Music Trade Review
Issue: 1907 Vol. 45 N. 24 - Page 4
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TRADE
MEW
EDWARD LYMAN BILL
- Editor and Proprietor
J. B. SPILLANE, Managing Editor
Executive and Reportorlal Stall:
QBO. B. KBTJJTO,
W. H. DYKES,
P. H. THOMPSON.
J. HATDHJN CLARENDON.
L. D. BOWERS, B. BEITTAIN WILSON, WM. B. WHITB, L. J. CHAMBBBLIN, A. J. NICKLIN.
BOSTON OFFICE:
CHICAGO OFFICE:
B. P. VAN HARMNGBN, 195-197 Wabash Ave.
TELEPHONES : Central 414; Automatic 864S
MINNEAPOLIS and ST. PAUL:
ST. LOUIS:
EJBNBST L. WAITT, 278A Tremont S t
PHILADELPHIA t
E. W. KAUITHAN.
ADOLF EDSTBN.
SAN FKANCISCO:
CHAS. N. VAN BDBBN.
S. H. GBAY, 2407 Sacramento S t
CINCINNATI, O.: NINA PUGH-SMITH.
BALTIMORE, MD.: A. ROBERT FRENCH.
LONDON. ENGLAND:
69 Baslnghall S t , E. C.
W. Lionel Sturdj, Manager.
Published Every Saturday at 1 Madison Avenue, New York
Entered at the New York Post Office as Stand Class Matter.
SUBSCRIPTION, (including postage). United States and Mexico, $2.00 per year;
Canada, f 3.50 ; all other countries, $4.00.
ADVERTISEMENTS. $2.00 per Inch, single column, per Insertion. On quarterly or
yearly contracts a special discount is allowed. Advertising Pages, $60.00; opposite
reading matter, $75.00.
REMITTANCES, In other than currency form, should be made payable to Edward
Lyman BUI.
D i r e e t w y ol PI—o
The directory of piano manufacturing firms and corporations
JL
I
I
found on another page will be of great value, as a reference
MMnuetnreri
f o r dealers and others.
Exposition Honors Won by The Review
Grand Priao
Paris Exposition, 1900 Silver Medal. Charleston Exposition 1902
Diploma.Pan-American Exposition, 1901 Gold Medal.. .St Louis Exposition, 1904
Gold Medal
Lewis-Clark Exposition, 1905.
LONG DISTANCE TELEPHONES-NUMBERS 4677 and 467S GRAMERCY
Connecting all Department*.
Cable address: "Elblll New York."
NEW YORK, DECEMBER 14, 1907
EDITORIAL
S
REVIEW
elevating or lowering to the piano business? Surely there can be an
honest difference of opinion among musicians regarding the differ-
ent makes of pianos just the same as about works of art. Among
painters one may prefer a Rubens, another a Murillo, Titian or
Rembrandt. Some men prefer the charms of Melba's voice to
Eames. Others name Caruso as their favorite instead of Bonci.
It is simply a difference of opinion and the attempt to discredit all
artists' testimonials is in our opinion a shortsighted, narrow minded
business policy.
Of course the great musicians receive support from piano
manufacturers. As a matter of fact some of the piano manufac-
turers have made the reputations of these great pianists and with-
out their support they would never have created a ripple in the
musical world. In some cases they would have been without both
reputation and dollars. As far as we know there has been no
effort to conceal the fact that piano manufacturers have paid large
sums of money for their professional services. Is there anything
wrong about that? An artist is surely entitled to compensation in
accordance with the talent which he possesses, and the attempt to
discredit the policies of progressive piano manufacturers who have
enabled the American public to listen to the best artists of Europe
constitutes a glaring injustice to these enterprising members of the
music trade industry.
r
HESE men have aided in the largest possible way the cultiva-
tion of musical art in this country and it has cost them vast
sums of money. Of course, they hoped to profit by the investment.
Their actions are not purely philanthropic, but the whole trade has
profited by their work because it has dignified and elevated piano
building and has taken it out of the merely mechanical industries
and placed it in the art class. If we cut out a half dozen of the
great houses which have been identified with concert work in
America for the past thirty or forty years would the piano busi-
ness have won the position which it occupies to-day in the public
estimation? What has been its great support? The answer is
easy. It has been from the makers of artistic instruments who do
not hesitate to dip deeply into their pockets to support the love
which they had for their cherished products. They believed in the
art side of piano making and they have been willing to back their
belief with good coin of the realm. Surely the exploitation of these
great artists has not in many instances in bygone years proven to
be profitable ventures. In fact, many of the tours have been
actually conducted at considerable loss to the firms undertaking
them, but has not the entire industry profited by their work? Has
not their exploitation of the artists given piano selling generally an
impetus ?
OME of our friends have mailed us from time to time marked
copies of local newspapers published in various cities through-
out the country containing advertisements of piano dealers whose
obvious aim has been to discredit the value of artists' endorsements
of particular instruments. It is more than passing strange that
men striving to gain a livelihood in a special industry should en-
deavor in this manner to pull away some of the principal sustaining
props of that industry.
