Music Trade Review

Issue: 1899 Vol. 29 N. 22

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
M
THE MUSIC TRADE REVIEW
The Late George Harvey Chickering.
'T'HE death of that honored member of
*
the trade, Geo. H. Chickering, which
was recorded in The Review of last week,
removes from the sphere of human activity-
one of the noted men of the industry. He
was the last male survivor of that family,
which has contributed so much toward
making the American pianoforte industry
in every sense an art one, for the name of
Chickering must be indelibly associated
with all that is best and highest in the
realm of musico-industrial art.
The life of Geo. H. Chickering was pass-
ed practically within factory walls, for at
the beginning of his eighteenth year he
manifested an earnest desire to enter the
factory of his father and acquaint himself
in a thoroughly practical way with piano-
forte making, which was then a compara-
tively infant industry.
Under the guidance of his distinguished
parent, Jonas Chickering, he graduated
from every department of the factory and
became a skilled master workman, and
for many years maintained a superintend-
ence of the great Chickering establish-
ment. In fact his active relations with
the corporation which bears his name were
maintained up to within a comparatively
recent period, when the weight of years
began to tell on him and he was forced to
retire and pass the sunset of his life amid
the charming environments of a tasteful
suburban home at Milton, Mass. Here
surrounded by his flowers, for he was an
ardent lover of all that was beautiful in
nature, he passed the last days of his life.
*
*
*
*
George H. Chickering was born in Bos-
ton in 1830, and as a boy lived in Chester
Square, which now forms part of Massa-
chusetts avenue. He went to the. Boston
public schools before becoming associated
with his father in trade. He was twice
married, his first wife being Miss Ball, a
sister of Thomas Ball, the sculptor. His
second wife, who survives him, was Miss
Nichols. Two daughters also are living,
both being married. One of them is the
wife of an artist and lives in Italy. The
other is now the wife of George L. Nich-
ols, a prominent lawyer and vice-presi-
dent of the Chickering corporation.
Mr. Chickering was at one time the mov-
ing spirit in a musical organization known
as the Chickering Club, which nourished
before the days of the Apollo Club, this
last-named being the offspring of the
Chickering Club.
In the Apollo Mr.
Chickering always took an active part as a
younger man, and up to perhaps ten or
twelve years ago he was a singing mem-
ber and rarely missed a rehearsal. He
was the club's president for some years,
and always has been more or less identified
with its executive board.
*
*
*
*
The artistic element was strongly domi-
nant in Mr. Chickering's appearance. The
refinement of face and form possessed by
him we would naturally associate with ar-
tistic more than industrial life, and yet
Mr. Chickering was at the head of the
great industrial institution until old age
compelled him to lay aside the active.duties
incident to factory management upon
younger men. He had a perfect horror
of anything that savored of vulgarity, and
was the embodiment of refinement and
aesthetic taste. He loved the beautiful in
music as he loved to pass his days among
the floral beauties of nature. He pos-
sessed a dignity and courtliness which
were at once attractive and impressive.
His conversation always sparkled with that
brilliancy of thought which revealed his
deep mine of information and intimate
knowledge upon general topics, for it
should be understood that he had found
the time even in his busy life for extensive
reading, covering almost every range of
human thought and endeavor. His voice,
always soft and well modulated, was al-
ways raised in the defence of right and
ever keen and incisive in condemning a
wrong.
*
*
*
Geo. H. Chickering was a rare combina-
tion of the poetic and industrial element.
The leaning towards mechanics he inherit-
ed from his distinguished father, while the
other side of his nature was softened and
spiritualized by his mother's influence.
During all of his younger years he mani-
fested the warmest interest in the musical
affairs of his native city, and was president
of the famous Handel and Haydn Society
for a long term of years. He was in truth
a courtly, dignified and sensitive man, and
one who has contributed much toward the
up-building of a great business. He passed
an active life of three score and ten, and
lived to see the Chickering name and fame
known in all lands. A grand American,
and well may men of the industry point
with pride to the life and accomplishments
of this modest and distinguished member.
*
*
*
*
Innumerable illustrations of the fine
personal qualities of this noted member of
the trade might be related. One of his
acquaintances who knew him intimately
upon learning of his death remarked the
following in pleasant remembrance of Mr.
Chickering's kindly qualities:
"He was of the most gentle nature,
loyal to his friends and especially devoted
to the older employees of the piano fac-
tory. He was most unworldly, preferring
to devote leisure time to the cultivation of
flowers, a fancy with him. He was a
saintly man and full of heartfelt sympathy
for anyone in trouble, a veritable personi-
