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foch&nting is rhe 1C'dW"; FAir HAwaii. Oh dear t-ta"W&Ii.When Ihe- t ilvOry n:'IJO" is btamin;l; Lov~Jy Ide of dx soodYrn su 'OnmunnUtilliW1'~t"J my dcarWaili1ci. F ' H .- ondar Ha :The tvriNl ing staN ue bright. &1t' I.WtJ l, . wall .And of your swui d\arms I'm d-e ming. Fondt , 1~4"'monetAll my love ..vill Iive for you ~l('mally. you bring, to me.

Hawaiian Melodies, Medley No. 4In Vv'ahz T empo

l,\troducin~: N.o. 1. Sweet Co,,:-tunc'1' (U;1, Likl.' No 1\ Li'K ~) No. 2. fui r Ho,....iiPI.~. J hy .1ohn 1\. Schmidli"

Second only to "Aloha O e" is "Ua Like o A Like" the Sw eet C onstancy Songof H aw aii. which .was ar ranged for piano by H . Berger, a band-master. long aresident of H aw aiJ. He also ar ranged " Aloha O~ .. and numerous other native songsand ably assisted reward ed ucating the Hawaiians in modern musical knowledge andhelped to perpetu te their melodies through publication.

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c.t. 'o~s and bu.ll..ti" ".

The AlVIICA BULLETINAUTOMATIC MUSICAL IN STRUM E NT C OLLECTO RS' ASSOCIATIONJULY/AUGUST 2005 VOLUME 42, NUMBER 4

Entire contents © 2005 AMICA International Printed by Engler Printing Co., Fremont, OH • [email protected] 165

VOLUME 42, Number 4

July/August 2005

FEATURESPromotional Ideas — 168

Big Feat — 170

Things That Used To Go Thump In The Night — 171

The Staib Mastertouch — 173

Welte Mignon Reproducing Records — 182

Piano Men in America — 194

Metropoliton Opera House — 211

DEPARTMENTSAMICA International — 166

President’s Message — 167

New Piano Rolls & Recuts — 213

Chapter News — 215

Classified Ads — 229

Front Cover: Roll Leader #652, Hawaiian Melodies, played by John A. Schmidlin

Inside Front: Ads from World’s Work Advertiser, contributed by Robin Pratt.

Back Cover: Good Bye Broadway, Hello France Sheet Music Cover

Inside Back Cover: Ads from World’s Work Advertiser, contributed by Robin Pratt

THE AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distributionand enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963.

PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] the AMICA Web page at: http://www.amica.org

Associate Editor: Mr. Larry Givens

AMICA BULLETINDisplay and Classified AdsArticles for PublicationLetters to the PublisherChapter News

UPCOMING PUBLICATIONDEADLINESThe ads and articles must be receivedby the Publisher on the 1st of theOdd number months:

January JulyMarch SeptemberMay November

Bulletins will be mailed on the 2nd weekof the even months.

Dr. Michael A. Kukral, Publisher216 Madison Blvd.Terre Haute, Indiana 47803-1912Phone: 812-238-9656e-mail: [email protected]

MEMBERSHIP SERVICES

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

Renewals . . . . . . . . . . . . . . . . . $42.00Additional $5.00 due if renewed

past the Jan. 31 deadline

Address changes and corrections

Directory information updates

Additional copies ofMember Directory . . . . $25.00

Single copies of back issues($10.00 per issue - basedupon availability)

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

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

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

ISSN #1533-9726

166

AMICA INTERNATIONAL

INTERNATIONAL OFFICERSPRESIDENT Mike Walter

65 Running Brook Dr.Lancaster, NY 14086-3314

716-656-9583e-mail: [email protected]

PAST PRESIDENT Dan C. BrownN. 4828 Monroe Street

Spokane, WA 99205-5354509-325-2626

e-mail: [email protected] PRESIDENT John Motto-Ros

P.O. Box 908Sutter Creek, CA 95685-0908


SECRETARY Florie Hirsch8917 Wooden Bridge Rd., Potomac, MD 20854-2448


TREASURER Wesley Neff128 Church Hill Drive, Findlay, Ohio 45840


PUBLISHER Dr. Michael A. Kukral216 Madison Blvd., Terre Haute, IN 47803-1912


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

760-564-2951 – Fax 775-923-7117e-mail: [email protected]

— COMMITTEES —AMICA ARCHIVES Tom Hutchinson

15361 Hopper Rd., Sturgeon, MO [email protected]

AMICA MEMORIAL FUND Halie Dodrill4488 W. Mercer Way, Mercer Island, WA 98040-3934

206-236-0067, e-mail: [email protected]

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

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

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

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

WEB MASTER Karl B. Ellison6 Lions Lane, Salem, MA 01970-1784

e-mail: [email protected]

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

CHICAGO AREAPres: Mel Septon - 847-679-3455Sec: Carol VeomeTreas: Joe PekarekReporter: Curt CliffordBoard Rep: George Wilder

FOUNDING CHAPTERPres: John Ulrich - 510-223-9587Vice Pres: Bing Gibbs & Karen SimonsSec: Jack and Dianne Edwards

[email protected]: Richard ReutlingerReporter: Bonnie and Bob GonzalezBoard Rep: Richard Reutlinger

GATEWAY CHAPTERPres: Yousuf WilsonVice Pres: Gary Craig - 314-771-1244Sec: Mary WilsonTreas: Cynthia CraigReporter/Bd.Rep: Gary Craig

[email protected]

HEART OF AMERICAPres: Tom McAuleyVice Pres: Robbie TubbsSec/Treas: Kay BodeBoard Rep: Ron Connor

LADY LIBERTYPres: Vincent Morgan - 718-479-2562Vice Pres: Aris John DousmanisRecording Sec: Bill MaguireCorresponding Sec: Richard KarlssonReporter:Buzz RosaBoard Reps: Marvin & Dianne Polan

631-673-0388Newsletter Editor: Bill Maguire

MIDWEST (OH, MI, IN, KY)Pres: Don Johnson - 248-879-7713Vice Pres: Liz BarnhartSec: Sharon NeffTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz Barnhart

NORTHERN LIGHTSPres: Phillip BairdVice Pres: Paul WatkinsSec: Jason E. Beyer - 507-454-3124Treas: Barbara WatkinsReporter: Dorothy OldsBoard Rep: Dorothy Olds

PACIFIC CAN-AMPres: Halie Dodrill [email protected] Pres: Troy TaylorSec: Brian TateTreas: Jack & Mary Lou BecvarReporter: Ron Babb Bd. Rep: Carl Dodrill - 206-236-0067

ROCKY MOUNTAIN Pres: Larry Kerecman - 303-377-7729Vice Pres: soonSec: soonTreas: soonReporter: soonBd. Rep: soon

SIERRA NEVADAPres: John Motto-Ros - 209-267-9252Vice Pres: Sonja LemonSec/Treas: Doug & Vicki MahrReporter: Nadine Motto-RosBoard Rep: John Motto-Ros

SOWNY (Southern Ontario,Western New York)

Pres: Mike Walter - 716-656-9583Vice Pres: Daniel TenerowiczSec: Garry LemonTreas: Holly Walter

[email protected]: Garry & Anne LemonBoard Rep: Audrey CannizzaroPhotographer: Nancy Group & Anne

Lemmon

SOUTHERN CALIFORNIAPres: Jerry PellVice Pres: Richard IngramSec./Reporter. Shirley NixTreas: Ken HodgeBoard Rep: Frank Nix

TEXASPres: Jerry Bacon - 214-328-9369Vice Pres: Bill BoruffTreas: Vicki BradySec:Maureen BarisonekBoard Rep: Dick MerchantBulletin Reporter: John McCall

CHAPTER OFFICERS

AFFILIATED SOCIETIES AND ORGANIZATIONSATOSPresident - Fr. Gus Franklin6508 Willow Springs RoadSpringfield, IL 62707-9500Phone: 217-585-1770 Fax: 217-585-0835E-Mail: [email protected] - Dale BakerP. O. Box 51450Indianapolis, IN 46251-0450Phone: 317-838-9345E-Mail: [email protected]

ASSOCIATION ITALIANA MUSICA MECCANICAVia Comte le Monticino No. 48547020 Cesena, ItalyPhone: 39-547-346-046

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

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

FRIENDS OF SCOTT JOPLIN1217 St. Croix Ct.Kirkwood, MO 63122-2326website: http//stlouis.missouri.org/[email protected]

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

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

MUSICAL BOX SOCIETY OF GREATBRITAINAlan Pratt, EditorP. O. Box 299Waterbeach, Cambridge CB4 4PJEngland

MUSICAL BOX SOCIETYINTERNATIONALRosanna Harris, Editor5815 West 52nd AvenueDenver, CO 80212Phone: 303-431-9033 Fax: 303-431-6978E-Mail: [email protected]

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

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

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

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

SMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560

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

Happy summer to all!Here in Western New York we are enjoying summertime sun and

breezes. Holly and I have just returned from the annual AMICA

convention in Minneapolis and I am going to give you a brief teaser

of sights, sounds and important events.

Minneapolis is a thriving metropolitan area that is beautiful and

clean. The residential areas have manicured lawns and well-kept

homes. The business sections of the city are filled with many people,

bustling from one place to another. There is a large grid-work of

second story walkways throughout the downtown area that enable

workers to traverse from one building to another without getting cold

or wet. Every walkway is a mini-mall, with wonderful shops on each side. During our stay, we were fortunate to be able to see

a number of sights outside of the downtown area. A couple of the tours included a visit to the interactive Mill City Museum, a former

flour mill and the Jackson Street Roundhouse, a working railroad roundhouse, complete with locomotives (steam and diesel) and

rolling stock (train cars). A visit to a carrousel and a conservatory/zoo in the Como Lake Park allowed us to see the flowers and

animals of the area in a relaxed setting.

The in-house/theatre entertainment included concerts on pipe organs, an orchestra and “Miss Jane’s Parlor”, a wonderfully

nostalgic presentation of piano music and song by Bob Berkman of Q.R.S. and Jane Romanos. Bob supplied the expertly

interpreted pianolist part while Jane’s vocal abilities filled the theatre with songs from the turn of the century.

At the annual Board Meeting, which preceded the actual convention, a couple of important items were discussed that have the

potential to affect you in a positive way.

The first item concerns this bulletin. As you know, our publisher is always on the lookout for new articles to be included on its

pages. As an incentive to write articles for our bulletin, the following offer is being made to our members:

To any AMICA member that writes an article of at least one page in length that appears in the bulletin, that member’s

subscription to the bulletin will be extended by one issue.

Of course, the decision as to what is to be included in the bulletin and when is at the discretion of the publisher.

If you have any questions about this offer, please contact the publisher or myself.

The second item concerns membership. Many members have voiced their concern over declining membership in our

organization. On the evening after the Board Meeting we had a brain-storming session in which twenty-four members

attended and wrote down their ideas for reinvigorating our organization. There were about fifty-five ideas that were

shared. A list of these appear are on the next two pages. PLEASE use or modify these ideas to suit your needs.

We want to hear how these ideas worked for you and we want to hear of your ideas not included here!

Happy listening!

Mike Walter

167

AMICA – CONVENTION DATES –

2005 Minneapolis, Minnesota June 29 - July 3

2006 Chicago, Illinois July 25 - July 30

2007 Germany/Holland July 5 - July 20(This is not set in stone yet. Hotels and buses are unable to commit this early, but it looks like this is.)

President’s Message

168

Promotional Ideas for AMICA Members

The following 55 ideas were shared at a brain-storming session at the Minneapolis AMICA Convention. Please feelfree to use or modify any of the ideas to generate interest in our hobby. The ideas are not listed in importance. If you haveadditional ideas not on these pages, please share them with us. If you try any of these ideas, we would like to hear of theresults.

Thanks very much!Mike Walter

1. Personally visit your radio, cable and tv stations and also your local newspapers. Let them know about our non-profitorganization and invite them to attend a meeting/activity. Get the name of a contact person for future press releases and publicservice announcements. Find out their advance notice times for PSAs and Press Releases. Makes sure to call them the day beforethe event to remind them of the program.

2. Invite Yamaha and/or other piano manufacturers to attend your meetings/conventions.

3. Visit piano dealers and other music related shops and ask them to place our brochures in their piano benches, or on display on acounter.

4. Contact the local high school/college and ask if a piano technician could teach or assist a Manual Arts teacher in rebuilding aplayer piano in the school. You would supply the piano.

5. Place a restored player piano in a shopping mall, theme restaurant or museum. Check back once a week to make certainthat it is working properly.

6. Offer noontime player piano concerts on college campuses.

7. Loan out restored player pianos to friends who show an interest in player pianos.

8. Hold a band organ rally at conventions or chapter meetings to get attention. Make sure to contact the media with plenty ofadvance notice.

9. Invite a guest from the local historical society or museum to attend your meetings.

10. Prepare a short movie (DVD preferably) to introduce our basic machines and promote our hobby. The best case scenario wouldhave a nationally known celebrity narrate the dialog, written by a screen writer and produced by a company such as Lucasfilms.

11. Find a grant writer who could obtain funding for such a project as #10.

12. Contact a local university Audio/Visual department to see if they could do something such as #10 using student assistants towrite dialog with some technical help concerning machines and utilizing other students to narrate. Make many copies of the finalDVD and send these to chapters for distribution to the public.

13. Place a short ad in newspapers under “Antiques – Wanted” Wanted- Members for AMICA, etc…

14. Invite small school or other groups (parents, students and/or teachers) to your home (or other place) for a demonstration of yourinstruments.

15. Invite younger adults to become members. Then, still younger ones won’t look at the age level of current members and leave.

16. Work with Music Teachers and give them a free membership.

17. Involve the public in a pumper contest.

18. Ask the children of former (deceased or not) AMICA members to join our organization.

19. Take a player piano to a fair. Place a sign on it: Pump the piano for $1.00. Proceeds to go to…”

20. Invite owners of electronic player pianos (e.g. Yamaha) to meetings.

21. Send a post card to former AMICA members urging them to request a sample copy of the “new” AMICA bulletin.

22. Distribute complimentary AMICA bulletins to other music organizations so they can see what our organization is about.

23. Have AMICA members attend and promote our organization at national musical instrument conventions.

24. Advertise AMICA to ATOS members.

25. Send promotional information about AMICA to teachers and students at music schools.

169

26. Attend and promote AMICA at music festivals around the country.

27. Have joint AMICA/MBSI meetings at the chapter level.

28. Establish a public/press reception on the first evening of every convention, following suggestions listed in #1 above.

29. Suggest that AMICA members who are dealers and restorers include a free membership in AMICA as part of the restoration/salecontract.

30. Place AMICA brochures in Pianomation kits and pianos.

31. Aggressively promote the hobby by getting our name in front of the public as often as possible.

32. Promote our organization to groups interested in the increased value of our machines (antiques dealers or their organizations).

33. Trade mailing lists with ATOS and THS (Theatre Historical Society).

34. Coordinate AMICA, ATOS and THS conventions so that their conventions do not occur at the same time.

35. Introduce automatic musical instruments to children, grandchildren, nieces and nephews and provide a foot pumper and rollsto get them started.

36. Bring guests to chapter meetings.

37. Advertise support of midi-reversible additions to roll operated instruments.

38. Find somebody to cultivate and ultimately give instruments and rolls to.

39. Offer hands-on training to those interested in learning the craft of rebuilding a player by an experienced technician.

40. Bring your own children/grandchildren to AMICA.

41. Do a low-cost local AMICA “convention” and promote it to younger people. Include a pumper contest with age appropriate rolls(Michael Jackson’s “Thriller”, etc.), midi pianos, intro of player pianos as original computers, classical music thatchildren know (cartoon music) on piano rolls.

42. Offer a scholarship to a piano history/studies student at the college/university level. Membership in AMICA would be included.

43. Partner with students interested in the midi format. Work with high school or technical school teachers.

44. Establish a trade school course in player piano restoration and promote it at the high school level.

45. Initiate an on-line membership joining/renewal program at the AMICA website.

46. Focus on local/convention programs/activities that will encourage women to participate more.

47. Contact local PBS stations and encourage them to come and record your instruments.

48. Reduce chapter dues for new members.

49. Create a list of the following items to help new/potential members enjoy their hobby more thoroughly:

a. who to contact for information on where and how to buy a player piano, etc.

b. who are the rebuilders

c. assign a mentor for one year

d. where to find rolls

e. list reference books that will cover various aspects of the hobby

Give this list to each new member on a laminated sheet. Make certain that the mentor contacts the new/potentialmember on a regular basis.

50. Make certain that all members have a supply of brochures for potential members.

51. Put new member stories in the AMICA bulletin to share with other new members.

52. Have a contest to see who can bring in the most new members. The prize could be the plane fare to the next convention.

53. Include midi information on the AMICA web site and make certain that search engines will find it.

54. If possible and/or desired in PSAs and Press Releases, include photos of instruments to be included at conventionsand organ rallies.

55. Offer to help new members find a competent rebuilder for their unrestored instrument, if the new member wishessome assistance.

Promotional Ideas for AMICA Members continued . . . .

170

BIG FEAT: By Tim Page

BACH ARIA FOUND IN SHOE BOX BY LEIPZIG ARCHIVIST

From Washington Post, 2004

Article submitted by Robin Pratt

The manuscript of a composition for

soprano and harpsichord, discovered two

weeks ago in a shoe box in Weimar,

Germany, has been authenticated as a

previously unknown early work by

Johann Sebastian Bach (1685-1750), the

Bach Archive in Leipzig announced

yesterday.

Harvard University professor

Christoph Wolff, a leading expert on

Bach’s life and art, flew to Germany to

help authenticate the score. He called the

newly discovered piece “an exquisite and

highly refined strophic aria, Bach’s only

contribution to a musical genre popular

in late-17th-century Germany.” In a

strophic piece, all of the verses are sung

to the same music, without substantive

variation.

The five-minute work was apparent-

ly composed in October 1713 by the

28-year-old Bach as a birthday present

for one of his patrons, Duke Wilhelm

Ernst of Saxe-Weimar.

The manuscript was found amid the

clutter of a box that also contained more

than 100 poems and congratulatory

letters written by others in celebration of

the same birthday. According to a report

in the London newspaper the Guardian,

the library in Weimar where material

pertaining to the duke had been stored for

several centuries recently burned down,

but by chance, the box containing the

score had already been removed. Michael

Maul, a researcher at the Bach Archive,

discovered it while conducting research

on the composer’s sparsely chronicled

life.

“After Michael and I had identified

it as Bach’s, we opened a very expensive

bottle of champagne,” Peter Wollny, the

archive’s head of research, told the

Guardian on Monday. “Michael came

back from Weimar two weeks ago and

said he had found something

interesting. We got the microfilm of the

score last week. We compared it with

Bach’s known compositions — and

bingo.

“The last time anything by Bach was

discovered was 80 years ago. So far

we’ve only heard it on the computer. But

it’s a charming little work, written for

one singer — a soprano — and a harpsi-

chord. There’s a little postlude at the end

for a string ensemble — two violins, a

viola and a cello. It takes just four or five

minutes to play.”

The archive has asked British

conductor John Eliot Gardiner to present

the world premiere and record the aria.

Gardiner said that he thought the aria

likely came from a longer cantata.

“It is absolutely beautiful,” Gardiner

told the Guardian on Monday. “So many

of Bach’s cantatas went missing after he

died. His son Wilhelm Friedemann Bach

was pretty profligate with his father’s

stuff. He sold manuscripts off, lost them,

used them as firelighters. So when

something like this turns up, it is

wonderful.”

Gardiner described it as “a reflec-

tive, meditative, soothing piece, as

Bach’s church music so often is. It’s not

going to set the world alight — enough

of Bach’s music from this early-to-mid

period has survived to give us a sense of

his musical personality at that time —

but it’s just great to have this, because

every one of his cantatas and arias is on a

completely different level from all of his

contemporaries.”

British music critic Tom Service,

who has examined the score, wrote in

yesterday’s Guardian that it is “a

charming tune in C major, full of a

natural pastoral joy, an appropriate gift

for the birthday of his patron in Weimar.”

“There’s none of the contrapuntal

seriousness that you associate with

Bach’s most involved music,” he added.

“Instead, this piece reveals an intimate

side to the composer.”

Bach was highly prolific, and there

is already a great deal of his music out

there that is rarely heard. Indeed, only in

the past quarter-century have all of

Bach’s 200-odd cantatas — choral works

he turned out, Sunday after Sunday, for

use in church services – been recorded.

Still, the modern premiere of this aria,

unheard for almost 300 years, promises

to be one of the most eagerly anticipated

classical music events of the

season, and should take place before the

end of the year.

In a statement released by the

archive, Prof. Wolff called Maul “a most

resourceful researcher. In less than three

years he uncovered an unparalleled

number of new archival Bach documents,

but this is the first time he presented a

musical discovery. The overall research

project is far from being over, and I am

quite sure that sooner or later Michael

Maul will make news again.”

Would you like to send this article to

a friend? Go to

http://www.washingtonpost.com/ac2/wp-

dyn/emailafriend?contentId=AR200506

171

THINGS THAT USE TO GOBy Shahar Eliyahu

“THUMP IN THE NIGHT”I’d gotten used to it. I had heard for so long that

“Ampicos thump” that I began to believe that there was nothing to do, no cure, and a simple live with it became mymotto. I had spent months in rebuilding my 1923 KnabeAmpico. I had the piano professionally rebuilt and refinished,and I did the Ampico works myself. I sought and followedadvice from many experts in the field. I thought logically andmade conclusions—I assembled the pump—thump, thump,thump. That was 3 years ago. Recently I have decided toupgrade and to sell my Knabe. My buyer wanted the piano buthad a condition of getting rid of the pump’s thump. I knew itwas time to act.

Let’s start with the basics—why does an Ampico pumpthump? I know of three sources—the ball bearings that keepthe rotation even of the inside spider and of the pump wheel isthe first. The second is the connecting rods. They are made ofwood with felt bushings to keep them snug against the pumpfeeder bellow and spider. The third can be the bellows them-selves. Any leak in the bellows or in the flap valves causes anuneven load on the pump—this means that part of the time themotor is working harder, part of the time it’s working easier—it’s easy to imagine here how this can cause (a) uneven supplyvacuum and (b) THUMP!

Knowing what causes thump is most of the battle, at this stage,you can evaluate the pump and its components individually.

When I rebuilt my Ampico, I was advised to replace allthe leather, including the leather in the pump. I’m now notconvinced that it was the best idea, but it’s what I did and itwas years ago and I have to leave it at that. For the inside flap,Ampico originally placed a piece of felt and a leather gasket, awire in the middle of it, and the flap sitting on top of it all witha crease to align perfectly with the wire. I don’t know howthey did this at the factory, but I have always been concernedthat I didn’t get it right. I decided to remove this “feature” andmake it a straight flat face. Next I noticed that the valve wasalso sitting on top of the small piece of felt. This was finewhen there was a gasket over the holes, but now all that it did

was to push the leather away from the wood. I removed thisfelt along with the gasket and installed a flat pump flap valve.

So—this done—how do you test the flaps for tightness? Ihave new valves installed on a new clean wood surface—howdo I know how good they are??? I didn’t want to reassemblethe pump only to find that the inside valves weren’t sealing! Ihad an idea. First let’s look at the shape of the wood on thestable board of the feeder bellows. There are 4 holes on theside that connect to a chamber that goes to the flap valve holes.I covered 3 holes with tape (and pressed down) and sucked onthe 4th. If it was too easy to suck I knew I had leaky valves. Ifit was tight, I knew it was OK. My first brainstorm camehere—I found one valve set that was tight, 3 that were leaky(somewhere!). I took out my hot-iron (I keep an old workingiron for piano work) and simply steam pressed the leatheragainst the boards. I then tested them and all 4 hadimproved—they were tight against the boards and a low levelof leakage. The movable board was more accessible and I simply checked each hole individually for air-tightness.

At this stage, I assembled the pump and checked out theoutput vacuum. I was expecting that I still needed to makesome adjustments, but I was shocked at the output I received—no vacuum whatsoever! Where was the leak? The back sideof the pump connects all the feeder bellows and needs to press

tightly against them all.I gave this a few taps allaround with my rubbermallet and screwed ittighter. I got it to thepoint where it was verytight all the way aroundand tried again. Now Iwas starting to get someresponse—but not agood one. I could hear itworking—if you takeone complete turn of thepump wheel I could hearvacuum for the first halfof the cycle, then nothing. Then vacuum,

then nothing. Half of the time it wasn’t doing anything! Trydriving your car after taking half of the spark-plugs out! Notgood. At this point I thought about how to continue testing—Icame up with a plan.

I took the bottom (cast-iron) panel off and left the toppanel (connecting channels). I also removed the spider. Now Ihad all 4 bellows that I could test individually—simply bypulling them open with their connecting rods. 3 of them wereweak, one was very strong. That didn’t make sense at first, butthen I figured it out as I continued to test. As I operated eachbellow individually, I soon noticed that as opened a feeder bellow, that one of them was drawn closed in response. I didthis a few times—each of the other 3 drew this one closed—

172

none of the other bellows were affected thusly. When I openedthis particular bellows it was the strongest of them all. Then Iunderstood my problem: the inside flap valve of this bellowswasn’t sealing (for whatever reason). The bellows are in constant motion—half of the time each is opening—drawingair, half of the time each is closing—releasing the air in thebellows to the atmosphere. Whenever this particular bellowswas in the act of closing, it would not only release its air, butthe air of the other bellows that were currently drawing air—thus half of the time it wasn’t working. I took it apart andfound the problem, then they checked out fine.

So I now had 4 feeder bellows, each supplying a goodvacuum. I re-assembled the pump and turned it by hand—thistime the vacuum was even and strong. Had I solved my problem? No—there was still a knock that was driving mecrazy. The next major problem was then the rods themselves.I took each rod and checked it for motion on the axis. Itmoved freely around the axis—this is good, but when I appliedpressure to move it in other ways, it would wobble. This wasapparently the source of all of my problems—the rods wereloose on the axis, they would cause jerky movement when theywere moved by the motor and this was causing a thump in thefinal analysis.

I took this opportunity to grease the bearings inside themetal plate. There are bearings on both sides—top and bottom. I removed the cover, then the pressure fit cover andtook some thick Teflon grease, rotated the bearings and pressedthe grease in place. I repeated this for the back side as well. Ifthey had locked, I would have taken this to a machine shop forrepair.

Now on to the task of replacing the bushings in the wooden rods. First for materials. The only cloth to buy iswoven bushing felt, available from piano supply companies.The cloth tears straight so the best way to get a good edge is totear it.

The first step: clean out the old stuff. This is done on adrill press—the old felt is simply drilled out—carefully andmaking sure that the drill does not remove any wood. Oncethe majority was removed with a drill, I used a round rasp toclean out the hole, and finally scraped the sides clean with asharp scraping knife (the type that wood-carvers use—with a

long straight blade).

Next I measured with my digital caliper the insidediameter of the hole and the diameter of the rod.The difference between them divided by two givesthe thickness of woven felt that I needed to use forbushing. To calculate the needed width of bushingcloth, you multiply the average of the 2 diameters by3.1415. This gives the width of the bushing cloth.Finally the end of the cloth is cut to a triangle—longer than the hole—this is used to start the bushing—it’s simply pulled through. When youreach the end you need to do 2 things: 1) applygraphite or Teflon powder to the inside of the cloth(2) apply glue to the outside. Here I used fishglue—it is similar to hot hide glue but works cold.Now slowly pull the cloth through, give it a slighttwist so that the edge is at an angle—not straight. Ithen pushed a dowel inside to press it against the

wall of the hole and to give me a counter to cut the cloth anddo the next.

Once all 8 holes had a new bushing and had dried in place2 hours, I put the pump back together. It now worked evenly,and quietly. I considered my job done and installed it insidethe piano.

At this point, I’d like to make a very strong recommendation to anyone that attempts to work on theirpumps: install them when the piano is resting on the side—don’t do this (in a grand) when the piano is standing. If youmust and are extremely strong, then you can use the followingmethod that I did, but please be advised—it’s difficult andpotentially dangerous if the pump should fall on you:

This is easiest if you have a stool that has a swivel to raiseit. In the lowest position, you should be able to fit the stooland pump underneath the piano—simply put the pump on thestool, slide it in place and swivel it up until it’s at the rightheight. You don’t have a swivel stool (or your wife would killyou if her antique organ stool got a scratch?) any backlesschair will work. Put the pump on the chair and push it upslowly, supporting it while inserting more and more blocks ofwood underneath (or books!). Be careful that the pile doesn’tfall when you add more and more. Here—put them underneath the pump, on top of the chair—I tried once raisingthe legs of the chair—the pump almost came down on me.

Now—when you’ve started to raise it but still haven’tpushed it all the way up, in an AMPICO, there are 6 tubes connected to the pump—and 3 of them are on the “top” side.Make sure to install at least those 3 tubes while you still haveroom to move around up there! I connected them after it wassitting directly on the stool, and double checked them in theprocess. Also at this stage, put the leather pads in place thathold the legs on.

When the pump is pressed almost as high as it should be, Ichecked and adjusted its position and then screwed the 4 supports in—I started at the end of the piano on both sides,then the front.

With a little hard work, I now have a pump that is quietand smooth, supplying a strong vacuum to the piano.

173

Submitted by A

nthony L. E

ngels

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gg Placing the Mastertouch Action in the Piano

FINISH the action as you do the ordinary-s-uo difference.REGULATE the action the same as the ordinary-except instead of bending back

check and bridle wires, regulate the set screw in the catcher for the amount of hammer-throwdesired. We recommend that with an easy blow it should not exceed 1-2 inch.

Do all other regulating, re-regulating, etc., as in the ordinary action.Pin centers and distances are the same. Therefore, while a revolution in itself.it is no

revolution to complicate or confuse you in finishing and regulating.Being non-blockable you may regulate the hammer-throw or return closer to the string.

This aids repetition because the fly movement being less, thereby will retrieve its positionquicker and be ready for another blow.

THE STAIB

MASTERTOUCHTfitADI: MARK,

PIANO ACTION

AFTER about 14 years of experiment, spent in trying out many and varied patents, wehave perfected the Mastertouch Piano Action to such a point, that we will guarantee

it the most perfect action in existence.We are not asking you to try a mere experiment, we know it will do all we claim.We placed several of these actions in player pianos and gave them a two years' test of con

tinuous playing and pounding. They have withstood all tests not only by ourselves, but byexperts in piano construction.

REPETITION:

Repetition is the ability of the fly jack retrieving its position quickly or getting underthe butt with the minimum release of the key. The Mastertouch will repeat with a half movement of the key which means double the repetition of the ordinary action.

NON-BLOCKABLE:

In the ordinary action any increase in the key depth, by reason of the key bottom sagging,the key punch compressing or being moth eaten, will block the hammer against the string. Toavoid this in the ordinary action, the hammer.throw or return is increased to an amount whichinterferes with the repetition.

In the Mastertouch Action the combination of the butt, fly and catcher is so arranged,especially with the pivotted catcher that the action cannot block, because should there be anyincrease in key depth and the hammer should attempt to block, the pivotted catcher with springwill absorb this difference and upon an over stroke draw the hammer away from the string.

This is a point very essential in a player piano. All player mechanisms stroke the action,with a greater leverage than the finger at the end of the key. Player mechanisms stroke eitheron the sticker or wippen nearer to the actual piano action movement, thereby gaining in leverage

and gives a movement to the action of greater stroke or over-stroke than obtained at the end ofthe key and tends to force the hammers against the stringswhich causes blocking.

To avoid this over-stroke or blocking in the ordinary action, an extra block rail is usedwhich tends to stop blocking but does not permit the piano action to move its full stroke andcauses a jarring of the action and player mechanism and consequent wearing of both. In theMastertouch this action rail is not needed as before explained the pivotted catcher and springabsorbs all the over-stroke leverage and consequent blocking.

NO Bridle Tape.Bridle Wire. It is noticeable that we have none of these articles.Back Check.

No bridle tape, means nothing for the mice to gnaw off and give trouble. Our bridle tapearrangement is part of the butt and inaccessible for our enemies, the mice.

No back check or bridle wires to bend and with time and playing assume a different position than intended. Our fly and pivotted catcher with its regulating set screw does the duty 01back check wire and stays in position. A set screw is better than a bendable wire.

Our Angle regulating rail.-In the ordinary action the regulating rail is a mere strip ofwood held in position by 6 or 7 bolts, the space between is such that any warping of the rail,will throw out the regulation.

The Maslertouch has an angle rail, which in itself is stronger than a mere strip of wood,and being fastened to the main rail by 18 to 20 screws strengthens it still more. All this strengthkeeps the regulation better than in the ordinary action.

We therefore claim that the Masler/ouch Action will stay longer in regulation on accountof the strength of its regulating points and will stand harder use and abuse than the ordinaryaction.

SPACE SAVED.-All the parts of the action have been confined to the space behindthe hammer rail and therefore, the space is saved that the back check, bridle wire and bridle tapeconsumes beyond the hammer rail. The saving in space is useful in player pianos for eitherreducing the depth of the case or for room for the piping of the player mechanism and there is noliability of noises accruing by the back check, etc" striking against this piping.

FINISHING AND REGULATING.-There is nothing in this action requiring anydifferent finishing than in the regular action, therefore, it should not confuse anyone. Regulating is the same except instead of bending back check wires, regulate the set screw as shown inillustration on page seven.

The centres are the same as the ordinary action, therefore keys used on ordinary actionsmay be used on the Masiertouch.

The best proportion of key to be used is the one having 3 parts to the front and 2 to the rear.While this action has been designed primarily for the player piano there is no reason why

it may not be used for any upright piano giving thereto all the perfections and playing controls.We further claim that this action gives the pianist a better control in playing than in any otherupright action and all the ability to play difficult passages now only possible on the grand.

THE STAIB-ABENDSCHEIN COMPANY13 ~Uh Street and Brook Avenue

NEW YORK

') ,)

Sixteen

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tLuxt

MIDDLE WEST DISTRIBUTORw. W. KIMBALL COMPANY

WABASH AVE. &: JACKSON BLVD.• CHICAGO. ILL

t~ on6527f!esi 52~a01reei

~~rlvMIDDLE ATLANTIC DISTRIBUTOR

RAMSDELL & SONS1:17 sotrrH 12<11 STREET. PHILADBLPHIA. PA.

PACIFIC COAST DISTRIBlITORPACIFIC MUSIC COMPANY

137 TURK STREET. SAN FRANCISCO, CAUFORNIA

June 19, 1929.

j

P. I. Minor l Son, Inc.,Batavia, N. Y.

Gentlemen:

Nothing ~ives us greater pleasure each month than to write you a letterwhen mailing you the enclosed bulletin of new releases. It lsn'~ 80 much what .ebave to 8ay 1n thes. letters as the fact that it give. u. the oPPortunity to keepin touch with those .ho we know are and should be interested 1n leIte-Mignon(Licen.ee) Reproducing Records.

