Music Trade Review
Issue: 1897 Vol. 25 N. 25 - Page 8
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRAbfi REVIEW
JO
ARE YOU FOND OF MUSIC? DO YOU APPRECIATE COOD MUSIC?
AND YOU OWE IT TO YOURSELF TO SEE AND HEAR IT.
IF YOU DO, THE AEOLIAN WILL INTEREST YOU.
There are still a great many people who are unfamiliar with the Eolian. Who don't know
what it is. In an indefinite sort of a way they have an idea that it
The /Eolian does not require
is
" a kind of mechanical instrument that you wind up or play by
technical skill. Anyone can play it.
turning a crank." Very naturally with such an impression they harbor
a decided prejudice against it.
NOW THE /EOLIAN ISN'T MECHANICAL,
YOU DON'T WIND IT UP AND
IT ISN'T PLAYED BY HEANS OF A CRANK.
In other words the Eolian is not a toy, but an instrument representing a distinct type, with
qualities possessed by no other musical instrument.
It is unfortunately true that one of the principal features of the Eolian—the simplicity of its
operation—has been largely responsible for the mistaken impression
ilusic for the /Eolian is arranged
that is held by many people concerning it.
the full orchestral score.
To people of refined musical taste, what is known as mechanical from
Every note even of the most elabo-
music is intolerable, and when it was claimed for the Eolian that it rate Wagnerlan opera is reproduced
could be played without technical knowledge or skill it was taken for just as it was written.
granted by many that it must be a mechanical instrument.
Probably the most effective way of completely effacing this erroneous idea is to cite the
opinion of a few recognized authorities.
light to music lovers, but also a benefit to art The world's three great Violinists have
Evening Post, says:—" The difference between
itself."
each paid a warm tribute to the /Eolian.
the j-Rolian and an automatic instrument is
vividlv brought oat b v the fact that in the latter ALBERT ROSS PARSONS, President of the College
of American Musicians, says:—" The sEolian is SARASATE—"/ truly believe the .Eolian is des-
you have no con trot over the music, while in the
not trie rely a musical luxury. It is an accurate
case of the .Eolian the player's eyes must be con-
tined for a great future. As a musical instru-
educator of the highest order, since it opens the
stantly fixed on the unrolling sheet of music so
ment it's artistic in the true sense of that much-
way
for
the
introduction
into
the
homes
of
the
that he mav be able to make the changes of
abused word."
world of everv specie of instrumental and vocal
tempo and expression as indicated thereon. In
music without the least technical preparation or YSAYE—" In years to come,when the .Eolian shall
plaving the ^Eolian the p!aver is able to give
labor. The sEolian affords a grand orchestra
all his attention to the shading and sentiment
have achieved the popularity it is destined to
for every home."
of a piece, which brings us to the paradox oj
attain, the art of music will owe much to the
paradoxes. The .Eolian player, whom many JEAN DE RESZKE says:—" The sEolian places
inventor of this remarkable instrument."
suppose to have nothing to do with the expres-
the best music at the doors of all, and affords
sion, in reality has nothing to do except attend
a- simple means oj enjoying and studying the SAURET—" The .Eolian differs so materially from
to the expression."
any other musical instrument that it is quite
'onceptions of the masters of music, ancient and
possible that some mav fail to understand it
^he sEolian is so cleverly constructed
co
PADEREWSKI, in endorsing the Eolian, writes:—
modern. The
upon first hearing it, but a thorough musician
that if the performer can grasp the inspiration
" // combines all the effects which can be pro-
will quickly recognize its artistic qualities.
duced bv the most skillful manipulation of a
of the composer, the instrument affords him
Music lovers may be assured of the intrinsic
grand organ with those of an orchestra. I con-
every facility of interpreting music with feel-
sider your instrument not onlv a source of de-
ing and sentiment."
merit of the sEolian."
HENRY T. FINK, Musical Critic of the New York
As difficult as it is to give credence to our remarkable claims for the ^Eolian, it would be still
more difficult to believe that an instrument that did not possess artistic
The /Eolian repertoire is unlim-
worth,
and that of a high order, would receive commendation from
ited. It includes all classes of
people
standing
at the very top of the musical profession.
music—Waltzes, Two-Steps, Lan-
We
do
not
ask
you to accept even the combined testimony of these
cers and all kinds of dance music,
Popular and Sacred Songs, selec-
musicians.
tions from all the Qrand and Light
All we request is that you investigate the /Eolian before you
Operas, Symphonies, Sonatas, Con-
condemn
it. You need not lay aside your prejudices. Bring them
certos and also vocal and instru-
with
you.
