Music Trade Review
Issue: 1910 Vol. 50 N. 19 - Page 48
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
48
THE
MUSIC
TRADE
REVIEW
get scared and will immediately urge every actor
or singer in the company to put in what he or
she thinks 'good.' The result not infrequently is
chaos.
Must. Not Carry Process Too Far.
"It is obvious to the most untutored, mind that
man who has devoted possibly his life, and
EDWA1D LYMAN BILL - Editor and Proprietor the
certainly many months, to writing or composing
J. B. SPILLANE, Managbg Editor
a particular play is more likely to hit the mark
than a man, who, being an actor, merely inserta
R.W.SIMMONS, Editor Music Section
anything that comes into his mind for his own
Published Every Saturday at 1 MadlMn Avenue. New Y«rk
aggrandizement or advantage, irrespective of
SUBSCRIPTION, (Including portage), United State* and
what it may do to the play. On the other hand, a
Mexico, $2.00 per year; Canada, $1.50; all ether coun-
brainy actor may do much to help a play—a
tries, $4.00.
^
word or song or possibly a line here or there may
Telephones-Numbers 4677 nnd 4678 Gmmerey
Connecting all Departments
^ ^ mean much, but it should be carefully thought
out, not thrown in in a 'slapstick' way. And
NEW YORK, MAY 7, 1910
here arises one of the most delicate points that
confronts a manager or producer. It is obvious
All matter of every nature intended
that this interpolating must not be carried too
for this department should be addressed
far, and time and time again an actor or singer
The Editor Music Section Music Trade
has to be restricted or the play will develop into
Review, 1 Madison Avenue, New York.
a monologue, and a poor one at that. Singers, as
a rule, are very sensitive creatures and the least
little thing may cause them to give a wretched
I have known a discussion to last
COMMENTS B Y - ,, performance.
for half an hour over the cutting out of an 'and'
or 'but.' And usually on such occasions the stage
manager is right and the actor or singer wrong.
Handled with care, the actor is an angel. Han-
Apropos of interpolations (the subject has late- dled the other way, the actor is the other thing.
"But we are diverging. In fact, I may say that
ly spread to theatrical managers and leading per-
what
I have been saying is one of those interpo-
formers as a live topic for discussion) we give
herewith the argument made by Ralph C. Herz, lations which prove how easy it is to get away
the principal comedian in "Mme. Sherry," now in from the subject, and now the thread is 'ost. We
Chicago. "It is a question that has been harrass- are at sea. Let us drown."
The Question of Paying Singers.
ing composers, managers, authors and actors
A well-known vaudeville singer—a "headliner,"
from time immemorial," said Mr. Herz. "An
author writes a play—I am referring to musical in fact—was told by a friend recently that he
plays, of course—submits it to the managers and sang his songs in a way different from that of
has it approved. The play is put on the stage, everyone else. "That is because I sing them in
and frequently it lacks comedy. As a rule, this is my own way," responded the singer. "Music
due to the lack of what we might call team work, publishers are usually glad to pay to have their
on the same principle that is shown when a songs sung, but I never take a cent from any of
baseball team usually fails to play together when them. When they ask me if I will sing a certain
entering upon a season. The morning after the song for them I tell them I will if I like the song
opening of a new play the critics, one and all, and it is suited to me, but I don't want their
cry out, 'no comedy.' The manager, if he is money. And, besides, if I took money for one song
wise and knows that the trouble is merely due to they would consider me under obligations to take
playing that is for the time being faulty, will some other song that might 'queer' my act en-
stand pat and wait for the comedy to blossom tirely. In this way I am free to reject or accept
forth in a few days. The unwise manager will a song as I please, and as long as I sing it difffer-
ently it doesn't make any difference to me how
many other people are singing it."
The singer's remarks are certainly interesting,
if only because they express sentiments rarely
heard as to the acceptance of money for featur-
ing songs. Most of the publishers of music will
be surprised to hear that there is any singer in
New York who will actually refuse to accept pay-
ment for presenting a song. Usually it is just the
other way. Singers have come to expect such
payment, and in many cases they demand it. The
writer knows of a case where a singer entered
the office of one of the leading publishers and
coolly announced that he had called for some
"kale," as he was singing one of that publisher's
songs. In this particular instance his request was
refused, although the singer named another pub-
lisher who was doling out "kale" to him. This
"kale," by the way, is a word that may mean
just plain money, or "rake-off," or "graft," equally
well. It happened that the song concerned was a
decided hit, and the publisher did not need to pay
any singers for using it. As a matter of fact,
however, the publishers of this city are paying
singers large sums in the aggregate for intro-
ducing songs or even presenting the numbers af-
ter they have attained some degree of popularity.
