Music Trade Review
Issue: 1926 Vol. 83 N. 21 - Page 3
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
REVIEW
THE
VOL. LXXXIII. No. 21
Pablished Every Saturday. Edward Lyman Bill, Inc., 383 Madison Aye., New York, N. Y., Nov. 20,1926
ata
"6.o8*ft &*f~"
Linking the Artists' Appearances
with the Piano They Use
A Striking Example of This in the Series of Little Librettos, Being Published in the Form of Advertise-
ments by Win. Knabe & Co., in the New York Newspapers, to Exploit the Fact That
the Knabe Is the Official Piano of the Metropolitan Opera Company of New York
R
ETAIL piano houses generally are in- even those in a position to judge piano tone
clined to give more thought than for- and values quite as much as those who must
merly to developing an effective tie-up depend upon the opinion of the teacher or the
between the leading pianos they handle and the dealer are susceptible to the influence of the
opera and concert organizations or individual artist or artists who have given that particular
artists who use those pianos as their concert
instruments. Not but that there is much room
for improvement in the manner in which these
tie-ups are generally effected, for there still ap-
pear to be many retailers who let such oppor-
tunities slide by. But the personal appeal that
is being made to the music lover through such
Metropolitan Opera Tonight
tie-ups is steadily gaining increased recognition
and producing results in the retail trade to-day.
inabc
"TANNHAEUSER"
as that being used in a local opera presenta-
tion, concert or recital, where those interested
may see and hear the instrument demonstrated
by a notable artist who has given it his en-
dorsement. To give local prominence to such
an event is to back the publicity campaign of
its manufacturer in the most effective way.
It is quite possible in effecting a local tie-up
between the artist and the piano to develop
ideas that are out of the ordinary. It is all
well enough to announce that the Blank piano
will be used by John Smith in his recital at the
auditorium on a certain evening, but it is a great
Little Librettos by LEONARD LIEBLINC
Metropolitan Opera Matinee
"RIGOLETTO"
Little Librettos by LEONARD LIEBLING
V \ 7HEN Verdi rehearsed his operas, he fre-
V V quently kept some of his easily remembered
tunes away from the singers until just before the
premiere. He was afraid that the stagehands and
charwomen working about the opera-house, might
make the melodies prematurely familiar by hum-
ming and whistling them about town. Verdi knew
his musical countrymen!
"La Donna e Mobile," the world-famous tenor
aria in "Rigoletto, ' was one of these facile and in-
sinuating tunes which Verdi hid in that manner.
"Caro Nome" and the inspired Quartet are house-
hold compositions in every civilized corner of the
universe.
Story appeal abounds in "Rigoletto" based on
Victor Hugo's great drama of the rakish Duke and
the hunchbacked jester; his vengeful plotting; and
its terrible retributive force in encompassing the
unexpected death of his own daughter, Gilda.
It was in "Rigoletto" that today's Gilda, Marion
Talley, America's newest aspirant for operatic
honors, made her memorable debut.
"LJOOTED and whistled off the boards in Paris,
•*••*• by Chauvinistic political intriguantes' That
was the fate of "Tannhaeuser" at its premiere in the
French.Capital Today, "Tannhaeuser" is com-
pletely understood and universally beloved. Verily,
"Life is short, art is long."
Wagner himself has told that he worked .it
"Tannhaeuser" in a delirium of inspiration, he
even feared that he might die suddenly before the
completion of the work
"Tannhaeuser" truly is a glowing masterpiece,
with its contrasts of sensuous and spiritual music
and its irresistibly powerful drama of profane and
sacred love. Here, the creative genius of Wagner
moulds marvclously from legend, history and fantasy.
But over all the ethical purposes of "Tann
haeuser" rises the broad'bcauty of its immortal
music Five of its numbers have gone into the
'eternal popular art repertoire of mankind, the
Overture, the March, the "Pilgrim's Chorus" the
"Song to the Evening Star," and the "Prayer."
The latter will be sung tonight by that incom-
parable artist, Maria Jentii, whose interpretation
of the role of Elirjbeth is among the finest in the
gallery of operatic portraiture.
Litt/ umrtesv of
WM. KNABE & CO.
FIFTH AVENUE AT THIRTY-NINTH ST.
