Scan 19
Musical Courier 1892-08-03: Vol 25 Iss 649, 1892
120 lines. Read by computer on 23 September 2026. Printed page 20. See the scan on archive.org.
1ments are absolutely destitute of merit. The hammer strikes the string and gives out a dead tone. The stencil is worked in Chicago on organs, too, but to a lesser extent, as the demand for organs is scarcely large enough to yield sufficient profit for the avaricious dealer in stencil goods. The organ business is carried on on its largest scale with an organ bearing the name of a Methodist well known in the West, and hundreds and hundreds of Western church people have been duped by buying these organs. This business will surely be boomed when the world's fair opens, for then will come the greatest opportunity of their lives for the dealers to catch gullible buyers.
3"The business is an outrageous one. It is impossible to calculate the amount of injury done to the young who have a talent for instrumental music by permitting them to use these low grade instruments. By practicing on such instruments the child loses all appreciation of tone quality and true touch, the two qualities essential to fine playing. The worst of this is that no amount of subsequent instruction will remedy the injury done. There is no such thing as the quality called 'responsive touch' to a stencil piano, and even less of the valuable 'tone.' It is difficult for instructors to fight the evil. By exposing it they only gain the ill will of local dealers and run the risk of losing pupils, as parents naturally take a dislike to an instructor employed to teach their children music who begins by telling the employer that he has been 'badly stuck' in buying his piano. Few people care to have their artistic follies exposed to them. So the child is allowed to continue his lesson on an instrument that will surely ruin his appreciation of fine instrumentation, while his sense of harmony becomes so warped that he soon loses the ability to appreciate the merits of a really good piano."
5Editor Blumenberg said finally that no aid in fighting the harmful swindle had been received from the organizations whose interests, it would be imagined, would prompt them to be zealous in their efforts to root the swindlers out. Editor Blumenberg wrote this to the "Sun" on July 4:
7"No step has ever been taken by the piano manufacturers of New York as a body to interrupt transactions in stencil pianos. This is due probably to the fact that among them are piano manufacturers engaged in this very kind of traffic. The Chicago piano manufacturers up to date have likewise taken no steps to interrupt this business, and, by an apparently curious coincidence, the stencil pianos made and sold in Chicago are just about as polluted as the Chicago water."
9[This interview from last Sunday's New York "Sun" is correct, with the exception of a few technical details and the low price quoted that dealers get for stencil pianos. They are frequently sold for much more than $250 apiece, one of Geo. W. Lyon's stencil humbug pianos having recently brought $475 in Chicago, which is simply outrageous.
11[The position taken by our senior editor in reference to the conduct of the Piano Manufacturers' Association in its indifference to the stencil is also correct and proper; and yet, by calling attention to stencil frauds the piano makers of New York assembled as a body will exercise a great influence upon the public mind in showing that such a thing as a fraud piano is a commodity that is apt to find its way into the home of anybody who is not posted on the subject.
13[Granting that the stencilers in the association would feel sufficiently offended to resign upon the introduction of a motion covering this point there would still remain a respectable number of piano makers to exercise influence in the direction of healthy trade. A strike in a stencil shop would not amount to much, anyhow, and would in fact be welcomed by those manufacturers who do not stencil, as its success would reduce the output of stencils, and this would naturally increase the output of legitimate goods.
15From a moral point of view every effort should be made to engender strikes in stencil factories. The legitimate makers are in blissful ignorance of the number of sales their representatives lose in competition with the stencil fraud, and if a committee on strikes could be appointed to promote strikes in stencil factories the legitimate trade would be the final gainer in the long run.]
17—The music and publishing business of J. H. Kurzenknabe & Sons, of Harrisburg, Pa., has grown to enormous proportions. Last year they sold 102,000 copies of the one book, "Fair as the Morning." The firm is publishing Sunday school music for orchestra and is doing a great work in that direction.
19WANTED—An experienced piano tuner, who can repair and regulate, for wareroom and outside work. Permanent position to the right man. Address, with references, B. Shoninger & Co., New Haven, Conn.
21WANTED—An active and successful piano salesman for the road. W. J. Dyer & Brother, St. Paul, Minn.
23WANTED—An experienced piano salesman for wareroom. Address Wm. Knabe & Co., 148 Fifth avenue, New York.
25WANTED—Position by an experienced road man who has traveled all parts of the country and enjoys a large acquaintance among the music trade. Has been recently in another line, but would like to resume his former position. Address "B. O. H." care of THE MUSICAL COURIER.
