Classic Mode

Music Trade Review

Issue: 1910 Vol. 50 N. 19

Page 48 Text:

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
48
THE
MUSIC
TRADE
REVIEW
get scared and will immediately urge every actor
or singer in the company to put in what he or
she thinks 'good.' The result not infrequently is
chaos.
Must. Not Carry Process Too Far.
"It is obvious to the most untutored, mind that
man who has devoted possibly his life, and
EDWA1D LYMAN BILL - Editor and Proprietor the
certainly many months, to writing or composing
J. B. SPILLANE, Managbg Editor
a particular play is more likely to hit the mark
than a man, who, being an actor, merely inserta
R.W.SIMMONS, Editor Music Section
anything that comes into his mind for his own
Published Every Saturday at 1 MadlMn Avenue. New Y«rk
aggrandizement or advantage, irrespective of
SUBSCRIPTION, (Including portage), United State* and
what it may do to the play. On the other hand, a
Mexico, $2.00 per year; Canada, $1.50; all ether coun-
brainy actor may do much to help a play—a
tries, $4.00.
^
word or song or possibly a line here or there may
Telephones-Numbers 4677 nnd 4678 Gmmerey
Connecting all Departments
^ ^ mean much, but it should be carefully thought
out, not thrown in in a 'slapstick' way. And
NEW YORK, MAY 7, 1910
here arises one of the most delicate points that
confronts a manager or producer. It is obvious
All matter of every nature intended
that this interpolating must not be carried too
for this department should be addressed
far, and time and time again an actor or singer
The Editor Music Section Music Trade
has to be restricted or the play will develop into
Review, 1 Madison Avenue, New York.
a monologue, and a poor one at that. Singers, as
a rule, are very sensitive creatures and the least
little thing may cause them to give a wretched
I have known a discussion to last
COMMENTS B Y - ,, performance.
for half an hour over the cutting out of an 'and'
or 'but.' And usually on such occasions the stage
manager is right and the actor or singer wrong.
Handled with care, the actor is an angel. Han-
Apropos of interpolations (the subject has late- dled the other way, the actor is the other thing.
"But we are diverging. In fact, I may say that
ly spread to theatrical managers and leading per-
what
I have been saying is one of those interpo-
formers as a live topic for discussion) we give
herewith the argument made by Ralph C. Herz, lations which prove how easy it is to get away
the principal comedian in "Mme. Sherry," now in from the subject, and now the thread is 'ost. We
Chicago. "It is a question that has been harrass- are at sea. Let us drown."
The Question of Paying Singers.
ing composers, managers, authors and actors
A well-known vaudeville singer—a "headliner,"
from time immemorial," said Mr. Herz. "An
author writes a play—I am referring to musical in fact—was told by a friend recently that he
plays, of course—submits it to the managers and sang his songs in a way different from that of
has it approved. The play is put on the stage, everyone else. "That is because I sing them in
and frequently it lacks comedy. As a rule, this is my own way," responded the singer. "Music
due to the lack of what we might call team work, publishers are usually glad to pay to have their
on the same principle that is shown when a songs sung, but I never take a cent from any of
baseball team usually fails to play together when them. When they ask me if I will sing a certain
entering upon a season. The morning after the song for them I tell them I will if I like the song
opening of a new play the critics, one and all, and it is suited to me, but I don't want their
cry out, 'no comedy.' The manager, if he is money. And, besides, if I took money for one song
wise and knows that the trouble is merely due to they would consider me under obligations to take
playing that is for the time being faulty, will some other song that might 'queer' my act en-
stand pat and wait for the comedy to blossom tirely. In this way I am free to reject or accept
forth in a few days. The unwise manager will a song as I please, and as long as I sing it difffer-
ently it doesn't make any difference to me how
many other people are singing it."
The singer's remarks are certainly interesting,
if only because they express sentiments rarely
