Music Trade Review

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strings, created an interest among musical and scienti-
fic authorities that amounted to sensation.
In 1872 Steinvray & Sons erected their own foundry at
Astoria, opposite 120th street, New York, and have pro-
duced their own steel cupola-shaped frames for every
piano manufactured by them since. After inventing
and patenting, in 1872, his duplex scale, and, in 1875,
the present grand piano repetition action and new iron
frame construction in grand pianos—all of which secur-
ed to his firm the highest award for pianos, and piano
metal frame castings, viz.: "Highest degree of excel-
lence in all their styles of pianos" at the Centennial Ex-
Exhibition, Philadelphia, 1876—Mr. Theodore in 1877-
78 invented and patented an entirely new system of
wooden architecture for grand pianos. The old way
of building up the interior and exterior grand piano
cases of short pieces, joined together like brick, was ab-
andoned, and in its stead an entirely new system was
created whereby a series of layers of wood in one length
were glued together and bent into the required form,
by means of immense steel presses. Thus the problem
was solved in accordance with the law of science, in
odedience to which the tone vibrations invariably fol-
low the longitudinal fibre of the wood, while cross
fibres interrupt the vibrations. A parlor grand only six
feet long was built, embodying the new construction of
the steel cupola frame and that of exterior and interior
case, of comparative lightness and elegance, yet having
fully 50,000 pounds tension of strings and being far
superior in power and beauty of tone to even the large
concert grand, which, at the Paris Exposition of 1867,
had been crowned with the first of the grand gold me-
dals of merit. This new system was at once applied to
all parlor and concert grands produced by the firm, and
necessitated the establishment of Steinway & Sons' own
steam saw mill, at Astoria, in order that logs of twenty-
three feet length might be sawn into the veneers and
layers required. In his thirty-four United States pat-
ents, sixty-three claims relate to grand pianos.
From this necessarily imperfect sketch of the inven-
tive career of Mr. Theodore Steinwa/ it] will be readily
seen that he was a scientist of the hightest rank, en-
dowed with those qualities of persistence and patience,
and with that powerful mental grasp, which have ever
characterized the great scientific discoverers of the
world.
His fame extended throughout civilized mankind, and
rewards and favors were heaped upon him. Carl V.,
King of Sweden, awarded to him the grand honorary
gold medal. Academical honors were bestowed upon
him by the Swedish Royal Academy of Fine Arts. In
the fall of 1867, on invitation, he delivered an oration
before the assembled Royal Academy of Fine Arts,
Berlin, and was elected academical member of that dis-
tinguished body, his brother William receiving a simi-
lar honor. In the same year, Mr. Theodore was voted
a grand testimonial medal of merit, and elected an hon-
orary member, by the Society des Beaux Arts, Paris.
In 1880 the Duke of Brunswick bestowed upon him
the grand gold medal of that State for his achievements
in the art of piano building.
In the United States his name will be honored as long
as art endures. Of receptive mind, and contantly pos-
sessed of a desire to add to his vast stores of knowledge,
Mr. Steinway could not but be a great traveller. In
his younger days he studied his business in several
parts of Central Europe, and later wandered in Europe,
Asia, Africa and America, ever observant of the musi-
cal achievements and requirements of the various races
of each continent.. The collection made by him of
musical instruments of all ages and almost all nations
is probably the rarest and most instructive in the world,
and his information in regard to its details was startl-
ing in its magnitude and precision. He was a profound
student of ancient musical instruments. In particular,
his acquaintance with every form of piano ever attemp-
ted in any country was complete. In 1869 he was pre-
sent at the opening of the Suez Canal, and afterwards
wandered over Egypt, largely augmenting his. precious
collection, and acquiring some ancient instruments of
bone and horn estimated to be of the age of 5,000 or
6,000 years.
This learned, gifted, loving, earnestly-laboring man
was no ascetic. He was a warm friend, a hospitable
host; an enjoyer of the bounties of nature and the
treasures of art; socially and professionally a leader
among men. It would be hard to find a type of man-
hood more nearly approximating to perfection. He
was possessed of a stern sense of right, and of duty.
He was, above all besides, a lover of truth. Deception
was beneath him; falsehood could gain no foothold in
THE MUSIC TRADE REVIEW
that noble nature. Appreciating to the full the many
beauties of our world, he enjoyed them none the less by
reason of his devotion to his special life-work. Of an
ardently sympathetic and generous nature, he added to
his own hapiness by promoting that of others.
