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THE
day), and will make the British capital his
permanent home in the future, having disposed
of his interest in his Sydney house to his son,
'Coon,' who will hereafter conduct and own the
business alone. Mr. Albert, Sr., takes with him
the catalogues of a number of American publish-
ers, including that of Jos. W. Stern & Co. and
others besides my own signing the agreement to-
day. We propose to back the gentleman up as
against the English publisher, for since we can
enter our copyrights in Canada they are effec-
tive for the entire British Empire. For instance,
on a new title we can forward a professional
copy to Ottawa, specifying a date five days hence,
and the registration is made simultaneously in
Washington and Canada and the music also
placed on sale at both places.
"American publishers have been getting th9
worst of it in their dealings with our British
cousins, and nearly all of the prominent houses
but myself have gone over, looked the ground
over and making arrangements which have been
more satisfactory. The publishers here are now
insisting that an advance cash payment be made
before signing any contract, and in that event
they have 'a run for their money.' When a state-
ment of account is rendered a rebate will even
things up. Besides this prepayment enforces or
guarantees prompt settlements. I have a propo-
sition from a French publisher before me now,
in which he offers an extra five per cent, on the
sale price to close a contract. As a further argu-
ment he adds in his letter: 'The importation of
American music is getting more difficult every
year.' I guess, yes. I declined, however, with
the counter offer of a cash bonus down.
"When Maurice Shapiro, of Shapiro, Remick &
Co., was in London last year, and who, by the
way, is a long-headed fellow, he insisted upon so
much spot cash, and whatever else might develop
in the way of additional royalties, all right. But
that was the sensible way to do the business, and
I propose doing the same. Next summer I am
going abroad and then I will close up with my
Parisian friend strictly on a cash basis, not be-
cause I need the money, but simj)ly as a guaran-
tee of good faith and for purposes of identifica-
tion, as you newspaper men say. I shall adopt
this rule in Germany and Russia also, as I have
applications on file now to dispose of my rights
in those countries."
FLASHES FROM A LIVE WIRE.
A story is going the rounds that a publisher
who had contracted for advertising space in a
theatre programme had ulterior motives in his
self-recorded spasm of generosity. Subsequently
he sent a letter expressing his indignation that
none of his songs were being featured by the
house, and he would like to know what his be-
stowal of advertising patronage meant if his pub-
lications were not to have preference. A curt
note in reply stated the management was not sup-
plying singers to any publisher on account of any
business relations they might have with their
programme, which was a distinct and separate
enterprise. The "street" is having lots of fun
over the incident.
Manuel Klein, composer of "Mr. Pickwick" and
other successful operas, has written the music
for a new vaudeville operetta, entitled "The
Highwayed Highwayman," by Isabel DeWitt
Kaplan, who wrote the book of The Bostonians'
last opera, "The Queen of Laughter." The new
operetta is written for four voices, and introduces
the celebrated Dick Turpin, the old English
"knight of the road," for the first time on the
American stage. The act will be produced short-
ly, and the score is published by the Witmarks.
Waltz songs are usually just waltz songs and
very little else. But in "Josie," published by Sol.
Bloom, there is a refrain that is spoken of as al-
most as original as it is melodious. The song,
which is written by Henry A. Blumenthal, is
catching on more quickly than was anticipated.
Speaking of melodies is a reminder of Sol.
Bloom's judgment in this respect, which is said
to have been helpful to more than one writer in
shaping up an air for the popular market. His
MUSIC TRADE
REVIEW
THE SAME OLD STORY
It is a tradition that all the
Successful Musical Productions
will be found in THE WITMARK CATALOG.
The season has just opened and here we are with a rush.
MADAME SCHUMANN-HEINK
GRAND OPERA STAR.
in Stange and Edwards' New Comic Opera,
"LOVE'S
LOTTERY"
suggestions are practical and seldom amiss. An-
other interesting gentleman in connection with
the business department of this house, and a
character in his way, is I. Waldman Teschner,
recently appointed commissioner of deeds, and
who attached his first official signature to a docu-
ment Saturday last.
F. B. Haviland Publishing Co. have arranged
with Francis Day & Hunter, of London, Eng., to
exploit their catalogue in Great Britain and the
colonies for a limited time. Sol. Bloom will es-
tablish his own English branch.
HOAX AND COAX
$ .60
MY FIRST TRUE LOVE
60
SHE IS THE RIGHT GIRL, RIGHT FOR YOUR
"The Gates of Pearl," H. Wakefleld Smith's fine
MONEY, O!
60
YOU'LL FIND NOTHING BETTER THAN BEER. .60 sacred song, arranged for band and orchestra,
WHAT ART THOU ?
60
KIND FORTUNE SMILES TO-DAY
60 and published by the Ditson Co., Boston, is in
FOLLOW THE FLAG
60 great demand by leading singers.
A SPANISH GRANDEE
60
THE BLARNEY OF KILLARNEY
60
SWEET THOUGHTS OF HOME
60
In D flat. In E flat. In G.
THE VERSATILE VICTOR HERBERT.
INSTRUMENTAL.
$1.00 WALTZES
.60 LANCIERS
2.00 GEMS
SELECTION
MARCH
SCORE
$.75
60
50
JEFFERSON DE ANGELIS COMPANY
"FANTANA"
Book by Robt. B. Smith and Sam S. Shubert. Lyrics
Robt. B. Smith. Music by Raymond Hubbell.