'or the month at July, •• desire to call your particular attention to thepatriotic numbers that have been recorded for the Welte-Mignon Library. There iano doubt that all owners of '.lte-Ml~non Reproducing Pianos should be interestedin havln~, in their own libraries, these patriotic numbers. You will find severalof such records listed ,peclaIIy in tbe July Bulletin.

During the Summer months, music of a lighter vein i8 always more povular,and along with the ne. record8 of popular mu,io for July, there are listed on thelast pa~e of the Bulletin 80me of the most recent popular numbers and theme songeof the latest talking moving piotures. Tbeme 80nga, in particular, are provin~

great favorite••

Among true lovere ot music. tbe •• lte-Mignon (Licensee) Reproducing Pianoatill retains its hold in apite of the great inroad ot oth.r means of meohanicalmusioal reproduotion. The 'elte-Mignon (Licen.ee) 18 tb. only instrument thatgive. a lite-lite and photograpbioally accurate reproduction of the artist"~ playing. Baoking up tbis .ond.rful .echanl.M is tbe world', greatest library of reproducing record., to whiob •• are oonstantly adding new numbers reoorded by theyounger generation of piano virtuosos and old clas81cal favorites by well-knownpianists who have already made their mark in the musioal world.

Cordlall~ Jour.,

REP' Fl 0 0 v C I N G R E COR C S FOR ~el1e'f"Im'tJuo", REP A 0 0 U C I N G ACT ION S

181

~PRIL, 1926

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'~Ir ,lt~~illaononODUCING RE~ORDS

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182

DebussvDebussyDebussvDebussyDebussyDebussvDebuss»Debussy

Standard Classical and Salon PiecesiNOlt-Each annotation in the following list of the month's new releases is followed bya suggested group of Welte-Mignon (Licensee) Reproducing Records which have thelame musical appeal as the annotated new number.)

Debussy

Debussy

Debussy

o

General Lavine

Gollywo~'sCakewalk

Jimbo's Lullaby

C-7269

C-2733b

C-2733

"Minstrels." one of several among his pianopieces that grew out of Debussy's strong Englishand American sympathies. succeeds amazinglyin epitomizing in a subtle and masterly miniaturethe prankish humor typical of the "minstrelshow." It is one of the most delightfully amusing little pieces in all piano music.

o it was Puck! I saw him yesterrrightSwung up betwixt a phlox-top and the rimOf a low crescent moon that cradled him,

Whirring his rakish wings with all his might,And pursing his wee mouth, that dimpled white

And red, as though some dagger keen and slimHad stung him there, while ever faint and dim

His eerie warblings piped his high delight;Till I, grown jubilant, shrill answer made,

At which, all suddenly, he dropt from View;And peering after, 'neath the everglade,

What was it, do you think, I saw him do?I saw him peeling dewdrops with a blade

Of st arahine sharpened on his bat-wing shoe.

Played by Walter Gieseking

C-7329 j La Danse de PuckI Minstrels Debussy $2.00

Respectively, Nos. I I and 12 of the "First Bookof Preludes," these two little pieces represent analtogether different aspect of Debussy'S geniushis whimsicality. humor, and love of fun. "Puck'sDance" is a frisky and mirth-compelling musicaldenotement of impish. mischievous frolic, quiteas original and delightful in its droll fancy asJames Whitcomb Riley's "Puck"-

Weltt"'Q.lignoltREPRODUCING RECORDS

'New Music Rolls Released for April, 1926

La Soiree dans GranadaDebussy

a Danseuses des DelphesDebussy

•

C-1827

C-2738

Played by Walter GiesekingC-7328 La Cathedrale Engloutle

(The Engulfed Cathe-d ral) Debussy $2.00

"The Engulfed Cathedral." No. 10 of the twelvepieces making up Debussy's "First Book ofPreludes for Piano" (published in 1910), was inspired by an old Armorican legend of the ancientcitv of Ys, on the coast ofBrittany, which long. longago was engulfed by theencroaching sea: butwhich, say the awe-struck

Breton fishermen who have heard the uncannysounds, sometimes in calm of early dawn makesknown the site of its watery grave by the chimingof its cathedral bells. The essential poetry ofthat legend is evoked with all of Debussy's subtlemasterv in this mystical. weird. and fascinatingpiece.. It is the chiming of cathedral bells in adream-i-an authentic vision of tonal beauty, rareand strange and evanescent, from that uniqueDream-World in which Debussy lived andwrought. It is at first puzzlingly fluid, vague.misty; but familiarity with it brings an unfailingsense of light and proportion. of grace and subtlety. Mr. Gieseking has recorded an exquisitelyfinished interpretation of this impressionisticmasterpiece that imparts its magical beauty.

~)

Welte-Mtgnon (Licensee) Records by Claude Debussy

A score of other distinguished pianists have recorded for t he Welte-Mignon (Licensee)fine interpretations of many of Debussy's compositions. The list is too long for the spacehere available. But the following list is of unique interest. because made up only of his owncompositions played by Debussy himself.

C-2736 La Plus que Lente (Valse )C-2733 Children's Corner-(l) Dr. Gradus ad Parnuss um; (2) .Jtrnbots LullabyC-2733a Children's Corner-ell Serenade of the Doll; (4) The Snow Is DancingC-2733b Children's Corner-(.';) The Little Shepherd; (61 Gollywog's CakewalkC-2739 Le Vent dans Ie Plaine; and MinstrelsC-2738a Prelude No.1: Danseuses de DelphesC-2738b Prelude No.2: La Cathedrale EngloutleC-2738c Prelude No.3: La Danse de Puck

.-\ removable order hlank is in the center of t his hook

CLAUDE DEBUSSY

G

(Signed) CLAUDE DEBUSSY

BEG I N N I NG his c~reer as an exceptionally able pianist, ClaudeDebussy developed m~o .the most original of modern French composers-one of the most strikingly original and individual composers of all

time, in fact-and the founder of a new school, or movement, or regime,known as "Impressionism" in music. His influence, more than that of anyother new leader, has dominated the development of music in the firstquarter of the twentieth century.

Debussy was born in St. Germain-en-Laye, a suburb of Paris, on August22, 1862. In childhood he studied piano with a pupil of Chopin, Mme.de Sivry, who taught him so well that he was admitted to the Paris Conservatory when only eleven years old. There he distinguished himself as abrilliant student and won many prizes, culminating in 1884 with the muchcoveted Grand Prix de Rome.

In 1892 he composed the work that made him famous, the "Prelude tothe Afternoon of a Faun," and began the opera "Pelleas and Melisande,"which occupied him for the next ten years, and which stands as a landmarkin dramatic music. He also composed many smaller works: orchestralpieces, a string quartet, songs, piano pieces.

"Pelleas and Melisande" was staged in Paris on April 30, 1902, and thereafter Debussy was universally acknowledged as the head and master of theImpressionists. His later compositions include orchestral works, ballets,choruses, chamber music, about fifty songs, and many of his most characteristic piano pieces. He died in Paris, on March 26, 1918.

There is an unswerving unity of style about all of Debussy's music. It ischaracterized by extreme fluidity, vagueness of outline, cloudlike shapes,constant flux and change; by unexpected and subtle accents, wayward andfantastic rhythms: by mystery and strangeness and an inexplicable beauty,remote yet haunting.

The piano was a favorite medium with him, and his contribution to pianomusic is significant and important. The Welte-Mignon is the only reproducing piano for which Debussy ever recorded any of his own compositions.Concerning this instrument he wrote:

"It is impossible to attain a greater perfection of reproduction than that of the 'WelteMignon' apparatus. I am happy to assure you in these line.' of my astonishment and admiration at what I heard."

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Pl ayed by Julie B ergere

B-7321 Chant d'Avril (Apr il Song)Lack $1.50

T heodore Lack , eminent as pian ist , co mpose r,a nd teacher o f pian o playing a t t he Pa ris Co n..servatory for more th a n So yea rs , was born inQuim per, Finiste rre, Fran ce, in 1846, and hasbeen a pro lific prod ucer o f sa lon musi c for

Pl ayed by A lfredo Casella

C-7326 Bruyeres (Prelu de No. 5of Book II ) Debussy $2,00

Here Alfredo Casella has recorded ver y deft lya nd poeti ca lly a not her of Debussy's Pre ludes ofd ist inct ive a nd uniqu e beaut y a nd charm ." Bruye re" is F rench for " heather," a nd t he wo rdal so mean s a heath where t he hea t her grows.T his piece, ma rk ed at t he be~i n ning of t he scor e."Ca lm, sweet ly ex press ive ," IS suc h a litt le tona llandsca pe as o nly Deb ussy could ac hieve. It isa not her magical evoca t ion fro m his Dream Worl d , exp resse d in some of his most characterist ic me lody, whole-tone ha rmon ies, and rhyt hmicpecul iarit ies-e-wit ha l a ve ry beauti ful a nd fascina t ing litt le to na l poem .

FaureFaur e

Hopekir kBeethoven

M ozart

MinuetMinuetMinu e t

Pl ayed by Z oltan de H orvathX-7331 Minuet in E

de Horvath $1.75A beau ti ful, gracefu l, a nd cha rmi ng little pianopiece is here a ut hori ta t ive ly a nd ent ra nci nglypla yed by its compose r. T his pretty Minuet isform ed , of course, on the classica l model , a nd ithas the deliciously qu a in t flavor cha rac terist icof the grac eful dan ce form of the sp ri ngti me ofmodern music. Yet it is not wit hou t mor e modern t ouches, pa rtic ula rly in its ski lful and effect ive harmoni zation , wh ich is, nevertheless, per fectly ap propria te to the theme. I ts basict he me is a melod y of d ist inc t ive an d ingra ti a t ingbea uty , sugges t ive of th e ti mes of laces, br ocades,and 'i races. I ts rhythm is excellent , adro it lyco m bining co urt ly grace an d an insist ent, ir resist ible bea t .

B-6859C- 1326B- 181

Pl ayed by Earl JHamiltonX-7335 Lamb of God (" Agnus Dei")

B izet $1.75Bizet 's fine a nd nob le re ligious song, "Lamb ofGo d " (" Agnus Dei" ), wit h it s im pressive, soaring melody- one of the most beautiful melodieseve r penn ed by t his French master-and itseq ua lly imp ressiv e a nd beau t iful ac companimentin harmonies of a lmost orchest ra l fullness a ndrichn ess of ton a l co lor ing, mak es a st riking lybeau t ifu l a nd appea ling piano piece. Ea rlHamilt on 's record of it IS a fmc and beautifulperfo rma nce- a t rue int er pret ation , no t onlytechnica lly correc t, but imbued wit h understanding and ap preciat ion of t he poet ica l content oft he mu sic- impart ing skilfully and deligh tfullyth e composer's message o f lofty beauty.

B-6700 The CrucifixB-6699 The PalmsC-6173 Cujus An iman (St a ba t

Mater) Ro ssini

provisat ion-s-poet ic, fan ciful , fine ; making adirec t a nd sure a ppea l to t he hea rt of the musiclover. Claude D uret 's mast erly performancesets forth a ll t he ent ra ncing beauty of this deligh tf ul piece.

C-66 89 Barcarolle, Op. 27, No.1Moszkowski

C-1469 Gondoliera , Op. 41 MoszkowskiC-6979 Li eb eswaltzer Moszkowski

P layed by Claude Il urei

C-7330 Moment Musical in Csharp Minor , Op, 7,No.2 Mo szkowski $2.00

Alt hough one of t he la te Moritz Moszkowsk i'sea rly compos it ions, t his " Mome nt M usica l" isrep lete wit h t hose cha rac ter ist ics for which hebecam e fam ous. Her e are his fire a nd brilli an cy ,bea ut y a nd cha rm of graceful melody, d iversifieda nd a lways effect ive ha rmony , th e fascinat ion ofst rik ing a nd at t ract ive rh yth ms, exubera nce offancy , a nd with a l, his mast ery of clea r a nd sha pely design. Th e piece is rom an ti c in co nce pt ion,a nd it neve r ha lts for lack of ide as. I t is rha psod ic in utteran ce - vind eed , a lmost like an irn-

Played by Marguerite Volavy

C-7333 Prelude in G-Minor, Op, 23,No.5 Rachmaninoff $2.00

Marguer it e Vola vy haSrecorded a fine, sp irited .vigoro us perfor mance ofthi s celebrated "Prelud e"- perha ps t he mostspiri ted a nd vigo rous of a llt he ma ny Prel udes t husfa r published by th e fer ti le R ussian mast er Serge iR ach m a n i noff . Seco ndonly to t he fa mous Csha rp Mi nor Pr elude inpublic favor , t his G Minor

Prelud e is mus ic of splendid a nd puissant imagina t ion a nd compelling power : t he work of amaster of const r uct ion a nd of piano sty le. I tgrips t he hear er's int erest at t he ver y sta rt wit hits energetic procla mation of a sturdy marti a lt heme. in st rongly marked , steady a nd powerfu lrhythm . rapid ly mount ing to mag nificen t ou t bu rst s of sound. Then co mes t he sudde n a ndviv id co nt ras t of a compara tively simple middlesect ion consisti ng of a melod y of th e R ussia nlolk-song t yp e, but a lso of a peculi a r int ensit y,set to a ra t her slow-paced acc ompa niment inso mbe r hued ha rmo nies . Anon t he march returns wit h renewe d power and pomp a nd co mpe lling swing, a nd th e piece ends in a burs t o fso norous splendor.

C -7312 Prelude, D major Rachma ninoffB.6636 Prelude, G, Op. 32, No.5

Ra chmani noffX -6761 Prelude, E-flat, Op. 26

Rac hma ninoff

Waltz from-Ballet " Na ila". Deli bes. Dohllan yi

Waltz, Faust TranscriptionLiszl

Liebesw altzer M oszkowsk iC-6979

C- 483

C-7033

t he pian o. Th e happy spirit and Ga llic gracet ha t a nima te his mu sic are well exe mplified int h is cha r ming "April Song" (Op . 147) , whi ch,a lt hough composed whe n he was old in yea rs, isas fresh and ga y and lyric a l in bot h feelin g a ndexpression as if it had been wri tten in the spri ng.ti me of his life. It s lovely, t ripping, sing ingmelod y, inst inct ive ly exp ressive of Apri l ca refree lightn ess a nd joy , a nd its backgrou nd ofsimply beauti fu l a nd a ppropriate ha rmonv a reski lfu lly a nd effect ive ly combined t o prod uce apoet ic bit of music deserving of popula rit y in t hebest se nse . Ju lie Bergere has played t his da intybright a nd grac eful mus ic cha rm ingly .

B-6988 The Brook Spindler

C-7l ll Amour Coquet Fr iml

8-6352 Val se Arabesqu e Lack

P layed by George Lieblin g

C-7325 Juliet's Waltz from"Romeo and Juliet"

Gounod -Raff $2.00l n Fran ce " Ro meo a ndIuliet" is ra nked as t hegrea te st of Go unod's operas. Elsewh ere it has notenjoyed t he ove rwhelming popul a rit y accorded tohis " Fa ust," but it hasst ead ily gain ed in pub licfavor t hr ou gh o ut t he mu sica l world, for Go unodfit te d Sha kespe are's immortal love t ragedy wit hmusi c of end uring bea u ty

a nd grea t cha rm. J uliet 's Walt z occ urs in t hefirstact of t he opera , following immediately upo nher first ent ra nce , in t he sce ne of th e festi val a tCa puler's house. It is a bright , gracef ul, rnelo d iou s walt z, q uite in th e sty le of Ard it i's fam ous"Kiss" Wal tz. R aff'' s t ra nsc ript ion of it is abrillia nt pian o piece a bo undi ng in va riet y a ndrepl et e with telling pia nist ic effects , Mr.Lieb ling has p layed it with dash a nd br illian ce aswell as gr eat tonal beauty, a nd made of it a ca pt iva t ing record- rol l.

~ --- -

, ~.

~".'"

Girl With Flaxen Hair Debussy

R everie Debussy

Ce Qu ' a vu Ie vent d'OvestDebussy

Y·6513

C·1908

B-6397

Played by Ray Farnum

X-7336 The Alp Maid's DreamLabitzky $1.75

August La bi tzky' s "A lp Maid 's Drea m, " 0 P. 45,is a ver y pr etty sa lon piece th at has long enjoyedpo pula rity by reason of its limpid , smoot h flow.ing, a ppea ling melody, it s nicely varied a ndeffect ive ha rm o niza tion , it s id y llic suggest ion.It s com pose r ca lled it a n Id yl , a nd suc h It is- alight , gracefu l, fan cifu l, poet ica lly conceived ,a nd wel l-writ ten lit tl e piece, of universa l a ppea l.Ra y F arnu m 's fine record of t his old favor it eca nnot fa il to ma ke a host of new fri en ds for it .

X-6035 Midsummer M cqua rre

X-6026 Pe arls M orel

X-601 3 Sparklets Miles

o ;~

Q-c ")

"" 1,THE MASTER'S FINGERS ON YOUR PIANO

~

P layed by P ersis Cox

X-7334 Sundown Hopekirk $1.75

Sarabande-Rameau Godousky

No cturne - F r om the Landof a T h ousa n d Lakes Si belia s

Noct u r na l Tangler Godo,,'sk~'X -7242

C-7034

B-7234

In t his exq uisite a nd ca pt iva t ing bit of music t hemodern F renc h pian ist-co mpose r Ga br iel Grovlez(he was born a t Lille , in 1879) has de ft ly caughtth e mood as well as revived th e sha pe of th eSa ra ban de,a sta te ly ancient da nce of harpsich orddays, once ext remely popula r in Spa in, F ra nce,a nd Engla nd , a nd proba bly of Or iental origin.He has devised an adorable an d t rick sy lit tl emelod y, of a lmost na ive simplicity, an d has setth is to a n appropriate ly simp le acco mpa nimentmost ly in harp-like tones, a nd t he result is a ltogether charming in it s delicate grace, sheer tona lbea uty , a nd poetic feeling. And M me. Brardhas played it exq uisitely.

Played by Mugd eleine Brard

C-7322 Sarabande (L' Alm anach auxImages) Grovlez $2.00

Bohemian Danse S metanaPolka, Op. 7, No .1 Sm etan aPolka de W. R. R achmani noff

8-6790B-68838-6438

THE MASTER'SFINGE~S ON YOUR PIANO

~P layed by Richard Singer

X-7332 Souvenir de Boheme (InForm of a Polka)

Smetana $1.75Based on t ypi ca l Czec h melod ies, of most ingrati atingly sweet and plain ti ve q uali ty ; devel opedin strikingly beaut iful, rich, a nd varied harmon ies , wit h compelling rh yt hmi c swing, in va ryi ngpace ; a lte rnat ing dai nty delicacy a nd exqui sit egrace with impassioned vigor a na a ba ndon- t hisis an excep t ionally beautifu l and a n ent ra ncingpiece. It is a Polka , but suc h a Polka as cou ldhave been composed by no one bu t Bed richSmetana , " t he Fat her of Bohemian Music, " forit is sta mped in eve ry ba r wit h his rema rkablea nd shining individu al it y. Richard Singer 'srecorded performance of it is a lmost uncanny inits ra nge a nd diversity of pianistic effects , in itsravish ing t onal bea uty , in it s und erst and ing delivery of a ll t hat t he composer intend ed to sa y.This is a t ru ly marvelous record-roll.

Sca rlattiSca rlattiS carlatti

Concert AllegroCa pr icci o in B-f1atAllegro Vivacissimo

X -70968 -6746B-1911

vas t number of pieces for th e clav ichord a nd t heharp sichord which he called sona ta s. T hey a renot so na tas, of course , in th e sense of toda y,thoug h they for eshad ow th e modern so na ta formin t he cont rast ing mood of th eir principa l th emesa nd t he key relationships in which t he th emesa re presented . Sca rla tt i d id not a im a t emot iona lexpression in th ese pieces. " Amat eur or professor, whoeve r th ou art ," he sa id in th e prefaceto a collectio n of his Son at as, "seek not in t heseSona tas for a ny deep feeling. T hey are only afro lic in ar t, intended t o incr ease th y confidencein th e clavier." T he t wo " Sonat as" heregrouped toget her well exemplify Sca rla tt i'sbri llia nt sty le an d pr ovid e an effective co nt ras t;t he first being in slow and pensive vein, th e ot hervery lively , fleet a nd nimble.

Dr ea my, restful , soo t hing , a ltoget her ent rancingis thi s ver y beau ti ful a ndmusicianl y aura l denote ment of th e mood of ea rlyevening q uiet a nd peace, adelectable andante sostenuto by t he eminent Scot tish pianist a nd co mpose rHel en Hopeki rk, lon g resident in New E ngla nd. Itwas inspired by, and is afine tran smuta t ion into

tona l poet ry of th e following lines from t heBritis h poet Willia m Ern est Henley 's "Marga rita! Sorc ri":

(~'"?-- ~, ~,,,

Pla yed by H eniot L euy

C-7323 Variations on an OriginalTheme, Part I L evy $2,00

C-7324 Variations on an OriginalTheme, Part II L evy $2.00

T he Th eme wit h Variat ion s is on e of t he oldestand mos t hackneyed ofmusica l forms. Yet Heniot Levy here demonst ra tes t hat, in th e ha ndsof a co mposer who hassomet hing to sa y a ndknows how to say it , t hisso met imes abused andofte n ma ligned form issti ll serviceable for t heutteran ce of new musica l

th oughts a nd th e de light-gi ving proclam ation offresh , new a nd inspirit ing musica l beauty. Hehas st arted wit h a shor t a nd ra th er simp le, butexpressive Theme, and on th at as a basis hasfashioned a grea t series of Vari ations th at fai rlyastound t he enrapt ured listener wit h th eir wea lt hof musical pa t te rn s, th eir colorful, glowing . a ndgorgeous harmonies, th eir wide divergences inrh yth m a nd in dynam ics ; a nd no less wit h t heoverflowin g ab undan ce of t heir imaginat ive andpoeti c ideas. Some of t hese Va riations are oft ran scendent beau ty ; and th e work as a whole ismasterly both in inspirat ion a nd in tech nica laccomplishment. Th is is music to be list ened toover and ove r again, reveal ing new bea uty wit heac h rep eated heari ng. It is enormously d ifficu ltto pla y, a nd in mak ing his tw o superfine reco rdsof it Mr . Levy has wrou ght wonders in int er pretat ive pia nism.

C-716 8 Theme a n d Var iat ions CheviltardC- 457 Theme a n d Var ia tions BeethovenC- 1379 Theme Var ie Pa derewski

Persis Cox has here reco rded a skilful a nd sy rnpathet ic inte rpreta t ion of thi s fine ly wroughtmusica l expressi on of a finely chosen vision .

A nd fr om t he wes t ,Wh ere t he s un, his da y 's wo r k ended.Lingers as in co nt ent ,T here fa lls on the old. gra y cityAn influence lum inou s a nd serene,A sh ini ng pea ce.

Played by A lfr edo Casella

C-7327 Sonatas in E and GScar latti $2.00

Alfredo Casella , most modern of Ita lian mas te rs,has here made an excellent record-roll of tw oqu ain t and delight ful old pieces com posed for aprecu rsor of t he pian o by a n It al ian master whoflou rished in th e da wn of inst rument a l music inIt al y. Dom enico Sca rlatt i (168,,-17.'i7) wrote a

C-72508 -685 98-6823

Serenade H opek irkMinuet form Suite H opekirkOld Irish Cradle Song Poc hon

00VI

B-7340 A Cottage Smal1 By a Water-fall (Word Roll) l l anle y Oscar Haase $1.50

B-7339 If We Should Part (WordRoll) - .';(!zerlzingrr ( rsca r Haase 1.50

Y-7341 Rhythm of the Day (l nst ru-mental Novelt y: .Vfurphy & Lindley Howard Lutter 1.25

Accompaniment Records

:New Records of Popular Music

Tamiami Trail-Fax-Trot Friend and Sa nth. Ralph Reichenthal

~~ro~~ro~~ro~xm~xro~~

~ Welte-Mignon (Lim",,) Repmdu<ing Rnlls Issued Sin", Last ~General Catalog@ (Titles in heavier type are Releases of the Last Two Months) ~

~ STANDARD CLASSICAL AND SALON PIECES ~B6814 Adieu - - - - - - - - - Edna S. Hart - - Zamecnik - - S1.50

~C7074 Afternoon of a Faun. The (Part I) - Richard Singer • - Debussy 2.00 ~C7075 Afternoon of a Faun,_ The (Part II) Richard Singer _ _ Debussy 2.00'" oJX7174 A la Valse, Op. 91, No.7 - - Harriette Cady - - Schytte 1.75C7149 Allegro Classique, Op. 94 • - Marguerite LeGrand Ravian 2 00 ~Y6714 Aloha Oe (Hawaiian Folk Song) . ~

(Ballad) - - • - • - Ray Farnum·· Queen Lilliuokalani 1.25

~C6989 Albumblatt (Albumleaf) - -. Richard Singer - Wagner 2 00 ~X7061 A Mighty Fortress is Our God (Ein .

feste Burg iat unset Gatt) - - Edward Rechlin Luther 1.75C7111 Amour Coquet (Vagrant Love) - - - Franz SerH - - Friml - 2.00

r ~1 C7147 Andaluza (No. ~. of "Spanish Pieces") Carol Robinson de Falla 2.00~ ~ Andante Languido - - - • - - f

~C7053 Allegretto Gracioso (From "Three Sylvan Levin SCott. - 2.00 ~

Little Waltzes") - - • - - -X7265 Andantino - - - - - Jean Fabre - Lemare 1.75X7J56 Andantino in FOp. 24. No.7- - - Raymond Burt - .. Sibeliua • - 1.75B7014 Apache Dance (L'Amour de L'Apache) Fran. Serli _ • Offenbach-Ely 1.50 @X6791 Arabesque, No.3 - - - - - - Richard Singer - - Schulhofl - 1.75

~X6798 Arabe.sQ~e, No.4 - - - - -. Richard Singer _ - Schulhofl - 1.75 ~Y6718 At Midnight _... ~ - - - Margaret Nikoloric .. Aviles > ..... 1.25Y6697 At Sunset (Novelette) • • -. Edna S. Hart· Brewer • ~ 1.25~ At the Cradle, Op. 68, No.5. ..)

('~ C7300 (French Serenade, Op. 62, No.3 _ 1Walter Gle.ekln~ - - GrI~ - - - - 2.00~ X7108 At the Fireplace • - • • • - - Werner janeeen > - Janssen 1.75~ B7015 Aubade. Op. 77, No.1 George Liebling - • - Schytte' - 1.50 ~

~86881 Autumn Leaves .. ... Edna S. Hart .. - .. Ellis .. - ... 1.50 ~C7197 Autumn. Op. 35. No.2 Marguerite votavv .. - Chaminade .. - .. 2.00C6919 Ave Marie _ - • - ... - Thomas Reid and David

Ashton _.... Bach-Oounod - 2.00B6800 Ay-Ay-Ay-(A Creole Song of Spain) Harriette Cady - - - Transcribed by Cady 1.50 '2-'"C6914 Badinage • - - .. .. ... Marsuerlte Volavy - Dvo~k. - -.. 2.00 ~

~C7227 Ballade in A-flat. Op. 47 Vladimir de Pachmann Chopin 2.00 ~C6966 Ballade in G Minor. Oo. 23 Alfredo Oswald - Chopin - - 2.00C7054 Ballet Egyptien, Nos. I and 2 -I F Serli 1Luigini - - - 2.00C7055 Ballet Egyptien, No.3 _ _ _ _ raD< - - - \ Lulgini - - - - 2.00r'li B6810 Ballet Music from "Rosamunde" - Cecile de Horvath .. Schubert-Gene • 1.50

~ X7180 Barberini's Minuet _ _ • .. _ _ Katherine Bacon Rauer - - 1.75~ X7073 Barcarola (Capri). Op. 42. No.4 _ _ Ceorge Liebling - Liebling - - - 1.75 ~~ X6817 Barcarolle _ _ - _ - _ _ _ Angelo Patrico!o - Patricolo - - - • 1.75 f.,.,...

~X6719 Barcarolle (from "Water Scenes"), Op. ~

13. No.5) _ .. ... - • .... Margaret Nikoloric Nevln > 1.75X7082 Barcarolle, Op. 20 _ _ - _ _ Marguerite LeGrand Quigley - - 1.75C6689 Barcarolle. Op. 27. No.1.. .. - .. Augusta Tollefsen ... .. Moaekoweki .. 2.00 ~C7003 Barcarolle in F Minor. Op, 30. No.1 Fannie Bloomfield-

Zeisler - - - Rubinstein 2.00

~CI076 Barcarolle in F sharp. on. 60 .. ~ Annette Esalpoff .. Chopin - - • 2.00 ~X7222 Bells of St. Mary's, The (With Words) Oscar Haase ~. - A. Emmett Adams 1.75

C7oo4 {Berceuse . Op. 16, - - .. .. • - -} Magdeleine Brard - \1 Fp~ure} .... - 2.00

~Cache-Cache (Hide and Seek) • .. - .., Ierne

X7170 Berceuse _. ••. - Marta Milinowski Ashton 1.75C 1667 Berceuse. 0'0. 57 _ .. _ _ _ • ... Gertrude Peppercorn ... Chopin - 2.00

~C6690 BeN~.u2e. O~. :0 a_od:,ch..erz~o ....o~. 2~ Anton Bilotti Cilea _ .. _ _ 2.00 ~C7249 {B~rCeUse .. - .. - - - '1 Katherine Bacon _ _ Palmgren ... .. .. 2.00 r1 oJ

Bird Song -......... ..B6983 Black Key Polka Mazurka _... .. Ray Farnum > .. - .. Herzog .. .. .. - 1.50 t..."""-X6755 Blue Bells _ _ _ _ _ - Julie Bergere - - - - Zamecnik - - - • 1.75 ~

Q C7008 Blue Danube Arabeeaue > Cecile de Horvath Strauas-Schubi-Evler 2.00 ~

~~ 87040 Bl~Fretin~ti~~~;)Op. ~7. _No~ 3 ...(Fr~m _ Geo~ge Liebling .. Moszkowaki • 1.50r l~ B6790 Bohemian Dance > .. - - - .. - Katmka Narinska - ... Smetana - .. .. ... 1.50~ j 1. Branquinha (Little White Porcelain t

~C6747 /2. M£:~',;lnb-' (Li;t1e - C;eo!; Doli of Alfredo Oswald Villa-Lobas - 2.00 ~

Papier-Mache) .. - .. .. _.. ., .B6988 Brook, The _ _ _ _ _ _ _ _ Katmka Nannska Spm<\ler - 1.50B7013 Butterfly Etude, G-F1at, Op. 25, No.9 Lefl Pouishnoff - Chopin - 1.50 ~C6964 By the Seashore _ .. _ _ _ • • Marguerite V,.,lavy Smetana .. .. 2.00X7268 By the Waters of Minnetonka _ • Leon Mitsz.ki - Lieurance 1.75

~ ~1. Caboc1inha (Little Brazilian Indlan( ~

C6748 Doll of Terra Cotta) - - - - Alfredo-Oswald _. Villa-Lobas ,- 2,002. Mulat inha (Little Mulatto Doll of -

~ Rubber) - - - - - - - •

~~®~~~~~~~~~~~~~~

1.50

1.25

1.25

1.25

1.25

Price

1.25

1.25

1.25

$1.50

Earl Hampden

Earl Hampden

Howard Lutter

Johnny J oh nson

ArtistV,xa I Intcrpretation of

Leslie Frick, accornpanied by Howard R.Thatcher

Vocal Interpretation ofLeslie Frick, accompanied by Howard R.ThatcherBurlrig]:

Da.J1·d

.1 kst

WhitinR and Simon Johnny Johnson

Like a(A-Aat.

