The AMICA News Bulletin Automatic Mufiical Instrument Collectors' Association

July 1986 Volume 23 • Number 5

The AM:ICA News Bulletin Automatic Musical Instnunent Collectors' Association

DOROTHY BROMAGE, PUBLISHER 45 Forest Road 1207J 767-4446 Cepe Elizebeth, ME 04107

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

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PUBLICATION DEADLINES FOR 1986 For January/February issue January 10 For March issue February 10 For April issue March 10 For May/June issue May 6 For July issue June 10 For August issue July 10 For September/October issue September 10 For November issue October 10 For December issue November 10

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

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

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

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

Frazer Treas: Alvin Wulfekuhl Reporter: Sue Ricca

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

SOWNY (SOUTHERN ONTARIO, WESTERN NY)

Pres: Carl Guhlow Vice Pres: Ganry Lemon Sec: Chris Barley Treas: Mike Walter Rep: Harold Hodgkins

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

Don Wick Treas: Jere DeBacker

LADY LIBERTY Pres: Lenny Finkel Vice Pres: Oliver Vitaki! Sec: Margery Vitak,s Treas: John Ellems Rep: Dennis Valente

CHAPTER OFFICERS IOWA

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

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

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

Dumas Reporter: Ruby Ahneman

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

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

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

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

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

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

•••••

AMICAlnternational

1987 CONVENTION ST. PAUL MINNESOTA

AMICA/MBS Joint Convention July 23-28

Co-Hosts: Northern Lights Chapter of AMICA

Snowbelt Chapter of Musical Box Society

• 25th Anniversary Convention • 1988 - San Francisco

Host: Founding Chapter

• Do you wish to become a member of AMICAI Write to Membership Secretary. Annual fee for U.S. members $22 Canada and Mexico (air) $26 Other non-U.S. countries (surface) $26 New and lapsed members add processing fee $5

• Has your address changedl Write to Membership Secretary.

• Do you have a ~ontribution for the Bulletinl All subje<;ts of interest to readers of the Bulletin are encouraged and invited by the Publisher. Every attempt will be made to publish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the publisher.

See Bulletin deadlines on previous p;.1ge.

Original bulletin articles, or material for reprint that is of significant historical quality and interest, are encouraged and will be rewarded in the form of AMICA membership dues discounts. (Inquiries and Chapter reports are excluded.)

AMICA International News Bulletin Volume 23 Number 5 July 1986

CONTENTS Features

Florence Svoboda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 92 Eddy Hanson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 92 Hands 104 Noted Artists Collaborate 106 Elly Ney 108 Laurel & Hardy Fans Convene 109 A Short History of the Master-Touch Company.

Sections Two and Three 94

Departments AMICA International . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 91 That Special Roll . .. 92 News from the Chapters 98 Classified Ads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 91

Cover:, From Emmett Ford, pictures of Elly Ney. See articles, page 108. For'a related feature in this issue of the Bulletin, see more hands of pianists, page 104.

* 91 *

INTfRNAnONAL OffiCERS PRESIDENT Terry Smythe

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

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

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

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

PUBUSHER Dorothy Bromage (207) 767-4446 45 Forest Road Cape Elizabeth, ME 04107

MEMBERSHIP SECRETARY Will Wild and Valerie Anderson New memberships

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

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

BOARD REPRESENTATIVES Founding Chapter: Phil McCoy Southern California: Dick Rigg Texas: Bob Smith Midwest: Vincent Ricca Philadelphia Area: Bob Rosencrans SOWNY: Jan Drewniak Rocky Mountain: Dick Kroeckel lady liberty: John DeParis Iowa: Alvin Johnson Boston Area: Sanford Libman Northern Lights: lowell Boehland Sierra-Nevada: Chicago Area: Jerry Biasella Heart of America: Ron Bopp Southeast Area: John O'Loughlin Gateway: Del Sewell

COMMrnHS TECHNICAL, Melluchetti

3449 Mauricia Ave., Santa Clara, CA 95051

ARCHIVES, Jim Weisenborne 73 Nevada St., Rochester, MI 48063

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

AUDIO-VISUAL, Bill Blodgett 73 Nevada St., Rochester, MI 48063

AFFIUATm SOClmES - See May/June ... issue for addresses

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

(Germany)

AMlCA's Silver ADniversary ConventioD

by Alf Werolin

Mark yc1Ur 1988 calendar! AMICAcame alive 25 years ago - in 1963 - in San Francisco. It

is appropriate, therefore, to celebrate our Silver Anniversary where it all began. And what a great place it is to celebrate our heritage.

The San Francisco Founding Chapter will host the AMICA S~ver

Anniversary Convention on June 24th through June 27th in '88. So begin your planning, save your pennies, assemble your wardrobe, and prepare yourself for the biggest, greatest, fun-filled, nostalgic yet exciting extravaganza you've ever attended!

Gene McGraw, President of the Founding Chapter, has appointed a convention committee which is already at work planning fabulous entertainment events, comparison concerts by live recording artists, theatre and opera house performances, organ and reproducing piano concerts, automatic musical instrument displays and technical sessions, specialty marts, exotic meals, costume tea dances, home collection visits, sightseeing, cable car rides, souvenirs, surprise parties and fun glore. AIl of AMICA's Honorary Members will be there so you1l meet them, talk to them and hear them perform. You11 renew friendships with members from allover the world! An old-time San Francisco Hotel has been engaged for this gigantic get-together which will bring back memories and provide an appropriate atmosphere for your visit to the city known as "Baghdad By the Bay."

You will be hearing more about AMICA's Silver Anniversary convention as details are completed. In the meantime, however, MARK YOUR CAlENDAR FOR JUNE 24th-27th IN 1988 and begin making plans to join us for a once-in-a-Iifetime experience. We look forward to your being with us in '88!

In Memoriam Florence Svoboda

1913 -1986 by Art Reblitz

On April 10, 1986, Florence Svoboda of Chicago Heights, H1inois passed away. Flo and AI together owned and operated Svoboda's Nickelodeon Tavern at 24th and Butler in Chicago Heights, where they displayed and shared one of the largest collections of automatic musical instruments and other mechanical antiques from the early 1940's through the mid 1970's. At that time the antique collections were moved to the new Svoboda's Nickelodeon Tavern operated by their two sons in Lynwood, H1inois, and later dispersed, while AI and Flo "retired" to continue running the old tavern in Chicago Heights for a few local customers.

Flo was a remarkably energetic person, spending most of her working years opening Svoboda's first thing in the morning, dealing with customers, employees, salesmen, deliverymen and bookkeep­ing through much of the day, tending bar and managing the waitresses in the evening, usually staying up until the last stragglers left in the wee hours of the morning, only to get up again after a short night's sleep ready to start the next day. Flo could speak her mind to the orneriest customers and salesmen, but to those who knew her she was a caring, genuine friend. We will dearly miss her.

Contributions Needed for Lampoon Bulletin

~.... As a supplemen$ to the November 1986 AMICA News Bu~etin,

there will be a lampoon issue. Contributions are requested. To know what is needed, just look at any Bulletin: reports, advertisements (display and classified), biographies, technical material, "That Special Roll," inquiries, etc. Pictures and diagrams will spice it up, of course, as well as cartoons.

Please submit items soon - no later than-October 1, for this special supplement.

The last lampoon was much fun, and it triggered several contribu­tions immediately after it was published. These contributions, already received, are forming the nucleus of the new one. Get your sense of humor (and the ridiculous) and your imagination in gear and send the result to:

Dorothy Bromage, Pub_her AMlCA News BaDetiD

45 Forest Road Cape Elizabeth, Maine 04107

/'

Duo-Art #68890 "Etude in F-sharp minor" and "Etude in C-sharp minor" (Bortkiewiez) Played by Robinson

Mitton Cooperman 9 Bronson PI. Toledo, OH 43608

Ampico #66961H, #66971H, #66981H "Tunes for Two" accompaniments to easy duets (secondo part) Series No.1, No.2, No.3

Dorothy Bromage 45 Forest Road Cape Elizabeth Maine 04107 (207) 767-4446

Duo-Art

"Douze Etudes" Op. 25, No.1 (Chopin) Peter V. Fritsch RD #1, Box 815 Alburtis, PA 18011

Is there a special roll YOU want? Send as much information as possible to Dorothy Bromage, 45 Forest Road, Cape Elizabeth, Maine 04107.

