Music Trade Review
Issue: 1908 Vol. 47 N. 11 - Page 6
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6
THE
lated" songs in the belief that they are part and
parcel of a successful piece have discovered when
the play in question reached their city or town
that no such number existed so far as the produc-
tion was concerned. In this way they have been
left with unsalable stock on their hands, and
naturally the cry has gone up, "Why are we so
deceived?" Of course, this sort of thing evens
itself up in the long run, for it is only natural
that the cry of "wolf" palls after constant usage.
To-day retailers are loth to buy interpolated num-
bers, a fact that is proved by the numerous
inquiries which reach this office as to whether a
certain number is being sung in a production
which is now or has lately been seen in New
York. It is true that a song must be tried out
before its merits can be decided upon, but it is
equally true that there is no necessity to place
the stock phrase, "the big success of Mr. Froh-
man's or Mr. Shubert's production" in a con-
spicuous position on the title page until it is
decided whether or not the song is of the caliber
that will warrant its retention in the play.
An Excuse That Is Now Out of Date.
In justice to the publisher it should be said
that in many such cases in the past they were
entirely blameless, owing to the fact that a
young gentleman who has already received con-
siderable notice in this column was—and to the
best of the writer's belief, still is—in a position
to place songs in musical productions on Broad-
way. With a keen eye to business he has put his
position to some use, as for a time he made a
deal of money guaranteeing to place a song in
one of the many musical productions in which he
is interested, at so much per song. His "graft,"
therefore, was to declare even good songs unfit
for his purpose after a night or so's trial so that
another one could be put in its place, and inci-
dentally another $25 into his own pocket as a
fee for his good offices. Fortunately, and thanks
in no small measure to The Review, this excuse,
if the publisher now desires to make it, no longer
holds water, for the excellent reason that the
young gentleman in question, owing to the expose
MUSIC TRADE
REVIEW
of his methods, has been barred—and very prop-
erly barred—from every respectable music pub-
lisher's office,
Not Much Bitterness Here.
Unkind things are so easy to retail, and are
usually listened to with such avidity, that it is a
pleasure to tell a story which goes far to prove
that the feeling between rival music publishers
is not so bitter as is generally supposed. The
episode in question took place in the office of
Chas. K. Harris the day after he returned from
Atlantic City, where he had been to see the first
performance of Victor Herbert's magnificent
comic opera "Algeria." Elated as he was over
the success of the music of this piece, he found
time to break the conversation by remarking, "I
waited over in Atlantic City to see Gus Edwards'
new show, 'School Days,' and you may take my
word for it that musically it is the best thing
Gus has ever done. As for the book, it speaks
for itself. I have rarely seen a show that I en-
joyed better. Gus Edwards has got a great big
success." And then Chas. K. went on to talk of
his own affairs. Not much bitterness or jealousy
here, it would seem.
song (from the public's point of view) aB is the
professional critic. It is a positive fact that
50 per cent, of the popular songs of to-day are
not worth the paper they are printed on. It may
be truthfully said that most of these are un-
worthy of a moment's thought by any self-re-
specting man or woman (unless, of course, they
have some object in their madness), not alone a
prospective purchaser. It is safe to say, there-
fore, that there are far too many pieces of music
published, and at the same time it may be said
truthfully that there is a dearth of songs.
"FLUFFY RUFFLES."
Musical Comedy by John T. McNally, Music
by W. T. Francis, Lyrics by Wallace Irwin—
Published by T. B. Harms & Francis, Day Co.
To William Francis is accredited the music of
"Fluffy Ruffles," the new comedy presented on
Monday evening at the Criterion Theater, New
York, but to be perfectly frank, there is precious
little credit to be gained from it. Mr. Francis
is an excellent conductor, but up to now he has
never shown any great genius for composition.
Miss Hattie Williams, who for some unex-
Are There Too Many Songs?
