I am very proud to offer you the following Welte (Licensee) reproducing rolls. This offering includes a series of 15 outstanding rolls I converted from Red Welte (T-100) rolls in 1996. All of these rolls were issued in the Licensee format on BluesTone for the first time ever, and I think you'll agree they were all worth the effort (read more about converting Red Welte to Welte Licensee at the bottom of this page). You will also find many other excellent classical and popular music rolls in this list.
All word rolls feature lyric sheets copied directly from the original roll, and all rolls feature the same quality rolls and boxes that have always been expected of all BluesTone rolls.
I would also like to mention to folks without a particular type of piano that these rolls are all interesting to pump on a foot-pumper. If you're good at it you can produce excellent results! I've enjoyed playing the Ampico and Duo-Art rolls on my Apollo foot-pumper / expression piano (in addition to the intended machines).
Playing Welte (Licensee) rolls on regular 88-note player pianos: Welte (Licensee) rolls are layed out so that they will play fine on any standard 88-note player (except that any sustain pedal information on the Welte roll will not activate automatically on your piano). If you wish, you can use a piece of Scotch tape to cover channels 0-7 on the bass end and channels 90-97 on the treble end so that no extraneous notes are played on your piano. For details please take a look at a brief BluesTone Tracker Bar Comparison.
Wel-031 Mazurka - Op. 54 #2 (Benjamin Godard) played by Adam-Benard $20
(originally issued on Red Welte 84 / ca. May 1905)
Godard is known almost exclusively for his Berceuse from "Jocelyn". This Mazurka is one of 3 issued on Welte, and is one of the first Welte Mignon rolls ever issued. This is an excellent performance, similar to the many fine Chopin mazurkas.
Wel-032 Roses from the South - Waltz, Op. 388
(Johann Strauss, Jr.) $22 This roll
is currently out of stock
played by Franciszek Brzezinski
(originally issued on Red Welte 277 / ca. May 1905)
This Strauss waltz is absolutely beautiful! Like so many of the Strauss waltzes, it begins with a slow introduction before easing into that lovely waltz tempo. Brzezinski's playing is outstanding with plenty of expression and rubato. This piece was issued on 4 different Red Welte rolls (!) but only as part of a Strauss medley roll on Licensee. Charles Smith's Welte catalog tells us that Brzezinski was a Pole who studied with Max Reger. I predict you'll play this roll often!
Wel-033 Intermezzo - Op. 119 #3 (Klavierstücke
- C Major) (Brahms) $16
played by Artur Schnabel
(originally issued on Red Welte 386 / ca. May 1905)
This brief, dramatic piece is one of the four selections in Klavierstücke, Op. 119. This is the only Welte performance of this selection, and this will be the first time it has been available for Licensee pianos. Artur Schnabel recorded 13 Welte rolls, of which only 5 were originally issued on Licensee. Maurice Hinson's Guide to the Pianist's Repertoire describes it as "...witty and playful but a lyrical tenderness emerges on the final page; requires a light touch, grace, and humor."
Wel-034 Impromptu No. 1 in A Flat - Op. 29 (Chopin)
played by Clotilde Kleeberg
(originally issued on Red Welte 455 / ca. September 1905)
The first of Chopin's four marvelous Impromptu's, Op. 29 was composed in 1837. It was originally issued on a number of reproducing piano rolls, including 4 different Welte rolls (!). Clotilde Kleeberg studied with Clara Schumann, and recorded 10 Welte rolls of which 6 were originally issued on Licensee. This makes it seven! I don't need to go on about what a beautiful piece of music this is, but I will mention that my records show this composition has not been recut on Welte by anyone from Klavier to the present (until now), and it really is an exceptional piece of music.
Wel-035 Mazeppa - Etude in D Minor (Transcendental Etude #4) (Liszt) $25
played by Emil Sauer
(originally issued on Red Welte 877 / ca. October 1905)
Welte rolls were issued for 8 of the 12 Transcendental Etudes, about half of them appearing on Licensee rolls. This fine performance was unfortunately NOT available for Licensee played by anyone before now. This is an exciting and virtuoso piece. Emil Sauer is a fascinating pianist who is discussed in Harold Schonberg's The Great Pianists (see page 317 in particular). Sauer was a student of Nicholas Rubinstein and Liszt, and he not only recorded 10 Welte rolls (of which only 4 were issued on Licensee) but he made a number of phonograph recordings which are available today on CD's.
