HONORARY MEMBER ROBERT ARMBRUSTER

Thanks to AMICAns Phil Hill and Reporter Sam Thompson of the Southern CaliforniaChapter, I was provided with the address of Robert Armbruster, an exclusive Duo- ("'Art recording artist whose rolls are so exquisitely smooth and polished that ....they bring some of the highest prices in today's auctions, despite their extremepopularity at the time of their issue and the resulting current, comparativeabundance. I had asked a former AMICAn for Armbruster s address last year, butin its stead I received the intelligence that Mr. Armbruster was ashamed of thefact that he made "pfano rolls n • (A surprising a.llegation from a dealer in rolls,especially considering that live since learned Mr. Armbruster doesn't even knowthe dealer in question!) I mentioned this when I wrote to ask that he accept anHonorary Membership, and received the following reply:

ApJtil., 15, 1970Vealt ~.~Jt. E!6er~;

Thank. you bOIL uoun. most: complimen,taJc.y le:t;teJt and xhe. httVLU.tUr.g and i,n6oltmtttlvel-LtVta:tU/te.. I had not known 06 tne. exis tence. of" qou»: CoUeW/L6' AhIJoc1A:tion.I ~ha.l! be veJtlj happy to a.ccep.t an HonoJtaJty ~.4embe~hip.

WYUle I Wa,6 at: t:.he AEolian Company I made ~ 0 many ILec.oILd6 t:.ha;t t:.hey 6d:t my nameWM too ub,i"qlLU.oU6 ht :thw !(elelUeh. I:t Wl16 11 pILe.tty weLf#-kept .&ecJtet, but TguU.6 t:.hvr.e Ls no hanm In. telling you now .that ,i6 you &ind IJome ILoil6 made bya. HenJr.,i BVtgma.n. OIL 11 Wlttdlton 01( SummeJL6 - they aJte ill mine.

I am by no meaYL6 ashamed 06 .6ome 06 tnose. pve.6oJUnanc.u, but I 6eall tha:t r ma.yhave. been 6oJA.ly imma:tuJte in ~ome 06 tnem, The othVl name4 Welle used on ~ome

.6econd-ruu»: mU6,[C, and i.-6 I Jc.emembell they welle tLt tlmu pJr.et;ty c.oJtny.

I 6 you. aJte in Los Angelu, g,[ve me a lUng. I can pILobably frUl ht ill t:.he gap.6ht uou): Vu.o-Au ht60ltmtLtion and maybe even a.n aneadot». all two.

Tha.n.fu a.gcUn. 601t uoun: te;Ue.Jr.., and I hope. we can gd. ,toge.theJt 4 omelime ~ oon.

ShtceILely,Robeu AJunb~teJt

I take some pride in the fact that I had identified Bergman as Armbruster(through his recording of IITrees ll ) tvo days before this letter arrived. Beingamong the most enthusiastic of Armbruster fans, I was perhaps dense not to haveidentified him before. His ruba.to is most distinctive, and has no counterparton the Duo-Art recordings, excepting possibly Godowsky in the heavier ~~sic.

For the ps eudonyms , the artist added "Henri" to his first wife's mad denmame of"Ber-gman!". "Robert Bummer-s!' are his two own given names, and "Gene WaldronII wasborrowed from the boyfriend of one of AEolian's secretaries The latter two wereusually type-set on the Duo-Art leader testimonia.l, but "Henr-I Bergman" was fre­quently signed - although not by Robert Armbruster. He doesn It know who providedthe signature. Four other names were used for the s~e compositions when theywere released without the dynamic coding as 88-note "Melodee" rolls, but he can Itremember what they were.

I have since called Mr. Armbruster, and have been down to BrentWOOd to interviewhim. The resulting biography and account of the Duo-Art recording procedure willappear in a subsequent bulletin. As an example of Mr. Armbruster's friendliness,kindness and good humor, I had an a.ppointment at 1:00 o'clock. When I arrived,my watch read 1:15. I offered as casual an apology as 15 minutes warranted, andMr. Armbruster accepted it graciously and expressed concern lest I had difficultyfinding the address. About an hour later, during the interview, I read the commenthe had written on a roll. lid asked him to autograph: liTo Jim Elfers, on the first ( )day of Daylight Saving, 197011

• It was only then that I realized I had been an~ '"and fi fteen minutes late1

We are extremely pleased to have located Mr , Armbruster at last, and proud tonumber him among our distinguished Honpraries.

2

HICKINGS HOST, RYDEEN AND RISKIN REGALE

by Gar Britten

Saturday nIght the 25th of AprIl was the entertainIng meeting hosted by Dougand Maddy HicklIng at theIr charming home In Oakland.

There were 40 members and guests present to hear the two featured guest speakersof the evening, and to munch on Maddy·s sumptuous table. When your writer toldMaddy how great he thought the spreads, the fresh strawberries and pineapplechunks for dipping in brown sugar and sour cream and the beautiful outlay ofpastry IIgoodies ll

, she pooh-poohed the idea that it was work - but I happen toknow she spent more time Tn that kitchen than Setty Furness did for Westinghousekitchens. And everyone :-a··.. ed ,

The first order of b~siness was the unanimous vote to appoint Robert Armbrusterto the rank of Honorary Member. The second facet was the motion made, seconded,and carried for the adoption of the revision of the by-laws.

The mundane matters of business having :e~n trai'sacted, we then sat back to lis enfirst to our charming guest Mrs. Rosalie RIskin. Mrs. Riskin was connected withKohler & Chase in their East Bay music store. It was In 1923, when she was stillIn h'gh~school, that she 3polJed for a job wIth the firm. She had studIed pianoand knew the a:tists, and was overjoyed when she found herself working with allthese great names on the Amo Ico rolls. Her duties were the demonstration of theserolls that were play~d on the Kn~be Ampico in a special living room set up tocreate the atmosphere of the home.

She related many amusing anecdotes and told of the benevolent attitude the estab­lishment took toward allowing music teachers to aome to study various artists 'techniques.

Mrs. Riskin left Koh le r s Chase in i926. Fo r tv-i fou r years elapsed before sheagain heard an A~pi=o - on AprIl 25, 1970. Mrs. Rtsk!n told us how thrilledIt made her feel to know that there Is an organization which fs perpetuatingall these memorIes.

Our next speaker of the evenfng was Fred Rydeen, who added to our knowledge ofKohler and Chase. Their f l rrn was firs': established in 1850, and engaged in bothretaIl and wholesale bus l nes s . One of ·~i". Rvdeens memories was the IIrusrr-rushlip rob lem of gettIng a piano out e;<press so that Mary Pickford would have it atChrIstmas tIme, 192:.

Hr. Rydeen:s experience started 52 years ago. During this time he was wel1­acquaInted with Mr. Ed Werolin, father of our Alf. E. Werolin of Hillsborough.The staten~nt was made that the senior Hr. Werol1~ co~tributed more in serviceto Amplco than any other individual.

In recallIng memories of Rachmanfnoff~ mention was made that Ampico had triedto obtain his servIces, but It was not untIl Rachmaninoff had heard Leo Ornsteinplaya Knabe in Amptcos Fifth Avenue store that he became one of their artists.Rachmaninoff recognized the fact that edIting could take out an occasional "blue ll

note, and he reportedly stated "I have heard myself play and I am delightedll•

Another note of interest was the merger of AEolian and Amplco In 1932. GeorgeFoster was the genius behind this move. The question was asked regarding a fireat AEolian, but Mr. Rydeen dId not recall such an Instance. The War ProductionBoard stopped all plano constructIon In 1941. That was the demIse of furtherproduc t I on.

We sincerely thank Mrs. Riskin and Hr. Rydeen for theIr InterestIng talks tothe club. We are fortunate to have them In our locale, and to be able to callupon them for Information concernIng the~ past~

3 ,'.

NORTHERN CALIFORNIANS TO MEET IN CASTRO VALLEY

The next meetIng of the Parent OrganizatIon wIll be held at 8:00 o'clock Saturdaynight, May 30, 1970, at the home of Tom & Bobbie Peek, the parents of AMI CAn Roy {Peek, in Castro Valley, California. It Is at this meeting that the 5th AMICAAuction will take place. Bid lists have already been sent under separate cover.

Unable to see Roy to interview him for the customary biographical sketch I try towrite about our hosts, I wrote to ask him for the information - Intending to com-pile it into one of my typical, dreary articles. However, Roy's response was sonicely written and revealed so much of his shy, pleasant humor, that I decidedour readers deserve this welcome change. 11 m sure Roy never expected his letterto be printed as is, but it tells It so much better than I could - I hope heforgives me.

~iaJf 4, 19 70De-all u»,SOIVl/j aboiu: ;ta.k,ing so long in a.Yl1>weJUng qou): lett.eJt, bui: 1 didn't .6e.e U WtW- rcame. home Las« weekend. I'd like to send qou. .6ome,thlng J..n pMJttable nOIUn, but'JJ4W..ng JA haJtc:Lty one. 06 my ~tJwn.g po,[nZh ((1,6 I'm ~Ulte you. e-ait tell. by the eJW.ddyhanclwJU.tUt9. )

A6 nail a6 cLUc.e.moM go, tile beAt wa.y :to 6~n.d :the plac-e iA to gd on H-tgfwJay 580,(tlte old H,ighway 50), wlUclt head» out: A:.O S:toch;ton. A 6e.uJ mLle.6 eMt 06 Ca6:tJtoVa1..ley, iunr: 066 tu: the eU:t maJtked "Eden Can.yon Roa.d, Pai.omalte.6 Road". Theo66-Jta.mp bends ba.ck and comas to a. .6top .6ign. TUIln le6t heJte, onxo Palo VeJtdeRoad. VJUve a.bou.:t « quaJr.,teJ[. mUe and tuItn le6t a,t the 61JrAt LlJide Mad; th1A i.APa.!omaJt~ 'Road. I~{y hoc.L6 e Ls 1. 5 mLlu 6JtOm the e-OMeJL. At about 1.4 mLlu the noadbecome,6 .6ligl1Zly .6tJuUghtVt, and you~ .6ee a .6A-gn on the JUght .6a.qing "Squ..aJle 'B'Ranch" • At: the end 06 thtLt .6.tJuUght .6:tJte:tc.h theJte aJLe two mtUlbOXeA on the JUght.6..[dej ,in you look. VeJuj CAJLe6LLUy, you'll z ee a dJUv~aJf [us t: beyond them (you e-an't.6ee ,tite hOU6e nJ[.om the Ma.d). Go dotfJrt the dJUvway and you.'ll. 6A...nd t1JJo houses ;min.e AA tile one Ln. back. It'.6 Jte.a1hj not much hande»: to fl-nd than a. pla.ce indewntown L.A.

M naJl M a 1UA:tolUj 06 m~'.6e1.-6 gou, r w~ boJtn In. HaytAJaJui. in 7948 and lived A...n the-6a.me hOU6 e theJr..e l.lYLtil MCVtch 06 1.Ju,:t qea», when we moved :to Pa.!Oma!l.e6 Canyon. MypaJlentA ane. both 6Jtom HaywaJui; they met wWe gohtg to HaywaJld HJ..gh Scltool. 1 w~to SLUL6 et: H..Lgh School in HaytJJaJui, and then to Chabo~ College J..n HaywaJtd 6oJr.. t1JJoye.aJL6 • 1.tJta.n,6 6enned to u. c. BeJdleley..tn 1968, and l ' ll. gJuldutLte in June. Myma]on. AA MecJta.n£cal Eng~neeJUng.

I 6),lL6t bee-ame J..tttelte6ud ;tn. CULtoma.,t),c. .ootJtumen..t6 aboiu: ten ye0.JL6 £1go, when my60fu bough~ a WUlLtiTzelt playelt one ChlUAtmal>. I"' ve ha.d a 6eJIJ d£66elten:t onu.6..i.nc.e then, A...nclu.c:Ung Voug H..[ckling'.6 GuibJtlV14en. The one 1 have: YlO«) J.A It 1921W~Tzelt upJUght:. wlih a mahogany frLni6h. I bought ft in BeJdleley Ln. the .6ummeJc.06 7967, nOll an ~t:.ouncUng $25. It WM Ln. a ba6ement noom, and had bee.n piUttteda bea.LLti6ul shade. On blue, t» ma,tclt the wallA. The btUement had been 6.looded a.6ew mon~ be60JLe, so theJte Wa6 a layfVl o~ mud in the. bot:tom 06 the piano. r cUdaLe th« WOlth. on U 1TUJ.6e1.-6, .£ndw:Ung the pneumtttie woJdl, lle61..ni6lUng th« e-ahe(blue A.A n..[e-e, bu:t a6teJt lLU!), and ptLttUtg A...n new btU.6 .6bLing.6. I hope to gaan Amp..[e-o one 06 theA e. day.6 (a1.;though I have notiLlng ag~t Vuo-A.1l.t6), .6 o I haveaboiu: 30 Amp.£c.o ItOW among.6t:. the 88-no~e JtOW. By the wt1IJ, i6 you've neveJl. medft, llepJtoducing !LOW .6ound quLte good 011. a playvr. piano. r hope quLte a 6~ 06the membeJt6 w.iU be. Jteady to ga .6ome e.xeJt~e wU:h t:he1.Jt 6e.a.1 ~dl you, when you'lle an engineeJt.ing majolt you' Jte no~ U6e.d ~o wJtU:lng t:hL6 mu..chwUhout Uh..Lng a .6Ude Jr.LLle. r hope you c.an U6e all. t:ki6 in6oJtnrLti..on (1 hope you..can Jtea.d U!)

Se.e you .6oon,Roy

Hoste ss Ani t a Ni cke l s besi de herc. 1924 Chickering 5'5" Louis XVIAmpico 'A'. I thi nk she's tryingto di smantle it so she can smugglei t i nto Denmark pi ece by piece.

4

SOUTHERN CALIFORNIA EAT-IN SET FOR JUNE 13

by Sam Thompson, So. Cal if. AMICA Reporter

Anita Nickels, our Secretary-Treasurer, will host a potluck Patio Party onSaturday afternoon, June 13, beginning at 2:00 0·c10ck, at her charming homeIn Fullerton. Anita says shell 1 provide a cooked ham, and wi 11 advise othersof what is needed. Those "chefs" In our group are asked to bring a favoritesalad or hot dish . Our Eat-In will be informal so bring the family, if youhave one.

Inside, Anita's responsive ChickeringAmprco may be played by Interestedpersons. Those who prefer to chator eat ma y do so un interrupted outsideon the patio or lawn.

An ita wi l l be remembe re d as the pe rsonresponsib le for organizi ng the South­ern California chapter of AM ICA. Ourfirst meeting was held in he r ~ ome .

New members wi 11 en joy see ing hercollections of automate d s inging birds,music boxes, and spoons , as we I I asher nic kelodeon.

Our hos tess wi 11 be 1ea vi ng us for aone year sabbatica l in De nmark begin­nin g on September first. There shewi 11 carryon her occupat ion as alibrarian. Currently Anita i s alibrarian at Nogales Hi gh Schoo lIn La Puente. She wi 1I be accompan­ied by her teen-age son, Ray, whileher two daughters will remain at home.

