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Musical Courier 1892-03-09: Vol 24 Iss 629, 1892
105 lines. Read by computer on 19 September 2026. Printed page 21. See the scan on archive.org.
1Peck Prevaricates.
3THE preferences of royalty in England are of rare value to the manufacturer or dealer whose goods or commodities are permitted to cross the threshold of Windsor or Buckingham.
5The English agent for the firm of Hardman, Peck & Co., of New York, is making great capital abroad out of the claim that their pianos have by him been supplied to the Queen, the Prince of Wales, the Duchess of Fife and others near the royal throne.
7He has published the statement far and wide and presumably with the sanction of those whose names are thus used to emphasize the superiority of these instruments.
9The claim thus openly made has not been challenged in London, nor within the realms of Great Britain, so far as we can learn, but a musical trade journal printed in this city has, for reasons known only to its editor and publisher, broadly stated that the assertion is false and cannot be sustained.
11The matter therefore is reduced to this simple form:
12Either the foreign representative of Messrs. Hardman, Peck & Co. is a knave or a fool in trying to mislead the musical public by a method of trickery easily disclosed,
13Or else THE MUSICAL COURIER, of this city, is bidding for hush money from the firm whose honorable name it is calling in question.
14If there be any other conclusion possible, THE MUSICAL COURIER should be in a position to declare it before making the issue.
15People who know the scrupulous care with which the names of royalty are guarded will be slow to conclude that a prominent house in trade would dare to claim such weighty endorsements without authority.
16As neither Her Majesty nor His Royal Highness is likely to take the trouble to brand THE MUSICAL COURIER as a falsifier or to exalt it as a champion of truth and fair dealing, it behooves THE MUSICAL COURIER to substantiate its charges against Messrs. Hardman, Peck & Co.'s English agent.
17Can it do it?
19The above article appeared in the New York "Gazette" of February 27, and has been sent to this office, probably among a lot of copies of it being circulated by Mr. Peck. It must be first said that no member of the staff of THE MUSICAL COURIER is acquainted with the publication known as the "Gazette," and this clipping brings with it the first intimation that there is such a paper in existence. If the paper were of any given importance beyond being used as a circular to disseminate such rubbish as the above, different action might be taken in the matter, since the article is libelous under the law.
21As it is, it were well to pass the matter with a few brief comments, reiterating the position taken by THE MUSICAL COURIER and the position taken by Mr. Peck, and incidentally referring to the position taken by the Piano Manufacturers' Association, before which body Mr. Peck went with his claims. It is first fair to state in justice to Mr. Adlington, who is believed to be the foreign representative of Mr. Peck—though the advertisements of his (Peck's) Chicago branch give a London address—it is but fair to state that so far as shown Mr. Adlington has never yet claimed to have sold or "supplied" a piano to the Queen at either Windsor or Buckingham, as mentioned in the "Gazette." All that he has stated, and THE MUSICAL COURIER has published his own letters, is that he "supplied" a Hardman piano to Balmoral Castle, which is the habitation of the Queen for but a short time during the year. Mr. Adlington claims and proves that many years ago he received recognition from the Queen's chamberlain when he was manufacturing pianos himself, and before he ever heard of the Hardman piano. (The editor of the "Gazette" can find a copy of Mr. Adlington's letter in THE MUSICAL COURIER of February 10, 1892, price 10 cents per copy, and obtainable at this office or through the American News Company.)
23Mr. Adlington writes in the letter spoken of as follows:
24"The Royal appointment I hold is strictly personal, and in this country no one can use the Royal arms unless they receive such appointment, and of course have no power to delegate their right."
26Despite this, Mr. Peck uses the royal arms in his advertisements here, uses it on his letter headings and in his circulars, and strives to give to the public the impression that his firm has received royal recognition—whether he does it in plain English or by implication matters not. This method THE MUSICAL COURIER objected to and requested Mr. Peck to cease the publication of the royal arms or to withdraw his advertisement from THE MUSICAL COURIER. Mr. Peck withdrew his advertisement in these columns and went before the association with an alleged grievance against this paper for exposing his scheme. This grievance the association refused to consider, and Mr. Peck thus received a slap in the face which would have caused any man of claims to decency and self respect to resign from that body. This is the whole story in a nutshell.
