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The AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION

SEPTEMBER/OCTOBER 2001 VOLUME 38, NUMBER 5

Entire contents © 2001 AMICA International 217

VOLUME 38, Number 5 September/October 2001

FEATURES2002 Convention — 221Book Review - The Golden Age of Automatic Musical Instruments — 223Annual Reports — 225Keyed Up — 240

How Has the Pianoforte as an Instrument Developed in the Last Half Century? — 242

Nazis Targeted World-Class Violins — 246Organs Gain Iowa Mystique — 248

DEPARTMENTSAMICA International — 218

President’s Message — 219From the Publisher’s Desk — 219Calendar of Events — 220Letters — 222People — 249Tech Tips — 252Chapter News — 253Classified Ads — 266

Front Cover: Melodee Music Roll Catalog submitted by Ken Snowden

Back Cover: AMICA Members Travel Through Time

Inside Front: Ad for Tel-Electric Piano Player submitted by Anthony Engels

Inside Back Cover: Ad for Angelus Player Piano submitted by Anthony Engels

THE AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

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

ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] the AMICA Web page at: http://www.amica.org

Associate Editor: Mr. Larry Givens

AMICA BULLETINDisplay and Classified AdsArticles for PublicationLetters to the PublisherChapter News

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

January JulyMarch SeptemberMay November

Bulletins will be mailed on the 1st weekof the even months.

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

MEMBERSHIP SERVICES

New Memberships . . . . . . . . . . $37.00

Renewals . . . . . . . . . . . . . . . . . $37.00

Address changes and corrections

Directory information updates

Additional copies ofMember Directory . . . . $25.00

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

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

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

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

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AMICA INTERNATIONAL

INTERNATIONAL OFFICERSPRESIDENT Dan C. Brown

N. 4828 Monroe StreetSpokane, WA 99205-5354

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

PAST PRESIDENT Linda Bird3300 Robinson Pike

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

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

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


SECRETARY Judith Chisnell3945 Mission, Box 145, Rosebush, MI 48878-9718


TREASURER Wesley Neff128 Church Hill Drive, Findlay, Ohio 45840

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

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


MEMBERSHIP SECRETARY William Chapman (Bill)2150 Hastings Court, Santa Rosa, CA 95405-8377


— COMMITTEES —

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

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

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

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

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

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

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

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

312-946-8417 — fax 312-946-8419

BOSTON AREAPres. Ken VolkVice Pres: Dorothy BromageSec: Ginger ChristiansenTreas: Karl EllisonReporter: Don BrownBoard Rep: Sandy Libman

CHICAGO AREAPres: Richard VanMetre - (847) 402-5391Vice Pres: George WilderSec: Curt CliffordTreas: Joe PekarekReporter: Kathy Stone SeptonBoard Rep: Marty Persky

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

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

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

LADY LIBERTYPres./Reporter: Bill Maguire

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

MIDWEST (OH, MI, IN, KY)Pres: Judy ChisnellVice Pres: Stuart GriggSec: Judy WulfekuhlTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz Barnhart

NORTHERN LIGHTSPres: Dave KemmerVice Pres: Jerrilyn Boehland -

(612) 780-5699Sec: Jason E. Beyer - (507) 454-3124Treas: Terry GoepelReporters: Paul & Barbara WatkinsBoard Rep: Dorothy Olds

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

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

SOWNY (Southern Ontario,Western New York)

Pres: Anne Lemon - (905) 295-4228Vice Pres: Mike HamannSec/Mem. Sec: John & Diane ThompsonTreas: Holly WalterPhotographer: Garry LemonReporter: Frank WarbisBoard Rep: Mike Walter

SOUTHERN CALIFORNIAPres: James WestcottSec./Reporter. Shirley NixTreas: Ken HodgeBoard Rep: Frank Nix

TEXASPres: Jerry Bacon - (214) 328-9369Vice Pres: Tony Palmer (817) 261-1334Sec./Treas: Janet TonnesenBoard Rep: Dick MerchantBulletin Reporter: Bryan CatherNewsletter Editor: Bryan Cather

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

CHAPTER OFFICERS

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

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

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

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

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

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

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

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

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

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

SMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560

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

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I hope everyone is having a great summer and that if your travel discoveries include automatic music, that you use the opportunity tospread the word about AMICA. If you need brochures, contact RobinPratt. This not only helps build the organization, but it also helps theowners of these instruments find services and products they may needand increase their knowledge and interest in the field.

As you saw in the May/June Bulletin, several chapters are planning public events, including band organ rallies and displays of varied automatic music machines. These take a lot of work and time, sotry to provide assistance and support if you can. It’s sometimes hard forus to remember that our automatic music treasures are often unknown tothe general public. Use the opportunities to enlighten people to thesefun machines and you’ll have a great time doing it, too. I had hoped to have a mid-summer board meeting to handle the year’s

business, but with scheduling difficulties and the travel involved, it just didn’t work out to have a face-to-face meeting this year. Restasssured that we’ll handle the business. The annual reports will be submitted to me and I’ll distribute them to officers and board representatives. We’ll handle any needed votes by mail or e-mail and the actions will be published in the Bulletin, as always. Nextyear, we’ll be back to the usual practice of having the board meeting with the convention. If anyone has any issues to be discussed bythe board this year, please submit them through your board representative or directly to me. I hope to have everything gathered anddistributed for action by the end of July.

Thanks to Leland Zimmerline for loaning the neat Auto Pneumatic brochure which was included with the last Bulletin. Thanksalso to Robin for doing such a great job reproducing it. Nobody else is reprinting this valuable material, which is of use and interestto many. If you have such original documents around that you’d be willing to loan for reprinting, let us know.

Amicably,

Dan Brown

President’s Message

Dear AMICAns,

What an unbelievable mess we have witnessed and experienced over the last month! Reliving over and over via television theNew York, Washington D. C., and Pennsylvania horrors certainly make any conflicts or bickering over player pianos topics pale incomparison. These times do indeed try mens’ souls.

With Thanksgiving around the corner, I think we should reflect and be thankful for the many wonderful times and moments ofour lives we have shared on this planet called Earth and especially learn to appreciate one another. Our time is short in this life, solike I said earlier this year in the Bulletin, “Life is short, enjoy the music.”. It’s beauty is something the thousands who died willnever know.

Let us look forward to peace and happier times with the holidays upon us and also remember our AMICA friends that havepassed away this year.

Robin

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AMICA

Memorial Fund DonationsPlease think of AMICA as a place to

remember your friends and family with a dona-tion to the AMICA Memorial Fund.

Send to:

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

CALENDAR OF EVENTS

CHAPTER MEETINGS

~

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

Heart of America ChapterFall, 2001 - Branson, MO

December 1-2, 2001 - Linda and Gerold Koehler Christmas meeting, Joplin, MO.

(Indoor plumbing assured)June, 2002

September, 2002 - Billie & Bill Pohl will host a Band Organ Rally in Branson, MO

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

Founding ChapterFounding Chapter will meet Sunday afternoon, December 16th at the

home of Richard Reutlinger for the annual Christmas Party.

Texas ChapterThe Texas Chapter will have our 7th meeting this year in

Houston, Texas on October 27 and 28 where we will be meetingat the homes of Alan Bies and Dick Howe.

The fun will start at 2:00 on the 27th.Our 8th meeting will be on Saturday December 1st at the

home of Dr. William Flynt in nearby Garland, Texas. We would bepleased to welcome anyone who might be in either town on either day.

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

Sierra Nevada ChapterSierra Nevada Chapter will have their Christmas meeting on

December 8, 2001. For more information contact John or Nadine MottoRos, 209-267-9252, [email protected]

Contributed By Anthony Engels

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2002 Convention2002 CONVENTION

2002 AMICA

INTERNATIONAL

MEETING

Springdale, Arkansas

June 26 – 30, 2002

Proposed Schedule of Activities

Wednesday, June 26

Board Meeting

Welcoming Organ Rally by the Heart of America Chapter

Thursday, June 27

Breakfast

Tour to Eureka Springs, Arkansas and local collections

Evening Entertainment by Clarke Buehling & The Skirtlifters

presenting One Hundred Years of American String Band Music

Friday, June 28

Breakfast Buffet and Business Meeting

Tour to the Koehler Collection in Joplin, Missouri

Special surprise dinner and Pumper Contest

Saturday, June 29

Workshops in the morning

Mart in the afternoon

Banquet and Dance with the Jack Mitchell Band

Sunday, June 30

Farewell Breakfast

Optional Open Houses in Arkansas, Oklahoma and Missouri

For additional information, contact Convention Chairman:

Mary Jo Bopp

55801 E. 365

Jay, Oklahoma 74346

417-782-1199

Email: [email protected]

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Link Trainer“The Pilot maker”

Anyone who flew in the Military up through the late 70s probablyspent some time in a Link Trainer.

In 1928, Edwin C. Link left his father’s organ building businessto begin work on a “pilot trainer.” Link had learned to fly and wasthrilled to try his hand in the aviation business. As his knowledge offlying began to grow, he envisioned a device that would allow pilotsto take their preliminary flight instruction while safely on the ground.With his organ building experience, he designed the trainer usingsuction through fabric bellows to cause motion in pitch and roll. Theamount of suction is proportionate by the amount of movement of thecontrol yoke. The trainer has authentic control yoke, pedals and trimwheels. One enters the trainer through a side door and sliding canopy.Once seated you can be totally enclosed, separating you from the out-side world, enhancing realism and the feeling of being in flight.

Crude pilot training aids had been designed even before WWI,but none had any significant training value. Edwin A. Link provideda giant step forward when in 1931 he received a patent on his “pilotmaker” training device. He had perfected his design in the basementof his father’s piano and organ factory in Binghamton, NY. Organ bellows and a motor provided the means for the trainer, mounted ona pedestal, to pitch, roll, dive and climb as the student “flew” it. Ironically, most of his first sales were to amusement parks. In 1934,after a series of tragic accidents while flying the airmail, the Army Air corps bought six Link trainers to assist in training pilots to flyat night and in bad weather relying on instruments.

The U.S. Military Services saw the need for the “pilot maker” but lacked the money to buy them. In February 1934, the U.S.Army Air Corps was ordered to fly the airmail in the United States. Army pilots lacked experience in flying “on instruments” at nightor in inclement weather. Five pilots were killed in the first few days of flying the mail.

The Army quickly began a search for solutions and arranged for Link to visit the Newark Airport in New Jersey to demonstratehis trainer. On the day of the demonstration the weather turned stormy, but Link arrived safely and succeeded in convincing the Armythat instrument flight was practical and could be taught in his trainer.

WWII era brought orders for thousands of Link trainers from the U.S. and many foreign countries. Although Army Air Forcesaviation cadets flew various trainer aircraft, virtually all took blind-flying instruction in the Link. Movement of the trainer is accom-plished by vacuum operated bellows, controlled by valves connected to the control wheel (or stick) and rudder pedals. An instructorsat at the desk and transmitted radio messages which the student in the Link heard through his earphones. Inside the “cockpit,” thestudent relied on his instruments to “fly” the Link through various maneuvers while his navigational “course” was traced on a map onthe desk of the three-wheeled “crab.” Slip stream simulators gave the controls the feeling of air passing over control surfaces and arough air generator added additional realism during the “flight.” The trainers were realistic enough that a humorous but unlikely storycirculated that one student, told by his instructor that he had run out of fuel on a night flight, broke his ankle when he leaped from thetrainer as though parachuting to safety.

The complexity of flight simulators has grown with that of military and civilian aircraft. No one knows how many lives, aircraft,and training dollars have been saved by flight simulators, but those savings can be traced back to Link’s which led the way to today’ssophisticated trainers.

Letters…

Instrument panel of the LInk ondisplay. The Link trainer was

donated by Simulation ProductsDivision, The Singer Co.,

Binghamton, Ny.

– LINK TRAINER FACTS –We had several members call about the historical error in a recent letter from England. The letter erroneously stated that the

Link Trainer was a British invention. Not so! The American-made Link Trainer was developed and patented by Edwin Link (1904-1981). Edwin Link was a beloved AMICA Honorary for several years and a good friend to many.

Bennet Leedy sent in this concise article about the Link Trainer for your information and to set the record straight, too!

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If You Could Take Only One Book

To A Desert IslandBy Robert Ridgeway

In the beginning there was the word and the word was good. The Encyclopedia ofAutomatic Musical Instruments was written by Q. David Bowers and it was the word for allcollectors of these instruments and those interested in becoming collectors. This was the mostcomprehensive collection of information that had been assembled to picture, explain, anddescribe the vast range of automatic musical instruments. The people bought and read thisbook and were pleased throughout the land. Then, a few years later came further word and it,too, was good. Treasures of Mechanical Musical Instruments by Q. David Bowers andArthur Reblitz concentrated on specific instruments and, more importantly, the scales for nearly every instrument known. Thousands read this book and became learned and wereexceeding pleased. Eventually these two venerable reference books went out of print andbecame scarce items. A cry rose up in the land for them to be reprinted so newer collectors oftoday could be blessed with this resource. Finally, acceding to the wishes of the multitudes,

The Encyclopedia of Automatic Musical Instruments was reprinted and made available, once again,to the pressing throngs eager to glean wisdom from its pages. Treasures of Mechanical Musical Instruments, with

its valuable reference scale data, was not reprinted due to the change in ownership of the publisher, Vestal Press.

At last there is the final word and it is not only good, it is magnificent. Mechanical Music Press has just released The GoldenAge of Automatic Musical Instruments by Arthur Reblitz (edited by Q. David Bowers). If many of you note some commonalityamong these three seminal works, it is because the authors are among the most experienced and well informed the hobby has ever

InquiryAMICA Member Ken Snowden writes:Among a group of Welte Licensee rolls I purchased

were a couple with the notation “Selected RecordingsService Library, Joseph Peter Alexis Kalanowitch” andthe Russian double eagle insignia. Have any other col-lectors found rolls so marked? Does anyone know thesignificance of the marking or the identity of Mr.Kalanowitch?

PIANO DOCTOR TO THE RESCUEFrom The Morning Journal, Lorain, Ohio, May 27, 2001

Los Angeles (AP) - Luckily for Yo-Yo Ma, there was a doctor inthe house.

A concert featuring the cellist had an unexpected delay when a9-foot Steinway piano broke in the middle of Beethoven’s TripleConcerto.

Although Ma waved his handkerchief inside the piano in anattempt to rouse the ailing instrument, it took a piano doctor waitingin the wings to set things straight.

As the repair expert hustled on stage Thursday to fix the concertgrand piano, Ma and other musicians entertained the giggling crowdof 1,800 at the University of California, Los Angeles.

In less than 10 minutes, a tiny platform that holds the keystroking levers was fixed, and the show went on to the applauseof the audience, some of whom had paid $500 for their seats.

~- Piano doctor to the rescue -

A few questionsDid you ever have the impression that people who write articles

actually KNOW what they are writing about! Well, read this articleand see what you can “learn” from it. Dare I issue you some questions as a test?

1. Who was playing the piano? Was it the cellist Yo-Yo Ma?

2. Where exactly did the piano break?

3. How was the audience “entertained” while the broken piano was being repaired?

4. Technically speaking, where exactly is the “tiny platform that holds the key STROKING levers” found in a piano?

5. What item seems the most important to the author of the article? (Answer: The $500 price paid for the seats.)

224

produced. Q. David Bowers has been involved with automatic music for decades and operated, in association with Terry Hathaway,one of the first and finest facilities where these instruments were restored, displayed, and made available to potential customers.Arthur Reblitz authored the most widely read and authoritative text ever written entitled Piano Servicing, Tuning and Rebuilding.It is absolutely required reading for every aspiring piano technician. His experience with the restoration of some of the finest automatic musical instruments yet remaining in existence has earned him the respect of his peers and clients worldwide. He isuniquely qualified to author this latest and significant third leg of this trilogy of “must have” books for the collector. It would be noexaggeration to say that if Art had NOT written his previous books and articles, had NOT produced such splendid restorations, andhad NOT created dozens of magnificent musical arrangements of rolls for dozens of machines, this latest book would, by itself,assure him of a place of honor in the Pantheon of the most important contributors to the automatic musical field.

Weighing in at only slightly more than five pounds, this tome contains over 448 pages of information, anecdotes, 330 photos(most in full color), instrument specifications, a comprehensive glossary of terms, and updated scales of nearly every major instrument you would likely encounter. This Herculean effort has taken nearly five years to research and write and gleans the bulk ofits photos and data from three of the most comprehensive and finest collections ever assembled in this country. The Bob Gilson Collection, the Jim Krughoff Collection and the Jasper Sanfilippo Collection have provided a treasure-trove of information for thehobbyist and serious collector alike.

Have you ever wondered what a Hupfeld Phonolist Violina looks like inside? Now you can study detailed photos. Have youever been curious about instruments so rare that there may be only one example remaining? Now you can see pages of such magnificent rarities explained.

This work is not a mere curiosity; it is an invaluable reference work that will prove itself indispensable for years to come. Everyuniversity music library should own a copy and certainly any collector who is serious about being fully informed about this mostwonderful of hobbies.

For those who yearn for stories and anecdotes about early collections and collectors, this book is for you. Many of you now collecting came into this hobby after a large number of early pioneers passed from the scene. Their stories make a fascinating readand will give you a greater appreciation of how lucky we are that these early trailblazers made it possible for us to enjoy the bulk ofthe instruments we have today. They rescued these “has-been curiosities” from the scrap yards and painstakingly brought them backto life for future generations. Many of these early hobbyists were at the right place at the right time and saw potential where othersonly saw junk. The chapters devoted to our early history will entertain you for years to come.

There is included a comprehensive glossary of terms to enlighten the neophyte and reacquaint the seasoned veterans. If you onlyseek a superficial overview of automatic musical instrument collecting you can certainly peruse the book casually. If, however, youhave a gnawing hunger for as much information as you can absorb about the many companies, their various product lines, and, moreimportantly, the detailed explanations about how specific actions and mechanisms operate, then this book is essential to your library.There is a wealth of information to satisfy even an experienced restorer. It will prove to be a refresher course in how many of theseinner workings operate and interrelate with each other.

This book attempts to comprehensively answer the long-standing conundrum of how much these early machines cost in terms ofman-hours needed to pay for one. Complete tables are provided showing the values of U.S. Dollars against British Pounds, GermanMarks, French Francs, and Swiss Francs, as well as the average hourly wages from 1881 through 2000. This contribution alone willprove invaluable to many researchers and collectors.

A painstaking listing of all significant manufacturers of instruments is included. The important scale information that was featured in the now out-of-print Treasures has been expanded and any earlier errors corrected. You will find yourself referring to thissection alone quite often for details about particular machines and their respective music.

Some of you may remember when the Encyclopedia was first introduced, many thought the initial price was too high and waitedfor it to fall. Instead the book became more and more a collectors item and the price rose accordingly. The recent reprint sells for alittle over twice what it did originally. The Golden Age of Automatic Musical Instruments will likewise increase in value as moreand more people discover how invaluable it will be in finding out about a particular instrument or firm. For those who are in a position to do so, you would be well advised to buy two copies and keep one in its shrink-wrapped carton for the future. The qualityof the scholarship, graphics, printing, and photographs are of such an extraordinary caliber it is amazing that the Mechanical MusicPress can offer this most essential book for the reasonable $120.00 price (plus S/H) that they do. The Holiday Season is soon upon usand if there ever was a perfect gift for the collector, this book is it.

There is an email address where orders may be placed: HYPERLINK “mailto:[email protected]” [email protected] a toll-free phone number for ordering with a credit card: 1-877-760-8243. For those wishing to mail a check, the address is:

Mechanical Music Press - A70 Wild Ammonoosuc RoadWoodsville, NH 03785-4424.

You will not in any way be disappointed in this purchase. It should re-excite present collectors and open up an entirely new horizon for those just becoming exposed to the hobby. I cannot praise this staggering contribution to the automatic music hobby toohighly. When you purchase and receive your own copy, you will understand my unbridled (and almost hyperbolic) enthusiasm.

Robert Ridgeway has been restoring pipe organs and other pneumatic instruments for nearly 40 years. He is a nationally recognized recording engineer and theCurator of the Sanfilippo Collection. He wants it known that no automatic musical instrumentsor small animals were harmed during the actual preparation of this review.

