Scan 67
Musical Courier 1893-05-17: Vol 26 Iss 689, 1893
105 lines. Read by computer on 25 September 2026. Printed page 68. See the scan on archive.org.
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1tos to songs, and finally play grand solos and concertos with the accompaniment of either the church organ, the piano or orchestra.
3Some of the most celebrated artists on the violoncello are in New York city: Victor Herbert, Adolf Hartdegen, Emil Schenk, Anton Hekking, Henry Schroeder, Louis Blumenberg and Miss F. Van den Hende; in Boston, Alwin Schroeder, solo 'cellist of the Boston Symphony Orchestra; Fritz Giese Wulf Fries; in Philadelphia, Rudolph Henning; in Toronto, Ernest Mahr; in Baltimore, Mr. Blume; in Chicago, Mr. J. Eichberg; in Berlin, Haussmann, Lübeck, Mahneke, Grunfeld; in Leipsic, Klengel; in Vienna, Stiastry.
5The best 'cellists of Europe have been constantly attracted to the music centres of North America, and have raised the standard of performance considerably. Many crowned heads have played and are still playing on this noble instrument; the old General Moltke was a very good performer on the 'cello and was much devoted to it. The 'cello may well be called the king of stringed instruments, because it comes the nearest to the human voice, which is undoubtedly the greatest and most expressive musical instrument.
7Only recently, in the last ten or twenty years, has the violoncello as a solo instrument become more known and appreciated in the United States; in Europe it is very highly appreciated, and can be found almost in every German family. When evening comes all the members of the family take up their instruments; the 'cello takes the foundation of the orchestra and is almost indispensable. Those home orchestras make the German nation so musical and so devoted to and enthusiastic about music. It is to be hoped that the United States will also become very musical, as every year brings the best teachers and performers to our shores, which fact will have a wonderful influence in molding the musical nature of the Americans.—The "Violin World."
9The Piano-Violoncello.
11THE finest musical instruments, those which, by their resemblance to the human voice, speak most to the soul, are certainly those that are played with the bow (violin, tenor, violoncello, counter-bass). "They are superior to the piano," says "La Nature," "since they permit the artist to prolong the same note and at the same time vary the intensity of it. They excel the harmonium by the quality of their sound, and do not present the inconveniences of wind instruments, such as the flute and clarinet, the diapason of which is scarcely fixed, so that it is impossible to put them in accord with the piano when the latter is not exactly at the normal diapason, which is frequently the case. The violin also possesses an undoubted superiority in forming the voice and for teaching children to sing.
13Unfortunately, these instruments are difficult to play, and certain persons even are absolutely unable to learn how to do so. In fact the perception of the accuracy of sound is an inborn faculty, and practice can only improve it. In the violin and violoncello the accuracy depends upon the position of the fingers of the player's left hand. It is such a position that coincides more or less with the mathematical interval desired in order that the string may be brought to the number of vibrations corresponding to a determinate note. Such length, variable for each note, diminishes in measure as the sound becomes sharper. Thus upon the first string the first grave tone from a to si is measured by a distance of 7 centimetres, while two octaves higher the same tonic interval is realized by a distance of 2 centimetres only. This explains why so many persons play the grave notes correctly and are less happy in the high ones, and why the number of violoncellists is few as compared with pianists. Such are the ideas that have led Mr. De Vlaminck, a distinguished professor of music, to combine the sonority and expression of stringed instruments with the mathematical precision of keyed ones, such as the piano and harmonium.
15After many experiments and many tentatives he has produced and patented an apparatus that is applicable to stringed instruments of the quartet, and that permits of replacing the left hand of the artist by a mechanism set in action by the keys of a piano keyboard.
17Thus the piano is played with the left hand and the violin or violoncello with the right. With the bow there may be obtained all the effects of the instrument played naturally (practiced, slurred, detached, short and other sounds, staccati and pizzicati). Through the keyboard the precision is forced, since it is independent of the player and results from a mechanism regulated once for all. The keys are so perfectly connected with the hammers that rest upon the string that it is possible even to produce that slight trill called expression.
19Mr. De Vlaminck's apparatus permits of making most of the double chords. With practice one may succeed in obtaining the harmonic sounds. There is nothing impossible except the sliding notes (compass of the voice), and the intervals of coma (difference for example between do sharp and re flat). The instrument is consequently tempered like the piano.
21Mr. De Vlaminck has studied two types—the piano violoncello and the piano tenor violin, both of which are shown in the accompanying figure. The first instrument is quite bulky. The keyboard has a range of three octaves, and, by the change of la in a string sounding open re, the instrument is furnished with a range of five octaves, starting from the grave do of the violoncello. The instrument might, therefore, be called also a melotitrophone, since it permits of playing music written for any instrument of the quartet.
23The piano tenor violin is smaller and prettier and we think will be generally preferred. It permits of playing music written for tenor violin or violin.
25The piano violoncello and the piano tenor violin are valuable instruments that lend themselves perfectly to music of all kinds. We write this article after playing some sonatas of Beethoven and Haydn and the opening of Suppe's "Poet Peasant," which contains some pretty quick movements. We believe that Mr. De Vlaminck's invention will be a success.
27The Prince of Wales Harp.
