Presto

Issue: 1934 2274

Nov.-Dec, 1934
P R E S T O-T I M E S
WILLIAM R. STEINWAY'S
ACTIVITIES
Visits Various Points in the United States—
Stops Off in London for Conferences
En Route Back to Hamburg.
A communication from William R. Stein way, th.:
general foreign manager of Steinway & Sons, sent from
London, England, speaks of his regrets that he was
not able to meet more of his friends during his visit to
the United States some weeks ago. He had hoped to
visit a greater number of Steinway representatives
here than his limited time permitted. He was not
able to get farther west than Chicago where he spent
a small part of two week-end days with his friends
at Lyon & Healy's. Returning eastward on Sunday
he paid a brief visit to Grinnell Bros, and then to
Montreal, Canada, and sailed from Canada on the
steamer "Empress of Britain" of the Canadian-Pacific
Line.
On board this steamer there were four beautiful
Steinway pianos so that naturally Mr. Steinway felt
quite at home as a guest of that elegant steamship.
Stopping at London for a few days Mr. Steinway pro-
ceeded on to Hamburg and is now, as a more recent
letter from him says, "back on the job."
The greater part of Mr. Steinway's dozen years
or so abroad has been at London but a year ago he
located at Hamburg, home of the European Steinway
factories. Activities at the Hamburg factory ha\ e
been developing rapidly of late. Steinway shipments
to all parts of the world are made from Hamburg and
trade has continued to increase rapidly during the
past twelve months particularly. In fact, as Mr.
Steinway says, shipments from the Hamburg factory
are double what they were a year ago, and he has
only encouraging words for the piano business gen-
erally, believing that the music business everywhere
will move forward steadily in the years ahead. Mr.
Steinway relates many interesting conditions in the
progress of Steinway abroad and it must be under-
stood that Steinway trade over practically the entire
world, exclusive of this country, is carried on through
the Hamburg house and produced at the Hamburg
Steinway factory.
Erom this branch house Steinway pianos go to the
trade of Australia and New Zealand, Canada, Cuba,
Great Britain, Japan, South Africa, the entire South
American trade and, of course, all countries of
Europe. In many capitals of the world Steinway
pianos are used in municipal and other functions and
in scores of broadcasting stations, schools, conserva-
tories and other prominent places of musical enter-
prise, so that, as Mr. Steinway says, "the Steinway
piano is in use in the leading broadcasting statior^
throughout the world."
Steinway trade from the Hamburg branch has been
growing very steadily and at this time Steinway busi-
ness is about double what it was a year ago and it
has been a long time since the future looks as bright
as it does today.
Steinway & Sous have supplied royalty—kings and
queens, princes, potentates and nobles—for many
years in all countries of the world, but possibly one
"high place" was missing in the grand lineup of
"pianos for royalty," inasmuch as His Highness the
Nizam of Hyderabad recently gave his order for a
style C grand in mahogany, shipped from the Euro-
pean factory at Hamburg. Incidentally, too, the lead-
ing Einland radio station, located at Helsingfors, thf
capital city, recently purchased a Steinway concert,
grand and "Diceo Musicale," of Cagliari, Italy, has
given another order for a concert grand to go from
the Hamburg factory. However,-the Steinway piano
is used in most of the important broadcasting stations
and studios in every country on the face of the globe.
NEW HOME FOR WELLS MUSIC CO.,
DENVER
The Charles B. Wells Music Co., Denver, which
concern has leased the first and second floors, approxi-
mately 12,000 square feet, of the National Broadcast-
ing building, 1629 California street, almost directly
opposite their former place of business, is making this
new location a notable music trade establishment.
Extensive remodeling is being done, new fixtures in-
stalled so that the new Wells company store will be
one of the most up-to-date music establishments in
the West. The Wells company expects to have a
grand opening during the holiday week.
