Music Trade Review

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THE MUSIC TRADE
PLAGIARISM A FRUITFUL THEME
In the Musical World—Appropriation of Each
Other's Melodies Constantly Alleged—Yet
it is all Unconscious Assimilation.
Publishers find no more fruitful cause of com-
plaint against each other than the alleged appro-
priation of each other's melodies. Rather, their
close imitations if not absolute reproductions.
Some politely refer to the charge as "unconscious
assimilation." Others use language more forcible
than elegant. That it exists, and is a constant
source of friction, and even of threatened litiga-
tion, is past denial. This phase of the business
formed the basis of quite a readable story in a
recent issue of the New York Sun, as follows:
"One of the most whistled songs of the season
has been 'Bluebell.' Its composer is Theodore
Morse, the composer of 'The Cocoanut Tree' and
'I've a Feeling for You,' and a long list of other
popular songs. One of the rarely sung hymn
tunes of the Protestant Episcopal Church is 'Wa«
termouth,' the name of the hymn composed by H.
A. Mann in 1879 for Frances Ridley Havergal's
'O Saviour, Precious Saviour.' A correspondent,
George Fentrick, has called attention to the strik-
ing similarity between the chorus of the song
and the hymn. The two were submitted yester-
day to a musician in charge of the publishing de-
partment of a large music house, lie played bcth
numbers through on the piano and to the lay
ear they were identical.
"There is a little chango in the rhythm, for
the song chorus is in march time," he said, "but
the notes of the melody are identical." It may be
that Mr. Morse never heard of the hymn and the
identity of the two compositions may be entirely
accidental. It can be said that they really are
the same air, and could not well be more alike."
The composer of "Bluebell" has drawn large roy-
alties from the sale of the song, and is a partner
in the F. B. Haviland Publishing Co., and when
interviewed, said:
"I never saw or heard of that hymn 'Water-
mouth' to my knowledge, and if 'Bluebell' re-
sembles it so strongly it is mere coincidence. I
have a German song written years ago that is
very much like the chorus of 'Bluebell,' which
I heard after the song had been published, and
finally got hold of it with great difficulty. Then
there is a little English song called 'The Star,'
published more than fifty years ago. I heard of
it after 'Bluebell' was popular, and after a great
deal of difficulty I got hold of it. They are very
much alike, almost the same, but I had never
seen it before my attention was called to it. Only
a short time ago a man sent me a song from
London which he had written some time ago,
and wrote me that I ought to be ashamed to steal
his song. It was like 'Blusbell.' I sent him back
the two old songs as an answer."
Much more and pertinent evidence could be
adduced to prove the same contention, namely,
that in many instances where the strains of cer-
tain melodies bear a suspiciously strong resem-
blance to each other, there is not the slightest
intention of plagiarism on the part of a writer
who has brought forth a later effort than the so-
called original. Every compose-; is subject to this
criticism, and some publishers oven go so far in
defense of their innocence as to claim that the
strains of alleged imitations were originally pro-
duced in the compositions of the old masters, and
come back to centres of popular airs as memories
only in the ordinary course of composition as
suggestions. Then, again, it cannot be gainsaid
that the habit of "borrowing" ideas from good
sellers is a practice of no mean proportions with
publishing houses having little if any regard for
the moral or legal rights of others.
"The Sho-Gun," the new comic opera by George
Ade and Gustav Luders, will receive its first New
York presentation at Wallack's Theatre on Octo-
ber 10. The piece has enjoyed a remarkably suc-
cessful run in Boston.
ETTA EDWARDS,
M RS. Hall,
Boston, Mass.
Vocal Instruction, Stelnert
REVIEW
9
GERMAN MILITARY BANDS
BARGAIN COMIC OPERA
While Considered Among the Best in the
World, Are Not Progressive in the Use of
Modern Wood Wind Instruments.
A Novel Plan of Bringing Opera to the Masses
in the French Capital.
Germany being at onoe the most army-ridden
and the most musical country in the world, it is
not surprising that its military bands should play
an important role. For the majority of the popu-
lace, indeed, their concerts are the chief musical
pabulum, as they are given free or for a much
smaller admission fee than is asked at other con-
certs and operas. Dr. S. Linde claims in the Ber-
liner Tageblatt that though the Romans may
swear by their Monte Pincio band, and the Pari-
sians by their Garde Republicaine music, the Ger-
man bands are the best in the world. He admits
that in one respect they are among the worst.
Whereas in France and elsewhere improved kinds
of modern wood wind instruments, particularly
flutes, are used, the Germans retain the old-fash-
ioned flutes, which only a first-class artist can
blow in tune, notwithstanding that Bohm, who in-
vented the better kind of flute sixty years ago,
was a German. Dr. Linde also admits that the
conductors of the German military bands often
leave much to be desired. The pace at which thej
are apt to take classical and modern overtures
and other pieces is often so absurdly fast that
the music is completely spoiled. Many of these
men act as if they were automobilists in a race,
or at the head of a band of cavalry charging the
enemy with the furor teutonicus.
PROCTOR'S ACCOMPLISHMENTS.