29LATELY quite a boom has set in in the manufacture of harps. The original of the illustration in this column is of Messrs. S. & P. Erard's manufacture, and will form one of the musical instrument exhibits at the Chicago Exhibition. The paintings are copies of those on a grand piano, made by Erard, for her Majesty Queen Victoria, at Buckingham Palace, which were transfers from pictures on an old piano formerly in the possession of Anne of Austria. On the pillar of the harp are affixed heraldic shields, and the whole is surmounted by the Prince of Wales' plume, hence the name.
31WE want a competent typewriter; one who writes a legible hand; one who has had experience in a music house or a piano and organ firm. Address THE MUSICAL COURIER, with references and salary required.
33"Crown" Organs.
35The first who on an Organ played
36Was Jubal, Lamech's son,
37And he, no doubt, his Organ made
38And no small credit won.
40Ah, could poor Jubal but have seen
41An Organ made by Bent,
42His Jewish heart would sure have been
43By rage and envy rent.
45I doubt if Jubal in his tent
46Did ever rosewood see,
47Or such mahogany as Bent
48Combines with ebony.
50And Jubal's Organ notes were ne'er
51So harmoniously blent
52As those delighting all who hear
53The "Crown" as made by Bent.
55—Mr. Henry A. Spicer, manager of A. M. McPhail Piano Company's house in Chicago, made a flying trip East last week, touching upon Detroit, Buffalo, Boston, New York and Pittsburg. From the many inquiries he deems the outlook for a good business in Chicago very encouraging.
57—The home of melody, where are displayed most beautiful instruments that wait the touch of skillful fingers to burst forth into music, is a fitting description of the music store of W. R. Scott, at No. 362 West Federal street.
59Mr. Scott has been engaged in the business of selling musical instruments for the past 20 years, and in that time has gained a knowledge of the superiority of the manufacture, finish and tone of instruments which he applies in making purchases to the effect that his stock is composed of none but the best and most desirable instruments made, and thereby patrons are assured that whatever is purchased from Mr. Scott will bear the test of touch and tone and time.
61Mr. Scott first started in business in 1873, and in 1883 he located in his present store-room. In his 20 years of business he has sold over 2,500 musical instruments, representing a value of over $1,000,000. Each year his sales have increased both in number of instruments sold and amount. In 1882 he disposed of 80 instruments. His sales for 1882 were over 300 instruments, which is a gratifying increase and goes to prove the superiority and desirability of the instruments handled by him.
63Mr. Scott buys direct from the manufacturers and for cash, and is enabled to compete with dealers in any of the large cities. His current expenses being smaller, he is enabled to give prices even lower than those asked by more pretentious dealers in large cities. His stock is as large and varied and his sales aggregate as much as many of the large concerns in Pittsburg and Cleveland, and are in excess of any dealer between those two cities. He employs five salesmen and delivery clerks, is provided with all requirements for the display, sale and delivery of all instruments sold. He is special representative for George Steck & Co. and Kranich & Bach, piano manufacturers, of New York, and for A. B. Chase, Story & Clark and Chicago Cottage, organ manufacturers. These firms are the largest in the United States, and their instruments are considered of the highest quality. He has also a full line and large stock of string and wind instruments, all of which are offered to customers at lowest prices.—Youngstown, Ohio, "Vindicator."
65MUSIC.
67The NEW ROYAL COLLECTIONS:
68"Royal Collection of Piano Music."
69Carefully selected gems. 35 pieces. 160 pages.
70"Royal Collection of Dance Music."
71Well selected Waltzes, &c. 46 pieces. 160 pages.
72"Royal Collection of Ballads."
73Excellent music. 45 ballads. 160 pages.
74"Royal Collection of Songs with Choruses."
75Full of variety; 41 songs with choruses. 160 pages.
76Each volume is handsomely bound in paper covers, and is really a $1 book. Sent, postpaid, for 50 cents.
78THE WORLD'S FAIR SERIES:
79"World's Fair Piano Music Collection."
8031 compositions; handsome title page in colors. 144 pgs.
81"World's Fair March Collection."
82Stands at the head of all similar collections.
83"World's Fair Ballad Collection."
84The song gems of the Columbian year. 38 ballads.
85"World's Fair Dance Music Collection."
86An admirable book of bright, spirited, popular music.
87"World's Fair Song and Chorus Collection."
88A collection of songs (with four-part chorus to each).
89Prices: Heavy Paper, $1.00; Boards, $1.25; Cloth, Gilt, $2.00.
90"New Harvard Song Book."
91All the new Harvard Songs of the last three years. 92 pages; paper, $1.00.
92"College Songs."
93Over 200,000 sold. Latest edition; paper, 50 cents.
94"College Songs for Girls."
95One hundred and twenty pages; heavy paper, $1.00.
96"American Patriotic Songs."
97JUST ISSUED.
98A splendid collection of carefully selected national lyrics, words and music complete. There are nearly sixty patriotic songs, hymns, &c. It will satisfy all who desire the music of our native land in this convenient and cheap form. It is especially useful for patriotic occasions. Price 50 cents.
99THIS DAY PUBLISHED.
100"World's Fair Collection of Patriotic Songs and Airs of Different Nations."
101Contains, besides the songs, national hymns and melodies (vocal and instrumental), many interesting and valuable bits of information concerning the origin of the pieces. Price 50 cents.
102DITSON & CO.,
103867 Broadway, 18th St.,
104NEW YORK.
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