Music Trade Review

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44
THE MUSIC TRADE
Susie Fisher have selected appropriate songs for
introduction, and numerous are the requests from
their fellow artists for additional numbers.
During Blanche Ripg's novel engagement,
when she plays at the Circle Music Hall, New
York City, and the Orpheum Theater, Brooklyn,
in the same week, this versatile commedienne
has another novelty to offer her audiences in
Heelan & Helf's new coon creation, "When the
Coons Have a Dreamland of Their Own." It
promises to be the feature of Miss Ring's first ap-
pearance since her success in London.
REVIEW
vocal solos, glees and orchestral numbers, give
promise of future meritorious results. An un-
named opera now in the hands of a well known
manager will possibly be produced during the
coming season.
HARRY B. SMITH'S VIEWS
On Composition and Musical Comedy—Some In-
teresting Remarks Worth Noting.
In a recent interview, Harry B. Smith, the
well known writer of comic opera books, re-
marked, in a prefatory way, that "if there was
MUSIC PUBLISHERS' LIVE WIRES.
such a thing as theatrical metempsychosis, I sup-
Speaking of the marked resemblance in the
pose I must have lived in the paleolithic age as a
titles of songs on the tip toe of alleged popu-
prehistoric musical comedy potentate or a comic
larity, a cynical publisher observed: "This sup-
opera swashbuckler." Then added as to the fu-
posed unconscious assimilation in song writing
ture of the musical play the following:
is getting to be as tiresome as the prevalence of
"There always will be a demand for any combi-
appendicitis in fashionable medical practice."
nation of humor and melody, call i t what you
like. The classification of comic opera and mu-
Shapiro, Remick & Co. aver that their best sel-
sical comedy is purely arbitrary. If it is a ques-
lers to date are: "The Ghost That Never Walked,"
tion of modern costume, Strauss' 'Die Fleder-
"Under the Goo Goo Tree," "Cordelia Malone"
maus' is a musical comedy, yet critics accept it
(from "Piff, Paff, Pouf"), "The Gondolier,"
as one of the best of comic operas. Anything
"Navajo," "Moonlight Caprice," "Mr. Blackman,"
from 'The Marriage of Figaro' to—well, no mat-
"Peggy O'Neill Waltzes," "Follow the Merry
ter—is a comic opera. The main distinction
Crowd," "Down on the Brandywine," "I'm Long-
seems to be that in comic opera you can be more
ing for My Old Kentucky Home," "Dixie Girl."
conventional, and in musical comedy you can be
HARRY W. ARMSTRONG.
The "big firm" have their hands full, and on
more incoherent. If you have a drinking song it
some calls are away behind on their orders, not-
Harry W. Armstrong, together with Richard
withstanding the increased force in the printing Gerard, is the composer of the typical and is comic opera. If you have a 'coon song' every
department. As a combination Messrs. Shapiro popular song, "Follow the Crowd on a Sunday," ten minutes, it is musical comedy. Managers
and Remick are showing what can be done in which was first introduced by Nora Bayes, and have depended upon French and German operas,
but this is not necessary now, as a number of
the line of music publishing.
then was taken up by Claude Thardo. Then
American librettists and composers have ap-
other adherents followed so fast that before the
Billy Van, who as an entertainer, has been a publishers realized it the song was a hit and was peared during the last three or four years. In
popular favorite lor many years, owes not a being spoken of and sung everywhere. Another fact, the activity in this field is amazing. One
little of his success to the fact that he knows composition of Mr. Armstrong's, entitled, "You're cannot find a musician, amateur or professional,
how to choose material to please any and every the Flower of My Heart, Sweet Adeline," to who is not 'looking for a good book.' He knows
taste. He does a characteristic number like "The which Richard Gerard has written a beautiful the music will be all right if only he can get the
Queen of Zululand," and then follows it up with lyric, is running the above a close second for book.
"Even now Clyde Fitch, who has written
the soft-floating rhythm of Leo Friedman's new popularity. Although it is a different style of
song, "Dream On Sue"; then Mr. Van starts ballad entirely, this love song has in it those so many pleasing plays, is out, like Alexander,
them to sympathetic foot-tapping with the lively elements of catchiness and the appeal to the seeking new worlds to conquer. He sighs to tri-
measures of "Oh, Miss Josie."
popular taste which will inevitably win for it a umph in the field of musical comedy. Why should
long and prosperous life in the musical world. a successful playwright wish to divide honors
Now they say Mabel McKinley never wrote There could scarcely be anything more effective with a musical composer? Does not Mr. Fitch
anything in her life, but that the talented staff than Jules Bennett's and Olga Orloff's singing of
realize that if the piece succeeds it will be a
of the publishing house to which she is accredit- this song as a duet, as they have been doing in composer's success, while if it fails it will be Mr.
ed does all the work and the lady draws her roy- a number of the prominent vaudeville houses re- Fitch's failure? But it's a mania! It's in the
alty as part of the contract. The report that she cently.
air. Musical comedy is the national amusement
has written a comic opera, to be produced "later
There are also a number of instrumental com- of the American and the English people. 'Bread
on" with the backing of her publisher is reported
positions by this versatile composer now in and the circus!' cried the Roman plebians. 'Top-
as off of the same pieces of cloth.
press at M. Witmark & Sons, all of which are ex- ical songs and the show girls!' demand the mod-
cellent
characteristic numbers, particularly one ern audiences."
