Part 2 of 2.

Part of what else I'd learned was concerning that five-years-time with
the Siloti's.  One delicious tit-bit that Bernardo related, and with
obvious delight, was concerning some mornings there.  Apparently, there
was a sort of ritual for certain of these, this being big visits of
Rachmaninoff and Godowski -- for breakfasts!

Bernardo said that, on those days, when the Greats entered, he became
very shy and small-feeling, and just listened to their conversation.
(He was then, after all, but only 16 or 17 years old.)  If only I'd had
greater presence-of-mind to ask more probing questions about those
times!  What treasures of precious information might have been imparted
by him, for reporting latterly.

Also, I got the strong impression that Bernardo had become sort of a
pet of the trio's and, that they liked looking at him while conversing.
(As opposed to say, ignoring the youth, which was usual at that time?)
When relating all that he did, his face glowed as a youngster's might
have, while remembering back.  I could have inquired as to what and how
much music he heard of the three titans and, what these might have
thought of one another's "greater" prowess.

(If his personality was anything like it was to be later, then it is
likely, I am guessing, the he possessed a most potent power of youthful
charm early-on.  This and the fact of his prodigious pianistic talent,
would have explained his unique presence within the Siloti home.  In
the Siloti Archives, wherever these might reside, dollars to dough-naughts
that photos from that time, might very well include the young
Brazilian.)

Bernardo was very proud of the fact, as he stated it, that he was
removed only by _one_ from the great master, Franz Liszt himself, by
and through Siloti.

As for the record-roll of Bernardo's, the primary reason for his name
appearing on these MMD pages is this one title.  As it luckily
happened, Kenneth Caswell, then of San Diego after San Antonio,
possessed a copy of it which he trustingly lent to me for auditioning
at Tushinsky's on the Tri-Plex Vorsetzer.  I did so and found it very
different from the Josef Hofmann approach then familiar to me.
Rhythmically it began similarly but, the mid-section, a tripping
serenade sort of interlude, was highly interpreted in a recognizably
très Latin way, and, strikingly different from that of the elder
master's.

Since it was a rather late issue, as a consequence copies have always
proved scarce.  Although, for some reason any remembrance of my having
played-back to Bernardo his sole Licensee record I no longer have, I
must have done-so.  To have not actually, would have been unthinkable,
as we had discussed the subject of his record-roll on numerable
occasions.  (One cannot remember all from so long ago.)

Once, at my townhouse in West Los Angeles where I lived at this same
period, we, Bernardo and his wife, auditioned my then recently-acquired
Green Roll Welte-Mignon Seiler vertical instrument.  One of the
selections heard was Horowitz's crazy Carmen transcription record made
in Freiburg in, I believe, 1925.  Oddly, the roll had _all_ of the
notes of this early first version he played, that later were to be
omitted, these running from the very lowest to highest, as did the
upright itself, most fortuitously.  (For the not-knowing, the
Welte-Mignon T-98 "Green" rolls could play all 88 notes!)

As part of the introduction to that Carmen transmogrification, there is
grand, complex arpeggio work that runs the entire compass of the keys.
This, of course, is lacking for all the notes in all T-100 "Red" roll
versions, but which in that one instance of ours at least, could be
heard in all of their sparkling glory.  The effect was somehow
massively humorous to Bernardo, and at it he laughed heartily, not
condescendingly but rather in seeming admiration for it's sheer,
youthful cleverness, as it did display.

Sometime in those mid-Seventies, ritual-like after a lunch consisting
of conversation and repast, a foray by a small group of us was made
over to the Stahnke Electronics (S.E.) recording studio, then located
at Culver City.  While there, among other things, Bernardo laid-down
several items, some Chopin and Bach-Siloti, as I recall.  It would
be nice to discover if these recordings still exist.  At this event,
many photographs were snapped by my accompanying photographer friend
and housemate of the time, Douglas Bruce of Scotland.  They are most
interesting, showing all participants then present (and Mr. S.E.
himself, even!).  After recording, of course Bernardo approved
enthusiastically of the SE's perfect play-back.  There and then,
a good time was had by all.

Outside of certain few members of my own family, Bernardo Segall
was the best of all human beings I have ever been honored to know.
He was of 'the old school', being kind, humorous, absolutely not full
of himself, gentlemanly and, as easy as-could-be to converse with and,
have exchanges of views.  His stories, going back to very early times,
were a fount never ending.  He was a natural raconteur and aesthete,
and always was positive and up-beat regarding all subjects discussed.
(If only I'd recorded some.  I was tape-equipped at the time.)

Since those days and after many compositional accomplishments, teaching
and much playing here-and-there of the piano's masterpieces, Bernardo
passed away in late 1993.  He may have been the very last of the
Welte-Mignon (Licensee) recordists to survive.  (I think dear Matilda
Locust passed-away somewhat earlier and, I know not of the fate of
young Hugh Beggs nor mini-girl pianist, "Miss Mikee Graham".)

For later there will be a report regarding that other Madame and
what she allowed.  How _was_ she to be found d'après New York?  By
just luck-and-try?  Well, read here following the very clue that did
the trick: "Recently Miss Le Grand has made her home in the Far West,
where her concert work has won wide recognition." -- 1927 Welte-Mignon
(Licensee) catalog at page 113.

Note: According to Charles Davis Smith, as extracted from "the purple
bible" authored/compiled by him, at page 63 right-mid-column: "Under
President Richard Lawrence, Kohler & Campbell re-entered roll
manufacturing in a big way, establishing in 1918 the Republic Player
Roll Corporation, and Autopiano division, and by 1918, the Deluxe
Reproducing Roll Corporation, an Auto Pneumatic division."  --
Centennial! -- 2018!

Jim Miller
Las Vegas, Nevada