Official Piano of the Metropolitan Opera
instrument endorsement by their use of it. To
feel that the artist has considered the instru-
ment worthy of his own use is a convincing
WM. KNABE & CO.
proof and there are many who are proud to
FIFTH AVENUE AT THIRTY-NINTH ST.
state that the piano in the home is of the same
Official Piano of the Metropolitan Opera
make as that used by this or that great pianist,
orchestra or operatic organization.
Much has been said regarding the inde-
Dealers spend a great deal of time and money
pendence of the average piano buyer, the man in demonstrations in the showrooms and in
or woman who selects an instrument on its homes. Yet ofttimes they overlook the op-
merits and is not influenced by the opinions of portunity of calling public attention to the fact
others. Hut it has been proven frequently that that the piano featured in the store is the same
Little Librettos are published m the newspapers by courtesy of
Metropolitan Opera Tonight
"A I DA"
Little Librettos by LEONARD LIEBLING
TIKE King Tut, Verdi's boundlessly popular
'-' "Aida" came out of Egypt. Its gala pre-
miere occurred at Cairo, in 1871, the work having
been written it the order of the Khedive, to mark
the high point of the celebration commemorating
the opening of the Suez Canal.
"Aida" is truly grand opera, for grand are its
story, its stage-pictures, and its music, which in-
cludes those immortal masterpieces, the "Celestial
Aida" aria, and the inspired march, with strains
familiar even to laymen who do not know that it is
part of an opera.
This powerfully human drama of the early Pha-
raohs grips through its irresistible emotional appeal,
and its successions of ineffably lovely melodies,
perhaps the finest pages in the entire tuneful output
of the marvelous Verdi.
At the Metropolitan, Giovanni Martinelli as-
sumes the role of the romantic young warrior, and
makes his contribution an impressive combination
of impassioned acting and sustained eloquence of
singing.
Little Librettos are published in the newspapers try courtesy of
WM. KNABE & CO.
FIFTH AVENUE AT THIRTY-NINTH ST.
Official Piano of the Metropolitan Opera
deal more interesting to the reader to announce
the program or part of it, and the fact that it
will be interpreted on the Blank piano. It is
often interesting, too, to offer a short bio-
graphical sketch of the piano itself or some
(Continued on page 4)
REVIEW
THE
VOL. LXXXIII. No. 21
Pablished Every Saturday. Edward Lyman Bill, Inc., 383 Madison Aye., New York, N. Y., Nov. 20,1926
ata
"6.o8*ft &*f~"
Linking the Artists' Appearances
with the Piano They Use
A Striking Example of This in the Series of Little Librettos, Being Published in the Form of Advertise-
ments by Win. Knabe & Co., in the New York Newspapers, to Exploit the Fact That
the Knabe Is the Official Piano of the Metropolitan Opera Company of New York
R
ETAIL piano houses generally are in- even those in a position to judge piano tone
clined to give more thought than for- and values quite as much as those who must
merly to developing an effective tie-up depend upon the opinion of the teacher or the
between the leading pianos they handle and the dealer are susceptible to the influence of the
opera and concert organizations or individual artist or artists who have given that particular
artists who use those pianos as their concert
instruments. Not but that there is much room
for improvement in the manner in which these
tie-ups are generally effected, for there still ap-
pear to be many retailers who let such oppor-
tunities slide by. But the personal appeal that
is being made to the music lover through such
Metropolitan Opera Tonight
tie-ups is steadily gaining increased recognition
and producing results in the retail trade to-day.
inabc
"TANNHAEUSER"
as that being used in a local opera presenta-
tion, concert or recital, where those interested
may see and hear the instrument demonstrated
by a notable artist who has given it his en-
dorsement. To give local prominence to such
an event is to back the publicity campaign of
its manufacturer in the most effective way.
It is quite possible in effecting a local tie-up
between the artist and the piano to develop
ideas that are out of the ordinary. It is all
well enough to announce that the Blank piano
will be used by John Smith in his recital at the
auditorium on a certain evening, but it is a great
Little Librettos by LEONARD LIEBLINC
Metropolitan Opera Matinee
"RIGOLETTO"
Little Librettos by LEONARD LIEBLING
V \ 7HEN Verdi rehearsed his operas, he fre-
V V quently kept some of his easily remembered
tunes away from the singers until just before the
premiere. He was afraid that the stagehands and
charwomen working about the opera-house, might
make the melodies prematurely familiar by hum-
ming and whistling them about town. Verdi knew
his musical countrymen!
