Music Trade Review

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THE
MUSIC TRADE
REVIEW
MTfiBWORLD
NEW COPYRIGHT BILLS DISCUSSED.
Amendment to English Bill Exempts Music
Rolls and Talking Machine Records as In-
fringement of Copyright—President J. F.
Bowers' Vigorous Words in Support of
Recompense from Talker and Perforated
Record Men—Will Fight to Finish.
The English copyright bill, fathered by T. P.
O'Connor, M.P., and the details of which ap-
peared in The Review two weeks ago, has since
undergone some revision. The "onus of proof"
clause has been revised, not with huge success,
although it met the approval of music publishers
and law officials. The cumbersome substitute is
as follows:
"Unless he proves as to any pirated copies
that he had taken reasonable steps to ascertain
whether the said copies were pirated and did,
in fact, believe that they were not pirated, and as
to any plates that he had taken reasonable steps
to ascertain whether the said plates were in-
tended to be used for the purpose of printing or
reproducing pirated copies, and did, in fact, be-
lieve that they were not intended for that pur-
pose."
Another important amendment has been incor-
porated in the bill whereby perforated music
rolls and talking machine records are exempt
from being classed as infringements of copyright.
This is a "sop" to the piano player and talking
machine people that is highly appreciated by
them.
It is not likely that any such step will be
taken by the American music publishers in con-
nection with the copyright bill, which will come
before Congress in December. They intend not
only to kill Canadian piracy, but secure protec-
tion for their publications whether used by player
or talking machine record manufacturers. J. F.
Bowers, president of the National Music Publish-
ers' Association, has prepared an able treatise on
this subject of copyright at the request of the
Indicator, in which he pours hot shot into a
sensational Eastern paper, which suggested the
killing of "paragraph G," and says it was writ-
ten with a total misunderstanding of the merits
of the question.
Mr. Bowers makes the point that "all there is
of value in a musical composition is that which
appeals to the ear. The soul or essence of a
composition is the melody, and it is the melody
which is sought to be protected by the copyright
Complete yocal score and Separate Numbers of
ii
THE ROSE OF THE ALHAMBRA"
Book and Lyrics by CHAS. EMERSON COOK.
Music by LUCIUS HOSMER.
Featuring the well-known prlma donna,
Mme. LILLIAN BLAUVELT.
Supplementary Songs in the following productions :
EDNA MAY'S New Musical Play,
"THE CATCH OF THE SEASON."
"RAINING"
By Jerome D. Kern
SHUBBBT BROS.' English MuBlcal Comedy Success,
"THE EARL AND THE GIRL."
"HOW'D YOU LIKE TO SPOON WITH ME."
Max. C. Eugene's hit, "IN ROSELAND" Intermezzo
Published by
T.
B. HARMS CO.
26 West 44th St.
BLANCHE
NEW YORK
RING'S
"Come Take a Skate With Me"
In "HIS HONOR THE MAYOR"
and these other hit*:
"If a Girl Like You Loved a Boy Like Me," "Some-
body's Sweetheart I Want to Be," "I'll Do Anything
in the World for You," "Two Dirty Little Hands,
"When the Green Leaves Turn to Gold," "In a Little
Canoe With You," "Pocahontas," "You Can't Give
Your Heart to Somebody Else and Still Hold Hands
With Me," "Kiss Me Once More Good-Night," "Na-
poli," "Cherokee" and "The Hurdy Gurdy Man."
PUB. BY Gus Edwards Music Pub. Co.
1512 Broadway, New York
law. * * * The makers of mechanical instru-
ments have no more right to the use of the
melody without compensation to the author than
they have to take the author's pocketbook." He
adds further:
"I want to say to you and to the gentlemen
who infringe copyrights, that the people of this
country are sound at the core, and would not
for a moment countenance the deprivation of
an author or publisher of the fruits of the in-
vention of his brain or commercial enterprise or
segacity. It seems farcical to say that the in-
ventor of a can opener or a tooth puller can
protect his invention, while the author or pub-
lisher of a beautiful conception of the human
mind is entitled to no protection or profit from
his invention.
"There is no intention whatever on the part
of the publishers or composers to control or
prevent the manufacture of copyright musical
subjects. What is contended for, and what will
he fought for, is the principle that the inventor
of a musical composition and the man who gives
it publication shall receive a decent recompense
for the use of their property. The proposition
is simple and, divested of all buncombe and
clap-trap, resolves itself into this:
"The melody of the author is his property and
that of his publisher, and to deprive them of
their property rights, under whatever form or
pretense it may be done, is fundamentally wrong.
