Presto
Issue: 1920 1746 - Page 11
PRESTO
January 8, 1920.
NOTED INTERVIEWS
IN PIANO INDUSTRY
Presto Staff Writers Tell of Their Recollec-
tions of Personal Talks with Prominent
Manufacturers of Past and Present
Who Have Made History in the
World of Music.
HOW I MET THE ORIGINAL STENCILER,
THE PROPHET OF PRODUCTION,
AND HOW HE VIEWED
HIS WORK.
By C. A. D. of Presto Staff.
But for the man Alfred Dolge described as a
"Yankee who manufactured pianos as he would have
manufactured bedsteads," and who made more
pianos in his time than any other man until long
after he had passed away, the American music trade
papers might not today be what they are. And also
but for him such a term as "stencil" might not have
filled a very large space in the literature of the
industry and trade.
For it was because Joseph P. Hale embarked in
piano manufacture with no higher purpose than to
commercialize the instrument that John Freund
sailed into him and his products with such ephitets
as "bastard boxes," and others no less resplendent
in their reverse refinement. And from that time un-
til comparatively recent years, the trade papers have
fallen back upon the term of "thump-boxes" when-
ever they felt, the need of rebuking some manufac-
turer who sought to climb by disregarding the rights
of reputable piano names.
The Trade Paper Attack.
The vituperation of the first critic of Joseph P.
Hale colored what is fondly termed "music journal-
ism" for a quarter-century after. Nevertheless the
great Stenciler was a notable character and, in the
light of cooler judgments, it is now conceded that
his part in the industry was much more than that
of a vandal.
Joseph P. Hale was the prophet of what we of
today call "production." He was a large manu-
facturer. He thought in thousands at a time when
it was considered remarkable to talk hundreds in
the manufacture and sale of pianos. It is possible
that, had he never broken into the game, and in
doing it, broken up some of the highly respectable
ideas which had to do with art, and not largely
with money in its quick and Aladdin-like realiza-
tion, there would be fewer large piano industries
today. We might even yet be talking about great
"outputs" of one hundred a month!
It was in the early '80s that I decided it was
time the piano world knew more about the man
Hale, who theretofore had been pictured as a kind
of creature of the hoof and horn persuasion. Conse-
quently one winter night I ascended the steep flight
of steps that led to the massive front door of an
old-fashioned palatial residence at No. 12 Thirty-
fourth street, New York.
The Arch-Stenciler's Home.
The house stood just about where the Herald
Square Hotel is today. It was surrounded by
small shops at the Broadway corner, and more
residences to the east of it. I pulled the bell-knob
and the noted . stenciler himself responded. I
handed him my card and was invited to enter. The
room was a long double drawing-room, the front
and back parlors having bejen thrown into one.
Far to the front, in line with the inner entrance
from the street, was a small door which later I
found led to Mr. Hale's private office. The ar-
rangement seemed peculiarly in keeping with the
"commercialism" of the man.
The scene which presented itself was somewhat
dazzling to a callow youth in search of matter
for publication. There was a group of well dressed
ladies in the rear section of the long room, and
several gentlemen stood or sat around, some of
them smoking. Mr. Hale drew attention to the
array also of pianos, which gave the place the
appearance more of a wareroom than a private
parlor.
A Valuable Trade Name.
"I know what you want me to say," was about
what he remarked when I told him that I wanted
an interview. ''But" he continued, "if you v read
the music trade papers"—there were three of them
existing at that time—"you know that I am on the
defensive. Nevertheless, I am sure that the pianos
I am making are a blessing to the people who can't
afford the high-priced kind, and I am equally sure,
that I am producing instruments that will serve
their buyers more than a life-time and are worth
a great deal more than I am getting for them."
His words have since been acknowledged to have
been true.
Mr. Hale was told that the viewpoint of my visit
was different. It was that he had been charged
with making imitation pianos—using famous names
on his products. This he denied, saying that if
that was being done it was by dealers who erased
the names put on in his factory, and substituted
others to suit their own purposes. "My pianos
bear names that I own," he said, "and one of these
names is worth as much money as any other piano
name on earth!"
