Music Trade Review
Issue: 1892 Vol. 16 N. 10 - Page 4
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
212
Instruments of Coijg
SEEN IN THE STOREROOM OF MANY A NEW
ENGLAND HOME.
occasions are frequent, if one travels
~€> much, that his attention may be called
to some ancient or time-worn musical instru-
ment that has been relegated to an unused cor-
ner of the attic or storeroom, there to remain a
visible evidence of the pleasure its chords have
invoked. Should the inquiry be made, '' Why
do you keep that useless piece of lumber? "
you will find that a perfect torrent of reminis-
cences has been awakened, and that it is hard
to check.
The old spinet, if it be that, you will be told,
has had many laments poured into its rheumatic
old heart; its dingy, yellow keys have unlocked
the doorway to tenderest emotions ; its strings
have been the heart strings of a generation that
has turned to dust, of another generation that
totters about aided by a staff, and still a later
generation, just from the cradle. Why, it is
only a few years ago that its old voice broke
down entirely. Part with it ? Never! We
keep it for the good it has done, for the light
and happiness that it has turned into so many
lives.
Whether the instruments of those early days
were more honestly constructed than those of
to-day of course it is not possible to know, as
these later ones have not had time enough to
ripen, so to speak, but that the earlier creations
in musical instruments possessed great solidity
in their construction, and careful fidelity in the
detail of their finish there is abundant testimony
extant. It is not an unusual occurrence to find
in some of the homes in New England a piano
or melodeon from which music was summoned
at the hands of grandmothers of the present
generation. The writer has in his mind the in-
cidents of a visit paid to one of these solid old
houses that mark a rugged era in the country's
history, and it was there that one of the finest
specimens of an ancient piano was seen—a
square, six octave piano, with carved mahogany
legs, and finished in solid dark wood. The
keys, yellowed with age, when struck gave
forth a jangling, discordant sound, for the har-
mony had departed forever. The hammers were
made to strike the string in a manner long since
out of date. The name plate bore the name,
"Meacham & Co., Makers, Albany, N. Y."
The musical value of the instrument had long
ago ceased to exist, but the honesty of its maker
was visible in every part of its construction, and
the pride of ownership was also visible in every
feature of the one who uncovered it for inspec-
tion. To compare this old relic of mechanical
skill in musical manufacture with the peerless
results of modern skill and ingenuity is hardly
a fair thing to do, because one cannot help feel-
ing that with the means at their hands they
did very well. Fifty years from now, may not
comparisons then made be as unfavorable as are
the results of to-day when placed opposite the
applied ideas of fifty years ago ? The matchless
pianos of to-day seem to be absolutely perfect,
yet the inventive mind is ever restless.
Oppressed l^atioQS SIQ^.
" 4 ^ ) ^ y ° u ^now ^ a t oppressed nations al-
C^>- ways sing ? " asked J. W. Wurtemberg,
of Boston, at the Tremont. "Victor Hugo
makes such a statement somewhere, and I be-
lieve he is fully borne out by the facts. It is
the period of the greatest struggle for freedom
and of the greatest tyranny that witnesses the
birth of great musical composers. It was
after the thirty years' war that the German
choral was founded. Italy was in the throes of
dissension, conflict and strife when Palestrina
arose. Art, as represented by the paintings of
the great masters, had been suppressed, and art
in another form, that of music, took its place.
I need not quote instances nearer at hand to
prove the accuracy of my statements.''—Chicago
Herald.
Sigmund Herzog, concert pianist, has return-
ed to the city and will be heard in concert this
season, together with S. Van Praag, solo violin-
ist. Both of these gentlemen are artists of the
foremost order, and their repertoire is large and
varied.
The Violin World is the name of a new
monthly publication, devoted solely to the inter-
ests of the violin family. It is neat, concise,
and contains considerable matter of importance
to violinists,
His Nom de Plume—" I have been trying to
think of a suitable pen name," said the young
author. '' Could you suggest one ? ''
" If it is one of these cheap fountain pens you
wish a name for,'' answered the Rev. Mr. Wil-
gus, " you had better ask some one who is not
debarred by his profession from expressing him-
self."—Indianapolis Journal.
A TRAVELING
8AL.K8L.A&Y.
A LADY desires a position as traveler for a house manufactur-
ing Piano Scarfs, Stools or any Musical Novelties. She
has been engaged in the above business for the past five years,
and understands it thoroughly.
Address, LADY TRAVELER, care of
THE MUSIC TRADE REVIKW,
3 East 14th Street, N. Y.
¥ e have it at last!
A PERFECT GRAND ACTION
FOR THE UPRIGHT PIANO
It is more sympathetic, more elastic repeats more instantaneously and faster
in the Upright piano than in the old style Grand.
To prove all of the above broad claims, we invite you to a critical examination of the
action, in working order, in a number of Pianos to be exhibited at the Parlors
of the HOTEL KENSINGTON, 5th Avenue and 15th Street, N Y. t
from October 17th to 29th, inclusive.