27BOSTON TRADE.
29BOSTON OFFICE MUSICAL COURIER,
30157 TREMONT STREET.
31BOSTON, AUGUST 1, 1892.
33IN a previous issue of THE MUSICAL COURIER an article on "The Origin of the Banjo" was printed, to the effect that in the town of Banjoemas, in the Dutch East Indies, near the South Coast of Java, a negro native of that place took a cheese box and, covering it with a goat or sheep skin, ran a handle through it, strung it with violin strings and called it a "Banjo" from the first two syllables in the name of his native town.
35The article further states that no banjo of this time is supposed to be in existence, but from the description they must have been very crude affairs.
37In conversation not long since with Mr. S. S. Stewart, the banjo manufacturer, of Philadelphia, and probably one of the most competent authorities on that instrument, he said that nothing really authentic had ever been substantiated regarding the origin of the banjo or the derivation of the name; that several very plausible theories had been advanced, some giving the instrument comparatively a modern conception, as originating with our Southern negro, but it was Mr. Stewart's opinion that the banjo of to-day represented but a series of evolutions from the tom-tom of the African native, and should therefore be classed among the very ancient instruments.
39The plausibility of this theory is very satisfactorily confirmed, so it would seem, by an instrument on exhibition in the salesroom of the Elias Howe Company, at 88 Court street, this city.
41It was sent to young Mr. Howe by one of Stanley's followers, who personally obtained it from an African tribe in the interior of that country beyond the confines of civilization and on the occasion of the first visit of the white man. So it would seem impossible for the idea to have originated other than with the natives.
43The instrument consists of a rim in the shape of an oblong, square cornered box, about 8 inches long by 5 wide and 4 deep, covered over the top with parchment and open on the lower side; the finger board is a straight piece of wood, but attached to the rim in such a way as to extend at a decided angle upward, placing the neck some 4 or 5 inches above the rim; the bridge is about 3 inches in height, the strings are four in number and made from vegetable fibre.
45The instrument is played by holding the rim on the knees with the finger board extended straight from the body, and by striking down over the strings, near the bridge, with the thumbs, both hands being used. The tones produced are from the tension applied to the strings only, as the distance from the strings to the finger board is too great to admit of "slapping," and consequently but four tones are produced.
47This primitive instrument is but one of several of the stringed variety, including violins and others, which Mr. Howe has collected, a description of which at some future time will be perhaps of interest.
49Elias Howe Company carry in stock and have catalogued some 600 old violins, and the admirable system adopted at their salesroom in placing them conveniently for handling and display causes expression of wonderment from customers and visitors.
51Mr. William, the manager for John C. Haynes & Co., reports that at their factory they are now employing some 60 odd skilled workmen in the manufacture of their small instruments. The four brands of guitars alone which they make under the different trade marks are no small item of their product, and as their trade in these specialties extends over the United States and is increasing continually they may be very properly classed among the important manufacturing interests in Boston.
53A new instrument called the phonoharp is being manufactured here. It is similar in shape to the C. F. Zimmerman autoharp made in Philadelphia, but very cleverly evades Mr. Zimmerman's patent, covering the bars by using a tin shield perforated, which is placed over the strings and protects the determined strings from contact with the finger pick or thumbpiece.
55The tone is produced by running a pick over the shield and striking such strings as will be in harmony and which the perforations in the shield do not protect. One advantage they claim for this instrument is that both hands can be used, one for the melody and the other for an accompaniment—something on the plan of the zither.
57A company has been formed for manufacturing them, and they will probably take their place in the trade with other instruments of modern construction, as one more item for the music instrument dealer to pick up an honest penny with.
59On Tremont street the piano business is a trifle slow. Some acknowledge this to be the fact, others look wise and say nothing.
61Mason & Hamlin have just completed an important change in their salesroom, by moving the offices onto the second floor into what was the Mason & Hamlin Hall.
63The first or main floor will be used for new pianos, grand and square, exclusively. On the second floor are the offices in the front, with their stock of Mason & Hamlin organs. The room back has been elegantly fitted up and will be used for displaying the Aeolians which Mason & Hamlin have secured the agency for from September 1 next. Back of this is yet another room, for second-hand pianos and organs, with a small room adjoining for tuning and repairing.
65The hall which was used for public purposes was too small and lacked in conveniences for the comfort of both the audience and artists, and could well be spared, while in utilizing it for their business they take on space which relieves the heretofore crowded condition of their sales-room.