One of the largest firms has a weekly payroll of
large proportions devoted entirely to singers of
their songs. Other and smaller publishers are
paying out smaller sums, and in some cases the
amount is greater than the publishers can well
afford. One of the big publishing failures of last
year was due primarily to the payments of ex-
orbitant demands of singers. In fact, the ques-
tion of paying singers is one of the most perplex-
ing and important matters that music publishers
face to-day. It is true that some of the largest
firms pay singers, but it is equally true that
others equally large refuse to pay them a cent.
Those who pay do so cheerfully, and those who
do not say there is no necessity of paying. The
several large firms on both sides that we have in
mind are all successful. It seems to be a mat-
ter of preference. One thing is certain: Pro-
duce real hits and no money need be paid sing-
ers if the publishers do not want to pay it.
M. Witmark & Sons are, with good reason, ex-
pecting great things of a new song- by Dave Reed
and Ernest R. Ball, "My Heart Has Learned to
Love You, Now Do Not Say Good-bye."
SOME OF OUR REAL HITS
MESSRS. CHAPPEIL & CO., Ltd.
" T l H
i l E t
are the publishers of
A L I H D
t C r U
U B
B B
M N
n U
THE ARCADIANS
"HIP-HIP-HYPNOTIZE
M E " son 0
G I V E M Y R E G A R D S T O M A B E L " (Song)
Music by Talbot and Monckton
(Produced by Mr. Charles Frohman)
FRANZ LEHAR'S NEW OPERA
HARRY VON TILZER MUSIC PUBLISHING COMPANY
THE MAN WITH THREE WIVES
AD D R S S
N E w Y oRk L o M FF.cE TO
(To be produced shortly by Messrs. Shubert)
IVAN CARYLL AND LIONEL MONCKTON'S
SUCCESSFUL MUSICAL PLAY
(To be produced shortly by Mr. Charles Frohman)
LONDON'S LATEST CRAZE
THE BALKAN PRINCESS
A Musical Play by Paul A. Rubens
(To be produced by Mr. W. A. Brady)
CHAPPELL & CO., Ltd.
37 W. 17lta St.
NEW YORK
Son a n d
(
o
\
^Instrumental)
" M Y
SOUTHERN
ROSE"
son*,)
KEEP YOUR FOOT ON T H E SOFT P E D A L " song
Son9 a n d
" T i H
V
^H
R
II ft
( Vlnstrumantal/
t
n E
b
Y I I D
U D
U I I d
I I f M l
K H
b "
THE REIGNING MUSICAL SUCCESS
OUR MISS GIBBS
ft
n t P "
b L I I I U
1 2 5 West 4 3 d Street, New York City
Teachers and students
of the piano will find in
this book an instructor
that not only will replace
the old methods by pre-
senting the elements of
music in a manner to
meet the conditions but
will do so in such a pleas-
ant way as to interest
even the most indifferent
student.
The little compositions
used as exercises through-
out the book is a new de-
parture that will act as
an incentive to the stu-
dent by making him feel
that he is progressing.
Price, 75 cent9.
THEODORE MORSE'S NEW HITS !
"MOLLY LEE"
"KITTY CRAY"
"HE'S A COLLEGE BOY"
"RED CLOVER" (Song and Intermezzo)
"BLUE FEATHER" (Song and Intermezzo)
You could have had these once for 5 cents. Take
our new issues and you'll get better ones.
H ^ P * PHONOGRAPH RECORDS ARE - ^ M R
ffl^V
MADE FOR ALL OUR SONGS ^^S&
Theodore Morse Music Co.
1367 Broadway, New York
HINDS, NOBLE & ELDREDGE, 31-35 West 15th Street. New York
IM1NLEY
JOBBERS
SHEET MUSIC
We Guarantee Riling Your Orders Complete
the Same Day Received.ot Lowest Prices.
