Presto

Issue: 1934 2274

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.
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/
Nov.-Dec, 1934
PRESTO-TI MES
As for accompaniments for concert work and with
the orchestra, the piano does its part."
"Pianos of quality," he continues, "are an asset to
civilization. I am not talking about the cheap piano,
Importance of Piano Accordion Trade
the instrument that may make you think of a side-
show of a circus, but of the instrument of value and
14 E piano accordion business has musical quality." Mr. Stackley says that he is "in
become an important feature in the the music business to stay, because there is no better
music trade of the United States as field for selling operations than the sale of pianos and
it long has been in Europe and thi- instruments of music."
Colonial countries. This is par-
ticularly striking at this time since STARR IN THE SOUTHWEST; ACTIVE WORK
the instrument is not now regarded
IN GOOD TERRITORY
The Starr Piano Company has an aggressive rep-
as a strictly professional one for
use mainly by specialists but is now a favorite instru- resentative in the Southwest in the person of E. J.
ment for the family, a medium of musical expression Pringle whose territory embraces the Virginias, the
for the home. It is even regarded as an instrument Carolinas, Georgia and part of Tennessee.
This gentleman has been doing effective work of
well adapted to take the place of the reed organ of
bygone days for it meets the requirements for music late in establishing various agencies in his territory,
in the parlor, the studio, the fireside, social and club several of which are opening up with strong bids for
gatherings—wherever music is used, by whatever Starr piano sales in their localities.
class, gay or solemn, religious or secular. And, too,
These Starr piano activities confirm reports that
performance on the accordion leads to other musical have come to Presto-Times of late about the new
requirements, especially to the piano and grand organ line of the Starr piano and the Starr-made product, a
playing.
line of sellers that the Messrs. Gennett brothers have
In some instances the piano accordion has been been very busy for some months past getting them
featured by music houses to the exclusion of other ready for this season's trade. In a word, the Starr
departments, realizing the splendid profit from sales, Company is evidently making a determined push for
and that it is a line of business which brings about trade.
Another Starr representative in the Southwest ter-
valuable contacts that help tremendously to popularize
ritory, Mr. Richard S. Hill, is doing effective work for
a business.
Various music merchants have put on exhibitions tht big factory at Richmond. Mr. Hill's headquarters
and contests that have attracted marked attention. at the present time are at Boynton, Florida. He is
The Wurlitzer houses, for instance, have made numer- an experienced piano man and for a long time w-as
ous public accordion exhibitions and not long ago connected with the Packard Piano Company at Fort
the Wurlitzer branch at Cleveland, Ohio, brought out Wayne, Indiana. Well equipped for taking care of
a display of accordion performances that brought to- and developing a good piano trade, Mr. Hill is prov-
gether music lovers all around Cleveland and it^ ing himself well able to carry on.
suburbs. The performers and contestants represented
various degrees of proficiency who showed their skill
MAY CONTINUE REGATTA LAURELS
in largely attended concerts of piano accordion music—
Phil
Starck. head of the Starck Piano House, Chi-
solos, duets, quartets and various forms of ensemble
cago, who was one of the winners in regatta races at
piano accordion playing.
Lake Geneva, Wis., last summer, stands in a fair way
Most of the Wurlitzer stores, for instance, and prac- to continue his success and possibly to eclipse all of
tically all of them located in metropolitan centers, his former water regatta competitors in a proposed
have trained teachers and today thousands of students ice sailing race this winter on Lake Geneva, to which
are studying the accordion under the tutelage of these his many friends say: "All right! Hurray for Phil!"
teachers, some taking advantage of private lessons
while others attend the regular classes at the Wur-
The Uark Orchestra Roll Company. De Kalb, 111.,
litzer stores. Thus it is that Wurlitzer by this system
of class instruction is popularizing the instrument as keep the music roll business "humming." Their No-
vember-December bulletin shows many new and at-
a favorite for home use.
tractive rolls.
The Wurlitzer piano accordion factory at De Kalb,
111., forms a section of one of the most important
piano factories of the world. It is a division of the
Wurlitzer business that has grown almost by "leaps
and bounds." For instance somewhat over a year
ago a dealer of wide experience and observation
visited their factory at De Kalb and pronounced it the
most complete establishment in all essentials for
superior accordion construction that he had ever
visited either in Europe or America. Recently this
party wrote for further information and was advised
something like this:
of
That since his visit a year ago business at the De
Kalb plant had greatly expanded so that at the present
time it is employing upwards of a hundred workers,
producing an output that will run to a formidable
figure in piano accordion production in 1934. Mr.
Manufactured by
Fary, who dictated that letter, went on to say that
"today in our twenty-eight stores we are teaching
close to live thousand students to play the accordion.
The piano accordion department of our stores is prob-
ably the most profitable and these stores carry a great
New Location
line of all kiivds of musical instruments. For this
33 WEST 57TH STREET
reason we believe that we can say in all truthfulness
NEW YORK, N. Y.
that we know something about the making and selling
of accordions. We can also assure you that we know
our instruments require less service than any other
of the many instruments that our stores have han-
dled in the past and this embraces all the standard