* 92 *

Eddy Hanson, master organist, composer is dead at 92 Ethwell I. (Eddy) Hanson, nationally known master or­ He lived in Waupaca and the Chain 0' Lakes area for

ganist, composer and pianist, died on Saturday, Feb. 22, many years and was a longtime featured perfonner at at the Wisconsin Veterans Home. King, at the a~e of 92. Simpson's restaurant in downtown Waupaca.

He was born on Aug. I, 1893 in New London, a son to the late Mr. and Mrs. Gustav Hanson.

In his early years, he made his name in music in Chicago, IL. He also played the saxophone and was a soloist with the John Philip Sousa Band. He wrote his rust musical composition at the age of 14, and over his career wrote more than 300 pieces which are listed with the American Society of Composers, Authors and Publishers (ASCAP).

He was the first radio organist in Chicago, beginning in 1923 on station WDAP (now WGN), and later became staff organist at Chicago stations WBBM, WLS and WCHr NBC, during the years 1924-1948. He was also the rust organist to play the original Amos 'n Andy theme song on radio. His personal radio theme, "If A Wish Could Make It So," introduces the Amos 'n Andy theme on his master album.

In 1924, Eddy wrote "At the End of the Sunset Trail," which became one of the rust big radio hits of that year, being featured and headlined by many radio stars The song was on the "best selIer" list for 15 weeks.

A few years earlier, he had written "Rattlesnake Rag," which was used on the sound track of the In I morion picture "Reds."

From radio, he was selected to follow the famous Jcs~

Crawford as solo organist in Chicago. And another noted

EDDY HANSON AT THE KEYBOARD

organist, Ken Griffin, had great success when he recorded Mr. Hanson had lived at the veterans home since April Hanson's song, "Why Did You Break My Heart?" 1984.

He was recognized as the last of the "super star solo He is survived by two sisters, Peggy Hanson Dopp, organists" from the golden days of the plush picture Wild Rose; and Nioleta Lindermeyer, Bethany Home, palaces, with huge orchestras, the big bands and the lavish Waupaca. stage shows. Private Christian Science services were held on Wed­

Later, Hanson pmyed for various theaters and supper nesday, Feb. 26, at the Holly Funeral Home, Waupaca. clubs in the Fox River Valley. He also recorded popular Burial was in the Lakeside Memorial Cemetery, Wau­albums through Rollo Records in Appleton: Eddy Hanson paca. Master Organist; Eddy Hanson Liquid Soul Album; Eddy Hanson, 1be Joy and Pain of Love. 1bey are still available in limited quantities. Contributed by Theo Walrath

"rn.lIlIl.in.r~II.IU:.C!8l.IlIlaJllII.IIJIJUJD_mnIIlJ~.IJIJIl_mm~I __mm.IlH_lPIIlIIJllnl"'ijll.Hil!.umlD"IIIlIJl.U.II!liIIllJl.gm.!ilI.m"III!Ii\.ItIII.'li!mr..ual.~

Tech Tip by John Phillips

Recently Ihave been setting the travel of re·faced primary valves in an Aeolian 65-note push-up. Measurements with a dial gauge before I stripped the valves down persuaded me that 0.028 inches would be a the valve button and the wooden surface, then when they were suitable travel for the re-finished valves. It was pretty obvious that withdrawn the leather rebounded a little to give a travel within about spacers were needed to reset the valves; I made mine as follows. 0.001 inches of the desired value.

I found a small rectangle of sheet metal 0.031 inches thick and What about the odd valve whose button was rather loose on the drilled a hole in the middle of it about 50% larger in diameter than the stem, so that the leather would not stay compressed until the

/ diameter of the valve stem. Then Icut it in halfwith a metal guillotine spacers were removed? In that case I used a second set of slightly and had a pair of matched spacers. thinner spacers (0.028 inches) and proceeded a bit more carefully.

Before' using these spacers I carefully smoothed all comers and The great advance in spacer technology lies in the triangular nicks edges to avoid scratching the wooden surface that the primary valve shown in the diagram. These give the user's fingernails something to faces sit on: Ifound that if the spacers were squeezed finnly between grip when the spacers are being withdrawn.

* 93 *

A Short History of the Mastertouch Company with its Social Implications,

and Relating to our Australian Musical Heritage

Compiled by Ray Palmer of Sidney, Australia, as a submission towards his degree as Bachelor of Education at the Catholic College of Education, Mount Saint Mary's Campus, submitted November 16, 1982.

SECTION TWO - SOCIAL IMPUCATIONS ­

1) Player Pianos - Pre 1920 "Pianolas were all the rage - everybody had 'em" (Nora

Kindness, retired Mastertouch employee) In a time line of piano manufacture - the mechanical develop·

ments of Robert Wernun's 'piano action' placed the piano in the homes ofmany of the middle working class and upwards in the strata of society. Piano mania reached unparalled heights by 1870, the year of the 'Paris Exposition'. By 1890 however, piano manufacturers· were closing their doors as the market dropped in the space of two years.

The advent of early player pianos by 1902 gave piano manufac­turers a new impetus and mass appeal again. The development of the player piano improved the sales of pianos and changed the social activities of thousands.

The word 'pianola' was originally patented by the U.S. Aeolian Company in 1902. The pianola was a pneumatic mechanism which could be 'pushed up' to a conventional piano and played the piano with 65 mechanical fingers. It was so popular that player pianos which had the mechanism fitted inside the piano were also called 'pianolas'. The name caught on and remains a generic term today.

The player piano era can probably be likened to television in regard to popularity and influence. The player piano was the centrepiece of family gatherings, community singing and lavish society parties.

It is interesting to note that by 1912, the heyday of the player piano was over in Europe. It did not reach Australia until well into the '20's. Allover the world hundreds of thousands of pianos10 were fitted with player mechanisms. The player piano was a boon to piano manu­facturers who after the Great War suffered financially. The player brought employment to many after the war.

The general Australian public participation in an entertainment 'craze' in this period has probably never been equalled. In relation to an average salary in the '20's and today, the cost of player pianos would have been the equivalent to 410,000+ today. (Incidentally, the same comparison can be made with piano roUs. They should be about $25 today when comparing their price to average weekly wages in the '2O's. They are in fact half that price today.)

Most people could not pay cash for players. The Beale Piano Company introduced 'a first' in Australia with a piano rental scheme so people could afford them. 2) The TweDtiee Era

According to the people I spoke to who grew up in this period in Australia, the player piano was the major source of all the music they listened, learned and danced to. The player piano was a source of livelihood to many who manufactured rolls and player pianos and who sold and maintained them.

The following are extracts recorded on tape of people who remember how the piano roll influenced life in the '2O's and '30's:

Pardy Mum (son of Edith Mum): "I recall the pianola being well used at home."

Nora Kindness (retired employee of Mastertouch, 1920's): "They were all the rage in the 1920's."

Nell Bissacker (retired employee of Mastertouch): "We worked back three or four nights a week and all day Saturday 'till the Depression."

Pardy Mum (son of Edith Mum, who was one of the most famous pianists of Mastertouch) recalls with interest that his mother and aunt (Laurel) were akin to pop stars today. His mother and aunt were excellent duo pianists and played most of the hits of the day. They were feted wherever they went. Roll releases were written up in publications such as Musical Critic, etc. Critiques of concert performances were published in the daily papers.

