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THE MUSIC TRADE REVIEW
annexed paragraph: "Occasionally a visitor to
the Federal building hears the strains of music
coming from one of the court rooms and is filled
with wonderment. He may have heard that the
practice of Federal courts, which follows the com-
mon law more closely than does that of the
State courts, is surrounded by dignity and rev-
erence and may imagine that the proceedings
open with a hymn. Or, if the tune is a light
one, he may believe that the learned and be-
gowned judges are relieving the ponderous char-
acter of their work by a bit of diversion. But if
he is curious and investigates he will find that
music is often a part of the day's work in these
courts. There are many cases of infringement
of copyright on musical productions, and the
piano often gives the most conclusive kind of evi-
dence." Suits pertaining to musical compositions
are seldom, if ever, brought in the United States
courts. Litigation of this kind, which is abun-
dant, by the way, is carried on before the State
tribunals, sitting in the county court house, and
the controversy is never as to an infringement of
melody—for a case of this nature is unknown in
any court in this country—but concerns squabble
over contracts with writers, etc., and therefore
a piano is never required to furnish a conclusive
point in evidence. The "story" is a good one,
nevertheless, even if not strictly in accordance
with the facts.
The ever-popular "military maid," Hazel Burt,
is back from London, and has selected the follow-
ing songs for her opening engagement here: "I'm
Going to Meet Birdie To-Night," "Good-Bye,
Sis," "Keep a Little Cosy Corner In Your Heart
For Me" and "What the Brass Band Played." A
few of the F. B. Haviland Publishing Co.'s latest
song numbers are: "Don't Be So Mean," words
by Bert Fitzgibbon, music by Theodore Morse;
"The Rose," words and music by Thurland Chat-
taway; "My Bashful Moon," words and music by
Julian Thorwald. In connection with this the
trade should not overlook the company's "new is-
sue" proposition, for it is of interest to all
dealers. They furnish any quantity of their new
thematic catalogues without charge.
The musical career of Thomas G. Shepard,
whose death was announced in a recent issue of
The Review, was a very remarkable one. Among
the most prominent of his compositions, some of
which have reached a sale of 40,000 copies, are
the following: "Collection of School Marches";
"College Songs,' mixed voices; "College Songs,"
male voices; "Yale Songs"; "Yale Glees"; "Yale
Melodies"; "Ye Women's Singing Book," written
for the Daughters of the Revolution; "Quarter
Hymns"; "Hymn Anthem Collection"; "Shep-
ard's Anthems"; "Me" (dedicated to Mrs. Shep-
ard) ; "Pipe Organ Collection"; "Voluntaries"
"Pipe Organ Method"; "Reed Organ Album"
"Reed Organ Method"; "Brave Mother Yale"
"Golf," part song; "The Lass That Loves a
Sailor' part song; "Hannah," part song. Also
a couple of operas, a long list of church music,
cantatas, sacred songs. Several other composi-
tions in manuscript have never been published.
Mr. Shepard was the father of the present school
of college and glee club music. His latest produc-
tion was an instruction book for the pipe organ,
published by Schirmer, and called the best treat-
ise on the subject that has ever been written.
His musical library is one of the largest in the
country. Hinds, Noble & Eldredge published the
greater portion of the deceased's college music.
It was a large and well-pleased audience that
attended the Herald Square Theatre, New York,
Monday week when "The Rollicking Girl" was
given its initial performance; and Sam Bernard,
the star, and his supporting company had every
reason to feel proud of their reception. The
papers praised the new musical comedy at great
length, and predicted a long run for it. W. T.
Francis composed the musical score and Sydney
Rosenfeld wrote the libretto, while the added
eong numbers were the work of several different
people. It is somewhat too early to predict what
songs in "The Rollicking Girl" will be the most
popular, but judging from the applause and the
comments, the following will become great favor-
ites: "When Love Begins," by Rosenfeld and
Francis; "My Little Sunbeam Sue," by Dave
Reed, Jr., and W. T. Francis; "Friends That Are
Good and True," by Sydney Rosenfeld and W.
Aletter; "Won't You Be My Lovey Dovey?" by
Ed. P. Moran and Seymour Furth; "The Girl I
Left in Boston Town," by Douglass and Bratton
and Ernest R. Ball. M. Whitmark & Sons are
the exclusive publishers of the instrumental and
song numbers of "The Rollicking Girl," with the
exception of one or two interpolations.
"In After Years" is a ballad from the fertile
and melodious pens of Otto and John Heinzman,
both of whom are well-known traveling salesmen
for prominent piano manufacturers. Otto is at-
tached to the selling staff of Weser Bros., and
John carries the eloquent card of Ben H. Janssen,
of New York. The latter was also with Jos. W.
Stern & Co. for many years.
ANOTHER SOL BLOOM WINNER.
At the New York Theatre, recently, a very sig-
nal success was scored by Miss Jeanette Lowrie's
singing of a new song, just issued by Sol Bloom,
entitled, "I'm Looking For a Sweetheart," one
of Raymond A. Browne's happiest creations,
created a furore, and she had to respond to sev-
eral encores. The song is a winner.
Several entirely new numbers from Sol Bloom's
catalogue are being featured by Irene Bentley,
chief among which are "The Monk and the Maid"
and "Hot Airy Mary," both of which give her full
scope for the exercise of her remarkable gifts.
