Music Trade Review
Issue: 1926 Vol. 83 N. 13 - Page 51
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
The Music Trade Review
SEPTEMBER 25, 1926
7
BESIDE A
»UR HEARTS
GARDEN WALL LOOKED
INTO
BY THE WRITERStf POOR BUTTERFLY" *
A Melodious Fax TjvtSon^
^
y Gus
y^m
Music kv ALBERT E. SHORT *
sod DEL DELBRIDGE
.. MINE*
tic City and Is Now Booked for Engagement
in Chicago, Where It Is Very Popular
Well-known London Publishers Now Control
British Rights to Edition A. Gutheil and Edi-
tion Russe de Musique
Gus Edwards and His Orchestra, who have
closed a most successful season in Atlantic
City, are returning to Chicago where they first
attracted attention. There are so many orches-
Hawkes & Son, the well-known English pub-
lishing firm which specializes in orchestra num-
bers, have acquired the sole agency in the British
Empire for two important Russian catalogs,
Edition A. Gutheil and Edition Russe de Mu-
sique. This is only two of a series of purchases
made by the Hawkes firm in recent years.
Several years ago Hawkes & Son acquired
the sole British representation of several other
foreign catalogs, including Edition Belaieff and
Philharmonia Miniature Scores. Since then
they have purchased Winthrop Rogers, Ltd.,
with its well-known catalog of songs and edu-
cational piano music, who, by the way, are the
British representatives for such leading Amer-
ican standard publishing houses as G. Schirmer,
Inc., Oliver Ditson Co. and Boston Music Co.
It may not be generally known that the pro-
prietor of both Edition Russe de Musique and
A. Gutheil is Serge Koussevitzky, the eminent
conductor of the Boston Symphony Orchestra.
At the time when the Russian composer lost
his patron with the death of M. P. Belaieff,
Mr. Koussevitzky founded the Edition Russe de
Musique for the purpose of furthering the inter-
est of his contemporaries -and perpetuating the
art of Stravinsky and Prokofieff, the two most
intrepid exponents of modern music. Not long
after he acquired the catalog of the old-estab-
lished firm of A. Gutheil. well known as pub-
lisher of the compositions of Rachmaninoff and
many of the earlier works of Prokofieff.
Modern Russian music enjoyed a decided
vogue a decade ago. During the past few sea-
sons there has been a distinct revival of inter-
est in such compositions and under these new
arrangements they should be more readily avail-
able and this doubtless will further their pop-
ularity.
The Reynolds Music Co., of Waynesboro, Pa.,
has opened a new music store in Chambers-
burg, Pa.
I WOLFE GILBERT
FEIST song
"That's My Girl" Featured
Hawkes & Son Purchases
by Gus Edwards Orchestra Agency for Russian Catalogs
Gus Edwards
tras nowadays that when one achieves national
importance it must be admitted that it is an un-
usual musical combination. Gus Edwards and
His Orchestra not only are considered one of
the most important dance combinations in the
Middle West but, through their Eastern appear-
ances, have won further recognition.
The Gus Edwards Orchestra was instru-
mental in aiding considerably the M. Witmark
& Sons popular number, "That's My Girl."
Soon after this song was placed in the Wit-
mark catalog, and while it was still in manu-
script form, Gus Edwards made a lead sheet
of the melody and had his orchestra play it the
same night. It scored an instantaneous suc-
cess and was thereafter made a feature of the
Edwards program. Since that time "That's My
Girl" has been taken up by many other orches-
tras and has been accepted as a national suc-
cess.
A Great "Mother"Ballad
M»sic by JIMS V. MONACO
JtAYMOND HUBBELL
You cant go wifouti with
CALLING.
ME HOME
Cyrichy
Lvric b y J O H N GOLDEN
'
51
English Critic Stirs
Hornets' Nest Over Jazz
Attack on American Popular Music by Ernest
Newman Brings Immediate Replies from
American Orchestra Leaders
Ernest Newman, the English music critic, in a
cable story to the New York Times recently
took a fling at the exponents of American jazz
music. He stirred up a hornets' nest among the
popular orchestra directors, several of whom in
subsequent issues of The Times in turn took
their fling at Newman's conceptions.