Anita requests that guests bringunusual Ampico rolls t o play. Shealso Invites guests to bring differentAmplco recordings of the same selec­tion, so that we ma y compare var ious ·artists'styles.

Our thanks to Richard Howe ofHouston, Texas, who has loanedus his original Ampico masters tenc 11 ro 11 of "Rosalie Se le o-tiona". Th i s unusua I ro 11 willbe displayed at the meeting, and would provide an interesting comparison witha production roll. Will anyone who has a copy of "Rosalie Selections", rollnumber 69003-H, please bring It for the comparison.

**************EDITOR MOVES

The house on Hoffman has sold, so your Editor and Gar Britten (who has been handlingthe auction coordination) must move by the end of May. Here are the new addresses:

Jim Elfe rs Ga rne r Br I tten827 Cortland Avenue 642 Diamond StreetSan Francisco, California San Francisco, California94110 94114

5 RESULTS OF AHICA AUCTION # 4

Following are the results of AHICA's fourth mall auctIon, conducted at the parentorganIzation's meeting of March 27, 1970. Shown are the minImum price requestedby the pledger, the highest MAXIMUM bId received In the mail In time for the auctIon,and the fInal WINNING BID. Members are reMfnded that successful absentee biddersare not required to pay their full maximum, but only 25c above theIr closest com­petitor's bid. Thus when the MAXIMUM shown '5 higher than the WINNING BID, It In­dicates that the absentee bidder won the roll. The same Is true if the ,two amountsare equal. If the WrNNING BID Is hIgher, it IndIcates a bidder present went abovethe mailed MAXIMUMS and won the roll.

NO. MIN MAX WIN NO .. MIN 'MAX . WIN 1+0 •. HJN MAX . WIN/' NO. MIN ·MAX WIN'1 3.75 39 2.50 3.25 77 1.00 3.00 3.25 115 4.45 9.00 8.252 4. 15 5.00 40 2.50 4.50 4.75 78 1.50 3.50 3.25 116 4.003 5.25 16.50 13.75 41 2.50 4.50 4.75 79 2.00 9. 15 5.25 117 4.00 4.10 4.004 3. 15 42 2.50 8.00 6.75 30 ).25 3.75 3.25 118 4.00

I 5 3.75 9.00 5.50 43 1.00 2.75 2.00 31 1.50 4.25 2.00 119 4.50 10.00 8.25I 6 3. 15 9.00 4.75 44 2.50 6.25 4.00 92 1.50 3.00 2.75 120 4.00 9.00 8.25

7 3. 15 9.00 3.15 45 2.50 4.00 4.00 83 2.00 6.75 5.25 121 4.50 10.00 9.258 2.65 3.75 3.75 46 2.50 6.50 2.75 34 1.50 3.00 3.25 122 4.50 25.00 9.259 3. 15 4.00 3.15 47 2.50 18.00. 6.00 35 1.50 5.75 3.75 123 4.00 9.00 4.00

10 3. 15 3.75 4.00 48 2.50 5.00 5.25 36 1.25 5.00 5.25 124 4.50 9.00 4.5011 3.75 4.25 49 2.50 5.00 4.50 87 2.00 5.00 2.00 125 4.00 9.00 4.0012 8.40 20.50 15.25 50 2.50 18.00 6.75 38 1.50 3.00 2.00 126 4.00 9.00 6.0013 1.65 9.00 2'.00 51 2.50 6.~~5 6.75 89 1.50 2.00 2.25 127 4.00 9.00 8.2514 2.10 9.00 2.10 52 3.50 7.00 4.50 90 1.50 9.00 3.00 128 4.00 9.00 7.5015 2. 10 9.00 7.00 53 3.50 5.00 4.25 91 2.50 12.50 8.25 129 4.PO 9.00 4.0016 3. 15 4.25 3. 15 54 3.50 4.50 4.00 92 3.00 11.66 11.66 130 4.50 9.00 6.2517 3. 15 3.25 3. 15 55 3.50 7.00 5.25 93 3.50 9.50 7.25 131 4.00 9.00 4.0018 3. 15 9.00 7.25 56 5.00 6.00 6.00 94 3.00 5.00 4.50 132 4.50 15.00 10.7519 3.15 15.75 12.25 57 5.00 10.00 7.25 95 3.00 5.60 5.75 133 4.50 8.00 8.2520 6.30 12.00 10.50 58 5.00 10.00 7.75 96 3.00 18.00 7.75 134 4.50 9.00 4.5021 6.30 15.00 12.25 59 5.00 5.00 97 3.00 4.00 4.00 135 4.00 9.00 4.0022 3. 15 9.00 5.75 60 5.00 5.00 98 2.50 136 3.50 6.00 6.00

4.20 61 6.00 5.50 • 6.75 5.8823 9.75 9.75 5.00 99 2.50 5.25 137 3.50 5.2524 3. 15 4.50 4.50 62 5.00 5.25 iOO 2.50 5.00 4.75 138 3.50 5.25 5.7525 3.15 5.00 5.00 63 5.00 5.00 5.25 1101 4:45 12.50 10.25 139 3.50 9.00 5.2526 3. 15 4.00 3. 15 64 5.00 10.00 10.00 102 4.45 140 3.50 5.00 4.7527 5.25 18.00 7.00 65 5.00 10.00 8.75 '103 4.45 5.00 5.00 141 3.50 7.00 6.7528 1.00 3.00 3·.00 66 5.00 12.50 10.50 104 4.45 16.75 9.25 142 4.00 9.00 7.2529 2.50 4.00 4.00 67 5.00 8.50 6.75 105 4.45 8.00 8.25 143 3.50 9.00 4.0030 2.50 4.25 4.25 68 5.00 5.00 106 4.45 18.00 10.25 144 3.00 4.00 4.0031. 2.50 3.75 69 1.00 3.50 4.50 107 4.45 6.60 6.60 145 3.00 5.50 5.0032 2.50 4.00 4.75 70 2.50 4.50 4.25 108 4.45 35.95 10.75 146 3.00 3.50 3.7533 1.00 1.50 2.00 71 5.00 8.75 6.25 109 4.45 9.50 8.75 147 2.50 2.50 2.5034 2.50 3.50 3.00 72 2.50 2.50 2.75 110 4.45 8.00 6.75 148 2.50 2.50 2.5035 2.50 3.00 73 2.50 3.00 3.00 111 4.45 7.50 7.25 149 30.00 65.00 66.0036 2.50 3.50 3.25 74 2.50 4.50 ".75 112 4.45 17.50 8.2537 2.50 2.50 75 5.00 8.50 6.75 113 4.4538 2.50 2.50 2.75 76 5.00 '0 .. 00 5.50 114 4.45 6.95 6.75

I,~

(

Enjoy the glories of a bygone age . . .

BEAUTIF UL AUTOMATIC ~IUSICAL INSTRUME NTS-From Hathaway and Bowers, In c.-

Wurl it ze r Mando lin Pi a nO r c hes t ra-Style 38 B

WURLlTZfR .I/A .\ DUU \ l'I .I. \O/?CW. ::iTK.'t ­St y te 38 ·B (a ng inal catalogue illus tratio n above) .Where call I find on e ? At ll atho uray and Bowers,l nc. l

.lIlLL ::i VIULA.\U VIRTCU::iU - Automatic violinand pia llo {original catalogue illus tratio n above) .Where can I fi nd one? At llut hawav and Bowers,l nc. l

Over th e years it has been o ur p lea su re to have su p p lied fineau toma t ic mus ical instrumen ts to AM ICA m ember s in all parts of th eUn ite d S la tes. If yo u ' re in th e m a rk et for an y of the pi eces we list her e .th en co n tact us toda y . Co m p le te inform atio n - includ ing co lo r p ict ures- will be o n its way to yo u b y m ail !

O r, if yo u prefer . yo u ma y sto p by to see in person th e hundred s ofins trumen ts we cu rr e n tly ha ve fo r sa le. O u r showrooms are open fro mMonday to Friday 9 to no on , 1 to 5 pm . and on Sa tur days I to 4 . A nappoin tm en t, while not necessar y , is reco m mended - es pe cia lly if yo uwant to see th e lar ger typ es of in st ruments. We also m aintain aco m ple te line of refe rence bo ok s a nd hi -Ii rec o rd s fo r yo ur informationand e njoym en t.

Our Cliff House Collec tio n Cata log ue is no w read y. This ca ta log ue ,regul arl y $ 2, ca n be yo urs fo r $ 1 whi le a fe w hundred co p ies last.

Che ck th e following listing car ef u lly . T hen let us kn o w if we ca n helpyou with that pa rticular f avo rite ins t ru m en t you've been see k ing !

Instruments Now Availa b le***REPROo UCI N G PI A NOS. Wel te original . keyboa rdi ess sty le

originally ca lle d th e "Welte Mignon" (before th e na me was extended to

o ther s ty les ). T wo available - one in oak . the o the r in ma hogany. W" lteLicensee. 5 '9" grand Iorrm-rlv e nj ovcd in the While Ho use b y Presi d e n tHer bert Ho ove r. Arn pico S ty le .-\ grand pia nos - severa l. Arnpico S l yl«B: four differen t typ es are now in stock . th e larges t "e lec tio n " VI' r !Arnpico sp inet (u -in g type A mechanism s] m ad e in the 19 30\ . rolllo adi ng from the to p. .-\ beau titu l S tyle XI{ S teinwav Du o-Ar t gra nd .

***'\ IUSI C BOXES , You num r it and wt p robab ly have it ! O u rinve n tory of Swi-- cv lind er boxes includ e, large instrumen ts wit hmat ch ing ta b les and in te rchangeab le cylind ers. Our di sc boxes incl udej us t about every th ing from sm all tab le models to th e classic R eginaau toma tie di sc change rs. .

***N ICKELO oEO NS. A ni ce "elec ti o n of po pu lar sty les.***ORCHESTR lONS. A beautifu l asso rtme n t ranging fro m sma lle r

pieces suc h as See burg ca b ine t sty les, a Coino la :\lidget , et c. to largeclassic in strumen ts by Hu pfe ld , Po p per. Webe r, Phil ip ps, and Wel te.

***OT HE RS. Se ve ral Vio lano V irt uo sos· tak e you r p iek! Severaldiff erent th eatre pho toplayer s. A la rge 4/20 Wurl it zcr th ea tre p ipeorgan. Small ree d o rga ns usi ng paper str ips. Musi cal docks. An d m an y ,ma n y more int er esting th ings !

BOWERS, INC.ANDHATHAWAYHATHAWAY AND BOWERS BUILDING

11975 E. Florence AvenueSANTA FE SPRINGS, CAL. 90670

Tel. (213) 941-8774

Planning to visit us? Here are easy ins truc t ions: We're co nvenien tlylocate d about half way bet ween dow ntown Los A nge les and Disneyland- abo u t a 20 m inu te dr ive fr om eithe r place (excep t during rush hour!).

Tak e the Florence Avenue exit f rom eitherthe San ta A na Freewa y orth e 60 5 Freewa y. Go eas t o n Florance Ave. fo r about a m ile. Th ere 'spl enty of fr ee and easy parking. See yo u soon!

7 SEEBURG AND APOLLO

by Art Reb 1Itz

Several articles in recent AMICA bulletIns have brought out an Interesting rela-t lonsh l p between Seeburg and Melvi lle Clark: the Seeburg Phono-Grand and the ClarkApollo X were the only known AmerIcan pIanos whIch combIned a player plano wItha phonograph. AMI CAns Dave Bowers and BIll Pixley have poInted out to me theexIstence of several examples of a small Welte "ente r talnment center", contaInInga short scale keyboardless Welte plano, an electrIcally amplIfIed phonograph, anda radio. A lfmited number of these units were supposedly made by BrunswIck orsome other furniture manufacturer. AccordIng to Dave Bowers, the tonal lengthof the strIngs "makes the Seeburg L look lIke a grand planol" (CoinaidsntaZt,y~

and unbekncume t: to Messrs. RebZitz, Bower's, and Pi~Zey, l:>uzTeZZ Armstltong ofWiahita, Kansas, wrote about the same compact 171CU'VeZ. Its deeariptrion appeasee Leeiohere in this but l-evin, -Ed.)

In the February bulletin on page 7, Frank Adams suggested that I was referrIngto the Phono-Grand in the December bulletin. Actually, I neglected to mentionthat Seeburg manufactured at least two expression Instruments: the style XXpression piano, and the Phono-Grand. The Seeburg X is a full keyboard uprIght,while the Phono-Grand is a small keyboardless cabinet plano. Both have the samebasic expression system, using XP rolls made by the Automatic Music Roll Company.

The Phono-Grand was introduced In October, 1917. Judging by the few remainingexamples, It saw limited production; by 1924, if not sooner, It was no longermade. The Automatic bulletin from December 1924 states: "For Seeburg Style X,Xpression pianos only. These rolls will not play on any other Seeburg Instru­ment, excepting the Style X." However, by October 1925, the roll bulletinsadded: "Also adapted for Apollo X. II

The Apollo X is what Mr. Wood calls the Apollophone on page 13 of the Februarybulletin. "Apollo XII is probably the original name, and the "Apol1ophone" mostlikely refers to the phonograph mounted on the left of the piano's spool box.If Automatic Co. XP rolls will play on the Apollo X, I would imagine thatApollo X rolls will also operate the Seeburg X and the Phono-Grand.

From a mechanical standpoint, the Apollo X with Apollophone Is very interesting.The tempo lever controls both turntable and roll speed, as well as rewind. Thephonograph may be wound with a crank on the right sIde of the piano case, or ifthe player Is used periodIcally, the pump automatically winds the spring. Thepiano spoolbox is also spring-driven, so the roll may be rewound without pumpingand with the electric pump turned off.

The Apollo/ArtEcho tracker scale is completely dIfferent from the Apollo X/XP scale:

Apollo (ArtEcho) Apollo X (Seeburg X, Phono-Grand)

1 First bass intensity2 Second bass intensity3 Third bass intensity4 Sustaining pedal5 Cancel bass intensitIes6 Bass diminuendo7 Bass crescendo8 Bass hammer rail lift9 First playing note in bass

91 Last playing note In treble92 Short perf; cancels 8, 93, & 94

Long perf: rewInd93 Treble hammer rail 11ft94 PIanissImo95 Treble crescendo96 ·Treble diminuendo

1 Semi crash2 SustainIng pedal3 Soft expression*4 Loud expresslon*5 Rewind

. 6 Shut off (col n trl p)7 First playing note In bass

92 Last playing note In treble

93 Bass hammer rail 11ft94 Treble hammer rail 11ft9S4>Accent96 Play (cancel rewind)

(

3 1.6U

SEEBURG AND APOLLO (con t , )

Apollo/ArtEcho tracker scale, cont.

97 Cancel treble intensities98 Third treble intensity99 Second treble intensity

100 First treble intensityII I I "

* Holes 3 and 4 in the Seeburg X scale operate a shuttle valve wIth four degreesof expression, similar to that in the Seeburg Celesta and MO organs.

8

THE BIG AMPICO LIST IS READY

Remember, back in February, when I announced Barden & Clark's publIcatIon of the(almost) complete Ampico Jumbo list - I told you they1ve been working on the wholethlng7 An AMICA EdItor never lies. Now, after six years and many monies, theyare ready to release the 60,000 series. It has 1,000 rolls In It, representingthe bulk of the Ampico classIcal recordings, issued from 1921 through 1929.