"The author who conceives, and the publisher
who executes, are entitled to their property
rights. This is the principle which is being con-
tended for, and all that is being contended for,
and on this line we propose to fight it out—if it
takes all summer."
Church Co. will shortly put on the market a
series of sacred duets chosen from the works of
standard composers, such as Bach, Rossini, Spohr,
Rubinstein, Mendelssohn, Rameau, Gluck and
many others. This work will fill a long-felt
want. Mr. Paul Bliss, of the music department,
is at this moment engaged in making suitable
translations of the words of many of these duets,
which are set to German, French and Italian
texts. A new song by Charles Hawley, just pub-
lished by the same company, called "My Heart's
a Maying," is expected to be one of the composer's
most successful works. Another new song,
"Good-Night," by Felix Gade, claims unusual in-
terest from the fact that it is a favorite with
Madame Blanche Marchesi, who has written
concerning the arrangement of the song in the
various keys to which she thinks the music spe-
cially sympathetic. As Madame Marchesi is a
past-master of the art of interpretation, her word
is law. The text of this song is by Percy Bysshe
Shelly.
CHAS. FROHMAN'S CARGO OF SONGS.
When "The Little Cherub" was produced at
Atlantic City last Monday night it contained sev-
eral songs now popular on the London stage,
which were not a part of Ivan Caryll's original
score. Charles Frohman brought from England
phonographic reproductions of the melodies as
they are being sung by Seymour Hicks and others
oi his English actors in order that the method
of their rendition could be copied exactly by his
American actors.
SOME HAVILAND WINNERS.
Ed. Mora is using "The Good Old U. S. A." at
Steeplechase Pier, Atlantic City, and reports
great success with this new march song by Dris-
American Songs Localized—One of the Latest
lane and Morse. Stutzman and Crawford have
Favorites Across the Big Pond.
added "Keep on the Sunny Side," "The Good
Old U. S. A." and "Crocodile Isle" to their clever
There is no telling what will catch the hearts vaudeville offering and write they are the best
of the Londoners in the way of song. One of they have had in some time. Yorke and Adams
Harry Von Tilzer's called "Under the Anheuser in "Bankers and Brokers" will feature "Take a
Bush" was changed to "Down by the Old Bold Little Ride with Me," the new sextette song by
and Bush," and it became just as popular as it Drislane and Morse. Many of the shows now
was in the United States. Still another song, rehearsing around the city have selected several
"Down Where the Budweiser Flows," was of the new songs from the F. B. Haviland Publi-
changed to "On the Old Tram Car," and it went cation Co. Among those most prominent are:
the rounds in England. Then there was the "Crocodile Isle," "The Good Old U. S. A.," "Keep
memorable "Hiawatha."
on the Sunny Side," "Take a Little Ride with
A message from London says: "Another Ameri- Me," "When Her Beauty Begins to Fade" and
can tune has caught London in a tighter hold
"Oh, What a Night to Spoon."
than even the famed 'Hiawatha.' The tune is
'Won't You Come and Spoon With Me?' and its
NOTICE TO THE TRADE
author is a young New York musician now liv-
ing in London named Joseph Kern. 'Won't You
Come and Spoon With Me?' is on the 'Sammy'
order of song, the singer directing her attention
July ist, jgo6, all the Francis, Day &-* Hunter
to a box where a confederate is concealed who
publications previously handled by The T. B. Harms
Publishing Co. must be ordered direct from us.
had effective lines to reply with. But the suc-
The F., D. & H. Catalogue includes all
cess of the song from the popular point of view
the music from
is that the music is so catchy that without the
"
FLORODORA"
incidental business of the confederate in the box
"THE SILVER S L I P P E R "
it sets the feet dancing at once. It is easy to
" T H E SCHOOL GIRL"
whistle or to hum, and its hurdy-gurdy stage is
etc.. etc., etc., etc., etc.
already fast approaching."
Francis, Day & Bunler, 1S
It is hardly imaginable over here, where some
sweet singer addresses the box a t almost every
performance with music in it, that London is
just getting on to the "confederate in the box."
But the whole world likes to be teased a little.
HOW THEY DOJT IN LONDON.
ON AND AFTER
LOOK!
CHURCH MUSIC FROM JOHN CHURCH CO.
(Special to The Review.)
Cincinnati, 0., July 30, 1906.
Much activity is going on in the publishing de-
partment of the John Church Co., which have
taken up the important subject of putting out
some really good church music for which there
is a considerable demand. Under the able edit-
ing of William Shakespeare, of London, the John
HAPPY HEINIE
IS THE MOST TALKED OF
MARCH T W O - S T E P .
Do you play it?
JEROME H. REM1CK & CO.
45 West 28th Street,
New York