Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
MUSIC TRADE REVIEW
47
In tKe World of Music Publishing
REVIEW OF TRADE CONDITIONS.
According to Preponderance of Evidence Busi-
ness Is Most Satisfactory, Although Some
Hold to the Contrary—Houses Who Are
Handling Business Correctly Are Leading in
the Race.
Such opinions as are vouchsafed by publishers
for trade consumption are of the brightest and
rosiest complexion. "On the quiet" it is hinted
business is not sound as surface indications
would seem to indicate, and these statements
emanate from so reliable a source that they must
needs give the newspaper chronicler pause. To
be sure this so-called ."inside" information may
have several reasons for its promulgation;
but certain it is the optimists are greatly in the
majority, and therefore the preponderance of evi-
d'-nce is much in their favor. Publishing houses
are not making a public exhibition of their ac-
count books, but "rafts" of correspondence are
displayed and commented upon with enthusiasm;
and big orders are referred to with an air of non-
chalance as if they were habitual and regular ar-
rivals. These facts, to an impartial observer are
sufficient to carry conviction even to the most
doubting Thomas.
One publisher said this to The Review, Mon-
day: "Everything looks more than encouraging
that this will be a record season for the 'good'
people. By that I mean houses with established
reputations, a catalogue and the ways and means
of pushing their publications."
Another remarked: "I firmly believe this will
be the biggest season the publishers ever had.
That is to say, with firms having the goods. The
others are bound to take a back seat—to be lost
in the shuffle; for marketing music these days
means experience and capital. The accidents
count less and less and soon retire. You know
one hit does not make a business. Prices? Oh,
well, no improvement can be reported. The meth-
ods now in vogue are all wrong, and are a grave
injustice to the majority of publishers and the
entire jobbing and dealing trade. They cannot
last forever, and I suppose the evil must correct
itself. But otherwise a better business or out-
look could not be desired. The buying of music
is on a tremendous scale and constantly increas-
ing."
A jobber a plunger and yet a conservative
judge of credit, observed: "Everything looks
right, and sales are making new high records for
this time of the year, so that our dealers must
also be doing some business. Collections last
week went beyond expectations and our accounts
are lagging very little, if any. Money must be
running around in sufficient quantity to warrant
the trade in sending a portion this way, and what
more could be asked? Business has a bright as-
pect for the jobbing and publishing end, and
there is strong evidence that dealers are also hav-
ing their share."
Recently a publisher testified in a court case
that when the sale of a melody reached the fifty
or sixty Ihousand mark it was pretty well
started.
POPULAR SONG and INSTRUMENTAL HITS
FISHING
EGYPT
PLAIN MAMIE O'HOOLEY
PEGGY BRADY
TWO ROSES
MADCAP PRINCESS
RED FEATHER
POLLY PRIM MARCH
SHAME ON YOU
FALL IN LINE
BIG INDIAN CHIEF
ISLE OF SPICE
SAMBO GIRL
JEWEL OF ASIA
Published by
JOS. W. STERN 6 CO,
34 East 21st St., New York
CHICAGO
LONDON
SAN FRANCISCO
Sister," "The Waltz Duet," "Darby and Joan,"
"Oh! Silvery Moon," "Because I Am Not Under-
stood," "Just My Style," "My Word," "It is the
Girl and Not the Horse That Wins the Prize,"
"Song of the Pipe," "That's Art," "Drop in on
Me at Luncheon." "The Secret," "What Would
Mrs. Grundy Say," "She Can Do Little Who
Can't Do This." "The Girl at the Helm," "Laugh-
ing Little Almond Eyes." The music is from the
melodious pen of Raymond Hubbell, composer of
"The Runaways."
FLASHES FROM A LIVE WIRE.
Not a few publishers and many writers sym-
pathize strongly with Paul Dresser over his finan-
cial entanglements in connection with his late
firm, Howley, Dresser & Co. His openhearted
disposition, generous inclinations and affable
manners have not deserted him despite his
troubles, and his fame as a writer of popular
aongs, which appeal so irresistibly to the senti-
mental side of human nature, has not been
E. H. PENDLETON.
diminished. In fact, it has been held by compe-
tent composers, now enjoying a large share of the
The odd combination of a successful business public's favor, that Paul's "Down on the Wabash
man and a popular song writer is rare enough Far Away," is one of the very few original com-
to make the accompanying picture of E. H. Pen- positions of its kind in recent years, and that
dleton interesting, were it not for the record of the lyric harmonized perfectly with the music.
his unusual career. He began his stage career This is praise, indeed, considering the present
at the age of four years, making his first en- widespread discussion concerning the origination
trance on the shoulders of Joseph Jefferson in and construction of current lighter melodies.