It is interesting to note that in his early days Presi-
dent Charles E. Wells spent nineteen years of hi.-?
life in the store his company has secured when it
was in the name of the Knight-Campbell Music Com
pany. by whom he was employed for that period.
The Grinnell Music House branch at Saginaw,
Michigan, is preparing to move to 124 N. Washington
avenue. They will occupy three floors of this build-
ing and the location is considered by Manager Pocock
an improvement on the former store at 114 North
Bauni street.
A BUSY PIANO PLANT—OLD-TIME
ACTIVITY IN MOTION —CAR-
LOAD SHIPMENTS GOING ON
A visit to the Gulbransen piano factory, Kedzie
and Chicago avenues, Chicago, by a representative
of Presto-Times, supplemented by a conversational
\isit with Gulbransen officials, substantiates an ap-
parently undeniable proposition that of the piano
manufacturing concerns which have enjoyed pros-
perity during the year now drawing to a close, the
Gulbransen must be included and the Gulbransen
factory listed as among the busiest in piano manu-
facturing. While Gulbransen is reckoned among thi
piano manufacturing concerns that have come through
the depression without a shutdown, not for even ;i
single working day, Gulbransen activity keeps on with
increased output.
This continuous movement toward the top rung
represents, as one of the officials of the company
explained, "a steady upward trend from July, 1933,
steadily increasing from month to month until today
we are enjoying what looks like a return of piano
enterprise of years past."
A demonstrable evidence of this statement was
shown when passing from one section of the factory
to the other, four carloads of pianos were load-
ing on the railroad tracks which lead into the factory
yards. These four carloads were being made ready
for shipment to various parts of the country, one of
them to a Pacific Coast point. "Really," said this
Gulbransen official, "these four cars will be loaded
and shipped from the factory within the space of
three days." It is an interesting commentary on
piano making of today to observe that of the hundreds
of pianos now going through for shipment from
the Gulbransen factory that every one of them bears
the name Gulbransen. In calling this observation
to the attention of headquarters it was stated that
"we do make a few pianos on which the names of
certain of our dealers appear, but whether this pro-
cedure is of any advantage to them or to us, we
quest'on, though we do realize that if we desire to
achieve a larger business volume quickly it could be
done by making pianos that we could sell to any
merchant anywhere using whatever names would fit
in with the accomplishment of that purpose, but we
do not seem to be temperamentally fitted for that type
of activity so we are adhering to that character of
manufacture and merchandising which is most closely
in accord with our sentiments in the matter and to
bend our efforts in concentrating upon the Gulbransen
entirely. As we view this problem of piano produc-
tion it seems to us that the one-name proposition,
Gulbransen, is best and sufficient for us. Gulbransen
is the name of the founder of this business and he is
still actively engaged with us. It is the name em-
blematic of that founder's well-known ideals. It
represents a piano that any dealer or salesman can
sell with confidence and any customer buy with cer-
tainty of satisfaction."
As one passes through this great factory he is
impressed with the spirit of high-grade surroundings,
everything is carefully and minutely cared for to pro-
duce satisfaction-giving products. The materials used,
the system of manufacture, all seem to be well nigh
perfect. One cannot fail to observe an intelligent class
of workmen at the Gulbransen factory, most of whom
have been associated with Gulbransen for many years.
Mr. Gulbransen himself says of these men that they
"take as much interest in our product as we do our-
selves, and as the Gulbransen piano is no better or
vvorse than the men who make it and the ideals they
have in mind, it can be depended upon that our
product is a good piano."
In closing these truthful remarks on Gulbranse-i
an interesting item that backs up very materially the
statements made is this: That in the Gulbransen offices
there are several packages of unfilled orders for Gul-
bransen pianos, each stack representing certain styles,
models, etc. The writer must have seen accepted
orders for as many as several hundred pianos awaii-
ing shipment. Perhaps there were more than 300
to 400, at any rate it was an inspiring th.'ng to see
with one's own eyes.
