Music Trade Review

Issue: 1931 Vol. 90 N. 2

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC
TRADE
REVIEW,
41
February, 1931
MEN OF NATIONAL PROMINENCE
WHO TURN TO MUSIC AS A HOBBY
M
USIC merchants generally should be ficer, sculptor, one-time tennis champion of
able to dig up some mighty fine ar- Italy, and the authoT of sixteen books, has
guments for the musical training of
also found time to be an accomplished cellist,
children, not alone for professional careers,
and an authority on chamber music. Ethel
but for the purpose of developing an inter-
Barrymore needs—as the toastmasters always
esting and entertaining hobby for the re- take too long to say—no introduction. But
mainder of their lives in the article "Our you may know that she studied to become
Amateur Champions" by Deems Taylor, the a concert pianist, and is not yet quite certain
noted music critic, which appears in the De- how she came to go on the stage,
cember issue of McCall's Magazine. Mr.
Ethel Barrymore Colt, who made her stage
Taylor lists a scare or more of noted per- debut this season, playing with her mother
sonages, who, although engaged in other pub- in "Scarlet Sister Mary," was also destined
lie and private pursuits, nevertheless have
for the concert platform. At school and con-
sufficient musical ability and training to servatory she took all the piano prizes in
warrant their appearance on the concert or
sight, and is a particularly gifted Bach
recital stage. In his article Mr. Taylor says
player.
in part:
H. L. Mencken, given his choice, would
There is one concert that has not yet been
probably much rather be an orchestral con-
given. It probably never will be given—
ductor than the editor of the American
worse luck. It could be given, and if it Mercury. He plays in a mad sort of ama-
were, I will guarantee that anybody who teur orchestra that meets once a week in
bought a ticket would get his musical
Baltimore. The foundation of this organiza-
money's worth, even if he did not know the tion is a piano, a four-hand arrangement of
names of the performers. The program
some standard symphony, and a set of
would run about as follows.
orchestra parts. The piano, of course, fur-
I. Fantasia and Fugue in A minor,
nishes the nucleus of the music. The other
for piano
Bach
parts are played by whatever instrumental-
John Erskine
i s t s happen to be present. Some evenings
II. Aria "Celeste Aida"
Verdi
there will be two flutes, six violins, one
Robert Ringling
bass, two cellos and a trumpet. The fol-
At the Piano: Neysa McMein
lowing week may see a clarinet, two violins,
III. Double Concerto for Violin and
four violas and a bassoon. It all sounds
C e ll 0
Brahms
quite horrible (the description, I mean), but
the
Violin, Nicholas Longworth
players have a wonderful time.
Cello, Robert Haven Schauffler
The music critics seem to favor the piano.
At the Piano: Ethel Barrymore
Perhaps it is not quite fair to call them
IV. Concerto in G, Op 58 for piano
amateurs, but inasmuch as they play for
and orchestra
Beethoven
enjoyment, and not as a career, it seems
Piano, Ethel Barrymore Colt
permissible. The late James H. G. Huneker
w a s a fine
Orchestra under the direction of
pianist and taught the piano at
one
H. L. Mencken
time. Olin Downes, of the "New York
rr,, ,. ^
u u i
,u * •<. •
a: • x Times," is an enthusiastic amateur per-
The list could be longer; but it is sufficient
.
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former, and has given joint recitals with
to indicate the fact that there is an astonish-
U . .
o
i Au • ir
r u
i
r r

u
Tohn
Erskine.
Samuel
Chotzinofr,
of the
A
ing number of famous Americans
whose
•*
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a ,
. . .
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New York World, and Olga Samaroff, late
A
musical attainments as amateurs
entitle A them
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-ir
u
of the Evening
are barred from this
s Post,
c
to rank among the professionals.
You prob-
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discussion, inasmuch as the former was for
ably know, for example, that John Erskine,
. ' ,
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.
...
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,
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years
Jascha
Heifetz's
accompanist,
while
c
arter having been a brilliant professor
of
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,
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•*. i_i
J the latter is as well known a pianist as she
v
English at Columbia University, blossomed
. . .
into the equally brilliant author of "The 1S * " l ! ? c \
. ,
,
.... -
...
„ .
.j- ,
,
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Adolph Lewisohn, the millionaire philan-
r T
Private T Life of TT
Helen of
Troy," u/ "Galahad,
.
.
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thropist, although
in his eighty-second
year,
&
"Penelope s Man," and other novels. You . v . '
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.
r
is a singer. T I don't know how good he is,
may not know that •i he
studied
the
piano
tor
,
,
,
,
.
,
,
D
ut _ .
T?A
A Macdowell
-KK A
in s
I do
that he , takes . a , vocal lesson
years, was a pupil of c Edward
, know „,,
,..
.
. .
, .-,,
-^ i •
every day.
Then there is former Vice-
in composition, and still gives recitals in
„ .,
v.
,
, ,, ,
«.!•
publlC.
„ , „ . , . ,
nil-
Robert Ringling has reallv lost his amateur
. ,.
.
,
i
..
Vi. i -n- ,-
c
standing. A son of the late Charles Ringling,
.
, .
. , . £ ., -r,.
the circus owner, he is president of the Ring-

