Music Trade Review

Issue: 1910 Vol. 50 N. 18

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
I
MUSIC TR\DE
V O L . L. N o . 18.
Published Every Saturday by Edward Lyman Bill at 1 Madison Ave., New York, April 30, 1910
IN BOSTON'S PUBLISHING FIELD.
Spring Vacations Diminish Sales of School
Music, but Orders Have Been Placed Which
Will Show Results in May—Popular Music
Remains on Stable Basis, with Cut-rate Sales
Lacking—News from Individual Firms.
(Special to The Review. >
Boston, Mass., April 26, 1910.
Spring vacations have had a peculiar effect
during the last week or so on the school branch
of the music publishing business. While the
schools were closed sales diminished a little,
yet at the same time the music instructors in
the various cities were visiting the Boston houses
to select musical programs for the June gradua-
tions. This not only applies to schools but to
the many colleges, seminaries and conservatories
thafare located all over New England Thus there'
was considerable activity at the music counters
that will not bear fruit until during the month
of May. Of course, a small volume of this class
of music was sold, but the bulk of it will be held
over awaiting the decision of the various school
committees and graduation classes that are in-
variably consulted before the actual purchases
are made. Judging from the inquiries and pur-
chasing of single copies, there ought to be an
unusually large amount of business of this char-
acter transacted during the month of May.
Popular music conditions here are on a very
stable basis. No "cut rate" sales have been held
for some time—not even by the department
stores. In fact, the latter seem to recognize that.
popular music can be sold along profitable lines
here and the optimistic reports at many of the
department counters justify their continuation
of this policy. No-profit popular music sales do
not seem to be required to arouse public interest.
There's always a depression following a sale of
this kind that overbalances the acute stage. It's
even worse than the man who told his customer
that he lost ?1 on every sale, and on being asked
how he made any money replied, "It's because we
sell so many of them."
Walter Jacobs' Journalistic Success.
Walter Jacobs, the well-known publisher is
using the same kind of "nervine" in his journal-
istic endeavors that has created and maintained
his large and successful music business, for al-
ready Jacobs' Orchestra Monthly is proving a
big hit with the profession. It is the largest
factor ever issued exclusively for orchestra per-
formers, and even with its circulation in the
thousands, many additional subscribers are being
added daily. Each issue contains a complete
orchestration of a popular number, and that is
one of the principal features that would more
than offset the "value received" that could con-
sistently be added to the subscription blanks.
Likewise, his publication, the "Cadenza," occu-
pies a similar position with mandolin, banjo
and guitar players.
"Aggravation Rag," one of the best novelties
of its kind in the market, has just been issued
under an unusually attractive three-color cover-
by Walter Jacobs. This number is by the writer
of "Rubber Plant Rag," and will undoubtedly
outsell even that popular selection.
Time works many changes but it hasn't even
made a dent in the popularity of the famous
instrumental waltz, "Kiss of Spring," another of
Walter Jacobs' successes. On the contrary, its
steady gain with lovers of music has prompted
Mr. Jacobs to issue it with a vocal adaption, and
advance sales indicate the value of this fore-
sight.
One of Don Ramsay's song hits, "The Star
of Love Is Burning" (Walter Jacobs), is meet-
ing with great favor at the hands of both the
theatrical profession and the trade. This is also
true with "You Look Just Like a Girl I Used
to Know." In fact to list all of "Don's" big num-
bers would take as much space as the "among
those present" at a government function. Some
of the vaudeville musical companies featuring
the above two songs are the "American Comedy
Pour," "Trocadero Four" and " 'Some' Four."
Notes from the Ditson and B. F. Wood Stores.
The Oliver Ditson Co. have issued the much-
looked-for march and two-step, "Follow the
Crowd," by Q. H. Warner. It's seldom that one
hears the term "quality-music," but in this se-
lection is imbued a germ of vivacity that will
quicken the heart of the most cold-blooded music
subject. Sales on this one number alone are
being booked in large quantities, and every in-
dication points to an astonishing volume. James
A. Smith, manager of the music department of
this company, reports an excellent retail and
wholesale business in the many and varied pub-
lications of the Ditson Company.
Three new orchestrations have been issued by
the B. F. Wood Publishing Co., arranged from
the following successful piano solos: "Arbutus,"
"Eglantine" and "Syringa Blossoms." And in
conjunction with their titles, these selections are
being accorded the "flowery" reception that only
greets products of deserved merit. B. F. Wood,
of the company bearing his name, expected to
make a jaunt to Chicago, but at this writing he
has postponed his journey for a short time owing
to a slight illness, npt necessarily confining him
home. Mr. Wood tells of a very seasonable con-
dition of business, both in American and in Eu-
ropean branch houses.
