Register Now

55th annual - AMICA CONVENTION
BLACK HILLS - South Dakota
June 3 - 8, 2018

          Encyclopedia of Disc Music Boxes 1881 - 1920
       A History,
          Catalog Raisonné,
                and Appreciation.
                    By Q. David Bowers
       An AMICA-International Publication


The following may be an early ASCSP brochure ....

 The AMICA, V 12, No. 12, Dec 1975

 L. LESLIE LOTH -  BEGINNING his musical career in Richmond, Virginia, L. Leslie Loth gave voice to musical expression as a boy soprano in a vested choir. Having been endowed, from birth, with a greater musical urge than is found in the average choir boy, he soon showed talent in other directions. An early grasp of piano technic was only one phase of his pronounced musicianship. At twelve he began to compose and two years later his first published composition appeared.

 Then began a busy period of development and intensive training in New York, where, in addition to his studies, time was devoted to directing a women's chorus of five hundred voices, concertizing as soloist or as accompanist to various artists. This was followed by seven years of additional training under European masters.

While abroad, Mr. Loth taught piano and theory, showing an early flare as a pedagog and numbering among his pupils, artists and students from Europe and America. In addition to the demands made upon him as a teacher, he found time to create. The better known musical formswere selected as a means of expression, and his first Symphony in A major was performed by the Breslau Symphony Society, an organization tion that has been conducted at various times by such masters as Grieg, Joachim, Rubinstein and Nikisch.

Following this first symphony, there appeared chamber music works, songs, piano compositions as well as two other symphonies. These have been performed by leading organizations and prominent artists, in concerts and on the radio.

 Mr. Loth's success as an artist and composer was sensational, and inno less degree has he established himself in New York as an arranger and teacher, meticulous in his attention to the individual requirements of numerous clients and pupils.


 As a composer, the name of L. Leslie Loth stands prominently to the fore among musicians the world over. He is both mood painter and melodist. Whatever form of expression he attempts, there is a noticeable command of the instrumental idiom, combined with a certain imaginative quality, that earn for its creator an enviable reputation.One seeks in vain for so-called "thick instrumentation," "stuffed" phrases or "dead" moments. In fact, originality of treatment is one of the chief factors that has contributed towards Mr. Loth's popularity.

Many press clippings testify to the fact that Mr. Loth

  • Displayed much tencperanient and abandon.

  • Is a musician of significant knowledge and temperamental sensibilities.

  • Has technical arnior, lofty conceptiou, and creative imagination of a high degree.

  • Has attained such a high state of artistic development and virtuosity that he may unhesitatingly be placed ammig the chosen few.


As an arranger and editor, Mr. Loth brings to his work a background of accomplishment and experience which stamps his work as that of a Master. His 500 or more published compositions bear evidence of the high order of his musicianship and of his editorial skill.

 Many of his orchestral arrangements are heard on the radio and in concerts. Numerous catalogues of publishers list works with Mr. Loth's fingering, phrasings, marks of expression, and other editorial requirements.

Writers from every state in the union send their work to Mr. Loth for analysis and professional opinion. This has been particularly true in the field of song writing, and it has been Mr. Loth's pleasure to guide these aspirants to song writing fame, into the proper lines of procedure.

 Song writers seem especially to be in need of this kind of assistance, and numerous are the letters of appreciation Mr. Loth has received from clients who had hitherto suffered financial loss and much mental disturbance due to their previously misguided efforts.


 While exhaustively scientific and original in his manner of solving technical difficulties, Mr. Loth is deeply concerned with developing in the pupil an understanding of the inner meaning of music. 

Through long teaching experience and unusually broad musical contacts, Mr. Loth has acquired the happy faculty of presenting ideas to pupils in a simple, direct way. His application of technical methods of modern schools is supplemented by the creation of original exercises for solving the problems of each pupil. By studying the individual characteristics of pupils, Mr. Loth extends his own knowledge to the pupil. This assists the pupil to solve his own problems to the extent that he may gain greater freedom of expression through his personality. This has been true not only in his teaching of piano, but in his teaching of harmony, composition and orchestration as well.

 Letters from former students, pianists, teachers and directors from all parts of the country attest the splendid results these musicians have achieved as the result of association with his stimulating and inspiringg personality, and they further tell of the success they have attained in their own teaching and performing through the application of the principles of artistic performance he has imparted to them.


 In the days of its popularity, Mr. Loth was one of the most popular of the younger artists recording exclusively for the Ampico. Many of his delightful compositions found awaiting them a wide appreciation of their many beauties at the hands of Ampico owners.

 Of his shorter works recorded for the Ampico which especially attracted attention, were Papillons, Arabesque-Intermezzo, two Caprices of unusual charm of lilt and rhythm, and his little idyls of the outdoors which may be placed beside the "Woodland Sketches" and "New England Idyls" of MacDowell. Of his larger works, the recordings of the Concert Paraphrase on Waltz-Themes from Gounod's FAUST and a similar paraphrase on Waldteufel's waltz, THE SKATERS, stood out prominently as examples in which the composer and artist were united into a creation of remarkable interest.



©2018 AMICA International
Automatic Musical Instrument Collectors' Association,
a 501(c)(3) tax-exempt organization.

Page last Updated: Monday, January 15, 2018 08:09 AM

 Visitors & their Locations on this page since 10/5/14
 Flag Counter

All third-party materials have been used with the assumed owner's permission, however if you claim copyright on materials here and you wish them removed please contact the Website Manager on the Contact page. If I don't know you I'll ask you to supply proof of ownership (a notarized copyright registration certificate will be your best bet).  If your claim is valid and verified then the materials will be removed immediately.

All information on this Site is provided "as is", with no guarantee of completeness, accuracy or timeliness and without any warranty whatsoever, expressor limited.  In no event will the AMICA, its officers, committee members, members, employees or agents be liable to you or anyone else for any decision made or action taken in reliance on the information on this Site or for any damages resulting, directly or indirectly, from the use of any of the contractors listed on this Site, including for any consequential, special or similar damages.