Classic Mode

Music Trade Review

Issue: 1912 Vol. 55 N. 20

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TRADE
EDWARD LYMAN BILL - Editor and Proprietor
J. B. SPILLANE, Managing Editor
Executive and Reportorlal Staff:
B. BRITTAIN WILSON,
A. J. NICKLIN,
CARLETON CHACE.
L. M. ROBINSON,
AUGUST J. TIMPH,
W M . B. WHITE,
GLAD HENDERSON,
L. E. BOWERS.
BOSTON OFFICE:
CHICAGO OFFICE:
JOHN H. WILSON, 324 Washington St.
E. P. VAN HARLINGEN, 87 South Wabash Ave
Telephone, Main 6950.
Room 806. Telephone, Central 414
PHILADELPHIA:
MINNEAPOLIS a n d ST. PAUL:
ST. LOUIS:
R. W. KAUFFMAN.
ADOLF EDSTEN.
CLYDE JENNINGS
SAN FRANCISCO: S. H. GRAY, 88 First St.
DETROIT, MICH.: MORRIS J. WHITE.
CINCINNATI. O.: JACOB W. WALTERS.
BALTIMORE. MD.i A. ROBERT FRENCH.
INDIANAPOLIS, IND.: STANLEY H. SMITH.
MILWAUKEE, W I S . : L. E. MEYER.
LONDON, ENGLAND: 1 Gresham Buildings, Basinghall St., E. C.
Published Every .Saturday at 373 Fourth Avenue, New York
Entered at the New York Post Office as Second Class Matter.
SUBSCRIPTION, (including postage), United States and Mexico, $2.00 per year; Canada,
98.50; all other countries, $4.00.
ADVERTISEMENTS, $2.50 per inch, single column, per insertion. On quarterly or
yearly contracts, a special discount is allowed. Advertising Pages, $75.00.
REMITTANCES, in other than currency forms, should be made payable to Edward
Lyman Bill.
PlnV#1*-PfftnA A nil
Departments conducted by an expert wherein all ques-
• M1JC1 "I 14IMU d U U
tions of a technical nature relating to the tuning, regu-
TM*nal<*9l f f c o n a p f m o n f c
lating and repairing of pianos and player-pianos are
C l I M l l A l VCffal 11UCI1IS. dealth with, will be found in another section of this
pa M>er. We also publish a number of reliable technical works, information concerning which
i ill be cheerfully given upon request.
Exposition Honors Won by The Review
Grand Prix
Paris Exposition, 1900
Silver Medal.. .Charleston Exposition, 1908
Diploma
Pan-American Exposition. 1901
Gold Medal
St. Louis Exposition, 1904
Gold Medal. .Lewis-Clark Exposition. 1906
LONG DISTANCE TELEPHONES-NUMBERS S982-S98S MADISON SQUARE
Connecting all Departments.
Cable address " "ElbilL New York."
NEW YORK, NOVEMBER 16, 1 9 1 2 .
EDITORIAL
I
^HE problem of the used piano, which, as every man who sells
pianos knows, is steadily growing more acute, does not seem
to be getting" any nearer favorable solution—if anything, the situa-
tion steadily grows more alarming.
In this connection it might be interesting to refer to the man-
ner in which the automobile dealers are taking up the problem of
the used car that has become out of date. In many respects the
difficulties that confront the automobile dealer bear a close resem-
blance to those that keep the piano dealer awake at night thinking.
The latest suggestion from the automobile man is that if a
customer purchases a new machine, the disposal of the used car
should rest with him. In other words, it is suggested that no
allowance be made for used cars when new ones are purchased,
but that the used car be placed in salable condition by the manufac-
turer or dealer and sent to a central market to be maintained by all
the dealers in a certain territory.
In this market only second-hand cars will be sold and as used
machines are disposed of, the price realized will be credited to the
account of the customer; in other words, his is the risk and in the
event that the used car is not disposed of, the customer is still under
obligation to paying full price for his new vehicle.
• Of course, the usual cry will be heard that such a solution of
this problem is impossible—that even if it answered to the automo-
bile trade it would not do for the piano man. But surely the sug-
gestion should offer an idea that can be developed into something
tangible for the relief of the piano dealer. A central market for
used pianos would kill about 75 per cent, of the misleading adver-
tising and would keep the dealer's wareroom floors clean and per-
mit Him to go to the annual convention with a smooth, instead of a
wrinkled, brow.
