The daily morning journal and courier., 1898-12-09

playing of the Stelnertone, and natural ly will be an important event in the pi- anistic world. Prof. Sanford has been loud in his praises of the action from the start and has frequently played on it. MT. Steinert has promised to send one to his studio as soon as it can be completed and there is a possibility that Prof. Sanford will play in public on it. Prof. Parker has also expressed his approbatlon frequently. MT. Arthur Waiting, the weil-known pianist and composer, stopped over one day on his way from Boston to New York, intend- ing to stay one hour. and he was so carried away With what he heard that he stayed four hours. AS a result he wrote Mir. Steinart, asking to have him send piano with the Steinert action to Boston for his chamber-mus c recital there on the 11th of December. MT. Steinert was pleased to receive MT. Whitings approval, but was unable 10 comply with the request.
 MT. SteinSrt sent to MT. A. J. Hip kins, of the celebrated Broadwood firm of London, England, description and drawings of the action. Mir. Hirkins is a great authority on musical instru- ments, and has written several volumes on their history and construction, nd was an important contributor to the Encyclopaedia Br tannica." As a re- suit of this letter MT. Hipkins wrote back to MT. Steinert saying that the Broadwood firm would send him one of their short grand pianos, incomplete externally and with Jury legs, but in- side ready for the finishes and with the Tyre pedal complete" They desired 10
 have their piano fitted out with Mir. Stenert's action and returned to them at their own expense. It app ara the piano-forte of to-day is very narrow in its limitations, and ia musically an un- satisfactory instrument as compared
 to the violin. The greatest annoyance to the pianist is what is known tachni- cally as "esoar rement," which means | the release of the hammer from the strings This is done away with in the
 new action. MT William Apthorp, of I the Boston Transcript" in comment
 ing recently up Rosenthals playing i of Chopin waltz. said, "The 10 tlssimc
 as at present practiced is not musical; | it is sort of roar, of exceedingly cem- l p'ex constitution. It is full of bellige- rent overtones. Some of Mir. Rosen-
 thars fortissimo passa ges-say the one
 toward the close of the A-flat waltz
 sound for all the world as If they were played on mora than one ins;rum nt; 1 the effect might be initiated by having
 three piano-fortes and three players; let enc play the passage very loud in A. 1 flat major. the second very softly in
 major, and the third equally softly in C
 najcr. It is not that Mr. Rosentha pays wrong notes; he is too accur ste 2 1 technician fer that: but that he strike I through the tone of the instrument anf this to a degree sets all sorts of har | nonic resonances going, almost to tn, 1 blurring of definite pitch" This i l quoted because it shows that the de fects of the present p,ano-forte aIe rec 1 Cgn'zsd and as MT. Steinerts acti0I largely does away with the overtones great interest is felt in it among critic
 as well as pianists, The fact that Ro senthal desires to play on the new ac
 ton at one of his New York recitals q Carnegie Hall shows that he has th
 greatest confidence in it's worth. Tn, occ asion will be looked forward to witt great interest.