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THE MUSIC TRADE REVIEW.
poems—some of Eugene Field's and J. W.
Riley's, for example—to music, for which the
latter probably get " thank you."
The English songwriter, at the rate indicated,
comes off better than the composer in nine cases
out of ten. If George Cooper, of New York, got
ten dollars for every lyric he has sold to com-
posers, he would be in a position to hobnob
with European potentates by this time. Five
dollars is a very fat price for a song, music and
words, in New York or Boston to-day. Of
course, there are exceptions. When a composer
once makes a first " h i t , " he can hit the pub-
lisher in a weak spot, but the thing that makes
the hit rarely brings five dollars. In London,
meanwhile, there is a better condition of things
prevailing. It may be that the London pub-
lishers are not "smart." Be that as it may, the
composer is treated on more equitable principles.
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Daniel Mayer, the new head of the Erard
business, is bringing to his aid wide experience
as an impressario and manager of musical ar-
tists, and that means a very thorough knowl-
edge of the art of advertising. The old house
of Erard could not fall into more capable hands,
as far as Mr. Mayer's facility for working up
the business goes, but the question is, can Mr.
Mayer make the Erard piano what it should be ?
Does he comprehend the necessity for placing
the manufacturing department under a man ca-
pable of making an Erard piano up to modern
requirements ? Mr. Mayer is decidedly Ameri-
can. He appreciates the value of printer's ink,
and other familiar advertising methods, but he
will have to bring the Erard piano up to the
times in structure, else he will labor in vain to
give it a permanent and deserved place beside
modern high-class instruments. I know a half
dozen men in New York who could slip into the
Erard shop, and make the Erard business worth
double to Mr. Mayer. The first thing to be
done is to destroy the old fogy models and pat-
terns, and substitute new scales.
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The British Journal of Commerce for Septem-
ber 3, contains a very flattering account of the
London factory of Story & Clark. A handsome,
illustrated supplement is also given, showing
the Chicago and London shops as they are. The
Journal of Commerce is a weekly of very high
character and large circulation. It cannot fail
to have a beneficial influence upon the British
and Colonial trade of Story & Clark. I learned
that Mr. Wagener's place will be taken by Mr.
Clark in December, for a little while. Mr.
Wagener is going to spend some time in Chi-
cago, and Mr. Clark will assume charge during
his absence. I may remark that Mr. Clark is
already very familiar with the London trade.
He was over here during the spring to look af-
ter the establishment of their new factory, and
a large share of credit is due him for the rapid
and effective manner in which things were oper-
ated. And it need scarcely be said that the in-
ception and carrying out of the project is owing
to the energy and far-seeing business concep-
tion of both Mr. Story and Mr. Clark.
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Rudolph Ibach & Sons will make a good ex-
hibition of their instruments at Chicago, through
their Philadelphia agent, very probably. I met
Mr. Aldom, their London manager, very recent-
ly, and, like the majority of the members
of the trade here, found him very pleasant.
One would expect a little brusqueness from
piano men, owing to the McKinley tariff, but
they seem to be very kindly disposed toward the
United States, notwithstanding.
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The Subers compound wire has excited con-
siderable interest over here. I have been ques-
tioned about it by several manufacturers, and had
to labor hard to convince several, by argument,
that it was possible to combine three distinct
strands of wire in one, without producing false
beats. However, I succeeded in creating a still
greater degree of curiosity in certain directions,
and would have liked to be in a position to prove
to them that Mr. Subers has accomplished a re-
markable feat. I cannot help thinking that the
capitalists of Worcester, Mass., have been very
short-sighted in the matter, but hope, mean-
while, that Mr. Subers may soon be in a position
to introduce his instruments to the trade.
DANIEL SPILLANE.
THE OTHER SIDE.
A GRADUATE OF THE NEW ENGLAND CONSER-
VATORY OK MUSIC UPHOLDS THE TUNING
DEPARTMENT OV THAT INSTITUTION.
SALEM, N. C, Oct. i,
EDITOR MUSIC TRADE REVIEW :
In reading the REVIEW of September
1892.
24th I
saw the anonymous article, entitled "The
Tuners' Association and the New England Con-
servatory."
I think I can give the writer some insight re-
garding the methods of the New England Con-
servatory, with which he seems unacquainted,
by taking and answering extracts from his able
article as I come to them, if you will give me
some of the valuable space in the REVIEW.