The Arion Piano.
This was so interesting that he was asked to
mention the valuable piano name. For in those
days, as now, there were several piano names that
were considered almost priceless. Besides the
Steinway and Chickering, at that time Albert
Weber was alive, and filled to the brim with am-
bition. His name was a large asset in the piano
trade. So were the names of Knabe, and Decker
and Haines Bros., and Hazelton Bros., and Sohmer
—and perhaps one or two others-—of great value.
They all represented then, as now, values which
are only obtained by time and serious striving to
excel.
Consequently, the name of Joseph Hale's piano,
in which so large an asset abided, was an item
of much interest. And here is what the original
stenciler said:
"My Arion piano is as well known as any. I
place a valuation of one million dollars upon it
alone. I have had to defend my right to the ex-
clusive use of the name, and I feel that I may have
to continue to appeal to the courts in order to
hold it."
Piano men of that time will recall the "Arion"
piano. The name has since then been employed
by other manufacturers, and it was later claimed
by a large Chicago concern.
Personal Characteristics.
But what impressed me in the presence of the
great stenciler was that he was sincere. He be-
lieved that he was doing a great good in the world.
He didn't believe that the so-called "stenciling"
was at all irregular. He did feel that the hand
of the industry was against him, and he was ag-
gressive, combative and defiant. He charged most
of his troubles to the activities of the trade papers.
Later he became a fairly liberal supporter of the
papers and at the time of his death he was still
the most prolific producer of pianos in the world.
More than that, the despised pianos from his fac-
tory had been used by many reputable concerns,
and, in at least two cases, they shone forth in the
warerooms of other manufacturers as the products
of their factories.
Joseph P. Hale was a remarkable man in per-
sonal appearance, as well as in commercial
daring. He was of giant physique and the
unusual, almost fascinating, strength of his
large head was accentuated by his long and curly
hair. His beard was full and brown, and his eyes
sparkled as he talked. I recall that it was my
parting impression that, far from being of the hoof
and horns breed of humanity, he was an affable,
attractive personality, even if palpably lacking in
"book larnin'" and plainly vain of his success as
a money-getter.
* * *
A LEADER OF TODAY.
Since my interview with Joseph Hale, the origi-
nal stenciler, I have talked with every piano manu-
' facturer of any note. My most recent interview—
and one of a frequently occurring series—was with
one who, happily, is still very much alive. And
if any trade paper man wants an easy interview,
and one filled with suggestion and the possibili-
ties of good reading, let him also have a talk with
Fayette S. Cable, the man who has built a great
industry without being in the least inflated in his
bump of self-esteem by his own success. And one
thing that Mr. Cable said was this—as I remem-
ber it:
"The world is a little mixed, 'tis true, but if our
hearts are right the world will come 'round as full
of the good things and as worth living in as ever.
There's nothing the matter with the piano world,
in any event—is there?"
DISCOURTESY HURTS TRADE.
Some merchants expect advertising to build up
their business, despite the fact that a discourteous
and disobliging sales force is, every hour of the
business day, tearing it down. The advertising man
doesn't live who can really build up a store's busi-
ness without the sympathy and co-operation of the
men and women on the firing line.—National
Jeweler.
The Steinway is featured by the LeVy-Page Co.,
Norfolk, Va. The firm is a successor to the F. L. L.
Corporation in that city.
11
ALLOTING SPACE
IN NEW YORK SHOW
National Music Exhibit in Grand Central Pal-
ace Is Rapidly Assuming Concrete Form
—A Partial List of the Prominent
Exhibitors.
The National Music Show, to be held in Grand
Central Palace, New York, February 2-7, in con-
nection with New York's Music Week and the an-
nual Music Industries conventions, is rapidly as-
suming concrete form under the energetic efforts
of Director Charles H. Green.
The decorative scheme, which will govern the
whole display under a uniform plan harmonizing
with the architectural beauties of the Palace, has
been worked out and the allotment of space and
the arrangement of the individual exhibits are in
progress.