Banks M. Davison, of the White-Smith Music
Publishing Co., states there is a good staple de-
mand for their edition of standard works for
the piano and other instruments. One of the
special departments is devoted to White-Smith
numbers for the teaching profession, and it com-
bines an extensive "vocabulary" that meets every
want of any instructor. Studies of every grade
abound, which, with their many excellent solos,
make it possible for a pupil to be a White-Smith
student for years.
SINGLE COPIES, 10 CENTS.
$8.00 PER YEAR.
With the presentation of "Up and Down Broad-
way" the Messrs. Shubert will resume their regu-
lar custom of offering special elaborate summer
entertainments at their Casino Theater, the new
piece being intended as a legitimate successor of
such productions as "The Mimic World." The
custom was laid aside last summer, owing to
the great success of "Havana," which ran through
the summer months. The new offering will be
the first with music by Jerome and Schwartz
since "Piff, Paff, Pouf," which was a notable
Casino success.
REMICK SHAPIRO COMBINE A JOKE.
Theatrical Paper Embarks on Yellow Journal-
ism and Almost Startles Music Publishers—
Declares Deal Between the Two Firms Has
Been Completed.
"Remick and Shapiro combine" was the an-
nouncement which, on the front page of a promi-
nent publication devoted to theatrical interests,
would have startled the music publishing world
as it has not been jarred for a long time had not
practically everyone connected with the business
known that the present circumstances of the two
houses make such a merger about as remote a
possibility as anything can be. Considerable an-
noyance is likely to result to both firms from the
announcement, however, as members of the the-
atrical profession cannot be supposed to know of
the former Snapiro-Remick alliance, the separa-
tion, and the present good-natured but keen
rivalry between the two houses.
The paper above mentioned stated that the deal
had been accomplished—"the amalgamation of
two of the best known firms in the business."
In view of the slight basis on which the news-
paper had to work the announcement would seem
to surpass in quality the ordinary "yellow jour-
nalism" of Hearst and Pulitzer, and to be of
quite a hectic ochre in the color of its dramatic
splurge.
What actually happened was that Maurice Sha-
piro and F. E. Belcher, the latter being Remick's
general manager in the East, met at lunch re-
cently. A well-known lawyer was the third mem-
ber of the party. Lee Shubert happened to see
them, we are informed, and remarked jocularly,
"If this doesn't mean a merger I miss my guess."
He undoubtedly told his editor to look Into the
matter, and the latter, receiving an assignment
from his chief, determined not to "fall down."
Some poor reporter did not dare to say "nix" to
a story coming to him from two such sources,
we can easily imagine, and he. can hardly be
blamed for the front page "news" that finally
appeared.
LITERALLY A ''BROADWAY" REVIEW.
NEVIN'S OPERA TO HONOR ROOSEVELT.
"Up and Down Broadway" is the name chosen
for the sumer review which will be presented
at the Casino at the conclusion of the run of
"The Chocolate Soldier." It is by Edgar Smith,
with lyrics and music by Jerome and Schwartz,
and will be published by Jerome H. Remick &
Co. Eddie Foy, who has been identified with
several Casino successes of the past, will be a
special feature of the cast of the new review.
Emperor William of Germany has ordered that
Arthur Nevin's Indian opera, "Poia," be given
at the Royal Opera House in honor of ex-Presi-
dent Roosevelt in the course of the latter's visit
to Berlin. "Poia" has already been presented in
Berlin, and was fairly well received, although
the German critics displayed a nasty anti-Ameri-
can spirit in their newspaper notices.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE:
MUSIC
TRADE
RELVIEIW
recipients of some keen expressions of opinion
on the other side of the question. Mr. Laska
has some powerful advocates, however, and thn
fact serves to make the question of all the more
interest.
Field of Production Music Well Covered.
EDWARD LYMAN BILL - Editor and Proprietor
J. B. SPILLANE, Managing Editor
R.W.SIMMONS. Editor Music Section
Published Every Saturday at 1 MadlMn Avenue, New York
SUBSCRIPTION, (including postage), United State* mid
Mexico, |2.00 per year; Canada, f S.BO; all •ther couu
trlei, |4.00.
Telephones—Numbers 4677 and 4678 Gramercy
Connecting all Departments
NEW YORK, APRIL 30, 1910
All matter of every nature intended
for this department should be addressed
The Editor Music Section Music Trade
Review, 1 Madison Avenue, New York.
COMMENTS B Y -
With the premise that a musical production
is doomed to absolute failure or only mediocre
success unless the lyrics and music are written
by one capable author and one thorough com-
poser, Edward Laska wrote for us a very in-
teresting article which was published in last
Saturday's issue of this journal. As was to be
expected, the argument struck the music pub-
lishers hard. It is a rather touchy subject for
most publishers, although there are some who
agree with the writer of the article in question.
