Books › Musical Courier 1926-02-04: Vol 92 Iss 5, 1926 › scan 49
Scan 49
Musical Courier 1926-02-04: Vol 92 Iss 5, 1926
64 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 50. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1C. C. BIRCHARD INCORPORATES
2C. C. Birchard, publisher of music, has had a real inspiration. He has opened reception rooms in Steinway Hall, has placed competent employees in charge, and invites those who want information about the Birchard publications to "drop in for a cup of tea" and use the rooms as a studio for the study and selection of music for whatever particular need may arise.
4That this plan fills a long-felt want cannot be doubted. Musicians find necessary a place where they can examine music, and this certainly cannot be done in the ordinary retail music store along a crowded counter. Much of the music that might be bought is left with the retailers simply because, with the best will in the world, the musician cannot decide whether or not it will suit him.
6There are very few people who can read music satisfactorily from the printed page without an instrument. It does not matter whether the music is for voice, piano, violin, or some other instrument or combination of instruments, one needs more than the printed page to get a proper idea of it. Especially in instrumental teaching-music, one likes to get the feel of it under the fingers, and in very highly complicated music it is almost impossible even for the most skilled of musicians really to hear, mentally, the sound of it. This is especially true when one is expected to accomplish this feat under conditions of haste and discomfort. This haste and discomfort are to be utterly banished in the Birchard offices—or parlors as one would rather call them. The very atmosphere of the place makes one feel at ease. The large rooms are furnished elegantly and, what is more to the point, comfortably. There are plenty of sofas and loungy easy chairs. There are tables one can use in case of need. There is a piano, and a pianist. There is a stock of music, and there are attendants who can explain things and be variously of aid. There is a hall with a stage which may some day be used to present programs of the operas and pantomimes Birchard publishes.
8But, one must repeat, best of all is the atmosphere of ease and comfort that is offered. One has the impression that one may sit down and take it easy, examining things at leisure, thinking about them, making notes, very much as one might do in one's own home. It is evidently a very different matter from the average music-store counter with its air of hurry and bustle, its uncomfortable stool, its crowds pushing from behind to get served, and the clerk waiting with more or less well-concealed impatience for the customer to make his choice.
10Nothing that is here said is intended as invidious comparison, but one dares make a bet that other music stores will take a leaf out of Birchard's book and will likewise make the visitor welcome. It is quite certain that it will be the best possible thing for the music business if the custom of having such parlors becomes general. It has already been tried with success in England, and the popular publishers in New York have facilities of one kind or another for showing and demonstrating their wares. The little retail shops on Broadway have a pianist constantly grinding out the latest "plug" for the benefit of any probable purchaser.
12Birchard goes all of these one (or two) better. Instead of sending music "on sale" into the home he makes you feel at home in his place. He says, come in, sit down, have a cup of tea and get acquainted—with us and with our music. There is no urging to buy. There is no feeling that the place is a store—in fact, this writer is not so sure that it is a store. It has more the appearance of being a library, although no books are in sight. A little music and some catalogues on tables here and there, and that is all.
14Readers can well imagine how pleasant it will be, especially for visitors to the city, to drop in on Birchard and rest awhile, when every moment of the rest is made profitable with the gathering of new ideas, fresh knowledge of things musical. The place will undoubtedly become a rendezvous for the musicians of America, teachers, players, composers, students, seekers after knowledge. It will furnish opportunities for the exchange of ideas such as all too few exist in this country at present. It will do away with a great deal of the dissatisfaction which now arises as a result of hasty selections of music that upon closer examination proves to be not exactly what one has sought and believed.
16It has always been one of the unfortunate features of American music life that people wait until they hear a piece and then buy it. That is to say, their waiting is quite inactive. Until somebody sings or plays the piece very few are sold, no matter how good it may be. There are a few who will take the trouble to seek out novelties and they are the people who really sell the music. The reason has been simply that most people have not known how to find out the music's merit. It has been too much of an effort for the rank and file of busy musicians and teachers to dig into piles of new domestic and foreign publications for the one piece out of a thousand that might just meet with their need, and appeal to their taste. And so they have simply listened—listened, and left the result to chance.
