Presto

PRESTO
Presto
THE AMERICAN MUSIC TRADE WEEKLY.
Published Every Saturday at 417 South Dearborn
Street, Chicago, Illinois.
C. A. DANIELL and FRANK D. ABBOTT •
• Editors
Telephones, Local and Long Distance, Harrison 234
Private Phones to all Departments. Cable Address (Corn-
merclal Cable Co.'s Code), "PRESTO," Chicago.
Entered as second-class matter Jan. 2i>, 1896, at the
Post Office, Chicago, Illinois, under Act of March 3, 1879.
Subscription, $2 a year; 6 months, $1; Foreign, $4.
Payable in advance. No extra charge In United State*
possessions, Cuba and Mexico. Rates for advertising; on
application.
Items of news and other matter are solicited and if
of general interest to the music trade will be paid for
at space rates. Usually piano merchants or salesmen
in the smaller cities are the best occasional corre-
spondents, and their assistance is invited.
Forms close at noon every Thursday. News mat-
ter should be in not later than eleven o'clock on the
same day. Advertising copy should be in hand before
Tuesday, five p. m., to insure preferred position. Full
page display copy should be in hand by Monday noon
preceding publication day. Want advs. for current
week, to insure classification, must not be later than
Wednesday noon.
Address all communications for the editorial or business
departments to PRESTO PUBLISHING CO., 417 South
Dearborn Street, Chicago, III.
SATURDAY, MARCH 14, 1925.
RADIO AND PIANO
In a report to his stockholders President
Marquette Healy, of the fine old Chicago
music house, said that radio had put a dent in
the trade. Of course, he had reference to
pianos as well as the smaller things of the
business. But Mr. Healy had in mind more
especially the phonograph and the cheaper
class of pianos. Within a week, an Ohio news-
paper quoted Mr. Ernest Urchs, of the house
of Steinway as saying that radio had not af-
fected the business in fine pianos. In other
words, the Steinway piano had experienced no
adverse effects by reason of the more recent
invasion of human interest.
We believe that there is an inescapable con-
clusion to be drawn from the statements of
the two prominent members of the trade. It
is that if radio has done anything to hurt the
piano business it is the cheaper instrument
that feels the effect. The better class of pianos
must be helped, rather than hindered, in its
sale and demand. The radio broadcasters could
not proceed far without the piano. No intelli-
gent "listener in" could escape having the de-
sire aroused for other and better means of
musical interpretation by hearing a radio per-
formance of fine players on fine pianos. The
stimulation for which we have been calling
may be found in radio. The listening to good
piano music by the air route can hardly help
increasing the love of that kind of music.
And good music must inspire a demand for
the instruments that make it.
Pianos are perhaps the only things, aside
from the performers, singers and speakers
themselves, that can be advertised—must be
advertised—by radio. Not necessarily any
particular piano, but always a good piano, else
radio itself must suffer. For it is the manner
of the radio message, and the kind of music,
that counts. The purpose of the expensive
concerts promoted by great piano industries
ever since the instrument appeared, have been
designed to advertise the pianos. Every pub-
lic piano recital advertises the instrument.
Music itself, in the abstract, advertises noth-
ing but the performer of the instrument or the
purposes of the performance.
And so radio will not hurt the kind of pianos
that are good enough to take part in the
broadcasting. In that both Mr. Healy and Mr.
Urchs are right. Radio does "put a dent in the
piano," and radio does also help the piano—if
the piano can be helped by having the public
hear it played. The piano is something that is
essential to home happiness, as well as public
entertainment. Nothing could hurt it very
much except possibly for a short time, or un-
til the novelty of the newer thing passes off.
There is no notable falling off in the business
of piano manufacturers whose instruments are
so good as to command the prosperity they
may have attained, and the claims of which
are kept consistently before the trade.
RADIO RAMPANT
According to the Chicago Tribune there are
3,000 radio manufacturers in the United States.
That is a large number, considering that not
more than fifty of them are ever heard of.
And the same source of information also says
that there are already three million receiving
sets in operation. Not strange, then, that a
single radio industry declares its assets to be
valued at as many dollars, all acquired within
three years.
We are furthermore told that the sales of
radio in one year amounted to $350,000,000.
That is nearly twice the sum of retail piano
sales in the best year of the business. Can it
be doubted that such an invasion must have
some effect upon any or all lines of musical or
amusement industries?
But, after long uncertainty and experi-
mentation, radio has settled upon the music
store as its most suitable market place. In
that the music trade finds compensation and
the piano a comrade in time of assumed need.
And to further prove the close association of
radio and the piano, it is now announced that
one of the radio manufacturers has decided
to confine the source of distribution of his
products to the music trade. He will appoint
agencies only among the music dealers. In
that way radio becomes more closely allied
with the piano trade.