REVIEW
eighty-eight note rolls—an accumulation of about three years—which
were cleaned out of stock. Incineration was preferred to throwing
them on the market where they may have been disposed of by the
department or ten cent stores at prices that would certainly have
disturbed selling conditions among legitimate handlers of music
rolls' throughout the country. This undoubtedly involves quite a
monetary loss, but Arthur A. Friestedt, manager of the company,
takes the very wise position that this action conserves the best
interests of the trade, prevents price disturbance and helps to enlarge
the demand for new and profitable music rolls.
/ ^ H A R L E S H. STEINWAY has contributed an article to
V_^ Printers' Ink which appears elsewhere in this issue entitled,
"Building Up Prestige and What It Entails."
Mr. Steinway has presented succinctly the history of Steinway
& Sons and how the ideal foundation of the business was estab-
lished by his grandfather in this country.
The article is more than ordinarily interesting not merely
because it comes from the head of the house of Steinway, but it
presents some points which it is desirable to emphasize in this day
of commercialism. That Steinway & Sons have been the most
generous contributors to American musical development is con-
ceded and that the directors of this enterprise have never been
swerved from certain idealistic principles must also be admitted,
and after reading the article the conclusion must be drawn that the
Steinways 1 through four generations have always appreciated what
prestige meant and also that sentiment has largely dominated the
house. Mr. Steinway says: "Our policies have been dominated to
a large extent by—shall I say sentiment? It is a question if senti-
ment is not necessarily inseparable from a business of the sort we
have built up, from a prestige founded on the satisfaction of the
sentiments, musical, literary, aesthetic."
Mr. Steinway shows in an interesting manner how his house
has never been swerved by the trend towards commercialism and
presents reasons why the directors have never succumbed to the
clamor for a cheap Steinway piano.
The article should be read by every dealer in America, whether
affiliated with the Steinway house or not, because there are many-
points in it which are worthy of the closest perusal.
Legal Questions Answered for the
Benefit of Review Readers
C[We have opened a Department wherein legal
questions, which have direct bearing on music
trade affairs, will be answered free of charge.
€|This Department is under the supervision of
Messrs. Wentworth, Lowenstein & Stern, attor-
neys at law, of 60 Wall Street, New York.
tjjMatter intended for this Department should be
addressed plainly, Legal Department, The Music
Trade Review.
REVIEW subscriber is having trouble with his partner whose
habits are not of the best. The affairs of the company are
somewhat involved, and Mr. A. desires to protect the interests of
his creditors.
He writes, therefore, to ask if he can force a dissolution of
partnership and compel his partner to take what he has due him
in the firm in outstanding accounts, as the company has more bills
due than it has cash on hand to meet them. Mr. A. has not the
money to buy out B. for cash.
He asks: "Can one partner compel another to buy or sell at
any time and can one partner compel another partner to drop out
of the firm when he has withdrawn all the money his interests
amount to?"
After reading Mr. A.'s communication, alleging misdeeds on
the part of B., The Review's Legal Department states that Mr. A.
would be entitled to maintain an action for the dissolution of the
EFERENCE is made in another nart of The "Review to the copartnership and for the appointment of a receiver and that if
radu-al action taken bv the United States Music Co., of Mr. A. could satisfy the court as to the facts stated the court
would undoubtedly appoint Mr. A. as receiver.
Chicago, 111., in disposing of some twenty thousand sixty-five and
R
A
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TRADE
REVIEW
Name Deception Should Not Be Permitted.
W
HAT arrogance it is for any new manufacturing house to
assert that its instruments are as good in every detail-
having all of the artistic excellence—all of the charm of tone—all
of the esthetic value—all of the musical grace and strength—in fact,
possess all of the essentials which are incorporated in instruments'
which have attained a world-wide reputation in art circles!
It seems so absurd, nonsensical almost, that it is hardly con-
ceivable that substantial business men will credit such a statement
for a single moment!
... What in the name of all that is good and great does experi-
ence count for, what does the accumulated wisdom of generations
of expert workmen—the development of organization—amount to if
a couple of stockholders can start a competing organization to-
morrow, even though it bears their family patronymic, and make
the trade and public believe that their instruments are as good as
the famous old-time instruments which date back to the beginning
of the piano industry?
It is not only a ridiculous position to assume, but is one which
is at once an insult to the intelligence of piano merchants every-
where. We care not what the names of men may be, because
names amount to nothing where a vital principle is concerned, but
the unfairness of the position interests men everywhere who be-
lieve in maintaining correct business methods and the stability of
the industry.
.. ..
The wonder grows how any dealer can set forth in his adver-
tising copy a statement to the effect that the instruments which he
offers have all of the sterling attributes, all of the artistic qualities
of the original, when he knows that every such utterance constitutes
a falsehood.
