Books › Musical Courier 1928-04-12: Vol 96 Iss 15, 1928 › scan 57
Scan 57
Musical Courier 1928-04-12: Vol 96 Iss 15, 1928
60 lines. Read by computer on 28 September 2026. Printed page 58. See the scan on archive.org.
1THE PIANO IN PLACE
2An Upright Piano, Properly Placed, Makes for Attractiveness
3By Helen Harford Baldwin
5We are assured that there is a place for everything under the sun and that everything should be in its place! This in no case holds truer than with the piano.
7One of the first demands upon correct placing is good lighting facilities, both artificial and natural. Of hardly less importance is consideration for the instrument. It must be protected from extreme degrees of heat and cold and is apt to become decidedly temperamental in a draughty location.
9So far as tonal beauty is concerned, placement with regard to architectural features of the studio is of great importance. If the piano is placed in a little groove or recess, the walls sometimes tend to absorb the tone while in other instances they seem to introduce a hard, metallic quality. Often reverberation and echo are annoying and destructive to purity of tone quality, and careful placement is necessary to obviate these points.
11In passing, it is helpful to remember that heavy wall hangings, curtains and carpets tend to deaden sound, and the absence of these sound-absorbers allow greater overtone and brilliancy. Extremes in either effect, however, are undesirable. Your musician's ear will be your guide in this critical matter.
13So called "fixed backgrounds," or the architectural features of the studio, also help to determine the piano's place, and the floor space are so arranged that this placement is imperative. The reason for this is obvious.
15CONSIDERING THE UPRIGHT
16The upright, or "vertical grand" as it was sometimes called, need not be always placed flatly against the wall as is perhaps the most universally accepted position for it. Sometimes the upright, placed at a right angle to the wall, (the back hidden by a length of decorative fabric or a picturesque screen) may happily break a long unbecoming line in a too oblong studio.
18Another suggestion for an unhackneyed placement may be found in flanking the piano on each side with tiers of shelves for books and music (or tall narrow bookcases). These shelves may follow the decorative lead given by the piano itself, or they may present an interesting contrast. Often gaily painted bookcases will considerably relieve the heavy note unavoidably produced by some of the older ebony-cased instruments. The color may be carried to the piano in a fabric hanging over or upon its top. This arrangement forms a sort of niche for the piano which adds appreciably to its graceful appearance. The piano in a cater-cornered position is not a good arrangement. It thereby sacrifices floor space and causes an unbeautiful angle which throws the whole interior out of balance.
20A GOOD PLACE FOR THE UPRIGHT PIANO IN THE STUDIO
21Showing How Well it can be Fitted into the Style of Decoration.
23Fireplaces, mantels, and imposing doorways should be, whenever possible, balanced by this most important piece of furniture in the studio. Otherwise a sofa grouping, secretary desk, etcetera, will help to achieve a balanced effect.
25BE TRUE TO YOUR TYPE
26If you are buying a new instrument, consider well the lines and proportions of its setting. Some of us may not fit physically nor mentally into an exotic Spanish interior; others of us may need more color surrounding than is offered by a quaint Colonial scheme. So it is well first of all to be sure of yourself.
28You may be positive of finding just the style of piano, and the markets abound with fabrics and furniture necessary for any good ensemble. From wall and floor treatments to the last minute decorative touch you have the treasures of the world to choose from. Why I have recently seen a piano so "informally" designed (though they are usually indicative of a certain formality) that it would blend in perfect harmony with Windsor chairs and gate-leg tables. While others, across the display floor, would fit gracefully into the 20th Century salon of a Recamier.
30An eminent interior decorator in her fascinating book on the subject makes this reference to piano placement:
32"….Another point in backgrounds is the importance of arranging the piano so that the pianist has an unbroken background of wall, tapestry, a large piece of rare old silk, or a mirror. Clyde Fitch, past master at interior decoration, placed his piano near broad windows, across which at night were drawn crimson damask curtains. Some of us will never forget Geraldine Farrar, as she sat against that background wearing a dull clinging blue-green gown, going over the score—from memory—of Salome"…..