Mr. Laska has for some time represented the
Shuberts in matters pertaining to the publica-
tion of the music of their productions, and is
closely in touch with both the producing and
the publishing ends of the theatrical business.
His experience has Deen peculiar, and of a
nature which, well known to others in the musi-
cal world, made it a foregone conclusion that
his views as to interpolations would, in the ver-
nacular, "make them sit up and take notice."
Such has been the case, and we have been the
The question is one that deeply concerns the
music publishers, and, through them, the dea'ers
in music throughout the country. For one thing,
never before has there been so large a propor-
tion of musical comedies and light operas among
the total number of theatiical offerings of a sea-
son. Coincidently, never before has the field of
publishing musical productions or production
numbers been covered to such an extent as at
present. Various publishing firms have branched
out into this field, and some are even specializing
in it. The sale of the so-called production num-
bers affords the chief source of profits for some
of these firms, and even in these days of keen
competition the most radically inclined pub-
lishers hesitate to mar the fruitful field by cut-
ting the price of such numbers. Now that the
day is gone forever when ordinary popular
songs and 'ballads can be sold for 17 or 18 cents
per copy at wholesale, but must be offered at 7
to 11 cents, the publisher treasures his produc-
tion numbers as the goose that lays the golden
eggs, provided, of course, that the goose actually
lays the eggs of success after the rights to her
product have been purchased at an expensive
figure. It requires considerable outlay before a
publisher obtains the publishing rights to a
musical production, and this is an expensive pro-
ceding if the production fails to achieve popu-
larity. If it succeeds, the demand for the num-
bers often becomes heavy, and the prediction of
the publishers to the dealer—that the public will
want the production numbers—is made good.
The same principle applies to interpolations as
well as to the numbers of a production which
is wholly the work of one composer. Thus it is
that Mr. Laska's article has created quite a stir.
There is a vast army, we might almost say, of
those who firmly believe in the good influence
of interpolated numbers, especially on musical
productions whose original composer has not
produced just what the public seems to want.
Many persons assert that some productions have
The E. T. Paull Music Co. are now established
had long runs after seeming doomed to failure,
final success being due to a great extent to the in their new four-story building at 243 West
interpolation of catchy, tuneful numbers that Forty-second street. The firm occupy the two
upper floors, the others having been sub-let.
This collection will ap-
peal most to lovers of
gems from the operas
through the fact that it is
complete in every respect,
and contains all the fa-
vorite standard operas in-
cluding selections
from
Contes D'Hoffman, Lak-
me, Eugene Onegin, etc.
The melodies selected are
the
ones
with
which
everybody is familiar and
t h e arrangements a n d
rrodern fingering are spe-
cial features .which will
appeal to the intelligent
lover of the piano. Price
75 cents.
We are the publishers of the
music of
"The Arcadians"
Now the season's hit in both
London and New York
Chappell&Co.,Ltd.,
brighten tlio whole score. This side of the ques-
tion will be presented in The Review next week
by an expert in the publishing business, the
general manager for ont> of New York's largest
publishing firms, who for years has been in
close touch with producers and singers, as well
as with the publishers.
As to Mascagni, Legendry, and Comstock.
Any new work of Mascagni's was sure of at-
tracting world-wide attention if only by virtue of
the fanie of the composer. Much has been writ-
ten, therefore, of his new opera, "Ysobel," com-
posed for Miss Bessie Abbot, and produced not
so many weeks ago. The opera is founded on
the pleasing story of Lady Godiva, who, in Eng-
lish histoiy (or legend) was spurred on in her
altruistic and philanthropic task by supreme
confidence in the artistic beauty of any statue
that might be modeled with herself as the sub-
ject. Neither history nor legend intimates
that sculpture had gained anything like
a faint foothold in England in Lady Godiva's
time, but we feel sure that without the supreme
confidence aforementioned she would never have
undertaken the famous horseback ride of which
historians have told, poets have sung, and Mas-
cagni has composed. As this ride constitutes an
incident in the opera "Ysobel," the detail has
been seized upon with avidity for "feature"
discussions by reviewers and paragraphers the
world over. One enterprising newspaper in this
city had a reporter interview Anthony Com-
stock on tne subject. Mr. Comstock, who never
seems averse to laying down the law on any-
thing from art to artists, was undoubtedly much
perturbed over the prospect of the opera being
given in New York, if the reporter presented
the subject as pertinently as a metropolitan
seeker of "copy" should have presented it. But
it seems that any energetic Comstockian plans
that may have been laid will be foiled. The
ride of Lady Godiva is pictured in an inter-
mezzo, and we doubt if Mr. Comstock will ever
discover the bare motifs in the score and hold
them to view as something to be screened in
musical raiment less gossamer-like than Mas-
cagni's floating harmonies.
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