Music Trade Review
Issue: 1907 Vol. 45 N. 22 - Page 8
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
8
THE MUSIC TRADE RSVIEW
"While on this subject we have a suggestion to make to all of our
manufacturers of musical instruments: Let them expend in addition
one-half as much on the interior of pianos, upon that part which gives the
instrument its character, as they throw away on unnecessary ornamenta-
tion on the exterior—ornamentation causing positive injury to tone and
durability. The best pianos we have seen, though made of the finest wood
and well finished, were invariably plain. A much better piano could be
made for $250 under these conditions than many that sell for $500 as
handsome pieces of furniture."
Evidently the judges did not care much for frills in those days. The
plain models appealed to them.
A number of manufacturers sprung up in New York after 1830, but
it is a notable fact that with one or two exceptions, none of that early
list has been perpetuated down to our times. The old makers were good
artisans, and their pianos were practically absorbed by the retail trade,
and when they died their business passed away with them.
Along towards 1850 the business in New York began to assume
SHOWING FOSTEIt-ARMSTKOXG CO., TWAY, WISSNER, SHONINGEU STORES ON F I F T H AVENUE.
when good instruments can be produced at moderate prices. In this view
of the case Messrs. Torp and Love both deserve the gold medal awarded
them.
SOHMEH BUILDING IS SHOWN IN THE BACKGROUND, ON F I F T H AVENUE.
14TH STREET, BELOW FIFTH AVENUE, TOWARDS SIXTH AVENUE.
greater proportions, and at the London World's Fair in 1851 a number
of American piano manufacturers exhibited. Among them was Jonas
Chickering, who in company with C. Frank Chickering, went to England
personally to superintend this exhibit. The New York piano manufac-
turers who exhibited at London, and whose work was highly commented
upon were Nunns & Clark, Heers & Pirsson. From that time on the piano
business in New York and Boston began to expand rapidly. International
World's Fairs began to attract the attention of the world to American
piano manufactures. A Crystal Palace Exhibition which was held in New
York City in 18&8 brought a big collection from the European manufac-
turers, and this gave the Americans an opportunity to compare their
instruments side by side with the best of Europe. This means of meas-
uring ability gave domestic manufacturing a new impetus.
It may be said that perhaps at no other American exposition has there
been such a line of distinguished piano makers of Europe as were repre-
sented here in New York at the Exposition in 1853. The great house of
Steinway was founded at that time, Henry E. Steinway, the founder, hav-
ing arrived in this country, accompanied by his sons, from his native
Duchy of Brunswick in 1851. With the accomplishments of this family,
who have given so much to the music trade history of the world, we shall
deal later.
8
THE MUSIC TRADE RSVIEW
"While on this subject we have a suggestion to make to all of our
manufacturers of musical instruments: Let them expend in addition
one-half as much on the interior of pianos, upon that part which gives the
instrument its character, as they throw away on unnecessary ornamenta-
tion on the exterior—ornamentation causing positive injury to tone and
durability. The best pianos we have seen, though made of the finest wood
and well finished, were invariably plain. A much better piano could be
made for $250 under these conditions than many that sell for $500 as
handsome pieces of furniture."
Evidently the judges did not care much for frills in those days. The
plain models appealed to them.
A number of manufacturers sprung up in New York after 1830, but
it is a notable fact that with one or two exceptions, none of that early
list has been perpetuated down to our times. The old makers were good
artisans, and their pianos were practically absorbed by the retail trade,
and when they died their business passed away with them.
Along towards 1850 the business in New York began to assume
SHOWING FOSTEIt-ARMSTKOXG CO., TWAY, WISSNER, SHONINGEU STORES ON F I F T H AVENUE.
when good instruments can be produced at moderate prices. In this view
of the case Messrs. Torp and Love both deserve the gold medal awarded
them.
SOHMEH BUILDING IS SHOWN IN THE BACKGROUND, ON F I F T H AVENUE.
14TH STREET, BELOW FIFTH AVENUE, TOWARDS SIXTH AVENUE.
greater proportions, and at the London World's Fair in 1851 a number
of American piano manufacturers exhibited. Among them was Jonas
Chickering, who in company with C. Frank Chickering, went to England
personally to superintend this exhibit. The New York piano manufac-
turers who exhibited at London, and whose work was highly commented
upon were Nunns & Clark, Heers & Pirsson. From that time on the piano
business in New York and Boston began to expand rapidly. International
World's Fairs began to attract the attention of the world to American
piano manufactures. A Crystal Palace Exhibition which was held in New
York City in 18&8 brought a big collection from the European manufac-
turers, and this gave the Americans an opportunity to compare their
instruments side by side with the best of Europe. This means of meas-
uring ability gave domestic manufacturing a new impetus.
It may be said that perhaps at no other American exposition has there
been such a line of distinguished piano makers of Europe as were repre-
sented here in New York at the Exposition in 1853. The great house of
Steinway was founded at that time, Henry E. Steinway, the founder, hav-
ing arrived in this country, accompanied by his sons, from his native
Duchy of Brunswick in 1851. With the accomplishments of this family,
who have given so much to the music trade history of the world, we shall
deal later.
Future scanning projects are planned by the International Arcade Museum Library (IAML).