Music Trade Review
Issue: 1913 Vol. 57 N. 9 - Page 9
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
the greatest things, one of the really biggest and
most tremendous. Yes, it is more, for, if music in-
deed bo a language, it is as big as language. And
that means as big—at least potentially—as anything
human can be.
imitably marvelous as a means for expression be-
cause it is not limited in its choice of method. You
need not worry about words, but only about taste.
It is possible to use cultivated speech in bad taste,
but it is impossible to use fine music in other than
good taste. That is one of the beauties of music
as a means for expression.
When we begin to see that music is neither a
means for tickling the ear, nor a diversion for the
feeble-minded, but rather the greatest emotional
methods, then we shall also see that we sorely need
an intelligible viewpoint in regard to it. The
"language" viewpoint is intelligible, is simple, is
reasonable. That is why it is being urged here.
Why is it that so few of us ever look at things?
Why, in the name of all that is alive, do we glance
at so much and look at so little? Or better still,
why do we look at so much and see so little?
Edwin R. Macoomb, Manager of the Retail Warerooms of the Behning Piano Co., New York, in
Why is it that we do not see the romance in a pair
an Article Written Specially for The Review, Describes What May Be Considered Perfec-
of green shutters or the possible history in a lamp-
tion in the Player-Piano Field at Present—The Player-Piano as an Educator.
post? How is it that we do not, in point of fact,
see that there is nothing common, nothing unin-
A great many articles have been written and player-piano the performer can produce in an im-
teresting, nothing that has not mysterious, even ter- many discussions have taken place on the perfec- pressive manner the real and true singing quality
rifying implications inherent in its apparent com- tion of certain specified player mechanisms, and a of the instrument, and by means of the perfect
monplaceness ? What is more commonplace than great many more articles and discussions have been player mechanism can really make his listeners
music? What is less exciting than the idea that presented on the perfection of the scales and con- believe that they are listening to the playing of a
music is a language? But what again is more re- structional virtues of both grand and upright great artist on a great piano. Such is the power
markable than that men should express their emo- pianos; but very little indeed has been written or of the perfect player-piano that represents unity
tions in combinations of sound?
said regarding perfection in the unity of these two of perfect player and piano mechanisms.
mechanisms, represented by the piano and the
There is absolutely no limit to the possibilities
The difficulty with most of us is that we look
player.
afforded
by the perfect player-piano, for the per-
at things mdirectly when we look at them at all.
Taking it for granted that a great deal of care, former is offered the choice of any class or type
We imagine, for instance that music is a mere
matter of stringing together agreeable sounds. We attention and scientific workmanship has been be- of music. A change from Chopin may include the
limit the significance of music to our own small stowed on the manufacturing and construction of varied and delightful compositions of Chaminade,
pleasures. Some of us are not_ so simple. Some the thoroughly high-grade piano, let us suppose and when playing these selections the player-
of us pretend to have discovered in music the uni- for an instant that the completed instrument is put pianist can bring out the brightest coloring known
versal solvent, the greatest of languages, the one in the hands of an ordinary or mediocre piano in music with a consummate ease that would take
supreme method of conveying and expressing emo- "thumper." Is it not possible and even likely that years and years of study and practice for an artist
tion. Between the two views it is possible to find a the tone brought out by the efforts of this piano to become master of. From bright coloring to the
middle aspect. Music is not alone a language, but "thumper" will not show the delicacy and refine- somberness or black coloring for tonal effects the
it is the most rarefied form of emotional language. ment that it would in the hands of an artist or same player-pianist may choose the "Funeral
It expresses that which is inexpressible in words. even conscientious performer? In other words, March" of Chopin, and through the medium of
It gives us that which speech cannot give us. there is no apparent unity between the piano and the perfect mechanism of the perfect player-piano
its "thumper," and the results are disastrous. On can produce without any hesitation that coloring
Surely this is praise enough.
the other hand, suppose we take a sensitive and for which artists strive and aim for during prac-
But we set out to say something more definite thoroughly high-grade player mechanism embody- tically their whole lifetime.
The Player as an Educator.
than this. In talking about the forms of music in ing all the devices known to science and place it
the articles now being published for the player sec- in a very cheap or even ordinary piano, does it
Without a doubt the perfect player-piano affords
tion, we have been trying to provide an intelligible not stand to reason that the results would again be untold possibilities in the educational field. As
method whereby the untrained music-lover may disastrous? Again we have a lack of unity, but a factor in educational development the player-
comprehend reasonably the meaning and signifi- this time it is between the player mechanism and piano is gaining prestige every day, but I have
cance of music as an art form, and may be brought the piano, and again it has proven a failure.
often wondered why more music teachers and con-
The Problem of Perfect Unity.
