Music Trade Review

Issue: 1899 Vol. 29 N. 7

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
CONCERNING PRICES AND OTHER THINGS
Hugo Sohmer, of Sohmer & Co., reply-
ing to a query from The Review on current
styles in uprights during a visit to the new
Sohmer warerooms on Thursday, said that
there is at present a distinct and growing
tendency among purchasers toward plain-
ness in paneling. Of the forty Sohmer
styles now current, quite a number for the
fall trade have plain and etched panels,
whereas in previous years carved relief
designs were in vogue.
Mr. Sohmer remarked also that in orders
from representatives the larger and most
costly of the styles in uprights lead in de-
mand. Several new styles have recently
been added, including one with painted
panels and an elegant Sohmer example in
white and gold. The anticipated big call
for Sohmer Baby Grands is evidently about
to be realized. The Sohmer Baby Grand
and Parlor Grand are much in vogue among
people of moderate means who live in their
own detached or semi-detached residences.
1
Replying to a question as to the possible
attitude of Sohmer representatives in the
event of raised prices resulting from in-
creased rates now current for raw material,
Mr. Sohmer said, " Our representatives, I
am happy to say, are thinking men as well
as being men who act. They know, as
well as you and I do, that the cost of
production for each Sohmer piano can-
not go below a certain figure, and
they know, therefore, that the cost is
raised proportionately when the materials
from which it is made are increased
in price. An increased output does not
balance it up, because that means in-
creased facilities and other extraordinary
expenses. With this knowledge, why
should you doubt their attitude if our rates
are increased? I am quite sure they will
respond most loyally."
*

*
Henry B. Fischer, of J. & C. Fischer,
during a brief talk with The Review on
Thursday, said, in reply to a question as to
the firm's attitude in the matter of ad-
vanced prices for the fall, that an increase
must inevitably come, just as soon as new
stock takes the place of that now on sale.
Concerning the dealers' view of a possi-
ble increase, Mr. Fischer said that, to the
best of the firm's knowledge and belief, the
Fischer representatives fully realize what
an increase in the price of raw material
means to the manufacturer. ' 'Piano makers
generally have been working on close mar-
gins for a long time," said Mr. Fischer,
"and now, when a marked and apparently
permanent increase takes place in the price
of woods and metals for supplies, they
must either be content to accept less than
a living profit or they must raise the prices
of their instruments.
" I cannot see any plausible reason for
objections to an increase in price of instru-
ments proportionate with the advanced
price of supplies. It is a sound business
proposition, and it is only by conducting
business on such a common-sense basis
that success, can be achieved or an estab-
lishment maintained. The increased price
of raw material has been brought about by
an increased demand, indicating prosperity.
"This means that people are not going to
quibble about a slight difference of price
in pianos. More money is being earned
and more money can and will be spent.
The live dealer who understands values,
therefore, if prices are justly raised, has no
legitimate cause for complaint."
*
* *«.
he thinks—and thinks deeply—about these
products, and if you get him in the right
humor he will tell you why it is that the
Schubert has been in favor with enterpris-
ing dealers ever since it was first placed
on the market. His reasons are many—
and they are good. They are listened to
respectfully because he talks of what he
knows.

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'
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What Peter Duffy does not know about
pianos and the people who make and sell
them is, truly, not worth knowing. Men-
tion a certain make of piano, and he will
tell you, if you wish it, its strong points
"Musical Instruments" is the title of a and its weak ones. Mention a firm manu-
pretty little brochure just issued by that facturing or said to be manufacturing
great Western house of Lyon & Healy. It pianos, and, if you express a desire to gain
contains illustrations and descriptive mat- light, he will tell you the exact facts, so
ter of an endless variety of musical in- far as trade ethics and his own keen sense
struments suitable for premiums. The of propriety will allow him to do so. He
covers are attractive and on one are two lines is respected in the trade for the reason,
which it is well to consider inasmuch as among other things, that he understands
they are expressive concerning the magni- trade ethics, and appreciates the necessity
tude of the business done by Lyon & of observing them.
Healy. They are "Sales to date, over
*


