Music Trade Review

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THE
MUSIC TRADE
REVIEW
Conducted by B. B. Wilson
put a Hamlet on the stage that would be just as
good, although vastly different.—Cleveland Plain
In Letter to The Review Some Interesting Remarks Are Made Regarding the Handling of Pro- Dealer.
duction Music by the Publishers—Dealer Charges Broken Faith.
ONE MUSIC DEALERS REASON FOR POOR BUSINESS.
A dealer writes this office, commenting upon the
reports that the publishers in some instances have
not found business to their liking, and endeavors
to place the blame for the conditions upon the
publishers themselves, especially severtal of those
who make a feature of production music.
"Dealers say that it is not a question of gen-
eially toad business, but is a question of broken
faith to a large extent. The growing number of
productions have made it necessary that the pub-
lishers go to extremes to market their music, and
instead of offering to the dealer only such pro-
duction music as they know will prove salable
they have forced on them wherever possible full
stocks of all their production music, regardless of
its value.
"To take the announcements of many of the
houses, one will see production after production
advertised as a success even before it 'has been
offered to the public, and the publishers continue
to (advertise it as such after it has failed and has
been taken off the boards. The average dealer
cannot gauge the popularity of a play in New
York, Chicago and other large cities, and must
tske the publisher's word, which word has, in
many cases, proved itself to be of doubtful value.
"Just what is gained by such tactics? The pub-
lisher is so anxious to sell his production music
that he offers it on consignment. The dealer,
when 'he finds the music unsalable, naturally re-
turns it. The dealer is out his time and energy in
handling the music, the publisher is out the ex-
pense of publication, and the only one to gain is
the express company.
"If some of the publishers would hold faith with
the dealer and 'hesitate in stocking him with music
that they know will never 'be in demand, business
would unquestionably be placed upon a sounder
basis."
It seems best that the publisher, instead of get-
ting out big editions of music of doubtful operettas
or musical comedies, would have a Little patience,
they would save the cost of these big editions and
would not be compelled to sacrifice the confidence
of the dealers for the sake of marketing music.
It has relached a point where those concerns
which offer production music which has proven
salable or really has a chance to 'become salable
suffer for the acts of those who want to get rid
of their music at any cost. It is literally another
case of killing of the "goose who laid the golden
LATEST BOOSEY PUBLICATIONS.
Several Interesting Numbers of Excellent
Quality Included in Recent List Issued by
That Company—Liza Lehmann's Setting of
"Wynken, Blynken and Nod."
The latest budget of publications from Boosey
& Co., 9 East 17th street, New York, with offices
in London, England, contains many numbers of
more than ordinary interest to the dealer desiring
to cater to the purchaser of ballads of exceeding
worth, both from literary and musical viewpoints.
Of more than ordinary interest to the trade are
the ballads listed herewith and which are pro-
duced with that care and detail which character-
izes all the publications of the house of Boosey:
"Tired Hands," words by E. Reschemacher, music
by Wilfred Sanderson; "The Little Damozel,"
words by Fred E. Weatherly, music by Ivor No-
vello; "Out in the Bay," words by J. Anthony Mc-
Donald, music by Gerald F. Ka'hn; "I Love You
Dearly, O My Sweet," words by Justin Huntly
McCarthy, music by Norman O'Neill; "A Coon
Lullaby," words by George Ellerton, music by
Percy E. Fletcher; "The Crafty Crocodile," words
by Mary Farrah, music by Joan Trevalsa; "Eila
of the Starry Night," words by Fred E. Weatherly,
music by Haydn Wood; "Good Night," words by
Shelley, music by F. R. Richman.
New Volume by Hermann Lohr and Guy d'Hardelot Now Included in Popular Chappell & Co.
Boosey & Co., by the way, has just published
Edition of Vocal Works—Should Have a Wide Vogue.
Liza Lehmann's musical setting of Eugene Field's
delightful poem, "Wynken, Blynken and Nod,"
There have been several recent additions to "The various volumes in the series are bound uniformly
which is written for a three-part female chorus,
Portrait Series" of vocal albums, by composers of
in a gray cover, with the portrait of the composer
on the cover, and are generally attractive in ap- with pianoforte accompaniment, and dedicated to
international prominence, published by Chappell &
the Rubinstein Club of New York. It is distinctly
Co., and which include a new album for baritone pearance.
Lehmannesque, and an admirable piece of musical
construction, whidh will find much favor with
VERDI'S CENTENNIAL.
musical clubs. Liza Lehmann has caught the spirit
of this clever poem, which is transferred to the
One of the most interesting celebrations
voices in a manner that is inimitable.
of the Verdi centennial in Italy next
autumn will be held in Busseto, a small
town near which, in the hamlet of Ron-
NEW SELDEN PUBLICATIONS.
cole, Verdi was born. It was at Busseto
Three new ballads, "Just Say Again You Love
that the great composer had his first
Me," by Edgar Selden and Emanuel Goldstein;
music lessons and where he practised on
the organ in the old Cathedral. Mr. Tos- "When I Am Dreaming of You," by Bert Young,
and "I've Lost my Heart in Loveland," by Karl
canini will have the direction of the cele-
Tausig and Leon Rogee, 'have just been added to
bration
and
has
chosen
Pasquale
Amato
SAL
the catalog of the Edgar Selden Music Publishing
to sing the title role of Falstaff and Ger-
and Production Co.
mont in "La Traviata." As the theater
is a small one the greater part of the or-
If you desire a man for any department of
chestra will have to play under the stage.
your service, either for your factory or for your
Verdi's Requiem will be sung in the Ca-
selling department, forward your advertisement
thedral.
to us and it will be inserted free of charge.
ADDITIONS TO "THE PORTRAIT SERIES."
THE PORTRAIT SERIES
THE COMING HAMLET.
LIZA LEHMANN
ALBUM
CHAPPELL
by Hermann Lohr, and a second Guy d'Hardelot
album, containing several choice selections from
that of each of those composers. "The Portrait
Series" has met with a cordial reception from
music lovers since the time of its introduction, and
the publishers 'had thus been encouraged to add to
the series gradually and with particular care. The
Forecast of Harry Lauder's Work in
the Shakespearean Role.
Word comes across the sea that Harry
Lauder has decided to play Hamlet—a
weakness which is pretty sure in time to
assail all successful comedians.
Whether Harry will play the Prince in
dialect or a kilt is not stated. But there
is no doubt that a characteristic little song
about Ophelia would go well with the
Lauder fans, d'ye mind? It might, f'r in-
stance, start in with:
She is ma Ophelia,
Ma perfumed camelia;
There's nay lass in Denmark sae bonny as she;
Her brither's Laertes—
I hate him, ma certes,
But 'Phelia's th' lassie that luks guid to me!
In fact, we believe the talented Lauder could
Harold and Helen BaUou's
POST CARD SONGS
Have Caught the Hearts and Purses.
The ONLY novelty in printed music. Original,
catchy, complete with accompaniment and pleasing
sentiment. Samples, List and Prices «* your c*l\.
HAROLD AND HELEN BALLOU. Publishers.
Maritime Building,
Seattle. Washington.
They ginger up the matte trade.
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 beautiful 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