It seems to us that this plan of attacking artists' testimonials is
wholly inconsistent with sound business principles. Does the man
who puts forth in startling headlines a denunciation of "purchased
testimonials" stop to figure for one moment to what point the busi-
ness would fall if all of the artistic following should be withdrawn
and all the publicity given by the great artists to great pianos, be cut
out of public notice?
Do the men who are following out this destructive policy con-
sider for one moment what a tremendous impetus the policy of these
great institutions who have brought over the best European artists
has given to piano selling generally? Suppose the great artists
were swept out of existence, and suppose the advertisements of these
artists, of their concerts and of the pianos which they use, should
disappear from public notice for an extended period, would not
the business of piano making and piano selling steadily descend to
the level of the sewing machine and furniture trade? What after
all has been its main prop? The artistic element surely, and now
some of the men in this industry are endeavoring to saw away
those pillars and precipitate the whole structure into the mire.
/^ONCERTIZING has been the means of focussing public inter-
V_y est on pianos and if it were not for this artistic method of
exploiting the various high grade pianos the business would not have
been maintained on an artistic plane, and would lose to a certain
degree that environment which is quite necessary when we are
appealing to the aesthetic and cultivated tastes of the public.
Suppose some of the great artists have transferred their alle-
giance from one instrument to another and have given testimonials
to various manufacturers, is such a move a remarkable one after
all? Why should not a musician change his mind as frequently
as a ordinary individual? Is the professional degrading his art when
he endorses the excellence of the product of a number of high grade
factories ? Is it not a fact that the publicity given to artists' work
creates widespread comment in musical circles so that in the
end the entire agitation redounds to the benefit of those interested
in piano selling ? We should not overlook the fact that the tours
of these great artists enable the musical public in the principal cities
to listen to and become acquainted with the tonal qualities of vari-
ous instruments. In no other way perhaps would their attention be
drawn to these vital matters.
S
G
OME of the dealers who in their advertisements have attempted
to belittle the value of the endorsements which noted pianists
have given particular instruments should reverse their tactics. If
they cannot express gratitude for the good work done they should
at least eliminate abuse.
Is it right to encourage the sentiment that because an artist
praises a particular piano that he is paid to do so ? Is such a course
REAT pianists interest the public in the science of piano build-
ing. They interest them in the particular pianos which are
on the concert platform. It is certain that unless they were in-
struments of merit they would not be played upon by great artists.
What manufacturer would dare to put on the concert stage a piano
that would not withstand successfully any exacting tests to which
it might be subjected by a professional player? How are people to
THE
MUSIC TRADE
MEW
EDWARD LYMAN BILL
- Editor and Proprietor
J. B. SPILLANE, Managing Editor
Executive and Reportorlal Stall:
QBO. B. KBTJJTO,
W. H. DYKES,
P. H. THOMPSON.
J. HATDHJN CLARENDON.
L. D. BOWERS, B. BEITTAIN WILSON, WM. B. WHITB, L. J. CHAMBBBLIN, A. J. NICKLIN.
BOSTON OFFICE:
CHICAGO OFFICE:
B. P. VAN HARMNGBN, 195-197 Wabash Ave.
TELEPHONES : Central 414; Automatic 864S
MINNEAPOLIS and ST. PAUL:
ST. LOUIS:
EJBNBST L. WAITT, 278A Tremont S t
PHILADELPHIA t
E. W. KAUITHAN.
ADOLF EDSTBN.
SAN FKANCISCO:
CHAS. N. VAN BDBBN.
S. H. GBAY, 2407 Sacramento S t
CINCINNATI, O.: NINA PUGH-SMITH.
BALTIMORE, MD.: A. ROBERT FRENCH.
LONDON. ENGLAND:
69 Baslnghall S t , E. C.
W. Lionel Sturdj, Manager.
Published Every Saturday at 1 Madison Avenue, New York
Entered at the New York Post Office as Stand Class Matter.
SUBSCRIPTION, (including postage). United States and Mexico, $2.00 per year;
Canada, f 3.50 ; all other countries, $4.00.
ADVERTISEMENTS. $2.00 per Inch, single column, per Insertion. On quarterly or
yearly contracts a special discount is allowed. Advertising Pages, $60.00; opposite
reading matter, $75.00.
REMITTANCES, In other than currency form, should be made payable to Edward
Lyman BUI.
D i r e e t w y ol PI—o
The directory of piano manufacturing firms and corporations
JL
I
I
found on another page will be of great value, as a reference
MMnuetnreri
f o r dealers and others.
Exposition Honors Won by The Review
Grand Priao
Paris Exposition, 1900 Silver Medal. Charleston Exposition 1902
Diploma.Pan-American Exposition, 1901 Gold Medal.. .St Louis Exposition, 1904
Gold Medal
Lewis-Clark Exposition, 1905.
LONG DISTANCE TELEPHONES-NUMBERS 4677 and 467S GRAMERCY
Connecting all Department*.
Cable address: "Elblll New York."