fication of sympathetic sensibility."
*
*
*
*
Without words of eulogy and using the
simple but impressive ritual of the Prot-
estant Episcopal Church, Dr. E. Winches-
ter Donald conducted the funeral services
over the remains of George H. Chickering,
at Trinity Church Sunday afternoon. The
Trinity quartet was increased to eight
voices and rendered " T h e King of Love
My Shepherd Is " and "Now the Laborer's
Work is O'er." Besides the family, many
employees of the Chickerings were present
and representatives of the Handel and
Haydn Society, the Cecilia and Apollo
clubs. The ushers were C. H. Eddy,
George G. Endicott, H. C. Chase, F. H.
B. Byrne. The interment was in the Mil-
ton cemetery.
*
*
*
RESOLUTIONS BY BOSTON ASSOCIATIONS.
At a meeting of the Boston Music Trade
Association held at the office of the Mason
& Hamlin Company, Boston, Nov. 18,
1899, the following preamble and resolu-
tions were passed:—
Whereas, Not only the Boston Music
Trade Association, but the entire piano-
forte industry of the country has met with
a severe loss m the death of our dear
friend and associate, Mr. Geo. H. Chicker-
ing, the last surviving member of the old
house of Chickering & Sons, recognized
throughout the musical world as the pion-
eers in the manufacture of pianofortes in
this country.
Whenever our trade has been called to-
gether and we have had the honor and
privilege of his presence, he has always
been chosen our president; and whilst we
regretted that his health did not permit of
his taking an active part in our Associa-
tion, we have always felt that he was with
us in the spirit, and he always expressed
to us his best wishes for our success. He
was always foremost in the promotion of
any good work, never letting pass an op-
portunity to extend a favor or do a kind-
ness.
As an Association and individually we
shall always cherish in our memories the
many rare and exceptional personal quali-
ties possessed by him. Holding the high
position which he did in our pianoforte
trade, he was still always thoroughly un-
assuming, and we recognized in him a man
of the strictest integrity. He possessed a
thoroughly Christian spirit, which with
the associates who knew him best placed
him in even higher esteem than what
ordinarily would be gained by a merely
successful business career, inspiring us all
with a feeling of more than ordinary
friendship, and gaining from us not only
our highest respect, but a genuine af-
fection.
Resolved: That we extend to his family
and business associates our deepest sym-
pathy in their great loss.
Voted: That a page of our records be
set apart for these resolutions, and that a
copy be sent to the press and an engrossed
copy to the family.
Francis H. Owen, Sec'y.
Henry F. Miller,
Chandler W. Smith, \- Committee.
Edward S. Payson.
Serious Charge Alleged.
A dispatch from Kokomo, Ind., under
date of Nov. 18 says: Neil Merrill, claim-
ing to represent the Wulschner & Sons
music house of Indianapolis, Ind., was
arraigned in the mayor's court here on a
charge of obtaining money by false pre-
tense from Thomas Ruse, of this city.
Early in the trial Merrill slipped from the
courtroom and disappeared.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
.
. • A Strich & Zeidler Work of Art. . .
The beautiful instrument illustrated in
the accompanying" engraving-, is from the
manufactory of Messrs. Strich & Zeidler,
ot New York, who, distinctly perceiving
American progress in the art and the in-
creasing refinement of popular taste among
the cultivated classes in the United States,
have accordingly prepared themselves to
keep pace with the advance.
So much pleasure has been experienced
in the inspection of this magnificent in-
strument, at the factory, (134th street and.
Brook avenue), that I desire, notwith-
standing the difficulty of adequately re-
presenting a work of this kind by a small
sized picture and brief written description,
to convey such an idea of its merit as an
art work as will induce art lovers and the
general public to seize the coming oppor-
tiinity of seeing and studying a design of un-
common excellence by the hand of a master.
The artist is Prof. Raffaele Raineri, a
Sicilian by birth, and brother of Salvatore
Raineri, a sculptor of high repute, with
whom he studied till, at the age of four-
teen, he became a pupil of Prof. Valenti,
President of the Institute of Beaux Arts
in Palermo, where his ardor as a student,
originality of conception and combined
freedom, and delicacy of execution, made
his name familiar in all Sicilian art circles.
Subsequently he and Salvatore Raineri,
were employed by the eminent architect,
Emanuel Basile, and invested with full
control in the execution of the stone deco-
ration of the buildings of the Exposition
in Paris, (1878), and later, of the magnifi-
cent theatre, Massino, in Palermo. Be-
fore coming to America, Prof. Raineri
also designed and executed sculptures and
carvings in numerous residences of the
Italian nobility. He has recently estab-
lished an atelier in New York.
Desiring to patronize an artist of ac-
knowledged genius, and to demonstrate the
possibilities in artistic decoration of which
the modern upright piano is susceptible,
Messrs. Strich & Zeidler engaged this able
artist to illustrate these possibilities by the
superb example shown in the engraving.