Wel-036 Espenlaub - Concert Etude #6 in B Minor (The
Aspen Leaf) (Sauer) $16
played by the composer Emil Sauer
(originally issued on Red Welte 885 / ca. November 1905) - Sauer's 9-page score included with roll
Emil Sauer transcribed a number of Liszt's compositions and published a few of his own, including this etude. Hinton describes this as "(an) elegant salon style [etude with] presto fleeting triplets in b minor...". Sauer made audio recordings of this piece in 1928 and 1930; at least one of these recordings can be heard today, on a Pearl CD The Pupils of Liszt. Please read more about Emil Sauer above. This is a very lively, spritely etude! I put forth considerable effort to locate a copy of the published music for this piece so I am including a copy of the 9-page score with this recut.
Wel-037 Prelude - Op. 28 #17 in A Flat (Chopin)
played by Annette Essipoff $22
(originally issued on Red Welte 1077 / ca. February 1906)
This Chopin prelude only appeared once in the Welte catalog, on this red roll played by Annette Essipoff. Hinson describes this as "A song without words, poetic. Final section with 11 sumptuous pedal notes is almost Impressionistic." Annette was a student and eventually wife of Leschetizky (below), and she recorded 10 rolls for Welte. Only four of her rolls were issued on Licensee, and it is a pleasure to be able to offer this lovely composition in this new conversion.
Wel-038 Moment Musical - Op. 94 #3 in F Minor
played by Carl Friedberg
(originally issued on Red Welte 1094 / ca. February 1906)
Schubert's Op. 94 is a group of six pieces, of which only this one was issued on Welte. This is a charming, shorter piece is described by Hinson as "poetic, chordal legato required. Among the earliest and finest examples of Romantic miniatures, pieces of exquisite perfection." Charles Smith's Welte catalog tells us that Carl Friedberg studied with Clara Schumann, and taught at Julliard when it opened in 1923. Only 5 of Carl's 12 Welte recordings were originally issued as Licensee rolls.
Wel-039 Fantasy in C Minor, K. 475 (Mozart) played by Theodor Leschetizky $40
(originally issued on Red Welte 1192 / ca. February 1906)
Wel-040 Polonaise in B Flat - Op. 71 #2 (Chopin)
played by Theodor Leschetizky $24
(originally issued on Red Welte 1195 / ca. February 1906)
Mozart's Fantasy in C Minor is one of two JUMBO rolls in this list (over 120' long!) and a fantastic roll. Maurice Hinson's guide says "The five separate sections of this great work are woven together to create one total sublime musical experience. Astonishing modulations." Theodor Leschetizky is of course one of those monumental Welte artists, and to cite Charles Smith once again, "With the single exception of Liszt, Leschetizky was the most famous teacher of famous pianists the world has ever know." Of the 12 rolls Leschetizky recorded for Welte, 5 were never issued on Licensee. Two of those five appear here, including the Mozart Fantasy above and this Chopin polonaise. This is a beautiful and dramatic piece that should need no introduction!
Wel-041 Don Juan Reminiscences (Liszt) played
by Ferruccio Busoni $40
(originally issued on Red Welte 1323 / ca. March 1907)
This is the other JUMBO roll on this list (over 120' long!) and a truly spectacular performance. This is also the ONLY Busoni roll which was not originally issued on Licensee! If you are familiar with this composition then you won't need my superlatives to know what an exciting piece of music it is. The Dover reprint of this music tells us that it was composed in 1841, published in 1843, and revised in 1877 shortly before Liszt's death. Busoni's performance is outstanding.
