Scan 12
Musical Courier 1899-10-11: Vol 39 Iss 1021, 1899
71 lines. Read by computer on 23 September 2026. Printed page 13. See the scan on archive.org.
1COMPOSERS INTERESTED.
3The John Church Publications.
5Cincinnati—New York—Chicago—London—Leipsic.
7THE originality, vitality and energy of an American music publishing house are about to impress themselves upon Europe and its musical institutions in a manner that has for a long period been appreciated here. The old methods in vogue for years past by music publishers are to be improved upon on a vast scale, and the young, aspiring and gifted composer is to have an opportunity, not only to secure the publication of his works, but they are to be put before the world in an artistic manner and are to be universally distributed in such quantities as to make them universally known. This is to be done on an international basis, the John Church Company, the house to which we are referring, not only being intent upon creating an exchange and an interchange of musical ideas and their publication between Europe and America, through the medium of its establishment and its branch houses on both sides of the Atlantic, but its decision is directed toward the most liberal sentiment in giving the benefits of its capital, experience, influence and ability of dissemination to those who are worthy of these efforts.
9There is a constant complaint among the composers of music in Europe and America that the bulk of the sheet music firms who handle their compositions do not make satisfactory monetary settlements with them, and fail to submit their accounts to such commercial regulations as are necessary for a proper adjustment of the financial question always involved. Hundreds of composers have told us that they receive no adequate royalties, but, barring such demands, they do not even receive proper statements as to the actual disposal of their published works. It does seem as if the most slovenly kind of business methods prevail with the great bulk of music publishers in Europe and here, and the larger houses frequently complain of their inability to impress upon the sheet music publishing trade the necessity of a well regulated system for the general good and reputation and advancement of the industry, for an industry it is, or, rather, should be.
11Out of all this tremendous mass of irresponsible publishers a few houses emerge whose methods are known to be adapted to the requirements of commercial ethics, and one of these is the John Church Company, which, not satisfied with the traditional theories prevailing in the orthodox trade, has struck out in the direction of twentieth century progress and planted itself in most of the music centres, so as to be in close touch with the new musical idea through the new music composer who is to impress himself on the approaching period. The John Church Company purposes to be the vehicle of transmission and to become completely identified with the new movement by aiding and partly directing it.
13For this purpose it has allied with itself, on the basis of mutual good faith and the application of the most modern theories and methods, a large number of composers whose compositions are to be pushed with irresistible energy on two continents simultaneously, thus making the work international and cosmopolitan. We herewith present lists of the leading names of composers whose latest works are in the hands of the John Church Company:
15European.
16Liza Lehmann.
17Guy d'Hardelot.
18Denza.
19Francis Thomé.
20Tosti.
21Eduard Lassen.
22Hamilton Grey.
23Maud Valerie White.
24Hope Temple.
25A. H. Behrend.
26Frank Moir.
27Milton Wellings.
28Frederic Cowen.
30American.
31Clayton Johns.
32Homer Bartlett.
33Ethelbert Nevin.
34Sousa.
35Tirindelli.
36C. B. Hawley.
37R. De Koven.
38Margaret Lang.
39Horatio Parker.
40George W. Chadwick.
41Walter Damrosch.
42George L. Osgood.
43J. C. Bartlett.
44Dudley Buck.
46These are formidable lists of the generation that is to be heard from in the music of the future, and as they grow and expand these columns will tell the story, thus giving to the musical world an account of modern music making and music publishing that will act as an incentive for all who take an interest in the art.
48Frederic Mariner's Return.
50Frederic Mariner, the "technic expert" of the Virgil School, has returned to New York from Paris, where he passed several weeks pleasantly. Mr. Mariner says that he went to the Paris Opera House to hear "Le Prophet," in which Delna and Alvarez appeared. For an excellent seat he paid $1.80. "What a difference," remarked Mr. Mariner, "should I wish to hear the same artists at our own Metropolitan! In Paris they will sing for $1.80 a seat and in New York they will insist upon $5 a seat. In Paris one may go to every performance of opera if he desire and not be bankrupt in consequence. I visited Miss Fanny Edgar Thomas, THE MUSICAL COURIER's representative, and must say that her abode is the most civilized place I struck in all Paris." Mr. Mariner has begun his season's work with exceptionally large classes.
52Jacoby Engagements.
54ONE of the soloists at next Sunday night's Metropolitan Opera House concerts, under the management of Maurice Grau, will be Mrs. Josephine Jacoby, the contralto, who is in great demand this season for concert work of the highest order. The remarkable success of Mrs. Jacoby illustrates what can be done with a voice, supplemented by talent, study and ambition to attain the best artistic results. Among other engagements of prominence already closed by her for the approaching season we many mention: St. Louis Apollo Club, Chicago Mendelssohn Club, Chicago Apollo ("Delilah"), Brooklyn Institute, Ann Arbor Choral Society.
56The chief Eastern engagements have not yet been fully formulated, but Mrs. Jacoby will participate in many of the leading musical events in which the better class of vocal compositions are to form part of the program.
58Miss Adeline Hibbard.
60MISS ADELINA HIBBARD, the vocal teacher of this city, has returned from Europe after studying the German Lieder with eminent masters during the vacation period. She has resumed her work at her studio, 1672 Broadway.
62Fiasco Narrowly Averted.
64Miss Louise B. Voigt's pluck and heroism undoubtedly helped to save the Worcester Festival from fiasco. She sang there in spite of an attack of appendicitis that prostrated her in Berlin, and from which she had not recovered during the ocean journey back to America. Her mother, the Worcester committee, and Manager Thrane had all been kept in ignorance of her illness; but the latter learning of it through an intimate friend of the young singer's, tried to fill her place on the festival program at the last moment, but in vain.
66In addition to the handicap of her recent illness, Miss Voigt learned the "King Trojan" and "Lily Nymph" music in a very short time; and sang, as a favor, the "Damnation of Faust," the score of which is too low for her best registers.
68Notwithstanding all these obstacles, any one of which would have discouraged many an older artist, Miss Voigt filled her place on the Worcester Festival programs with such success and showed so good a voice that the committee expressed its approval of Miss Voigt's performance to Manager Thrane at the close of the festival.
70Manager Victor Thrane has engaged as one of his assistants in his office Miss Marion Cook, an experienced newspaper woman. Miss Cook will be Mr. Thrane's press representative. She is well qualified for this position, having had considerable experience in this line. She comes from California. In Los Angeles she held an editorial place with the Times, and was esteemed as one of the best music critics in the city. Miss Cook has entered with enthusiasm upon the discharge of the duties of her new position.
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