Music Trade Review
Issue: 1912 Vol. 54 N. 26 - Page 9
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
activity, governed by definite rules, has existed for
no more than about four centuries, still some sort
of musical expression has always existed. In
fact, just as speech is an articulate music, so music
is an inarticulate speech. Man is an expressive
animal above all things. He finds it necessary to
give objective expression—to externalize, as it were
—his feelings, his thoughts, his mental states.
Whether by scratching rude representations of the
world around him and of its events upon the "side
of a cliff, or composing rude songs and dances for
the purpose of illustrating and keeping alive the
story of past deeds and future hopes, man has
ever found the need of this external expression.
The graphic and plastic arts have thus arisen, and
thus, too, the arts of speech, of declamation, of
tragedy, of poetry and of music have found their
metier.
Music Has Its Own Field.
But, while music is in effect related to speech,
and therefore to poetry, it has a space to fill for
which no other form of expression is adequate.
There are thoughts in the mind of man that can-
not be uttered, cannot be represented in picture,
cannot be described in any objective manner at
all. Such thoughts, or rather such 'states of mind,
may and can be expressed in music, and in noth-
ing else. It is true that some sort of description
of a mind state may be attempted in words, but
it is usually inadequate and weak. Music, freed
from the hampering bounds of articulation, does
what speech cannot do: it does and can suggest
the invisible, glimpse at the unseen. And that, pri-
marily, is the essence, the object, the business of
music.
What It Is.
Music, then, is the combination of agreeable
sounds for the purpose of expressing such states
of the composer's mind as cannot adequately be
otherwise described, and of awakening similar,
corresponding or sympathetic states in the mind
of the hearer. That is about the simplest defini-
tion of music, in its fundamental meaning, that
can perhaps be found.
But if music indeed be such a form of expres-
sion, is it not clear that we should consider it with
some respect? Of course, there are a great many
people in the world who demand exactly such divi-
sion of life as is made, devoting one-half of their
time to business and the other half to.a frantic
attempt to forget the first. If a man or woman be-
comes so engrossed in the mere matter of gaining
a living as to forget how to live, then it is prob-
ably hopeless to expect any appreciation of music
as anything else than one among many equally good
and equally important means for enjoyment. If
music is thought of as merely an entertaining sort
of thing, and not at all either spiritual or of spir-
itual significance, then it is no wonder that we get
a flood of rag-time and little else these latter days.
When people will learn to reflect, to be calm, and
to withdraw sometimes into the subjective, then
we shall have better appreciation of music, and not
before.
A Note on Taste.
People tell us continually that taste in music is
not a matter to be discussed. A man will say that
he likes rag-time, and that he has as much right
to like it as some one else has to hate it. In one
sense this is true. But it is not at all true to sug-
gest, as is apparently implied, that the right to do
a thing in any way sanctifies that thing. Because
there is nothing to stop me from making a parti-
colored ass of myself, that is no reason why the
practise or custom should be regarded as in any
way admirable, or even defensible. People tell us
that they know nothing about music, but "know
what they like." So, too, do dogs and birds know
what they like. To "know what one likes" merely
means that one likes what one knows. And that is
no criterion whatever of the possession of good
taste. Good taste is a pearl of great price. Few
have it. Those who have it not apparently cannot
understand it. But perhaps one can do something
toward enlightenment by suggesting that good taste
is very much like the air which a born gentleman
or gentlewoman has, and which sets that person
apart from the crowd. If we could make people
understand that vulgarity in taste is as much a sin
MUSIC TRADE
as vulgarity at the table, then we should have trav-
eled a long way towards concerting the world.
PLAYER RECITAL IN SAGINAW.
The Kimball Player Piano Artistically Dem-
onstrated by L. B. Klugh at Concert in
Forney Hotel—Weil-Known Artists Assist in
Program—Affair Given Under the Auspices
and Direction of. Gregory's' Music House.
(Special to The Rtview.)
Saginaw, Mich., June 28, 1912.
A concert of unusual interest was that given at
the Fordney Hotel under the auspices and direc-
tion of Gregory's Music House in this city late
last week in which the Kimball player-piano, played
by L. B. Klugh, was the chief attraction of a most
artistic program. The assisting artists composed
some of the well-known musical talent of the city
and all were listened to with interest and enthusi-
asm by nearly 250 of the musical people of the
city.
The numbers were entirely classical and the
artists were given an inspiring appreciation. L. B.
Klugh, player-pianist, acquitted himself ably, bring-
ing out the shading and interpretations of each
composition. A special feature of the evening was
the piano and player-piano combined, the piano tak-
ing up the theme where the player-piano stopped.
Many of those present of a trained musical ear
could scarcely recognize which instrument was
doing the playing. Besides the musical numbers
a delightful reading was enjoyed, which added
much to the well-selected program.
Mr. Klugh played the opening selections on the
Kimball player-piano, "Valse Lente," by Sieveking.
This was followed by a soprano solo, "The Bird
and the Rose," of Horrocks, sung in a pleasing
manner by Mrs. Percy Gerhart, accompanied by L.
