Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
MARCH 17,
THE MUSIC TRADE REVIEW
1923
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DANCE ORCHESTRA NOT VITAL TO MELODY ^PLUGGING"
MAC DERMID SONG WIDELY SUNG
Development of New Type of Organization in Theatrical Attraction Shows New Trend in Ar-
rangements Preserving Melody—Modern Renditions Highly Appreciated by Public
American Composer's Works, in Forster Cata-
log, Part of Leading Artists' Repertory—
Over Forty Already Published
There are more than a few indications that
modern dance orchestras are not so necessary
as a medium for the exploitation of melody com-
positions as some would have us believe. Natu-
rally, they are used and will continue to be
used as an available vehicle for the populariza-
tion of songs in dance form. But making special
arrangements for orchestra use, encouraging,
or even allowing the making of such arrange-
ments upon their own part (which is seemingly
unwise) is, apparently, unnecessary in the case
of melody compositions.
Following the entry of the Paul Whiteman
Orchestra into vaudeville over a year ago and
the booking by the large circuits of such suc-
cessful organizations as Paul Specht and Vin-
cent Lopez' Pennsylvania orchestras, there has
been a noteworthy addition to the ranks of
musical combinations styling themselves synco-
pated symphonists, etc., in both large and small
houses, all of which are meeting with unusual
success.
These play popular numbers with the melody
remaining intact, without the changes and nov-
elties heretofore introduced by most of the
dance orchestras. In New York alone there
have been as many as six or eight such orches-
tras playing vaudeville houses in one week, the
demand for their services at times being so
heavy as to make it necessary for the more
successful to play two houses in one night.
In addition to playing the popular melody
fox-trots as originally written, they also include
several standard works in every program. When
playing the classics it is true that they give the
touch of the modern to the rendition, but the
selections are in no way mutilated and they
certainly meet public approval as the repeated
encores show.
It is the orchestras that are rilling the the-
atres—they are booked at large salaries because
they bring audiences. Most of the combinations
are from eight to twelve men, so the weekly
payroll is quite substantial.
Either there is a large public that is not
interested in dance or dance orchestras, who
up to these new bookings of musical combina-
tions have had no opportunity of hearing the
modern orchestra, or there is a considerable
number of people who feel the vaudeville style
of rendition is a great improvement over that
heard in the dance hall. At least that is ap-
parently the proper conclusion.
There are several other merits in the theatre
attraction organization over the dance-hall or-
chestra from both the music publishers' and the
public's standpoint. It is more intimate, for
one tiling, and by any one of several methods
it lets its audiences know the title of the num-
bers played.
At a recent vaudeville performance, out of
the entire program played by a leading orches-
tia, the only number that received no response
was a novelty played in what would be termed
dance rhythm at its loudest and best.
Whether or not the above situation means
much or little as to the trend of the public
taste, the additional orchestra combinations
playing to other than the normal dance public
should be welcomed by the trade.
BERNSTEIN BACK_IN NEW YORK
Louis Bernstein, head of Shapiro, Bernstein
& Co., Inc., returned to New York early last
week, accompanied by his family, after an ex-
tended vacation at Palm Beach, where he en-
ioyed all the Southern Winter sports.
The first of a series of programs of American
music was given at Wanamaker's Auditorium
in New York under the auspices of the New
York Federation of Music Clubs recently. Be-
sides original compositions for organ played by
Edward Shippen Barnes and for piano played by
Hans Barth, Sibyl Sammis MacDermid sang
two groups by James G. MacDermid, accom-
panied by the composer.
In introducing Mr. and Mrs. MacDermid
Mme. Caroline Lowe, chairman of the music
committee, said:
^
"The songs by James G. MacDermid pub-
lished during twelve years are very well known
to artists, teachers, students and music lovers
of the last decade. Some forty songs have
appeared, including fifteen Scriptural songs
which have been a boon to church singers. Mr.
MacDermid is proud to number among artists
who sing his songs such well-known names as
John McCormack, Edward Johnson, Julia Claus^
sen, Frances Alda, Cyrena Van Gordon, Caro-
lina Lazzari, Arthur Middlcton, Paul Althouse,
Theo. Karle and a host of others of equal
prominence.
"Last, but not least, of these is his charming
wife, Sibyl Sammis MacDermid, who presents
his songs to-day. Mrs. MacDermid has an es-
tablished reputation in her own right as an
artist and teacher, and she has appeared with
most of the symphony orchestras and large
choral bodies of the country, as well as having
made three tours to the Coast in joint recital
with Mr. MacDermid."
Forster, Music Publisher, Inc., publishes the
MacDermid catalog, and according to all reports
the numbers are in steady demand from the
music-buying public.
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