Nora Kindness is one of the oldest ex-employees of Mastertouch still living. She remembers quite vividly her work and time at Mastertouch. Nora commenced there in 1924 tagging and putting spool ends on rolls. In a short space of time she worked as a reeler - reeling the rolls on to spools and printing leaders. "We had a fancy printed front on our rolls, whereas Q.R.S. just had the name of the song and the artist." Nora met her husband, George Kindness, at Mastertouch and married in 1929. He continued working there until his death in 1957. Nora recalls everyone was very friendly in the factory. One day 'Old G.H.' came around and wanted to print. "You be my offsider', he said to me with his Yankee accent . . . my hat, the rolls he ruined!" Nora remembers G.H. being a reserved man but very fair - "It was a terrific firm to work for." Through the Depression Nora was paid for two weeks' work every three weeks. As roll sales continued to decline, Nora was one of the many .­employees retrenchp.d. During World War Ii, with the unexpected revival of interest in piano rolls, when the boys carne home on leave and wanted to stay at home to be entertained and sample mum's cooking, because of the manpower shortage Nora returned to work at the Waterloo factory (Camberg's Carpets now occupy the building) and worked there until she retired.

"Nobody stood over us in the factory; we all did our job and we loved it." (c.90, tape I} "Everybody was very friendly and got on."

"Before the Depression we worked back three nights per week. The overtime we got - you'd think you were a millionaire."

Nora said that with particularly popular rolls the girls who printed the words on the rolls from a stencilled sheet would sing the song over and over (c.l04, tape 1). "I don't know how many 'My Blue Heavens' we sang or reeled!"

Nora hated reeling the big rolls as they would often tear. (c.114, tape 1). Nora put her age up to get the job at Mastertouch as she well remembers: "I put my age up ... my dear old mum came with me ... 'My word, Mrs. Evett, she doesn't look 17''', Miss Egan (who recruited the staff) said. (Ruby Berginey told me she put her age up also to get the job at Mastertouch (tape 1, c128.)

Nora recalls the day the Governor of N.S.W. came to visit the factory. "We laughed as the factory got such a damned good clean up. . . . What big feet she had - just like a dirty big yacht", Nora remembers the girls commenting on the Governor's wife's feet!

Nora remembers clearly that although wages were low, roDs sold wen and were in the reach of the average worker and were cheaper than records; rolls were 3/6, records were 4/6. for those who could not afford piano roDs there were piano roll libraries.

Nell Bissackerand Ruby Berginey both agreed that in the '2O's and '30's a great number of people owned a player piano. The player piano was a 'draw card', bringing people together after a meal or during a party. Generally, there was always a 'sing-a·long' 'roun' the pianna'.

94 *

* 95 *

When the golden heyday of Mastertouch passed into the Depres­sion, the sale of rolls dropped. Nora Kindness recalls "G.H. concentrated more on stationery in these years". By the late '30's radio was a part of many homes and the sale of rolls never quite reached the heights of the 1920's, supposedly around 5,000 per week.

SECTION THREE MUSICAL HERITAGE

Major Artists -1920's-1930's Edith &: Laarel Pardey

Lettie Keyes Frank Baker-Mam

SECTION THREE MUSICAL HERITAGE

"Vibrantly fresh, the music from the '20's/,30's era can still be played today on the pianola. Ragtime, jazz, blues, fox trots, marches, tangos - remain the legacy of the '20's for all the young moderns to hear them and enjoy them." Major Artists - 1920's-1930's A) Popular Masic 1) Resident-

Edith Mum and Laurel Pardey were sisters and famous duo pianists; Lettie Keyes, a famous accompanist, at one time accompanied Ivor Novello sen. and Fritz Kriesler.

2) Guest-Herschel Henlere - silent movie pianist; Lindley Evans - Australian composer; Richard Thew - Conductor, NSW Policemen's Choir, teacher; Jack Lumsdaine - Radio broadcasting personality Ernest Lashmar - Head of Chappells (Australia); Alexander Hmelnitsky - (father of Igor) famous musician! teacher; Frank Hutchens - Australian composer; Henry Penn - Teacher, NSW Conservatorium of Music; Paul Vinogradof - became Professor of Music, Tokyo.

3) Overseas (Artists who recorded overseas) ­Max Kortlander, Fats Waller, J. Lawrence Cook, Felix Arndt, Lee S. Roberts, Pete Wendling, Victor Arden, Zez Confrey.

The majority of the artists were Australian. (Some recordings were made overseas however, and the master rolls were sent to Syndey.) B) Classical

Almost all the great pianists from the turn of the Century through to the Depression recorded a great array of popular classics - these masters wre generally imported. Many of the artists were Australians performing overseas however. Eg. Percy Grainger, Melba, etc. Edith and Laarel Pardey

"Melba had to go overseas to become famous - I'll make you famous here", Horton quoted, referring to the Pardey sisters, duo pianists in 1917.

Horton engaged Laurel Pardey in 1917 as both Laurel and Edith were about to tour New Zealand. They were already known in Sydney and played at Katoomba in the ·Carrington'.

Laurel's original recording was 'Yarrawonga'. Horton used this in the United States to purchase his plant equipment. Very soon the Pardey sister's huge repertoire of waltzes, fox trots, tangos and two steps was available on rolls. Their style of piano playing has become ,--­synonymous with pianolas in Australia. Lettie Keyes

Lettie Keyes was born in Victoria of Irish noble descent. She had full grounding in classical music and attended finishing school in Switzerland. She became famous as a talented accompanist which meant she had to travel extensively. This contradicted the social morality of her background and her father ordered her back to Australia. Having asserted her independence however, on her return to Australia, she went back to work for G.H. Horton. She was hired specifically to play ballads, classical works and excerpts from opera and operetta. She played with musicianship and little embellish­ment. She refused to play 'riff-raW or popular works of the day in the '20's.

When Miss Keyes left Horton in the '30's, specific instructions were issued stating no master roll recorded by her was to be destroyed. As Laurel and Edith remained in employment their master could be destroyed. This gave rise to a peculiar predicament, when an enormous revival occured of the '20's music in the '60's, there were no existing masters of the popular '20's music. Lettie Keyes was hired to re-record this period. This she agreed to do. In cataloguing her name appeared therefore on the very earliest Mastertouch rolls and the very latest of rolls (1960's). She had the last laugh when often the comment was made - "She must be 1oo!".

Lettie Keyes continued to record and taught in the studios of the Company until her death in 1972. Frank Baker-Mum

'The ultimate sentimentalist' (Barclay Wright) ,­Edith's husband, Frank, had an eminent position in the Post

Office. He began writing songs for which Edith and Laurel scored the music. At one stage he wanted Edith to leave Mastertouch. He was unsuccessful in this however. Pardy Mum, his son, told me during an interview that his father once said "If you can't beat 'em, join 'em" and sub~quently wrote many sentimental tunes and fox trots. General

Many eminent Australian musicians had an intimate association with piano roll manufacturing both here and abroad.

Percy Grainger's interest is well documented. His rolls are now being used as the sole pianoforte for the Sydney Symphony Orchestra performances. He also wrote works specifically for player piano!

Madame Melba offered her "complete singing course" on a Mastertouch piano roll.

Less well known is Esme Dawson's (she was born in Tasmania) association with the mighty American Piano Company's (AMPICO) roll division. She was the editor, committing to master most of the great pianists who recorded for AMPICO. Her association covered performances through from Paderewski and Rachmaninoff to Busoni and Stravinsky.

APPENDIX I) GEORGE HENRY HORTON

During the Great War years, many Americans came to Australia ,--­seeking their fortune ll . Australia was seen by some as the 'last frontier'. Horton was born of North English extraction and adopted by two German organ builders when he was eleven. He learned piano tuning and organ building with them and acquired the peculiar accent which lead many to believe he was German. He married just

before he left for Australia coming as an unassisted migrant. He arrived in Sydney in 1914 with 'a pregnant wife and three pounds in his pocket'.12

He met Ted Wilks at the Pianola Company and very soon became a partner in E.F. Wilks and Co. By 1919 he had established his own

- finn, G.H. Horton & Co. Pty. Ltd. G.H. Horton was the antithesis of an English-style manager. He

was always in the factory. According to Mr. Wright, the American influence on entertainment and similar small industries was a lot stronger than thought. He worked his employees very hard and was a shrewd businessman. He often placed bets with his employees to see who could reel rolls faster. He would deliberately lose so as to make his employees work harder.