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Annual Reports

PRESIDENT’S REPORT

This has been a transitional year in many ways for theorganization. At the annual meeting last year, it was announcedthat Treasurer Rob DeLand requested that he be replaced due tobusiness and personal commitments. Due to a lack of time tofind a replacement candidate, he was re-elected and the searchfor a replacement began. Mike Hamann agreed to becomeTreasurer and this was approved by the Executive committeeand the transition began. At the end of 2000 and before thetransition was completed, Mike found himself unable to take onthe job and returned the books to Rob DeLand. Luckily forAMICA, Rob interrupted family activities and completed thenecessary paperwork to verify the non-profit status of the organization and make sure that bills were paid. The searchbegan again for a Treasurer and Wesley Neff agreed to take thejob and was approved by the Executive Committee. He quicklyassumed responsibilities, completed the AMICA tax return intime, and verified the financial status of each of the chapters.We owe a great deal of thanks to Rob and Wes for keeping uslegal and solvent.

Another transition for the organization was that Past President Terry Smythe asked that he be replaced as webmasterand compiler of technical articles. Fortunately, Meta Brown,who had been working with Terry on the website, agreed to takeover the website duties and has some great ideas for improvingit and increasing its visibility when people seek player andreproducing piano information. Someone is still needed tocompile the technical and historical articles.

The third transition, which is still in progress, is finding anew Secretary. Judy Chisnell recently asked to be replaced andI am in the process of finding a replacement. She will continueher duties as head of the Memorial Fund Committee.

Because the Convention was early in the year, we were intransition with financial data, and a number of chapter representatives and officers were not present, it was not possible to have a board meeting with the Convention. I proposed a mid-year board meeting in the central US, but therewas not sufficient positive response to this idea to make it feasible. The business of the organization will be handled bymail this year and annual reports were submitted to me by mailand e-mail. Some reports submitted by e-mail were truncateddue to differing word processor programs. When this was thecase, I will forward the original e-mail to Robin Pratt so that thereport is printed correctly. Approval of minutes of the 2000meeting and any other business will be handled by mail for thisyear only.

Membership numbers have not grown to generate sufficientnew revenue to put aside the recommended $5000 a year topublish a new directory every three years. 2002 would be theexpected publication year for a new directory. Postage costshave also increased. It has been two years since a dues increaseand I propose that an increase of $5 per year (to $42 annualbasic dues) be considered. Others have proposed an even largerincrease and I welcome comments on the proposal. Leavingdues unchanged would cause a significant drain on funds if adirectory is to be published on schedule. Alternatives, which Ido not endorse, include delaying the directory or publishing alimited directory of names only (without collection listings).

The Leo Ornstein Literary and AMICA InternationalAwards were not presented this year, as discussed at the boardmeeting in 2000. I did not want to miss the awarding of thePresident’s Award this year and presented the award to PastPresident Robert Rosencrans. He did a great deal for the organization in the past, including assuming the duties of President early on the resignation of the President, facilitatedthe growth of AMICA during some challenging times, encouraged the participation of Honorary Members in Conventions, and was active in coordinating two Conventions.He continues to be an active AMICAn. I wish the presentationcould have been made publicly and hope to re-announce thispresentation at next year’s Convention.

I am pleased to report that the Gateway Chapter hasresumed activity, but concerned that the Southern Skies Chapterhas not been heard from. I remind chapters that regular meetings and submission of activity reports for publication arerequired by the By-laws.

E-mail kept correspondence costs to a minimum and totalexpenses for the job of President, including the President’sAward, were approximately $110.

I want to thank chapters, board representatives, officers,and committee heads for the time and efforts in keepingAMICA active and viable. I particularly want to thank RobinPratt for continuing to produce an outstanding Bulletin and toWes Neff for ably handling financial matters.

Respectfully submitted,

Dan Brown, President

July, 2001

ANNUAL REPORTS

226

EXECUTIVE COMMITTEE REPORT

The Executive Committee was called upon to review andapprove first Mike Hamann and then Wes Neff for the positionof AMICA Treasurer on the request of Rob DeLand that areplacement be found and will be called upon to approve newAMICA Secretary as soon as a replacement can be found forresigning Judy Chisnell.

There was some concern that an MMD contributor wasventing his complaints about AMICA on the MMD withoutattempting to resolve issues through the organization. Itappears that the person had been contacting people he thoughtwere official representatives of AMICA, but were not, and thatinaction was perceived by the person as being ignored. RobinPratt and Bill Chapman established contact with the person andit appears that the concerns have been resolved. The problemrelated to the person believing that he had joined AMICA, butthat membership secretary Bill Chapman had never received theapplication or payment.

Chapters have done a commendable job this year in verifying that their members are also members of AMICAInternational. This has been a problem in the past and we needto continue the growth of AMICA through the chapters.

Mike Barnhart continues to work on the establishment ofthe IMFFO (International Forum of Mechanical Music Organizations) as a website. AMICA approved funds last yearto facilitate this. Review Mike’s report for further information.


Dan Brown

July 2001

VICE PRESIDENT’S REPORT

The Vice President has only a couple of items to report forthis meeting.

I have corresponded with all of the chapters on a couple ofmatters.

The first item was to ask each chapter to send to Bill Chapman, International Membership Secretary, a list of all paidChapter Members. This was in response to reports at Sacramento that there still are Chapter Members who are notmembers of AMICA International.

The second item was to ask each chapter to make certainthat copies of their chapter’s activites be sent to me AND alsoto Terry Smythe, AMICA WebMaster, for inclusion on theAMICA International Web Page. I mentioned that chapter membership and international membership could be boosted bysimply posting their activities on the site where prospectivemembers throughout the world can view activities in their area

I also urged each chapter to make certain that an updatedlist of officers be sent to both Robin Pratt, publisher of the Bulletin, and also to Terry Smythe for inclusion on the website.I found that the two lists of officers did not agree with eachother.

On a different matter, some seem to be taking place on theCITES/”Ivory across the Border” front. A recent (late June)transport of a piano from the U.S. side to the Canadian sidewith removed ivory keys elicited a response of “What happenedto the Ivory Keys?” from the Canadian Customs Officer. Uponshowing the officer two bags with old ivory removed, the officer responded something to the effect that that wasn’t necessary anymore. They are only interested in instruments thatare less than 30 years old. One of our chapter members is investigating this change, and will try to get a written documentto attest this change. BTW, the ivories on the piano in questionwere in very poor condition and needed to be replaced.

Since the convention this year was in Australia, there wasno business meeting, and as a result, the Leo Ornstein LiteraryAward, the AMICA International Award, and the President’sAward were not given. I would assume that the awards will bemade in 2002.

Respectfully Submitted,

Mike Walter

Vice President

PAST PRESIDENT’S REPORT

2001During the past year I have advised the President on a few

matters of concern at his request.

I was appointed by the President to be the Chairman of theNominating Committee to nominate officers to fill any positions that will become vacant at our next Annual Meeting.I will give further details in my report as Chairman of this committee.

My expenses for the year are so minimal that I have notbilled the organization for them.

My expenses for the coming year will increase due to thecommunication requirements as Chairman of the NominatingCommittee. However, I do not intend to bill the organizationfor these expenses.


Linda Bird

AMICA Past President

227

PAST PRESIDENT’S REPORT

NOMINATING COMMITTEE CHAIRPERSON

2001

As requested by the President, I have formed a proposedNominating Committee to select nominees for the AMICAoffices to be voted upon at the year 2002 Membership meeting.The following listed members have agreed to serve on thiscommittee if elected to do so by the Board of Directors.

Linda Bird, Chairman—AMICA Past President—3300 Robinson Pike, Grandview, MO 64030-2275, 816-767-8246, HYPERLINK “mailto:[email protected]” [email protected]

John Motto-Ros, 110 Allen Ranch Rd., P.O. Box 908, Sutter Creek, CA 95685-0908, 209-267-9252

Christy Counterman, 554 Sunset View Drive, Akron, OH 44320, 330-864-9499, 330-864-9474

Jere DeBacker, 1122 Harrison St., Denver, CO 80206-3519, 303-394-3039

Dave Saul, 1043 Eastside Road, El Cajon, CA 92020, 619-449-9641, 619-253-2586

Dee Kavouras, 5501 N. Rosedale Circle, Beverly Hills, FL 34465-2237, 352-527-9390

Paul Dietz, 4327 Spruce, Oakford, PA 19053-4738, 215-357-0834


Linda Bird

AMICA Past President

2001 AMICA INTERNATIONAL

TREASURER’S REPORTJanuary 1, 2000 through December 31, 2000

And Fiscal Year 2001 ProjectionPrepared by Wesley Neff

June 30, 2001

INTRODUCTION

AMICA National had income in fiscal year 2000 of$66,409.82, which was about 7% less than the average for theprior three years. The expenses $68,609.31 were up 1% fromthe prior three year average, discounting the affect of the mem-bership directory which was printed in 1999. Expenses in 2000exceeded income by $2,199.49.

The total AMICA International income (National andChapters) in 2000 was $79,233.28. Adding Convention incomeof $46,342.82, the total income was $125,576.10. the total ofthe national and Chapter income is essentially flat with 1999income. Total AMICA International expenses (National andChapters) in 2000 was $77,690.87, plus Convention expensesof $39,135.26, for total expenses of $116,826.13. The totalNational and Chapter expenses were down about 13% from1999 expenses of $89,579.84. Total AMICA income exceededexpenses by $8,236.25 in fiscal year 2000.

INCOME (NATIONAL ONLY)

Total National Dues collected in 2000 was $59,738.79,down slightly from 1999. The projection for 2001 dues is off asimilar amount.

Income from bulletin advertising in 2000 was off 21%from 1999 levels. The projection for 2001 shows a further 40%decrease in advertising revenues.

Interest received in 2000 bounced back toward prior yearlevels, however, the projection for 2001 is off 40% due todepressed interest rates. At the end of 2000, there was$30,593.18 in a money market fund earning 5.79%. The cur-rent money market rate is 3.91%. Investigation is underway todetermine if there is another low risk alternative for the fundsavailable for investment.

Memorial Fund donations in 2000 were $329.00. The pro-jection for the Memorial Fund in 2001 is about $600.00.

There were no books or AV sales in 2000, and none areexpected in 2001. A worthwhile project is needed to promoteour hobby and provide income.

Total income for 2001 is projected at $68,625, up 3% from2000.

228

EXPENSES (NATIONAL ONLY)

Of the $68,609.31 in expenses incurred in 2000, the largestsingle item is the cost of the “Bulletin” and associated reprints.Counting the costs of the publisher, printing, handling, postage,reprints and inserts, the “Bulletin” costs in 2000 were$53,600.00 (about 78% of the total). This is expected to beabout $58,000.00 in 2001, or $9,700.00 per issue. Publishingof this fine “Bulletin” is an essential part of maintainingAMICA’s tax exempt status.

The second largest group of expenses include postage,copies, telephone and miscellaneous office supplies and equip-ment used by the officers. Telephone costs are falling rapidlydue to electronic mail and reduced long distance rates used toconduct AMICA business. The total of these categories in 2000was $4,035.31, and is projected to be $4,960.00 in 2001. Noofficer other than the publisher and membership secretaryreceives any fee for his or her time.

Convention expenses of $3,116.37 in 2000 included$2,116.37 to the Boston Area Chapter to offset the losses fromthe 1999 Convention, and $1,000.00 seed money for the 2002Springdale, Arkansas Convention. There are no expected Con-vention expenses in 2001.

Other Expense Notes:

• The premium for liability insurance coverage continuesto increase at an annual rate of 6% to 7%.

• Of special note are the bank charges. About two-thirdsof the bank charges in 2000 are for credit card payment han-dling. Since dues payments by credit card are increasing eachyear, the bank charges are on the rise. They are expected to beabout $800.00 in 2001. AMICA is now banking with FifthThird Bank of Northern Ohio, which does not charge bankingfees to non-profit organizations, but we must continue to pay acharge for credit card deposits.

• No awards are in the budget for 2001.

• Maintenance of the AMICA web-site cost $460.55 in2000, and is projected at $500.00 in 2001.

MEMORIAL FUND

The Memorial fund account stood at $7,311.17 at the endof 2000. During the year we received $329.00 in donations andadded $548.78 in interest.

CHAPTERS

At the end of 2000 AMICA had fourteen active chapters.Chapter income is mostly from dues and interest. The Found-ing and Sierra Nevada Chapters each had a net conventionincome from the Sacramento Convention of $2,342.45.Expenses for the chapters are mostly related to printing, postageand supplies related to chapter meeting notices. Other expenses

of note include: the rebuilding of a player grand project by theSOWNY Chapter; an Organ Rally-Gateway Chapter; and aThresher Reunion-Heart of America Chapter. The end of year2000 balance for the chapters of $54,938.72 is up 7% from thebeginning of year balance.

SUMMARY

AMICA International continues to have a sound financialbase due to a steady income from membership dues, interest,and to a lessening extent - advertising. However, we are justmeeting expenses and are not building a reserve for unexpectedor unusual expenditures. There is no account growth to offsetpublishing of another membership directory.

AMICA International’s 1999 Federal Information Returnwas audited during 2000 by the Internal Revenue Service.Their examination of the Information Return disclosed that theorganization continues to qualify for exemption from Federalincome tax. However, they noted that we have been incorrectlyreporting the sale of advertising and income from book sales,reprints, etc. They are to be reported on a different line onForm 990, and an additional Form “990-T” was requested.

All required informational forms were filed in a timelyfashion with the IRS, the California Franchise Tax Board, andCalifornia Registry of Charitable Trusts. Since the grossreceipts for 2000 exceeded $100,000.00 a different FederalInformation Form was required than in the past. This longerform requires more information to complete than the “EZ” formused in the past. A note was sent to all of the Chapter Treasur-ers to collect this additional information for 2001.

My thanks to all of the Chapter Treasurers for their supportin making this report complete. Thanks also to Rob DeLand forproviding well maintained and detailed treasury records, and forhelping me get through the transition of responsibilities. Myapologies to the Chapter Treasurers for the eleventh hour drillthat was necessary to complete the required informationalreports by mid-May. Next year we will get off to an earlierstart.


Wesley Neff, Treasurer

AMICA National 1996 thru 2000 Actuals and 2001 Budget

INCOME

Category 1996 1997 1998 1999 2000 2001(plan)advertising (bulletin) 7,197.10 3,070.00 6,650.20 3,968.80 3,150.80 1,865.00advertising (directory) 0.00 0.00 0.00 2,830.00 0.00 0.00convention fund 2,705.86 3,145.00 1,000.00 1,053.81 0.00 3,200.00interest received 1,192.67 2,908.02 2,855.33 1,263.31 2,480.73 1,500.00membership dues 47,032.00 53,452.14 61,654.33 60,304.20 59,738.79 59,500.00memorial fund donations 100.00 4,242.50 85.00 322.00 329.00 600.00sales (books $ AV) 2,369.00 2,843.00 1,222.18 75.00 0.00 0.00sales (bound bulletins) 346.00 354.00 130.00 6.00 252.00 1,400.00sales (tech and leaders) 768.00 0.00 134.50 313.75 413.50 500.00miscellaneous 182.59 0.00 0.00 290.00 45.00 60.00

TOTAL INCOME 61,893.22 70,014.66 73,731.54 70,426.87 66,409.82 68,625.00

EXPENSES

Category 1996 1997 1998 1999 2000 2001 (plan)AV 498.11 155.00 0.00 0.00awards 93.80 515.18 613.86 774.56 0.00bank charges 12.00 12.00 268.17 254.91 429.13 800.00convention 2,000.00 2,000.00 296.12 3,116.37 0.00donation (museum) 100.00 0.00 0.00 0.00 0.00 0.00

~handling: bulletin 1,411.00 2,133.00 2,640.00 2,870.00handling: directory 448.00 0.00 0.00insurance 1,675.00 1,625.00 1,730.00 1,909.00 2,100.00internet 394.14 460.55 500.00legal & professional fees 35.00 45.00 55.00 20.00 20.00 35.00membership sect. stipend 0.00 2,303.50 0.00 2,465.00 2,283.00 2,300.00misc: copies 96.03 452.41 227.70 600.00misc: office equipment 2,970.69 3,011.18 360.10 250.00 1,099.00 0.00misc: office supplies 400.68 4,798.77 275.52 366.50 678.93 600.00miscellaneous 1,695.27 336.00 0.00 730.50 1,919.00 500.00postage: bulletin 732.04 709.20 4,997.95 7,922.61 8,354.90 8,800.00postage: directory 1,482.77 0.00 0.00postage: officers & misc 2,039.73 3,433.00 1,375.41 3,500.00printing: bulletin 28,434.01 33,763.45 28,345.61 26,889.00 25,238.00 25,900.00printing: directory 3,025.00 10,905.00 20.00 0.00printing: inserts 7,596.59 9,087.72 3,370.49 1,000.00printing: reprints 6,533.00 6,286.00 3,979.00 3,502.00 10,400.00printing: stationery 184.00 1,124.15 73.00 160.00printing: AMICA brochures 1,269.88 0.00 0.00 0.00publisher fees 6,000.00 6,200.00 9,000.00 9,000.00 10,500.00 9,000.00refunds 23.00 26.00 0.00 64.00 37.00 0.00telephone 2,611.69 3,241.15 5,297.10 1,652.57 581.27 100.00

TOTAL EXPENSES 46,039.38 64,748.05 72,120.97 85,849.26 68,609.31 69,165.00

NET GAIN (income· expense) 15,853.84 5,266.61 1,610.57 ·15,422.39 ·2,199.49 ·540.00 4,569.14

229

AMICA International 2000 Income and Expense Summary

r-National Memorial Convention Chapters Total

Income Fund Sacramentoadvertising 3,150.80 - 300.00 - 3,450.80convention income - - - 4,684.91 4,684.91events (chapters) - - - 783.00 783.00interest received 1,931.95 548.78 - 1,065.83 3,546.56mart - - 165.00 - 165.00membership dues 59,738.79 - - 5,627.80 65,366.59memorial fund - 329.00 - - 329.00registrations - - 44,858.82 - 44,858.82sales: bulletins 252.00 - - - 252.00sales: tech and leaders 413.50 - - - 413.50sales: misc 45.00 - - - 45.00miscellaneous - - 1,019.00 661.92 1,680.92

Total 65,532.04 877.78 46,342.82 12,823.46 125,576.10

Expensesawards 774.56 - 416.60 1,191.16bank charges 429.13 - 44.43 473.56convention expenses 3,116.37 - 39,135.26 1,110.24 43,361.87events (chapters) - - - 3,068.19 3,068.19handling bulletin 2,640.00 - - - 2,640.00insurance 1,909.00 - - - 1,909.00internet 460.55 - - - 460.55 r-legal & prof. fees 20.00 - - - 20.00

OJ

membership sect. 2,283.00 - - - 2,283.00memorial fund - - - 250.00 250.00miscellaneous 409.00 - - 1,187.51 1,596.51misc:officers 81.85 - - - 81.85misc: copies 227.70 - - - 227.70misc: office equipt. 1,099.00 - . - - 1,099.00misc:office supplies 597.08 - - - 597.08postage 9,730.31 - - 1,544.14 11,274.45printing: bulletin 25,238.00 - - 745.98 25,983.98printing: directory 20.00 - - - 20.00printing: inserts 3,370.49 - - - 3,370.49printing: reprints 3,502.00 - - - 3,502.00printing: stationery 73.00 - - - 73.00publisher fees 10,500.00 - - - 10,500~OO

refund dues 37.00 - - - 37.00supplies (chapters) - - - 708.97 708.97telephone 581.27 - - 5.50 586.77uncategorized 1,510.00 - - - 1,510.00

Total 68,609.31 - 39,135.26 9,081.56 116,826.13

Account Balances1.Jan-Q1 39,894.38 7,311.17 2,522.65 54,938.72 104,666.921.Jan-GO 42,971.25 6,433.79 0.00 47,025.63 96,430.67

;,~~

Prepared by Wesley NeffJune 30, 2001

230

~Chapter Name 2000 Income

Starting Dues Interest Conv. Events Mise TotalBalance Income

Boston Area 2,066.95 480.00 8.76 488.76Chicago Area 6,050.95 315.00 101.24 115.00 531.24Founding 2,876.52 1,450.38 2,342.45 3,792.83Gateway 3,883.07 72.00 48.41 783.00 903.41Heart of America 6,402.51 395.00 125.00 12.00 532.00Lady liberty 1,786.35 224.00 224.00Midwest 8,205.71 736.00 288.88 121.00 1,145.88

// Northern lights 622.59 20.00 20.00

Pacific Can-Am 2,790.80 206.42 100.72 22.00 329.14Sierra Nevada 1,405.46 330.00 24.18 2,342.46 250.00 2,946.64Southern Califomi. 7,766.07 777.00 206.99 43.00 1,026.99Southern Skies 260.37SOWNY 6,166.89 90.00 143.12 98.92 332.04Texas 912.58 532.00 18.53 550.53

Total 51,196.82 5,627.80 1,065.83 4,684.91 783.00 661.92 12,823.46

Chapter Name 2000 Expenses

Printing Postage Telephon Supplies Awards Conv. Events Mem Fnd Mise Total EndingExpenses Balance

Boston Area 25.69 180.96 7.71 1,110.24 175.52 1,500.12 1,055.59Chicago Area 53.90 156.13 45.87 329.99 585.89 5,996.30Founding 107.46 190.99 105.59 404.04 6,265.31Gateway 4.91 14.40 25.00 889.69 934.00 3,852.48Heart of America 108.80 430.00 184.25 150.00 873.05 6,061.46Lady Liberty 38.43 96.36 5.50 6.50 361.43 508.22 1,502.13Midwest 379.54 200.00 579.54 8,772.05Northern Lights 150.00 150.00 492.59Pacific Can-Am 30.94 100.19 71.58 500.00 702.71 2,417.23Sierra Nevada 33.00 40.50 232.01 10.00 315.51 4,036.59Southern California 213.65 205.87 66.81 79.00 565.33 8,227.73Southern Skies 260.37SOWNY 66.93 1,494.25 1,561.18 4,937.75Texas 95.27 186.70 15.00 100.00 5.00 401.97 1,061.14

745.98 1,544.14 5.50 708.97 416.60 1,110.24 3,068.19 250.00 1,231.94 9,081.56 54,938.72

231

232

MEMBERSHIP SECRETARY REPORTJuly 1, 2001

Bill Chapman

New Members

Both the web site and the brochures are effective in catch-ing the eye of the public. The brochures account for more thanthe web site. Many inquiries are made to the Membership Sec-retary regarding instruments for sale indicating that there issome exposure on the web. However, searches on “playerpiano” are not pointing to the AMICA web page.

