Music Trade Review
Issue: 1910 Vol. 50 N. 19 - Page 47
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I
1
MUSIC TRADE
4
^^rr^S.
V O L . L. N o . 19.
Published Every Saturday by Edward Lyman Bill at 1 Madison Ave., New York, May 7,1910
WHEN SONG INTERPOLATIONS BRING SUCCESS.
Musical Comedies Often Owe Their Lives to the Vitalizing Contribution of the Music Publisher,
Says the General Manager of the House of Shapiro.
By EDGAR SELDEN.
I have been asked my opinion of the musical
comedy situation in America, and especially in
New York City, and as to the reason of so many
failures in the field of popular productions
planned to attract the patrons of that class of
entertainment. I unhesitatingly reply from my
own observation that the cause, in the majority
of cases, rests with the management, rather than
the writer or composer.
In these competitive days, too little thought is
given to originality of subject, or the working
out along novel lines a story, scene or climax that
may have served before, but which can be made
to appear refreshingly spontaneous if properly
prepared.
Many of the producing managers in this coun-
try are like a string of sheep, slavishly following
in the path of one who has somehow set a win-
ning pace. They do not stop to consider the
cause; it is enough that the winner has succeed-
ed; so why not they, if they imitate him closely?
They ignore precedent, forgetful of the fact
that a copy, however accurate, cannot supplant
the original, and the patron, quick to perceive,
withdraws patronage, and failure swift and in-
evitable is the result. It is misdirected energy,
wanton waste of capital, lack of discernment, and
dogged determination to dictate that have fixed
the financial finish of those self-appointed auto-
crats who attempt to foist upon musical comedy
audiences their own selection of what should be
accepted.
Librettist
and Composer
Helpless.
The writers are without censure if commis-
sioned to supply a book and score the producer
orders. It is not what they think is clever, or
what they would like to write, but what they are
to be allowed payment for. This sort of writing,
done under high pressure, and without inspira-
tion, cannot help but prove flat and uninteresting.
The book and lyrics are forced, the music un-
worthy the name.
On the eve of the production, the seriousness
of the situation is suddenly apparent. Dire mis-
givings, fearful forebodings of disaster torture
the managerial mind. A stimulant, a reviver
must be had forthwith, and in this enveloping ex-
tremity the music publisher making a specialty of
interpolation is eagerly sought. This personage
is now the all-important factor under existing
conditions, and his remedy in the form of a
clever composition, the product of patient, in-
telligent preparation intended solely for such
emergency, is hurriedly and skilfully applied.
I can cite instance after instance where such
interpolation has proved a life-saver, where the
interpolation absolutely carried a tottering in-
vestment of thousands of dollars to the standing
room sign of prosperity, without which the re-
viewers' criticisms had read like an obituary.
The correct definition of the word "interpola
tion" on such occasions is "intervention," as it
becomes the active agency between failure and
success. Right here is its value unalterably es-
tablished. Its worth is indisputable; its use in-
dispensable.
In this pressing necessity the publisher pre-
sents to the producer a comprehensive collection
of manuscripts covering practically every con-
ceivable demand. These manuscripts often rep-
resent monetary outlay in advance royalties,
the pick of which the producer has without price.
Tne publisher carefully culls these numbers from
countless compositions submitted.
His selec-
tion has not been guess work. He has gone
about it in a methodical and practical way, dis-
carding the commonplace and securing the un-
usual.
It is rarely possible that any one composer
could supply as attractive a score as may be
made up from such interpolations. This may
seem a sensational statement, but it is fact.
A Manager's Startling Admission.
A Broadway manager of international reputa-
tion once told me complainingly that while he
was paying huge royalties to the accredited wri-
ters of his widely-advertised attraction, they had
not supplied him with a single song hit. On the
other hand, the many interpolations that had
been adroitly injected into the anaemic produc
tion by a certain music publisher and which
had cost the manager nothing were the real
source of his success. But this is only another
instance of the "written to order" affair, where
the librettist and composer had followed instruc-
tions.
Of course, there are exceptions, and it is un-
necessary for me to name the few recognized
men on this continent capable of creating a win-
ning score on their own account. The output of
these celebrities is comparatively small. One or
two productions a year is their limit. There is
always demand for musical comedy. There al-
ways will be, but the supply of the right sort is
sadly inadequate.
If writers and composers were given reason-
able encouragement and support in their free
dom of thought I am not alone in my belief that
musical comedy successes would occur with
greater frequency. Were I again in the field,
and I am not making this assertion because of
any publishing interests at the present time, my
score would mainly be made up of interpola
tions, based on the knowledge that the interpo-
lation brings business to the box office.
But until producing managers come to the
belief that those who deviate from the hackneyed
and stereotyped are worthy of attention, just so
long must they depend upon the music publisher
and the interpolation.
SONG CONTEST WON BY TWO WRITERS.
The contest instituted by the Music House of
SINGLE COPIES. 10 CENTS.
$2.00 PER YEAR.
Laemmle for the best melody for Arthur Lamb's
verses, "I'll Change the Thorns to Roses," was
won by Al. Fredericks and H. Howard Cheney.