28Mr. Peck does not resign, but with utter disregard to the decision of the association continues to put forth advertisements containing the royal arms, thus insulting the organization, of which he will probably not be a member much longer. It would be well for the publishers of such lay papers as the "Gazette," if they look for any respect and patronage from the legitimate piano trade, to investigate such matters as the Peck claims before they comment upon them. If the editor of that or any other paper carrying Peck advertisements of the Hardman piano wishes information as to claims of royal recognition, stencil piano dealers, &c., he may receive it gratis by applying to the office of THE MUSICAL COURIER, 19 Union square, W., New York.
30About Philadelphia.
32THERE are established in the city of Philadelphia manufacturers representing several branches of the music trade, outside of pianos and organs, forming an important factor, not only in the manufacturing industries of that city but from a standpoint of reputation, a factor in the musical world as well.
34Coming first in importance is Horstman & Co., perhaps the largest concern of the kind in this country, manufacturers of band, military and naval supplies, the paraphernalia for civic societies, campaign outfits, &c.
36Their building is an immense structure at the corner of Fifth and Cherry streets, and the army of employees always in attendance attests the magnitude of the business transacted.
38Very many of the great bands of the country are uniformed by this firm. The members of the United States Marine Band at Washington were lately fitted out, and from all parts of the country demands are made on the resources and ingenuity of Horstman & Co. to produce the most expensive and showy uniforms.
40The graduating officers at the Military Academy, West Point, and at the Naval Academy, Annapolis, order their uniforms where they please, and the popularity of this celebrated firm secures at least seven-tenths of all the orders given from these institutions.
42A Presidential election year means an uncertain year for trade; the exception is with such concerns as Horstman & Co., who are fortunate enough to be producers of just the material needed for political campaigning purposes—caps, capes, torches, &c., and consequently the more the candidates are boomed the more prosperous becomes their business.
44Captain Iler is the manager, and a right hearty, pleasant gentleman he is.
46Fitting in quite appropriately just here comes the band publication business of Mr. Harry Coleman, and it is a most important consideration connected with the music trade and musical matters.
48Unfortunately for Mr. Coleman his place of business, 228 North Ninth street, is slightly away from the great musical mart of Philadelphia, and his limited quarters but inadequately carry the amount of business he is doing.
50Mr. Otto Langey, an Englishman, some time ago compiled a very valuable series of instructions for band and orchestral instruments; they were published by Revere & Hawkes, of London, and were most favorably accepted by students as well in this country as abroad.
52Considering America a more desirable field for his work Mr. Langey came here and was secured by Mr. Coleman with the American copyright for all of his works, which were revised, and in addition he added complete instruction for the piano, mandolin, guitar and zither.
54These works are having a great sale in all parts of the country, and testimonials regarding their worth are being received from the most celebrated professors and band masters.
56Another very popular work controlled by Mr. Coleman is "The National, Patriotic and Typical Airs of All Lands," compiled by John Philip Sousa, bandmaster of the United States Marine Band.
58This arrangement was specially requested by Hon. B. F. Tracy, Secretary of the Navy, and has an international interest, as placing in form for general utility the national airs of every country.
60As many of the airs came to the compiler without harmonic treatment the work undertaken was stupendous, and further so from the fact that this deficiency was supplied and the melodic design in no manner altered.
62These mentioned are but the works of two composers. Mr. Coleman is publishing each week new and popular compositions suitable for band and orchestral work.
64He has been until recently the American agent for the Hilliard brass instruments of London, but the McKinley bill raised the tariff beyond any possibility of competing with the American manufacturers and the agency was practically abandoned. Not wishing to lose the advantage in trade which had been acquired, Mr. Coleman purchased a few weeks ago the brass instrument factory of Charles Missenharter, of New York, and is now manufacturer himself.