Only a few Directories remain. It is suggested that the nextDirectory begin as early as permitted by current By-Laws. Newmembers frequently ask for a Directory.

Membership

As of July 1, 2001, there are 1,455 paying members. Theresponse to year 2001 Membership Renewals and subsequentReminder Letters was somewhat less than the previous year.The renewal of memberships was concluded March 31. Laterenewals are a large part of the Membership Secretary’s work-load and fairly expensive to the organization. An extrareminder was posted in the March/April Bulletin. This hadmixed results: 56 people paid in response to the pink flyer (thereturn envelope usually included the pink flyer). Of these, 47resulted in duplicate payments. Most of these duplicate pay-ments were returned, although a few members agreed to becredited for the year 2002. The membership is about 50 fewerthan the previous year.

Non-Renewals:

As of March 2001, 248 members had not sent their pay-ments. Approximately 300 reminder letters were sent out butsome 50 payments received in the meantime. Postage for theoverseas reminder letters is usually $1.00, Canada $.55, and US$.34. The total cost of the reminder letters, not counting mytrips to the office, gasoline, electricity, computer, is about $310.The principal costs are Xeroxing, postage and envelopes. Aself-addressed envelope is included in the mailing. Late bul-letins mailed from Santa Rosa, California now cost $1.81 eachfor US locations, and range much higher for foreign members,but the late foreign members are a small part of the budget. Ido not have a solid figure for late foreign make-up mailings.

A proposal is that AMICA increase its membership tocover the costs involved for the Membership Secretary Office.If the board wishes to lower these costs, a second proposal is toincrease the dues by a few dollars. If the dues notice were stat-ed e.g., “2002 dues $37 if paid by January 31., $40 if post-marked after January 31. The increase in cost is due to thehigher postage costs when Bulletins are not mailed directlyfrom the publisher. This occurs when dues are paid too late toinform the printing company.”

If the board is to consider this change, serious thought mustbe given to the issue. The costs of reminder letters could beexplained in a Bulletin article. I would be willing to put togeth-er such an article.

Reasons for non-renewal. More than usual membersresponded with written notices and emails that they did notintend to renew. About 35 responses occurred but these werelost in the moving. One theme did emerge and that was loss ofinterest in the field due to age, new hobbies, family changes.Death claimed a few members. Broadening the scope ofAMICA to include midi and computer related preservation ofmusic may be a method of attracting new members.

Some statistics:

Paying members: . . . . . . .1,455 at conclusion of renewal reminder letters

Paid-ahead members: . . . . . . .16 (revenue already included for 2001 and 2002)

Affiliates: . . . . . . .16 (free Bulletins, reciprocal; non-revenue mailings)

Dual households: . . . . . . .50 (listed in Directory, but a single Bulletin is mailed)

Free bulletins: . . . . . . .4 (for archives, research; non-revenue mailings)

Founding Members: . . . . . . .5 (non-revenue mailings)

Honorary Members: . . . . . . .7 (non-revenue mailings)

Mail Categories as of July 1, 2001

Foreign Members: 45

Surface: 35

Bulk Mail: 1,276

Canada: 36

First Class: 87

Total: 1,479

CONVENTION CHAIRMAN’S REPORT

Submitted by Frank Nix

2002 - June 26-29—Springdale Arkansas - Will be a veryinteresting and highly enjoyable meeting in a wonderful part ofthe country. Wonderful collections, picturesque early resorttown of Eureka Springs. Lots to see and do.

2003 - August 20-24—Portland, Oregon - Being well-planned out in a beautiful setting. One week before MBSImeeting in Long Beach, Calif. with a scenic train ride fromPortland to Long Beach for those who wish to avail themselvesof both meetings.

2004 - Date not established yet, but will be in Denver, Colorado Preliminary planning is going on, and this one shouldbe another winner.

We are in process of scouting for 2005 & 2006...Chaptersshould consider hosting these Conventions or giving us ideaswhere they would like to see a Convention.

233

MEMORIAL FUND

The AMICA Memorial Fund is gradually gaining interestamong our membership. Each year, our donations haveincreased. In the year 2001, we added $329.00 in donationsand $548.78 in interest to the account. That left us, at year’s endwith a balance of $7,311.17.

The even more encouraging news is that we have alreadyreceived $322.00 in the first 6 months of 2001. I see this asbeing, in a large part, due to the addition of a spot for membersto “round up” their dues payment and include a small donationto the Memorial Fund.

Sadly, some of our donations over the past couple of years,reflect the loss of cherished members. We appreciate thosedonations and offer our heartfelt condolences to the familiesand friends who made a contribution in the name of their lovedone.


Judy Chisnell, Memorial Fund Chairman

2001 TECHNICALITIES REPORT

The only activity in the Technicalities Department this yearwas generated from the internet. Some inquiries were sent tome directly to my e-mail address. Most questions were frommembers about whether their old player piano had any value,and if it did, were there any repairmen in their area. Naturally, Ireferred them to AMICA people. In every case I told them theirpiano had value and not to junk it.

The internet also lists my address on the AMICA web site.The mail I received from this site was mostly from non-AMICA members asking for help on restoring their playerpiano, along with enough information to get started. I sendthem the name of any AMICA members in their area. Also, Isuggest they join AMICA.

We used to get inquiries on where to buy reproducing rollsbut, with the internet auctions such as E-bay constantly postingrolls on their site, this has all but stopped.

On the technical side, the only reported items were a fewmembers’ problems that could be traced to leaky valves. Therehas been a renewed interest in upright reproducers. It seems apremium has been placed on living space and an upright pianotakes up less space than a grand. Refinishing costs have risenin certain urban areas around the country. Look for more out oftown case restorations and do it yourselfers.

Restoration supplies appear easy to obtain. New and usedrolls are constantly being advertised in our Bulletin. Our hobbyis flourishing and will continue to do so.

Hal Malakinian

Technicalities Chairman

2001 AUDIO-VISUAL REPORT

There has been no activity in the Audio-Visual Departmentthis year. It seems all interested members now own video cameras and recorders and make recordings on their own. Atall the meetings I have attended over the years, those interestedin a record of sights and sounds have made recordings for themselves.

The library of recordings we have were taken years agoand are outdated. They were taken in the 1970s and 1980s withequipment no longer manufactured. I have not seen a Sony U-matic video camera or recorder in 25 years. The camera uses3/4” video tape, a format that went the way of 8-track tapes. Afew of our members have sent me a copy of a video tape oftheir collection for our library.

There have been newspaper and magazine articles writtenabout automatic musical machines and those who collect them.These articles usually describe these items as antique odditiesinstead of the fine musical instruments that they are. I wouldlike to see this trend reversed.

Hal Malakinian

Audio-Visual Chairman

PAST CONVENTION

COORDINATOR’S REPORT

The 8 day Melbourne Australia Convention was a greatsuccess with 108 registered with me and an additional 11 Aus-tralians registered with John Ham. John and Jan Ham were out-standing chairmen and we had many memorable experiencesincluding home visits to Harold and Beverly Ball and Frank andDora Freedman. The Ham’s were assisted by Steve Rattle andJohn Semmons. 95 attended the 2 1/2 day extension to Sydneywhich was handled by Ian Savins and he planned visits withCraig Robson and the Master Touch Piano Roll Co. 92 went onto the North Island of New Zealand which I arranged. We visited the member homes of Michael and Gillian Woolf,Jonathan White, Leslie and Bert Watchorn, Rod and Helen Cornelious and Lloyd and Joan Whitaker’s Musical Museum.

To make sure all expenses would be covered, I built in tothe budget some contingency money and promised a refund if itwere possible. Consequently, everyone who attended all 4venues (Melbourne, Koala Trip, Sydney and New Zealand)received a refund of $225. Lesser amounts were given back toothers who only participated in some of the 4 venues.

AMICA International will receive back the $1000 seedmoney and an additional profit. Almost all of this profit wasbecause of undercharged events and special courtesies toAMICA. I will be sending the 2001 Melbourne, Australia Convention Financial Report to Wes Neff, Treasurer, when allchecks are cashed and I can close the bank account.

Liz Barnhart

Past Convention Coordinator: 1985-2001

234

HONORARY MEMBER COMMITTEE

We have six Honorary Members presently on the AMICAmembership list. Since the last Annual Meeting, we have lostHonorary Member Ramsi Tick, who passed away at the age of75 on October 31, 2000.

No new Honorary Members have been named since ourmost recent Honoraries, Emmett Ford and Larry Givens, in1996.

Since offering to take over as Chair of the Honorary Members at the Sacramento Convention in 2000, I received the“archives” of members from Mike Walter that was compiled byDorothy Bromage over her 16 years of service as HonoraryChair. I have read through the information and cleaned-up thefiles, and updated the listings of all current and past Honoraries.

I received an inquiry from Terry Smythe regarding LeoOrnstein, which I attempted to research a bit. I have no currentaddress for Mr. Ornstein, and can only assume that at 106 yearsof age he has probably passed on. Does anyone know if he isstill alive?

I have also written Hi and Marilyn Babit. Judy Chisnelltold me Marilyn is recovering from a heart attack and I thoughta “get well” wish from AMICA would be welcome.

I had also written Michael Hamman after Ramsi’s death.

Please keep the lines of communication open. If you hearof any news about our members which might be of interest,please pass it on.

I would also request that the Board might consider thefuture of the Committee, i.e. adding any new Honorary Mem-ber, etc.


John M. Albert

Chairman

AMICA HONORARY MEMBERS

Six on Membership List as of June 2001

Herman (“Hi”) Babich (“Babit”), born Nov. 1917

Emmett Ford, born 1895

Larry Givens, born May 7, 1937

Max Morath, born Oct. 1, 19??

Leo Ornstein, born Dec. 11, 1892

Victor Zuck, born Jan. 29, 1908

AMICA HONORARY MEMBERS

Clarence Adler 1886-1969

Pauline Alpert (Rodf) 1912-1988

Louis Alter 1902-1980

Robert Armbruster 1896-1994

Herman (“Hi”) Babich (“Babit”) 1917- *

Edythe Baker (Kane) -1997

Alan Bier -1973

Robert W. Billings 1899-1985

Ruth Bingaman-Smith 1896-1996

Eubie Blake 1883-1983

Alexander, Brailowsky 1896-1976

Elmer F. Brooks -1987

Julius Burger 1897-1995

Adam Carroll 1897-1974

Julius Chaloff 1892-1979

Abram Chasins 1904-1987

Wilbur Chenoweth 1899-1980

Shura Cherkassky 1911-1995

Jan Chiapusso 1890-1969

Zez Confrey 1895-1971

J. Lawrence Cook 1899-1976

Charles Cooper 1888-1971

George Copeland 1883-1972

Emse Dawson -1977

Ursula Dietrich Hollingshead 1886-1985

Frederic Dixon 1895-1923

Lyle Downer -1979

John Duke 1889-1984

Jose Echaniz 1905-1969

Edgar “Cookie” Fairchild 1898-1975

Ted Fiorito 1900-1971

Emmett Ford 1895- *

Rudolph Friml 1879-1972

Rudolph Ganz 1877-1972

Adam Gawlick 1903-1995

Larry Givens - *

Joe Gold 1894-1953

Gitta Gradova (Cottle) 1904-1985

Ferde Grofe 1892-1966

William Haeseler, Jr. -1994

Richard Hageman 1882-1966

Francis Hall Ballard 1899-

Eddy Hanson 1893-1986

Myra Hess 1890-1965

Clarence N. Hickman 1889-1981

Johnny Honnert 1908-1995

Elmer H. Hunholz -

Gertrude Huntley Durand 1888-1987

Johnny Johnson 1876-1979

Herman Kortlander 1900-1987

235

AMICA HONORARY MEMBERS cont.

Frank Laffitte -1982

Carl E. Lamson 1897-1966

Henry Lange 1895-1985

Ethel Leginska 1886-1970

Edwin Lester 1895-1990

Edwin Link 1904-1981

Matilda Locust Hart -

Vincent Lopez 1894-1987

L. Leslie Loth 1888-1975

Dr. Mana-Zucca 1894-1987

Flora Mora 1894-1987

Max Morath - *

Mieczyslaw Munz 1900-1976

Conlon Nancarrow -1997

Elly Ney 1882-1968

Ray Noble 1903-1978

Guiomar Novaes Pintot 1895-1979

Erwin Nyiregyhazi 1903-

Leo Ornstein 1892-

Wilfred Pelletier 1896-1982

Gray Perry 1898-1995

Genevieve Pitot -1980

Leo Podolsky 1891-1987

John Powell 1882-1944

Vera Richardson -1978

Claire Rivers Moody 1893-

Douglas Roe 1903-1994

O. Fred Rydeen

Domenico Savino 1883-1973

Carl I. Schneider -1976

Germaine Schnitzer 1889-1983

Leonard Smith 1901-1993

Sigmund Spaeth 1885-1965

Ernest L. Stevens 1884-1982

Reginald Stewart 1899-1984

Alexandre Tansman 1897-1986

Ramsi Tick 1925-2000

Donald D. Voorhees 1903-1989

Pete Wendling 1888-1974

Maurice Roy Wetzel 1895-

Isabelle Yalkovsky Byman 1906-1981

Victor Zuck 1908- *

BOSTON CHAPTER REPORT

The Officers for the year 2001 are: Ken Volk: President,Dorothy Bromage: Vice President, Ginger Christiansen: Secretary, Karl Ellison: Treasurer, Sanford Libman: Board Representative.

Meetings in the last 12 months have been held in Hopkinton MA, Lexington MA, Southboro MA, Concord MA,and Middleton MA . Our next meeting will be in August 2001,co-hosted at two locations in Salem MA. Our Christmas meeting will involve dinner at a restaurant with perhaps someform of entertainment. We are actively meeting at new loca-tions, though options for ‘spectacular’ venues are limited in theNortheast.

As of this report, the club has $1028.00 in the bank, with65 ‘paid’ members. The club project to restore an upright player-piano for the Charles River Museum of Industry has beeon hold for want of a suitable, affordable, restorable instrument.Those pianos that avail themselves to -date are either “too fargone”, too far away, too expensive, improperly restored in thepast, etc. The search continues. Vice President Dorothy Bromage has offered the use of her barn in Billerica MA tohouse work once started.

Submitted by

Karl Ellison

(By proxy from Sanford Libman, Board Representative)

HEART OF AMERICA

CHAPTER REPORT

This year the Heart of America Chapter continued to beactive, with good attendence at all meetings, and enthusiasmshown by all. Over Labor Day weekend we held a band organrally at the Old Thresherman’s Reunion in Mt. Pleasant, Iowawhich was well received. Except for a great deal of dust thiswas an ideal place for us. It was their 50th year, making it oneof the oldest gatherings of old tractors, farm machinery andrelated items. They even had a steam operated carousel.

The first weekend in December found us in Kansas CityMo. for the Christmas meeting. This began at the Schoeppner’son Saturday afternoon, followed by dinner at a church andentertainment by a group of members calling themselves theHeart of America Thespians. Sunday morning it was back to theSchoeppner’s for brunch and the annual gift exchange. Then weslipped in a business meeting before going home.

The last weekend in April found us in Manhattan, Kansas.We gathered at the Musical Museum of the Thomas’s for lunchand then left for Abilene to visit a museum and have dinner inan interesting restaurant. Sunday found us back at the Thomas’sfor brunch and a business meeting. This also gave those of uswho had gone to the convention in Australia a chance to boreeveryone with travel stories.

236

Our convention committee has held several meetings during the year to prepare to host the 2002 convention. We arevery aware of the fact that Australia is a very tough act to follow and we don’t have a whole week to work with as theydid. Still, we think we will be offering an outstanding convention that no one will want to miss. I will not go intodetail here as you are about to be bombarded with informationin the bulletin.

We continue to be an active and successful chapter and aredetermined to bring you a great convention in 2002.

Submitted by Ron Connor, Chapter Representative

LADY LIBERTY CHAPTER REPORT

President: Bill MaguireVice-President: Keith BiggersSecretary: Richard KarlsonTreasurer: Ira MalekBoard Members: Dianne Polan and Marvin Polan

Membership: 54 paid up members both National and Chapter

Meetings: We have five meetings a year. Meetings are held inthe following areas:

Long IslandNew YorkNew JerseyEastern PennsylvaniaSouthern Connecticut

At our meetings, in order to fulfill the AMICA non-for-profit status, we have workshops at each meeting. This year themeeting were held April 1st, June 2. There will be meetings onSeptember 30th, August 19th and an end of the year meetingprobably in November or December. We also have a picnic.

If you need more information about our Chapter let meknow soon. Also please forward to me a summary of this e-mailmeeting. Marvin and I will be leaving for France on the 12th ofJuly and returning on the 28th of July.

Respectfully submitted:

Dianne Polan, Board Representative

MIDWEST CHAPTER REPORT

On Aug. 12-13 the Midwest Chapter met in Dayton, OH.Members were invited to bring Monkey Organs which weplayed at Carillon Park during the annual German Festival. Wewent to Liz and Mike Barnhart’s for the evening. Sunday morning we had breakfast and our meeting at Lawrence andMargaret Frazer’s where they were personally presented theAMICA President’s Award, since they couldn’t attend the 2000Sacramento, California Convention..

Oct. 14-15 we held a joint meeting with the Chicago Chapter at Bennet and Barry Leedy’s in Coloma, MI. The

Leedy homes are next door so members could walk back andforth to enjoy the pianos. A violin recital was also presented.After a Lion’s Club barbeque, we were back at the Leedy’s for atour of Bennet’s restoration shop. Sunday morning the meetingwas at Barry’s.