The staff had to keep to a quota of rolls and often did overtime for very little remuneration.

Mr. Horton gave up the running of the Company in the early 1950's to his son, Bill Horton, he remained however, on the board until 1957. He died in 1966. 2) LEN LUSCOMBE

A celebrated pianist and pupil ofTobani, Len Luscombe produced the first piano rolls made in Australia. (Made of brown wrapping­paper and carefully cut by hand with a penknife, these rolls remain; evidence of his great artistry). His company, 'The Anglo-American Player Roll Company', produced the famous Broadway label recordings, until its amalgamation under the Mastertouch label in 1957.

Len Luscombe was a child-prodigy and when only eighteen was conductor and arranger for the Majestic Theatre Orchestra in Melbourne. A tour to the U.S.A., however, which included visits to many of the major roll companies, awakened the interest which was to become his life's work. Over the years following his return to Australia, he imported the various machines for roll manufacture. Of

../ special interest is an electric cutter, which has been adapted to become the nucleus of our new electronic recording machine.

3) BARCLAY ROBERT WRIGHT A kindly benefactor gave up a promising teaching career to

prevent an interesting craft sliding into oblivion. Wright developed a passion for pianolas and rolls during his teenage years. His family had an expensive reproducing (expression) grand player piano. Wright became dissatisfied with the range of rolls available and vowed that if he had the chance he would cut rolls of his own choosing and liking. (With a strong family musical background he had been taught to play piano and pipe organ and was of the opinion that the pianola should be able to give back the music of the age in which it found itself.)

Although he went to teachers college when he left school, Wright's enthusiasm for player pianos continued and a friendship with Len Luscombe of the Broadway Roll Company of Melbourne ensued. His unsuccessful attempt to buy the Broadway company after Luscombe's death, was followed by his joining the finn who had defeated his objective, the Mastertouch company in Sydney. Still teaching and doing part-time studies at University at night, Wright learned to make and edit a roll master and cut rolls for sale.

Because of the elderly G .H. Horton's affection for the roll business and his friendship with Wright, he arranged for Wright to purchase the three remaining machines, the rights to the Mastertouch label, an electric piano for cutting masters and to take over the remaining staff ofthree (one woman had made rolls for 40 years) after his death.

Wright has visited pianola and roll factories in the U.S. and also looked at the restoration ofold pianolas in England where there is no longer any manufacture of new pianolas or rolls.

_/ "I've tried to 'modernize' the business. We have not remained in the past. We produce music of today as well as the old evergreens . . . I think the pianola, that unique marvelous extension of the '20's can give back the music of any era - to this I am committed." - an extract from an article by John Doherty in the Adelaide Advertiser dated April 6, 1974.

FOOTNOTES 1. Barclay Wright quoting G.H. Horton. 2. Barclay Wright quoting GH. Horton. 3. G.H. built a small pipe organ in St. Mary's Cathedral, 1915. 4. The first piano roll produced in Australia was made in

Melbourne by the Anglo-American Player Piano Roll Co. 5. G.H. actually designed the Company's pneumatic carbon

ribboned recording machine. It was unique at the time, allowing a reliable reproduction of an artist's perfonnance.

6. The City Road factory's second floor was actually a mezzanine level.

7. Evidence suggests a resurgence of interest in the player piano during World War II when women stayed at home and did not go to the cinema.

7a. Refer to tape 1, Nora Kindness. 7b. Refer to tape 1, Nora Kindness.

8. This attempt failed. 9. Variations and repeats in the rolls appeared frequently.

10. This figure can be verified in a piano atlas. 11. The crazes of America and Europe reached Australia one year

to eighteen months later. 12. Barclay Wright quoting G.H. Horton.

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News fr.,)," tIle CIlo,Jlters ~~HHCIIICCHCffiC«CIIllCIIll~l:!ll/OC.mmooCij~mCRCIllr'.::lffiCR~aclllcmcD~r

SOWNY Reporter: Harold Hodgkins

The annual Christmas party for SOWNY members was hosted December 14, by Rick and Jan Drewniak at Rick's place ofemployment, Gary Classics in Buffalo. This provided members the opportunity to ogle and examine the fine collection of vintage and classic cars on display in the showroom.

To make the evening a success and to keep the tone of the meeting on an AMICA wavelength, Rick arranged with Q.R.S. to have a player piano available and also to have Bill Whitemore's Tangley air calliope. The latter provided pleasant listening as well as encouragement for some members to get up and dance.

As a Christmas party this one was tops; the food was good, the camaraderie excellent, the bar well-stocked and the exchange of gifts a test of astute bartering and keen cerebral manipulating. Chris & Jim &r/ey living it up in Ro//s-Royce convertible.

Bill and Margaret Whitemore in front of their dance organ. Our hostess - Jan Drewniak

r ....

Mike Walter & Rick Drewl1l"ak

* 98 *

Harold Hodgkins, Dick Volk, Laveme Griffith & Jose Woodbridge.

..../

../

Christmas exchange - Muriel Hodgkins, Esther Pinchin, Alice Guhlow and Carl Guhlow, Mike and Holly Walter, and Laverne Griffith.

Reporter: Harold Hodgkins

The first SOWNY meeting of 1986 was hosted February 15 by Holly and Mike Walter in their Tonawanda home with about twenty members present.

Mike's latest acquisition, his 5'8N Chickering Ampico was given a good workout both manually and by roll and performed well. One of his projects which caught the fancy of the technically inclined was his pipe organ, which is presently in the restoration stage and will include, when finished, a roll playing attachment.

Those with fond memories of juke box days were able to relive the bygone 1940's and 1950's with the Walters' fine collection of records on a machine which belted out the latest of that era.

President Carl Guhlow conducted a "short" business meeting to outline and plan for the year ahead. It is hoped that one activity will be a trip to visit the Great Canadian Nickelodeon company sometime in May.

Harry Marciniak and Walter Pinchin with Mike's Stoddart in the background.

Contented SOWNY members after an enjoyable lunch.

Norma Marciniak at Mike's organ. Carolyn Ostrzynski and Rick Drewniak listening to Mike Walter's JukeBox.

* 99 *

LADYUBERTY Reporter: Dennis Valente

The workshop atmosphere .of Paul Manganaro's residence was a perfect setting for our busy March 9th meeting. Paul, who is an accomplished piano restorer, proved that he also has a knack and penchant for finding quality reproducing pianos. His front room featured almost a dozen fine reproducing pianos for sale or awaiting restoration. As Paul demonstrated how able he is at acquiring new instruments, The Lady Liberty Chapter demonstrated, that after­noon, how able it has become in acquiring new members.

Two new members have joined since our last meeting and two more announced intentions to join immediately. All four members are from New York State and indicate last year's effort to expand our regional image. As you know, we used to be known as The New Jersey Chapter and many NY, CT, and PA collectors felt this meant they were ineligible to join_ New member Richard Rubin from Staten Island, works with computers for a major bank and is intrigued by the archaic yet similar programming encoded on paper rolls which operate so many of our automatic musical instruments.

We can imagine the amusement of West Coast Chapter members if they heard us postpone the hospitality offered by member Jim Chadwick who lives near Philadelphia, because so many of us consider a two or three hour ride excessive. As a result, we discovered overwhelming support among the thirty people present for a shift from Sunday meetings to Saturday. This will allow members with early Monday schedules the time to 'recover' from the proposed long-distance meetings which are commonplace in western chapters.

