Presto

PRESTO
12
forms another important part of this moving picture
film. In this section is shown clearly the detail
processes by which the various parts of the player
action are made. To present this technical infor-
mation so that it would be interesting was difficult
but by weaving in human interest in the factory
scenes occasionally the various operations were ex-
Visitors to Music Show at Grand Central plained so that the spectator is kept interested as
the story unfolds.
Palace See Instructive Screen Picture
The operation of the player action—of the pneu-
Which Is a Triumph in High
matic, the valves and of the system of vacuum is
Grade Publicity.
cleverly presented in the film. This, however, pre-
sented a real problem. The operation of the player
Many of those attending the national Music Show is a dark mystery to most people and had to be
in New York this week saw the industrial moving made unmistakably clear. The method used in the
picture built around the Standard Player Action. Standard film was chosen from several plans of
But it is very doubtful whether those spectators presentation as being most concise and most easily
fully appreciated the amount of study and research understood.
necessary in the production of the original negative.
Those attending the Music Show have found the
When the Standard Player Company, New York,
Standard Moving Picture film a real education in
planned this moving picture reel as the feature of
the Music Show it little realized the amount of prep- piano history. It has met with immense success,
aration necessary before it would be completed. Ap- due perhaps to the care in its preparation and will
parently the moving picture is a simple thing. In its without a doubt teach thousands of people much of
execution it presents many problems that the ordi- the history of music, showing them at the same
time how a playerpiano gives the satisfaction which
nary person would not realize.
has made it the musical instrument of today.
All who have seen this reel pronounce it a work
of art from the picture standpoint. It goes back
beautifully into piano history presenting various
stages in the evolution of piano music. It is in fact
an interesting picture story of the piano from the
days of the harpsichord to the playerpiano up to
date.
Picture the scene of the harpsichord with its old The DuBarry Piano Company Plans Better Service
for Trade in Wide Section.
Colonial setting; the old lady sitting before the in-
strument rendering a dainty minuet on the plucked
The
DuBarry
Piano Co., Seattle, Wash., has
string instrument while the young couple execute
opened
another
branch
store in North Yakima,
the pleasing movements of that old dance. The
preparations for this scene were elaborate. The Wash., under the management of an experienced
harpsichord which was used is one of the few in road salesman of the firm, J. W. Major. Mr. Major
existence today which are in first class condition. has worked through that territory for years and
The scenery for this setting had to be especially knows all the requirements of' the trade there.
built and the details of the decorations and cos- The business of the company is in excellent shape,
a fact eloquently verified last week by G. H. Du-
tumes carefully watched.
Barry, the president and general manager, who said:
The Spinet Era.
"We see wonderful opportunity ahead, in nature-
The spinet marked the next step- in the evolu- blessed Washington. The lumber industry is the
tion of the piano. For the scene with this instru- pulse of conditions in the state and the lumber men
ment an original spinet was obtained from Wil- report huge orders, at unprecedented high prices
liam Tonk & Bro., piano manufacturers of New and running into years ahead. Labor has become
York City.
contented and resigned to productive conduct. There
This quaint instrument was used with an interest- is work for all at fair wages, in a wonderful climate
ing setting, a simple colonial scene. The quaint and with the diversified farmer always to be de-
window with its hangings, the lady with Colonial pended upon. Really the future is very bright."
costume seated in front of the instrument, the old
cedar chest and the high backed chairs, had to be
EXPLAINING THE SHORTAGE.
discovered and brought into use so that this scene
might truly picture our old Colonial days.
In an interview by a reporter of the Kansas City
Then the advance to the grand piano. To picture Journal, Christian Bissel, manager for the Starr
this scene correctly, Liszt, the old master of the Piano Co., in that city, states that "there is an out-
piano was featured. He is shown seated at his standing back order of 7,000 instruments to go to
grand piano in a setting which was very carefully rural and town trade in this territory that have been
thought out in every detail as to costume and char- pigeonholed since last July." Mr. Bissel explained
acter. The great doors leading into his chamber are the several reasons for a piano shortage which he
open, letting in a flood of golden sunlight. Liszt said was in no way attributable to the piano manu-
meditates and plays one of his wonderful composi- facturers. Many circumstances outside the indus-
tions. His inspiration—the Gypsy Dance—is brought try, matters relating to materials and supplies, are
into the picture by the use of double negatives, two conducive to the condition.
little figures of the gypsies suddenly appearing on
the desk of the grand piano doing their weird dance.
J. H. Brousman is closing out his stock in Bowling
The character of Liszt is carried out in every minute Green, Ky.
detail of his dress, character and his personal appear-
ance and his actions as they must have been before
the piano were exceedingly well planned and exe-
cuted. The smile of satisfaction as he composes his
masterpiece had to carry with it the touch of deep
temperament Liszt was known to express.