Mr. Newman's remarks undoubtedly hurt, for
American popular publishers and jazz exponents
in this country have not only reached the stage
where such music was internationally accepted,
but are encouraged by many representative
leaders of classic music in this country and else-
where.
The English critic's ideas regarding jazz
music will not reach the stage where a cam-
paign will be waged against them, for he will
have a hard time in getting responsible follow-
ers. Secondly, no campaign through the forces
that he could corral would be able to inflict any
injury on the jazz reign which is supported by
the general public in all countries.
His remarks and his wishes as to the future
of the modern type popular music are similar to
remarks which are made in each generation
against the prevailing type of music. Popular
music changes with these generation. It does
not pretend to be the best type of music, but it
meets the needs and gets a response from the
age for which it is written.
Our present-day popular music has not only
conquered this country, but it has been the
means of the adoption of American conception
of popular music in practically all nations. It
has not only made the American publisher
popular, but it has brought a new height of
prosperity to the small instrument manufac-
turers. It is popular music of the present-day
character which has sold hundreds of thousands
of saxophones, banjos, ukuleles and similar in-
struments.
"Honeymoon Lane," a new musical comedy
with book, lyrics and music by Eddie Dowling
and James Hanley, opened at the Knickerbocker
Theatre, New York City, on Monday night of
this week. It is an A. L. Erlanger production
staged by Edgar MacGregor, with dances by
Bobby Connelly. Shapiro, Bernstein & Co.,
Inc., are the publishers of the music in which
Eddie Dowling stars.
Worth Weil Tunes
Worth While Having
Looking at the World Thru Rose-
Colored Glasses
Stars (Are the Windows of Heaven)
Talking to the Moon
I'd Love to Call You My Sweetheart
What'll I Have to Do to Make
You Care
Sadie Green, The Vamp
of New Orleans
Six Feet of Papa
The Journey's End
The Good, Bad Girl
Tie Me to Your Apron Strings Again
Sorry and Blue
Published by
Milton Weil Music Co., Inc.
54 W. Randolph Street
Chicago, 111.
The Music Trade Review
SEPTEMBER 25, 1926
7
BESIDE A
»UR HEARTS
GARDEN WALL LOOKED
INTO
BY THE WRITERStf POOR BUTTERFLY" *
A Melodious Fax TjvtSon^
^
y Gus
y^m
Music kv ALBERT E. SHORT *
sod DEL DELBRIDGE
.. MINE*
tic City and Is Now Booked for Engagement
in Chicago, Where It Is Very Popular
Well-known London Publishers Now Control
British Rights to Edition A. Gutheil and Edi-
tion Russe de Musique
Gus Edwards and His Orchestra, who have
closed a most successful season in Atlantic
City, are returning to Chicago where they first
attracted attention. There are so many orches-
Hawkes & Son, the well-known English pub-
lishing firm which specializes in orchestra num-
bers, have acquired the sole agency in the British
Empire for two important Russian catalogs,
Edition A. Gutheil and Edition Russe de Mu-
sique. This is only two of a series of purchases
made by the Hawkes firm in recent years.
Several years ago Hawkes & Son acquired
the sole British representation of several other
foreign catalogs, including Edition Belaieff and
Philharmonia Miniature Scores. Since then
they have purchased Winthrop Rogers, Ltd.,
with its well-known catalog of songs and edu-
cational piano music, who, by the way, are the
British representatives for such leading Amer-
ican standard publishing houses as G. Schirmer,
Inc., Oliver Ditson Co. and Boston Music Co.
It may not be generally known that the pro-
prietor of both Edition Russe de Musique and
A. Gutheil is Serge Koussevitzky, the eminent
conductor of the Boston Symphony Orchestra.
At the time when the Russian composer lost
his patron with the death of M. P. Belaieff,
Mr. Koussevitzky founded the Edition Russe de
Musique for the purpose of furthering the inter-
est of his contemporaries -and perpetuating the
art of Stravinsky and Prokofieff, the two most
intrepid exponents of modern music. Not long
after he acquired the catalog of the old-estab-
lished firm of A. Gutheil. well known as pub-
lisher of the compositions of Rachmaninoff and
many of the earlier works of Prokofieff.