The judges selected the verse of Mr. Fredericks'
music and the chorus of Mr. Cheney's, putting
the two together for one song. Messrs. Fredericks
and Cheney will divide the prize of $150 and the
proceeds from a royalty contract.
ACTIVITY IN "ARCADIANS" MUSIC.
Chappell & Co. Report Heavy Sales of the
Numbers—English
Success to Move to
Broadway—Cremieux's Composition in "The
Love Waltz."
The run which "The Arcadians" is now enjoy-
ing at the Liberty Theater, this city, has already
assumed remarkable proportions, and it is a
matter of theatrical record that its vogue shows
no signs of lessening. This successful musical
production is to be moved from the Liberty to
the Knickerbocker Theater at the end of another
week, opening at the latter house on May 16.
The piece will then be at a larger theater, and
the profits will undoubtedly be larger than ever
for all concerned, as seats are still selling sev-
eral weeks in advance. Walter Eastman, man-
ager of tliL 1 New York branch of Chappell & Co.,
Ltd., who publish the music of "The Arca-
dians," says that the demand for the numbers
has not only been large from the first but has
now grown so heavy that the office force is kept
constantly busy filling orders for the score and
selections therefrom.
A new song has recently been added to the
production. It is "All Down Piccadilly," writ-
ten by Lionel Monckton, the composer of "The
Arcadians," with words by Arthur Wimperis.
It is sung by Frank Moulan, the principal com-
edian in the piece. There are no interpolations
in the production of songs by other composers.
The new song is receiving several encores at
each performance.
Chappell & Co. have just been notified by Jesse
L. Lasky that the popular French waltz song,
"Quand l'Amour Meurt" ("Love's Last Word"),
by Cremieux, is again being used in Mr. Lasky's
production of "The Love Waltz," which is being
given at the leading vaudeville houses.
GEORGE MAXWELL ON EUROPEAN TRIP.
George Maxwell, manager of the New York
branch of Boosey & Co., of London, and at the
head of that firm's affairs in America, left this
city recently on a trip to Europe. He will be
away until about July 1. One of the objects of
his trip, which is his usual spring voyage, is to
visit Puccini, the composer, whose representative
Mr. Maxwell is in this country. He will also
visit the home offices of Boosey & Co. and the
offices of the various European music publishing
firms which the New York branch of Boosey &
Co..represents in the United States. Among these
are G. Ricordi & Co., of Milan; Enoch & Co.,
Paris; Enoch & Sons, London; Elkin & Co., Lon-
don, and Paterson & Sons, Edinburgh.
I
1
MUSIC TRADE
4
^^rr^S.
V O L . L. N o . 19.
Published Every Saturday by Edward Lyman Bill at 1 Madison Ave., New York, May 7,1910
WHEN SONG INTERPOLATIONS BRING SUCCESS.
Musical Comedies Often Owe Their Lives to the Vitalizing Contribution of the Music Publisher,
Says the General Manager of the House of Shapiro.
By EDGAR SELDEN.
I have been asked my opinion of the musical
comedy situation in America, and especially in
New York City, and as to the reason of so many
failures in the field of popular productions
planned to attract the patrons of that class of
entertainment. I unhesitatingly reply from my
own observation that the cause, in the majority
of cases, rests with the management, rather than
the writer or composer.
In these competitive days, too little thought is
given to originality of subject, or the working
out along novel lines a story, scene or climax that
may have served before, but which can be made
to appear refreshingly spontaneous if properly
prepared.
Many of the producing managers in this coun-
try are like a string of sheep, slavishly following
in the path of one who has somehow set a win-
ning pace. They do not stop to consider the
cause; it is enough that the winner has succeed-
ed; so why not they, if they imitate him closely?
They ignore precedent, forgetful of the fact
that a copy, however accurate, cannot supplant
the original, and the patron, quick to perceive,
withdraws patronage, and failure swift and in-
evitable is the result. It is misdirected energy,
wanton waste of capital, lack of discernment, and
dogged determination to dictate that have fixed
the financial finish of those self-appointed auto-
crats who attempt to foist upon musical comedy
audiences their own selection of what should be
accepted.
Librettist
and Composer
Helpless.
The writers are without censure if commis-
sioned to supply a book and score the producer
orders. It is not what they think is clever, or
what they would like to write, but what they are
to be allowed payment for. This sort of writing,
done under high pressure, and without inspira-
tion, cannot help but prove flat and uninteresting.
The book and lyrics are forced, the music un-
worthy the name.
On the eve of the production, the seriousness
of the situation is suddenly apparent. Dire mis-
givings, fearful forebodings of disaster torture
the managerial mind. A stimulant, a reviver
must be had forthwith, and in this enveloping ex-
tremity the music publisher making a specialty of
interpolation is eagerly sought. This personage
is now the all-important factor under existing
conditions, and his remedy in the form of a
clever composition, the product of patient, in-
telligent preparation intended solely for such
emergency, is hurriedly and skilfully applied.
