Scan 28
Musical Courier 1894-08-29: Vol 29 Iss 755, 1894
78 lines. Read by computer on 21 September 2026. Printed page 29. See the scan on archive.org.
1ANTWERP EXPOSITION.
3The Musical Instruments
5THE JURORS AND THE SYSTEM.
7Other Matters.
9PART II.
11THE display made by the French at the Exposition is by far more creditable to that nation than the European press seems to accord to these spoiled children of the Old World. In fact there seems to be a well founded notion among the peoples of Europe that things will progress peaceably, provided the Frenchmen will keep to their own affairs and not continue to display an overwrought sensitiveness on the slightest provocation.
13They are perfectly justified, however, in being sensitive in regard to their superiority as a people who understand the art of making a "show," for their display of musical instruments, is really superb, albeit that many of their pianos are more remarkable for gaudy and at times exceedingly artistic exterior appearance than for musical or intrinsic value. And yet in this respect they do not seem to be left in the race, for pianos and organs have become objects of art in wood and case work, and the French are not expected to be in the rear of a procession where Art is the leading figure or movement.
15As formerly with other nations I give a list of the exhibitors.
17FRANCE.
18From Indian and African Colonies. { Tam-Tams and curious instruments used by natives. No patents.
19Bernadel, G. { Paris: Violins, 'Cellos, &c.
20Blondel, A. { Paris: Pianos.
21Burgasser & Theilmann. { Paris: Pianos.
22Christophe, H. & E. { Paris: Harmoniums.
23Chevrel, G. { Paris: Marqueterie.
24[ I wish to say here that the display of G. Chevrel is not only interesting for those engaged in piano making, but as a distinct art exhibit representing a specialized industry which has been advanced far beyond any anticipation, it does honor to the house and demonstrates how useful it can be made as an adjunct of the whole piano industry. Mr. Chevrel is now supplying nearly all the best piano makers of Europe and America, and his trade is constantly growing, as it deserves to.]
25Cottereau, A. { Paris: Mouthpieces and Keys for Wind Instruments.
26Cottino & Tailleur. { Paris: Chapel Organs.
27Dumont & Co. { Les Andelys: Organs and Harmoniums.
28Erard & Co. { Paris: Pianos.
29Evette & Schaeffer. { Paris: Musical Instruments.
30Focke. { Paris: Pianos.
31Fortin, Eugène. { Clermont: Piano Material.
32Poucher-Gasparini. { Paris: Military Instruments.
33Gallet, E. { Paris: Publications.
34Gaudet, E. { Paris: A Cornet Method.
35Gauvin. { Paris: Publications.
36Gaveau Frères. { Paris: Pianos.
37Gavioli & Co. { Paris: Musical Merchandise.
38Gouttière, E. { Paris: Pianos.
39Hansen, P. { Paris: Pianos.
40Herz, Henri. { Paris: Pianos.
41Herz, Ph. { Paris: Pianos.
42Jaulin, E. { Paris: Musical Merchandise.
43Klein, H. { Montreuil: Pianos.
44Kriegelstein & Co. { Paris: Pianos.
45Lary, J. { Paris: Pianos.
46Le Vasseur, A. { Paris: Musical Merchandise.
47Millereau. { Paris: Musical Merchandise.
48Monti & Delloye. { Paris: Keyboards.
49Morhange, A. { Paris: Musical Merchandise.
50Mustel, Auguste. { Paris: Reed Organs.
51[These are among the most remarkable instruments on exhibition, but the firm makes a very limited number only, while the price makes them inaccessible to the public. But they are fully worth the £500 to £800 asked for them.]
52Pinet, Léon. { Paris: Organ Reeds.
53Pleyel, Wolff & Co. { Paris: Pianos.
54Poulalion. { Paris: Publications.
55Protectorate of Cambodia. { Curious Instruments.
56Pruvost, E. { Paris: Pianos.
57Ruch. { Paris: Pianos.
58Schindler, A. { Paris: Pianos.
59Staub, J. { Nancy: Pianos.
60Thibout, A., & Co. { Paris: Pianos.
61Thibouville, Lamy & Co. { Paris: Musical Instruments.
62[This is an exposition all to itself, and gives an idea of the resources of this extensive firm which does trade in all and every section of the globe.]
