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February 20th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
37
TRADE CHAT.
Mr. C. C. Converse, of the Burdett Organ Co., was in town the week
before last, and reported an active business.
Irwin Bros., of Natick, Mass., write to correct the statement in our last
issue, that they are just starting in the music business. They have been in
it for the last two years.
That ever-genial and popular salesman of the Pelton, Pomeroy & Cross
music house, Mr. Rollin H. Day, closed a very successful week by disposing
of six pianos last Saturday afternoon. "O, happy day."—The Play,
•Chicago.
A fire on the morning of the 7th inst., at Omro, Wisconsin, destroyed
the building in which was located the store of Bridge & Son, music dealers.
The English and Continental music trades seem to be well represented
at the Melbourne (Australia) exhibition, both as in quantity and quality.
We note among the prominent exhibitors of pianos, Messrs. Brinsmead &
Sons, Messrs, Challen & Sons, of England; Messrs. Erard, Moritz, Son &
Richard Lipp & Son, Grotrian, Helfferich & Schulze, Schiedmayer & Sons
and others of Germany, and the Smith American Organ Company, of
America. The exhibition of miscellaneous musical instruments from all the
leading European houses is very full and complete.
M. Bainbridge Bishop is the inventor ef an instrument now on exhibi-
tion
at No. 11 East Fourteenth street, New York City, which he calls a
<(
color organ." The theory on which this instrument is constructed is that
•every musical note has its complementary color, and the mechanism of the
" color organ " is so devised that when any key on the instrument is played
upon, the supposed complementary color is exhibited on a white ground
by means of the opening of a shutter or valve in the upper front part of the
instrument. We had intended to give a more detailed account of this instru-
ment, but want of space forbids in this issue.
Mr. C. D. Blake, of Boston, whose recent failure we have already noted,
was formerly of the firm of McNeil & Blake, who failed and went out of
business; he paid a portion of the indebtedness of that firm, and cleared
himself of their matters. On January 1, 1880, his inventory showed—due on
leases, $15,000; in stock, rented or on sale, $7,000; liabilities, $7,000.
One of the principal piano manufacturers competing for the growing
Southern trade is the old and well-known house of Charles M. Stieff, No.
9 North Liberty street, Baltimore, Md. Since the death of Mr. Charles M.
Stieff, senior, the business has been carried on by his sons, and the business
has been vigorously pushed by them in all directions, but principally of
course in a southerly one. This house makes a piano the quality of which
is well and favorably known; they handle the New England, one of the best
makes of organs in the country, and in addition to their wholesale manufac-
turing business they have a large renting and retail trade.
AN OLD ACQUAINTANCE.—Mr. Jacob Gosche, known to the entire
musical profession of America as the discoverer and successful manager of
Theodore Thomas, is at present in town with his Criterion Comedy Com-
pany. Mr. Gosche, when handling musical affairs, made some unpleasant
•experiences, and everybody will be glad to hear that he is doing well since
he started with his new enterprise. Mr. Gosche always} was a hard worker,
and his final success is well deserved.
GOOD PROSPECTS.—Mr. Mapleson announces that the opening perform-
ance of the Spring Season will be Flotow's " Martha." It is really wonder-
ful how cleverly the English manager acts in bringing the most hackneyed
works to the front. We suppose that the entire Spring Season will not offer
any novelties, except, perhaps, in the prospectus.
THE RIGHT THING IN THE RIGHT PLACE.—Strakosch proposes to per-
THE L A T E S T - N E W CASE F O R F A V O R I T E
STYLES
HIGH TOP,
SHOWY, ATTRACTIVE, RELIABLE AND LOW PRICE.
SEND FOR CATALOGUE AND SPECIAL TEEMS FOR CASH
CLOUGKE & W A R R E N ORGAN CO.,
DETROIT, MICH.
SCHOMACKER
1
Gold String Pianos,
form " Mefistofele," "Lohengrin," "Aida," and "William Tell" on the
jstage of the Fifth Avenue Theatre. That will be exceedingly funny and
THESE ROYAL INSTRUMENTS
will show opera on the reduced plan. Strakosch is very bold, and should
New Yorkers refuse to patronize his performances, he will be astonished at
Unrivaled
for Tone and Durability,
the lack of support. The Fifth Avenue Theatre is not an opera house, in
E S T A B L I S H E D SMSTOIE 1838,
spite of the united efforts of the trio, Haverly, Hess, and Strakosch.