Why in the name of common sense does a court insist upon
imitators placing upon their instruments the words that these are
not the original, unless it was desired to afford a due protection to
the public, and yet there are dealers who come out openly and
announce that they have an instrument, of spurious brand, that
is not only as good, but has a few points over the simon-pure
article.
How long will the American people be fooled? How long will
a certain class of piano merchants lend themselves to the exploita-
tion of an article which is offered to the public through glaring
misrepresentation of facts?
These matters are of interest to piano men everywhere, for
the maintenance of the great names of piano history mean piano
stability, and if every man is permitted to embark in piano making
simply because he bears a family name resembling that of the great
makers, will he be permitted to put out a line of goods which men
with elastic consciences can use to deceive the public?
Every dealer, no matter where located, who has capital in-
vested in the piano trade and whose future is linked with the retail-
ing of pianos, is vitally interested in seeing that no name deception
is permitted to find a foothold in this trade.
Prosecuting A Campaign for Foreign Trade.
r
I V HERE is a decided awakening among manufacturers in all
JL lines of industry in regard to the prosecution of a vigorous
campaign for foreign trade. At various meetings of industrial
bodies held recently this subject stood forth most prominently, due
in a large measure, no doubt, to the comparatively near approach
of the opening of the Panama Canal, and the fact that England,
Germany, France and Japan are making mighty preparations to
send their goods through the Canal as soon as it is open to the
world's ships.
In the music trade industry the steadily increasing demand
for pianos and other musical instruments in our home market has
interfered with the efforts of manufacturers to secure a greater
recognition for their products abroad. This condition also pre-
vails in many other industries, and it is the retarding influence
toward a larger export business being done in all lines of trade.
Up to a recent date the conditions' in foreign countries, par-
ticularly in South America, were not properly considered by many
of our manufacturers. No systematic campaign had been inaugu-
rated to correctly cover these markets, with the result that sporadic
efforts in the export field did not bring the results hoped for.
Recently, however, this subject has been given serious con-
sideration by leading commercial organizations, and they have
been getting into close touch with the officers of associations rep-
resenting the various industries, with the result that we are rapidly
arriving at a better idea of the requirements of the most important
foreign markets.
Notwithstanding the competition of German, French and Eng-
lish manufactures in South America, pianos of American manu-
facture can be sold in large numbers if properly introduced. Only
this week The Review received a communication from a gentle-
man who is at present covering Argentina and Brazil in the interest
of American pianos, in which he says:
"Business in Brazil is exceedingly satisfactory. I sold a large
number of American pianos, and could have done a still greater
business there if the houses I represent would only allow long
credits—six, nine and twelve months. The American piano trade
is in its infancy in South American countries, and there is a great
future for pianos of American manufacture, if they conform to
the tastes and requirements of the people. In Argentina as in
Brazil the American piano is steadily gaining in favor among the
very best people, and although prices are higher than the German,
French or English instruments, people are willing to pay the money,
because they recognize the superiority of American pianos."
This is a very cheering report. Yet how few of our piano
manufacturers are giving the least attention to the development
of their export trade in these countries. Consider the tremendous
wealth of the people of Argentina, which, next to the United States,
is proving to be one of the great graineries of the world. Think
of the purchasing power of that country, particularly for art crea-
tions, such as pianos, and yet we sell comparatively few pianos to
this nation with its large population of cultured musical people.
As a nation we have to realize that it is the manifest destiny
of the Unted States to control, to a very large extent, the markets
of South America, and the music trade industry cannot be indif-
ferent to the situation. It is not a case of working for to-day, but
for the future. Now that this country has assumed a position as a
world power, industrial America should wake up to a realization of
the fact that it also can achieve gloriolis conquests in foreign
markets.
For the past few years our export trade in all lines has de-
veloped at an astounding rate, and with the opening of the Panama
Canal the next few years will witness marvelous accomplishments
in the branching out for foreign trade. Whether or not members
of the music trade industry will share in this expansion rests en-
tirely with them. They should not wait for others to point the way
to success.
•
I
to reap results commensurate with his expenditure early in the
game.
Advertising does not jerk; it pulls, as John Wanamaker said
on one occasion. It begins very gently at first, but the pull is
steady. It increases day by day and year by year, until it exerts 1 "an
irresistible power.
F there is one enterprise on earth that a "quitter" should leave
severely alone it is advertising. To make a success of adver-
tising one must be prepared to stick like a barnacle on a boat's bot-
tom. He should know before he begins it that he must spend
money-^lo'ts of it.
.
- •
: ^ Sbrn,ebody_ must tell him gently but ftrmly that he cannot hope

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