Music Trade Review

Issue: 1923 Vol. 76 N. 20

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
MAY
19, 1923
THE
MUSIC TRADE
43
REVIEW
ANNUAL REPORT OF VICTOR CO. SHOWS BIG INCREASE
Total Assets of Company Increased $2,308,137 During 1922—Other Indications of Its Strong Finan-
cial Position—Completion of New Factory Building Will Add to Output
Anyone who doubts the steady growth of
and possibilities for development in the talk-
ing machine business is likely to have those
doubts removed following a survey of the
twenty-first annual report to the stockholders
of the Victor Talking Machine Co. covering
the year 1922, issued recently.
The report shows that the total assets of the
company on December 31, 1922, were $45,734,892,
representing an increase of $2,308,137 during the
year. During the year the surplus account
showed a decrease of something like $28,000,000
as a result of the stock dividend declared before
the close of last year which served to raise the
amount of common stock to $34,999,900 as a
factor in the liability column.
The soundness of the Victor Co.'s financial
condition is reflected in the statement that in-
vestments in other companies now total $4,568,-
127, an increase of $2,957,044, and represented
by the taking over of the total stock interest
in the Gramophone Co., Ltd., of London. The
company also has marketable securities totaling
$6,261,900, an increase of $2,612,995 during the
year, and has on hand a cash balance of $8,635,-
377, representing an increase of $4,410,742. At
the present time the company has no bank
loans.
The report for 1922 indicates that the com-
pany made a steady and impressive gain, and
lildridgc K. Johnson, the president, states that
the directors of the company look forward with
great confidence to the growth of the company's
business and earnings during the course of the
current year.
In presenting the report Mr. Johnson states
that the strong financial condition of the com-
pany in the opinion of the directors warrants
proceeding with long-planned extensions, one of
these being the new eight-story record pressing
plant in Camden which is being pushed to com-
pletion rapidly and will be ready for occupancy
by July 1. This new building will enable the
company to concentrate its record manufacture
and make for greater efficiency and increased
output.
In this connection it is interesting to note
that in the report the present plant of the com-
pany, including land, buildings, machinery,
furniture, etc., is valued at $11,415,164.
NEW YORK SYMPHONY ORCHESTRA RECORDS FOR COLUMBIA
Walter Damrosch and the Famous New York Symphony Orchestra Sign Contract to Record
Exclusively for the Columbia Co.—One of the Most Important Happenings in the Musical World
The Columbia Graphophone Co. has obtained
an exclusive contract with Walter Damrosch
and the New York Symphony Orchestra. The
New York Symphony Society has never before
authorized recordings by this orchestra, and the
Columbia Co. has received the hearty congratu-
lations of its dealers upon securing this famous
organization as exclusive Columbia artists.
Walter Damrosch, conductor of the New York
Symphony Orchestra, enjoys the distinction of
Walter Damrosch
being one of America's foremost musicians as
well as the Dean of American conductors. For
thirty-eight years Mr. Damrosch has been in
command of the New York Symphony forces,
continuing the work commenced in 1871 by his
illustrious father, Leopold Damrosch, founder of
the orchestra. Walter Damrosch gave to New
York the first Beethoven Festival, and the first
performances of many of the symphonic works
of Brahms, Tschaikowsky, Sibelius and Elgar.
He has also encouraged American art by the
production of many works of native American
composers, and in 1914 the Columbia University
conferred upon Mr. Damrosch the degree of
Doctor of Music.
For two seasons, commencing in 1900, Mr.
Damrosch conducted the Wagner operas at the
Metropolitan Opera House, and for the follow-
ing season he was invited to conduct the New
York Philharmonic Orchestra. The symphony
concerts for young people as well as his lecture
recitals have brought Air. Damrosch prominently
before the American public as an educator. In
this series of concerts for young people, now
in its twenty-fifth year, Mr. Damrosch explains
and demonstrates the works of the masters for
thc purpose of inspiring a sound beginning in
musical taste.
The artistic activities of Walter Damrosch
and the New York Symphony Orchestra became
international when, on the official invitation of
European Governments, the orchestra made a
triumphant tour of Europe in the Summer of
1920. Mr. Damrosch was the recipient of un-
usual honors, being nominated a Chevalier of
the French Legion of Honor, an Officier of the
Order of the Crown of Italy and a Chevalier of
the Crown of Belgium. He also received the
gold medal of the Banda Municipale of Rome
and the silver medal of the Worshipful Company
of Musicians of London, at the same time being
elected an honorary member of that ancient so-
ciety.
Mr. Damrosch has composed two operas, a
choral work, a sonata for violin and piano, inci-
dental music for many symphonic numbers and
a number of well-known songs. The first Col-
umbia records by Walter Damrosch and the
New York Symphony Orchestra, which will be
ready in the near future, will form an invaluable
addition to the Columbia record librarv.
