Music Trade Review

Issue: 1904 Vol. 39 N. 7

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
MUSIC TRADE
REVIEW
On an invoice of accordeons, from N. Pitzschlar
& Son, of Altenburg, Germany, exported May 2,
and entered at Chicago, on Tuesday of last week,
were reappraised by General Appraiser as fol-
lows: Twenty-two accordeons, including boxes,
entered at 9.50 marks, were advanced to 10.50
marks each; 23 entered at 8 were advanced to
9 marks each, 2 per cent, discount, and add value
of cases.
The illustrated Hohner announcement on page
3!,' of last Saturday's Review is one of the most
striking and effective notices ever issued by the
enterprising Hohner firm. The "Hohner Reason-
ing" addressed to music dealers on the subject,
"This is Just as Good," is so cleverly written that
it is well worthy of reproduction:
"Mr. Dealer, were you ever compelled to use
the words 'this is just as good' in response to an
inquiry for goods which are in demand and which
you do not keep in stock? This happens every
BELL BRAND STRINGS.
day with retailers who ignore a standard article
The National Music String Co. Report a
because some unknown, worthless goods afford a
Splendid Demand for Their Products, Both
somewhat larger profit and which they urge the
at Home and Abroad—Developing South
inquirer to purchase, saying that their quality
American Trade in a Satisfying Manner.
is equal to that asked for. Why not avoid all this
ONE OF THE BEST BANJO SELLERS.
The business of the National Musical String talk by keeping the goods which are in demand?
Advices from all parts of the country state that Co., whose splendidly equipped factory is located There are three special reasons for your doing
banjo business is certainly improving; in fact, at New Brunswick, N. J., has been growing so; in order not to run the risk of having your
this popular instrument seems destined for a re- rapidly, not only in America, but in foreign coun- customers go to another store where the article
turn to public favor and therefore sales will be tries. One of the splendid cornerstones in the is kept, to satisfy your customers by complying
heavy. The wide-awake dealer prepares for the foundation of this business was quality, and with their wishes, to insure yourself against com-
demand in due season, and in this respect atten- Thomas Nelson, Jr., president of the concern, and plaint by the fact that being asked for, the goods
must naturally meet the demands of the pur-
tion is directed to the "Special Thoroughbred No. his associates rightly figured that the quality of
chaser."
One of the most telling features of the an-
nouncement is in reference to the foregoing:
Wherever you go they say, "This is just as good
as Hohner's." While such a statement is un-
fcunded, yet it proves that the Hohner harmon-
ica is the recognized standard."
only comes from a violin which has been in the
hands of a musician for years, players might be
induced to make use of this new attachment.
There seems no reason why the addition of
a bell to the violin should not have the same ef-
fect that it does to the cornet, and this is what
the inventor has sought to accomplish by placing
a bell on the violin. By connecting the smaller
ena of the tube with the sounding board beneath
the bridge, the tone vibrations are taken up and
transmitted to the sounding bell. The latter is
not in the way of the bow, and if made of alumi-
num or thin brass adds very little to the weight
of the instrument.
BAUER COMPANY'S
SPECIAL THOROUGHBRED XO. 4 0 .
40," manufactured by the Bauer Co., 1410-1412
N. 6th street, Philadelphia, Pa. It is one of their
best sellers, and they have hundreds of this style
on orders for fall delivery, and it is thought more
of them are now in use than any other profes-
sional instrument. The company as a matter of
fact have now on orders over 2,000 high-priced
banjos of all their styles, which are conceded to
stand second to none manufactured.
their strings would compel a recognition. Then,
too, quality was combined with the greatest care
in carefully carrying out the requests of the cus-
tomers to the end that every order should be
filled with promptness and exactness.
It was some two years ago when this concern
considered the South American trade was a fair
field for development. Like all of their under-
takings the move was not made without thor-
ough consideration, and the results have been
MUSIC BOXES AND ACCORDEONS RATED. satisfying in a large degree. For while the re-
turns were not commensurate with the efforts
(Special to The Review.)
put forth, but recently the quality of the Bell
Washington, D. C , August 8, 1904.
