Classic Mode

Music Trade Review

Issue: 1886 Vol. 10 N. 10

Page 1 Text:

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Music Trade Review.
The Only Music Trade Paper in America, and the Organ of the $tusic Trade of this Country,
Fo-anded
VOL. X. No. 10.
NEW YORK, DEC. 20, 1886 TO JAN. 5, 1887.
PUBLISHED * TWICE * EACH * MONTH.
BILL & CARR,
EDITORS AND PROPBIETOES.
All Checks, Drafts, money Orders, Postal
Motes and Mail matter should be
made to
B I L L '& C A R R ,
EDITORS & PBOPBIETORS.
22 EAST 17th STREET, NEW YORK.
SUBSCRIPTION (including postage) United States and Canada,
$3.00 per year, in advance; Foreign Countries, $4.00.
ADVERTISEMENTS, $2.00 per incb, single column, per insertion;
unless inserted upon rates made by special contract.
Entered at the New York Pott Office as Second Clout Matter.
THE HISTORY OF THE PIANO.
T
1879.
HE following history of the birth and growth of
the piano, while it probably contains facts
well-known to some of the trade, will be found
interesting:
The piano-forte, as contra distinguished from any
other musical instrument, is clearly, if not most
felicitously, in the language of one not only conver-
sant with its history, but thoroughly understanding
its mechanical character and musical powers, as
"simply a harp in a box, strung with fine steel
strings, operated upon by the hammers of the 'ac-
tion' through the fingers on the keyboard." The
name of the instrument is compounded of two Italian
words—piano, which means soft, and forte, which
means strong (or loud)—a name which this "hori-
zontal harp" has borne probably, for but little more
than a century, it being regarded by some writers as
having been first suggested by Christopher Gottlieb
Schroter, in 1768, when defining what might be ac-
complished upon the instrument as it then existed,
when improved by his inventions; namely, that upon
such improved instrument one "might at pleasure
play piano or forte."
The manufacture of the piano-f( rte in the United
States, as an article of trade, is of vast importance,
both as regards the amount of capital invested, the
number of instruments made and the great number of
persons employed directly and indirectly in connec-
tion with it. The instrument is regarded as almost a
household necessity, and probably in no country is
the piano forte more popular than in this. An illus-
trating instance of its popularity in this country,
writes a certain person, is that some thirty (30) years
ago he saw a splendid " Weber " pianoforte taken to
the house of a Texan planter upon the prairie, a few
miles away from Ralston's Ferry, a point of embar-
kation on the Brazos River, about 120 miles inland
from the Gulf coast—the worth of the piano evi-
dently being twice that of the planter's house. And
it is probable that the pianoforte cost the planter
more than all the rest of his houshold furniture.
/
The statistics for the year 1865 show that during
that year the piano trade in the United States
amounted to fifty-nine millions, two hundred and
eighty-four thousand, six hundred and seventy-three
dollars ($59,284,673). The number of pianos m ( ,de
that year was one hundred and eighteen thousand,
. two hundred and eighty (118,280), and the manufac-
ture has steadily increased and is constantly grow-
ing in importance.
The social importance of the piano cannot well be
overrated, and its refining influences in the United
States especially, can be fully appreciated by those
whose memory extends back over a period of forty
years. In fact, the pianoforte may be properly de-
clared to have been the most important single influ-
ence which has wrought the social change for the
better, so marked among our people within that
time. Mr. Thalberg, the great pianist and composer,
in the official report of the jury on Musical Instru-
ments at the "World's Fair," at London, in 1851, ex-
presses the social value of the pianoforte in lan-
guage so appropriately descriptive of the instru-
ment's influence in this country, in these later years,
that one might almost conjecture that Mr. Thalberg
possessed a sort of prophet prevision, as well as that
he was well versed as to the customs of our people
at that time, and had the United States, in her fu-
ture, in his mind's eye as he wrote.
