The same sequence of events later occurred with the ‘vorsetzer’ and the reproducing
piano. Each of the various player piano brands became popularly known as a ‘pianola’
much as the vacuum cleaner came to be called a ‘hoover’. We are here only concerned
with the player piano’s aristocratic cousin the reproducing piano as it was the only one
which could reproduce the recording artist’s dynamics and pedalling.
The main reproducing piano and reproducing roll companies were Welte, Triphonola
(Hupfeld), Duo-Art (Aeolian) and Ampico. Welte and Triphonola were German, and
Duo-Art and Ampico were American. The name ‘Ampico’ was an acronym derived from
‘American Piano Company’.
Reproducing pianos and their rolls were manufactured and issued from 1905 to about
1930 but production thereafter virually ceased. This was occasioned by the Great
Depression and the increasing popularity of cheaper and more convenient music making.
This occurred through the increasing popularity of radio and the introduction of
electrically recorded discs which by 1930 had superseded the old acoustic discs.
Reproducing piano recordings were very popular in their day but they were then largely
forgotten, ignored or treated as a passing curiosity. Besides being of unique value as
evidence of past performing practice, and thus fascinating historically, they are also
fascinating musically in their own right.
Denis Condon of Newtown, Sydney, is a world authority on reproducing pianos and rolls.
His collection has over eight thousand reproducing piano rolls, about four thousand being
classical and the remainder being dance music. It is not the largest collection in the
world but is the most important because of the historical importance of the classical
component. He has laboured unremittingly in this field for well over fifty years and he
was the first to take any interest in, or make any attempt to preserve, this valuable cultural
heritage. He has done this by acquiring reproducing pianos, piano rolls, books and
catalogues, and equally importantly, by rebuilding, restoring and maintaining the pianos,
skills he has had to learn for himself. He has always generously shared his knowledge
and enthusiasm with others and has for many years promoted the enjoyment of
reproducing piano music through regular bi-monthly evening ‘performances’ at his studio
in Newtown, Sydney.
REUBKE
Julius Reubke (1834-1858) was born at Hausneindorf and studied at the Conservatory in
Berlin. In 1853 his compositional and pianistic talent had so impressed Hans von Bülow
that Bülow personally recommended him to Liszt. Reubke arrived at Weimar in 1856
and the twenty-one year old rapidly became a favourite among the Liszt pupils at the
Altenburg. There he wrote and performed his piano sonata in B flat minor which is
influenced by the Liszt Sonata and is dedicated to Liszt. It was published after Reubke’s
death. Reubke’s piano sonata is in one movement with a central Andante maestoso and a
scherzo (allegro agitato) recapitulation. Reubke also wrote and performed his organ
sonata which is an established part of the organ repertoire.