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NICKELODEONS T H Ewww.amica.orgAMICAAUTOMATIC MUSICAL INSTRUMENTCOLLECTORS’ ASSOCIATIONPLAYER PIANOSPIANO ROLLS Volume 44, Number 6December 2007/January 2008BULLETINNICKELODEONS PIANO ROLLSREPRODUCING PIANOS WELTE-MIGNON AMPICO DUO-ART ORCHESTRIONS BAND ORGANS VIOLIN PLAYERSREPRODUCING PIANOS WELTE-MIGNON AMPICO DUO-ART ORCHESTRIONS BAND ORGANS VIOLIN PLAYERSPLAYER PIANOS

CONVENTION2008YOU’RE INVITED TO A PARTY!THE AMICA SOUTHERN CALIFORNIA CHAPTER CONVENTION THAT IS!July 1-5, 2008 - Woodland Hills, CaliforniaYes, it is the 2008 convention, but wehave packed so much fun into ityou will think it’s a party There will be a visit to the Nethercuttcollection, starting with their wonderfulantique car museum, and an antiquetrain out back, then over to the mainbuilding for a wonderful tour, startingwith the cream of the crop of their cars,then up the staircase with other goodiesalong the way clocks, a reproducingpiano, hood ornaments, and more.Moving along, we go up the stairsfurther to the mechanical music area.Here you will be treated to a tour ofone of the finest collections anywhere,with everything from music boxes,nickelodeons, orchestrions, finereproducing pianos, and of coursethe theater organ. There literally issomething for everyone here, and wein Southern California feel fortunateto have such a wonderful place availableto us, and we’re sure you will enjoy this.The Nix collection will also bevisited, with lots of time to enjoy theirinstruments. This collection changesconstantly, as most collections do.You will be treated to music from theHupfeld Helios, the Weber Styria, theDuwyn café organ, and so much more.What a way to spend your time.There are also two or three othercollections we are trying to line upwhich haven’t been seen before, andwill be quite exciting.We’ll take you to the Gene AutryMuseum, where you can relive youryouth, remembering the old westernsyou saw on Saturday afternoons. You’llsee costumes, sets, and so much more.The Museum also always has displaysYou’ll visit theNethercutt Museum,with some of thefinest restored cars,automatic musicalinstruments andother collectibles.Gene Autry MuseumThe Nix Collection will be on the agendawith instruments from small music boxes tolarge orchestrions and fairground organs.We are hoping to have other collectionsavailable for touring, but that is still in theworks. . . continued on inside back cover

ISSN #1533-9726T HE AMICA B ULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATIONPublished by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distributionand enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963.PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: Kukral@Rose-Hulman.eduVisit the AMICA Web page at: http://www.amica.orgAssociate Editor: Mr. Larry Givens Editor Emeritus: Robin PrattVOLUME 44, Number 6December 2007/January 2008AMICA BULLETINFEATURESDisplay and Classified AdsArticles for PublicationLetters to the PublisherChapter NewsBerceuse for Bechstein . . . . . . . . . . . . . . . . . . . . . . . .Stephen Hough . . . .246Eighty Years On . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Grahame Code . . . .248The Marque Ampico . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bill Englund . . . .250UPCOMING PUBLICATIONDEADLINESThe ads and articles must be receivedby the Publisher on the 1st of theOdd number months:JanuaryJulyMarchSeptemberMayNovemberThe Aeolian-American Corporation’s Introduction . . .Mark Reinhart . . . .251The Billings Rollography . . . . . . . . . . . . . . . . .Ginny & Bob Billings . . . .254The Welte-Mignon Patents . . . . . . . . . . . . . . . . . . . . . .Mark Reinhart . . . .255John Farrell - 1936-2007 . . . . . . . . . . . . . . . . . . . . . Multiple Authors . . . .276Bulletins will be mailed on the 2nd weekof the even months.Dr. Michael A. Kukral, Publisher216 Madison Blvd.Terre Haute, Indiana 47803-1912Phone: 812-238-9656e-mail: kukral@rose-hulman.eduDEPARTMENTSAMICA International . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242-243MEMBERSHIP SERVICESPresident’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244New Memberships . . . . . . . . . . 