One of the immediate results of the engagement
of the new players for the Proctor stock com-
panies at the Fifth Avenue Theatre has been a
marked and notable elevation of the standard set
for these productions. It has always been a part
of the Proctor plan to give the best performance
possible, and ever since the introduction of the
stock companies the productions have equaled
those of any stock in the country. But with the
engagement of Edwin Arden and other famous
players as members of the company it has been
found possible to obtain plays from sources
hitherto closed to all stock company managers,
and many manuscripts have been turned over to
the Proctor direction which would not be en-
trusted to other companies. Mr. Arden and other
newcomers are guarantees that the pieces will be
given with the same care and finish as marked
their original presentations, and dramatic offer-
ings which are still desired for use by stars are
loaned temporarily since the assurance is given
that the piece will not be cheapened. The recent
productions at Proctor's have won universal com-
mendation from press and public, and it is gen-
erally conceded that no such values have ever
been given before on Broadway.
VICTOR HERBERT CONCERTS.
Victor Herbert and Nelson Roberts signed con-
tracts last week whereby an autumn and winter
season of Sunday night concerts will be given at
the Majestic Theatre, beginning October 9. The
music will be both classic and popular, while
novelties of the French and Italian composers
will be played by Mr. Herbert's orchestra, which
will be personally conducted by the composer.
PADEREWSKI TO BE HEARD.
Ignaz Jan Paderewski, now in Australia with
his wife, has announced to give fifty American
concerts, beginning in December, when he lands
at San Francisco. Charles A. Ellis, of Boston, is
said to have closed the contract. Paderewski's
last tour, in 1902, his fifth visit, we believe,
earned $125,000.
A despatch from Siena, Italy, dated August
27th, states that the first performance of Perosi's
new oratorio, "The Nativity," given in the Church
of St. Francis there, under the composer's direc-
tion, drew a great number of people, who were
loud in praise of the work.
Comic opera at popular prices is what the Paris
public will have this winter if the arrangements
made by M. Albert Carre, director of the Opera
Comique, turn out to be practical.
He has contracted witn the proprietors and di-
rectors of several theatres, among them those of
Mont Parmesse, the Grenelle and the Gobeline,
for a series of performances with the Opera
Comique's troupe on certain days during the
winter. The price of tickets will be very low, aa
M. Carre is satisfied to make running expenses,
and thus the poorer quarters of Paris will enjoy
the popular representations at small cost.
MUSICAL PLAYS IN VOGUE.
The theatrical season, which cuts an essential
figure in the publishing business, is believed by
observant publishers to be not only promising b\it
one of the best. Musical plays will be important
factors, as their popularity is not entirely on
the wane, as inefficient managers and incompe-
tent judges of music are wont to declare. It is
held that if judgment is exercised in the selec-
tion of the lighter operas, as distinguished from
the helter-skelter choice of any old theme and its
indifferent musical treatment, the chances of suc-
cessful productions gaining and holding public
favor are as bright as ever. Everything, even if
gorgeously costumed and staged, does not always
appeal. The publisher now seems to be one of
the principal "ingredients" in the exploiting of
musical comedy enterprises, and it is a field in
which the tenderfoot in the line is apt to rush
"where angels fear to tread," in a manner of
speaking.
DEATH OF LEO STERN.
The death recently in London of Leo Stern,
'cellist, and husband of Suzanne Adams, the dis-
tinguished operatic singer, is widely regretted In
this country, where he appeared with the Thomas
Orchestra, the Boston Symphony and the Philhar-
monic of New York. He was very popular in
England and was a frequent visitor at the Royal,
palaces.
;
CAMPANARI'S CONCERT TOUR.
Campanari is spending the last weeks of his
vacation at Lake Placid in the Adirondack Moun-
tains hunting deer, and he has already brought
down several fine specimens of this animal. He
is so delighted with the country in that vicinity
that he will erect a cottage there next spring.
Campanari's concert tour as a star at the head of
his own company will open in Worcester, Mass.,
on October 11th. He will not be heard in any of
the leading orchestral concerts until after the
Christmas holidays.
ORATORIO SOCIETY'S NOVELTIES.
Brahm's "German Requiem" and Bach's "Sleep-
ers, Waker" will be sung by the Oratorio Society
on November 29. Three other concerts, including
two of "Messiah," come later. Two choral con-
certs each are planned by the Musical Art Soci-
ety and the People's Choral Union.
SOME RUSSIAN NOVELTIES.
The Russian Symphony Society at Carnegie
Hall, on November 19, December 24, January 21,
February 25, March 11 and April 1, is to perform
novelties by Glinka, Dargomyzhski, Musorgski,
Borodin, Rubinstein, Tschaikowsky, Rimsky-Kor-
sakoff, Arensky, Ippolitoff-Ivanoff,
Glazunoff,
Taneyeff, Rachmaninoff, Davidoff and Kalinni-
koff. The Russian music down at Cooper Union
last year made a real impression.
EUGENE D'ALBERT'S CONCERTS.
Eugene D'Albert will give a series of thirty-five
concerts in this country during the months of
January, February and March.