Music Trade Review

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THE MUSIC TRADE REVIEW
Conducted by B. B. "Wilson
WHY NOT MORE AMERICAN BALLADS IN CONCERTS?
In Three
Big Musical Affairs Held on Sunday Most of the Ballad Numbers Were of English
Origin—Many Lovers of the Ballad and Old-Time Songs.
Last Sunday there were given in this city three
separate concerts in which prominent artists ap-
peared in what may be termed popular programs.
In other words, John McCormack, Evan Williams,
Clara Butt and her husband, Kennerley Rum ford,
offered to their audiences songs of lighter form,
chiefly ballads. There were the old favorites, such
as "Kathleen Mavourneen," Sullivan's ''Lost
Chord," "All Thro' the Night" and many other
selections of the same caliber, together with bal-
lads of distinctly modern composition
It was to >be noticed, however, that of the ma-
jority of the ballads sung, whether new or old,
with one or two exceptions they were all the work
of British authors and composers. Why is it that
for concert purposes, especially where the pro-
grams are of popular character, ballads of Amer-
ican origin are not chosen? The ballad is receiv-
ing much attention in this country and is coming
strongly into its own again after being over-
shadowed for a time by ragtime and selections of
the novelty order. The fault lies in ineffective
exploitation rather than in lack of quality.'
The lovers of the ballad are plentiful; the fact
that probably over ten thousand people paid to
attend Sunday's concerts proves that, and their
enthusiasm regarding that form of music doesn't
waver. In a letter to the New York Sun recently
a lover of old-fashioned music sums up the matter
very cleverly when he states that he "would rather
hear 'Kathleen Mavourneen' or 'The Lost Chord'
than the whole Metropolitan Opera Co. struggling
with Puccini's 'The Girl of the Golden West,'"
and he wants to know what is the matter with
•present-day music. "Who," says he, "has ever
touched the heart like Balfe, Sullivan and
Thomas?" Other composers have touched the
heart, too, and they are not all of the old school
AMERICAN OPERETTA BY LEHAR.
Shuberts Cable Offer to Famous Composer This
Week for Such a Work—To Tour the Country
and Study Conditions at Managers' Expense.
It is announced that the Shuberts have this
week cabled a formal offer to Franz Lehar, com-
poser of "The Merry Widow, "The Count of
Luxembourg," "The Man With Three Wives" and
other successful operettas, which provides that he
shall write the score for an American light opera
after visiting this country and making himself
thoroughly familiar with our life and customs.
The proposition is that Mr. Lehar shall come
to America just as soon as he can arrange for the
trip and that he shall travel from New York to
San Francisco and back in a leisurely manner, all
at the expense of the Shuberts. Within one year
from the time he arrives in New York, however,
Mr. Lehar must bind himself to deliver to the
managers the complete score of his first American
operetta. The music will be based not on any
existing comedy, but will be written for an orig-
inal libretto which will be prepared after consul-
tation with Mr. Lehar, and founded on a central
idea meeting with his approval. In fact, the ex-
pectation is to have one of the leading American
librettists make the entire transcontinental trip
Harold and Helen Ballou's
POST CARD SONGS
Have Caught the Hearts and Purses.
The ONLY novelty in printed music. Original,
catchy, complete with accompaniment and pleasing
sentiment.
Samples, List and Prices at your call.
HAROLD AND HELEN BALLOU.
Publishers.
Maritime Building,
Seattle, Washington.
They ginger up the murnie trade.
and other times; what this critic appears to mean
is that people are running after grand opera when
they would be spending their time better and en-
joying themselves more by listening to the old
songs.
Grand opera has had its devotees and admirers
for generations, and their numbers are ever in-
creasing. There are a good many reasons why
people like to hear and to see grand opera. Per-
haps one is sufficient; the prima donnas, the tenors,
the baritones and the basses are heralded as the
greatest singers of their time, the most melodious
and the best trained, and patrons of the opera,
discriminating and experienced, know this to be
the case.
Grand opera is also a beautiful and often
a superb spectacle. Those who are familiar with
the story of each production and can therefore
follow the acting as well as listen to the famous
airs find their hearts touched and their imagina-
tions agreeably stimulated. As the best grand
opera in the world is to be heard in New York
it is no wonder the attraction is irresistible.
But fondness for the old songs and ballads, and
the new that are meritorious, is not falling off.
The recitals of popular singers in this city are
crowded. Their audiences cannot hear enough of
the old favorites which the reader of The Sun,
lamenting what he thinks is decadence of musical
taste, admires so much. It is also to be said
that the songs and ballads which he prefers are
being popularized more and more every day by the
phonographs in a million, yes millions, of homes.