18That is the reason so many splendid things lie on the shelf, for years sometimes, before they begin to make their way. The Birchard plan should end that. It should make it possible for every musician to become acquainted with a great many new pieces, and the result must be that the best of them will get a start more quickly than they have heretofore. This will be a great advantage to the American musician and Birchard is to be congratulated on his initiative.
20MUSICAL COURIER
21AN IMPORTANT INNOVATION
22February 4, 1926
24La Forge-Berumen Noonday Musicale
25The La Forge-Berumen Studios gave their monthly Noon-day Musicale at Aeolian Hall on January 22. The Duo-Art piano opened the program with a waltz in A major by Levitzki reproducing the playing of Constance Mering, who is a La Forge-Berumen pupil. Later in the program Miss Mering appeared in person and played the Romance and Valse de Concert by Frank La Forge with the Duo-Art. Miss Mering displayed fine musicianship in her accomplishment of this difficult work of playing alternately with the Duo-Art piano. The first singer to appear was Gladys Hill, soprano, accompanied by Helen Fromer. Miss Hill's voice is of beautiful lyric quality and she uses it to advantage. Among her numbers were two songs by Frank La Forge, the Hills and Sleep Song. Miss Fromer's accompaniments were sympathetic. Emile Goetze, pianist, next played a miscellaneous group in which she displayed excellent technic and interpretive ability. Miss Goetze plays with much feeling. Dio Possente from Faust followed, sung by Edward Nell, baritone, assisted at the piano by Hilda Holpeer. Mr. Nell's voice is of deep rich quality and he sings with intelligence and understanding. Miss Holpeer's accompaniments were artistic and supporting. Flora Bell, coloratura soprano, concluded the program with Caro Nome from Rigoletto, accompanied by Alice Vaiden. Miss Bell's voice is flexible and of lovely quality throughout the registers. Her execution of the difficult runs and trills was exquisite. Alice Vaiden's accompaniment was delightful, as always.
27Pouishnoff to Tour
28The Springfield (Mass.) Symphony Society engaged Leff Pouishnoff, pianist, for a recital for February 15 after he had played there recently the Tchaikowsky concerto with the orchestra under Arthur Turner. There were numerous recalls and the applause was most enthusiastic. Pouishnoff had to grant four encores. Both the Springfield Republican and the Springfield Union gave him unstinted praise.
30Mr. Pouishnoff will appear in Chicago, February 7; the next day he will play at Dayton, Ohio, for the Women's Musical Club; February 10 he plays in Cincinnati for the Wednesday Matinee Musicale; 12, the Odeon at St. Louis will be the locale of his first appearance there. Then he will return East to play on February 15 at Springfield, Mass., and February 18 at Jordan Hall, Boston.
32Matchless MILTON PIANOS
33An Instrument of Pleasing Tone and Touch that Any Student can Afford to Buy, Endorsed by Musical Celebrities
34MILTON PIANO CO. New York
36Do You Study Singing? Are You Making Progress? If Not, Why?
37Read—"THE SECRETS OF SVENGALI" By J. H. Duval
38And You'll Find Out
39$2.00 at all Music Dealers and Booksellers
40Published by James T. White, 70 Fifth Ave., New York City
42The Steinert Pianoforte
43THE EXCLUSIVE PIANO
44M. STEINERT & SONS, Steinert Hall, 162 Boylston St. BOSTON, MASS.
46BUSH & LANE
47HOLLAND, MICH.
49WING & SON, Manufacturers of the WING PIANO
50A musical instrument manufactured in the musical center of America for forty-nine years
51Factory and Offices Ninth Ave., Hudson and 13th Streets, New York
53LESTER PIANO
54ONE OF THE OLD MAKES
55PHILADELPHIA
57BALDWIN
58Cincinnati
60The DAVENPORT-TREACY PIANO
61Built for the Studio-Delightful in Tone and Touch-Moderate in Price one of two readings
62Built for the Studio—Delightful in Tone and Touch—Moderate in Price one of two readings
63Davenport-Treacy Piano Co., New York
The computer misreads some letters and numbers. Where a name matters to you, read the scan.