Music Trade Review

Issue: 1899 Vol. 29 N. 22

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
Pianola Possibilities.
OPENS UP NEW PERSPECTIVES IN PIANOFORTE
PLAYING—THE ARREST OF THE HAND—
DEDUCTIONS FROM RECENT SUCCESS
IN CONCERT, IN NEW YORK.
est and charm of perfect technical accomp-
lishment. Four-fifths of what is called the
personal quality in pianoforte playing is
just technical helplessness or insufficiency
and nothing more. This is perhaps more
marked in rhythm than in anything else,
nothing being more rare in our Concert
Halls than musical soundness in this res-
pect.
Every musician who has heard the in-
strument under favorable conditions recog-
nizes its indisputable merit in spite of limi-
tations. Appreciation of the instrument
depending upon a knowledge of all its
powers, the owners of instruments are
really the persons so far best qualified to
form trustworthy judgments. Their testi-
mony is all one way. Now, whether is
the approval of three thousand persons of
more or less musical cultivation who have
paid cash for instruments, to be preferred
above the opinion of prejudiced musicians
and critics who have never heard the in-
strument?
The objection to so-called mechanical in-
struments is well founded but needs to be
revised and brought down to date. As far
as it is a question of objection to machin-
ery per se, it is manifestly absurd. As one
of our foremost critics puts it:
"The important point is not the amount
of mechanical invention but how much
command the intervening mechanism gives
the performer over the tone-producing
part of the instrument. If the machine or
instrument is purely automatic and self-
governing, there is evidently no chance for
the display of individuality, for there is
really no performer at all in the business.
But if the machine has the man behind it
and gives him ample means of controlling
the sound-producing part at will, his power
of realizing his conception, of expressing
his individuality, is unimpaired. As I have
said, it is all a question of the amount and
character of the command the player can
exert over the sound-producing part of the
instrument he plays on, not at all of the
mechanical means by which his command
is obtained."
U
On the whole and looking at the ques-
tion from every side, the conviction is
forced upon the open-minded observer
that the Pianola is a new type of musical
instrument which plays better and more
musically than any pianist unless that
pianist plays better and more musically
than the Pianola—that is as much as to say
that it plays better than seven pianists out
of ten, taking all classes together. It will
surely find its place.
The annexed statement of the Kalten-
born Quartet is interesting:
To the .^Eolian Company:
Gentlemen: — I have no hesitation in
frankly stating my opinion of the Pianola.
In the first place, the full appreciation of
this instrument is like so many other
things—a matter of education. I should
advise every one to give it a thorough in-
vestigation before deciding on its merits.
Before rehearsing I was rather skeptical,
but after the first half hour's work it began
to grow upon me, and the longer I play
with it, the more wonderful it seems. Of
course, for ensemble work it is largely a
question of the man behind it. The point
is, that given the man behind it, the most
astonishing effects are obtainable; a pre-
cision and clearness such as few artists can
equal, with surprisingly accurate effects of
light and shade, rubate, accentuation, and
certainly of musical rhythm.
When one remembers how many pian-
ists set the technical ideal before them-
selves and spend their lives in reaching it,
these results seem the more remarkable.
The instrument has many limitations, but
then so has the player and I do not see
why one set of limitations should not stand
off against the other. On the whole it has
surprised and charmed me I predict a
great future for it.
(Signed) Franz Kaltenborn.
We desire to subscribe and heartily en-
dorse the foregoing statements.
Carl Hugo Engel, 26. Violin. Erwin
Banck, Viola.
Hermann Beyer Hane,
'Cello.
That there exists a strong desire among
those musically inclined for some means of
getting at music otherwise than by play-
ing it by hand admits of no doubt. The
character of the audience and the lively
interest displayed at the first public ex-
ploitation of the merits of the Pianola—the
yEolian Co.'s famous piano-player—given
at Mendelssohn Hall last week demon-
strates this unequivocally. Men prominent
in nearly every department of the music
profession were present, from virtuosi to
music dealers and piano manufacturers.
Of course the affair was of altogether
special interest to the latter, as whatever
its artistic place, the Pianola seems destined
to influence the piano trade in more ways
than one.
In last week's Review we referred to the
remarkable success achieved by the Piano-
la at this recital. It was heard to best ad-
vantage in lively rhythmic numbers—in
pieces requiring technical evenness, light-
ness, delicacy, clearness and speed rather
than intensity of sentimental expression.
It surprised those not acquainted with its
possibilities, and delighted all who have
watched the advance of this instrument to
no uncertain place in musical art.
The success of the Pianola brings to
mind a number of interesting questions:
"Is the end of hand-playing really ap-
proaching?" "Shall the hands of play-
ers of keyed instruments succumb to a
labor-saving device?" "16 the pianist of
the future to be provided with better
hands, fingers infinitely more deft than his
own and force at will?"
Something in the way of reply was given
The Chicago Cottage Organ Co. 's branch
to those present at this concert.
in Augusta, Ga., was opened last week
It would be as absurd to over-estimate
under the management of W. S. Faulkner.
the powers and possibilities of the Pianola
as it would be foolish to deny them alto-
gether. The very idea of the thing is rev-
olutionary and revolutionary ideas gain
Here is another sample of up-to-date Gabler advertising which should be productive
ground slowly. One thing is sure—the
of results. It is one of those clever creations that are bound inevitably to augment retail
Pianola is a musical fact and it must be dealt
trade and Gabler representatives desirous of emphasizing the merits of the Gabler
with and cannot be argued out of court
More than three thousand of them are in pianos in their local papers should communicate with headquarters in this city and
American homes at the present time. This secure electros.
in spite of the fact that the present instru-
ment is only a beginning. The inventors
state that improvements are being made
daily. At present the greatest need is for
some method of individualizing single
notes and subduing accompaniments which
are now too prominent. From what has
been already achieved it seems likely that
FATHER TIME
these defects can be remedied.
HAS PROVEN TO THE ENTIRE
A skillful pianoforte player does many
"WORLD THAT THE
things that the Pianola cannot do but each
GABLER PIANO
of these things is offset by a dozen feats
POSSESSES EVERY ELEMENT
easy for the Pianola and which no player
THAT MAKES A PIANO BEST.
can approach. Where the Pianola has one
WHEN YOU SEE
limitation the player has twelve. One of
GABLER NEW YORK
the strongest points in favor of the instru-
UPON A PIANO YOU ARE AS-
ment is the fact that a hopeless majority of
SURED THAT IT IS THE HIGH-
pianoforte players play with less real ex-
EST TYPE OF MECHANICAL
pression than is possible to the Pianola
EXCELLENCE —THE ABSO-
player and with but the extenuating inter-
LUTELY PERFECT PIANO.
A Clever Gabler Ad.
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.

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