Having no children of his own, he took an almost pa-
ternal interest in his nephews, who are largely indebted
to him for their knowledge of the science of piano
building. To them he freely gave the benefit of his ex-
perience and life-long labors.
Especial sympathy is due to William Steinway in his
sore bereavement. The two brothers were bound to-
gether in bonds of the tenderest affection, and the de-
ceased gentleman was regarded by the president of
Steinway & Sons with a feeling akin to adoration.
Theodore Steinway's spirit took its flight on Tuesday
morning of last week. Asthma and heart disease com-
bined to terminate this grand life. All that was mor-
tal of him was laid in the tomb at Brunswick in which
also repose his wife and infant daughter. A great mul-
titude of persons, poor as well as rich, followed the re-
mains to their resting-place. The firm's factories in
Astoria, New York, and Hamburg, and the Steinway
halls of this city and of London, were closed on the
day of the funeral.
Deceased's surviving relatives are his only brother
William, his only sister Dorothea, wife of Jacob Ziegler,
several nieces and five nephews, viz.: Henry W. T.
Steinway, aged thirty-three ; Charles H. Steinway,
aged thirty-two, and Frederick T. Steinway, aged thirty,
sons of the late Charles Steinway ; Henry Ziegler,
thirty-one, the son of deceased,s sister, Mrs. Ziegler ;
Charles Ziegler, thirty five, in charge of the London
branch, and George A. Steinway, aged twenty-four, son
of William Steinway. These young men will continue
their uncle's great work, so far as the Steinway piano-
forte is concerned. Some, at least, of them are im-
bued with a mechanical genius akin to his. That they
may resemble him closely in force of character, love
of art, refinement of manners and taste, generosity of
disposition, sense of duty, is surely the desire of all
who have their best interests at heart.
DECEASED'S WILL.
The will of Christian Friedrich Theodore Steinway,
who died in Germany March 26, has been filed here
for probate. His personal estate is estimated at
$700,000. With a few exceptions his estate, real and
personal, is left to his brother, William Steinway,
and his sister, Dorette Ziegler, and his nephews and
nieces.
The will was executed in New York, April 14, 1884,
and has two codicils dated September 12, 1885, and Oc-
tober 1, 1888, both executed in Braunschweig. The
testator makes the following bequests :
To the corporation of Steinway & Sons, his letters
patent obtained in America, and his drawings, patterns
and scales in this country.
To William Steinway, his brother, his interest in
Steinway's pianofabrik, Neue Rosenstrasse, St. Pauli,
Hamburg, together with registered rights, trade mark,
the factory building and German letters patent, and his
real estate in Hamburg.
To his sister, Dorette Ziegler, of New York, his
house in Braunschweig ; to his niece, Albertine S., wife
of Henry Ziegler, his silverware and plate ; to his niece,
Hattie Steinway, daughter of Albert Steinway, his jew-
elry and gold plate.
To the Stadtisches Museum, Braunschweig, engrav-
ings and a collection of old musical instruments.
To Frederick Th. Steinway, nephew, his library.
To his servant Johanne Steinhof, 9,000 reichsmarks
($2,200).
To three German societies in the Duchy of Braunsch-
weig, 5,000 reichsmarks ($1,200) each.
To the poor of his native city of Seesen, near Bruns-
wick, the sum of 5,000 reichsmarks ($1,200).
To his niece, Hettie, daughter of Albert Steinway,
$20,000; to Ella, daughter of Albert, $15,000; to
Louisa A. Cassebeer, wife of Henry A. Cassebeer, Jr.,
property at 60 Albert st., Long Island City, and $3,000;
to Julia Schmidt, widow of Constantin Schmidt, pro-
perty at 62 Albert St., Long Island City, and $3,000 ; to
Albertine S. Ziegler, $3,000 and 64 Albert st. ; to Paula
Th. Steinway, daughter of William, $5,000 and 66 Al-
bert st.; to Louisa Deppermann, wife of Gustav Dep-
permann, of Hamburg, $3,000; to Lilian von Blumenthal,
wife of Hans von Blumenthal, of Berlin, $10,000; to
Annie von Bodman, wife of Freiherr von Bodman,
Karlsruhe, Duchy of Baden, $10,000; to Clarrisa Stein-
way, $io,ooo, the three last named nieces being daugh-
ters of Henry Steinway, Jr.