The price is $5., postpaid. B & C try to be nice guys, but everyone knows nIceguys finish last, so Nelson Barden Is coming out with a new, hard line: "If youcatch anybody running off copIes on their desk-top kazoos, we pay a $25 bounty.11And rightly so. Cheating those who are working so hard to serve us Is definitelyun-AMI CAn.

Send your order and $5 check directly to Barden & Clark, 22 Rutland Square,Boston, Massachusetts, 02118.

* * '* * * * *

WHAT DO REPRODUCERSAN D STOMACH AC IDHAVE IN COMMON?

They cause reactions lIke this In vulnerable young ladles,that's what. The full page from which this was taken willappear In a subsequent bulletin, but meanwhile if you'dlIke to contribute a caption suggesting what might actuallybe distressing this poor dear, send It to your Editor atthe new address:

Jim Elfers, AMICA Editor827 Cortland AvenueSan Francisco, Californ ia94110

9 THE WELTE-BRUNSWICK "RADIOLA"

The followIng Is an e5~eclally Jnterestlng excerpt from a letter from DurrellArmstrong of the Player Plano Company, WTchlt8, Kansas:

"•.. r am DWnVL 06 aU .tJvc.ee.: AmpiCD, Ouo-AJr:t., and Wf-Ue, and h4ve. a. c.oUeC-tlon06 abo~ 2,000 !toW between. them. My htJ:tJtutA a/tt pJLlmtvrllJJ popultvt mu6lc..I own a, Jtalte vaJvLe;ty 06 .the. weLte. U(!.eMe.t plaJJVt4 -- the. Ra.dlola., wlUc.h WLUrrwtu6a.c;twr.e.d by KohleJt 6 Campbell .6orrtUinte bUwe.e.n 1925 and Oc:tDbvr. 20, 1931,when the CDmpany ablULpt:llj c.~ed maJtu64etWte. 06 all pla1Jw. I W46 told by a.MIt. SwaJUon, c1 playvr. JLt.paiJrman .6uu, ~Vf- br, the. New Yoltk CUy aJtec1 who WQ.6onc.e an employee at KohleJt 6 CampbUl br, the. WeLte, U(!.~e.e. rUuU,lon, tha.;t the'Rc1rUOla Wa6 made only upon c"LL6tom OMvr.. dulWtg tho~ e. IjtAJrJJ, at the. plLic.e 06$4,200, and pve.h~.6 only 12 Oil 15 wVte mdde. The. ~t one-6 (ht adclUlon toc1 61-note piano haltp) c.ontahted· the ~t eledJUc. "l'ana.;tltope" phonoglL4phtUlCltUble made by BJlUn6wick., and a. JtaJ:Llo aha made by BJlUn6wlck.. It Wa6 the60JleJtWtneJt 06 the mOlle modenr: "home~ c.VtUIt". It had no keyboaJtdione dODIt expo.6 ed the .6poolbo x, the othVL, the Jr.atU.,0 fut.ob..s. The top above. theJttU:Uo U6ted to expo.6e the tUlU'Ltable and the adja.c.ent top Ud aLlowed UmU:e.dMil and Ilecoltd .6toltage. The Welte expJLU.6iorr. paJrh Welte aLl btUU on d mbUa.­tWte. seai»: to aLtow c.ompact w.t4Ua:tLon. Obv~oU6ly, the wtJuuneM. .6old onlyto the exXJlemehj weaUhy at the pJUCL 06 $4,200 ••• "

• • • • • • • • • •LIBRARY ADDITIONS

Two more booklets have been added to the AMICA LIbrary - a 1920 Amplco catalogue,and a 1927 supplement to the 1925 catalogue (already In the collectIon). Bothare rn excellent conditIon. I regret that I can no longer acknowledge the donors,as prIor donors have been subjected to awkward sItuatIons as a result of myannouncement. I hope most of you appreciate the difference between addIng a bookto an individual's collectIon, and donating one to the AMICA LIbrary whereby theEdItor can make Its InformatIon known to all collectors.-Toward that end, I can release the tIdbIt that FerdInand Hlmmelrelch, the near-blIndartIst who did over 100 recordIngs for the Angelus Artrlo, dId hIs own transcrIptIonof "Belleve Me, If All Those EndearIng Young Charms" for the Amplco. ThIs wasdropped from the 1925 catalogue. He also did one Duo-Art recordIng (AnnIe Laurie,#5622), but I dldn1t learn that from the Amplco catalogue.

* * * * * * * * * * *NANCY PROVIDES A GUIDE THROUGH 1969

Nancy Fe' stein of Petaluma, CalIfornia, shoulda been Tn advertIsing. Get thIsfantastic come-In: "What do JacquelIne Kennedy and w.e. Fields have In conmon711

"They both appear In the 1969 AHICA Bulletlnsl" What she's trying to push Is thecomplete Index of all the 1969 bulletins, whIch she was kind enough to compIle andtype, and whIch has been printed and Is now sellIng for 50¢ a copy. RegardIng theepic job as her Ilfe's blood, Nancy was ready to settle down and raIse chIckensand baby Joshua In Petaluma, untJ 1 I prevaf led upon her to type the bulletIn forme whIle 1 1 m busy movIng a~d renovating the new place.

The Index can be ordered from the same helpful folks who have been handlIng the169 bulletin reprInts for me: Bob and Barbar. WhIteley, 175 ReservoIr Road,San Rafae 1, Ca11forn Ia, 94901. (

* * * * * * * * * * *

THE MOST WANTED ROLLS

DUO-ART CLASSICAL

10

(Composer) (Composition) (PIanist) (Wanted By)

Bach, J.S.--------Air for G String; Others---------(any)----------BensonAny------------------------------(any)----------Wherry

Bach, W.F.--------Organ Concerto Tn 0 Minor, Part l--M. Carreras--C. SpencerBeethoven---------Any------------------------------(any)----------Spehar

Sonata in C, Op.53, ·Waldsteln '--Powel1---------BusseSonata Tn E major,Op.109,3rd,mvt.-Cortot--------C. SpencerSonata in E-flat,Op.81a,

2nd & 3rd m1ments---Novaes---------C. SpencerSymphony #3, IEroica', 5 rol1s---(any)----------BensonSymphony #5 --- 4 ro11s---------(any)----------Benson

Bizet-------------Carmen Variatlons----------------Horowltz-------BusseChopin------------Any------------------------------(any)----------Busse

Concerto In E minor, Part l------Hofmann--------WherryConcertos and Etudes-------------Hofmann or 1---CarnesEtudes Op.10,No.6; Op.25, No.12--Horowltz-------BusseGrande Polonaise Brr11ante-------(any)----------SpeharNocturne, Ope 72-----------------dePachmann-----ElfersValse, Ope 18--------------------Frledman-------C. Spencer

Debussy-----------Any------------------------------(any)----------KelseyEnesco------------Adagio, Ope 3--------------------Enesco---------ElfersGershwin----------Amerlcan in ParIs, Parts 1 & 2---Mt1ne & Leith--Wherry

Rhapsody in Blue, Part I---------Gershwln-------EnglundRhapsody In Blue, Parts 1 & 2----Gershwin-------Benson

HarmerKelsey

Gottschalk--------Grand Fantasfe Trlomphale--------Novaes---------BusseGrieg-------------Concerto In A minor, Ope 16,

1st, 2nd & 3rd mvmts---Gralnger-------BensonHorowltz----------Valse In E minor-----------------Horowltz-------BusseLecuona-----------Malaguena, Gltanerlas,Etc.

(AndalusJa)----Lecuona--------KelseyLiadoff-----------The MusIc Box--------------------Leglnska-------BensonLiszt-------------Lieb~straumNo. 3----------------Hofmann--------ElfersMendelssohn-------Any------------------------------(any)----------Felnstefn

Concerto in G mInor, Ope 25------Bachaus--------BusseMozart------------Sonata In D major---3 roll set---Landowska------ElfersProkofiev·--------Any------------------------------(any)----------Kelsey

March, Ope 12, No.l--------------Prokofiev------Feinstel"Rachmanlnoff------Preludes Op.32 No.8, No.10-------Horowltz-------BusseRlmsky-Korsakov---Scheherezade Fantasla------------Prokoflev------ElfersSaint-Saens-------Concerto Tn G.lnor--2nd movemlt-Bauer----------FeJnstel"

2nd &·3rd movements--Bauer----------BensonSchubert----------Hark, Hark the Lark--------------(any)----------GuentherSchumann----------Carnaval Op.9,Nos.1-13, Part 1---Schmttz--------Bu5se

Carnaval Op.9, Both rol1s-----~--Schmttz or 1---ChadwlckSymphonIc StudIes Op.l3, Part 1--0ralnger-------t. Spencer

II .. .. , Pts.l&2-- II -------BusseSibellus----------Finlandla------------------------Ganz , Hutcheson--Wood

THE HOST WANTED ROLLS, (cont.)

DUO-ART CLASSICAL (cont.)

( COrJ1)OS e r ) (ComposItIon) (PIanIst) (Wanted By)

Strauss----~---Der Rosenkavalter------------------Longo--------------BusseFeInsteIn

Stravtnsky-----Sonata (3-roll set)---------------Stravlnsky---------ElfersTchatkovsky----Nutcracker SuIte Part 2------------Gralnger-----------Busse

Romeo & JulIet Overture------------Leopold & GraInger-Burkhardt_ Coverdale

SymphonIes #5 & 66-----------------(any)--------------BensonvonWeber-------Oberon Overture--------------------Leglnska-----------BensonWagner---------Any except rolls #6938, 6943, &6944--Leopold----------Wherry

Any------------Any--------------------------------Myra Hess----------Hanmer

DUO-ART POPULAR

(TItle) (Co~oser) (PIanIst) (Wanted By)

Dartmouth College Songs-----(varlous)-------------Golde-----·--------FeTnsteInFor All We Know-------------Coots-----------------Carroll------------BurkhardtItls Easy to Remember-----------------------------Carroll------------BurkhardtLove Is Here to Stay--------Gersnwln--------------Lawrence-----------BurkhardtMarch of the Tcys-----------Herbert---------------Erlebach & Hllne---FeinsternMy Sunny Tennessee----------Kal~Wlr & Ruby---------(any)--------------ElfersNatIonal Emblem March-------Bagley----------------Erlebach , "Ilne---FelnstelnPatrIotIc Hedleys No.I&2----(varlous)-------------Mll1s&Brooks,

Sergman----FelnstelnPomp and Clrcumstance-------Elgar-----------------Bentz--------------FetnstelnPrInceton College Songs-----(varlous)-------------Samuels------------FelnstelnRadio FavorItes # l---------(v.rlous)-------------Armbruster---------FelnsteInRose of WashIngton Square-------------------------ellff Hess---------ElfersSecond Hand Ro!e----------------------------------(anyt--------------ElfersThere I s A SnUlll Hote l--':~---Rodgers---------------Carro ll------------Burkha rdtThunder and Blazes----------Fuclk-----------------Addlson & Gordon---Felnsteln

Anythtng--------------------Anyone----------------Eddre DuchJn-------HarmerAnythtng--------------------Anyone----------------Dagmar Nordstrom---Elfers

II .. WIllard Roblson----Elfers

AMPICO CLASSICAL

(Composer) (ComposItIon) (Planlst)- (Wanted By)

Arensky--------SuJte Op. 15, Valse----------------8auet & Gabrllowltsch-VeckleyBach------~----lta1Ian Concerto-------------------Schnabel-----------ObenchalnBach-Gounod----Ave Marla--------------------------(any)--------------TownsendBeethoven------Sonat. E-flat ..jor,Op.31 No.3-----Brallowsky---------Shaplro

II .. II, 3rd IIIOvement-- II ~--------Jensen (0Son.t. Op.57, F mlnor,IAppasslonata l

,

Parts 1 & 2---LevJtskl-----------R. JohnsonShapIro

Sonata Pathetlque 12, 13----------(any)--------------Gerrey

3 15812

THE MOST WANTED ROLLS, (Cont.)

AMP1CO CLASSICAL, (Cant.)

(Composer) (ComposItIon) (PIanist) (Wanted By)

Btzet-----------Carmen Ballet Muslc--------------Pel1etier----------JensenBrahms----------Rhapsodles, except G mlnor,B minor------------------TownsendCervantes-------Danzas Cubana--------------------Echanlz------------JensenChabrler--------Espana---------------------------Copeland-----------YeckleyChopin----------Etude Ope 25, No.1 'Harp'--------Brockway-----------D. Stewart

Etude Ope 25, No.ll 'WInter Wlndl-LaCroix-----------D. StewartEtude Ope 10, No.2 ---------------------------------0. StewartPolonaise In A-major,Op.40,No.l--(any)--------------BodalskiPolonaise in A-flat major, Op.53-{any)--------------BodalskiRevolutionary Etude--------------Munz---------------CoverdaleScherzo Op.31, B-flat mlnor------Rachmaninoff-------Coverdale

R. JohnsonSonata Op.35, B-flat minor,

3rd &4th m'ments--Mirovitch--------ShapiroSonata Op.58 B mTnor -any mJlment-·Moiselwltsch------Shapiro

II .. "2nd&3rd m1rmts- II -------Jensen·Practlcally Everythlng'---------{any)--------------Ireland

Debussy---------Anythlng (not refssues)---------(any)--------------TownsendClaIr de Lune--------------------(any)--------------BurgoonGardens In the Ra-Jn--------------E. Robert Schml tz--R. JohnsonGIrl with the Fl.~" H.lr--------(any)--------------WhlteleySuIte Ber~mas~ue~---------------E.Robert Schmltz--Jensen

Del Tbes---------Coppel ,. Waltz-------------------Dohnanyl-----------R. JohnsonLawson

Dohnanyl--------Arla-----------------------------OohnanyT-----------IrelandDvorak~---------NewWorld Symphony 11,3,& 4------(any)--------------GerreyFaure-----------Impromptu------------------------Munz---------------KnorpFteld-----------Nocturne #5, B·flat maJor--------Adler--------------ObenchatnGershwln--------Amertcan In Parfs----------------Ml1ne & Lelth------Obenchaln

Rhapsody In Blue-----------------Gershwtn-----------KappelGrteg-----------Concerto Ope 16,A mInor, Part l---Volavy-------------Eilers

'Plano Concerto· 1st & 2nd m1nts--------------------GerreyKrelsler--------Ltebesl1ed No.2------------------Rachmanlnoff-------O. StewartLecuona---------Two Cuban Dances-----------------Lecuona------------R. JohnsonLtszt~----------Concerto No. l-------------------Volavy-------------Jensen

Hung.rla" Rhapsody 815-----------(any)--------------GerreyLes Preludes---------------------{any)--------------TONnsendLlebestraum----------------------(any)--------------Carrol1

Mendelssohn~~·-~ScherzoIn E mlnor,Op.12,No.2----H offman-----------LawsonHoszkowskJ------Barcarol1e-----------------------Volavy-------------KnorpHozart--~-....._---Sy~hony #4 Tn G mInor, #1,2,&3--(any)--------------Ger'reyP8derewskl-.----Hlnuet---------------------------(any)--------------Carrol1PeganIn I-L , szt--La Ca~ane11 a-------------------- (any) ---------------Wh i te 1eyPold'n'-.~~~---·Pouplee Valsante----~------------Zeisler------------D. StewartR8chm.nlnof'--·-Helodle, Ope 3---·---------------Rachmanlnoff-------KappelRaveJ-----------Anythlng-------------------------(any)--------------TownsendRublnsteln------Feramors Ballet Huslc------------Pel1etler & Loesser-JensenSalnt-Saens-----Concerto Op.22,G mlnor,Ptsl&3----Wlttgenstefn-------Obenchafn

.. .. 11,3- ro 11 se t-- "II --------E f 1ersSamson & Delllah,Flnale to Act l--Salnt-Saens-------LawsonValse Langourese Ope 120-----~----Salnt-Saens-------Lawson

13 ."