Low or

ritl.. ComposerNobody Knows de Trouble

I've Seen (F-Majar, Accompaniment far 1.ow or MediumVoice) - - - Burlcrg):

Sometimes I FeelMotherless ChildAccompaniment farMedium Voice)

e' Ie

THE MASTER'S FINGERS ON YOUR PlANO

~

Chinky Butterfly-Fox-Trot

Dinah-Fax-Trot

Sweet Child-Fax-Trot

Everything's Gonna Be Al1Right-Fax-Trot - Doris and Akst Ralph Reichenthal

t> 'z;;; ""''A Ii ..... '03''';Z;;:

In the Middle of the Night-Waltz Song - - Donaldson

Say It Again-Fax-Trot Sih-rr

B-7338

Y-7342

No.B-7337

Y-7345

Y-7343

Y-7344

Y-7346

Y-7347

Y·7348

000-,

~~ ~\ It,

CJ u o

for

~

APRIL, 1926

To THE DEALER: This order blank is for your convenience in orderingthe month's releases

BLANKORDER

Each month we show on the center four pages of this bulletinthe new releases, together with40 records that should be inevery library. Check off therecords required, sign name and

address in space indicated,detach from wires and

forward to us

ORDER BLANK

l:J{eleases of WELTE-MIGNON RECORDS(Licen.ee)

REMOVABLE

~xm~xm~xm~~m~~m~~

~ ~B7157 Callirhoe--Air de Ballet Raymond Burt Chaminade .11.50X6870 Canzonetta- - • • • - • • • Richard Singer Godard _ 1.75B6U6 Capriccio in B-flat _. _. Auatin Conradi Scarlatti-Hutcheson. 1.50 @

~ C7001 Caprice In G, Op. 14, No.3. •• Left" Pouiahnoff • • _ Paderewski _. 2.00 ~\;,.~ C7032 Caprice SUf 1M Aira de Ballet d'Ajceete Magdeleine Brard Gluck-Saint-Saena 2.00

C7181 Caprice-Valse, Op. 1.. .. .. .. .. .. Jose Valaequee .. Castro.. .... 2.00

~ C7102 Cascade of the Chaudron, Op.139.No. 5 Augusta Tollefsen Bendel _ •• 2.00C6797 Chanson Boheme from "Carmen"... Richard Singer .... Bizet-Moaakowaki 2.00X6986 Chant des Montagnee, No.3· • - Harriette Cady • Elie. _ • _ • 1.75

~C7176 Chase. The- .. .. .. .. .. .. Bendetson Netzorg Paganinl-Liszt.... 2.00 ~CaD15 Chelsea Reach Mareuerite Volavy Ireland.... 2.00C72')5 Children's Pieces (Pezzi Infantlll)

1 Prelude; 2. Val8e Diatonique; S3 Canon. 4. Bolero; 5 Homage

@ _to Clementi; 6 Sicillana ... ... - Alfredo Casella Casella.. ... ... _ 2.00C729~ Children's Ptecee (Pezzl Infantlll) ~

7 Glltue; 8 Minuet; 9 Carl11on;10 Berceuse; 11. Gstop Final - Alfredo Casella _ Casella _ _ _ _ 2.00

~ X7223 Chimes of St. Patrick's, On, 40, No.2 - Persis Cox \Vhithorne 1.7,:')C6027 Christmas Carols (with words)· - Leon Mitzski _ _ • 2.00

1. Scantisaima (SIcilian Folk Song)

~2. Tannenbaum (0 Verdant Fir) ~

(German Song)3. Holy Night (Canttque de Noel)

L7231 Christmas Carols (with words), "God SRest Yet Merry Gentlemen," "Joseph,Tender Joseph Mine," "Good King

~. wenceslaa" - - - - - - Clarence Dickinson - 2.00 ~'"~ <- 7224 Christmas Carols (with words) "Song

of the Angels," "What a Wonder;"

~ "Shepherd's Christmas Song" Clarence Dickinson. • • 2.00C7221 Christmas Legend: "\Vhat Child Is

This?" - - - - - • Richard Singer -. Huson! 2.00~ X7132 Cirbiribinv > - • - - • Frana Serli • -. Peataloasa-Serf 1.75 ~

~B6917 Clair de Lune. Op. 46. No.2 Marguerite Volavy. Faure.. 1.50 ~~X7:Z74 Coastlnll - - - - Lillian Mallnuson - Burlellth - \.75A6756 Comic Song (The Mosquito) Russian

. Folk-Song - - • - Harriette Csdy Cady - - 1.00B6871 Con Amore • - - - - - Edna S. Hart ...... Beaumont... _ 1.50X7096 Concert Allegro in A • • • David A.hton Scarlatti-Godowsky - 1.75 S

@ C7058 Concert Etude in A.flat - -.. Leff Pouishnoff _ Liszt • _. 2.00C8968 Concert Etude in D-flat ...... Katherine Bacon Liszt ..... ...... 2.00 ~C7104 Contrapuntal Dance. Op. 30A, No.2 Richard Sinaer ... Busoni.... 2.00C7080 Cortege Dorothy Miller Duck-

witz .... -... Debuuy.. 2.00~ 80819 Cossack Folk-Song, (Fair Minka) Harriette Cady • _ Cady _ _ • _ 1.50...::t!>L X6923 Coune Folie. Op. 73. No.3 - Richard Singer • - - Moszkowskl • _ 1.75 0::-~ C6831 Cradle-Song .. ""''' Theodor Koenemann .. Tschaikowsky ... 2.00 f~

~80823 Cradle-Song (Old Irish) - - -. Penis Cox • - Pochon _ _ 1.50 ~X6863 (Cradle-Song • - - • - ) Anton Bilotti _(I,iadow - ) 1.75

Dance Lente .. ... - Franck • ... ...X7036 Cross. The > ... - Harriet Ware Ware ... 1.75 S86700 Crucifix- - .. .. .. Earl Hamilton .... Faure ... 1.50B6639 Cubist - - • - • - Thomas Grieene Griselle _ 1.50e 87125 Dance of the Butterflies, Oo. 69 Marguerite Balihe Charles Godard 1.50 ~C7152 Dance of the Hour. (Ballet from

"La Gloconda") ... .. Franz SerH ...... Ponchielti... 2.00

~X7179 Dance of the Jewell. Op. 3 Marguerite Volavy Friml......... 1.75B6882 Dancing Leaves ... .. .. - Julie Bergere > - Miles .. ... ... ... ... 1.50B7251 Danae Andalouse, Op. 37, No.3.. .. Persis Cox - .. ... MacDowell.. ... .. 1.50

~86716 Dense Orientale a la Chinoise ..... Harriette Cady Cady ... ... ... ... ... 1.50 ~C7059 Danae Rituelle du Feu • -. - Cecile de Horvath de Falla - • _ _ 2.00C7081 Deep River (Old Negro Spiritual) Oscar Haase...... Transcription by Cole-

ridge-Taylor 2.00 SY669a Distant Bells (Novelette) ... -... Julie Sergere...... Hendricks. ... 1.25Y6826 Dixie Patrol (Souvenir d'America)

@ (March)"; ... ... ... .. ... ..... Angelo Patricolo Patricolo... ... ... ... 1.25 ~B6743 Dream Daddy (Ballad with Words) Howard Lutter .... Herscher and Keefer 1.50C7084 Dream Flowers .. ... ... • ..... Oscar Haase...... .. Translateur .... 2.00

~C72')9 Dream in the Twillllht (Traum

durch die Dammerunll) - - • Walter Gleseklnlt • _ Strauss.Retter • 2.00C6981 Eglogue • - - - • - - - Alfredo Oswald - _ Liozt _ • _ _ • 2.00

~B6827 Eighteenth Century Dance (Allegro ~

molto) ..... -. ...... Bendetson Netzor& ... Schobert... ..... 1.50B68W Elfin Dance - - - • Anton Bilotti • • - Bilotti _... 1.50X6753 En Bateau - • - - • • • Dorothy Miller Duck-

wltz ••••• Debu8lY - • • _ 1.75C6885 En Bateau ; • - - - • - Eustace Horodvaki • • Debussy • • • _ 2.00 S

@ C ( E n Frappe a la Porte • - • - -) M M'lI I ~7144 II Nie~ _ _ _ • _ _ _ _ _ arta 1 nowsk • • Ashton - • • • 2.00

~ B6725 Erotlkon, Op. 10, No.3 - - • - • Ruth Blnllaman. • • Sjogren • • • • 1.50

~~~~~~~~~~~~~~~~~......00-.J

-0000

WELTE.. MIGNON (Licensee) RECORDS ORDER BLANK

Accompaniment Records

APRIL RECORDS

Nobody Knows de Trouble I'veSeen (F Major, Accompanimentfor Low or Medium Voice) - - Burleigh

Sometimes I Feel Like a Motherless Child (A-flat, accompani-ment for Low or Medium Voice) Burleigh

1.25

1.25

1.25

1.25

1.25

1.25

1.25

1.25

Price

$1.50

1.50

ComposerKreisler- RlUhmaninofJBrahmsLisztLisztBeach.Liebling

Liszt

GodowskyRachmaninoffRosenthalYradierDelibes-Dohnany<BartleuFrim!LieblingBizet- M oszkowskiBall-RothBenkha,dtBrahmsLisztOffenbach-ElyThomasTosti-RothRossiniChaminade

Artist

Howard Lutter

Earl Hampden

Oscar Haase

Ralph Reichenthal

Ralph Reichenthal

Howard Lutter

Earl Hampden

Johnny Johnson

Johnny Johnson

Oscar Haase

ArtistLeonardiSingerPugnoBilottiDeHorvathLieblingBloomfield-

ZeislerSingerLeonardiVolavyGironPouishnoffNarinskaNetzorgLieblingSingerRothd'GiovanniDavisVolavySerliLendryRothLendryDuret

Hanley

Schertzinger

Donaldson

Composer

Murphy andLindley

David

Whiting andSimon

Akst

Davis and A kst

Friend andSantly

Silver

'New Records of Popular Rolls

Chinky Butterfly-Fox-Trot

Sweet Child-Fox-Trot -

Say It Al1ain-Fox-Trot

In the Middle of the Nil1htWaltz Song

Dinah-Fox-Trot

Everyrhfngs Gonna Be All Right-Fox-Trot

Tamiami Trall-Fox-Trot

TitleA Cottage Small by a Waterfall

(Word Roll)

If We Should Part (Word Roll)

Rhythm of the Day (Instrumentalmental Novelty)

TitleLiebesleid Hungarlan Danse 8Rhapsody, No. I I

In the ForestHearts Ease -Florence (Grand Valse Brillante), Op. 12

Gondoliera

Rendezvous -Prelude, C-Sharp MinorPapillonsLa PalomaNaila Waltz -Polka de ConcertConcert WaltzVenetian LaceChanson Boheme Mother Machree CarnationsHungarian Danse VILiebestraum, No.3L'Amour de L'Apache "Mi~non" OvertureGoodbyeSemiramide Overture -Pas des Amphores (Air de Ballet, No.2)

Y-7344

Y-7345

Y-734l

Y-7343

Y-7347

Y-7348

Y-7346

No.C-67548-6792C- 543C-66778-6640C-7176

C-6962

C-6965C-6860X-70068-7027C-7033C-6073C-6563X-7304C-6797X-6665X-6025B-6488C-7171B-7014C-7164X-6820C-7302X-7120

8-7339

Y-7341

No.8-7340

i.1

1),

2.00

2.00

1.50

2.00

2.00

2.00

2.00

2.00

1.75

1.75

2.00

1.75

1.50

2.00

1.75

1.75

Prire

$2.00

$1.50

Vocal Interpretation ofLeslie Frick, accompanied by Roward R.Thatcher

Marguerite Volavy

Alfredo Casella

Walter Gieseking

Artist

1926

Walter Gieseking

Ray Farnum

Julie Bergere

IIeniot Levy

Heniot Levy

Richard Singer

Persis Cox

Magdeleine Brard

Alfredo Casella

Vocal Interpretation ofLeslie Frick, accompanied by HowardR. Thatcher

Claude Duret

George Liebling

Earl Hamilton

Zoltan de Horvath

Composer

Hopekirk

Debussy

Debussy

Labitzky

- Lack

- de Horvath

(The

=} Debussy

5 of Book

The Alp Maid's Dream

Chant d'Avrll (April Song)

Minuet in E

Sundown -

Variations on an Origtnal ThemePart I - - - - - -Levy

Variations on an Ortgtnal ThemePart II - - - - Levy

Moment Musical in C-sharpMinor, Op, 7, No.2 - - - .\foszkowski

Prelude in G-Minor, Op, 23,No. S - - - - - - Rachmaninoff

Sarabande (L'Alrnanach auxImages) - - - - - Grovlez

Sonatas in E and G - - Scarlatti

Souvenir de Boheme (In Form ofa Polka) - - - - Smetana

JulIet's Waltz from "Romeo andJuliet" - - - - - - Gounod-Raff

Lamb of God ("Agnus Dei") - Bizet

TitleLa Cathedrale Engloutte

Engulfed Cathedral)

{La Danse de Puck Minstrels - - -

Bruyeres (Prelude 1\0.II)

X-7336

B-7321

C-7325

No.C-7328

C-7329

C-7326

C-7333

C-7322

X·7335

X-7331

C-7330

C-7327

X-7332

X-7334

C-7323

B-7337

B-7338

C-7324

Removable Order Form-detach gently from wires

,0 .<~ o

v ~ v

City

Street _

N..ame. _

Stau _

~xmmxx~mxx~mxxmmxxmmx~

~~

B6911 Ethiopian Serenade lTriakontam.ronNo. 12) • • • - - - - - • KaUnka Narinaka • • Godowsky - - -SI.50

C7241 Etude Capric. • - - - • • - Sam Reichman • - • Sauer - - - - 2.00 ~@ X7121 Etud. Mllnonn. In D, Op, 16, No. I • David A.hton • - • Schutt _. - - 1.75 ~

C7010 Etude a Mouvemeet Semblabl. etPerpetuel - • • - - • • • AusUn Conradt • - • Alkan-MacDow.ll • 2.00

~X6727 Etude d. Concert In F sharp, Op, 36 • Ausnota Tollef.... - • MacDowell • - • 2.00C7005 Btude aponai.., Op. 27, No.2· • Marsuerite Vola _. Poldlnl • • • • 1.75B7052 Etud. fn A-flat, Op, 72, No. 11 - • - Marta MUlDDWSkf • - Moukowskl • • - 1.50

~B7085 Etud. In A-flat Minor, Op, 72, No. 13 Marta MUlnowU:! - - Moukowski • • • 1.50 ~C6782 Etude in E flat. No.2· • - - Cecil. d. Horvath - Paganini-Llsat - - 2.00X6724 Etude in E Minor, Op. 25, No.5 - - Henior Levy > • Chopin - - - 1.75C7031 Etud. in the Form of a Waltz, Op. 52, S

No.6· - ... ... ... .. .... Maadeleine Brard Saint-Saens..... 2.00CI665 Etude in G Minor • • - • • - Gertrud. Peppercorn Zarembski 2.00

@ X6980 Etud. Melodique - - - - - • Dorsey Whlttington Rogers - - 1.75 ~C7029 Etude Melodlque, No. I, in A-flat - • KaUnka Narinaka - • Rail - - - - 2.00C6788 Etude, Op. 25, No.3- - - - - - Harriette Cady - - Arenskv - - - 2.00

~B7178 Etude in Sixths In D-f1at 00. 25, No.8 Bendeteon Nereorg - - Chopin - - - 1.50B 207 Evening, oe, 12, No. I (From "Fan-

taale Plecee" ) - - - - - - - Alfred Grunfeld - Schumann - 1.50

~X6886 Evening in Granada .An » .. ... .. .. Anton Bilotti .... Bilotti ...... 1.75 ~C7166 Evocation (From "Iberta") - - - Alfredo Ca.ella Alb.nlz l.OOY6698 Fair Debutante Ncvelettej > - - - Marguerite Bailh. - Reynard - • 1.25B6762 Fairy Tale in B ~at Minor (Marchem » Theodor Koenemann ... Medtner .. .. • • 1.50 SC7293 FantallY on Themes from "Boris

Godounov" .. .. ... .. ... ... .. Carol Robinson - .. Mouuorallky..

@ Fruhllnll •• l.1O ~B6895 Farewell to the Piano ... - .. ... .. Julie Bergere > ... Beethoven 1.50

~Cfl8119 Favorite Hymns (WIth Words) - Mettler Davis - - _.. - - - - 2.00

1. Com. Thou Almighty King - - - - - - Giardini2. Abide With M. - - - - - - - - - - Monk3. Nearer, My God to Thee - - - - - - - - Arranged by Mason _,Y"_

~ 4. Lead, Kindly Light - • _ - - - - - - _. - Dvkee ~

~C7030 Favorite Hymns, No.2 (With Words) - jean Fabre - - - - - - • - - - 2.00 ~

1. Rock of Ages - • Halting.2. I Heard the Voice of Jesus Say - - - - - - Dykee3. Jesue, Lover, of My Soul - - - - - - - - Manh @4:. jerusalem, the Golden ... ... ... ... • ... • ... ... Ewing

X7011 Fint Bagatelle • -' - - •• Sylvan Levin • Scott - • - 1.75

@ C7057 Fint Nocturne, in E-f1at Minor, 00. 23 ~No.1... .. ... ... ... ... • ... ... Magdelelne Brard Faure .. .. 2.00

B6910 First Noel, The (with words) - - - Mettler Davis - - Traditional - - 1.50

~B6780 Flirtation - - - - - - • - - Marguerite Ballhe Cross - - -' 1.50C7276 Florenc. (Grand Val.e Brlllante),

Op. 1l - - - - - - - - - Geollle Llebllnll LI.bllnll - - 2.00..,::u eJOI4 Four Album Leevee - - - • - Charle. H. Steinway Stelnway - - l.OO s:r:-~ C 537 Fourth Ballet (scene) Op. 33 - - - Michael von Zadora - Busoni - - 2.00 TfOlO:""'

~C7076 Fourth Nocturne, In E-f1at Major, 00. ~

36 ... .. ... .. .. .. .. .. .. .. Maadeleine Brard... Faure............ 2.00C7207 Franeoelech (Wal••rmasken, No. 14) • Vladimir d. Pachmann Oodowekv - - 2.00B7039 Fruhlingalauten, Op. 57, No.2 (From ~

"Fruhling") - - - - - - - George Liebling - - Moszkowskl - • • 1.50C7106 Fugato-Humoreaque on the Theme of

~"Dixie." Op. 21 ...... Marguerite VoJavy... Zucca ..... ... 2.00 ~

B6637 Gabrlell. - - - - • - - Thoma. Grieelle _. Gilbert - - - 1.50B6779 Garden Dane. - - - - - - Marguerite BaUh. Vargas - - 1.50X6838 Gavotte ...... ..... Cecile de Horvath ... Gluck-Brahms 1.7586638 Gavotte Intermezzo - .. ... .. Thomas Grlselle Saar • .. 1.50~ C6728 Gavotte and Muaet te • - • - Georg. F. Boyle - - Boyle - - - - 2.00

~V6721 Gavotte Piquante Marguerite BaUhe Pierson... .. • ... 1.25 ~

C 78 {Ga vott e - - - - - - • • • ) I' 11 I6 1 Spanish Dance _ _ .. .... .. Anton B JotU.. B ott .. .. 2.00

C7267 "General LSl'lne"-Ecceotrlc ~ Alfredo Casella Debussy·. 1.00Y6935 Glow-Worm, The (Novelette) • _ _ Howard Lutter _ - Linck. - - 1.25 t..."",C6962 Gondoliera -. - - - - - • Fannie Bloomfield- ~

@ Zeisler - - - - - Llszt • - - - 2.00 ~X6820 Goodbye - - - - - - - • Rolf Roth •• - • Tosti-Roth • - - 1.75B6717 Good Night (from "A Day In Venice"),

~Op. 25, No, • • - - • - - - Margaret Nlkoloric Nevin - - • - 1.50

B3657 Granada (No. I, from "Suit. Eopall-nole") - - - • - - - - - Ignacio Telleria - Albeniz -. 1.50

~C7098 Guitarre, oe. 45, No.2· - - - - Georg. F. Boyle _. MOlIZkowski - 2.00 ~C6892 Habanera - - - - - - - - - Georg. F. Boyle - - Boyle - - - 2.00B6702 Hallelujah Chorus from "The Messiah" Jan Van Remden Handel 1.50C7131 Harlequin, Op. 12, No. I _. Franz Serll - - Roberts - - - 2.00 SX6811 Harmonious Blacksmith, The Bendeteon N.tzorg Hand.l - - 1.75CI318 H.lv.tia Waltz _ - Raoul Pulno - - d'indy - - - 2.00

@ C7194 Holy City, Th. - - Earl Hamilton - St.ph.n Adams 2.00 F)C7142 Hom., Sw••t Hom. - Ang.lo Patricolo Bishop-Gotuehalk - 2.00

~ CI768 Hommal. a Rameau - - - - - Richard Buhli~ • • - DebUBBY - • - - 2.00 ~

~~~~~~~~~~~~~~~~~

KernWood

HendersonPiantadosi

CMnPOStlf'

Stothart and Gershwin

MayerBerlin

Kahn and DonaldsonHenderson

Verdi-LiszlBerlinFiarilo

Jacobs-BondRayNevinGriegCadman

Old IrishHerbert

Lawnhurst andLutter

LutterGregory

GollschalkQueen LilUuokaJaniPestaloftUJ-SerliSpeaksYradiervon Suppe

LutterLutterLutter

LutterLutter

Perrella

ArtistHamiltonDc PachmannGregoryLutter

JohnsonLawnhurst

TitJeNeapolitan Favorites"Rtgolerto" FantasiaRemember (You Forgot To)SometimeCossack Love Song-s-Song of the Flame

"From Song of the Flame"I Wonder Where My Baby Is Tonight-

Fox-Trot - • - - -I'm Sitting on Top of the World -A Cup of Coffee, a Sandwich and You

Fox-Trot -Always-WaltzI Wish That I'D Been Satisfied With

Mary-WaltzPal of My Cradle Days-WaltzRecollections No.2.

I. I Love You Truly •2. Sunshine of Your Smile3. Mighty Lak' a Rose •4. Butterfly5. At Dawning6. Believe Me, If All Those Endearing

Young Charms •7. Badinage • •

Who?-From "Sunny"-Fox-Trot -

Paddlin' Madelin' Home-Fox-TrotRecollections, Series 3 -

Home, Sweet HomeAloha OeCiribiribinOn the Road to MandalayLa PalomaLight Cavalry

Y-7258Y7319

Y-7287

Y·7320Y·7291

Y-728S

Y-7292C-7283

Y·7217C-7186

No.C-7193C-7201Y-7192Y·725!Y-7318

00\0

-~

~m~~m~~m~~m~~m~~~~m~~m~xm~~m~~m~~

~ Y6865 Hornpipe Polka - - - - - - - Ray Farnum - - - - Smith - - - - $1.25 ~~ ~ C7206 Mazurka. Op. 00. No.2; and On, 56 - Vladimir de Pachmann - Chopin - - - - $2.00 ~B7184 Humoreaquec Op. 101. No. I - - - Richard Singer - Dvorak 1.50 ~ C7247 Mazurka in A Minor, Op. 67, No 4 - Vladimir de Pachmann Chopin - 2.00 ~X7153 Humoresque Miniature 10 D, Op. 90. ~ B7177 Mazurka in F-Iharp Minor. oe, 6. ~

No.2 - - - • - .. .. .. Marguerite Volavv Schlitt 1.75 No.1.. .. .. - - - .. Bendetson Netzorg - Chopin 1.60tZ.J B6855 Humoresque in G-flat, Op. 101, No.7.. Richard Singer - Dvorak 1.50 C7229 Mazurkas, Op, 67. No.1 in G. and Op.""~ B6692 Hurdy Gurdy Man, The, and March of 24, No.4 in B-flat Minor Vladimir de Pachmann Chopin 2.00

The Wooden Soldiers - - .. - - Cecile de Horvath Goosens -.. 1.50 X6955 Meditation. Op. 72, No.5 Harriette Cady .... Tschaikowsky 1.75,.l'J( B6837 Hungarian Dance, No.3 - - - - Richard Singer Brahms 1.50 ~ ~ C7083 Meditation, Op. 72, No, 5 Marguerite Volavy - Tschaikowsky 2.00~ B6924 Hungarian Dance, No.4.. Richard Singer Brahms 1.50 ~ ~ C6918 Melodie, oe. 3. No.3 George F. Bovle ; Rachmaninoff 2.00 ~.

~B6815 Hungarian Dance, No.5... Richard Singer Brahsm .... 1.50 ~ X6985 Melody Dorothy Miller Duck- Vice-Pres. Charles G. .B6792 Hungarian Dance. No.8 Richard Singer Brahms •• 1.50 r1.J witz ....... Dawes ... 1.75

~~~g ~~~::~~:~ g:~~~: ~~: ~O ... ...... ~:~~:~~ ~:~:~~ ~~:~~: LZZ ~~1:: ~~litri~~?'J:ert~re - t~~~~rle:~dry ~~~~;8 : i:~gC6888 Hungarian Rhapsody. No.2 Richard Singer Lisat - 2.00 ~ ~ X7124 Miniature Polonaise. Op. 47, No. I George Liebling - Liebling. - - 1.75 eC7275 Hemgarfan Rhapsody. No. 14 Carol Robinson Liszt ... 2.00 ~ ~ 86859 Minuet (From Suite for Piano) ... ... Persis Cox Hopekirk ...... 1.60 ~

Gl C6828 Hymn to the Sun (From "The Golden C7151 Miserere from "II Trovatore"Cockerel") ... ...... ...... Richard Singer Rimsky-Koraakoff- (Concert Paraphrase).. Franz SerH Verdi-Gottschalk 2.00

Singer ... ...... 2.00 86890 Moment Mueical > • ... Anton Bilotti Schubert..Godowsky 1.60X7130 Idtliu. Op. 134 - - - • - - - Edna S, Hart Lack - -. 1.75 C7123 Moment Musical In F-Minor. Oo. 94,B6896 11 Bacio Waltz (Valse Lente) • • • Ray Farnum - Ardit i-Lanner 1.50 No.3 - • - - - - - • Leff Pouishnoff • Schubert-Godowsky 2.00~ C ,n Impromptu in A·~'· . • • • . A>~ G,",'~ &""~rt·· '.00 ~ ~~ C6857 Moonlight on Capri • • - - - - Richard Singer Singer - - - - 2.00 ~C7128 Impromptu in C-sharp Minor, On, 28, 86872 Morning Prayer .. .. .. .. - - ... Edna S. Hart .... Streabbog 1.50

No.3.. .. .. .. .. .. .. .. ... Marguerite Le Grand Reinhold .. 2.00 87297 Moto Per etuo, Op. 46, No.2 - .. Virainla Castelle .. .. MacDowell 1.50

~ C7204 Impromptu in Fceharp, Op. 36· • - Vladimir de Pachmann Chopin - 2.00 ~ C6993 Murmure Yu Vent (Sighing Breezes) Dorothy Parker - Sauer - - - 2.00 ~B6688 Impromptu. Op, 90. No.4 - - - - George F. Boyle - - - Schubert • - 1.50 ~ B6867 Murmuring Brook - - - - - Julie Bergere.· Poldlni 1.50B6715 Improvisation on "Just a Wearyin' for X6958 Musetta's Waltz Song (From "La

You" and "I Love You Truly" - - Rolf Roth - - Jacobs-Bond-Roth 1.50 ~ Boheme") - - - - Leon Mltzski Puccini • 1.75

~X7127 In an Irish Jaunting Car • - - - Marta Milinowski Whitfield - 1.75 ~ B7171 My Heart Ever Faithful Marta Mllinowski Bacb-Lavlgnac - 1.50C7169 In Autumn (En Automne), Op. 36. No. C6785 Nachfalter (The Moth)

4 Cecile de Horvath Moszkowakl .. 2.00 ~ (Waltz-Caprice).. Theodor Koenemann Strauss-Tauaig .. .. 2.00

~X6920 Indian Summer - - - • - - - Edna S. Hart - - Herbert • 1.75 C7035 Nachetuck. Op. 57 • George Liebling • Liebling 2.00C7051 Intermezzo 11 from "Jewels of the Ma- C6928 Nazareth - - - - - - Ray Farnum » • Gounod· - - 2.00

donna" ... .. .. .. .. .. .. .. .. Franz SerH ... ... Wolf-Ferrari ... 2.00 ~ C7193 Neapolitan Favorites ............ Earl Hamilton ...", ........ 2.00 ~

~+ X7009 Irish Washerwoman. The - - - - Cecile de Horvath Sowerby • 1.75 @ ~ ~ I. Negrtnha (Little Negro Doll of } TC01::W

~B6804 Island Spell. The - - - - - - - Persis Cox - - Ireland 1.50 ~ ~ C6749 , Wood) _. - - - - - - Alfredo Oswald ViIla-Lobas 2.00 ~C7244 Italian Concerto, Part I-Allegro 2. Pobreslnha (The Poor Rag Doll) -

Animato ... .. .. ... .. Vladimir de Pachmann Bach ... ~ 200 86846 Negro Spiritual: "Sometimes I FeelC7245 Italian Concerto, Part II-Andante Like a Motherless Child" - ... ... ... Persis Cox Coleridge-Taylor - 1.50 ~

Molto Espressivo ... _.. Vladimir de Pachmann Bach 2.00 t...~ X7242 Nocturnal Tangier (T'riakontameron,C7246 Italian Concerto, Part III-Presto ~ No. 1) - ~ - ... - - - ... ... Sam Reichman ... Godowsky ...... 2.00

@Giojoso ............ - ~ .. Vladimir de Pachmann Bach ~... 2.00 ~ C7294 Nocturne for Left Hand Alone, Op, ~

X7145 Itarian Song of the Sixteenth Century- Carol Robinson Arc. by Alaleona 1.75 9, No.2... - ... ... - - _... Magdeleine Brard > ~ Scrtabln - ... 2.00C7173 { Jerusalem. Thou City Built on High .) Edward Rechlin _ _{ Frank - - - - ) 2 00 ~ C7263 Nocturne In B.Major, oe. 3l, No.1 Vladimir de Pachmann Chopin l,OO

~Now Thank We All Our God - - - Crueger - • -' ~ C6960 Nocturne in C Minor. Op. 48. No. I • Fannie Bloomfield-

B6701 Jesus Christ 10 Risen Today (Easter Zeisler •• - Chopin.. - - %.00Hymn) - - Jan Van Remden From the Lyra e6g78 Nocturne in C Sharp Minor. Op. 27.

~ Davidica.1708 1.50 ~ No. I - - - - - • • • • Fannie Bloomfield- £:&-~;l C6963 Juggleress. The - • - Fannie Bloomfield- +~ ~ Zeisler - • • - Chopin - - • • 2.00 TC01::W

~Zeisler ~ ~ ... Moszkowski ~ 2.00 ~ ~ C7002 Nocturne in D-6at, oe, 27, No.2.. ... Fannie Bloomfield- ~:..4

C7141 Kiss Waltz Paraphrase Bendetson Netzorg Strauss-Schutt ... 2.00 Zeisler ... .. ... - - Chopin ... - 2.00 . ''''\.''C6757 La Campanella - - - Augusta Tollefsen Paganini-Liszt..... 2.00 C7202 Nocturne in E Minor, Op. 72, No.1 Vladimir de Pachmann > Chopin .. 2.00 ~)C7240 La Campanella (Paganini Etude) ~ B 539 Nocturne in Ecflat, Op. 36 -. -. Raoul Pugno » - - - Faure - • 1.50 ~

No.3... .. .. ~ - - - ... Sam Reichman - ... ... Liszt-Busoni _ .. 2.00 C7203 Nocturne in F Minor, Op. 55, No.1 - Vladimir de Pachmann - Chopin - .. 2.00B6758 Lady Butterfly Ballet .. - Werner Janssen - Janssen -.. 1.50 B6884 Nocturne in F Sharp Minor > ... .. ... Harriette Cady ... Scrlabin .. 1.50

~C6813 "Lady Butterfly" Selt"ction.. .. ... - Werner Janssen _... Janssen..... - .. 2.00 ~ ~ B7243 Nocturne. OPt 51, No.3 (Impressions ~B7014 L'Amour de L'Apache - -. - Franz Serli - • - Offenbach-Ely - - 1,50 from the Land of a Thousand Lakes) Sam Reichman _ - Sibelius - - - 1.50B7027 La Paloma ... - .. - ... ... .. .. Adolfo Giron - - Yradier~Giron.. - 1.50 X6908 Noel - ... .. - .. .. - .. - .. Persis Cox .. - .. .. Gardiner - _.. 1.75C6956 Largo (From the "New World Sym- X7225 0 Come. All Ye Faithful (Adeste

phony") - .. ... - Katinka Narinska ... .. Dvorak .... .. 2.00 Fidelea) .. .. .. .. .. .. ...... Clarence Dickinson Anon .. 1.75-~ Y6695 La Rosita (Novelette) • - - Earl Hamilton Dupont - • - - 1.25 ~ B6691 Old Chinese Lullaby - • - • - Harriette Cady - • • Transcribed by Cady 1.60

~B6984 Le Coucou > .. - - .. Austin Conradi - - - Daquin .. - ... .. 1.50 ~ ~ C6825 Ondine (From Suite "Gaspard de la ~B6799 Legende - - • • • - Richard Singer • - - Rozycki - • - • 1,50 Nuit") - - - - • - - • - Katherine Bacon - Ravel· • - • • 2.00X7196 Liebesfreud (Love's JOY) • - • - Julie Bergere - - - Kreisler • - • • 1,75 X6894 On the Road to MandalayC6754 Liebesleid (Love's Sorrow) •• • Leonidas Leonardi • - Kreisler-Rachmanin- ~ (With Words) - - - - - - - Ray Farnum » • .Kipling-Speaka • • 1.76 ~

off • - • - 2.00 { 1, 0 Polichinello (The Punchiuello) • ) f vui LobC7172 Liebestraum. No.3· • • - - - Marguerite Volavy - - Liszt _ _ • _ 2.00 C6750 2. Bruxa (The Witch) • _ _ _ _ Al redo Oswald - - a- as·· - 2.00

@ C6979 Liebeswalzer. Op, 57. No.5 - - - Fannie Bloomfield- ~ ~ X71O'1 Original Hesitation Waltz • - • • Ray Farnum - Ilgenfritz. • • • 1,75 ~Zeisler .. .. _... Moszkowski .. 2.00 10 Sacred Head and WOUnded} { }

C7185 Light Cavalry Overture .... - .. Howard Lutter ... von Suppe - .. ... 2.00 (Herzlich tut mich verlangen) .. .. Hassler..-C6912 Lithuanian Song - • - - - - - George F. Boyle - Chopin-Sgambati 2.00 C7143 l Sleepers. Awakel (Wachet auf. ruft &lward Rechlin - :Z.OOB6841 Little Windmills, The ... .. ... Austin Conradi - ... Couperin .. .. 1.50 uns die Stimmel .. .. .. .. .. .. Nicholai - ....~ B6898 Longing for Home • - - Edna S. Hart •• Jungmann -. 1.50 ~ B6699 Palms. "Faure's" - - - - - • Katlnka Narinska - Leybach-Narinska· 1.60

~C7175 Lorelei. The - - - - Bendetson Netzorg - • Liszt • • - 2.00 ~ ~ X7006 Papillons _ - - • • - - - • Marguerite Volavy - Rosenthal ••• 1.75 ~B6864 Love's Dream After the Ball Ray Farnum - • • - Czibulka - - - - 1.50 X7220 Pas des Amphores (Air de Ballet. No.2) Claude Duret Chaminade - - 1,75X7159 Love's Plaint - .. - - .. .... Werner Janssen ... ... ... Janssen .... - 1.75 C7199 Pastorale Intermezzo .. - .. Arnold Cornelissen .. Corneliseen .. .. .. 2.00C6818 Man lebt nur elnmal (One Lives but ~ B6824 Pell Street - - - - - • - - Pems Cox - - - • Whitehorn - • • 1,60

Once) .. .. ... ... .. Augusta Tollefsen ... ... Strauss-Tausig .. 2.00 B7078 Pierrette ... ... .. - ... .. - .. .. George F. Boyle.. - - Boyle.. .. .. .. .. 1.50C6812 March Grotesque... - ... ... Bendetson Netzorg - Netzorg .. .. - 2.00 B7079 Pierrot _ - - - - .. - .. - .. George F. Boyle.. .. .. Boyle.... .... 1.50

~B6783 March Mignonne -.. -... - Werner Janssen ..... Janssen...... 1.50 ~~ A6969 Pizzicati (The cockatriC'e of Columbine) Thomas Reid • .. Delibes - .. 1.00 ~C6922 March from "Tannhauser" .. .. .. - Richard Singer .. - Wagnpr-Liszt - 2.00 A2151 Playing of Chimes - .. - ... ... - Vladimir Rebikoff .. - Rebikoff 1..00

~ B7077 Marionette March • • •• - George F. Boyl, - Boyle - - - • 1.00 ~ X2068 Poeme, Op. 32. No. I - - - - • Alexander Scriabin - Scriabin • 1.75

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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B6911 Ethiopian Serenade ITriakontameronNo. 12) - • • - • - - - - Katinka Narlnoka • • Godowsky • • -11.50

C7241 Etude Caprice - - • • - - - Sam Reichman _ - _ Sauer - - _ _ 2.00 Se X7121 Etude MllIIlonne In D, Op, 16, No. I - David Alhton • • • Schutt - - • • 1.75 ~C7010 Etude a Mouvement Sembiable et

Perpetuel - - • • • - - - Austin Conradi • • - Alkan-MacDowell • 2.00

~X6727 Etude de Concert In F sharp, Op, 36 • AuKUSta Tolleloen • • MacDowell • • • 2.00C7005 Etude Japonaise, Op. 27, No.2. • Marvuerite Volavy • • Poldini - • • • 1.75B7052 Etude In A·flat, Op. 72, No. 11- • • Marta MUI"",,"k1 - • M.-kowski • • • 1.50

~B7085 Etude In A-flat Minor, oe.72, No. 13 Marta MUinoWlId • - M.-kowski - - • 1.50 ~C6782 Etude in E ftat, No.2 - - - - Cecile de Horvath Paganini-Liszt - - 2.00X6724 Etude in E Minor, Op. 25, No.5 - Heniot Levy - -. Chopin - 1.75C7031 Etude in the Form of a Waltz, Op. 52, S

No.6 - - • - - -. - Magdeleine Brard Saint-Saena· - 2.00CI665 Etude in G Minor - - - - - - Gertrude Peppercorn Zarembskl - 2.00

~X6980 Etude Melodique - - - - - Dorsey Whlttmgton Rogers 1.75 ~C7029 Etude Melodtque, No. I, in A-ftat - - Katinka NarllUlka - Rail - • 2.00C6788 Etude, Op, 25, No.3 - - - - - - Harriette Cady - Arensky • • - 2.00

~B7178 Etude in Sixths In D·ftat Op. 25. No.8 Bendetson Netzorg Chopin·. 1.50B 207 Evening, Op. 12, No. I (From "Fan-

tasie Pieces") - - - - • - - Alfred Grunfeld - Schumann • 1.50

~X6886 Evening in Granada .An > .. .. .. .. Anton Bilotti .... .. Bilotti 1.75 ~C7246 Evocation (From "Iberia") • - - Alfredo Casella Albenlz 1.00Y669S Fair Debutante (Neveletter > .. .. .. Marguerite Bailhe Reynard .. ... 1.2586762 Fairy Tale in B flat Minor (Marchern « Theodor Koenemann Medtner > .. 1.50 @C7293 Fantasy on Themes from "Boris

Godounov" .. .. .. .. .. .. .. Carol Robinaon ... .. Mouuortlaky_c.::1 Fruhllnll _. l.to ~\:;,...~ B6895 Farewell to the Piano .. .. .... Julie Bergere .. Beethoven.... 1.50

~C1I800 Favorite Hymns (With Words)· • - Mettler Davis - - • - - - - - - 2.00

I. Come Thou Almighty King - - • - - Giardini2_ Abide With Me - - • - - - - • - - - - Monk

~ 3. Nearer. My God to Thee Arranged by Mason ~

~ 4. Lead. Kindly Light - - _. - - • • • - - Dykes T<:li::""

~C7030 Favorite Hymns, No.2 (With Words) jean Fabre _. - - - - - - 2.00 ~

1. Rock of Ages ...... .. - .. .. .. .. Haerings2. I Heard the Voice of jesus Say • - - - - - Dykes3. jesUI, Lover. of My Soul • - •• - - •• Marsh @4. jerusalem, the Golden - - - • - - - - Ewing

X7011 First Bagatelle - -'. - •• Sylvan Levin • SCott - 1.75

e C7057 First Nocturne, in &flat Minor, o». 23 ~No.1.. .. .. .. .. .. .. .. .. Magdeletne Brard .. Faure > .. 2.00

B6910 First Noel, The (with words) - • - Mettler Davis - - Traditional 1.50

~B6780 Flirtation - - - - - • - - Marguerite Bailhe • Crose - • - - 1.50C7176 Florence (Grand Valse Brillante),

Op. 11 • - - - - • - - • Geor e L1ebllnll - - Llebltng _. l.OO~ C3014 Four Album Leavee _. - - • Char'.. H. Steinway • Stelnway 1.00 i&~ C 537 Fourth Ballet (scene) Op. 33 • - • Michael von Zadora Busoni - 2.00 ~

~C7076 Fourth Nocturne, In E-ftat Major, Op. ~

36 - - - • - • - - - - Maideleine Brard - - Faure - • - • • 2.00C7207 Franeoetech (Wateermasken, No. 14) - Vladimir de Pachmann Godowsky •• 2.00B7039 Fruhlingalauten, Op. 57, No.2 (From ~

"Fruhling") • - - - - - George Liebling _. Moszkowski - • • 1.50C7106 Fugato-Humoreaque on the Theme of

~"Dixie," Op. 21 ... A Marguerite Volavy Zucca 2.00 ~

B6637 Gabrielle - - - Thomas Griselle Gilbert· - • 1.50B6779 Garden Dance A'" Marguerite BaUhe... Vargas - ..... 1.50

~X683S Gavotte - - - • • - - - - Cecile de Horvath - Gluck-Brahms - 1.75B6638 Gavotte Intermezzo ..... ... A ... Thomas Griselle ... Saar .. 1.50C6728 Gavotte and Musette _. • George F. Boyle - Boyle - 2.00

~Y6721 Gavotte Piquante ............ A .. Marguerite Bailhe... Pierson ...... ... 1.25 ~

{Gavot te - - - - - - - -j . 11 i 2 00C6781 Spanish Dance ... ... ... .. ... ... A Anton Bilotti .. ... B ott .

C7267 "General Lavlne"-Eccentrlc Alfredo Casella Debuesy ; 2.00Y6935 Glow-Worm, The (Novelette) - - • Howard Lutter • Lincke. _ - - 1.25 '2-"'"C6962 Gondoliera Fannie Bloomfield- ~

~Zeisler • - - Liszt - - 2.00 ~

X6820 Goodbye - • - - - - • - • Rolf Roth • • - Tosti-Roth _. 1.75B6717 Good Night (from "A Day In Venice"),

~Op. 25, No. 4: .. .. .. .. .. .. ... Margaret NikoJoric ... Nevin..... .... 1.50

B3657 Granada (No. I, from "Suite Kapai-nole") • - • - • - - - • Ignacio Telleria - Albenlz _. 1.50

~C7098 Guitarre, Op, 45. No.2 - • • - - George F, Bcvle > M"""kowski 2.00 ~C6892 Habanera • - • - - - - - • George F. Boyle - Boyle • 2.00B6702 Hallelujah Chorus from "The Messiah" jan Van Remden Handel 1.50C7131 Harlequin. Op. 12. No. I _. - - Franz Serli - - Roberts 2.00 SX6811 Harmonious Blacksmith. The Bendetson Netzorg Handel 1.75CI318 Helvetia Waltz _ - Raoul Pugno > - d·Indy· • - • 2.00

~C7194 Holy City, The Earl Hamilton - Stephen Adams 2.00 F)C71f.2 Home, Sweet Home ... Angelo Patricolo Biahop-Octtschalk .. 2.00

~ CI768 Hommage a Rameau - Richard Buhlig • Debueev - • • - 2.00 ~

