Music Trade Review

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60
THE
MUSIC TRADE
REVIEW
mann or Reggie De Koven. But there is a wide
discrepancy between merit and the volume of
applause which a given composition usually re-
ceives. Alight no! the experiment be extended with
profit to music hearers generally ? Why should
not musical compositions be gauged solely by their
rather than by their authors? Would it
EDWARD LYMAN BILL - Editor tad Proprietor deserts
not be a truer test of musical appreciation if the
audience listened 10 the works rendered and judged
J. I. STILLANE, Maugiae Ultor
them for what they heard, instead of indulging
B. B. WILSON, Editor Music Section
in more or less sentimentalism over the "masters"
r i M M M * iTtry Saturday at 1 Maclsesi Ararat. New Yerk
or, what is worse still, withholding praise that
might be justly due some less widely known com-
SOISCUrnON. (Including pottage), United BUtea and
Mexico, $2.00 per year; Caaad*, $1.50; all etker oou*-
poser ?
trlea, $4.00.
One instinctively recalls the line in "The Great
Telephones—Numbers 4677 and 4«7S Gramerejr • Name," where the disappointed composer of high
Connectlna all Departments
class music consents that the successful writer of
light opera "tunes" shall substitute the latter's
NEW YORK, JULY 29, 1111
"great name" for the name of an author of an
unappreciated "masterpiece," foredoomed to fail-
All matter of every nature intended
ure by the obscurity of the composer. "Shake-
for this department should be addressed
speare or Bacon," exclaims Brandmeyer, "what
The Editor Music Section Music Trade
does it matter? 'Hamlet' is there."
Review, 1 Madison Avenue, New York.
That sounded rather heretical when iirst heard.
It seemed incongruous thai one so proverbially
jealous of his own name as the obscure heroes
of the arts usually are should efface himself for the
sake of getting his work heard by the public. But
when a fairly well educated and critical musical
audience can make such a mess of guessing the
works of well-known composers, the problem of
"great names" as presented by the author of the
An amusing and at the same time highly in-
drama referred to does not seem so serious as it
structive test of popular acquaintance with com-
first appeared.
posers is reported from Paris. Some official at an
Of course, it is droll that an audience should
important musical function conceived the idea of
consent to make itself ridiculous, but the choice
omitting the names of the composers from the
is between being truthful and ridiculous. That
various numbers and requesting the audience to
French audience met the choice with rare good
write opposite the numbers the names of the com-
nature, to say the least, though it might have
posers supposed to have produced them. The
plumed itself on its knowledge. As a writer in the
result, which might have been expected, was Lhat
Kansas City Journal puts it: Lots of other people
in almost every instance mistakes were made, the
have worn out their gloves applauding offerings
work of comparatively unknown writers being as-
while laboring under a similar misapprehension of
cribed to the great masters of musical composition.
the extent of their own culture, even with helpful
In a few instances the reverse was true.. But the
program information before them.
experiment proved the fallacy, on the one hand,
Savage's Musical Attractions.
of "name worshipping" and, on the other, the
Among Henry W. Savage's musical attractions
extremely limited extent of knowledge on the part
next season will be "Little Boy Blue," which will
of even musically educated people.
The reports of the affair at least agree as to receive an early production. It is a musical com-
the truth of the assertion that after all "the music's
the thing." If a composition has merit, it is just
as meritorious whether it was written by Schu-
„ COMMENTS B Y - „
edy adapted from the German of Rudolph Schan-
zer and Karl Lindau. with music by Henri Bereny.
It will be given its Broadway premiere in October.
Another of Mr. Savage's early productions will
be "The Grape Girl," a romantic musical comedy
with libretto and lyrics by J. C. Harvey and score
by Gustav Luders; and "The Prince's Child," a
new operetta by Franz Lehar and his collabora-
teurs in "The Merry Widow." This piece has the
record of 200 nights' run in Vienna.
Another novelty which Mr. Savage has arranged
for an early production is a fantastical musical
comedy entitled "Somewhere Else," by Avery
Hopwood, author of "Nobody's Widow" and
"Seven Days." Mr. Hopwood is now in Europe,
and will return within the next fortnight to col-
laborate with Gustav Luders, the composer of
"The Prince of Pilsen," who is already engaged
working on the score for the Hopwod piece.
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