63Thibouville, M. { Paris: Musical Instruments.
64Ullmann, J. { Paris: Electric Piano.
66Many of these Paris piano manufacturers do not make 50 pianos a year, some of them combining in one in Paris the factory, warerooms and residence in the same flat. This is one of the curiosities of piano manufacturing in Europe generally, where small concerns making 12 to 50 pianos a year enjoy a reputation of being manufacturers of pianos simply because they are theoretically and technically and by courtesy entitled to that sobriquet. There are over 100 such small concerns in the city of Berlin: Leipzig is full of them; they flourish in Dresden; Brussels and Antwerp have a baker's dozen each of the same stripe; Stuttgart more, and the same is the case in London and Paris. Judging from what I have recently observed in Paris, some of these manufacturers have about half of their last year's product on exhibition at Antwerp, and can have very little stock in their little stores, called in Paris piano warerooms.
68As I said before, some of the gaudiest cases can be seen in this Section, and some of the worst pianos that can possibly be made if it is intended to use them for musical purposes. Many of them are made by hand, and the makers would not use steam power if they could get it for nothing, for they could not understand or appreciate the use of machinery. It is very seldom that one runs across an upright in this section with an inner damper, most of them using that utterly useless and obsolete bird cage action which should forever be banished from the piano. They are all very proper for toys, but for musical instruments they should not be used at this late date.
70The Erard grands are the centre of great attention and call for much that is attractive to musicians. The Erard quality is a European cult that has become ingrained into the pianistic method and mind, and that passes far beyond the limits of France or England. It is as deeply entrenched in the favor and custom of the people as any one product of manufacture can possibly be, and this means, in other words, that it is the fashion. A revival of this Erard cult has become perceptible during the past few years, which can be directly traced to the intelligent commercial and art instincts of Mr. Daniel Mayer, of London, who has succeeded in giving to this instrument its renaissance. What he has accomplished in London has reacted upon Paris and also upon Brussels, where large Erard branch houses exist, and from these points it has radiated to all points in Europe. However, despite the extravagant conservatism of this house, I would not be surprised to see some changes made in the construction of the Erard, but they will not become generally known unless this paper calls attention to them, which it hopes to be able to do.
72Pleyel, Wolff & Co. have some pianos, extraordinarily made in cases, but neither in touch nor tone are they as well balanced as the Erards are. While I relinquish the temptation to make comparisons between American and European pianos, I cannot avoid drawing parallels or distinguishing differences that exist in pianos made in the same city, and of about the same age, and I am therefore compelled to say that Erard continues to demonstrate its superiority over the Pleyel, Wolff & Co. piano in the departments of tone and touch. Fancy cases—well, I remember some $1,000 and $700 cases at the Chicago Exposition that contained the trashiest pianos ever made in the United States, and although I would consider it a sacrifice to think of Pleyel, Wolff & Co.'s instruments in any other spirit than that of veneration, I am not obliged to discard the privilege of criticism which is bestowed upon me by the very same law that permits me to distinguish differences in piano construction. Pleyel, Wolff & Co. make extraordinarily attractive pianos, but as musical instruments per se I could not accord them a rank equal to that of the Erard.
74This much can again be said of Paris piano manufacturing: It will retrograde still more unless the manufacturers of that city go beyond the limits of French speaking nations and examine some other systems than their own. I speak now chiefly of the commercial pianos. The French people are for excellent reasons in love with their beautiful country and desperately in love with themselves to such an extent that they will not even study any foreign language. This gives all the other nations a most decided advantage over them, because they all study French. They can therefore understand what the French say, but the French cannot understand them unless they wish them to understand. This is but one advantage of the art of speaking more than one tongue and an advantage which all other nations have over the French as a nation. They are bound to be at a disadvantage so long as they continue this stupid rule based upon an insane self-infatuation. This prevents them from traveling and prevents them from purchasing goods not made in France unless they must buy them, and therefore French piano makers never see a foreign piano factory and never hear a foreign piano, and hence they know nothing about modern piano making and hence they are bound to be "left." If they will continue to reject in a stubborn fashion the best advice and suggestion of their most sincere and devoted admirers they will of course not be able to learn how to improve their products, and the result is obvious.
76GREAT BRITAIN.
77How poor a show Great Britain makes in the musical instrument department! It is only a few
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