Put the /Eolian to the severest
mental accompaniments.
/Eolians cost all the way from
possible test. Hear it play a Tschaikowsky $75.00
to $750.00.
Symphony, a Wagner Overture, a Beethoven Sonata or a Bach Fugue.
Think what it would mean to have an instrument on which you could play these pieces your-
self- play them in their complete orchestral form.
Orchestrelles from
No study, no practice. Just unalloyed pleasure. Reveling in a reper-
$1,500.00 to $2,500.00.
toire of music, that a lifetime, nay, a dozen lifetimes, devoted solely to
its study, would not enable you to acquire.
DOES THIS SOUND EXAGGERATED ?
INVESTIGATE AND SEE.
We have not room to give even brief extracts from all the endorsements the ^Eolian has
received, and even a mention of the name of all the musicians of this
/Eolian Pipe Organs and /Eolian
country and Europe who have testified to the instrument's merits would Pipe
Orchestras from $2,500.00
occupy a large space. Among the most eminent are:
upward.
SIR A. C. MACKENZIE, Principal Royal Academy of Music, London.
SIR GEORGE GROVE, ex-Dir. Royal College of Music, London. C. HUBERT H. PARRY, Dir. Royal College of Music, London.
DR. E. H. TURPEN, Principal Trinity College, London.
ALEX. GUILMANT,
CLARENCE EDDY,
L. MANCINELLI,
ANTON SEIDL,
EDOUARD DE RESZKE,
E. A. MAC DOWELL, A. VIANESI, FRANK VAN DER STUCKEN, G. S. GAMBATI, VLADIMIR DE PACHMANN,
EMIL PAUR, and the great operatic sopranos, MELBA, CALVE, NORDICA and EAMES. •
,/Eolians are exhibited daily, and all who are interested in the instrument are invited to call and see it.
/Eolian
recitals are given on Saturday
of each week at g P. M.
AEOLIAN
These are free to all.
COMPAN\
IS West 23d Street, New York.
THE MUSIC TRAbfi REVIEW
JO
ARE YOU FOND OF MUSIC? DO YOU APPRECIATE COOD MUSIC?
AND YOU OWE IT TO YOURSELF TO SEE AND HEAR IT.
IF YOU DO, THE AEOLIAN WILL INTEREST YOU.
There are still a great many people who are unfamiliar with the Eolian. Who don't know
what it is. In an indefinite sort of a way they have an idea that it
The /Eolian does not require
is
" a kind of mechanical instrument that you wind up or play by
technical skill. Anyone can play it.
turning a crank." Very naturally with such an impression they harbor
a decided prejudice against it.
NOW THE /EOLIAN ISN'T MECHANICAL,
YOU DON'T WIND IT UP AND
IT ISN'T PLAYED BY HEANS OF A CRANK.
In other words the Eolian is not a toy, but an instrument representing a distinct type, with
qualities possessed by no other musical instrument.
It is unfortunately true that one of the principal features of the Eolian—the simplicity of its
operation—has been largely responsible for the mistaken impression
ilusic for the /Eolian is arranged
that is held by many people concerning it.
the full orchestral score.
To people of refined musical taste, what is known as mechanical from
Every note even of the most elabo-
music is intolerable, and when it was claimed for the Eolian that it rate Wagnerlan opera is reproduced
could be played without technical knowledge or skill it was taken for just as it was written.
granted by many that it must be a mechanical instrument.
Probably the most effective way of completely effacing this erroneous idea is to cite the
opinion of a few recognized authorities.
light to music lovers, but also a benefit to art The world's three great Violinists have
Evening Post, says:—" The difference between
itself."
each paid a warm tribute to the /Eolian.
the j-Rolian and an automatic instrument is
vividlv brought oat b v the fact that in the latter ALBERT ROSS PARSONS, President of the College
of American Musicians, says:—" The sEolian is SARASATE—"/ truly believe the .Eolian is des-
you have no con trot over the music, while in the
not trie rely a musical luxury. It is an accurate
case of the .Eolian the player's eyes must be con-
tined for a great future. As a musical instru-
educator of the highest order, since it opens the
stantly fixed on the unrolling sheet of music so
ment it's artistic in the true sense of that much-
way
for
the
introduction
into
the
homes
of
the
that he mav be able to make the changes of
abused word."
