Presto
Issue: 1927 2131 - Page 3
MUSICAL
TIMES
PRESTO
Established
1881
Established
1884
THE AMERICAN MUSIC TRADE WEEKLY
10 Cents a Copy
CHICAGO, SATURDAY, JUNE 4, 1927
$2 The Year
AN IMPRESSIVE PRESENTATION OF PERIOD GRANDS
Some Fine Specimens of New Models Based Upon Old Historic Designs, Which
Have Greatly Stimulated the American Piano Manufacturers
and Increased Activities in Retail Trade
Even if the piano is not one of the really old instruments
of music, its history will show a large number of changes,
and a story of evolution more varied in its interest than any
other. The instruments of antiquity which still persist, and
often are as essential today as of old, display no structural
changes from the time of their birth, which time is too ob-
scure to permit of reliable data.
The harp has changed but slightly from the day of Jubal.
The violin is just as it was in the time of Isaiah, and the first
guitar, of Greek origin, imported into the East, remains as
in Biblical days except that instead of four strings it now has
six strings. But the piano has developed in every part of
its construction since the day of Cristofori.
And the "basic instrument," as we like to call it, will
keep on changing. If it remains almost stationary in its prin-
cipal features, it will develop modifications, or amplifications,
in its tonal characteristics. And it will display almost periodic
changes in its outward designs.
FROM "SQUARES" TO PERIOD GRANDS
There are very few piano men of today, even the
younger ones, who can not recall when the square piano was
in vogue. For years the only change was in the "round
corners" of the case, and the introduction of pearl keys, and
then keys of celluloid. The coming of the third pedal was
an innovation and the still earlier arrival of the full iron
plate, even still the subject of a mild order of controversy.
It is not so very long ago that the parlor grand was a
sensation, followed by the still larger problem of the small
or baby grand. As recently as 1900 a fierce dispute arose in
Boston, between celebrated piano experts, over the question
of a grand piano so small as five feet. That question was
quickly settled by the Chickering quarter grand, and the
"babies" have been coming ever since, smaller and smaller,
until less than four feet in length has even proved a pos-
sibility.
The prevailing determination of the American manufac-
turers to produce more beautiful grand pianos than the world
has heretofore known, finds its climax in the period grands
which are just now attracting public attention and serving
to greatly stimulate trade.
SOME FINE SPECIMENS
In this issue of Presto-Times will be found the first com-
prehensive and comparative display of this newer develop-
ment. And it is an exhibit of greater trade interest than has
to this time been afforded. It has been common enough, dur-
ing the past year, to find single illustrations of almost start-
lingly decorative grand piano models of the "period" class,
but never anything like the array presented this week.
Of course, by the term "period" is meant a thing dis-
tinguished by some time determined by the reign or domina-
tion of some special phenomena. And so the "period" piano
model is that in which some famous monarch ruled, or other
era of world development. The gorgeous styles of archi-
tecture and furniture that marked the palaces of the French
Louis XV and Louis XVI are the most admired in piano case
designs. Next come the William and Mary styles, named
after England's red-headed king and his wife who herself
worshiped sumptuous but not gaudy surroundings. And old
Spanish architecture also affords fine opportunities for the
designers of art effects.
All of these beautiful architectural designs have grown
in upon twentieth century American pianos. They have
transformed the severely elegant grands into the most elab-
orate models since the piano came into being, and in this issue
of Presto-Times will be found the finest of all the creations
of modern artistry based upon the glories of architectural
effects of the centuries gone by.
OLD STIMULATES NEW
It is the collection of period designs that adorn several
of the pages which follow in this number of Presto-Times,
that makes this issue unique. For this week Presto-Times
presents the first collection of period styles by which a new
impetus is given to the piano industry and trade. The col-
lection affords an opportunity for contrast and comparison
of the various interpretations, by piano designers, of the
effects which were originated in very vital epochs of foreign
national architectural conceits.
And the elegance with which the epoch-making effects
fit into piano decoration proves, at a glance, the wisdom of
the American piano manufacturers in applying them to the
king of musical instruments. It would be impossible to con-
ceive of more beautiful pianos than some of the grands to
which this issue is devoted at a time when the national music
trade convention fills the minds of both manufacturers and
merchants with future possibilities in their lines of ex-
ploitation.
It will well repay the time of any piano dealer or sales-
man to carefully study the illustrations of period grands in
this issue. And it will be wise for the dealers to preserve
this issue of Presto-Times, take it home with them, and refer
to it when questions arise as to what styles of instruments
may be most attractive to their prospects. For most of the
piano industries are now producing the period styles, or are
contemplating the advisability of doing so. And if your
"leader" is not represented in the special feature to which
reference is here made, write to your source of supplies and
ask why, with request for further information on the subject.
THE FAVORITE "PERIODS"
Period furniture has long been conspicuous in modern
American homes of refinement. Charming designs of the
old schools have appealed to the great mass of American
people and the trend in the piano trade in period grands is
a natural sequence.
In recognizing the demands of music lovers who are
seeking something out of the commonplace, manufacturers
the country over have assembled expert wood carvers and
designers who are capable of following the lines of such old
schools as the Flemish, Gothic, William and Mary, Louis XV,
Louis XVI, Georgian, Spanish and Italian Renaissance, Hep-
plewhite and others, including Oriental periods.
The first appearance of period art grands were of the
more conservative schools, Queen Anne, modified Louis XVI,
William and Mary, and Hepplewhite, but as manufacturers
saw the increasing demand for these artistic instruments,
models characterizing the art of the Italians and Spanish dur-
ing the Renaissance periods were produced. Gothic and Ori-
ental decorative models were also added to the now extensive
group of period instruments.