Our new "leads and tips" segment of the meeting produced some interesting news and discoveries. Someone mentioned a Regina Changer offered in a local paper for $8,500. An antique dealer recently sold an unrestored Weber Duo-Art for $300! And then the same dealer is holding out for $25,000 on a Steinway Square Grand with a cracked plate. Dennis Valente, recently back from a business­pleasure trip to Florida, announced Walt Bellm's plan to hold a major auction of automatic, musical instruments and antique cars in September, at his Sarasota museum, 'Cars and Music of Yesterday.' Nick Yengle wisely took advantage of the impressive pool of rebuilding knowledge and experience offered by both professionals and hobbiests at our meets. He owns an upright Duo-Art, whose stack had the unhappy misfortune of being stored in a damp laundry room for many years, and it looked it! He was getting many helpful hints concerning how to repair the pouch button and valve stem he had brought with him to demonstrate some of his more severe problems. Marge and Oliver Vitakis have some fine 1920's furniture to sell. (Alas! Too big to keep.) On a similar note, John Martin and Norman Bauer must dispose of their Kranich & Bach, but will find room for organ pipes. The more people participating, the more interesting "leads and tips" become.

An interesting and entertaining presentation of vintage radio memorabilia was given by member Robert Remmers. Bob is an avid vintage radio collector. Radio games, fans, toys, piano rolls, books and other related material require much less space than do the actual radios, and they help to tell the entire history of this key invention.

The meeting ended with a tour of Paul's workshop and arcade collection. Paul prefers to do only the pneumatic portion of a piano, but he can restore an entire instrument. He also works on nickelodeons and roller organs. Fortunately, Paul supplies the coins to go with the Trade Stimulators and One Arm Bandit. No one left the room without first seeing his battery-operated "Charlie Weaver" tum red-faced and smoke from the ears. Paul passes off the relatively-modern toy as his automaton collection. I'll buy that! A good time had by all.

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GATEWAY Reporter: Marilyn McGartland

On Sunday, April 6th, Gateway Chapter AMICA members visited the home of Jane and Paul Stelzner in Washington, Missouri, for the Spring meeting.

A recently acquired collection of 106 Audiographics plus an inventory of more than 1400 other rolls provided everyone an opportunity to hear their favorite music as played on Stelzner's 6'4", 1924 Steinway/Duo-Art grand.

With perfect Spring weather, everyone enjoyed an outdoor cookout and lunch on the deck.

Carole Wiley at the Steinway Duo-Art.

* 100 *

J

Ethel Leginaks's students: Esther Lee Kaplan, Tom Curtis and Roberta Hamilton enjoy hearing her "play" once again.

Ed & Nancy Group, Nor & Del Sewell and Youse! Wilson enjoying lunch.

During the business meeting, ideas were discussed for placement of the upright player piano the Chapter is restoring; plans were laid for the St. Louis Fox Theater tour and business meeting s~heduled in June.

Host Terry Banister (with beard) and Chapter President Jerry Pell (holding up door with his head) hold a business meeting.

SOUTHERN CALIFORNIA Reporter: Susan Pell

J

The April meeting of the Southern California Chapter was held at the wonderful old farmhouse in Riverside, California owned by hosts Reese and Terry Banister. Built around 1888, the house is lovingly cared for, and filled with antiques and objects from around the turn of the century.

It was a very special musical meeting in honor of the centennial year of Ethel Leginska, pianist extraordinaire. Besides recording n:iproducing rolls, she found time to teach, play concerts, write operas, and conduct orchestras. She was the first woman conductor at the Hollywood Bowl (in 1925) and later formed her own orchestra, the Boston Philharmonic. She conducted at Carnegie Hall in 1932. She was quite a formidable figure in music and in person. We were given peJ;sonal examples of her strong character from three of her students who were guests and delightful speakers at this meeting.

Doesn't everyone keep a Steinway Duo-Art in the garage? The Banister's do.

* 101 *

Reese and Terry Banister's beautiful "prize" - a 5'10" Sohmer Welte grand.

Roy Shelso (back to camera), Bill Toeppe and Ben Lilien discuss restoration work in the Banister's workshop. The padded Ampico belongs to Rosemary and Warren Deasy.

Tom Curtis, Roberta Hamilton and Esther Lee Kaplan told many wonderful stories of Ms. Leginska and of their studies with her. They truly brought the pianist to life. When Ms. Leginska's rolls were played on the Banister's Sohmer Italian Case Welte, the Steinway Duo-Art and the very rare 1918 Angelus Artrio the three students were enthralled at "hearing her play again" and their enthusiasm was catching. Roberta commented that it was a bit "... spooky ... 1 thought she was right there " Tom Curtis said that Leginska felt tone was most important: " every note should have a beautiful tone .. " It was a very educational and entertaining meeting.

It was also a chance for Reese and Terry to show off their new "prize." Their newest acquisition is a 5'10" Shomer Welte in a beautiful Italian art case. We also got to hear the wonderful "orphan," as Terry referred to it, the Angelus Artrio. Also heard during the course of the afternoon were the 1926 Chickering 5'9" Ampico, Steinway Duo-Art OR, and a 1898 Aeolian Orchestrelle Style V and more.

Before the program, members bought and sold in a mart, and after the program members had refreshments including marvelous cookies and gorgeous fresh strawberries. Southern California AMICAns learned a lot at this April meeting and had a wonderful time doing it. The Banisters once again proved themselves great hosts and real supporters of AMICAn history.

HEART OF AMERICA Reporter: Katie Hellstein

An early spring was indeed "bustin' out allover" March 16 when members and guests of the Heart of America Chapter gathered in Kansas City at the home of Linda and Galen Bird. Libby & Leon Switzer were co-hosts. Our members are a bit wide-spread (geographi­cally, that is!) so more and more frequently we begin congregating the day and evening before a meeting in order to do all the catching up on all collection changes since the previous meeting. And so, on Saturday March 15,26 of us alternately stuffed and gorged ourselves at a dining experience called "Cricket's in the Loft." Members Shirley and Paul Morgenroth arranged this culinary event, but took no responsibility for the calorie and gluttonous intake!

Sunday's meeting reminded us again.of the ever-changing pieces in Linda and Galen's collection. Newest addition in their "musical musical instruments" game is a Weber Styria German Orchestrion. This prize joins another recent acquisition, a T Steinway AR which replaces their 6'2" Steinway XR. Also in their music room (Linda

Linda and Galen Bird show off their North Tonawanda bandorgan, Coinola CO and Weber Unika.

Craig Brougher and Brian Bird "ring up a sole" on the cash register as other members wait in line.

* 102 *

The Fox Player Piano is badly burned but Galen is nursing it back to life.

Inspecting the insides of the Weber Unika are Mary Jo Bopp and Billie Pohl (seated), Galen and Linda Bird, Margaret Taylor, Linda Koehler and Mary Ellen Connor.

Looks like Leon Switzer found the Mart to his liking. Galen, Bill Pohl and Gerold Koehler smile approvingly.

"Just one quick shot before we head for home."

remembers when it was her dining room!) stands a beautiful Regina 15Y2" changer, a rare Coinola CO, and a North Tonawanda band organ. The ongoing restoration of a Weber Unika now includes two beaded lampshades painstakingly copied from an original pattern. (We excused Linda if anyone noticed her eyes crossed after hours of threading the minute beads.) Various-sized RCA Victor dogs seemed to cock their heads approvingly at the finished shades shimmering in the lamplight. As usual, Galen has a garage full of pianos and organs in various stages of restoration, and the "experts" present were as interested in these as in the honored pieces on display inside the house.

Winding up the weekend found some members step·dancing at· Katie and Tom Hellstein's St. Patrick's Day party. The upright player piano provided the music for lots of attempted harmonizing, but Kay Bode's "DANNY BOY" was the highlight of the evening.

The Heart of America Chapter co·sponsored an organ rally ­June 7 at Six Flags over Texas - with the Sun Belt Chapter of MBS/. We've had lots of fun with these rallies in the past, and Gerold Koehler, our group's chairman, made good on his promise of another old·fashioned good one this time around. Highlights of this rally will appear inthe next AMICA Bulletin.