heard as to the acceptance of money for featur-
ing songs. Most of the publishers of music will
be surprised to hear that there is any singer in
New York who will actually refuse to accept pay-
ment for presenting a song. Usually it is just the
other way. Singers have come to expect such
payment, and in many cases they demand it. The
writer knows of a case where a singer entered
the office of one of the leading publishers and
coolly announced that he had called for some
"kale," as he was singing one of that publisher's
songs. In this particular instance his request was
refused, although the singer named another pub-
lisher who was doling out "kale" to him. This
"kale," by the way, is a word that may mean
just plain money, or "rake-off," or "graft," equally
well. It happened that the song concerned was a
decided hit, and the publisher did not need to pay
any singers for using it. As a matter of fact,
however, the publishers of this city are paying
singers large sums in the aggregate for intro-
ducing songs or even presenting the numbers af-
ter they have attained some degree of popularity.
One of the largest firms has a weekly payroll of
large proportions devoted entirely to singers of
their songs. Other and smaller publishers are
paying out smaller sums, and in some cases the
amount is greater than the publishers can well
afford. One of the big publishing failures of last
year was due primarily to the payments of ex-
orbitant demands of singers. In fact, the ques-
tion of paying singers is one of the most perplex-
ing and important matters that music publishers
face to-day. It is true that some of the largest
firms pay singers, but it is equally true that
others equally large refuse to pay them a cent.
Those who pay do so cheerfully, and those who
do not say there is no necessity of paying. The
several large firms on both sides that we have in
mind are all successful. It seems to be a mat-
ter of preference. One thing is certain: Pro-
duce real hits and no money need be paid sing-
ers if the publishers do not want to pay it.
M. Witmark & Sons are, with good reason, ex-
pecting great things of a new song- by Dave Reed
and Ernest R. Ball, "My Heart Has Learned to
Love You, Now Do Not Say Good-bye."
SOME OF OUR REAL HITS
MESSRS. CHAPPEIL & CO., Ltd.
" T l H
i l E t
are the publishers of
A L I H D
t C r U
U B
B B
M N
n U
THE ARCADIANS
"HIP-HIP-HYPNOTIZE
M E " son 0
G I V E M Y R E G A R D S T O M A B E L " (Song)
Music by Talbot and Monckton
(Produced by Mr. Charles Frohman)
FRANZ LEHAR'S NEW OPERA
HARRY VON TILZER MUSIC PUBLISHING COMPANY
THE MAN WITH THREE WIVES
AD D R S S
N E w Y oRk L o M FF.cE TO
(To be produced shortly by Messrs. Shubert)
IVAN CARYLL AND LIONEL MONCKTON'S
SUCCESSFUL MUSICAL PLAY
(To be produced shortly by Mr. Charles Frohman)
LONDON'S LATEST CRAZE
THE BALKAN PRINCESS
A Musical Play by Paul A. Rubens
(To be produced by Mr. W. A. Brady)
CHAPPELL & CO., Ltd.
37 W. 17lta St.
NEW YORK
Son a n d
(
o
\
^Instrumental)
" M Y
SOUTHERN
ROSE"
son*,)
KEEP YOUR FOOT ON T H E SOFT P E D A L " song
Son9 a n d
" T i H
V
^H
R
II ft
( Vlnstrumantal/
t
n E
b
Y I I D
U D
U I I d
I I f M l
K H
b "
THE REIGNING MUSICAL SUCCESS
OUR MISS GIBBS
ft
n t P "
b L I I I U
1 2 5 West 4 3 d Street, New York City
Teachers and students
of the piano will find in
this book an instructor
that not only will replace
the old methods by pre-
senting the elements of
music in a manner to
meet the conditions but
will do so in such a pleas-
ant way as to interest
even the most indifferent
student.
The little compositions
used as exercises through-
out the book is a new de-
parture that will act as
an incentive to the stu-
dent by making him feel
that he is progressing.
Price, 75 cent9.
THEODORE MORSE'S NEW HITS !
"MOLLY LEE"
"KITTY CRAY"
"HE'S A COLLEGE BOY"
"RED CLOVER" (Song and Intermezzo)
"BLUE FEATHER" (Song and Intermezzo)
You could have had these once for 5 cents. Take
our new issues and you'll get better ones.
H ^ P * PHONOGRAPH RECORDS ARE - ^ M R
ffl^V
MADE FOR ALL OUR SONGS ^^S&
Theodore Morse Music Co.
1367 Broadway, New York
HINDS, NOBLE & ELDREDGE, 31-35 West 15th Street. New York
IM1NLEY
JOBBERS
SHEET MUSIC
We Guarantee Riling Your Orders Complete
the Same Day Received.ot Lowest Prices.
CHICAGO
MCKINLEY MUSIC Co
NEW YORK

