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Please, oil that squeaky thing

funny! I like it ❤😂

Nice positive mood tune!

Jack Ward plays very nice here! Thanks for uploading this! The Welte pnaumatic recording system was really far ahead at its time, it allows us to listen a pianist playing decades ago almostt as realistic as if he plays now! A special feature was the dynamic recording, meaning that the velocity of every keystroke was recorded somehow, but unfortunately non of these recording machines survived th second Wordwar, and no drawings too. So this recording technology is lost forever. Fortunately we can enjoy the piano rolls by playback on a apropriate playerpiano as yours.

Neat

Very nice arrangement and interpretation. Thanks!

Dang always a shame to see an instrument go.... but if it's from the 1950s or later then by heck I don't care let 'er go down in a bang! :D

Wonderful tune! These original Weltes sound so much better than the AMR recuts!

this is the kind of video to get recommended to the whole world like 11 years later and blow up

Thank you for sharing this gem from the past!

that's nice

The Welte dynamic recording process most likely occurred in the following way. For each key, there were not one, but two sets of electrical contacts, operating at different times and positions during the playing of the particular note. One contact set, the metal rod and mercury described above, operated immediately the key was struck, and the other, a fine wire contact at the back of the piano action, was not made until the hammer had more or less reached the piano string. The first contact triggered a pair of small electro-pneumatic valves, of a sort commonly found in Welte organs of the time, and these did two things: the first valve operated a pneumatic mechanism which marked a note line on the master roll, and the second caused suction to pass between a pair of small pneumatic motors, of roughly the same size as the note pneumatics on the early Welte-Mignon playback mechanism. At rest, when the recording machine was not in operation, both pneumatics of each pair were held open by springs, but in use, when no note was playing, one pneumatic was fully open, and the other fully closed by suction, a position equivalent to the loudest fortissimo that could be measured. As soon as the first electrical contact was made, the two pneumatics began to reverse their state, through one or more carefully adjusted small orifices, similar to, but a little larger than the 'bleed holes' found in normal player pianos, with the open pneumatic being gradually evacuated, and the closed pneumatic gradually opening. Over the time interval necessary to move the key slowly enough to produce the quietest possible pianissimo, the state of the two pneumatics would completely reverse, with other dynamic levels being reflected by smoothly varying intermediate positions When the second contact, at the back of the piano action, came into operation as the note began to sound, another set of electro-pneumatic valves was triggered, which also had two functions. Firstly, it inhibited any further change in the position of the dynamic capture pneumatics, which therefore mirrored the dynamic force with which the particular note had been played. But this individual note dynamic then had to be amalgamated with the dynamics from any other notes being played, and this was done by allowing both pneumatics of the pair to briefly pass whatever suction remained in them to a secondary pneumatic pair, of the same capacity, though not necessarily the same dimensions, as the first. Both pneumatics of this secondary pair were normally fully opened by springs, but on their being closed by suction, small arms fixed to their moving surfaces potentially came into contact with the two blades of a light and rigid cylindrical rotor, which thereby rotated to a position reflecting the average dynamic of all notes playing in either the bass or treble section of the recording piano. As soon as the transfer of suction had taken place, and the rotor had been moved accordingly, the secondary pneumatic pair opened again, and the primary pair was reset to its potential fortissimo state. Located at the end of each dynamic rotor was a double registering pneumatic with a movable centre board, something like one of the component pneumatics on the roll motors of late Aeolian push-up Pianolas, and the two mechanisms were connected by means of a slide valve, attached to the centre board of the pneumatic. If the rotor slowly moved one surface of the slide valve in either direction, it uncovered a single port, which caused a fixed length of either the crescendo or decrescendo dynamic coding to be marked on the master roll. At the same time, it caused one side of the double pneumatic to be gradually evacuated, thereby rotating the other surface of the slide valve until the port closed again. At this point, however, and assuming the rotor had not moved its position further, the double pneumatic continued to operate slowly, until the corresponding port at the other extremity of the slide valve was opened. The opposing dynamic coding would then be marked on the roll, and the double pneumatic would reverse its direction. In this way, the dynamic coding on the master roll could be made to hover, albeit rather slowly, at any dynamic level. However, the Welte dynamic control system also allowed for accents of considerable subtlety. On the slide valve there were two further ports, only uncovered if the dynamic rotor changed its position substantially. The uncovering of either of these inner ports would cause the marking of a forzando or forzando piano trace on the master roll, but only for as long as the port remained open. At the same time, it would cause the appropriate side of the double pneumatic to be evacuated quickly, thereby closing off the open port. A further feature of the double regulators was a connection to marking pens at the sides of the master roll, allowing two oscillating traces to be printed in synchronism with the variations in dynamic levels. Such a trace can clearly be seen on the rather grainy photograph of the original master for Welte-Mignon roll 4119, "Moment Exotique", by Vladimir Horowitz, which is taken from a book entitled Reproducing Pianos Past and Present, by Kent Holliday, published in 1989 by the Edward Mellen Press. This master roll is the only original Welte-Mignon master known to have survived beyond the Second World War. Unfortunately, although it was in Austin, Texas, in the 1980s when this photograph was taken, since the credits in the book confirm this location, all trace of it has now disappeared. see: www.pianola.org/reproducing/reproducing_welte.cfm