The Landers Music House, owned by Major George
Landers, Clariuda, Iowa, has been re-established in
that town after a lapse of about two and one-half
years. Major Landers moved to Kansas City, locat-
ing his business in that city, but finally decided to
forsake Kansas City and get into business again in
the old home town. His location now is at 18th and
Nodaway streets, Clarinda. At the present time the
Landers house is making a specialty of band instru-
ments and band music.
E. E. Huston of Charlotte, N. C, who has been
identified with the music business for upwards of
forty years and who is an accomplished musician, has
taken the Starr piano agency for that territory and
anticipates a line trade in Starr and Starr-made pianos.
PERSONAL MENTION
Paul Fink of the Aeolian-American Corporation.
New York, having disposed of his band' ome residence
at 11 Argyle avenue, New Rochelle, N. Y., has leased
for a period of years an apartment in Beechmont
Towers in Eastchester road. New Rochelle.
Mr. A. W. Rapp, chief of the collection depart-
ment of Grinnell Bros., Detroit, remarked a few days
ago in conversation with a correspondent of Presto-
Times, that "the piano business is coming back grad-
ually and this," he believes, "through radio and other
forms of piano and music propaganda." A great in-
terest in good music is being created by the radio.
"Radio business," he added, "has not come back much,
in fact hardly at all."
Gordon Laughead, general sales manager of the
Wurlitzer Grand Piano Company, who has been visit-
ing the trade out in the Northwest, is elated over
favorable conditions up that way, particularly out in
the Rocky Mountain district. Several important
agencies were established on this last trip and whet!
Mr. Laughead returned from that gold mine country
he was convinced that business there as well as else-
where is rapidly on the mend. At any rate Wurlitzer
piano sales for October continued to show increases
over the immediately preceding months. He says he
believes the W^urlitzer factories are in for a big season
this fall and winter and that many of us are going
to enjoy some wonderful business within the comim;
six months.
The Chicago Piano and Organ Association added
another honor to its many-sided facto-factotum, Adam
Schneider, by making him one of its life member;,
similar to the Chicago Piano Club which honored
him on the day of his fifty years in the piano business,
on which occasion he was eulogized by a member
with these words: "I am at loss to find any expression
of appreciation by which to compliment him that ha.s
not already been given in some way or other in con-
nection with the many and varied services he has
rendered." To me this gentleman added: "I associate
with Adam Schneider that well-known Latin expres-
sion of friendship, 'Semper Fidelis,' always faithful,
a term we all know fits him well."
W. P. Hare, president of the Hare Music Corpo-
ration, Warren and Youngstown, Ohio, has recently
taken up his headquarters at Youngstown. He was
formerly located at Warren, but in taking charge of
the Youngstown store has moved to that city. In the
matter of trade activities Mr. Hare notes particularly
a good trade in the band and orchestral departments
of his business, a condition which has materially
helped other departments of this trade.
Jerome F. Murphy, president of the newly organized
Steinert & Sons business of Boston, is optimistic on
piano trade ahead of us. Mr. Murphy has been en-
gaged in the manufacture and distribution of pianos
during his entire business career. He believes that
the intelligent work of most of the piano manufac-
turers today and cooperating with music teachers
throughout the country in combating "canned"' music
is the principle for increased piano sales which he
believes is sure to be on the way. Steinert's is the
home of the Steinert piano. The important recent
acquisition is the Hardman agency in the Steinert
territory. The Steinert factory, located in new quar-
ters in the Carver Street Annex, is completely
equipped for the rebuilding of pianos.
E. R. Blanchard. late of Chicago, who for forty
years or more was an employe and official of the
W. W. Kimball Company, is now residing at 1660
Loma Vista street, Pasadena, Calif., enjoying, as is
sometimes remarked, "an abundant lite."