When music boxes of a less value than fifteen band strings and the celebrated "Black Diamond"
francs, or about $3 each, are imported, they are has caused them to be in great demand in South
permitted entry as toys, and therefore come under America, and during the past six months a large
that schedule's rating as to duty. The latest de- number of live accounts have been opened up.
cision on that point was rendered by General Ap- We may say that there is hardly a music store
praiser Sharretts, on the 1st inst., and which re- in Great Britain and her colonies in which there
verses the assessment levied by the St. Louis is not a representation of the National Musical
surveyor of customs, as follows:
String Co.'s product.
"The merchandise consisted of music boxes
GRUNEWALD'S SPECIALTY.
valued from 3.75 to 31.50 francs (75 cents to
$6.50) each. They were classified as musical
A rather striking advertisement which appears
instruments under paragraph 453 of the tariff in thia issue under the caption "I Want Your
act of 1897, and were claimed to be dutiable as Skin" is exploited by Rene Grunewald, the well-
toys under paragraph 418. On authority of G. A. known manufacturer of harp-guitars and man-
4679, and Jacot against United States, the pro- dolins, of 818 Conti street, Ne^v Orleans, la. Mr.
test was sustained as to all articles of a value not Grunewald is a large jobber in tambourines,
exceeding 15 francs ($3) each." The goods ex- banjo and drum heads. The Grunewald harp-
ceeding that minimum figure in price were prop- guitar has made a hit among the music dealers,
erly assessed as musical instruments at 45 per who have pronounced it a rapid seller and a
cent.
good money maker as well.
Elmer D. Smith, who has been for some time
proprietor of a music store in Pittsfield, Me., sold
his business last week to T. P. Littlefield, of East
Newport, who has taken possession.
THE VICTOR TRUMPET
A SYNCHRONIZING HORN for the
TAPER ARM MACHINES.
The TRUMPET has a VOICE.
The BEST HORN
for VOCAL RECORDS ever made—Price $6.
Usual discounts.
Descriptive pamphlet on application.
NEW
VIGTOR DANGE RECORDS.
Both 12" and 10" sizes. Standard Dance
Music. Arranged especially by Mr. WALTER
B. ROGERS, for many years Director of the
Seventh Regiment Band, of New York.
TEMPO PERFECT Passed upon and ENDORSED
by
Prof.
SYDNEY
S. ASHER,
of Asher's
Academy of Dancing, Member of American
Society of Professors of Dancing, New York.
LOUD, FINE-TONED
RECORDS.
Complete programme on application.
Please mark request for above special circulars " V.
D. R."
DON'T FORGET our EXCHANGE PLAN for taking care of
your old VICTOR RECORDS.
THE VIGTOR DISTRIBUTING i EXPORT CO.,
ALL GREAT MUSICIANS ADMIT
C . G . COIVPSI
WONDER BAND, ORCHESTRA & SOLO INSTRUMENTS
measure up the highest requirements of musical and mechanical ex-
cellence. TONE, TUNE, ACTION, MODELS are Perfect and
represent Superlative Attainment.
For complete Illustrated Catalogue, giving full description, prices,
terms of payment (Cash or Instalment Plan), address
C
G. COPSIISJ, - - E L K H A R T , INTO
77 Chambers St., New York.
The largest Distributers of VICTOR Goods in the United States.
YORK
Band Instruments
SEND FOR MEW
ILLUSTRATED CATALOGUE
J.W. YORK Makers of the highest grade
Ba.nd Instruments
GRAND RAPIDS
MICH.
.•¥....
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37
THE MUSIC TRADE REVIEW
In tKe World of Music PublisHing
THE LID IS OFF.
Prices Slashed—Conditions With the Publish-
ers—Fall Trade Promises Well—What Some
of the Buyers Say.
Conditions with publishers are very much
mixed these days. It is evident a change is tak-
ing place which may eventually place the busi-
ness on a more stable basis so far as the pub-
lishers and their product are concerned. As fre-
quently stated in this department some few firms
are endeavoring to solve the puzzle, or problem,
of selling profitably and advantageously by deal-
ing with the public direct through the agency of
department stores. It is the purpose of such
firms to ignore, apparently, the regular, legiti-
mate, recognized avenue of distribution, namely,
the dealer; and while pretending to protect the
trade reach over—or under would be perhaps the
better term—and do the retailing themselves.
