THE CHASE BROTHERS' GRAND PIANO.

Not a little attention was attracted early last month by the Chase Brothers Grand, which was heard at a concert in Central Music Hall, under the able fingers of Mr. Hyllested. This instrument represents the fruits of many years earnest study and experiment.

Chase was the pioneer piano maker west of the Alleghanies, more than thirty years ago. With rare foresight he estimated the future of the west at its proper value. Beginning with square pianos, he soon acquired for his instruments a reputation for honest construction and reliable qualities. The upright came later, and in this department he made a number of valuable improvements, and succeeded in establishing for his instruments an honorable and very profitable reputation. His first experiment in the direction of grand pianos was made ten years ago but not until the present season has he been in position to bring his grand before the public on its merits as an artistic product. A careful examination of this instrument has convinced many experts that it possesses original merits of a decided character.

The scale is even, the tone firm and singing in quality, and very musical. The action is agreeable, and the cases admirable in design. All his life Mr. Chase has been an original experimenter, and he does not care to follow tamely in the footsteps of his predecessors, until he has settled for himself that there is no better way. For this reason all his instruments have individualities of tone and construction; the grand no less than all the other styles. And, as the Chase brothers are not withdrawn from the Fair, there will probably be opportunity to hear these instruments at their best, as well as for them to gain for themselves the international commendation which is their due.

Celebrated
"Conover"

Pianos.

PURITY AND SWEETNESS OF TONE.

SCIENTIFIC CONSTRUCTION.

DURABILITY. (THE ONLY STRIOTLY

BEAUTY.

HIGH GRADE PIANO

MANUFACTURED

IN CHICAGO.)

Chicago Cottage Organ Company

SOLE FACTORS

(THE LARGEST DEALERS IN PIANOS AND ORGANS IN THE WORLD)

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215 WABASH AVE.

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MUSIC:

APRIL, 1893.

THE UNPUBLISHED BACH-SCHUMANN VIOLONCELLO SUITES.

Mr. Joseph Bennett, of the London Musical Times, in reply to an inquirer, who wished to learn why Mr. Piatti should have written accompaniments to Bach's violoncello suites, when Schumann had already made a similar arrangement, expressed himself thus: "It is scarcely my business to answer the question, but I will. Schumann's accompan

iments are not published, and his widow declines to part with the manuscript or even allow it to be printed. From all I can learn regarding them it appears that they are not very favorable specimens of the master's skill in such work. For one thing, they nearly always double the part of the solo instrument!" His implied commendation of Mr. Piatti's work, coupled with the direct condemnation of Schumann's efforts, seems to call for a word of consideration for the latter.

While studying in Stuttgart I heard in a chamber music concert, given March 28, 1879, the "Suite in G major for Violoncello by Bach, with piano accompaniment by Schumann." The performers were Herren Cabisius and Pruckner, respectively the court 'cellist and court pianist to the king of Wurtemburg.

I was particularly impressed at the time, not only by the characteristic themes and their development, but by the