Music Trade Review

146
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THE MUSIC
TRADE REVIEW.
The Brand Manufacturing Co., New Britain, Conn.,
although a comparatively young firm, 1B certainly
among the busiest in the trade. It manufactures
every kind of piano and organ hardware, and its
goods have met with such favor among the manu-
facturers of instruments that it finds it almost Im-
possible to meet the demand. The factory, which
is a large one, is kept running to its fullest limit.
The concern will shortly produce several new inven-
tions, whioh will cause a stir ia the organ trade.
•
• *
I met Mr. E. P. Carpenter on the train and enjoyed
a very pleasant ride with him from Meriden to Brat-
tleboro. He informed me that all differences between
Mr. Hammond and himself has been settled to the
entire satisfaction of both parties. We arrived at
Braitleboro in the evening and I went with him to
the factory, which I found was running full blast.
Mr. Carpenter informed me that this was nothing
unusual, as he was away behind in orders and that
he had been running the factory until 9 o'clock at
night for some weeks past, and expected to do so
right through the winter. The company have faci-
lities for manufacturing 250 organs per month and at
present are making that number. They have a very
large foreign trade and their last order from their
London agents was for 126 organs, to be sent before
Jan. 1st. They have just completed a very large and
handsome organ which will be placed in the Presby-
terian Church, in Youngstown, Ohio.
• •
Every one at the factory of the Estey Organ Co.
seems to be perfectly contented with the volume of
business. Colonel Estey informed me that their
trade for 1886 had been even greater than they ex-
pected. Their branch houses, whioh are established
in all the prominent cities, ordered very largely for
holiday trade, and the reports from these houses
prove that they were fortunate in getting a good
stock ahead. Colonel Puller has just returned from
a trip West and finds everything satisfactory.
•
• •
Trade in Boston is generally good, even better
than for many months past. The piano manufact-
urers all report a steady trade, and the organ makers
are perfectly) contented.
• \
Among the many firms I called upon there were
none that seemed to be in a happier frame of mind
than the proprietor of the New England Organ Co.
Although very busy he found time to spend a half
hour in chatting with me, as he always does, which
courtesy I always appreciate, knowing, as I do, the
amount of business he has to attend to. The mail
of the New England Organ Co. is something en-
ormous, and I should judge there were over one
hundred letters in the one delivery while I was at
the office. The proprietor attends to the reading
and superintends the answering of all this, which in
itself seems to me to be enough for one person to
manage. It is no wonder to me that this concern is
always busy, for their line of styles are as large and
handsome as any firm in the trade. Traveling, as I
do, all over the country, I have an excellent oppor-
tunity to learn the popularity of any instrument, and
I am free to say that no where I oalled did I hear
anything but the highest words of praise for the New
England Organ.
•
• «
The Henry F. Miller Sons' Piano Co. inform me
that their trade has been all they expected during
1886, and that their retail trade has been even larger
than they anticipated. There are several brothers
in the conoern, all of whom are practical and experi-
enced gentlemen in piano making. Each one has his
particular branch to attend to, so that there is no
conflicting. They are all hard workers, and there is
no reason that, with the excellent qualities of the
Miller piano,the concern should not be successful.
*
* *
Bourne They do not manufacture as many pianos as some
other firms, yet they keep the factory running full
time, and give steady employment to their men.
They probably do as safe a business as any firm In
the trade, utterly refusing to sell on long credit, and
to none but the most reputable agents. By this
means they have no bad debts to close into profit
and loss at the end of the year, and know just what
profit to expect when the piano is shipped.
* »
Vose & Sons are, without a doubt, having the largest
trade in the history of the house. There is not a
day but that they receive telegrams from their agents
to hurry along their pianos. They now have orders
enough on their books to last them until the first of
February.
* *
The Smith American Piano and Organ Co. are
pushing their piano manufacturing with all possible
energy. Their dealers are constantly writing and
urging them to ship pianos. Their retail trade has,
however, been so large that they could not supply
the wholesale trade. They have been constantly
enlarging the piano department, and now expect to
be able to supply thedealers with goods by the middle
of next month. The new styles, which are just out,
are handsomely finished and possess an excellent
tone. I have always felt as though the firm could
not afford to make anything but a first-class piano,
as their organs have such a splendid reputation. I
am now fully convinced that the piano they will give
the dealers and publio will in every way sustain the
excellent reputation of the house.
The Hallet & Davis Co. keep right along in the
even tenor of their way. It makes no difference to
them, so far as their manufacturing is concerned,
whether it is dull times or not. When they start out
on the first of the year they decide how many instru-
ments they will make a month. They engage help
accordingly and never deviate from this number one
iota, running every working day in the year. In this
way the workman knows that he will have steady
employment, and takes more interest to please his
employer and retain his position than he would if
continually in uncertainty as to the length of time
before he is liable to have his time or wages cut
down. The Hallet & Davis piano speaks for itself
and needs no words of praise from me. It is handled
by the largest dealers throughout the country, all of
whom are proud to represent it.