Dec. 3-4 our Holiday gathering began at Robin Pratt’s shopin Sandusky, OH. We had a live performance of 2 violinistsand a cellist accompanied by Robin. During the evening at Bevand Jeff Brabb’s in Norwalk we were entertained by 2 soloistsand a musical gift exchange. After our Sunday meeting, wetoured the former home of the AB Chase Treasurer and Comptroller. Later, we visited new member, Mark Reddaway’shome in Huron.

March 17-18 we met at the new home of Shawn Fox inDelaware. Dinner was downtown and back to Shawn’s toparty. Our Sunday meeting was at Vince and Sue Ricca’s inColumbus. We were also invited to open houses at Norm Dolder and Bill Griffin and David Graber.

May 11-13 we traveled a long way out of the US to visitthe Bed and Breakfast of Ken Vinen’s in Stratford, Ontario,Canada. Ken had planned a 1 price for the weekend similar toConventions. On Saturday evening we attended the Shakespeare Festival performance of “12th Night” Sundaymorning Ken cooked a hot breakfast and we held our meeting.

Our next meeting is Sept. 16-17 at the homes of Wes andSherri Neff in Findlay, OH and Terry and Joan Haughawout inBloomdale, OH.

I have the list of Midwest Chapter members and am waiting to hear from Bill Chapman to assure that all are members of AMICA International.

Liz Barnhart

Midwest Board Rep

PACIFIC CAN-AM

CHAPTER REPORT

CURRENT OFFICERS: President - Kurt MorrisonVice President - Don McLaughlinSecretary - Halie DodrillTreasurer - Beverly Spore Chapter Representative to the Board - Carl Dodrill

MEMBERSHIP: Our membership consists of 78 individuals who come from

48 households. In many cases, two members from a householdare both actively involved in our chapter.

TREASURY:As of the end of June, 2001, we had $528.38 in our savings

and checking accounts. We also have a certificate of deposit for$1,890.31 which is due primarily to the profit from the 1994AMICA convention in Seattle and which has accrued interestsince that time.

237

CHAPTER ACTIVITIES: This year has proved to be a busy one for our chapter.

Each year we have four meetings with 25 to 50 people in attendance, and occasional special activities as well. It is fair tosay that there is a great deal of enthusiasm for automatic musicamong our members. Our meetings occur on Saturday or Sunday afternoons. Members and visitors come to the hostinghome at around 2 PM and there is approximately two hours ofvisiting with other members while the instruments in the homeare viewed and played. This considerable period of time forinteraction with other AMICAns has proved to be one of themost valuable features of our meetings, and people becomewell acquainted with others during this time. At approximately4 PM, we have our Business Meeting and show and tell time.At roughly 5 PM, we share our potluck meal together. Thisschedule works very well indeed.

We recognize the importance of getting automatic musicinto the view of the public in general, and several activities thisyear recognize this importance. One of our members, Bill Masterman, completed the rebuilding of a Wurlitzer band organso that it could be played at our largest state fair in Washingtonstate, the Puyallup fair. The organ was placed near the fair’scarousel and was played there. Hopefully, it will be playedeach year while the fair is open.

A considerable amount of work has gone into planninganother activity, a band organ rally. Spearheaded by two of ourmembers (Norm and Sally Gibson) and assisted by a committeeof other members, a band organ rally of some size has beenplanned for Labor Day weekend in Ocean Shores, Washington.Band organs have been committed from a considerable distance, and a number are expected. The rally will take placeat the Ocean Shores Convention Center, and it will include notonly band organs but several other types of automatic musicalinstruments. The public will be invited to experience theseinstruments and AMICA membership brochures will be madeavailable. Members from other AMICA chapters are encouraged to attend.

A major activity started this year was the taking on of the2003 AMICA Convention. This is to be held in Portland, Oregon from August 20 to 24, 2003. Portland was picked forseveral reasons including the fact that neither AMICA norMBSI had ever been there, favorable hotel rates could beobtained, and there is a nucleus of AMICAns already in thePortland area which might eventually form the basis for a chapter. Working especially with Frank Nix and Liz Barnhart,Carl Dodrill assumed the position of Convention Chair. AlMenashe from Portland will serve as Convention Co-Chair.John Moto-Ros provided considerable additional informationabout details of the Sacramento meeting. A committee wasassembled which consisted of persons from the state of Washington (Dan Brown, Halie Dodrill, Carl Kehret, DeanRandall, Beverly Spore) and also from Oregon (Nathan Bello,Bruce and Juanice Cartwright, Bill and Marilyn Englund, DonMcLaughlin, Al Menashe, Ann Smith). The first full Convention Committee meeting occurred in Portland inNovember, 2000, and the unanimous decision was made to

undertake holding the convention. Four committee membersthen toured three possible sites in Portland in December, 2000,and the decision for one of the sites (Doubletree Hotel, Downtown Portland) was made in January, 2001. Very favorable terms were obtained. The Committee then met inApril, 2001 for a major planning meeting where many taskswere assigned and a great deal was accomplished. The themeof the convention is to be City of Roses. The major guest artistwill be Nathan Bello, an Oregon resident who recently won aninternational piano competition. Nathan is a member of ourchapter and is only 15 years of age. Many will remember hisplaying at the Sacramento convention. He is in the process ofcomposing the Rose City Rag which will be on the conventionsouvenir roll. Major steps have been taken towards planningthe touring events. A major publicity effort is planned for theArkansas meeting. Overall, the plans for the convention areproceeding well. The Committee is very open to input fromanyone to help make this convention an outstanding one.


Carl B. Dodrill

Chapter Representative to the AMICA Board

SIERRA NEVADA

CHAPTER REPORT

The Sierra Nevada chapter has 16 members. The Chaptermeets six times per year and has met three times in 2001. Weusually have one joint meeting with the Founding Chapter eachyear. This year it will be September 8 at Don Ellison’s in PaloAlto - a real AMICA affair!

The Chapter ’s goal for 2001 is to concentrate on advertising AMICA to the most interested people. What wehave done so far may not produce instant results, but we hope itwill promote long-term public interest. For two months (Apriland May), we had five instruments at the Heidrick AG HistoryCenter in Woodland, which is 15 miles from Sacramento.Chapter members took turns on weekends playing the instruments and handing out older AMICA Bulletins to interested people. We also had AMICA membership brochureson display, and more than 200 were picked up.

Our Chapter also came up with a new idea: membershipcards. These cards introduce the member as an AMICAmember. A copy is enclosed for your information. Each yearChapter members will receive 20 cards with additional cardsavailable upon request. I have already handed out more than50. The total cost to make the cards for all of our members wasabout $5 as Sonja Lemon, Chapter Vice President, already had acomputer program to do this. Each year, when members paytheir dues, they will receive 20 cards. This also gives eachmember something to show they have paid their dues.

John Motto-Ros, President

238

SOUTHERN CALIFORNIA

CHAPTER REPORT

OFFICERS:

President - James Westcott

Vice-President - Jackie Porter

Treasurer - Ken Hodge

Secretary/Reporter - Shirley Nix

International Board Rep - Frank Nix

This chapter has had a busy year. August 12th and 13th wehad a meeting at the home of Jay Albert and Brian Meeder inSanta Barbara, who own both a Duo-Art and an Ampico reproducing piano plus a very impressive roll collection.

From Santa Barbara we traveled to Lompoc and the homeof Jim and Caroyl Westcott for a tech session on their newAllen Organ, plus time to enjoy the rest of their instruments.After the meeting we went to a park for a catered barbecue.The next day we traveled to the home of Doug and AudreyMussell and their collection of piano orchestrions.

The next meeting was October 22nd, when we visited therestored Victorian home of Terry and Reese Banister. Theirmusic room contained several makes of finely restored reproducing pianos, and we were able to see the difference inthe different systems.

The December meeting was at the home of Frank andShirley Nix. Dinner was held prior to the meeting at the Sagebrush Cantina, a restaurant owned by new member BobMcCord. Bob brought in 3 or 4 instruments to entertain us aswe ate.

February took us for that long plane ride across the oceanto the Land Down Under to enjoy the unforgettable, tremendoushospitality of our friends in Australia and New Zealand. Thiswas a really wonderful Convention.

Ervin and Betty Canada hosted our April meeting in theirlovely home in San Bernardino. The house is filled with clocksand musical instruments.

In June we went to the home of Richard and BeverlyIngram, a special house designed and built by Richard. Theyhave three pianos and many rolls.

Our next meeting will be in August at the home of Mr. &Mrs. Denerson, who own two pianos and over 7,000 rolls.

Our chapter has been involved with five organ rallies thispast year with three more lined up in the next six months.

Our Treasury is solvent, and we have about 100 paid members. We have had some interesting, informative tech sessions at the meetings and a few good marts. We are lookingforward to another good year.

S.O.W.N.Y. CHAPTER REPORT

The S.O.W.N.Y. Chapter of AMICA has been active for thepast year. We have held 7 meetings in both Canada and the U.S.Trips to Niagara Falls, Canada, Ottawa, Canada and Erie, PAare scheduled for the near future. Our membership is at 26members. A number of members have left the chapter due totime constraints and the age factor. A few new members are onthe horizon, though. Activities in the chapter have included therestoration of a Weber Duo-Art Grand. This piano, oncerestored, will be sold, and the proceeds will be added to thechapter treasury.

One possible use of these funds might be a cooperativeeffort with the P.T.G. to establish a better understanding of theplayer piano mechanism by attendance of player piano work-shops at the P.T.G. Convention. If we can get attendees to agreeto attend these workshops by underwriting the registration feefor the P.T.G. Convention, we might be able to persuade thosenot too calloused by years of work that the player piano ISworth the time and trouble to restore properly.


Holly Walter

TEXAS CHAPTER REPORT

The Texas Chapter now has 71 members, Haden Vandiverand Alan May being the latest additions. The current membership roster is attached.

This year, we tried something new for us. We put togethera trip way over to Boca Raton, Florida to see the fabulous Milhous collection May 23rd. There were 10 members thatwent to Boca Raton, and all just raved about the collection theysaw. The Milhous brothers gave a 3 hr personally guided tourand were most gracious. This is a fabulous musical instrumentand automobile collection which is open only to associatedgroups of up to 30 people on an invitation only basis.

Just being able to organize this trip and carry it off successfully marks a strengthening of The Texas Chapter. TheChapter is active and growing and having regular meetingsthroughout the year. We’re quite optimistic that the TexasChapter will continue to get stronger.


Dick Merchant

Texas Chapter Rep.

239

Bulletin # Pages Printing Envelope Label - Insert N-Focus Labels PostageSort - Bundle Cass CertifiedDel. to PO

Jan-Feb 68 4650.00 262.00(2 color) 268.00 –––––– 1519.13Mar-Apr 72 4800.00 139.00 268.00 –––––– 1248.14May-June 60 3624.00 140.00 268.00 –––––– 1051.83Jul-Aug 56 3133.00 141.00 268.00 –––––– 1350.47Sept-Oct 80 4452.00 142.00 268.00 95.00 1214.77Nov-Dec 56 4040.00 142.00 268.00 75.00 1210.70

24699.00 966.00 1608.00 170.00 7595.04

Membership Applications

Print InsertMar-Apr 58.00Sept-Oct 58.00 60.00

116.00 60.00

ReprintsQty. Printing Insert

Wurlitzer Catalogue 2000 1818.00 288.00 (RR Museum, Town Auto,Popular Science 2000 199.00 (stapled in center) Sacramento Magnet)New Violano Music card 2000 222.00 120.00 (By-Laws, New members list)Comp. List of Music Rol 1750 739.00 60.00 Violano insertThe Reproducing Piano 1750 1149.00 180.00 Baldwin insertBaldwin 1750 336.00 80.00 Ampico Book insertChickering 1800 2690.00 728.00Ampico Book 1800 2112.00How to Play the Player 1800 1158.00

10423.00

ConventionPrinting Insert

Australia & Sacramento 161.00Sacramento 106.00

267.00

Bill Chapman Qty. Printing Freight

Letterhead 500 73.00 6.00Directory Disk 1 20.00 4.00

93.00 10.00

MiscellaneousBind 1999 Bulletins 98.00200 Brochure Holders 409.00 137 Holders remaining June 18, 2001550 Labels for Holders 67.00500 (11x17 paper-Robin) 13.502000 (8 1/2x 11 Robin) 54.001475 New Member List 72.001475 By-Laws 202.00

915.50 June 26, 2001 Robin Pratt, Publisher

PUBLISHER’S REPORT INFORMATION FOR

AMICA BULLETIN YEAR 2000

240

Keyed UPKEYED UPBy Donald Rosenberg,

Plain Dealer Music Critic

Love it or hate it, local piano competition will fascinate

It is so easy to love piano competitions. You hear glorious repertoire played by gifted, young pianists who

could be headed for fine careers.

Now, hold on a second.

It is so easy to hate piano competitions. You disagree withthe outcome and deplore the pitting of musician against musician as if they were athletes in Olympic Games.

Given these polarizing perspectives, it’s no wonder pianocompetitions are endlessly fascinating, as contestants, jurorsand audience members will discover when the 2001 ClevelandInternational Piano Competition seizes local ears Thursdaythrough August 12, mostly at the Cleveland Institute of Music.

Intrepid music lovers have an awful lot of listening to do.At the moment, 57 pianists are scheduled to perform duringpreliminary rounds, which will take four days. Then the fieldwill be reduced to 16 for quarterfinals, eight for semifinals andfour for final concerto rounds, which will be held, for the firsttime, at Severance Hall with Cleveland Orchestra resident conductor Jahja Ling on the podium.

The Cleveland competition received a whopping 237 applications for this year’s event, an all-time high since thebiennial endeavor began as the Robert Casadesus InternationalPiano Competition in 1975. Executive director Karen Knowlton theorizes that the ease of communication by e-mailmay have made the competition more accessible to pianistsaround the world. Still, she is surprised - freaked out? - that somany contestants actually might show up this week.

“Your competition is popular,” juror Martin Canin recentlytold Knowlton. Indeed, the Cleveland competition has risen toan enviable place among international piano competitions, trailing in prestige only behind the titanic Tchaikovsky, Rubinstein, Queen Elisabeth, Chopin, Leeds and Cliburn fingerfests.

Cleveland, for one thing, is among the most generous keyboard extravaganzas in the world. It presents its first-prizewinner with a cash award of $15,000 and, more important, along list of concert engagements and other benefits that providethe pianist with much-needed exposure.

For the first time this year, the second-prize winner alsowill receive concert engagements, as well as the traditional$10,000 cash award.

Another attraction is the social experience for the contestants. Many competitions place pianists with host families, a living arrangement that promotes privacy but doesn’tallow contestants to get to know one another. All of Cleveland’s pianists reside in Cutter House, the dorm next to

THE CLEVELAND PLAIN DEALER, JULY 29,2001

241

the institute. It’s not fancy, but it’s temporary home for the contestants from two dozen nations.

“They’re thrust together,” said Knowlton. “After the firstcut is made [after preliminaries], everybody needs some time toreflect, because it’s a very difficult time. We encourage them tostay and listen. By the final rounds, a group of them is helping,supporting and encouraging those who are going on. So thespirit of camaraderie is something we encourage and develop.”

Keeping spirits up is no small feat during a piano competition, which is a seesaw of pressures and emotions.During preliminaries, the contestants must play a 20-minuterecital. Those who advance to quarterfinals perform 40-minuterecitals, of different repertoire, and semifinalists offer 55-minute recitals, again with fresh batches of music.

For the finals, four lucky pianists choose one work from adozen or so concertos by Mozart, Beethoven, Schumann,Mendelssohn, Chopin and Saint-Saens. In the past, the finalistsperformed the concertos at the institute’s Kulas Hall, which isfine for solo piano but unfriendly when an orchestra is added.The move to the much larger, acoustically superb severanceHall this year should solve every problem and add new mystique to the competition.

“To play on the stage where so many wonderful artistsplayed before is a thrill” for the contestants, said Knowlton.

Ian Hobson, who served on the Cleveland jury in 1999 andreturns this year, knows the vicissitudes of competitions, havingparticipated both as contestant and juror in many piano rivalries.

The British-born pianist, a professor of music at the University of Illinois, was the only winner at a competition inPortland, Maine, in 1972, “which seemed cruel at the time, but Ihappened to be the winner, so I was happy about that.” Hewent on to take awards at several other top competitions,including fifth prize at the Cliburn in 1977 and first at the Leedsin 1981.

Hobson believes competitions serve best as forums foryoung pianists to be heard by audiences and important peoplein the music business. In fact, it was as a result of his performances during the 1977 Cliburn that he was engaged fora recital series in Indianapolis, which led to engagements withthe Indianapolis Symphony under John Nelson.

“It took maybe four or five years for that to come tofruition,” he said. “it wasn’t as a result of me winning something. It was as a result of being heard at the competition.Those are the kinds of things that are the most useful.”

As a juror, Hobson looks for pianists who go beyond technique to offer something individual.

“That’s of paramount importance,” he said. “That’s whatwe should strive for. That’s going to be the most importantthing for the audience - not to go through the motions of playing correctly and making sure you make no mistakes.There’s always that burden on you as a player.”

Cuong Hung van, a native of Vietnam who took part in the1997 and 1999 Cleveland competitions, is returning this year,hoping that a win will boost his career. He received a nice pushrecently by taking first prize at the Cincinnati World PianoCompetition, which garnered him $10,000 and a recital at New

York’s Alice Tully Hall. Van agrees that it is possible to placetoo much emphasis on perfection during a competition.

“You have to have more emotion and inspiration for anaudience to go with you,” said Van, who studies at the institute.“In competition, it is difficult, because you want to play all ofthe notes. It can kill your artistry.”

At 29, Van is one of the oldest contestants in this year’sCleveland competition. The youngest is Russian pianist MariaMassytcheva, 18, who has participated in several small pianocompetitions, but never an international event.

Massytcheva, who studied in Moscow, has amassed a vastrepertoire in her short life: 11 solo programs and 17 concertos.Now she believes it’s time to present some of this music to awidely discerning public.

“A competition is the hardest test that shows how each ofthe contestants can mobilize all strengths and concentrate insuch a responsible situation,” Massytcheva wrote in an e-mail.“It is also quite interesting to juxtapose your own professionallevel with the levels of the other participants.”

Among the pianists who will travel long distances toCleveland this week is Italy’s Roberto Plano. He studied at theGiuseppe Verdi Conservatory in Milan and won fifth prizes lastyear at competitions in Spain and Japan.

“For me, these prizes are wonderful, but I know that fifthprize is not enough,” wrote Plano, 23, in an e-mail. “I knowthat with a little fortune and God’s help, I can try to win betterprizes. I heard people speaking about the Cleveland competition since I was young, and so I know it will be verydifficult. But it’s my first time in the U.S.A., and so I hope toshow all my best.”

Even those who do so aren’t guaranteed that they willadvance in a competition or reap longtime career rewards. Thehistory of musical competitions shows that only a fraction ofwinners develop big careers. Fewer still become superstars.Most ascend quickly in the musical firmament, only to find thattheir expectations have been too high. They settle into modestconcert lives and university positions.

But these can be stimulating musical careers. Along withhis teaching duties, Hobson continues to perform and to makerecordings. He tells his students to view a competition as achance to learn repertoire, play in front of an audience and getused to the idea of performance.

“One can never be sure of the end result,” said Hobson. “Itshouldn’t matter that much who wins what prize, because a lotof things are up to the spur of the moment, the collective will ofthe jury, the repertoire, all sorts of things.”

Perhaps such words of wisdom will help this year’s contestants put the competition in perspective. Massytcheva,the youngest participant, already sees herself as a winner, sinceshe was chosen from a large field of pianists from around theglobe.

“I hope the Cleveland competition helps me to make acareer of the concert musician,” she wrote, “but I believe thatparticipation will be useful for me anyway, because bad experience is a good experience, too.”

Love-hate, in other words.

242

PianoforteHOW HAS THE PIANOFORTE AS AN

INSTRUMENT DEVELOPED IN THE

LAST HALF CENTURY?By Henry L. Mason

FROM THE ETUDE,MAY 1930

In the year 1892 it chanced to be my good fortune toattend the meetings of the Music Teachers’ National

Association. The meetings were held at the time, as they areheld again this year, in Cleveland. But that was thirty-six yearsago. During the intervening period I have frequently recalled tomind the delightful hours which were formerly granted me, andit is a pleasure to me to be present now on a similar occasion.The musicians I met, the recitals I attended, the papers I lis-tened to, all these have been a source of rejuvenating reminis-cence throughout the years, although - and alas - I sometimeswonder if this can be at all due to the facts that I was then ayoung man and that the Association was at the bewitching ageof “sweet sixteen”!