47.00Publisher’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244Letters to Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245New Piano Rolls & Recuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281Chapter News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286Classified Ads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .304Renewals . . . . . . . . . . . . . . . . . 47.00Additional 5.00 due if renewedpast the Jan. 31 deadlineAddress changes and correctionsDirectory information updatesAdditional copies ofMember Directory . . . . 25.00Single copies of back issues( 10.00 per issue - basedupon availability)Front Cover: Duo-Art Music, December 1934. Submitted by Robin PrattInside Front: Convention 2008Back Cover: The Etude, December 1938. Submitted by Grahame CodeInside Back Cover: Convention 2008William Chapman (Bill)53685 Avenida BermudasLa Quinta, CA 92253-3586(760) 564-2951e-mail: shazam32@earthlink.netTo 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. While the AMICA Bulletin offersaccurate and historic information to its members, the bulletin, its publisher and the AMICA Board cannot be held responsible forcontributions that may be considered by some as inaccurate, speculative, or of an OP/ED FormatEntire contents 2007 AMICA InternationalPrinted by Engler Printing Co., Fremont, OH englerprinting@ezworks.net241

AMICA INTERNATIONAL– INTERNATIONAL OFFICERS –PRESIDENTJohn Motto-Ros110 Allen Ranch RoadSutter Creek, CA 95685209-267-9252e-mail: mottoros@sbcglobal.netPAST PRESIDENTMike Walter65 Running Brook Dr.Lancaster, NY 14086-3314716-656-9583e-mail: amicapresident@yahoo.comPUBLISHERDr. Michael A. Kukral216 Madison Blvd.Terre Haute, IN 47803-1912812-238-9656e-mail: Kukral@Rose-Hulman.eduVICE PRESIDENTTim Baxter939 Briarcliff Rd. NEAlanta, GA 30306-4664404-377-1220e-mail: baxdig@mindspring.comTREASURERRobbie Tubbs7405 WillowRaytown, MO ETARYMarlene Beckman4046 SE 53rd StreetBerryton, KS 66409-9714785-862-0128e-mail: hcbeckman@cox.netMEMBERSHIP SECRETARYWilliam Chapman (Bill)53685 Avenida BermudasLa Quinta, CA 92253-3586Phone & Fax: 760-564-2951e-mail: shazam32@earthlink.net– COMMITTEES –AMICA ARCHIVESTom Hutchinson15361 Hopper Rd.Sturgeon, MO 65284e-mail: hutweb@tranquility.netCONVENTION COORDINATORFrank Nix6030 Oakdale Ave.Woodland Hills, CA 91367818-884-6849AMICA MEMORIAL FUNDHalie Dodrill4488 W. Mercer WayMercer Island, WA 98040-3934206-236-0067e-mail: halie@dodrill.netHONORARY MEMBERSAUDIO-VISUAL & TECHNICALHarold Malakinian2345 Forest Trail Dr.Troy, MI 48098242WEBSITE MANAGERKarl B. Ellison6 Lions LaneSalem, MA 01970-1784e-mail: ellison1@localnet.com

AMICA INTERNATIONALCHAPTER OFFICERSBOSTON AREAPres: John VanOpdorpVice Pres: Bob HuntSec: Ken VolkTreas: Dorothy BromageReporter: Don BrownBoard Rep: Bob Hunt - optimist@gwi.netCHICAGO AREAPres:Vice Pres: Richard Van MetreSec: Carol Veome - 773-338-1042veomec@sbcglobal.netTreas: Joe PekarekReporter: Curt CliffordBoard Rep:FOUNDING CHAPTERPres: John Ulrich - 510-223-9587Vice Pres: Karen SimonsSec: Jack and Dianne Edwards butano18@sbcglobal.netTreas/Bd Rep: Richard ReutlingerReporter: Bonnie and Bob GonzalezGATEWAY CHAPTERPres: Yousuf Wilson - 636-665-5187Vice Pres: Gary Craig - 314-771-1244Sec: Mary WilsonTreas: Cynthia CraigReporter/Bd.Rep: Gary Craig pocoloco@greaterbaynet.comHEART OF AMERICAPres: Robbie TubbsVice Pres: Charles TylerSec: Rick McDowell - 816-781-1965Treas: Mike Schoeppner - 816-767-9766Reporter: H.C. and Marlene BeckmanBoard Rep: Gary CraigLADY LIBERTYPres: Bill MaguireVice Pres: John DousmanisRecording Sec: Bill MaguireCorresponding Sec: Richard KarlssonReporter: Buzz RosaBoard Reps: Marvin & Dianne Polan631-673-0388Newsletter Editor: Bill MaguireMIDWEST (OH, MI, IN, KY)Pres: Don Johnson - 248-650-1840Vice Pres: Liz BarnhartSec: Hilda MerchantTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz BarnhartNORTHERN LIGHTSPres: Phillip Baird - plb28622@aol.comVice Pres: Paul WatkinsSec: Jason E. Beyer - 507-454-3124Treas: Barbara WatkinsReporter: Don BartonBoard Rep: Phillip BairdPACIFIC CAN-AMPres: Carl Dodrill - carl@dodrill.netVice Pres: Halie Dodrill - halie@dodrill.netSec:Treas: Jack & Mary Lou BecvarReporter: Ron BabbBd. Rep: Carl Dodrill - 