZ,Heckscherstreet 48,Gewerbehof D-2000 Hamburg 20,West Germany Tel.040-4904480 + 495521

Mid 1986 we shall deliver to order folded blank organ cardboard

I •

••

Heckscherstra2e 48. Gewerbehof . 2000 Hamburg 20 . Tel. Sammelnr. I;) 490 44 80 Bankverblndung Sparkasse Krefeld . Konto-Nr. 60458379 . BLZ 320 500 00

FRIDAV. SATURDAV &

SUNDAY

JULV 11. 12. & 13

1 9 a 6

IT MAY JUST BE THE GREATEST RAGTIME EXTRAVAGANZA YOU'LL EVER ENJOY! 3 DlIYs filled with food. fun. music, and excitement. Endlessly. delicious July picnicing favorites. Scrambles. contests and races to delight the kids ...hay and old·time auto rides. too! And. MUSIC...MUSIC...MUSIC...RAGTIME MUSIC. 7he "rip·roarin '-est" Ragtime ever to tickle your spirit or tap your toes to. So COME ON!

FRIDAY. JULY 11th (9:30AM - 5:30PM' • Pre-registration for all performers all day. Presentation of Ragtime Musical Instruments and ad-hoc performances on "Free-Use" Pianos' at various locations throughout the Village.

(7:00PM - 9:00PM' - Special Presentation of those Wonderful Ragtime Music Machines by members of the Mu.sical Box Society International and the Automatic Musical Instrument Collectors Association....Player Pianos. Nickelodians, Orchestreons, Juke Boxes from the Roaring 20's & MORE!

(9:00 • II:OOPMI . AFTER GLOW - Performers and Advisors Reception. A time for relaxation. conviviality. and non­competition.

THE CHASE FOR THE GLORY AND $6.000 IN TREASURY BONDS!!

SATURDAY, JULY 12th(9:30AM • 5:30PM' ·PRESENTING THE PROFESSIONALS... Professional Contestants will vie for our recognition, acclaim. and applause. as they strum tickle. and cajole musical memories from their instruments. It's a super hoopla that'll leave you hummin', tappin', and feelin' good.

SUNDAY, JULY 13th (9:30AM· 6:00PM' -ATTENTION...THE AMATEURS Today the amateurs take the stage to showcase their talents and often spectacular abilities.

(7:00PM' • AWARDS PRESENTATION!!

unill Bridge Vil1age --1728-­

Box 86 Str••burg, P•. 17579 (717)687·8181

Proud of Your Instrument? Have it Restored by Experts.

Here is what the Piano Workshop Does:

Specialize in rebuilding all types of player pianos and other automatic musical instruments

Restring, rescale and repin instruments

Replace pin blocks, soundboards, hammers and other action parts

Regulate piano action to proper specifications

Hand rubbed refinishing

RestQre antiques

. Over 20 years research and development in rebuilding pianos

Piano keys recovered, sharps & naturals

Send all or part of your instrument for proper restorations.

PIANO WORKSHOP

3166 W. 33 St. Ph. 216-631-1777 Cleveland, Ohio 44109 24 hr. answering servo

VIDEOCASSETTES VHS or Beta 2

TO OBTAIN A LIST WITH PRICES

AND DESCRIPTIONS, WRITE OR CALL

AUDIO-VISUAL COMMITTEE CHAIRMAN

Bill Blodgett

73 Nevada Street

Rochester, MI 48063

,-' (313) 651-8498

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BROADMOORE AUTOMATIC INSTRUMENT RESTORATIONS

Restoration of orchestrions and reproducing pianos our specialty.

Finest materials used.

"Each part is treated as the most important part in the machine."

We are authorities on authenticity.

Prices of restoration ~ary according to the grade of ~

we will gladly discuss procedures Iwork you select ­ from "Excellent" to "Perfect." ~

No trade secrets -thoroughly with any customer.

Laurence Broadmoore, Owner 1709 "C" First St. San Fernando, CA 91340

18 years experience ­references prouclly given upon request.

QJ

818/365-6231

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CHICKERING AMPICO "A" 5'4" New finish with gold leaf. Spectacularl Totally restored throughout. $13,500.

Photos and video available.

Tim Wheat, 9773 Quincy, Blaine, MN. 55434 (612)574-5972 wkdys, 780-5699 e'les

*RARE*

NELSON WIGGEN STYLE 6

ORCHESTRAr'

PIANO MANDOLIN XYLOPHONE BASE DRUI~

SNARE DRUM CYMBAL Tn1P,ll.N I TA~1BOURI NE CASTANETS CHINESE WOOD BLOCK TRIANGLE

$18,000 00

PLAYS STYLE "G" OR 4-X ROLLS

CONTACT

DON RAND 1 41 9 CAM PBEL L ST. ~

GLEN DAL[, CA 91207

818 507-9688