Page 49 Text:

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE: REVIEW '
49
furnished the composer, the name of the com-
position for which he obtained them, the name
of the publisher to whom he delivered them. The
Music Publisher Adopts Original Method Whereby Composers and Authors Are Assured of Fair publisher's receipt, taken in connection with the
Dealing—They Will Even Be Confident of This Themselves—Something Entirety New in guild record, would furnish the double record.
The Publishing World Which Will Interest Our Readers.
The most solicitous interests involved are the
reputable publishers themselves, who desire to
Nevermore need a composer or author of a doubt the honesty of practically all the publish- purge the business of that element of publishers
song feel dubious as to the sum of money paid ers, and it was in justice to the honest ones that who have been the danger mark of the business.
him in royalties, irrespective of whether his Mr. Feist conceived this plan.
Mr. Feist's plan will doubtless create a sensa-
"Under the new plan a copy of music found tion and be hailed as the beginning of a new
doubt be justified. Never, that is, as far as Leo
Feist, music publisher of this city, is concerned, anywhere without the stamp must either be a era in American music publishing, as well as
and it is probable that other publishers will pirated copy or an unofficial copy—such copies, abroad.
adopt a plan similar to one which Mr. Feist has whenever found, to be confiscated by the pub-
The "book authors" should be keenly inter-
lisher, the writers or their agents, although it is
just put into operation.
ested in the outcome, and they might well form
The new plan is for the composer whose work expected that the dealers will not handle any an organization among themselves for the same
Mr. Feist undertakes to publish to provide music not bearing the official royalty stamp.
object, the same purpose, and the same hoped-
"In making his periodical settlement of royal- for results.
stamps made according to a registered device of
the composer's, one of which is to be glued on a ties the publisher will pay royalty on as many
special space on each copy of music that the pub- copies as there are stamps used, and as the
lisher sells. The stamp will correspond, in a stamps can be furnished only by the composer, WHAT THE RECENT OPERA DEAL MEANS.
way, to the revenue stamps that the government an exact adjustment cannot be avoided.
The announcement made last week that Oscar
has placed on packages of cigars, say, although,
"The reform this plan must inevitably bring
Hammerstein
retires from the grand opera field
of course, no revenue is involved in the use of about is as important to the honest publisher as it
the music stamps themselves. The idea is that will be unwelcome to the dishonest one. Its sim- in favor of the Metropolitan Opera Co., means
each copy of music sold must have a stamp at- plicity obviously will exact fair dealings remorse- that there is now an opera "trust," to use a word
tached, and for the stamps that the publisher lessly. The rumored unfair manipulation in the which is overworked, because none other has yet
does not return to the composer on "settling business which has been perpetrated heretofore been coined of equal expressiveness. Mr. Ham-
day" he must pay a sum as royalty correspond- by some publishers ceases immediately this sys- merstein is now believed to have received $1,000,-
ing to the fixed value of such stamps not re- tem is in effect. There can be no understate- 000 instead of the $2,000,000 at first reported.
turned. Originally, of course, the composer or ment of sales to composers, and the royalties per The former Manhattan singers will sing at the
author hands over to the publisher the stamps copy to be paid will naturally have to be esti- Chicago and Philadelphia houses, and possibly in