206-236-0067ROCKY MOUNTAINPres: Jere DeBacker - jere@totalspeed.comVice Pres: Ken HodgeSec: Louise LuceroTreas: Fred WilsonReporter: Larry EmmonsSIERRA NEVADAPres: John Motto-Ros - 209-267-9252Vice Pres: Doug & Vicki MahrSec: Sonja LemonTreas: Doug & Vicki MahrReporter: Nadine Motto-RosBoard Rep: Chip LusbySOWNY (Southern Ontario,Western NewYork)Pres: Mike Walter - 716-656-9583Vice Pres: Daniel TenerowiczSec: Garry LemonTreas: Holly Walterbballmomma99@yahoo.comReporter: Garry & Anne LemonBoard Rep: Audrey CannizzaroPhotographer: Nancy Group & Anne LemmonSOUTHERN CALIFORNIAPres: Jerry Pell - 760-249-6380Vice Pres: Leslie HoffmanSec./Reporter: Shirley NixTreas: Lloyd A. OsmundsonBoard Rep: Frank NixTEXASPres: Jerry Bacon - 214-328-9369Vice Pres: Bill BoruffTreas: Vicki BradySec./Reporter:Maureen BarisonekBoard Rep: John & Suzanne McCallAFFILIATED SOCIETIES AND ORGANIZATIONSAmerican Theatre Organ Society (ATOS)President - Ken Double1201 McDuffie St. #173Houston, TX 77019Phone: 713-520-1911E-Mail: double@atos.orgTheatre Organ Editor - Jeff Weiler1845 South Michigan Avenue #1905Chicago, IL 60616Phone: 312-842-7475E-Mail: weiler@atos.orgASSOCIATION ITALIANA MUSICAMECCANICAVia Comte le Monticino No. 48547020 Cesena, ItalyPhone: 39-547-346-046AUSTRALIAN COLLECTORS OFMECHANICAL MUSICAL INSTRUMENTS19 Waipori StreetSt. Ives NSW 2075, AustraliaDUTCH PIANOLA ASSOC.Nederlandse Pianola VerenigingAtt. Jan van Hulzen, Member of the BoardChopinrode 252717 BH Zoetermeer, NetherlandsFRIENDS OF SCOTT JOPLIN1217 St. Croix Ct.Kirkwood, MO 63122-2326website: s.missouri.orgINTERNATIONAL PIANO ARCHIVESAT MARYLANDPerforming Arts Library,University of Maryland2511 Clarice Smith Performing Arts CenterCollege Park, MD 20742Phone: 301-405-9224Fax: 301-314-7170E-Mail: dm137@umail.umd.eduINTERNATIONAL VINTAGE PHONO &MECHANICAL MUSIC SOCIETYC.G. Nijsen, Secretaire General19 Mackaylaan5631 NM Eindhoven, NetherlandsMUSICAL BOX SOCIETY OF GREATBRITAINAlan Pratt, EditorP. O. Box 299Waterbeach, Cambridge CB4 4PJEnglandMUSICAL BOX SOCIETY INTERNATIONALRosanna Harris, Editor5815 West 52nd AvenueDenver, CO 80212Phone: 303-431-9033 Fax: 303-431-6978E-Mail: mbsi@estreet.comNETHERLANDS MECHANICALORGAN SOCIETY - KDVA. T. MeijerWilgenstraat 24NL-4462 VS Goes, NetherlandsNORTHWEST PLAYER PIANO ASSOCIATIONEverson Whittle, Secretary11 Smiths Road, Darcy Lever,Bolton BL3 2PP, Gt. Manchester, EnglandHome Phone: 01204 529939Business Phone: 01772 208003PIANOLA INSTITUTEClair Cavanagh, Secretary43 Great Percy St., London WC1X 9RAEnglandPLAYER PIANO GROUPJulian Dyer, Bulletin Editor5 Richmond Rise, Wokingham,Berkshire RG41 3XH, United KingdomPhone: 0118 977 1057Email: editor@playerpianogroup.org.ukSMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560SOCIETY FOR SELF-PLAYINGMUSICAL INSTRUMENTSGesellschaft für SelbstspielendeMusikinstrumente (GSM) E.V.Ralf SmolneEmmastr. 56D-45130 Essen, ail: president@musica-mechanica.de243

PRESIDENT’S MESSAGEGreetings,Another year is coming to a close, and the holiday season is here. Ihave received correspondence from most chapters, and their meetingslook like a lot of fun. I wish Nadine and I could attend them all. Wedo manage to make some meetings with the Founding and SouthernCalifornia Chapters.Please share your collection—a single player piano or a room full ofinstruments—with your family. Yes, your children or grandchildren; theymay have more interest than you think.Once again, please look at the AMICA web site (www.amica.org) andcheck out at the 2007 convention in two parts on You Tube. Well, not allof the convention, but about 40 minutes are included. There are also otherYou Tube clips attached to the web site. If we are going to attract newmembers, this is a start. We can share our hobby with others who have notseen automatic musical instruments.Enjoy the CD in this issue—The Billings Rollography. Many thanks to Terry Smythe for his effort in copying all of the materialinto a CD.Nadine and I wish you a very Merry Christmas and a Happy New Year.John Motto-Rosmottoros@sbcglobal.netFROM THE PUBLISHER’S DESKMerry Christmas and Happy New Year!I am waiting on a snow storm coming over the Rockies and across the Great Plains as I write thisletter. My house is becoming