NEW YORK, DECEMBER 14, 1907
EDITORIAL
S
REVIEW
elevating or lowering to the piano business? Surely there can be an
honest difference of opinion among musicians regarding the differ-
ent makes of pianos just the same as about works of art. Among
painters one may prefer a Rubens, another a Murillo, Titian or
Rembrandt. Some men prefer the charms of Melba's voice to
Eames. Others name Caruso as their favorite instead of Bonci.
It is simply a difference of opinion and the attempt to discredit all
artists' testimonials is in our opinion a shortsighted, narrow minded
business policy.
Of course the great musicians receive support from piano
manufacturers. As a matter of fact some of the piano manufac-
turers have made the reputations of these great pianists and with-
out their support they would never have created a ripple in the
musical world. In some cases they would have been without both
reputation and dollars. As far as we know there has been no
effort to conceal the fact that piano manufacturers have paid large
sums of money for their professional services. Is there anything
wrong about that? An artist is surely entitled to compensation in
accordance with the talent which he possesses, and the attempt to
discredit the policies of progressive piano manufacturers who have
enabled the American public to listen to the best artists of Europe
constitutes a glaring injustice to these enterprising members of the
music trade industry.
r
HESE men have aided in the largest possible way the cultiva-
tion of musical art in this country and it has cost them vast
sums of money. Of course, they hoped to profit by the investment.
Their actions are not purely philanthropic, but the whole trade has
profited by their work because it has dignified and elevated piano
building and has taken it out of the merely mechanical industries
and placed it in the art class. If we cut out a half dozen of the
great houses which have been identified with concert work in
America for the past thirty or forty years would the piano busi-
ness have won the position which it occupies to-day in the public
estimation? What has been its great support? The answer is
easy. It has been from the makers of artistic instruments who do
not hesitate to dip deeply into their pockets to support the love
which they had for their cherished products. They believed in the
art side of piano making and they have been willing to back their
belief with good coin of the realm. Surely the exploitation of these
great artists has not in many instances in bygone years proven to
be profitable ventures. In fact, many of the tours have been
actually conducted at considerable loss to the firms undertaking
them, but has not the entire industry profited by their work? Has
not their exploitation of the artists given piano selling generally an
impetus ?
OME of our friends have mailed us from time to time marked
copies of local newspapers published in various cities through-
out the country containing advertisements of piano dealers whose
obvious aim has been to discredit the value of artists' endorsements
of particular instruments. It is more than passing strange that
men striving to gain a livelihood in a special industry should en-
deavor in this manner to pull away some of the principal sustaining
props of that industry.
It seems to us that this plan of attacking artists' testimonials is
wholly inconsistent with sound business principles. Does the man
who puts forth in startling headlines a denunciation of "purchased
testimonials" stop to figure for one moment to what point the busi-
ness would fall if all of the artistic following should be withdrawn
and all the publicity given by the great artists to great pianos, be cut
out of public notice?
Do the men who are following out this destructive policy con-
sider for one moment what a tremendous impetus the policy of these
great institutions who have brought over the best European artists
has given to piano selling generally? Suppose the great artists
were swept out of existence, and suppose the advertisements of these
artists, of their concerts and of the pianos which they use, should
disappear from public notice for an extended period, would not
the business of piano making and piano selling steadily descend to
the level of the sewing machine and furniture trade? What after
all has been its main prop? The artistic element surely, and now
some of the men in this industry are endeavoring to saw away
those pillars and precipitate the whole structure into the mire.
/^ONCERTIZING has been the means of focussing public inter-
V_y est on pianos and if it were not for this artistic method of
exploiting the various high grade pianos the business would not have
been maintained on an artistic plane, and would lose to a certain
degree that environment which is quite necessary when we are
appealing to the aesthetic and cultivated tastes of the public.
Suppose some of the great artists have transferred their alle-
giance from one instrument to another and have given testimonials
to various manufacturers, is such a move a remarkable one after
all? Why should not a musician change his mind as frequently
as a ordinary individual? Is the professional degrading his art when
he endorses the excellence of the product of a number of high grade
factories ? Is it not a fact that the publicity given to artists' work
creates widespread comment in musical circles so that in the
end the entire agitation redounds to the benefit of those interested
in piano selling ? We should not overlook the fact that the tours
of these great artists enable the musical public in the principal cities
to listen to and become acquainted with the tonal qualities of vari-
ous instruments. In no other way perhaps would their attention be
drawn to these vital matters.
S
G
OME of the dealers who in their advertisements have attempted
to belittle the value of the endorsements which noted pianists
have given particular instruments should reverse their tactics. If
they cannot express gratitude for the good work done they should
at least eliminate abuse.
Is it right to encourage the sentiment that because an artist
praises a particular piano that he is paid to do so ? Is such a course
REAT pianists interest the public in the science of piano build-
ing. They interest them in the particular pianos which are
on the concert platform. It is certain that unless they were in-
struments of merit they would not be played upon by great artists.
What manufacturer would dare to put on the concert stage a piano
that would not withstand successfully any exacting tests to which
it might be subjected by a professional player? How are people to
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