The question suggests itself, "Are the number plained reason plays the stellar role in this
of 'songs' that are daily placed on the market latest of musical productions, sang a song called
too many for the public's requirements?" From "Willie's Got Another Girl Now," which was al-
the writer's own observation there are undoubt- most as English in its construction as George
edly too many "songs" published. Why, then, Grossmith, Jr.'s clothes. George Grossmith, be it
does so much trash reach the music counter? said, is the comedian of the aggregation and
The answer may be that the success of a song is plays the orthodox "silly ass," to the manner born.
hypothetical until it reaches the most critical of
As an advertisement for the colored section of
all critics—the general public. This argument the New York Herald, "Fluffy Ruffles" certainly
would hold good once and for all were it a fact does its duty, although, to be just, it contains
that all songs had the same chance of reaching humor, which the supplement in question lacks.
the public ear. Of some 800 which have reached
Speaking generally, the "Fluffy Ruffles" show
this office during the past ten months, not 10 may do. We hope it will. But Miss Williams
per cent, have since been heard of, and it is must try her pretty best to occasionally sing in
more than possible that they never will be. the key, for, however painful such a proceeding
Maybe they all get the same chance so far as the may be to her, it is infinitely more painful to
professional singer is concerned, but it must be the audience. T. B. Harms & Francis Day Co.
taken into consideration that the professional publish the music.
singer is just as liable to err on the merits of a
THE MAN ON THE STREET.
We are the Publishers of
We also Publish
The Girls of Gottenberg
The Great March-Song
Music by IVAN CARYLL
and
LIONEL MONCKTON
Success
Do You Know Mr. Schneider?
.
A Common Little Girl .
.
Rheingold
.
.
.
A Glass of Beer
.
.
Berlin on the Spree .
.
.
I Love My Love (j'aime Mon Amour)
The Titsy-Bitsy Girl
.
.
Otto of Roses
.
.
The Only Girl
.
.
.
Madel Mine
.
.
.
Two Little Sausages
.
.
Vocal Score
.
.
.
.
Selection
.
.
.
.
Two Step (Away Down Indiana), Cremieux
Pianoforte Score .
.
.
Valse
CHAPPELL & Co.,
.60
. .60
.
.60
. .60
.60
.60
. .60
.60
. .60
.60
. .60
2.00
1.00
.60
1.00
75
LTD.
37 West Seventeenth St.
NEW YORK
London
Melbourne
WILLIE,
W O N T You
WAIT
A
LITTLE WHILE
By RALPH NAIRN
CHAPPELL & Co.,
LTD.
37 West Seventeenth St.
NEW YORK
London
Melbourne
6
THE
lated" songs in the belief that they are part and
parcel of a successful piece have discovered when
the play in question reached their city or town
that no such number existed so far as the produc-
tion was concerned. In this way they have been
left with unsalable stock on their hands, and
naturally the cry has gone up, "Why are we so
deceived?" Of course, this sort of thing evens
itself up in the long run, for it is only natural
that the cry of "wolf" palls after constant usage.
To-day retailers are loth to buy interpolated num-
bers, a fact that is proved by the numerous
inquiries which reach this office as to whether a
certain number is being sung in a production
which is now or has lately been seen in New
York. It is true that a song must be tried out
before its merits can be decided upon, but it is
equally true that there is no necessity to place
the stock phrase, "the big success of Mr. Froh-
man's or Mr. Shubert's production" in a con-
spicuous position on the title page until it is
decided whether or not the song is of the caliber
that will warrant its retention in the play.
An Excuse That Is Now Out of Date.
In justice to the publisher it should be said
that in many such cases in the past they were
entirely blameless, owing to the fact that a
young gentleman who has already received con-
siderable notice in this column was—and to the
best of the writer's belief, still is—in a position
to place songs in musical productions on Broad-
way. With a keen eye to business he has put his
position to some use, as for a time he made a
deal of money guaranteeing to place a song in
one of the many musical productions in which he
is interested, at so much per song. His "graft,"
therefore, was to declare even good songs unfit
for his purpose after a night or so's trial so that
another one could be put in its place, and inci-
dentally another $25 into his own pocket as a
fee for his good offices. Fortunately, and thanks
in no small measure to The Review, this excuse,
if the publisher now desires to make it, no longer
holds water, for the excellent reason that the
young gentleman in question, owing to the expose
MUSIC TRADE
REVIEW
of his methods, has been barred—and very prop-
erly barred—from every respectable music pub-
lisher's office,
Not Much Bitterness Here.