~~~~~~~~~~~~~~~~~

KernWood

Stothart and Gershwin

CompoSM

HendersonPiantadosi

MayerBerlin

Kahn and DonaldsonHenderson

Verdi-LislllBerlinFittriu

Jacobs-BondRayNevinGriegCadman

Old IrishHerberl

Lawnhurst andLutter

LutterGregory

GoUschalkQueen LilliuokaJaniPeslalollsa-SerliSpeaksYradiervon Suppe

LutterLutter

Perrella

LutterLutterLutter

ArtislHamiltonDe PachmannGregoryLutter

JohnsonLawnhurst

TilleNeapolitan Favorites"Rigoletto" FantasiaRemember (You Forgot To)SometimeCossack Love Song-v-Song of the Flame

"From Song of the Flame" -I Wonder Where My Baby Is Tonight-

Fox-Trot - - - - - -I'm Sitting on Top of the World -A Cup of Coffee, a Sandwich and You

Fox-Trot -Always-WaltzI Wish That I'D Been Satisfied With

Mary-WaltzPal of My Cradle Days-WaltzRecollections No.2.

I. I Love You Truly •2. Sunshine of Your Smile3. Mighty Lak' a Rose •4. Butterfly5. At Dawning6. Believe Me, If All Those Endearing

Young Charms •7. Badinage

Whoi-From "Sunny"-Fox-Trot

Paddlln' Madelln' Home-Fox-TrotRecollections, Series 3 -

Home, Sweet HomeAloha OeCiribiribinOn the Road to MandalayLa PalomaLight Cavalry

Y-7287

Y-7320Y-7291

Y-7285

Y-7292C-7283

Y-7258Y7319

Y-7217C-7186

No.C-7193C-7201Y-7192Y-72SSY-73t8

-00\D

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~ ~~ ~V6865 Hornpipe Polka - - - - - - ~ Ray Farnum > - ... - Smith - - ~ ... 11.25 C7206 Mazurka. Op. 50, No.2; and On, 56 ... Vladimir de Pachmann > Chopin ... ... ... ... $2.00B7184 Humoresque, Oo. 101, No. I - - - Richard Singer - - Dvorak 1.50 ~ C7247 Mazurka in A Mmor, Op. 67, No.4 _ Vladimir de Pachmann - Chopin - _ 2.00 ~X7153 Humoresque Miniature in D. OPt 90, ~ ~ B7177 Mazurka in Feeharp Minor, Op, 6,

No.2 - - ... - - ... ... ... ... Marguerite Volavy Schutt 1.75 ~ No.1... ... - ... - ... - - ... Bendetaon Netzorg - Chopin 1.60 ~b1 B6855 Humoresque in G-tlat. Op. 101, No.7... Richard Singer ... Dvorak 1.50 C722Sl Mazurkas, Op. 67. No.1 in G. and Op.\;,."< B6692 Hurdy Curdy Man, The, and March of 24, No.4 in B-flat Minor Vladimir de Pachmann Chopin 2.00The Wooden Soldiers ... - -... Cecile de Horvath Goosens 1.50 X6955 Meditation, Op. 72, No.5 Harriette Cady ...... Tschaikoweky 1.75

..l'J( B6837 Hungarian Dance, No.3 - - • Richard Singer Brahms 1.50 ~ C7083 Meditation, Op. 72, No.5 Marguerite Volavy - Tschaikowaky 2.00~ B6924 Hungarian Dance, No.4 - - - Richard Singer Brahms 1.50 ~ C6918 Melodie, oe. 3. No.3 George F. Boyle - Rachmaninoff 2.00 ~.

~B6815 Hungarian Dance, No.5.. Richard Singer Brahsm 1.50 ~ X6985 Melody -. Dorothy Miller Duck- Vice-Pres. Charles G.B6792 Hungarian Dance. No.8 Richard Singer Brahms •• 1.50 ~.J witz •• - Dawes - 1.75 '

~3~8 ~~~::~~:~ g:~~~: ~~: ~O -.. ~:~~:~~ ~:~:~~ ~~:~~: tgg 2~~ ~M?:gd.i~~P·J:ert~re" ~~~~~rle:~dry ~r~:~~8 : ~:~gC6888 Hungarian Rhapsody, No.2 - - Richard Singer Liszt - 2.OG ~ ~ X7124 Miniature Polonaise, Op. 47. No. I George Liebling Liebling • - - 1.75 ~

~C7275 Hungarfan Rhapsody, No. 14 Carol Robinson Llszt - 2.00 1::1 ~ B6859 Minuet (From Suite for Piano) - - Persis Cox - - Hopekirk - I.IlOC6828 Hymn to the Sun (From "The Golden ~ C7151 Miserere from "II Trovatore" ~

Cockerel") - -. -.. Richard Singer Rimsky-Korsakoff- (Concert Paraphrase) - .. .. Franz Serli verdt-Gouechatk 2.00Singer - - 2.00 B6890 Moment Musical - • - - - Anton Bilotti Schubert-Godowsky 1.50

X7130 Idilio, Op. 134 • - • - - - Edna S. Hart Lack - - - 1.75 C7123 Moment Musical In F-Minor, Op. 94,B6896 II Bacia Waltz (Valse Lente) - - - Ray Farnum - Arditi-Lanner 1.50 No.3 _. - - - - - - • Leff Pouishnoff • Schubert-Godowsky 2.00~ C 222 Impromptu in A-flat· - • - • - Alfred Grunfeld - Schubert • 2.00 ~ C6857 Moonlight on Capri - - - - - - Richard Singer Singer - - • - 2.00

~C712S Impromptu in C-sharp Minor. Op. 28, ~ ~ B6872 Morning Prayer - - ... - - - .. Edna S. Hart .... Streabbog ... .. 1.50 ~

No.3· - - - - - - - - Marguerite Le Grand - Reinhold - 2.00 B7297 Mota Per etuo, Op. 46. No.2 - - Vlrllinia Castelle - - MacDowell - - 1.50 n oJC7204 Impromptu in F-sharp, Op. 36 - - .. Vladimir de Pachmann Chopin _.. - 2.00 C6993 Murmure Su Vent (Sighing Breezes) Dorothy Parker .. Sauer - 2.00 ~B6688 Impromptu, Op. 90, No.4 - - - - George F. Boyle - - Schubert _. - 1.50 ~ B6867 Murmuring Brook - - - - - Julie Bergere « - Poldlni 1.50B6715 Improvisation on "Just a Wearyin' for X6958 Musetta's Waltz Song (From "La

You" and "I Love You Truly" • - Rolf Roth - - Jacobs-Band-Roth 1.50 ~ Boheme") - - - - Leon Mlt.skl Puccini - 1.75

~X7127 In an Irish Jaunting Car - - - - Marta Milinowski Whitfield - - - 1.75 ~ B7171 My Heart Ever Faithful Marta Mllinowski - - Bach-Lavlgnae 1.50C7169 In Autumn (En Automne), Op. 36, No. C6785 Nachfalter (The Moth)

4 - - .. ... .. .. - .. • - Cecile de Horvath Moszkowskl - - 2.00 ~ (Waltz-Caprice) Theodor Koenemann Strauss-Tausig 2.00

~X6920 Indian Summer _. - - • • Edna S. Hart Herbert _. 1.75 C7035 Nachstuck, Oo. 57 • - • George Liebling • - Liebling - - - 2.00C7051 Intermezzo II from "Jewels of the Ma- C6928 Nazareth - - - - - - Ray Farnum > - Gounod - • - 2.00

donna" - .. • - .. - - .. .. Franz SerH ... ...... Wolf~Ferrari 2.00 ~ C719g Neapolitan Favorites .... ..... Earl Hamilton ...... - - - 2.00 ~

~+ X7009 Irish Washerwoman, The - - - - Cecile de Horvath Sowerby - 1.75 ~ ~ ~ I. Negrinha (Little Negro Doll of ~ .~

~B6804 Island Spell, The - - - - • • - Persis Cox • -. Ireland - 1.50 ~~ ~ C6749 . Wood) •• - - • - - - Alfredo Oswald VilIa-Lobas - - 2.00 ~C7244 italian Concerto, Part I-Allegro 2. Pobreslnha (The Poor Rag Doll) -

Animato .. .. - - .. Vladimir de Pachmann Bach 200 B6846 Negro Spiritual: "Sometimes I FeelC7245 Italian Concerto, Part II-Andante Like a Motherless Child.... ... ... .. Persis Cox Coleridge-Taylor 1.50 ~

Molto Espressivo - - ..... Vladimir de Pachmann Bach - 2.00 ~ X7242 Nocturnal Tangier (Triakontarneron,C7246 Italian Concerto, Part III-Presto No. 1) .. ... - ... .. ... - - .. Sam Reichman - Godowsky ... - - 2.00

~Gioioso _.. - - - - - - Vladimir de Pachmann Bach ~ 2.00 ~ C7294 Nocturne for Left Hand Alone, Op, ~

X7145 Itarian Song of the Sixteenth Century- Carol Robinson Arr. by Alaleona 1.75 9, No.2... .. .. .. - _ -.. Magdelelne Brard.. .. Scrlabln ... _ 2.00C7173 ( Jerusalem, Thou City Built on High .) Edward Rechlin _ _( Frank - - - - ) 2 00 ~ C7263 Nocturne In B_Major, Op. 32. No. I Vladimir de Pachmann Chopin 2.00

~Now Thank We All Our God - - - Crueger - -.' ~ C6960 Nocturne in C Minor, Op. 48, No. I • Fannie Bloomfield-

B6701 Jesus Christ Is Risen Today (Easter Zeisler _.. Chopin. - - - 2.00Hymn) - - - Jan Van Remden From the Lyra C6978 Nocturne in C Sharp Minor. Op. 27.

~ Davidica.1708 1.50 ~ No. I - - • - - - - • - Fannie Bloomfield- ~~ C6963 Jugglere.., The - - • • Fannie Bloomfield- ~ ~ Zeisler _ • • _ Chopin. _. 2.00 T~

~Zeisler ... ... .. Moszkowski .. 2.00 ~ ~ C7002 Nocturne in D-flat. Op. 27, No.2 - - Fannie Bloomfield- \.......

C7141 Kiss Waltz Paraphrase Bendetson Netzorg Strauss-Schutt .. 2.00 Zei!l:ler .. .. - - Chopin .. 2.00 ~'\. '3C6757 La Campanella .. .. - - Augusta Tollefsen Paganini-Liszt.. - 2.00 C7202 Nocturne in E Minor. Op. 72, No. I - Vladimir de Pachmann > Chopin - - - 2.00 );,1C7240 La Campanella (Paganini Etude) ~ B 539 Nocturne in Eeflat., Op. 36 -. - • - Raoul Pugno » - - - Faure - • 1.50 ~

No.3 - .. .. .. - - .. .. .. Sam Reichman ... - ... Lisat-Husoni - - 2.00 C7203 Nocturne in F Minor. Op. 55. No. I ... Vladimir de Pachmann - Chopin - - 2.00B6758 Lady Butterfly Ballet - Werner Janssen Janssen _.. 1.50 B6884 Nocturne In F Sharp Minor - - - .. Harriette Cady - - - ScrIabin .. 1.50

~C6S13 "Lady Butterfly" Selection - - - .. Werner Ja!1ssen ... - Janssen ... ... - 2.00 ~ @ B7243 Nocturne. Op. 51. No.3 (Impressions ~B7014 L'Amour de L'Apache - ... .. - - Franz Se~h - .. .. .. Offen!Jach:EIY - - 1.50 from the Land of a Thousand Lakes) Sa~ Reichman... - Sibelius - .. - .. 1.50B7027 La Paloma - - • - - - - • Adolfo Giron -. Yradler-Giron - - 1.50 X6908 Noel - - - - - - • • - Persis Cox - - - - Gardiner - - - 1.75C6956 Largo (From the "New World Svm- X7225 0 Come, All Ve Faithful (Adeste

phony").. - - - ... - - - Kadoka Narlnska Dvorak .. 2.00 Fideles) - .. - .. - - -... Clarence Dickinson Anon .. 1.75~ Y6695 La Rosita (Novelette) - - • - Earl Hamilton - Dupont - • - - 1.25 ~ B6691 Old Chinese Lullaby - - - • - Harriette Cady - • - Transcribed by Cady 1.50

~B6984 Le Coueou - - .. - • ... .. Austin Conradi .. - Daquin - - 1.50 ~ ~ C6825 Ondine (From Suite "Gaspard de la ~B6799 Legende - - • - - • • • - RIchard Singer - - Rozycki - • • - 1.50 Nult") - - • - - - - • - Katherine Bacon • Ravel· • • - • 2.00X7196 Liebesfreud (Love's Joy) • - • - Julie Bergere - - • Kreisler • • - • 1.75 X6894 On the Road to MandalayC6754 Liebesleid (Love's Sorrow) • - • • Leonidas Leonardi Kreialer-Rachmanin- ~ (With Words) - • • - - - - Ray Farnum - • - • .Kipllng-Speak. - • 1.75 ~

off •• • - 2.00 C (I. 0 Polichinello (The Punchinello) .) VC7172 Liebestraum, No.3 - - - • Marguerite Volavy - - Liszt - - • _ 2.00 6750 2. Bruxa (The Witch) _ _ _ _ _ Alfredo Oswald - - llIa-Lobas - - • 2.00

~C6979 Liebeswalzer, o».57. No.5· - - Fannie Bloomfield- ~ ~ X710'1 Original Hesitation Waltz - - • • Ray Farnum - - Ilgenfritz. • • • 1.75 ~

Zeisler .. .. - .. Moszkowski .. - 2.00 fO Sacred Head and WOUnded} { }C7185 Light Cavalry Overture - - - Howard Lutter - .. - von Suppe - - 2.00 (Herzlich tut mich verlangen) .. ... Hassler....

~C6912 Lithuanian Song • - - • • George F. Boyle - - - Chopin-Sgambati 2.00 ~ C7143 l Sleepers. Awakel (Wachet auf, ruft Edward Rechlin - 2.00B6841 Little Windmills. The .. - - Austin Conradi.. - Couperin • 1.50 una die Stimme) .. .. ... - .. - Nicholai .. - - ...B689S Longing for Home ... - .... Edna S. Hart _.. Jungmann .. - 1.50 B6699 Palms. "Faure's" .. _ - ... ... _ Katinka Narinska· Leybach-Narinska .. 1.50

~C7175 Lorelei, The • - - Bendetson Netzorg· Liszt·· - 2.00 ~ ~ X7006 Papillons _ - - - - - - • • Marguerite Volavy - Rooenthal ••• 1.75 ~B6864 Love'. Dream After the Ball • • - Ray Farnum - - - • Czibulka - • - - 1.50 X7220 Pas des Amphores (Air de Ballet, No.2) Claude Duret Chaminade - - 1.75X7159 Love's Plaint - ... - - - Werner Janssen.. .. .. Janssen - .... 1.75 C7199 Pastorale Intermezzo - - - .. - Arnold CorneJiuen - Corneliseen ... .. ... 3.00C6818 Man lebt nur einmal (O"e Lives but e1 B6824 Pell Street - - - - - • - • Penis Cox - - • - Whitehorn • • • 1,50

Once) - - • • - • - Augusta Tollefsen • • Strauss-Tausig - • 2.00 B7078 Pierrette - - - - • - - - - George F. Boyle - • • Boyle· • - • • 1.50C6812 March Grotesque... .. .. - Bendetson Netzorg Netzorg - .. - 2.00 B7079 Pierrot.. .. .. ... _ _ - .. - - George F. Bo}'le - - - Boyle - ... .. ... - 1.50e B6783 March Mignonne - - - .. .. Werner Janssen - Janssen.. .... 1.50 ~ e A6969 Pizzicall (The cockatrice of Columbine) Thomas Reid .. - - Detibes - .. .. ... 1.00 ~C6922 March from "Tannhauser"' - - Richard Singer - WagnE'I-Liszt - 2.00 A2151 Playing of Chimes Vladimir Rebikofl - - Rebikofl - .. ... - 1.00

~ B7077 Marionette March • - • • George F. Boyl· • Boyle - • - - • 1.50 ~ X2068 Poeme, Op. 32, No. I - - - • Alexander Scriabin Scriabin. -. 1.75

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~ B6883 Polka, Op-.t, No. I - - - - - • Richard Singer • - • Smetana - - - - SI.50 e~ ~ B7048 { Smilin' Thr'!ugh - - - - - - -j Llll" A L bt w • _ {Penn - .-} - -$1.50 ~~~ B6II16 Pclka-Mlnierure, Op. 6. No.2_ • - Marguerite Volavy. Sapellnlkoff. _ _ 1.50 ~ When Song 's Sweet • • _ • • _ Ian. ue 0 Sans SoUCI

~. C61l68 Polonaise in B-IIal oe, 71, No, 2 - • Bendetson Netzori - • Chopin • • _ • 2 00 ~ ~ C 372 Sonata in C. Op, 53 ("Waldstein") - Ter... Carreno - Beethoven • 2.00 ~

X67l1l1 Prelude • - • • •• •• Marguerite Le Grand • Rummel _ - 1:75 C 373 Sonata ID C, Op. 53 ("Waldstein")C6860 Prelude in C...harp Minor. Op. 3. No.2 Leonidaa Leonardi .. .. Rachmaninoff .. ... 2.00 Adagio Molto .. - • .. .. .. .. Teresa Carreno Beethoven 2.00

~C. 7 {I. Prelude In C - • • • • • -).. C373a Sonata in C. Op. 53 ("Waldstein");

v 44 2. Lavender and Old Lace ... .. ... ... Anton BdotU ....... BtloUi 2.00 Third Movement, Part I-AllegretoX6909 Prelude du Deluge ... .. .. .. .. .. Katinka Narinaka .. .. Saint-Saens 1.75 ("l" Moderato ... .. .. .. .. .. .. .. Teresa Carreno ..... Beet hoven .... 2.00

~X6822 Prelude (From Suite, "Pour Ie Piano") Dorothy Miller Duck- ~ C373b Sonata in C, Op. 53 ("Waldstein");

witz .......... Debu8IY .... .. 1.75 Third Movement, Part Ll-e-Pres-C7312 Prelude in D, Op, 23, No.4.. .. .. Katharine Bacon... .. Rachmanlnoft' 2.00 tissimo Teresa Carreno Beethoven ...).. 2.00X6761 Prelude in E-IIat, oe. 26 •••• Theodor Koenemann • Rachmaninoff • - 1.75 ~E) ~ C 734 Sonata in A-flat, Op. 26-Scherzo George Schumann • • Beethoven " 2.00 ~t€)C6990 Prelude in E-llal Minor. Op, 23, No.9 Leff Poulshnoff • • • Rachmaninoff • • 2.00 C734-A Sonata in A-llat., Op. 26-FuneraJ •B6694 Prelude in G. Op. 28. No.3... .. ... .. Austin ConradI ..... Chopin........... 1.50 March on the Death of a Hero - George Schumann Beethoven ..... 2.00

~X7148 Prelude 10 "Carnaval Miinon" C734-B Sonata In A-flat, Op. 26-Allegro - George Schumann • - Beethoven • 2.00

Suite, Op, 48, No. I • - - • • Carol RoblDlOn • - • SchUtt • _ _ 1.75 ~~ Y6713 Song of Songs, The (Ballad with ~C68{5 Preludea: Op, 16, No.3. in Gollat - - Words) • - - - • • • - Howard Lutter • • - Moya· •• - 1.25

~Op, 17, No. 3,In D-llal • • t Austin Conradi • Scriabin • 2.00 ~ C6759 Songs of the Cascade .,. George F. Boyle _. Boyle > - 2.00Op. II, No. 23, in F Major - f X6801 Songs of Long Ago (With Words): Earl Hamltcn • • • - - - - - • 1.75

C6821 Preludes: Op. 22, No.4, in B Minor - ~ All Through the Night, _ _ - • - - • _. - Old Wesh

~Op. 22, No.3. in B Major • Theodor Koenemann Scriabin .. 2.00 Flow Gently Sweet Afton - SpilmanOp, 11, No.3, in G Major ... ~ Sweet and Low > .. .. - .. - - .. .. Barnby ~

X68{3 Pre1udea: Op, 28. No. 23, In F Major X7122 Song of Love (Canto de Amor)", - Adolfo Giron. Giron - - 1.75No. 21. in B-flat ... ..... Austin Conradi ..... Chopin 1.75 86722 Song of Spring _.. - ..... Hanna van VoUenhoven Tonning... 1.50

B6844 Preludes in E, Gosharp Minor. and F- C7103 Sounds from the Vienna Woods Marguerite Volavy - • Strauss-SchUtt • 2.00sharp • - - • • - _. Theodor Koenemann Scrlabin· - _ 1.50 C7007 Splnnlng Girls at Carantec, Op, 13, No.~ _. Pree de la Mo. O. ~. N.' •• George ,. Bcv • Arenskv r.so ~~ ,,~ Bretagne) • • • •• M~".'. Volav , • Rhene-Baton •• aoo ~

C7105 "Prince of Pilsen. The. "Selectione > .. Edna S. Hart Luders 2.00 ~ GJ 87158 Spinning Song Bendetson Netzorg Mendel.sohn...... 1.50 ~B6760 Rapelle-toil • - - - _. • Cecile de Horvath Sgambati 1.50 C6967 Spring Dawn • - • - • - - Katinka Narinska • Mason - - 2.00X7182 Reconciliation Polka (From the C7028 Spring, Beautiful Spring > - - - Franz Serli - - - - Lincke - - _ 2.00

Ballet "Harlequin's Millions"} ... .. Franz Serli .. .. Drigo... 1.75 C6729 St. Francis Walking on the Waves - Anton Bilotti .. Liszt...· 2.00B7219 Remembrance > .. - • - .. Lyman Stanley ... Davies .. 1.50 Y6734 Stars and Stripes Forever. The (March) Howard Lutter SoU!3." .. 1.25~ C6965 Rendezvous (Trtakontameron, No.4)· Richard Singer. • Godowsky - - 2.00 ......_~. C7025 Strophes, oe, 71, Nos. 3 and I - • - Sylvan Levin Friedman - 2.00 ,..,.._

-::D' X7095 Rhapsody in Blue -. - •• Vee Lawnhursl • • • Gershwin " 1.75 ~ -::D' B6866 Study (Butterfly Chase) _. " Richard Singer Spannuth 1.50 ~

~B6786 Rlgaudon (From Suite "Le Tombeau ~~ B671;1 Sweet Forget-Me-Nots • - Earl Hamilton Miles - • - - 1.50 ~

de Couperin") .. • .. ... - Dorothy Miller Duck- X7155 Tango Espagnole..... ....... Werner Janssen...... Janssen........ 1.75witz ............ Ravel > .. 1.50 C7000 Tango ... ... .. - Leff Pouiahnoff ..... Albeniz..Godowsky... 2.00

C7201 "Rigoletto" Fantasia X7099 Tango Americaine Dorothy Miller Duck-(As played by de Pachmann) Vladimir de Pachmann Verdi ..Liszt ... - 2.00 witz .......... Carpenter 1.75

C6784 Rigclettc Paraphrase Augusta Tollefsen • • Verdi-Liazt. • • - 2.00 e B6887 Taranlella. - - Richard Singer • - Pieczonka 1.50 t€)~

X6862 Romance - • - • • • - - • Angelo Patrieolo • - Patricolo - • - - 1.75 ~ GJ B6693 Tarantelle, Op. 77 Marguerite Le Grand - Nollet - • 1.50 ~86889 Romance Without Words ..... Julie Bergere c .. Faure > ... .. .. ... 1.50 B6787 Tears ... ... ... Julie Bergere > .. - Zamecnik - 1.50C7049 Rondo Capriccioso .. ... _.. Leff Peuishnoff ... Mendelssohn...... 2.00 C7208 Theme, La Gondola ..... Vladimir de Pachmann Henselt-deC7126 Salome (An Oriental Intermezzo) Angelo Patricolo .. Loraine-Patricolo 2.00 Pachmann ... 2.00

r~ C7034 Sarabande > - - - • - - • Cecile de Horvath - Rameau-Godowsky 2.00 r l::t C7168 Theme and Variations, Op. 5 • Magdeleine Brard Chevillard 2.00~ C6893 Scherzo ("Midsummer Night'S ~ C7060 Third Valse-Caprice .. - Magdeleine Brard Faure... -... 2.00

~ Dream") •• - - - • • - Katherine Bacon • MH:~=~-. _ • 2.00 @ ~ gm i:'~~t:i~~t~c~~r~~u ~Is: die Ruh) 'X~~~~ g~~~~~~~~ . - ~~~rr::.t;Liszt - tgg +~

~e7181 Scherzo in F.sharp, Op. 16. No.1- Katherine Bacon _. d'A1bert· • - • 1.00 ~ ~ B6723 To the Spring, Op. 7, No.3 - • Metller Davis - - Torjussen 1.50 ~X6687 Scherzo in G, from "Two Piano Pieces" George F. Boyle... Boyle... ..... 1.75 C6829 Triana (From Suite, "Iberia") Katherine Bacon Albeniz.. - - ... 2.00C7097 Scherzo-Valse (No. 10 from "Pictur- 86913 Trinity Chimes ... .. .. Leon Mitzskl .... Decker 1.50

esque Piece8") .. .. - - MagdeJeine Brard ... .. Chabrier ... .. ... ... 2.00 ~ X7129 Tulips ... .. ... - ... .. Julie Bergere.... Miles... .. 1.75 @X7146 Second Arabesque· - - • • Carol Rohinson " Debussy - - - - 1.75 Y6752 Two Lillie Spanish Waltzes - Dorothy Miller Duck-X6992 Second NocturnE". Op. 12 Dorothy Parker...... Leschetizky...... 1.75 witz .... Granado8 - 1.25

~C7302 "Semlramide" Overture ..... Ludwilt Lendry ... ... Rossiol ...... 2.00 ~ @ A1702 Uncle Remus, From ... .. Colin Taylor MacDoweU 1.00 ~C6803 Serenade _. • - - • Richard Sinier - Drlio-Sinier - • • 2.00 B7038 Ungeduld, Op. 57, No. I (From "Fruh·C6961 Serenade .. ... .. .. .. Fannie Bloomfield- ling") ..... ... • .. .. .. .. - George Liebling M09Zkowski 1.50

~Zeisler ... .. Brockway..... 2.00 ~ ~ C7109 Union, The (Concert Paraphrase: The

C7250 Serenade ... ... .. .. - - _... Persis Cox ... ... .. Hopekirk ..... 2.00 Star-Spangled Banner, YankeeY6957 Serenade (From "Harlequin's Doodle, Hail Columbia) .. - - Angelo Patricolo Gottschalk 2.00

~Million.") - ... - .. - Thomas Reid .... Drigo..... 1.25 ~ ~ B7063 Valcik - .. Marguerite Bailhe Mokrejs ~ 1.50 ~

X7200 Serenade. Gp. 29 • .. - .. Leon Mitzski Chaminade... 1.75 X7183 Valse-Bluette - .. • ... Franz Serli - & Drigo-SerH 1.75X7198 Serenata in D, Op. 15, No.1... .. Claude Duret .. ... ... M08zkowskl ... .. 1.75 C7303 Valse Brfllante. Op. 20 .. ... ... .. Marguerite Volavy Mana Zucca 2.00X7133 serenate and Romanza (Suite Ilalienne. ~ X7012 Valse Caprice, Op. 74, No.7 Sylvan LeVin Scott - • 1.75 @

Op.42) - - • • - - - • - George Uebllng -. Liebling. - • 1.75 X7252 Valse Caprice, Op. 33 • - _ • • Claude Duret - • - Chaminade •• 1.75B3656 Sevilla (Suite EapaKno)e No.3) ...... Ianacio Telleria Albeniz .. ... ... ... 1.50 C6982 Valse. Danae, HumoreSQue, Op. 12,

€'J C7270 Sheherazade-Part 1, The Sea and ~ ~ No.2 & .. Marguerite Volavy Stojowski - 2.00 ~Sindhad'a Ship • - - - - - Richard Singer Rlmsky_Korsakoll 1.00 B6802 Valse Danseuse • - Edna S. Hart • - Miles - - 1.50

C7171 Sheherazade-Part 1, The Tale of X7169 Valse Graclle Zoltan de Horvath de Horvath 1.75the Kalendar..Prince - ~ - .. Richard Singer .. Rimsky_Korsakoff 2.00 86853 Valse Lente - .. ... Howard Lutter ... & Lutter 1.00

C7171 Sheherazade-Part 3, The Young C7150 Valse, Op. 2 • - Kalinka Narinska - Levitzki 2.00~ Prince and the Young Prine... - Richard Singer Rlmsky.Kotsakoff 2.00 ~ C7024 Valse Parisienne. Op. 84. No. I - Fannie Bloomfield- ~

