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New-York tribune. [volume] (New York [N.Y.]) 1866-1924, June 12, 1910, Image 21

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn83030214/1910-06-12/ed-1/seq-21/

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'tL-imgside Park ar.d overlooks ai! Harlem at its feet, a
'i-ssraam avenue, building up rapidly with tall tenement
31*31 enter the front deer in a year, probably, after the first
A.way below a p~ouit shoulder of one
s out— Uu most
. • ses that have ever been

! of the
• -- rests the
- ■ the
the a ■ ■ ■
■ .
• - . - ling
it up to last
Bes t ie men -scl.r.es s p. aster pattern.
have no more permanem y than the ridiculous
shift of a man's lifetime.
They have dug for the foundation down to
the bedrock of th< heights on which the struct
ure stands, ami th« y have given it four gTanite
bones of such magnificent strength as to be
able to bear the thirty-five million ;■ unds of
-■:t that will rest upon each of them. No
■ ■ ■ n constructed that has
had the : I I m< as !• ng as
that which tl gi I reation ma; k for-
Everything that • :•. eriei
■ -
■ • ■ ist of th< •■

. ' ■ ise of a
every -
re bi
. i
the coming
. . ■ ...d on
Its hi : h. : I
J. Pierpont Morgan, at a recent diocesan cim
vention in New York, amused a group of clergy
men with a story of a minister.
"He was as ignorant, this good man. of finan
cial matters," said Mr. Morgan, "as the average
financier is ignorant of matters ecclesiastical.
"He once received a check — the first he had
ever got in bis life — and took it to a bank for
" 'But you must indorse th<^ check,' said the
paying teller, returning it through his little
" 'Indorse it?' said the old minister, in a puz
zled tone.
"'Yes, of course. It must be indorsed on the
"'I see.' said the minister and, turning the !
check over, he wrote across the pack of it:
"'I heartily indorse this check." "

Beginner (wrathfully) — Look here, I'm tired !
of your laughing at my game, [1 I hear any
more impudence from you I'll crack you over I
the head.
Caddie All right; but I*ll bet yer don't
know what's the right club to do it with. — j
Pick-Me-Up. I
Continued from «rroml pace
and teacher in Dresden who >:sfied
with the harpsichord b< ■ ;ty of
his pupils to play on that i:-- ri - ir;> j ; : with the
taste and expression which they exhibited when
they practised on the cla [chord Fl< w. Nt with
a lamentation to the Saxon ■ nurt < ha pel ,
who advised him t.- get one ol th< Nuremberg;
hurdy-gurdy claviers. He did so, and th< fact
that it was possible t" sustain th< tone< in a
singing manner on the instrument pleased him
much. But there was still ■ fly in the oint
ment. He was unwilling while making music
to work with both his feet "like a linen w< ;>.\tr,"
as he expressed it. While in this frame „t mind
he heard the performance of a famous virtuoso
on the dulcimer, and from this performann con
ceived the idea of constructing an instrument
on which, if it should not be able t- sustain the
tone like the "Geigenwerk/ 1 should at least
make it possible to play forte or inane al wilL
He went to work himself ■;.) a joiner's shoii dur
ing the resting hours of the workmen, and suc
ceeded in constructing two models for .. ham
mer mechanism to he applied to the harpsi
chord. These, in February. 17J1. he submitted
to the Kin? of Saxony, by whom the invention
was heartiiy approved, as well as by the court
chapel mast'-r. He had no means ti build an
instrument or exploit his invention, and t Sough
the King- ordered one built it was nev« i done.
Soon thereafter Schroter lef( Saxony Many
years later, finding that every pianoforte b iiider
in Germany \\ . ng •• , Invent!* n of the
instrument, he printed ins st< ry, giving all the
dates with the rare. He could do this
because he had kept a diary all his life, and he
even *nentioned the time of day at which he
carried his models to the royal paiai c The
merit of having sugg I German inven
tion of the piai r on
the ,iuii imer, and sin c ,\ith
a study of principles rather than mechanics it
may be profitable to consid< r what it was in the
performance of this man which -'ully
excited the imagination of a hroter. Th. i layer
was Pantaleon Hel ■ nstreit, for many years a
chamber musician at tl •- Saxon court Al
though an excellent violinist, his favorit* instru
ment was the dulcimer, on which he had ac
quired great proficiency as a bo: Not content
with the simple form of the instrument as he
found it, he increased Its siz< ,t v. ith a
double system of string | rass and one
iof gut— and tuned it in -• ■ . rament, so
j that it might be used in all the major and minor
j keys, following in this the way pointed out by
j the great Bach. He played it in the primitive
fashion with a pair of hammers, and hi.s musio
excited the Ih-eliest interest wherever he w^nt.
He played before Louis XIV in 170. r >, and the
prrand monarch honored him by giving the name
"Pantaicon" to hi.~ I . Imer. A year later he
became lirector of the orchestra an<i n>urt
dancing master at Eisenach, and later still
chamber musician in Dresden, at an annual
salary of L'.'M^i thalers and an allowance of 200
thalers fur strings.
It is in Hebenstreit's dulcimer that we are
privileged to see the first instrument with some
of the expressive capacity of the modern piano
forte. The interest created by his performances
was not due alone to the effects of piano and
forte which he produced by graduating the
force of the hammer blows and utilizing the two
kinds of strings. Discerning musicians heard in
his playing for the first time an effect whose
scientific study of late years has done more to
perfect the tone of the instrument and to in
fluence composers and players than anything 1
cisc in pianoforte construction. Kuhnau, who
was Bach's predecessor as choirmaster of the
Church of >'t. Thomas, in Leipsic, praised the
great beauty of the tone of the pantaleon, the
bass notes of which, he said, sounded like those
of the organ: bi;t. more significantly, he re
corded the fact that on sounding a note its over
tones could be heard simultaneously up to the
sixth. Helmholtz's determinations as to the in-
uut'iiix 01 uruais un vie timrjre or musical in
struments have L-^rn of the utmost importance
in pianoforte construction. H. K. K.
"Pony" Moore, the once famous minstrel. Is
dead at the age >' eighty. •[■ was one of the
last of his kind.
Moore," said a veteran Chicago manager,
"used to make up his own jokes. Once when
he played here he had his toes run over and
limped on that nigh with a foot that resembled
a white pillow.
■■ "All's ez tendah- as Liza Johnsing,' ho
said to the audience with a chuckle. 'Yo' know
bout Liza? Young Calhoun White, he sez to
i'T. proposin":
Whaffo' yo' make a face like dat when I
impose, Miss Johnsing?" '
Well Cal," says Liza. "Ah kain't give yo*
>ffa.h propah consideration less'n yo' takes yo*
cnee off'n mah con." , "
Jack and Joey at the menagerie watched the
ion eat sugar from the trainer's hand with
qual interest but differing inference.
*"Oh!" gasped Joey, round-eyed.
"Pooh!" said Jack. "I could do that."
"What: You?"
■ourse! Quite as well its that olvi lion."-*
Youth. ..uiou-

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