To the Union Protestant Church at Steinway, $5,000.
The codicils give William Steinway additional real
estate in Hamburg and Dorette Ziegler additional real
estate at Brownsville, additional to Julia Schmidt,
widow of Constantin, 25,000 reichsmarks ($6,000), and
Charles Ziegler, son of Dorette, $5,000
The testator's interest in Steinway & Sons is to be
held by his executors and trustees, William Steinway,
Charles H. and Frederick T. Steinway and Henry Zieg-
ler, until January 1, 1904. The shares are to be divided
in four parts, one to be held for the benefit of the five
children of his sister, Wilhelmina Candidus; another
for four children of his sister, Dorette Ziegler, wife of
Jacob Ziegler; another for the three sons of Charles
Steinway, and a fourth for William Steinway or his chil-
dren. The trustees are to pay the beneficiaries the in-
come up to 5 per cent., and keep the surplice income for
their trouble.
The residue of the estate is divided into thirds—one
for William Steinway, another for Mrs. Dorette Ziegler,
and the third for the sons of his deceased brother Char-
les, viz.: Henry W. T.. Chas. H. and Frederick Th.
Steinway.
CONVERSE'S "IM FRUHLING" OVERTURE-
I
N conversation with a scholarly musician, and man
of cultivated taste and sound judgment, the other
day, on the frequent presentation of the works of
American composers in our symphonic concert pro-
grammes, he remarked that he anticipated the revival
of Mr. Converse's Spring Overture by Theo. Thomas
with considerable pleasure, having vivid impressions of
the work from a recent perusal of the score and hearing
it when played some time since by the Brooklyn Phil-
harmonic Society under Mr. Thomas' baton.
Charles Crozat Converse's Concert Overture, in A
major, for full orchestra, is a work whose form is strictly
classic. It opens with a largo chromatic phrase, which
forms a tone background for the entire work. This
phrase is often brought into very effective antithesis
with the dominant themes, which are of a broad, flow-
ing melodic character. The leading subject is suggested
in the piu mosso movement which follows and leads to
its full announcement in a piu allegro in A, which is
duly sequenced by the counter theme in E. Thence on
to the finale, the composer elaborates his subjects, dis-
playing a complete mastery of thematic treatment,
counterpoint and symphonic form, and a thorough
familiarity with the science of orchestration and the re-
sources of the modern orchestra. His inventive ability
is shown in the freshness and beauty of the themes, and
his learning in their scholarly treatment. The interest
of the listener was sustained from the commencement
to the end by the beautiful orchestral effects, the florid
and skillful counterpoint. Especially in the finale does
the opening chromatic phrase render noble tone-service
and illustrate the composer's admirable judgment in its
selection and use. The whole work is a Spring tone-
picture, abounding in constantly varied, novel and
charming contrasts of sunshine and shadow. In it he
has shunned all noisy claptrap and sensation. His pur-
pose seems to have been to paint a happy spring scene
in an honest, conscientious way, and to avoid sickly sen-
timentality on the one hand and blaring loudness on the
other, his fresh, abounding fancy being ever subservient
to his broad and deep technical knowledge. It is a
well-known fact that Spohr was Mr. Converse's musical
mentor, and the composer of " Im Friihling " seems to
have caught some of the dainty orchestral spirit of his
master, whom he is known to reverence and admire.—
American Art Journal.
AN IMPROVED MUSIC OR BOOK HOLDER.
SIMPLE device for conveniently holding down
the leaves of books in open position has been
patented by Mr. Herbert O. Brown, of Auck-
land, New Zealand. The side elevation of the holder
has spring arms which are adapted to embrace the
edge of a shelf or other support on which the book
rests, a finger being pivoted upon a rivet or screw ex-
tending into the central part of the clip. The finger
has a long arm above the pivot, to bear in front of the
lower part of the page of a book or sheet of music, and
a short arm, with which a weight is integrally formed,
to normally keep the finger in upright position. One
or more of these clips may be used as desired. For
further information relative to this invention address
Mr. J. E. Brown, 28 Merchant street, Honolulu,
Hawaiian Islands.—Scientific American.
A