THE MOST WANTED ROLLS, (Cont.)

AMPICO CLASSICAL, (Cont.)

(Co"1>oser) (Co~os It Ion) (p Ian' s t) (Wan-ted By)

Satle----------Gnosslenne, No.l-------------------Copeland----------KnorpScarlattl------Sonata, B mlnor--------------------Orloff------------Kappei

CaprIccIo, E maJor-----------------Orloff------------KappelSchumann-------1Aufchswung l from Fantaslestucke,Op.12---------------Yeckley

Fantaste Ope 17, Part 3------------Gabrllowltsch-----R. JohnsonKtnderscenen-----------------------Ney---------------R. JohnsonPaptllons Nos. l-9-----------------Lhevlnne----------R. JohnsonNovelette, Ope 21, No.l------------Volavy------------Knorp

Scrlabtn-------Etude Pathetlque-------------------eevltskl----------IrelandStrauss--------Blue Danube Waltz------------------Arden & Carroll---LawsonSzymanowskl----Etude Ope 4, No.3------------------Zygman------------KnorpTschaJkovsky---Humoresque-------------------------(any)-------------Kappel

MelodIes Part 2-------------------Chenowlth---------DunneRomeo & JulIet Overture------------Leopold , GraInger-BurkhardtSymphony #6 B mInor, Op.74,lst m1mt.-----------------Jensen

Wagner---------Parslval & The Flower Maldens------Susklnd & Buerger-Jensen

Any classIcs (especIally BI S) played by the great planlsts----------V. Brown

AnythIng played by Rachmanlnoff-------------------------------------Carrol1II II II II -------------------------------------Wh Ite leyII II II Volavy, Brockway, Susklnd,Loesser----------------Sllverman

Four Hand Duets-----------------------------------------------------SIlverman

AMPfCO POPULAR

(Title) (Coq>oser) (Pl en ls t) (Wanted By)

Anything Goes---------·~-----Porter------~--------(any)---------------Dunne

Are You Loneso~ Tonfght7----rurk & Handman-------STms----------------EtlersBTttersweet Selectrons----------------------------(any)---------------LawsonChampagne Waltz--------------Drake----------~-----(any)---------------Lacy

Ching-A-Llng's Jazz Bazaar---------~--------------Clalr--~~-----------Junchen

ContInental ------------~----Magrdson-Conrad------Carrol1-------------BodalskT

DunneDancIng on the Cefllng-------Rodgers & Hart-------(any)---------------DunneDizzy Frngers-----------~----Confrey--------------Confrey-------------Erl~rs

Down South----------------------------------------Orlglnal Plano Trio-BurgoonFor All We Know--------------Coots----------------Carrol1-------------BurkhardtGoodnight, Sweetheart-----~--Connelly-------------(any)---------------lacyHIt the Deck SelectIons --------------------------(any)---------------yeckleyI Get A KIck Out Of you------Porter------------~--(.ny)---------------Dunne

I Love to Hear You S'nglng---Wood-~----~----~--.--Farrch'ld-----------Knorp

If Love Were Al1--~----------Coward--·----·-------~any)---------------DunneIsle of Capr'-----.----------Grosz---~------------(.ny)---------------LacyIsn1t ThIs A Lovely Day7-----Berlrn---·--~--------(.ny)---~-----------DunneIt·s Easy to Remember--~-----------·------------Carroll-------------Burkhardt

Itls Only A Paper Hoon-------Rose-H.rburg~Arlen---(any)---------------Dunne r-Lady In the Dark Medley------Wel11----------------(any)---------------Dunne ,Love Is Here To Stay---------Rodgers--------------lawrence------------Burkha rdtMad About The Boy------------Coward---------------(any)---------------LacyQueen Hfgh----------------------------------------Farrchlld & Ralnger--Veckley

3 157

14THE MOST WANTED ROLLS, Cont.

AMP ICO POPULAR, Cont.

(Title) (Composer) (Pt anl s t) (Wanted By)

Red LIps-Kiss My Blues Away--Monaco-Wendllng----Lange----------------ErlersRhumba Medley (Dust On the Moon,etc.)--------------------------------LawsonSky Blues---------------------------------------Cldman & Falrchlld---RhodesSnow WhIte Medley-------------------------------(any)----------------BurgoonStormy Weather---------------Gershwln-----------Carrol1--------------Bod~lskl

There1s A Small Hotel--------Rodgers------------Carrol1--------------BurkhardtWaltzing Matllda-------------Cowan--------------(any)----------------Lacy**'i'cAmpico B & B Jumbo rolls, medleys & dance muslc----------------------F. AdamsAnything composed by Cole Porter or Jerome Kern----------------------BurgoonAny B rolls----------------------------------------------------------TownsendAny Jumbo rol1-------------------------------------------------------ShapiroAny authentIc rags----------------------------------~-------~--------PIer

Anything played by Lee Slms------------------------------------------CarnesAnything played by R. Rodgers----------------------------------------Kappel

WELTE MIGNON CLASSICAL

(Composer) (Cormos I t l on) (PIanIst) (Wanted By)

Alkan----------Anythfng--------------------------(any)---------------B. SpencerBach-Busonr----Toccata,C-duo, AdagIo & Fugue (red)-Horowltz----------Mll1erBeethoven------Sonata Op.31 #3, Parts 3 & 4------Hofmann-------------B. SpencerBrahms---------Rhapsody Op.79, No.2, G mlnor-----(any)---------------B. SpencerChopln---------Anything--------------------------(any)---------------Jun

Bal1ad~ F~duo,Op.38 No.4---(red)--d'Albert------------Mil1erPol ene lse In A-fl.t major 'Herolc'-(any)--------------B. Spencer

deFal1a--------Pleces Espanoles 1 thru 4----(red)-deFal1a------------MJllerLiszt----------Anythlng (both deluxe and green rol1s)----------------JunMendelssohn----Anythtng .. II -------------------JunMozart-LJszt---FIgaro Fantasre as Interpreted

by Busonr---(red)-Horowltz-----------MfllerRachmanlnoff---Anythlng (both deluxe end green rol1s)----------------JunRr msky-Korsakov--Anyth Ing II II. II .. II ----------------JunTcha! kovsky----Anyth i ng .. II II II II ----------------JunVi l1a-Lobos----Ool1 Pieces 1 thru 8 (Welte Llcensee)--Oswald---------Mll1erWagner---------Tannhauser Overture Part 2---------Hoffman------------B. Spencer

Anythfng---------------------------(any)--------------B. Spencer

WELTE MIGNON POPULAR

'Most popular rolls· by Vee Lawnhurst, JulIan Rodney,and Johnny Johnson-------------B. Spencer

ANGELUS-ARTRIO

Any rolls, classIcal or popular-------------------Any planlst)--------Hayden

1S THE MOST WANTED ROLLS, Cont.

MISCELLANEOUS PIANO ROLLS

(Brand) (TItle) (PIanIst) (Wanted By)Angelus-Artrlo------Any large clasilcal rolll-----(Any)-------------Obenchain

88-note-------------'Talnt No SIn (To Take Off Your Skrn,etc)-------EllersQRS Recordo---------The Best Things In LIfe Are Fr.e--Arden---------Nlelsen

Barney Google-----------------Vanderbosch-------NlelsenAIn't She Sweet1------~-------Wendllng----------Nlelsen

DIrty Hinds, DIrty Face-------Wendl1ng----------NTelsenThat Bft Blond Mamma----------Wendl1ng----------Nlelsen

QRS-----------------Wlth Every Sr••th I Take------Kortlander--------RuebU.S. Word Roll------Yearnlng----------------------Slms--------------RuebMel-0-Dee-----------The ShJek of Araby------------Banta-------------RuebMastertouch---------MoonLIght Medley--------------Austra'Tan planlst1--RuebArly-----------------Rose Roorn---------------------·(any) -------------RuebAny-----------------Al1 rolls composed and played by Scott JoplIn

or by Jelly Roll Morton--RlleyDuo-Art or Amplco---Brother Can You Spare A DTme?-Carroll-----------Wood

RaIn On The Roof--------------Alpert-----·------WoodWelre In The Money------------(any)-------------WoodLambeth Walk------------------Sherry Bros.------Wood

Duo-Art or Welte----Would You LIke To Take A Walk1-Mllne------------Wood

ROLLS FOR INSTRUMENTS OTHER THAN PIANOS

(Instrument) (Roll descrIptIon) (Wanted By)

MIlls Vlolano-Vlrtuoso-----Any classIcal, semI-classIcal,waltz, or unusual roll-----------------V. Brown

Tanzbar 2a-note Concertina--Large rol1s~ popular tunes--------------HattrupToy QRS DeVrys Playasax(16-note,4-1/lt" rolls) •• ANYTHING-------------FeTnstelnNlckelodeon---------------ColumbTa A-roll #1846---------------------JunchenOrchestrJon---4-----------A rolls, 0 rol1s--------------------------SlouPhotoplayer---------------MSR or MO Seeburg rol1s-------------------Slou

ITEMS OTHER THAN ROLLS

Duo-Art Roll Catalog------------------------------------------------FeInsteInThemodlst-Hetrostyle InstructIon booklet----------------------------MottoRos

* * * * * * * * *

THEY LAUGHED WHEN I SAT lXJWN TO RECORD

'J!he ad on the opposite page reefsz-B to "that unmistakCrbz. Vincent Lopes Touch" .:but neglects to mention that said unmistakabls touch tJaB provided by Adam carrol-l:Evidently no one tum.ed on the ;recoMng machine tJhiZs Vince tJaB doing his thing~

until after- he left the Ampico eiudio, tJhtm CtrlTOZZ uoul-d aut the Lopes arranqe­menta. 'J!hez-e must have been a pl'Bvalting disenehantmBnt l'egaM,ing the unmistakabZe(Lopes touch, for-. some of his phonogzeaph l'8ool'ds tA'BN also cut by other- pianists. ,

+++++

3· '" t:: . ~~-0b

When Vincent Lopez playsVIN CEN T LOPEZ plays the kind

ofdance music that makes matronsfeel like sub-debs, and convinces menof all ages that they dance like Valeri­tino-only better.

Vincent Lopez will play your piano- in your living-room - that you,your children and your friends maydance.

Impossible? Not if your piano isan Ampico.

Slip a recording into the shallowdrawer below the keyboard. Press abutton. Then pick out a clear spaceon the floor and dash for it! Youcan 't resist dance music with thatunmistakable Vincent Lopez touch.

Whether yo ur mood calls for syncopa­tion or symphonies, yo ur Ampico w illsupply the kind of music you want. Theamazing Ampico mechanism w ithin yo urpiano will make it sing under the touchof hundreds of famous arrists such asGodowsky, Levitzki, Lhevinne, Rachman­inoff, or Rosenthal. The library o f Ampicorecordings includes, in addition to theworld 's greatest dance music, sonatas,nocturnes, operatic selections, serenades

and fantasies, simple songs and ballads,hymns and marches.

Only with these fine pianos

The Ampico may be had only in thefollowing pi an os, instruments that havebeen known for gen erations for p re-ern i­nent quality: Knabe, Chickering, Mason& Hamlin, Marshall & Wendell, Fischer,Ha ines Bros., Frankl in, and in Canada theW illis also . Note that the Kn abe, the

THE AMPICO brings yo u themusic of nearly a ll of thepiano 's fam ous jazz arrisrs.

Am ong them ar~ .:

ADAM CARR O LL

ZEZ CONFREY

J. MILTON DELCAi\IP

EDGAR FAIRCHILD

TED FIORITO

FERDIE GROFE

HENRY LANGE

VINCENT LOPEZ

RALPH REICHENTHAL

Ch ickering, and the Mason & Hamlin­three o f the four great pianos in generaluse o n the American concert stage-havenow ad opted the Ampico.

Yet the flawless structure of these pianosis in no wa y altered by the presence of theAmpi co . The piano is unchanged-intactfor playing by hand.

Hear the Ampico today

G o coda y co a store where any of thepi an os mentioned are sold and ask to heara rec ording by some musician whose play­ing is familiar co you. Close your eyes andthe fam ous man is there. Every phrase,every sha d ing is unmistakably his.

Your silent or player piano will entitleyou to an allowance on the purchase of anAmp ico. This fact and convenient termsof payment make owning an Ampico a joyyo u may experience at once. Foot-powermodel, $7 9 5. Electric power models, $985to $5000. With freight added. Uprightsand grands.

If you want to know more about theAmpico, write for a booklet descriptive ofthe Ampico, its great artists and theirmusic.

THE AMPICO CORPORATION43 7 Fifth Avenue, New York Cicy

eAMPICO6J!it ALL ofthe PIANO'

17

SAUL DISCUSSES REPRODUCERS

I wrote to Dave Saul of Chico, California, to express misgivings about his admittedpractice of arbitrarily replacing the air roll drive with his own sophisticatedtransistorized drive motor in every reproducer that he restores. As you wl l l seein the reply that follows, he gives a very satisfactory account of his reasoning,although he declines my suggestion that he market his transistorized job, whichKen Cas~ell insists is an absolute necessity for Welte systems, in which thetiming is so critical. I also asked Dave to clear up some points about theDuo-Art system.

I have finally realized that the Duo-Art, while probably among the most logicallystraightforward in design, is perhaps the least understood of the major repro­ducing systems. Its detractors will refer to it as a "sixteen-step svs tem'", andit is only with some difficulty that you can convince them that two sets of six-teen steps equal thirty-two levels of expression. Inasmuch as it11as been main-tained that the human ear can detect only twelve levels of volume, and in experi­ments with the spark chronograph Mischa Levitski was able to produce only eighteendifferent levels out of 21 attempts, thirty-two would seem to be more than adequate.Assuming they could be detected, levels between these steps can be achieved bycatching the mechanIsm while it is adjusting from one level to another.

However, even Duo-Art owners are frequently unaware that there is an interchangebetween the sixteen steps of Accompaniment and those of Theme. Just how muchthe Accompaniment Chamber contributes to the Theme and/or vice versa is apparentlynot yet established, but it1s obvious that the total of combinations is in theneighborhood of sixteen squared. If, after reading Dave's letter, others of youhave different views, I would appreciate receiving them in publishable form.

~~aJtdt 22, 1970

{\...