ready for family and friends coming to visit at this holiday time. Thepiano rolls scattered throughout the dining and living room must be picked up, sorted, andshelved again. It’s time to put these toys away; only to get them out again for some visitors! Thisis a problem for most roll collectors (as least the people who play their rolls regularly!): rollshelving and organization. The goal for me is to be able to locate a roll when I want to play it. I’vetried organizing rolls on shelves by artist, by composer, by number (which in my opinion is onlyfor the insane), by title, and by genre. After years of experimentation I’ve concluded that themethod that works best for me is to arrange classical music rolls alphabetically by composer, popselections alphabetically by title, and then a few special groups such as Christmas music.I hope everyone enjoys the AMICA holiday gifts enclosed with this issue. If you don’t have use for them please pass them onto others. This is what we collectors should all do with the stuff in our often overcrowded homes.Happy Holidays!Mike Kukral,Publisher244

LETTERSDr. KukralDavid Bonner sent me a copy of theAMICA Bulletin, (August/September2007), featuring my mother, JudithSidorsky. What a wonderful surprise andpleasure!Is it possible to get additionalcopies for other family members? Hergrandchildren would especially treasurethis.Rob GrenellBurnsville, NCResponse:Sure! Let me know how many andwhere to send them. Our NEXT issue willalso have 2 more articles about yourmother.Mike KukralMikeThat is just terrific. I was anticipatingthat there might have been a very limitednumber printed and there would not beany extras. I would love to send one to mysister and brother and my two children.Also, Judith was a very important part ofour cultural community here helpingfound our local orchestra, teaching at ourTOTHEEDITORcommunity college and working with ourCommunity Arts Council. I would likethem to have a copy too. That’s a total of 6copies if you can manage it. Judith hadmany admirers here who truly doted onher for her feisty manner, engaging wit,deep musical knowledge, and alwaysentertaining lectures and performances.You would have enjoyed seeing herperched on her stack of old music bookspiled on the piano bench, (she was under5 feet tall in her later years), while shebelted out a Scott Joplin rag to a sold outaudience at the First Baptist Church herein town.I will also look forward to the nextissue. Let me know the cost for theseissues including postage.Rob Grenell(son of roll artist Judith Sidorsky)Burnsville, NC 28714Dear Professor Kukral:I am a pianist, a lawyer and amember of AMICA. I own an AmpicoReproducing Piano in a Knabe Upright.I recently recorded many of the rollsand put some of them on a CD. The songsI selected are in the public domain, withthe exception of “Ain’t She Sweet”, forwhich I obtained licenses through theHarry Fox Agency.Along with three CDs of my ownplaying I’ve added this one to mywebsite- www.garyspiano.com. You canlisten to all the tracks by going to mysite. There you’ll also see my link toyour AMICA website.Please contact me if I can help inyour efforts to maintain appreciation ofthis part of our musical heritage.Very truly yours,Gary RinehartAgain, many thanks for your work andinterest.RobDear AMICA Members:Many thanks for all your kindwords about Dave. They are very muchappreciated.Sincerely,The Caldwell FamilyCoin from W. F. Schwentker Piano Co.Evansville, Indiana245

BERCEUSE FOR BECHSTEINWritten by Stephen HoughSubmitted by Robin PrattHow many of us have had thatexperience, perhaps an early and lastingmemory, of seeing in the corner of someold aunt’s drawing room a tall, heavy,black box supporting an army of fadingphotographs which, when opened up,displayed a line of yellow keys andthe mysterious, tarnished letters—C. BECHSTEIN. Whilst the Steinwaygleams on the world’s most glamourousconcert-platforms evoking the image of anew Rolls-Royce, the Bechstein seemsrather to suggest that vintage car underblankets in the garage, whether sparklingwith care or a sad shell of rust and dust.Last year saw the demise of theBechstein Company, home of thepiano for which the Wigmore Hall wasoriginally