~(;7213 Sheherazade-Part 4. Festival at ~ ~ Zeisler .. - .. Schlitt 2.00 ~

BaQdad, The Sea. The Ship Is X7218 Valse Tendre, Op. 89, No.2 Louis Victor Saar Saar 1.75Wrecked on a Rock Surmounted B1687 Valse Triste ... ... .. Charlton Keith MacDowell 1.50by a Bronze Warrior. Conclusion Richard Siniter .. - Rimsky_KorsakoJf 2.00 C6959 Valse Triste, Op. 44 .. Thomas Reid SibeHus 2.00

Y6745 Shepherd's Hey ... .. - .. - ... .. Margaret Nikoloric Grainger 1.25 B6720 Valsette - .. - • Werner Janssen - Janssen 1.50X7226 Silent Night, Holy Night (Wilh Words) Clarence Dickinson Gruber 1,75 ~ B6830 Vanishing Lane, The - Werner Janssen - Janssen 1.50 S

~111011 Silhouette in F-sharp, Op. 53, No.3- Max Reger • - • Reger· - 1.50 ~ @ X7304 Venetian Lace • - • • • • • GeorQe Llebllnl1 - • Llebllna - _ - 1.75 ~C7100 Singende FonUine, Op. 30 ..... George Liebling.. - Niemann ~ 2.00 C6921 Waldweben (From "Slegfned") Richard Smger - Wag'!er-Hrassin 2.00

~ C2035 Sixth Waltz, in A Major • - - L. Kaschperoff - - • Balakireff • - 2.00 ~ B6789 Wallz in A-Flal, Op. 42 - - - - - Katherine Bacon - Chopin - - - - 1.50

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

•

-\0tv

87065

B7311

KI.. In the Dark, A (Word RoIl-Accompaniment for Low or MediumVoice. Key of C) - - - - • •

Kiss Me AQaln (G Major, ViolinAccompaniment) .. _ - - -

Vocal Interpretation ofLouise Bavet Accom-panied by James F.Caskey _ - . . . Proch

• 1.50

1.50

~:1 ./~ Il~

v v u

-~\.;.l

~~mmx~mmx~rom~~mmx~mmx~~~~mx~mmxxmmxxmmxxm~~

~ DANCE AND SONG ROLLS WITH WORDS ~e ~ Y6903 No One Knov.,;\\ hat: It', All About (Fox Yi260 Sleepy Time Gal (Fox Trot) ~@Trot) Y7042 So Am I-from "Lady, Be Good" (Fox

Y7319 A Cup of Coffee a Sandwich and You Y7115 If You Knew Susie (Fox Trot) Y6777 Oh Baby (Fox Trot) Trot)

~ (Fox Trot) , , A7120 II Duce (The Dictator) ~ GJ Yi068 Oh, How I Miss You To-night (Waltz Y6880 Some~od,y Love, ,!de - from "George ~Y6775 After the Storm (Fox Trot) Y7160 I'll Sing Thee Song, of Araby (Ballad) Song) White's Scandals (Fox Trot)Y7016 Alabamy Bound (Fox Trot) Y7317 I Love My Baby (Fox Trot) Y7017 Oh, Lady Be Good-from "Lady Be Good" Y67?4 Someb,ody Stole My Gal (Fox Trot)Y6976 All Alone (8<?ng) " Y7258 I'm Sitting on Top of the World (Fox Trot) (Fox ~rot) Y72o~ SometlII!e (Waltz ~~g) '"~~ Y6806 All Alone WIth You In a LIttle Rendes- Y7U93 In Shadowland (Waltz Eong) r~ Y7043 0 Kathanna-from "Chauve Souris" (One Y7l60 Some TIme-from Some TIme (Song)

~ vous (Fox Trot) Y6934 Indian Love Call-from "Rose-Marie" ~ Step) Y7181 Song of the Vallabond. from "The

~ Y7216 Alone At Last (Ballad) (Song Rol!) ~ ~ Y6740 One I Love Belongs to Somebody Else, Y7164 So val1a(~ondTKln)11" (Ballad) ~Y7310 Alway. (Waltz) Y6741 In the Evening (Fox Trot) ):1 oJ The, (Fox Trot) nya ox rot .Y7262 Argentine Tango B7117 Inatrumentat Medley Y7261 Only a Rose (Song) Y6931 Sou~hern Rose (Fox Trot wtth Words)(d Y6709 A Smile Will Go a Long, Long Way (Fox Sweet Georgta Brown e Y6995 Only Only One The (Fox Trot) yA76~8797 SSpam

l(hTasnhgo Flo(xFTroTt, In)"rumentall ~

Trot) Craving " M pan s aw OJ: rotY6877 Bagdad (Fox Trot) Ukulele Lady Y7018 Out of the Dust to You (Song) Y7114 Steppin' In Society

@ Y7313 Bamboo1a (Plano Novelty) X7088 Irish Songs of Old ~ ~ Y7191 Paddlln' Madelln' Home (Fox-Trot) Y6816 Step Henrietta (Fox Trot) ~Y6766 Big Boy (Fox Trot) Y6773 Itching Fingers [Instrumental) (Fox Y7217 Pal of My Cradle Day. (Waltz) B7235 Stomp Medley {Instrumental)Y7023 Bing Bing (Novelty Piano Solo) Trot) Y7119 Pale Moon (Ballad) E.verybody Stomp

~ Y7136 Can't Yo' Heah Me Callin', CarolineI Y6772 It Had To Be You (Fox Trot) ~ B7306 Peaceful Valley (Word RoIl) FIve Foot Two, Eyes of Blue(Song) Y7232 It Must Be Love from "Merry Merry" Y6973 Peter Pan (Fox Trot) Sweet Man.. ..

B7234 Charleston Medley (Instrumental) I'm (Fox Trot) . ~ Y6901 Pickin' 'Em Uv and Layin' 'Em Down Y7215 Sugar Plum from" Gay P~ree (Fox Trot)

~Gonna Charleston Back to Charleston Y7166 I Want Another Chance With You ~ (Fox Trot) Y7284 Sunny-From Su~~y (Fox Trot) .. ~Charlestonette (Waltz Song) Y6850 Please (Fox Trot) Y6929 Tea for Two-from No, No, Nanette

Y6873 Charley, My Boy (Fox Trot) Y7315 I WantlSomebody to Cheer Me Up e Y7118 Prisoner's Song, The Y6936 T (InrruT'enta} Fox,,~rotk N "Y7210 Collegiate (Fox Trot) (Fa); Trot) B6735 Ragamuffin (with Apologies to Chopin) ea or wo- rom 0, 0, anetteY6874 Come Back to Me (Waltz) Y6879 I Want to be Happy-from "No, No (Novelty Fox Trot Instrumental) Y7020 T (11SoHng ~Oltl)h S·' f "M' ~

~Cossack Love Song Nanette" (Fox Trot) C7161 Recollections-Series 1 e er In e p~!ngt1me- rom USIC ~t'Z:1 Y7318 Song of Flame Y7191 I Wish That I'd Been Satisfied with ~ Q /, Marcheta " Box Revue 19~,5 (Fox Trot) ~

"'.., (Fox Trot . Mary (Waltz) "'.., 2. Sometime B7091 Tell Me More (MedleyY6765 Cover Me Up With the Sunshine of Y6974 I Wonder What's Become of Sally 3. Ki.. Me Again Kr'~~tr,u~en8:l) d A

Virginia (Fox Trot) (Song) 4. A Kiss in the Dark c n t e f ou sway~~ Y7239 Cross My Heart, Mother (Waltz Song) Y7187 I Wonder Where My Baby Is Tonlllht r~ 5. Sparklers ~ ¥,e r~e, Y~ B7037 Dancing Medley No. r (Instrumental) (FoxTrot),.._ ~ 6. Auf Wiedenehen B? 0 ve ou~. Show Me the Way Y 77 I (F T ) ~ ~ C7186 Recollect.iona-c-Seriea g 7 a,y ~~ Because They All Love You 6 6 Jea ous ox rot ~ 1. I Love You Trul Y 290 That Certain Feeling (Instrumental) ...~

I'll See You In My Dreams ~~tg j~~: ~~~~hlF~~eJ;.~St)s (Song) 2. Su,nshine of Youi Smile SWT::s.~nd Low Down-From "Tip-Oh Mabel , . , 3, Ml ht Lak' a Rose

~ B7072 Dancfng Medley No 1 (Instrumental) Y7189 Kinky KId. Parade (Fox Trot) e ~ 4 B ~t 1ft Y7l86 That Certain Party (Fox Trot) ~Isn't She the Swe~testThlnll Y7236 La Mora (Danzon) 5' A~ Der y. Y7092 That'. All There II (Fox Trot) .~Charleston Y6770 La Vloletera (Instrumental) (Tango) . ,awmng ,Y7314 Then I'll Be Happ (Fox Trot)The Doo Bab (From Puzzles of 1915) Y6739 Lazy (Fox Trot) 6, B~Ieve ~~ If All Those Endearing Y6742 There', Yesl Yes! in Vour Eye, (Fox Trot)t'Z:1 B711l Danctng Medley No 3 (Instrumental) Y7090 Let It Rain, Let It Pour (Fox Trot) ~ c.::l 7 B .rung arm, B7305 The West, a Neat, and You (Word Roll) ~

"'.., Brown Eyes, Why 'Are You Blue Y72.6 Let Us Waltz A, We Say Goodbye (Waltz ~ C7183 Re~oll:c::::'~: Series 3 Y7067 Titina-from "Puzzle. of 1925" (FoxTrot)

~You Told Me to Go ,Song)", ~ Home Sw~et Home Y6971 Too Tired (Fox Tmt)Bam, Bam Bamy Shore Y6769 Limehouse Bl,1!es-from Charlot 8 Re- Aloha'Oe Y7069 Un Peu d'Amour (A Little Love A LittleMy Sweetie Turned Me Down .vue .of 1924 ~~ox Trot),,, Clribirlbln Kiss) (Song)

~. B7094 Dear Old Pal of Mine (Song) Y7044 Listening-e-from 1925 Music Box Revue .a:- ~ On the Road to MaudaIay Y6997 Waiting for the Dawn and You (Song)~ Y6906 Dear One (Fox Trot) (Waltz) ~ ~ La Paloma Y7257 What Could Be Sweeter Than You (Fox ~

~Y6975 Deep in My Heart-"Student Prince in Y6900 Little Old Clock on the Mantel, The (Fox ~ ~ Lillht Cavairy Trot) ~

Heidelberg" (Song) Trot) Y7214 Red Hot Henry Brown Fox Trot) Y6737 What'll I Do (Waltz)Y7116 Don't Bring Lulu (Fox Trot) Y7071 Lovely Lady (Wallz Song) Y6875 Red Hot Mamma (FO~ Trot) Y7021 When You and I Were Seventeen (Waltz)Y6736 Don't Mind the Rain (Fox Trot) Y6996 Lover', Waltz (Waltz Song) e Y6904 ROBe Marie-from "Rose Marie" (Fox Y70I9 Where My Caraean Ha. Rested (Song) ~V7045 Don't Ten Me I've Just Been Dreaming Y6999 Lucky Kentucky (Fox Trot) Trot) Y684S Where the Dreamy Wabash Flows (Fox

(Waltz) Y7237 Madonna, You Are Fairer (Instrumental) Y6878 Sally Lou (Fox Trot) Trot)e Y7288 Don't Walt Too Long (Fox Trot) (Ballad) ~ ~ Y6778 Savannah (Fox Trot) Y7185 Who/-From "Sunny" (Fox Trot) ~Y7316 Drlftlnll Apart (Fox Trot) Y6808 Mandaiay (Fox Trot) Y7213 Sav rr Y6764 Who is the Meanest Gal in Town?Y6807 Driftwood (Fox Trot) Y7190 Manhattan-from "Garrick Gaieties" (Fox Y6767 Sa e ~o~ So 07 (Fox"not) r h" (F Josephine (Fox Trot)

~Y6930 Eliza (Fox TlOt with words) Trot) ~ t ) gam- rom oon I~ I ox Y704t Will You Remember Mel (Fox Trol)Y7137 Ev'ryone Home Is A.klng for You (Waltz) Y7167 March Medley , rot Y6771 Worried (Fox Trot)Y6970 Ev'rything You Do (Fox Trot) National Emblem Y6805 S~me (Fox Trot) Y7066 Yearning (Just For You) (Fox Trot)

~Y6738 Feeling the Way I Do (Fox Trot) Hand. Across the Sea ~ ~ Y7187 S~lver Head (Fox Trot) Y7l38 Yes Sir, That', My Baby (FOX Trot) ~Y6907 Follow the Swallow (Fox Trot) Y7140 Marguerite (Fox Trot) Y7139 Sing Loo (Fox Trot) Y6987 You and I-from "My Girl' (Song)Y6763 From One TiJJ Two (Fox Trot) Y6847 Martbelle-Argent.ine Tango (Instrumental) Y7238 Sing Me to Sleep (Ballad) Y7192 You Forget to Remember (Waltz)B7211 Garrick Gefeuee Geme (Fox Trot) Y6972 Me and the Boy Friend (Fox Trot) e (d Y6768 Sleep (Waltz) Y7056 You're So Near (AndY., So FarHFox Trot) t€)B7111 Garrick Gaiety Gems Y7022 Melody That Made You Mine, The

Sentimental Me (Ballad)

@ On With the Dance Y6994 Me Neenyah (Fox TlOt) ~ ~ ~Manhattan Y6905 Memory Lane (Waltz-Ballad)

Y699) Golden Days-from "Student Prince in Y7191 Miami-from "Big Boy" (Fox Trot)Heidelberg" (Song) Y7ll3 Midnight Waltz

Y6902 Good Night, Sleep TIght (Fox Trot) Y6711 Mindin' My Bu,'ne.. (Fox Trot)~ Y685t Grass is Always Greener The (Fox Trot) Y7162 Moonlight and Rose. (Fox Trot) ~

~Y6933 Gypsy Love Song (Son,,'Roll) Y6712 Mr, Radio Man (Fox Trot) ~ ~ ~Y7089 Honey. rm in Love with You (Fox Trot) B7259 Musical Comedy Gems (Instrumental)Y6998 I Ain't Got Nobody to Love (Fox Trot) Here in My ArmsY6876 I Can't Get the One I Want (Fox Trot) Fond of You ~ @Y7163 I Miss My Swiss-from"Chauve Soutls" When You Smile

(Fox Trot) Y7070 My Wild Iri'h Ro,e (Song)

@ Y7188 If I Had a Girl Like You (Fox Trot) YG932 Na'hville Nightingale (Fox Trot) ~ @ ~Y7047 If Only Roses Could Tell (Song) Y6852 New Kind of Man, A (Fox Trot)Y7233 If You Hadn't Gone Away, (Slow Shuffle) Y6710 No Means Yes (Fox Trot)

~ ~ a~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

194

“Piano Men in America”Part I

from

P I A N O S& T H E I R M A K E R S

by Alfred Dolge

AMERICA

The history of prominent piano men and firms of the

United States portrays not only the restlessness of the

American people, differing from the conservatism of the old

world, but also demonstrates in a large degree that America is

the land of unlimited opportunities and possibilities. Nowhere

else have firms founded on meritorious production and sane

business methods gone so quickly into oblivion, and nowhere

else have such stunning successes been achieved as in the

United States.

The progress in technical as well as commercial

development has been rapid because America could draw from

the old world its best minds, or benefit by their products,

assimilate and improve them. It had the whole civilized world

to draw from, and was never slow in producing original ideas.

The seemingly endless natural resources of a whole continent

were at the command of the industry, and its only drawback in

the early days was the lack of a sufficiently large clientele of

cultured people who would buy the instruments, as compared

with Europe. Hence we find that, although square pianos were

made in America at about the same time as in England and

Germany, it took about fifty years longer to develop the

industry to anything like the magnitude which it had

approached in Europe.

Benjamin Crehore, who had established a reputation as an

expert make of violins, cellos and other musical instruments,

exhibited a harpsichord in 1791, and soon thereafter built

pianos at Milton, near Boston. In his shop he had John Osborn,

Alpheus and Lewis Babcock as pupils. In 1810 the Babcock

brothers began to make pianos in Boston. The great panic of

1819 ruined their business, but we hear of Alpheus Babcock

again in 1821, in partnership with John MacKay, that

commercial genius who later assisted so strongly in building

up the fame of the Chickering firm.

John Osborn, the most talented of Crehore’s pupils, started

in business in 1815. It was in Osborn’s shop that Jonas

Chickering learned the art of piano making. Born in New

Ipswich, N.H., on April 5, 1798, Chickering came to Boston

about 1817, after he had served his apprenticeship as a cabinet-

maker and joiner. Well educated and possessing decided

mechanical talents of a high order, Chickering was attracted to

the art of piano making and was fortunate in finding a master

like Osborn as teacher. He was fortunate in finding a master

like Osborn as teacher. He studied with Osborn until 1823,

when James Stewart, who had come from Baltimore to go in

partnership with Osborn, but soon quarreled with him,

proposed partnership to

Chickering, which the

latter accepted, and the

firm of Stewart &

Chickering opened their

shop on Tremont Street in

that year.

Steward was one of

those restless, unsettled

inventors, who needed the

methodical and painstak-

ing young Chickering to

give to his inventions the

practical form. It soon

developed, however, that

Chickering was not only

the better workman of the

two, but also the far more

scientific piano maker.

The firm was dissolved in

1826. Stewart went to London to take a prominent position

with collard & Collard. Jonas Chickering continued the

business, making excellent pianos, but his talents were more in

the line of inventing and constructing than merchandising. He

also suffered from lack of capital, so that his progress was

rather slow until John MacKay, who had left Babcock, joined

him as a partner. This closed the chain of Chickering’s

connection with Crehore, the founder of the Boston school,

consisting of Osborn and Lewis Babcock, pupils of Crehore;

and Alpheus Babcock, partner of MacKay, the latter joining

Chickering.

MacKay had had considerable experience as a merchant,

having traveled much to England and other foreign countries,

and was unquestionably a commercial genius. With sufficient

capital at his command, and faith in Chickering’s excellent

pianos, MacKay started an aggressive selling campaign,

making the Chickering piano known in all the cities of the

United States. Chickering, freed from all financial and business

cares, devoted his whole time and attention to the development

J. Chickering

195

and improvement of his piano, and many of his best inventions

were perfected during the period of his partnership with

MacKay, which came to an untimely end in 1841. MacKay,

having gone in a ship of his own to South America to procure

fancy woods for the Chickering factory, never returned from

that voyage, nor was his ship ever heard from.

Once more Jonas Chickering had to assume entire charge

of the business. He continued MacKay’s aggressive policy

with great energy, maintaining the highest possible prices for

his pianos, and spending money liberally for the necessary

publicity. He exhibited his pianos at every important

exposition, going to the World’s Fair of London in 1851 with a

number of instruments; engaged prominent virtuosos to play

his grand pianos in concert; and took active part in the musical

life of his home city, acting as vice-president of the great

Handel and Haydn Society as early as 1834, and later on as its

president for seven years.

While paying proper attention to the commercial and

artistic necessities of his great establishment, Jonas Chickering

was ever true to his love for scientific research and

experiments, to improve his pianos. He was not an empiric,

who would experiment hap-hazard with an idea. Whenever he

had discovered a possible improvement, he would work out the

problem in its entirety on his drawing board, until he had

proven to his own satisfaction its practicability, and not before

would he turn it over to his mechanics for execution. It was

this painstaking care down to the smallest detail which assured

the Chickering piano the place of honor in the first ranks.

When at the height of his prosperity Jonas Chickering met

with a great calamity. On December 1, 1852, his factory was

totally destroyed by fire, involving a loss of $250,000.

Undaunted, Chickering at once designed plans for a new and

larger factory, which was soon erected, and stands to this day

on Tremont Street, Boston, as a monument to the exceptional

ability, talent and courage of Jonas Chickering. Even now,

nearly 60 years after its erection, this factory is considered one

of the best for its purpose.

Jonas Chickering died on December 8, 1853 in his fifty-

sixth year. The extraordinary nervous strain of the short period

from the destruction of his old factory to the completion of the

new works had, no doubt,

affected his constitution.

He had educated all of his

three sons as practical

piano makers and admitted

them to partnership in

1852, when the firm was

changed to Chickering &

Sons. The three brothers

made a rare and most

fortunate combination.

Thomas E. Chickering, the

eldest son, soon exhibited

pronounced commercial

talents and, as a man of

the world, represented the

firm with excellent results

in social circles, making

friends among artists,

literary and scientific men.

His promising career was

prematurely cut short by

his death on February 14,

1871.

This sad event made

C. Frank Chickering, born

at Boston on January 20,

1827, the head of the firm.

Having inherited his

father ’s talents as a

designer and inventor, he

had been in charge of the

construction department

since his father’s death in

1853. While studying, as a

young man, he had

impaired his health and, upon the advice of his physician, in

1844 he went on a voyage to India in a sailing vessel. He took

with him a number of pianos, which he sold in India at good

prices, and thus the firm of Chickering became the first

exporters of American made pianos.

In 1851 Frank accompanied his father to London to take

care of their exhibit at the World’s Fair. The prolonged stay in

what was then the home of the most advanced piano

construction was of great and lasting advantage to young

Frank. It gave him the opportunity to study and compare the

work of the best brains of the industry as it then existed in

Europe, and furthermore he became acquainted with the

advanced manufacturing methods of the celebrated London

establishments. Returning from abroad, Frank utilized his

experiences with effect, greatly improving the Chickering

pianos.

Appreciating the importance of New York as an art center,

Chickering & Sons opened extensive warerooms there under

the direct management of C. Frank Chickering, and in 1875

erected Chickering Hall, on Fifth Avenue. In this hall,

virtuosos like Bulow, Joseffy, de Pachmann, Henry Ketten and

many others gave their never-to-be-forgotten concerts on the

Chickering grand pianos, designed and constructed by C.

Frank Chickering.

Chickering Hall was chosen as a permanent home by

leading glee clubs, such as the Mendelssohn, the English Glee

Club, the New York Vocal Society and by those eminent

apostles of classic chamber music, the New York Quartette,

composed of C. Mollenhauer, M. Schwarz, George Matzka and

F. Bergner, and the Philharmonic Club under the able

leadership of Richard Arnold. Remenyi and Wilhelmi appeared

as soloists with Gotthold Carlberg’s Orchestra, and Frank Van

der Stucken conducted symphony concerts for several seasons

in Chickering Hall, to be followed by Anton Seidl and the Bos-

ton Symphony Orchestra with Frank Rummel, Xaver Schar-

wenka and Richard Hoffmann as soloists. The great building

contained, besides the concert hall with a seating capacity of

2,000, the showrooms for the Chickering pianos, offices, repair

shops and also the drafting rooms, where C. Frank Chickering

designed and worked out his inventions.Thomas E. Chickering

C. Frank Chickering

196

It was but natural that in New York, as in Boston, Frank

should be in close touch with artistic and literary circles.

Among his personal friends was one J. H. Paine, a composer

and critic of considerable ability. He was generally known as

“Miser” Paine, and would gladly accept Chickering’s

hospitality and aid at all times. He was considered a poor man

by all who knew him. One day he brought to Frank Chickering

a bundle wrapped up in a bandanna handkerchief, asking

Chickering to kindly place the package in his safe. Chickering

assumed that the bundle contained manuscripts of Paine’s

compositions and accepted the charge. About 17 years there-

after Paine died, without leaving a will or any disposition of

the aforesaid bundle. Chickering sent for Paine’s legal

representative, the bundle was opened in his presence and

found to contain over $400,000 worth of bonds and currency.

Chickering delivered the valuable package to the lawyer, who

was obliged to hunt up distant relatives of Paine to distribute

the heritage.

C. Frank Chickering was in all respects one of nature’s

noblemen. In appearance he reminded one forcibly of the

Grand Seigneurs of Louis XIV’s time. He died in New York,

March 25, 1891.

George H. Chickering,

the youngest of the broth-

ers, was born at Boston on

April 18, 1830. After

acquiring an excellent

education, he turned to the

bench and worked under

his father’s tutelage. For

many years George made

every set of hammers used

in their concert grands. He

was an exceedingly neat

and artistic mechanic.

After 1853 he took charge

of the factory management

and performed his arduous

duties most faithfully until

his death, on November

17, 1896. All three of the

brothers, like their father, took an active part in the artistic life

of their home city and each of them served in turn with honor

as president of the Handel and Haydn Society.

The Chickering pianos were always awarded the highest

honors wherever exhibited, and, at the World’s Fair at Paris,

1867, C. Frank Chickering was decorated by the Emperor of

the French with the Cross of the Legion of Honor.

The business of this renowned firm is successfully carried

on by a corporation which has joined the American Piano

Company, maintaining the high character of its products. True

to the traditions of the honored name, Chickering & Sons have

of late years been instrumental in reviving interest in the

beauties of the old clavichord, and are building such

instruments for those who enjoy the study of the compositions

of Johan Sebastian Bach, Scarlatti and others who wrote for

the clavichord. The factory on Tremont Street, Boston, has

become a landmark of that historic city, but Chickering Hall,

New York, had to give way to a modern building for business

purposes.

Next to Chickering & Sons, the Bacon Piano Company of

New York is most closely connected to the founders of the

industry in America. Robert Stodart of London started in New

York in 1820. In 1821 Dubois joined him and the firm was

Dubois & Stodart until 1836, when Stodart retired and George

Bacon and Chambers joined. Five years later Dubois and

Chambers withdrew and Raven joined, the firm being changed

to Bacon & Raven, which was again changed to Raven &

Bacon, when George Bacon died in 1856 and his son, Francis

Bacon, entered as partner. In 1904 the firm was incorporated

under the title of the Bacon Piano Company, with Chas. M.

Tremaine as president and W. H. P. Bacon, son of Francis, as

vice-president.

James A. Gray, born at

New York in 1815, learned

his trade with Firth & Pond

of New York from 1831 to

1835, when he was called

to Binghamton, N. Y., to

superintend Pratt’s piano

factory. In 1836 William

Boardman of Albany

induced him to take charge

of his establishment, and

two years later the firm

became Boardman & Gray.

Possessing decided talents

as an inventor, Gray made

many very interesting

experiments, among which

his isolated iron rim and frame and the corrugated soundboard

are the most noteworthy. For a time he had great faith in the

value of those inventions. He even took a number of pianos

containing the same to London for exhibition in 1850, but after

a comparatively short time he discarded all of them, preferring

to build a fine piano along conventional lines. He educated his

sons, James S. and William James, as thorough piano makers,

and the time-honored firm maintains its reputation for high-

class production to this date. William Boardman, who retired at

an early date from the firm, died January 5, 1881, at the age of

81 years. James A. Gray took a more or less active part in the

business until his death on December 11, 1889. His sons, Wil-

liam James Gray, born June 13, 1853, and James Stuart Gray,

born September 7, 1857, are continuing the business with suc-

cess.

One of the pioneers who attempted to force civilization in

its higher development upon the “Far West” was William

Bourne. He started a piano factory at Dayton, Ohio, in 1837, at

a time when the savage Indian was still a “near neighbor.”

Evidently Bourne did not find the expected encouragement at

Dayton, and removed in 1840 to Cincinnati. Even here his art

was not appreciated, and he therefore accepted in 1842 a

position in the Chickering factory, where he remained until

1846, when he organized the firm of William Bourne & Com-

pany. A piano maker of the old school, Bourne could turn out

nothing but thoroughly first-class pianos. Since his death, in

George Chickering

James A. Gray

197

1885, the business has been

continued by his son,

Charles H. Bourne.

A.M. McPhail started his

business in Boston in 1837.

Born at St. Andrews, New

Brunswick, he came to

Boston as a boy, and was

apprenticed to the

renowned piano make, Gil-

bert. He learned to make

pianos so well that he soon

established a high

reputation for his own

product. He was a piano

maker of the old school,

who took pride in his work

and considered the artistic success more than the commercial,

although in his long career,

from 1837 to 1891, he met

all of his obligations with

never failing promptness.

As a citizen he took a great

interest in educational,

artistic and musical affairs,

and also served as

representative in the Mass-

achusetts Legislature. He

retired in 1891, and died at

Omaha, October 6, 1902.

The business is carried on

by the A. M. McPhail

Company, a corporation.

Among the many illus-

trious Germans who have

done so much for the

uplifting of the piano industry in New York, William Lindeman

deserves particular credit for being the first who had the

courage to combat successfully the unworthy prejudice and

attitude of the people of his day toward the German element.

Born at Dresden, Germany, in 1795, where he also learned his

art of piano making, Lindeman came to New York in 1834 and

established his business in

1836. Although his pianos

were of the highest order,

success came slowly, but

when his son Henry

brought out his “Cycloid”

piano, a rather happy com-

promise between a grand

and square piano, in 1860,

the firm secured a strong

hold upon the piano-buy-

ing public. The Civil War

interfered seriously with a

more rapid development,

and it was left to Henry to

push the firm into the front

rank.

Henry Lindeman, born in New York on August 3, 1838,

was admitted to partnership in 1857, and after the death of Wil-

liam Lindeman on December 24, 1875, assumed the manage-

ment and continued the work of his father. Henry’s son,

Samuel G., was admitted in 1901, and the firm name of Henry

and S. G. Lindeman was adopted.

In 1838, shortly after

Lindeman’s appearance in

the arena, Johann Heinrich

Schumacher, who changed

his name to John Henry

Schomacker for expedi-

ence’ sake, established him-

self in partnership with

William Bossert in

Philadelphia. Schomacker,

born in Schleswig-Holstein

on January 1, 1800, learned

piano making in the master

schools of Vienna. About

1830 he established himself

at Lahr, Bavaria, and came

to America in 1837. For

one year he worked with E. N. Scherr, one of Philadelphia’s

best-known makers of those days. Schomacker was not only an

excellent and thorough piano maker, but also a very forceful

man with almost boundless ambition. His partner was conserv-

ative and perfectly satisfied with a moderate income.

Schomacker finally decided to go his own way, and the part-

nership was dissolved in 1842. With restless energy Schomack-

er first improved his pianos, and in 1845 he was awarded the

silver medal of the Franklin Institute of Philadelphia for the

“best” piano exhibited. At the American Institute Exhibition in

New York in 1848, he received the first prize, a silver medal, in

competition with a number of American pianos, and at the

great World’s Fair at the Crystal Palace in New York, in 1853,

he carried off the gold medal. To meet the demands of his ever-

growing business, he erected in 1855 the great factory which

stand today at Catherine and Eleventh Streets, Philadelphia. In

1856 he organized his business into a close corporation under

the title of Schomacker Piano Company. With his ambition sat-

isfied, he quit the field of activity in 1872, and died on January

16, 1875.

His son, Henry C. Schomacker, born in Philadelphia in

May, 1840, served his apprenticeship under his father and

spent several years in Germany, studying under the leading

masters. The company, under the able management of I. B.

Woodford as president, and Henry C. Schomacker as secretary,

is maintaining the glory of the old firm, producing most excel-

lent pianos of the highest order.

While Lindeman in New York and Schomacker in

Philadelphia earned laurels for the German school of piano

making, William Knabe was busy preparing himself for his

great career in Baltimore. Born at Kreutzberg, Germany, in

1803, he received a superior education, intending to follow a

learned profession. When the time for ultimate decision came,

William preferred, however, to learn the art of piano making.

He served the customary apprenticeship and acquired further

experience while working for various masters in Germany.

A.M. McPhail

William Lindeman

John Henry Schomacker

Henry Lindeman

198

Coming to Baltimore in 1833, he found an engagement with

Henry Hartje, who had won quite a reputation as an inventor.

Conservative and careful, Knabe waited until he had mastered

the English language and had become thoroughly familiar with

the business conditions of the new country. It was, therefore,

not until 1839, that he ventured in business, associating him-

self with another German piano maker, Henry Gaehle, under

the firm name of Knabe & Gaehle. The enterprise was moder-

ately successful and the association continued until 1854, when

Gaehle withdrew. From that time on Knabe was able to

demonstrate his exceptional ability as a piano maker and busi-

ness man without hindrance. His pianos were second to none

in the market, and he han-

dled the commercial end of

his business so cleverly that

by 1860 his firm almost

controlled the entire market

of the southern States. The

civil War temporarily

destroyed that market, and

the firm of William Knabe

& Company went through a

trying period for over five

years. Wearied from over-

anxiety, care and worry,

Knabe passed away in

1864, leaving the care of

the great business, which

he had founded and built up

to magnificent proportions,

to his sons, William and

Ernest. Both had enjoyed a

most liberal education and

had been thoroughly

trained by their father in the

art of piano making. Wil-

liam, being by nature of a

quiet, retiring disposition,

took upon himself the man-

agement of the factories,

while Ernest assumed with-

out any wavering the grave

responsibilities as head of

the house. When Ernest

Knabe took the reins the

outlook was very gloomy.

Not only was their main market, the rich southern States,

entirely destroyed by the Civil War then raging, but their cus-

tomers for the same reason could not meet their obligations.

The work in the big factory, with its hundreds of employees,

dragged along in an uncertain way and the day seemed to be

near when the factories would have to be temporarily closed.

Ernest found a solution. He concluded to make a pro-

longed trip through the northern and western States which

were not so seriously affected by the war, determined to estab-

lish agencies for the sale of his pianos in this new territory.

Money had to be provided to meet the weekly payroll during

his absence. He boldly went to his bank and asked for a credit

of $20,000 for the term of six months. Considering the critical

times, such a demand upon a bank in the city of Baltimore was

almost preposterous, and when finally the banker asked Ernest

what security he had to offer and the reply came, “Nothing but

the name of Knabe,” the banker shook his head and told the

young man that he would submit the proposition to his board

of directors. They decided that under existing conditions the

loan could not be made. When delivering this ultimatum to

young Ernest, the banker questioned him as to what he could

or would do. Knabe answered promptly, “I shall go down to

my factory and tell my employees that I am compelled to dis-

charge them all because your bank refused a loan to which I

am entitled,” then took his hat and left the banker to his own

contemplations. Before he reached his factory office a messen-

ger from the bank had arrived there with a letter from the presi-

dent, stating that the account of Knabe & Company had been

credited with $20,000, to be drawn against as wanted.

Ernest did not go back to the bank, but packed his trunk

and went on his journey. Within two months he had sold

enough pianos and opened up sufficient connections to keep

his factories busy to their limit, and when he returned home he

called on his banker to thank him for the loan, of which his

firm had not been obliged to use a single dollar. Ernest Knabe

knew that just at that time the banks of Baltimore could not

afford to have the doors of the city’s greatest industrial estab-

lishment closed and hundreds of men thrown out of employ-

ment, for lack of funds, and he won out against the timid and

shortsighted banker.

An era of great activity now commenced for the firm of

Knabe & Company. A branch house was opened in New York,

and later one in Washington. Ernest Knabe designed new

scales for concert grands and upright pianos. Additional facto-

ries were built and equipped with the best of modern machin-

ery, in order to produce pianos in keeping with the reputation

of the firm as leaders in the industry. Wherever the Knabe

pianos have been exhibited they were invariably awarded high

prizes for superior construction and workmanship, notably so

at the great Centennial Exposition in Philadelphia in 1876,

where their large concert-grand piano was greatly admired.