34The very best light for the pianist is that which falls on the keyboard over the left shoulder. Seldom, if ever, should the pianist face a window or bright light. This arrangement is admissible only when the sole window group in the room
36It is interesting to hear that M. Paul Poriet, famous creator of Parisian modes, has designed several pianos. Strangely enough they follow the vertical line and the styles strongly tend toward the modernistic influence.
38Artists Under Wiswell Management Active
39Daisy Jean has completed a successful tour in the Southwest and Pacific Coast under the direction of L. E. Behymer and been re-engaged by him for a more extensive tour next season. Her unique programs of cello and songs at the harp have captured her audiences and are meeting with growing demand for a recital program of greater variety and contrast. Miss Jean was scheduled to return East early this month to fulfill engagements before sailing for Europe, where she will spend the summer.
41Sigismond Stojowski recently gave two concerts in Havana, Cuba, one being a Chopin program prefaced with a talk in Spanish on that composer by Mr. Stojowski. They were given in the National Theater, and marked the second of a series presented there by Jean Wiswell. On April 19, Mr. Stojowski will give a joint recital with Paul Kochanski, violinist, at Town Hall, New York.
43Harriet Eells, mezzo-soprano, recently appeared in joint recital with Mr. Kochanski at the Society of Arts, Palm Beach, Fla. She was obliged to return immediately afterward to New York to sing with the American Opera Company, with which organization she is now on tour.
45Frances and Dorsey Whittington are making Jacksonville, Fla., their home and headquarters. They went there directly on their return from Europe for a class and recital booked for Mr. Whittington, and became so popular that they have responded to a very insistent demand to remain there and take an important part in the musical life of that community. This, however, will in no way affect Mr. Whittington's plans to fulfill engagements throughout the country. He will hold his third consecutive summer class at Winthrop College, Rock Hill, S. C., in July, and will present there his attractive two-piano programs in collaboration with his wife, Frances Whittington, also a pianist. They will make their debut in New York during the coming season with this popular form of piano recital.
47The foregoing artists all are under the management of Jean Wiswell.
49Truxell Plays at Bragun-Resnikoff Recital
50Earl Truxell, pianist, was accompanist for the recital given by Mate Culic Dragun, baritone, and Vladimir Resnikoff, violinist, in Carnegie Music Hall, Pittsburgh, on March 2, the closing event in the DeLuxe Series, of which James A. Bortz is manager. Dragun is a newcomer to this country, but is well-known as operatic baritone in Jugoslavia, his native country. The voice is rich, colorful and of excellent range, and his style noticeably operatic, with strong European characteristics. Resnikoff proved an ingratiating player and won many additional admirers for his art. He played a taxing list of numbers and came through in splendid virtuoso manner. Mr. Truxell was put to a severe test as accompanist for Resnikoff, as it was not until the afternoon of the concert that the violinist's regular pianist was found to be too ill to appear. That Mr. Truxell met the program requirements is praise sufficient, his playing throughout giving strong evidence of his capable pianism. Artists and audience bestowed deserved recognition of the Pittsburgh pianist's acumen.
52Estelle Wentworth Directs Pinafore
53The following comment is quoted from the Washington, D. C., Times of March 23: "Estelle Wentworth has charmed thousands of grand opera, light opera and concert goers in Europe and America with her voice and personality—but she never performed to finer effect or to the more lasting glory of good music than in her production of Gilbert and Sullivan's Pinafore for the radio audience of WMAL last night with a group of non-professional singers.
55"In these days of expert revivals and all star casts the highest form of courage is required to select a company of neighborhood vocalists without stage or concert experience save that acquired in home affairs, and with them produce in an entirely new producing technic and through a new medium, so well standardized an opera as Pinafore. The result was a real achievement and the uncovering of a distinct and most satisfactory radio technic.
57"The success of the Wentworth Opera Company's endeavor last evening rests with the keen musical intelligence that trained the singers and the genius of showmanship that kept a swift moving story in comprehensive form coming through loud speakers. Radio listeners may have the satisfaction of knowing that the opera was given without a single cut in the music. It moved with unbelievable spontaneity and speed from start to finish—but its speed was that of the story and its action, and no part was slighted.
59"The choral effects were unusually well achieved and the principals were all adequate—but the great feature of the performance was the direction given it by Miss Wentworth, who played the accompaniments and set a tempo that never lagged."
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