In White and Gold.
White and gold is the keynote of the color scheme,
giving the great structure a delicate touch of artis-
try more in keeping with music than its massive
proportions would otherwise possess. The general
scheme of the front facade plan will be followed out
throughout the whole building. The interiors of the
various displays will, of course, take such individ-
ual forms of decoration and arrangement as the ar-
tistic tastes of the exhibitors may dictate, and there
is keen rivalry evidenced in such inklings of the
plans as have come to hand. Indications are that
many of them will be both elaborate and elegant.
Sound-Proof Apartments.
The entire three floors of the Palace have been
arranged in sound-proof apartments suitable for
demonstration rooms, so that there will be no dan-
ger of discordant sounds marring the harmony of
the show.
The representative character of the show is re-
flected in the exhibitors who have thus far indicated
their intention to be represented and are proced-
ing with the preparation of their displays. A par-
tial list follows:
Partial List of Exhibitors.
Aeolian Co., New York; Aeolian Vocalion, New
York; American Sfeel & Wire Co., Chicago; Amer-
ican Piano Co., New York; Apollo Piano Co., De
Kalb, 111.; Autopiano Co., New York; Auto-Pneu-
matic Action Co., New York.
Bacon Piano Co., New York; Barnhart Bros. &
Spindler, Chicago; H. C. Bay Co., Chicago; Behr
Brothers, New York; Bennett & White, Inc., New-
ark, N. J.; Brambach Piano Co., New York; Bush
& Lane Piano Co., Holland, Mich.; Brilliantone
Steel Needle Co., New York; Brunswick-Balke-
Collender Co., Chicago.
A. B. Chase Co., Norwalk, Ohio; Cheney Talking
Machine Co., Chicago; Chickering & Sons, Boston;
Cherington Mfg. Co., Waukegan, 111.; Columbia
Graphophone Co., New York; Connorized Music
Co., New York; C. G. Conn Co., Ltd., Elkhart, Ind.
Chute & Butler Co., Peru, Ind.; Thos. Edison,
Inc., Orange, N. J.; Efficiency Electric Corporation,
New York; Emerson Piano Co., Boston; Estey
Piano Co., New York; The Fern-O-Grand, New
York; E. Gablcr & Bro., Inc., New York; General
Player Action Co., New York; Germain Brothers
Co., Saginaw, Mich.
Hallet & Davis Piano Co., New York; Hazleton
Brothers, New York; Otto Heineman Phonograph
Supply Co., New York; International Piano Co.,
Fall River, Mass.; Iverson Piano Player Co., Wor-
cester, Mass.; Jewett Piano Co., Boston; B. H.
Janssen, New York; Wm. Knabe & Co., New York.
Kohler & Campbell, Inc., New York; Krasberg
Engineering & Mfg. Corp., Chicago; The Lafarrgue
Co., New York; Lindeman & Sons Piano Co., New
York; Paul G. Mehlin & Sons, New York; Milton
Piano Co., New York; Modernola Co., Johnstown,
Pa.; George W. Moore, Boston.
The Packard Piano Co., Ft. Wayne, Ind.; Pathe
Freres Phonograph Co., New York; Pease Piano
Co., New York; Premier Grand Piano Corp., New
York; Q. R. S. Music Roll Co., Chicago-New York:
Republic Music Roll Co., New York; Ricca & Son.
New York; Rythmodik Music Co., New York:
Schomacker Piano Co., Philadelphia, Pa.; George
Seiffert, New York.
Simplex Player Action Co., Worcester; Sonora
Phonograph Sales Co., New York; Standard Pneu-
matic Action Co., New York; Steinway & Sons,
New York; Story & Clark Piano Co., Chicago; Uni-
versal Fixture Co., New York; Universal Music
Roll Co., New York; Victor Talking Machine Co.,
Camden, N. J.; M. Welte & Sons, New York; Wil-
cox & White Co., Meriden, Conn.; Rudolph Wur-
litzer Co., Cincinnati, Ohio.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
January 8, 1920.