67Mr. Benjamin Whitley, the pianist, writes from Weirs, where he has been playing the Mason & Hamlin grand before the New Hampshire State Teachers' Association, that the tone of the instrument used was most highly commented upon by the members assembled.
69At the Hallet & Davis salesroom they are in the same confusion incidental to putting in new floors and making other repairs.
71One of the prettiest and most conveniently arranged salesrooms on the street is C. B. Wood's, where is found the Everett piano and now the Hazelton Brothers. Four of this last named make and the first that have been delivered to Mr. Wood came in last week. They are in fancy woods and fit in nicely with the Everetts, making a handsome display of instruments.
73Mr. Wood feels confident that he can place the Hazelton also in an enviable position with the Bostonians.
75Mr. Wood started on Saturday for the mountains of New Hampshire for a three weeks' vacation.
77Geo. N. Grass, of George Steck & Co., passed Thursday of last week in Boston.
79He was for a portion of the time the guest of Mr. Furbush and Geo. Dowling, of Vose & Sons, who made his visit a memorable one by feeding him steamed clams at Crescent Beach and broiled live lobsters at Billy Parks'.
81At M. Steinert & Sons' a letter had just been received from Mr. Morris S. Steinert, dated from Vienna, in which he mentioned having dined with Paderewski a few days previous, and further writes that his collection of antique instruments now on exhibition at the Vienna Exposition is looked upon with feelings of the greatest interest and admiration.
83Mr. John N. Merrill, of the Smith American Organ Company, who is now abroad, sends word that he expects to return in about a month.
85Mr. Wells, of the Emerson Piano Company, who started out on June 1 to look over the Western agencies for that concern and expected to be away about a month or six weeks, finds that the time will have to be extended to at least three months, as the territory covered and which he yet anticipates covering will consume at least that length of time. He is now looking over Indiana and Ohio.
87There seems to be quite an exodus of piano men to the mountains about this time for the annual vacation.
89W. B. Owens, of McPhail Piano Company, went away last week to Vineyard Haven with his family.
91Frank Seaverns, of G. W. Seaverns, Son & Co., is on his vacation.
93W. A. Vose and family are spending their summer at Poland Springs.
95Mr. L. L. Benjamine, of Marshaltown, Ia., musical instrument dealer, has been in Boston with Mrs. Benjamine for the past two weeks.
97He is very much interested in a new enterprise lately started here connected with piano building.
99The Trade.
101—Mark Ament, of Peoria, Ill., who has been East, has been ill, and returned to his home on Sunday.
103—Giles B. Miller, of Rochester, N. Y.; Fred. Schilling, of Oswego, and A. L. Schaar, of Chicago, are in town.
105—The rumor that Brother Thoms, of the "American Art Journal," had joined the Barbers' Union is not well founded.
107—The action department of Sylvester Tower's big factory, at Cambridgeport, has been busy throughout the whole of July, and orders are so plentiful that a busy August is promised.
109—Merkle & Mersman have opened a music store at 1140 Chestnut street, St. Louis, Mo. They will handle the Ludwig piano. They also announce a J. F. Cook piano, but the latter is probably a stencil.
111—Mr. J. W. Currier, of the Vocalion Organ Company, arrived home from Europe, per steamship Galia, Monday last. During his trip abroad he was the guest of Patti, Sembrick, Valerie, and many other prominent musical celebrities.
113—A report reaches us that the E. P. Carpenter Company, of Brattleboro, Vt., have ceased to do business with Murdock & Co., of London, England, who were the former representatives of the Carpenter organ.
115—Herschel Fenton says he has sold more mandolins the past 12 months than ever before in his thirty-five years' experience in the music trade. The "professional Fenton banjo" is his chef d'oeuvre, for which he receives orders from all over the country and some foreign trade. His collection of old violins is always interesting to connoisseurs—61 Nassau street is a regular beehive.
117—A French newspaper is authority for the statement that a cigar is about to be put on the market which enables the possessor to enjoy not only an excellent smoke but also excellent music. This novel cigar is lit in the usual manner, and as soon as it begins to burn an entrancing melody steals forth from its interior. It is said to play most beautifully "There's a rose in the snow."
119—A communication was handed us last week criticizing the new organ factory company for having the plans and specifications for their building made in Chicago instead of here. We have investigated the matter and find that the writer was mistaken. No plans and specifications were ordered in Chicago. Mr. Stevens was there looking at other factories and examining the latest improvements in order to see what was wanted here. Messrs. Stevens & Klock consider themselves perfectly competent to make their own plans and will make them.—Marietta, Ohio, "Times."
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