VeaJt J1Jn,

I had ),nunded ~o aJ1.6weJt qou): FebJtu.aJr..y 27 le:t:teJt. 4igh:t a.£t'0Jd, but fJOU touched on.60 mmy topiecs 06 a. 6und.a.ment:al and chaUeng.ing ntttulte .tha:t 1 thought a be,ttVtto W<LU tlJ1..til ! ha.d Ume to devote the ttttenUon and e66oJt:t tha:t tnes e tiung~

llea1hj deseJ[.ve.

The pJtopo.6ed It'LtVUtttUor..a.l meeUng sounds like a tJvr.JU.,fj.,c Ldea. -- I'U c.eJr.:tJU.nlya:t:tend, and "get:. ).,nvolverl' to the gJtea:te4~ pO~.61ble eden.t. I celLtiUniy hopetJr.a,t enough membeJtb will.. develop .f,u6fj.,uen:t ~ut:. to make. ~he whole thing aJtoaJr1..ng __ ~uccu~. I 6 e.nough in~.t C41t be .6t:iAJr.ed up be60Jte the vaJrJ.,OU6 me.mbelth'.6ummeJL vaeaxco« and tItllvel p~ aile ftUr.med up, a .f,hocdd be pO.6.6~ble. to gd a.Ite.euona.bly good tUlUtoLLt 06 ou:t-06-.6tlL:teJL6, a.:t teas« .6ome 06 the mOJLe enthU6~Uc

onu. The te.cJuLiC4l 4~~lon willc~ bene.~ t1li- 06 U6 who ase. c.onfuUJ:Llly.6t1tLLggUng t» bnoaden. oun. knouJledge 06 the. vaJrJ.,OU6 mecha.n.<Am6 and ~mpJtove oun:.6Wh and woJth.man4lUp.

My 6eeLLng.6 aboui: Jt.UtoJriLt,i,on Jtwt about paJta.Uel ~o yoWlA and AMI CA'.f" peJthap.6cU66vWtg a. bU meJte. in btU.ie- pfLU.o.6~phy titan bt tite mo!t.e plla.c;tica,l and woJtld..lytUpee:Gs. The. one. plLlnrvuj objemve 06 ttl! ltepJloduc.btg plano JteA.toJUL:tiOn6, inrrrJ utimtttlon, i.4 tlte- a.~wr..a;tL and 6aUh6uL JLqJJloduc..tLon On nttL6~C-. The aJt:tiAUcgoal, t16 I .6 ee. U, )A tlte tJw.ly 6undamen:tal one. S~nc.e t.JUA l~lt6 aiso plte6uma.bRljt:.he objec;t,ive .6ough:t by the du~gneJtb 01. each me.ch.a.n.)Am, the aM1AUc. goat Ls ,bt n~aJt.ly all ~eA, beA:t acJUeved by pJle6eJluing tlte o4iglnal .6'd.6t:.em de6.ign.ImpUeit 1..n. .t:J1.,U .6~, 06 c.o~e., iA a. IlVD4 06 c.onQidenc.e" nOll the o4ig).,na,leng~neeJLlJtg a-nd dlAigK 06 the me.c.fuvti4m. TW, 1 belleve., iA nuliJJ. waJrJUlnted ).,nmo.6.t ClUU. 10

K ke.eping wUh the du.lgneJt6' ..ur.:tenUOn6, thelte .6hocdd be no objec- C-UOK to upd.tLtiJtg an i.Mt:JuurIen:t to a. ltJJ:.tJt deAl-gn. c-orr.Qie.UIttLtlon a.dmLU..y used bytlte. 6aWIUj. CtlLl.:tLOK and good judge.men:t need to be exeJtciAed, 06 c.oUlt6e..

r ·

SAUL DISCUSSES REPRODUCERS (cont1d)

3 155

18

FJtom a. t:.echnical- -6:taJtdpohtt, each 06 the vanlous mech.a.n<Am6 JtepJLe6en.a an,integJuLted coUeeZion 06 c.omponenZ6 e.ng,[neeJted nOll tile pUltpo.6e 06 6u.nc.tionbtgto9dheJt as a. ~ I:f~ um t» pJto duae. .the de6aed aJLt.iA Uc. JteA u.U:.. rampeM.ng wUha. caJr.e6ullJJ woJtked oeLt -6fJ.6.tem de,6,[gn, upeda1.lJj by a.ma.teUlL6, .u not likely toenhance tile ovv..all c.,a.pa.b~u 06 any bt6t1uurrent. Such e.66oJLt6 aile to becf,Uc.,oWUlged, and at but .6hould be at:tempted only with tile u:tmo.6t CA.LLtion, andonly on one'.6 own peJL6onai. -iJuJ.tJtu.men.:t6. Thvr.e aile, 06 c.OUlL6e, a. ~Jr e.x.ample.606 eaett6~vely Jtede6~gned .ln6tJuLmen.t6 tha-t a.c:tuJJ.11.y c.ompJUAe leg~ A.-m-pJr..ovement6 • The one ltea.1..ly outAtancUng example tila-t c.om~ to mind 1A Ken ClU­weU' ~ Welte. AU:h.ough U AA widely a.cc.hWne.d by eveJujone who'.6 healld U a6one 06 the 6~neAt exampleh On the pvr.6eeZiorUAt'.6 aJLt, U a.c:tu.a1.1J:J COMJAt6 06aboui: 50% Amp~co p~ (val.v~ and ~ta.ck.) togdlteJt tAJ.U.h Uc.eYr,,6ee expJteA-6'£on anda. thoJtoughly c.lL6tomLzed 2-.tJr.a.c.keJt-balt, .:t:wln spooibox ~~tctUat£on. Abou:t theonly tlUng oJUg,[na£ that J.A -6W1 te6t, othve.:titan the plano lJAel6, .L6 the:Ota.C.kVL bCVt and JtoU dJ'V£ve tJtaJ1AmU~)'OYl.. 16 anyone c.an do tha,t .6 oic: 06 tJUngand ge:t tha-t IU.nd 06 JteAu1.:t6, I'lt not be the one. to cUAc.oUlta.ge IUm. 06 COUlL6e,I Wa,6 pe~onctU.y -Utvolved up to myaJtmpLt6,[n tha..t pltojea,.6o maybe r ,6/touldn'tLL6e U 60lt an example. Bu.:t.the ltelJu1tA .6pea.k 6oJr.. ~hem6elvu. The tJutg~c.. paJttLs , wtn0J[,t,wta-tehj, tJ1a:t the otheJt 99 cui: 06 100 people who tJuj any:tJUng like tha,twind up wUh a bu:tehVted-up p,[ee-e 06 junk. r ~upp0.6e .tha:t make6 me 99% a.gtUnot U.

ExeJtc0.s-Utg due lt~tJuUYLt, hcoseve»: U 1A ~a.~e to ~ay tila..t a. .6ub.6tan:tial- numbVt06 ,{,mpltovement6 aJte. pO~.6'{'ble en:tJ.Jtdy (vUJUn .the 6JtameuJo l tk. 06 the oJUgA..nal-6Y-6te.m deA,[gn. Atthough technic-ally a. dUA..gn change, no one c'ondemn.6 the U6e 06neopJtene tubA..ng to Jtepla.c.e nlLtuJta1, nubben; * OtheJt mtLte)Lid6 .6uclt tU Polylon,[v{U,te. glue, te6loYl., e.tc.., aJte ac.c.ep.tabie. to mos t: c.oUe~oM and JteA:COlteJrA.Ac~eJt all, we aJte deaLUtg wUh a med£um tJvwugh wlUc.h an aJt:t nOJun AA pJtopaga;te.d,and nos: medcLUng w,[,t!t the aJLt .£:fA el6. 1n. otheJt wonds , lL5ing whLte glue In anAmp,[c.o )A not at: aLe. like U6ing hous« pairc; to touah. up the A~ona. UAa..

U-6e. 06 the. elec:t.JUc MU dJri,ve, lU 1 .s ee U, AA entiJtely c.oYl1>..iA,tent.wUh :th1AptUi..o.6ophy. It peJt6oJtm6 exa.c:t1Jj .the ~a.me 6unw..on. £u the oJUgina£ Mit moxo«,peJt6oJun6 .tha,t bunc,uon moJte e66J.,ctenil1j·, qt.Liefty, and Jteliably, and does not,(,Jt6lue.nc.e the ooenari.on. 06 .the pneu.rnt:Ltic. ~ tj~~tem Ln. any WCUj exeeo« to neduae. theload -6lighfty on the pump.

I 6eu quJ.X.e c.e~ thtLt .6ome 60Jcm 06 the eledJL.te. JtoU dJri,ve. woul.d have.eveYLtULLU.y been. a.dopted by all the 17ktnu.6actuJteJrA A..n due time, ha.d the maJt.ke.tc'oYl:tinued 601t .theA e ,[Mtltumen:tA. The. elec.bL£c. dJri,ve Wlt6 an JJnpoJ[,t,a.n;t btnovw'onin the Amp,[c.o 'B'. 1t:, Wa.6, 0 n e.o lJ}U) e, nair. moJte. eLL6fI-c.LLtt t:.0 bCLU.d t:JrJA :type .06de.vice it! 1929, bu:t H,i,ckman Jtet:ttized the value 06 U and adop.ted U in .6pi:te 06~ub.6:t.an:tiCLi developm~ pJtoblem6. The dttawVL-:type. Vuo-Au d60 U6ed the Ampic.oelec:t.JUc. dJUve, /'0 U ;tU/U't.6 ou:t t:ha:t the f..tu,t 06 .the Vuo-AJt.h welte a1Ao elee-:tJU­n,i,ed. 1n tlUA light U wotLld appeevr. tha,t the elec;tJUc. dJri,ve )A meJtely d logical-.6.tep ~Yl. the evoluUon 06 the Ilepllodudng p~ano. That' ~ my own peJt60nal oyUn,£on,anyr..oay•

I' U c.onc.ede one poA..n.t, howeveJ[.. The Vuo-M:t. undoubzecUy htU the be4:t aiJt motOJL06 any 06 tile "b,ig thJtee". I might .6u.ggu.t a..u..:t::tl.e .teAt, howeveJL, .i6 you' Jte.6uen:ti6~caUJj btcUned. TJuj JtWtnbtg the tempo poJt:tLon 06 if0U!t .teAt JLoU tkJtoughwUh t:he dynamiC6 undeJl manual c.on.tltol. Run tile tempo tu t onc.e wUlt .the dynamic.level helda-t pianl6.6JJno. a.ll t:he way thJtough, a.md tilen a.gtUn tAJ.U.h a good .4oUd

""""""* (Several do condemn the use of neoprene, Including ,Larry Mangus - especiallywhere "give ll is important. However, weill let that statement pass If you substi­tute the name of some other flexible plastIc tubIng that proves serviceable overas long a period of time as rubber. Nelson Barden recommends Tygon. -Ed.)

19SAUL DISCUSSES REPRODUCERS (cent I d)

noJt;te. The 60lCk tAJlU C.4U4 e moJte. 6JLletlon dIu1g oveJt the. tlta.c.k.vt baJt, and VJUttend to .6low the tempo. Thne. e.acJr. tIlAt CUJJLf.6ullJJ, tUld no-te, the. eu.I6Vtenc.e ~time 6oJr. the. .606t and Loud t~.t6. 76 the, two t1gJrLe wU:hht one. .6f.c..ond Olt .606oJr. one-mbtu:te ~, yOUJ[, tUJt motolt ~ 46 good 46 wrJ tle-e:tM~ ont. 76 youget a6 mu.c.h cU 6 .6ec.ond6 cU66VteJtCL, you hitve 101 .6lowdown on loud pa6.6a.geA.·

Although l' ve expended .6ome vvrb,Laae bt de.6ur.c:U.n.g the. utdJUc. dJUVf- 46 d genuUte.hnpJr.ovemVLt, I'U make no e66oJt;t Whate.vVt to pe.c:Lc:JU tham, Olt e.ven. to Jtec.ommendthem 6oJr. 9enVU1l U6e. The ma.jolC1.:ty 06 .uu.t'r.ume.nU Kted tLttenti.on -ill othvr.~mu.c.h WO!t6 e than they need an eledJUc. !C.oU dJUvL. They aILe ais 0 c1 ileaL painto build and w:ta.U. r Uke to U6e the oJLightal tempo levVt and ~c.a.le whenevVtpO.6.6ible, and .tltiA CJl~ mec.ftaJUC4.l .uut.J:ttlA;ti,on plWblem6. Al6o, PJLov.u~on

mU6t be mttde 60ll cJtang,[ng .6peed ci.uJrhtg ItVtCU. The eost L« a. bU a:tJr.ocUo~, too,OIL a:t. luut mo.6.t people thlnk /,0. r brJ,~t:. on ,top qu.a.lLty thJtOughord, wh.1cJr. hasptU.d 066 ,[n the .6en.6e :tha:t. none 06 the~ has eveJl expeJLienc-e.d any .601Lt 06elecW,CAi, on. mechan.,LCAi, 6tU.lu1Le. WUh all t:.h.btg-eS c.On6-ldeJted, hOtJJeveJl, my ex­peJUmc.~ w..uh theAe tlt.Utg-6 ~btc.e 1 friJt6t .6:taJr:ted bLLU..dhtg .them about: frive ueassa.go ,[ncUca.:tu thd they Jte,ally allen' t pJta.c:t.LCJLl unlu.6 011 the brJ,.t.a11.tLtionde~ aile d~c.ompwhe,d be.6oJte the cusxone»: taku de.tivVty.