Another Phase of History.
STANDARD ACTION
COMPANY'S FILM
February 5, 1920.
ELECTION OF OFFICERS
OF SHERMAN, CLAY & CO.
Music House in San Francisco Introduces New
Plans in Already Strong Organization.
At the annual meeting of the Board of Directors
of Sherman, Clay & Co., San Francisco, on January
22, the following officers were elected:
L. S. Sherman, Chairman of the Board of Direc-
tors; Philip T. Clay, President; Frederic R. Sher-
man, Vice President; Ferdinand W. Stephenson,
SEATTLE HOUSE OPENS
BRANCH IN NORTH YAKIMA
PHILIP T. CLAY.
Secretary; Andrew G. McCarthy, Treasurer; Mrs.
C. C. Clay and Harden L. Crawford complete the
Board.
The new position of "Chairman of the Board" was
created because it was felt that the rapidly growing
business could be better handled by creating this
new office and a consequent revision of the official
heads.
L. S. Sherman, who suggested the plan, felt that
it would not be complete without the promotion of
Philip T. Clay to the presidency, and it was upon
his motion that that nomination was made. Fred
R. Sherman was raised to the vice-presidency. Mr.
Stephenson and Mr. McCarthy were continued in
their respective positions of secretary and treasurer.
These same officers, backed by an efficient or-
ganization, have been responsible for the great ad-
vancement of Sherman, Clay & Co. in the past
decade. With them in their new positions it is safe
to look forward to continued progress and pros-
perity.
"THE MORAL RISK"
The scene of Beethoven and his inspiration for
the "Moonlight Sonata" offered the possibility of a
work of art. Beethoven is shown seated in his
rather bare room with its Gothic windows through
which he watched this moonlight dance fantastically
on the sea. Temperamentally he continues his medi-
tation, finally turning to the piano with the theme
of his world known selection.
The scene showing the latest phase of piano con-
struction—the playerpiano—was of course most
easily acquired. Still careful preparations were made
to make the scene truly characteristic of the great
American home. The fact that the playerpiano lends
a wonderful influence is shown in this scene. In the
action the couple of older folks are found seated
in the foreground while the younger people, approxi-
mately eight in number, are entertaining themselves
in various ways in an adjoining room. Suddenly one
of them suggests music, chooses a roll and places it
in the playerpiano. The effect of the music is mag-
ical and instantly the younger people start to dance
while the older folks in the foreground portray the
effect of the music with smiling faces and the time-
tapping feet. The effect of music and the dominant
part it plays in home recreation is admirably brought
out in this scene.
Making Standard Player Action.
The manufacture of the Standard Player Action
Chas. S. Norris Points Out to Convention that a High Business Character
Is a Necessary Part of a Man's Assets.
"The Moral Risk" was the title of a paper by
Chas. S. Norris, Boston, read at Wednesday's ses-
sion of the convention of the National Association
of Music Merchants. The subject was credit, and
Mr. Norris made his theme particularly interesting
from the start by drawing upon his valuable fund of
business experiences. He said a good moral risk
meant "an unsullied business reputation, a high busi-
ness character in which the personality of the man
is the dominating feature. Credit is a necessary .part
of business capital, often the greater part, and what
an asset it is!"
"Credit and character should go together," said
Mr. Norris, who explained that many business men
go to their downfall "through slovenly business
methods, careless credits and not watching that lia-
bility column. The assets may decrease, the lia-
bilities never do."
Mr. Norris said in part:
"Now, I maintain that almost all business failures
could have been avoided had there been a good
moral risk. No man is a good moral risk who bor-
rows money or purchases goods unless he is rea-
sonably sure of his ability to pay in full. No man
is a good moral risk who does not concentrate his
mind and activities on the successful prosecution of
his business. Every effort must be bent to that end.
"A man's word is now held more sacred than it
was forty years ago. It used to be said, 'Get money,
honestly if you can, but get money.' I have not
heard this wretched doctrine preached for a long
time. The mere possession of money does not al-
ways bring honor or esteem.
"Now what is a man to be to deserve the remark,
'He is a good moral risk'? First, last and always,
he must be a man of honor. He must live a decent
life. He must be in good physical condition and
have a mind to work. He must merchandise goods
with a guarantee to the purchaser and see that the
guarantee is carried out. He must fulfill to the letter
all obligations and contracts. He must never stoop
to a mean or dishonest act, and when mistakes are
made he must act on the principle that mistakes
are always subject to rectification.
"By thrift and careful management he must see
to it that his financial condition is strengthened each
year. Thus may be established a good moral risk.
Business success and public confidence will naturally
follow."
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