world of everv specie of instrumental and vocal
tempo and expression as indicated thereon. In
music without the least technical preparation or YSAYE—" In years to come,when the .Eolian shall
plaving the ^Eolian the p!aver is able to give
labor. The sEolian affords a grand orchestra
all his attention to the shading and sentiment
have achieved the popularity it is destined to
for every home."
of a piece, which brings us to the paradox oj
attain, the art of music will owe much to the
paradoxes. The .Eolian player, whom many JEAN DE RESZKE says:—" The sEolian places
inventor of this remarkable instrument."
suppose to have nothing to do with the expres-
the best music at the doors of all, and affords
sion, in reality has nothing to do except attend
a- simple means oj enjoying and studying the SAURET—" The .Eolian differs so materially from
to the expression."
any other musical instrument that it is quite
'onceptions of the masters of music, ancient and
possible that some mav fail to understand it
^he sEolian is so cleverly constructed
co
PADEREWSKI, in endorsing the Eolian, writes:—
modern. The
upon first hearing it, but a thorough musician
that if the performer can grasp the inspiration
" // combines all the effects which can be pro-
will quickly recognize its artistic qualities.
duced bv the most skillful manipulation of a
of the composer, the instrument affords him
Music lovers may be assured of the intrinsic
grand organ with those of an orchestra. I con-
every facility of interpreting music with feel-
sider your instrument not onlv a source of de-
ing and sentiment."
merit of the sEolian."
HENRY T. FINK, Musical Critic of the New York
As difficult as it is to give credence to our remarkable claims for the ^Eolian, it would be still
more difficult to believe that an instrument that did not possess artistic
The /Eolian repertoire is unlim-
worth,
and that of a high order, would receive commendation from
ited. It includes all classes of
people
standing
at the very top of the musical profession.
music—Waltzes, Two-Steps, Lan-
We
do
not
ask
you to accept even the combined testimony of these
cers and all kinds of dance music,
Popular and Sacred Songs, selec-
musicians.
tions from all the Qrand and Light
All we request is that you investigate the /Eolian before you
Operas, Symphonies, Sonatas, Con-
condemn
it. You need not lay aside your prejudices. Bring them
certos and also vocal and instru-
with
you.
Put the /Eolian to the severest
mental accompaniments.
/Eolians cost all the way from
possible test. Hear it play a Tschaikowsky $75.00
to $750.00.
Symphony, a Wagner Overture, a Beethoven Sonata or a Bach Fugue.
Think what it would mean to have an instrument on which you could play these pieces your-
self- play them in their complete orchestral form.
Orchestrelles from
No study, no practice. Just unalloyed pleasure. Reveling in a reper-
$1,500.00 to $2,500.00.
toire of music, that a lifetime, nay, a dozen lifetimes, devoted solely to
its study, would not enable you to acquire.
DOES THIS SOUND EXAGGERATED ?
INVESTIGATE AND SEE.
We have not room to give even brief extracts from all the endorsements the ^Eolian has
received, and even a mention of the name of all the musicians of this
/Eolian Pipe Organs and /Eolian
country and Europe who have testified to the instrument's merits would Pipe
Orchestras from $2,500.00
occupy a large space. Among the most eminent are:
upward.
SIR A. C. MACKENZIE, Principal Royal Academy of Music, London.
SIR GEORGE GROVE, ex-Dir. Royal College of Music, London. C. HUBERT H. PARRY, Dir. Royal College of Music, London.
DR. E. H. TURPEN, Principal Trinity College, London.
ALEX. GUILMANT,
CLARENCE EDDY,
L. MANCINELLI,
ANTON SEIDL,
EDOUARD DE RESZKE,
E. A. MAC DOWELL, A. VIANESI, FRANK VAN DER STUCKEN, G. S. GAMBATI, VLADIMIR DE PACHMANN,
EMIL PAUR, and the great operatic sopranos, MELBA, CALVE, NORDICA and EAMES. •
,/Eolians are exhibited daily, and all who are interested in the instrument are invited to call and see it.
/Eolian
recitals are given on Saturday
of each week at g P. M.
AEOLIAN
These are free to all.
COMPAN\
IS West 23d Street, New York.
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