J o •
r> i r e
T
r .
ling Trust and Savings Bank of Sarasota,
tM - j
j
-A ^ c 4-u n i l
Florida, and vice-president of the Lharles
Ringling Company, a real estate corporation;
but he is also one of the leading tenors of
the Chicago OpeTa Company. Neysa McMein
you undoubtedly know as the artist who
drew the cover of this month's McCall's.
Her friends know her equally well as an
indefatigable pianist and composer of
"blues."
Nicholas Longworth, Speaker of the House
of Representatives, could be a concert violin-
ist today if he chose to give up politics.
Robert Haven Schauffler, lecturer, army of-
President Dawes, who, as you probably know,
.
• ,. •
,
T> U
XT U
is a violinist and composer.
Robert Nathan,
y
,
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the novelist, Rupert Hughes and Owen Wis-
r
..
ter are all composers.
r
, ,.
.
,
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And did you know that Calvin' Coohdge
.
. J .
,
, , . a
us'ed to sing in a church choir?
°
PRIZES A W A R D E D FOR N E W
_ . _ . _ _ ADIKICT n L C i r k I C
K A U I U l^ADIINtl U t i l t 7 l N i
Winners of the first three prizes in the
$10,000 contest for ideas in the improve-
ment of radio cabinets received checks re-
cently from the Westinghouse Electric &
Mfg. Co., which conducted the competition,
Peter
Copeland,
twenty-seven-yeaT-old
architect of Newark, N. J., won the first
prize of $5,000, Mrs. Lucky K. Wilkes, of
Riverdale-on-the-Hudson, the second prize of
$2,000, and Charles Preston Bassett, of Pitts-
burgh, third place and $1,000.
The contest opened September 24 last and
closed December 24, 1930. More than
150,000 designs for improved cabinets were
submitted and the judges had to consider
models in both full size and miniature, to-
gether with finished drawings of the cabinets.
Fire Causes Small Loss
There was a slight fire in the lumber yard
of Winter & Co., New York, recently, which
destroyed a stock of shooks and the shed in
which they were stored. The fire fortunately
did not do any damage to the factory
THE REVIEW'S
WANT DIRECTORY
NY member of the music trade may
forward to this office a Position
Wanted or Help Wanted adver-
tisement intended for this Department, to
occupy four lines, and it will be inserted
free. Replies will also be -forwarded with-
out cost. Additional space charged at
the rate of 25c per line. If bold-faced
type is desired, the cost for same will be
25c a line, 6 words to a line.
Cash must accompany order.
Business Opportunities and For Sale
advertisements inserted as display space
A
only at $5.00 per single column Inch.
CONNECTION WANTED—For the
last 10 years manager-buyer of entire
music division in America's greatest de-
partment store. National reputation as
a producer of good business, organizer,
strong copy writer and strong closer,
wishes for most excellent reasons to
make a change. Address Box 3411,
Music Trade Review, 420 Lexington
Ave., New York City.
INSPECTOR OF PIANOS—Manu-
facturer of high-grade pianos requires
services of additional experienced inspec-
tor. Must be familiar with all branches
of grand piano construction, especially
voicing, tuning and action regulation.
Permanent position and good salary.
Give age, experience and full details
about yourself. All replies strictly con-
fidential.
Address Box 3410, Music
Trade Review, 420 Lexington Ave., New
York City.
POSITION WANTED—By cost ac-
countant, covers 25 years' practical
piano experience. Now available. Ad-
dress Box 3413, Music Trade Review,
420 Lexington Ave., New York.
POSITION WANTED by tuner and repairer.
20 years' experience on electric organs and pianos.
Now located in Philadelphia but will go anywhere.
References. Address Box 3412, Music Trade Re-
view, 420 Lexington Avenue, New York City.
POSITION WANTED—By young, experienced
tuner and repairman, member of the National As-
sociation of Tuners.
Rest references.
Address
Box 3405, Music Trade Review, 420 Lexington
Avenue, New York.
EXPERIENCED TUNER AND REPAIRER—
Desires connection with reliable music house.
Strictly sober and reliable. Married. Also willing
to work on very nominal salary.
Address Box
3408, Music Trade Review, 420 Lexington Avenue,
New York.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
PIANO FACTORY and
PIANO SERVICING
DR. W M . BRAID WHITE
Technical Editor
The PLAYER-PIANO
Still HAS POSSIBILITIES
fingers, together with the ability to sound
the right tone at the right moment without
any regard to the speed of evocation or the
number of tones being evoked at any one
time. One might almost agree with the
clever description put forth years ago by
the advertising expert of a great manufac-
turing house and say that the player-piano
was ''the piano plus the ability to play it."
WELL, SO IT WAS; AND YET IT WAS NOT
DR. WM. BRAID WHITE
AM perfectly willing to be denominated
either an old fogy or a miserable im-
becile for what I am now going to say. I
do not at all think it asinine, of course, for
if I did, I certainly should not -write it
here. I set it down because I think that,
although it may sound asinine, it is Teally
not asinine at all.
Here it is then: why should we not bring
back the player-piano, in a dress and after
a design suitable to the day and based upon
