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THE MUSIC TRADE REVIEW
The Importance and Value of Recitals in the Retail Player Field Discussed
by a Trio of Expert Demonstrators in the Persons of Chas. Duncan Allen,
Chas. E. Minor and William Braid White—Their Views Are Interesting.
The piano trade, as a whole, has given too little space or thought to the expert demonstrator and his views.
The whole question of player recitals, however, is now securing more attention than ever before and it is therefore
fitting that The Review should undertake to produce a discussion of this important subject at the hands of men
who are in most intimate touch with the dealers who give recitals, with the public who hear them and with the
manufacturers who build the instruments exploited by them. The expert player-pianists are few in number,
comparatively speaking, but three of them have given their views here and the attention of the trade is especially
called thereto.
The first of these gentlemen is Charles Duncan Allen, formerly expert demonstrator with the Farrand Co.
and other houses, and now in the piano and player business at Schoolcraft, Mich. Mr. Allen is a musician as
well as a business man and speaks from both standpoints.
The second expert is Charles E. Minor, principal player expert for the Baldwin Co. Mr. Minor's experience
covers the whole field and his opinions are eminently practical and sound.
The third is William Braid White, Technical and Player Editor of this paper, who has been in charge of the
Player Section of The Review since its inauguration. Mr. White is one of the most distingushed player-panists
;
n the country, a deep student of music, a practical mechanical player expert and an experienced publicity man.
He is the author of "The Player-Pianist," published by Edward Lyman Bill, a comprehensive treatise on the art
of playing the Player-Piano, and of "The Player-Piano Up to Date," a publication which has just been an-
nounced. Mr. White, therefore, speaks with authority.
These gentlemen have answered the following questions:
1. WHAT DO YOU THINK OF PLAYER RECITALS AS SELLING MEANS? ARE THEY DIRECT PRODUCERS OR NOT?
fc. WHAT IS YOUR IDEA OF THE BEST WAY TO HANDLE RECITALS, AS TO METHOD, ADVERTISING, PROGRAM, MAN-
NER OF GIVING AND SOON?
3. DO YOU THINK THAT THE DEALER SHOULD UNDERTAKE TO DO SYSTEMATIC WORK ALONG THESE LINES?
What Chas. Duncan Allen, Prominent Player Expert and Now in Business
at Schoolcraft, Mich., Says:
Since the inception of the player-piano a large
proportion of musicians and the musically inclined
have pointed the finger of derision at mechanically
produced music, "made music," little realizing the
enthralled at the rendition of some great master-
niece, played as they thought only human lingers
could play 1 it, and have become enthusiastic be-
lievers in the player-piano as a means of artistic
interpretation. In one case, at least, a player was
sclu to a prominent conservatory of music because
of the conversion of the director of the school who
had attended a player-piano recital under protest.
There can be no doubt that direct results follow
recitals, and every dealer who has tried this form
of publicity will give evidence to its efficiency.
The question of handling recitals must of neces-
sity be governed by local conditions, but should al-
ways be actively identified with the local dealer
and his store and, if suitable space can be ar-
ranged, it is better given in his store. In some
cases it is better not to dwell too strongly in ad-
vertising on the fact of the recital being given on
the player-piano._ Some will claim that this will
be obtaining a hearing under false pretenses, but
the recital should be so meritorious from the
musician's standpoint that the mechanical part will
be overlooked.
Above all, these recitals must be given in a
dignified, musicianly' manner, and the program
must be arranged to suit the taste of the audience.
Don't try to elevate the taste of your hearers in
one recital, but arrange the program so that they
will get something that is good for them sufficiently
"sugar coated" to make it go down easily. The
best results are to be obtained by a judicious ad-
mixture of light and heavy classic numbers, ar-
ranged to please all tastes, and don't be above
playing the latest operatic hit, providing it is at all
interesting. The performer should, as far as pos-
sible, eliminate himself from the minds of his
audience, avoid all eccentricites, and let the player-
piano receive the glory which is its just due.
By all means the dealer should arrange to carry
on work of this nature, and he will find that the
results obtained will warrant the expenditure of
time, money and energy.
It has been my privilege to give recitals in locali-
ties covering a large portion of the country, and 1
recall with pleasure the expressions of gratification
of not only the people who attended them, but of
the dealers and salesmen as well, and one dealer
reported recently that his player business had in-
creased fourfold, and he attributed it directly to
two recitals which were given during the year and
which attracted large audiences.
What Chas. E. Minor, Principal Player Expert for the Baldwin Co., Chicago,
Has to Say:
Charles Duncan Allen.
educational value of these instruments and their
efficiency in broadening the scope of that most in-
tangible of arts, music.
What better method can be devised to convince
these disbelievers than private or public recitals in
which the artistic possibilities of the player-piano are
convincingly demonstrated? Musicians who have
only heard "Maple Leaf Rag," and kindred selec-
tions, ground through a player-piano, have stood
I shall answer your questions more or less to-
gether. In the first place, I certainly believe in the
player recital as a direct producer of business; pro-
vided that it be rightly prepared, rightly carried
out and rightly followed up. Every man who has
had experience in the giving of recitals knows that
a poorly planned, indifferently 1 executed and care-
lessly followed up affair will be a rank failure and
will not pay for the time consumed in giving it.
When such an affair is to be given it is essential
that the retailer be well coached in his part. It is,
in my opinion, the right plan to classify the audi-
ences as much as possible and to attempt to give
separate programs at different times for different
audiences. The type of program must naturally
vary, but in all cases it must be interesting. A
cultured audience cannot be "got" by a program
of music not worthy of their attention, no matter
how well played. And contrariwise. The musically
(Continued on page 7.)