"Rip Van Winkle." But the musical tendency This reference is also a reminder of Dresser's
being stronger in him young Pendleton forsook pertinent reply to a persistent inquirer as to "what
the stage for the concert hall, becoming an ex- are the absolutely necessary qualifications for
pert player on banjo, mandolin and guitar, and writing a popular song." To which the "big fel-
a leader of glee clubs. From this he naturally low" rejoined: "The absolutely necessary require-
took to composition, and the uniform success of ments are pen, ink, paper and brains; I'm afraid
his productions has encouraged him to keep it that last clause bars vou out."
up, even in the midst of the successful business
which he now conducts. Among his notable pub-
Joe Cawthorne writes that "Jingles, Jokes and
lications, all of which have met with a wide pop-
Rhymes,"
by Benj. Hapgood Burt, is this sea-
ularity, are: "You, You, You," "If Love is a
Fancy," "Won't You Send My Baby Back to Me," son's topical hit in "Mother Goose." It is a quaint,
"I Will Love You Always," "Jes' Take a Back conversational song, with chorus of girls, and
Seat" and "The Ebony Flyer"—the last named never takes less than four encores. In fact, the
being an instrumental piece. M. Witmark & Sons, success of the song is such that Klaw & Erlanger
who have published nearly all of Mr. Pendleton's have arranged to use it in their forthcoming
successes since he first began composing, have in Broadway production of "Humpty Dumpty."
preparation several new products of his prolific
Slides for illustrating songs are spoken of as
fancy, notably "My Dandelion," "You're the Idol
of My Dreams," "Bill," "Tell Me," and "I Idol- running into big money these days. It is possible
ize Two Idle Eyes." Mr. Pendleton's songs have there is more or less romance in the statements
especial vogue among the glee and concert sing- handed out to newspapers by publishers with
ers, since, while they are always popular," they pronounced conversational powers. For ex-
are also "a little bit different"; combinations of ample, the slides of a certain song are said to
wit and melody which appeal to cultivated audi- have cost the round sum of $1,500, and in one
printed story this figure had jumped to $2,500.
ences as well as pleasing the popular ear.
Another statement, appearing on the sheet music
of quite a different melody, is that "the slides of
this song cost us $1,000." The manager of the
" FANTANA " SCORES IN CHICAGO.
orchestra department of a third publishing house
De Angelis Makes a Big Hit at the Garrick— "saw" all these reports and went them "one bet-
ter" by coolly announcing, "I am expending $6,-
Some of the Sonq Successes.
000 for the slides of this song (mentioning them),
and they are the real thing as compared with the
(Special to The Review.)
Chicago, 111., Oct. 3, 1904. c ruder colorings and fake scene of every previous
"Fantana" had its first public performance at effort in this line."
the "Garrick Theatre last night.. Sunday is the
best show day in the week here, and the audi-
Bass singers will find the new song by George
ence filled the house—every seat being occupied. B. Nevin, entitled, "Song of the Armourer," a
Jefferson De Angelis assumed the leading role, jolly, hearty song, well adapted in style to the
that of Hawkins, valet to a wealthy commodore. character of their voice. Any baritone who can
Adele Ritchie, Katie Barry, Frank Rushworth
and Hubert Wilkie are also in the production.
FOR SALE:
The performance was warmly received, as
seems customary in Chicago with musical com-
Ten Thousand Copies of well assorted
edies having merit, and the score and vocal num- music of the McHinley National Edition
bers were approved in no uncertain manner pre- for ONE CENT per copy, including wrap-
dicting a marked success for the production and pers. Will only sell in the bulk. Am clos-
justifying the original estimate of the publish- ing out the Sheet Music Department.
ers, M. Witmark & Sons, as to its musical worth
at least. There were several pronounced hits; R. C. BOLLINGER MUSIC HOUSE
the complete list of songs follows: "His Little
FORT SMITH, ARKANSAS