PeMct~ l' c.an ~weJt uou»: qUUUoM and c.lAJr.16tJ d eouot». 06 po.lntA abotu: tneVue-AM: dyna.m£c. .6tj.6te.m. The Theme dyna.m£c. level defrUUtely c.an and dou bt6lu.­wc.e the Ac.c.ompanlmen~, and vcce. veJL6 d. The Jtea6 on AA pump pltU.6 uJU?.. When e,UJteJldyna.mic. level gOe4 to sxe» 10 Oil above, the a:tmo.6pheJLic. flPi.l1 beg.br..6 to etose,and pump pJte.6.6uJte gOeA up. 06 couase, rrrJ Jtt.OeJtVtC-e6 t» pJte.6~Ulte htCJte.46e. me.anmoILe .6uction, ).,.e., pJtU.6uJte Ls taken in d negtttlve .Aen6e wu:.h Jtehped to nornUtdla.:tmo~phw..c !til,neJt.enc.e pnestJune. •1deai..ly, In. d hypothe:UcaliJj peJl6e.d JteguhLtoll 06 t:.h.iA .type, tite JrLgula.:t.edpJtu~Ulte in e,UJteJc. 06 the. c.haniJeJL6 { theme on: dC-C,Ompan.l.1nvLt) .6houlcr6e...f..ndepe.nde.n.t 06 ~ly pJtU.6Wte. Tn othvr. wonds , 1..6 you Ineseiu:« OIl. deC/tea.6epump pJteA.6 Ulte w nohi7ilil opvr.a.:tUtg l1..mU;&, tite lleguhLtLd pJtU.6 uJU?. shouidr:' tVaJr../f iu: all. In P¥ctic.e, hooeve«, th.e, Vuo-AJr.,t Jt2..gula..tcll (along wLth otheJL606 1h type) c.annot rna1J1.:ttU.n tJUA -lded PeJlnoJUnanc.e. Wha:t. you de:tually ge:t..fA a. noUceable inCJle~e .in Jle,gul.a..ted pJtU-<5uJU?. whenevvr. the .6upply pJte4.6uJU?...f..n CJte£t6 e4, evVt :th0ugh .tite Jte,g uta:t.oJr.. ' ~ dC-c.oJr.l:Uan t.l1tU:6 Jle.ntLl.n .6.ta.:tiOYlaJuj •The. amount 0 6 ,[nClte~ e JA eLi6friCJ.J1.;t to pJtecUd, and c.an va/Uj 6JtOm one plan.oto the nex,t. It:. might eve.J1 be pO~.6,ibh :to 6htd a. .6e:t 06 6!le.a1U..hh c.oncLU:io~

tha:t. woutd c.a.U6e :the oppo.oUe e.66ed, .60 a..6 to deCJletUe Jtegu1.a.ted pIlU.6uJU?.whe.n. pump pJte.6.6uJle. gOe6 up. 1 haven' t; inv~Uga:t.ed~, and am .6peClJla:tUr.gon t:.h.iA po,int. The U6LUtl .6Ul.J.fl:Uon to be- expected w.LU be 11 .6UgU btCJte46 ew,Uh wing pwnp PJte1>4uJte. The. me.c.ha.n1Am'.& du1..gneJL6 weJte undoub:terlly awalte.06 .t.JUA e6ned, and U JA 06 VVty l1.:ttl.L C!On6e.quenc.e. ht606a1t a6 the. aJt:t.iAUc-CJlpabLeLty 06 the. .iltAVtumVLt iA c.onceJr1lLd. '

The .6UUlLtlon Jr..e.gaJu:Un.g fU.gh PJtU.6uJU?. lLvth on a.c-c.ompanim~ tUtd laA1 p.1L~.6UJle

on :theme ,fA a .6Ughfty di66vr.eM. pILoblem. 16 you. .6U up d c.ondU:loK lik.e. tha.:t,you .6imply don'.t ge:t any cltQ1f,ge ,[n ~.ta.c.k pJtU.6U1te. when the ".6na.kebm" C!.Omuove.Jr.. the theme hole. The. thvne. cJta.ni>Vt w.iU be "6looded" by the. ItighVt a.c!.c.om­panhne.nt pJt~.6uJU?. .tlvtough the tLppJtOpJLia:te. che.ell valve. when the. theme valveOpen6. T~ ~ not d "ualutge." .6ULUttion, tht .6y..stem ~ buU:t to 4d tIt.4t w41J.The ".6na.kebUe" only a66ed.6 ~t:4c.k. pJteA\~uJlL when the. theme pJL~.6U1lL .u highVt.O.theJrWi4 e, to be c-o.n6~,teM., U would h.a.ve. to take the volumL down. wltUl t1

""""""""* (WIth both AccompanIment and Theme up full, the tempo on my 1921 Duo-Art Is1-1/2 seconds slow .fter a minute at 70. I can testify that after enduring 61-1/2seconds of solId fortlss'Imo, one ~oesn~t notice any such slIght lag In tempo! -Ed.)

(

3 15t1 20SAUL 01 SCUSSES REPRODUCERS (cont ' d)

.6nakebUe cornu along.· Tha:t JrLa1.1JJ wouldn'.t be ve/UJ Uhe6ul in a. plLad,ic,a,l

.6en6e. 06 COUlL6e, when accenZh aile not c.al.led 60lt in t:he m~i,c., t:hVte i.A noJl.ea.6 on to k.e.ep .the t:heme c.hambeJt a:t a JUgheJl level t:han accompaniment. "Flood­..Lng" the .the.me chanoe»: wUh JUgheJt pltU.hUJle. -6hnply C-aLL6U t:he k.ni6e valve todo.6 e completely d6 long a6 .the condi.tion peJr4~tA, and doesn' ~ have any a.dvVt6ee6riec.t tu: al.t. TheJte may be .6ome leakage thltough the t:heme. valvu when t:hey aILec1.o.6ed, but tJ1JA -iA On pwr..ehj ac.ademic. i.n;teJr.e,6:t, .6inc.e uou. have :to KPen. one on:the otneJt 06 .them to U6 e t:he theme cltambeJt. When you do thCLt, you ave a. rLUr-ect:.pdlt nJtom the acconiparWnent c.hambe.Jt int:iJ the .theme chambeJt. Whe.n.the the.rnecJu1mbVt JA IUgheJt,w pJtU,6U1te, t:he c.heck valve clo4~ t:he pa:th, wJUch iA :tlte WdYU ha» to be when the theme 1-6 used to pJtoduc.e a.cc.e.na.

The neveJt-encii..ng eonbtoveJr.6 rj about: the JtUa.,t[ve meILUA 06 .6o-ca.U.ed "MU c.endo"~ype V.6. "~.tep" type expltu,6,ion. .6tj~:tem6 AA .60 eloude.d wi:th mU,w60Jr.1J1tUion and6a1Aely based ),ntu.liJ.,ve. empLuc1Am t:httt mO.6t 06 U6 6aLl v..Lc:ti.m to pllejucUc.e .6lmplyM a. Jte6lLU 06 ,[gnoJuVtce.. M 6aJt a.6 1 know, no one h{U) peJtnoltmed a Jtea.lly JUgoJt-OM COnlpa.lta,uve. evaiuoxcon, My ~n c.onjectlVte would be thttt nwJteJr. susxe», a6pJteA en:Uy employed, c.an d..a,Un a. deaJt-c.u:t a.dvanUge avVL .the oxhe»: TheILe aJte,6ubtlUiu to .the. pJtoblem th~ Me not at tLU obvcous , pM:tic.ulevr.hj to the nan­te.chni:c.a£ entltLL6,(~ t:PeJtha.p~ r can e.xplLUn, a;t lect6t in a ouid« Wdy, whd gOe6 art. EVVUjone ,immedia.:te,lygJuUp~ tile obvious and Jtec.ogl'Uzu .that: a. "~tep" IJtj.6t2m 1.A c.o~.tJuU..ned, ,w pJUndple,xo a fr£xed .s a a6 elM Clteet dynamLc.. leve..U. MO.6;t aft~ alA 0 awaJle thttt .6 orne 6JJU.,tetime ~n:tVtvaL .u JteqLLUted to change nJtom one dynamic level to anome«. But howmany aile. awaJle .thCLt a. "Clc.e6 eendo' .6lJlJ tern iA c.on6.tJuU..ned, j ust c16 IJeveJttJy, andpe.Jr.ha.p~ moJte ~evVte4f, by pitenamerr.a. t:httt aJte mOJle IJubUe and molle cLi6flc.uLt topJtecUct and evaiuaxe: A CJtuc.endo .6tjIJUJn openaxes as: .home. fr£xed .6peed, os: mOlleC.Ol'JLe.c:tty, a. 6,i,xed JULte 06 change 06 dynamLc. le.vd wUh JtUpe.ct to time. In botitAmp~c.o and Welte, .theJte aJte tJ,vo .6pee.cU t:ha.:t c.an be used. The Welte 6oltza.ndo (aJt.660fLZa.ndo, ao you pJte6eJt) --Lo used 601l vVUj qLLlc.k c.hangu 6Jtom one level to anome«,wiUle. weUe ~eA W cneseendo 60Jt .61owVt c.hangu.

Lu' ~ .6e,rt.LLt,,[rU,ze .6orne 6wtdament:a£ du.£gn ~onh.£dvr.a;UonIJ. A6t:,Vt a. .u:t:tle though:t,one. mLgh:t peJrhap,6 quulion t:he necv,.6,Lty 06 ha.ving o~y.thing mOlle than the "6~:t"

.6pee.d. Why iA ;(he. ".61001" nec.u~OfJj d ill? Why no~, 60Jt ex.ample, activa:te .th..e11na.6~' devJ...c.e A-mmedittte1..Lj a6:teJl eacJt no~e .fA pl.11Jded t:,o ".h e;t up" the c.otrJtec:t dy­namic leve! 60Jt the next note ~o 60UOO1'1 AU... we. need t:,o do )A meahWte ou:t titeCO!lJl.ec.t time A-tLteJi..voJ.. ~o change 6Jtom one dynamic. level ~o .the next. Thih brthtg.6lL6 dULee:tty to the CJtUX 06 .the. pJtoblemJ The 6tU:teIl a. "CJtehc.endo" type ~ iAde6igned ~ opeJULte, .the moJte C-!Li:Ucal the timing pJLoblem bee-omu. In 6ac.t, a.JtetLU..y 6aAt l.LYU.t ,fA ex:tJtemely eJU.Ue,al ,w liming. ~qone who ht16 evVt Wed toadj~t a. Welte 6cJJr..zando una c.an a..ppfLeu~e t:JUA. FuJttheJcmoJte, thvr..e 1.A a. "mUu-mum ,tUne. J...n:teJt..vtU," thttt c.an be. 9err.eJuLted, COIVtflA poneLing t:,o a. lJ..lngle peJt6oJr.tLt.ionptU.6ing oveJt .the Vutc.k.e.Jr. ball. So you ha.ve, in e66ed, a mi..nA.mwn-.6'<'zed ~~ep j~

dyna.rru..c. level, even wUh .tJUA ",wftLrrJ,tUy gJUtd.ua:ted" .6c.heme. The .6,[ze 06 the.,6 .tep i.A much .6 mallivL wi:th a .6lowVt cJtU c.endo devit!e, and c.an alA 0 be. JrL~edby inCJte~i,ng the .6peed 06 .the mU4,[c. !lOU when (1 Jtec.oJr.cU.ng ,u, made. But.the.6tep ..i.A neve.JLthe.W.6 frin.,U.e. PeJrhap.6 moJte .6VwioU6, howe-Veil, ,fA the. 6dC-t .t1tdVl!tO!t6 in tUning bta.nJ,~ them6elveA q~O C{)JtJte,6poncUng dynamie level eJtJtO!L6in cUJc.ed pllOpolLtlon to CIleAc.e.ndo .6peed. In gent.Ju1l, a. 6tL6b./t unit .6a.~fr£~e,6

a.C.CUlU1C1J. ~ a.cJUeve .6peed, and a. .6lowVt uni;t~ ae..CJJJU1C1j at the expen6e 06

"""""""""* (This trIck Is used so often In Duo-Art codIng, Itls obvIously delIberateand must have some desIred effect, although I canlt detect It on my presently­malfunctioning Instrument. I suspect It Is, 85 Dave suggests, used In non-themepassages for quickly dropping the pressure a bIt when the AccompanIment Is carry­ing the bulk of the expressing load. -Ed.)

21SAUL 01 SCUSSES REPRODUCERS (cent I d)

.6peed. Ai, U tuIr1t6 oux, t:he. a.vtLUablL dLgJtLL 06 pJrLwlon. bt tiJnUtg iA so pooJttha:t two "speeds" bec.ome nec.e6.6aJt:q t:.o a.c.h1.e.Ve. an Ovvr.a.U It.vt.l 06 pM60Junanc.e \..acc..eptable to t:he human lLste.nVt.

ThU6 U appeaJl4 tJta:t. .the ".infri..n1;tf. 4C!.~IJ" 06 eneseendo AIJA.tem6 ~ (1 myth.Se,t;Ci.ng up a. given dyna.mic.. lLvel w.U;h ".infrUtitt. plrLwiorr." de.pend6 cLUrLc:t1JJon ".in6.inUe pJted6~on" .in .tUning. We. nIL6~ be. aha t:o me.a6Wte. oui: t;ime. .inteJtv~

t¢Lth BUIlea.u· 06 Sta.ndaJtd6-Uke a!!-c'UIU1CJj, U6.ing a papeJl ~heu pulle.d oven: d tJta.c.h.Vtball by an ahL mozon: TYUA 1.4 quill, impoA~iblL, and what:. we. 1Ula11.JJ ga .in pltdc.­Uc..e L6 a. .6e.quenc.e 06 dppJtO~d dyn.amic.. ave.U, The. btcLlvldua.l·who bU1..ev~

tha:t CJlU eendo ~ ~~.tem6 aJte .inheJtt.nt:ly moJte. a.c.c.ulUtte t:han. .6up .6tj.6.tem6 htU pl4c.edtoo muc.h c..on&f,denc.e i.,n hLtLLU:ive JcLtLSorrhtg. The eOn6~ aile. j(J./)t a-6 lLed,but molte .6 ubtle. ..tn na:tuJte.

The Amp,ico r.6 eJtej eendos aJle no: neaJLly .60 a.c.e.wr.ate. OIL ~ opwUCttte,d aJ the. Welte' ~ •PlLuwnably they don't have. to be, .6.ince t:he "~UJj ~.te.p.6" aile U6e.d br. eortbbr.d­Uon with them. TheJr..e rtny be -6 orne advanxaq« .in c..o"w,-ining the. t1AJo tecJtrLlqUlA .6 u.c.ha6 Arnp,ic.o di.d, bu.t Lt wouU. be WtLtLi.4e s» c-onc.iude~ (Olt the. eonvVL6e) .6olelyon the beul6 06 .s peculaZion on: ~on.

Some 06 the ~oJr.e9o.ing may tend t» sound We an ,lndi~ 06 Cltuc.e.ndo ~f:J4te~,on: even both ~YPeA 06 ~1J.6~~, but.6u.c.h ~ not t:he CLUe. c1t all. My inte.nt Is4.{.mply to b~t ~ome 60he no:tio~ an.d mL6C.01tc.e.pUo~ and tAtablLsh an cmpJteju.-cLLced 600Ung 60,: obje.c,Uve appJUtUal... CompltOmi.4e. 06 one ~olr.:t Olt a.n.othVl exiAtAbt jLL6t about: e\,'e,;ty pJulc,Ucal ~UULLt1on. The hrrpolLtant: c..on4.£dvr.a;t£on AA whe:thVtthe. compJWmL6e ~-<-gn,[&f,ca.n:tlJj hrrptU.Jcl, the medium. In otheJl woJtd6, doe» the fu­teneJl ac:tu.tr.lly hea»: the JteAtLl.h 06 the c'ompJLomi.4e? f)ou he fyUtd U objecilonable?r .tJUnk not. Thz.-,te aJle c.ompJto~ es wLth much gJte.CLtvt potential.. J..mpa.d, nOllexample, .in the u.b,[quLtoUh H.£-F-£/SU/teo mecUa. than .in the llepltOducbtg piano.You. can wa.lk h1t..:' a. Jt.oom wLth even t:he mo.6t ex.pen.6~ve and a.dvQ1teed ~tvr..eo

bL6:talliLt<.,on, and you. can tell lrrrnecU..a:tely .tha:t plano nlL6i.,e played tMoughU ~ "c..anned". Can.the .oame be .otLid 06 a. Jteall.y good JtepJLoduc1..ng pJ..ano?MUte has 600led quLte a. oW) people.

