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THE MUSIC TRADE REVIEW.
TflE P
THE PROGRESS AND ACTUAL CONDITION
OF THE MUSICAL ARTS OF THE WORLD,
AS DEMONSTRATED BY THE EX-
HIBITS OF ALL NATIONS A T THE
EXPOSITION UN1YERSELLE-
INTERNATIONAL, PARIS.
\Exclusively contributedto1"HE MUSIC TRADE REVIEW.]
f\
FRENCH musical exhibit that is among the won-
ders of this wonderful Exposition is to be found
in the Mineralogical Section. While still sev-
eral sections away, the ear is caught by bright, clear
tones of marvellous sweetness, with a ring that makes it
impossible to tell what can produce the sound. Upon
reaching the spot whence they proceed perhaps the
sounds have ceased, and the eye sees only some speci-
mens, all in the rough, of grey stone, which by means
of a cord are attached to an iron bar about five feet
long, upon light iron supports. The exhibitor, who is
also the owner of this unique collection of flints, Mons.
Baud re, rue Cler 51, Paris, takes a small smooth piece
of stone in each hand, and by sharply tapping the stones
produces a perfect chromatic scale of the purest tones
It must have been the work of many years to form this
collection, which is the only one of the kind, and no
visitor should fail to hear this marvellous music ; any
tune can of course be played upon it, by striking with
the hand-pieces, but certainly when the exhibitor strikes
up "Yankee Doodle" there is not an Ameiican within
hearing who is not on the spot as quickly as he can get
there. This collection well deserves a place in the
country that possesses more novelties than any other.
The price is ^160. Ascending the flight of steps that
lead to the gallery of the Liberal Arts, where are the
exhibits, at least the musical exhibits, of three countries
—America, England and Switzerland—in the former
the Weber stand is a great attraction, and deservedly,
for it is resplendent with Stars and Stripes, which are
used as drapery, and with bannerets. This enterprising
firm have also secured a pianist (a winner of the first
prize at the Conservatory of Music) who every after-
noon displays to advantage the splendid ion? of these
instruments. At the same time it must be admitted
that a more wretched place in which to judge the tone
of a piano would not be easy to find. In this immense
space, with the roof, canvas covered, so far away, and
without any sounding properties around, one cannot
expect to hear an instrument to advantage.
M
Charles Dion, rue de l'Arcade, Paris.—This exhibit,
when our first notice was penned, was incomplete and
without details; now it is ready for the inspection which
it will well repay any violinist to make. The exhibit
consists of violins and their bridges; the bridges are
the invention of Mr. Dion, who claims that by their use
a worthless five franc violin can be made to have such a
sweet tone that nothing better could be desired. Some
violins are shown that are decidedly uninviting instru-
ments, being of a common make. To these the new
bridge is attached (it can be done easily) and the tone
is vastly improved. The bridge is of the usual shape,
but has a prop which goes through the upper and rests
on the lower board of the violin; it gives much greater
resonance, and is a thing that well deserves the atten-
tion of all interested in this sweetest of musical instru-
ments—the violin.
Another case of violins—in the English section—that
deserves especial notice is that of W. Atkinson, of Tot-
tenham, North London, who claims to have rediscovered
the art of making the real Cremona varnish; this maker
is a practical man, who has devoted his life to making
violins and endeavoring to produce a varnish that should
be as hard, and therefore as good, as that used by the
old makers. This he claims at last to have done. The
violins in this exhibit are splendid articles.
Turning our attention now to the remainder of the
French musical instruments which are gathered together
in this gallery, they are found to consist chiefly of or
gans, harmoniums, instruments for martial music, a few
pianos—none of which are merely pianos, but all having
some attachment for various purposes—and orches-
trions. Taking these latter first—they vary in size and
also in the degree of adornment. Most of them are
handsome and very showy, having a great deal of gilt,
brass, bright colored painting and small mirrors about
them. This refers to the large ones chiefly, as the
smaller ones are without the mirrors, which to most
people would be looked upon as an improvement. The
tone of all is most powerful; when heard from a distance
they have much the sound of a good band. They are
usually played by a man turning a handle. This from
the efforts made by the turner of one, seemed to indi-
cate that hard work was required,
Limonaire Freres et Cie., avenue Daumesnil 166,
Paris, show some of the above mentioned instruments.