"La Donna e Mobile," the world-famous tenor
aria in "Rigoletto, ' was one of these facile and in-
sinuating tunes which Verdi hid in that manner.
"Caro Nome" and the inspired Quartet are house-
hold compositions in every civilized corner of the
universe.
Story appeal abounds in "Rigoletto" based on
Victor Hugo's great drama of the rakish Duke and
the hunchbacked jester; his vengeful plotting; and
its terrible retributive force in encompassing the
unexpected death of his own daughter, Gilda.
It was in "Rigoletto" that today's Gilda, Marion
Talley, America's newest aspirant for operatic
honors, made her memorable debut.
"LJOOTED and whistled off the boards in Paris,
•*••*• by Chauvinistic political intriguantes' That
was the fate of "Tannhaeuser" at its premiere in the
French.Capital Today, "Tannhaeuser" is com-
pletely understood and universally beloved. Verily,
"Life is short, art is long."
Wagner himself has told that he worked .it
"Tannhaeuser" in a delirium of inspiration, he
even feared that he might die suddenly before the
completion of the work
"Tannhaeuser" truly is a glowing masterpiece,
with its contrasts of sensuous and spiritual music
and its irresistibly powerful drama of profane and
sacred love. Here, the creative genius of Wagner
moulds marvclously from legend, history and fantasy.
But over all the ethical purposes of "Tann
haeuser" rises the broad'bcauty of its immortal
music Five of its numbers have gone into the
'eternal popular art repertoire of mankind, the
Overture, the March, the "Pilgrim's Chorus" the
"Song to the Evening Star," and the "Prayer."
The latter will be sung tonight by that incom-
parable artist, Maria Jentii, whose interpretation
of the role of Elirjbeth is among the finest in the
gallery of operatic portraiture.
Litt/
WM. KNABE & CO.
FIFTH AVENUE AT THIRTY-NINTH ST.
Official Piano of the Metropolitan Opera
instrument endorsement by their use of it. To
feel that the artist has considered the instru-
ment worthy of his own use is a convincing
WM. KNABE & CO.
proof and there are many who are proud to
FIFTH AVENUE AT THIRTY-NINTH ST.
state that the piano in the home is of the same
Official Piano of the Metropolitan Opera
make as that used by this or that great pianist,
orchestra or operatic organization.
Much has been said regarding the inde-
Dealers spend a great deal of time and money
pendence of the average piano buyer, the man in demonstrations in the showrooms and in
or woman who selects an instrument on its homes. Yet ofttimes they overlook the op-
merits and is not influenced by the opinions of portunity of calling public attention to the fact
others. Hut it has been proven frequently that that the piano featured in the store is the same
Little Librettos are published m the newspapers by courtesy of
Metropolitan Opera Tonight
"A I DA"
Little Librettos by LEONARD LIEBLING
TIKE King Tut, Verdi's boundlessly popular
'-' "Aida" came out of Egypt. Its gala pre-
miere occurred at Cairo, in 1871, the work having
been written it the order of the Khedive, to mark
the high point of the celebration commemorating
the opening of the Suez Canal.
"Aida" is truly grand opera, for grand are its
story, its stage-pictures, and its music, which in-
cludes those immortal masterpieces, the "Celestial
Aida" aria, and the inspired march, with strains
familiar even to laymen who do not know that it is
part of an opera.
This powerfully human drama of the early Pha-
raohs grips through its irresistible emotional appeal,
and its successions of ineffably lovely melodies,
perhaps the finest pages in the entire tuneful output
of the marvelous Verdi.
At the Metropolitan, Giovanni Martinelli as-
sumes the role of the romantic young warrior, and
makes his contribution an impressive combination
of impassioned acting and sustained eloquence of
singing.
Little Librettos are published in the newspapers try courtesy of
WM. KNABE & CO.
FIFTH AVENUE AT THIRTY-NINTH ST.
Official Piano of the Metropolitan Opera
deal more interesting to the reader to announce
the program or part of it, and the fact that it
will be interpreted on the Blank piano. It is
often interesting, too, to offer a short bio-
graphical sketch of the piano itself or some
(Continued on page 4)
Future scanning projects are planned by the International Arcade Museum Library (IAML).