Music Trade Review

Issue: 1903 Vol. 37 N. 17

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE
\ | O , we shall never see those signs in piano stores> because the
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TF they, as a class, desire a closer acquaintance with that instru-
young men who are at work in the retail establishments
ment that acquaintance usually is fostered on the basis of com-
throughout America are ambitious and they do not wish to be mercialism.
chained to any standard which might be set up by men who hold
REVIEW
If it were not so, tell us why the most distinguished
houses in this industry have cut off wholly from their lists the
official positions in the organization.
names of professionals to whom pianos in former years were loaned
If by working overtime, by following up prospects in the ad lib.?
: •(; . | ^ |
evening they can advance their interests they will do so and not
Hundreds of thousands of dollars in pianos were scattered
watch the clock.
in studios and used by professionals and these professionals, when
A good many men who are not in sympathy with unions have
they performed a favor for a manufacturer, when their opinion was
joined them because they considered it was the easiest way to re-
used in making a sale, did not hesitate to demand the fullest com-
main on terms of harmony with certain of their fellow men and
mission possible.
factory associates. They are not, however, in sympathy with many
of the union acts, and piano salesmen who are a talented lot, who
are good readers and good students of human nature, would never
consent to sign away their individual birthright for a mess of union
pottage.
.
The leading manufacturers decided if one side was to be placed
upon purely a commercial basis, then the other might as well cor-
respond, and they called in hundreds and hundreds of instruments
which had been placed out for years, and kept in condition at vast
expense to the makers.
of the most successful traveling men remarked the other
day, "I have been successful and of course a large measure
n n H E Y also found that these same professionals would visit a
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of my success is due to hard and faithful work, but I also attribute
much of my success to the publicity which I have received through
the columns of the representative trade journals of this country.
number of piano houses in order that their influence might
be sold to the highest bidder.
men whose instruments they used free in their studios.
The professional myth was exploded, and it was decided by
They have made my personality known, and in connection with it,
the wares which I represent.
I lose no opportunity in impressing
upon my house the advantage of publicity.
If it is good for an
individual, it is good for a house, and good for a piano.
We are
They were not always loyal to the
leading makers that when professionals performed a service they
should be paid for it, but the air should be clarified as far as any
of their alleged influence was concerned.
It was to be a straight business proposition.
all working for common ends, and to advance our business inter-
Now in the new
ests, and I feel that publicity through the trade papers has been
order of things, how in the name of common sense is the opinion
greatly beneficial to me and to the instruments which I represent."
of a venal musical publication to influence in favor of any particular
Straight to the point—hits a bull's-eye, does he not?
piano?
.L^i.iJi^J
I F the manufacturers are brought into contact with professionals
\ \ J ITH extreme and becoming modesty the editor of a purely
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musical publication announces that an opinion published
about a piano in his publication is worth more to a piano manufac-
turer than all the opinions published in all the music trade papers.
*
they rind immediately that it is a question of money. The value,
however, of a class paper which circulates among professional peo-
ple is indeed small to piano manufacturers.
On the other hand, the value of a paper which circulates widely
Now this same individual has done much to cultivate such an
impression, and at the same time has been lining his pocket as well.
among the dealers—that is the men who purchase and sell all pianos
But let us analyze the conditions upon which such a theory is sup-
—is very great.
ported. In the first place a purely musical paper is read in the main
as a rule to ally themselves with progressive up-to-date manufac-
by professional people.
turers.
It is the trade paper of the profession and
the people outside, that is the musical public, are small readers of
a class publication.
They rely upon the critical columns of the
daily papers for their musical information.
They are influenced by what they read and desire
Professional musical paper of value to manufacturers!
That is the veriest rot!
O
UR attention is called to a circular issued by a piano manu-
facturing company in the West, who advertise:
"Get your pianos direct from factory.
F what particular advantage is it to piano manufacturers to
and dealers' profit."
have their wares exploited in a publication which reaches
purely professional people whose interests in their behalf are usually
dependent upon the favors extended to them by manufacturers?
In other words, the professional class get pay for everything they
do to forward the interests of piano men. There is no evil in this,
provided the contracts are agreeable to both parties.
The profes-
sionals have a right to expect remuneration, and demand it for their
personal services given in the exploitation of any particular wares.
But what percentage of them devote any time without exacting
You will save agents'
Now this concern has a large number of agents in all parts
of America, and we fear that if these men saw the argument which
was being used by the manufacturing house, they might become a
trifle lukewarm in their efforts to promote the interests of this piano
in any particular section.
Dealers are not fond of seeing manu-
facturers use that argument in their public announcements.
T
H E R E is certainly a more confident tone, in regard to business,
to be found in many circles where up to a short time ago there
a fair reward for their services ? They are not unselfish in their