CHICAGO
MCKINLEY MUSIC Co
NEW YORK
48
THE
MUSIC
TRADE
REVIEW
get scared and will immediately urge every actor
or singer in the company to put in what he or
she thinks 'good.' The result not infrequently is
chaos.
Must. Not Carry Process Too Far.
"It is obvious to the most untutored, mind that
man who has devoted possibly his life, and
EDWA1D LYMAN BILL - Editor and Proprietor the
certainly many months, to writing or composing
J. B. SPILLANE, Managbg Editor
a particular play is more likely to hit the mark
than a man, who, being an actor, merely inserta
R.W.SIMMONS, Editor Music Section
anything that comes into his mind for his own
Published Every Saturday at 1 MadlMn Avenue. New Y«rk
aggrandizement or advantage, irrespective of
SUBSCRIPTION, (Including portage), United State* and
what it may do to the play. On the other hand, a
Mexico, $2.00 per year; Canada, $1.50; all ether coun-
brainy actor may do much to help a play—a
tries, $4.00.
^
word or song or possibly a line here or there may
Telephones-Numbers 4677 nnd 4678 Gmmerey
Connecting all Departments
^ ^ mean much, but it should be carefully thought
out, not thrown in in a 'slapstick' way. And
NEW YORK, MAY 7, 1910
here arises one of the most delicate points that
confronts a manager or producer. It is obvious
All matter of every nature intended
that this interpolating must not be carried too
for this department should be addressed
far, and time and time again an actor or singer
The Editor Music Section Music Trade
has to be restricted or the play will develop into
Review, 1 Madison Avenue, New York.
a monologue, and a poor one at that. Singers, as
a rule, are very sensitive creatures and the least
little thing may cause them to give a wretched
I have known a discussion to last
COMMENTS B Y - ,, performance.
for half an hour over the cutting out of an 'and'
or 'but.' And usually on such occasions the stage
manager is right and the actor or singer wrong.
Handled with care, the actor is an angel. Han-
Apropos of interpolations (the subject has late- dled the other way, the actor is the other thing.
"But we are diverging. In fact, I may say that
ly spread to theatrical managers and leading per-
what
I have been saying is one of those interpo-
formers as a live topic for discussion) we give
herewith the argument made by Ralph C. Herz, lations which prove how easy it is to get away
the principal comedian in "Mme. Sherry," now in from the subject, and now the thread is 'ost. We
Chicago. "It is a question that has been harrass- are at sea. Let us drown."
The Question of Paying Singers.
ing composers, managers, authors and actors
A well-known vaudeville singer—a "headliner,"
from time immemorial," said Mr. Herz. "An
author writes a play—I am referring to musical in fact—was told by a friend recently that he
plays, of course—submits it to the managers and sang his songs in a way different from that of
has it approved. The play is put on the stage, everyone else. "That is because I sing them in
and frequently it lacks comedy. As a rule, this is my own way," responded the singer. "Music
due to the lack of what we might call team work, publishers are usually glad to pay to have their
on the same principle that is shown when a songs sung, but I never take a cent from any of
baseball team usually fails to play together when them. When they ask me if I will sing a certain
entering upon a season. The morning after the song for them I tell them I will if I like the song
opening of a new play the critics, one and all, and it is suited to me, but I don't want their
cry out, 'no comedy.' The manager, if he is money. And, besides, if I took money for one song
wise and knows that the trouble is merely due to they would consider me under obligations to take
playing that is for the time being faulty, will some other song that might 'queer' my act en-
stand pat and wait for the comedy to blossom tirely. In this way I am free to reject or accept
forth in a few days. The unwise manager will a song as I please, and as long as I sing it difffer-
ently it doesn't make any difference to me how
many other people are singing it."
The singer's remarks are certainly interesting,
if only because they express sentiments rarely
heard as to the acceptance of money for featur-
ing songs. Most of the publishers of music will
be surprised to hear that there is any singer in
New York who will actually refuse to accept pay-
ment for presenting a song. Usually it is just the
other way. Singers have come to expect such
payment, and in many cases they demand it. The
writer knows of a case where a singer entered
the office of one of the leading publishers and
coolly announced that he had called for some
"kale," as he was singing one of that publisher's
songs. In this particular instance his request was
refused, although the singer named another pub-
lisher who was doling out "kale" to him. This
"kale," by the way, is a word that may mean
just plain money, or "rake-off," or "graft," equally
well. It happened that the song concerned was a
decided hit, and the publisher did not need to pay
any singers for using it. As a matter of fact,
however, the publishers of this city are paying
singers large sums in the aggregate for intro-
ducing songs or even presenting the numbers af-
ter they have attained some degree of popularity.
