Music Trade Review
Issue: 1910 Vol. 50 N. 18 - Page 9
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
Bulletin
J^of W I S D O M ^
SPECIAL INTERESTS PIANO DEALERS
Vol. 2. No. 30.
Published Weekly by Christman Sons, New York
April 30, 1910
A STRAIGHT QUERY TO THE TRADE
D
ID you ever stop to figure how many
really successful small grand pianos
are produced in this country?
We do not mean pianos that are simply
created according to the usually adopted grand
form, but we mean pianos which are musical suc-
cesses.
We mean pianos which are not mere pieces
of furniture to finish off the decorations of a spe-
cial room, but pianos which are musical master-
pieces, which enable musicians to voice the sen-
timent of the masters in the most expressive
form.
We mean pianos which measure up to the
large grand instruments.
That's what we mean when we say a success-
ful small grand piano, and there are mighty few
of them.
Some of them are good to look at, but when
you get down to the true musical qualities the
number narrows and narrows and narrows until
it gets down to—well—it would not take all of
the fingers of one hand to express the entire
number created in this country, and yet, the small
grand proposition is a most fascinating one, and
there is a steadily growing demand for the pianos
of this particular type.
And, why don't the instruments measure up
to the demand?
A small grand piano is difficult to produce;
that is, it has been difficult up to the time when
the Christman Studio Grand was first placed
upon the market.
Musical people were notified to inspect it 1
critically.
Dealers who have visited the Christman fac-
tory at 597-601 East 137th Street, New York,
have gone away enthusiastic.
They have realized that the "danger line"
was successfully crossed by the Christmans in
the construction of pianos of the small grand
type.
Now, why is it that the Christmans have
succeeded so well?
Because they know the art of piano making.
You do not go to a blacksmith's shop to get
a watch adjusted, and you would hardly expect
a man to create the most difficult of all pianistic
creations unless he had an accurate knowledge
of all of the laws underlying piano construction.
The Christmans have been piano makers for
generations.
They view piano making as an art, and every
piano which is sent out from the Christman fac-
tory passes a most rigid examination by at least
one member of the Christman family.
The knowing how to build good pianos—
particularly grand pianos—has been one of the
corner-stones of Christman success.
THE
Bulletin
J^of W I S D O M ^
SPECIAL INTERESTS PIANO DEALERS
Vol. 2. No. 30.
Published Weekly by Christman Sons, New York
April 30, 1910
A STRAIGHT QUERY TO THE TRADE
D
ID you ever stop to figure how many
really successful small grand pianos
are produced in this country?
We do not mean pianos that are simply
created according to the usually adopted grand
form, but we mean pianos which are musical suc-
cesses.
We mean pianos which are not mere pieces
of furniture to finish off the decorations of a spe-
cial room, but pianos which are musical master-
pieces, which enable musicians to voice the sen-
timent of the masters in the most expressive
form.
We mean pianos which measure up to the
large grand instruments.
That's what we mean when we say a success-
ful small grand piano, and there are mighty few
of them.
Some of them are good to look at, but when
you get down to the true musical qualities the
number narrows and narrows and narrows until
it gets down to—well—it would not take all of
the fingers of one hand to express the entire
number created in this country, and yet, the small
grand proposition is a most fascinating one, and
there is a steadily growing demand for the pianos
of this particular type.
And, why don't the instruments measure up
to the demand?
A small grand piano is difficult to produce;
that is, it has been difficult up to the time when
the Christman Studio Grand was first placed
upon the market.
Musical people were notified to inspect it 1
critically.
Dealers who have visited the Christman fac-
tory at 597-601 East 137th Street, New York,
have gone away enthusiastic.
They have realized that the "danger line"
was successfully crossed by the Christmans in
the construction of pianos of the small grand
type.
Now, why is it that the Christmans have
succeeded so well?
Because they know the art of piano making.
You do not go to a blacksmith's shop to get
a watch adjusted, and you would hardly expect
a man to create the most difficult of all pianistic
creations unless he had an accurate knowledge
of all of the laws underlying piano construction.
The Christmans have been piano makers for
generations.
They view piano making as an art, and every
piano which is sent out from the Christman fac-
tory passes a most rigid examination by at least
one member of the Christman family.
The knowing how to build good pianos—
particularly grand pianos—has been one of the
corner-stones of Christman success.
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