Mr. Furness, a correspondent at South Bend, Ind..
who inquires about the Fort Wayne Music Mer-
chants' Association, is informed that the president of
that organization is Bert J. Dressier and was elected
at the last meeting held some time in August at the
Packard Piano Store, Fort Wayne.
W. R. Bennett, who is succeeded by M. E. Higgins
as manager of the Grand Rapids, Mich., branch of
Grinnell Bros, branch store, takes the Saginaw Grin-
nell Bros, store. Mr. Higgins has been connected with
the Toledo, Ohio, and the Pontiac, Mich., stores of
the Grinnell organization.
Douglas Jacquith, who formerly had a music store
at Brookings, S. 1)., is opening an establishment at
Salem, Ore., his location being in the Senator Hotel
building. Mr. Jacquith will specialize in band instru-
ments, musical merchandise and the like but is pre-
paring for a line of pianos also.
R. E. Folk, who has been identified with the music
business at Hammond, Indiana, for several years, has
opened a business under his own name in the Lloyd
building, 214 Russell street, that city. At the present
time he is carrying a Cable Piano Company line of
instruments.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
P R E S T O-T I M E S
Nov.-Dec., 1934
COMMENTARY ON THE NEW STEINWAY ACCELERATED ACTION
PRESTO-TIMES, on the authority of Steinway & Sons, presents the following resume dealing with this new improve-
ment in piano action acceleration with the added endorsement of several great artists who were afforded the opportunity of
testing" and using the action over a period of time, resulting in enthusiastic acclaim as evidenced by the quotations from their
expressions herewith presented.
Tn 1873 Franz Liszt said to C. F. Theodore Steinway, "I know-
nothing of the mechanism of piano construction, but I wish that you
would make for me a piano which will furnish me with the volume and
quality of sound that I feel necessary."
C. F. Theodore Steinway made for him the best piano he was
able to construct and another and another. Later, Franz Liszt w r rote,
"The new Steinway grand is a glorious masterpiece in power, sonority,
singing quality and perfect harmonic effects, affording delight even to
my old piano-weary fingers."
One day in 1932 Josef Hofmann, who had already spoken of the
Steinway piano's "extraordinary perfection of action," came to Stein-
way Hall and said, "It isn't quick enough ; can't YOU make it still more
sensitive, still more responsive?"
Frederick A. Victor, grandnephew of C. F. Theodore Steinway,
accepted the challenge just as his granduncle had accepted Liszt's
challenge nearly sixty years before.
Since the days of the harpsichord, the keys of the piano sat flat.
After a year's hard work in the laboratory. Vietor decided to try bal-
ancing them sensitively on little curved fulcrums so that the)- actually
RESPOND to the touch instead of having to be BUDGED into action.
He studied the weighing of the keys and found that by a different
arrangement of the weights, the action could be made still more sen-
sitive.
Vietor was sure that he had done it—that he could satisfy Hof-
mann as his granduncle had satisfied Liszt. But he wished to know,
#
I. J. PADEREWSKI
Any progress stops when perfection is achieved for
where a summit is reached there is no more room for
further climbing. This has been for many years my
opinion about the Steinway piano. And yet, during
my last two American tours one of the members of
the preeminent Steinway family and firm succeeded in
inventing a new accelerated action for their already
peerless instruments. While maintaining and even
increasing the glorious power and beauty of tone the
new action enriches the resources of soft playing in
such a degree as to unfailingly respond to the most
del'cate, refined and subtle intentions of the player and
to give him unlimited satisfaction. I gladly congratu-
late Steinway and Sons upon their new, surprising
and wonderful achievement.
JOSEF HOFMANN
The seemingly impossible has been achieved. The
Steinway piano has been improved upon. The new
Steinway accelerated action has done it. This inven-
tion not only facilitates and enhances tone production
but also permits of greater precision and speed. I,
therefore, take pleasure in recommending this new
creation to all who are interested in the art of piano-
playing.