29,000,000."
What astounding figures, what enormous
business transactions they reveal!
*
* *
There has lately been much speculation
regarding the origin of the word " t i p . "
The truth is that in an old English tavern
a receptacle for small coin was fixed in a
conspicuous place, over which appeared in
writing: " To insure promptness." What-
ever was placed in the box was divided
among the servants. Other taverns fol-
lowed the example, and soon the words
were abbreviated to T. I. P.
*
* *
Among the quiet yet practically effec-
tive workers in the piano manufacturing
iudustry in this city are the firm-members
of Newby & Evans. Mr. Newby is rarely
away from his post of duty at the factory.
He exercises a keen supervision over the
several departments, and it is largely due
to his tireless watchfulness that the Newby
& Evans products hold their present
position among creditable Eastern manu-
factures, " always reliable, always up to
a good standard."
" Ricca" pianos, Styles D and DX, will,
it is announced, be hereafter known as
"Arlington" pianos. In about two weeks
four additional styles in uprights will be
placed in the Ricca catalogue of 1899-
1900, now in preparation. They will be
named Ricca styles, E, F, G and K.
"It is intended," said a member of the
firm to The Review on Wednesday, "that
these new Ricca products shall be strictly
high-grade, and the closest attention is
being paid to all details connected with
their construction."
*
* *
When John Ludwig, of Ludwig & Co.,
is asked for news items, he usually sums
up the situation by saying, in effect, that
anyone with an observing eye and a listen-
ing ear can gather news easily concerning
Ludwig & Co. without putting any pointed
questions to the firm partners. That is
not half a bad way of stating it, either.
The observing eye can readily note the
men working on the main floor, most of
them in the front part being visible from
the office, and can witness them moving
rapidly hither and thither in fulfilment of
their several tasks.
*
*
* .
John Evans, of Newby & Evans, has
done his full share, too, in keeping up the
Among the visitors at the new Sohmer
firm name to a proper level. His person- warerooms this week were C. C. Grinnell,
ality makes him a welcome visitor every- of Grinnell Bros., Sohmer representatives
where. No matter how ruffled the person at Detroit, and the Misses Spargo, of
called upon may feel at the moment when Hazelton, Pa., daughters of the late William
Mr. Evans enters his presence, the friendly Spargo, Sohmer representative at Hazel-
greeting and unassuming demeanor of this ton, Pa. The daughters will probably con-
truly representative manufacturer "calms tinue the business.
the tempest and subdues the storm."
William P. Daniels of the Mason & Ham-
And he can conduct negotiations quite as lin Co., started early in the week on his
successfully as the cyclone occasionally met vacation. He will spend part of the time
with, if not better.
yachting in Maine waters.
*
* *
William O'Shea of the new Bradbury
Peter Duffy, president of the Schubert warerooms in Fifth Avenue has been the
. Piano Co., does not talk about the Schu- recipient of many congratulatory messages
bert products as a rule except to visiting on the accession of a daughter to his house-
dealers or others who mean business, but hold.
*
*
*


Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TIRADE REVIEW
. . . SOflE DEALERS WHOM W E KNOW . . .
GLANCES AT SOME OF THE MEN WHO HAVE MADE MUSIC TRADE HISTORY IN PROMINENT TOWNS.
M. H. ANDREWS, Bangor, Me.
Up in the historic town of Bangor, Me,,
is a dealer who has gained considerable
notoriety outside of trade circles through
the mediumship of his excellent musical
compositions.
I refer to M. H. Andrews, whose contri-
butions to musical literature have acquired
an enormous sale through some of the
largest wholesale and retail houses in this
country. His "Pride of the Navy' was a
particularly happy hit. This was followed
up by another composition which was
warmly applauded—"Pride of the Army,"
then his "Thelma Waltzes." All of these
show that Mr. Andrews possesses ability of
no light calibre.
He is a native of the old Pine Tree State,
and in 1861, at the age of sixteen, entered
the army. He fought through many ardu-
ous campaigns and applied for his dis-
charge in '66 when peace reigned through-
out the land.
Through all of his compositions runs a
martial spirit. He was early leader of a
band and after the close of the war he
came to B:mgor, where in 1866 he immed-
iately assumed leadership of a Bangor
band and the leading orchestra as well.
He was a teacher of music until 1890 when
he purchased the music business of the L.
J. Wheelden Co. He became absolute
owner of this business in 1895 which he
has since continued under his own name.
Mr. Andrews is a man of geniality and
member of the trade whose early musical
tendencies led him into commercialism.
On April 10th of next year Mr. Barker will
have reached the half century mark as a
Hartford dealer as it was 1850 when he
first opened pianoforte warerooms in that
city.
Mr. Barker is a practical as well as
theoretical musician having been professor
LUDLOW BARKER.
of music. He was also for thirty-six years
one of Hartford's leading organists. He
is a practical tuner as well, therefore in
Mr. Barker we find crystallized the qualities
of musician, theoretician and practical
merchant. He occupies large and com-
modious quarters at 153-55 Asylum street
where he carries a complete line of sheet
music and all kinds of musical instruments
which come under that comprehensive
term '' small goods."
In pianos Mr. Barker's list is long and
comprehensive, and he has handled for
years some of the most noted instruments
made in this country. It has always been
his aim to supply the music-loving people
of Hartford with high-grade and reputable
wares. Mr. Barker is a man of courteous
affability, and is what we may properly
term one of the gentlemen of the old
school, preferring to run his business on
high-grade lines and always has a horror of
anything of the sensational.
Busy Packard.
[Special to The Review.]
Ft. Wayne, Ind., Aug. 1, 1899.
M. H. ANDREWS.
The Packard Organ Co., or as it is cor-
has a large personal following in Bangor rectly styled now the Packard Co., enjoys
where he has built up a very satisfactory busy times.
Yesterday the company shipped a car-
business. His establishment at 98 Main
street is well patronized. He handles the load of organs to the Pacific coast, the di-
Chickering, Mason & Hamlin, Vose, Ster- rect destination being Seattle. The prod-
ling, Huntington, Blasius and Trowbridge ucts of the factory have been known in al-
pianos, also the Mason & Hamlin, Packard most all parts of the world for some years,
but for some reason the trade along the
and Carpenter organs.
Pacific coast has not been worked very
LUDLOW BARKER & CO., Hartford, hard. Mr. W. B. Lane will represent the
Conn.
company along the coast and will make a
Ludlow Barker, one of the best known tour for the purpose of introducing the
dealers of the Nutmeg State, is another organs and pianos.
Does !t Pa
? tojwnte songs?
One would gather from the paragraphs
which find their way into the papers when-
ever a sale of musical copyrights is on,
that it does not pay to write songs although
it pays publishers to print them. As a
matter of fact it pays to write songs and it
pays to publish them—sometimes. The
risks and ramifications of publishing are
not understood by the public. It seems to
be the general notion that after an incon-
siderable outlay on plates, the cost of the
average song or piece is from id. to ij^d. ;
therefore if one song in fifty becomes a
success it pays the publisher handsomely.
But there are other aspects of the question
which are usually overlooked, says our
esteemed English contemporary Music.
Whether a song or piece is destined ulti-
mately to prove a success or a failure, the
publisher has all sorts of expenses to bear
besides the mere printing of the work. In
the case of a song he has to advertise it
extensively, and pay royalties to singers
to induce them to take it up. It costs
just as much to fail as to succeed in popu-
larizing a song. The retail music seller
does not co operate with the publisher in
the least, although he is given the oppor-
tunity of buying "novelties," as new pub-
lications are tenneu, at a very low price,
and might sometimes make a pile of money
by backing his judgment. The unrelia-
bility of that mysterious entity "public
taste " not only makes music publishing
the most speculative of all businesses, but
makes composition, fascinating as it is, a
precarious means of earning a livelihood.
A composer makes a hit with some trashy
song or patchwork waltz, and his publisher,
in a sanguine moment, offers to pay him a
substantial, yearly sinn to secure every-
thing he writes for a term of years. In
nine cases out of ten the composer gets the
best of the bargain. The writer of that
too delicious effusion, which last year took
the town by storm, may never succeed in
tickling the public's musical palate again.
At a sale the plates of his songs may not
fetch more than ninepence apiece—that is,
their worth as old metal.
Nevertheless, opinion does prevail in
some quarters that publishers grow fat
whilst composers starve, and an alluring
and delightful scheme was recently adver-
tised, having for its object the readjust-
ment of matters. It was a cooperative so-
ciety, which, it was claimed, afforded ex-
ceptional facilities to composers for having
their works published and effectively dis-
tributed. The compositions of members
were to have a prior, but not exclusive
claim for consideration, and the society was
to an publish all the music necessary for
the musical profession, and those engaged
in the sale of music, thereby obviating the
necessity of employing a publishing house.
It would have seemed from the glowing
prospectus that the millennium of the great
unpublished had at last arrived, and that
the miserable owners of copyrights might
as well melt their plates and consign their
printed sheets to the flames. But the
withers of the publishers were unwrung,

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