*
* •
Woodward & Brown have had an excellent trade
during the year, and until quite recently have been
bothered to fill their orders owing to their limited
manufacturing facilities. The Woodward & Brown
piano has been before the public since 1843, and the
reputation gained has been well deserved.
THE HARP.
N giving the history of the piano, it may be inter-
esting to our patrons to read something concerning
the harp, which is styled the mother of the piano.
It is an instrument of very ancient date, its origin
being traced to the Egyptians, although it is believed
to have existed long before. The earliest represen-
tations we have of it are taken from Egyptian paint-
ings, and it is supposed to have sprung from the idea
of the warrior's or hunter's bow. This instrument
was played horizontally, borne upon the performer's
I
shoulders. The harp has not passed through as many
metamorphoses as the piano, still its present form
differs very much from the original. While the in-
strument is of great antiquity, yet its present name
and form are derived from Northern Europe. Be-
tween the first representation of the harp and the
grand vertical form shown in the frescos of Rameses
Third, more than 3,000 years old, the traveler, Bruce,
discovered many varieties, from the primitive bow-
form to the triangular.
The Egyptian harp had no front pillar, and from
the manner in which it was strung, we judge that its
tension and pitch must have been low. Some harps
appear to have been six feet high with few strings,
and were played while standing. The Egyptian harps,
that most resemble our own, were erected on pedes-
tals of exquisite workmanship and decoration.
The Greeks and Romans preferred the harp to the
lyre, although it is described by a Latin writer in
the seventh century as an instrument of barbarians.
The name like the instrument has undergone
changes. According to the Latin writer, it was spelled
" harpa" ; this is the earliest mention of the name.
In the Old High German it is called " harapha " ; in
Anglo-Saxon "hearpe" ; in the Spanish and Italian
"arpa," and the French "harpe."
The Assyrian harp was similar to the Egyptian,
with the exception of the sound-body. We have no
definite idea of the Hebrew harp, though, according
to modern writers, the harp upon which King David
played was similar to our own. But Mediaeval artists
depict the psaltery, from which the modern piano
was derived, as King David's harp.
No other nation ever gave greater prominence to
the harp than the Gaelic. They seem to hold it in
a peculiar veneration. In Thomas Moore's poem,
" Minstrel Boy," we see the great love of his harp
when he cut the strings that had sounded in freedom
never again to sound in slavery.
The Irish harp was often an heirloom, and was pre-
served with the utmost care and respect, and was
used by the bards of the family. A slave was not
allowed to touch a harp; hence the harp that hung
on Tara's walls was silent after Ireland's captivity.
The Welsh harp, like the Irish, was held in great
veneration. The harp first appeared in the coat-of-
arms of Ireland in the reign of Henry the Eighth,
1535. In Trinity College, Dublin, is the oldest speci-
men of the Irish harp in its beautiful and familiar
form. It is said to have been the property of King
Brian Boiroimhe; from its ornamentation and her-
aldry its date is supposed to be of the 14th century.
The next oldest specimen is In the Highlands of
Scotland, belonging to the old Perthshire family of
Robertson of Lude. Another of a more recent date,
called the "Lamont harp," was taken by a lady of
that family from Argyleshire, 1460, on her marriage
in that family. The harp, as it now exists, shows
many improvements over the original forms.
On the latter no accidental semitones could be
produced unless the strings were shortened by the
player's finger. In the 17th century a Tyrolese maker
adapted hooks that, screwed into the neck, could be
turned downwards to produce the desired semitones.
About the year 1720 Hochbrucker, a Bavarian, in-
vented pedals, which acted through the pedestal on
the instrument, leaving the player's hands free.
This invention did not reach perfection until the
18th century, when Sebastion Erard not only im-
proved upon it, but made several other improve-
ments.
Though the. harp is a beautiful instrument, yet its
domestic use does not meet the same favoritism as
the piano. We find it more in orchestras or in public
musical entertainments. In these its use seems to
be increasing while declining among soloists.
DISSOLUTION NOTICE.
OTICE Is hereby given that the copartnership
heretofore existing between L. D. Stone and
G. W. Ballard, under the firm name of Stone
& Ballard and known as the North Arkansas Musio
House has this day been dissolved by mutual consent-
G. W. Ballard retiring from the firm.
The business will b« continued under the name of
L. D. Stone, he assuming all liabilities and collect
ing all outside accounts and notes.
N
L. D. STONE,
G. W. BAIiLABD.
Dec. 8th, 1886.