16
January 3, 1925.
PRESTO
GERMAN POLISHING
METHODS QUESTIONED
Music Dealers in Sweden and Switzerland
Voice Complaints on Polishing Accord-
ing to "Old Principles."
The dissatisfaction of music dealers in Sweden
and Switzerland with the finish on German pianos
has been voiced by the trade papers as well as by the
individual dealers. The Holzindustrie in an article
on the subject says:
Hitherto German piano-makers had employed
hand polishers, but big wages and the lack of ex-
perienced hands do not allow of such an expenditure
nowadays. Still the German pianomakers are some-
what sceptical about the complaints of the Swedes.
There are similar complaints from Switzerland,
where German material is used on the old principle,
and the German piano industry is only now warming
up to the situation. The complaints of customers
about waste in hand polishing increase in intensity—
the foreigner is beating the German in respect to
polishing, for he has more rapidly adapted himself
to improved methods of working, and has acquired
the necessary inexpensive equipment for the purpose,
the advantages of which are so obvious that it is
incomprehensible that in Germany so little has been
done in this direction. The scarcity of experienced
polishers calls for a vigorous change in modern meth-
ods. All the disadvantages of hasty polishing can
be completely suppressed by the use of proper and
tested material.
An expert writing to the Zeitschrift fur Instrumen-
tenbau dealing with certain correspondence affecting
particularly the much discussed American polishing
process, says that "it is idle to talk of a reduced cost
by applying this process, for it requires too long a
drying period, and is consequently costly in existing
circumstances. With money scarce, goods (i.e., capi-
tal) must not be locked up. Germany, moreover,
must keep up her reputation for quality of work. A
long drying period, too, requires dust-free rooms,
etc., which adds to the cost. Further, the varnish
requires great care in use, for under certain circuni-
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stances it will break out in thousands of cracks in a
few days. The American varnish process, he con-
cludes, is only suitable for the American market. The
New York house of Steinway & Sons only works for
America. The Hamburg branch of that firm, which
delivers all over the world, only uses shellac polish."
II
FAMOUS OPERATIC TENOR
PROUD OF HIS PIANO
2
II
Giacoma Lauri-Volpi, Another Celebrity to Praise
Musical Merits of Baldwin.
AJSI
ARTISTIC
One of the pleased owners of a Baldwin piano
among operatic folk is Giacomo Lauri-Volpi, tenor of
the Metropolitan Opera Company, New York, who
madi In'-, debut in New. York early in 1924. Alt-
INEVEIOf
DETAIL
HADDORPF PIAJSTO CO.
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ROCKFORD,ILL.
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though his operatic career covers a bare three years
he has established his position as one of the leading
tenors in the world.
His first public appearance was at the Teatri Cos-
tanzi at Rome, and the next season he was called to
La Scala by Arturo Toscanini to sing the Duke in
Rigoletto. His success was so overwhelming that
the following summer he was engaged for the Colon
at Buenos Aires, where he made a decided impres-
sion. The following winter he sang in the best houses
in Spain and attracted so much attention and favor-
able comment that Gatti-Casazza, departing from his
usual habit of engaging only those foreign artists
whose reputations have been established for years,
signed the young tenor—he is still well under thirty
—for the Metropolitan. Signor Lauri-Volpi origin-
ally studied to be a lawyer, and during the war was a
captain of infantry and saw service on three fronts.
RICHMOND, IND., FIRM BUSY.
Weisbrod's, Richmond, Ind., has "musically every-
thing" as a distinguishing phrase following the firm
title, and in the days approaching Christmas the fact
denoted was proved by the great number of sales of
pianos, phonographs and musical merchandise.
"Here you will find the most complete slock of musi-
cal instruments in eastern Indiana or western Ohio,"
was the advertised claim.
MOS,
AN.
II
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