built, and which Brahms, Liszt,Debussy, and Scriabin played and usedwhen composing. From the company’sfoundation in 1856 in Berlin until theSecond World War the Bechstein pianoplayed a major role in European musicallife, from concert halls to the salons ofpatrons and socialites, from the studios offamous artists and teachers to the practiserooms of students. However, decline wasswift following the Bechstein family’sfriendship and support of Hitler, and thefirm’s location in the divided city ofBerlin during the years following the war.The bad will of the 40s and the unevenworkmanship of the 50s and beyondmade the piano’s continuing success animpossibility. In addition, good, cheapBjorn Andresen as Tadzio in Luchino Visconti’s 1970 film, “Death in Venice”.246

continued. . .pianos from the Far East began to appearin the showrooms of the West, and, aswith cars, offered a serious challenge inprice and quality to the middle-rangeEuropean instruments.Taste, too, had changed in the post-waryears. Audiences and ears were becomingused to the greater brilliance andpenetration of the Steinway, especiallyin concerto repertoire, where it seemed abetter match for the string section of theorchestra, now more frequently usingsteel rather than gut for their strings. TheSteinway was always at the forefrontin the development of the piano. Thecompany was founded in 1853 in NewYork by Henry Steinway and three of hissons and within two years had developedthe iron frame which came to be thestandard skeleton for all serious pianos.There followed a string of patents,including the introduction of the Capod’Astro Bar in 1875 enabling the piano toutilize larger, more powerful hammersresulting in a bigger sound. Thesedevelopments continued into the twentiethcentury and gave the Steinway itstrailblazing image. The Bechstein’s moredelicate nuances and shallower, sloweraction-response made it less suitable toofor the new virtuoso techniques whichcomposer-pianists such as Rachmaninoffand Prokofiev, were developing; and, inaddition, the recording studios haddiscovered that the clearer tone of theSteinway was more suitable for theirever-improving techniques. Once musiccolleges and concert-halls began using theSteinway with an increasing exclusivity amonopoly came into being, excused onlyby the extraordinary quality and beauty ofthe Steinway pianos. A notable exceptionwas Jorge Bolet who preferred to playBechsteins when in Europe.But earlier in the century there wasa genuine variety of opinions about therelative merits of the great piano firms.A pianist like Horowitz would rejectthe Bechstein as being better fittedfor chamber music, and became a loyalSteinway artist from the start of his career.He was only once seen publicly playing apiano other than a Steinway when heplayed Scriabin’s Bechstein in Moscow,captured by the television cameras.Whereas Schnabel referred to theSteinway as being, “terribly loud”, andinsisted on taking two Bechstein concertgrands plus a technician to America whenhe visited there before the war. After theNazis had come to power and he wascompelled to use Steinways in America,he asked for their sound and action tobe doctored and made closer to the feel ofhis beloved Bechstein. Comparing theplaying styles of these two pianists givesan over-generalized but valid indication ofthe differences between their preferredpianos. Many artists whose techniques hadbeen developed on European pianos foundthe Steinway a handicap. Their wholeapproach to tonal control and colouringrelied on the horizontal motion of thehand across a feather-light key rather thanthe greater vertical pressure required bythe weightier actions of the Americaninstruments. Moritz Rosenthal, therenowned Liszt pupil, is an interestingcase in point. One of his trademarks wasfast, fleet figuration exploiting extremesoft dynamics, and he claimed that it wasimpossible for him to achieve his effectson the Steinway piano.Another wider social issue is relevantto the collapse of many piano companies.The whole notion of the piano as aninstrument for the home, a magnetdrawing friends around it for eveningsof amateur entertainment, quicklydisappeared in the post-war period. Thepiano seemed like just another relic