Part One of two parts.

Having not been a loyal AMICA adherent for nearing half-a-century now,
it never even occurred to me earlier to introduce to that estimable
memberships' notice the fact of the existence of two fully qualified
Welte-Mignon (Licensee) reproducing record-roll recordists, namely
Bernardo Siegel and Marguerite Le Grand, for possible inclusion with
their Honoraries Roll.

While going over the roster of Welte-Mignon (Licensee) pianists that
actually recorded within the New York City studio -- this for a special art
project I am working on presently for the celebration of the Centennial
of the 1918 beginning of the De Luxe Reproducing Roll Corporation (see
note below) -- I found that I did not have access to a younger image of
the then seventeen-year-old Siegel.  Some not inconsiderable on-line
searching, has yet to bear-fruit.

Most Welte-Mignon (Licensee) conserving aficionados are aware of that other
Madame, Marguerite Le Grand, for she made numbers of superb-playing
titles of unusual repertoire but, how many know of Siegel and his one?

Some background on the fellow -- actually, he was born as Bernardo
Segall in Brazil, in 1911.  There he must have become a prodigy of
a sort, as he made his professional debut as pianist at only 9 years
of age.  Five years later he was to be awarded an honorary bachelor's
degree by the Sao Palo Music Conservatory and then, in 1927, he was
shipped off to New York and into the tender cares and instructing
mercies of no less than those of Mr. and Mrs. Alexander Siloti,
late-period Liszt student and cousin to the mighty Rachmaninoff.

After five years with Siloti and wife (he lived with them over this
period -- as I said, "cares") he debuted in 1932 to solidly positive
reviews at New York's Town Hall.  His career was up, off-and-running.
He would appear as concertizing in the USA and Europe as well as
South America, in collaboration with such larger lights as the N.B.C.
Symphony under Toscanini, the New York Philharmonic under Bernstein
and the Los Angeles Philharmonic under Klemperer.  (A 1945 concert of
this concert was recorded, and is for the moment available.)

Segall had also a talented penchant for composing in both the classical
as well as popular genres.  As a composer, the television detective
series "Columbo" benefited well by the addition of the Segallian
classical-touch, to an otherwise "so-so, la-la" sort of general musical
accompaniment?  Of these there were about ten or so.  Also, there were
some numbers of upper-drawer movies to which he added his skills in
typical, virtuoso creative style.

(Another Welte-Mignon alumnus with such movies being the Hungarian,
Szandor Laszlo, he being part of the Los Angeles Nyiregyházi/Lugosi,
Hungarian smart-set.  Things were _happening_ back in those days!
More on him later, elsewhere.)

How the young Bernardo came to record his one selection, remains murky
as to detail but, the general outline is that, by means of having
bested in some-or-other playing contest, he was awarded a piano and,
as well, a juicy Licensee recording session too!  Again, additional
research into The Music Trades and Music Trade Review issues for that
period, allow us nothing more of insight.

In around 1974 a friend related to me, compliments of a piano teaching
friend of his, that she had heard from her teacher that he -- now USC
instructor Segall -- had "made piano rolls" back in the 'Twenties.
Of course, at such back-reportage my ears perked up and I determined
to investigate the tantalizing lead post-haste.  That one thing leading
to the next, I soon was to discover that the company for which he had
recorded was Welte-Mignon (Licensee); the record-roll of note being
C-7764; the selection: Moszkowski's Caprice Espagnol, Op. 37; and the
issue month: February of 1928.

I had questions!  Soon enough I was to gain Bernardo Segall's
acquaintance and confidence, along with attending numbers of evenings
of visiting and music, with he and his lovely and most charming young
wife, Beverly (Beverly Cavan Segall).  To begin, I inquired as to the
roll-session location, showing to him the 1925 Licensee catalog photo
of the recording studio.  He was enthused at it's sight, and verified
that that was indeed where he had laid-down his selections.

"Selections?"  He stated that he had done in all around half-a-dozen
titles, these being of Chopin and Bach-Siloti as well as the
Moszkowski.  I explained that only one of these had been issued.  He
stated that he knew this and he had been given copies of the others
but, that they had "burned in a fire" at his house in Malibu.  This was
very interesting to learn, though disappointing as to the terrific loss
of those souvenir samples.  (The inquiring mind wonders if any such
un-issued titles of other artists' have ever been found?)

Further inquiry revealed that the time elapsing between his playing
sessions and his return in order to audition what he'd done was about
two weeks.  (The later Madame, Marguerite Volavy, doubtless-so was hard
at work over the short while.)

Again, more: Further, I asked if he had been allowed to audition all
of his records at that time.  His answer was "Yes" and how were they?
"Splendid!" with obvious, burgeoned enthusiasm.  Also, _the key_
inquiry of all: I probed regarding the question of 'editing'.  I asked
about this and he was obviously puzzled.  He stated flat-out that he
came, he visited, lunched, recorded and left, returning only to
audition the results, that stated-while later.

First-hand expert reportage can equate to actual near-knowledge,
and that as provided by Bernardo (as I was urged soon-on to address him
and hereafter-so) becomes yet-further testament as to the excellence of
the Welte-Mignon (Licensee) recording/editing process.  This is most
useful to know: that indeed as well as surmise/rumor, further dynamics
or whatever input was _not_ required in order to produce an acceptable,
artistically satisfying result.  As near to knowledge-certain as it can
get, we know this to not to have been the case with Ampico and Duo-Art.
(Here excepting for the very late-developed, spark-gap chronograph of
Ampico's.)

The "pianist's pianist", Harold Bauer, stated also flat-out and in
print that, in-essence his ability to rearrange, mold and contour his
performances to those nearly ideal, was "a new musical art."  (Did I
get that right, Duo-Artists?  This detailed interview from which this
quote was drawn appeared in 1916 and may be studied, which I recommend
doing to-depth, in the Zahm-Becket "Through You I Live Forever"
collection of R-P advertising published by Becket Enterprises in 1977
but sadly, now long out-of-print.)

To be continued.

Jim Miller
Las Vegas, Nevada

 [ Four quite different performances of Moszkowski's
 [ Caprice Espagnole Op. 37 are heard at
 [ https://www.youtube.com/watch?v=vG7AH6S2UpY 
 [   Wilhelm Backhaus, recorded 1928
 [ https://www.youtube.com/watch?v=rYc15E7g5Ho 
 [   Josef Hofmann, recorded 1937
 [ https://www.youtube.com/watch?v=SGa-70GCArM 
 [   Leonard Pennario, recorded 1960s
 [ https://www.youtube.com/watch?v=7-ChLI_-Y0k 
 [   Vladimir Bakk, video recorded 1983
 [ -- Robbie