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/
TIMES
PRESTO
Established
1881
Established
1884
THE AMERICAN MUSIC TRADE WEEKLY
10 Cents a Copy
CHICAGO, SATURDAY, JUNE 4, 1927
$2 The Year
AN IMPRESSIVE PRESENTATION OF PERIOD GRANDS
Some Fine Specimens of New Models Based Upon Old Historic Designs, Which
Have Greatly Stimulated the American Piano Manufacturers
and Increased Activities in Retail Trade
Even if the piano is not one of the really old instruments
of music, its history will show a large number of changes,
and a story of evolution more varied in its interest than any
other. The instruments of antiquity which still persist, and
often are as essential today as of old, display no structural
changes from the time of their birth, which time is too ob-
scure to permit of reliable data.
The harp has changed but slightly from the day of Jubal.
The violin is just as it was in the time of Isaiah, and the first
guitar, of Greek origin, imported into the East, remains as
in Biblical days except that instead of four strings it now has
six strings. But the piano has developed in every part of
its construction since the day of Cristofori.
And the "basic instrument," as we like to call it, will
keep on changing. If it remains almost stationary in its prin-
cipal features, it will develop modifications, or amplifications,
in its tonal characteristics. And it will display almost periodic
changes in its outward designs.
FROM "SQUARES" TO PERIOD GRANDS
There are very few piano men of today, even the
younger ones, who can not recall when the square piano was
in vogue. For years the only change was in the "round
corners" of the case, and the introduction of pearl keys, and
then keys of celluloid. The coming of the third pedal was
an innovation and the still earlier arrival of the full iron
plate, even still the subject of a mild order of controversy.
It is not so very long ago that the parlor grand was a
sensation, followed by the still larger problem of the small
or baby grand. As recently as 1900 a fierce dispute arose in
Boston, between celebrated piano experts, over the question
of a grand piano so small as five feet. That question was
quickly settled by the Chickering quarter grand, and the
"babies" have been coming ever since, smaller and smaller,
until less than four feet in length has even proved a pos-
sibility.
The prevailing determination of the American manufac-
turers to produce more beautiful grand pianos than the world
has heretofore known, finds its climax in the period grands
which are just now attracting public attention and serving
to greatly stimulate trade.
SOME FINE SPECIMENS
In this issue of Presto-Times will be found the first com-
prehensive and comparative display of this newer develop-
ment. And it is an exhibit of greater trade interest than has
to this time been afforded. It has been common enough, dur-
ing the past year, to find single illustrations of almost start-
lingly decorative grand piano models of the "period" class,
but never anything like the array presented this week.
Of course, by the term "period" is meant a thing dis-
tinguished by some time determined by the reign or domina-
tion of some special phenomena. And so the "period" piano
model is that in which some famous monarch ruled, or other
era of world development. The gorgeous styles of archi-
tecture and furniture that marked the palaces of the French
Louis XV and Louis XVI are the most admired in piano case
designs. Next come the William and Mary styles, named
after England's red-headed king and his wife who herself
worshiped sumptuous but not gaudy surroundings. And old
Spanish architecture also affords fine opportunities for the
designers of art effects.
All of these beautiful architectural designs have grown
in upon twentieth century American pianos. They have
transformed the severely elegant grands into the most elab-
orate models since the piano came into being, and in this issue
of Presto-Times will be found the finest of all the creations
of modern artistry based upon the glories of architectural
effects of the centuries gone by.
OLD STIMULATES NEW
It is the collection of period designs that adorn several
of the pages which follow in this number of Presto-Times,
that makes this issue unique. For this week Presto-Times
presents the first collection of period styles by which a new
impetus is given to the piano industry and trade. The col-
lection affords an opportunity for contrast and comparison
of the various interpretations, by piano designers, of the
effects which were originated in very vital epochs of foreign
national architectural conceits.
And the elegance with which the epoch-making effects
fit into piano decoration proves, at a glance, the wisdom of
the American piano manufacturers in applying them to the
king of musical instruments. It would be impossible to con-
ceive of more beautiful pianos than some of the grands to
which this issue is devoted at a time when the national music
trade convention fills the minds of both manufacturers and
merchants with future possibilities in their lines of ex-
ploitation.
It will well repay the time of any piano dealer or sales-
man to carefully study the illustrations of period grands in
this issue. And it will be wise for the dealers to preserve
this issue of Presto-Times, take it home with them, and refer
to it when questions arise as to what styles of instruments
may be most attractive to their prospects. For most of the
piano industries are now producing the period styles, or are
contemplating the advisability of doing so. And if your
"leader" is not represented in the special feature to which
reference is here made, write to your source of supplies and
ask why, with request for further information on the subject.
THE FAVORITE "PERIODS"
Period furniture has long been conspicuous in modern
American homes of refinement. Charming designs of the
old schools have appealed to the great mass of American
people and the trend in the piano trade in period grands is
a natural sequence.
In recognizing the demands of music lovers who are
seeking something out of the commonplace, manufacturers
the country over have assembled expert wood carvers and
designers who are capable of following the lines of such old
schools as the Flemish, Gothic, William and Mary, Louis XV,
Louis XVI, Georgian, Spanish and Italian Renaissance, Hep-
plewhite and others, including Oriental periods.
The first appearance of period art grands were of the
more conservative schools, Queen Anne, modified Louis XVI,
William and Mary, and Hepplewhite, but as manufacturers
saw the increasing demand for these artistic instruments,
models characterizing the art of the Italians and Spanish dur-
ing the Renaissance periods were produced. Gothic and Ori-
ental decorative models were also added to the now extensive
group of period instruments.
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).