NOTED INTERVIEWS
IN PIANO INDUSTRY
Presto Staff Writers Tell of Their Recollec-
tions of Personal Talks with Prominent
Manufacturers of Past and Present
Who Have Made History in the
World of Music.
HOW I MET THE ORIGINAL STENCILER,
THE PROPHET OF PRODUCTION,
AND HOW HE VIEWED
HIS WORK.
By C. A. D. of Presto Staff.
But for the man Alfred Dolge described as a
"Yankee who manufactured pianos as he would have
manufactured bedsteads," and who made more
pianos in his time than any other man until long
after he had passed away, the American music trade
papers might not today be what they are. And also
but for him such a term as "stencil" might not have
filled a very large space in the literature of the
industry and trade.
For it was because Joseph P. Hale embarked in
piano manufacture with no higher purpose than to
commercialize the instrument that John Freund
sailed into him and his products with such ephitets
as "bastard boxes," and others no less resplendent
in their reverse refinement. And from that time un-
til comparatively recent years, the trade papers have
fallen back upon the term of "thump-boxes" when-
ever they felt, the need of rebuking some manufac-
turer who sought to climb by disregarding the rights
of reputable piano names.
The Trade Paper Attack.
The vituperation of the first critic of Joseph P.
Hale colored what is fondly termed "music journal-
ism" for a quarter-century after. Nevertheless the
great Stenciler was a notable character and, in the
light of cooler judgments, it is now conceded that
his part in the industry was much more than that
of a vandal.
Joseph P. Hale was the prophet of what we of
today call "production." He was a large manu-
facturer. He thought in thousands at a time when
it was considered remarkable to talk hundreds in
the manufacture and sale of pianos. It is possible
that, had he never broken into the game, and in
doing it, broken up some of the highly respectable
ideas which had to do with art, and not largely
with money in its quick and Aladdin-like realiza-
tion, there would be fewer large piano industries
today. We might even yet be talking about great
"outputs" of one hundred a month!
It was in the early '80s that I decided it was
time the piano world knew more about the man
Hale, who theretofore had been pictured as a kind
of creature of the hoof and horn persuasion. Conse-
quently one winter night I ascended the steep flight
of steps that led to the massive front door of an
old-fashioned palatial residence at No. 12 Thirty-
fourth street, New York.
The Arch-Stenciler's Home.
The house stood just about where the Herald
Square Hotel is today. It was surrounded by
small shops at the Broadway corner, and more
residences to the east of it. I pulled the bell-knob
and the noted . stenciler himself responded. I
handed him my card and was invited to enter. The
room was a long double drawing-room, the front
and back parlors having bejen thrown into one.
Far to the front, in line with the inner entrance
from the street, was a small door which later I
found led to Mr. Hale's private office. The ar-
rangement seemed peculiarly in keeping with the
"commercialism" of the man.
The scene which presented itself was somewhat
dazzling to a callow youth in search of matter
for publication. There was a group of well dressed
ladies in the rear section of the long room, and
several gentlemen stood or sat around, some of
them smoking. Mr. Hale drew attention to the
array also of pianos, which gave the place the
appearance more of a wareroom than a private
parlor.
A Valuable Trade Name.
"I know what you want me to say," was about
what he remarked when I told him that I wanted
an interview. ''But" he continued, "if you v read
the music trade papers"—there were three of them
existing at that time—"you know that I am on the
defensive. Nevertheless, I am sure that the pianos
I am making are a blessing to the people who can't
afford the high-priced kind, and I am equally sure,
that I am producing instruments that will serve
their buyers more than a life-time and are worth
a great deal more than I am getting for them."
His words have since been acknowledged to have
been true.
Mr. Hale was told that the viewpoint of my visit
was different. It was that he had been charged
with making imitation pianos—using famous names
on his products. This he denied, saying that if
that was being done it was by dealers who erased
the names put on in his factory, and substituted
others to suit their own purposes. "My pianos
bear names that I own," he said, "and one of these
names is worth as much money as any other piano
name on earth!"