B. Klugh. Paul Staffeld contributed a 'cello num-
ber, the "Flower Song," by Lange, also accom-
panied by Mr. Klugh. Following this Miss Char-
lotte Naegely gave James Whitcomb Riley's "An
Old Sweetheart of Mine." During this selection
Mr. Klugh played very softly a Chopin nocturne.
An enjoyable number was the combination of the
piano with the player-piano, "Pas Des Amphores,"
by Chaminade, Miss Jessie Storch playing the
piano part in a brilliant manner. The next was
a seceltion by Balfe, and in this the excellent tone
qualities of the instrument were brought out by Mr.
Klugh, showing a perfect understanding of the way
in which an instrument of this kind can be handled.
"Ah So Pure," from the opera "Martha," was
sung by Curt M. Schwahn, and "Song Without
Words," by Mendelssohn, played by Paul Staffeld.
These numbers were both accompanied by Mr.
Klugh. "The Rosary," by Nevin, added to the
pleasure of the program, this being played with
the Victrola accompaniment.
Mrs. Percy G^rhart sang a Nevin selection,
"Mighty 'lak a Rose," which greatly pleased the
audience. "Valse Brilliante," by Moszkowski, was
played on the piano by Miss Jessie Storch. Miss
Charlotte Naegely gave a reading, "The Soul of the
Violin," and "Twilight," a tenor solo, was sung by
Curt M. Schwahn. Perhaps the most artistic
number on the program and one in which the possi-
bilities of the player-piano were introduced, was
the "Prelude," by Rachmaninoff, played by Miss
Jessie Storch and Mr. Klugh, which was a most
appropriate conclusion to a delightful evening of
music.
The Kimball player and piano were used exclu-
sively. The player was used to accompany read-
ing, singing, 'cello and the Victrola, and was also
ussd in combination with the piano in "Pas Des
Amphores," by Chaminade, and "Prelude" by Rach-
maninoff, the piano taking up the theme where the
player stopped.
,
Charles E. Buck, a piano dealer of Cortland,
N. Y., has opened a branch store in Batavia.
If you are a salesman, tuner or traveler, and
desire a position, forward your wants in an ad-
vertisement to The Review in space not to ex-
ceed four lines and it will be inserted free of
charge and replies sent to you.
SEEBURG
FACTS
W e said it once to
you but it still is
very true:
*
Seeburg electric
coin - controlled
pianos are made
right in the first
place and therefore
do not have to be
made right after
they are in the
hands of the cus-
tomers.
J. P. Seeburg Piano Co.
OFFICES:
902-904 Republic Building
State and Adams Streets
FACTORY:
415-421 S. Sangamon Street,
CHICAGO
THE
activity, governed by definite rules, has existed for
no more than about four centuries, still some sort
of musical expression has always existed. In
fact, just as speech is an articulate music, so music
is an inarticulate speech. Man is an expressive
animal above all things. He finds it necessary to
give objective expression—to externalize, as it were
—his feelings, his thoughts, his mental states.
Whether by scratching rude representations of the
world around him and of its events upon the "side
of a cliff, or composing rude songs and dances for
the purpose of illustrating and keeping alive the
story of past deeds and future hopes, man has
ever found the need of this external expression.
The graphic and plastic arts have thus arisen, and
thus, too, the arts of speech, of declamation, of
tragedy, of poetry and of music have found their
metier.
Music Has Its Own Field.
But, while music is in effect related to speech,
and therefore to poetry, it has a space to fill for
which no other form of expression is adequate.
There are thoughts in the mind of man that can-
not be uttered, cannot be represented in picture,
cannot be described in any objective manner at
all. Such thoughts, or rather such 'states of mind,
may and can be expressed in music, and in noth-
ing else. It is true that some sort of description
of a mind state may be attempted in words, but
it is usually inadequate and weak. Music, freed
from the hampering bounds of articulation, does
what speech cannot do: it does and can suggest
the invisible, glimpse at the unseen. And that, pri-
marily, is the essence, the object, the business of
music.
What It Is.
Music, then, is the combination of agreeable
sounds for the purpose of expressing such states
of the composer's mind as cannot adequately be
otherwise described, and of awakening similar,
corresponding or sympathetic states in the mind
of the hearer. That is about the simplest defini-
tion of music, in its fundamental meaning, that
can perhaps be found.
But if music indeed be such a form of expres-
sion, is it not clear that we should consider it with
some respect? Of course, there are a great many
people in the world who demand exactly such divi-
sion of life as is made, devoting one-half of their
time to business and the other half to.a frantic
attempt to forget the first. If a man or woman be-
comes so engrossed in the mere matter of gaining
a living as to forget how to live, then it is prob-
ably hopeless to expect any appreciation of music
as anything else than one among many equally good
and equally important means for enjoyment. If
music is thought of as merely an entertaining sort
of thing, and not at all either spiritual or of spir-
itual significance, then it is no wonder that we get
a flood of rag-time and little else these latter days.
When people will learn to reflect, to be calm, and
to withdraw sometimes into the subjective, then
we shall have better appreciation of music, and not
before.
A Note on Taste.
