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THE:
MUSIC
TRADE
REA/IEW
BUILDING A STRONG CATALOG.
"THE GYPSY" IN NEW YORK.
Some of the Excellent and Popular Numbers
Published by the Elgar Selden Music Pub-
lishing and Producing Co., New York.
New Pixley and Luders Romantic Operetta
Proves Disappointing as to Book—Music
Rather Pleasing at Times.
The Edgar Selden Music Publishing and Pro-
ducing Co., Astor Theater Building, at the head
of which is Edgar Selden, long prominent in the
field of music publishing, has succeeded in build-
ing up a very strong and interesting catalog within
a. very short time. Among the first numbers to be
introduced by the new house was an attractive bal-
lad entitled '"When I Carved Your Name on the
Tree," and which quickly won a place in the list
v.t successful ballad numbers of the year. Another
of the early publications of the house was "When
The new Pixley and Luders romantic operetta,
"The Gypsy," opened at the Park Theater on Thurs-
day night of last week. For those who still hold
fond memories of "King Dodo," "The Burgo-
master" and "The Prince of Pilsen," by the same
writers, "The Gypsy" proved a disappointment.
The humor was forced and far from spontaneous,
a blundering Englishman and a German comedian
being relied upon to develop most of the laughs.
The music, on the whole, is far superior to the
book and, without resembling it too closely, was
reminiscent of the bright and clever music that
gained fame for Mr. Luders in his former produc-
tions. There are several selections which will un-
doubtedly be heard to a considerable extent, they
including "Gems of the Night," the best number of
the piece, and which was heartily encored, "The
Tale of the Tadpole, '"Every Year Is Leap Year"
and "We Know, Sweetheart, We Know." M.
Witmark & Sons publish the music.
133
EDGAR SELDEN
S A Y
COMIC OPERA IN LONDON
Not Taken with Proper Seriousness, Say
Artists—Good Looks Make Up for Lack of
Voice—A School of Comic Opera Proposed.
Texas Tommy Did the Turkey Trot," a clever rag-
time number with a lilt such as made the turkey
trot music famous. These songs were followed by
"My Honey Lou," "The Corkin' Irish Tune," an
Irish number that is true to the musical charac-
teristics of the Child Sod, and several other songs
that proved most satisfactory from the standpoint
of demand. An instrumental number that has won
a place for itself is "Americans on the Nile," a
characteristic two-step that has proven a special
favorite with the orchestras illustrated above.
The latest of the Selden Co. songs to be offered
to the trade are "When I'm Dreaming, of You"
and "I Love But You Alone," two attractive bal-
lads, and "Operatic Rag" and "New Orleans," two
original rag numbers.
The general appearance of the Selden publica-
tions is thoroughly pleasing, much attention being
given to the designing and printing of the title
pages.
A corps of demonstrators is constantly engaged
in exploiting the songs of the company in the
various stores and departments in New York
proper and a large section of the East, and the
result of this work has been decidedly satisfac-
tory. Arrangements have been made by which
the Selden Co. will have direct representation both
in Chicago and Philadelphia for the convenience
of the trade and profession.
SUCCESSOR TO MASSENET.
Despite the persistent opposition of Saint-Saens,
Gnstave Charpentier has been appointed successor
of the late Jules Massenet at the Academy des
Beaux Arts. One of the Paris journals advocated
*he choice of Vincent D'Indy, who, however, wrote
to the editor: "I am not and I shall not be a can-
didate, for many reasons which it would be useless
to explain here, but the principal of which is that
with my very bi!sy life it would be impossible for
me to find time, not onily for the sittings if by
chance I came to be elected, but even for the pre-
liminary round of visits. Moreover, there are so
many musicians whom this distinction will please
more than it would me. ' Various musicians had
their supporters and the interest in the appoint-
ment was very great.
According to several comic opera singers who
have been interviewed on the subject, comic opera
is not regarded with proper seriousness in London,
and the proposition is to organize a school of
comic opera. A grand opera singer who is suc-
cessful is a rare bird indeed, but every other pretty
girl with a fairly melodious voice and a fairly
active pair of feet thin'ks she is foreordained to
become a potential "star" in a comic opera or musi-
cal comedy production before she has even begun
to learn the rudiments of singing, acting and
dancing. As a matter of fact, comic o;era makes
more demands upon the artistic and physical re-
sources of a would-be artist than does the heavier
form of opera. In opera proper if a prima donna
has a perfect voice that she uses divinely she need
not act, she need not move, she nesd not be young,
and she need not even be very intelligent; it is
just that voice of gold that matters, and she need
only sing three times a week!
Now, the musical com.edy star is expected to
look young, to be slim and graceful, and to act
well and sing agreeably, and she ha? to be and do
all these things at least seven times a week! Why
should it only take a few months to fit a girl for
the comic opera stage while it takes years and
years of real hard work before the purely passive
singer comes to the front? I think one of the rea-
sons why French and German and Italian people
say that we are not a musical nation is because
they attend our theaters where operetta or musical
comedy is given, and they hear uncultivated voices
singing parts that in their own country are only at-
tempted by finished artists.
But undoubtedly comic opera is approaching
its renaissance in England. Theatergoers are feel-
ing the delight of listening to really melodious and
scholarly music. This is a state of things that is
largely due in my opinion to the efforts of man-
agers like Mr. Robert Gourtneidge and Mr. George
Edwardes, who give us the very best that is to be
secured both musically and artistically. At present
the majority of our London successes come to us
via the Continent, which is after all the birthplace
of the merriest and most memorable comic o;:eras
for generations past. Strauss is a classic, Leo Fall
is a tuneful friend, Lehar is always with us for-
tunately—but how often does our English musical
memory recall the real comic operas of anyone ex-
cept Sullivan? Of course there are many more
composers of merit who have given the world
charming light operas, but if we are asked to name
a composer of comic opera at once the immortal
Savoyard springs to the mind. According to the
artists there should be more encouragement for
the comic opera of British origin.
VIIL ARINLR
fibril;!'
IS THE BEST SELLING
BALLAD PROPOSITION
FOR YOU, MR. JOBBER
Since His World Famous Success
"ALL THAT I ASK IS LOVE"
YOU CAN'T GO WRONG
WITH A "SELDEN" SONG
This Adv. is for the Earnest Dealer Who
Wants Business and Knows How to Get It
" Selden" Songs Sell on Sight
If You Haven't Had These Hits
ORDER NOW
The Wonder Song of North, East, South, West
NEW ORLEANS
OPERATIC RAG
It Sticks Like Molasses
Greatest Rag Ever Written
Also These Safe, Sane and Steady Sellers
"My Honey Lou"
"WhenTexasTommy
Did the Turkey
Trot"
"That Corkin'Irish
Tune"
"When
I Am Dream-
The Season's Two-step
Success.
ing of You"
"AMERICANS ON THE NILE"
and
Lewis F. Muir's New Big Hit
"ZAMEE" Intermezzo
EDGAR SELDEN
Publisher of Hits
Astor Theatre Building
Broadway, cor. 45th St., New York