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THE MUSIC TRADE REVIEW
Conducted by B. B. 'Wilson
NEW VICTOR HERBERT SUCCESS.
•'The Lady of the Slipper" Overflowing With
Delightful Music—Makes Strong Impression
on New York Audience Monday Night.
Victor Herbert has scored another decided suc-
cess with his latest operatic extravaganza, "The
Lady of the Slipper," which made its bid for met-
ropolitan favor on Monday night at the Globe
Theatre, with Montgomery and Stone and Elsie
Janis as a trio of stars in the principal roles. The
piece made an excellent impression and every num-
ber went over in great style, receiving great ap-
plause and emphatic encores. Mr. Herbert has
never written fresher or more piquant music, the
seductive quality of which was in evidence from
the openirg chorus to the finale. One of the very
best numbers, a winsome trifle called "Princess
of Far Away," charmingly rendered by Miss Janis.
is a little gem of exceptional value. Other
pleasing melodies are to be found in "A Little
Girl at Home," "Like a Real, Real Man," "My
Russian Girlski," "Fond of the Ladies," "Games of
Hallow'een," "The Garden Party" and "Bagdad."
, "The Lady of the Slipper" was written by
Anna Cauldwell and Laurence McCarthy, the
lyrics by James O'Dea. The authors have selected
the charming story of "Cinderella." which they
present in entirely new and original form. The
.characters of Spooks and Punks, written for those
whimsical comedians, Montgomery and Stone,
move through the play to ;i constant accompani-
mert of laughter.
The production made by Manager Charles Dil-
Hngham is very elaborate, and the company in
support of the stars is a large and capable one.
"The Lady of the Slipper" promises to prove one
of the, strongest of the season's attractions. The
newspapers were as one in their praise.
The New York World paid: "If the entire
audience at the Globe Theatre last night had con-
sisted of music publishers, and if each person in it
had had an interest in the charming score which
Victor Herbert has composed for 'The Lady of
the Slipper,' the applause which accompanied the
first unfolding of Charles Dillingham's sparkling,
airy new musical fantasy would scarcely have been
more enthusiastic and persistent."
The Tribune: ''There is no deliberate siege laid
to one's good spirits in the new play either. They
just come laughing, alorg in the train of bright
nonsense and good music. For Victor Herbert's
music has originality and distinction."
The Press: "'The Lady of the Slipper' is a
great entertainment. The dium finale of the sec-
ond act is as effective an ensemble number as a
New York stage has held in years. Of the songs.
'Fond of the Ladies,' 'Love Me Like a Real, Real
Man,' 'A Little Girl at Home" and 'Bagdad' made
particularly good impressions."
The American (Allan Dale): "Three stars all
with irnings of their own kept the night busy.'"
The Herald: "Mr. Herbert's music is jolly and
spirited—in just the key for the fun." M. Wit-
mark & Sons publish the music.
TAKES CHARGEjOF DEPARTMENT
W. Crosdale Witts, formerly connected with the
sheet music department of the Sanders & Stayman
Co., Washington, D. C, has been appointed man-
ager of the same department with the Percy S
Foster Piano Co.
Harold and Helen Ballou's
POST CARD SONGS
Have Caught the Hearts and Purses.
The ONLY novel tv in printed music. Original,
cntrhv. complete with nrcnmpnvin'etit and plensina
sentiment. Samples, List and Prices at your call.
HAROLD AND HELEN BALLOU. Publishers.
Maritime Building,
Seattle. Washington.
They ginger up the mutic
trade.
EVERY CUSTOMER
is a " p r o s P e c t " for a sheet
music cabinet IF you have
a line of SALTERS on the
floor.
Write for our new catalog
of sheet music and com-
bination sheet music and
player roll cabinets. It's a
revelation of artistic beauty,
utility and profit - making
possibilities.
SALTER MFG. CO.
337-343 N. Oakley Avenue
CHICAGO
Our Style No. 5 9 .
A LIVE INTERPOLATION.
MREVIEWttEARS
THAT certain publishers ascribe the sudden slump
in business to the approach of the Presidential
election.
THAT it hardly seems possible 'that owners of
pianos will stop buying music no matter who is
elected, without an actual panic in sight.
THAT a little more regard for realities and less
for possibilities would be better for all concerned.
THAT certain writers of "popular music" are
rapidly progressing from the simply suggestive to
the actually obscene.
THAT when the authorities are forced to take
action, as it appears they will soon be compelled
to do the innocent will suffer with the guilty.
THAT the practise of demonstrating songs should
be carefully watched by publishers who desire to
regulate running expenses in proportion to the
business done.
THAT a demonstration that costs $30 and results
in gross sales of $25 or less is hardly a profitable
investment.
THAT music dealers should be on their guard
against publishers who make a practise of imitat-
ing, as closely as they dare, the names and title
pages of recognized successes.
THAT as the law protects trade-marks even from
attempted efforts at imitation, the same protection
should be given music titles and cover designs.
THAT Harry Von Tilzer is a regular "first-
nighter" at the Columbia Theatre, where one or
more of his songs are used in most of the shows
appearing there.
SONG W R I T E R ^ BANKRUPT.
(Special to The Review.)
Chicago, 111., Oct. 29, 1912.
Jules Von Tilzer, the well-known song writer
and manager of the local office of the York Music
Co., New York, has filed a petition in bankruptcy
with liabilities of $2,627.30 and assets, consisting
of wearing apparel, of $100. Among the liabili-
ties are amounts aggregating $652 owed to hotels
in this city and New York.
"'Tis You I Love for Aye," Proves Strong Num-
ber in "The Merry Countess"—Why Is It
Not in the Program?
'" 'Tis You 1 Love for Aye," with words by
Arthur Cleveland from the French by Jean Rodor
and music by Napoleon Lambelet, one of the
strong numbers in "The Merry Countess," and
the only music in the production not by Strauss,
is published by Leo Feist, Inc., and is one of the
results of Mr. Feist's trip to Europe this summer.
He learned of the song whJe in England and did
not hesitate about securing the rights to it, and
his foresight has been proven by the manner in
which the number has appealed to the audiences
of New Yorkers who have witnessed the produc-
tion at the Casino Theater. " 'Tis You I Love
for Aye" is a waltz song of peculiar attractiveness
and is published both in the English and the or-
iginal French words.
It is to be noticed that the song is not men-
tioned in the program of the show, as has been
the case with other interpolated numbers in pro-
ductions under the same management. When a
song is confined to, and is a feature number of.
a certain production, it is only fa : r to the audience,
the publisher and the dealer that it be listed in the
program. The former are interested and desire
to secure the song, but without title or details the
dealer is at a loss in ordering and. with the pub-
lisher, is a financial sufferer.
Ain't Yo* Comin* Back To
Me, Ma Dinah Lee?
The greatest Southern song written since
"Down Upon the Suwanee River." A
quaint, pathetic song with heautiful har-
mony of real Southern character, sweet
and melodious. The Southern song "hit"
of the season. Get this one quick.
METROPOLITAN MUSIC PUB. CO.
1520 Broadway, New York City