Presto Buyers' Guide
Analyzes and Classifies
All American P i a n o s
and in Detail Tells of
Fheir Makers.
PRESTO
E.tabiuhed 1884. THE AMERICAN MUSIC TRADE WEEKLY
Presto Year Book
The Only Complete
Annual Review of the
American Music In-
dustries and Trades.
10 Cent, } u.oo « y««.
CHICAGO. SATURDAY, AUGUST 22, 1925
AN EVENT IN AMERICAN PIANO HISTORY
The Great De Pacbmann Reappears in London Concert at Which He Introduces the Baldwin Piano Under Auspices
of its New Representative in the English Metropolis
The widely heralded introduction of the Baldwin
piano into London is an event of importance. The
success which attended the introduction of the Bald-
win into London is of unusual interest, not only to
the Baldwin Company itself, hut to every other
American piano manufacturer.
It shows that when it comes to artistic pianoforte
manufacture, America, as in other branches of indus-
trial activity, can lead the world.
Herewith are presented an unusual interesting story
and photographs from London in which the triumph
of the American piano is graphically told. DePach-
mann's success is, of course, only possible when the
piano responds in absolute sympathy to his every
mood. The London music critic tells how the instru-
ment from Cincinnati responded to the demands of
the great artist at the return appearance of DePach-
mann in London.
A PORTENTOUS EVENT.
London, August 1, 1925.
The most interesting, and possibly the most por-
tentious, event to take place in the English piano
world recently was the presentation in London of
the Baldwin piano. The first hearing of the Bald-
win on the English concert stage since the Great
War, was at the return of the veteran pianist, Vladi-
mir DePachmann, to Queens Hall, London, June 15
and June 24, when the eccentric master of divine tone
brought with him from America, where he has been
WIGMORE HALL, LONDON, ENGLAND.
Top The vestibule and steps to gallery. Center—Vladimir de Pachmann playing on the Baldwin Con-
cert Grand, prior to his recital. Bottom—(left) Interior of Wigmore Hall; (right) The platform.
for the past two years on his farewell American tour,
the Baldwin piano.
For a half century Pachmann has been one of the
greatest favorites with our concert-going public. His
return after two years' absence was greeted by full
houses, and his greeting by the critics can be best
summarized by quoting here from the review in the
London Telegraph of June 25.
The "Telegraph" Review.
Pachmann's recital at the Queen's Hall last night
(the last of the present season) was what a Pach-
mann recital invariably is—an occasion in which
those who happen to sit at a certain distance from the
performer are invariably teased by his running com-
mentary, yet delighted by his exquisite playing. For
if he so teases us he also pleases us as no other in-
terpreter of Chopin ever did. Chopin for the im-
mense majority of his interpreters means something
intimately dramatic—a "robusto" style matched to
a robust piano.
Pachmann also insists above all on the lyrical
quality of Chopin's music. His very runs and scales
seem as lyrical as the song of the nightingale. Fiori-
ture, ornamentations, all are invested by lyricism.
Even the Scherzo in B flat minor becomes in his
hands something too lovely to be only tragedy.
In the whole of his programme which included the
second impromptu, nocturnes, etudes, valses, and
mazurkas, not once was the tone of the piano forced
beyond the kind of sonority which is generally de
rigeur with the older composers. It follows that
beauty is paramount in all Pachmann's interpreta-
tions, and his readings may be taken as patterns of
what Chopin should be. That the message of his
music is also deeply imbued with a dramatic sense
cannot be denied. But surely the aim of all art has
ever been to soften all that hurts and wounds in trag-
edy and turn it into something which stimulates,
something that makes us beyond the actual fact, the
material event into a more serene atmosphere. This
is precisely what Pachmann does with Chopin. Other
interpretations, of course, are possible, and we ac-
knowledge the eloquence of other people's pleading.
But let us admit the supreme beauty of Pachmann's.
A Double Interest.
To musicians, and particularly to pianists, these
Pachmann concerts meant more than the return to
England of the veteran pianist. They meant, in addi-
tion, the opportunity of hearing the Baldwin piano.
Contrary to current belief English musicians are not
hide-bound in their attitude towards the American
piano. In fact, as one of the most famous of English
teachers put it to the writer of this article, "We are
only too glad to hear the leading American piano.
Of course, we are used to the best pianos of German
manufacture, and we have our preferences based
upon custom and upon use, but we are always glad
of any opportunity to enlarge our experience, and
you may be sure that we shall be only too glad to
welcome any artistic addition to the piano field."
The result was that the Pachmann audiences in-
cluded at least a hundred of the more prominent mu-
sicians curious to discover what the Baldwin piano
meant. Needless to say (needless at least for those
who are familiar in America with the quality of the
Baldwin piano) these hundred odd were more than
pleased. To all of them the piano was a revelation
and proved once again what America is able to ac-
complish in the manufacture of "Quality" goods.
Congratulations In Order.
The following days brought many musicians into
the Wigmore Hall and Piano Galleries, the Londdn
agents for the Baldwin, to try and test for themselves
the quality of Baldwin action and Baldwin tone.
Congratulations were in order for Mr. Winchester
Berridge, proprietor of the Wigmore Hall and Piano
Galleries, and the best of wishes were extended him
for his association with the Baldwin in England. And,
incidentally, there came many a request that the
piano be furnished for this or that artist's recital.
The Wigmore connection is particularly well suited
for the Baldwin in England. The premises include,
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