Their enterprise might be passed as trying to
play both ends against the middle, a practice con-
demned offhand by all the rules of the game;
but they go further and give not only offense,
but endeavor to drive trade from the dealer by
prices that represent little if any profit and cer-
tainly no sane or safe reason.
The result must be for the publisher to create
his own trade with the dealer and cultivate closer
relations. The general feeling with many pub-
lishers has been that of ill-concealed if not out-
right expressed contempt for the average dealer.
The jobber has claimed their attention and affec-
tions and corralled the most of their dollars at
the same time. In fact, the jobber just about
rules the roost in the sheet music business to
date, more's the pity. He has taken every advan-
tage of the situation for the past two years at
least, and having the "coin," the alleged publish-
er minus capital—a string of weaklings, by the
way—has bent the suppliant knee and got all
there was coming to him. It is an old story in
every line, that when the jobber has the whip-
hand few, indeed, beside himself, enjoy any
profits or, at times, even stand a ghost of a show.
The tendency to cultivate direct connections with
the dealer is becoming more strongly empha-
sized; for it is the only proper course to pursue
in order to maintain the true equilibrium of the
trade from every point of view.
Fall trade promises well, with publishers and
dealers a unit in this opinion; but current
prices are a caution, according to all accounts.
A western buyer, who has called on all the lead-
ing houses, said to The Review, Monday: "I find
the publishing trade greatly demoralized on the
question of prices. I really do not know what to
make of it. I have received all sorts of proposi-
tions, and the way things are carried on now is a
new one on me. As a matter of downright fact,
if you buy in sufficient quantity almost any price
can be had. This is all wrong. I would like to
buy as close as the next man, but with no estab-
lished scale or even the semblance of such, it is
likely my competitor might do better than myself
and this is too uncomfortable a feeling for any
use. The publishers have themselves only to
blame for this wretchedly unsatisfactory condi-
tion of affairs. The lid is surely off so far as
prices are concerned, and the sooner it is put
back and screwed down tight the better it will be
for the dealer, jobber and publisher."
GUS EDWARDS A NATURAL MUSICIAN.
Gus Edwards—notwithstanding his name,
which is an Americanization of his original Teu-
tonic patronymic—was born near Berlin, in Ger-
many, and was a well-grown youth when he came
to this country about a dozen years ago. While
too young to have taken advantage of the many
opportunities for the study of the art in his na-
tive land, he had evidently absorbed the spirit of
German music, for he was a natural musician
from childhood. Shortly after his arrival in this
country, while living in Brooklyn, N. Y., the boy's
powerful soprano voice attracted the attention of
James Hyde, of Hyde & Behman's, who gave him
his first start in the show business. Young Ed-
wards organized the original "Newsboys' Quin-
tette," of which his younger brother, Leo, was a
member, and for several seasons this juvenile
choir was a big success in vaudeville. To vary
the tedium of life on the road young Edwards
learned to play the piano, and from "harmoniz-
ing" familiar songs for the quintette, began to
work out new melodies and rhythms of his own.
His knowledge of the popular taste, as well as
what is most effective in stage singing, guided
him in the path of success, for his first published
song, "All I Want is My Black Baby Back," writ-
poet or magazine bard to write something catchy.
The bard would take an old favorite, like "March-
ing Through Georgia," or "John Brown's Body,"
make the words fit the metre, and turn it loose
on the country.
That prolific team of song writers, Cole and
Johnson Brothers, are turning out campaign ma-
terial with a rag-time swing and along new and
original lines. Besides the Johnsons, other mel-
ody producers, members of the same colored
campaign club, are Al. Johns, Williams and
Walker and Harry T. Burleigh. The club has
among its 800 members at least 200 trained sing-
ers and fifty men capable of caressing the piano.
One of the first efforts by the Johnsons, writ-
ten at the suggestion of the club's president, is
called "You're All Right, Teddy," as follows:
When Europe raised a fuss
And tried to say to us
"What! dig through Panama you never shall,"
Our Tedd.v said, "All right,
I'll think it over a niirht."