We're also looking further down the road for some end of the summer activities at our autumn meeting and to the Christmas party (!) at Bill and Billie Pohl's home in Springfield, Missouri.

~ SEEBURG EXHIBIT IN CINCINNATI~

H

>- Several Seeburg Orchestrions and the Marshall ~ Player Displayed at the Ohio ConventionP:: Held Last Week

~ One of the particularly interesting exhibits at Q the convention of the Music Merchants' Asso­~ ciation of Ohio last week was that of the J. P. P:: Seeburg Piano Co., with Lee Jones, sales man­E-i ager of the company, and several members of

the staff in attendance. The display included U the styles G. L. E. and K-T Seeburg orches­H trions and the style 22 Marshall player-piano,if]

and the interest of the visiting dealers in the::> instruments, particularly the orchestrions, was

~ evidenced in the fact that the display parlors were crowded and the various instruments in

~ demonstration almost continuously between the business sessions and the convention.P::

E-i

* 103 * Contributed by Don Teach

Hands Hands were of great interest across America in May. Now, in this

issue of the AMICA News Bulletin, hands are featured, as contributed from various sources. We begin with a medallion owned by AMlCA Honorary Member Abram Chasins.

Hands 0/Marcel Dupre. The cover 0/an Etude magazine (February 1949) ~ from the collection 0/ Dorothy Bromage.

The hands 0/ George Gershwin, pictured on a medallion.

The hands 0/ Honorary Member Leo Podolsky and the Stahnke Reproducing Piano.

The obverse of the medallion shows the head 0/ George Gershwin.

Contributed by Emmett Ford. Leo Podolsky using his hands to autograph a roll at San Sylmar.

* 104 *

Hands 0/ Jose Echaniz (contributed by Emmett Ford).

Bronze Sculpture Given To Shura Cherkassky by Emmett M. Ford

"..... I want Shura Cherkassky to inherit this memento of Anton Rubinstein because he is Rubinstein's musical grandchild." With these words Mrs. Josef Hofmann presented the pianist with the bronze sculpture of the right hand of Anton Rubinstein (I %2). The sculpture had belonged to her late husband, Josef Hofmann. Cherkassky once stUdied with Hofmann, who, in turn was a Rubinstein pupil.

I wrote to Mr. Cherkasskyinquiring if he still possessed the sculpture. Mr. Cherkassky replied that it was still in his possession.

The photo shows the hronze sculpture and Mr. Cherkassky holding programme notes in Rubinstein's handwriting.

(['hotograph owned and copyrighted by Decca Record Company Limited. My appreciation and thanks (or their permission to lise the photo. E.M.F.)

* 105 *

II ~ NOTED ARTISTS COlLABORAIT AT WORK AND PtAY

..o ­C1' ..

Above on Left: Two Artists in a Chess Match-to Say Nothing o( the Dog; Mr. ScheEing, on the Right, Awaits Mr. Kreisler's Next Move. Right: Kreisler and Schelling as Beethoven Sonata Recitalists; in the Circle, A Finger Study; Above, Right Hand of Pianist Schelling; Below, Left Hand of Violinist Kreisler. At Bottom, on Rig ht, Mr. Schelling, Himself, and as the Sculp(·JY S,,~s Him; The Pianist Beside the Bust, by Kasimiera Malaczynska.

'\." "

c~:

AMUSICIAN who is in the habit of doing interesting things that bring

him before the public eye into the public prints is Ernest Schelling, the noted pianist. Last winter while in New York, he was conspicuously active in behalf of the Polish Relief Fund. The knitting classes at Sing Sing, the products of v.·hich went to the h~rassed Poles, were started through a visit to the Schelling apartment of Thomas Mott Osborne, the warden of the Hudson River peniten­tiary. Then Schelling attracted atten­tion by arranging all .the music for the Polish benefit fete held at the Hotel Bilt­more. Now, during the summer Mr.

It Schelling has been appearing at Bar .... Harbor in three Beethoven sonata re­-..J citals with Fritz Kreisler at the Build­It ing' of Arts.

The last of these recitals was given on Wednesday, Aug. 25, before a crowded house. It is not often, as far as available records show, that two master instrumentalists have played the Bee­thoven sonatas in this country, and the Kreisler-Schelling series will be remem­bered, as conspicuous European rendi­tions of the sonatas have been. Ysaye and Pugno added to their fame by play­ing the sonatas in London and Paris, and at Beethoven festivals in Germany, PadereW'Ski and Joachim presented them.

Papers Sent Critics The Schelling-Kreisler Beethoven

series received considerable attention in the columns of the metropolitan dailies, some papers sending critics to cover the recitals. Easily the musical event of the month, the series would be of sensational import even at the height of an unusual winter season.

Besides their musical collaboration, Messrs Kreisler and Schelling met fre­quently across the chess board as rivals in that pastime, for which instrumental. ists seem to have a particular affinity.

o

In Bar Harbor's Summer Colony of Musicians Fritz Kreisler and Ernest Schelling Present Series of Beethoven Sonata Recitals, and Also Meet Across the Chess-Board-The Schellings Pose in Living Pictures­Noted Pianist's Extended Tour and Its Thorough Publicity.

Contributed by Terry Smythe, a page from the magazine, Musical America, of September 4, 1915.

Among the guests of the Schellings at Bar Harbor this summer were various musical celebrities, including Paderewski and Mme. Paderewski, Leopold Stokow­ski, conductor of the Philadelphia Orches­tra, Mrs. Stokowski (Olga Samaroff) and Mme. Sembrich.

Between the first and second Beetho­ven recitals Schelling, with Mrs. Schell­ing took part in a series of living pic­tures. The Schellings posed as a Polish lord and lady, in costume. This recalled Schelling's residence in Poland and his deep knowledge of Polish music, particu­larly that of Chopin. Polish music will have a prominent place on Mr. Schelling's recital programs next season.

Features of Programs Spanish music will also be a feature of

Schelling's programs, including that of Enrique Granados, composer of the opera "Goyescas," to be given its pre­miere at the Metropolitan. Of new com­positions Schelling himself has made an important contribution to the library of music for orchestra and piano, his "Fan­tasy in the Form of Variations," which is to be played for the first time by Dr. Muck and the Boston Symphony Or­chestra.

Schelling's orchestral engagements for next season are noteworthy. He was one of the first soloists engaged for a New York pair of concerts by the Philhar­monic. He is to go on three separate

tours with the Stransky organizati.on, the chief cities in which he will be Phil­harmonic soloist being Utica, Rochester, Ithaca, Cleveland, Detroit, Wheeling and Pittsburgh. His New York dates with the Philharmonic are Feb. 25 and 26. With the Boston Symphony Mr. Schelling will appear as follows:

Dec. 31 and Jan. I, Boston; Jan. 4, Wash­ington; Jan. 5, Baltimore; Jan. 6, New York; Jan. 7, Brooklyn; Fl'b. H, Philadelphia;March 7, Providence.

His Philadelphia concerts with Sto­kowski and the Philadelphia Orchestra will be on Dec. 9 and 10. With Frederick Stock and the Chicago Symphony he i~ to play on March 24 and 25.

Half-Dozen New York Recitals It will be at Oberlin University, Ober­

lin, Ohio, on Oct. 12, that Schelling will open his tour. His first New York re­cital, of which he will give half a dozen during the season, will be at )Eolian Hall the afternoon of Thursday, Oct. 28. Schelling's tour will not close until April 27. Schelling will playas often as five times in some weeks. His trans­continental tour, arranged by his per­sonal manager, Maximilian Elser Jr., of the Booking and Promoting Corporation of )Eolian Hall, will take him to almost every city of importance in the country.

