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THE MUSIC TRADE REVIEW
STRAUCH BROS,
Or; "P?e Haiti? of ^ertaii)
piarjo
method by which the exhibits in the
World's Fair were judged worthy of award
was based on the idea that such awards were to
be given for "peculiar merits or points of
excellence."
This naturally brought into prominence the
improvements, patented or not, which the
various firms in the different industries claim
to have made.
A patent is simply a certification from the
patent office that the examiners know of no
other patents on record that conflict with or
supercede the improvements claimed by the
inventor.
It should be remembered, in this connection
that many persons do not take out patents on
improved methods in manufacture, preferring to
run the risk of possible infringement rather than
to disclose their improved methods to the pub-
lic by patenting them. If, therefore, any other
person should take out a patent on any such
methods and sue for infringement, the plaintiff
would be quickly non-suited on the ground that
these methods had already been in practical
use.
In the piano action business to-day many firms
advertise patents which could not stand the
legal test—that is, it would be found by a suit at
law for infringement that the patent was invalid
because the principles involved have been used
years before, or perhaps been patented before in
this country or abroad.
We have deemed it in the interest of the trade
at large to call attention to the true value of
certain patents which have been taken out with-
in the last few .years for improvement in action
making.
GRAND ACTION.
The constantly increasing demand for grand
pi.inos naturally brought those interested in the
manufacture of grand actions to see their defects
and to use their utmost endeavor to remedy
them and so bring the action to the highest
possible perfection.
In this work, which called for scientific in-
vestigation and experiment, our house led.
Investigation in the Patent Office disclosed
the fact that some of the methods now used in
grand actions were all contained in patents
taken out many years ago.
All the methods of dividing the springs in a
grand action are contained in these old patents,
the only change being in the position occupied
by the springs. These changes in position are
only brought about by the improved construc-
tion of the action. The same method of regu-
lating the jack under the butt employed to-day,
as well as the regulation rail, were used years
ago. All this is now patented and used by
several American action manufacturers, and,
therefore, for the reasons we have stated, their
patents are invalid.
UPRIGHT ACTIONS.
The wooden damper blocks in the upright
action having always given a great deal of
trouble from splitting or getting loose and slid-
ing down the wire, much attention has been
given to improve this part of the action.
Many patents have been taken out on various
arrangements, the chief among which has been
that of a brass tube in four or five different con-
ditions. Some twelve years ago while experi-
menting on damper blocks in our factory, we
made up and used a large number of damper
blocks which contained a brass bushing. They
met with a great deal of success, but in view of
a later improvement, which we made, were laid
aside by us. Some years later when again
using them we were much surprised to hear
that a patent on that system of blocks had been
taken out three years after the time they were
brought into use by us.
Many other instances could be given where
improvements, which have been patented have
been but copies of the unpatented results of the
brains of others, changed slightly in form and
manner of use and covered up under such a mass
of long winded verbiage as to deceive even the
patent office.
Many patents on piano actions have been
taken out which have no value in themselves,
have never been used and are for advertising
purposes only.
Respectfully,
STRAUCH BROS.
I
OUR R£VI£WING
DEPARTMENT.
WHITE-SMITH MUSIC PUB. CO., BOSTON.
1. Aphrodite, Waltz.
H. L. D'A. Jaxone.
2. The Children's Ball, Intermezzo.
H. L. D'A. Jaxone.
.3. Bonnie Scotland, Fantasia.
H. Parker.
4. Dancing on the Cape, Schottische.
W. A. Palmer.
5. Song- Without Words.
C. C Stearns.
6. Romance.
C. C. Stearns.
7. The Old Homestead, Quadrille. C. Goehle.
I. A capital waltz in D'Arcy Jaxone's best
vein. His "Children's Ball" intermezzo (2)
also possesses elements of decided merit and
interest.
3. This arrangement of Scottish melodies is
excellently modeled and elaborated.
4. A good dance composition, cleverly ar-
ranged.
Nos. 5 and 6 represent two compositions of a
very graceful character for the parlor organ.
The artistic possibilities of this representative
American instrument yet remain to be brought
out, and such works as Mr. Stearns' must assist
that end.