Wel-042 Scherzo a Capriccio in F Sharp Minor
played by Alfred Hoehn
(originally issued on Red Welte 3375 / ca. 1919-20)
This is a lively, driving piece in 6/8 time. Mendelssohn wrote a number of capriccios which combine the musical forms that pre-date them with melodies that are more intent on telling a story, hints of the Romantic style which was evolving. Alfred Hoehn recorded 16 rolls for Welte in Germany, and NONE of them were originally issued on Licensee (the German and American companies having little do with each other by that time, early 1919). Charles Smith describes Hoehn as being most comfortable with pre-romantic pieces, and all 16 Welte titles reflect that. This roll is over 60' long and is excellent!
Wel-043 Romanza (Romance in A Flat, K. 245?) (Mozart) $20 This roll is currently out of stock
played by Antoinette Szumowska
(originally issued on Red Welte *3666 / ca. 1916-17)
This composition is attributed to Mozart, but I've been unable to verify the K. number. It is certainly in Mozart's style and is a lovely piece of music. Antoinette Szumowska recorded 10 rolls for (American) Welte in Poughkeepsie, hence the asterisk in the roll number per Charles Smith's convention. Only 3 of these 10 were originally issued on Licensee, and my resources tell me that none has been recut. This is a charming, delicate composition.
Wel-044 The Elves (Seven Fairy Tales, Op. 3 #4)
played by Rudolph Ganz
(originally issued on Red Welte *3829 / ca. 1918)
Here we have a flamboyant, dramatic piano piece written by Korngold when he was only 11 years old! It is quite inventive, and fun to play - Hinson describes it as "post-Romantic." Apparently Ganz was partial to this piece and played it throughout his career.
Wel-051 Theme And Variations, Op. 34 (Beethoven)
played by Clotilde Kleeberg $40 This
roll is currently out of stock
(originally issued on Welte P 457 / ca. November 1905)
This Theme and Variations, also more accurately known as Six Variations on an Original Theme, is an outstanding Beethoven composition (from 1802) and one of the longest rolls I have ever recut &SHY; over 120 feet of paper, clocking in at over 15 minutes! With this kind of time, Beethoven was able to stretch out to a variety of interesting moods. Kleeberg studied with Clara Schumann, and was among the first to record for Welte in 1905. The performance and expression are both very satisfying.
Wel-052 Ballade, Op. 118 in G Minor (Brahms)
played by Katinka Narinska $16
(originally issued on Welte C-6117 / October 1921)
The six pieces in Brahms' Op. 118 all make for fine listening, including this 3rd piece, the Ballade. This is a very dramatic composition, with fiery sections surrounding a beautiful, softer, legato middle. This and three others on this list were DeLuxe originals; the others were converted from Red Welte.
Wel-053 Berceuse, Op. 57 in Db Major (Chopin) played by Alfred Reisenauer $16
("Cradle Song" / originally issued on Welte C-328 / ca. March 1905)
Wel-054 Nocturne, Op. 9 #2 in Eb Major (Chopin)
played by Paul de Conne $16
(originally issued on Welte C-919 / ca. November 1905)
Wel-055 Nocturne, Op. 48 #1 in C Minor (Chopin)
played by Alfred Grunfeld $22
(originally issued on Welte X-174 / ca. January 1905)
Wel-056 Nocturne, Op. 72 #1 in E Minor (Chopin)
played by Vladimir de Pachmann $16
(originally issued on Welte C-7202 / November 1925)
I deliberately selected four beautiful, quiet Chopin pieces for this list to offset some of the more fiery pieces elsewhere. These softer compositions are some of my favorites to play, and are all very satisfying. All four are delicate and expressive. The first is played by Alfred Reisenauer, a Liszt student who gets an interesting write-up in Harold Schonberg's essential book "The Great Pianists" (see pages 317-319). Alfred Grunfeld (esp. pg. 342) and Vladimir de Pachmann (pgs. 332-336) are also discussed in The Great Pianists.
Berceuse is subtitled "Cradle Song" and features an interesting right-hand part contrasting with a steady left-hand figure. Nocturne Op. 9 #2 seems particularly "Chopinesque" to me, with cleverly turning melody and chords. Op. 48 #1 reaches the loudest climax of these four pieces and is considerably longer than the others; one reference calls this the greatest of Chopin's nocturnes.
