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8
THE
MUSIC TRADE
REVIEW
THE OLD MASTERS AND A MODERN MASTERPIECE.
The Triumphs of the Baldwin Piano at Great International Expositions Augmented Through
Its Use by Distinguished Artists, Meeting All Their Demands—Interesting Contribution
Which Appears in the Current Issue of The Review of Reviews.
What could not the old composers have accom-
plished with a Baldwin Grand? The speculation
is De Pachmann's—greatest of Chopin players—
and it is a fascinating one.
When Franz Liszt, over fifty years ago, inaug-
urated dazzling, technical feats of the keyboard,
BALDWIN CUNCKKT GUAND
When at Paris, in 1900, the Baldwin piano, ex-
hibited with the oldest and most famous in-
struments of Europe, was awarded the Grand
Prix by an impartial and supremely competent
jury, two continents stared—and saluted! What
did it mean? That a piano, not traditional in
character—a pianistic Loch-
nivar out of the West—by
sheer beauty of tone and
touch, should have achieved a
triumph of such genuine ar-
tistic significance—the event
bespoke a musical force of un-
usual power. In further recog-
nition of the technical mas-
terpiece of the Baldwin mak-
ers, the rarely conferred per-
sonal order of the Cross of
the Legion of Honor was be-
stowed upon the head of the
Baldwin House. At St. Louis,
later, the Baldwin received
the Grand Prize—but no one
was surprised.
With dra-
magnificence by the virtuoso. De Pachmann—
matchless master of tone shading—as is well-
known, plays a Baldwin exclusively, finding for
the nonce no other instrument so exquisitely
adapted. In an opposite camp—pianists of the
"grand style"—the Baldwin tone is valued*
for richness, resonance, and extraordinary
depth. With the playing of Raoul Pugno,
an artist who demands of a piano virile
power and depth of tone, the Baldwin
is inseparably linked. "The Baldwin tone
is boundless," said the Gallic pianist, after a
memorable performance of the Grieg A Minor
Concerto; "you can't get to the bottom of it—
can't pound it out!" Yet this is the tone that
UePachmann pares down to a whisper! Sem-
brich, to add another contrast to the variety pre-
sented by Baldwin artists, uses the Baldwin
wholly on tour, and has one in her Dresden home.
"It blends perfectly with my voice," is the tribute
of the greatest colouratnra singer in the world.
LOUIS XVI.
he sounded new depths to the possibilities of
tone and forced the development of "the greater
piano." The action of the instrument that had
influenced the style of every composer before Bee-
thoven was excessively light. The Liszt technic
demanded sonority, power. But during the evo
lution of these qualities time mellowed musical
taste, and out of the noise and glitter of the
romantic school there arose a higher ideal in
piano-playing. "Tone color"—variety of touch—
became the watchword and emotional depth the
essential in a piano, where before brilliance had
sufficed. To produce "a tone capable of infinite
shading, not merely of forte, piano, and mezzo-
forte"—this was the problem of the piano-makers.
BALDWIN UPRIGHT SPECIAL
matic disregard for "prece-
dent," this piano has assumed
a definite and distinguished
place in the field of contem-
porary music.
The formal coronation of
the Baldwin piano had been
foreshadowed by triumphs on
the concert stage with pian-
ists and singers eminent in
their art. Just as a great
picture reveals its entire
beauty in a perfect north
light, the tone of a fine instru-
ment is exploited in its full
'THE SPIEIT OF MUSIC."
In an intimate en-
vironment, the Bald-
win tone is moving,
and lovely. I t s se-
lection for homes in
which wealth and
musical feeling a r e
allied and by ama-
teurs of culture re-
GUAND—AMERICAN AWT.
veals how strongly it
has endeared itself not only to the professional
artist, but wherever are to be found—in the
happy phrase of Mr. Krehbiel—"friends of
music."
A study of the House of Baldwin reveals a
powerful organization endowed to a rare degree
with the artistic ideals, musical feeling and sci-
entific genius, of which every musical work of
art is a threefold product.
It is not the purpose of this article to describe
the material character of the Baldwin piano nor
the distinctive devices for a nobler quality of
tone which are embodied in it. Except to the ex-
pert, comprehension is difficult of the complex
and various means by which the blows of ham-
mers upon metal strings produce a marvelous
witchery of sound. The gain in piano construc-
tion is on the human side, and it is the superla-
tive beauty of the Baldwin tone and touch that
arrests popular interest.
The House of Baldwin has sold pianos since
1862. A factor in its original manufacturing
equipment was an intimate acquaintance with
the merit and weakness of every piano of the
better class made in the last half-century. This
knowledge, and an entire appreciation of the
artistic advance in pianistic standards brought
about by the new school of piano music, to which
reference has been made, the Baldwin House
coupled with the ambition to produce a piano