So cool!

The Welte arrangements of tunes that I know from standard rolls and other reproducing brands are always so refreshing to listen to!

Is this an original Welte cut? Or is it one of those ghastly AMR recuts?

you can almost hear the composer struggling to write something

I played this for hymns of thanksgiving years ago

My friend Rowan Belt made an arrangement of this same tune, it's fantastic!

Amazing mechanism!

player piano music may not be everything, but it is way out in front of whatever comes in next.

Very stimulating to see and hear!

This piano really sings!

FANTASTIC! Can't wait to see more.

I love this roll, arguably the best known Vee Lawnhurst Welte title other than Changes!

I have my doubts that Muriel Pollock had anything to do with that roll. I suspect Milne recorded this one. It's consistent with all of his other rolls from the same period with arranging techniques, ornamentation and patterns all screaming his name xD

Vladimir de Pachmann

Who is playing ?

Who is playing ?

1. Caro Nome Che Il Mio Core (Sweet Name That made My heart), 2. La Donna Mobile (The Woman is Fickle), 3. Bella Figlia Dell'amore (quartet, Beautiful Daughter of Love).

Amazing! Thank you for sharing!

I think it's Felix Arndt, isn't it?

The BEST NOLA EVER!!!

I restored a gothic cased Schiller Welte-Mignon Licensee in Baraboo, Wisconsin for some friends and this was the first roll we played. The husband Bud Kelly and I sang this as a duet and it was just a wonderful moment!!! Thanks for the MEMORY!!!

Just GREAT!!!

I have heared some people in an irish pub singing to this melody: To Anacreon in Heav'n, Where he sat in full glee, A few Sons of Harmony Sent a petition That he their Inspirer And Patron would be; When this answer arrived From the Jolly Old Grecian: "Voice, Fiddle, and Flute, No longer be mute, I'll lend you my name And inspire you to these are oot, Refrain And besides I'll instruct you, Like me, to intwine The Myrtle of Venus With Bacchus' Vine." ;-) see: en.wikipedia.org/wiki/The_Anacreontic_Song the original lyrics of the song, that later got new lyrics and the title "Star Spangled Banner"

Nice tune!

Howard Lutter played "Nola" very nicely!

It is too natural and atificial at the same time, and this makes it beautiful.

It would seem as though the algorithm has been blessing me with awesome videos today (such as this one)!

Harry Perella isn't as popular of a Welte artist as say Vee Lawnhurst or Howard Lutter but hell he was every bit as good!

Ah the treble is so clean! I wish more pianos had the capability to play such a clear and laser like attack!

Wow! This sounds great!

Cute title lol

these piano rolls are useful in giving us a sense of tempo control and modulation--contrary to the suggestion in the headnote there is no difference in this video between RH and LH volume; both are equal and so more of an insult than anything else to lhevinne's historically world-class pianism...doesn't matter; there is ample recorded documentation of that pianism along with rosina's--these piano rolls are curiosities, some value, mostly rude jokes

0:41 very Penacony

Just wonderful. thank you!

Nice Melody, fitting well to the title!

I am enjoying your videos. However you are playing them a bit to fast. Slow your tempos down just a bit! Thanks for sharing!

Love it. This song always reminds me of Momma Cass!

Love it!!! What make of piano???