SAUL BIRNS PLANS SKY=SCRAPER
New York Talking Machine Man Planning
Huge Structure on Second Avenue to House
Headquarters of His Big Business
What is without question one of the most
ambitious building projects undertaken recently
by any music merchant is the plan of Saul Birns,
well known throughout the metropolitan talking
machine trade as a live wire, to construct a
twelve to fifteen-story building on the site of
the property, which houses his headquarters at
111 Second avenue, New York City. In a chat
with The Review Mr. Birns stated that pro-
vision will be made for the display of his line
of talking machines, musical instruments and
pianos on an elaborate scale. There will also
be a large auditorium where musical events
will be staged, and in addition, if present plans
go through, there will be a radio broadcasting
station.
SELLING MUSICAL
MERCHANDISE
By J. R. FREW
This is a practical book that describes
the methods pursued by a successful
music dealer in conducting his musical
merchandise departments. It covers
every routine problem incident to es-
tablishing and operating a depart-
ment devoted to band and orchestra
instruments.
This branch of the music industry
has had a very prosperous year and
an excellent opportunity awaits other
dealers who take it up. It requires a
small investment, gets quick turnover,
involves no risk and, in addition to
being highly profitable itself, increases
the sale of talking machines, records,
etc., and helps make a given store the
music center of its community.
READ THE CONTENTS^
THIS PRACTICAL BOOK
Chapter
From the Publisher.
Introduction.
PART I
THE PROBLEM OF BUYING
I. Buying in General.
II. Importance of Quality In Buying.
III. Where to Buy.
IV. Future Buying.
V. Buying for Special Sales.
VI. Some Don'ts for the Buyer.
PART II
THE PROBLEM OF PUBLICITY
VII. Advertising In General.
VIII. Space or Display Advertising.
IX. Advertising by Personal Contact.
X. Advertising Through Service.
XI. Direct and Mail Advertising.
XII. Advertising Through Musical
Attractions.
PART III
THE PROBLEM OF MANAGEMENT
XIII. Management in General.
XIV. Stock Display.
XV. The Care of Stock.
XVI. Inventory and Sales Analysis.
XVII. The Question of Credit.
XVIII. The Repair Department.
XIX. The Value of Co-operation.
PART IV
THE PROBLEM OF SELLING
XX. Selling In General.
XXI. The Sales Organization.
XXII. Psychology of Salesmanship.
XXIII. Collective Selling.
XXIV. Organizing a Band or Orchestra.
XXV. The Used Instrument Problem.
PART V
INSTRUMENTATION
XXVI. Musical Organizations and their
Instrumentation.
XXVII. The Principal Instruments of the
Band and Orchestra Described.
APPENDIX
List of Principal Musical Merchandise
Products
FREE INSPECTION OFFER
Edward Lyman Bill, Inc.
373 Fourth Avenue, New York.
You may send me, on five days' free inspec-
tion, your book SELLING MUSICAL MER-
CHANDISE. I agree to return it to you
within five days, or remit $2.00
Name
Address
City
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
44
THE
MUSIC TRADE
REVIEW
MAY
19, 1923
CONDUCTED BY V. D. WALSH
MUSIC PUBLISHERS' ASS'N WILL PERMIT BROADCASTING
Announces Permission to Broadcast Copyrighted Music Without Charge Pending Time When
Situation Is Stabilized—Permission Given Without Prejudice to Copyright Owners' Rights
Permission to broadcast copyrighted music
by radio without charge, pending the time the
radio broadcasting situation is stabilized and
placed on a commercial basis, is recommended
to publishers by the Music Publishers' Asso-
ciation of the United States in a report of its
special Committee on Radio Broadcasting,
which has been accepted and adopted by the
Association. This applies to all publishers,
members of the above body, who are not mem-
bers of the American Society of Composers,
Authors and Publishers.
M. E. Tompkins, of G. Schirmer, Inc., pub-
lishers, chairman of the committee, in a state-
ment issued this week, said: "Our Association,
which has been in existence since 1895, repre-
sents particularly the so-called 'standard' pub-
lishers, which make up a majority of its forty-
nine members, as distinct from publishers of
popular music, although a number of the latter
arc also members.
"Our committee has been carefully investi-
gating the broadcasting of copyrighted music
since last November. In our report, just
adopted ,by the Association, we point out that
music publishers arc vitally interested in radio
broadcasting as a great future user of music
and that our rights in the use of our copy-
righted music in public performances must be
protected. However, we appreciate the fact that
radio broadcasting is still in a chaotic and ex-
perimental state and that, while ultimately it
will have to be placed on a commercial basis
if it is to develop its potentialities, nevertheless
the commercial side of the broadcasting prob-
lem has not yet been solved.
"In view of these facts and also because we
desire to co-operate in developing the music
possibilities of radio, we believe that we should
allow the use of our copyrighted musical com-
positions for broadcasting without charge for
the present and without prejudice in our
rights."
While the action of the Music Publishers'
Association does not bind its members, but
merely recommends, it is understood that most
of the large standard publishers in its member-
ship will follow the recommendations of the
Association.
The following