Some small ones are adapted for dance music and play
eight airs.
A. Gasparini, rue de la Vega 17, Paris, exhibits some
orchestrions especially made for military music, and
they are no bad imitations of a full military band.
Derandel et Cie., r u e Quinault 13, Paris (Grevelle).
show some " harmoniphones." These are small box-
like structures with a slit through which a strip of card-
board is slipped ; a handle is turned and music is the
result. This has the usual tone of mechanical music.
J. Lacape, boulevard St. Martin 29, Paris.—A plain
dark upright with the peculiarity of having three ped-
als. This on investigation proves to be a piano of the
ordinary type, which can also be made a mechanical one.
By the use of the extra pedal and strips of cardboard,
music is evolved without playing. This instrument
gives the performer the advantage,of appearing to play
in the usual way, and it is certainly better than standing
up turning a handle.
P. Level, rue de la Nation 4, Paris (Montmartre).—
A very good case of piano felts and hammers.
Delanoe et C' e ., rue de la Roquette 118, Paris.—These
makers show a capital case of various wires for the
piano. They appear to be of the very best quality.
Louis Kohler, rue St. Denis 38, Paris, shows a nice
dark upright ; also a music stand for violin music which
acts automatically by the pressure of the foot on a pedal,
and a clever bit of mechanism by which the pages of
music are turned by the performer.
L. Boutevilin et Cie., rue de Montreuil irrj, Paris.—A
good toned organ and a nice little harmonium are shown
at this stand.
An instrument coming from rue du O,uatre-Sep:em-
bre, Paris, is called a " Pianographe Parise." It might
be of great service to composers, as it is an upright with
a mechanism (it must be admitted this is complicated)
by means of which, as the notes are struck on the piano,
a strip of ruled music paper which is attached in a roll
to the top of the piano, passes through some process in
the interior by which the notes are clearly marked upon
the lines, and thus show what notes were struck. When
simplified this may be a very useful invention for those
desiring to have their music recorded for after use.
Several organs here are part of the exhibit of makers
who have stands in the music section, and were men-
tioned when that section was under review.
The two electric organs situated in this gallery, but
which are performed upon by a musician who sits in the
centre of the music section, are now finished, and their
grand tones are often to be heard swelling above all the
minor sounds, very much to the astonishment of many
who search around for the organist but, of course, fail
to find him. Those who come from out of the-way
places and have not heard of the marvels of electricity
find an unending mystery in the organ, and gaze open-
mouthed in their amazement, at what, they appear to
believe, must have something " uncanny " about it.
An order was promulgated by the authorities of the
Exposition, some time since, that all exhibits were to
be uncovered as soon after 8 A. M. as possible. This
came in answer to the loud complaints raised by all
who visited the Exposition at any time before 1 p. M.,
for it was next to useless to try to see anything earlier
than that hour, as the attendants had not removed any
of the canvas wrapping in which all exhibits are relig-
iously swathed immediately the hour of 6 p. M. is heard
to strike.
It says something for the native independence of
whoever may be concerned in the uncovering, that
though the order has been in force for sometime, and
some little improvement has been manifested, yet it is
still well towards twelve o'clock before anything like a
correct idea can be obtained as to what the canvas con-
ceals from view, in the case of a large number of the
music stands. At that hour the general public begin to
arrive and to form a moving mass ; all is noise and
bustle and dust. Considering the heat and noise atten-
dant upon the general movement of great numbers of
people, not to mention the heat of the sun, which every
day becomes more powerful, a more prompt enforce-
ment of this general order in all parts of the exhibition
would be greatly appreciated. Even when the exhibit
has been uncovered, anyone wishing for instruction con-
cerning it other than can be obtained by outside inspec-
tion, often has long to wait before the attendant of that
particular exhibit arrives, with circulars and other in-
formation upon the particular points to be inspected.