Unkind things are so easy to retail, and are
usually listened to with such avidity, that it is a
pleasure to tell a story which goes far to prove
that the feeling between rival music publishers
is not so bitter as is generally supposed. The
episode in question took place in the office of
Chas. K. Harris the day after he returned from
Atlantic City, where he had been to see the first
performance of Victor Herbert's magnificent
comic opera "Algeria." Elated as he was over
the success of the music of this piece, he found
time to break the conversation by remarking, "I
waited over in Atlantic City to see Gus Edwards'
new show, 'School Days,' and you may take my
word for it that musically it is the best thing
Gus has ever done. As for the book, it speaks
for itself. I have rarely seen a show that I en-
joyed better. Gus Edwards has got a great big
success." And then Chas. K. went on to talk of
his own affairs. Not much bitterness or jealousy
here, it would seem.
song (from the public's point of view) aB is the
professional critic. It is a positive fact that
50 per cent, of the popular songs of to-day are
not worth the paper they are printed on. It may
be truthfully said that most of these are un-
worthy of a moment's thought by any self-re-
specting man or woman (unless, of course, they
have some object in their madness), not alone a
prospective purchaser. It is safe to say, there-
fore, that there are far too many pieces of music
published, and at the same time it may be said
truthfully that there is a dearth of songs.
"FLUFFY RUFFLES."
Musical Comedy by John T. McNally, Music
by W. T. Francis, Lyrics by Wallace Irwin—
Published by T. B. Harms & Francis, Day Co.
To William Francis is accredited the music of
"Fluffy Ruffles," the new comedy presented on
Monday evening at the Criterion Theater, New
York, but to be perfectly frank, there is precious
little credit to be gained from it. Mr. Francis
is an excellent conductor, but up to now he has
never shown any great genius for composition.
Miss Hattie Williams, who for some unex-
Are There Too Many Songs?
The question suggests itself, "Are the number plained reason plays the stellar role in this
of 'songs' that are daily placed on the market latest of musical productions, sang a song called
too many for the public's requirements?" From "Willie's Got Another Girl Now," which was al-
the writer's own observation there are undoubt- most as English in its construction as George
edly too many "songs" published. Why, then, Grossmith, Jr.'s clothes. George Grossmith, be it
does so much trash reach the music counter? said, is the comedian of the aggregation and
The answer may be that the success of a song is plays the orthodox "silly ass," to the manner born.
hypothetical until it reaches the most critical of
As an advertisement for the colored section of
all critics—the general public. This argument the New York Herald, "Fluffy Ruffles" certainly
would hold good once and for all were it a fact does its duty, although, to be just, it contains
that all songs had the same chance of reaching humor, which the supplement in question lacks.
the public ear. Of some 800 which have reached
Speaking generally, the "Fluffy Ruffles" show
this office during the past ten months, not 10 may do. We hope it will. But Miss Williams
per cent, have since been heard of, and it is must try her pretty best to occasionally sing in
more than possible that they never will be. the key, for, however painful such a proceeding
Maybe they all get the same chance so far as the may be to her, it is infinitely more painful to
professional singer is concerned, but it must be the audience. T. B. Harms & Francis Day Co.
taken into consideration that the professional publish the music.
singer is just as liable to err on the merits of a
THE MAN ON THE STREET.
We are the Publishers of
We also Publish
The Girls of Gottenberg
The Great March-Song
Music by IVAN CARYLL
and
LIONEL MONCKTON
Success
Do You Know Mr. Schneider?
.
A Common Little Girl .
.
Rheingold
.
.
.
A Glass of Beer
.
.
Berlin on the Spree .
.
.
I Love My Love (j'aime Mon Amour)
The Titsy-Bitsy Girl
.
.
Otto of Roses
.
.
The Only Girl
.
.
.
Madel Mine
.
.
.
Two Little Sausages
.
.
Vocal Score
.
.
.
.
Selection
.
.
.
.
Two Step (Away Down Indiana), Cremieux
Pianoforte Score .
.
.
Valse
CHAPPELL & Co.,
.60
. .60
.
.60
. .60
.60
.60
. .60
.60
. .60
.60
. .60
2.00
1.00
.60
1.00
75
LTD.
37 West Seventeenth St.
NEW YORK
London
Melbourne
WILLIE,
W O N T You
WAIT
A
LITTLE WHILE
By RALPH NAIRN
CHAPPELL & Co.,
LTD.
37 West Seventeenth St.
NEW YORK
London
Melbourne
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