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THE
fULflC TRADE
VOL. LXXVIII. No. 22 Published Every Satirday. Edward Lyman Bill, Inc., 383 Madison Ave., New York, N.Y. May 31, 1924
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Planning the Music Merchants 9 Concerts
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USIC merchants in practically every section of the country are giving increasing attention to featur-
ing recitals and concerts of more or less elaborate character as a means for securing fresh lists of
desirable prospects and of holding the interest of the prospects already on their lists.
The concert recital idea has long ago passed the experimental stage, and the methods for ar-
ranging successfully such affairs have become more or less standardized so that, although the dealer may not
be able to carry through the venture by his own experience, he can quickly obtain the desired information from
other merchants who have made concert work a regular department of their business.
The store recital is the simplest and most direct method of reaching prospective customers. It has
one drawback, however, in that the person who attends such a recital believes in advance that it is a straight
sales demonstration and may be inclined to develop a certain amount of sales resistance whether consciously
or unconsciously. However, this plan brings the prospect right into the store and affords an opportunity for
displaying the stock and demonstrating the various instruments without outside interference.
Another method which is more elaborate, more expensive and requires greater effort is that of featur-
ing artists of recognized standing, locally or nationally, in some large auditorium in connection with the demon-
stration of the straight grand, a player-piano or reproducing piano. This plan makes it possible to appeal to
a great number of people simultaneously. It will attract an audience that might hesitate about going to the
store and it presents the instrument featured in an environment that is bound to be impressive.
In the case of this more elaborate concert the dealer is compelled to be satisfied with indirect results
because it is not possible under the conditions to develop a close personal contact with those who go to make
up any sizable and general audience. With a large concert it is a case of following up those who have shown
enough interest to apply for, and use, invitations or tickets.
A third plan that is even more ambitious and is being followed by an increasingly large number of
music merchants of vision, is that of acting as an impresario and arranging for the local appearance of dis-
tinguished artists, opera organizations and soloists, particularly those whose recordings are found in music roll
and talking machine record libraries. This work means providing for the underwriting of the venture and is
likely to prove costly until such time as the dealer has developed his plans and perfected a local organization
that will aid him in carrying the burden.
The rewards from this third plan are also indirect, but the work has the result of keeping the dealer's
name prominently before the public and particularly the music lovers in his community, and ultimately raising
him to a place where he is recognized as a progressive factor and a leader in musical activities. That real
business follows the building up of such a reputation has been proven in a great number of cases.
This concert and recital work, except in the very simplest form, cannot be arranged for at short notice
or more or less off hand. The artists and the auditorium must be booked well in advance, the underwriting
arranged for if outside money is sought, and a publicity campaign mapped out that will measure up to the
importance of the event.
Though it will be several months before the new musical season is with us, several retailers have already
announced their concert plans for the fall and winter, and those who contemplate utilizing this modern and
highly desirable form of prospect and sales building will do well to begin looking after the details without
delay. It is a form of musical advancement work that reacts directly to the benefit of the dealer promoting it,
but it is work that cannot be handled on the spur of the moment with any great degree of success. Nor should
it be, for even the simplest recital requires a certain investment and that investment can only be fully protected
when it is backed by intelligent preparation and the proper energy. If the dealer knows now what he hopes
to accomplish in concert work in the Fall, he will save a lot of time which later can be devoted to selling pianos.
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