Leading virtuosos like D’Albert, Saint-Saens and many others

used the Knabe grand pianos in their concerts and were enthu-

siastic in their praise of the Knabe tone quality.

A princely entertainer, Ernest Knabe was an enthusiastic

lover of music. He would often take the noon train from Balti-

more to New York, consult with his New York manager while

eating dinner, go to the opera to hear Sembrich, Lehmann or

Niemann sing, or attend a Rosenthal or Joseffy concert, return

by midnight train to Baltimore and appear the following morn-

ing bright and early at the factory or city warerooms to take up

the every-day routine of work. He was an indefatigable worker

and seemed never to tire. Of a most genial disposition, warm-

hearted, helpful, he was adored by his workmen and beloved

by all who knew him.

In the midst of the greatest developments misfortune came

upon the house. William Knabe died suddenly in January,

1889, at the early age of 48. This sad event doubled the bur-

dens of Ernest and he succumbed to the inevitable result of

over-exertion on April 16, 1894. Ernest Knabe had ever been

one of the strong pillars of the piano industry, on intimate

terms with his competitors, enjoying the close friendship of

Ernest Knabe

Wm. Knabe

199

William Steinway, Albert Weber and other leaders. He left a

gap which could not easily be filled. The great business was

turned into a corporation which finally joined the American

Piano Company, under whose care the traditions of the house

are reverently safeguarded.

Among the historic Boston firms, the Hallet & Davis

Piano Company can trace its origin to the year 1835, when

Brown & Hallet started in business. Brown was a graduate of

the Chickering factory and obtained several patents for

improvements. He retired from the firm in 1843, and his place

was taken by George H. Davis, the firm changing to Hallet,

Davis & Company, under which title it continued with more or

less success. After the death of George H. Davis on December

1, 1879, the business was incorporated. Under the management

of E. N. Kimball as president, C. C. Conway, treasurer, and E.

E. Conway as secretary, the concern has recovered its old-time

prestige and is counted among the most progressive of the pre-

sent day.

During the decade from 1830 to 1840 a coterie of piano

makers lived at Albany, whose influence upon the piano indus-

try of America has been of a lasting character. John Osborn

came from Boston in 1829 and made pianos for Meacham &

Company, dealers in musical instruments. F. P. Burns studied

under Osborn in Meacham’s shop which probably was the first

piano factory west of New York City. Henry Hazelton came

from New York to work for Boardman & Gray. James H.

Grovesteen, founder of Grovesteen, Fuller & Company of New

York, came to Albany in 1839 and started to make pianos in

1840. A. C. James, later of James & Holmstrom, New York,

learned piano making in Grovesteen’s shop and, after working

for Boardman & Gray, became a member of the firm of Mar-

shall, James & Traver, later known as Marshall & Wendell.

Myron A. Decker was also one of the Albany pioneers with

George Gomph, P. Reed and others. F. Frickinger made pianos

in 1837, but soon after started action making as a specialty. His

business is continued by Grubb & Kosegarten Brothers at Nas-

sau, N.Y.

Francis Putnam Burns, born at Galway, New York, on

February 6, 1807, learned cabinetmaking and studied piano

making under the genial John Osborn. In 1835 he commenced

business on his own account. Of an artistic temperament and

an excellent mechanic, he

would never permit piece-

work in his shop, impress-

ing his workmen with the

idea that a piano is a work

of art, requiring the most

painstaking efforts, without

regard to time consumed in

its construction. While pro-

ducing most elegant and

durable pianos, Burns did

not accumulate wealth, and

when the Civil War pros-

trated business he could not

stand the strain. His son

Edward M. Burns, who was

serving as a commissioned

officer in the army, coming

home disabled for further activity in the field, had to assume

the management of the business. Although the United States

Government retained him in military service for 18 months

after peace was declared and desired his further service in the

army, young Burns felt that filial duty demanded his devotion

to his father’s business. He picked up the remnants of the once

flourishing business, injected new life and not only succeeded

in maintaining the high reputation of the pianos, but had the

great satisfaction of squaring all the old obligations in a most

honorable manner. It was a loss to the piano industry of Albany

when Edward M. Burns retired in 1869 to seek more remuner-

ative activity in another field.

A man who for over 60

years can enjoy the respect

and friendship of his com-

petitors in business must be

a strong character, with a

lovable disposition. Such

was Henry Hazelton, born

in New York City in 1816.

He served a seven years’

apprenticeship with Dubois

& Stodart, being released in

1831. Soon thereafter he

joined the Albany colony,

and in 1840 started the firm

of Hazelton, Talbot &

Lyon. Not fulfilling his

expectations at Albany,

Hazelton returned to New York and joined his brother Freder-

ick, under the firm name of F. & H. Hazelton, in 1850. Later

on a younger brother, John, was admitted to partnership and

the firm name changed to Hazelton Brothers. All three brothers

were artisans of high order, who eschewed commercial tactics,

depending for ultimate success entirely upon the high quality

of their product, and to this date the firm has a strong hold

upon New York’s Knickerbocker aristocracy as a clientele, in

who circles grandmother’s piano bears the name of Hazelton.

After the death of the founders, the business came under sole

control of Samuel Hazelton, who had enjoyed a thorough train-

ing with his uncles and was made a member of the firm in

1881. He is ably assisted by his son Halsey in maintaining the

traditions of the respected firm.

Toward the close of the 18th century a Vienna piano

maker in his wandering arrived at Naples, Italy. Somehow

attracted by the place, he made it his home and began to make

pianos, which found favor with the court, and young Fischer

was appointed “Piano maker to King Ferdinand I, of Naples.”

He taught his art to his son, who afterward studied for a num-

ber of years with Vienna masters, and upon his return to

Naples continued the father’s business. His two sons, John U.

and Charles S. Fischer, followed in the footsteps of father and

grandfather, becoming expert piano makers. The inborn “wan-

derlust” of the Fischers landed these two young men in New

York City in 1839. Taking at once employment with William

Nunns, they became his partners soon thereafter under the firm

name of Nunns & Fischer. Nunns retired in 1840, and the firm

was changed to J. & C. Fischer. Building a reliable piano, they

soon accumulated great wealth, and in 1873 John U. FischerFrancis Putnam Burns

Henry Hazelton

200

retired with a competency,

to spend the rest of his days

in his homeland, Italy.

Charles S. then admitted

his four sons, who had been

thoroughly trained in all

branches of the business, to

partnership. The vigorous

activity of the young men,

under the wise guidance of

their father, brought them

rapidly to the front as great

producers, increasing their

yearly output to 5,000

pianos, at the same time

studiously improving the

quality. In 1907, the firm

was changed to a corporation.

Hugh Hardman, who was born at Liverpool, England, in

1815, came to the United States and began to make pianos in

New York City in 1840. His son John was admitted to partner-

ship about 1874. This firm was among the first to manufacture

good commercial upright pianos, and met with distinctive suc-

cess. In 1880 Leopold Peck bought an interest in the firm, the

name being changed to Hardman, Peck & Company. Under

Peck’s able management the firm has risen to a recognized

position among the makers of high-grade pianos, their instru-

ments ranking among the best in the market.

To change from teaching music and languages to dealing

in pianos, and finally to become the founder of one of the

largest and most respected piano manufacturing firms, was the

career of Charles M. Stieff. Born in Wurtemburg on July 19,

1805, Stieff was educated at Stuttgart. In 1831 he emigrated to

America and settled at Baltimore, where he took the chair in

Haspert’s school as professor of languages and also acted as

leader of a church choir. In 1842 he imported his first pianos

from Germany, and opened regular piano warerooms on Liber-

ty Street in 1843. Observing the success of the various piano

manufacturers in Baltimore, Stieff undertook an extensive trip

to Europe in 1852, studying the methods of the best piano

manufacturers there. Upon his return he admitted his sons into

partnership and started the manufacture of the “Stieff” piano,

intrusting the management

of the factory to Jacob

Gross, an expert piano

maker of the old school.

Born in Wurtemburg on

July 26, 1819, Gross learned

his trade in Stuttgart and

afterward worked in some of

the leading factories of

Germany, Switzerland,

Spain and Paris. Coming to

America in 1848, he famil-

iarized himself with the

methods prevailing here and

joined his brother-in-law,

Stieff, in 1856. It was an

excellent combination, the

professional musician and

businessman, Stieff, sup-

ported by the artistic piano

maker and factory expert,

Gross. The product of the

firm was at once accepted

as of superior merit and

received distinguished

awards wherever exhibited.

The founder of the firm

having passed to the

unknown beyond, the busi-

ness is carried on most suc-

cessfully by his sons,

Charles and Frederick P.

Stieff, the technical man-

agement of the factories

being in the hands of Charles J. Gross, who was educated by

his father, the late Jacob Gross. It was remarkable that the great

fire which destroyed nearly the entire business portion of the

city of Baltimore in 1904 should stop short in its northward

flight on the wall of the Stieff building, on North Liberty Street

just as if it had had respect for this landmark where the Stieffs

had sold pianos for 63 years. The firm of Charles M. Stieff

distributes its products almost entirely through its own stores,

which are to be found in every prominent city of the southern

States, as well as at Boston and elsewhere.

Following the chrono-

logical order, we find that

Christian Kurtzmann estab-

lished a piano factory in

Buffalo in 1848. After his

death in 1886, the business

was taken over by a corpo-

ration.

William P. Emerson,

who started in Boston in

1849 had perhaps more

business acumen than

mechanical talent and artis-

tic inclinations. He started

to make a low-priced

instrument and built up a

very large and profitable

business within a few

years. In 1854 he engaged

C. C. Briggs, an expert

piano maker of standing, to

improve the piano, which

was accomplished with

such success that a reputa-

tion for superior quality

was soon established and

the name of Emerson

became a valuable trade-

mark. Emerson died in

1871, and the business

came into possession of

William Moore, who soldJacob Gross

Frederick P. Sieff

Christian Kurtzmann

Chas. C. Briggs

Charles S. Fischer

201

his interest in 1879 to P. H.

Powers, O. A. Kimball and

J. Gramer. They organized

the Emerson Piano Compa-

ny, with Patrick H. Powers

as president. Under his able

management the business

grew to commanding pro-

portions. The product was

continually improved to

maintain its position as a

high-class instrument, and

the company enjoyed an

enviable reputation for

integrity and reliability.

P. H. Powers retired from

active management in

1910, at the age of 84, after

a most distinguished career

as a business man, covering

a period of 60 years. He is

succeeded in the presidency

by Edward S. Payson, who

assisted Powers for many

years as acting secretary of

the company.

In the old town of Milton,

where Crehore built his

first piano, James Whiting

Vose was born, on October

21, 1818. Learning the

cabinetmaker’s trade, he

soon became a piano

maker, getting his experi-

ence in various Boston factories. In 1851 he made his first

piano, and laid the foundation for a business which is counted

among the leaders of the American piano industry. Educating

his three sons in all branches of the business, he admitted them

to partnership and changed the name to Vose & Sons. In 1889

the concern was incorporated, the stock being owned by the

Vose family. James W. Vose served as first president of the

Vose & Sons’ Piano Company for a number of years. After his

retirement his eldest son, Willard A. Vose, succeeded him as

president and manager, with marked ability, maintaining and

improving the distinguished standing of the Vose piano.

One of the most interesting characters in the history of

American piano makers is Napoleon J. Haines. Born in

London in 1824, he came to New York when eight years of

age. He made the trip across the Atlantic alone with his

younger brother Francis. His father, who had preceded the

boys to New York, had paid the ship’s steward thirty dollars to

assure good meals for the youngsters. Napoleon, aware of that

fact, objected to the poor coffee and “hard tack” with which

the steward regaled the boys, throwing the stuff overboard and

demanding “something fit to eat.” He caused such a distur-

bance that the captain was called, who promptly sided with the

rebellious boy and admonished the steward to do his duty

henceforth. It is said that young Haines after his arrival in New

York, not from necessity, but from his desire to make headway,

earned money as a bootblack after school hours. Whether that

is true or not, young Napoleon certainly always demonstrated a

restless disposition and a desire to advance. At the age of fif-

teen he apprenticed himself and brother to the New York Piano

Manufacturing Company, learning all branches of the art. In

1851 he started in business with his brother under the firm

name of Haines Brothers. Beginning with an output of two

pianos per month, their business soon assumed large propor-

tions, so that the erection of a factory, with a capacity of 20

pianos per week, became necessary in 1856.

Napoleon J. Haines

was a thorough piano

maker, whose name is also

on record as an inventor in

the United States Patent

Office, but, besides that, he

was a born financier and

shrewd business man. One

of the founders of the

Union Dime Savings Bank

of New York, he served as

vice-president and presi-

dent of that great institution

for 21 years. Napoleon J.

Haines died April 19, 1900.

The business has been

merged with that of the

American Piano Company, under whose auspices the Haines

Brothers piano is produced in larger quantities than ever.

Real genius always leaves an indelible mark in its sphere

of activity, and its influence is as lasting as it is permeating at

the time of its birth. To observe a man rising from the lowest

rung of the ladder to the height of a most prominent manufac-

turer, educating himself meanwhile to become a musician of

acknowledged talent and versatility, handling complex

financial problems with masterly daring and withal acquiring a

position of social influence, requires a combination of talents,

an exercise of willpower and self-denial seldom found. Albert

Weber, born in Bavaria July 8, 1828, landed in New York when

16 year of age. Endowed with a liberal education, he had good

knowledge of music, playing the organ efficiently. Attracted to

the art of piano making, he went through a regular apprentice-

ship with Master Holden of

New York, and later

worked in the celebrated

shop of Van Winkle. To pay

his board, young Weber

gave music lessons

evenings, and played the

organ at church on Sun-

days. When 23 years of age

he started in business with

a very small capital. Fire

destroyed his shop during

the third year of his

existence as a piano manu-

facturer. Nothing daunted,

he rented much larger

quarters and within a short

Patrick H. Powers

James Whiting Vose

Napoleon J. Haines

Albert Weber

202

time acquired a leading position among the piano firms of New

York City. His energy and ambition knew no bounds. In 1869

he opened extensive warerooms at Fifth Avenue and Sixteenth

Street, a move which astonished his competitors by its very

boldness. Weber had invaded the abode of New York

swelldom, with characteristic foresight, judging the future

importance of this thoroughfare as a center of fashionable

establishments. With this move his aggressive campaign for

supremacy in the piano world commenced.

Although not given to inventing or creating anything new

in piano construction, Weber was such a thorough piano maker,

and perfect performer on the piano, that he knew how to utilize

the best-proven methods of construction. He would engage at

any cost the best workmen, the best talent to be found among

piano makers, neither would he spare any expense or reckon

the cost of any real improvement in the tone or general quality

of his pianos. He inspired his men to take pride in their work.

The result was that he produced pianos which were acknowl-

edged second to none, and preferred by many leading

virtuosos, especially by opera singers, for their sympathetic

musical tone.

Because of his acute and musically trained hearing he

succeeded introducing in his pianos, through his expert

workmen, what he proudly called the “Weber tone.” To listen

to his playing for a prospective customer was a treat indeed,

and seldom would an intending buyer leave his warerooms

without having secured a piano. The man’s enthusiasm, the real

love for his piano was so intense, so genuine that he impressed

the same on every person who would listen to his playing. Well

read, a keen observer of men and things, Weber was a most

interesting entertainer. His ready wit became proverbial and

oftentimes served to clear unpleasant situations. For example,

when during the strike of the journeymen for higher wages,

shorter hours, etc., a committee of the workmen met with the

assembled manufacturers, submitting their most unreasonable

demands, the latter were dumbfounded by the boldness of the

men. Weber broke the silence, complimented the men, arguing

that it was their privilege to ask for all that they might want,

but in his opinion they had not asked enough—they had

forgotten to ask for free Saturday afternoons with full pay, so

that they could play tenpins, the bosses to pay for the beer and

set up the pins for the men. With this remark he took his hat

and left the conference. The strike was called off. With his

timely sarcasm Weber had shown the men the ridiculousness of

their demands and had turned the embarrassing conference into

a merry laughter.

Many pertinent anecdotes could be cited to illustrate the

quick-working mind of this remarkable man. He had one

serious shortcoming, however, which finally caused his

untimely end. Ceaselessly planning to extend his business and

enlarge his personal influence, Weber did not surround himself

with sufficient competent assistants who could relieve him

from dreary detail work, and consequently the management of

his great factory, of the wholesale and retail departments, all of

the financial affairs—in short, every detail of his great

business—rested upon his shoulders. Working from morning

until evening at his business, he would attend opera, theaters

and clubs at night. Being of a decidedly Bohemian tempera-

ment, he enjoyed the gay life of New York among brilliant men

and women, but the everlasting strain was too much, even for

this nervy man, and he succumbed, at the age of 50, on June

25, 1879, to the overtaxing of his brain and body.

The great business which he has founded, the great name

which he made for his piano, are becomingly perpetuated by

the Weber Piano Company, a corporation affiliated with the

Aeolian Company of New York. The fame of the Weber piano

has extended to all the art centers of the globe to such an extent

that the erection of a mammoth factory in London has become

a necessity, in order to supply the ever-growing foreign trade.

The name of Albert Weber will live, as long as pianos are built

in America, as one of the great leaders who believed in the

artistic mission of the instrument and impressed this belief

upon the mind of the public.

History teaches that

hardship, adverse condi-

tions and trying circum-

stances are the making of

great men. Henry Engel-

hardt Steinweg’s career is a

confirmation of this

doctrine. Born at Wolfsha-

gen, Germany, as the

twelfth child of a strong

mother and a respectable

father on February 5, 1797,

he had to pass during his

youth through all the mis-

eries and privations brought

upon people by protracted

warfare. Napoleon’s hordes

devastated Germany,

burned up the Steinweg home and killed several of his brothers

in battle. To fill his cup of misery he finally lost his father and

remaining brothers in an accident, from which he alone

escaped as by a miracle, and found himself an orphan at the

age of 15, without home or shelter.

At 18 years of age he was drafted for the army and took

part in the battle of Waterloo. Returning from the field of

battle, he found the soldier’s life in the barracks very dreary, to

counteract which he managed to build a zither, upon which he

would play the patriotic songs of the time accompanied by the

voices of his soldier comrades. Having never handled tools nor

received even elementary instruction in music, his accomplish-

ment in making and playing the zither clearly pointed to the

road which he was to travel to achieve fame and wealth.

Having served his time in the army, he sought employment

with a cabinetmaker, but being then 21 years of age, and

engaged to a lovely girl, he did not cherish the idea of serving

a five-year apprenticeship as the guild of cabinetmakers

demanded. He wanted to learn the use of tools to build musical

instruments, and we find him, therefore, soon in the shop of an

organ builder at Seesen, where he also filled the place of

organist in the village church. In 1825 he married the woman

of his heart, and his wedding present was the first piano built

by Steinweg’s own hands. It was a fine instrument, which soon

found a purchaser. Constructing pianos, earning his daily bread

by repairing organs and all kinds of musical instruments, Stein-

Henry Englehardt Steinweg

203

weg prospered, and in 1839 exhibited at the fair of Brunswick

one grand and two square pianos of his own make. The great

composer, Albert Methfessel, played on these instruments and,

as chairman of the jury, recommended that the highest prize, a

gold medal, should be awarded to Steinweg for his superior

instruments. It is said that the Duke of Brunswick bought the

grand piano, paying therefore the large price of 3,000 marks.

Steinweg’s reputation as a master piano builder was now

established and he had to employ workmen to fill the orders

which he received. His sons, Theodore, Charles and Henry,

joined him in business as they grew to maturity and the

prospects for the future looked very bright, when suddenly

adversity came again through the political upheaval and

revolution of 1848 and 1849, which paralyzed business all over

Germany. The second son, Charles, had been during this

excitement rather active in the ranks of the progressives, or

revolutionists, and found himself compelled to flee as soon as

the people’s cause was lost. He escaped to Switzerland and

went by way of Paris and London to New York, where he

landed in May, 1849.

Charles sent such glowing reports regarding the possibili-

ties for the family in the new world as compared with their

homeland, and urged their coming to America so strongly and

persistently that the entire Steinweg family, except Theodore,

engaged passage on the steamer Helene Sloman from

Hamburg, which landed them at New York on June 9, 1851.

Instead of venturing into business at once, Henry E. Steinweg

wisely chose first to gain practical knowledge of the language

and business methods of the new world. He and his sons

accepted employment in different piano factories. For two

years the three men gathered experience, and on March 5,

1853, the firm of Steinway & Sons started on its brilliant

career. The very first step in that direction, the changing of the

name from Steinweg to Steinway, showed not only the

business sagacity of Henry E. Steinway, but also the strong

faith which he had in his ability to build a better piano than

known at that time. Hence he wanted a distinct trade-mark,

which could not be imitated, even if his pianos should be.

From the beginning the firm of Steinway & Sons was a

happy combination of various talents, making success

imperative. Henry E. Steinway was an experienced piano

maker and careful business man. His son Charles managed the

factory, for which he was eminently fitted. A fine mechanic, he

possessed a highly developed sense for exactness and system-

atic organization, while the younger son Henry was a genius as

an inventor, a good musician and a splendid mixer with artists,

professionals and literary men.

At the Metropolitan Fair, held at Washington, D. C.,

March, 1854, Steinway & Sons exhibited a square piano and

received a prize medal, but their great triumph came at the

great fair of the American Institute in New York in 1855,

where their over-strung square piano with full iron frame creat-

ed a sensation in the piano world. As a result their business

expanded so rapidly that in 1859 the erection of that mammoth

factory on Fifty-third Street and Fourth Avenue, New York,

became a necessity. Henry E. Steinway planned the factory and

superintended its building. It is said that he would not permit a

beam or rafter in the entire structure which contained a single

knot or showed the least imperfection. The precision of the

master builder dominated in whatever he did!

Gradually he permitted his sons to assume the responsibil-

ities of managing the affairs of the great business. Successful

beyond his fondest dreams in his enterprise, Henry E. Stein-

way had to bear the deep sorrow of losing his faithful co-work-

ers and beloved sons, Charles and Henry, in the prime of their

manhood. This great bereavement, together with the advancing

years, began to bear upon that strong character, who had fought

the battle of life so valiantly, and, after planning and

superintending the erection of Steinway Hall in 1866, he

retired more and more from active participation, going to his

rest on February 7, 1871, at the age of 74. Beloved by all who

knew him, respected by the community and famous as an

inventor and manufacturer in the entire civilized world, a self-

made man who had to wring success from fate’s unwilling

hand under most trying conditions, Henry Engelhardt Stein-

way’s name will ever be revered.

His eldest son, C. F.

Theodore Steinway, was one

of those who show great

brilliancy in their youth, but

whose genius then lies dor-

mant for a number of years,

to break out with irrestible

force after middle life,

astonishing the world with

their accomplishments. At

the age of 14 Theodore was

an accomplished pianist, so

much so that he was given

the task of showing off his

father ’s pianos at the

Brunswick Fair in 1839.

Enjoying the advantages

offered by the Jacobsohn College at Seesen, a celebrated

institute of learning, he studied acoustics under Dr. Ginsberg,

who took great interest in the brilliant boy, in return for which

Theodore built the models needed by Dr. Ginsberg for

demonstration in his lectures on acoustics. This intimate

relation to the scientist in his youth prevented Theodore from

ever becoming a mere empiric. It was the cause of the restless

search he later so forcibly demonstrated for the scientific laws

underlying the construction of the pianoforte. After going

through college, he went to work at the bench in his father’s

shop, and, when the family sailed for New York in 1851, he

was charged with winding up the affairs of business and

following the family. Fate decreed otherwise. He met the only

maid whom he would marry, stayed at Seesen and continued

the business founded by his father. Success crowned his

efforts, and seeking a larger field he removed his piano factory

to Brunswick in 1859, where he built up a substantial business.

However, when his brothers, Charles and Henry, died, filial

duty demanded that he should assist his father in New York.

He sold his business to three of his most able workmen and

became a partner in the firm of Steinway & Sons, New York.

Theodore took charge of the construction department, and

commenced those revolutionary improvements which have

made the Steinway a synonym of perfection in piano building.

C.F. Theodore Steinway

204

Theodore’s inventive and constructive genius had for all

these years been tethered by the every-day care of managing

all departments of his Brunswick factory. Freed now, with

unlimited capital, an excellent factory organization and the

most expert workmen at his command, Theodore Steinway had

opportunity seldom offered. He made the best use of it. Step by

step he invaded the fields of modern science, investigating and

testing different kinds of wood in order to ascertain why one

kind or another was best adapted for piano construction, then

taking up the study of metallurgy, to find a proper alloy for

casting iron plates which would stand the tremendous strain of

75,000 pounds of the new concert-grand piano that was already

born in his mind, calling chemistry to his aid to establish the

scientific basis for felts, glue, varnish, oils,—in short, nothing

in the realm of science having any bearing on piano construc-

tion was overlooked. Having thus laid his foundation, he

returned to Germany to be near Helmholtz and benefit by that

great savant’s epoch-making discoveries. It was but natural

that in time he became an intimate friend of Helmholtz, and the

world was benefited by that friendship. Theodore made

Brunswick his home again, going to New York at regular

intervals to superintend the execution of his inventions. At his

Tusculum in Brunswick he had one of the most complete

collections of musical instruments of every character, ancient

and modern, and he knew the characteristics of each so well

that it was a treat to listen to him whenever he was in the mood

to show and talk about his gems. To widen his horizon of

knowledge, he traveled extensively, meeting the shining lights

of science, art and literature wherever he went. Germany was

just then in its greatest period of scientific, artistic and

industrial Renaissance. Theodore profited greatly, being a keen

observer, and he set to work to bring to life in his piano the

discoveries of Helmholtz, Tyndall and others. The crowning

result was his Centennial concert-grand piano, with the duplex

scale, bent-rim case, cupola iron plate and improved action

which would lift that heavy hammer made of 23-pound felt by

the slightest touch of the key, setting the strings, which were of

a length and thickness heretofore unknown, in vibration.

Theodore was an intense and enthusiastic worker. Once

engaged upon a problem, he knew no limit of time. The author

has often discussed problems of piano building with him, the

experimental piano before us, until the early morning hours.

Physically and mentally very forceful, imbued with quite

Teutonic strength, he aimed to create a piano which would

respond to the demands of the modern dynamic compositions

of a Liszt, Wagner or Rubinstein, and would, orchestra-like, fill

the large modern concert hall to its remotest corners. He

accomplished this object without sacrificing that desired

nobility of singing tone quality.

While Theodore Steinway has not created anything

positively new in piano construction, he revolutionized piano

making and all auxiliary industries by forcing the acceptance

of scientific methods upon all who desired to stay in the

progressive march. He demonstrated to what extent science

can aid in the development of the piano by his own produc-

tions, and thus broke the path for the enormous development of

the industry during the past 30 years. This is more than all the

empirics have ever done. Theodore Steinway died at

Brunswick, March 26, 1889.

Compensation is one

of the inexorable laws of

nature. Great results can

only be achieved by great

efforts and corresponding

sacrifice. Steinway & Sons

had to pay their tribute to

the law of compensation!

Charles Steinway, born

on January 1, 1829, was

one of those silent workers

who fill most important

places in the world of activ-

ity. Of a modest and retir-

ing disposition, wrapped up

in his arduous duties of

organizing and managing

the ever-growing factories,

Charles knew no bound for his labors. He simply exhausted

himself and died a the early age of 36 on March 31, 1865,

leaving behind him as his monument the piano factory parexcellence, a foundation for Theodore and William to build

upon, without which neither one of these two great men could

have achieved their tri-

umphs.

Henry Steinway, Jr.,

born on March 27, 1831,

also paid the penalty for too

intense application to the

furtherance of ambitious

plans. Naturally of a highly

artistic, nervous tempera-

ment, Henry devoted him-

self to the nerve-racking

activity of inventing

improvements, and the

patent records speak loudly

for his great achievements.

Seeking food for his rest-

less brain—enlightenment

as to the demands of the

artist—Henry was at night-

time a studious citizen of

Bohemia, and during the

day nervously at work on

his drawing-board. Burning

the candle of life thus

brightly at both ends, it

could not last long, and the

talented young man died on

March 22, 1865, aged only

34 years.

The great calamity of

losing the two brothers

within three weeks’ time

threw the entire burden of

managing the great busi-

ness upon young William,

the aged father having

Charles Steinway

Henry Steinway, Jr.

William Steinway

205

gradually withdrawn from active assistance. William Steinway

was born at Seesen on March 5, 1835, at a time when the

Steinway family was enjoying prosperity and father and moth-

er were in their prime. He was a strong, healthy boy, physically

and mentally. Like his brother Theodore he attended the Jacob-

sohn College, but unlike Theodore devoted himself to the

study of languages and music proper, rather than listening to

dreary lectures on acoustics.

At the age of 14 he had a good command of English and

French, played the piano acceptably and had such a musical

ear that he could tune a three-stringed grand piano to perfec-

tion. When the family arrived in New York, William was

offered the choice of studying music, for which he had shown

pronounced talent, or learning piano making. He chose the lat-

ter and was at once apprenticed to William Nunns & Company,

one of the best-known New York piano firms of that time. As

soon as his father started in business William joined him, and

worked for several years at the bench, until the commercial

end of the business demanded closest attention. William was

by unanimous agreement chosen as the head of the financial

and commercial departments of the firm. It was his proper

sphere and furnished another illustration of the keen judgment

of Henry E. Steinway, Sr. He placed each of his sons where his

particular talents might produce the best results.

Being only 29 years of age when called upon to manage

an establishment of enormous proportions, William did not

waver. With the grit and determination inherited from his

father, he began to plan greater extensions. Theodore was

building pianos, William had to sell them. His pet scheme, a

great concert hall, was soon carried out—Steinway Hall was

opened in 1867 by Theodore Thomas’ orchestra, with S. B.

Mills as soloist at the piano. The opening of this hall was the

inauguration of a new era in the musical life of America. Anton

Rubinstein, Annette Essipoff, Teresa Carreno, Fannie Bloom-

field-Zeisler, Rafael Joseffy, Eugene D’Albert, Leopold Dam-

rosch and Anton Seidl made their bows to select audiences

from the platform of Steinway Hall. William Steinway knew

that the American people needed musical education. He pro-

vided it, and no one man has done as much for musical culture,

or has inspired the love for art among the American people, as

William Steinway.

Supporting Theodore Thomas’ great orchestra, so that it

might make its celebrated journeys through the entire country

(and without the aid of Steinway this would have been impos-

sible), William by most liberal offers induced leading Euro-

pean virtuosos to come on concert tours to America. He was

the ever-helping friend to young students and teachers. His

inborn liberality would often let the heart be master of better

judgment, but he never regretted his acts of benevolence, even

if sometimes repaid with base ingratitude.

To the astonishment and chagrin of the older and more

conservative houses in the piano trade, William started an

aggressive and heretofore unheard-of advertising campaign. As

a competent judge he knew that his factories turned out the

best pianos that could possible be made, and he was bent not

only on letting the world know it, but on making the world

believe it, as he did. This was revolutionary, even shocking,

but William persisted until he carried his point.

Having established the fame of his piano in America

beyond dispute, William looked for other worlds to conquer,

and opened a branch house in the city of London about the

year 1875. Steinway Hall in London was formally opened in

1876. In 1880 the Hamburg factories were started, to supply

the ever-growing European trade.

While thus engaged in building up this great market forthe products of the factories, William fostered ambitions inother directions. He wanted to see the name of Steinway on themap of New York; and with that end in view he bought 400acres of land on the Long Island Sound in 1880, and there cre-ated the town of Steinway. Starting with the erection of asawmill and iron foundry, in course of time the case and actionfactories were erected, and since 1910 the entire piano worksof Steinway & Sons have been located at Steinway, L. I., NewYork.

William Steinway was a strong man in every sense of the

word. As a young man he was counted among the invincible

athletes of the German Turn Verein, and even in his later years

it was one of his pleasantries to compare muscular strength

with friends. To say that mentally he was a giant is no exagger-

ation. Whoever can contemplate the multitude of details, aside

from the larger schemes, to which William Steinway paid clos-

est attention, the complex financial problems which confronted

him in times of business depression, the demands made upon

his time by artists, members of the press, etc., must wonder

how he could pay any attention to society or public affairs. Yet

we find that he was often called upon to lead a movement in

politics or municipal affairs, to which he would respond with

unwonted energy and ability. For 14 years he acted as president

of the Liederkranz, the leading German singing society of New

York. He was director in several banks and an active member

of leading clubs. Broad-minded and liberal to a degree, Wil-

liam Steinway could always look far beyond Steinway Hall

when danger threatened the piano industry or a helping hand

could be extended for uplifting. It is unfortunate that history

never will record his manly and heroic actions in the interest of

the entire piano industry of America during the dark days of

the great panics of 1893 and 1896. He stood like the Rock of

Gibraltar against the waves of destruction rampant in those

days, and by his great influence in financial circles, his sound

judgment and counsel, protected the credit and fair name of the

industry, often by timely

action preventing impend-

ing disaster to worthy

firms. He applied himself

with such intensity and

abandon to his duties that

even his wonderfully robust

constitution had to give

way under the protracted

strain and exertion. He died

prematurely on November

30, 1896, a martyr of con-

scientious devotion to duty

as he saw it. Carl Schurz

delivered the funeral ora-

tion and New York was in

mourning.Albert Steinway

206

The youngest son of Henry Engelhardt, Albert Steinway,

born on June 10, 1840, like his brothers had chosen piano mak-

ing as his life work, and after the death of Charles assumed the

management of the factories. He made the application of

machinery for manufacturing, modern heating and lighting sys-

tems his special study and thus kept the Steinway factories in

the front rank of progressive industrial establishments. The

development of the village of Steinway was mainly his work,

and the planning and erection of the sawmills, iron foundry,

metal shops and case factory were entirely in his hands. With

that restless zeal so characteristic of the Steinway family, urg-

ing him to accomplish in a given time more than his bodily

strength would permit, he undermined his none too strong con-

stitution and died at the age of 37 on May 14, 1877.

It is almost needless to say that in course of time honors

were showered upon the house of Steinway, in recognition of

its many valuable contributions to science, art and industry.

Theodore and William were elected Member of the Societies

of Art in Berlin, Paris and Stockholm, and William was deco-

rated with the Cross of the Red Eagle by Emperor William of

Germany. The highest prizes for meritorious products have

invariably been awarded to the firm wherever their pianos have

been exhibited, and the leading courts of Europe and Asia

bestowed the honor of appointment as “special purveyors” to

Steinway & Sons.

Charles H. Steinway, the president of the corporation, has

been honored by the Sultan of Turkey with the Order of the

Liakat; by the Republic of France with the Cross of the Legion

of Honor; by the Shah of Persia with the Order of the Lion and

Sun, and by the Emperor of Germany with the Order of the

Red Eagle.

All of the founders of the great house having passed to the

unknown beyond, their work is continued in most effectual

manner by their scions, who, true to tradition, divide the mani-

fold duties among themselves, according to their talents and

training.

Charles H. Steinway, son of the late Charles, directs the

commercial and financial policy of the corporation. His broth-

er, Frederick T., is in charge of the factories, assisted by

Theodore Cassebeer, grandson of Doretta Steinway-Ziegler.