66Mr. Missenharter has established for the instrument a very valuable reputation in this country, and in succeeding to the business Mr. Coleman has made a wise move.
68We hope before long to announce that he has removed his Philadelphia business and taken a permanent residence in our city.
70The John Albert concert violins are as well known to professionals in this country almost as the celebrated instruments of the old Cremonese makers.
72Mr. John Albert, of Philadelphia, now a man well advanced in years, believed, contrary to the general opinion, that the value of a violin depended not so much on its antiquity as on the fact that the timber from which it was constructed possessed life and strength and tone producing qualities, and while he admitted the great value of the models of the ancient makers and also acknowledged the perfection of tone, as found in very many of their instruments, he was confidently certain that the great number of so-called Cremona violins offered for sale at moderate prices were but imitations and possessed no value over what could be produced in our own time by a practical violin maker.
74Having a thorough knowledge of timber and of models he has for many years constructed violins which for beauty of finish and quality of tone have been unsurpassed.
76At the Philadelphia Franklin Institute some 25 years ago Mr. Albert made a display of his American violins. They attracted great attention at that time, but the fact that they were of recent build and by an American produced a feeling of incredulity among professionals that shadowed their merit in spite of the acknowledged beauty of tone and construction, and it was under the most adverse circumstances that the introduction of these American violins was accomplished.
78The love of the maker for his art and indomitable perseverance finally overcame the opposition and, worst of all, the pitiable prices offered, and to-day in competition with the old masters the American violin is accepted and respected.
80Mr. E. J. Albert, the musical instrument dealer of 124 South Ninth street, son of John Albert, and probably one of the most competent authorities on violins in this country, made a trip through Europe a few years ago and took with him several of the finest specimens of his father's handiwork, which were played upon by the great Joachim and others in company with their genuine Cremona instruments, and only words of praise were given the American violins.
82It was so throughout Europe from such artists as the director of the conservatory in Leipzig, the Capellmeister of the Grand Opera Orchestra in Dresden, the famous Strauss and others.
84The fact that the really fine instruments made by the Cremonese family are so rare and of such great value, it follows that what had succeeded in the 200 years intervening must have fallen into the hands of wealthy collectors or very celebrated virtuosos, and that they are generally on sale is improbable and almost impossible, and that the fine American makes are infinitely preferable to the imported factory made affairs, which in the hands of unscrupulous dealers are vended as genuine old Italian violins, is unquestionably true.
86Mr. S. S. Stewart, the manufacturer of banjos, justly claims the distinction of having more than any one man elevated the banjo from the negro cabin to its present popular position in the parlor.
88Some ten years ago he began manufacturing banjos in a small way, but turned out the best instruments that could be made.
90At that time banjo playing was confined to a few professionals connected mostly with negro minstrelsy, and the method of producing the tones was by the stroke, a system little employed in these days, and the music was of the breakdown order. This is all changed, and refined compositions are now universally used.
92The evolution in this instrument is wonderful; but a few nights since the people of our city were invited to a banjo recital held in one of the largest concert rooms, and a large and fashionably attired audience attested their appreciation of the beautiful music which was produced entirely from these instruments.
94To Mr. Stewart's enterprise we are indebted for special sizes and shapes, from which it becomes possible to produce the orchestral effects not known a few years ago.
96Noticeable among them are the piccolo, a small instrument made to tune an octave above the ordinary banjo; the "banjeauring," an instrument having a large rim and a short neck and tuning a fourth higher than the ordinary; and then to complete the quartet is the large 16 inch bass instrument strung with 'cello strings and tuning an octave lower.
98The "banjeauring" is becoming very popular as a concert solo instrument, it being louder and more brilliant in tone and is specially prized by professionals to be used with piano accompaniment.
100Mr. Stewart is the pioneer publisher of banjo music and has every modern appliance for stamping plates and printing.
102His publications take in a wide range, from the simple melody with or without accompaniment to the full orchestral score for the banjo club. He is also the author of the "Banjo Philosophically" and "The Banjo," extensive works treating of this instrument.
104The market for banjos has extended all over the world,
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