to see why it is made as it is, and why certain
servatories do not recognize the true value of the
After scientific knowledge and great care has perfect player in their work and employ it con-
forms and methods have come to have permanent
lodgment within its boundaries. In so doing we been exercised in the selection and curing of the stantly as a medium for educating their pupils in
have continually held to the analogy between music materials and assembling them together in perfect the proper reading of the classics, both modern
and language and have sought to show that the unity, we reach one of the most important and far- and ancient. There is no denying the power of
reaching divisions in the manufacturing of the the player as an aid in this work, for where can
man or woman who has no technical knowledge of
music can obtain a proper appreciation, reasoned perfect player-piano. This is the actual refining of we find a musician who, at a moment's notice, can
and intelligent, by using the analogy and pressing tone, action and player mechanism, which under sit down and play such compositions as Grieg's
it to logical conclusions. We feel that analogy the Behning principle, brings out to the highest "A minor Concerto," Chopin's "Scherzo in C
it sound and that it rests upon truth. And we feel possible notch the fullest perfection in tone and sharp minor," Mendelssohn's "Rondo Capriccioso"
the most artistic, refined and sensitive unity of and Moszkowski's "Barcarole" and two or three
also that it is capable of extension to the limit of
piano and player.
its logical implications without undue strain.
of the more modern compositions that we have
learned to love and appreciate? A few celebrated
Results Obtainable from the Perfect Player.
We should like, therefore, to ask the reader
Let us consider for a moment the truly wonder- artists known the world over are in a position to
very carefully to consider the ideas here set forth. ful results that can be obtained from this perfect respond to such a call; but consider for an instant
Music is as simple or as complex as you please. player-piano, embodying unity of perfect player the very slight proportion of pianists or lovers of
Nothing is more astonishing than the extraordi- and piano mechanisms. With this instrument a music who ever attain this necessary prestige and
nary, the terrifying, the abysmal complexity of
player-pianist is enabled to take Chopin's beauti- harmony as a pianist. I am afraid that the pro-
simple things, the moment one looks closely at ful "Ballade" in A flat and bring out without any portion is hardly worth careful consideration.
them. Music is illimitably wonderful; largely undue effort the deep sentimentality with which this
Here is where the perfect player-piano as ex-
because it is so very simple. And music is also in- classical composition abounds. With the perfect
(Continued on page 11.)
THE IDEAL COMBINATION OF PLAYER AND PIANO.
T>IANO manufacturing is practically con-
•*• fined to 11 states; piano selling to 48
states, and good hammer building to one city
—Poughkeepsie, N. Y.
One city furnishes David H. Schmidt piano hammers to the
manufacturers in those 11 states who are hammer wise.
And this class of piano men is constantly
&rowin& because live men seek the best.
DAVID
H. SCHMIDT CO., Poughkeepsie, N. Y.
Western representatives: Widnejr h Widaty,
5 South Wabash Avenue, Chicago, 111.
THE MUSIC TRADE REVIEW
the greatest things, one of the really biggest and
most tremendous. Yes, it is more, for, if music in-
deed bo a language, it is as big as language. And
that means as big—at least potentially—as anything
human can be.
imitably marvelous as a means for expression be-
cause it is not limited in its choice of method. You
need not worry about words, but only about taste.
It is possible to use cultivated speech in bad taste,
but it is impossible to use fine music in other than
good taste. That is one of the beauties of music
as a means for expression.
When we begin to see that music is neither a
means for tickling the ear, nor a diversion for the
feeble-minded, but rather the greatest emotional
methods, then we shall also see that we sorely need
an intelligible viewpoint in regard to it. The
"language" viewpoint is intelligible, is simple, is
reasonable. That is why it is being urged here.
Why is it that so few of us ever look at things?
Why, in the name of all that is alive, do we glance
at so much and look at so little? Or better still,
why do we look at so much and see so little?
Edwin R. Macoomb, Manager of the Retail Warerooms of the Behning Piano Co., New York, in
Why is it that we do not see the romance in a pair
an Article Written Specially for The Review, Describes What May Be Considered Perfec-
of green shutters or the possible history in a lamp-
tion in the Player-Piano Field at Present—The Player-Piano as an Educator.
post? How is it that we do not, in point of fact,
see that there is nothing common, nothing unin-
A great many articles have been written and player-piano the performer can produce in an im-
teresting, nothing that has not mysterious, even ter- many discussions have taken place on the perfec- pressive manner the real and true singing quality
rifying implications inherent in its apparent com- tion of certain specified player mechanisms, and a of the instrument, and by means of the perfect
monplaceness ? What is more commonplace than great many more articles and discussions have been player mechanism can really make his listeners
music? What is less exciting than the idea that presented on the perfection of the scales and con- believe that they are listening to the playing of a
music is a language? But what again is more re- structional virtues of both grand and upright great artist on a great piano. Such is the power
markable than that men should express their emo- pianos; but very little indeed has been written or of the perfect player-piano that represents unity
tions in combinations of sound?
said regarding perfection in the unity of these two of perfect player and piano mechanisms.
mechanisms, represented by the piano and the
There is absolutely no limit to the possibilities
The difficulty with most of us is that we look
player.
afforded
by the perfect player-piano, for the per-
at things mdirectly when we look at them at all.