HIS LITTLE SISTER
$
THE WALTZ DUET
DARBY AND JOAN
OH! SILVERY MOON
BECAUSE I AM NOT UNDERSTOOD
JUST MY STYLE
MY WORD
IT IS THE GIRL AND NOT THE HORSE THAT
WINS THE PRIZE
SONG OF THE PIPE
THAT'S ART
'
DROP IN ON ME AT LUNCHEON
THE SECRET .
WHAT WOULD MRS. GRUNDY SAY
SHE CAN DO LITTLE WHO CAN'T DO THIS
THE GIRL AT THE HELM
LAUGHING ALMOND EYES
SELECTION
MARCH
VOCAL SCORE
INSTRUMENTAL.
$1.00 WALTZES
50 LANCIERS
2.00 VOCAL GEMS
$.75
50
50
MAY IRWlN'S SONG SUCCESSES
As sung by her in Geo. V. Hobart's New Comedy,
" MRS. BLACK IS BACK"
I'M WORRIED TO DEATH ABOUT THAT
$ .50
By May Irwin.
'TAINT NO USE IN LOVIN' THAT WAY
50
By May Irwin.
BIBLE STORIES
50
Words by John Lee Clarke. Music by Al. Johns.
IN THE SHADOW OF THE PYRAMID
50
Words by R. C. MacPherson. Music by Ernest R. Ball.
GUESS, GUESS, GUESS
50
Words by Paul West. Music by John W. Bratton.
KEEP AWAY FROM BROADWAY
50
Words by C. Noel Douglas. Music by Al. Johns.
STELLA
MAYHEW
in the Musical Comedy,
" FLO-FLO "
By Collin Davis and Howard Whitney.
'PHELIA
$ .50
Words by Howard Whitney.
MANY. MANY WAYS TO SAY "GOOD-BYE"
FOR THE SAKE OF AULD LANG SYNE
FIVE DOLLARS A SEAT
A WIFE IS A NECESSARY EVIL
GIRL OF PEARL
KISSING IS ONE GRAND OCCUPATION
RACHEL
MISS WIDE AWAKE
A SAILOR BOY
SLEEP AND DREAM-SERENADE
CUPTD IS A LITTLE MISCHIEF-MAKER
YOUR LOVE FOR ME, SWEETHEART
Words by Lois Evan Davis.
SELECTION
MAROH
SCORE
INSTRUMENTAL.
$1.00 HOP SCOTCH
50 centric Dance)
2.00 WALTZES
LANCIERS
50
50
50
50
50
50
50
50
50
50
50
50
(Ec
50
$.75
50
DELLA FOX MUSICAL COMEDY CO.
IN
" THE WEST POINT CADET "
By Paul Billaud and Alfred Barre.
Adapted to the American Stage by M. Norden. Music by
Alfred Muller-Norden.
THOSE DAYS OF LONG AGO
$ .50
MY LOVE FOREVERMORE
50
I'LL BE A WEST POINT CADET
50
LONELY LITTLE MARJORIE
50
FLIRTATION (Sextette)
50
IN THE GOOD OLD G. A. R
50
TO
THE
TRADE:
We have something new to offer you at all times.
Write for our new rates and special offers. Don't lose
sight of the fact that we have A BIG LIST OF
POPULAR VOCAL AND INSTRUMENTAL
SUCCESSES.
M. WITMARR & SONS
144-146 West 5 7 t h Street, New Y o r k
CHICAGO - - LONDON
Probably the busiest man in the field of Amer-
ican music is Victor Herbert, whose time and
talent are not sufficiently occupied by composing
two or three operas and dozens of songs and in-
strumental numbers every year, so that he musf
needs conduct, an orchestra to fill in his leisure
moments, and provide an outlet for his wonder-
ful vitality. Most musicians of genius are re-
puted to have been dreamers, but Herbert is a
man of action as well; he possesses not only
imagination, but executive power to realize his
dreams, and win success in various fields. In
the days when he was known principally as a
'cello virtuoso, Herbert was not content to settle
down in an assured position as soloist of some
great orchestra. He organized concert tours on
his own account, and made successes of them.
When the baton of the late P. S. Gilmore fell
to his hand, he wielded it so effectively that Gil-
more's eventually became Herbert's Band. Then
the field of light opera composition attracted
him, and such successes as "The Serenade," "The
Wizard of the Nile," "The Fortune Teller" and
"The Singing Girl" came rapidly from his pen.
Still he could not forego the active life of the
conductor, and when the Pittsburg Orchestra was
organized Mr. Herbert was chosen to lead it. For
six years he held this position, but again operatic
composition claimed him, and "Babes in Toy-
land" brought a deluge of contracts that made his
residence in New York almost imperative.
Still, having finished the opening piece for the
Fields Theatre, and also composed "The En-
chanted Isle," with other operas on the stocks,
Mr. Herbert found so much spare time on his
hands that he organized another orchestra and
inaugurated a series of Sunday night concerts at
the Majestic Theatre, New York, under direction
of Nelson Roberts. The first programme proved
that Mr. Herbert possesses that rare faculty of
the successful conductor—ability to select as well
as render appropriate and popular programmes.
Mingled with Wagnerian numbers and classic se-
lections calculated to please the musicianly, are
lighter pieces which tickle while they do not de-
base the popular ear. His own compositions were
an important feature of the evening. The "Babes
in Toyland" numbers were revived with notable
enthusiasm. The progress of musical cultivation
of this country is necessarily slow, because there
is such a gulf between the tastes of the "masses"
and the "classes"; therefore, a cultivated musi-
cian like Mr. Herbert, who appreciates the de-
mands of both, is bound to do good work.