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42
The Music Trade Review
APRIL 16, 1927
Ready About April 20th I The New
Feist Dance Folio No. 12
Bigger Value Than Ever!
30 Dance Hits (with Ukulele)
including
"IN A LITTLE SPANISH TOWN"
"SUNDAY"
"IT MADE YOU HAPPY"
"JUST A BIRD'S-EYE VIEW"
"THINKING OF YOU"
"PRECIOUS"
"I'VE GOT THE GIRL"
"WHERE D YOU GET THOSE EYES"
and 22 other good ones!
The Advance Demand for the "Feist No. 12" is
Tremendous. Order Enough Now—
From Your Jobber or Direct
L E O F E I S T , Inc., 231 W. 40th St., New York
Taylor Finds Berlin
Akin to Wagner
Declares Both Composers Wrote in Same Man-
ner With Equally Effective but Dissimilar
Results
Deems Taylor, the well-known composer, who
recently gained added importance by presenta-
tions of his new opera "The King's Henchman,"
at the Metropolitan Opera House, gave a lecture
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recently at the Roerich Museum, N e w Y o r k
City, in which he made some i n t e r e s t i n g c o m -
parisons between the works of Richard W a g -
ner and those of I r v i n g Berlin.
" T h e musical w o r k s of I r v i n g Berlin and
Richard W a g n e r have been c o m p o s e d in t h e
same m a n n e r , with equally effective but very
dissimilar results," h e stated. " B o t h w r o t e t h e
music a r o u n d 'catch lines' and therein lay the
early popularity of W a g n e r and t h e present
popularity of Berlin. W h e n a m a n in the street
can sing t h e w o r d s , " Mr. T a y l o r added, " h e is
very likely to appreciate t h e music."
Mr. T a y l o r cited t h e principal difficulties fac-
ing the y o u n g American w h o tried to write the
music for opera in English. P a r a m o u n t a m o n g
these, Mr. T a y l o r placed t h e fact that there w a s
no great A m e r i c a n o p e r a - g o i n g body.
H e a t t r i b u t e d t h e "survival" of " T h e K i n g ' s
H e n c h m a n " to t h e fact that the music does n o t
detract from t h e d r a m a t i c action, and said that
he had succeeded in part in his endeavor to
write a score that would make Americans do
CHAPPELL-HARMS, INC.
c
"the unique thing" of following an opera as a
dramatic spectacle. The composer added that
seven year's experience in writing musical ac-
companiments for theatrical productions and a
brief bit of experience writing scores for mo-
tion pictures had been of invaluable aid to him
in preparing his opera.
Discussing other handicaps in the way of the
American operatic composer, Mr. Taylor de-
cried the American "tradition" of regarding an
opera as merely a concert, saying that "no
mortal could be interested in straight concert
music for a period of more than three hours."
He also cited the lack of great operatic sing-
ers who can pronounce the English language
correctly. Here he digressed to say that there
was nothing more ridiculous in the sounds of
our language than in any other. The failure
of translated operas, due to a difference in
Anglo-Saxon and Latin or German tempera-
ments that made for misunderstanding, had also
created an impression that "opera-in-English"
could not succeed, Mr. Taylor said in the course
of his interview.
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