7. An excellent quadrille, full of pleasing
melody and well marked rhythm ; a good danc-
ing set.
8. On the Cross.
L. Bragdon.
9. Could we but Know.
Dr. C. R. Clark.
10. Down at the Beach.
V. Allen.
II. 1 Met Her at the Ball.
D. L. White.
8. A dignified sacred song for soprano or
tenor. The words are by J. Manning Roberts.
9. Another song of a religious character for
bass, containing very spiritual and touching
sentiment. The arrangement is excellent.
10. This vocal work is based on words from
"Town Topics," with the "Summer Girl " as
the theme. The music is in a pleasant waltz
style.
11. One of Mr. D. L. White's tuneful and
catchy songs, which ought to become very
popular.
White-Smith Co. have also sent us a hand-
some album of "Choice Banjo Duets," by
George Barker, which they have just issued,
and a Christmas operetta, in one act and three
scenes, by Amelia Sanford and Adam Geibel.
It is entitled " Robin's Specific, or The Changes
of a Night." The libretto is full of the species
of merit one looks for in that pleasant form, and
Mr. Geibel has set the variovis lyrics to very
appropriate music.
HAMILTON S. GORDON, NEW YORK.
1. Aragonaise Ballet.
J. Massenet.
2. " Was die Schwalbe Song."
C. Bohm.
3. Little Darky's Dance.
J. P. Skelly.
1. From Massenet's opera, " L e C i d . " This
arrangement is very commendable. Hans T.
Seiffert has rendered it so through his excellent
revision and scheme of fingering.
2. An exceedingly pleasant study, moderately
difficult, but arranged skillfully.
3. This piece is a military schottische, with
the peculiar piquancy of what is known as
negro dance music.
4. Pretty Baby, Slumber Sweet.
M. Rale.
5. My Cosy Little Home.
W. D. Spaulding.
6. Wait for a Day.
W- H. Friday, Jr.
7. Play On The Golden Harp. J. B. Johnsen.
8. I Hare Recalled Those Angry Words.
J. W. Wood.
9. Gets There Every Time. W. H. Friday, Jr.
All of the foregoing are of the popular order.
No. 4 is a species of lullaby, with a pretty melody
and a refrain in 3-4 tempo. 5 also contains a
waltz refrain. 6 is a pathetic song of more than
average merit. 7 is a well-known minstrel end
song ; it is, in its way, peculiarly meritorious.
8 is a sentimental ballad with chorus, by a suc-
cessful writer. 9, the last of the series, is a
species of comic song, bordering on the topical.
The words are, in one stanza, indecently sug-
gestive. Mr. Friday ought to learn that im-
moral suggestion is not witticism.
We have also on our desk a number of guitar
arrangements, recently issued in the Hamilton
S. Gordon series, 'Guitar Gems."
These
must be welcome studies to lovers of that in-
strument.
BRODER & SCHLAM, SAN FRANCISCO.
Our friends on the Pacific slope are not behind
the East in anything, not even in music pub-
lishing. The pieces before us from Broder &
Schlam, San Francisco, are, in many instances,
produced with remarkably good taste.
1. Mother's Parting Gift.
H. G. Castle.
2. Forgive, Forget those Angry Words.
F, A. Meyer.
3. When Shall I See My Sweetheart Again.
A. G. Holdeu.
4. If We Should Meet Face to Face.
T. P. Getz.
5. Parted.
A. Hilton.
0. Kiss Me Good-Night Little Darling.
J. J. Chew.
7. Massa Peter.
G. H. Hetzel.
1. A song full of homely sentiment ; and
very musical. 2 is somewhat similar, as far as
the motive of the verse goes. 3 has a pleasant
Irish coloring ; the melody is pretty and easily
arranged, while the words are refined. 4. Very
meritorious and full of spontaneity. Mr. Getz
has a creative vein ; his lyric is also very cred-
itable. 5. '' Parted" is a very well written compo-
sition, and otherwise praiseworthy. Mr. T. J.
Butts supplied the words. 6. A meritorious
minstrel song and chorus. 7. This is a jolly
composition of the negro variety.
OLIVER DITSON CO., BOSTON.
We have on our desk a goodly pile of new
publications from the Ditson Co. They have