Scan 5
Musical Courier 1906-08-22: Vol 53 Iss 1378, 1906
24 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1OBSERVATIONS
3private memoranda through the journalistic X-ray upon the public canvas by means of this news gathering publication. For over 20 years of the 27 years during which this paper has been issuing I have always claimed that it is intended as a special newspaper, a musical news organ, for it took some years to get the bearings and it was therefore impossible to announce the idea originally; but for 20 years, at least, I have maintained that this is a newspaper.
5The object of a special paper is always, always as part of its function above all other functions, to publish the news in its special field for the purpose of having the daily press take it up and disseminate it generally. Special papers are not intended for the general public, but the general public is intended for the special paper through the news the daily press gets from the special press or paper. An item already published by the general press is "dead matter" for a special paper and can only be used properly if it is made the basis of a comment on the part of the special, expert paper. This is the publishing principle of THE MUSICAL COURIER and there is no special paper on the globe today that can approach our news service much less compare with it, for we do not live or operate on the daily paper item. We create the news through publishing it at first hand; the daily paper is then at liberty to utilize it. As it does not utilize but a small proportion of the news relating to classical music, giving most of its space to politics, war or the war establishments, sport, commercial, financial, shipping, accidents and disasters, railway, social, gossip, sensational and criminal matters, THE MUSICAL COURIER naturally becomes the sole source from which the living questions pertaining to music are gleaned and that, to a great extent, accounts for its universal extension, distribution and circulation.
7We have at present in Europe about 20 centrally located offices and direct affiliated correspondents and this organization in Europe alone gives us the power and journalistic association through which MUSICAL COURIER news columns are provided with the latest information from European sources. Of course our American field covers the whole continent. Thus this paper is not a reprint each week of the news gathered from the daily press which, in most instances derives it from these columns anyway.
9Of late we point to, for instance, besides the important items herewith given, the Muck news, the Saint-Saëns news, the Ysaye news, the Puccini news, the Gunsbourg news, the Hammerstein opera news, the other news on the San Carlo engagements, the Italian news, the Paderewski news, etc. Then besides all this the thousands of items of news reference to the lesser known stars who become greater stars through the enlargement their names secure by being mentioned in these columns.
11Paderewski News.
13THERE were many piano manufacturers anxious to secure Mr. Paderewski's adherence to their cause by publicly playing their pianos. It became known during the last season of his performances in America that a difference between himself and the Steinway house had produced a serious friction and this created the impression that he might find it commensurate with his taste to select some other piano. A Weber grand piano seemed to have struck his fancy and there was no reason why he should continue any further investigation, for he always had kept America in view. A country which had netted a million and more of money to him could not be treated with indifference and is not treated with indifference by artists who make $5000 or $10000 a season in the U. S. particularly as Europe does not respond, by any means, with such sums to artists. There were rumors in the early days of Paderewski that he held stock in the Erard firm here and subsequently it was freely stated that he had become a stockholder in the corporation of Steinway & Sons.
15I am now prepared to say that Mr. Paderewski never owned a share of the Erard stock and never a share in the Steinway capital stock. These rumors never had any substantial grounds.
17Yet their general dissemination aided very materially in preventing piano manufacturers from approaching Paderewski while, at the same time it somewhat tainted the question of loyalty but I do not think it was a question of loyalty anyway, for that is presupposed with a man of Paderewski's mental pose. It is impossible at this writing to give any account of the diversion of the sentiment. History, when history will have had time to be made, may assume that responsibility and I certainly will excuse myself from becoming the target of an inquisition as to how I happen to know all about the matter, by publishing it. Others may gratify their senses of sensationalism and are given every opportunity to spend time and money on securing the information in my possession, for as far as THE MUSICAL COURIER is concerned it will not subject itself to any discussion of the subject at present by publishing the interesting story of piano manouvres in connection with this also indulged in by some members and firms of the American piano industry who could have secured definite information long since from me had they been able to see me.
19I may also add here, in order to prevent perverted items getting a footing, that not all the makers of concert grand pianos—I mean American—approached Paderewski after having heard of the Paderewski-Steinway rupture. There were two houses not interested and one house of illustrious name and magnificent piano, whose name has been freely used in this connection, absolutely rejected any direct discussion of the subject. But all the others were in the mill.
21Rosenthal, Paderewski and Touch.
23SOME years ago a friendship was formed between Moriz Rosenthal and Paderewski and the two formidable artists have been in close touch ever since as ardent admirers of each others perfections. Naturally then, when the negotiations with Paderewski began the tour this coming season of Rosenthal in America had to be considered from all points of view, for it is doubtful whether two such piano giants can or could be consistently directed with success from one central radiating point. Mr. Rosenthal had signed first and, of course, had, what we in America call, the right of way; Mr. Paderewski recognized this also and therefore it was arranged that for this season the tour with the Boston Symphony Orchestra should be Mr. Paderewski's limit while Rosenthal would cover the whole field and next season Mr. Paderewski the whole field. The fact that Rosenthal had selected the Weber grand
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