He writes : "The social importance of the piano
is, beyond all question, far greater than that of any
other instrument of music One of the most marked
changes in the habits of society, as civilization ad-
vances, is with the respect to the character of its
amusements. Formerly, nearly all such amuse-
ments were away from home and in public; now,
with the more educated portion of society the greater
part is at home and within the family circle, music
on the piano contributing the greater portion of it.
In .the more fashionable circles of cities, private con-
certs increase year by year, and in them the piano is
the principal feature. Many a man engaged in com-
mercial and other active pursuits finds the chief
charm of his drawing-room in the intellectual enjoy-
ment afforded by the piano.
By the use of the piano many who never visit the
opera or concerts, become thoroughly acquainted
with the choicest dramatic and orchestral composi-
tions. This influence is not confined to them, but
extends to all classes, and while very many towns
have no orchestras, families possess the best possi-
ble substitute, making them familiar with the fine
compositions. The study of such compositions, and
the application necessary for their proper execution,
may be, and ought to be, made the means of greatly
improving the general educational habits and tastes
of piano students, and thus exerting an elevating in-
fluence in addition to that refined and elegant plea-
sure which it directly dispenses." (These are Thal-
berg's words>.
The piano-forte of to-day is not an instrument of
special invention. It has grown and progressed
during the past three centuries, through three differ-
ent forms and under different names. Dr. Rimbault,
in his work published in London, in 18G0, regards
the initial principle of the piano-forte as found in the
stretched string of the ancient lyre. But it is ob-
vious that the principle must have been discovered
before the time when the lyre obtained its distinct
form as such; for It must have been the fact of
sounds being evoked by the string, or some other
stretched substance being caused to vibrate against
the atmosphere, which first suggested the lyre itself.
The writer referred to traces the instrument from
the ancient lyre, through various mechanical phases,
the harp, psaltery, dulcimer, etc , to the claricithe-
rium—a name compounded from the Latin, clavis, a
key, and cithera, the name of an ancient instrument
of music, which consisted of strings drawn over a
sounding wooden surface or bottom, and not unlike
the modern guitar. The claricitherium was an ob-
long box, containing a number of strings arranged
in a triangular form, and which were struck by a
plectrum—a little mallet, commonly made of ivory,
$8.00 PER YEAR.
SINGLE COPIES. 15 CENTS.
with which the ancients beat the strings of the lyre.
It is said that the union of the keyboard and
stringed instrument was accomplished in the twelfth
century. Soon after the clarioitherium came the
clarichord, a keyed instrument, oblong in form, and
of the character of the spinet. Its strings were cov-
ered, to some extent, with cloth, and when struck,
vibrated with a sweet, soft tone. It was sometimes
called the "dumb spinet." The clarichord held
chief sway in popular favor among musical instru-
ments for six hundred years. In the days of Queen
Elizabeth, an instrument called the virginal divided
favor in England with the clarichord.
The spinet, which came into use in the sixteenth
century, was a triangularly-shaped box, having
sometimes as many as forty-nine str ngs, some of
them being in steel. The form in which the strings
of the present square piano are arranged is obvi-
ously a copy of that made by the strings of the
spinet.
Just who invented the piano-forte is not precisely
known. To no one person is Its invention or trans-
formation attributed, though there are three who
claim to have been the first to conceive the idea of
the present form of the piano. These were makers
of harpsichords In different parts of the world—an
Italian, a Frenchman and a German. It was within
a few years of each other that, by a remarkable coin-
cidence, they conceived the idea of the piano-forte.
Marius, the French manufacturer, claims the inven-
tion in 1716. Christopher Schroter, the German,
1717. Bartolommeo Cristofori, a Paduan, whose in-
vention is spoken of in an essay published by Mave-
hese Scipione Maffei, bearing date of 1711. This
date was erroneously given by others as 1718, which
somewhat detracts from Cristofori's claim. Yet we
have records giving an invention by the latter in
1709 of an instrument resembling the harpsichord in
an improved form, though it had more the appear-
ance of a dulcimer. According to tome writers
others efforts were made previous to Cristofori's
time to construct a key-board for the dulcimer, or
something similar to the hammers of a piano for the
harpsichord, but none seemed to be successful, for,
according t^> Maffei, in the Giornah de Literati d'
Italia, Venice, 1711, Cristofori's invention was yet
incomplete, though it embodied a principle control-
ing the hammer, its action, etc., which is seen even in
the pianos of the present day.