our thirty years' experience of it?
If that is insanity, then I am insane. But
at least, before you open the commission de
lunatico inquirenda, read what I have to say.
What went wrong with the player-piano?
Why did it suddenly drop into nothingness
after being at the head of the procession foT
twenty years?
The superficial answer is that radio killed
the playeT-piano. I decline, however, to be
misled by superficial appearances. The
player-piano was on the down grade before
radio was heard of. The player-piano, in
my opinion, was killed by the policies adopt-
ed for its exploitation. Years ago I used
to say the same thing, only to be told that
I was (fatal description) a theorist and to^.
tally lacking in practical understanding of
business. To-day it appears that I was right.
When the player-piano began its course, it
faced a future as bright as could have been
imagined. Here was a device that was, and
that of course still is, in every respect
unique. Attached or built-in to a piano of
any kind, it enabled its user to play any
music of any kind, difficulty or type known
to piano literature, as well as music which
by no ordinary means of piano playing
could on the piano be evoked at all. It gave
to its user not ten but eighty-eight piano
I
42
Yet, an automobile standing on a con-
crete road might be called quite truthfully
a conqueror of distance. The purchase of
an automobile with no more distortion of
truth than is usually found in salesmanship
might be called the purchase of the ability
to conquer distance. But the appellation
would be untrue, for an automobile does not
drive itself. Its owner must learn to drive
it before he can put it to use.
The parallel is not quite complete, indeed,
because one can, in fact, cause the player-
piano to emit correctly the successive sounds
which constitute the framework and details
of a musical composition without any more
knowledge or aptitude than is needed to sit
on a bench and push a pair of treadles up
and down. The important point, however,
is that the player-piano never did and never
could give to its owner, by the mere fact
of its coming into his possession, either mu-
sical taste or a desire to play the piano.
What the player-piano could and did give
was, to those who already possessed the rudi-
ments of taste and a strong desire to produce
music, ability to produce, after a short period
of pleasant preparatory practice with a few
simple controls, really excellent piano play-
ing. Moreover, it held out, and quite truly
too, the promise that those who should per-
severe should shortly find themselves actu-
ally able to produce artistic, personal per-
formance of a very high level of excellence.
The first makers and exploiters of the
player-piano were aware of the distinction
here set forth. They made no pretenses and
told no lies. In consequence their sales were
confined to a small intelligent minority.
When, however, some of the push-sale
geniuses of the piano industry directed their
gaze to the player-piano they concluded that
if only it could be made cheaply enough,
it could be sold to the masses without much
trouble and at great profit. When then they
made the attempt, they simply said that the
player-piano would enable a child to play,
without any study at all, like a master; and
when they had evolved that masterpiece they
felt that a good day's work had been done.
WHAT A CHANGE!
What was the result? The original at-
tempt to engage the interest of an intelli-
gent minority was dropped. All efforts were
centered on the attempt to put a player-piano
into the home of every workman in the land.
Any effort that in other circumstances might
have been made to design an instrument in-
teresting to musicians or musical amateurs
at once became impossible. Moreover, the
deadly hostility of the entire musical profes-
sion was evoked. As it at last emerged into
its final and popular phase of existence, the
player-piano was good neither as a piano
nor as a pneumatic machine. It was as in-
convenient and as clumsy as possible. The
pneumatic principle, which might have been
developed to remarkable lengths in the way
of convenience, playability and responsive-
ness, was left to stagnate. Workmen in fac-
tories designed the actions and their con-
trols. When at last the all-automatic in-
strument came in, the effort which ought to
have been made with the original player-
piano was at last undertaken, but it came
too late. No longer was it possible to en-
gage large public interest in any form of
an instrument which, in its popular shape,
was making night hideous in every street.
Moreover, the phonograph and radio were
just around the corner; and the price of the
all-automatic player-piano was very high.
In fact, the time was wrong and the in-
strument untimely.
TODAY
Today we have a public bored stiff with
radio, bored with listening, bored with pas-
The mistake of making the play-
er piano an instrument for the
masses can be remedied by ex-
ploiting it for what it really is
among the musically educated
who desire and understand, but
have not the ability to play good
piano music.
THE MUSIC TRADE REVIEW, February, 1931

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