fromthe Victorian age, which, like an oldarmoire, took up too much musty space inthe newly designed houses of the period.Its elephantine size, its jaundiced ivories,simply couldn’t compete with thestampeding arrival of that smaller box, thetelevision, with its bright, passive images.It was so much more appealing than AuntMaud’s arthritic fingers struggling withChaminade’s Autumne, or Uncle Harry’srepeated attempts to find The LostChord. So the pianos went to the antiqueshops, Maud and Harry went to thenursing home, and, suddenly, a chapterof European life was finished. Thepiano seemed part of the baggage ofImperialism, and the guitar’s six stringsand keyboards which could be pluggedin (although requiring more sensitiveears to be plugged as well) suited thespring-cleaning mood of the age. Sounfortunately the baby was thrown outwith the Bechstein, and an unswimmablegulf was formed between the professionalpianist and the now passive audiencemember, a gulf which had deeply affectedconcert life over the last few decades andseriously threatens its future, as audiencenumbers decrease steadily.So has that piano which was byappointment to his Majesty, EmperorWilliam I of Prussia gone the way of thecountry which he ruled? Has that blackbox in the corner of the drawing-roombecome its own coffin, awaiting only thedeath of it’s owner before it is draggedto the junk shop without even thelast-anointing of some furniture polish?Last week a friend of mine phoned me,“Stephen, I know you’re looking for asecond piano. I’ve just seen a beautya big, black instrument with a gorgeoustone. It’s a .Bechstein.”SUSKIND, RUTH (LIPPMAN) Published: January 14, 1999SUSKIND-Ruth (Lippman) on Tuesday, Jan. 12, of Woodmere. Beloved wife of the late Milton Suskind. Loving mother of LeslieA. Burg of Newton, MA., Barry Suskin of New York City, and Ellen S. Waldron of Bedford, MA. Cherished grandmother of Scott,Matthew and Jennifer. Dear sister of Ethel Mintz of FL and the late Lillian Schwartz. Services at the Levine Chapel, 470 HarvardStreet, Brookline, MA, on Thursday, January 14 at 12:00 Noon. Memorial observance at the home of Leslie Burg, Thursday only,2:00-7:00 pm. In lieu of flowers, remembrances may be made to the Alzheimer's Disease & Related Disorders Association.247

EIGHTY YEARS ON.Written by Grahame CodeMany AMICA members visitedMelbourne Australia in 2001. My familyand I had the opportunity to spend timewith them and even had some visit us athome, three hours drive from Melbourne.One day soon, we will attend a conventionoverseas. Now that our son Ian is 8 years,travel becomes easier.1927 was a great year for Australianmusic lovers - the centenary year ofBeethoven’s death. There were tributeconcerts throughout the world and threemajor tribute concerts in Melbourne.Melbourne was then the capital ofAustralia from 1901 to 1927 whenCanberra became the Australian capital.It was also considered a cultural hubat that time.The Melbourne Town Hall had justbeen constructed. Royalty in the person ofthe Duke of York, later King Georgethe VI came to visit and world famousmusicians toured here. 1927 saw the birthof the artist Fred Williams, writer VincentBuckley and scientist Dave Curtis.It also saw visits by great internationalmusicians: opera-singer Chaliapin; theRussian ballet dancer Pavlova; violinistsEfrem Zimbalist and Jascha Heifetz andthe wonderful pianists, Ignace JanPaderewski, Ignaz Friedman, WilhelmBackhaus and Australia’s own PercyGrainger.The Aeolian Company made much ofPaderewski’s visit. Even opening theirnew showroom and offices, “AeolianHall” during his visit. During his concertshe featured his Duo-Art roll favourites,including the Hungarian Rhapsody No.2,The Maiden’s Wish, Hark, Hark theLark, Schubert’s impromptu in B flatOp. 142, numerous Chopin pieces andof course his own Minuet and Caprice.