Music Trade Review

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THE MUSIC TRADH REVIEW
last Saturday in December, I cannot per-
mit the occasion to pass without extend-
ing my thanks to my friends who have
generously supported my business enter-
prise during the past year. Such hearty
encouragement, such warm cheer encou-
rages one to higher efforts.
It is generally admitted by the trade, I
believe, that The Review has gone ahead at
a good round pace during the past twelve
months. I believe it has—in fact I am
confident that it has in every sense. Its
business patronage never was larger, its
influence never greater, its value as an ad-
vertising medium never surpassed in its
entire history, which, by the way, covers a
span of nineteen years.
The belief on my part is gratifying in
the extreme, that every one of my adver-
tisers have received a dollar's worth for
every dollar expended and that every means
that could be legitimately used by a paper
to augment the business fame of its patrons
has been used. There is no fawning, no
sycophancy about The Review—never will
be as long as I am connected with it. I
propose to enter the race in 1898 in good
form, muscles fairly hardened and liable to
hold out under heavy pressure for a while
at least.
I wish to say that I propose that The Re-
view year of 1898 shall surpass 1897 in
point of worth and efficiency. It is my aim
to make each issue of The Review better
than its predecessor, and in this I am sup-
ported by a staff composed of as loyal men
as ever drove the pen across the page.
Well, Christmas is here, may the bells
ring merrily from Maine toMendocino and
from Klondike to Yuma.
Let us touch glasses—a Merry Christmas,
everybody.
Braumuller Plans for 1898.
This week's news at the Braumuller fac-
tory is quite in keeping with the previous
progressive record of the firm. The ship-
ments are large and frequent, and orders
are coming in right along.
When asked as to the fulfilling of the
1898 program previously referred to in The
Review, Otto Braumuller said that rapid
headway had already been made. Mr. La
Grassa, who was present, endorsed Mr.
Braumuller's statement to the effect that
the new scale Braumuller would be placed
on the market next month.
"We hope," said the latter, "that when
it is ready dealers all over the country who
know of our plans and aims will investi-
gate as to its merits. We want them to
realize what we have been doing lately in
the way of improvements. Fault has never
been found with the Braumuller pianos as
they are to-day, but the new products will
contain many specially strong features.
11
The Latest "Starr" in the Piano Firmament.
STYLE F.
With their usual progressiveness the
Starr Piano Co., Richmond, Ind., have been
at work for some time on a new scale
which was to be entirely a new de-
velopment. This has been embodied in a
new upright, four feet six inches high, an
illustration of which appears above and
which is now about ready for shipment.
Representatives who have examined this
instrument have been most enthusiastic in
their praise regarding its superb tone,
attractive architecture and perfect work-
manship. A detailed description of this
is hardly necessary, the cut given speaks
eloquently of the beauty of the instrument.
The new scale, however, is the strong
point of style F. It is destined to aug-
ment the reputation of the Starr Piano
Co. Such an instrument as the above as
well as the other styles now being pro-
duced by the Starr Piano Co. are a credit
to the industry at large, and enterprising
dealers should have no trouble in finding
a large market for them.
"We have spared no pains or expense to
secure perfection. All we ask in return is
that the intrinsic value of our instruments
will be fairly recognized by those whose
business it is to advocate and secure their
distribution. We shall be glad to answer
all inquiries."
erle (1740-1780), Johann Hopf,' Baerhoff,
Stradivari, and miscellaneous instruments
by other German and Italian makers.
Among the collection is one with an in-
teresting history. It is an instrument pre-
sented to Mr. Conn when a mere lad by his
father—the one upon which he learned to
play with considerable skill, for Mr. Conn
was quite a violinist in his younger days,
before an accident incapacitated him from
manipulating the bow.
The entire collection of instruments is in
an excellent state of preservation. Two
violas, by Nicolo and Joseph Gagliano es-
pecially, are superb examples of the Nea-
politan school, not only in regard to tone
but workmanship.
The Conn collection of old violins has
been inspected by a number of connoisseurs
during the week, among them Eugene
Ysaye's personal representative, who en-
thused, as a matter of course, over such a
magnificent array of chejs d'cruvre. It is
Mr. Conn's intention to make this the nu-
cleus of one of the finest collections of old
violins to be found anywhere.
During our call we noticed that Mr. Conn
has just added several examples of fine
harps to his general line of band and or-
chestral instruments.
Rare Examples of Old Violins
ON EXHIBITION AT THE CONN WAREROOMS
THE NUCLEUS OF A FINE COLLECTION
MANY SCHOOLS REPRESENTED.
For some time past C. G. Conn has had a
number of experts and specialists on the
lookout for rare old violins. When The
Review called at the warerooms, 23 East
Fourteenth street, on Tuesday, Mr. Conn's
desk was found littered with some twenty
instruments which he had recently pur-
chased at big prices. They embraced beau-
tiful examples of the Brescian, Cremonese,
Neapolitan and German schools.
Among the noted makers represented in
the collection are Amati (1540-1610), Gas-
par de Salo (contemporary of Amati), Vin-
cenzo Ruggeri (1695-1737), Gagliano bro-
thers, Nicolo, Josephand Ferdinando (1695-
1750)—violins and violas—Tomasso Eb-