PRESTO
June 12, 1920.
and the law of accommodation and compensation would obviate dis-
appointment.
But, to so far simplify the problem by which the plate maker, the
action maker and the case maker are confronted as to create absolute
standardization, may not meet the requirements of the higher ambi-
tions among the piano manufacturers. It may not seem possible to
furnish the plate makers with changeless, or uniform, patterns from
which to cast innumerable metal frames suited to the demands of all
piano industries alike. Nor can the actions be made to so closely
coincide in cost and details, that they may be adapted to all makes
of instruments. Unlike windows in a house, the parts of the piano
can not well be just alike in all grades of instruments. The scale that
is perfected by some acoustician, with infinite care and pride, can not
be applicable to the piano whose maker aims solely to produce a
finished instrument for as little money as possible.
It is easy to understand that for the greater number of pianos
a system of standardization in sizes and styles may be possible, and
certainly advisable. But there will still be the exclusive and ambi-
tious piano which will disregard the rules and present differences, in
essential features, from the less distinguished majority. It is so with
everything that borders the domain of art. And it is not difficult to
call to mind the pianos which will be thus individualistic and inde-
pendent.
POET OF THE ORGAN
An impressive ceremony in honor of John G. Saxe, the poet who
wrote "The Nightingale and the Organ," was held at Highgate, Vt.,
on June 2. A huge boulder from the shore of Lake Champlain,
erected by the state on the site of the old Saxe homestead near the
Canadian border, was dedicated that day as a memorial to the poet-
humorist. Gov. Clement, Lieut.-Gov. Mason S. Stone and other state
officials took part in the ceremony, which was held on the anniversary
of the birth of the poet, who died in 1887 at the age of 71 years. The
monument was unveiled by Miss Mary Saxe, a niece of the poet.
John G. Saxe immortalized the organ—in his day the chief in-
strument of music—in his poem, "The Nightingale and the Organ,"
as follows:
A nightingale who chanced to hear
An organ's deep and swelling tone,
Was wont to lend a careful ear,
That so she might improve her own.
One evening while the organ's note
Thrilled through the wood, and Philomel
Sat tuning her melodious throat
To imitate the wondrous swell,
A twittering sparrow, hopping near,
Said, "Prithee, now, be pleased to state
What from those wooden pipes you hear
That you can wish to imitate?
I do not hesitate to say,
Whatever the stupid thing can do
To please you in a vocal way,
That very organ learned from you
Of all sweet singers, none is greater
Than Philomel; but on my word,
To imitate one's imitator—
Can aught on earth be more absurd?"
"Nay," said the nightingale, "if aught
From me the organ ever learned,
By him, no less, have I been taught,
And thus the favor is returned
Thus to my singing, don't you see?
Some needed culture I impart;
For nature's gifts, as all agree,
Are finest when improved by art."
In referring to Orpheus, in his poem, "Orpheus and Eurydice," Mr.
Saxe wrote:
For historians tell he played on his shell
From morning to night so remarkably well
That his music created a regular spell
On trees and stones in forest and dell.
What sort of an instrument his could be
Is really more than is known to me.
And it's clear Sir Orpheus never could own a
Shell like those they make in Cremona.
His wife died and went to Hades-; so Orpheus went down there
to fiddle her out. Having played the three-headed dog, on guard at
the entrance, to sleep, Orpheus—
Went groping around among the ladies
Who throng the dismal halls of Hades,
Calling aloud
To the shady crowd,
In a voice as shrill as a martial fife,
"Oh, tell me where in hell is my wife."
He had got her almost out, when he turned around to look at her
and she had gone back—at least she was invisible,
Just when it was that Saxe made the organ the subject of his
song we do not know. But it was at a time when no one could have
prophesied that within the century the organ, as it was then known
to most of the people—the home organ—would become almost ex-
tinct.
At the time, the reed organ was in its beginning, its "new
fangled" improvements startling the music dealers and keeping the
salesmen busy knocking one another's lines. The octave-coupler, the
celestine and diapason stops, the harp attachments and the "full six
octaves, with three sets of reeds" were astonishing the natives. Of
course the poet had the pipe organ in mind, and that was even then
an ancient instrument—the oldest in the world.
Today the pipe organ has lost none of its glories, but the fanciful
parlor organ is almost "out of the running." There are more pipe
organ industries today than ever—small ones in number as many as
there were reed organ concerns when Saxe wrote his verses that live.
There are several direct connections between the automobile
business and the piano business. The automobile auto-delivery
truck for carting pianos within the limits of a city as well as for in-
terurban cartage is certainly a connecting link. And both lines of
business are interested in oil; and oil has a wonderful story. The
story of the petroleum industry in the United States dates back to
1859 when on August 28 oil was struck in the Drake well near Titus-
ville in northwestern Pennsylvania. When the pumping began, the
oil flowed in a tiny stream of 40, and later only 15 barrels a day.
Five million barrels were produced in the United States in 1870;
26,000,000 in 1880; 45,000,000 in 1890; 63,000,000 in 1900; 209,000,000
in 1910, and 356,000,000 in 1918. The output last year is perhaps, 30,-
000,000 barrels in excess of the 1918 record.
:|:
*
V
An illustration of the way opportunities are overlooked is seen in
the story of Paderewski's piano in North Topeka. The yarn is spun
on another page in this issue of Presto. It doesn't seem like a true
story, though it may be just as it is told. The doubt arises when it is
considered that Paderewski played the Steinway piano, and no Stein-
way piano is so old as to be without quite a large value. And
especially a piano that had been habitually used by the great Polish
artist could not escape bringing a good price anywhere. What's the
matter with the Topeka piano men? And how hard it is to pass up
that hoary-headed old joke about the facility with which firemen
usually play upon pianos when duty calls.
*
*
In times just succeeding the stone age it was customary to
charge some piano salesmen with "chewing the rag." And, after wait-
ing all these years, the original "Chew" piano is being discussed in
London. It is said, by a correspondent of the London Music Trades
Review to have been a "magnificent piano for tone" and "of the most
expensive kind," with "double iron frame with heavy iron plank cast
in one piece. It could only be tuned with a special ratchet hammer."
Evidently the Chew piano could not be made upon any uniform
standardization basis of supplies.
* * *
Since January 1, according to the Journal of Commerce, New
York, new incorporations in this country have reached the tremen-
dous sum of $7,586,994,900, an increase of 209 per cent over 1919, and
515 per cent as compared with the corresponding period of 1918. In
May there were 979 companies incorporated in the principal states,
representing $1,417,613,900. The percentage of musical instrument in-
dustries in these vast totals was not given, but it is a safe guess that
it was not very significant.
* * *
The music trade is given the opportunity to choose the time of
the annual conventions. Shall it be in blizzardy midwinter, in lovely
spring, or in the out-of-door delights of midsummer? We can already
guess the answer. But if the piano merchants and others affiliated
with the Music Industries Chamber of Commerce will express their
preference, it is safe to rely upon their decision. Anyway, display an
interest in a matter of so much importance.
* * *
Strange how few good books on music come from the American
publishers. We have few Geo. P. Uptons left, and but for Jas. Hu-
naker there would be a dearth of bright musical new literature on
musical topics in this country. On the other hand, the English writ-
ers are putting forth good books on musical subjects with remarkable
fecundity.
* * *
Don't ever be tempted to talk phonographs to a piano prospect
until after the musical instrument has been selected and the sale
closed.
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