was a question as to the character of the trade during the remainder
motives, and they are not influenced in the slightest by what they
of the year.
read in a professional publication concerning a certain piano.
next few months will be of good volume.
The impression is very general that business for the
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
10
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THE MUSIC TRADE REVIEW
HAT this nation is to be the leading
land of the world eventually in art
as well as in finance, is conceded by all
who have watched the steady trend towards
art development in this country.
Our people are taking a greater interest
than ever before in art, and growing com-
mercial institutions which blend the beau-
tiful with the practical in their works are
doing much toward the cultivation of this
sentiment.
It was not many years ago when pianos
of special design were rare indeed in this
St'einway^, fbr generations have been
leaders, and in this particular art field the
same spirit of originality is manifest which
has characterized their earlier works in the
realm of tone.
The piano which is presented in our sup-
plement is one which was ordered by
Thomas F. Walsh, of Washington,
D. C. To show the labor and care neces-
sary to plan and develop this special
product we may say that the head of the
Steinway art department, J. Burr Tiffany,
has himself visited Paris in order to super-
PAINTIXG UNDER TOP OF COVER.
country, but the great house of Steinway intend some of the special castings which
& Sons has placed particular stress upon were executed in that city. It will be seen
the production of special styles of instru- from the illustration that the shape of the
ments to conform with the character and rim is entirely different from the regular
treatment of parlors, music rooms and stock rim, as the end of the piano is built
studios, so that they have given a direct out square so as to avoid the graduating
emphasis to this line of work.
curve. After the rim had been made an
This firm have produced instruments application of solid Circassian walnut was
which have commanded the admiration of made, and this walnut was shaped and
connoisseurs, both in this land, and in curved to produce a bombe and intaglio
Europe—instruments which have been surface which produced a running effect.
placed upon exhibition in art galleries, thus
The piano has a series of six legs grow-
showing the piano as an art product.
ing out from the rim of the case, a set of
Specially designed Steinway creations four legs in the front and two in the rear.
have found their way into the homes of The extra middle leg is so arranged as to
American millionaires, who have been de- take away the length generally presented
lighted with the superb creations which to the eye in the regular stock form, and
possess the most attractive exteriors and gives the piano more the. effect of an old
steadfastly maintain that marvelous Stein- French cabinet. Upon all these carved sur-
way quality of tone which has won world- faces models were specially made in plaster
wide admiration from the most eminent of Paris, and from these models castings
critics.
were made in bronze which were specially
It is one of the secrets, to build pianos chased, mercury gilded and insulated to
with superb casings, such as the special preserve the acoustic value, and applied to
instrument which we present in this is- the surface.
sue, and yet to have all of those magnifi-
The front panel represents a cartouche
cent tonal qualities unimpaired. The with modeled cupids playing upon musical
instruments; the rear large panel has a
figure of the Goddess of Music playing
upon a harp surmounted by companion
figures playing lute and lyre, both figures
surrounded with foliage. The rear panel
represents a grouping of musical instru-
ments. All this metal work is done in the
old Louis XV. ornamentation, which is
only found in the old royal furniture. Ex-
amples of it are in the Louvre, Versailles
and at Fontainebleau, etc., and specimens
are in the Wallace collection, London.
The top cover of the case is shaped to
conform to the rim of the piano, and is
bordered by a two-inch metal moulding
conforming to the lines of the top and
hinged so that the top is easily opened.
A most attractive conception in the mak-
ing of the piano is to give it the necessary
strength and at the same time reduce the
enormity of surface to the eye, which is
demonstrated in the arm where the metal
is cut out, and the wood is allowed to pro-
trude, diversifying the field of surface. The
fall-board is exquisitely outlined and orna-
mented in the old Louis XV. style.
When the eye rests upon this piano it
is constantly kept moving by the curving
and winding metal ornamentation so that
the piano is full of interest not only at the
first vision, but as a series of study and de-
light.
An extremely new feature has been
added to this piano in the way of electric
lighting. Growing out from the arms are
bulbs in the form of metal leaves and tulips
with the candles projecting, and these, fix-
tures are so wired that the electric lights
are produced through globes with delicate
French shades adjustable to the necessary
requirements by protecting the eye of the
player yet throwing the proper light de-
sired upon the music desk, also lighting
the painting under the top of the cover,
"La Danse des Galants."
This painting is by Blackmore and shows
a garden scene in the time of Louis XV.
On the center is a dance with the gentle-
men crossing their swords over the heads
of the ladies as they pass through, figures
on the right coming down a flight of car-
peted stone steps to take part in the dance.
On the extreme right is a gentleman and
lady seated on the grass making love, a
cascade, two stone dolphins and two swans
in the water near them. On the left a
group of children with flowers, and a group
of two male and female musicians seated
near a large tree with high branches from
which drapery is hung. In the foreground
a group of musical instruments, music
books and flowers. In the distance a statue
of Pan, cupids and water lions and from a
shell in the statuary water falls into the
stream which flows from under a bridge
in the distance, and off to the left of the
picture. The entire coloring is toned,
blending softly into the natural wood
colors.

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