The result of thus restricting the repre-
sentation of the radio may be problematical.
But if the music store is really the logical
home of radio it must seem that the makers of
the "Lee-a-tone" have hit upon a good idea.
There are hundreds of music dealers who will
prefer to tie up with a receiving set the maker
of which understands the methods and selling
skill of the men engaged in the special line
of business that appeals to the more refined
pleasures of home entertainment. It then be-
comes a matter only of the quality and adapt-
ability of the radio set. And in the case of
the discriminating manufacturer who prefers
to be represented by music dealers, we be-
lieve that every requirement meets full re-
sponse. The experiment will be watched with
interest.
Julius Bauer & Co., Chicago, sold four re-
producing grands within as many hours one
day this week. Given the combination of fine
reputation, unchallenged quality and expert
salesmanship, and there is no such thing as
dull piano business in any great "piano row.''
* * *
In the days now almost forgotten there used
to be such things as "stencil" pianos. Today
pianos are pianos, and the only stencil that
March 14, 1925.
counts is one that is recognized by the intelli-
gent music loving public. If it signifies an in-
strument of quality it is a helper in competi-
tion. If it is something altogether strange the
prospects will shy—or ought to.
* * *
Now is the time to begin to make the June
convention the biggest thing in music trade
history, except the music business itself. Get
ready to have a part in the "doings" at the
Drake Hotel, Chicago, when the day arrives.
You will profit by it.
* * *
As a side line radio is all right, just as any
other novelty or entertainer is good. But as
a hindrance to piano selling—well, that's a
matter for the salesmen themselves to settle.
* * *
Mr. Urchs, of Steinway & Sons, refuses to
see anything less than good business for good
pianos. He can't see radio as a competitor.
And Mr. Urchs, as usual, is right.
30 YEARS AGO IN THE TRADE
From the Files of Presto
(March 14, 1895.)
Just twenty years ago, or for the year 1874, the
exports of "parts of musical instruments" amounted
to $4,332. The same items in the export trade of
1894 figured up to $254,490.
Music trade journalism is now in its twentieth year
in this country. Just twenty years ago next Novem-
ber the original "Music Trade Review" came out,
as a fortnightly, in New York City.
In the light of the lateJlamented onslaught of a trade
paper upon Stavenhagen and his Knabe piano, it
would be interesting to know the approximate value
to a piano maker of really adverse criticism.
We are obliged this (Wednesday) morning to re-
cord the sad news of the death of Col. Wm. Moore
of the Everett Piano Co., and the John Church Co.,
which occurred at his home near Boston, Wednesday
morning, the 13th, at about live o'clock, of pneu-
monia.
A cable says: Mrs. Fannie Bloomfield-Zeisler, the
Chicago pianist, who has been enjoying so much suc-
cess in Germany, is announced to appear in London
soon. Another American artiste, Laura Burnham, is
shortly to make her London debut under auspices
of Daniel Mayer.
Somebody asked Mr. P. J. Healy why he didn't
have a box at the opera. "A box," said Mr. Healy,
"well, when you see me in n. box at the opera tell
me of it! No, I don't take boxes when I go to the
opera. You know the little child should be seen, not
heard; I want to hear, not be seen."
The Story & Clark Piano Co. tiled application for
incorporation with the secretary of state at Spring-
field, 111., last week and the following official an-
nouncement was made: "Story & Clark Piano Com-
pany, Chicago, capital stock $100,000; incorporators,
Edward H. Story, Melville Clark and Ralph H.
Smith."
20 YEARS AGO THIS WEEK
(From Presto, March 16, 1905.)
To hand is a tasteful folder telling of the award of
first prize on upright pianos made by the Mathushek
Piano Co., New Haven, Conn., at the State Fair at
Macon, Ga.
The local papers at Rockford, 111., have been re-
viewing the industries of that city and in speaking
of the Haddorff Piano Company say that the past
twelve months has been a banner year with that
concern.
With characteristic enterprise the Story & Clark
Piano Co. has purchased a whole city block in Grand
Haven, Mich., just west of the present Story &
Clark factory, for the purpose of doubling the size
of their great plant.
An invitation comes to Presto office this morning
to attend the opening recital of the Bush Temple
Conservatory to be given in recital hall next Monday
night, March 20, at Memphis, Tenn. Bush & Gerts'
piano is used as a matter of course.
H. Edgar French, eldest son of the millionaire
piano manufacturer, Jesse French, is another of the
Nashville men who have made progress elsewhere
than in their native city. He is now a resident of
New Castle, Ind., and Treasurer of the Krell-French
Piano Co., located at that place.
There never was a time when the feeling among
representative piano manufacturers against the stencil
habit seemed as intense as now. Several very strong
industries have recently declared their determination
to oppose any demand of their customers for sten-
ciled pianos.
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