Scan 19
Musical Courier 1900-11-28: Vol 41 Iss 1079, 1900
143 lines. Read by computer on 23 September 2026. Printed page 20. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE MUSICAL COURIER.
2PUBLISHED EVERY WEDNESDAY
3BY THE
4MUSICAL COURIER COMPANY.
5(Incorporated under the laws of the State of New York.)
6St. James Building, Broadway and 26th St., New York.
7TELEPHONE: 1720 Madison Square.
8Cable Address: "Pegujar," New York.
9ESTABLISHED JANUARY, 1880.
10No. 1079.
11MARC A. BLUMENBERG – – EDITOR-IN-CHIEF.
12NEW YORK, WEDNESDAY, NOVEMBER 28, 1900.
14BERLIN, GERMANY (Branch Office)-
15Linkstrasse, 17 W., is in charge of Mr. Otto Floersheim.
16Single copies for sale at the music store of Ed. Bote & G. Bock,
17Leipzigerstrasse 39, W.
18All advertising business in Germany and Austria-Hungary must
19be done through our Berlin Branch Office, W. Linkstrasse 17.
21DRESDEN-
22Anna Ingman, Frankfurstrasse 20 II.
24LEIPZIG-
25Mr. Alvin Kranich in charge.
27LONDON, ENGLAND-
28Fannie Edgar Thomas, 32 Bloomfield Road, Maida Vale, N. W.
29Single copies for sale at F. Batson's, 82 Grosvenor Street,
30Bond Street, W.
32PARIS, FRANCE-
33Fannie Edgar Thomas, care Munroe & Co., No. 7 Rue Scribe.
34Single copies for sale at Brentano's, 37 Avenue de l'Opera; 37
35Rue Marbeuf; Galignani Library, 224 Rue de Rivoli; Shakespeare
36Library, 75 Avenue des Champs Elysees, Boulevard Kloeks.
38ITALIAN (Branch Office)-
395 Via Rondinelli, Florence, Italy, Mr. Joseph Smith in charge.
41CANADIAN OFFICE-
42In charge of Miss May Hamilton. Address Main Office, New
43York City.
45CHICAGO OFFICE-
46Fine Arts Building, Michigan Boulevard, C. A. Daniell in charge.
48ST. LOUIS-
49Controlled by Chicago Office.
51MILWAUKEE-
52Controlled by Chicago Office.
54INDIANAPOLIS-
55Controlled by Chicago Office.
57CINCINNATI OFFICE-
58J. A. Homan in charge.
60BOSTON OFFICE-
6117 Beacon Street.
63BROOKLYN OFFICE-
64Hotel St. George, Clark, corner Henry Street.
66PHILADELPHIA OFFICE-
674230 Regent Square, Mrs. D. L. Souder in charge.
69WASHINGTON OFFICE-
70616 Twelfth Street, N. W., Berenice Thompson in charge.
72Subscription (including postage), Invariably in advance: Yearly,
73$5.00; Foreign, $6.00; Single copies, Ten Cents.
75SPENCER T. DRIGGS – – BUSINESS MANAGER
77RATES FOR ADVERTISING.
78PER INCH ON ADVERTISING PAGES.
79Three Months………….$25.00| Nine Months………….$75.00
80Six Months……………..50.00| Twelve Months………..100.00
82ON READING PAGES.
83One inch, 3 months…………………….$75.00
84One inch, 6 months…………………….125.00
85One inch, 1 year……………………….200.00
87Special rates for preferred positions.
88One page, one insertion………………..$300.00
89One-half page, one insertion…………..180.00
90One Column……………………………100.00
92All remittances for subscriptions or advertising must be made by
93check, draft or money order, payable to THE MUSICAL COURIER
94Company.
96Advertisements for the current week must be handed in by 2 P. M.
97on Monday.
99All changes in advertisements must reach this office by Friday 5 P. M.
100preceding the issue in which changes are to take effect.
102American News Company, New York, General Distributing Agents.
103Western News Company, Chicago, Western Distributing Agents.
105THE MUSICAL COURIER EXTRA.
106Published Every Saturday During the Year.
107GREATEST ADVERTISING MEDIUM FOR ALL
108MUSIC PUBLISHERS AND MANUFACTURERS
109and IMPORTERS OF MUSICAL INSTRUMENTS
110OR PARTS THEREOF. ALSO SPECIALLY DE-
111VOTED TO POPULAR MUSIC and VAUDEVILLE.
112For Particulars apply to "Saturday Extra Department."
114THE contralto Marie Goetze, of the Berlin Opera, who was reported by the cables as lying in a critical position from gas poisoning, was in New York at the German opera in 1890. She sang her last in concert in 1892. She was never a remarkable artist.
116OSSIP GABRILOWITSCH, the pianist, who has made such a pronounced success in America, has been secured by the Boston Symphony Orchestra as soloist at the concert to be given in Carnegie Hall Thursday evening, December 13. The concerto has not yet been announced.
118BERNHARDT—who has not been taken seriously as an artist in Paris or London for the past ten years—has been airing her views of d'Annunzio and Rostand to the newspapers. Of course the dear theatrical creature is excited with rage at the idea of d'Annunzio writing about Dusé in his book "Il Fuoco." And of course Rostand is the greater man! But is he?