SERGEI RACHMANINOFF
This is to tell you that I consider the new Steinway
accelerated action a great improvement, and that 1
have found your pianos more perfect during the past
two seasons than ever before.
WALTER DAMROSCH
Steinway & Sons have always been in the forefront
as regards any further developments of the piano.
For me it has always seemed well nigh perfect, but
your recent invention, the Steinway accelerated action,
makes the manipulation of the keyboard still more
sensitive to the most delicate emotional currents ema-
nating from the fingers of the player.
JOHN ERSKINE
Your new invention, the Steinway accelerated ac-
tion, seems to me one of the greatest improvements
in piano action in recent years. You know I have
always admired the Steinway piano, but this inven-
tion greatly increases the pleasure of playing. The
action is easier, quicker and more dependable. I am
glad to know that the concert artists who have tried
this device share my high opinion of it.
CARL FRIEDBERG
It affords me special pleasure to give my approval
of the invention of Mr. Frederick A. Vietor, called the
Steinway accelerated action. This invention has im-
proved the action of the beautiful Steinway piano con-
siderably and has helped to create greater ease of
execution. I wish you great success!
OSSIP GABRILOWITSCH
I heartily welcome the opportunity of expressing
my great admiration for the Steinway piano. The
splendid qualities of your instrument, the brilliancy
and beauty of its tone, are features which have been
praised so often and so eloquently that it is difficult
to add anything new. What to me, however, seems
of particularly great importance in a modern concert
grand piano is the great variety and wealth of tone
color which makes it possible to produce on the Stein-
#
by scientific test, how much faster the new action was than the old.
He called in Dr. E. E. Free, recognized authority on acoustical research.
Dr. Free's report was more than gratifying. "The new action," said
he. "is 14% faster for fortissimo playing and 6% faster for pianissimo
playing." He also found that the hammer dropped away from the
string with greater precision ; that the momentum in which the key
returned to position as the finger is lifted is greater by about 15% ;
and that less muscular energy is involved in playing on the New Stein-
way. Dr. Free's report appears at the end of the testimonial given
herewith.
The next question was. what would the artists think of the New
Steinway? Read in the letters which follow how they reacted.
What will the new Steinway mean to the music-loving public?
What will it mean to the children of the coming generation who will
learn to play on the New Steinway? Those few of the public who have
seen the New Steinway are enthusiastic in its praise. Music teachers
declare that because less muscular effort is required, the hands of the
children will be grateful for the improved action.
Before the new invention (for which patent No. 1,826,848 has
been issued) the Steinway piano was recognized by common consent
throughout the world to be the finest piano in concert hall, drawing
room or living room. The New Steinway is the same grand instrument
only faster, more sensitive, more responsive than the Steinwavs which
have gone before—the Steinways acclaimed by Wagner, Liszt, Rubin-
stein—by the immortals of music for three-quarters of a century.
The New Steinwav enters history.


way effects of almost orchestral quality. The recent
addition tc the Steinway equipment of the device
known as the Steinway accelerated action will serve
to make the Steinway mechanism even more subtle
and sensitive than it has been before.
RUDOLH GANZ
To the unexcelled and seemingly perfect action of
the Steinway piano has been added a new patent
which is called the Steinway accelerated action. This
new method of balancing the keys has no doubt added
greater ease in the execution of fluent passages and
greater sensitiveness to the touch cf the performer.
It is with pleasure that I send you my sincere con-
gratulations for this latest addition to your unusual
artistic achievements.
MYRA HESS
Although I have always considered the Steinway
action a perfect mechanism, I find that the new Stein-
way accelerated action gives it an additional respon-
siveness and evenness which would have been con-
sidered impossible prior to your latest invention.
VLADIMIR HOROWITZ
The new Steinway accelerated action is a marked
improvement on the action of the Steinway piano. It
makes a perfect action still more perfect.
