Articles on the use of Steinway pianos at Philharmonic concerts

The eminently successful season of the Philharmonic Society, under the able guidance of its President, Professor Doremus, terminated on the evening of May 7. The musical attractions throughout the season presented by the Society were of unusual excellence, especially in that essential department of a truly successful and popular programme, viz: piano-forte playing; much attention having been devoted to that most favored of Concert Instruments by the direction, which succeeded in obtaining the assistance of the most justly celebrated exponents of piano-forte music of the highest classical character, whether in solos or concertos with orchestra. We need only name Miss Anna Mehlig, Miss Alide Topp, and Mr. S. B. Mills, who may be justly styled classical representative pianists of the day. These great artists, as on every other occasion where their efforts have been subjected to close and trenchant analytical criticism, felt that their names and reputation were at stake, and, much depending on the quality of the instrument on which they performed, invariably selected the Grand Pianos of Steinway & Sons, as those above all others most affluently filling all the exigencies and requirements of their art. No other instruments were used throughout the Philharmonic season, and their unsurpassed excellence was manifested alike to the audience generally, the musical dilettanti, and the art critics who so thoroughly indorsed their merits. It would have been next to impossible to expose a piano-forte to a series of more exacting tests than the instruments of Messrs. Steinway & Sons were subjected to, or to imagine a more complete success than they achieved nor is it to be wondered at that artists who invariably preferred them for their private use should do so on great public occasions.”

Quotes the article from the New York Tribune in full.

Quotes the article from the New York Tribune in full.