Sam Gross is now anchored with Cobb & Ed-
"What is the tendency in taste toward comic
wards, in the professional department. With his depicting life in Venice, which probably comes opera or musical farce?"
nearer
to
imaging
the
soft
rippling
of
water
and
experience Mr. G. should corral business.
"Always toward comic opera, if one can get a
the weird, sad note of the gondolier than any
good one. Musical comedies last two or three
other
composition
of
recent
times.
This
piece
In their search after meritorious musical com-
seasons. The public is certainly tired of the con-
positions in lighter vein the Ladies 1 Home Jour- has three charming motifs, each of which brings
ventionalities, of villagers, drinking songs and
before
one
vividly
some
phase
of
life
over
there
nal have selected for publication, "On the Sands
the tenor and soprano duets, but a good original
at Night," a waltz song written specially for that in that city of beauty and romance. It will not
comic opera is worth a dozen musical comedies.
only
be
popular
with
pianists
but
will
undoubt-
magazine by Chas. K. Harris. It is a composition
Even the best of the English brand are compara-
of the higher grade in that particular vein, and edly be featured largely by orchestras and bands,
tively ephemeral.
as
it
is
remarkably
effective
and
showy
for
that
will appear in their August issue. Mr. Harris
says the acceptance of his song, for which he re- style of work.
ceived a substantial check Monday, is a distinct
Separate Numbers and Scores
STERN & CO. SIGN DANIEL DORE.
triumph for popular music. He reserves all
of the following
copyright privileges. Publisher Harris left New
The latest adjunct to the staff of Jos. W. Stern
Comic Opera and Musical
York Wednesday for Chicago, Milwaukee and & Co. is the well known composer-conductor
: : Comedy Successes : :
St. Louis, to be gone a fortnight.
Daniel Dore, whose exclusive services for a term
"RED
FEATHER"—By Chaa. Emerion Cook, Chas. Klein
of years will be identified with that firm. Mr.
and Reginald De Koven.
Dorg was born in Prince George County, Md., in
NANCY BROWN"—By Frederic Ranken and Henry K.
PU LUN ASTONISHES HIS GUESTS.
Hadley.
1868, received his education at the Kaiserlich
"THE MOCKINO BIRD"—By Sidney Roienfeld and A.
(Special to The Review.)
Baldwin Sloane.
Koenigliche Lyceilm. at Hanover, Germany, also
St. Louis, May 8, 1904.
"THE OFFICE BOY "—By Harry B. Smith and Ludwig
at the Conservatory of Paris, harmony under Dr.
Englander.
"Prince Pu Lun Triumphal March" is the title Marinus at The Hague and composition under
"THE SLEBPY KINO"—By Geo. V. Hobart and Gio-
vanni
E. Conterno.
of a composition which Prof. Charles Kunkel, Ambroise Thomas at Paris. His connection as
"A QIRL FROM D1X1B"-By Harry B. Smith.
the St. Louis composer, dedicated to the Prince. musical conductor and arranger with Reginald
"THE I5LB OF SPICE"—By Allen Lowe & Paul Schlndle
The Prince heard the march this afternoon for De Koven, Klaw & Brlanger and Geo. W. Lederer
r.i,mt»ai>r j o S . W . STERN & CO.
the first time when Prof. Kunkel played it. gave him opportunities which he has taken ad-
84 East 31rt Street
N E W YORK
CHICAGO
LOIOOI
Royal approval was expressed in several artistic vantage of, and his published works, comprising
gifts. The Prince's new grand piano had been
fitted with a pianola attachment, but as Prof.
PUBLISHER OF
Kunkel is not familiar with the mechanical de-
" LAUGHING WATER," " UNTER DEN LINDEN," (New)
vice, Pu Lun retired to an adjoining room and
" S A M M Y " (the Hit of "Wizard of Oz,")
returned in a few moments with a screw driver.
"THERE'S NOBODY JUST LIKE V«U,"
NEW
AMSTERDAM
THEATRE
BUILDING,
To the astonishment of the guests he got on Vis
"THE GIRL YOU LOVE"
frem "Three Little Maids" and "The Silver Slipper/'
42nd Street, near Broadway,
hands and knees and successfully detached the
"TWO EYES OF BROWN."
pienola. Then Mr. Kunkel rendered the compo-
= NEW YORK
-
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sition which had been dedicated to the Prince.
SOL BLOO