Music Trade Review

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THE MUSIC TRADE REVIEW
I
T would seem that some more appropri-
ate name than piano tuner should be
applied to those who devote their whole
lives to preserve harmony. There are some
very cynical persons in the world, but one
of them suggests that the name was exceed-
ingly fitting, because most of them were
"no tuners," but left the piano the worse
for their handling.
The name fitly de-
scribes their occupation, but does not have
that flavor of the technique, or the "tout
ensemble," or the "poco rullentando," as
it were, which all terms should possess that
are used in connection with the piano, es-
pecially as it refers to one who regulates
the mechanism and maintains the tone of
the most marvelous musical instrument in
the world.
It reminds one of the expression used by
critics when they wish to disparage an opera
or other musical composition of any length,
that it is "tune) 7 . " In the present age, com-
pose what you will, but do not have any
tune in it. That will do very well for the
immortal "Annie Laurie " but not for an
up-to-date, fin-de-siecle composition.
For a new name for piano tuner, follow-
ing in the wake of the man who invented
"pristidigi Fabeur," one would suggest
"pianistitateur," or "pianistitician," or
"pianotunist," or "pianistant."
Take
your choice.
*
Tuners are as a rule a nomadic class of
men, and their experiences would fill
volumes.
Some rare musicians have de-
serted their profession and taken to this
^work to earn a livelihood. As an instance,
a Southern gentleman told me the follow-
ing:
"Not long ago I lived on a large planta-
tion on the Teche River, in south Louisiana,
and sometimes, with neighbors so far from
me, the time dragged very wearily. One
day an old, long-haired German came to
the house, evidently tired and hungry, and
was given the much-needed food, and a
place to rest. We thought him some old
wanderer or tramp, but found that we had
entertained an angel unawares.
During
the afternoon he asked to see our piano,
and offered to tune it for us. As soon as
he began it was evident that he was a past
master, not only of the art of tuning, but
of playing. He was a superb pianist, and
night after night he charmed us all with the
witchery of his playing that was so great
that even the mocking birds that sang in
the moonlight over the bayou were silent.''
* *
In Louisville there is a piano tuner who
has had some high-class experiences, and
has been a veritable "globe trotter." " I
have traveled with many great pianists,"
said he. "In London I learned the trade
of tuning pianos, and accepted a position
With a London piano establishment.
'' I have traveled with Patti, Liszt, Ruben-
stein, Von Bulow, Sullivan, Baruby,
Gounod and many others.
"Patti? Oh, she was very sweet, and
easy to get along with, although her ac-
companists were frequently cranky. They
would rave and tear their hair, but I never
let them bother me. I knew my business.
"Liszt? Oh! he was an ugly fellow, long
face and heavy features. His wrists and
hands were awful; they looked like defor-
mities. He had the longest fingers, and
could stretch almost two octaves. He used
to say, when I got through: 'Oh, dat is
pairfect.' He would permit me to watch
him practice, and it was marvelous to see
the swift sweep of those long white hands
across the key-board. But he was a master.
"Rubenstein? Oh, he was not difficult
to please, but he fairly tore up a piano with
his furissirho style, and it had to be tuned
every time that he played. However, that
is the case with all of them. You must
tune the piano after every performance.
"Von Bulow was a savage. He kept
every one about him except myself in a
state of fear and trembling, but I was not
afraid, t ,nd used to pitch into him. When
we returned to London, and he was asked
by my employers how he liked me, he re-
plied: 'Oh, he vas von good tuner, und he
vill fight.' "
* *
Speaking of Paderewski, the Louisville
pianistitateur thus discoursed: "Ah, these
people who talk about his extravagant
charges. They do not know. They should
learn that the result of the exceedingly
great practice, which for so many years
must be unremitting, is enough to unbal-
ance the mind, and then the care to main-
tain the flexibility of the fingers. But it is
the brain that is in danger. The result of
constant musical application is to render the
mind unduly sensitive to discord of any
kind, and where a man's whole soul is
wrapped up in it the intensity, yes, the al-
most delirium of delight that music affords
him is too great a strain .upon the nervous
system, and there the danger lies. Twenty-
five hundred dollars a night? Why, such
geniuses are worth that much an hour.
There is no price that can measure these
children of wonderland."
These are the poetical sides of the piano
tuner's life, and after this one can not leave
the clouds and write of the petty work and
sordid cares of the men we only sec as they
strum the keys on a wretched upright of
villainous make.
* *
Some of our contemporaries display un-
usual anxiety and uncalled-for interest in
the private affairs of members of the trade.
Not only are they instructing them how to
conduct their business, but they seem to
take especial pleasure in bringing to light
and dwelling on private matters which have
no more connection with music trade
affairs than the daily "outings" of Queen
Victoria.
During a recent conversation with one of
the oldest and most reputable salesmen in
the sheet music business in this city, he
said: "Business is not just what it should
be in our line. The old music houses are
suffering from the competition of the
younger houses in the trade, owing to the
fact that they ignore the varied methods
which have enabled these concerns to win
trade for themselves and fame for their
clients.
' The older houses seem to be oblivious to
the fact that we are living in an up-to-date
and progressive age. They adhere to the
old methods of doing business, and instead
of pushing their productions through con-
certs and public entertainments, and by en-
listing the aid of vocalists in different lines
—they prefer to leave them lie on the
shelves to be selected at the pleasure of pur-
chasers.
"On the other hand the young, progressive
publishing houses make it a point to pay a
fair price to some well-known singer to
make their productions known, hence they
are brought before the public and in nine
cases out of ten they become popularized,
and a demand is created. The songs thus
made known may not be creditable works,
but that has nothing to do with the methods
employed.
"Through tne indifference of the old-time
houses to the present commercial methods,
thousands of sheets of music are pu lished
every year which the public never hears.
The author may, perhaps, distribute a few
copies among his friends, and then the pub-
lication passes into oblivion.
"Of course, I do not mean to say that all
of these publications are really worth 'push-
ing,' but there are quite a number of meri-
torious pieces of music which could with
justice to the publishers and to the authors
be given a 'fighting' chance of success.
"To my mind the present stagnancy
among the old-time music publishing
houses is due to the fact that they are not
in touch with the times. It is not a con-
fession of weakness to follow the example
of so-called 'one-horse' concerns as long as
they are pirsuingthe right business policy.
If the methods of the small house is the
correct one it should be followed by all
means, thus insuring a greater demand for
the hundreds of publications which are now
turned out only to fill vacant shelves—re-
sulting in equal results for the writer and
the publisher. Conservatism in business
methods must be overthrown if publishers
wish to succeed these days."
T. FLOYD-JONES, of Haines Bros., is ex-
pected back this evening from his two
weeks' Southern trip. He has established
three valuable agencies, and writes en-
couragingly of the outlook for the Haines
Bros, pianos in the "Sunny South."