Modern Russian music enjoyed a decided
vogue a decade ago. During the past few sea-
sons there has been a distinct revival of inter-
est in such compositions and under these new
arrangements they should be more readily avail-
able and this doubtless will further their pop-
ularity.
The Reynolds Music Co., of Waynesboro, Pa.,
has opened a new music store in Chambers-
burg, Pa.
I WOLFE GILBERT
FEIST song
"That's My Girl" Featured
Hawkes & Son Purchases
by Gus Edwards Orchestra Agency for Russian Catalogs
Gus Edwards
tras nowadays that when one achieves national
importance it must be admitted that it is an un-
usual musical combination. Gus Edwards and
His Orchestra not only are considered one of
the most important dance combinations in the
Middle West but, through their Eastern appear-
ances, have won further recognition.
The Gus Edwards Orchestra was instru-
mental in aiding considerably the M. Witmark
& Sons popular number, "That's My Girl."
Soon after this song was placed in the Wit-
mark catalog, and while it was still in manu-
script form, Gus Edwards made a lead sheet
of the melody and had his orchestra play it the
same night. It scored an instantaneous suc-
cess and was thereafter made a feature of the
Edwards program. Since that time "That's My
Girl" has been taken up by many other orches-
tras and has been accepted as a national suc-
cess.
A Great "Mother"Ballad
M»sic by JIMS V. MONACO
JtAYMOND HUBBELL
You cant go wifouti with
CALLING.
ME HOME
Cyrichy
Lvric b y J O H N GOLDEN
'
51
English Critic Stirs
Hornets' Nest Over Jazz
Attack on American Popular Music by Ernest
Newman Brings Immediate Replies from
American Orchestra Leaders
Ernest Newman, the English music critic, in a
cable story to the New York Times recently
took a fling at the exponents of American jazz
music. He stirred up a hornets' nest among the
popular orchestra directors, several of whom in
subsequent issues of The Times in turn took
their fling at Newman's conceptions.
Mr. Newman's remarks undoubtedly hurt, for
American popular publishers and jazz exponents
in this country have not only reached the stage
where such music was internationally accepted,
but are encouraged by many representative
leaders of classic music in this country and else-
where.
The English critic's ideas regarding jazz
music will not reach the stage where a cam-
paign will be waged against them, for he will
have a hard time in getting responsible follow-
ers. Secondly, no campaign through the forces
that he could corral would be able to inflict any
injury on the jazz reign which is supported by
the general public in all countries.
His remarks and his wishes as to the future
of the modern type popular music are similar to
remarks which are made in each generation
against the prevailing type of music. Popular
music changes with these generation. It does
not pretend to be the best type of music, but it
meets the needs and gets a response from the
age for which it is written.
Our present-day popular music has not only
conquered this country, but it has been the
means of the adoption of American conception
of popular music in practically all nations. It
has not only made the American publisher
popular, but it has brought a new height of
prosperity to the small instrument manufac-
turers. It is popular music of the present-day
character which has sold hundreds of thousands
of saxophones, banjos, ukuleles and similar in-
struments.
"Honeymoon Lane," a new musical comedy
with book, lyrics and music by Eddie Dowling
and James Hanley, opened at the Knickerbocker
Theatre, New York City, on Monday night of
this week. It is an A. L. Erlanger production
staged by Edgar MacGregor, with dances by
Bobby Connelly. Shapiro, Bernstein & Co.,
Inc., are the publishers of the music in which
Eddie Dowling stars.
Worth Weil Tunes
Worth While Having
Looking at the World Thru Rose-
Colored Glasses
Stars (Are the Windows of Heaven)
Talking to the Moon
I'd Love to Call You My Sweetheart
What'll I Have to Do to Make
You Care
Sadie Green, The Vamp
of New Orleans
Six Feet of Papa
The Journey's End
The Good, Bad Girl
Tie Me to Your Apron Strings Again
Sorry and Blue
Published by
Milton Weil Music Co., Inc.
54 W. Randolph Street
Chicago, 111.
Future scanning projects are planned by the International Arcade Museum Library (IAML).