Presto

RESTO
January 22, 1920.
Old Crow, the ripple of Green River, the comfort of Canadian Club,
the sparkle of Cascade, the inspiration of Hunter and the rest of the
delights, from Bronx to Manhattan and back to Annheuser-Busch,
are as familiar to the average piano man as to any other voyagers
in life's vale. And we believe that next month's meeting in New
York will show some of the effects of this month's arrival at Sahara.
Nevertheless, we are as willing as anyone can be to take a sober
view of things and join in the effort to prove that the passing of
what has been a bad thing to many may be a good thing to all.
And so let's go to it and be happier than ever by doing more work
and better work, with bigger results.
HADDORFF.
When an astronomer discovers the far-off flicker of a new star,
the world is stunned by the announcement. When the world of music
is told of the rising of a particularly bright star in the firmament of
industrial art, there may be no greater commotion than one of skep-
ticism until some authority confirms the lasting luster of the new-
comer. It is because the star which may not shine with effulgence
has been reaching its brilliancy by slow stages. Things of mundane
perfection do not come at a bound.
'
But the arrival of a really great piano is not a "discovery" at all.
It is, rather, a matter of development, of evolution, of the unfolding
and refining of the results of special skill, and the kind of care and
patience that makes both men and things great.
In the piano world no one expects to find surpassing excellence
in comparatively new instruments at frequent intervals. There are,
even yet, only a few really great pianos. Because of this, it was, some
time back, the more satisfying to add to the list the name of Haddorff.
From its first inception, nearly a quarter century ago, the piano
from Rockford has been recognized by its undeniable merits. It has
from the first been far more than just a good piano. Steadily it has
advanced. Almost daily, for years, some new authority has named it
as one of the "coming" pianos until at last it fully "arrived."
Today there is none who knows who will deny to the name of
Haddorff a secure place among the American pianos which have long
been called artistic, above ordinary criticism and deserving of the
kind of commendation that permits of no dissenting voice. Haddorff
is a name that has so grown in upon the vernacular of the trade and
industry that wherever it is spoken those who know what art in pianos
means, recognize it. It is no longer necessary for salesmen to tell the
informed buyer that Haddorff is a name that signifies the highest
excellence, refinement of tone and boundless ambition. The Haddorff
name is recognized as that of a profound student of acoustics, and
the creator of flawless methods in tone production with relation to
pianos. Mr. Chas. A. Haddorff is now known in scientific piano cir-
cles for what he has done rather than for anything he has written or
said. His personality is bound up in his piano and his aim in art is
a secret divulged in his accomplishments.
And this is why the Haddorff piano has grown steadily, rather
than to have burst full-made in its marketable characteristic upon
the musical world. It is a piano that has gathered momentum by its
merits. It is now the pride of some of the foremost piano houses and
it is in such demand that to secure its representation requires a kind
of negotiation and solicitation not unlike those known in diplomatic
circles.
Haddorff is a name that has been steadily coming for nearly
twenty years. It has now fully arrived, and it has taken its place
with the comparatively few really great ones, old or new, by which
the standard of highest quality is welcomed. For the Haddorff is
really a great piano.
A TRADE PAPER'S LIMITATIONS
A contributor who has done some of the strongest writing that
has appeared in, the trade press, sends to Presto an article of so much
general interest that we hesitate. It is an article bristling with sug-
gestion and alive with political significance. To publish the article
would be to stir discussion and to attract attention to this paper
outside the regular field of its appeal.
But Presto is published for specific purposes. Its aim in life is
to help a special department of industry and trade. It can not deny
interest in politics, religion, art, pins, pickles or polemics. Its col-
umns are sometimes used for purposes of giving expression to views
only collaterally concerned with pianos and other musical things.
But, being a trade paper, devoted to affairs which in themselves are
large and of wide scope, we haven't room for many other things.
We do not expect to throw a deciding vote in* the electing of a
president. We do not hope to change any of the constitutional amend-
ments. We do not care to discuss any forms of faith other than those
by which music and the instruments of music may be made still
greater influences for good in the world. Consequently we hesitate
about publishing even so powerful an article as has come from a
favorite contributor on subjects touching governmental control, and
individual littleness and inadequacy in large places.