Taking it for granted that a great deal of care, former is offered the choice of any class or type
We imagine, for instance that music is a mere
matter of stringing together agreeable sounds. We attention and scientific workmanship has been be- of music. A change from Chopin may include the
limit the significance of music to our own small stowed on the manufacturing and construction of varied and delightful compositions of Chaminade,
pleasures. Some of us are not_ so simple. Some the thoroughly high-grade piano, let us suppose and when playing these selections the player-
of us pretend to have discovered in music the uni- for an instant that the completed instrument is put pianist can bring out the brightest coloring known
versal solvent, the greatest of languages, the one in the hands of an ordinary or mediocre piano in music with a consummate ease that would take
supreme method of conveying and expressing emo- "thumper." Is it not possible and even likely that years and years of study and practice for an artist
tion. Between the two views it is possible to find a the tone brought out by the efforts of this piano to become master of. From bright coloring to the
middle aspect. Music is not alone a language, but "thumper" will not show the delicacy and refine- somberness or black coloring for tonal effects the
it is the most rarefied form of emotional language. ment that it would in the hands of an artist or same player-pianist may choose the "Funeral
It expresses that which is inexpressible in words. even conscientious performer? In other words, March" of Chopin, and through the medium of
It gives us that which speech cannot give us. there is no apparent unity between the piano and the perfect mechanism of the perfect player-piano
its "thumper," and the results are disastrous. On can produce without any hesitation that coloring
Surely this is praise enough.
the other hand, suppose we take a sensitive and for which artists strive and aim for during prac-
But we set out to say something more definite thoroughly high-grade player mechanism embody- tically their whole lifetime.
The Player as an Educator.
than this. In talking about the forms of music in ing all the devices known to science and place it
the articles now being published for the player sec- in a very cheap or even ordinary piano, does it
Without a doubt the perfect player-piano affords
tion, we have been trying to provide an intelligible not stand to reason that the results would again be untold possibilities in the educational field. As
method whereby the untrained music-lover may disastrous? Again we have a lack of unity, but a factor in educational development the player-
comprehend reasonably the meaning and signifi- this time it is between the player mechanism and piano is gaining prestige every day, but I have
cance of music as an art form, and may be brought the piano, and again it has proven a failure.
often wondered why more music teachers and con-
The Problem of Perfect Unity.
to see why it is made as it is, and why certain
servatories do not recognize the true value of the
After scientific knowledge and great care has perfect player in their work and employ it con-
forms and methods have come to have permanent
lodgment within its boundaries. In so doing we been exercised in the selection and curing of the stantly as a medium for educating their pupils in
have continually held to the analogy between music materials and assembling them together in perfect the proper reading of the classics, both modern
and language and have sought to show that the unity, we reach one of the most important and far- and ancient. There is no denying the power of
reaching divisions in the manufacturing of the the player as an aid in this work, for where can
man or woman who has no technical knowledge of
music can obtain a proper appreciation, reasoned perfect player-piano. This is the actual refining of we find a musician who, at a moment's notice, can
and intelligent, by using the analogy and pressing tone, action and player mechanism, which under sit down and play such compositions as Grieg's
it to logical conclusions. We feel that analogy the Behning principle, brings out to the highest "A minor Concerto," Chopin's "Scherzo in C
it sound and that it rests upon truth. And we feel possible notch the fullest perfection in tone and sharp minor," Mendelssohn's "Rondo Capriccioso"
the most artistic, refined and sensitive unity of and Moszkowski's "Barcarole" and two or three
also that it is capable of extension to the limit of
piano and player.
its logical implications without undue strain.
of the more modern compositions that we have
learned to love and appreciate? A few celebrated
Results Obtainable from the Perfect Player.
We should like, therefore, to ask the reader
Let us consider for a moment the truly wonder- artists known the world over are in a position to
very carefully to consider the ideas here set forth. ful results that can be obtained from this perfect respond to such a call; but consider for an instant
Music is as simple or as complex as you please. player-piano, embodying unity of perfect player the very slight proportion of pianists or lovers of
Nothing is more astonishing than the extraordi- and piano mechanisms. With this instrument a music who ever attain this necessary prestige and
nary, the terrifying, the abysmal complexity of
player-pianist is enabled to take Chopin's beauti- harmony as a pianist. I am afraid that the pro-
simple things, the moment one looks closely at ful "Ballade" in A flat and bring out without any portion is hardly worth careful consideration.
them. Music is illimitably wonderful; largely undue effort the deep sentimentality with which this
Here is where the perfect player-piano as ex-
because it is so very simple. And music is also in- classical composition abounds. With the perfect
(Continued on page 11.)
THE IDEAL COMBINATION OF PLAYER AND PIANO.
T>IANO manufacturing is practically con-
•*• fined to 11 states; piano selling to 48
states, and good hammer building to one city
—Poughkeepsie, N. Y.
One city furnishes David H. Schmidt piano hammers to the
manufacturers in those 11 states who are hammer wise.
And this class of piano men is constantly
&rowin& because live men seek the best.
DAVID
H. SCHMIDT CO., Poughkeepsie, N. Y.
Western representatives: Widnejr h Widaty,
5 South Wabash Avenue, Chicago, 111.
Future scanning projects are planned by the International Arcade Museum Library (IAML).