Next day we got the Panama Canal.
CHORUS.
You're all right, Teddy,
You're the kind that we remember ;
Don't you worry, we are with you !
You're all right, Teddy,
And we'll prove it in November.
Teddy, we're going to keep you in the White House!
Now Mr. Parker thinks
That he is like the Sphinx,
But we're inclined to think he is a clam.
He's bound to jjet a tilt
Upon a platform built
Out of a Western Union telegram.
GUS EDWARDS.
ten when he was only 17 years old, was a phe-
nomenal hit. Young Edwards introduced it him-
self, through the medium of hi& newsboys, and
when the sales amounted to many thousands of
copies, he betook himself seriously to song com-
position.
Among his big sellers may be mentioned: "I
Can't Tell Why I Love You, But I Do," "Mamie,
Don't You Feel Ashamey," "I'll Be With You
When the Roses Bloom Again,-' "Way Down Yon-
der in the Cornfields," "Could You Be True to
Eyes of Blue," and "In Zanzibar." His latest and
greatest, however, are "Goodbye, Little Girl,
Goodbye" and "The Girl Who Cares for Me,"
which, although out only a short while are
sjjoKen of as spreading like wild-fire. During the
war with Spain Gus Edwards went out to Camp
Black, to sing for the boys of the Twenty-second
Regiment, N. G., S. N. G. There he met Will D.
Cobb, author of "Goodbye, Dolly Gray," and liked
his lyrics so well that forthwith the firm of Cobb
& Edwards, "songsmiths," was formed, their first
hit being "I Couldn't Stand to See My Baby
Lose," which was introduced by May Irwin. Later
they undertook to publish their own songs, but
Mr. Edwards found that business details inter-
fered with his composition, so their entire cata-
logue was sol4 to M. Witmark & Sons, with which
firm Mr. Edwards is now engaged for a term of
years, with nothing to do but think out new melo-
dies and exploit them as pleases him best.
GENESIS OF THE CAMPAIGN SONG.
This year different methods will be employed
in the genesis of the campaign song, which is
as old as American politics, but too often it has
been a nerveless sort of musical halfbreed. The
central committee would hire some newspaper
To appreciate the song one has to hear it with
the music. There is a jubilee shout about the
chorus. Other songs followed, one particularly
dealing with a flag incident of the Civil War, and
then proceeds to bring the flag down to current
issues and touches on the Rough Riders at San
Juan and the Panama incident. The chorus has
a martial swing and the accompaniment is full
of little snatches from "Dixie" and "Marching
Through Georgia." Another hit. A publisher has
the two songs in hand and is going to bring them
out for the use of Republican clubs all over the
country. The Johnson Bros, are writing another
song, and the other composers of the club are
thinking of getting busy themselves.
\
On the other side of the political fence, the
professional song writers are by no means idle,
and their crop of lyrics and music dealing with
campaign issues promises to be equally forceful
and pertinent.
THE INVINCIBLE WITMARK
"SLATE."
"The Witmark Convention of Popular Publica-
tions"—second session—is even more comprehen-
sive and instructive than the first presentation
devoted to popular song hits. The current an-
nouncement, on pages 38 and 39 of this issue of
The Review dwells in detail upon this high grade
firm's catalogue of instrumental successes and
their operatic output. The inducements extended
to dealers in connection therewith cannot afford
to be overlooked if self-interest and profitable ad-
vantages are studied. The list of "good things"
is really wonderful and unprecedented in the his-
tory of music publishing in this country. The
evidence of enterprise and excellent judgment
shown by M. Witmark & Sons in these issues rep-
resent many years of business experience and
musical acumen.
Heretofore publishers have circularized the
trade in the regular way regarding their publica-
tions, but now the Witmarks have taken another
step forward, along lines which represent true
progress and in keeping with their motto, "suc-
crss is work." They certainly have the largest
and best moving catalogue extant, and dealers
now have an opportunity of stocking up with
"sure winners" on a ground floor basis.
FOREIGN MUSIC PLAYS TO BE HEARD.
London, Eng., August 3, 1904.
As a premise it may be said that all good mu-
sical plays—and some bad ones—go from Eng-

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