According to Emerson "duty grows everywhere—like children,
like grass." Therefore it might be said that a trade paper has a
duty in the spreading of any gospel designed to remedy evil and to
do good to the world. But another philosopher—Thomas Carlyle—
also says that "our grand business is not to see what lies dimly at
a distance, but to do what lies clearly at hand." And that seems to
apply to the trade paper.
We are of the opinion that a music trade paper can do more
by attending to the business to which it is closely devoted, than by
attempting to usurp the toils and turmoils of the political editors,
the king-destroyers and the ones who make the world safe for de-
mocracy and unsafe for the lovers of "good stuff."
The music trade paper has a field large enough. It cannot cover
one-half of its own chosen domain, and its possibilities for doing the
greatest good within its power rests in its ability to inspire higher
principles among the men who sell pianos, and a better degree
of ambition in some of the men who make them. If we can do this,
and still live in this arid wilderness of a world, we will be fairly
well satisfied.
Nevertheless, such writings as our contributor has sent in create
a temptation to break through the circumscribed lines of "trade jour-
nalism." If Presto could have a circulation like that of the Saturday
Evening Post, or some other almost like it, things would be different.
But with less than a million regular subscribers, there is no hope of
changing the ways of the world outside the limitations of the field
allotted to musical instruments. And so we can only hope that, by
our own self denial, the whole world may have the opportunity of
reading our favorite contributor's really powerful and logical argu-
ments in behalf of better business, better politics and better condi-
tions throughout the universe, and especially in the Western Hemis-
phere. Should the article appear elsewhere, Presto will draw atten-
tion to it, saying when and where.
WHERE YOU SHOULD MEET NEXT MONTH
/"Continued from page 5 )
state associations. He is right. We have said it a
thousand times. But better still is this suggestion
by Mr. McDonald:
"Credits in the schools for music is after all a
local matter, and a subject to which local associa-
tions might well address themselves. Mr. Warren
Whitney, of the A. B. Chase Co., could give invalu-
able hints to local associations on this subject."
That is worth while. If the prominent piano man-
ufacturers and merchants will step to the front and
give their views, and fix practical plans by which to
aid the associations, and help the individual mem-
bers, something great may be done. The talk about
"betterment" of something, in a vague way, doesn't
go far enough. It only makes good reading.
* * *
It is remarkable that certain cities loom large in
association work while others are hiding their lights
under the same little old bushel.
Milwaukee, Wis., is an example. More association
matter comes from the city made famous by some-
thing that is now outlawed, than elsewhere, save
possibly New York. Perhaps it is because of Mr.
Dennis having his residence in Milwaukee. Also
because of Mr. Netzow's lending his versatilities to
the propaganda. Also because the local association
is enthusiastic. A paid secretary to the local or-
ganization is the latest.
Cincinnati, on the other hand, once aspiring to be
the leading musical city in America, is quiescent.
Perhaps that's because Frank Beinkamp is too busy
with his music rolls.
St. Louis is pretty well to the front because Mr.
Conroy is an association president and he is active
and resourceful.
* * *
One more thought. It is remarkable that of all
the associations or organizations in the interest of
trade industry and commerce, no other of the na-
tion's commercial activities shows such energy, such
persistent wakefulness, such individual energy, as
those sustained by the music trades. What does it
point to? With the call for pianos far exceeding the
possibility of supply, just now, doesn't it suggest
that when things assume normal conditions the
piano business will be the purest on earth?
Can there ever again be any accusing finger pointed
at the manner in which pianos are sold? Will we
ever again find it necessary to publish long ed-
itorials, and precautionary cartoons, to cure the evil
habits of any of the piano dealers?
Probably not. The world is getting better. And
the piano men are doing their share to make it
better.
Nevertheless, go to New York next month, if you
possibly can. There will be a big convention.
There will be a big Music Show. You may miss a
sale or two, if you live in a small town. But, even
if your stay-at-home competitor gets them he will
employ only ethical methods of sale and the result
won't hurt you at all.
"Live and let live" is a very old maxim. And you
can't live much if you stay at home all the time,
even if you have the misfortune to live long. In any
event, whatever you do, read next week's Presto, and
know in advance just what you will do in New York,
if you go, and what the others will do who do go.
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