Combine every practical improvement known to the modern piano, and, with the additional
of our patent Gold Strings, it is the most highly improved and very leading piano of
THE DESPISED COENET.—We received a few days ago a long letter from introduction
the world. Received the highest honors at the Centennial, and wherever in competition. The
Mr. Arbuckle, the excellent band master and cornet virtuoso. This gentle- Electro Gold Wires used IH our instruments produce a decidedly more brilliant, enduring tone,
with a refined musical quality so much desired in the piano, the coating being of pure Gold of the
man expresses his grievances about an insult and injury, done to him by highest
standard and done by Cold process ; will last forever, and is an absolute security against
another member of the musical profession, and wishes us to ventilate the rust
or atmospheric action, and at the same time imparting elegance of appearance found in no
matter coram publico. Mr. Arbuckle's wish shall be complied with. The other make. Too much cannot be said in favor of these Gold String PianoB.
An immense demand has already sprung up for all our styles—Grande, Squares and Uprights.
whole story is: Mr. Arbuckle was engaged and advertised to appear at a We caution
the public against m srepresentation. All other manufacturers are compelled to uae
•concert in Brooklyn in conjunction with other artists, among whom was the ordinary common metal-plated strings, done by ordinary Hot process, which does impair the
quality of the string, and is not a security against rust or the intolerable nuisance of snapping
Rafael Joseffy. This artist, after having seen the programme, declared that tone
indisputable fact. Our priceB moderate. Illustrated Catalogues, giving full descrip-
he would not play at any concert where a cornet virtuoso was among the of tion wires—an
of styles, prices, 4c, mailed free on application.
performers, and it seems that as the committee of the concert was not will-
ing to lose Mr. Joseffy's services, consequently Mr. Arbuckle had to give
way, and the concert took place without the cornet, so offensive to Mr. 11O3 Chestnut Street, Philadelphia,
Joseffy. We are willing to believe that the celebrated Hungarian pianist
3 East Fourteenth Street, New York,
has become a very virtuous man of late, but. even virtue has its limits, and
493 Washington Street, Boston.
we really think that a man of Arbuckle's standing does not injure in any way
the artistic standard of a miscellaneous programme. A man who performs
The Olympic Theatre, London, has produced a new comic opera,
in a piano recital a paraphrase on Gilmore's " Columbia " should not be so "Lola," a pretty trifle of absurdities and sly bits slung together by Mr.
very exacting in regard to the programmes of concerts for which he is Frank Marshall, and wedded to pretty, catching music by Antonio Orsini.
-engaged. But Mr. Joseffy is a young man, and probably acted in a moment There are beauties, conspiracies and intrigues, and the proprietor of a new
of impulsiveness, when lie refused to play. The committee of the concert society journal, entitled Virtue, all mixed up in wild confusion, with a spark-
acted in a cowardly manner. It was their duty to keep Arbuckle and let ling song or two, and pleasant, if not altogether original, music to give it
Joseffy secede. After having engaged the cornet player, they had no right color and expression, and it is fairly good fooling. It wants sharper and
to dismiss him so unceremoniously. Mr. Arbuckle in his letter says: " I quicker acting, however, to make it run.
think that my reputation as a musician and artist stands equally as high
The expenses of the Paris Opera for the year 1880 were $800,000. The
as Mr. Joseffy's." This point may remain undecided, for whatever our own
opinion may be, we are sure to meet with opposition ; and in this particular troupe $250,000; copyright and poor-taxes, $100,000; gas, $50,000-sweep-
•case this question is neither here nor there. Mr. Joseffy is an excellent ing, $7,500; raise en scene of " Aida," $50,000; " Comte Ory," $60,000; a new
pianist, and Mr. Arbuckle's reputation as a cornetist is beyond dispute. To ballet "La Korrigane," $16,000. Summing up the receipts, including the
define the exact standing of the two artists, and their relative position in the subvention, did not cover the expenses.
profession is useless. We hope that Mr. Arbuckle will get over his grief in
According to the Frank/iller Zeitung Verdi is at present busy compos-
a short time, and will have an early opportunity of showing to New York ing his
" Oteilo." It is to be given first at Vienna, Frau Materna taking the
that his artistic standard has remained unshaken and untouched.
part of Desdemona.
SCHOMACKER PIANO-FORTE M'F'G CO.,