The Washington times., 1920-01-01
AMP|CO PRODUCES
PERSONAL TOUCH
Wonderful Tones and Human
Feeling In Melodies of
Finest in Pianos.
by J. N acB.

BY j. Mach.
Mathematics and music! The for
mer 10 supposed to take the soul out
of music. II is the welding of the
two that has made the triumph of the
sonality OF an artist in these
records for plano.
Some of the achievements OF these
famous piano rolls Tor reproducing
the real art OF great pianists, were
told by Frank II. Kimmel. of the Ar
thur Jordan Piano Company. at Thir-
teenth and G streets.
Touch and tone. the varying dy-
manic force. and all changes of tempo
are here faithfully recorded with no
help from the person who handles the
mechanism of the piano. Also the
use of the pedal-that has so much
to do with fine efrects-is contained
in these astonishing reproduction de-
vices.
Plays with Expression
A comparison OF a record-ron for
which the player must supply his own
ideas of expression following as best
he can the marks OF crescendo, retard.
etc, printed on the paper, with ali
artist ron ioi lhS
shows how great Is the difference.
The eve as well as the ear can appre-
ciate what has gone into the making
of these artists rolls.
The solo note, the acentedc note in
runs and elaborate passages. that so
definitely distinguish one artist from
another, are clearly defined.
An electric piano" may suggest the
ceaseless, unimaginative performance
Of a cafe instrument of other days.
The Ampico adds to this-with cleo
tric motor power to do the physical
work of the older pedal power-all
the Interpretation" of an artist per-
formance.
scintiIfntins Tones.
Soft tones, caressing touch, or
bright scintillant notes have been so
analyzed as to be reproduced with
absolute fidelity.
II has been the achievement of
Charles Fuller Stoddard. Mr.. Stod-
da I'd has figured out "to the millionth
part of an ounce" a delicacy of re-
sponse in the Ampico mechanism that
will give the difference as to the tone
production Of Godowsky, or Buhlig, or
Ornstein.
The use is going further. Fritz
Kreisler has made piano rolls for the
Ampico Of some of his own compost
tions. But more than this, think
what it will mean when Kreisler
gives piano rolls of works that some
violinist can use as accompaniments
to his own solo performance. Think
Of the inspiration in having Kreisler
or some other artist play for you, at
nome, while you study or give pleas
ure 10 YOUR friends.
The Ampico can be an asset in en-
semhIe work OF the highest form.
And then, the repertory. Rach-
maninoff has rolls for the Ampico.
Leo Ornstein one may hear playing
tho Iiszt 'Jiebestraum," or Godow-
sky the Chopin "Etude de Concert,
No. 2"
Brilliant Artists
How valuable now are the records
Of Nine. Carreno. who recently pass
ed away. Carreno, one of the most
brilliant women pianists we have
known! She has played the Chopin
iBerceuse" d fiat, and a Spanish
Dance" OF her own.
Josef Hofmann gives the piano
transcription of the '"Tannhauser"
overture as veritable tour de
force" and with his wonderful or
chestral effects. Gabrilowitsch plays
the Bach "Gavotte," contrasted with
a "Gavotte" by the Russian Glazou-
now.
Pietro Mascagni has played his own
immortal '1ntermezzo" from "Caval.
lerIa" for these piano rolls. Ethel
Leeinska shows her wizard technique
in the ''Blue Danube" and also in
the Liszt Hungarian Rhapsody. No.
a" while Richard Buhlig gives Bala-
kir.w's 'The Lark" and Olga Sama-
ron plays a "Caprice Burlesaue," I
think. by Gabrilowitsch.
The Arthur Jordan Piano Company
has the Ampico in the Chickering
Grand piano. "the oldest piano In the
world" reaching nearly to It's century
mark. II IL also In the Marshall and
Wendell pianos.
In making mechanics the hand
maiden Of music the Ampico has sue
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