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THE
APRIL 19, 1924
MUSIC TRADE
REVIEW
Merchandising the Reproducing Piano
W. C Heaton, President of the Autopneumatic Action Co., New York, Points Out a Full Appreciation of the
Possibilities of the Reproducing Piano on the Part of the Dealer and the Salesman Will
Result Inevitably in a Wider Distribution of This Product
r~"|~"^HE reproducing piano of to-day, in my
I estimation, offers to the members of the
industry the greatest medium in history
for appealing to the great body of the buying
public, and particularly to the artist and the
music lover, for it opens up avenues for musical
entertainment and instruction that are little
short of marvelous. As a matter of fact I
believe that even in the trade itself the repro-
ducing piano—and by that term I mean an
instrument that actually reproduces the playing
of the pianist in all faithfulness just as it was
recorded and does not simply add automatic
expression—is not as fully appreciated as it
might be, particularly in the distributing end.
Much Still to Be Done
Piano manufacturers have done their full
share in designing their cases for the artistic
installation of reproducing actions, such as the
Welte-Mignon (Licensee), and have likewise
accomplished great things in the exploitation
of reproducing instruments, but there still re-
mains much to be done in getting the instru-
ments from the wareroom floors into the homes.
A full appreciation of the standing and pos-
sibilities of the reproducing piano on the part
of dealers and salesmen will have its effect in
bringing about this more rapid distributing
movement.
In connection with the Welte-Mignon (Li-
censee) reproducing action we have worked and
are working to bring to the selling forces of
the trade a thorough understanding of what we
have to offer and what our medium has to offer
and we find that where we are successful in
putting the message across the results are im-
mediate. In fact, the public itself, which is
more or less acquainted with the reproducing
piano, has much to learn regarding what it
really means. That the public is in a receptive
mood has been proven on numerous occasions
through our own experiences.
One of the Difficulties
One of the difficulties seems to be that the
sales methods used with the ordinary piano are
followed too closely in presenting the repro-
ducer and the instrument itself is not allowed
to do its own selling. I could cite numerous
instances where admitted skeptics, who had de-
clared that they would not buy reproducing
pianos because those they had heard did not
measure up to claims, have not only been con-
vinced but actually sold through an intelligent
presentation of a piano containing a Welte-
Mignon (Licensee) action. If automobile sales
depended upon the sales talk on the floor, those
sales would drop off SO per cent or more. It is the
demonstration ride, showing the pick-up, smooth
running and hill-climbing abilities of the car
that gets the name on the dotted line. Likewise
it is the demonstration of the reproducing piano
that convinces the prospect as to its value and
not the careful talk of the salesman.
Selling to the Musician
We know this ourselves because we have been
called upon to sell the reproducing piano idea
from the recording .end to the great artists
themselves, and therefore know that it can be
done. The artist who, having recorded for the
old types of reproducers and perhaps for talk-
ing machine records and having been called
upon either to repeat the recording several times
or to spend several hours editing his work, is
frequently quite antagonistic to that type of mu-
0
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sical expression and hard to convince. Yet we
do it.
For example, I called on Bendetson Netzorg
in Detroit, who is probably the best-known
pianist in that city, with the exception of
Gabrilowitsch, in order to have him record
W. C. Heaton
for the Welte-Mignon (Licensee). He was
not convinced in his own mind that we could
reproduce his playing, and his conversations
with other pianists who had recorded for va-
rious concerns had not reassured him. It took
me six months to persuade Netzorg to visit our
studios in New York and make a test recording
and this was only accomplished on the basis of
a wager, we agreeing to pay him $100 a day for
five days in addition to expenses if our record-
ings did not come up to his full expectations and
desires.
Netzorg recorded on Monday and on Thurs-
day came in with the music critic of the New
York World and two other musicians. While
the record was being played, Netzorg turned to
me and said:
"Mr. Heaton, you have not the slightest idea
of what you have in the Welte-Mignon. Now
you have all heard me play this selection by
hand," he said, turning to his friends. "When 1
played this record I played certain notes in a
way not indicated in the sheet music and what
I have heard come from the piano is exactly
what I played for it." Netzorg is now under ex-
clusive contract with us.
Another Example
Heniot Levy, of the American Conservatory
of Music of Chicago, was not interested in re-
cording because he heard that the recordings
would have to be edited. I prevailed upon him,
however, to stop off at our studios on his way
to Europe and he recorded four numbers, the
records being played by him before he sailed.
After demonstration he said:
"I cannot understand it, for I have sat with
one of my friends for a half hour at a time
while he worked on a roll by cutting holes or
K
E
editing it so that it would repeat his playing.
What I have heard here to-day has made me
feel in a way that I cannot describe, for here
I am sitting on this chair and yet I am in that
piano. In fact, it is more than a moving picture
of myself playing."
I prevailed upon Augusta Tollefsen, of the
Tollefsen Trio, to record, although I had to
overcome a prejudice aroused through recording
for talking machine records. When her rolls
were played for her I persuaded Mr. Tollefsen
to step into an adjoining room. Mrs. Tollefsen
allowed the Welte-Mignon to play her record-
ings first and then repeated the same number
by hand. Her husband insisted that she herself
had played first. I could cite scores of similar
cases, one in particular of a well-known music
teacher who did not believe in the reproducing
piano. I happened to have a record made by
one of her favorite pupils and concocted a sit-
uation wherein she was enabled to hear the
reproduction.
"I know of only one person that can play
that piece as it was played, but I am sure you
do not know her for she is miles away."
The lady mentioned the name of her pupil
and I simply rewound the roll to show the
young lady's name clearly printed thereon.
Rosa Raisa and Giacomo Rimini, of the Chi-
cago Civic Opera Co., were persuaded to have
a Welte-Mignon action installed in their Bald-
win grand piano, which they had shipped to
their villa in Verona, Italy. The instrument
stood the trip perfectly and some two months
after it was shipped we received a letter from
Rosa Raisa in which she said it had proven a
delight to her friends as well as herself.
Polacco, conductor of the Chicago Civic Opera
Co., was so much impressed with the Welte-
Mignon that he permitted Alfred Bolm, ballet
master, together with the opera company's bal-
let, to use the Welte-Mignon (Licensee) grand
as the accompanying instrument in the big ballet
number of "Hansel and Gretel." While the piano
was playing a spotlight shone on it and the
orchestra was silent. This was probably the
first time in history that an instrument of this
kind was used for accompanying a ballet in any
grand opera house in the world.
I cite these instances simply to emphasize the
proven possibilities of a reproducing piano of
the Welte-Mignon (Licensee) type. Certainly
if the recordings and reproductions can not only
meet with the satisfaction but arouse the en-
thusiasm of noted artists, such as those men-
tioned and scores of others, there should be
found a genuine appeal in that instrument for
the music-loving public. Accomplishments of
this sort distinguish the genuine reproducing
piano which faithfully reproduces the artist's
playing, his touch, his tone coloring, his pedal-
ing, etc., from the electrically operated expres-
sion pianos sometimes advertised as reproducing
instruments which serve to confuse the public.
Dealer's Responsibility
The time is past when the dealer can rely en-
tirely on the manufacturer to do his selling for
him, even though the manufacturer in most
cases is willing and anxious to give to the
retailer every assistance direct and indirect in
placing his instruments in the home of the ulti-
mate purchaser. It is regrettable that in giving
this assistance, or attempting to give this assist-
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