Nocturne in E Minor, Op. 72 #1 (posthumous) is among Chopin's most delicate pieces, not unlike Op. 9 #2.
Wel-057 Paganini Etude #2 in Eb Major (Liszt) played by Arthur Friedheim $20 This roll is currently out of stock
(originally issued on Welte P 186 / ca. January 1905)
Wel-058 "La Campanella" - Paganini Etude #3 in
G# Minor (Liszt) played by Ferruccio Busoni $20
(originally issued on Welte C-444 / ca. June 1905)
These two Paganini Etudes are both very lively, fun pieces. Friedheim was a student of Liszt and was known to emulate him in many ways, so this roll is especially historic in that respect. There is an excellent CD on the Pearl label featuring all of Friedheim's audio recordings. The CD includes Friedheim playing La Campanella, which is offered here played by Busoni. All four of these fine pianists are discussed at length in Schonberg's "The Great Pianists".
Wel-059 Gondoleria (Liszt) played by Fannie
Bloomfield Zeisler $20
(from "Years of Pilgrimage" o originally issued on Welte C-6962 / January 1923)
Wel-060 Legend of St. Francis of Assisi (Liszt)
pl. by Bernhard Stavenhagen $28
("Bird Sermon" / originally issued on Welte P 1031 / ca. December 1905)
Gondoleria is from "Venezia e Napoli", the supplement to "Years of Pilgrimage Vol. II (Italy)". It is a gentle but very technically challenging piece based on a simple tune. By the time Liszt finishes with it, it is a real show piece. Legend of St. Francis is an intense program piece, the description of which I have located and included with the recut. This is a very difficult piece to play, with melody mixed in among trills in the right hand. This is a long roll (over 80 feet, lasting 8-1/2 minutes). Stavenhagen was another important student of Liszt, giving this roll added historical significance. This is not for casual listening, but it is worthy of your time should you opt for a more challenging composition (I don't mean to sound pretentious, but this is not light material!).
Wel-061 Samson and Delilah &SHY; Finale from Act 1 (Saint-Saëns) $20
played by the Composer Saint-Saëns (originally issued on Welte C-797 / ca. December 1905)
Wel-062 Valse Mignonne, Op. 104 in Eb (Saint-Saëns)
played by the Composer Saint-Saëns (originally issued on Welte D-803 / ca. December 1905)
Wel-063 Salome (Dance of the Seven Veils) (R.
played by the Composer Richard Strauss (originally issued on Welte P 1183 / ca. February 1906)
These three rolls are all composer-played rolls of considerable historical significance. I discussed Saint-Saëns elsewhere regarding his Duo-Art roll of an improvisation on two themes from Samson and Delilah. This time he plays from the Finale of Act I of the same opera.
Next is Valse Mignonne, which almost seems to have been thrown out just for fun. Like the previous two Saint-Saëns rolls discussed here, this features a combination of two different moods. He gets pretty flashy towards the middle, then settles back down for the finish.
Richard Strauss's "Dance of the Seven Veils" is the dramatic climax of his great opera Salome (very modern music for 1905!). This is another long roll (over 80 feet) which has been recorded a number of times for CD's but not recut for quite some time. Strauss recorded 10 rolls for Welte in 1905, all his own compositions. What a treat it is to be able to hear the composer playing this as a piano solo! We'll just have to imagine Salome doing her dance for us...
Wel-064 Fruhlingsstimmen (Voices of Spring) (Strauss - Grunfeld) $20 This roll is currently out of stock
played by Alfred Grunfeld (Concert Paraphrase / originally issued on Welte D-192 / ca. January 1905)
Fruhlingsstimmen is a fun tune - you have probably heard it parodied in a popular Three Stooges movie! This is actually a concert paraphrase, played here for us by the arranger Alfred Grunfeld (discussed above). It's very similar to the fine Strauss waltzes, and it is one of my favorite show-off pieces.