(See Illustration)As a tribute to Beethoven, Paderewskialso played both the Moonlight andWaldstein Sonatas during the tour as wellas Beethoven’s 32 Variations in C minor.248This was Paderewski’s second visitto Australia. He had toured here in 1904,but by this time he was not only a greatmaster of the piano and a composerbut also an outstanding statesman. Hissecond tour of Melbourne and the otherAustralian capital cities was even moresuccessful than the first.Australian born pianist and fellowDuo-Art artist, Percy Grainger paid thistribute to Paderewski during the tour,“He towers above the other pianists ofhis generation, just as Wagner towersabove other modern composers – and fora similar reason. Both these geniusesare all-round men, expressing a greatvariety of human experiences, emotions,urges and endeavours, in a variety ofartistic ways. The curse of our age isspecialisation, a trend tending to makesmall men even smaller than theyotherwise would be, but a trend to whichno really great man – in any line of life –will ever submit.”“Specialists always end by beingsmall fry, however hard they strive, whileall-round, many-sided, adventurousnatures who try their hand at a widegamut of life, at a variety of contrastingoccupations, sometimes end up asoutstanding geniuses, such as Wagner andPaderewski.”“Just as Wagner was sociologist,revolutionary, “wolf’s head”, pamphleteer,patriot, poet, dramatist, stage manager,conductor, composer, and religionist,so Paderewski is pedagogue, virtuoso,composer, businessman, patriot, Premier,and philanthropist. The saint and thehero form part of Paderewski’s make-upalongside of the artist and showman. Ineed not allude to his lifelong devotionto the cause of his native Poland, to hisself-sacrificing generosity towardssuffering humanity. All the world knowsof these.“But even if we did not know of thesehistoric sides of his personality we coulddivine the multitudinous diversity ofhis nature as expressed in his art. None buta deep-down patriot, a soldier-type, couldinvest the Chopin polonaises with thesoaring martial glory they acquire athis hands. Only one who had drunk deepof the draught of personal and racialsuffering could bring home to us ashe does, the full tragedy of the ChopinFuneral March. Only an intense humanistcould interpret, as only Paderewski can,the full range of romance, amorousness,wistfulness and gracefulness found inthe “Romantic” school of composers suchas Schumann, Listz, Chopin, Stokowski,and others. No one could unfold, asPaderewski does, the formal grandeur, thesweeping proportions, the overwhelmingclimaxes of the greatest compositions ofBach and Beethoven, who was not himselfa truly great and experienced composer.A lesser composer than Paderewski couldnot possibly, as a performer, recreatefor us, as he does, the greatest pianoworks of all time.”It is worth remembering that all thesuperlatively great interpretative virtuosiof the past that we could place besidePaderewski were likewise composerperformers – men such as Rubenstein,Joachim and Paganini.”“Paderewski’s greatness is thegreatness of master-interpreter, theartistic manifestation of a heroic periodin the life of his race. When he leaves us,his place will always remain empty – noother pianist will ever step into his shoes.He is, and will always remain, unique – anexpression of universality, a combinationof wide contrasts, a magical blend ofPolish local colour and cosmopolitanculture, a world artist and a world figure.”Percy Grainger, during his tours,played many of his Duo-Art successes –Mock Morris, Colonial Song andShepherd’s Hey as well as the GriegConcerto for Piano and Orchestra.At the end of the year in November

continued. . .arrived Wilhelm Backhaus.He was a prolific recordingartist with over two hundredreproducing piano rolls tohis credit. He recorded forHupfeld – Welte Mignon andthe Duo-Art. In recordshe may have been the onlygreat pianist whose recordinghistory spanned from cylinderto stereo disc.Duo-Art music loversvalue his performance of theBrahms – Variations on atheme of Paganini, as well ashis other rolls. It is interestingto note that in early Aeoliancatalogues his name hadbeen anglicised to “WilliamBackhaus and the Aeolia

65 Running Brook Dr. Lancaster, NY 14086-3314 716-656-9583 e-mail: amicapresident@yahoo.com VICE PRESIDENT Tim Baxter 939 Briarcliff Rd. NE Alanta, GA 30306-4664 404-377-1220 e-mail: baxdig@mindspring.com PUBLISHER Dr. Michael A. Kukral 216 Madison Blvd. Terre Haute, IN 47803-1912 812-238-9656 e-mail: Kukral@Rose

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