The Billboard 1910-10-22: Vol 22 Iss 43 (1910-10-22)

14 The Billboard OCTOBER 22, 1910. MUSIC AND THE PROFESSION The Music Field Abroad as Observed by Edward B. Marks---Foreign Authors and Their Works---Music Notes Mr. Edward B. Marks, partner of the firm of Jos. W. Stern & Co., the well-known music publishers, who recently returned to this country from an extended trip abroad, was interviewed recently by a representative of this journal, who, in behalf of its readers, desired to glean some information concerning the conditions of the music trade in foreign countries. Mr. Marks was not loth to go into detail ‘re specting the most vital elements of the situation, and freely expressed his experiences and opinions in the following terse information: “How did you find existing conditions concerning the international copyright and contracis between the publisher and composer?’ was asked. “That the utmost care to perfect internationa) copyright is taken in each case. The foreign publisher seemed to have been bitten too badly in the past to take any further chances. Contracts between publisher and composer are considered a matter of honor and sacredly kept. This is in striking contrast to existing conditions in this country, where writers play loose and fast with their contracts. “Are the foreign publishers affable and accessible as a rule?’ “The foreign publisher is very affable and hospitable at home, but strictly a man of busihess, to be seen by appointment only and for 4 serious purpose. The Englishman has his tea served while at work. The German and Vieéennese interrupts his business only to go to the nearest cafe, or rather, he goes there to transact his business. In Vienna the cafe is the bourse or stock exchange where most of the operatic deals and contracts are consummated.”’ “Is sheet music ‘sacrificed’ and ‘slaughtered’ in point of prices, as in this country ?”’ “The average price for sheet music is treble what it is here. No slaughtering is permitted and a firm caught cutting rates is heavily fined by the United Board of Music Trades.”’ “It is understood that a generous fee is exacted from programs and public performances in some countries. What is this average rev enue?’ “There are co-operating associations of com posers and music publishers in Berlin, Vienna and Paris, and those organizations have their agreements with the leaders of the different orchestras and proprietors of cafes and restaurants, whereby said leaders or proprietors pay a fixed sum per year to the Society of composers and publishers. The leaders or proprietors must deliver a list of the musical numbers played. The society collects these lists and programs during the year, and at the end of the year distributes a dividend to its members according to the number of times the va rious pieces have been played.” “What are the leading musical productions now in foreign countries, notably in Germany and France?’ “The important new successes are Miss Dudelsack, which Klaw & Erlanger now have in re hearsal here. It is a Scotch opera, very melodious, and with a splendid story. The score was written by Rudolph Nelson, a Berlin com poser and pianist of note. The Graf from Luxenborg is another very tuneful opera, and The Barefoot Dancer, by Reinhardt, is a third. The last named is now in rehearsal, with the Shu berts. Sprudelfee, or The Carlsbad Girl, as it will be called here, is another opera that is very successful. It will shortly be produced by Werba and Luescher, with Christie McDonald in the star part.’’ “Are there any singers of note abroad who would be welcomed by managers in this country?” “There are many singers abroad who would be welcomed in this country. In Europe, Lehar and such composers insist upon g00d voices. They want their operas sung and not barked. In Miss Dudelsack there is a tenor, Fritz Wer. her, who would be a find for any American manager, and there are many others. In, the cast of The Arcadians, in London, there is a come EDWARD B. MARKS, Connected with the Jos. W. Stern Music Publishing Co. dian, whose unctuous comedy as the jockey would appeal to any audience here.”’ “Which was the best staged comedy you witnessed, and how do these compare with American productions of this kind?’ “I saw no attraction abroad which was really well staged. excepting possibly The W melodrama at Drury Lane. In fact, the does not in any way compare with ours. J same time The Waltz Dream and The Gay Hus sars, both only fair successes here, are playing to capacity over there for the third year. The reason is very evident. They have capable ar tists, and pay more attention to careful selection of cast, and give ample time for prepara tion. In a comedy by Molnar, called Herr Vertheidiger (Mr. Advocate), one of the most CHAS. K. HARRIS, A comparison is absurd Anything that is f merit the present-day Parisian Revue at the Mar y. Follies Berger Moulin Rouge or elsewhere s distiectiy American, especially the songs The only thing the Frenchman can claim in these shows as his own is thelr elab orateness of costumes and an abundance of dou ble entendre and vulgarity Decidedly the best revue I saw in Europe was at the Metropole In revue Paul Lincke has five Berlin. In this distinct musical hits, including his famous sosporus,”’ rurkish intermezzo, On the SCOTTI'S MASTERPIECE. Roth in this country and abroad there is at the present time a vocal craze, entitled Tout en Proprietor of the Chas. K. Harris Music Publishing Co., New York City. delightful pieces I witnessed abroad, every part was perfectly played. The star, by the way, Harry Walton, a great favorite in Germany, played the part of the burglar, Tim Boots, in such breezy style as almost to remind one of our own Willie Collier. Walton would also hold his own over here. with many of our best light comedy people, especially if he appeared in this part, which suits him admirably.’’ “Who is acknowledged the foremost composer abroad, in the field of light and popular vocal composition 7’ “Still, Oscar Strauss, Franz Lehar and Leo Fall. These men are giving the German stage their ‘daily bread,’ and dominate absolutely over the market of light opera. In the field of popular composition, Paul Lincke, Victor Hol laender and Auguste Bose are acknowledged leaders.’’ “What pieces did you procure for your cat alogue that emulate such of your copyrights ax “A bunch of foreign pleces destined to be come popular, in my opinion, like the above are Myrella, Bunch of Roses, New Valse Chal oupee, Oh, That Slow Waltz and Tout en Rose These are the pieces in vogue one hears every where.’ “How do the Parisian Revues class with our metropolitan productions in thig line?’ Rose, which was written by the Parisian master of song hits and melody. Mr. Vincent Seotti, the same eminent writer who created that grand success populaire known as Petite Tonkinolse. The English translation of this work, Tout en Rose, is defined in the catchy phrase, “‘when love is all rosy,’’ and the words are so eupho niously wedded to the music that the moment the composition is heard, the entire audience involuntarily takes up the catchy refrain and makes merry with Its delightful tune and text. As usual, Jos. W. Stern & Co the enter prising American firm, have secured this delightful work, which is selling In large quanti ties, both as an instrumental number apd a song. Digoude, the French publisher of Seotti's works, proudly points to the fact that Tout en Rose is the premiere number upon his cat alogue, the public in France, and, tn fact, all Continental cities, accepting it with an avidity as the leading vocal marceau of the cent ury. It will be but a short time when through out the Yankee nation this surpassingly unique number will be the plece de resistance for all concerts and theatrical entertainments. Francis and Virginia Rogers have joined A Texas Ranger Company to play comedy and soubrette role and to do their specialty. NEW YORK MUSIC NOTES. NOTES FROM JOS. W. STERN & CO. The two Quaker Maids, Misses Shaw an! Ramey, have severed their connection with The Serenader’s Co., and have already opened in Philadelphia for a vaudeville engagement for which they are booked for some weeks ¢ come, They are featuring I'm Not That Kind of a Girl, and Monroe H. Rosenfeld’s new song hit, entitled Stop Your Blushing, Rosie The Musical Monarchs, who are famous for their playing on the numerous instruments which they use in their act, are having great success with Paul Lincke’s intermezzo. Amine The Monarchs use this number as a quart for saxophones, and it never fails to their auditors, Mr. Ernest Wall, of the Atlantie City F recently added Henry and Lamb's high-class ballad, Night Brings the Stars and You. to his repertoire, and writes us to the effect that the above song is one of the features of their act. Mr. Wall is singing the solo with the quartette as an ensemble. Miss Ethel Golden is singing Solman and Lamb's great drunk song, Follow the Car Tracks, and is getting three and four encores at every performance. Miss Golden aays that this is the best song of its class that she has ever used. Miss Genee Lesile is making good with the song success of the season I've Got the Time. I've Got the Place, But It's Hard to Find the Girl, of which sbe is using the female ver sion. This song never misses fire, which is the reason so many acts have added it to their stock of songs. THE CLASSICAL QUARTET. “O. be ye still!’ the alto sighed, “O. be ye still,’ then she repeated; The tener listened, open-eyed And sang in accents slightly heated: “O, be ye still!’ then beth together Raised up their tenes with goodly will, Bass and soprano slipped their tether. And all combined: “‘O, be ye still!’ An instant’s pause, save for the sound Of chords upen the grand piano, . with a voice that gave a bound: “O. be ye still!’ shrieked the soprano, “O, be ye STILL!" reared forth the basso In tones that set your bleed a-chill: Again the quartet sang en masse: “* 0, be ye still! 0, be ye STILI The tenor then made the request: “O, be ye still,"" In measure soaring; And deep from out the basso’s chest, “O, be ye STILL!" again came roaring— “O. be—O, be.’ the fair soprano, “O, be—D, be—O, be’’—unrtll Once more they drowned the loud plano With one impressive “Be ye 8-T-1-L-L!" “O. be ye still,’ the alto wailed, ee etint’’ e—e—e— the basso grumbled, © —e—e_e—e — — ye—e-—e,”’ the a ; 2 »prano sailed, ee—STILL-L-L-L"" “O, be ye—"’ the tenor jumbled, And then in one tremendous yelling, They surged into a vocal mill, And set the echoes all pell-metling; “ORE YESTILLOBEYESTILL!(" —Chicago Evening Post. A MUSICAL MELANGE. A is for ALTO, which plays a low tone, B for the BASS, which emits a deep groan, C for the CORNET, way up in B Flat, D for the DRUM, which goes ratatatat, E for EUPHONIUM, buoyant and strong, F for the FLUTE, with its billowy song, G for the GITTERN, with musical ting, H for the HARP, with full many a string, I stands for INSTRUMENT, of any kind, J for JEWS-HARP, which delights the young mind, K for the KETTLE, with rumble and roar, L for the LYRE, from famed days of yore, M for the MANDOLIN, biithesome and gay, N is the note which gave music its day, O is the OBOE, with bubbling trill, P for the PICCOLO, high, sharp, and shrill, Q is for QUICK, an expression in time, R is for REED, and to help out this rbyme, 8 is for SAXOPHONE, mellow and low. T for the TROMBONE, which windy men blow, U stands for UPPER, a clef rather high, V ix the VIOLIN, with mournful ery, W for WHISTLE, the music of boys, Is for XYLOPHONE, known by its nolse, Y ts for YODBL, the pride of the Swiss, Z stands for ZITHER, and also ends this. RODERIC STE. FLEURE, Two SPECKS. SCORE. The Two Specks, two clever young people, made good at a try-out performance at the Empress Theatre, Cincinnati, October 18. They do a singing and dancing act in one, After working a few weeks In and around Cincinnati they expect to open on the Sullivan and Consldine time.