E. Vanet, rue Lecourbe 7q, Paris, is the inventor,
maker and exhibitor of a piano that well deserves a
passing notice, as in many instances this piano would
meet a want that has often been experienced by music-
ians, though at the same time several different instru-
ments covering much the same grcund have at various
times been brought before the public. This one, how-
ever, does certainly effect what hitherto it has usually
taken two instruments to do. By the use of a digitor-
ium, practice can be obtained without any accompanying
sound ; but when it is desired to have the mus>ic, re-
course must be had to the piano. Thus two instruments
are employed. The great advantage of this invention
is that the piano can at will become in effect a mere
digitorium; by the action of two stops placed at the end
of the bass keyboard and two similiar stops at the treble,
by drawing out the first stops the sound is greatly
softened ; or, by drawing out the treble only, the bass
is left at its normal tone, or vice versa. Again, by pull-
ing out the end stops perfect silence is obtained, or if
one only is drawn the other half of the keyboard is un-
affected by its use. Thus, if practice is desired in the
treble, it is only needed that that stop should be drawn.
These results are obtained by a very clever, though
rather complicated piece of mechanism. It appears to
act perfectly in every way, and where much practice is
gone through it would be an immense saving lo
wear of a piano, as only the keys are in action when the
stops are applied that produce the total suppression of
sound.
M. Cary, rue Bayen 14, Paris, shows one upright piano
in dark wood, with a very little manjueterie prettily
worked on the polished surface of a nice exhibit.
Mons. Pruvost, rue St. Maur 77, Paris, has an excel-
lent show of well made pianos, all uprights. This maker
exhibits dull polished as well as highly polished pianos,
and as far as appearance goes the dull polished ones have
the preference. Gold, silver and bronze medals adorn
this stand.
Messieurs Lefeque et Thersen, Paris.—The interior
of a well-made black-cased upright by this firm is a
credit to them. Another made in two woods looks well;
also one that has veneer panellings of dull polished
wood upon a foundation of brightly polished wood.
Several awards of silver and bronze medals aje shown
here.
Mons. Klein, Paris.—One of the features of this stand
is the case of handsome medals, and the chief exhibit is
a dark wood upright, that looks to have had much pains
taken in its construction and finish.
Mons. Jeanpert, Paris.—A pretty exhibit of a polished
brown wood encased piano, with silver mounts ; very
neat workmanship.
Boucher Gauss, faubourg Poissenniere 31, Paris,
shows a large sized upright in plain reddish colored
wood, with a dull polish that suits the instrument much
better than a lustrous surface would have done.
Mons. Gervex, Paris.—The two uprights shown by
this maker arrest attention by the fact that they are
almost, if not quite, the only pianos in the section made
in the old style; that is with the shallow key boards and
high backs, and the straight legs from the front edge of
the instrument that were in vogue about a decade ago,
but which style is now so rarely met with. They are
well made and very neat and compact. The action and
tone of both are good.
P. Hansen, cite Bertrand 15, Paris.—At the last Ex-
position held here this maker was awarded a bronze
medal. He shows some good instruments, most of
them polished and without great ornamentation except
the candle brackets, and certainly those are elaborate
and well finished. One upright of a light colored wood
is noticeable for its good workmanship in all the minor
details.
A. Bord, Paris.—An excellent display of well made
pianos, seven uprights and one good grand in dark
wood, with capital engraving in gold and a sparing
amount in relief on the small panels. The uprights are
very good instruments. Their interiors are pleasant to
look upon, with the nickel plating where it is usually, or
often, plain iron.
Messieurs Augenschiedt et Everhard, boulevard Men-
ilmontant 63, Paris.—All these uprights are plain, useful
looking instruments, neatly and well finished. One is
of light wood and looks well.-