THE MUSIC TRADE REVIEW
212
Instruments of Coijg
SEEN IN THE STOREROOM OF MANY A NEW
ENGLAND HOME.
occasions are frequent, if one travels
~€> much, that his attention may be called
to some ancient or time-worn musical instru-
ment that has been relegated to an unused cor-
ner of the attic or storeroom, there to remain a
visible evidence of the pleasure its chords have
invoked. Should the inquiry be made, '' Why
do you keep that useless piece of lumber? "
you will find that a perfect torrent of reminis-
cences has been awakened, and that it is hard
to check.
The old spinet, if it be that, you will be told,
has had many laments poured into its rheumatic
old heart; its dingy, yellow keys have unlocked
the doorway to tenderest emotions ; its strings
have been the heart strings of a generation that
has turned to dust, of another generation that
totters about aided by a staff, and still a later
generation, just from the cradle. Why, it is
only a few years ago that its old voice broke
down entirely. Part with it ? Never! We
keep it for the good it has done, for the light
and happiness that it has turned into so many
lives.
Whether the instruments of those early days
were more honestly constructed than those of
to-day of course it is not possible to know, as
these later ones have not had time enough to
ripen, so to speak, but that the earlier creations
in musical instruments possessed great solidity
in their construction, and careful fidelity in the
detail of their finish there is abundant testimony
extant. It is not an unusual occurrence to find
in some of the homes in New England a piano
or melodeon from which music was summoned
at the hands of grandmothers of the present
generation. The writer has in his mind the in-
cidents of a visit paid to one of these solid old
houses that mark a rugged era in the country's
history, and it was there that one of the finest
specimens of an ancient piano was seen—a
square, six octave piano, with carved mahogany
legs, and finished in solid dark wood. The
keys, yellowed with age, when struck gave
forth a jangling, discordant sound, for the har-
mony had departed forever. The hammers were
made to strike the string in a manner long since
out of date. The name plate bore the name,
"Meacham & Co., Makers, Albany, N. Y."
The musical value of the instrument had long
ago ceased to exist, but the honesty of its maker
was visible in every part of its construction, and
the pride of ownership was also visible in every
feature of the one who uncovered it for inspec-
tion. To compare this old relic of mechanical
skill in musical manufacture with the peerless
results of modern skill and ingenuity is hardly
a fair thing to do, because one cannot help feel-
ing that with the means at their hands they
did very well. Fifty years from now, may not
comparisons then made be as unfavorable as are
the results of to-day when placed opposite the
applied ideas of fifty years ago ? The matchless
pianos of to-day seem to be absolutely perfect,
yet the inventive mind is ever restless.
Oppressed l^atioQS SIQ^.
" 4 ^ ) ^ y ° u ^now ^ a t oppressed nations al-
C^>- ways sing ? " asked J. W. Wurtemberg,
of Boston, at the Tremont. "Victor Hugo
makes such a statement somewhere, and I be-
lieve he is fully borne out by the facts. It is
the period of the greatest struggle for freedom
and of the greatest tyranny that witnesses the
birth of great musical composers. It was
after the thirty years' war that the German
choral was founded. Italy was in the throes of
dissension, conflict and strife when Palestrina
arose. Art, as represented by the paintings of
the great masters, had been suppressed, and art
in another form, that of music, took its place.
I need not quote instances nearer at hand to
prove the accuracy of my statements.''—Chicago
Herald.
Sigmund Herzog, concert pianist, has return-
ed to the city and will be heard in concert this
season, together with S. Van Praag, solo violin-
ist. Both of these gentlemen are artists of the
foremost order, and their repertoire is large and
varied.
The Violin World is the name of a new
monthly publication, devoted solely to the inter-
ests of the violin family. It is neat, concise,
and contains considerable matter of importance
to violinists,
His Nom de Plume—" I have been trying to
think of a suitable pen name," said the young
author. '' Could you suggest one ? ''
" If it is one of these cheap fountain pens you
wish a name for,'' answered the Rev. Mr. Wil-
gus, " you had better ask some one who is not
debarred by his profession from expressing him-
self."—Indianapolis Journal.
A TRAVELING
8AL.K8L.A&Y.
A LADY desires a position as traveler for a house manufactur-
ing Piano Scarfs, Stools or any Musical Novelties. She
has been engaged in the above business for the past five years,
and understands it thoroughly.
Address, LADY TRAVELER, care of
THE MUSIC TRADE REVIKW,
3 East 14th Street, N. Y.
¥ e have it at last!
A PERFECT GRAND ACTION
FOR THE UPRIGHT PIANO
It is more sympathetic, more elastic repeats more instantaneously and faster
in the Upright piano than in the old style Grand.
To prove all of the above broad claims, we invite you to a critical examination of the
action, in working order, in a number of Pianos to be exhibited at the Parlors
of the HOTEL KENSINGTON, 5th Avenue and 15th Street, N Y. t
from October 17th to 29th, inclusive.
Future scanning projects are planned by the International Arcade Museum Library (IAML).