The central picture shows the general
appearance of the work, as well as can be
done by such a representation, and the lim-
ited space allowed me inhibits more than a
general outline of the principal features of
work. As an exam-
ple of the noble and
ancient art of wood
carving, carried to
the highest perfec-
tion, this country
contains very few, if
any, rivals to it, and
in composition, ar-
tistic feeling, deli-
cacy and firmness of
treatment, it is wor-
thy to rank among
the best work of
European masters.
The first impres-
sion experienced by
critical observers of
this carving is com-
plete, pervasive har-
mony in all details
of the design. Al-
though very elabor-
ate (it fully occupied
the artist for twelve
months), it first im-
presses the feeling
of simplicity, rather
than of complexity;
yet it would be diffi-
cult to crowd more allegorical meaning
into the limited space that the sculptor had
at his disposal.
As would be expected from the brief
sketch of the artist's career above outlined,
the work is in the Raphaelesque style as
taught in the purest school of Italian re-
naissance, of which there are few examples
in America. The motive is the association
of music with the sister arts, particularly
poetry and the drama, with suggestions of
the mystic chords of human feeling, by
which all good music and all true art stir
human passion, and stimulate the imagi-
nation of poetic dreams, tender emotions,
lofty inspirations and indefinite longings—
collectively the richest boon of earthly ex-
istence.
The upper part of the frame has what
would be called in architecture a pediment,
upon which the artist has wrought the most
important part of the entire design, and
which will well repay careful minute study.
The over-lapping lower portion of this
pediment, consists of a mask symbolizing
dramatic art. This is surmounted by quills
which allegorize poetry, and which are
artistically grouped with interlaced twigs
and foliage of oak and laurel. These are
flanked by dolphins seized and held by
claws of love-birds.
Surmounting the mask, is the exquisitely
chiselled figure of a cherub, under the half
of a bivalvular seashell, which forms a
canopy, and the hinge of which also forms
a sort of pedestal for the gracefully posed
figure. Upon the right hand of the figure,
a butterfly, symbol of the human soul, is
in the act of alighting, and the left hand
holds a garland artistically twined about
the figure. The extreme left and right
hand parts of the pediment show fishes,
reposing in, and just visible through en-
tanglements of seaweeds.
The top moulding is supported by con-
soles, each of which is a grotesque of dif-
ferent design from any of the others, and
it may here be noted that all duplicate parts
of the work which have similar contours,
have distinct and individual treatment.
No two similarly formed pieces are exactly
alike in decoration.
The upper full swinging frame has a
central panel, flanked on either side with
smaller panels. The larger panel has an
oval center, the marginal moulding of
which is treated to give the same effect,
except in color, as hammered silver work,
and is surrounded with symetrically arrang-
ed, finely chiselled scroll work and foliage.
In the center of the oval is a gracefully
posed Venus, surrounded by an artistically
disposed group of cupids, who have ex-
changed bows and quivers for musical in-
struments. In the background a sunburst
is shown, and in the right foreground are
symbols of musical art and composition.
Thus human love as expressed in music is
typified. The bottom of the oval is occu-
pied with finely-cut scroll work. The
flanking smaller panels have each a gro-
tesque head as the center of a tasteful
arabesque, which decorates the space re-
maining. The left pilaster of the upper
full swinging frame is decorated with a
male and the left with a female figure;
both these figures are superbly chiselled.
Each of the trusses of the keyboard and
the ornamental pieces that decorate the
arms, has been treated differently from the
other. The truss at the left of the plate is
decorated with a face slightly grotesque
while the face of the one on the right is
such as could only be conceived and mod-
elled by one inspired by the genius of
beauty and art.
The lower large panel, is in pure renais-
sance, beautifully elaborated, but subordi-
nated to other more prominent features of
the general design. In the centre is a
shield for a monogram or coat of arms, and
this is flanked on the right and left by
female heads from which extends, on
either side, a graceful design of oak and
laurel foliage, twining around large flow-
ers, one at the right, and another at the
left of the heads.
The shelf and keyboard are ornamented
with low-relief mouldings, and the handle
of the fall is a lion's head forming part of
a graceful design which includes the es-
cutcheon of the key-hole on the key-slip.
The tone of this instrument has the high
standard of quality for which the instru-
ments manufactured by Messrs. Strich and
Zeidler are justly famed. The solid carved

Download Page 10: PDF File | Image

Download Page 11 PDF File | Image

Future scanning projects are planned by the International Arcade Museum Library (IAML).

Pro Tip: You can flip pages on the issue easily by using the left and right arrow keys on your keyboard.