Henry Ziegler, son of Doretta, and pupil of the late

Theodore Steinway, is in charge of the construction depart-

ment, assisted by the late William Steinway’s son, Theodore F.,

whose elder brother, William R., is in charge of the European

business.

Following their chosen leader cheerfully, just as Henry

Englehardt’s sons acknowledged their father’s authority under

all conditions, the active members of the House of Steinway

not only uphold the foremost position to which the founders

had attained, but are adding new laurels to the illustrious name

by constantly improving the quality of their instruments and

extending their influence, as leaders of the industry, to all parts

of the civilized world.

Theodore A. Heintzmann is perhaps entitled to the name

of father of the piano industry in Canada. Born at Berlin, Ger-

many, on May 19, 1817, he started as a cabinetmaker, learned

keymaking with Buchholtz

and perfected himself as a

piano maker under

Grunow. After traveling

extensively on the Conti-

nent of Europe, he landed

in New York in 1850,

where he found work in

Lighte & Newton’s factory.

Charles Steinway had his

work-bench in the same

room with Heintzmann. In

1853 he went to buffalo

and started the Western

Piano Company, which

enterprise had to be aban-

doned during the panic of

1857. Moving to Toronto in

1860 he started a piano shop without any capital, but his instru-

ments were of such a high order that he found purchasers for

them quite easily. The busi-

ness grew steadily under

his energetic management

and ranks today among the

leading industrial establish-

ments of the Dominion.

Heintzmann died on July

25, 1899. The business has

been taken over by a corpo-

ration, in the management

of which four sons of the

late Heintzmann take active

part.

Among the many

Germans who left their

fatherland after the failure

of the Revolution of 1848,

was Ernest Gabler. Born in

Glogau, Silesia, he landed

at New York in 1851, and

started in business in 1854.

Building a substantial piano

at a moderate price, he met

with considerable financial

success. He died February

27, 1883.

A peculiar character,

with many strong traits, we

find in Freeborn Garrettson

Smith. Learning his trade in

Baltimore, he worked for

some time in Chickering’s

factory. In 1861 he became

superintendent for William

B. Bradbury. Bradbury was

a musician by profession, who had bought an interest in the

firm of Lighte & Newton (established in 1848), and when he

dissolved partnership with Lighte, he found in Smith a good

manager for his factory. After Bradbury’s death in 1867 Smith

Theodore A. Heintzmann

Ernest Gabler

Freeborn Garrettson Smith

207

bought the business, continuing the name of Bradbury. Imme-

diately the commercial instincts of Smith came to the surface,

and he developed greater talents as a distributor of pianos than

as a maker. Original in his methods, he published for a long

time a testimonial of the well-known preacher, T. DeWitt Tal-

mage, in which the latter declared that if the angels are using

musical instruments in heaven, the Bradbury piano would sure-

ly be there, because of its sweet tone.

Smith was among the first who opened warerooms in lead-ing cities, selling his product direct to the public rather thanthrough dealers. He is counted among the wealthiest of thosemen in the piano trade who have accumulated their fortunes bythrift, energy and exceptional business ability.

While working at the melodeon factory of George A.Prince & Company of Buffalo, Emmons Hamlin made theimportant discovery of “voicing” organ reeds, so that a givenreed could be made to imitate a clarinet, violin or other instru-ment. He developed this discovery to perfection and in 1854formed a partnership with Henry Mason under the firm nameof Mason & Hamlin, for the purpose of manufacturing a newmusical instrument called “organ harmonium.” Hamlin was apainstaking, exact working mechanic, with considerable geniusas an inventor.

Henry Mason, reared under the best musical traditions ofBoston, and graduated from a German university, was imbuedwith that artistic devotion to music, which we find to this dateexpressed in the almost flawless instruments produced by theMason & Hamlin Company.

Starting with a small capital, but determined to producethe very best instruments only, the firm met with almost instantsuccess. Not content with the manufacture of their humbleinstrument, they soon developed what has become known asthe American Cabinet Organ. This instrument won for the firma world-wide reputation and the highest possible honors andawards were bestowed upon their products at all World’s Expo-sitions, wherever exhibited.

In 1881 the manufacture of pianos was added to theirindustries. The Mason & Hamlin piano advanced rapidly inpopular favor and is accepted by the most eminent virtuososand musicians of the day, as an artistic instrument of the high-est order.

Among the pioneers of the melodeon and organ industry

was Bernhar Shoninger, a

native of Germany, who

landed in America in 1847,

and started his factory at

New Haven, Conn., in

1850. Branching out to the

making of pianos, he

secured for his instruments

the same enviable reputa-

tion which had been

accorded to his organs.

Bernhard Shoninger died

on June 3, 1910. The busi-

ness is continued under the

able direction of his son, S.

B. Shoninger.

Myron A. Decker, born at

Manchester, N. Y., on January 2, 1823, served a four-year

apprenticeship with Van Winkle at the time when Albert Weber

was taking his post-graduate course in the same shop. He then

went to work for Boardman & Gray at Albany, and started a

factory in that city in 1856. At the State Fair held at Syracuse

in 1858 Decker received a diploma for the best piano exhibit-

ed. In 1859 he removed to New York, occupying for many

years the historic building on Third Avenue and Fourteenth

Street, in which Osborn, and later Worcester, had made pianos

many years before. In 1877 his son, Frank C. Decker, was

admitted to partnership and the firm changed to Decker & Son.

Myron A. Decker died

in 1901. He was one of the

old school of master

mechanics, more concerned

in designing and building a

thoroughly artistic piano

than in accumulating

wealth. The firm was

changed to a corporation in

1909, with Frank C. Decker

as president and manager.

Frank C. Decker, Jr., grand-

son of the founder, is

preparing himself, under

the tutelage of his father, to

perpetuate the well-earned

fame of the name of Decker

in the piano world.

Among a few who devoted their lives to the one object,

the improvement of the piano, especially its tonal qualities,

George Steck’s name will ever be mentioned as one of the first.

Born near Cassel, Germany, on July 19, 1829, Steck studied

with that celebrated master, Carl Scheel of Cassel. Coming to

America in 1853, he started his factory in 1857 and met with

such exceptional success that he was able to open Steck Hall

on Clinton Place, New York City, in 1865, where his concert

grand pianos were played by the leading artists of the day.

Later on a larger hall was opened on Fourteenth Street to meet

the demands of a steadily growing business.

Steck was one of those restless natures who are never

satisfied with the best of their work. As a scale drawer he had

no superior. His scales for both grand and upright pianos have

been industriously copied by makers of commercial pianos,

because of their exceptional

merit for clear and large

tone. His concert grands

have been highly endorsed

by Richard Wagner, Sophie

Menter, Annette Essipoff,

Sir Julius Benedict and

many others. Because of

the exceptional solidity of

the Steck piano, it has been

chosen for years by many

schools and colleges all

through the United States,

and has become known as

the “school piano.”Bernhard Shoninger

Myron A. Decker

George Steck

208

Personally, George Steck was a most lovable character,

who had no enemies, finding pleasure in the pursuit of his art,

with no particular regard for the commercial end of the busi-

ness. To assure for his co-workers proper compensation for

faithful service, Steck incorporated his business in 1884, allot-

ting shares of stock to his employees. Gradually shifting the

responsibilities and cares upon younger shoulders, he retired

from active participation in 1887. The last 10 years of his life

were devoted entirely to his pet scheme of constructing a piano

which would stand permanently in tune. His experiments in

that direction were very interesting, but he could not see the

fulfillment of his dream. He died on March 31, 1897. In 1904

the business was consolidated with the Aeolian Company of

New York, under whose direction the manufacture of the Steck

pianos is continued with great energy and ability. The business

having outgrown the home facilities, large additional factories

have been established at Gotha, Germany, to supply the foreign

demand for these pianos.

One of the prominent

piano manufacturers of the

early days was Henry

Behning. Born at Hanover,

Germany, on November 3,

1832, he learned piano

making with Julius Gercke

and came to America in

1856. He found employ-

ment in the shop of Lighte

& Newton. At the outbreak

of the Civil War he enlisted

with the Union Army,

taking part in the hostilities,

but was soon honorably

discharged for disability. In

1861 he started a business

making a good commercial

piano. In 1880 he admitted his son Henry to partnership, under

the firm name of Henry Behning & Son. He retired from

business in 1894 and died on June 10, 1905. The firm was

changed in 1894 to the Behning Piano Company, a corporation

under the management of Henry Behning, Jr., and Gustav

Behning.

Hugo Sohmer, born in the

Black Forest, Germany, in

1846, had the benefit of a

classical education, includ-

ing a thorough study of

music. He came to New

York at the age of sixteen

and served his apprentice-

ship with Schutze &

Ludolff. Returning to Ger-

many he studied piano

making for two years in

some of the leading

factories there. In 1870 he

founded the firm of Sohmer

& Company, by taking over

the business of Marshall &

Mittauer. Sohmer is a

thorough piano maker who

has patented many

improvements, enhancing

the value of his product.

With strongly developed

artistic inclination, Sohmer

has ever been satisfied to

produce an artistic in-

strument, rather than to

merely manufacture large

quantities.

Among the firms that

have succeeded in produc-

ing a high-grade piano and

scoring at the same time a

remarkable financial

success, Jacob Brothers

stand pre-eminent. Charles

Jacob studied piano making

with Calenberg & Vaupel,

who stood high among the

masters of their day, while

his brother, John F. Jacob,

worked for years with

Hardman, Peck & Com-

pany, and Billings &

Wheelock. They started in

business in 1878. After the

death of John F. in 1885,

the youngest brother, C.

Albert, was admitted to the

firm, and in 1902 the

business was incorporated.

Besides their own extensive

factory, this corporation owns the Wellington Piano Case

Company, the Abbott Piano Action Company and has also

taken over the Mathushek & Son Piano Company, and the old

established business of James & Holmstrom, all of which are

continued with marked success under the presidency of

Charles Jacob, assisted by his brother Albert.

One of the most interesting characters in the history of the

piano industry was Frederick Mathushek, born at Mannheim

on June 9, 1814. He learned piano making at Worms. After

serving his apprenticeship, he traveled through Germany and

Austria, and finally landed in Henri Pape’s shop at Paris, where

he became thoroughly infected with that inventor’s bacteria.

Returning to Worms, he began to build freak pianos similar to

those he had seen at Pape’s. One of his octagon “table pianos,”

built at Worms, is among the collection of antique pianos at the

Ibach Museum at Barmen. Although a splendid workman and

particularly gifted tone specialist, which enabled him to build

superior artistic pianos, his business was not a success

financially.

In 1849 Mathushek landed in New York, and was

immediately engaged by John B. Dunham to draw new scales

and make other improvements. It is said that Mathushek drew

a scale for overstrung square pianos in Dunham’s shop in

1850. It has never been disputed that the reputation which the

Henry Behning

Hugo Sohmer

Charles Jacob

C. Albert Jacob

209

Dunham pianos enjoyed in their day was due to the work of

Mathushek. It was here, also, that he constructed his piano

hammer-covering machine, which has been used as a

foundation for all later improvements in that line.

In 1852 Mathushek

started again on his own

account, continuing until

1857, when Spencer B.

Driggs tempted him with

most liberal offers to work

out the vague, not to say

wild, notions which Driggs

had conceived of revolu-

tionizing the construction

of the piano. It was impos-

sible for even so great and

versatile a genius as

Mathushek to achieve any

practical results by follow-

ing Driggs’ ideas, and we

find him in 1866 as head

of the Mathushek Piano Company, at New Haven, Conn. It

was here that he did his best work. His invention of the

linear bridge and equalizing scale enabled him to produce in

his small “Colibri” piano a tone richer and fuller than could be

found in many a large square piano, while his orchestral square

piano has never been excelled, if it ever had its peer. In volume

and musical quality of tone these orchestral square pianos were

far superior to many of the short grand pianos of the present

time, possessing, especially in the middle register, an almost

bewitching sweet mellowness of tone, reminding vividly of the

cello tones. Unfortunately for Mathushek, the owners of the

company soon commercialized the product, and his dream of

some day building a concert grand piano such as he had in his

mind was never realized.

He drew many grand piano scales for other manufacturers,

but, strange as it may sound, Mathushek’s scales were only a

success when he could work out the entire piano as he

conceived it in his own mind. It is no exaggeration to state that

Matheshek could, as a voicer, produce a tone quality in his

own pianos that no other man could imitate. The author had the

privilege of working alongside Mathushek for a number of

years at the New Haven factory and observed the radical

transformation of tone quality after Mathushek had gone over

the hammers with his tools. A good player of the piano, with a

wonderfully sensitive and trained ear, he quickly detected an

almost imperceptible shortcoming and usually knew how to

correct it. His fault, if it is to be called so, was his irrestible

restlessness in seeking for improvements, which often robbed

him of his night’s rest and prompted continual changes while a

large number of pianos were in course of construction. Modern

manufacturing methods do not permit of too much experiment-

ing, and like his master, Pape, Matheshek died a poor man. In

1871 he left New Haven, and with his grandson started the

firm of Mathushek & Son in New York. It was finally changed

to a corporation and consolidated with Jacob Brothers, under

whose able management the business has flourished.

It is impossible to discuss or even to enumerate the mani-

fold inventions of Frederick Mathushek. He was even more

prolific than Henri Pape, but differed from Pape in not being

given to merely experiment with ideas for the sake of novelty.

Mathushek’s whole existence was dominated by the desire

to produce in a piano that ideal musical tone which he could

hear mentally, just as the deaf Beethoven heard his symphonic

poems when he wrote them. Mathushek never had an opportu-

nity to develop what he had in mind and felt in his soul. He

came near to it in his orchestral square piano, and almost

accomplished his aim in his equilibre system. The piano

industry of America is largely indebted for its wonderful

development to the genius of Frederick Mathushek. He died

November 9, 1891.

With hope and high

ambition, William E.

Wheelock entered the trade

in 1873, at the age of twen-

ty-one years, as a member

of the firm of Billings &

Wheelock. In 1877 the

partnership was dissolved,

and he began the manufac-

ture of the Wheelock piano.

In 1880 the firm name

became William E. Whee-

lock & Co. The demand for

the Wheelock piano had

increased so rapidly that

better facilities became

necessary, and a large

“Table Pianos”

Frederick Mathushek

William Wheelock

210

factory with grounds comprising 21 city lots on 149th Street,

New York, was acquired. In 1886 the Stuyvesant Piano Com-

pany was started to meet the demand for a medium-priced

piano, and in 1892 control of the business of the late Albert

Weber was obtained. Wheelock and his partners, Charles B.

Lawson and John W. Mason, organized the Weber Piano

Company and thus became the first manufacturers who could

offer to the trade a full line of the most merchantable grades:

the Weber, a piano of the highest reputation and qualities; the

Wheelock, as a first-class instrument, and the medium-priced

Stuyvesant—all made in separate factories, but practically

under one control and management. This idea, later on, was

successfully followed by many of the leading concerns in the

United States. When the opportunity to consolidate his three

companies with the Aeolian interests presented itself in 1903,

Wheelock saw the greater possibility for the future of his enter-

prise in such a combination and entered into the arrangement

whereby he became treasurer of the new and larger corporation

then formed, while remaining president of the several piano

companies of which for many years he had been the head.

Educated as a musi-

cian, becoming a violinist

and orchestra conductor of

note, Simon Krakauer, born

at Kissingen, Germany, in

1816, came to America in

1854 and started manufac-

turing pianos in 1869, with

his son David, who had

learned the trade in A. H.

Gale’s shop and later on

worked for Haines Brothers

and other New York

makers.

It was but natural that

the thorough musician,

Krakauer, should strive to build an artistic piano, making

quality the dominant effort,

seeking to obtain musical

tone quality. In 1867 Julius

and Daniel Krakauer

joined, and the firm was

changed to Krakauer

Brothers. In 1903 the con-

cern was incorporated.

David Krakauer died in

1900, and his father in

1905.

William B. Tremaine,

born in 1840, entered the

piano business in 1868 as a

member of the firm of Tre-

maine Brothers. A man of restless disposition, cultured and

versatile, he seized upon opportunities whenever presented.

When Mason J. Mathews had his orguinette ready for the mar-

ket, Tremaine organized in 1878 the “Mechanical Orguinette

Company,” and marketed these automatic instruments by the

thousands. Later on the “Celestina” (an enlarged orguinette)

was introduced with considerable success, and in 1883 the

Aeolian organ was brought out. Acquiring in 1888 the patents

and stock in trade of the Automatic Music Paper Company of

Boston, Tremaine organized the Aeolian Organ & Music Com-

pany, manufacturing automatic organs and music rolls. Success

crowning his efforts, he purchased in 1892 all the patents

owned by the Monroe Organ Reed Company of Worcester, and

in 1895 introduced the “Aeriol” self-playing piano.

W. B. Tremaine was the founder of the business of manu-

facturing automatic playing musical instruments. Before the

advent of the “Pianola” there was neither competition nor

encouragement from the piano trade, and it required a man of

keen foresight and courage to meet these conditions and make

a success of the business, as he did, up to the time of his relin-

quishing it to his son.Simon Krakauer

William Tremaine

RICHARD SINGER RECITALFrom New York Times (1857-Current file): May 5, 1924; ProQuestHistorical Newspapers The New York Times (1851-2001) pg. 19

Pianist Wins Approval of Audience, Especially in Chopin.

Richard Singer, a pianist well known in Europe, gave his first New Yorkrecital at the Aeolian Hall yesterday afternoon. Mr. Singer, who has formedhis style on Busoni and Leschetisky, recalled Moritz Rosenthal, to whom hebears a striking likeness, in his manner of playing Bach; the same weightypronunciamento, with the same clear and definite exposition. When he playedLiszt, he reminded the listener of the elder school, for he built his interpreta-tion of the Weimar pianist on the authority and authenticity of Busoni.

When he came to Chopin, represented by the “Andante e Spianato Polon-aise,” he revealed himself as a romantic of a fine order; it was a beautifullyproportioned performance, ductile in tone and emotional in content. Theaudience had by this time convinced itself of Mr. Singer’s high qualificationsand recalled the pianist after every piece. Three braceted numbers introducedMr. Singer as a composer of varied moods, a somber prelude preceding a“Moonlight at Capri,” where the melody was effectively upborne by theground-swell of the ocean, and an eccentric tarantella. The remainder of theprogram permitted contrasts between Debussy, MacDowell and a concerttranscription from “Carmen,” in all of which Mr. Singer carried the approvalof his audience.

Obituary

RICHARD SINGERFrom New York Times (1857-Current file): March 1, 1940; ProQuest

Historical Newspapers The New York Times (1851-2001) pg. 26

Richard Singer, concert pianist, died of a heart attack on

Wednesday night while rehearsing in a studio at 66 Fifth

Avenue. He was 61 years old and lived at 504 West 166th

Street.

Mr. Singer, who was born in Budapest, studied under

Busoni in Berlin and Theodore Leschetizky in Vienna, the

latter being the teacher of Ignace Paderewski. He had

appeared under many well-known conductors, among them

Richard Strauss, Felix Weingartner, Sir Henry J. Wood and

Josef Stransky.

He came to this country about 1924 and maintained a

studio for some years in Steinway Hall. He had formerly

been on the faculty of the New York School of Music and

Art.

Mr. Singer had been connected with the Federal Music

Project for various periods during the last few years.

-JO I~I (0 ·Terr ified of the ocean, Granados nevertheless sailed to New York for the premiere of theopera on 28-1-1916.

METROPOLITANOPERA HOUSE

Sunday Evening, May 7, 1916

BENEFJT CONCERT EXTRAORDINARY

Granados was scheduled to perform at a Carnegie Hall benefit concert on 15-III-1916

"for the musicians for the Paris Conservatoire, sufferers of the war~ He had planned to

depart New York immediately afterward, but an unexpected in vitation to perform at the

White House changed his plans. Granados and Dutch soprano Julia Culp performed

there on 7 -III-1916. Granados and his wife left for Europe almost immediately. Theyspent several days in London as guests of the Catalan sculptor Ismael Smith and on 24-III

they boarded the British ship Sussex, bound for France. While crossing the English Channel

the vessel was torpedoed by a German submarine and both Granados and Amparo wereimmediately drowned.

TUI TU~AT.t: MAGAZIJIl!. Co.• PvaLIiHun.

Under the Auspices of the

*~/~~f:/~~

/'

Witnesses claimed that Granados, safely in a lifeboat, saw Amparo struggling in the water

and leapt in to save her. Still others said that it was Amparo who tried to save her husband

and that the y were last seen in each others arms before disappearing in the waves . However,

given the hour of the attack-around 1 PM., the couple were almost certainly in the first

cla ss salon, and died instantaneously. The torpedo struck only part of the Sussex, leaving the

rest of the ves sel intact. It was brought to Boulogne and th e Granados' luggage and personaleffects were recovered.

/~~~~

~a;:f1z~;;;4-=--COENRAAD V. BOS

FRITZ KREISLERJOHN McCORMACKIGNACE PADEREWSKI

EDWIN SCHNEIDER

For the Orphan Children of

ENRIQUE GRANADOS

BOARD OF DIR.ECTORSOF THE

METROPOLITAN OPERA COMPANY

ANDREA DE SEGUROLA

MARIA BARRIENTOSJULIA CULPPABLO CASALS

IV

IV......IV

I :..!~ '''f'IUt...htn l'ill"d 10 ItS car~"lt~. <'anbe COttll"i!".: ;II ,h" mltlutr-. C.:huu1ie 1I1f' n":&tC".~' r,;J np'" JRli r,

caw of ftH11 ...I" quif'tJr f110 nhe til" I II' diu f'tir III erder to I"lIi,l p2ui,:.

Metropolitan Opera House

Sunday Evening. May 7th. 1916. at 8: 30 0'clock

Benefit Concertfor the Orphan Children of Enrique and Amparo Granados

Under the Auspices of the Buard of Directorsof the Metropolitan Opera Com pall}'

-to SO;-';GS (a) "Come Ae;ain Sweet Love"(b) Miinonctte -(c) Seandchen - I(d) ClDu bist die Ruh" I

AIM£. ClILl'! wi•• Mil.. COESII.AAII v, BOS II .h. Pi....

5. PIANO SOLI (a) Marche Funebre(b) Berceuse(c) Polonaise. A Flat

Mil. PADEREWSitl

Il<...,k, -Mil. ANDRF.A lit: Sf-GUII.OLA

6. (a) Amor y Odio (Love and Hate) - ~

(b) EI Majo Discrete (The Discreet Lover)( c ) Eleltia Eterna - - - - ,

MM£. BARIlIENTOS ,,"h tolR. CASALI II the Pi....

() /d EII.(lisirlI't(ltrli"

&lzuDtrt

C/,opin

Granados

TWO DUETS(a) Berceuse., "Angel's Guard Thee" (from Jocelyn) Godard(b) Le Nil - - - - - - - uroux

1.

ProgrammeT RIa, Op. i9 (B Flat) - - - - L. 1'. B((th~-vrll

I. AJleiro Moderato.II. Scherzo. Allegro.III. Andante Cantabile ma pero con moto.IV. Alleiro Moderato.

"IE.~SR~. PAJ)~R~W'''I. KRIiISLEII. .nd CASA'.5

I.

l:l.

(a) Aria (from the D Major Strinr Suite)(b) Minuetto con variazioni

MR. CA~AI_' ..it" !tfk. KR":I~r.f.1l at lite Pianu

J. S. Bad,Haydn

2. (a) SinKer's Consolation(b) The Goddess in the Garden(c) The Lord is my LiKht

Mil. JOHN llcCO.MACK wi,b Mil. FRITI. KRIiIS/.IiR .. ,I... Pi....

3. (a) Rondo (on a theme by Beethoven) _(b) Spanish Dance -(c) Tambourin Chinois

WIl. II::I.EISI.£II. wi.h "Il. PAIU.O CASAI.S .. II... !'i....

o

•'i.·/'U1IIanliGrallados

- Allium

I\rtisk-rGranades

Krrisl,,.

(;\

loll. ~kCOII.~IACK ••• 1 ~tR. "IlEISLER

)til I!UWIN SCHSEIIlF.1I at ...< Pi.....

MM£. PADEREWSKI hal contriltuted one h_dred 01 h.r Pol~h Relul••

Doll. which will .,. .old after the concert, for the Itenefit of

til. CRANADOS CHILDREN.

B~ MME. PADEREWSKI at tit. Broa"wa~ ••trance

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213

New from David Caldwell Music Rolls400 Lincoln Lake Ave., N.E., Lowell, MI • Phone: (616) 897-5609 • [email protected]

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40031 Sleigh Ride (Leroy Anderson) arranged by Dave Junchen- a hit for Christmas! This roll is also available on Duo-Art.

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213761 Goodnight Sweet Heart, p/b Arden & Carroll, best arrangement ever!

215351 When I Grow Too Old to Dream, p/b Shipman (Carroll), “B” coded.

60943 Chinese Tambourine (Kreisler) p/b The Original Piano Trio, hot chop suey!

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20201 Bimini Bay, Foxtrot p/b The Original Piano Trio, great Prohibition song!

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DavidWFrom [email protected]

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New Roll releases from Dave Caldwell: (see his website for more deails if you wish)

214

June 2005 We are delighted to announce that John Farrell and Bob Billings have released another batch of exciting 88-note pianorolls featuring a variety of jazz piano styles including James P. Johnson, Teddy Wilson and others playing a varied selection of tunesin their own unique, jazzy way. No matter what your preference is in jazz piano there will be something here which will appeal toyou.

The 6 titles listed below are available now, and for a small additional charge you may order previously issued rolls from our extensivearchive which is published on John’s website. The rolls are issued on the JAM label, so if jazz, blues, boogie-woogie and hot dancemusic are your cup of tea then these are certainly for you. Below are the details of our current offerings with a brief note on each byJohn. You may listen to midi files of these tunes, which are exact replicas of the rolls, before you buy on John’s website at

ttp://homepages.tesco.net/~stridepiano/midifiles.htm

The rolls are priced at $15 each, plus postage (Europeans can pay John in pounds or euros if they wish), we also accept payment byPayPal and Western Union. Order from John (European) at [email protected] or Bob (US) at [email protected] (or via snailmail at 14010 Rim Rock Drive, Reno NV 89521, USA). Payment in advance, please. Shipping to US addresses is $3.50 for the first1 - 2 rolls, plus $.50 for each additional, via media mail. Shipping to European addresses is $10.00 for the first 1 - 2 rolls, plus $1.00for each additional, via surface.

Let us know your email address and we will send future offerings by email. If you are interested, we will email you a file of the rolltitles and prices.

JAM 231 – Sunday as played by Teddy Wilson. Transcribed from Wilson’s 1939-40 recording session for Keystone when he was atthe peak of his elegant pianistic prowess. No fireworks here, just great swinging piano from beginning to end.

JAM 232 – My Monday Date as played by Claude Bolling. Another of John’s transcriptions, this one from the brilliant Frenchpianist Bolling’s 1972 Philips recording on which he emulates the style of the composer Earl Hines.

JAM 233 – Old Fashioned Love as played by James P. Johnson. One of James P.’s most famous and popular tunes which John hastranscribed from the definitive 1944 recording. Jazz piano doesn’t get much better than this!

JAM 234 – On The Sunny Side Of The Street as played by John Farrell. Written by the dream team of songsmiths Dorothy Fieldsand Jimmy McHugh, John’s jazzy version explores every nook and cranny of this beautifully constructed foot-tapping number.

JAM 235 – 133rd Street Boogie as played by Sammy Price. Sammy, one of America’s most accomplished boogie-woogie pianists,composed this one. John has transcribed the 1945 recording, be warned that this roll will give your piano a real workout.

JAM 236 – Pick Yourself Up as played by John Farrell. Dorothy Fields again, this time teamed with revered composer Jerome Kern.Pick Yourself Up has got to be one of Kern’s very best, John’s arrangement does the complicated harmonic sequence full justice whilemaintaining an infectious rhythmic beat throughout.

HHOOTT PPIIAANNOO RROOLLLLSS!!

New from Bob & Ginny Billings - Rock SoupPhone: (775) 853-4659 • 14010 Rim Rock Drive • Reno, NV 89521 • [email protected]

Possible Wurlitzer 10-Tune APP Roll Recuting Project

If you are interested in obtaining mostly never-before-recut Wurlitzer 10-Tune APP (Automatic Player Piano) rolls, including at least 1 - all Blues & Mainly Pre-WWI material, let me know. Tune list and prices have not been finalized. Run will be limited to 17 sets of Aprox. 36-40 rolls. Full sets for sale only. If we can get enough people interested a list of rolls and a final price will be established.

Please let me know if you are interestedE-Mail: [email protected]

or my Mail: Stephen Kent Goodman5731 E. Bernadine Dr.Tarpey Village, CA 93727-7235

215

NewsFrom

The Chapters

An April meeting was held at Chapter President Jerry

Pell’s home in Wrightwood.

This small town is located northeast of Los Angeles at a

6,000 foot elevation.This is one of those Southern California

areas which in the wintertime if you do not have a four-wheel

drive vehicle, you better stay home till the snowplow clears

the roads.

We had no such trouble, as it was a perfect spring day. It

made a scenic drive for us who live in the boundaries of a big

city.

Jerry’s piano collection consisted of a 5 foot 8 inch 1919

Knabe Ampico “A” and a Kawai 7 foot semi-concert grand.

Also of interest was a restored Edison upright phonograph

which plays 78 RPM or Diamond Disc records.

Jerry’s real passion is band organs, as many as he can get

into his home. We saw and heard three Wurlitzers: 103, 125

and a 146 “A”. His latest addition and pride and joy is a circa

1900 67 keyless Gebruder Bruder fairground organ playing

book music. Everything was in perfect condition; even his

workshop was neat and clean with everything in its place.

Since our host was busy getting his collection ready for the

meeting, Ardis Prescott and Brooke Osmundson volun-

teered to furnish treats for the members, which they did. Since

this was our first meeting at our host’s home, I’m sure we all

left with a better knowledge of band organs, if not a ringing in

our ears.

SOUTHERN CALIFONIA CHAPTERReporters: Lloyd Osmundson and Richard Ingram

Pictures by Lloyd Osmundson and Bill Klinger

After the first part of the meeting at the home of Jerry

Pell concluded, the members made their journey to the home

of Richard and Beverly Ingram, stopping for lunch along

the way.

On display at the Ingram’s were a wide variety of player

pianos, including a Melville Clark Apollo Player, a Haines

Ampico Upright, and a MIDI equipped Stroud Duo-Art Grand

Piano. The Spencer Chase MIDI system utilizes a laptop com-

puter to play any of 2,600+ songs. The recent installation of

the MIDI system combines the nostalgic piano with modern

technology without compromising its’ roll playing capability.

A short demonstration was given of an electronic key-

board being played by an Aeolian 65 Note Push-Up Player

that Richard won on eBay from David Ramey. He was fortu-

nate to get this instrument working (at least somewhat) the

day before the meeting. A few people sang along with the

piano roll “Owed (Ode) to Richard”, which is part of his

extensive piano roll collection. This is a parody song written

by Bob Denerson to the tune of “On Top of Old Smoky”. A

fun time was had by all.

Our hosts Richard and Beverly Ingram and a small portion of theirhuge roll collection.

Richard playing for the sing-along –notice the LARGE words on the roll.

216

SOUTHERN CALIFORNIA

ORGAN RALLIESReporter: Shirley Nix

Photographers: Bill Klinger and Jack Conway

This chapter held two organ rallies so far this year. The

first one was our annual presentation at Descanso Gardens.

This is always a favorite, both with us and with the crew at

the Gardens. Descanso sends out almost 10,000 mailers and

arranges articles in the local newspapers. Add to that the fact

that Huell Howser will run his program, which he did at

Descanso covering the organ rally a few years ago, every year

a couple of weeks ahead of our appearance, and you have a

media bonanza.

This year the date came when Southern California had

been having record rainfall, and the morning didn’t look too

promising, but we brought tarps and umbrellas to face the day.

We had a few drops from time to time, but I do mean a few.

The attendance wasn’t quite as high as normal, but still

good. People look forward to hearing the music they

remember, and enjoy the weekend.

There were organs all over the Gardens, with Jerry Pell

and Lloyd Osmundson both bringing their new Bruder

Organs, both having had work done (the organs, not Jerry and

Lloyd), and both playing like they should, and looking great.

Dave Bernstein brought his Limonaire, and Charlie and

Jackie Porter came up from San Diego. There were several

other medium organs, and lots of monkey organs. It filled the

Gardens, and everyone, both the public and the organ owners,

had a good time.

Bill Blair and an Edison phonograph which plays Diamond Discs or78 RPM records.

L to R: Members Robin Biggins, Ken Hodge, and Richard Ingramwatching the Gebruder Bruder musical book feed operation.

Richard Ingram handles the Nix Limonaire while Frank and Shirleytake a lunch break.

Lloyd Osmundson’s Bruder, the facade restored by his wife Brooke.

Jerry Pell’sorganizedworkshop.

Jerry Pell and his Wurlitzer 125

217

The second rally was held in Pasadena for their

“Museums of the Arroyo” Day. This was our second year

there, and it is also a nice venue for the organs. They are

placed at several locations. The Mota Day Celebration brings

out good crowds, and the museums furnish shuttles from

place to place. There were organs at the Museum parking lot,

at the Gamble House, at the Heritage Square, and a few other

spots. This is another great family day, with the organs and

also craftsmen showing off the skills of the era.

Frank and I missed this one, as we had received a call to

bring a small organ to the Los Angeles Sister Cities Festival,

where one of the speakers was to be the Mayor of Berlin.

They wanted a German organ playing German music, so we

took our Hofbauer to that event.

We have a couple of tentative organ rallies planned for

the summer, but no set dates as yet.

Our next meeting will be July 9 at the home of Frank

and Shirley Nix, with a barbecue planned. There will be

music also. It should be fun.

In October we are hoping to have a meeting in Northern

California. We are, at this time, trying to find out if there is

interest in hiring a bus for this one.

December will probably find us back at the Nix home for

the Christmas Meeting.

Of course, the very next event will be the Convention in

Minneapolis, which we are looking forward to. It’s always fun

to see friends from around the world.

Bill Klinger and his monkey organs

Peter Breede demonstrating his monkey organ.

The Ingram piano (patriotic piano) on the porch at Heritage Square.

One of the craftsmen displaying his skill.

A future AMICAn? Catch them young!

218

LADY LIBERTY CHAPTERReporter: Buzz Rosa

President: Vince Morgan

Photos by Buzz Rosa

In July we had a barbecue at the home of Bill Maguirewhere we were treated to view a very rare Mason and Hamlinpiano with no tuning pins. We were informed that this type ofpiano would go out of tune so rarely that the piano techunions forced the company to abandon the production. Eachpiano came with its own tuning device and instructions for theowner to tune his own piano. Our workshop, presented byBarry Dennis was on the fine points of restoring a Duo-Artpiano.

