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THE
MUSIC TRADE
REVIEW
EDWARD LYMAN BILL - Editor!andfProprletor
J. B. SPILLANE, Managing Editor
Executive and Reportorlal Stall:
G«o.
B. KBLLBI, W. H. DYKES,
A. J. NICKLIN,
B. BRITTAIN WILSON,
AUGUST J. TIMPE,
I. C. CKAIG, L. E. B O W I U ,
W M . B. W H I T E .
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Published Every Saturday at 1 Madison Avenue, New York
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I.vman Bill.
important feature of this publication is a complete sec
to the interests of music publishers and dealer*
Music Section. tion An devoted
Departments conducted by an expert wherein all ques-
tions of a technical nature relating to the tuning,
Player and
IW>nai*tnu>ntc regulating and repairing of pianos and player-pianos
VC| l driIIieiIl&. a r e dealt with, will be found in another section of this
paper. We also publish a number of reliable technical works, information concerning
which will be cheerfully given upon request.
Exposition Honors Won by The Review
Grand prim
Paris Exposition, 1900
Bilver Medal.Charleston Exposition, 1902
Diploma.. Pan-American Exposition, 1901
Gold Medal... St. Loots Exposition, 1904
Gold Medal
Lewis-Clark Exposition, 1905.
LONG DISTANCE TELEPHONES-NUMBERS 4677 and 4878 GRAMERCY
Connecting all Departments.
Cable address: -ElbllL. New York."
NEW
YORK,
JULY 15, 1911
EDITORIAL
T recent conventions of music teachers held in different states
A
throughout the country, the player-piano, and its influence
for good and bad, came in for considerable discussion.
REVIEW
interpreter, a Hofmann, a Busoni, a Paderewski, or a Bauer, gifted
with another special genius, that of interpretation, sits before the
piano and manifests the spirit which was imprisoned in the scroll
by the mind that created it originally, and we feel ourselves brought
into touch with emotions of curious pleasure, wonder and delight
which the works of genius reflect.
We can, however, only hear the better class of music in all
the forms from dance up to symphony performed artistically in
public by individuals specially gifted and educated, or by bands and
orchestral organizations trained for that purpose.
With the player-piano, which can be placed in every home,
which can be purchased for a reasonable figure, we come into touch
with the rarest inspirations of all the best composers and all the
best works in the different forms can be performed. The player-
piano is indeed a boon, and a reality worth emphasizing and holding
up to the serious consideration of dealers and purchasers of musical
instruments throughout the country.
The possibilities of the player-piano as an educational factor
are bound to be recognized in time, just as all prejudices will be
dissipated, and earnest supporters enlisted among that great army
of intelligent men—the music teachers of the country.
Instead of interfering with the study of music, the player-
piano will, on the contrary, so expand and intensify musical appre-
ciation as to make a knowledge of music a greater necessity in
the home.
The player-piano is not by any means a mere automatic con-
trivance, and the sooner that the music teachers view it more
tolerantly and intelligently, the better it will be for all concerned.
Instead of opposition, there should be co-operation, and the
time has already arrived when teachers will instruct not only re-
garding playing of the piano manually, but impart to the pupil
or user of the player-piano a correct knowledge of how the works
of the masters may be conceived and interpreted.
r
T" v HE player-piano brushes from the path of the user the material
JL difficulties which prevent so many from communing in the
privacy of their homes with the great masters, and with every
notable musical work of genius.
A conductor emphasizes, phrases, guides and unites the en-
semble of his band or orchestra in keeping with the purpose of the
composer, using the musicians as a musical means to that artistic
end. The individuality of each performer is absolutely lost in the
individuality of the ensemble which the conductor molds and
colors, according to his own conception of the composer's meaning,
or his own personal interpretation of the supposed work.
The player-piano gives one the same facilities and the present
day duty of all interested in musical advancement is to see that the
owner of the player-piano uses it understandingly.
There are thousands of people, needless to say, who have but
little conception of the correct use of the player-piano, and this is
due in a large measure to the lack of interest and enthusiasm on
the part of the dealer and salesman in arousing the interest of the
buyer of player-pianos to the new field which the player opens up
for him in a musical way.
It is because of this situation that The Review issued the
volume, "The Player Pianist/' which has been a godsend to hun-
dreds of player-piano buyers. It has given them a new vision of
the player-piano and opened up to them a new musical world, so
to speak. It has enabled them not only to play, but to under-
stand the great musical works of the masters—to read them cor-
rectly.
An instrument like the player-piano that increases musical
knowledge, and affords such keen pleasure to the thousands who
hitherto have been poverty-stricken musically, is entitled to the
especial consideration of everyone interested in musical matters
whether he be a piano manufacturer, dealer or teacher.
The prejudice manifested by a certain class of music teachers
and critics, toward the player-piano, and which is noticeable in
their writings and speeches, is dying slowly. This antagonism
meanwhile is without discrimination or justice.
The player-piano has suffered much through being described
as an "automatic" instrument.
Notwithstanding that musical automata, as now manufactured
both in Germany and in this country, are capable of very fine
effects, the player-piano, that is the properly made instrument, is
distinct from that class.
While it not merely admits of that perfect mechanical execu-
tion in fugal and contrapuntal movements and phrasing, and which
can be obtained only by the best instrumentalists, it also gives the
executant or manipulator every facility for impressing on the music
produced the stamp of individuality and personal attention, which
a conductor of an orchestra possesses.
Hypercritics who attempt to belittle or thoughtlessly confound
the player-piano with automata, or such like instruments, should
examine and try to understand the player-piano before becoming
its judges.
As a medium for manifesting to the world the inspirations of
the great master minds, and for giving forth the elements of re-
F, as it has been frequently stated, that trade journalism fairly
finement and pleasure which lie hidden in musical works, the player-
reflects the life of an industry, then what point has the piano
piano is capable of doing much good educationally.
industry reached if judged by the mouthings of the venal press?
Turn the columns of publications devoted to filthy abuse, pro-
HERE is a strange element of mysticism in music anyway.
fane quotations, innuendos regarding private lives of members of
We hold in our hands a printed copy of a classic which came
the trade—serious imputations regarding honest}'—just veering
from the genius of a Mozart ; or a Beethoven, dead and gone. The
sufficiently off the danger line so that the names are not mentioned,
I
T