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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 contributed to THE MUSIC TRADE REVIEW.]
L. Tomasini, rue Oberkampf 149, Paris. An exhibit
of a little-used instrument—the clavicord—in appear-
ance very like an unusually narrow grand piano. It is
apparently well made, and is nicely finished with bronze
lacquering and paintings on the panels.
Limonaire Fils et C'e., avenue Daumesnil 166, Paris,
show three uprights, two in dark and one in brown
wood, all well and plainly made.
It has been already mentioned, that there are several
pianos in this exhibition which, by having something
placed or cramped upon the keyboard, and some rolls or
sheets of zinc inside, may by the turning of a handle be
evolved into piano-organs, auto-pianistes, piano eutono-
phones, or any other fancy name their makers may be-
stow upon them. It is affirmed by some exhibitors
that these instruments have as much power of expres-
tion as pianos manipulated by a talented musician; but
personal experience does not carry out this assertion,
and it is as well, for if it were so where would be the
need of those who now enchant audiences by their play-
ing? As a matter of fact these machines are but inani-
mate, sound-producing pieces of mechanism. Those
who can throw a soul into the sounds produced by their
efforts need fear no rival in these machines which pro-
duce music by the yard or the mile.
Lieutenant-Colonel Ivon, Paris.—This name is upon
what at first sight merely appears to be a well made,
very plain upright; but immediately the keyboard is
seen that opinion is changed, at least with regard to
that part of the instrument; the keys have a peculiar
appearance in that there is a triple row; the sharps and
flat are not to be discriminated as usual, on the broad
lines that flats are white and sharps are black, as here
they are sometimes of one color and sometimes the
other.
A fuller account will be given later on of this instru-
ment, if it is found to possess the many advantages
claimed for it, as in that case it will be worth describ-
ing, not otherwise; at present the representative can-
not give all particulars, and as the jury are busy at
work in this section, it is not permitted that any instru-
ment should be tried.
Mons. Elcke, Paris. This exhibitor shows pianos that
are excellent both in tone and action; his uprights are
very good.
Mario Levy, rue St. Lazare 20, Paris.—Several up-
rights in this exhibit will attract attention for the ele-
gance of their appearance. One is especially fine; it is
a dull polished black with some rarving of excellent de-
sign on the panels, lid, and brackets. Two gran Is (one
a demi) are shown also, both having a fine and power-
ful tone.
L. Jouffroy, rue St. Antoine 207, Paris, shows a fine
upright in the natural wood, with capital tone.
Aurand-Wirth, Lyon.—An exhioit 0/ two nice look-
ing uprights, one in black wood with gold and silver
marqueierie. the other in light walnut with a little good
carving on panels; the sides not flat as usual, but with
slightly beveled corners to the case, and beading of the
same wood.
Prouw-Aubert et O e , boulevard du Temple 7, Paris.
Another couple of uprights with well made cases, but
there being no attendant and no means of inspecting
anything but the cutsides, it is impossible to say more.
At some other exhibition this maker obtained a bronze
medal.
L. DiJion, rue Grebillon 15, Nantes.—Three uprights
with a very good action and will finished interiors; also
the back section of a small upright which is on much
the usual plan.
D. Burckhardt et Marqua, boulevard St. Germaine
S2, Paris.—A natural wood upright with some excel-
lent marqueterie; also one black grand with a little good
carving. Both these instruments have good tones.
C, Frauche, rue de l'Universite 40, Paris.—A very
THE MUSIC TRADE REVIEW.
handsome grand marked "sold" is in this exhibit; it is
of a greenish gold color with some well painted flowers
and Cupids. Various medals attest the merits of this
maker.
Mons. Constantz, boulevard du Temple 12, Paris,
shows only one upright in dark wood, with a capital
action.
L. Dieffendacher, rue Vangirard 55, Paris.—The work-
ing of this upright can be seen through the glass that
is used instead of a panel. The workmanship is excel-
lent.
Atnfedee Thirbout et C«e., rue de Lavel 33, Paris.—
A fine show of uprights and two grands. One of the
uprights has some excellent carving, gilt extensively,
yet such is the delicacy of design that it has not the
gaudy appearance that many a less adorned instrument
would have. The work is splendidly finished. Gold,
silver and bronze medals are here.
Jules Lary, rue Langier 71, Paris-les-Fernes, shows
several uprights of good quality and material.
H. Leibner, senior, Paris.—Two good upright instru-
ments on this stand, one having some pretty ornamen-
tation. Three medals, of the three metals medals are
composed of, have been awarded this maker and mark
his improvement, as the first is a bronze, and the last
a gold one obtained in 1870.
Victor Mustel, rue de Make 34, Paris, shows some
small otgans; in these an improvement is claimed, of
which more mention will be made if found worthy of
note.
L. Dein, rue de Condamine 52, Paris.—This is the
only piano in this section that does not show a wood or
glass case. It is entirely covered in silk, very well put
on.
J. E. Gintzilke, rue de Belleville 80, Paris.—An ex-
hibit of one dark upright with good action, made plain-
ly with a sparse use of gilding in relief.
H. Christophe et Etienne, rue de Charonne 97, Paris.
—An exhibit of very fine organs, with many improve-
ments, and of excellent make. A silver medal was
awarded this maker at the last exposition.