The publicity and promotion of Ernest Schelling's tour has been most effective

and thorough going. Under the direc­tion of his personal manager, a former newspaper man and an advertising exe­cutiye of experience, the fundamental principles of psychology have been ap­plied to letting out-of-the-way cities know about Mr. Schelling. Few if any artists this season will go on the road with better publicity work ahead-~ them, from drop-out silhouette-vignette-~~ cuts and mats made therefrom, to win­dow cards and three sheets that obey the two fundamental \aws of high class ad­vertising: "Be dignified!" and "Arrest the attention!"

Methods of Publicity Schelling's manager has three meth­

ods of what may be described as "put­ting the money in the box office." The three avenues are found first in news­papers and magazines, secondly in cir­culars and post cards, thirdly in window work and bill posting. In all his adver­tising Schelling has what practically amounts to a. trade mark; namely the black and white checkerboard design. Under the head of window work and paper, or bill posting and cards, Schell­ling's advertising makes two kinds of appeal. Bronze' plaques of Schelling seated at a Steinway are dignified yet unusual, even sensational. Checkerboard design window cards and three sheets, the color scheme being chrome and jet black, are sensational yet dignified.

See photographs of Elly Ney, couer of this issue.EIIy Ney in Recital by Emmett M. Ford

Of all the legendary figures, the most striking is Elly Ney. At 69 (1952) she tours indefatigably, giving recitals and appearing with orchestras the length and breadth of Western Germany. Her specialty is Beethoven, whose music she plays with an eccentric but probably not affected dedication, often prefacing a sonata or concerto with a recitation from the master's letters.

Her bobbed gray hair and her improbable getups - usualiy extravagant tea gowns of a type fashionable during the early days of the reign of Kaiser Wilhelm II - contribute to what is certainly showmanship, whether so intended or not.

When the mood is upon her, in public or private, she will pull the "Revolutionary Etude"* (Chopin) or the "A flat Polonaise" (Chopin) out of her extraordinary memory and give it the works. It is a bit like an old lady kicking up her heels, but it is both impressive and engaging, particularly at the .end where she turns to the audience with a grin, as if to say, "See, there's still life in the old girl." *Duo-Art 65820 (Ref. AMICA Bulletin Dec. 1973)

EUy Ney Making A Motion Picture Film

by Emmett M. Ford

When going through a stack of dust covered magazines (found in an old shed) that are sixty to seventy years old, I found this photograph in a 1922 magazine. Since the Brunswick Recording Laboratory, where experiments in phonograph recording and recordings were made, is no longer in existence it is a mystery where the film may be stored. A member of AMICA who may have some knowledge relative to the Brunswick Company, might be able to trace the film's whereabouts. It would be a choice and rare item to be shared with other members.

If this film could be found - what a prize! Inote that Ney wore the voluminous tea gown, as she always wore. I have wondered if Wanamakers has a record in their files of the making of this film.

Cinema Men Record Elly Ney~s Technique 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111II111111111111111111111111111111111111111111111111111111illlllllllllllllllllllllllllllllllllllllllllllllllmlllllllllllllllllil1111111111111111111118

P'laoto b1I Pac4:fic d: Atlantic PhotoB" Inc.

Elly Ney, Pianist, Making a Motion Picture Film on Roof of Wanamaker's New York Store. Left to Right, at the End of the Group of Camera Men, Are Mme. Ney's Husband. Willem Van Hoogstraten, Beber MacDonald, Mr. Lamb, Head of Wanamaker's Piano Department, and Mrs. Lamb

A LTHOUGH many records of Elly Ney's piano playing have been made

since she was first heard in America last season, it remained for the motion­picture machine to catc,h the artist a~'he piano and reveal the' technical !Side of her art. The accortlpanying photogr ph shows Mme. Ney in the course 0 an

experiment on the roof of the Wana­maker Store, New York. Both fast and slow motion pictures were made as the pianist played and it is said that a clearly defined record of her hand and finger action wa·sobtained. The experi­ment was arranged by Heber MacDonald of the Brunswick Recording Laboratory.

* 108 *

r.NT• •"TU"AT••"A'

C.IltTK..T...

,.......HOLLYWOOD 1980 THIRD •INTERNflTIONflL CONVENTION "TaltT."

t'l •... .~

DETROIT

Pietu..

Laurel and Hardy Fans Convene For silent movie buffs, a convention of the Sons of the Desert is an

exciting event. The Fifth Annual Convention of the Sons of the Desert will be held at Valley Forge, Pennsylvania, near Philadelphia. One feature of the convention is a continuously running theatre, with silent films of all sorts. Convention dates are July 25 through 30. You can obtain further information about the convention by calling me. Dorothy Bromage (207) 767-4446.

in their new fu/l­

length feature

picture­

~ONS oc.st~ OF THE '­

with

CHARLEY CHASE

* 109 *

---./;

CLASSIFIED

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

CHOICE INSTRUMENTS FOR SALE: Original Seeburg KT Special; Edger­ton Replica KT Special, mint; twin-tracker Reproduco; Wurlitzer 153 band organ; Wurlitzer Style 12 PianOrchestra (quote unrestored); Regina 27" changer; Polyphon 24V2" changer; large Humfeld Helios orchestrion, mint restored; Wurlitzer CS orchestrion; Regina 2()3;"" changer. $3 brings photos of any, refundable with purchase. Dave Bowers, Box 1224, Wolfeboro, NH 03894. (603) 569-5095 weekdays.

TWO CLEAN UNRESTORED WELTE-MIGNON (Licensee) electric repro­ducing pianos - a Kurtzmann mahogany upright, $750., and a Baldwin Hamilton 5'2" grand, $1250. Loaded on your vehicle. Contact Fred J. Kern, P.O. Box 501, Belleville, Illinois 62222. (618) 233-1026.

CHICKERING 5'4" Ampico A Grand professionally rebuilt, restrung, refinished. exceptional instrument. $7800. (312) 831-5545 or 831-5546.

WEBER DUO-ART GRAND PIANO, 5'8",1929 Model, Serial No. UR-80885, light mahogany case, original and unrestored. this instrument has the desirable"Around-the-keybed" tubing arrangement, moving tracker bar, all controls in the spoolbox. $3150.00. Bill Koenigsberg, 77 High Pine Circle, Concord, MA 01742. Call 617-369-8523.

AMPICO ROU BOXES FOR SALE: Beautifully made replacement boxes with original printed design. For large size rolls. Heavy construction, alligator paper covering. Shipped post paid in lots of ten Ampico boxes. $12.50. Robert W. Taylor, 412 N. Evergreen, Arlington Heights, IL 60004.

1925 CHICKERING AMPICO "A", 5'4" GRAND. Rebuilt, refinished in superb condition. Bench, Roll Cabinet and 50 Rolls. $11,900. Floor Model Reginaphone Style 240 with Lions Heads. Complete and in excellent condition with 10 discs. $5,250. Capital Cuff Box Style "B", Cherry case with 9 cuffs. $3,795. GRAHAM HARRIS, 3022 Leeds Road, Columbus, OH 43221 (614) 488-9061.

MILLS VIOLANO, 1924, SIN 2447 Quarter Saw Oak Case, Restored & refinished. Plays great. Comes with four rolls, $12,000. Weber Upright Duo-Art. Fully restored and playing beautifully. $3,000 or best offer. Henry Bruning,3880 NW 48th Place, Gainesville, FL 32606 (904) 377-7714.

NICHELODEAN Build-up totally restored with box pump, A-frame, 25¢ coin accumulator. 43,800 or b/o. Also Stroud Duo-Art upright restored $3,800 or b/o. Tony Misiano, Mass. (617) 233-1851.

MODEL W AEOLIAN ORCHESTREL (no player mechanism or pump) $500.00. FRENCH SCOPITONE, plays good $1,000.00 CECILIAN PUSH UP PLAYER, 53 rolls unrestored $400.00. MORTIER ORCHESTRIAN FACADE for 84 or 92 key similar to Style 32 $2,000.00 52 KEY DUTCH STREET ORGAN $15,000.00. CH ROMAN E. MOUOLETTI BARREL PIANO unrestored $500.00. NATIONAL NICKELODEON, plays well $3,000.00. WEBER BRABO ORCHESTRIAN 42 rolls restored, $25,000. Marion Van Veldhuizen, 20512 Brook Drive, Sonora, CA 95370 (209) 532­6239.