representative
standard publishers have definitely decided to
follow the recommendations: Carl Fischer, G.
Schirmer, Inc.; C. H. Ditson Co., John Church
Co., P>ooscy & Co., and Hinds, Hayden &
Eldredge, Inc., of New York City; Oliver Dit-
son Co., and B. H. Wood Music Co., of Boston;
Paul A. Schmitt, of Minneapolis, and Clayton
Summy, of Chicago.
The action of the Music Publishers' Associa-
tion will make available over the radio a great
quantity of the best modern music by orchestra,
band, choral and individual performers and
copyrighted arrangements and orchestrations of
the world's best music of all time.
The decision of the publishers was based
largely upon the following facts and conditions
with respect to radio broadcasting, according
to the report of the committee:
"The outstanding fact about radio broadcast-
ing from the standpoint of both willingness and
ability of broadcasting stations to agree at pres-
ent to some practical form of compensation for
use of copyrighted musical compositions is their
failure, as yet, to find a method of collecting
a proper share of the expenses of broadcasting
from its beneficiaries, that is, from cither the
various elements of the radio industry or the
receiving public. This, of course, does not in
any way affect the merits of the question, but
it is clear that it does present perplexing dif-
ficulties to the broadcasting companies.
"While the possibilities of the radio as a
transmitter of educational and current informa-
tional matter are undoubtedly great, it is gen-
erally expected by those who have investigated
this question, including radio experts them-
selves, that entertainment must comprise the
popular feature of it. Music has been found
essential to the success of nearly every form
of public entertainment, and to this radio broad-
casting appears to be no exception. Music is
the one broadcasting possibility of almost uni-
versal appeal.
"Up to the present time the music broad-
casted by radio has not, generally speaking,
been of a sufficiently high quality to be a factor
of importance in creating a further public ap-
preciation and demand for music itself. Elimi-
nating the novelty feature of radio, it is very
doubtful if the musical side of it would as yet
have had any great public appeal. Much of
the music broadcasted is merely that of a
phonograph or reproducing piano, not a little
of which is really for advertising purposes.
With rare exceptions, no truly great artists have
performed over the radio.
"It is not unreasonable to expect, however,
that ultimately such scientific perfection of radio
broadcasting and receiving apparatus will be
attained and arrangements made with so much
of the world's best musical talent that radio
will be an established and important source of
music on a commercial basis. When and if
this time arrives, it will be vital to the welfare
of the music publisher that the radio branch of
the music industry should properly recompense
the publishing branch, upon which it will be
dependent for its existence and prosperity. The
failure of publishers in the meantime to safe-
guard their rights may make the future enforce-
ment of them difficult.
"The difficulties of establishing radio broad-
casting on a commercial basis, which appar-
ently is necessary before it can become an
important direct source of revenue to those
who participate in it, including copyright own-
ers, are great but not unsurmountable. While
it is impossible to predict how the problem
will finally be worked out, nevertheless there
arc several possible solutions. Many persons
believe that radio broadcasting must be placed
under government regulation and control.
Under such conditions all producers of radio
equipment who are the commercial beneficiaries
of broadcasting could be licensed and the pro-
ceeds used to pay the expenses of broadcasting.
Some even expect that the radio may ultimately
be of such universal use that the government
can undertake broadcasting as a public func-
SONGS THAT SELL
You Know You Belong
to Somebody Else
(So Why Don't You Leave Me Alone ?)
Down Among the Sleepy
Hills of Tennessee (new)
Dearest
(You're the Nearest to My Heart)
You Tell Her—I Stutter
Homesick

Open Yoar Arms, My Alabamy
Ivy (Cling to Me)
Choo Choo Blues
Some Day YOH'H Cry Over Someone
Some Little Someone
Every Wednesday Night
Come on Home
Don't Bring Me Posies
(It's Shoesles I Need)
Some Sunny Day
Truly
Just a Little Love Song
Yankee Doodle Blues
Early in the Morning (Bines)
Night
New Hampshire
Venetian Blues
Constantly
Kissing Time (Waltz)


Universal Dance Folio for 1923
IRVING BERLIN'S NEW
Music Box Revue
Crinoline Days
Lady of the Evening
Porcelain Maid
Pack Up Your Sins

— Will She Come From the East?
Little Red Lacquer Cage
— The
Bring On the Pepper
and Go To The Devil
IRVING BERLIN, Inc.
1607 Broadway, New York
tion. It is perhaps more likely, however, that
through the control of basic patents a few radio
companies can develop broadcasting and re-
imburse themselves by including the expenses
in the price of the patented radio parts or from
fees received for licenses granted to other manu-
facturers. Another possibility is that the radio
interests will be able to finance broadcasting
as a common promotional problem of the indus-
The Waltz Sensation Nearly as^ood a s
Three (TClockin iheMorninA'
FEIST Jon*."

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