J. P. Alibert, Paris.—A case that contains violins, and
sections of a piano, and rather arouses a curiosity that
it does not satisfy, as no circulars can be obtained nor
is any attendant having information to be seen. Several
flattering testimonials from musicians are framed and
displayed, but they are not nearly so useful as a circular
giving some idea of the aim of the exhibit would have
been. It would appear from inspection that the violins
are intended to illustrate J. P. Alibert's method of tun-
ing. The same with the piano section; by this method
it would appear that the tuning can be done with a deli-
cacy and accuracy impossible with the ordinary imple-
ments. For pianos, the tuning is done by means of
a ratchet action acting upon a counterpoise which pro-
duces the requisite strain upon the wire. With regard
to the violin or violoncello, it is regulated by means of
a small key fixed into the instrument; it is possible for
the utmost precision to be obtained by the use of this
key in the nice adjustment required for the violin.
This system obtained medals at Paris in '78, '79, and
'88, and in London in '85. It is difficult to speak on the
merits of an exhibit, without trial or knowledge more
tangible than can be arrived at from an inspection
through a glass case, at an inconvenient angle; but,
from the medals and testimonials shown, it may be
safely concluded that there is something in it that
could with advantage be applied in the service of all
critical musicians.
Messieurs. Arbau et Bouvet, rue Popincourt 10,
Paris, have a very handsome case of wind instruments,
brass and silver. Cornets form one of the chief attrac-
tions here. Some are very nicely chased.
E. Muller, rue de Bondy 66, Paris.—An exhibit of
real use to all who are interested in the construction of
pianos, for it contains, separately, the entire interior of
that instrument, both in the finished and unfinished
state. Among other things may be seen two immense
ivory tusks; then the ivory roughly cut out into layers;
again it is shown smoother and smaller; and lastly it is
of the right size, shape and finish, for attachment to the
keys of the piano. There are shown the different felts
used for hammers, also the hammers themselves, with
the wood of which they are made; sections of iron
frames; all the various wires, pegs, &c, &c. Also music
stools, brackets of different sorts for candles, and other
outside fittings, metronomes, &c. This case is very
prettily arranged.
E. Fortin, rue Meslay 53, Paris.—A case composed
entirely of piano felts in various colors, and arranged in
rolls. A previous exhibit of this maker's evidently was
awarded the medal here displayed.
Luantin et Rolle, rue des Ursulines 21, Paris.—Here
again felt, but in immense rolls of great thickness and
many colors.
Mons. Grandon, rue de Belleville 323, Paris.—Ivory
is the staple of this exhibit; two tusks of it are dis-
played, and also the keys with the ivory complete. The
medals in this case look well.
Renandin et C' e ., a Provins Seine et Marne, also show
ivory in various styles of finish, with well-made keys
for both pianos and organs.
Charles Gehrling, Paris.—Models of the complete
action of different classes of pianos are here shown, also
the medals that have been obtained by this maker.
Charles Monti, rue Oberkampf, Paris.—The keys of
piano, organ, and harmonium look well, one set in
mother-of-pearl being specially worthy of notice.'
Mons. Chevrel, rue de Cerisaie 11, Paris, exhibits
some nice devices for lettering makers' names on their
instruments. Some of the ivory is most delicately
worked and fashioned.
Truchot et Collin, rue du Faubourg 162, Paris.—A
case devoted entirely to hammers, an immense variety
of which are to be seen.
C. de Rohden, Paris.—Showing the different methods
of attaching together the various parts connected with
the piano hammer.
A Kniep, avenue Parmentier 162, Paris.—Another
case, very similar to the preceding one.
Messieurs Cossellis et Pagnon, Paris, show various
parts and sections of an organ, and the modes of their
manufacture.
F. Monti, Paris.—In an attractive end case of this,
the French musical section, is a statuette in bronze of
an elephant, on whose back is some excellent ivory, of
an exceeding degree of whiteness, all ready for the
keys. Some small blocks of ivory and a small tusk
show from what a different color these pieces of white
ivory have been obtained.
We have now been through the section that is en-
tirely devoted to French musical instruments. This,
however, does not nearly include all French exhibits
connected with music, as these were found to be so nu-
merous that many are scattered in other parts of the
Exposition, but chiefly in the same gallery (just above
this court) with the American and English exhibits,
where also are found the Swiss musical instruments.
In the centre of this fine court, which is known as the
" Music Section," is now being erected a small electric
organ; two larger organs are placed in other parts of
this section, but are not yet complete, in all their de-
tails. The public will doubtless hear these instruments
very soon.
It has been out of the question to speak of the tone
or action of very many of the exhibits, as in some
cases the pianos have been treated as though it were
sufficient that their outsides alone should be seen, and
without regard to the tone, action, or any parts of the
working interior. It is most unusual to see the front of
a piano removed, so that its working might be studied
by the onlooker, and this drawback exists even when
the maker has something in the construction of the
instrument that might with advantage to himself, as
well as to the public, be made known.
C. Mahillion, 23 Chaussee, Antwerp, and 141 Oxford
street, London, W.—This exhibitor is a member of the
jury, therefore "Hors concours," or as some put it,
"above competition." To most eyes and ears the first
sounds much the better way of putting it, the "above
competition" looking as though it were a pity the
maker took the trouble to shew in a place where every
nerve is strained in the endeavor to gain the public at-
tention, and where competition is the mainspring that
animates every one who does exhibit. At the same
time it is, strictly speaking, correct, as when an ex-
hibitor is a member of the jury it is because at a for-
mer exposition he was awarded a gold or first medal,
after which he can become a juryman, but for that
reason cannot compete, and is therefors " Hors con-
cours." This is an excellent show of trumpets, cornets,
flutes, bugles and saxophones. The flutes and cornets,
the latter in electro and with much engraving, are es-
pecially handsome.
Vancauwelaert Freres et Soeurs, Brussels, have a
capital case that does credit to the brothers and sisters
who are at the head of the house that produced them.
They are chiefly brass wind instruments with a few well
electro-plated,
ANITA LILIAN KING,