But be that as it may, implacable years have since run theircourse and your Association has now reached the age of fifty-two, a number of years, be it noted, representing nearlyone-fourth of the period which has elapsed since the pianoforte,as an instrument, was introduced. For it was in 1709 that Bartolommeo Cristofori exhibited one or more harpsichordsequipped with a hammer-action - a distinguishing feature of thepianoforte as such; and it was two years later, in 1711, that hesecured letters-patent for his invention, in which he includedcertain essential parts of the action as we know and use it today.

The teacher of music and the maker of this most essentialmeans of teaching music, namely, the pianoforte, are closelyrelated. So, too, are the composer or creator of music and the virtuoso or composer’s interpreter, he who brings to performance and hearing that which the composer has conceived and to which he has given the written sign. Since thepianoforte is and for many years has been the musical instrument universal, the composer, the performer, the teacherand the manufacturer must needs work hand in hand, bound bya close tie, fellow agents of a common cause - the progress andthe promulgation not alone of pianoforte music but, to a considerable extent also, of music in general. As the skill in performance has developed throughout the centuries so haveincreased the demands made upon the instrument; as the makerin turn has through diligent and unflagging research expandedthe scope of the pianoforte, so has the technic of the performerexpanded and broadened.

Avalanche and Spider-web

“There is little doubt in my mind,” writes the late Henry E.Krehbiel, “that the emotionalism which strove against aestheticconservatism from the earliest times down to Beethoven exerted a steady pressure along the line which has ended in thestupendous instrument and Samsonian players of today.” Stupendous and Samsonian, true enough. But, we hasten toadd, equally sensitive and delicate. For are not both player and instrument of modern times - at their best - capable of producing not only mountain-like chords of majestic grandeurbut surpassing effects as well of gossamer grace and airiness -the ethereal effluence of a Chopin melody, the confiding tenderness or the romantic charm of a Schumann, the serenerepose and religious emotion of a Cesar Franck?

SENT IN BY DOUG MCGEE

An Address Delivered before the Music Teachers’ National Association at Cleveland, Ohio

REPRINTED BY PERMISSION FROM THE MUSIC TEACHERS’ NATIONAL ASSOCIATION VOLUME OF PROCEEDINGS FOR 1928

Mr. Henry L. Mason, former President of the Mason and Hamlin Company, is a grandson of Lowell Mason and a nephew of Dr. William Mason, author of “Touch and Technic”

Henry L. Mason

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In the instrument as we know it lie reflected the combinedcontributions of maker, composer, virtuoso and teacher - contributions emanating from generations of men, years of ceaseless striving, tireless investigation in many fields of science, the realization of imaginative, poetic dreaming, theoutcome of a long and ever-progressive process of evolution.To us is given the oak; Cristofori in 1709 knew but the acorn.

Robert Louis Stevenson somewhere suggests that the joy ofthe traveler is to be found not merely in arriving at his destination but in the journeying as well toward that destination. And while to us the modern instrument may yieldunbounded joy and stimulus, there were, throughout the yearsrunning far, far back to remote civilizations, many who realizedtheir urge and their joy, too, in the journey marking the evolution of the stringed-instrument family - a journey whosedestination, so to speak, is the present-day pianoforte. Here thestrings are neither rubbed nor plucked, as were those of thepianoforte’s inter-related precursors, but are set in vibration byhammer blows, blows wondrously under the control of theplayer by means of the intricate mechanism known as theaction, while the action in turn is under the control of a keyboard.

The Piano’s Coronation

Broadly speaking, it was about the year 1800 that thepianoforte superseded various and less sonorous keyboardinstruments, the harpsichord, for instance, the clavichord andthe spinet. From these it materially differed, to be sure, as toconstruction and tone, but from these, nevertheless, it wasevolved.

Half a century or more later an important structural featurewas introduced (based upon the invention of 1843 of the fullmetal plate made in one solid casting). In accordance with scientific principles which for years had busied men’s mindsand which previously, tentatively though it was, had been calledinto play in the clavichords of the eighteenth century, a distinctadvance now took place in the year 1859. This advance embodied a combination of the overstrung scale, so-called, withthe metal plate, and thus solved the problem occasioned by ademand for greater string tension. This form of construction,by making possible a greater dynamic or tonal volume than hadpreviously existed, marked a definite progressive step in thedevelopment of the instrument. It is still regarded, so far as thepoint at issue is concerned, as the standardized method of procedure. It marked an epoch along the road of evolution justas in 1821 the introduction of the double escapement or repetition action marked an epoch. But while its importance isuniversally recognized, one hesitates to assert that a finality haseven yet been attained. For, unlike Miss Havisham’s timepieces in Great Expectations, which stopped at twenty minutes of nine never to go again, the course of evolution ischaracterized by a restless progressiveness, by a searching, endless activity.

Patents Extinct and Extant

As a result of this spirit of activity, manifold and novelappurtenances appear with remarkable frequency, also devicesof utility and adornment; a glance at the list of patents grantedduring the last fifty years is, in fact, dazzling, to say the least.

But in reviewing the history of the pianoforte’s growth we perforce come upon ghostly reminders that many such innovations, for one reason or another, have been but short-lived at best, and we realize anew that, while evolution’shabit is indeed one of endless activity, its periods of efflorescence are neither slight nor premature.

It is to be said, then, that as to its basic or fundamental factors the pianoforte, as such, had been carried to a relativelyhigh state of development not only as early as 1876, but, as amatter of fact, as early as a decade or so prior to that date. Thatwhich has since been accomplished is largely the result of afuller and more intelligent understanding of the scientific andmechanical principles involved.

In order that we may more clearly comprehend the importance of that which has been accomplished in more recentyears, it may be well at this point briefly to enumerate the basicelements or parts constituting the typically fine pianoforte.

First let us consider the case, consisting of the sides andends, or rather the rims, as they are technically called. Withinthe rims (of which there are two, an outer and an inner), supporting and holding them in place, are posts or beams ofheavy timber. These posts, together with the inner rim, formthe frame, or skeleton, of the instrument. To this frame, at itsfront end, is attached the wrest plank or pin block into whichthe tuning-pins are driven. Over the framework as a whole islaid the sounding-board which is convex, or arched, in shapeand which at its edge is securely fastened to the inner rim.Over the sounding-board in turn is placed the full metal plate.The specific purpose of the latter is to hold the strings. Thestrings are drawn across the plate from the tuning pins at itsfront end to hitchpins at its rear - the positions of these pinsbeing carefully determined with the object in view that thestring tension, which equals a constant pressure of from forty toforty-five thousand pounds, may be nicely proportionedthroughout. The action is then adjusted and in such manner thata hammer, upon being brought into play by the depression of itskey, shall strike a string or unison thus causing the latter tovibrate.

Now the strings, in being drawn from the front to the rearend of the plate, pass over or cross a bridge known as the belly-bridge; and this bridge rests directly upon and is glued tothe sounding-board. The proper height of the bridge is a delicate matter; if too high, the downward pressure of thestrings overbalances the upward pressure exerted by the archedboard; if too low, the upward pressure overbalances the downward. There must be compensation. As the strings are setpulsating, or vibrating, by the hammer blows, the vibratorymotion is communicated through the bridge to the sounding-board and is thereby amplified and reinforced.

Soul in Sounding Board

Of all the factors mentioned not one surpasses in importance the sounding-board; for upon the character of theboard depends in large degree the character of the tone. True,one of the world’s great exponents of the art of pianoforte playing, the late Anton Rubinstein, declared: “The more I play,the more thoroughly I am convinced that the pedal is the soul ofthe pianoforte.” Now, the pedal is a portion of the action, and it

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may be that Rubinstein was somewhat prejudiced, for, being bynature anything but “static,” the action to him bulked large!But others there are who declare the sounding-board to be thesole of the instrument, if we must use the term at all. And whileit is true that without the action we could not produce the tone,the fact remains that were it not for the sounding-board the toneproduced would amount to little or nothing! However, supposewe leave it that they are both important, not only because everymusical instrument may be divided into two parts - the tone-producing mechanism, and the tone-controlling mechanism -but also because, as the dear old lady said, “Comparisons areodorous”!

In any event, the board has commanded, since time out ofmind, the earnest attention of engineer, acoustician and scientific investigator. It is the board which supplies the resonance, and it is the resonance which vitalizes the sound,feeble enough in itself, generated by the strings. Without theresonant property of the board, no pianoforte tone, as such,would be possible; and since the arch, or crown, of the board islargely responsible for the board’s property of resonance, itbecomes but axiomatic to state that the desirability, nay, thenecessity for maintaining the arch is of paramount importance.

Buttressing the Board

In order that the arch may be maintained, and maintainedadequately, it is first of all essential that the sounding board besecurely fastened along the edge to the inner rim of the frame.In view of the constant pressure of the strings upon the board,via the bridge, and in view of devastating effects of climatic andatmospheric changes - changes ever imminent, and at timesvery real - even a strengthened, laminated, continuous rim(introduced fifty years or more ago and pretty generally usedtoday) proved insufficient. A still further buttressing of theboard - a desideratum of high importance - was yet to beachieved. Contrivances with this end in view have from time totime appeared (as, for instance, a system of screw compression,1872, acting against the board’s entire edge), though theyproved to be abortive. Of all attempts to solve the problem onealone has been successful.

Necessity is indeed the mother of invention. The difficultywas finally surmounted in the year 1900 by a device patented atthe time and known as the Tension resonator. In referring tothis invention, the Scientific American, of October 11, 1902,stated the following:

“One imperfection in the modern pianoforte, found even inthe instruments made by standard makers, has been the loss intone quality, due to the inability of the sounding-board to retain its tension. The problem seems at last to have been satisfactorily solved by a most simple and ingenious construction . . . Doubtless the question has presented itself tomany of our readers, Why is it that a violin improves with ageand that a piano deteriorates? A comparison of the constructionof the sounding-boards of the two instruments will give a satisfactory explanation.

“The sounding-board of a violin has a permanent shape.The stiffening-post, which is inserted within the instrumentdirectly beneath the bridge, where the greatest strain is exerted,connects the board with the black and thus prevents a rupture of

the board at its weakest point. The tense strings and the vibrantboard are a unit in themselves, the strain of the one counteracting the strain of the other.

Balancing Arch and Strings

“In the piano the case is different. The best pianos are provided with sounding-boards slightly arched, over which thestrings extend. The strings being spread over the entire surfacemust necessarily be on a straighter surface than is the case withthe violin, where the four strings bear upon a very small partonly of the sounding-board. Therefore the tremendous strain ofthe strings on a modern piano has the tendency from the first toforce down the arch of the board. In the very finest and mostexpensive pianos when new, the strain of the arched boardagainst the strings and the strain of the strings against thearched board are so finely adjusted that the one counterbalancesthe other. That is to say, the sounding-board is able to carry thestrain of the downward-bearing strings, and at the same time ispliable enough to yield to the slightest vibration of the strings.If the sounding-board is too stiff and heavy, only violent vibrations will affect it, and it will throw out only a blunt, dullsound. On the other hand, if the sounding-board cannot carrythe strain of the strings properly there will not be the properresistance, and the sound will be wiry and thin, ‘tin-panny,’ inother words.

“So sensitive is the wood to climatic changes that the pianosounding-board loses its shape very easily. Under certain conditions the sounding-board will expand, and the soft andhard fibers of the wood will be pressed together, which in itselfresults in no injury; under other conditions the sounding-boardwill contract so that it assumes a perfectly flat shape. Even ifthe board does not crack after contraction, as it often does, theloss of its original convex shape results in a great loss of tone,owing to the board’s inability to bear against the strings as itonce did. The result is a deterioration of tone in all pianoswhen old, no matter how finely they sounded at one time.Since the loss of shape is permanent, the loss of tone is permanent.

“The wood being as good as it ever was, it follows thatwere there some means of restoring to the sounding-board itsoriginal convex form, so that it would bear upon the strings as itoriginally did, the tone would surely return. By means of thenew construction, to which we have referred, not only is thismuch-desired end attained, but something more as well. Thissounding-board bears with greater pressure and far more vitality against the strings than the necessarily thin sounding-board could in itself. The extra pressure against thestrings, which the contracted board gets by means of tensionresonator rods, is entirely different from the rigid stiffness of atoo heavily constructed board, and by this method the musicalquality of the instrument is much improved.”

The Smaller Grands

While up to this point we have concentrated in our remarksupon the most advanced type of pianoforte construction - asapplying more particularly to the larger grands - we now turn toother, though kindred, considerations.

A department of the industry which during the past half

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century has claimed increasing attention is represented by thepersistent attempt to produce an instrument of the “grand” typeor shape which, though reduced in length, may still be in toneworthy of a place in the maker’s family to which it belongs.The incentive to produce such a grand - one under six feet inlength, say - received early encouragement through the waninginterest, on the part of the public as well as that of maker, in thenow obsolete type of instrument known as the “square” - a typestructurally defective, be it said, from the first. And although itis obviously impossible to obtain from a pianoforte under sixfeet in length the tonal volume which characterizes a largerinstrument, still a reassuring progress in this direction has manifestly been made.

Today, various manufacturers are producing small grandswhich not only outrival those of less than even a generation agobut which, in certain instances, are superior to many a largergrand. Their popularity, too, is in the ascendancy. Indeed, thesmall grand of today is constantly encroaching upon the territory not only of the larger size but upon the territory alsowhich was once under the exclusive control of the “upright” -the grand’s whilom ally in the vanquishing of the “square”! Sofar as eye-appeal is concerned this is doubtless well; and furthermore, since the upright in its very form is more of a muffler than an amplifier of tone, the advent of the small grandmay be doubly welcomed.

In still another department, as well, advance is very definitely to be noted for the Graces no less than the Fates havenot been unpropitious. Referring again to eye appeal, a field ofexceptional fertility has recently been that of case design andtreatment.

The Personal Touch

Individuality and a constantly growing appreciation of thepersonal touch form the keynote today as never before in thefurnishing of our homes. In the home of the discerning, the eyeis to be satisfied no less than the ear. Much of our furniture,consequently, is faithfully representative in its pattern of theoutstanding art periods of the past.

The pianoforte which universally takes a prominent placein the homes of the land should be in keeping with its environment, that it may not thwart this personal touch in thedecorative scheme but rather lend an emphasis thereto. Theartistic skill and likewise the ability of designing experts havehere been called into play with the refreshing result thatpianoforte cases, exquisite in form and appearance, architecturally trustworthy and symbolic of master designs conceived in past ages, have been the outcome. “It is a matterof interest to trace the revolution in the styles of domestic furniture,” states the recent catalogue of a leading manufacturer,“to learn the causes which underlie and explain the many apparently extraordinary changes in taste and design whichhave obtained in the various periods of the world’s history. Thebest furniture produced today is, in its design, an adaptation ofthe best models of past centuries, changed and augmented tomeet modern needs. Taste in furniture, as we all know, goes byfashion, and happily the present-day taste is for the finest examples of the ‘Periods’ in decorative design known as LouisXV, Louis XVI, Queen Anne, also the rich decorative quality ofthe Latin, Spanish, Florentine, and 18th Century Italian styles,and the charming simplicity of the Georgian, which embraces

Sheraton, Chippendale, Heppelwhite, and its overseas prototypewhich we call Early American or Colonial. The latter hasrecently shown its right to a place in the highest reaches of decorative art in the superb examples of the work of DuncanPhyffe, an American furniture maker the equal of any of his celebrated European contemporaries.

In the building and arranging of our home we give infinitive thought to its style - we employ experts to guide ourtaste in its building, and in furniture we bring all the knowledgewe possess to making the home a place of beauty and charm.Such a home should contain a pianoforte which will carry outthe personal touch and taste that are evidenced by its other furnishings. Such an instrument need not necessarily be veryexpensive. Delightful and distinctive instruments are to be hadat a comparatively small advance over the cost of what may betermed ‘regular models.’”

Conventional Cases

Notwithstanding the constantly increasing demand forthese period designs, however, there are many persons who stillcling to the plainer, more conservative type. The maker realizesthis and leaves undisturbed his “line,” as it is called, of conventional cases.

We are obliged to depend upon census figures of the Federal Government for all available information on production. Even the National Piano Manufacturers’Association and the Music Industries Chamber of Commerce,working directly for the interests of the manufacturer, areunable to secure uncolored reports regarding this matter. Suchfigures as we submit are not as complete in detail as might bewished; but approximately the number of pianofortes, bothgrand and upright, manufactured in the year 1876, was 30,382,and the value in dollars $10,281,500. In the year 1925 the number of units increased to 321,639, and the proceeds to$93,640,000, or in percentages the increase covering the periodof practically fifty years amounts to 958% as for units and to810% as to proceeds.

As for 1928, this much is clear: while a definite decreaseis noticeable in the total production of units for the twelvemonths now drawing to a close, owing to a distinct falling-offin the manufacture of the cheap inferior grade of pianofortes,there is equally noticeable an accompanying increase, and verymarked it is, in the demand for the high-grade or superior typeof instrument. Indeed, during the past few years the pianoforteindustry of the United States, which represents a turnover ofapproximately one hundred millions of dollars a year, has, likemany another, experienced a period of transition. This appliesmore definitely, to be sure, to the lower-price pianoforte whichhas had to face an unusually formidable competition.

The attractive and popularly priced automobile, the phonograph, the radio receiving-set, not to mention variouslabor-saving devices such as, for instance, the mechanicalrefrigerator, these and other commodities have lured the attention and the dollars of a considerable portion of the American public into new channels. The lower-pricedpianoforte has suffered, temporarily, at least, in consequence.Yet at the same time, there is exhibited less and less interest inthe feverish syncopation of jazz, while the one-time highly popular though crass rag-time medleys are giving way to amore melodious music.

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World-Class ViolinsNAZIS TARGETED

WORLD-CLASS VIOLINS

SENT IN BY JUNE FOX

THE CHICAGO TRIBUNE,SEPTEMBER 3, 2001

Chicago - Simon Geldwerth, whose family fled Austriaduring the Holocaust, lost his prized Stradivarius.

David Katz, whose family died in concentration camps, leftbehind a roomful of precious fiddles.

And Chicago Symphony Orchestra violinist Francis Akos,who was forced into the Hungarian Army, never again saw hiscenturies-old Italian Gagliano.

Each of these men felt blessed to have survived the Holocaust and considered the loss of an instrument a relativelysmall sacrifice. But none knew that the instruments he lost - worth relatively little at the time - would be valued in themillions a few decades later. Nor did the thousands of Jews andother non-Aryans whose instruments disappeared during theHolocaust realize that their violins were targeted by the Nazis,who conducted a secret operation to seize the best musicalinstruments ever made, according to newly declassified documents located by the Tribune in the National Archives.

Though overlooked until now, these instruments representthe forgotten loot of World War II: dozens of priceless Stradivari, Guarneri and Amati violins, as well as lesser-knownmodels nevertheless prized by collectors, dealers, musiciansand investors around the world.

The Nazis’ haul of some of the world’s most coveted violins stands to become the next area of inquiry by those seek-ing reparations for Holocaust-era losses.

“This is right now in the earliest phase of our work, but itmay be one of the most fascinating areas of exploration,” saidElan Steinberg, executive director of the World Jewish Congress, a New York-based organization formed in 1936 toprotect Jewish lives and property during the Holocaust. Inrecent years, the World Jewish congress has been at the forefront of negotiations regarding all forms of Holocaust-eraloot, from stolen bank accounts to unredeemed insurance policies.

But the details of the Nazis’ thefts have been buried in classified documents for decades. And weighing the full impactof the looting on today’s market has been complicated by thesecretive ways of the rare-instruments industry, which historically has shown little need for documentation in the saleand purchase of violins.

Any quest to win back the rare stolen instruments - or atleast to gain appropriate compensation for the victims of thethefts - will encounter hurdles of a sort unimagined when lootedpaintings or sculptures are at stake. For while art museumsaround the world belatedly have taken pains to notify the publicabout works procured under questionable circumstances duringor immediately after WWII, the international violin trade generally operates well outside public scrutiny.