At .the JriAk 06 40undUtg pltejurUe-ed, r ~uppo.he I .ohould c.on6~~ that:. the AJ1tpic..o,and th« model 'B' Vt pa./LtiCJJ1.tvt, JA my pVL60rtd 6a.voJtit:,e. La me quaLL6IJ thtLt,hooeve», by otvVi:eJt ~~g tltCLt thJA a:t.:tl:tude ~.te.m6 rrrLW.y 61tOm the meclta.rUcaldeA,ign, !Utth(!./t ti:an any dealt-c.ut a.Jt:tiAUc.. ~u.pVLioJr1.:ty. Even the 'B' Amp,.tc.ohtU .6ome .6hoJttc..c""ing~, bt .6pUe 06 J.h many ur.g.ineeJUng a.dvanc..ementA. It be.c.ome..omoJte and moJte a.pcaJte.nt to me M .the yeaJl4 go by .tha..t t:he oJr1..g1Jt-ttt Jr..ec..cJte.UngtecJtrUqueA and e,i-U:U!g, togethvr.. VJUh ~he qu.aU.:ty and ~one 06 the .incLLv,idUJ1l,iMbuunen,t, aILe ,teaLly rruc.h melle J..mpoJr:tJmt t:han the .type 06 meclta.nL6m.

The ,idea. 06 ~htg the vuo-w "~~na.kebUe" to c..a:tC-h :the dec.oWon dgnanKc..6 between.6tep.6 ~ quUe htteJteAting. HoweveJ[., 1.-6 t:he but:. 1te.6u!.;t4 aJte to be a.cJUeved, .tA<Ai.,mpo-6 e.6 JuLtheJl -6lveJte c..onc.lLti,om on the ~toJteJl and the pVL6 on who a.djU6to themec.hanL6m. The ~Vt..vJ.,c..e manual.. J.A not vVUj hd.p6u.l a:t a.ll, .in tiUA aJlea.. ValvedeaJlanc..e6 on .the one hand, and .6pJUng tut6ion on t:he otheJt, bec.ome CIf1.;tic..al .&i.,nc.e.th(!Ae dUtee,tly J..n.6lu.enc.e the. ~peed 06 the a.ecoJu:Uon unUA when c.olla.p~.ing andoperUng, JLupectively. Leakage, 06 c.DUltcSe., would wJte.ak. httvoc. tAJLth t:he .6peed 06opeJl.fttlon, t:.oo. Ha.ve you noUc.ed whdhvr. t:ltiA AOJt:t 06 c.ocUng ,fA Uhed.in gobtg6ltom lOWell .to highvr. .6.tep~, Olt 6Jr.om higheJt ~o lowVt, Olt both wQJj.6 1* TYUA .in.6oll­mati,on would be tL6e6ul 60lt tUeeJtt.abLing which tLdjU6~ would be rrtO.6.t eJrli:iCJ:l1.

"""""""""""* (I ·ve usually noticed It going from hIgher to lower, as this Is more obvious to rthe eye - a snakebite directly opposIte the last perfo~atlon for a step's port (which ,_is offset). However, since you asked, live checked and also found snakebItes appear­ing just as the first perforation reaches the port - at tempo 90, too soon for theaccordion to be fully collapsed. Perhaps this Is a good argument for usIng materialsas close as possible to the orlglnal's r~s'stance. -Ed.)

3 lSlAHICA AUCTIOU #5 - May. 1970 OESCRIPTIOrJ SHEET Pafle 1 MAY 6(Minimums and spaces for your bids on separate sheet by matching item number.) ~

assical: COMPOSER; title; PIANIST;) number; box & roll completeness; roll condition; time;JOvelty/Pop: TITLE; composer; PIANIST;) additional information fo~lows when provided.

AMPICO RECORDINGS

1 RONALD; A Cycle of Life Prelude; JEAN LA FARGE; 58823F; Complete; good; 2:25jyear:l920.2 A DREAM: Bartlett; BROCKWAY;Complete; needs minor repair; 56423F; 3:15.3 ANCHORED; Cowan-Watson; KMITA; 202145G; Complete; good; 4:55; year:1920.4 CRADLE SONG; Palmgren; MOISEIWITSCH; 151021K; Complete; good; 3:15; year:192l.5 CRADLE SONG: Palmgren; MOISEIWITSCH; 151021K; Complete; good; 3:15. year:l921.6 CRESCENDO; Lasson; ADLER; 56592F; Complete; needs repair; 2:25.7 DVORAK; Humoresque, Op.l01 No.7; ORNSTEIN; 52425K; Complete; good; 4:15.8 DVORAK; Humoresque, Op.10l No.7; ORNSTEIN; 524251<; Complete; good; 4:15.9 LISZT; Liebestraum; ORNSTEIN; 50425H; Complete; good; 4:30; year - 1916.

10 LISZT; Liebestraum; ORNSTEIN: 50425K; Complete; good; 5:10; year: 1915.11 KREISLER; Lovels Delight (Old Viennese Dance Melodies);KREISLER;57354J;Complete;

broken flange, otherwise good; year:19l9; 2:50.12 DANCING LEAVES; Miles; GERDTS; 50473; Original box missing; good; 3:08.13 STRAUSS; Seranade Ope 17, No.3 (Accomp. roll) ;MRS.D.L.MELAMET;55053F;Comp1ete;

needs minor repair; 2:10.14 SILVER STARS; Wenrich; FAIRCHILD & CLAIR; 202831F; Complete; good; 3:20; year:1922.15 SONG OF LOVE; Romberg; SHIPMAN; 123lF; Complete; good; 3:05; year:l923.16 THE OLD REFRAIN; Kreisler; BROCKWAY; 54614E; Complete; good; 3:45; year:191h.17 NEVIN; The Rosary; BROCKWAY; 50lG; Complete; good; 2:20; year:l92l.18 SCHUMANN; Traumerei and Romance; VOLAVY; 50774F; Complete; good; 4:5019 UNDER THE ROOF; Gitz-Rice; LT. GITZ-RICE; 201862F; Complete; good; 2:00; year:l920.0 STOJOWSKI; Valse, Danse Humoresque Op.12, No2; LEVITSKI; Complete; needs repair;2:30.

21 NEVIN; Venetian Love Song Op.25 No.3;BROCKWAY; 50523F; Complete; good; 3:05;year:l9l2 .......2~2_WAITINI FOR THE MOON; Lerner; CARROLL;206141E; Complete; good; 2:40; year:1925.

3 BASKET OF ROSES; Albers; GERDTS; 60541G; Complete; excellent; 2:40.24 DRDLA; Souvenir; BARTH; 5939lF; Complete; excel lent; 2:30.25 CHOPIN; Nocturne Op.15, No.2; ORNSTEIN; 50654H; Complete; good; 3:40.26 DVORAK; Humoresque Ope 101, No.7; BROCKWAY; 55623F; Complete; needs repair; 3:10.27 ELGAR; Salut to Amour; KMITA; 52564F; Complete; excellent; 3:00.28 GRIEG; To Spring Op.43; ADLER: 55513F; Complete; good; 2:40.29 ILGENFRITZ; Opera Waltz; ILGENFRITZ; 62391F; Complete; excellent; 3:20.30 KENDALL; Love ' s Spe l l fChan t d'Amou-r)Valse Lente; KENDALL; Cornp le t e j qood Iwe s repaired);

(!S8S84F,31 MACFADYEN; Badinage; MACFADYEN; 60701H; Complete; excellent; 1:40.32 MACFADYEN; Cradle Song; MACFADYEN; 59851G; Complete; excellent; 2:40.33 NEVIN; Venetian Love Song; BROCKWAY; 50523F; Complete; excellent; 2:40.34 PADEREWSKI; Menuet Op.14(The Favorite Fifty);SCHNITZER; 62021F; Complete; excel1ent;3:10.35 ROMANO; Drigo Seranade; GERDS; 57343F; Complete; excel1ent(needs minor repair);2:50.36 ROSENTHAL; Papillons; ROSENTHAL; 63831H; Complete; needs minor repair; 2:00.37 SCHUBERT-LISZT; Hark, Hark the Lark; VOLAVY; 55653H; Complete; excellent; 3:20.38 SHEWELL; Dance of the Popinjays; GERDTS; 60771F; (No box info.); needs minor repair; 3:00.39 LOTH; Papillons; Arabesque(B roll); LOTH; 68991F; Complete; excellent.40 FRIML; Chanson; DILWORTH; 12031K; Complete; excellent; 3:40.41 BEAUTIFUL ISLE OF SOMEWHERE; Fearis; STERLING; 50733E; Complete; needs repair;l:40.42 LEAD, KINDLY LIGHT (WITH VARIATIONS); -; HAROLD O. SMITH; 50984F;Complete;exce11ent;3:30.43 JACOBI; Marche MLniature; JACOBI; 6248lF; Complete; excellent; 1:30.\4 RAPEE-AXT; Merry Pranks Intermezzo; AXT; 678l1F; Complete; needs repair;45 ROBERTS; Moon Dreams; ROBERTS; 6463F; Complete; excellent; 2:40.46 ON THE MALL (MARCH IN F MAJOR); Goldman; SHIPMAN & P.R:;66281F;Complete; excellent;2:30.47 SHEPHERDS HEY; ar r , Grainger; SOUVAIN~:; 61221G; Complete; excellent; 2:20.48 SCOTCH SONG FAVORITES: (ANNIE LAURIE; COMIN ' THRU THE RYE; BLUE BELLS OF SCOTLAND;

AULD LANG SYNE); -; KMITA; 56482F; Complete; excellent; 2:40.

AMICA AUCTION #5 - May, 1970 DESCRIPTION SHEET (cont.) Page 2

(Minimums and spaces for your bids on separate sheet by matching item number.) (Classical: COMPOSER; Title; PIANIST; Number; Box & roll completeness; Playing time(if given).Novelty/Pop: TITLE; Composer; PIANIST; Number; Box & roll completeness; Playing time.

AMPICO RECORDINGS, cont.

49 ,SAINT-SAENS; My Heart At Thy Sweet Voice;Samson & Deli1ah;BROCKWAY; 52714F; Green box;Complete; exc~11ent.

50 NEARER, MY GOD, TO THEE; Meeney; HANKE; 56433G;Green box; Complete; excellent; 6:00.51 HEARTS AND FLOWERS; Tobani; KMfTA; 56004G; Complete; excellent; 4:30.52 RACHMANiNOFF; Prelude in C Sharp Minor; RACHMANINOFF;57504; Green box; Complete;excellent.53 SONG OF THE VAGABONDS~ Frim;; :ELCAMP: 206901F; Complete; good; 3:4054 THE OLD REFRAIN; Kreisler; BROCKWAY; 54614; Original box missing; needs repair.55 SING ME TO SLEEP; Greene: SIMON; 56693E; Complete; excellent; 2:50.56 LEVITSKI; Valse; LEVfrS1<I; 61051G: Como le t e ; good; 1:30.57 MENDELSSOHN; Spring Song (The Favorite Fifty); SCHNITZER; 6l851G;Complete; good 2:30.58 SPARKLETS; Mi les; DELCAMP; 62761F; Complete; excellent; 3:00.59 STOLEN INSPIRATIONS; Davis; DAVIS; 54524E; Complete; excellent; 2:30.60 THE ROBINS RETURN; Fisher; ~ERJTS; 58394F; Com~lete; excellent; 3:00.61 RACHMANINOFF; Polka de W.R.;RACHMANiNO~F; 57275M;Green box;Complete;excellent; 4:00.62 THEREIS A LIGHT IN YOUR EYES; Caryl1; LAMBERT; 200283F; Complete; good; 2:30;Green box63 YEARNING; Carter Moret; POLLACK; 200793;Green box; Complete; needs repair; 2:30.64 SOMETIME WALTZ; Friml; ARDEN & WILLfAMS; 200553F; Green box; Complete; good; 2:00.65 I ILL BE HAPPY WHEN THE PREACHER MAKES YOU MINE; Donaldson;CLAIR; 200903F Green box;

Complete; needs repair.j6 RACHMANINOFF; Prelude in C Sh2r~ Mfnor; GOODSON; 55903K;Green box; Original box missi.

roll needs minor repair; 3:40. ~

67 DEKOVEN; Oh Promise Me; KMrTA; 55993; Complete; needs repair;Green box.68 GRIEG; Peer Gynt (Morning; Asa's Death) ;BROCKWAY; 5l46H; Gr~~ box; Complete;excell;5:00.69 NEVIN; Narcissus; BROCKWAY; 55463~;Green box; Complete; needs repair;70 NEVIN Mighty Lak A Rose; Farr~r; 31-G: Complete; good; 2:30.71 INDIAN SUMMER; Herbert; HERBERT, 58284G; Complete; Recut.

(NOTE: There are five copies of this roll, recut by Mike Barnhartof Dayton, Ohio. They are dated and signed by the recutter,and the copy nu~ber is behind the tab. The cleanest copy isthe lc"/est n umbe r , a l ~hough all play perfectly. The lowestn urr.be r w i ] 1 g8 'CS, rhe h i gf;e 5 t bidder, the next-lowes t numbe rto the next-highest bidder, etc.However, all five winningbidders will pay only 25¢ above the bid of the highestloser (t,e sixt,-highest bidder).

72 LITTLE TOWN IN THE aULD COUNTY DOWN; FAIRCHILD; 401F.73 TEASIN (FT); THE ORIGINAL PIANO TRrO; 202551F.74 0 SOLE MID; IRENE DIGIOVANNI; 1151F.75 I HEAR YOU CALLING ME; SUSKIND; 1261F.76 A CYCLE OF LIFE; JEAN LAFARGE; 58823F.77' FROM THE LAND OF SKY BLUE WATER; SUSKIND; 91lF.78 TUCK ME TO SLEEP (FT); YOUMANS; 301D51F.79 WOODLAND SKETCHES OP.5l; STOJOWSKI; 64481H.80 SPARKLETS; Miles; DELCAMP; 62761F.81 MARIONETTE; DELCAMP; 6l741F.12 AN ORANGE GROVE IN CALIFORNIA(FT); LANGE; 204241E. CO

'~rl3 JUST BECAUSE YOU'RE YOU (FT); DILWORTH; 202641F.84 I'M IN LOVE; Kreisler; KREISLER; 631G.85 DEAR OLD PAL OF MINE; LIEUT. GITZ-RICE; 131F.86 CARRY ME BACK TO OLD VIRGINNY; KMITA; 521G.87 LOVE, HERE IS MY HEART; KMITA; 591G.88 SHEPHERD'S HEY; SOUVAINE; 61221G.

AMICA AUCTION #5 - May, 1970 DESCRIPTION SHEET, (cont.) Page 3

(Minimums and spaces for your bids on separate sheet by matching item number.)

Classical: COMPOSER; Title; PIANIST; Number; Box and roll completeness; Playing time(if givenNovelty/Pop: TITLE; Composer; PIANIST; Number; Box and roll completeness; Playing time.

AMPICO RECORDINGS, cont.