The Arion Piano.
This was so interesting that he was asked to
mention the valuable piano name. For in those
days, as now, there were several piano names that
were considered almost priceless. Besides the
Steinway and Chickering, at that time Albert
Weber was alive, and filled to the brim with am-
bition. His name was a large asset in the piano
trade. So were the names of Knabe, and Decker
and Haines Bros., and Hazelton Bros., and Sohmer
—and perhaps one or two others-—of great value.
They all represented then, as now, values which
are only obtained by time and serious striving to
excel.
Consequently, the name of Joseph Hale's piano,
in which so large an asset abided, was an item
of much interest. And here is what the original
stenciler said:
"My Arion piano is as well known as any. I
place a valuation of one million dollars upon it
alone. I have had to defend my right to the ex-
clusive use of the name, and I feel that I may have
to continue to appeal to the courts in order to
hold it."
Piano men of that time will recall the "Arion"
piano. The name has since then been employed
by other manufacturers, and it was later claimed
by a large Chicago concern.
Personal Characteristics.
But what impressed me in the presence of the
great stenciler was that he was sincere. He be-
lieved that he was doing a great good in the world.
He didn't believe that the so-called "stenciling"
was at all irregular. He did feel that the hand
of the industry was against him, and he was ag-
gressive, combative and defiant. He charged most
of his troubles to the activities of the trade papers.
Later he became a fairly liberal supporter of the
papers and at the time of his death he was still
the most prolific producer of pianos in the world.
More than that, the despised pianos from his fac-
tory had been used by many reputable concerns,
and, in at least two cases, they shone forth in the
warerooms of other manufacturers as the products
of their factories.
Joseph P. Hale was a remarkable man in per-
sonal appearance, as well as in commercial
daring. He was of giant physique and the
unusual, almost fascinating, strength of his
large head was accentuated by his long and curly
hair. His beard was full and brown, and his eyes
sparkled as he talked. I recall that it was my
parting impression that, far from being of the hoof
and horns breed of humanity, he was an affable,
attractive personality, even if palpably lacking in
"book larnin'" and plainly vain of his success as
a money-getter.
* * *
A LEADER OF TODAY.
Since my interview with Joseph Hale, the origi-
nal stenciler, I have talked with every piano manu-
' facturer of any note. My most recent interview—
and one of a frequently occurring series—was with
one who, happily, is still very much alive. And
if any trade paper man wants an easy interview,
and one filled with suggestion and the possibili-
ties of good reading, let him also have a talk with
Fayette S. Cable, the man who has built a great
industry without being in the least inflated in his
bump of self-esteem by his own success. And one
thing that Mr. Cable said was this—as I remem-
ber it:
"The world is a little mixed, 'tis true, but if our
hearts are right the world will come 'round as full
of the good things and as worth living in as ever.
There's nothing the matter with the piano world,
in any event—is there?"
DISCOURTESY HURTS TRADE.
Some merchants expect advertising to build up
their business, despite the fact that a discourteous
and disobliging sales force is, every hour of the
business day, tearing it down. The advertising man
doesn't live who can really build up a store's busi-
ness without the sympathy and co-operation of the
men and women on the firing line.—National
Jeweler.
The Steinway is featured by the LeVy-Page Co.,
Norfolk, Va. The firm is a successor to the F. L. L.
Corporation in that city.
11
ALLOTING SPACE
IN NEW YORK SHOW
National Music Exhibit in Grand Central Pal-
ace Is Rapidly Assuming Concrete Form
—A Partial List of the Prominent
Exhibitors.
The National Music Show, to be held in Grand
Central Palace, New York, February 2-7, in con-
nection with New York's Music Week and the an-
nual Music Industries conventions, is rapidly as-
suming concrete form under the energetic efforts
of Director Charles H. Green.
The decorative scheme, which will govern the
whole display under a uniform plan harmonizing
with the architectural beauties of the Palace, has
been worked out and the allotment of space and
the arrangement of the individual exhibits are in
progress.
In White and Gold.