Art museums from Chicago to Berlin in recent years havecreated Web sites detailing what is known about the provenanceor ownership history of works that may have been looted duringthe Holocaust. After decades of looking the other way, theseinstitutions now encourage anyone who recognizes a stolenwork to step forward.

Holocaust survivors, who were fighting to stay alive, werein no position to preserve the documentation needed to proveownership of a rare instrument, such as a bill of sale or certificate of authenticity. In addition, some of the survivorshave retained only faded impressions of their instruments.

Because violins are far more difficult to identify thanworks of art - which have titles, dates and subjects - an ownerwhose instrument was looted will be hard-pressed to identifydefinitively any missing violin.

The Chicago Tribune has pieced together the Nazis’ seizureof the world’s most precious violins by searching newly declassified U.S. military war records, captured German documents and post-Holocaust claims at the national Archives; wartime correspondence located at the Centre deDocumentation Juive Contemporaine in Paris; and Nazi andprivate documents at Cambridge University in England.

Many of the victims of these thefts - including schools,museums, musicians and instructors - placed claims for theinstruments, most to no avail. Others realized the futility of trying to prove ownership of a rare musical instrument after thetumult of a world war and simply went on with their lives.

They could not have known that the instruments stolenfrom them would represent cash losses in the millions.

Though many Holocaust survivors presumed their rare violins simply disappeared amid the anarchy of war, the instruments in fact were the objects of a massive Nazi hunt.

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As the Nazis invaded Europe, they were followed bycadres of German musicologists, captured German documentsshow. These musical scholars carefully evaluated, catalogedand prepared for transport to the Music Office in Berlin the beststolen instruments and other musical ephemera.

The operation was conducted under explicit instructionsfrom Adolf Hitler, who authorized an “action team,” or M-Aktion, to grab rare musical instruments wherever theycould be found.

“I hereby order the action team to proceed with execution,”read Hitler’s order, as drafted by his chief ideologue, AlfredRosenberg.

A follow-up memo penned by Rosenberg on Hitler’sinstructions explained the reason for the thefts.

“Jews, freemasons and similar ideological adversaries ofnational socialism are to blame for the present war against theReich. The deliberate spiritual battle against these forces is anecessary part of the war effort,” read the 1942 memo, orderingconfiscation of any and all forms of Jewish property. “Thesame regulation applies to cultural items, either in the hands ofor owned by Jews, whether abandoned or of questionable origin.”

Rosenberg created a Special Task Force for Music, or Sonderstab Musik, to collect the best musical instruments andscores for use in a planned university in Linz, Austria, Hitler’shometown, after the Germans won the war. The school wouldembody the crowning achievements of European culture, whichmeant rare violins by the master craftsmen of 17th and 18thCentury Italy - Stradivari, Guarneri and Amati, among others -were essential to procure.

The mission of the Special Task Force for Music was toconcentrate only on the most valuable stolen instruments, thosethat were “artistically of high value” and therefore “should betransported immediately” to Berlin, according to a Nazi memolocated by the Tribune.

The musicologists’ training enabled them to determine themake, year and authenticity of each instrument, then concludewhich were best suited for the planned university.

Indirectly, the thefts of instruments stoked the war effort,giving Nazi troops a form of amusement and emotional balm.When Nazi submarine crews emerged from the depths off Bordeaux, they were welcomed by a band playing looted instruments, records show.

The Nazis’ campaign to loot Europe’s greatest Old Worldviolins ran for five years, beginning in 1940, but only one document survives to detail the fruits of their labors.

Located by the Chicago Tribune amid thousands of rolls ofmicrofilm crammed with captured German documents, thenine-page, typewritten list is a Nazi inventory of the best of itsstolen violins stored in occupied Paris in 1942.

Comparable documentation that had been kept in Berlin,

Leipzig, Amsterdam, Brussels and other European cultural capitals were destroyed during the Allied bombing of Europe,according to Nazi correspondence stored at the Centre de Documentation Juive Contemporaine in Paris. The lost documents make it impossible to know in full how many top-notch instruments were stolen by the Nazis.

The sole surviving list of stolen instruments - drafted bysome of Germany’s finest musicologists - offers terse descriptions of the violins, generally naming only the maker,year and condition of the looted instrument. It includes twoStradivari violins, of 1724 and 1734; one Amati violin, of 1671;valuable Stainer and Klotz instruments; plus historic copies ofStradivari and Amati fiddles - in all, 75 antique stringed instruments.

But the crown jewel on the list of stolen fiddles is a 1742Guarneri del Gesu violin, which is now worth millions.

Though Stradivari’s name has become synonymous withsuperior violinmaking, the instruments of Giuseppe Guarneridel Gesu often are worth more, in part because he made onlyabout 250, compared with Stradivari’s 600.

Moreover, Guarneri del Gesu - who lived from 1698 to1744 - built upon Stradivari’s achievements, producing instruments that typically are deeper, darker and more penetrating in tone than Stradivari’s brighter sounding fiddles.

Among Guarneri del Gesu’s masterpieces, the 1742 instruments stand out, with revered violinists from NiccoloPaganini to Jascha Heifetz to Pinchas Zukerman all havingowned Guarneri del Gesus of this vintage.

Guarneri del Gesu is known to have made no more than 13instruments in this year, and a tribune survey of all his 1742violins known to exist shows that at least two have incompleteprovenance during the Holocaust era. One of the instrumentslacks documentation concerning owners during the Holocaust;the other was owned by a partly Jewish family whose assetswere seized by the Nazis.

Both instruments attest to the difficulty in proving ownership of an instrument in the cloistered and secretive worldof rare violins.

In the 1950s, the eccentric British collector Gerald Segelman - who hoarded dozens of rare violins from at least1943 until his death, in 1992 - obtained a Guarneri del Gesufrom London-based William E. Hill & Sons, according to dealers who handled Segelman’s collection.

But Segelman treated this instrument differently than hedid his other fiddles. He kept no known insurance records forthis violin nor any documentation on when he bought theinstrument or how much he paid for it, as he did for his othermajor violins. Nor is Segelman known to have held any information on the violin’s provenance, except for the certificate of authenticity he received at the time from Hill &Sons, according to dealers who handled Segelman’s collection.

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A master builder of pipe organs is making asmall-town setting work for his company.

Lake City, Iowa - You might think of coming to thistown of 1,800 people in west-central Iowa to buy fer-

tilizer or seed corn.

It’s not a place that immediately comes to mind when looking for a concert-quality pipe organ.

“There are other builders in small towns, but it’s unusual tobe in such a tiny town,” said Howard Maple, executive secretary of the American Institute of Organ Builders.

Lynn Dobson, who grew up in nearby Lanesboro, built hisfirst organ in his father’s barn, following a manual written by a19th century organ architect.

Thirty years later, organs from Dobson Pipe OrganBuilders are played in churches and concert halls from NewYork to California.

The $163 million Cathedral of Our Lady of the Angelsbeing built in downtown Los Angeles is getting a Dobsonorgan. So is the concert hall at the $265 million Kimmel Centerfor the Performing Arts in Philadelphia. “These are arguablytwo of the most important organs in the country being builttoday,” Dobson said.

Dobson’s 18 employees work in an ordinary brick buildingoverlooking the square in Lake City. About half are musicians.

Attracting them to Lake City - and then keeping them - is achallenge, Dobson said.

“We’ve built a reputation for building good organs, andwe’re quite well-known across the country and even the world,”Dobson said. “Other builders I know who don’t have nearly thereputation can get people to work for them right away, but it’sbeen hard for us.

“Generally for the wives and family, if they’re not from asmall town, it’s like moving to the end of the Earth.”

Maple said he once thought about working for Dobson.“Then I got out a map, and when I saw where it was, I decidedto go someplace else,” he said.

Because some of the work is so technical, Dobson mustlook outside the area to fill those jobs. He found several peoplewho stayed for a few years, then got antsy to be in a biggerplace and left.

For other jobs, Dobson hires locally and trains those workers. They tend to stay.

Dobson tries to capitalize on the uniqueness of his locale.When customers or suppliers visit, Dobson entertains them athis home, a historic house that he renovated. Visitors usuallyare struck with the serenity of the area, he said.

“I had a consulting person tell me about 20 years ago thatwe had to get to the point that we could use this remote locationto our advantage,” Dobson said.

“We could either look at it that we’re stuck out here in themiddle of nowhere and there are all these problems for us, orwe could use it as a way of building a mystique, sort of acachet, exotic. I think we’re actually to that point, maybe.”

Organs ORGANS GAIN IOWA ‘MYSTIQUE’SENT IN BY BETTY DELAPP

THE DES MOINES REGISTER,JULY 30, 2001

Local product: The Lake City Union Church organ was crafted by ahometown business: Dobson Pipe Organ Builders. Organs from

Lynn Dobson’s company are played in facilities nationwide.

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PeoplePEOPLE

The Fairy-tale Career of Maggie Oakey: Little Mudgee girl became rage of

Continental concert platform

In 1869, an obscure music teacher and organist in theSydney suburb of St. Leonards agreed to give piano

lessons to a little girl named Maggie Oakey who had beenbrought from Mudgee for the summer by her parents.

Maggie, who was only five years old, had received no formal music tuition. Her small hands could not span anoctave, but she could already play remarkably well by ear.

The little girl from Mudgee was destined to be come Australia’s first international celebrity of music.

As Maggie Oakey she surprised London, while as MadameMarguerite de Pachmann she held an eminent place on theEuropean concert platform for a dozen brilliant years.

The friend of every distinguished musician of her time, shewas on visiting terms with a dozen continental royalties. Then,while still at the height of her powers, she bade farewell to thescene of her triumphs and gracefully retired.

But now, Maggie Oakey was five and she was playing thepiano for a startled St. Leonards music teacher who soon admitted he could not do the child’s talent justice.

Protesting against her ability being buried in Mudgee, heurged she be taken to one of the best city teachers before shedeveloped faulty techniques.

Fortunately, her parents could afford to keep her in Sydneyfor several years. Before she was 12, Maggie Oakey was aheadof the tuition available at that time.

First testThe Australia of the 1870’s held little future for a concert

pianist, and none whatever for a woman. Convinced of herexceptional gifts, her mother took her to London.

Shortly after her arrival, the young Australian made herfirst public appearance at the fashionable Queen’s ConcertRooms in Hanover Street.

This was a stringent test, for the Queen’s Rooms were anafternoon rendezvous where music ran a good third to tea and aconversation.

No notice was taken of the child pianist from Australiauntil she was halfway through her first number.

Then the gossip and the rattle of the teacups died. Theaudience listened silently until she finished and rewarded herwith an encore. After the concert she was approached by HenryLunn, editor of the Musical Times.

Lunn congratulated Maggie on her playing but warned herof the danger of trying to achieve fame too soon. Child artists,he pointed out, frequently faded out when the interest theyaroused was exhausted.

Lunn, a man of great influence in the musical world,secured Maggie admission to the royal College of Music, ofwhich he had formerly been director.

She studied there until 1881, when she made her adultdebut at the Crystal Palace at the age of 17.

Her success was immediate and was followed by regularengagements at the Covent Garden Promenade Concerts whereshe became a favorite interpreter of Bach, Schumann andChopin.

Few Australians have achieved London success morequickly than Maggie Oakey. Then at the beginning of 1883,she heard the fabulous Russian pianist, Vladimir de Pachmann,a player who made her completely dissatisfied with her ownperformance.

Never handicapped by false modesty, Pachmann assertedhe played the music of Liszt and Chopin far better than thecomposers themselves.

Pachmann, who was then 34, had never appeared in England before but his great Continental reputation drew bigcrowds to his recitals.

When Maggie Oakey asked him if he would accept her as apupil she received a poor reception.

This article was published first in the newspaper The Daily Mirror, Sydney, 11 October, 1961, p. 24; the name of the author was not indicated.Taken from the Australian Collectors of Mechanical Musical Instruments, Inc. Bulletin No. 108, August 6, 2001

Maggie Oakey, the Austalian pianist, caused a sensationin Europe until she abandoned her public career.

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The temperamental Russian brusquely told that he hadalready been inundated with similar requests from silly Englishwomen who knew nothing about music.

Maggie countered by telling him she came from Australia.Pachmann retorted simply that he had never heard of the place,then added that wherever it was the sooner she went back thebetter.

But the young girl from Australia must have made animpression, for a fortnight later he dropped in to hear her playat a small afternoon recital in St. James’ hall.

This time it was the great Pachmann who sought the interview. Having told her that he was pleased with her playing, he then ripped her performance to shreds. After that,he announced he was prepared to take her as a special pupilconditionally.

If she left London and put herself completely under hiscare, he would make her the world’s finest woman pianist.

Maggie Oakey jumped at the offer and at the end of thepianist’s tour, returned with him to his home in Leipzic.

There Pachmann told her she was to forget everything shehad so far been taught - particularly at the Royal College ofMusic.

Maggie Oakey thought she had long finished with five finger exercises, but Pachmann allowed her to play nothing elsefor the first six months.

After that, he sometimes kept her playing one note forhours at a stretch in order to acquire the subtle gradations oftone which distinguished his own playing.

When she rebelled against this regime, he reminded herthat he was asking her to do nothing that he hadn’t done him-self. Then he added: “If you don’t like it, you can go back toyour ladylike strumming.”

After more than two years of this grueling work, Pachmannannounced he was satisfied with her progress. As an afterthought, he added that he had fallen in love with her.

In 1884, Maggie Oakey of Mudgee became Madame Marguerite de Pachmann. It was under this name she made herdebut in Berlin and immediately established a European reputation.

DePachmannIt did not take the young Australian woman long to realize

she had married one of the most extraordinary men who eversat before a piano.

Valdimir de Pachmann, who was born in Odessa in 1848,the son of a gifted amateur musician as well as a professor ofRoman law, began studying the violin at the age of six.

At 10 the boy went to Vienna and spent 11 years studyingthe piano.

Returning to Russia, he had already embarked on a careeras a concert pianist, when he heard the celebrated Pole, CarlTausig.

Staggered by Tausig’s brilliance, Pachmann resolved neverto make another public appearance until, in his own words, hecould make the Pole’s playing sound like a worn-out musicalbox.

With incredible determination, Pachmann did nothing butpractice for seven years. In 1878, when he was 30, he at lastconsidered himself worthy of giving another concert.

His years of practice had not been wasted. Hailed as the“poet of the piano,” he was accepted as Tausig’s successor.

When he played at Budapest, the great Franz Liszt leapedon the platform, embraced him and cried to the audience: “Thisis the man for whom I have been waiting.”

Pachmann was reputed to have a method of tone production peculiar to himself. Certainly his mannerisms wereunique.

Latecomers, coughers or shufflers often received a ferocious glare and a loudly-spoken aside: “I shall try to forgetthose pigs and play for you.”

In London once an indignant duchess stared coldly at himthrough her lorgnette, whereupon the pianist retorted with aseries of horrible grimaces.

Throughout a recital, Pachmann would comment freely onhis own playing. Sometimes he would finish a number withloud exclamations of “Bravo, Pachmann! No one can play thatlike you!”

He resented applause if he considered his performance lessthan inspired. Then he would tell the audience they were a setof morons, and play the item again. “That was superb,” hewould remark. “You may clap now.”

Opinion was divided as to whether all this was showmanship. George Bernard Shaw described one of hisrecitals as a pantomime with a musical accompaniment byChopin.

J.G. Huneker, the American critic, called him the“Chopinzee” and wrote off his clowning as “Pachmanntics.”

Nevertheless, Huneker admitted he was an incomparableplayer, and even Shaw said he could listen to Pachmann forever.

When Maggie Oakey married Pachmann she entered on acareer which must have seemed like a chapter out of the Arabian Nights to the girl from Mudgee.

DivorcedWhen she toured Europe and America it was not merely as

a good-looking woman with a gifted husband, but as a virtuosoin her own right.

Vladimir de Pachmann married the gentle MaggieOakey, but his eccentricities proved too much

even for her.

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For years she was feted in all the capitals of Europe fromMadrid to St. Petersburg. Royalty showered her with gifts,until she possessed more jewels than even the great prima donnas of her time.

On the domestic front, however, matters were less satisfactory, for Pachmann did not keep his eccentricity for hispublic appearances.

He spoke almost every European language, sometimesusing them all in one sentence. If he was not instantly understood he became furious. According to himself he spoke“Universalese.”

To dine out with Pachmann was an embarrassing experience, for no matter where he was he invariably dipped histable napkin in the nearest finger bowl and solemnly wiped allthe plates, cutlery and silver before he would use them.

This, he said, was to protect himself against germs but ashe frequently drank the water in a moment of aberration, theprecaution struck some people, including the Czar of Russia asineffective.

Eventually, Madame de Pachmann became a little weary ofa genius who thought of nothing but music and would spenddays playing to himself, punctuating the performance withbursts of applause and exclaiming: “Superb, Pachmann!”

Finally they drifted apart and the marriage was dissolved.

When Marguerite married again, it was to a sedate Parisian doctor who preferred his wife to restrict her music to the drawing room.

Tired of the incessant traveling and the nervous strain ofpublic appearances, Marguerite agreed. As Madame Labori, thegirl from Mudgee vanished into the obscurity of a happydomestic life.

Pachmann was still giving recitals when he was 80, andeven when he died in Rome at the age of 85, he was planningyet another tour.

Little was left of the enormous sums he had earned duringhis long career. In the last years of his life, he declared he hadno use for such rubbish as money, and gave it away to less prosperous musicians.

Although Vladimir de Pachmann never played in this country, he rates a place in our history as the man who turnedMaggie Oakey into Australia’s first great piano virtuoso.

This article was provided by Nigel Nettheim who is a dePachmann researcher. You can read some of the research Nigelhas undertaken on this famous pianist by visiting his web sitewww.users.bigpond.net.au/nettheim. Note: Nigel has pointedout that Maggie Oakey was born at Pipeclay Diggings just outside Mudgee.

You Might Be A Redneck Piano Tech If You Think . . “Action Spread” is something you put on a sandwich.

“Checking the Hammer” means to leave your weapon at the door.

An “Interval” is the time between beers.

“Regulating the Action” is what you’re doing when you take a laxative.

“Agraffe” is something you see at the zoo.

A “Punching” is what you give someone you don’t like.

A “Bridle Strap” is something your wife wears on your wedding night.

“Action Geometry” is trying to figure out the crap table odds.

“A Set of Knuckles” is something you might purchase before going to a redneck club.

A “Pure Fifth” is a bottle of 100 proof liquor.

A “Backcheck” is something you might do from time to time in a redneck club.

“Butt Felt” is something you might get either in a large crowd or in San Francisco.

A “Butterfly Spring” is something you might see performed at a gymnastic event.

A “Let off button” is something you push so that the bus driver knows your stop is coming up.

A “Center Pin” is a bowling term.

“Bedding the Frame” is making sure the car goes all the way to the bottom of the lake.

“Young Chang” is old Chang’s son.

That “not enough dip” means that it’s time for more chewing tobacco.

A “whippen” is something your Daddy gave you when you were bad.

Redneck Piano TechREDNECK PIANO TECHBy Roger Aycock

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So you’ve been in ACCMI for a while, now you’ve gotan instrument that needs restoring, and you reckon that

if old what’s-his-name can do it, so can you.

Now, before you rush in and ruin a perfectly good instru-ment, the lounge room carpet and maybe even your marriage,considerations can be divided into four groups.

TIME

First of all there is the TIME factor. If you run a 200 cowdairy farm on your own, or have just married a nymphomaniacwho owns her own pub, there’s a fair chance you just won’thave the time that a good restoration deserves. Since it’s yourpiano, there are a lot of things you will want to do that wouldnot ordinarily be done in a professional job, such as polishingevery screw head or bleaching the key bed. In any case, you’regoing to be a lot slower than a professional. A year can go byawfully fast if you are going to give it the full treatment.

ATTITUDE

When your cigarette lighter doesn’t fire first time, do youstamp it to death, or do you start blowing your car horn if thefellow in front doesn’t move the minute the light goes green? Ifso, then you’re heading for disaster working on a piano.