89 LOVE WILL FIND A WAY; CLAIR; 29l031F.90 KA-LU-A (FT); SHIPMAN; 2l206F.91 A BABY I LOVE (FT); SHIPMAN; 27l051F.92 THAT OLD GANG OF MINE (FT); LOPEZ; 203901E.93 FORGOTTEN; FAIRCHILD; 331F.94 LOVE ME AND THE WORLD IS MINE; FAIRCHILD; 561F.95 SALLY, WON'T YOU COME BACK? (FT); YOUMANS; 391008F.96 GRANDMOTHER's CHRISTMAS; 1927, Large Roll; CARROLL;97 BY THE WATERS OF MINNETONKA; SUSKIND; Needs new tab; needs minor repairs; no box.98 WHISPERING (FT); CLAIR; 201793F; Needs new tab.99 THAT NAUGHTY WALTZ; CLAIR & JOYCE; 2J1873F; Needs minor repairs.

100 GEORGIA (FT); THE ORIGINAL PIANO TRIO; 202451F; Needs minor repairs.101 BROKEN MOON (FT~; CLAfR; 251021F; Needs minor repairs.102 MY MAMMY (FT); YOUMANS; 202l91F; Needs minor repairs.103 SOUTH SEA ISLES (FT); CLAIR; 291051F; Needs new tab.

Suite op.46: Davb re akj An l t ra l s Dan;:e;CCNE-BALJ\~IN; 5082; Complete;exce 11en t; 5:20.

LISZT; Rhapsodie Hongroise No.2; PADEREWSKI; 667C-O;Complete; excellent; 8:00.SCHWARENKA; Polish Dance; SCHARWENKA; 5637; Complete; excellent; 3:00.SGAMBATI; Toccata Op.18,No.4; GORNI; 5911; Complete; excellent; 4:00.PADEREWSKI; Minuet Op.14, No.1; PADEREWSKI; 6100; Complete; excellent;MACDOWELL; Hexentanz (Witches Dance) Op.17;No.2; CARRENO; Complete; excellent; 3:00;#5609STRAUSS; Blue Danube Waltz (For Dan~ing); ARNDT; 1501; Complete; good; 3:00.SCHUBERT; Hark, Hark the Lark; GIO~~I; 6052; Complete; excellent; 3:10.HARD HEARTED HANNAH; YES SIR!THAT'S MY BABY;Yellen/Donaldson; EDYTHE BAKER;

713028/713142; Complete; Recut, with words. -----NOTE: There are four copies of this roll, recut by Mike Barnhart

of Dayton, Ohio. They are dated and signed by the recutter,and the copy number is behind the tab. The cleanest copy isthe lowest number, although all play perfectly. The lowestnumber will go to the highest bidder, the next-lowest to thenext-highest, etc. However, all four winning bidders willpay only 25¢ above the bid of the highest loser (the fifth-

, _ highest bidder).~~ 113 DEFALLA; Andaluza; CARRERAS; 67818; Original box missing; good.S~~ NEVIN; Water Nymph, Op.13 No.3; CHARLES GILBERT SPROSS; 5858; Completd; good.Jr••~ ZUCCAj Bal let Music Op.S; MARIA ZUCCA; 5875; Complete; excellent.~,~ MASSENET; Elegie Op.10,No.5; RUDOLPH REUTER; 68818; Complete; excellent.~dO 117 MENDELSSOHN; Spring Song No.30; NOVAES; 6417-3; Complete; good.I~ 118 UP THE STREET; Morse; ERLEBACH & MILNE; 1673; Complete; excellent.~ J]) CAN1T WE BE FRIENDS?; Swift; THOMPSON VIERR; o678~ Complete; excellent.~~·

i_;.f20 GERSHWIN; Rhapsody in Blue Part 1; GERSHWIN; 70947; Box & label good, but dirty;~.. roll excellent.

''-~12l GERSHWIN; Rhapsody in Blue, Part 2; GERSHWIN; 68787; Box & label good, but dirty;ro 11 exce 11 en t ,

e DUO-ART RECORDINGS~~~4 GRIEG; Peer Gynt

"~105~ ~

I~ 106rP 1~7

--108r!--109,(.- 110, til 11r,.·112

-.

AMICA AUCTION #5 - May, 1970 DESCRIPTION SHEET, (cont s ) Page 1+

,~imumums and spaces for your bids on separate sheet by matching item number.)

Classical: COMPOSER; Title; PIANfST; Number; Box & roll completeness;Roll condition; time.Novelty/Pop: TITLE; Composer; PIANIST; Number; Box, roll completeness;Roll condltlon;tlme.

DUO-ART RECONDINGS, con t .

."'. -

..,

i· /

•

~··122 SCHUMANN; Sonata No 1, Op.11 -3rd Mvt.; BAUER; 5787; Complete; good.Y~123 WAGNER; Siegfried(Excerpts from Act 3); LEOPOLD; 69440; Complete; good.~ •• 124 WAGNER; Siegfried(Excerpts from Act 1); LEOPOLD; 69420; Complete; good.~'125 WAGNER; Gotterdammerung (Excerpts from Acts 1 & 2); 69460; Complete; good.___ 126 HOLBROOKE; Affection Ope 18, No.4; HOLBROOKE; 5704; Complete; good.___ 127 I 'LL SAY SHE DOES; Jolson; CLiFF HESS; 10012; Complete; good.'r 128 WAGNER/BRASSIN; Fire Scene "Ore Walkure"; FRIEDMAN; 6531; Complete; good.~ 129 FAURE; Romance Sans P3ro1es; DENTON; 66099; Complete; good.~qwO DREYSCHOCK; Second Seranadej ARMBRUSTER; 5620; Complete; good.'It". 21 PUCCINI; La Boheme ("Rudolph 's Nar re t l ve"}, ARNDT: 5516; Complete; good.

IN A COZY CORNER; Bratton; BERGMAN; 66517; Complete; good.133 MOWREY; Gavotte; MOWREY; 70488; Complete; good.

~4 STERNBERG; Pass-Pied Op. 58; STERNBERG; 6168; Complete; good.

(r35 MENDELSSOHN-BARTHOLDY; Lost Illusions Ope 67, N~.2; BALLON; 66388; Complete; good.'1_- 6 GRAINGER; I rish Tune From Co. Derry (IiLondonderry Ai r'I); GRAINGER; 5679; Complete;

needs minor repair.137 DRANGOSCH; Romance Sans Paroles; DELIMA; 6363; Complete; good.138 BARTLETT; AEol ian Murmurings; THOMPSON; 5797; Complete; good.39 SCHUBERT; Litany; CORTOT; 6126; Complete; good.

-140 BENTZ; Valse Volplane; BENTZ; 1531; Complete; good.... 141 DVORAK; New World Symphony 4th Mvt.); GANZ; 5300; Complete; good.~~ 142 CHOPIN; Etude Ope 25, No.2; BYRD; 6306; Complete; good.

143 PUTZ; Seranade Melancolique; PUTZ; 5503; Complete; good.r-- 144 RUBINSTEIN; Kammenoi Ostrow; BAUER; 6507; Complete; good.145 SCHUBERT; Du Sist Die Ruh; HUTCHESON; 5790; Complete; good.

, .. 146 GRIEG; Concerto Op.16, A-Minor-2nd Mvt.,Adagio; GRAINGER; 6479; Complete; good.147 BACH; Organ Concerto No.1; CARRERAS; 66970; Complete; good.

r--- 148 MENDELSSOHN/BARTHOLDY; Andante, Concerto E-Minor, Op.64; SPROSS; 1083; Complete; goodw__._149 LISZT; Liebestraum No.3: GANZ; 6081; Original box missing; good.

150 COQUETTE WITH A FAN; Elbe1; ELBEL; 6221; Complete; good.151 SGAMBATI; Landler; BYRD; 6110; Complete; good.152 RENAUD; Sur Le Lac; RENAUD; 5909; Complete; good.153 THE MELODY WAY NO.3; Miessner; GARTLAN; 90385; Complete; good.154 THE MELODY WAY NO.2; Miessner; GARTLAN; 90285; Complete; good.

~155 THE LITTLE WHITE DONKEY; Ibert; NOVAES; 71070; Complete; good.~ 156 MARTINI/KREISLER; Andan tlno ; E.F.RIDER; 13538; Complete; good.~157 WOODLAND CHIMES; Smith; DIGIOVANNI ;65358; Complete; good.

158 SUNRISE AND YOU; Penn; BERGMAN; 102325; Complete; good.~--l59 OH ME, OH MY; Youmans; OHMAN; 1740; Complete; good.

160 IN SPAIN; David; DAVID; 102425; Complete; good.

NOTE: The following are accompaniment rolls.

161 BRAHMS; Sonata Op.l00,No.3;Violin, Key of A; HOORE; -11948; Complete; good.162 GRIEG; Sonata Ope 8, No." 2; Key of A; BENOVISTj 11808; Complete; good.63 BRAHJ:1S;~"'Sonata Ope 100, No.2; Viol in, Key of Fj MOORE; 11938; Complete; good. -~ .(- ,.

164 SAINT-SAENS; The Swan; Violin, Key of G; DAMSOIS; 1004; Complete; good.--' -.'..... -

165 MASSENET; Thais; Violin/Cello, Key of 0; DAMBOIS; 1013; Complete; good. .~...~ 4 r

166 19~ DUO-ART Catalog, in very good condItIon. Measures 6..1/4" x 9-1/2" x 1/2". 254 pages.

••'-«1 L

AMICA AUCTION #5 - MaYt 1970 DESCRIPTION SHEET, (Cont,) Page 5

(Minimums and spaces for your bids on separate sheet, by matching item number.)

Information on rolls 1isted in same order as on previous pages. In addition, IB.G.' = Brown &Gold Label; IB.W. I = Black & White Label; 'L','M',&'S' refer to Larqe , medium or small roll s Iz-

WELTE (LICENSEE) RECORDINGS

167 SCHUMANN-LISZT; Frunlingsnacht; OVERSTREET;C-6273; B.W.; Complete; good. S.168 FRIML; Staccato Caprice; WHITTINGTON; X-6446; B.W.; Complete; good; S.169 RACHMANINOFF; Prelude in E-Flat Minor; POUISHNOFF; C-6990; B.W.; Complete; good; S.170 PESTALOZZA/SERLI; Cirlbirlbln; SERLI; X-7132; B.G.; Complete; good; M.171 CAN'T YO HEAH ME CALLIN' CAROLINE?; Roma; HAASE; V-7l36; B.G.; Complete; good; M.172 TULIPS; Miles; JULIE BERGERE; X-7129; B.G.; Complete; good; M.173 DANCING MEDLEY:BROWN EYES, WHY ARE YOU BLUE?;YOU TOLD ME TO GO; BAM,BAM;BAMY SHORE;

MY SWEETIE TURNED ME DOWN(Foxtrots);LOSCAlZO;B-7212; B.G.; Complete; good; M.174 TWO HEARTS (WALTZ); Stolz; CARROLL; Y-75529; B.G.; Complete; good; S.175 ALL ALONE; Berlin; LUTTER; Y-6967; B.G.; Complete; good; S.176 THE WALTZ YOU SAVED FOR ME; King & Fl fndt; MILNE; Y~75535; B.G.; Complete; good; S.177 BING BING (PIANO SOLO); Kaufmann; STUART GREGORY; Y-7023; B.W.; Complete; good; S.178 RHENE-BATON; Spinning Girls at Caratec No~5; VOLAVY; C-7007; B.W.; Complete; good; S.179 SCHUMANN; Symphonic Etudes Ope 13; POUISHNOFF; B-7354; B.G.; Complete; good; L.180 MOSZKOWSKJ; Caprice Espagnole; HOFMANN; C-666; B.W.; Complete; good; L.181 Von SUPPE; Poet and Peasant; BELLA FICHTER; C-1287; B.W.; Complete; good; L.182 LISZT; Liebestraum, Nocturne No.3; FREDERICK LAMOND; C-S70; B.W.; Complete; good;L.183 REINHOLD; Impromptu in C-Sharp Minor, Op.28 No.3;LEGRAND;C-7128;B.G.; Complete;good;L.184 ROSENTHAL; Papi110ns; VOLAVY; X-7006; S.W.; Complete; good; M.185 PADEREWSKI; Cracovienne Fantastique Ope 14 No.6; DIBENICI ;B-2631;B.W.; Complete;good;M.~86 CHOPIN/LISZT;Chant Polonaise Op.74 No.4; REISENAUER; C-325; B.W. Complete; good; L.(87 SCRIABIN;Nocturne For The Left Hand Alone,Op.9 No.2;BRARD;C7294;B.G.;Complete;good; L.188 SAPELLNIKOFF; Berceuse Ope 11, No.3; SAPELLNIKOFF;E-1383; B.W.Complete,; good; L.189 LISZT; Ricorddanza. Etude No.9; SAPELLNIKOFF; C-244; B.W.; Complete; good; L.190 HOLLAENDER; Canzonetta; GUILLAUME NOTAEH; A-6233; B.W.; Complete; good; S.191 MOSKOWSKI; Ungeduld Op.S7 No.1; GEORGE LIEBLING; B-7038; B.G.; Complete; good; S.192 RUBINSTEIN; Melody in F Op.3; HOFMANN; C-660; B.W.; Complete; good; M.193 MENDELSSOHN; Spring Song, No.30; ZEISLER; C-1466; Complete; good; s.ANGELUS~MELODANT-ARTSTYLE RECORDINGS

194 SCHUBERT; Der Wanderer; GUSTAV LANGE; 89618; Complete; good; 5:10.195 MENDELSSOHN; Auf Flugeln des Gesanges; GUSTAV LANGE; 88810; Complete; good; 3:25.

THEMODIST-METROSTYLE EXPRESSION ROLLS

196 STRAUSS; Blue Danube Waltz; 81736; Complete; excellent; 6:00.197 LISZT; Rhapsodie Hongroise No.2; 82926; Complete; excellent; 8:00.198 SCHWARENKA; Polish Dance; 87752; Complete; excellent; 3:00.199 LISZT; Knowest Thou the Land?;Song of Mignon (Mignon's Lied); 81772; Complete; exc.4:00.200 ASCHER; Fanfare Militaire; 82246; Complete; excellent; 5:00.

Q.R.S.-AUTOGRAPH ROLLS

,..- 201 BALFE/ROBE RTS; F~or i te St ra ins From Boheml an Gf r 1; ROBERTS; 400019; Comp 1ete; exce 11; 7: 00,.~202 ALOHA OE; DOAN YOU CRY MA HONEY; ROBERTS; 200005; Complete; excellent; 4:00 •• 203 ROBERTS: Valse Repose; ROBERTS; 80390; Complete; excellent; 4:00.

204 AFTER THE RAIN;HELODY OF LOVE(From Gypsy Love)jROBERTS; 200009; Complete; excellj3:40 •. ~~~ SPANISH NIGHTS; Lee S. Roberts; ROBERTS; 10054; Complete; excellent; 4:00.

\. )6 WESTMINSTER CHIME INTRO/NEARER MY GOD TO THEE/ABIDE WITH HE;ROBE'RTS;400002;Comp;900d;4:00.YRADIER; La Paloma; -LEE S. ROBERTS; 200134; ComPlete; good; 3:00.

~............ AWAIIAN MELODIES; LEE ROBERTS; 200423; Original box missing; good. 4:00.CHLOE, ROCK RHYTHM; J.L.COOK; 4136; Complete; excellent; 2:00.J- I CAN HEAR THE UKELELES CALLING HE; Vincent & Paley.BAXTER&KORTLANDER;16t;Comp;needs repai