To Cristofori then may be justly attributed the
first conception of the piano-forte, though the others
already mentioned conceived the idea independent
of each other, hence their claims. In 1725, a Ger-
man, named Silbermann, having heard the descrip-
tion of Cristofori s invention, which was translated
into German by his friend, Konig, and having seen
one of his pianofortes at Dresden, undertook to con.
struct a similar instrument, but failed in his at-
tempts. It is alleged his ideas were not original,
having endeavored to copy from models previously
constructed, and In his grand pianos the inventions,
improvements, etc., erf Cristofori are found without
alteration.
As early as the tenth century we have the instru-
ment known as the " organum," of which, in a rude
state, the organ was the first representation, the ear-
liest keyed instrument known; another called theor-
ganistrum, similar to the hurdy gurdy, bag-pipes and
other stringed instruments. Some of these required a
blower in order to produce the proper sounds; others
required a handle, by means of which a wheel was
made to operate on the strings. It will be seen from
this that the key-board was then unknown, and
though different methods were devised and contriv-

Page 2 Text:

Music Trade Review -- © mbsi.org,
-- digitized with support from namm.org
THE arcade-museum.com
MUSIC TRADE REVIEW.
ances introduced resembling a key-board, it was not
until the seventeenth century that a graduated scale
of keys, called the regal, from regula or rule, which
was first used in a portable organ, was known to ex-
ist in England in 1630. The different stages through
which has passed what is now known as the beauti-
ful piano-forte, is, indeed, a labyrinth of inventions,
experiments and improvements.
The adoption of hammers was certainly the great-
est improvement in the piano, though its progress
was checked by rivalry for over half a century. The
first piano-forte brought into England was constructed
by an English Monk, at Kome, in 1757. So great a
curiosity was this "instrument" that it formed the
leading attraction at Oovent Garden Theatre, accord-
ing to a play bill printed in 1767. The Germans
claim that the square piano was the invention of an
organ-builder and maker of musical instruments in
Saxony, named Frederick of Gera. His invention
was not taken from any of the preceding makers,
but is of his own production (1758). His claim is
disputed, as no square piano bearing his name is in
existence. To Johji Zumpe, a German, Is attributed
this invention, though a few years later than the
Frederici (1765).
Robert Stodart, a pupil of JohnBroadwood, gained
a reputation in his grand pianos. The first square
piano made in France is said \o be the work of a
young Alsatian, named Sebastian Erard, in 1776. He
afterwards went to England, where he was exten-
sively engaged In the manufacture of h%rps and
pianos. His first patent was given him in 1794. In
1808 he was granted another patent for a double es-
capement action, which did not succeed until 1821,
but he invented several important improvements,
which are still in use From one inventor to another
improvements have resulted by extensive experi-
ments. What one left unfinished another completed
and patented.
What is known as the cottage or upright piano,
was invented by a civil engineer at Philadelphia, by
the name of John Hawkins, in 1800, though two
years previous William Southwell, an Irish piano-
maker, conceived the idea.
In the earlier instruments the frames were con-
structed of wood, which necessitated frequent tun-
ing, but to William Allen, a young Scotchman, is
due the introduction of iron into the frame to ob-
viate the atmospheric influence on wood.
The house of Chickerlng & Sons claim to have
been the first to introduce the iron frame in the con-
struction of the piano. Jonas Chickering, the foun
der of the house, died in 1853, before he had com-
pleted this invention, though the Steinways are ac-
credited with the same idea. The house of Steinway
& Sons was founded in the same year, by Henry
Engelhard Steinway (formerly Steinweg), who came
to New York from Brunswick, in 184it. In 1862, at
the International Exhibition in London, the piano
exhibited by Messrs. Steinway was so perfect in its
construction as to produce many important results
with regard to piano-making, which has obviated
the surplus production of cheap, wooden grand
pianos.
