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THE: MUSIC
C. Newton, formerly the sheet music buyer for
Siegel-Cooper Co., Chicago, has been promoted to
be manager of the book department for the New
York end of the business, and now makes his
headquarters at Simpson-Crawford & Co. His
successor—a former assistant and a clever gentle-
man—now looks after music publishers.
The Seattle Daily Times has this to say about
Miss Dolley Uupree, who is playing the title role
in the "Little Outcast" company: "Manager Car
penter has brought back a stronger cast than be-
fore, with respect to a few changes that have
been made. There is a new girl in the title role,
"and the hit she made is far more able-bodied than
herself. Dolly Dupree is a feminine mite like
Fi Fi in the "Chinese Honeymoon.' but. she is
the possessor of a good singing and speaking
voice and succeeds in scoring a tremendous hit
with her song, 'Honey, I'm Waiting.' The 'Honey,
I'm Waiting' referred to was written by Ted. S.
Barron and Felix F. Feist, and bids fair to out-
do its big brother "Billy" by the same composer.
"The College Widower," Weber & Siegfeld's
burlesque on George Ade's "The College Widow,"
is a big success. The music was written by the
ever popular Maurice Levi, and the lyrics by Ed-
gar Smith. The two new songs used in this
burlesque, which will soon be the hits of New
York, are a coon song oddity "Socrates Jackson,"
sung by Charles E. Bigelow, with full chorus,
takes at least a dozen encores, and "Mamma's
Boarding House," as sung by Maurice Dressier,
has the audience convulsed at each performance.
The "Higgledy-Piggledy" burlesque still contin-
ues a big winner. It contains the now famous
successes, "Game of Love," "Big Indian and His
Little Maid," "I'm so Lonesome," "A Great Big
Girl," "Nancy Clancy," "In Gay Paree" and "For
You, Honey, For You." Mr. Levi has also placed
his latest instrumental waltz "Armenonville"
with his publisher, Chas. K. Harris, and, suffi-
cient to say, it is a Maurice Levi waltz, a good,
dreamy composition.
TRADE
REVIEW
is as certainly the most advanced and mature
work of a gifted musician. The composer has
approached his task in a mood of reverent and
devotional exaltation; and from beginning to end
the cantata is instinct with a noble spirituality.
There is wide emotional range—the accents of
poignant grief, of religious fervor, of tenderness
and peace, of joyous uplift, all make themselves
heard.
The text, which is wisely chosen, has both
beauty and logical arrangement. It is divided
into two parts—"Christ Crucified" and "Christ
Risen." The musical structure is free and mod-
ern in spirit, and remarkably well knit by rea-
son of its consistent thematic treatment. A tri-
note "motto" is used ingeniously and with great
significance, appearing in various forms and
wherever the thought expressed justifies it. The
cantata shows masterly contrapuntal treatment,
a bold and free use of modulation, and a rich
harmonic sense joined with melodic beauty. It
is music of both strength and dignity.
To perform the work adequately demands the
services of a good organist and well-trained
chorus. The solo voices required are soprano,
alto, tenor and bass, and the measures allotted
them are very expressive and grateful, accom-
panied by a free, independent, and largely the-
matic organ part. Singers and hearers can
scarcely fail to be impressed and inspired by the
inspirational quality of this composition.
SONG WRITING AND PUBLIC TASTE.
Joe Watson Tells Some of the Troubles Which
Song Writers Encounter.
Many people who hear songs, particularly the
more popular ones, say: "Well, the author of
that song knew his business, and knew what,
would suit the popular fancy."
"Nothing of the kind. If song writers knew
what would suit the popular fancy there would
never be any failures. As it is, there are about
99 out of every 100 songs put on the market or
The Paul Dresser Co., under recent date, made sent to the publishers that are no good," was the
the following announcement: "We do not in- remark of Joe Watson, of Keler & Watson, the
tend to load up our trade with deadwood. Our popular comedians and vocalists.
Mr. Watson, who has written several success
aim will be to issue not more than five a month,
and concentrate our efforts on those, and create ful songs, was telling of the trouble he had be-
the demand. We realize that the more we pop- fore he struck a popular title and music. "I
ularize our publications, the more copies of the have had more trouble," said he., "in writing
parodies than the original songs, and this may
same will be sold."
seem queer. You see when a person writes songs,
NEW CANTATA FROM OLIVER DITSON CO. he writes the words first and then puts the mu-
sic to them, but in writing parodies it is just
(Special to The Review.)
reversed. The music has already been written
Boston, Mass., Jan. Iti, 1905. and you must find the words that will suit, it
The new cantata.. "Christ Triumphant," which may not seem a very hard matter, but just try
will shortly be issued by the Oliver Ditson Co., it and you will discover that it is the hardest
may safely be called the most significant short task you have ever tried. Again, to make a song
choral work yet produced by an American, and it a big success, did you ever notice that some of
the greatest successes were made only after they
had parodies written about them? Why, T have
written and sung parodies on songs not put on
the market for a season after the music became
By Authors of Note and Repute
popular. As soon as the song was released it
Kisses,
Love in a Phonograph,
became a big hit as those who had heard it so
much wanted the original words. That is a trick
A Bit 0' Blarney, Georgie,
of many publishers and it has generally proved
A Mormon Coon, A House to Rent.
successful."