'' The art of tuning and many etcetras that go
to make up the requirements of a first-class
tuner, can no more be learned in a school than
a man can learn to swim in a bath tub.''
Now this is all rot. The Conservatory has a
man at the head of the tuning department (Mr.
F. W. Hale), who was raised in a factory, and
has thoroughly taken in all the principal de-
partments, and also practiced tuning for several
years in the West. He is a scientific man also,
having helped several of Boston's best piano
men in drawing their scales and constructing
their pianos in general; is also up in harmony
and is a fair piano and pipe organ player. In
other words, he is a man who knows his busi-
ness. Just as soon as a student is able to tune
a piano in a reasonable length of time, he enters
Hallet & Davis' piano factory. He is supposed
to work one-half his time in the factory, and the
other half in the Conservatory practicing and
receiving instruction. When desired, his work
is examined by one of the teachers, as is also
the factory work every time when finished.
I know a piano factory that has only Conser-
vatory tuners. The reason is because they do
better and quicker work. I also know that a
Conservatory tuner was obliged to show a man
who had strung pianos for twenty years how to
put on strings. Of course there was a row, but
he had to come to the milk.
'' The Association doubts if there ever was a
graduate from the New England Conservatory,
or any other similar institution, that was fitted
to be trusted as a tuner. It also doubts if one
of them could come fresh from school and pass
the examination required by the N. A. of P. T.,
even if it was four times as easy as it is.''
If the author of the article were to go " fresh ''
to a New England Conservatory examination,
he would sing a different tune, more probably
not sing at all. I would like to go him two to
one he could not answer one-half the questions
put to him.
He also gives the old, old story of a graduate
from Boston ruining a piano by using cork
wedges, and suggests new pins or " fixing them
mit a vedge." My dear friend, I hope you did
not wedge the pins ! So many tramp tuners use
this treatment. If you will go through a course
of tuning at the Conservatory, and turn out to
be quick to catch on, they will there show you
legitimate ways of treating this trouble. About
his being a Conservatory tuner—probably he
was, but you know there are blockheads in every
business. Not all men are successful. I know
men who did not take a full course, but were
smart Alicks and ran away with half a term. I
also know men forty years old who have been
tuning about half that length of time who came
and took a course of tuning. I asked one of
these men if he had gained anything by taking
the course. He replied: " I thought I knew
the business, but find I did not know it by
half."
The factory is the only place to learn tuning,
you say. Well, answer me this : What differ-
ence does it make if a piano is in a factory, con-
servatory or parlor? Can't they be tuned at
either place ? Can't tuning be taught with pro-
per instruction at either place ? Did you not
have instruction given you in the factory, or did
you work out your own salvation ? Do all fac-
tory tuners have the privilege to nose around
the other departments ? A good factory tuner
is a tuner only, is he not ? Does he hire as an
action man, regulator, or stringer, etc. ?
Of course there are a few exceptions, like one
I know in this State, who took a three months'
course in a factory, and now is a full-fledged
tuner, .says he had all the practical work down
fine. He probably could not tell you what a
temperament is.
Now, friend, the N. E C. is very complete,
and will keep you busy if you do as taught, and
are smart enough to catch on to the many little
ways and means which are not only told but
shown you. The course does not consist of
theory alone, but actual work (and hard work at
that) in conservatory and factory.
D. S. BUTNER,
Graduate N. E. C , Boston.
MOSES NIXON, colored, will be tried before
Justice Hobbs, Baltimore, Md., charged with
embezzlement of $33 from Sanders, Stayman &
Muller, organ dealers. It is alleged that Nixon,
who sold some instruments for the firm, re-
tained more commission than he was authorized
to.
W. WALKER and W. Prime are interested in a
drum corps which has been organized at Bur-
lington, Vt.
" pianos ai?d Organs.
'Twas first a dream, and then a thought,
That brain and hand to being brought.
The mines and forests gave their best,
And skillful man has done the rest,
For, as he wrought, he thought and planned,
That all might perfect be, and grand ;
From ivory key to pin block stout,
Naught but the best, within, without.
The '' Crown '' he called it when 'twas done,
"The best piano 'neath the sun."
He named the organs " Crown " and " Queen,
All need but to be heard and seen.
Our lightest touches will suffice
To make sweet melodies arise,
In tones as sweet as song-bird's note,
Or luring song from siren's throat.
Don't haste, my friend, 'twill pay to wait,
And what I say investigate.
The terms and prices will be sent,
If you will write to Geo. P. Bent,
Chicago, 111.