makes."
(To be continued)
DEVELOPMENT OF AN INTEREST-
ING BUSINESS
HARDMAN -
92 YEARS
Absolute Reliability
HARDMAN, PECK & CO.
WINSTON-SALEM'S LATEST
J. R. Stackley, senior member of the recently estab-
lished J. R. Stackley Piano Company, Winston-Salem,
N. C , has had a long and interesting experience in
the piano business. For several years he conducted
special sales. At the outbreak of the World War he
served abroad and on his return home went back into
the piano business, this year opening under his own
name as already announced. Mr. Stackley is an
optimist, believing that there is always business for
the active worker, and therefore he always knows
that there is business ahead and business to be had
by the active worker. Mr. Stackley remarked to a
Presto-Times correspondent recently that "there is
trade enough for all of us if we go after it, for no
home is complete without the piano, and churches,
schools and broadcasting stations must have pianos."
"The radio," he says, "will never replace the piano,
because piano music is more complete and more
popular than any other music coming over the radio.
STORY
C LARK
1
Qrand and Upright
PIANOS
Manufactured by
f
i
<
STORY &. CLARK PIANO COMPANY
Established 1857
Executive Headquarters: 175 N. Michigan Avenue
Chicago, Illinois
Factory: Grand Haven, Michigan
IN MEMORIUM
WILLIAM TONK
The late William Tonk was born in Berlin, Ger-
many, and was a child when his family located in
Chicago where he received his school education. After
he had finished school he went to work for the music
house of Julius Bauer & Company where he remained
until he and his brother, Charles J., established the
firm of William Tonk & Brother in New York City.
They built up a targe business as wholesalers of
musical merchandise, small goods, band instruments,
etc., at 26 Warren street, that city.
Later on the firm separated, Charles J. Tonk estab-
lishing the music business in Chicago now carried on
as Tonk Bros. Company. William Tonk engaged in
piano manufacturing and carried on an extensive
business, manufacturing the Tonk piano.
An entire change in this business took place some
ten years ago when William Tonk retired and the
business came under the management of his son,
Ernest G. Tonk, now known as the Tonk Piano Com-
pany, 509 West Fifth avenue, New York.
William Tonk was widely known, respected and
beloved in the trade. He served for two years as
secretary of the Piano Manufacturers' Association and
was prominent in other ways and in music trade con-
vention work. He is the author of the book "Memoirs
of a Manufacturer," a publication of intense interest.
Mr. Tonk was one of the three prominent Tonk broth-
ers who have been so prominently associated with the
music industries and trade of this country, the two
others being Max Tonk, who established the Tonk
Manufacturing Company, Chicago, and Charles J.
Tonk, who established the Tonk Bros. Company,
Chicago, both prominent and great wholesale music
houses of the present time.
* * *
H. C. DICKINSON
The startling news of the death of H. C. Dickinson
was 'phoned from Baldwin headquarters, Cincinnati,
to Manager L. C. Wagner of the Chicago branch
house Saturday morning last, announcing the pass-
ing of this beloved character the night before, Friday,
Dec. 14, at his newly established home, 3529 Pine
Tree drive, Miami Beach, Fla. Mr. Dickinson left
Chicago several weeks ago in good health and physical
condition and had been much interested in his new-
home at Miami Beach, giving up his late residence
at 5555 Everett avenue, Chicago.
Mr. Dickinson was a unique figure in the trade.
He engaged with D, H. Baldwin of Cincinnati im-
mediately upon leaving school and a short time there-
after was sent to Chicago to take charge of a reed
organ factory which D. H. Baldwin & Co. had pur-
chased and from which factory the famous Hamilton
reed organs were made and which was the nucleus
of the Hamilton piano and the factories later estab-
lished at Chicago Heights, 111. Mr. Dickinson had
been associated with only this one music house and
in only this line of business during his entire trade
career of about fifty years. He had long been vice-
president of The Baldwin Piano Company and one
of the directors of that corporation and resident gen-
eral manager of the Baldwin branch house at Chicago
since it was established.
The deceased was a beloved music trade man, one
to whom the endearing term "salt of the earth" was
a fitting sobriquet.
It is stated that the funeral of Mr. Dickinson will
take place at Cincinnati, probably on Tuesday, Dec.
18. The deceased is survived by his widow and two
daughters, Mrs. George W. Lawrence of Cincinnati
and Mr. George A. Barton, Kansas City. A meeting
of the Piano and Organ Association is to be called for
a memorial service and passing of resolutions, to be
held on Monday, Dec. 17, where the music trade is
asked to gather to pay its respects to a cherisheil
member of the fraternity.
* * *
The death of William H. McKinley takes from our
midst a prominent member of the music publishing
fraternity and the head of an aggressive concern, the
McKinley Music Co.. located at 1501 East 55th street,
Chicago.
* * *
Charles F. Ivers, whose death at the age of 78 is
announced at Fairhaven, Mass., was a son of the
late William H. Ivers, one of the founders of the
Ivers & Pond Piano Co. He was president of Ivers
& Pond Piano Co. for many years.
* * *
Edwin Bechstein, who passed away some weeks ago
at Berchtes Garten, his home near Berlin, Germany,
was the eldest son of the late Carl Bechstein, the
founder of the house of Bechstein, who died in 1900,
and succeeded as head of the house of Bechstein.
It will be remembered that the Paris, St. Petersburg
and London branch houses of C. Bechstein were closed
in the early days of the World War but the London
house was reopened a few years after the close of
the war and is now one of the prominent piano con-
cerns of Great Britain and is still in charge of Max
Lindlar, who has been manager of Bechstein in Lon-
don for about forty years.
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/

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