One of the largest firms has a weekly payroll of
large proportions devoted entirely to singers of
their songs. Other and smaller publishers are
paying out smaller sums, and in some cases the
amount is greater than the publishers can well
afford. One of the big publishing failures of last
year was due primarily to the payments of ex-
orbitant demands of singers. In fact, the ques-
tion of paying singers is one of the most perplex-
ing and important matters that music publishers
face to-day. It is true that some of the largest
firms pay singers, but it is equally true that
others equally large refuse to pay them a cent.
Those who pay do so cheerfully, and those who
do not say there is no necessity of paying. The
several large firms on both sides that we have in
mind are all successful. It seems to be a mat-
ter of preference. One thing is certain: Pro-
duce real hits and no money need be paid sing-
ers if the publishers do not want to pay it.
M. Witmark & Sons are, with good reason, ex-
pecting great things of a new song- by Dave Reed
and Ernest R. Ball, "My Heart Has Learned to
Love You, Now Do Not Say Good-bye."
SOME OF OUR REAL HITS
MESSRS. CHAPPEIL & CO., Ltd.
" T l H
i l E t
are the publishers of
A L I H D
t C r U
U B
B B
M N
n U
THE ARCADIANS
"HIP-HIP-HYPNOTIZE
M E " son 0
G I V E M Y R E G A R D S T O M A B E L " (Song)
Music by Talbot and Monckton
(Produced by Mr. Charles Frohman)
FRANZ LEHAR'S NEW OPERA
HARRY VON TILZER MUSIC PUBLISHING COMPANY
THE MAN WITH THREE WIVES
AD D R S S
N E w Y oRk L o M FF.cE TO
(To be produced shortly by Messrs. Shubert)
IVAN CARYLL AND LIONEL MONCKTON'S
SUCCESSFUL MUSICAL PLAY
(To be produced shortly by Mr. Charles Frohman)
LONDON'S LATEST CRAZE
THE BALKAN PRINCESS
A Musical Play by Paul A. Rubens
(To be produced by Mr. W. A. Brady)
CHAPPELL & CO., Ltd.
37 W. 17lta St.
NEW YORK
Son a n d
(
o
\
^Instrumental)
" M Y
SOUTHERN
ROSE"
son*,)
KEEP YOUR FOOT ON T H E SOFT P E D A L " song
Son9 a n d
" T i H
V
^H
R
II ft
( Vlnstrumantal/
t
n E
b
Y I I D
U D
U I I d
I I f M l
K H
b "
THE REIGNING MUSICAL SUCCESS
OUR MISS GIBBS
ft
n t P "
b L I I I U
1 2 5 West 4 3 d Street, New York City
Teachers and students
of the piano will find in
this book an instructor
that not only will replace
the old methods by pre-
senting the elements of
music in a manner to
meet the conditions but
will do so in such a pleas-
ant way as to interest
even the most indifferent
student.
The little compositions
used as exercises through-
out the book is a new de-
parture that will act as
an incentive to the stu-
dent by making him feel
that he is progressing.
Price, 75 cent9.
THEODORE MORSE'S NEW HITS !
"MOLLY LEE"
"KITTY CRAY"
"HE'S A COLLEGE BOY"
"RED CLOVER" (Song and Intermezzo)
"BLUE FEATHER" (Song and Intermezzo)
You could have had these once for 5 cents. Take
our new issues and you'll get better ones.
H ^ P * PHONOGRAPH RECORDS ARE - ^ M R
ffl^V
MADE FOR ALL OUR SONGS ^^S&
Theodore Morse Music Co.
1367 Broadway, New York
HINDS, NOBLE & ELDREDGE, 31-35 West 15th Street. New York
IM1NLEY
JOBBERS
SHEET MUSIC
We Guarantee Riling Your Orders Complete
the Same Day Received.ot Lowest Prices.
CHICAGO
MCKINLEY MUSIC Co
NEW YORK
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