AN IMPORTANT REDUCTION IN PASSEN-
GER RATES ON THE NEW YORK, NEW
HAVEN & HARTFORD RAILROAD.
T a recent special meeting of the directors of
the New York, New Haven & Hartford Rail-
road it was voted to reduce the rates
of fare on the main line, between New York
and Springfield, from two and a-half cents
to two cents a mile; and to make a reduction
from three to two and a half cents a mile on the
Shore Line and Air Line divisions. These will be
local as well as through rates over the liner con-
trolled by this road. The reduction will not affect
through rates from New York to Boston. However,
it is hoped to bring about a reduction in through
Boston rates, by the action of connecting roads—the
New York & New England, the Boston & Albany,
and the Providence & Stonington and Boston &
Providence.
The two cent rate is the same as the 1,000 mileage
tickets, and as there is no intention of reducing the
rate below this, the mileage tickets will be dropped,
as the new arrangement is even with them. The
benefit derived from this reduction will be shared
alike by all. This new arrangement is an excellent
A
thing and shows that the directors desire to treat
all their patrons fairly, as heretofore many persons
have not been able to expend $20 to secure the mile-
age books, and were thus compelled to pay local
fare. With the rates as now adjusted, a passenger
can ride from New York to Hartford (108 miles), for
$2.16, where, heretofore, it cost $2.65, and the same
reduction in proportion for shorter distances. These
reductions will commence on January 1st, 1887, and
will save quite a sum during the year for many of
our trade.
A DOUBLE WEDDING.
L
AST Saturday evening the parlor of Rev. Lun-
dahl, the Lutheran minister of Laporte, was
the scene of a ceremony which at least four
persons will never forget. It was a double wedding.
The principals in this highly intereeting affair were
Mr. Chas. E. Hillstrom, the efficient and popular
bookkeeper of the Hillstrom Organ Factory, and
Miss Gusta Gustafson ; and Mr. Claus Isaacson,- also
an employe of the organ factory, and Miss Hilma
Gustafson. The ceremony was performed at 8 :30
o'clock P. M., and witnessed only by a select few of
intimate friends. After the ceremony the bridal
party repaired to the Teegarden House, where an
elegant supper was served. Sunday morning the
happy couples returned to Chesterton, where the
respective grooms had houses prepared for their
wives, and both went immediately to house-keeping.
The ladies are the daughters of August Gustafson,
tuner in the organ factorj', and are beautiful and ac-
complished. We wish for Mr. and Mrs. Hillbtrom
and Mr. and Mrs. Isaacson all the joy of a happy
married life, and with the community join in wel-
coming them to the circle of happy married folks.—
Chesterton {Ind.), Tribune, Dec. 2.
TH£ PRESIDENT'S MESSAGE AND THE
PATENT OFFICE.
I
N a short clause of his annual message, presented
to Congress on Dec. 6, President Cleveland com-
mends the bringing forward of the business of
the Patent Office, and promises still more for the
future. On the 4th of March, 1885, he states the cur-
rent business was in arrears on an average five and
one-half' months. Several divisions were twelve
months behind. Three months is given as the aver-
age of the arrears at the close of the last fiscal year,
and the prediction is made, substantially, that soon
only a nominal delay will precede the examination
of each case. This will be most cheering news to
the inventor, who hitherto has been disheartened in
his work by the endless delays in obtaining protec-
tion for his invention.
The Treasury Department receives this year a sur-
plus of $163,710.30 from the Patent Office, the re-
ceipts of the office aggregating $1,205,167.80. The
large volume of its business appears from the num-
ber of patents granted—25,619. Notwithstanding its
growing business, no increase of force is asked for,
the Commissioner apparently feeling able to cope
with the work with the present number of employes.
The tendency to reduction of expense is shown in
the estimates for three successive years. For the
year ending June 30, 1886, $890,760 was estimated;
for the year ending June 30, 1887, $853,960; and for
the year ending June 30, 1888, the estimate is only
$778,770.
QUITE A FISH STORY.