I can cite instance after instance where such
interpolation has proved a life-saver, where the
interpolation absolutely carried a tottering in-
vestment of thousands of dollars to the standing
room sign of prosperity, without which the re-
viewers' criticisms had read like an obituary.
The correct definition of the word "interpola
tion" on such occasions is "intervention," as it
becomes the active agency between failure and
success. Right here is its value unalterably es-
tablished. Its worth is indisputable; its use in-
dispensable.
In this pressing necessity the publisher pre-
sents to the producer a comprehensive collection
of manuscripts covering practically every con-
ceivable demand. These manuscripts often rep-
resent monetary outlay in advance royalties,
the pick of which the producer has without price.
Tne publisher carefully culls these numbers from
countless compositions submitted.
His selec-
tion has not been guess work. He has gone
about it in a methodical and practical way, dis-
carding the commonplace and securing the un-
usual.
It is rarely possible that any one composer
could supply as attractive a score as may be
made up from such interpolations. This may
seem a sensational statement, but it is fact.
A Manager's Startling Admission.
A Broadway manager of international reputa-
tion once told me complainingly that while he
was paying huge royalties to the accredited wri-
ters of his widely-advertised attraction, they had
not supplied him with a single song hit. On the
other hand, the many interpolations that had
been adroitly injected into the anaemic produc
tion by a certain music publisher and which
had cost the manager nothing were the real
source of his success. But this is only another
instance of the "written to order" affair, where
the librettist and composer had followed instruc-
tions.
Of course, there are exceptions, and it is un-
necessary for me to name the few recognized
men on this continent capable of creating a win-
ning score on their own account. The output of
these celebrities is comparatively small. One or
two productions a year is their limit. There is
always demand for musical comedy. There al-
ways will be, but the supply of the right sort is
sadly inadequate.
If writers and composers were given reason-
able encouragement and support in their free
dom of thought I am not alone in my belief that
musical comedy successes would occur with
greater frequency. Were I again in the field,
and I am not making this assertion because of
any publishing interests at the present time, my
score would mainly be made up of interpola
tions, based on the knowledge that the interpo-
lation brings business to the box office.
But until producing managers come to the
belief that those who deviate from the hackneyed
and stereotyped are worthy of attention, just so
long must they depend upon the music publisher
and the interpolation.
SONG CONTEST WON BY TWO WRITERS.
The contest instituted by the Music House of
SINGLE COPIES. 10 CENTS.
$2.00 PER YEAR.
Laemmle for the best melody for Arthur Lamb's
verses, "I'll Change the Thorns to Roses," was
won by Al. Fredericks and H. Howard Cheney.
The judges selected the verse of Mr. Fredericks'
music and the chorus of Mr. Cheney's, putting
the two together for one song. Messrs. Fredericks
and Cheney will divide the prize of $150 and the
proceeds from a royalty contract.
ACTIVITY IN "ARCADIANS" MUSIC.
Chappell & Co. Report Heavy Sales of the
Numbers—English
Success to Move to
Broadway—Cremieux's Composition in "The
Love Waltz."
The run which "The Arcadians" is now enjoy-
ing at the Liberty Theater, this city, has already
assumed remarkable proportions, and it is a
matter of theatrical record that its vogue shows
no signs of lessening. This successful musical
production is to be moved from the Liberty to
the Knickerbocker Theater at the end of another
week, opening at the latter house on May 16.
The piece will then be at a larger theater, and
the profits will undoubtedly be larger than ever
for all concerned, as seats are still selling sev-
eral weeks in advance. Walter Eastman, man-
ager of tliL 1 New York branch of Chappell & Co.,
Ltd., who publish the music of "The Arca-
dians," says that the demand for the numbers
has not only been large from the first but has
now grown so heavy that the office force is kept
constantly busy filling orders for the score and
selections therefrom.
A new song has recently been added to the
production. It is "All Down Piccadilly," writ-
ten by Lionel Monckton, the composer of "The
Arcadians," with words by Arthur Wimperis.
It is sung by Frank Moulan, the principal com-
edian in the piece. There are no interpolations
in the production of songs by other composers.
The new song is receiving several encores at
each performance.
Chappell & Co. have just been notified by Jesse
L. Lasky that the popular French waltz song,
"Quand l'Amour Meurt" ("Love's Last Word"),
by Cremieux, is again being used in Mr. Lasky's
production of "The Love Waltz," which is being
given at the leading vaudeville houses.
GEORGE MAXWELL ON EUROPEAN TRIP.
George Maxwell, manager of the New York
branch of Boosey & Co., of London, and at the
head of that firm's affairs in America, left this
city recently on a trip to Europe. He will be
away until about July 1. One of the objects of
his trip, which is his usual spring voyage, is to
visit Puccini, the composer, whose representative
Mr. Maxwell is in this country. He will also
visit the home offices of Boosey & Co. and the
offices of the various European music publishing
firms which the New York branch of Boosey &
Co..represents in the United States. Among these
are G. Ricordi & Co., of Milan; Enoch & Co.,
Paris; Enoch & Sons, London; Elkin & Co., Lon-
don, and Paterson & Sons, Edinburgh.
Future scanning projects are planned by the International Arcade Museum Library (IAML).