Welte-066 1st Barcarolle, Op. 25 (Faure) $20
played by the Composer Gabriel Faure (originally issued on Welte Purple Seal P 2773 / ca. late 1912)
Gabriel Faure is a very well known composer, who was active during the transition from 19th century romanticism to new 20th century styles. He was a pupil of Camille Saint-Saens, and teacher of Maurice Ravel. This Barcarolle is a lovely piece in 6/8 time with a pleasant melody and the gently rolling "watery" effect common to barcarolles. This roll is one of only 5 he made for Welte, and the only one issued on the Welte Purple Seal label manufactured in Poughkeepsie, NY.
Welte-068 Waltz - Impromptu in A Flat (Liszt) $20
played by Augusta Tollefsen (originally issued on Welte C-6464 / July 1923)
This playful waltz - impromptu was composed ca. 1850 and published in 1852. It is a light-hearted piece, which is all over the keyboard, in typical Liszt fashion. The musical score covers 10 pages, and the roll plays for over 5 minutes.
Welte-069 Chanson Boheme from "Carmen" (Bizet-Moszkowski)
played by Richard Singer (originally issued on Welte C-6797 / July 1924)
This is a fantasy on the same popular tune from Bizet's "Carmen" that Vladimir Horowitz used in his terrific arrangement, which he recorded for the Duo-Art and for the phonograph in 1928. However, this is a longer, more rhapsodic arrangement (by Moritz Moszkowski) than that of Horowitz. It's neither inferior nor superior; just different. And excellent!
Welte-070 Fantasy on "Boris Godunov" (Mussorgsky-Fruhling)
played by Carol Robinson (originally issued on Welte C-7293 / March 1926)
You can probably tell by now that I am partial to piano transcriptions of opera, since they seem to offer a special opportunity for keyboard pyrotechnics. Mussorgsky composed Boris Godunov in 1869, and it premiered in January 1874. Boris Godunov is "one of the major stage works of the 19th century owing almost nothing to Western opera, and only a little to Mussorgsky's Russian predecessors."
I have been unable to determine when Fruhling's transcription was published, but it incorporates at least a half dozen themes from the opera, starting right off with two bombastic, dissonant chords which depict the tolling of the great bells of the Kremlin. Nobody had written music like this before Mussorgsky! This is followed by the famous folk melody from the prologue (also used in Beethoven's string quartet Op. 59 #2) and so on. This is one of the most "Russian" compositions you are ever going to hear on a music roll! This is also a very long roll, playing for over 8 minutes.
Welte-084 Intermezzo from "Pagliacci" (Leoncavallo) played by the Composer Ruggero Leoncavallo $16
(originally issued on Welte X-1020 / December 1905)
Pagliacci made its premier in 1892 in Milan with Toscanini conducting, and made Leoncavallo famous overnight. The Covent Garden and New York premiers occurred in 1893, and it has been in the standard repertoire ever since. Leoncavallo recorded a half dozen rolls for Welte which were first issued in 1905; all were his own compositions. He then made his American conducting debut in 1906 in Carnegie Hall.
Welte-085 Barcarolle, Op. 39, No. 1 in A Minor (Leschetizky)
played by the Composer Theodor Leschetizky (originally issued on Welte C-1196 / February 1906)
Welte-086 Canzonetta Toscana all'antica, Op. 25 (Leschetizky)
played by the Composer Theodor Leschetizky (originally issued on Welte B-1202 / February 1906)
Wel-001 Body and Soul (Green) - lyric sheet included with roll $16 This roll is currently out of stock
played by Robert Armbruster (originally issued on Welte 75497 / ca. December 1930)
Wel-002 Beyond the Blue Horizon (Whiting &
Harling) - lyric sheet included with roll $16
This roll is currently out of stock
played by Frank Milne (originally issued on Welte 75508 / ca. February 1931)
I've heard the Ampico roll of Body and Soul, and I didn't think it was very good -- it's played as a straight-rhythm fox trot and never really goes anywhere. However, this roll by Robert Armbruster is in a very flowing ballad style which pays proper respect to the the composition, much the way Billie Holiday does when she sings. This is a classy roll!