A
N Italian savant has, according to the Qazetta
del Popolo, discovered a new and simple
method of catching fish. The bait is a musi-
cal one. The sense of hearing is extraordinarily
developed in fish. While the slightest noise scatters
them in all directions, a musical note, especially
that produced by the human voice, attracts them.
Signor Saretti, discovering this fact, embarked one
morning on the Lake of Geneva with a party of
friends. Striking up a national song, he proved to
his astounded companions the truth of his assertions.
They were able, by means of an aquascope, to per-
ceive the eagerness with which the piscine popula-
tion gathered around the little boat. Casting over
the nets they had brought, they made such a catch
as has rarely, if ever, been known on the lake.
STORY & CLARK.
T
HE above firm stands prominent in the front
ranks of the music trade of the world. The
announcement in 1884 of so strong a combina-
tion of capital and practical experience as that which
was represented in the persons of Messrs. H. L.
Story, E. H. Story and Melville Clark, was indicative
of marked success. Such has been the case, and, it
is safe to say, no other reed organ manufacturers in
the world are doing a larger or more prosperous
business. Their trade is not confined to one sec-
tion, but organs are shipped to all quarters of the
globe.
The intense energy of those directly interested, and
the remarkable facility of acquiring trade, togethe
with Chicago enterprise, which brooks nothing short
of universal conquest, are building up a lasting andr
an enviable business.
The senior member, Mr. H. L. Story, retired from
active management soon after the union, leaving
Mr. E. H. Story, who has the business characteris-
tics and instincts of his father, and Mr. Melville
Clark in charge.
Their large factory, which is of brick, is situated
in a not altogether picturesque part of central Chi-
cago, and covers an area of nearly half a block. The
factory, with its seventeen distinct departments, are
directly under the supervision of Mr. Melville Clark,
who has devoted a lifetime in this work. So thor-
oughly is this work reduced to a system by skillful
management that perfect harmony is the result, and
an organ grows as if by magic. Inventive genius,
a master mind and an indomlnable will are making
the Story & Clark organ a peer among instruments.
The various departments are crowded to their ut-
most capacity, and every inch of room is utilized.
New additions are being made constantly, and a fac-
tory of twice the pi esent proportions will soon be a
necessity.
Within the past year a powerful one hundred and
fifty horse-power engine and boiler have been placed,
and a new and perfect working dry-kiln of 40,000 feet
weekly capacity take the place of former ones. Many
new machines which facilitate work, have also been
added within the year, and the factory is excellently
equipped in all respects. An electric light plant
adds brilliancy to the scene, and a printing office
outfit sends forth to the world tons of printed matter
yearly. This factory is the only one in the world
which wholly controls its own printing.
The clerical force is steadily growing, and 1887
will probably see an elegant office which will far
eclipse the present one and will be worthy the name
of Story & Clark. Warerooms have been established
at 141 Wabash avenue and the local trade is carefully
looked to.
The firm are making a specialty of large combina-
tion organs, and they are producing an action which
speaks as readily and quickly ^as that of a piano.
Difficulties which have stood in the way of other
manufacturers have been readily overcome, and
these are controlled by exclusive patents which can-
not be purchased. The tone is smooth and perfect.
New reeds and tones have been produced within the
past year, which have never before been thought
capable of being evolved from a reed. The Jumbo
cello set of reeds is one of the new departures and is
full of richness and power and smooth as oil. For
solo work its deep, rich, resonant quality makes it
very desirable. It resembles an open pipe diapason
of a great organ.
The firm work solidly and unitedly, and realize
that having produced an organ worthy the name,
they will reap their just reward in the open field of
competition and territory. " Prophets are not with-
out honor save in their own country," will hardly
hold in the case of the individual members of the
firm, for at the factory, and in the community of
which they are apart, they are held in high esteem,
respected and honored by all who know them. They
are broad-minded, generous and hard workers, and
deserve the success which so readily befalls to their
lot.
KIND WORDS.
BOSTON, MASS., Dec. 9, 1886.
Wishing you the compliments of the season and a
prosperous and happy New Year, we remain,
Yours truly,
NEW ENGLAND ORGAN CO.

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