to be used as described. In announcing this mated and agreed upon on a business basis con- Baltimore, as well as at the Metropolitan Opera
plan, which is an innovation that may revolu- sistent with the price at which the goods are re- House. When the season opens next fall the
Metropolitan, through its working agreement
tionize royalty contract making, the house of Leo. tailed.
Feist makes this statement:
"Under the present system it has been pos- with the Boston Opera Co., and its stock owner-
"This plan should work a far-reaching and sible for some publishers to command the mar- ship giving it absolute control of the newly
long-needed reform and correct abuse by which ket by offering royalties ridiculously high—too formed Chicago Grand Opera Co., will be dictat-
the unscrupulous few have brought much dis- high for any publisher who makes a true ac- ing to composers, singers, conductors, musicians
credit upon the honest many in the music pub- counting. The publishers, therefore, who have and all others whose livelihod comes from the giv-
lishing industry. The fact that a few publish- lived up to their contracts and have paid the ing of grand opera.
ers have given dishonest royalty statements to agreed upon royalty on each and every copy
F. H. Burt, of the local Remick forces, has
composers has caused almost every writer to sold have been at a great disadvantage. To this
real impediment to honest and fair dealing, often been away on an extensive business trip.
crippling the upright publisher, was added the
annoyance of the shady reputation given the
music publishing business generally."
Mr. Feist's plan, we learn further, contem-
plates a double-barreled protection. In the first
place the composer may register the stamp of his
device in the United States Patent Office, as a
trade-mark, and any attempt to counterfeit his
stamp will become exceedingly dangerous, as the
offense, contemplating fraud, is decidedly crim-
inal. Ultimately, or as soon as he has tried it
out thoroughly in his own dealings, Mr. Feist
contemplates enlisting the composers in the or-
ganization of a protective guild which would fur-
nish all members With its own regi tered stamp
device for the purpose just described. There
would then be a double check on all transactions.
The guild would record the number of stamps
By AL PIANTADOSI,
Creator of Italian Character Songs.
FEIST'S ROYALTY PLAN AN INNOVATION.
Read what The Evening
Mail, America's Best even-
ing paper, has to say about
the Famous
THAT
ITALIAN
RAG
CENTURY
EDITION
TEN-CENT SHEET MUSIC
"Easily the best proposition in
the musical world; none better
at any price."
Can be had wherever music is sold.
CENTURY MUSIC PUBLISHING CO.
1 178 BROADWAY, NEW YORK
A Hit of Hits!
ii
EVERY LITTLE
MOVEMENT"
By OTTO HAUERBACH and KARL HOSCHNA
The reigning Musical Hit from
"MADAME SHERRY"
H E A D HAS HITS
(George W. Head, Jr.)
WORLD'S GREATEST BALLAD
"Without You The World
Don't Seem The Same"
An Endless Chain of Sales of This Song Will Start
From First Purchase.
Best Ballad Since the Time of Jenny Lind
THE HEAD MUSIC PUBLISHING CO.
U16 Broadway, Cor. 39th Street,
New York
Now Playing at Colonial Theatre,
Chicago
Sung, Whistled and Hummed Everywhere
A POSITIVE HIT!
A PROVED SELLER!
Orders poured in the very day after this
song was first sung at Hammerstein's
Victoria Theater.
GOING STRONGER EVERY D A Y !
BY
LEO. FEIST, NEW YORK
SONGS FOR EVERYBODY!
"PLAYTHINGS
THAT'S ALL"
By John W. Bratton.
"MOTHER"
By Cooper & Frederics.
" I N THE SAME OLD WAY"
Greatly in Demand.
Order Now
By Nat D. Mann.
"WHEN YOU DREAM OF THE GIRL YOU LOVE"
By Leo Edwards.
M. WITMARK & SONS, Publishers
NEW YORK
CHICAGO
LONDON
PARIS
"GO ON, GOOD-A-BYE "
By Brown & Murphy.
VICTOR KREMER COMPANY
108-1 10 Randolph Straet, CHICAGO, ILL.
(Opposite Garrick Theatre)

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