In October we met at the lovely home of Paul Cianciaand Dennis Westervelt in New Jersey. The beautifullyrestored Hupfeld Phonoliszt-Violina stole the show. Even theMills Violano Virtuoso sat silent as we watched the violinsdance in the top of the Hupfeld. We did listen to both Ampicoand Duo-Art pianos between rolls, but they were no match forthe star performer.

Our end of the year meeting was held in the home ofGlen Thomas and his lovely wife, Kim Kleason. The weather cooperated nicely as we listened to the Ampico piano,Link nickelodeon, Wurlitzer changer and more. Kim and hermother prepared the wonderful dinner; while her father set upa Lionel train to represent trains in Manhattan.

Due to inclement weather our first meeting of 2005 washeld off until mid March. To make up for lost time together,this was a triple-header. We began at the home of our president and his lovely wife, Vincent & Maryam Morganwith a home-cooked meal that brought many complimentsand some people asking if they could stop by often for dinner.Business was taken care of and discussion of a new chapterlogo took center stage, with several options being presentedby our resident artist, Bob Stuhmer. No decision was madeat that time, but people were asked to think about the variousoptions and we would vote on them at the next meeting. Italso turned out that over the years so many of the members ofthe chapter had a hand in repairing and restoring the KnabeAmpico piano currently owned by the Morgans that it seemsas if it was an unofficial chapter project.

Following the business session we had two open houses.One group went to Keith Bigger’s home to hear a concert onhis Haines Bros. Ampico piano that was once owned byMelville Dewey (inventor of the Dewey Decimal System ofcataloguing books) and his Moller Artiste Reproducing PlayerPipe Organ. The other group went to the home of Dave Palter to see his vast collection of steam and electric trains,listen to his pianos, music boxes and Edison 24 changer-andto view his 1936 Auburn, which is in factory showroom con-dition. Then the groups switched places.

Dave Palter enjoys the sound of a double Mills Violano-Virtuoso

Keith demonstratesthe crescendosystem used inAmpico reproducing pianos

Paul Ciancia and Paul Manganaro discuss restorationmethods during the meeting

Paul Cianciademonstrates avery loud violin

invented byJohn Stroh in1904 — now

called a Strohviolin withresonator.

Keith Bigger holds the award he received from AMICA Internationalfor outstanding work and leadership. Thank you Keith for restoringinterest in the Lady Liberty Chapter

219

Randy Herr, Paul Manganaro and Hugh Kleasen enjoy theorchestrion music and watch the Lionel trains run

Dale Rowe examines the rewind mechanism of the Style C orchestrion

Hugh checks for aloose wire or railjoint on the Lionellayout

Glenn stands by hismodel IX Wurlitzer

which holds six5-tune rolls andhas pipes and a

xylophone

Glenn and KimThomal pose infront of theirWurlitzerViolin-FluteStyle Corchestrion

Viewing the back of the model IX reveals the rank of pipes and thexylophone

Ray and Jane Scheffy playrequests on the Ampico

A group tour of Glenn’s roll collection creates interest in someunusual titles.

Keith Biggerdemonstrates his

Haines BrosAMPICO to a

full basement ofAMICANS

Keith demonstrates toBob Stuhmer the rollplayer mechanism ofthe Artiste ReproducingPlayer Pipe Organ.

220

Dale Rowe stands by theBass pipes located nearthe rear of the basement

Some of the trumpet pipes wererequired to do a 360 Degree turn tofit in the pipe chamber.

Ira Malek listens toDave Palter’sEdison Autophone

Ira and Walter Kehoeenjoy Dave’s Seeburg G

Dave Palter tells us the history of his World War I Era MarklinTrains - some of which actually burn alcohol and run on steam.Keith manually

plays the ArtistePipe Organ as

Dale Rowe andJohn Dousmanis

watch.

TEXAS CHAPTERReporter: Suzanne & John McCall

President: Jerry Bacon - (214) 328-9369

FEBRUARY MEETING

How lucky can a chapter get? Two spectacular meetings

in two months!

Walter and Jessie Moore hosted the chapter at their

home in Lake Highlands are of Dallas on February 26th

assisted by their son Charles. They have a large collection of

both reed and pipe organs, dating from 1870. All of these are

in top working order due to the expertise and repair talent of

Walter and his son Charles. Also in the collection is a 15-inch

disk music box and pump organ, vintage 1870, and many

cylinder music boxes.

Charles Moore designed and built a computer driven

machine to put pins in a wooden cylinder for music boxes. He

sells these worldwide. They also own several hand crank reed

organs. Walter has many great stories of discovery of big

organs and the difficulty of transport and installation into his

home.

Jessie Moore has a beautifully displayed doll collection.

Some of these dolls were elaborately dressed in period clothes

by her daughter, Karen Vaughn, Doll Artisan of the former

magazine, Doll Makers Workshop.

This meeting was a wonderful afternoon and especially

significant due to the gracious tour and demonstration of each

instrument by the Moores.

221

APRIL MEETING

Art Eltzroth, Cleburne, Texas, hosted a spectacular

dinner meeting at his 200-acre lake front estate on April 22,

2005. Some 100 members plus guests of the Texas Chapter

and the Heart of America Chapter were his guests for a great

evening.

The planning and execution of this event was the result of

Texas Chapter VP Bill Boruff collaborating with Mr. Eltzroth

and the Annual Spring Fest in Cleburne, Texas. This event

provided a perfect venue for the band organ rally the

following day, Saturday, April 23, 2005.

Mr. Eltzroth’s estate provided a beautiful setting for the

catered Mexican Dinner and entertainment. This included Bill

Thacker on the Roland Electronic Keyboard, Jesse Mears on

the fiddle, and Kathy McVickerson on the guitar. Bill Boruff

and his beautiful wife Sharron danced a mean Polka to the

music. The audience cheered the entrance of Galen and

Linda Bird’s animated toy monkey on a tricycle. The Bird’s

also helped to organize the meeting and set up the instruments

at the Spring Fest on Saturday.

Attendees enjoyed listening to Art Eltzroth’s collection of

instruments. These included several Stinson Band Organs, an

Encore Banjo, and a Calliophone.

Members who transported instruments for the Spring Fest

event are: Ron & Mary Jo Bopp, Jay, Oklahoma – 1915

Gebruder #107 Fairground Organ; Leonard & Billie

Railsback, Kansas – Stinson Organ; Larry Kern, El Paso,

Texas – Stinson Ambassador Band Organ; Tom & Kay Bode,

Jessie Moore with 19th centurypump organ and her “dolls”.

Walter Moore demonstrating hiscollection.

Charles Moore with musicbox wooden cylinder.

Charles Moore’s music box cylinder maker.

Art Eltzroth (center) surrounded by his Family.

Animated toy monkey ontricycle owned by Galen andLinda Bird.

Kathy McVickerson on guitar, Bill Thacker on electric keyboard,Jesse Mears on fiddle at Art Eltzroth’s.

222

Larry Kern’s Stinson Ambassador Band Organbrought from El Paso.

Leonard Railsback’s Stinson Band Organ.

Elaborate player piano at Art Eltzroth’s.

Wurltizer Cabola Replica-Art Eltzroth.Art Eltzroth’s Stinson Band Organ.

Ron Bopp and Sharron Boruffwith Ron’s 1921 Gebruder Fairground Organ.

Kansas City – Jaeger Brommer 20 key Acrylic Monkey

Organ; Dwayne & Beverly Steck, Dallas, Texas – Wurlitzer

153 Band Organ; Richard McDowell, Liberty, Missouri –

Self Playing Accordian plus an Ed Schmidt Concert Band

Organ with 315 wood pipes; Walter, Jessie, and Charlie

Moore, Dallas, Texas – a Grand Roller Organ; and Gerald

Koehler, St. Louis, Missouri – helped Art Eltzroth set up the

instruments.

This meeting and the band organ rally the following day

are a tribute to the perpetuation of the goals of AMICA –

keeping automated musical instruments alive. This concept

was beautifully described in a publicity article about Spring

Fest in the Cleburne Times-Review, April 22, 2005 (no author

listed): “Examples of technology such as these performed in

the Royal Palaces of Europe, elegant drawing rooms of New

York, Speakeasies in Chicago and the finer Saloons of the

Wild West. They were a staple of any upscale event from the

1890s to 1920s.

At a time without benefit of television or radio or movies

with sound, automatic instruments offered a window to a

future of automation. Wealthier families may have possessed

their own player piano or polyphone or cylinder music box.

Larger organs and instruments, which recreated a multitude of

sounds, often appeared at street fairs.”

What a wonderful weekend – Viva Art Eltzroth!

223

Band Organ at Art Eltzroth’s. Dee Tyler, Robbie Tubbs, Charles Tyler with their OGM

Tom Griffith shares his Rafffin with a young visitor

Gary & CynthiaCraig withtheir Stuber

HEART OF AMERICA CHAPTERReporter: Gordie Davidson

President: Tom McAuley

Let the music season begin! Annnnnd .. so it did as the

HOA Chapter conducted their 25th Annual Band Organ Rally,

April 16th at Historic Fort Leavenworth, Kansas. The rally

was conducted in conjunction with the annual Fort

Leavenworth Historic Homes Tour. Fort Leavenworth,

located on the western bluffs of the Missouri River, has been

an active military installation since 1827. The fort is rich with

American history and 19th century structures. It was the

starting point for both the Oregon and Santa Fe Trails.

Approximately 40 members with 20 instruments from 4 area

States attended. The weather was absolutely perfect along

with an enthusiastic group of visitors. This year marked the

10th anniversary since the first HOA rally conducted at Fort

Leavenworth in 1995. The day was completed with good ole

fellowship and dining in Historic Weston, Missouri.

Charlemagne’s European Bistro provided an intimate dinner

setting with an absolutely stunning menu. Co-located with

the restaurant is the National Silk Art Museum which houses

the premier collection of individual silk art pieces in the

United States. Judge T.F. Plunkett, a Weston local, welcomed

the group to town and clarified what their responsibilities are

as visitors – mainly – drink responsibly and spend generously.

Jim Fletcherwith his Raffin

224

Members relax on O’Malley’s Pub Terrace

Chapter President Tom McAuleywelcomes members to Charlemagne’s

Judge T.F. Plunkett welcomes members to Weston

Big Boymakes a big entrance

Blaine Thomas and Galen Bird.

Blaine Thomas, his daughter and grandchildren pay a visit.

A collection of WWII posters.

Dirk Kirklinadmires the

Steinway

JUNE MEETING

Heart of America chapter members met June 4, 2005 at

the Thomas Museum in Manhattan, Kansas. Blaine

Thomas has just completed an extensive expansion of the

museum and was eager to share it with our members.

Ed Schmidt, one of our members, had been working

for weeks rebuilding the organs. He had just completed a

Bursens and the Mortier. This is an excellent example of Art

Deco in the 30’s. Blaine is now having another Bursens

rebuilt that came out of the Miles Musical Museum in

Eureka Springs, AR.

After touring the museum Saturday, Blaine and his

lovely wife, Armeda took us to dinner at his favorite restau-

rant.

Sunday morning, chapter president Tom McAuley

called our meeting to order. After the meeting, the members

headed home, very impressed with the improvements to the

Thomas Museum.

225

This Gebruder Bruder band organ was made in Waldkirck, Germany

HOA members relax and enjoy the sunshine.

Jason York and Billie Railsback

Newly restoredDecap.A great exampleof art decor inthe 30’s.

Perlee Dutch street organ.These organs are now on

the Historical Registerin Holland.

This Steinway Duo Art makes beautiful music.

The Dutchess, a 1938 Dance Hall organ.

This very rare Fidelio was made inGermany around 1910.

It has a Swiss movement.

226

The museum has something oldThe museum also has something

new (figure from Star Wars)

This Ruth Organ was made in Waldkirck, Germany

Western Electric 1925 coin operated piano with Xylophone.

This Wurlitzer Military Band Organ is all original.

Wurlitzer 125 with bells is all original

227

SIERRA-NEVADA CHAPTERReporter: Nadine Motto-Ros

President: John Motto-Ros (209) 267-9252

In June, we had a two-day (June 11 and 12), two-club

(AMICA Sierra-Nevada Chapter and MBSI Golden Gate

Chapter), two-home (Motto-Ros and Williams) event.

Day one was at the home of John and Nadine Motto-

Ros in Sutter Creek—a Gold Rush location on the historic

California State Highway 49. Prior to lunch, members

enjoyed roaming the house to check out the Marshall &

Wendell Ampico B and Mira (Empress) Concert Grand disc

music box in the living room. Nearby in a large hallway is a

Mason & Hamlin upright grand which plays manually or by a

PianoDisc system. The Cremona G is across the hall in the

office (see photo of Chip Lusby playing by hand). Down-

stairs in the entry hallway on the way to the music room is a

Seeburg KT Special and Encore Banjo. The music room

houses John’s pride and joy—a 1912 Seeburg G restored last

year by Dave Ramey. An Aeolian upright player piano, Link

2E Nickelodeon, Coinola C2 Orchestrion, Empress Electric Y

Orchestrion, and 1927 Seeburg Audiophone Jukebox are also

located in the music room. For a change of pace, we enjoyed

“live” music provided by ragtime pianist Tom Brier.

Day two we met at the mountaintop home of Kent and

Margie Williams in Newcastle, CA, where the view was

clear in every direction for as much as a hundred miles. From

late snow in the High Sierra, past the Sutter Buttes, across the

Coast Range and the wine country hills to Mt. Diablo and

Lake Folsom, the 350-degree spectacle is a sight to behold.

The house is a dodecahedron (12-sided structure) maximizing

the spectacle in all directions. The new music room is packed

with cylinder and disc boxes, hand-crank organs,

phonographs, Victrolas and miniatures of all sorts. Their

Wurlitzer 103 band organ is mounted on a 1920’s trailer

behind a 1930 Ford Cabriolet Model A, plays 125 rolls, and

has an added glockenspiel. Kent still has his first instrument,

a heavy oak upright player piano by Leopolo De Visscher

which plays 60-hole rolls, 13-1/2 inches wide, approximately

11 holes per two inches. Kent plays this instrument, just

slightly modified from its 1881 configuration, with a

computer driving his Pianocorder solenoid system. It is

further upgraded to run on downloaded midi files, a set of

xylophone bells, and a full-featured synthesizer completes the

orchestra sound using Cakewalk software. Other items on

display are an extensive antique bottle and glass collection,

old pistols, religious antiquities, worldwide masks, clocks,

Bennett and Erte’ bronzes, and much more. Margie’s

magnificent pink English transferware collection dominates

most rooms, a museum quality display on its own. Her

collection is being reflected in two books she is writing about

early dinnerware.

John Haskey, Bing Gibbs and Cyndy Haskey.

Sonja and Bob Lemonwith the Cremona G.

Dave Ramey, Jr. andJohn Motto-Rosin front of therestored Seeburg G.

Bob Lemon, George Cunningham, Doug & Vickie Mahr relaxing onthe Motto-Ros patio.

Arlo “Chip” Lusbyplaying the Cremona G

228

BOSTON AREA CHAPTERSecretary: Ginger Christiansen

President: Bill Koenigsburgs (978) 369-8523

Judy Caletti, Bob Lemon, John Motto-Ros, Bob Caletti,Caludine Jones, and Bing Gibbs in the music room.

Kent & Margie Williams’ Wurlitzer band organ.

Some of the group enjoying the Williams’ beautiful backyard;don’t see anyone in the pool!

Minutes – 6/5/05

Ginger and Chris Christiansen’s home, Nashua, NH

President Bill Koenigsberg called the meeting to order.

There were 19 people present: one new member – Greg

Flynn, and one guest: Merrill Furbush

Old Business:

1) Discussion on the progress of the CRMI. The chapter

needs to re-establish contact with the museum. Delivery of

piano to museum to take place 3 months from today – Sept. 2,

2005.

2) Membership – lack of growth – possible solutions were

discussed. Announcement in Musical Digest for next

meeting to see if that will help.

New Business:

1) Karl Ellison resigned as treasurer. Appointment of some-

one to fill this position until election was discussed

2) Dorothy Bromage showed pictures of past meetings.

3) Moment of silence for Sanford Libman who passed away.

4) Results of Skinner Auction from his estate. There is a list

of salable items – non-musical remaining.

5) Merrill Furbush brought in a box of pieces of wood. It

turned out to be a reed organ bench.

6) Beehive Organ Reeds is no longer in business as a source

for restorers

7) Bill Koenigsberg recommended PC World as source of

helpful information.

Treasurer’s Report:

Current balance is $1551.46

Secretary Report: Was not read

Next Meeting:

4 places were offered: Gerry and Gale Bay in RI, Ed & Jean

Everett in NH, Bob Hunt in ME and Clair and Bob

Bowerman in RI.

Members toured Chris’ shop, generally entertained them-

selves, bought and sold items, and enjoyed a varied repast.

Respectfully submitted,

Ginger Christiansen, Secretary

AMICA - Boston Area Chapter

229

MECHANICAL MUSIC by Kevin McElhone

As an AMICA project, the Midwest Chapter has available copies of the book “MechanicalMusic” by Kevin McElhone for a very reasonable cost. The 4”x 8” paperback book is an excellentintroduction to all aspects of automatic musical instruments including history, descriptions, andbasic principles of operation. The book has 48 pages with over 100 color photographs including aphotograph of J. Lawrence Cook at his arranging piano. The book is ideal to acquaint individuals to automatic music and encourage prospective collectors to participate in AMICA.AMICA members who host groups and individuals for display and demonstration of their instruments should have a number of copies on hand to make available to people that wish tolearn more and/or have a memento of their visit. Each book will be provided with a large AMICAlabel on the inside front cover and an AMICA membership pamphlet insert. The book is to beprovided at cost including postage within the continental US for $6.00 each for 1 to 9 copies and$5.00 each for 10 or more copies. Payable by cash or personal check made out to Michael Barnhart.

Contact Mike Barnhart, 919 Lantern Glow Trail, Dayton, OH 45431, phone 937-254-5580, e-mail [email protected]

The Augustiner MuseumFreiburg, Germany

Announces the Opening of the Grand Exhibit

“100 Yearsof the Welte-Mignon Piano”SSeepptteemmbbeerr 1166,, 22000055 ttoo JJaannuuaarryy 88,, 22000066See and hear the history, instruments (some on specialloan to the museum), people, and artists of a past andglorious age of piano music recording. The exhibitincludes many items never before displayed frompersonal collections around the world!

Exhibition Catalog availablea must for all piano and music collectors.

For details and additional information please contact:[email protected]

Mike Kukral recommends accommodations a few hundredfeet away from the Museum at “Hotel Schwarzwaelderhof”.

E-mail: [email protected](5-05)

230

ADVERTISING GENERAL INFORMATION ABOUT

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

Mike Kukral216 Madison Blvd.Terre Haute, Indiana 47803Phone: 812-238-9656e-mail: [email protected]

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

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

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

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

CLASSIFIED AD RATES FOR AMICA MEMBERS:1-50 Words . . . . . . . . . . . . . . . . . . . . . . . . . . . $10.0051-100 Words . . . . . . . . . . . . . . . . . . . . . . . . . $20.00101-150 Words . . . . . . . . . . . . . . . . . . . . . . . . $30.00

Non-member rates are double for all advertising.

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

Special 6 for 5 Ad Offer - Place any ad, with no changes, for afull year (6 issues), and pay for only 5 issues. Payable in advance.Photographs or halftones $15.00 eachLoose Sheet or Insert Advertising: InquireWe recommend that display advertisers supply camera-readycopy. Copy that is oversized or undersized will be changed tocorrect size at your cost. We can prepare advertisements fromyour suggested layout at cost.PAYMENT: U.S. funds must accompany ad order. Make checkpayable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed.DEADLINES: Submissions must be received no later than thefirst of the odd months (January, March, May, July, September,November). The Bulletin will be mailed the second week of theeven months.

(Rev. 5-05)

FOR SALE

G ROLL COIN OPERATED PIANO with Xylophone and Pipes$5500. Coin operated barrel Street Piano wih bells $1800. Apt. sizeearly Player Piano Elect. or pump $1200. Paul Cuoco, 113 MonumentAve., Wyoming, PA 18644 Phone 570-693-2764. (5-05)

4’-8” AMPICO grand, 1931 Haines Bros. William and Mary casewith matching bench, restored A/B player works beautifully. $15,000.offers. Available: 5’-4” Knabe AMPICO “A” mahogany (1925), 5’-2”MW AMPICO “A” mahogany (1924), MW studio AMPICO A/B(1930), Knabe, large upright AMPICO “A” (1919). 404-378-1949(Georgia) (1-06)

MANY AMPICO parts including pumps, SIX player pianos in goodcondition, benches, stacks, air motors, motors, etc. All for $1200.Contact Bruce Mercer at [email protected]. (4-05)

1929 CHICKERING ART CASE AMPICO A Grand scarce 5’4”Spanish Mediterranean harpsichord style, with 9 legs, spreaders andwrought-iron furniture. I’m only aware of one other in a collection.Older restoration plays well, with a little very minor finish crazing.Bench, roll cabinet and numerous rolls included for $15,995. CharliePoulton, Tampa FL 813-973-7030 [email protected] (5-05)

PIANOLA “PUSH UP” piano player. Very rare 65-88-note version(one of two known). Mfg. by The Orchestrelle Co., London, circa 1908.Restored circa 1995. With 80 rolls, including original 65-note test roll.Photos available. $7,500 firm. Dick Howe, 73 Saddlebrook Lane, Houston, TX 77024, 713-680-9945 [email protected] (5-05)

1923 MARSHALL AND WENDELL GRAND Piano with Ampicoattachment Serial No. 107203. Bench included with many rolls. Majoroverhaul and recent cleaning by Vincent Wukmir of Piano Masters,Upland CA. Contact Helen Storland 357 N. Trayer Ave. Glendora CA91741, 626-335-4796 or [email protected] (4-05)

PIANOCORDER P-100 KIT, SER. NO. 07530 (=1987), In orig. factory carton, never installed in piano, $500. Tape deck, power supplyand some circuit boards are replacements because I used originals toservice piano installations, but everything is new condition. Wade Johnson, RI [email protected] 401-934-3049 Also tape Vols.2, 3, 7, 11, and 12, $30 each. (4-05)

1926 KNABE 5’4” Ampico grand player piano. Very good condition,plays well. Serial #14800. Mahogany bench included, rolls included.Call Richard at 949-489-3717 or cell 949-280-1943 $3,000.00 (4-05)

HANDMADE BARREL AND PNEUMATIC ORGANS made inGermany. With moving figurines and a lot of humorous surprises. See: www.magic-mechanical-music.de Musik & Spiel Automaten Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2;Tel: 07626-7613, Fax 07626-971009 (6-05)

1924 STEINWAY OR Duo-Art walnut Art case w/veneer damage from fire on one side, rebuilt player, in crates, w/new Ivory keys$11,500 Condition: D; 1995 BALDWIN 4’7” red polish Mah.W/Pianodisc $8,900 Cond.: A; 1987 YAMAHA G2 Ivory polishs/Pianomation $8,900 Cond.: A; 1920 FRANKLIN 56” Ampico Mah.$3,500 Cond.: B+; MARIONETTE AMPICO GRAND original complete w/matching bench $2,500 Cond.: C-; 1995 STORY &CLARK 42” Wal. $2,500; AMERICAN PLAYER PIANO 48”Studio, $2,900. Contact: Schroeder’s Pianos 562-923-2311 (4-05)

NEW PIANO ROLL BOXES-Duo-Art Audiographic series-Exactlylike the originals! Maroon with Gold Printing, all 3 sizes available!(small & medium are “Top Hat” style) $7.00 ea. Quantities are limited,so get them before they are all gone! AMPICO “Top Hat” boxes-BlackLeather with Gold Printing and False Bottom, Exactly like the originals,$4.00 ea. 88 note roll boxes in two sizes-Large (fits 2 3/4 flange) covered with Black Alligator paper (Top), Black Leather (Bottom). OrBrown Leather Paper (Top & Bottom) $3.00 ea. Small (fits 2” flange)Covered with Black or Tan Leather Paper (Top), White Litho (Bottom)$1.50 ea. Other repair supplies available-Parchment Leaders, Tabs,Tubes, Flanges, Repair Tissue. Quantity discounts available. RichIngram [email protected] (760) 244-ROLL (7655) (4-05)

“Talent is a target no one else can hit;

Genius hits a target no one else can see.”

- Arthur Schopenhauer (1788-1860)

STEINWAY RED WELTE GRAND (T-lOO),Hamburg Model 0 ,with original rolls . Please contact [email protected] for additionalinformation . Alejandro Radchik , Av. Mexico 37-507 , Condesa 06 100,Mexico, OF. [Mexico City] Tel.: 0 11- 52-555-419-5374 (4-05)

AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS.New Recuts and Originals, including "Jumbo" and Program Rolls. AlsoN.O.S. QRS 88 Note rolls. Dave Caldwell, 400 Lincoln Lake Ave. N.E.Lowell, MI 4933 1; Check out my website: www.revealer.corn/caldwell/email: DavidWFromMI @webtv.net; phone: 616-897-5609 . (1-06)

WANTEDOAK BENCH or STOOL for 1879 oak pump organ. Please call oremail at469-698-0560 0r brun05000@ea rthlink.net (5-05)

The THREE FOOT PEDALS for an Ampico Upright Piano . Thesepiano pedals have a hole and set screw. Vince Ricca (614) 488-4208 ,cricca@w ideopenwest.com (4-05)

FILMUSIC, PICTUROLLS, AND SUPERTONE PIANO ROLLSwanted. Call Alex at 209-478-0099. (4-05)

BENNET LEEDY RESTORATIONS4660 HAGAR SHORE ROAD

COLOMA MI 49038Phone 269-468-5986

Fax 269-468-0019email: [email protected]

High quality restorations of Ampico ,Duo-Art, Welte and other reproducingpianos . All makes of 88 note player

pianos , and other automatic instruments.RED WELTE MIGNON piano rolls (T-100). Paying top dollar. MikeKukral 812-238-9656 or Kukra [email protected] (6-05)

WANTED: 88-NOTE ETHNIC ROLLS, especially Russian, Greek,Jewish, Hungarian, and Syrian. Happy to buy, trade, or borrow rollsfor copying. Excellent references . Help spread diversity! Contact BobBerkman at bobb@qrsinc com or 716-882-1826 (4-05)

ANNOUNCEMENTSA tour of Mechanical Music and Christmas Markets in Black Forest.Museum and Private Collections in Freiburg - "100 Years Welte";Triberg, Waldkirch; Elztall; Furtwangen Musical Clocks; WelteRestoration in Ettlingen; Speyer and famous Bruchsal. Dec 1-10 , 2005.$1 ,795 per person including air from NYC. Brochure? 1-800-262-4284or [email protected]<mail to: [email protected]> (5-05) Web Page: www.leedyrolls.com (4-05)

www.BluesRolls.com** Since 1988 **

Rare vintage player piano rolls reissued - over 400 great ragtime, blues and popular 88-Note musicrolls; Ampico, Duo-Art, and Welte Licensee rolls of popular and classical music are available, as wellas "A" roll recuts for your nickelodeon piano.

A NEW LIST of fine Duo-Art classical (and some pop) music and Welte popular (and some classical)rolls is now IN STOCK and READY TO SHIP! Twenty of each, plus new 88-note BLUES recuts bysuch greats as James P. Johnson and "Fats" Waller. Browse to www.bluesrolls.com or email fordetails: robdelandeabluesrolls.com. You can also call or write for a list - please specify which type ofroll interests you!

BluesTone Music RollsRob DeLand / 485 Gatewood Lane

Grayslake,IL 60030 / 847-548-6416(6-05)

231

.JOHN WRASSEPIANO MOVING

Specializing in:Player Grands, Nickelodeons & Orchestrions

Anywhere in Continental US

• • • • • •

BENNET LEEDY ROLLSTHE PIANO ROLL CENTER4660 HAGAR SHORE ROAD

COLOMA MI 49038Phone 269-468-5986


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Reproducing, 88 note, 65 note, rolls.Musical related publications and othercollectibles for sale by mail auctions.

Serving collectors since 1970.

Contact us to receive our auction lists.• • • • • •

25 years experienceKnowledgeable Rebuilder

Well-known. References AvailableInsured

Your instrument is wrapped, padded andsecured for transport in an insulated,clean custom-built heavy-duty trailer.

Professional and personal service.

John P. Wrasse, Piano Pro31449 216th St., Bellevue, IA 52031

Phone: 563-872-3495 - Cell : 583-580-2472E-mail: [email protected]

I 'I~'

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(4·05)

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Web Page: www.leedyrolls.com

75 Prospect Avenue

Eureka Springs, AR 72632

(800) 671-6333 • (479) 253-0405

MUSIC BOXES

MUSICAL CLOCKSMECHANICAL ORGANS

MARTIN ROENIGK

www.mechantiques.com·[email protected]

Always in the market for better quality disc and cylindermusic boxes, musical clocks, singing birds, band organs,player organs, monkey organs, Wurlitzer 78 rpm jukeboxes,slot machines. Any condition.

(6-05)

~

r WANTED TO BUY

232

LEEDY BROTHERS MUSIC ROLLS4660 HAGAR SHORE ROAD

COLOMA MI 49038Phone 269-468-5986


Welte LicenseeDUO-ARTAMPICO

88 NOTELimited edition reissues and new music rolls.

Contact us or check our web page for our latest list of music rolls.Web page www.leedyrolls.com

(4-05)

AMPICO - DUO-ARTWELTE - RECORDO

88 NOTEIncluding, Jumbo, Program and Medley Rolls

Offering listings of new recut and original rollsof above for direct purchasing, without bidding.

Also buying small and large collections

Write or e-mail for listings and prices.Include P.O. address

and type you're interested in.

http://www.revealer.com/caldwell/

Dave Caldwell400 Lincoln Lake Ave., N.E.

Lowell, MI 49331

[email protected] (1-06)

TRAIN TOUR &CONVENTION

--Join us for a unique tour of the premier miniature railways of Northern California. This tour,which will visit world renown railroads, suchas the Redwood Valley RJory. and SonomaIrainiown, will also take you to very privateand exclusive railway s that can only be seenon one of our tours. Dates: September 25October 2, 2005.

Can't get away for a tour? Come join us forour one-of-a-kind Grand Scales Convention,Sept. 30 - Oct. 2, 2005, in Reedley, California(near Fresno). There you will be treated toplenty of train rides, be educated and entertained by our seminar speakers, and can evenrun a locomotive! For details, please contact

530-527-0141 or visit our web site:

www.grandscales.com

233

(6-05)

Northwest Band Organ RallyThe Pacific Can-Am Chapter of AMlCA is Sponsoring

their third Band Organ Rally, this year in

Leavenworth, WashingtonAugust 20 and 21, 2005

in the Cascade Mountains of Washington .What a wonderful place to spend part of your vacation

in the Evergreen State of Washington!

_Leavenworth is on Highway 2 which goes across the- mountain range from Seattle to Wenatchee just east of..._ Steven's Pass ; The village made itself over in the: Bavarian Style . You wouldn't know that you weren 't--- .- in the German Alps when/ou drive into town.

-In addition to the Happy' Sound of our member's Organs. of alldescriptions there are.lots of shops within hearing

distance. Of course German food is plentiful.

On top of this, the village ishosting a Wine Tasting Festivalsponsored by the CascadeFoothills Farmland-Association!

Travelingwith a Monkey Organ? Hurdy Gurdy?20ft. Fair Organ?'Join-us. There's no registration fee! Just let lis know you're

~c~~ng , in that case , so we can ~ake room for you.

For more information write or call:Robert K. Wilson

2564 38th Ave W, Seattle, WA 98199-3202.Phone : 206-282-5248, Fax: 206-691-9963

E-mail: [email protected] (4-05)

n~\{l\a"er Vianv IerJll~t A Complete Restoration Service Ce

For The Pneumatic Piano

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

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

Ben Gottfried464 Dugan Rd.. Richfield Springs, NY 13439

315-858-2164

Visit the AMICA Web Pageat

www.amica.org

\.i

.~""'~O";.u - ee-~ j~s&

BARTON PlAYER PIANOSFull pneumatic and piano restoration services -30 yrs. expo

2715-4TH ST. S.E., Mpls., MN 55414612 378-1102

* 100s ofnew and used piano rolls* restored 1928 Fischer spinet Ampico

$8500 reduced to $6500* 1931 Stroud Grand wi "late" Duo An System

(easy to maintain piano action). Piano ingood original condition. Player 90% restored. $5,995.

* Marshall & Wendell Ampico Grand. Rebuilt B.a.* Stunning 1912 Schimmel UR Refinished

1/4 sawn Oak case wi planomation system. $8995folowing pianos not on site

* 1925 Mason & Hamlin AmpicoA. Case refinished.Ampico system rebuilt 20 yrs. ago. Piano XL originalcondition. $15,000 reduced to $13,500.

* 1917 Anniversary edition Melville Clark 6' Chickering I. \, -

Grand. Good to fair original condition. $3500

~

www.banonplayerpianos.com (3-05)

234

235

MARTY PERSKYAutomatic Musical Instrument Specialist

Serving Collectors and the Trade WorldwideInstrument Brokering & Locating

Collections / Estates / Individual InstrumentsAppraisals / Inspections / Free Consultation

Some Great Instruments Offered – Call for Images & Videos

Also Regina 27” Changer 23,000, Mills Single Violano unrestored 18,750, Regina Desk 14,500, Wurlitzer 146 A with bells, Polyphon Mikado 16,000, other Music Boxes, Automata, Books, etc.

Website: www.MechMusic.com

Tel. 847-675-6144 6514 N. Trumbull Ave.Fax. 847-675-6160 Lincolnwood, IL 60712 USA

E-mail: [email protected]

6’2” RAA Mason&Hamlin AMPICO Asuper piano must sell 12,000

Knabe Ampico Bw / Ampichron

Link E with xylophoneand torch glass 17,000

Nat’l Dog Race w / Selector 23,000 Big Bruder Playing 165 rolls 18,500 Paillard 31cyls 22,500

(6-05)

236

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

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

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

C. Black on ivory (Most common)

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

E. Green on ivory (Most common)

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

G. Welte Brown on buff (Most common)

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

Please make checks payable toAMICA INTERNATIONAL, And send to:

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

e-mail address for orders:[email protected]

Checks or moneyorders from foreign

countries must be drawn on U.S. bank.

Style QuantityA ______________

B ______________

C ______________

D ______________

E ______________

F ______________

G ______________

Total Quantity ______________

Price: $ 1.00 eachMinimum Order: $10.00

Postage and Handling $ 5.50

Roll Order $ ________

Total Amount (U.S. $) $ ________

BIG SONG HIT OF"PASSING SHOW OF 1917"at N.Y. WINTER GARDE

WORDS BYC.FRANCIS REISNER

AND

ENNY DAVISMUSIC BY

ILL: ~ BASl<ETTE-

POPULAR Lr. EDITION

LEO. FEIST'NC: -~ NEWYORKHERMA" DAAEWSKI MUSIC PUBUSHJHG CO.LOHDON.[IilG.

Documents

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