I often get the impression that Murphy wrote a lot of hislaws while fixing his own player piano. They will swallowdropped parts, chew skin off your knuckles, and generally frus-trate you at every turn, particularly if you are in a hurry. Whatyou need is patience, tolerance, a good calm nature, and an infi-nite boil, you need to be able to walk away, calm down, andthen resume. Many parts in pianos cannot be replaced with theexact replica, so you cannot risk ruining them.

MONEY

Whilst it is true that if you restore a piano yourself there isa great saving, parts can add up, particularly if what you want isan almost new appearance. Chrome plating for instance, can bequite expensive as can all the thousands of small parts that arenot really noticed until the whole instrument is dismantled.

Admittedly it is possible to “get it going” at minimalexpense, but I’m referring to restoration and that’s a differentkettle of fish.

ABILITY

Count the number of fingers on each hand. If you stillhave them all, then that’s a good start. It means you’re nottotally inept. Did you get to ten without any trouble? Good -you obviously have some intelligence. Now tie your shoelaces.

Obviously you’re going to have to recognize your limita-tions and the importance of what you are going to undertake,because in fact these instruments are, for all intents and purpos-es, irreplaceable.

Having read all this and considered all the problems, pit-falls and possibilities, you may come to appreciate that outthere in the world there are professionals, some of whom aremembers of our organization, who are capable of doing the jobfor you and thus save you all these problems.

In case you should wonder if I fit into the category of oldwhat’s-his-name mentioned at the start of this article, I wouldadd that both my father and one uncle were piano tuners, whichis one advantage you may not have.

This article appeared in News bulletin No. 26, 1987

Do It or Don’t Do It YourselfBy Neil Davidge

From Australian Collectors of Mechanical Musical Instruments, Inc., Bulletin No. 107

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NewsFrom

The Chapters

BOSTON CHAPTERReporter: Donald Brown

President: Ken Volk

May Meeting

The Boston Area April meeting was held in late May!This meeting was special because we were attending not onenew collection, but two. About 20 miles west of Boston is thehome of “The Piano Museum’, and the owner Charlie Robin-son, aka Charlie the Tuner. It was founded in the year 2000,the 300th anniversary of the piano, and is approved by theIRS as a public charity. The purpose of this collection is toacquire, restore and show as many examples of pianos builtover the last few years. The present collection of 50 is housedin two locations, and will be eventually in one new building.Of the pianos seen today, only two are players. These pianosshow what craftsmen were capable of in days gone by. Theirwork became thousands of companies producing hundreds ofthousands of pianos per year. A testament to the quality anddurability of the instruments built is shown by the quantity ofthem still in existence.

We had a great turnout for this meeting, and after playingCharlie’s pumper and inspecting the pianos in the barn, wereprovided with directions to the second site. The home ofJack Breen was a few miles away, and has a collection ofMills Violano instruments and assemblies. Karl Ellison helda business meeting between the two sites. He had been toLondon to visit a ‘sister’ Player Piano group. While in Cam-bridge, he attended a dinner at Leatherhead. Sitting next to

him was Lisa, J.L. Cook’s granddaughter, in her mid 40s. Shelater played one of grandpa’s rolls.

Carl scheduled our next meeting for early August at hishome. There are 3500 rolls and an upright Autopiano there.Following the business meeting will be a technical presenta-tion on roll scanning. Then we expect to adjourn to the 1760home and farm of Nancy and Carlton Lutz for a picnic onthe banks of the Danvers River. There we will view a 1926Nelson-Wiggens Orchestrion, a huge old barn with tools, car-riages and more.

Bill Koenigsberg and Joe Malyndziak under a grand with no player!

Karl Ellison played a Peter Rabbit story roll.

Althea and Ed Patt, Karl Ellison and Charlie Robinson.

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The present “barn” home of the Piano Museum

The Museum workshop

The Marquetry on thisone was grand

Allan Jayne checks an antiqued upright on 2nd floor

An upright pump organ here too

Jack Breen talks, Bill Koenigsberg, Karl Ellison, Nancy and Carlton Lutz

Jack Breen, his Violano, and some of the rolls in boxes

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August Meeting

The Boston Area August meeting was again a two-loca-tion meeting. The first was at our Treasurer Karl Ellison’sapartment in Salem. Karl provided the chapter with verydetailed directions to his home. There are 3500 rolls and anupright Autopiano there. Following President Ken Volk’sbusiness meeting, Karl Ellison gave a short presentation onhis RCA Radiola two-tube receiver complete with manual andcircuit schematic. It required three different battery sourcesand headphones. Next, Karl gave a technical presentation onroll scanning. The basis for the technique was contained in ahandout “How to build a piano roll scanner” by Richard Stib-bons, written in February, 2001. This was an outline descrip-tion of using a contact image sensor built into a roll frame. Avideo of one such scanner was shown, with pause on a frameto describe the parts and the feed function. The roll transport,contact image sensor, computer, interface, light source, powersupplies, software for scanner drive, scan processing andMIDI were all covered. Several in our chapter expect to builda scanner.

At 3 p.m. we adjourned to the 1760 home and Cabot farmof Nancy and Carlton Lutz for a picnic on the banks of theDanvers and Bass Rivers. The 28-acre farm was bought in1940, and since then, six new homes have been built. Theseare owned mostly by the children of our hosts, Carlton andNancy Lutz. A 1926 Nelson-Wiggens Orchestrion playingloudly and well, a huge old barn with tools, carriages andmore were sights and sounds to be enjoyed before a cateredpicnic lunch. One of the challenges offered to our group wasto discover the hidden staircase inthe farmhouse that went from thefirst to third floors. Our GingerChristiansen was one of the first tofind and travel thru it. The lun-cheon was superb, and the dayalong the river made this a mostenjoyable meeting.

Jack Breen’s working Violano Karl’s Autopiano and a few rolls

Karl Ellison’s roll library

Joe and Anna Malyndziak, Althea and Ed Patt, and Ed Everett

Dorothy Bromagereturns

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Ken Volk leads business meeting

Ed and Althea Patt, as Karl shows two-tube RCA Radiola

On the bank of the Danvers River

Matt Jaro and Carlton Lutz at the Nelson-Wiggens Orchestrion

The Nelson-Wiggens with

covers off

Exploring one of two barns

Our catered picnic

Carlton Lutz tells about the farm and life there since 1940

257

Heart of America Chapter Amica hosted a Band OrganRally in Eureka Springs, AR, a Victorian Village, in the OzarkMountains in the Northwest Corner of Arkansas on August 17and 18. Thirty seven members and guests attended the rally.On Friday and Saturday, five large organs were posted aroundthe grounds of Marty & Elise Roenigk’s historic (1886)Crescent hotel overlooking Eureka Springs. Small organswere found near the main entrance to the hotel. Other smallorgans played in the Basin Springs Park next to the Roenigk’sother historic hotel, the (1905) Basin Park, in downtownEureka Springs and at various sights around town. Some rallymembers attended a Ghost Tour of the Crescent Hotel on Fri-day evening.

Saturday evening chapter members enjoyed a deliciousBanquet in the Crystal Room at the Crescent Hotel followedby an open house at the Roenigk’s apartment on the newlyrestored fifth floor of the Crescent Hotel. The interior designoffers an interesting Frank Lloyd Wright Prairie Schoolapproach. The views are the best in the area. We were treatedto entertainment provided by the Roenigk’s collection ofmechanical music including a Steinway Duo-Art 6’6” and adozen music boxes. After the tour of the Roenigk’s apartmentchapter members enjoyed entertainment in the Baker Loungeat the Crescent. The Crescent also features the Disney WorldSeeburg H and a Mills Violano in the lobby of the hotel..

The chapter business meeting was held on Sunday morn-ing at the Crescent. Participants then toured Roenigk’s store-room of mechanical musical items in Eureka Springs.

HEART OF AMERICA CHAPTERReporter: Robbie Tubbs

President: Ron Bopp (918) 786-4988

Linda Bird keeping watch over Linda and Galen’s Wurlitzer 150,Military Band Organ.

Entrance to theCrescent HoteloverlookingEureka Springs,AR.

Marty Roenigk and Linda Bird enjoying the entertainment at the Saturday night buffet at the Crescent Hotel.

Mary and YosephWilson at the Saturday nightbuffet at the Crescent Hotel.

Marty & Elise Roenigk’s Dutch Street Organ

This “neat” little gizmo is anearly tape recorder. This

device with its one inch perfo-rated paper tape, helped totrain “would be” telegraph

operators in Morse Code.There was also an Edi-phone

(an original wax cylinderdicta-phone invented by

Thomas Edison [not pic-tured]).

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A table top Victrola, some roller organs, as well as a big, quartersawn oak, double manual player reed organ with pipes on top.

LADY LIBERTY CHAPTERReporter: Bill Maguire

President: Bill Maguire (516) 261-6799

On April 1st in Allentown, Pennsylvania there was aLady Liberty get-together. Ray and Jane Scheffy were ourhosts as well as our tour guides through this large and uniquecollection. This “April Fools Day” held many surprises in thegood sense of the word for first time visitors.

There seems to be a lot going on in the Allentown areawhen it comes to automatic musical instruments. Our chapterhas had many meetings out here including a good one at PaulManganaro’s this March.

More great stuff.

The Wurlitzer model 146B band organ. Its job was toentertain carnival goers and help set that festive mood,playing entrance of the Gladiators and “the like”. Now

it’s restored, looking and playing good as ever.

A Seeburg Model MO(Mortuary Organ).This instrument is notonly a pipe organ,but an 88-key pianoas well. In addition,the Scheffy’s own aSeeburg Model HO,that probably standsfor Home Organ.

Our hosts and some ofthe guests tell storiesas the rest of the gang“files” in. Can’t waitto get started!

Nathan plays while our members listen: Larry Karp, Rob Wilson,Brian Tate, Mary Jo Boarman, Mary Lou and Jack Becvar,

Jim Heyworth, Gary Lacher, Maury Willyard, Carmen Marshall, and Phil Dayson.

259

The summer meeting was held on July 1 at the home ofBill and Anita Masterman, with thirty-two in attendance ona sunny Seattle Sunday. As usual, the Masterman’s home wasfilled with the type of toys AMICAns love. The largest, “TheMonster,” is an “O” roll build-up with multiplexed instruments (24) plus 320 organ pipes.

We also were treated to three band organs, one a justcompleted hand-built by Norm Gibson.

The Masterman’s 1948 Mack L-85 pumper fire enginewas a big hit. Cam and Carmen Marshall showed up intheir new car, a 1923 Ford Touring car.

One of the highlights of the day was a mini-concert byNathan Bello, playing old time hits as well as his own compositions.

The Mart was a frenzy as many boxes of used piano rollsarrived for sale.

Plans for our first ever Band Organ Rally were completed. We have eight large and six small organs registered. We will also have a foot-pump player piano fordemonstration. One of our members will be on hand at alltimes and anyone who wants to pump the piano will be guided through the proper technique and given a chance toplay. Labor Day weekend is the largest tourist weekend of theyear in Ocean Shores, so this will be a great chance to educatethe public on automatic musical instruments.

Our next meeting is scheduled at the home of Jack andMaryLou Becvar.

PACIFIC CAN-AM CHAPTERReporter: Carl Kehret

President: Kurt Morrison

Our newest member, Brian Tate, looks over rolls at the Mart. In the background are JimHeyworth, Bill Masterman and Dan Brown.

Nathan Bello and hisfather, Chris, entertainus with a duet.

Dan Brown and Ron Babb playingtwo of the Masterman’s pinballmachines.

Anita and Bill Masterman, along with

their daughter, conversewith Fran Willyard in front

of the Masterman’s 1948 fire engine.

260

SIERRA-NEVADA CHAPTERReporter: Nadine Motto-Ros

President: John Motto-Ros (209) 267-9252

On Saturday, April 21, the chapter met at the Sacramentohome of Fred and Lori Deal - AKA “Such a Deal.”

Fred and Lori have many nice collectibles in their home,including some nice open horn phonographs. Of course,John’s favorite is the Cremona “A” nickelodeon.

It appears we have the remainder of our 2001 meetingslined up. There was some talk about having our bimonthlymeetings on a given weekend day, such as the second Satur-day or third Sunday, etc. More to follow on this. There was alot of discussion about our five instruments on display at theHeidrick AG History Center in Woodland. The instrumentsare in a roped off area, so we installed a remote wall box sovisitors can drop a nickel and the Link plays. We have alsobeen passing out AMICA membership applications. Theexhibit has generated much interest, and our goal is to gainnew members. The exhibit began April 1 and ends May 31.

At the Christmas meeting last year, Sonja Lemon volun-teered to make membership cards for each chapter member.They are really great! A copy is included with our photos.Each member received 20 cards. It does two things: (1) Theyear is on the card to show current membership (only mem-bers of the International and Sierra Nevada Chapter receivedcards); (2) It introduces you to someone who may have aninterest in AMICA. The color of the card will change eachyear. We like them - thank you Sonja.

Norm Gibson behind his Scotsman organ. Wesley Spore andJack Becvar talk in the background as Sally Gibson looks on.

Cam and CarmenMarshall in their

1923 Ford Touring car.

“The Monster.”

1925 Start “A” roll buildup. It also acts as a sec-ond piano, playing from“The Monster.”

Sierra Nevada Chapter at the Heidrick AG History Center.Note the silent salesman with AMICA membership applications

- we try harder!

Cecil Bacon - yes, this wall box plays the Link at the museum.

Doug Mahr - for about $300.00 more it comes with keys- white arui black

Founding member Richard Reutlinger with his latest acquisition anda life-long dream come true. Yes, a super-nice Seeburg G.

Fouruiing Chapter member Don Ellison with his newly acquired KTSpecial. He is smiling because ifplays sooooo good.

Nice instrument, Don.

AMICASIERRA-NEVADA CHAPTER

2001JOHN MOTTO-ROS - Member

209-267-9252

Automatic Musical [nstrument CoUectors Association

Devoted to restoration, distribution and enjoyment of musicalinstruments using perforated paper music rolls and music books.

Sierra-Nevada Chapter membership card

261

262

SOUTH CALIFORNIA CHAPTERReporter: Shirley Nix

President: James Westcott

August 5th was the date of our last chapter meeting inChino Hills at the home of Mr. and Mrs. Robert Denerson.

The Denersons have a Stodart Piano with Recordo, and aGulbransen, and to round out their collection they have a rolllibrary numbering about 7,000 rolls. Of course, with a librarylike that they can play anything you want to hear, and sure puton a good concert.

The Denersons are friends of Richard and BeverlyIngram, and graciously offered to host a meeting for us afterthe Ingrams had the last one. Of course, we jumped at thechance, and were certainly glad we did. Everyone had awonderful time.

Our next event will be an organ rally in Fullerton at theArboretum. This is an annual event, and we always have asuper time. The people who come are quite enthused aboutthe organs, and there is a lot to do, with always an “ugly bugfair” . . . very popular with the kids for some reason.

Then November will find us at the home of Dave andDiane Reidy for a meeting. This is always a favorite spot,and we are looking forward to that. After that, the December(can you believe it???) meeting at the home of Frank andShirley Nix. That takes care of this year. Boy, time flieswhen you’re having fun.

Our hosts, Mr. and Mrs. Robert Denerson

Robin Biggins, Reese Banister and Carol Fine in front of a“few” of the piano rolls.

Our treasurer Ken Hodge with a few more rolls.

TEXAS CHAPTERReporter: Bryan “Catt” Cather

President: Jerry Bacon (214) 328-9369

The Texas Chapter of AMICA held a “mart” on Sunday,July 29, 2001 at Pianotex, the piano shop where ChapterMember Bryan Cather works. Several members broughtrolls to sell, including many Ampico and Duo-Art rolls, bothvintage rolls and recuts, as well as literally hundreds of 88-note rolls. Additionally, Bill Boruff, for whom this washis first chapter meeting in many years, brought a Frenchstreet organ, a Victor Victrola, and several other items ofinterest.

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We had one guest, Conrad McCarty of Mesquite, whocame with Glynn Childers. Our guest seemed to be having a“field day” of sorts, and couldn’t pass up some of the bargains, finally buying a batch of 155 88-note rolls for$15.00 . . . and he has nothing to play them on! I think heMAY be an “enthusiast-in-the-making”!

Musical entertainment was provided by our host’semployer, Theron Ice, who played a variety of music on oneof the pianos in the showroom. Theron played with many ofthe local bands and other combos, before becoming a full-time piano technician, and demonstrated just a part of hisvast keyboard repertoire to the appreciative AMICAns gathered ‘round the piano.

There were some great bargains at this meeting, and Ithink everyone came home with some new “goodies,” andmost of us who had something to sell came home a few dollars richer, as well. All in all it was a good meeting. Atour business meeting it was announced that we will have twomore meetings this year, the next one at the home of AlanMay in the Turtle Creek area of Dallas, on August 26th at2:00 p.m. Then we will have our annual Holiday meeting atthe home of Bill Flynt. Also, the possibility of a meeting inHouston this year is being explored.

Left to right: Sal Mele, Bryan

Cather, Tony Palmerdiscover some

surprises in Jerry’sroll collection.

Jerry “Tex” Bacon with his 1927 Western Electric Style X piano - Barbara Uher on right.

Bryan Cather enjoyedJerry’s 1917 AmericanPhotoplayer whileTony Palmer looks on.

June 2, 2001 Meeting

Theron Ice played a few tunes for us on the Yamaha.

Bryan Cather and Glen Scott with Bryan’s Mart offerings.

Glen Scott, Bill Boruff, David Boruff with “Mart” items.

264

HEY SHALL BE

REMEMBEREDT

SELMER

NIELSEN

NOVEMBER

11, 1919 -JUNE 6,

2001Sent in by Mel Septon

Long time AMICA member Selmer Nielsen passed awayJune 6th of a brain aneurysm at the age of 81. Selmer was afixture at AMICA Conventions for as long as I can remember.He was a rotund individual with a beard that reached hiswaistline and always sported a smile. In all of the years thatI’ve known him, I never heard him say an unkind word aboutanyone nor complain about anything. He participated in thefoot pumper contest each year with great enthusiasm.

Selmer was born in Albert Lea, Minnesota and moved toRacine, Wisconsin with his parents. They lived in a housethat consisted of a basement with a roof over it as his father,a carpenter didn’t have the money to finish the building all atone time. After his parents passed away, he lived alone until16 years ago when he invited his niece and nephew and theirson to move in with him. The house had been finished bythen.

Selmer served in the C.C.C. in the late 30’s and in theArmy Air Corps from 1940 thru 1945. After the Army, heworked as a union electrician at the J.I. Case Corporation forover 30 years. After retiring, he would go out for coffee eachmorning with fellow retirees from Case. He didn’t observebirthdays or Christmas with gifts but rather gave friends andfamily members gifts for no particular reason throughout theyear. He frequented the Seven Mile Flea Market where hebought unusual items that he gave away. At one time, Selmerhad one of the largest roll collections in the country.

Selmer was buried at the Westlawn Cemetery in Racine,Wisconsin wearing his AMICA Australian hat. He was anAMCIAn to the end (perhaps beyond).

SENT IN BY JUDITH A. CHISNELL

It is so natural for people to be sad when someone weknow dies. Recently, Selmer Nielsen, a long-time member ofAMICA died. I, with all the rest of the organization, will misshis mild-mannered ways.

The best way for me to keep Selmer’s memory real, is toshare an anecdote that sends me into a chuckle every time Irecount it. Let me share it with you.

While in Australia at the AMICA Convention this pastwinter, we saw Selmer in the lobby of the hotel. We commented that we hadn’t seen him at breakfast and hoped hewas well. (Selmer had seemed frail this year and Rollie and Ihad made an effort to keep an eye on him without seeming tobe patronizing.) Now, for those of you who don’t recall justwho Selmer was, he was an 81-year-old, short, slightly stoutfellow with white hair and a long white beard. At first glance,he looked like he could easily be Asian. Well, Selmer couldn’t figure out what banquet room the AMICA group wasin for breakfast, but he DID see a large buffet set in one of therooms and just went in and made himself at home. Turnedout that the group was from Japan. Selmer commented, “Ididn’t understand anything they said, but they sure fed mewell!” I will never think of Selmer without also thinkingwhat a sense of humor he had, even at his own expense.

RUBY AHNEMAN

1919-2001Sent in by

Jerrilynn E. Boehland

The Northern Lights chapter of AMICA mourns the lossof our dear friend Ruby Ahneman.