ERNEST HUTCHESON
I have used the new Steinway accelerated action
in concert and radio work ever since Mr. Frederick
Vietor first demonstrated it to me two years ago,
and I have had it under ccntinuous observation at the
Juilliard Graduate School, all our new pianos being
furnished with it.
From the artist's standpoint, the new action con-
stitutes the greatest advance made in piano construc-
tion during the last thirty years. All pianists of my
acquaintance are enthusiastic in its praise and grate-
ful for its remarkable responsiveness to refinements
cf touch which would be lost with a less sensitive key
mechanism.
Cordial congratulations to you on this notable im-
provement of your magnificent instruments.
MISCHA LEVITZKI
I consider your new Steinway accelerated action
the greatest improvement achieved by the piano in-
dustry in many, many years. I venture to predict
that it will have a far-reaching beneficial effect upon
the whole of piano-playing, both professional and
amateur. For, with the greater smoothness and re-
sponsiveness of your new action, the player will not
only be able to carry out difficult passages with
greater ease, but will also be able to produce a more
beautiful tone, thereby getting even more inspiration
from the matchless Steinway tone than ever before.
I rejoice with you in your new achievement.
REPORT OF THE E. E. FREE LABORATORIES
November 6, 1933.
Steinway & Sons,
1C9 West 57th Street,
New York City.
Gentlemen:
The following measurable differences have been
found between the old action and the Steinway ac-
celerated action, examples of which were submitted
to us:
Greater Speed
The Steinway accelerated action is quicker than the
old action by an average of 2 one-hundredths of a
second (14 per cent) for fortissimo p'.aying, and by 1
cne-hundredth of a second (6 per cent) for pianis-
simo playing. These differences were determined by
high-speed motion pictures and refer to the time of
one complete cycle, from the instant of the first touch
of the finger to the key to the time when both key
and hammer have returned to position for another
touch.
THE CAUSE
This difference is due chiefly to quicker return of
the key and hammer of the Steinway accelerated ac-
tion. In pianissimo playing, the lag of the rising key
behind the lifting finger averages two and one-half
times greater in the old action than in the Steinway
accelerated action.
GREATER PRECISION
The drop of the hammer away from the string, in
pianissimo playing, averages two one-hundredths of
a second faster in the Steinway accelerated action than
in the old action, which means that pianissimo notes
may be made more staccato.
LESS EFFORT
The momentum which must be applied to a key to
produce a pianissimo tone averages 15 per cent more
in the Steinway accelerated action than in the old
action. The momentum with which the key returns
to position as the finger is lifted also is greater by
about the same percentage. This does not mean,
however, that the energy required to be exerted by
the player is greater. Instead, consideration of the
muscular actions involved indicates that this energy
is less. Well-controlled pianissimo playing requires
that two sets of arm and finger muscles work in an-
tagonism to each other; one set to depress the finger,
the opposing set to lift the finger and to keep it from
being depressed too much or with the wrong timing.
The quicker and more energetic return of the keys
of the Steinway accelerated action as the fingers are
lifted should decrease the stra-n on the lifting muscles
AND THE TOTAL E F F O R T REQUIRED
FROM THE PIANIST. These differences in mo-
mentum also indicate that p'aying of precise
pianissimos will be easier on the Steinway acceler-
ated action than on the old action, for the reason
that the force margin available for the necessary
equilibrium between the two antagonistic sets of arm
and finger muscles will be wider.
LESS EFFORT AND GREATER PRECISION—
FORTISSIMO PLAYING
Measurements of internal friction indicate that this
friction averages about 11 per cent less, and is ap-
proximately 20 per cent more uniform, in the Stein-
way accelerated action than in the old action, espe-
cially for the return of the key and hammer to posi-
tion after a string is struck. Taken with the greater
speed of this return noted above, this means that
fortissimo playing should be substantially speedier
and more precise on the Steinway accelerated action
than on the old action.
Respectfully submitted,
THE E. E. FREE LABORATORIES
by E. E. Free.
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All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/

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