Wm. H. Penn's new intermezzo two-step, "The
Matador," is coming up very strong. Meanwhile,
the number of acts featuring Arthur A. Penn's
splendid concert number, "Carissima," grows
larger week by week.
THKOUOHK ii. NoUTiinrr.
glad to be informed that the famous nautical
opera, "Ship Ahoy," has been revised and brought
up to date by Mr. Northrup, to be in readiness
for the road next season. He has added almost
an entire new vocal score to the opera, and has
strengthened it in many other respects.
SOME RECENT PUBLICATIONS.
FROM CHAS. K. HARRIS.
Vocal.—"I Only Ask, Remember Me," by Al. La
Rue; "Nobody But You," by Fay Templeton; "If
I Could Only Land a Millionaire," in "Florodora,"
Benjamin Hapgood Burt's new song, "The In- by Raymond Hubbell; "Sweet Maid Divine" (in
dians Along Broadway," seems to be without "The Girl and the Bandit"), "Farewell, Sweet-
question a big success in the "Rollicking Girl," a heart May," and "I'm Trying So Hard to Forget
new production starring Sam Bernard and Hat- You," by Chas. K. Harris; "It Makes Me Think
tie Williams, now running at the Herald Square of Home, Sweet Home," by Frank D. Bryan;
Theatre, New York City. It is a topical song "I'm Going to Leave You," by Jos. E. Howard;
with up-to-date words as well as a melody easily "Waltzing With the Girl You Love," by Ben
whistled, and as sung by Bernard, Miss Angeles, Shields; "Heap Love, Indian Serenade," "My
Miss Williams and Joseph Coyne, it proves one Illinois," "If I Were the Man In the Moon,"
of the most novel and tuneful numbers ever pre- "Brownies," "You're Just the Same to Me," "Ask
sented in a Broadway production. It is published the Man," "Oh, the Deuce, What's the Use?" "I'm
by Jos. W. Stern & Co.
So Lonesome for You," and "Diplomacy" (in
True to their policy of always writing origi- "The Isle of Bong-Bong"), "Honolulu," "The
nal songs, Cole & Johnson have just produced an- Land of Nod," "Butterflies," "Love's Lingo," "Song
other "gem" which gives all desired indications of the Mermaid," "The Kitty and the Owl,"
of being another hit. The title of the song has "Stories of a Summer Night," "In the Orange
a world of humor in it "This Ain't No Time For Blossom Land," "Sweethearts of Boyhood Days,"
An Argument," and one can be sure that they "Louie," "Drink to the Glorious Night," "In Dear
have exhausted the comic possibilities as well as Old Kankakee," and "Julie Dooley" (in "His
written an extremely catchy melody. Evidently Highness the Bey"), by Joseph E. Howard.
Jos. W. Stern & Co. have secured another winner.
Instrumental.—"The Harris Medley Lanciers,"
No. 2, for piano, arranged by Al. La Rue; "A Gay
THEODORE H. NORTHRUP.
Gossoon," march and two-step, by Edwin F. Ken-
The portrait above is that of Theodore H. dall; "The Chas. K. Harris Dance Album of Pop-
Northrup, the well-known composer, who is iden- ular Hits," No. 2, arranged by Al. La Rue.
FROM JOS. W. STERN & CO.
tified with what is known as Branch B of the
Vocal.—"In the Valley of Rest," by Thurland
Witmark Music Library, one of the most impor-
tant departments of that famous publishing Chattaway; "There's Only One Little Old New
house. It will be most gratifying news to music- York" (in "The Athletic Girl"), by Jean
lovers generally to learn that Mr. Northrup has Schwartz; "The King of the Vikings Am I," by
composed a new bass solo, which is entirely dif- Walter A. Phillips; "What's Sauce for the Goose
ferent from anything he has heretofore written, is Sauce for the Gander" (in "Nancy Brown"),
being robust and simple in style and suitable also by Anna Marble; "Little Girl, You'll Do" (in
for baritone singers. The name of this new song "The School Girl"), by Alfred Solman; "My Fili-
pino Belle" (in "Mama's Papa"), by A. Baldwin
has not, as yet, been given to the public.
Two of Mr. Northrup's most famous songs are Sloane; "Somali Land," by Clara Kummer.
Instrumental.—"Indian Lover's Serenade," in-
"Hero's To the Nut Brown Ale" and "Beware of
the Brigand Bold," which are still being sung in termezzo, by Chas. J. Wilson; "Lady Teazle"
all paris of this country and abroad, especially in march and two-step (in "Lady Teazle"), by A.
London. Another of his successful songs, which Baldwin Sloane.
FROM F. B. HAVILAND PUBLISHING CO.
always gets from three to eight encores is
Vocal.—"Don't Be So Unruly," by Minnie
"Saucy Sally," which has been featured in "The
Liberty Belles" and "The English Daisy." Doubt- Methot; "I Never Meant to Hurt You So," and
less, it will eventually become very popular on "My Guiding Star," by Thurland Chattaway;
the vaudeville stage. "Pretty Poll" was also "Keep a Little Corner in Your Heart for Me;"
written by this composer, and has made a great by Theo. Morse.
Instrumental.—"Please Come and Play in My
hit everywhere because of its tuneful, catchy mel-
ody. Music-lovers and musicians will also be Yard," medley waltzes, by Theo. F. Morse.
'THE
INDIANS
ALONG
SCORES.
BROADWAY'