Music Trade Review

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Welte-Mi^nori
model of
TSie
P
ADEREWSKI plays at Car-
negie Hall. Or Raoul Pugno
brings his listeners to their feet in
the Paris Conservatory of Music.
Each is a master—but his artistries
perish as the chords die away.
The transience, the passing of the
world's greatest pianists has been
halted, caught up and held now
for all future by the wonders of the
Welte-Mignon Model of The
Autopiano.
It seems as if more than mortal
skill had given us this perfection
of idea and ingenuity. A Piano
that reproduces the artist's playing
not merely with all the beauties
of the highest type of player-action
expression—but with a great deal
more. Accent for accent, tone
for tone and shade for shade,
the mastery and technique of the
pianist is reproduced exactly, pre-
cisely.
The Welte-Mignon Model of
The Autopiano stands alone. It is
the instrument superb. One can-
not know it until he sees it and
hears it.
Josef Hofmann, Furruccio Bu-
soni, Vladimir De Pachmann, Te-
resa Carreno, Emil Paur, Eugene
D'Albert and others whose names
and selections fill an eighty-page
catalog, provide a library of classic
and popular compositions that
make every owner of a JVelte-Mig-
non Model'of The Autopiano the pos-
sessor of all that is great and all that
is most entertaining in music.
THE AUTOPIANO CO.
PAUL B. KLUGH, President
On-the-Hudson
at 51st Street
New York
At lachn
Eadtr