FISCHER AMPlCO, LATE "A", Gorgeous Florentine Art Case, restored, very expressive, $6,900.00, or best offer. Mason & Hamlin 5'8", Ampico, 1926, retubed, but basically unrestored Cream Puff, $8,000.00. Seeburg KT Eagle Orchestrion, rebuilt, plays great. Artecho rolls, 12 for $100.00 plus shipping. Bill & Dee Kavouras, 2740 Lighthouse Ct., Lynwood, 11160411 (312) 474-8787.

ESTY PIPE ORGAN Style 3-3-1, two manual, 16 stops, 365 pipes, circa 1915. Appears to be complete. $1800. Minton Auction Service, 101 N. Fulton Ave., Evansville, IN 47710 (812) 424-1209.

FRANKLIN AMPICO UPRIGHT REPRODUCING PIANO. 1923 mint condi­tion. $4,500. Rare 1901 Packard 88 Note Pump Organ in piano case. Completely restored, very ornate. $3,500. (209) 545-1410.

AEOLIAN ORCHESTRELLE with 150 rolls, unrestored but playing, $3,800. ..­MILLS VIOLANO, unrestored, missing converter and weight arms, $5000. \ SYMPHONIQUE AMPICO A GRAND, 5'1" restored 1975, ebony, $8000. APOLLo-ARTECHO GRAND 4'10" art carved case, good unrestored, 30 rolls, $1800. WILCOX-WHITE ANGELUS PUSH UP PLAYER ORGAN 40 rolls, restored, $2000. DECAP JAZZ ORGAN, 64 key unrestored, plays, 3 boxes music $12,500. 2 UPRIGHT RECOROOS unrestored $300.00 ea. Delivery available to anywhere, Joe Hilferty, Box 80, RD 27, York, PA 17402 (717) 755-0209.

BUSH & LAND ART ECKO upright reproducing piano, instrument is complete and in excellent restorable condition. Walnut case. Price $600.00 (or offer) Carl Kempf, 2023 Gober Ave., Smyrna, GA 30080 (404) 435-8861.

PIANO ROLL AUCTIONS. Since 1970, we've been conducting monthly auctions of vintage reproducing and 88-note rolls. We also issue re-cuts of all types of rolls and produce our own exclusive original rolls of classic jazz and ragtime performances. We now serve many AMICANs, so won't you give us a try for your roll needs? Mike & Fred Schwimmer, Box 145, Hubbard woods, IL 60093.

MILLS VIOLANO VIRTUOSO (circa 1928) Coin operated Baby Grand in excellent original condition with 9 rolls, all originals. Kept in Denver until a year ago. $12,000. Jack Soronen; Rt. 3, Box 191, Berkeley Springs, WV 25411. (304) 258-4248.

SIXTY-ONE CLASSICAL 65 NOTE ROLLS in excellent condition. Stored 30 years. List available. Linda Cook, 456 Elmhurst Rd., Utica, N.Y. 13502. (315) 735-6335.

WANTED ORIGINAL AMPICO, DUO-ART, WELTE-MIGNON and other repro­ducing systems' monthly roll bulletins, roll catalogs, sales brochures, repair manuals, photos, advertising, technical information, etc. Also need sales brochures and advertising for other pianos and player pianos. Dick Howe, 9318 Wickford Drive, Houston, TX 77024. 713/680-9945 (call collect)

WELTE expression pneumatics for Green Welte grand piano or complete Red Welte grand system wanted. Also Welte rolls and literature. Ralph Schack, Box 58806, Vernon, CA 90058, 213/583-6721 days, 213/377-7739 eves.

WELTE ROLLS - Dick Howe, 9318 Wickford Dr., Houston, TX 77024 (713) 680-9945.

MONKEY ORGAN any condition. Tony Misiano, Mass. (617) 233-1851.

MISCELLANEOUS RELOCATING IN CALIFORNIA. Look for particulars in next issue. Mean­while send all correspondence to: Edward Freyer, P.O. Box 125, Stockton, N.H. 08559 (609) 397-8022.

'"

* 110 *

Proud of Your Instrument? Have it Restored by Experts.

Here is what the Piano Workshop Does:

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

Restring, rescale and repin instruments

Replace pin blocks, soundboards, hammers and other action parts

Regulate piano action to proper specifications

Hand rubbed refinishing

Restore antiques

Over 20 years research and development in rebuilding pianos

Piano keys recovered, sharps & naturals

Send all or part of your instrument for proper restarations.

PIANO WORKSHOP ,'2.166 W. 33 St. Ph. 216-631-1777 Cleveland, Ohio 44109 24 hr. answering serv.

U:62252...t;J ~

BROADMOORE AUTOMATIC INSTRUMENT RESTORATIONS

Restoration oj orchestrions and reproducing pianos our specialty.

Finest materials used.

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

We are authorities on authenticity.

Prices of restoration vary according to the grade of ~ work you select - from "Excellent" to "Perfect." ~

No trade secrets - we will gladly discuss procedures;J:;l:J

~ thoroughly with any customer.

I 18 years experience ­references proudly given upon request.

!9Laurence Broadmoore, Owner 1709 "C" First St.

~ San Fernando, CA 91340

~ 818/365-6231 ~

BOUGHT ­ SOLD ­ TRADED

Specialize in fine restoration of all types of automatic pianos.

• PLAYER PIANOS • NICKELODEONS • AUTOMATIC GRAND PIANOS

• JUKE BOXES • SLOT MACHINES

PAUL MANGANARO PROPRIETOR

FOR APPOINTMENT CALL

201-438-0399

VIDEOCASSETTES VHS or Beta 2

TO OBTAIN A LIST WITH PRICES

AND DESCRIPTIONS, WRITE OR CALL

AUDIO-VISUAL COMMITTEE CHAIRMAN

BilJ Blodgett

73 Nevada Street

Rochester, MI 48063

(313) 651-8498

~~AMICA1~ -n,~

AMICA ITEMS FOR SALE

AMICA BULLETINS, BOUND ISSUES: 1971, 1972, 1973 bound Bulletins al $15 each. 1974, 1975, 1976, 1977, 1978, 1979, 1980 bound Bulletins at $18 each. 1981,1982,1983 bound Bulletins at $21 each. 1984 and 1985 bound Bulletins at $24 each. PRICES INCLUDE POSTAGE AND HANDLING. Spiral bound to lie flat. Send order to Mary Lilien, 460 Olympiad Dr., Los Angeles, CA 90043.

AMICA TECHNICALITIES BOOKS: Volume I (1969-1971), $9.50 postpaid Volume II (1972-1974), $7.50 postpaid Volume III (1975-1977), $8.50 postpaid Volume IV (1978-1980), $6.50 postpaid

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

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

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

PLEASE MAKE ALL CHECKS PAYABLE TO AM/CA INTERNATIONAL

• -J­J­

MUSICAL ANTIQUES specializing in Reproducers, all grands,

refinishing, and all player pianos.

COMPLETE RESTORATION FACILITIES

OWNER OPERATED 17 years of experience in each related field

of restoration.

CASE AND VENEER REPAIRS any carving can be duplicated

FINEST HAND-RUBBED MIRRORS FINISHES OR SATIN FINISHES AVAlLABLE

ART CASES RESTORED Concert Quality Regulation

Lowest Prices, Known References,

Guaranteed Work.

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

Hot glue and original materials used throughout wherever possible.

Craig Brougher

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

The Automatic Music Company

Sales and Restoration

Orchestrions

Reproducing Grands

Band Organs

Player Piarws

We cover the full scope of restoration. Lifetime experience with a mmmitment to qualiry and originaliry.

Your inst1Ument is our pride and reputation..

Tim]acksan

Box 752

Quitman, TX 75783

L