SIX SUCCESSFUL SOLITAIRES
PUBLISHED BY
SOL BLOOM
New Amsterdam Theatre Bldg.,
N E W YORK
POPULAR SONG and INSTRUMENTAL HITS
FISHING
EGYPT
PLAIN MAMIE O'HOOLEY
PEGGY BRADY
TWO ROSES
MADCAP PRINCESS
RED FEATHER
POLLY PRIM MARCH
SHAME ON YOU
FALL IN LINE
BIG INDIAN CHIEF
I
I
ISLE OF SPICE
SAMBO GIRL
JEWEL OF ASIA
Published by
JOS. W. STERN 6 CO.,
34 East 21st St., New York
CHICAGO
LONDON
SAN FRANCISCO
SOL BLOOM SCORING HEAVILY.
One of the most flattering testimonials that
was ever given to publishers by a user of songs,
is that which was recently voluntarily made to
Sol. Bloom, by Rusco & Pringle, of the famous
minstrels, who wrote to say: that "Kisses,"
which was written by William H. and Arthur A.
Penn. was absolutely the finest, song and chorus
they have ever used.
Henry W. Savage, the well-known theatrical
manager, took the personal trouble to send a
copy of Arthur A. Penn's high-class song, "Cari;?-
sima," to the prima donna, Miss Maude Williams,
of his "Sultan of Sulu" company, with a direct
request to introduce same at once. This is a re-
markable thing, as managers, as a rule, do not
enter songs of this order into musical shows, pre-
ferring to make the lighter numbers the interpo-
lations.
Arthur Deming, of the "Primrose Minstrels,"
has learned the latest publication, "The Mormon
Coon." This is the coon song by Raymond A.
Browne and Henry Clay Smith.
George Moody, who has charge of Sol. Bloom's
band and orchestra department, reports ex-
tremely satisfactory progress in the receipt of
subscriptions to the "Leader's Club" of America,
which organization furnishes the band and or-
chestra arrangements of Sol. Bloom's publica-
tions to leaders, on a yearly one dollar subscrip-
tion basis. Mr. Moody desires to emphatically
state, that this was the pioneer band and orches-
tra club of the country, and has never lost a
member, but has added constantly to its already
large list.
It is in general known, that Arthur Penn,
whose beautiful music is so well known through
his songs, "The Salt of the Sea For Me," "Where
the Palms Unfold" and "Carissima," is also a
skilled writer of lyrics, having furnished his
own lyrics for these songs, also for "Kisses." mu-
sic of which was written, however, by William
H. Penn. In spite of his many important duties
in other directions, William H. Penn finds time
to write some very pretty and salable numbers;
his latest include two popular songs, "A House
to Rent" and "Love in a Phonograph."
COMIC OPERA FOR PARIS.
M. Carre, the director of the Opera Comique,
bas been authorized by the municipality of
Paris to erect, a new popular theatre for comu 1
opera on a city plot, near Temple Market.
He is to spend $900,000 on the construction,
and this amount is to be refunded to him by the
municipality at the rate of $18,000 a year.
Among the conditions exacted by the municipal
authorities is one providing that seats in the
new theatre shall be sold for no more than 10.
I'o, 30 and 40 cents, respectively.
RECENT MUSIC.
FHQM M. WITMAKK A SONS.
Vocal.—"Two Little Orphans Are We," by
Fred'k E. Gladdish; "Freddie," by Seymour
Furth; "Little Miss No-One From No-Where,"
by Gus Edwards; "Louise," by Louis F. Gott-
schalk; "Hollyhock," by Wm. E. Bock; "I'll Love
You Forever and Age," by John W. Bratton;
"Little Bridget O'Brien," by L. Mauran Blood-
good; "Come Sweet Love," by Eleanor Living-
ston; "What You Goin' to Do When You Love a
Gal?" by G. A. Spink; "Too Hoo? To You!" by
Leo Friedman; "Cassie," by Arthur Weld; "The
Knot of Blue" (in "It Happened in Nordland"),
by Victor Herbert. Instrumental.—"The Second
Fiddle" waltzes, by Nat D. Mann; "The College
Widow" waltzes, by Irene Berge"; "Granny," by
Manuel Klein.
FROM JOS. W. STEKX & CO.
Vocal.—"Sambo and Dinah (in "Humpty
Dumpty"), by Cole and Johnson; "The Moon and
the Star," by Richard W. Temple; "Oh! My
Mamie" (in "Smiling Island"), by G. E. Con-
terno; "You're Just a Little Bit o' Sugar Cane,"
by Jos. B. Maxwell; "Cissy," by George Rosey.
Instrumental.—"A String of Pearls," intermezzo,
by Heinzman and Solman; "Manila Jack," mili-
tary march and two-step, by Alfred G. Wathalf.
•MISCELLANEOUS.
Vocal.—"Some Day You'll Be My Wife," by
Martin Grunwald (published by Puntenney &
Eustler) ; "My Love, Sweetheart For You," by L.
C. Bowie; "Would That I Were Back in Moth-
er's Loving Arms," by F. D. R. Warner (pub-
lished by H. D. Gordon).
FROM TIIOS. GOGGAN & HKO.
Instrumental—"A Southern Rose" and "The
Harvest of the Crickets," by Carl Wilhelm Kern;
"Yule Tide Waltzes," by Ida Walker; "La Ga-
zelle," two-step, by T. de Mann. Vocal—"The
Sunset and the Dawn," by Edward P. Favor.
FROM C.F.O. It. JEXN'INGS CO.
Vocal.—"Johnstown, Penn-syl-va-nia!" and "Be
Good, Be Good," by Frank L. Bristow; "Just a
World of Darkness," by Irwln M. Lawson. In-
strumental.—"Valse Mignonne" and "Valse
Lente," by Edward Schiltt; "Valse Noble," by
Arthur Bird.