These both were all issued after Welte merged with Duo-Art; Body and Soul was the first of five "twin titles" issued on both Welte and Duo-Art (see page 315 of The Welte-Mignon: Its Music and Musicians by Charles Davis Smith and Richard Howe) and the other a "triplet titles" - also issued on Ampico. Both have movie tie-ins as mentioned on the original roll labels; you should be able to hear Jeanette MacDonald sing Beyond the Blue Horizon in the 1930 movie musical Monte Carlo!
Wel-045 Peter Gink (a rag on the Peer Gynt Suite) (George L. Cobb) - lyric sheet included with roll $16
played by Jack Blair (originally issued on Red Welte *3907A / ca. 1919)
Peter Gink is of course a ragtime takeoff of Grieg's Peer Gynt Suite, much like Polishola (Welte roll # *3923, a takeoff on Scharwenka's Polish Dance, also played by Jack Blair). George L. Cobb seemed to have a penchant for this sort of thing - he also did a rag on Rachmaninoff's Prelude in C#m called The Russian Rag. What else can I tell you?!! It's fun, it's tongue-in-cheek, and it's a typical "ragging the classics" type of tune. I think you'll like it.
Wel-046 The First Rose of Summer (Jerome Kern)
$20 This roll is currently out of
played by George Gershwin (originally issued on Red Welte *3966A / ca. 1919)
It is with great pleasure that I offer this terrific Gershwin roll! This reissue is converted from a rare Red Welte original. This is a delightful, lively performance, recorded by Gershwin in New York ca. 1919. The First Rose of Summer is from Jerome Kern's 1919 musical She's A Good Fellow", so this tune would have been a "new release" when Welte recorded & issued it in 1919! Gershwin recorded 13 Red Welte rolls, and several of them remain to be rediscovered by collectors. I hope to offer more Gershwin rolls as originals are located.
Wel-047 Dardanella Blues (Black) - lyric sheet
included with roll $16
played by J. Milton Delcamp (originally issued on Welte B6001 / September 1920)
Wel-048 Nashville Nightingale (Gershwin) - lyric
sheet included with roll $16 This
roll is currently out of stock
played by Johnny Johnson (originally issued on Welte Y-6932 / December 1924)
These Welte popular rolls are typical lively, excellent arrangements. Dardanella Blues is a well-known popular blues, played here in a nice, laid-back manner; it is also one of the very first Welte DeLuxe rolls issued. Nashville Nightingale is a George Gershwin tune from his musical review "Nifties of 1923". It is played here by Johnny Johnson, who plays some of the finest Welte popular rolls around.
Wel-049 When the Red, Red Robin Comes Bob, Bob, Bobbin' Along (Harry Woods) - lyric sheet included $16
played by Johnny Johnson (originally issued on Welte Y-7454 / August 1926)
Wel-050 Dance, Little Lady (Coward) - lyric
sheet included with roll $16 This
roll is currently out of stock
played by Howard Lutter (originally issued on Welte Y75414 / January 1929)
Here are more great Welte roll arrangements! When the Red, Red Robin Comes Bob, Bob, Bobbin' Along is the classic song played by Johnny Johnson - great tune, great pianist, great arrangement! Dance, Little Lady is one of my favorites, chock full of Charleston rhythms (also referred to in the lyrics); this roll absolutely cooks!
Wel-065 Everything's Gonna Be All Right (Davis
& Akst) - lyric sheet included with roll $16 This roll is currently out of stock
played by Ralph Reichenthal (originally issued on Welte Y-7345 / April 1926)
This is a terrific popular song, typical of
the best Welte pop rolls. I would consider this a "sleeper"
because neither the title nor the pianist jumps out at you as
anything you would expect to be hot, but when you play it you
won't be able to keep your feet still. It's snappy as all get
out, and the lyrics are great too (included in the box; the innuendo
at the end will give you good laugh). Even if you don't have a
reproducing piano, this roll is highly recommended as a prime
example of how good Welte pop rolls can be.
Welte-067 Baby Face - lyric sheet included with roll $16 This roll is currently out of stock
played by Vee Lawnhurst (originally issued on Welte Y-7510 / October 1926)
Don't be fooled by this mild-mannered title. This is an absolutely stunning, HOT performance! Vee Lawnhurst made several outstanding rolls, and Baby Face has to be one of her very best. I imagine everyone knows this tune, and it has been reissued before, but it hasn't been available for a long time now and it is overdue for some more exposure. You'll love it!