120Rostand, who is the product of a theatrical "boom," is a clever, facile, brilliant Semite and artificial writer for the stage. He is hopelessly theatrical and antiquated in his methods; that's why the played-out and artificial Sarah admires him. He has no conception of the new technique, of Ibsen, Maeterlinck, Sudermann and Hauptmann—how provincial to compare them with Rostand!—and he has never created one vital character, one that will be alive ten years from today. Rostand is a trickster, an "effect" creator. His Cyrano is a pot-house poet spouting "rhymed Sardou," and "L'Aiglon" is but a pretty doll stuffed with sentimental sawdust. Sarah is jealous of Dusé, so jealous that her man Friday, Rostand, is commissioned to write a play with herself as the central figure. Yet she talks of "Fuoco" and of d'Annunzio!
122EXCELLENT.
124Much to the regret of musical people the daily press seldom gives space or attention to the absorbing question of the music press and musical journalism and its relation to the world of music, and it is therefore a source of pleasure to observe a semi-editorial on the subject published in a recent number of the Chicago Times-Herald. So pithy, excellent and good-natured and at the same time free from personal prejudice is this semi-editorial that we are impelled to reprint it for the benefit of our army of readers.
126Several weeks ago reference was made in this column to the methods of certain musical periodicals and to the cowardice of the professional musicians who often weakly submitted to exactions no more respectable than highway robbery.
128The principals and the agents of these schemes whereby parties are forced to bribery under the specious pretext of advertising in a manner and form which can be of no benefit to them were first astonished that anyone should dare snap his fingers in their faces and then became convinced that it was best for them to keep shady for a time.
130The fear of exposure sent them scuttling, but occasional forays indicate that they have not fully learned the lesson that Chicago is no longer a free field for their operations. It therefore becomes necessary to warn these freebooters that they are at the end of their string, and will court exposure if they undertake to secure money in this city in a manner which smacks of blackmail.
132Musicians should understand that any periodical whose reputation is smirched by questionable methods is absolutely impotent. It can neither harm nor help them. Money expended to placate the emissaries of such publications is wasted, and any man or woman who advertises under duress in these periodicals, yielding to an implied threat of something dreadful to happen if he declines, is a cheap and silly coward.
134Whenever agents appear who are believed to represent underground methods show them to the door and bid them do their worst. No one will believe their slanders, while praise from such a source is many degrees more damaging than censure. Praise indicates that the purchase price has been paid, while an attack is the best evidence that the subject was brave enough to resist all attempts to rob him.
136To us it always appeared akin to insanity when any musician was ever induced to pay one cent to any music paper except as a pure commercial or business investment based upon the circulation of the paper. To advertise means to calculate upon a mass of readers one can reach only through the medium selected and, therefore, if by any questionable methods a musician or any other man or woman is compelled (we do not see the possibility of compulsion) or induced or inveigled to advertise in papers that have no readers, no circulation, no influence because of no circulation, that person is even more to blame than the publisher of the paper. We call it again a condition akin to insanity and every such foolish individual should be placed in the care of his or her relatives or friends.
138This applies particularly to music papers with the smirched reputation the Times-Herald refers to, although in justice to the small music press we must say that those that are smirched are usually smirched because they have no circulation, neither can they or any music paper with a smirched reputation ever acquire a circulation. The musical people will refuse to read such a paper—as they frequently have given evidence—and the paper dies as it always did.
140Being more than twenty years before the world, with a journalistic experience covering a vast field and publishing a semi-weekly paper reaching over a quarter of a million people every week, The Musical Courier can assuredly claim that it is at least as competent to judge of the situation as the Chicago Times-Herald, and it therefore can readily reiterate that no music paper can exist or flourish that would dare to follow the lines indicated in the above reprinted editorial, and it can refer to the hundreds of wrecks of music papers to prove its premise, although it must be admitted that most of them died because they did not properly supply a want that did not exactly exist. Sometimes they failed because they were corrupt, but these were exceptional cases.
142Yet, at the same time, the Chicago Times-Herald should be generous to the small music papers and should not discourage that kind of journalism. There is no inhibition to the publication of such journals and anyone inspired by the divine spirit should be permitted unmolested to enter the field and explore it. If the musical profession feels disposed to pay money to papers that have no readers that pleasure should not be denied them through the momentary pessimism of the Chicago Times-Herald. Let all and every musician follow his bent and philanthropically dispense his income upon papers that have no circulation, but do not let us consign these papers to punishment by smirching them or accusing them without definite, distinct and fixed charges properly exhibited and proved. Why condemn all those little papers that must get advertisers in order to exist, that have no revenue or resources from circulation because no one reads them—why condemn them one and all because some aggrieved musician may, in a general way, have complained against one or two. A great paper like the Chicago Times-Herald should not make these sweeping charges, but when it makes them, do as this paper does specify them as we did, for instance, a few weeks ago when we specified the commission system of the Grau company and the percentage basis upon which it flourished. Great papers with whole armies of readers, papers like the Chicago Times-Herald and The Musical Courier should also encourage the smaller publication on the general principle that everyone has a right to live and the right to pursue a career without consulting us. The musicians themselves who actually support the small music papers are at fault, for if they were bold
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