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THE MUSIC TRADE REVIEW
42
JANUARY 9, 1926
Richmond Invades the Music Stores of Cincinnati—(Continued from page 39)
well as Eastman kodaks, Q R S player rolls and
a large assortment of the latest creations in
dolls, novelties, souvenir postcards, etc. It can
well be termed the "Gift, Shop" as well as a
"Song Shop." In order to oblige the public this
busy beehive is open evenings and Sundays.
Four young huskies, whom I personally met
here, are Harris Freedman, the manager; Ber-
nard Ryle, assistant manager; Barney Canter,
specializing at the sheet music counter, and Al-
bert Fegelman, who reports the record busi-
ness as phenomenal. The Waterson catalog in
Cincinnati is showing a tremendous amount of
activity, particularly the numbers "Brown Eyes,"
"Dream Pal," "Co-Ed" and "Smile a Little Bit."
The shoulder-to-shoulder idea of these bright
young men is what is putting the punch into
this enterprise.
Jerome H. Remick & Co.
The music department at Rollman's depart-
ment store is a neat affair, compact, with only
a small space, but it is able to take care of
the wants of the so-called popular music trade
of the city. The prim little lady in charge is
Mrs. Helen Strubel. This was my first meet-
ing with Mrs. Strubel but it is evident that she
knows the value of a smile, just as I heard
good old Santa Claus once say about the value
of a smile: "It costs nothing but creates much.
It enriches those who receive without impover-
ishing those who give." Mrs. Strubel had this
much to say: "The surest way to be happy is
to be so goshdarn busy you have no time to
be otherwise." This department reports prog-
ress in sales. I am certain that Mrs. Strubel had
everything to do with the arranging and trim-
ming of the department.
Leo Feist, Inc., of New York
• The local office of this concern is located at
the Lyric Theatre, managed by Billy White, a
young man who has been with the Feist con-
cern for nearly ten years. Selling the idea "You
Can't Go Wrong With a Feist Song" is just as
easy with the trade as it is with the profession.
Automatically, as each new number is born, it is
destined to popularity with the Feist organiza-
tion back of it. That is why the trade is co-
operating with the Feist catalog.
Fillmore Music Co.
The Fillmore Music Co. is at 528 Elm street.
The class of material published by this house
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is principally of the educational type, particu- available, the concerts were transferred to the
larly adaptable for the schools. Many of its Music Hall and that remained the home of the
best sellers are publications suitable for Easter, Cincinnati Symphony Orchestra until 1911, when
Christmas and cantatas for young folks and through the generosity of Mrs. Thomas J.
grown-ups. It also publishes a number of vocal Emery a new building was erected for the Ohio
solos and duets, as well as selections for band Mechanics Institute, called the Auditorium,
and orchestra and various wind instruments. since known as Emery Auditorium and the
Their thirty-two-page comprehensive catalog home of the Cincinnati Symphony Orchestra.
lists on the contents page over fifty groups of
Headhners Headlined
different type publications.
At the Gibon Hotel I picked up a local news-
Rudolph Wurlitzer Co.
paper and what a surprise I had. The incom-
This important musical house covers every parable Belle Raker and the blackface comedian,
large city from coast to coast with branch Mel Klee, were both headlining a bill at the
stores. They are all extremely attractive, many local Keith big-time vaudeville house. On the
exceedingly elaborate. The main office is in first page of the newspaper these two stars
this city. It does what can easily be termed were photographed, and, according to the story,
"A Nation's Business" in the music field. Mu- were to appear at the Swiss Gardens doing the
sical instruments, wind and string, pianos, pho- "Footloose Strut." Every patron of Keith's and
nographs, anything that plays or makes a noise, all other big-time vaudeville houses from coast
if it is musical, you can bank on Wurlitzer. It to coast knows, or should know, these two top-
wouldn't surprise me, if it were possible to liners. Belle Baker is one of the cleverest and
find out where St. Peter got his golden trumpets, highest-priced acts in vaudeville to-day. H e r
to find that they were supplied by the House of
charm and personality are positively exhilarat-
Wurlitzer.
ing. Everyone in the music business knows or
Cincinnati Musical From Its Inception
has heard of her husband, Maurice Abrahams,
At a very early period in the history of
who has been identified with the popular music
Cincinnati, cultural influences manifested them- industry for more than twenty years. Per-
selves and left an indelible imprint upon the sonally, I knew this delightful couple long be-
population which has continued to this very day. fore they were married. I can recall when
The first singing school in Cincinnati was es- Maurice Abrahams first published that na-
tablished twelve years after the settlement when tionally known popular hit, "Get Out and Get
the population numbered only 750. The first Under," and I can go back further than that.
music was published in Cincinnati in April, 1850, When Maurice Abrahams was the professional
and consisted of a new and valuable collection manager for F. A. Mills, Inc., Mills had as
many as six great big hits a season. Belle's
of music, entitled "The Western Harmonist."
Singing societies began to make their appear- present repertoire is splendid and demonstrates
ance in Cincinnati from 1819 on, and the visit her marvelous versatility. Among the songs she
of General Lafayette in 1825 provided the sings are " I Love My Baby" (Shapiro-Bern-
needed stimulus for the organization of a sym- stein), "Jake, the Baker" (character song), "You
phony orchestra. It was under the direction of Left Me Out in the Rain" (M. Witmark & Sons),
"Bootlegger's Bride" (character), "Pretending"
Joseph Tosso, one of the famous violinists of
(written by Belle Baker and published by Mau-
his day.
The first Saengerfest of America was held rice Abrahams, Inc.), "Masculine Women and
in Cincinnati in 1849. It was a great festival Feminine Men" (Clark & Leslie), "Remember"
(Irving Berlin) and "When the Gold Turns to
of song participated in especially by the German
Gray"
(Maurice Abrahams). Then, of course,
people. That event was the forerunner and in-
spiration of the present Cincinnati May Fes- there are the usual many encores which she is
tivals. The biennial May Festival began its called upon to give.
work in 1873, and, due to the success that met
Cincinnati is certainly some town, believe
its efforts, the need of a permanent home and
music hall for Cincinnati so manifested itself
that by 1875 plans were already under way, and
through the generosity of Reuben R. Springer
the Music Hall was constructed.
The College of Music of Cincinnati was
founded October 14, 1878, and was handsomely
endowed by Mr. Springer. The first director
of the college was the late Theodore Thomas,
who was also for many years director of the
Cincinnati May Music Festival.
The Cincinnati Symphony Orchestra was or-
Brown Eyes,
ganized in 1872 and its pioneer name was The
Philharmonic Orchestra.
I t s early concerts
Blue?
were held in Pike's Opera House and in 1894 it
Smile a Little Bit
consisted of fifty pieces.
Normandy
In 1896 the orchestra was increased to seventy
men and Pike's Opera House being no longer
Dream Pal
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