Grand opera records are comparatively dear,
whereas the finest songs by pleasing melodists can
be had for a small sum. There need be no con-
cern about a decline of interest in what may be
termed household music.
with the composer in order that book and music
may be created in harmony.
"SOMEWHERE j^LSE" PRODUCED.
New Musical Fantasy, with Music by Gustav
Luders, Presented at the Broadway Theater
on Monday Night.
"Somewhere Else," a new musical fantasy, with
book by Avery Hopwood and music by Gustav
Luders, who has to his credit "The Burgomaster,"
"King Dodo," "The Prince of Pilsen" and other
musical comedy success, was presented in New
York for the first time on Monday evening at the
Broadway Theater, where the music of the piece
especially appeared to make a strong impression
on the large audience. There were half a dozen
numbers that were particularly pleasing and which
included "Twinkk, Twinkle, Little Star," "If 1
Kissed You," "I Just Want Some One to Love
Me," "A Man, His Pipe and His Dog," and "i?s
Birds Greet Morning Skies."
Among others that met with success were "How
Do You Do?" "It's Distinctly Nice," "The Lay of
an Egg," "Love at First Sight," "Look Out for
the Strange Young Man," "Father," "The Song of
the Rosebuds," "Dingle Dangle," and "Somebody's
Eyes." The principal role is sung by Elena Leska,
a young Roumanian prima donna who has never
'before been heard out of grand opera.
The book of "Somewhere Else" is modeled
closely on the lines of the extravaganzas of a score
of years ago, with a mythical land where every
wish is granted, and the adventure of a modern
New Yorker therein, providing the basis for the
story. Whatever success the production will at-
tain will be due chiefly to Mr. Luders' music,
which is published by M. Witmark & Sons.
MREVIEWflEARS
THAT music publishers may spend more money
in "seeing" the members of the orchestras in
vaudeville theaters and persuading them not to
drown the voices of the subsidized singers with
their instrumental "melody."
THAT there is now a bill before the New York
State Legislature making it a misdemeanor for
one to use a name other than one's own by nat-
ural right.
THAT if the law passes some sections of the
music trade will have to be introduced all over
again to their friends under their new, or rather,
old, cognomenal appellations.
THAT in the midst of the loud cry for the set-
ting aside of ragtime and the adoption of the
higher forms of music we learn that said rag-
time has taken possession of the London Opera
House. Bearding the enemy in its den, as it were.
THAT professional copies at a nickel a throw
with a rebate when the numbers are used or re-
turned, might not be such a bad idea.
THAT judging from the duration of Ted S. Bar-
ron's trip for the Jerome & Schwartz Publishing
Co., his destination is probably China.
THAT J. Tatian Roach, manager of the music
department of Hinds, Noble & Eldredge, says that
the greatest difficulty in handling "The Most Pop-
ular" series of music books is in convincing the
boss that a salesman is necessary.
THAT if the music roll manufacturers want their
customers to have the words of the songs so
badly, why not buy regular copies of the songs
from the publishers in quantities and at wholesale
prices and insert one in the box holding each roll?
THAT it is pretty nearly time for somebody to
take another slam at the music publishers through
the medium of a new copyright bill or some other
legislation that will benefit only the lawyers.
"THE SUNSHINE GIRL" HERE SOON.
New Musical Comedy, with Music by Paul C.
Rubens, Scheduled for Production at Knick-
erbocker Theater on February 3.
"The Sunshine Girl," the successful musical
comedy which created somewhat of a sensation
in London this season, is scheduled for presenta-
tion in New York under the management of
Charles Frohman at the Knickerbocker Theater on
February 3. The book of "The Sunshine Girl" is
by Paul A. Rubens and Cecil Raleigh, the lyrics
by Mr. Rubens and Arthur Wimperis, and the
music by Mr. Rubens alone. The play will be pro-
duced by an excellent cast and in an elaborate
manner.
Among the musical numbers in the score are
"Little Girl, Mind How You Go," "Take Me
For
," "Here's to Love," "The Argentine,"
"I've Been to the Durbar," "Lazy" and "Ladies."
Chappell & Co., Ltd., are the publishers.
Ain't Yo' Comin' Back To
Me, Ma Dinah Lee ?
The greatest Southern song written since
"Down Upon the Suwanee River." A
quaint, pathetic song with beautiful har-
mony of real Southern character, sweet
and melodious. The Southern song "hit"
of the season. Get this one quick.
METROPOLITAN MUSIC PUB. CO.
1520 Broadway, New York City