People tell us continually that taste in music is
not a matter to be discussed. A man will say that
he likes rag-time, and that he has as much right
to like it as some one else has to hate it. In one
sense this is true. But it is not at all true to sug-
gest, as is apparently implied, that the right to do
a thing in any way sanctifies that thing. Because
there is nothing to stop me from making a parti-
colored ass of myself, that is no reason why the
practise or custom should be regarded as in any
way admirable, or even defensible. People tell us
that they know nothing about music, but "know
what they like." So, too, do dogs and birds know
what they like. To "know what one likes" merely
means that one likes what one knows. And that is
no criterion whatever of the possession of good
taste. Good taste is a pearl of great price. Few
have it. Those who have it not apparently cannot
understand it. But perhaps one can do something
toward enlightenment by suggesting that good taste
is very much like the air which a born gentleman
or gentlewoman has, and which sets that person
apart from the crowd. If we could make people
understand that vulgarity in taste is as much a sin
MUSIC TRADE
as vulgarity at the table, then we should have trav-
eled a long way towards concerting the world.
PLAYER RECITAL IN SAGINAW.
The Kimball Player Piano Artistically Dem-
onstrated by L. B. Klugh at Concert in
Forney Hotel—Weil-Known Artists Assist in
Program—Affair Given Under the Auspices
and Direction of. Gregory's' Music House.
(Special to The Rtview.)
Saginaw, Mich., June 28, 1912.
A concert of unusual interest was that given at
the Fordney Hotel under the auspices and direc-
tion of Gregory's Music House in this city late
last week in which the Kimball player-piano, played
by L. B. Klugh, was the chief attraction of a most
artistic program. The assisting artists composed
some of the well-known musical talent of the city
and all were listened to with interest and enthusi-
asm by nearly 250 of the musical people of the
city.
The numbers were entirely classical and the
artists were given an inspiring appreciation. L. B.
Klugh, player-pianist, acquitted himself ably, bring-
ing out the shading and interpretations of each
composition. A special feature of the evening was
the piano and player-piano combined, the piano tak-
ing up the theme where the player-piano stopped.
Many of those present of a trained musical ear
could scarcely recognize which instrument was
doing the playing. Besides the musical numbers
a delightful reading was enjoyed, which added
much to the well-selected program.
Mr. Klugh played the opening selections on the
Kimball player-piano, "Valse Lente," by Sieveking.
This was followed by a soprano solo, "The Bird
and the Rose," of Horrocks, sung in a pleasing
manner by Mrs. Percy Gerhart, accompanied by L.
B. Klugh. Paul Staffeld contributed a 'cello num-
ber, the "Flower Song," by Lange, also accom-
panied by Mr. Klugh. Following this Miss Char-
lotte Naegely gave James Whitcomb Riley's "An
Old Sweetheart of Mine." During this selection
Mr. Klugh played very softly a Chopin nocturne.
An enjoyable number was the combination of the
piano with the player-piano, "Pas Des Amphores,"
by Chaminade, Miss Jessie Storch playing the
piano part in a brilliant manner. The next was
a seceltion by Balfe, and in this the excellent tone
qualities of the instrument were brought out by Mr.
Klugh, showing a perfect understanding of the way
in which an instrument of this kind can be handled.
"Ah So Pure," from the opera "Martha," was
sung by Curt M. Schwahn, and "Song Without
Words," by Mendelssohn, played by Paul Staffeld.
These numbers were both accompanied by Mr.
Klugh. "The Rosary," by Nevin, added to the
pleasure of the program, this being played with
the Victrola accompaniment.
Mrs. Percy G^rhart sang a Nevin selection,
"Mighty 'lak a Rose," which greatly pleased the
audience. "Valse Brilliante," by Moszkowski, was
played on the piano by Miss Jessie Storch. Miss
Charlotte Naegely gave a reading, "The Soul of the
Violin," and "Twilight," a tenor solo, was sung by
Curt M. Schwahn. Perhaps the most artistic
number on the program and one in which the possi-
bilities of the player-piano were introduced, was
the "Prelude," by Rachmaninoff, played by Miss
Jessie Storch and Mr. Klugh, which was a most
appropriate conclusion to a delightful evening of
music.
The Kimball player and piano were used exclu-
sively. The player was used to accompany read-
ing, singing, 'cello and the Victrola, and was also
ussd in combination with the piano in "Pas Des
Amphores," by Chaminade, and "Prelude" by Rach-
maninoff, the piano taking up the theme where the
player stopped.
,
Charles E. Buck, a piano dealer of Cortland,
N. Y., has opened a branch store in Batavia.
If you are a salesman, tuner or traveler, and
desire a position, forward your wants in an ad-
vertisement to The Review in space not to ex-
ceed four lines and it will be inserted free of
charge and replies sent to you.
SEEBURG
FACTS
W e said it once to
you but it still is
very true:
*
Seeburg electric
coin - controlled
pianos are made
right in the first
place and therefore
do not have to be
made right after
they are in the
hands of the cus-
tomers.
J. P. Seeburg Piano Co.
OFFICES:
902-904 Republic Building
State and Adams Streets
FACTORY:
415-421 S. Sangamon Street,
CHICAGO
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