White and gold is the keynote of the color scheme,
giving the great structure a delicate touch of artis-
try more in keeping with music than its massive
proportions would otherwise possess. The general
scheme of the front facade plan will be followed out
throughout the whole building. The interiors of the
various displays will, of course, take such individ-
ual forms of decoration and arrangement as the ar-
tistic tastes of the exhibitors may dictate, and there
is keen rivalry evidenced in such inklings of the
plans as have come to hand. Indications are that
many of them will be both elaborate and elegant.
Sound-Proof Apartments.
The entire three floors of the Palace have been
arranged in sound-proof apartments suitable for
demonstration rooms, so that there will be no dan-
ger of discordant sounds marring the harmony of
the show.
The representative character of the show is re-
flected in the exhibitors who have thus far indicated
their intention to be represented and are proced-
ing with the preparation of their displays. A par-
tial list follows:
Partial List of Exhibitors.
Aeolian Co., New York; Aeolian Vocalion, New
York; American Sfeel & Wire Co., Chicago; Amer-
ican Piano Co., New York; Apollo Piano Co., De
Kalb, 111.; Autopiano Co., New York; Auto-Pneu-
matic Action Co., New York.
Bacon Piano Co., New York; Barnhart Bros. &
Spindler, Chicago; H. C. Bay Co., Chicago; Behr
Brothers, New York; Bennett & White, Inc., New-
ark, N. J.; Brambach Piano Co., New York; Bush
& Lane Piano Co., Holland, Mich.; Brilliantone
Steel Needle Co., New York; Brunswick-Balke-
Collender Co., Chicago.
A. B. Chase Co., Norwalk, Ohio; Cheney Talking
Machine Co., Chicago; Chickering & Sons, Boston;
Cherington Mfg. Co., Waukegan, 111.; Columbia
Graphophone Co., New York; Connorized Music
Co., New York; C. G. Conn Co., Ltd., Elkhart, Ind.
Chute & Butler Co., Peru, Ind.; Thos. Edison,
Inc., Orange, N. J.; Efficiency Electric Corporation,
New York; Emerson Piano Co., Boston; Estey
Piano Co., New York; The Fern-O-Grand, New
York; E. Gablcr & Bro., Inc., New York; General
Player Action Co., New York; Germain Brothers
Co., Saginaw, Mich.
Hallet & Davis Piano Co., New York; Hazleton
Brothers, New York; Otto Heineman Phonograph
Supply Co., New York; International Piano Co.,
Fall River, Mass.; Iverson Piano Player Co., Wor-
cester, Mass.; Jewett Piano Co., Boston; B. H.
Janssen, New York; Wm. Knabe & Co., New York.
Kohler & Campbell, Inc., New York; Krasberg
Engineering & Mfg. Corp., Chicago; The Lafarrgue
Co., New York; Lindeman & Sons Piano Co., New
York; Paul G. Mehlin & Sons, New York; Milton
Piano Co., New York; Modernola Co., Johnstown,
Pa.; George W. Moore, Boston.
The Packard Piano Co., Ft. Wayne, Ind.; Pathe
Freres Phonograph Co., New York; Pease Piano
Co., New York; Premier Grand Piano Corp., New
York; Q. R. S. Music Roll Co., Chicago-New York:
Republic Music Roll Co., New York; Ricca & Son.
New York; Rythmodik Music Co., New York:
Schomacker Piano Co., Philadelphia, Pa.; George
Seiffert, New York.
Simplex Player Action Co., Worcester; Sonora
Phonograph Sales Co., New York; Standard Pneu-
matic Action Co., New York; Steinway & Sons,
New York; Story & Clark Piano Co., Chicago; Uni-
versal Fixture Co., New York; Universal Music
Roll Co., New York; Victor Talking Machine Co.,
Camden, N. J.; M. Welte & Sons, New York; Wil-
cox & White Co., Meriden, Conn.; Rudolph Wur-
litzer Co., Cincinnati, Ohio.
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
Future scanning projects are planned by the International Arcade Museum Library (IAML).