Ruby was born on August 8, 1919 in Alden, Minnesotaand died on August 6, 2001 in Minneapolis.

She joined AMICA in 1979. Over the years she hostedmany meetings, dinners and gatherings. Her Fisher Ampico Awas the centerpiece of her collection and was played often.

Among Ruby’s many interests were music, cooking, gardening, travel and vintage clothing. She also loved themany Elderhostels she attended with several of her AMICAfriends.

Ruby will be missed by everyone who knew her.

265

DAVID L. STIFFLERAMICA member and well-known businessman, civic

leader and a founder of the Music House Museum, David L.Stiffler died July 25, 2001 as a result of a car accident in Traverse City, Michigan. He was 78.

An architect in the area for 30 years, David’s passion inlater life was enjoying and collecting antique automated musical instruments. His vision and dedication to music andits history has lead to the museum’s current national reputation. He served as its executive director since the museum’s opening in 1983.

Born August 15, 1922, in the homestead on his family’sdairy farm in Acme, Michigan, he was the son of Clarence R.and Elnora Del (Temple) Stiffler. In 1952, he married Lorraine Kathryn Lyle, who preceded him in death.

David attended the Acme Grade School and graduatedfrom Traverse City High School in 1940. He was enrolled atLawrence Institute of Technology in Mechanical Engineeringfrom 1940 to 1942 and received his Bachelor of Architecturedegree from the University of Michigan in 1950.

A decorated World War II veteran, he served in the U.S.Army Air Corps from 1943 to 1945 as an aerial navigator. Heflew 30 combat missions with the 8th Air Force and wasawarded the Distinguished Flying Cross and four Air Medals.He retired as a U.S. Air Force Reserve Lieutenant Colonel.

His career as a professional architect included practice atthe University of Michigan Engineering Research Institute,1948-1950; Porter Urquahart Skidmore Owings and Merrill,Architect and engineers, Casablanca, Moroco, 1950 to 1952;O. Eash Architect, Traverse City and Sarasota, Florida, 1952-1956; allied Design and Engineering Co., Traverse City,partner, 1956-1958; David L. Stiffler & Associates, Architects and Landscape Architects, Traverse City, 1958 to1980. He was a registered architect in Michigan, Ohio, Indiana and Illinois, NCARB and served as president of theAmerican Institute of Architects, Northern Michigan.

An involved member of his community, he served as former chair of the Traverse City Planning Commission andthe Traverse City Board of Zoning Appeals. He was a formermember of the Traverse City Chamber of Commerce Transportation Committee and the Traverse City Conventionand Visitors Bureau Board of Directors. He was a member ofthe Grand Traverse Pioneer and Historical Society Board ofDirectors.

David was a life member of Trinity Lutheran Church,serving as former congregation chair and treasurer. He hadbeen a member of the Kiwanis Club of Traverse City since1966 and was a former board member.

He is survived by his daughter, Nicole (John) Gardner ofInterlochen; two grandchildren, Ruth Ann and Michael; andhis brother, Delmar, of Scottsdale, Arizona.

Along with his wife and parents, he was preceded indeath by his brother, Eugene, and sister, Janice.

A Memorial Service was held at Trinity Lutheran Church,Traverse City with Pastors Paul Zimmerman and C. JayKoehler officiating.

To realize David’s dreams, memorial contributions maybe directed to the David L. Stiffler Memorial Fund in c/oMusic House Museum, P.O. Box 297, Acme, MI 49610 or toThe Scholarship Fund of Trinity Lutheran School, 1003 S.Maple St., Traverse City, MI 49684.

In respect to David’s memory the Music House Museumwas closed on Saturday, July 28.

PIANIST, TEACHER

KARL SCHNABEL

DIES AT 92Danbury, Connecticut

Pianist and music teacher Karl Ulrich Schnabel, the sonof famed pianist Artur Schnabel, died Monday at his home.He was 92.

Schnabel taught master classes in Europe, Asia and inNorth and South America. He began teaching at age 13,preparing students who wanted to study with his father.

Schnabel’s daughter, Ann Mottier, said her father encouraged students to achieve the fullest possible understanding of the music they played.

Asked once to define beauty in music, Schnabel replied,“proportion.”

Schnabel was born in Berlin in 1909 and began playingpiano at age 5. He studied with Leonid Kreutzer at the StateAcademy of Music from 1922 to 1928, debuting in Berlin in1926 and appearing with orchestras around the world. He wasespecially interested in music for one piano and two performers.

The Schnabels left Germany when Adolf Hitler rose topower and became American citizens in 1944. In 1950, KarlUlrich Schnabel’s book, “Modern Technique of the Pedal,”was published.

No funeral services were planned, but tributes are plannedat the Berlin Festival next month.

266

ADVERTISING GENERAL INFORMATION ABOUT

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

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

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

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

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

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

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

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

Non-member rates are double for all advertising. Special 6 for 5 Ad Offer - Place any ad, with no changes, for afull year (6 issues), and pay for only 5 issues. Payable in advance.Photographs or halftones $15.00 eachLoose Sheet or Insert Advertising: InquireWe recommend that display advertisers supply camera-readycopy. Copy that is oversized or undersized will be changed tocorrect size at your cost. We can prepare advertisements fromyour suggested layout at cost.PAYMENT: U.S. funds must accompany ad order. Make checkpayable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed.DEADLINES: Submissions must be received no later than thefirst of the odd months (January, March, May, July, September,November). The Bulletin will be mailed the first week of theeven months.

(Rev. 6-98)

“ Yesterday, Mr. Hall wrote that the printer’s proofreader was improving

my punctuation for me, and I telegraphedorders to have him shot without giving

him time to pray.”

~ Mark Twain in an 1889 letter to a friend

FOR SALE1927 CHICKERING AMPICO “A” Grand Style 59, AmericanWalnut case refinished and Ampico action rebuilt 1979. New bassstrings and perfect ivory keyboard. 100 old and new rolls with cabinet. Picture of piano and roll inventory available on request.$9,000. Call Randy Jensen, 775-329-8088. (5-01)

AMPICO, Duo-Art and Welte Licensee rolls for sale $3 each. Player parts for sale cheap. Price lowered on player piano tools byBill Maguire. (631) 261-6799, 146 Broadway, Greenlawn, NY11740; [email protected]. (5-01)

Beautiful 5’8” 1919 CHICKERING AMPICO #130428, piano completely rebuilt. New strings and new hammers. Exquisite hand-rubbed lacquer finish in original brown mahogany color. ThisStoddard Ampico is the “universal” Ampico: it plays all Ampicorollsbeautifully with ease from the earliest Stoddard rolls to the late‘B’ rolls. Includes matching bench and rolls. Asking $13,000. DavidWallis 708-366-3103 (Chicago area). (5-01)

WURLITZER 146B BAND ORGAN includes 30 music rolls.Organ pneumatics rebuilt in 2000 by expert. Photo by mail or E-mail$15,000 Tel. (805) 491-5806 (5-01)

DUO-ART STROUD UPRIGHT, Late model with full expression system and late style pump. Brown mahogany, original (but tired) condition, beautiful ivoies, bench, needs restoration. $600 obo. formore info.- [email protected] or 419-626-1903 OH (5-01-G)

ARTIZAN X A 1 MILITARY BAND ORGAN. 46 Key - Excellentcondition - Recently rebuilt by professional. Fantastic sound. Several125 rolls included. See Bowers Encyc. page 814 and Bopp’s American Carousel Organ Encyc. page 204 Fig. 312 - $18,000. Paul Morgenroth, Grain Valley, Mo. 816-229-1255 (6-01)

MARSHALL & WENDELL AMPICO Electric Player 5 foot babyGrand Piano serial #113128 (or 112188) re-finished off white lacquer,new keyboard, Re-strung, excellent playing condition (Award winning Chickering piano) Pump in player has to be repaired. Asking $17,700, call 201-224-2265 (6-01)

PLAYER AND REPRODUCING ROLLS for sale. Newly re-cut“Magic Melodies” DUO-ART and AMPICO rolls and new “Top Hat”88 note roll. Original and other re-cut rolls; program rolls for AMPICO and DUO-ART. All in excellent condition. Write or call forlistings. Magic Melodies, 360 Lawless Road, Jamestown, KY 42629,call 270-343-2061. (6-01)

NEW PIANO ROLL BOXES - Large and Small available. Smallboxes (2 x 2) are covered with White Litho (bottom), and either BlackLeather or Brown Leather paper (top). Large boxes (3 x 3) are covered with Black Leather paper (bottom), and Black Alligator paper(top). Prices are: $1.20 each (small), $2.50 each (large), plus shipping. A 20% discount will be given for orders over $100. Manyother repair supplies available (leaders, tabs, tubes, flanges, repairtape). New QRS Rolls 20% off catalog price on orders over $100,5% on orders less than $100. Refurbished 88-note rolls (new leader,tab, labels and box), $6.00 each. Hundreds of used rolls starting at$3.00 each (guaranteed playable). California Player Roll Co.,www.calroll.com, (760) 244-ROLL (7655) (6-01)

AMPICO, DUO-ART & WELTE Rolls, great selection of popular, classical and medleys. Also, 88-Note Piano Rolls, hundreds of usedrolls, - $3.00 each plus shipping. Also New Old Stock QRS Rolls, $5.00 each. Will furnish lists on request. Dave Caldwell, 400 LincolnLake Road NE, Lowell, Michigan 49331; (616) 897-5609 (6-01)

HINZE upright player piano automatic pump, built-in light overroller and stopper w/all music rolls included, good condition. D.P.Morgan, 718-464-5142; 190-15 105th Ave., Hollis, NY 11412 (5-01)

AEOLIAN player reed organ, walnut, style 1500, Page 777 Bowers’Encyclopedia. 46 note, as found, never worked on, excellent restorable condition, $500 or BO. C.W. Jenkins, 781-826-2170; Box 2066, 103 Grove Street, Hanover, Massachusetts 02339. (5-01)

Rare ORPHEUS Disc Piano, very good restored condition, w/18 as-new discs, $3900; piano-shaped WALLBOX FOR COINOLA,original parts, renickeled, $600. Larry Karp, 206-284-9203. (5-01)

267

1924 MARSHALL & WENDELL AMPICO “A”, 5’ grand piano,mahogany, refinished, new keys, piano action reconditioned, Ampicoplayer rebuilt, $5,000. Pat DeWitt, 219-749-7737,[email protected] (5-01)QRS PLAY-A-SAX, green label version, in working order withrolls, $150. For details, call Christy Counterman 330-864-4864 or E-mail at [email protected] (5-01)SEEBURG G nickelodeon, plays good. Phone 262-965-2627. (5-01)ENCORE BANJO, old original Banjo only in fully restorable condition. Also miscellaneous parts. John T. Lemmer (Chicago)773-233-7710, [email protected] (5-01)HANDSOME! 1927 Art Case Fischer Ampico grand 5’ 8” in shadedmahogany. Stretchers that connect legs. Matching bench. Hepple-white cabinet style with round fluted legs with floral garlands acrosstop of legs. Acanthus leaf blossoms on top of legs. Original and unre-stored. Sorry, no rolls. Asking $3200. OBO CA (415) 733-3190 or(415) 244-9817 (5-01)TANGLEY CALLIAPHONE, Model CA-43 (Miner Mfg. Co.) automatic/hand play, great condition, with trailer, Honda generator and 8 rolls, $7750 firm, fob Houston. Call for info and photos. Dick Howe, 713-680-9945. (4-02)REPRODUCO, Operators Piano Co., complete with all pipes andmany rolls, good condition, $5200. Jukebox AMI D-80, very goodcondition, $1150. Jerry Cuda, 417-753-2063, e-mail: [email protected](5-02)More Stuff from ORANGE COAST PIANO Automatons:Violin Player with Marionette & 2 tune Music box, stands about 14”Roulette/Decamps Redressed $2,850.00. 2-Dining Monkey’s Automaton 14 movements very old needs restoration $3,000.00. andmany more! 2 Movement Musical Watch very early around 1810 Single Tooth Movement music box in watch doesn’t work we neveropened it to check why second movement works great! $3,650.00.Orchestrion’s: Wurlitzer “Pianorchestra” Style 12 with Silver fox finish 100% excellent condition works great. Also includes the Original Peacock Wounderlight comes with a 50 roll library can beseen on page 681 of the Encyclopedia of Automatic Musical Instruments (E.A.M.I.) top right. greatly reduced price call for quote.Peerless “Wisteria” Orchestrion in Tiger Oak Completely restoredwith 37 notes of Violin/ Cello pipes, Crash Cymbal, 2- alternatingCastanets, Woodblock, Triangle and Mandolin rail under full expression with all original art glass can be seen on page 556 of the(E.A.M.I.) this is wonderful sounding orchestrion with a Veryimpressive 13 roll library ~ 10 tunes per roll! A beautiful and wonderful Orchestrion at a fraction of its true worth $43,900.00 ornear offer! Polyphon 20” Style 4 Double comb Disk Changer with 10disks and matching Storage Cabinet 100% excellent condition BurlWalnut $26,500.00 or near offer Mira 18 1/2” Console in FiddlebackMahogany Very load and bell like tone only one word describes this“BEAUTIFUL” with 12 Disks $9,800.00 or near offer. Late Model1928 Mills Violano Virtuoso Mahogany Case works great! with 4incredible rolls and one of our lowest priced Violano to date. Also 5-Nickelodeons 3 are from “Knott’s Berry Farm” Names like: Englhardt, Link, Nelson/ Wiggins, Seeburg and Western Electric allpriced for a quick release! Call for more information and prices at(714) 432-7426 ask for Kim or John We Also carry the largest collection of player piano rolls anywhere! you can see most of current Musical Instruments on our website at (http//www.playerpianos.com) (1-02)

WANTEDAMPICO, DUO-ART, WELTE, RECORDO rolls wanted. I’ll buy small or large collections. Now is the time to clean out duplicates and unwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. Lowell, MI 49331, phone: 1-616-897-5609, email: [email protected] (1-02)All kinds of disc & cylinder music boxes and rare ones as well.Orchestrions of German origin. Organs of German origin. Relatedinstruments. Small to medium collections welcome. Offers to: H.P.Kyburz, Jubilaumsweg 10, CH-5036 Oberentfelden/Switzerland. (6-01)ARTRIO-ANGELUS reproducing rolls and catalogs wanted. DavidKrall, 4218 Torrence Ave., Hammond, IN 46327, 219-932-2322 (4-02)

John WrassePiano Moving

Specializing in:Player Grands, Nickelodeons, & Orchestrions

Anywhere in Continental US & Canada• • • • •

25 years experienceKnowledgeable Rebuilder and Collector

Well-known • References AvailableInsured• • • • •

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

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

John P. WrassePhone: 319-872-3495 - Cell: 630-542-4298

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

(6-01)

Magic Melodies360 LAWLESS ROAD - JAMESTOWN, KY 42629

Reproducing and 88 Note RollsProgram Rolls Collectibles

AUCTIONS AND FIXED PRICE SALES!ALL ROLLS IN PERFECT PLAYING CONDITION

WITH GOOD BOXESFor Periodic Lists Write or Call

Tel. 270-343-2061Laura Shelby (5-01)

A pneumatic restoration service for reproducing pianos,nickelodeons and player pianos. Factory new restoration

techniques will insure many years of trouble free operation.UPS shipping cartons furnished for any style action.

464 Dugan Rd. • Richfield Springs, NY 13439

315-858-2164 (6-01)

268

AMICABROCHURES

(Free)

and

BROCHURE HOLDERS($3.00 each Post Paid)

Order from:

ROBIN PRATT630 East Monroe Street

Sandusky, Ohio 44870-3708

Phone: 419-626-1903

e-mail: [email protected]

1927-29 Knabe 5’8” Grand

with Ampico A style player

and over 100 original

Ampico rolls. Rare and beautiful Louis XV carved mahogany case,

ivory keys, good condition. Death forces sale in Oregon. Asking $12,500. Call Bob at 541-267-5361.

Over 500 additional Ampico rolls in California, negotiable in small or large lots, list available,

call Adrienne at 408-264-9073 eves. or [email protected]

(4-01)

BENNET LEEDY ROLLSTHE PIANO ROLL CENTER

LEEDY BROTHERS MUSIC ROLLS

4660 Hagar Shore RoadColoma, Michigan 49038

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

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

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

(2-02)

Visit the AMICA Web page

at:http://www.amica.org

Myth No. 782All people from the Ozarks smoke corncob pipes.Fact: Ozarkians are really famous for smoking turkey,beef and ham.Springdale, Arkansas 2002

Myth No. 13Ordering a la carte in the Ozarks may or may notinclude the employment of a mule.Springdale, Arkansas 2002

We Do Everything In-HousePin Blocks • Refinishing • Tbnal vvicing • Obscure Player Systems

~ ASK Us AeOUT PIANOMATION ~

"" We Are a ONE STOP Piano Shop ~

{~eferences Available J~Proudly Given

[email protected]

- Music for the AMPICO EXPANDED SELECTION FOR

SPRING - SUMMER 2001

Finest quality replicas or original Ampicorolls featuring popular and show tunesfrom the 1930s. Write for catalog, ore-mail us (please include postal address):

[email protected]

PRECISION MUSIC ROLLS1043 Eastside Road

EI Cajon, CA 92020-1414

(6-01)

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.

(6-02) '------------

75 Prospect AvenueEureka Springs, AR 72632

(800) 671-6333 • (501) 253-0405

www.mechantiques.com·[email protected]

MARTIN ROENIGK

WANTED TO BUYMUSIC BOXES

MUSICAL CLOCKSMECHANICAL ORGANS

269

~OI1A.. RollaArtis •. ~ULJ .m __~_ ~"~~~••LJPiano Roll Labelmaker

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Print Labels in Color on your PrinterDownload New Templates Online

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www.PianoRoJlStuff.comemail: [email protected] W Miller - 291 Thomas Ave

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FOR SALE1923 Steinway Duo-Art Grand Piano & Bench

Model XR 6' 2" • Serial #212979

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270

271

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

Postage PaidPlease note: Supplies of the earlier volumes may be

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

AMICASTATIONERY

andENVELOPES

This is a reducedsample of

the small letterheadswhich can be purchased.

AMICA ITEMS FOR SALE

AMICA STATIONERY & ENVELOPESFor Quantities and Pricing contact:

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

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

The AMICA Bulletin1971 through 1999 bound annuals

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

Make checks payable to: AMICA International

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

Get the Whole Story !In Stock Now Shipped Immediately !

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

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

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

Attention Chapters!AMICA Brochure Holders

are now available for $3.00 each.

They are clear plastic with AMICA Logo imprinted

on a gold label.

Included will be as many AMICA New Member Info Brochures

as you wish at no charge.

Make checks payable to AMICA International.

Order from:Robin Pratt

AMICA Publications630 East Monroe Street

Sandusky, OH [email protected]

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.

'. ...;.-l~ ,.,.::

,A. Brown on buff

(For early red label boxes)

E. Green on ivory(Most common)

B. Black on ivory(Area for reusableartist photo)

AMI?llCO~eCO~,/)I~g

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

C. Black on ivory(Most common)

G. WelteBrown on buff(Most common)

D. Black on ivory(Very late rolls by combinedAeolian!American)

0,"", • j~

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

Quantity

~"-~ \

-----~".-<.

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]

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Checks or moneyorders from foreign countriesmust be drawnon U.S. bank.

Price: $ 1.00 eachMinimum Order: $10,00

Postage and Handling $ 5.50

Roll Order $ _

Total Amount (U.S. $) $ _

Style

A

B

C

DEF

GTotal Quantity _

AMICA MEMBERS TRAVEL THROUGH TIME IN SPRINGFIELD, OHIO

1953 - Oliver Nicklas, Organist for the State Theater, Springfield, Ohio, demonstrates the theater organ for would-be organ repairmen, Don Dunifon and David Graber of the AMICA Mid-West Chapter, Columbus, Ohio

Don Dunifon (behind console), Organist, Oliver Nicklas & David Graber

Don Dunifon (behind console), Organist, Robert Lezenby & David Graber

1985 - Revisiting the scene of the crime (in living color)

the amica bulletin - stackssp917bp9604/sept_oct-01.pdf · the amica bulletin automatic musical ......

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