The following Welte popular roll reissues are all outstanding song rolls from a single collection. I played through the entire collection and selected about half which I felt were best, and worthy of my time and yours! All of these are lively, excellent examples of the 1920's craftsmanship that made Welte popular rolls so great. Artist names like Vee Lawnhurst and Johnny Johnson are well-known among collectors for their hot rolls, but all the other here are equally hot and worth your time!
All of the following rolls feature full-color reproductions of the original roll labels on the box, plus a carefully-trascribed lyric sheet so you can sing along. Enjoy!
Welte-071 Somebody's Wrong - lyric sheet included with roll $16
played by Howard Lutter (originally issued on Welte Y-6575 / November 1923)
Welte-072 Me and the Boy Friend - lyric sheet included
with roll $16 This roll is currently
out of stock
played by Malcolm (Johnny) Johnson (originally issued on Welte Y-6972 / January 1925)
Welte-073 So Am I - lyric sheet included with roll
played by Vee Lawnhurst (originally issued on Welte Y-7042 / April 1925)
Welte-074 Yearning (Just For You) - lyric sheet included
with roll $16 This roll is currently
out of stock
played by Vee Lawnhurst (originally issued on Welte Y-7066 / May 1925)
Welte-075 Red Hot Henry Brown - lyric sheet included with roll $16 This roll is currently out of stock
played by Johnny Johnson (originally issued on Welte Y-7214 / November 1925)
Welte-076 Who? - lyric sheet included with roll
$16 This roll is currently out of
played by Vee Lawnhurst and Howard Lutter (originally issued on Welte Y-7285 / February 1926)
Welte-077 All Alone Monday / You Smile At Me - lyric
sheet included with roll $16 This
roll is currently out of stock
played by Howard Lutter (originally issued on Welte Y-75219 / January 1927)
Welte-078 Here Or There, As Long As I'm With You - lyric
sheet included with roll $16 This
roll is currently out of stock
played by Howard Lutter (originally issued on Welte Y-75235 / March 1927)
Welte-079 Positively - Absolutely - lyric sheet included with roll $16
played by Heyward Headden (originally issued on Welte Y-75258 / May 1927)
Welte-080 Rosy Cheeks - lyric sheet included with
played by Melvin Jenkins (originally issued on Welte Y-75265 / June 1927)
Welte-081 Somebody And Me! - lyric sheet included
with roll $16
played by Johnny Johnson (originally issued on Welte Y-75282 / August 1927)
Welte-082 Under The Moon - lyric sheet included with
roll $16 This roll is currently
out of stock
played by Julian Rodney (originally issued on Welte Y-75287 / January 1928)
Welte-083 Together, We Two - lyric sheet included with roll $16
played by Vee Lawnhurst (originally issued on Welte Y-75312 / December 1927)
This process is very straightforward using today's computers and the outstanding equipment & software developed by Richard Tonnesen of Custom Music Rolls in Richardson, Texas. However, a great deal of time and care goes into making sure that the rolls are copied with the utmost accuracy, and many hour were spent by Janet Tonnesen and myself, reading the rolls into the computer and checking them against the original rolls to assure that these recuts are made as accurately as possible!
Red Welte rolls use the same coding data as Green Welte and Welte Licensee rolls. Once the original red roll is copied into the computer, the coding is translated into the appropriate new locations on the roll for the licensee piano to interpret. Finally, the data is sent to the perforator which is scaled to the Licensee dimensions.
I have taken great pains to reproduce these
rolls as accurately as is possible compared to the original Red
Welte rolls. I chose not to make any deliberate modifications
the original expression coding, because the rolls express very
nicely and I am content to preserve the material as it as originally
issued, rather than trying to reconsider all the editing decisions
that went into the original rolls. I have only made the occasional
change to playing notes when I compared the roll to the published
score and found errors - these were mostly audible errors as well,
so the decisions were obvious. I chose not to modify any timings
on the original rolls, so these performances are all as they were