The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-01-11
Pretty Melodies That All New
York Is Singing.
"REiLLy's FOUR HUNDRED. "
A Critical Estimate OF Dave Braham's
Work-Words and Music OF Five
Delightful Ballads.

every state and territory: and wherever
there is love for music of the lighter order,
there is keen anticipation and longing
for the composers most recent work.
Here in New York the admiration for
Harrigan and Braham is especially strong,
and 1t Lnds extravaganza expression in the
enthusiasm of crowded houses and in the
comments OF the press. Commentator,
perhaps, would be the better word, for the
newspapers ceased long ago to critieise
either of the entertainment makers, and
they rather vie with each other now in the
publication of the longest descriptive arti-
Giles about the first performance of one of
their joint works. Harrigan naturally
gets the lions share of atten-
ton, for not only does the music
I'LL in point of space a minor part of the
play, but it is vastly easier to describe
an actors business" and quote from his
best lines" than it is to describe piece
of music or quote tune. What the dra-
matte critics have done for Harrigan will
endeavor to do for Braham, and those who
are waiting impatiently for the general
publication of the new music may find
here the notes of several of the striking
airs BY careful attention to the verses,
and those who are somewhat skilled in ac-
companying, or familiar with the elements
of musical theory, will be able to invent
accompaniment, as the underlying har-
monies are in no case unusual, or the mod
ulations intricate.
As matter of importance to the success
of Harrigan's plays, the Braham songs
cannot be overestirnated. They are an
III fo 80 l,e
il is morally certain that Harrigan, with
all his popularity, could not get on with
out them. The interest taken in them by
the New York public is comparable only
to the sensation aroused by new Sullivan
opera. The crowds at Sullivan s'nrst
night" and at Harrigan ''nrst night are
equal; that is, the theater in either in
stance is crowded to its utmost capacity.
Braham must be credited, however with
having the better of it, for he gives his
hearers but seven songs, to Sullivan's
thirty or more, and every one of Braham's
pieces are repeatedly encored, catching
hearty appreciation instantly, while some
of Sullivan's test numbers have to be
heard several times before the devoted au-
ditor begins to see the beauty in them.
1t is generally admitted here that Braham
has never hit the popular taste harder
than in the incidental music to s.Reilly's
Four Hundred" The seven numbers in
clude a song of the sea, baritone and
chorus, two songs for Mr.. Harrigan, one
tenor waltz song, chorus without solo
part, negro sailors chorus, and of course
the inevitable dreamy waltz, in which
poor girl with a weak voice sings of ..dear
old MOTHER
Mr.. Braham makes no attempt to appeal
to cultivated taste. If he is a proinc COM
poser, the world does not know it, 1t is
true that the number of his successes is
very great, compared to the successes of
other composers, but that is because near
~ everything he has ever presented for
public approval has made a hit. I am
not familiar with his methods OF work 1t
may be that for every song the public
knows there are score that did not meet
with Braham's own approval. 1t may be
that he had to work patiently and long
over the tunes in "Reilly" before he be-
came satisfied that the audience would
like them. Such evidence, however, as is
presented by the music itself suggests that
Mr.. Braham. having from long expe-
rience learned that certain manner of
melody Will DE catchy" devotes himself
strictly to turning out that kind of work.
Maggie Murphy's Home" for instance,
appeals to the listener at once as familiar
For that reason he likes it. An alysis
shows that it has the beneht of all the
trickery and several stock phrases OF waltz
music. As scored by Mr.. Braham. there
is a clever accompaniment that relieves
the commonplace melody to a critical
listener, but the real joy of the piece can
be extracted only by hearing the you ng
woman with her thin voice whisper her
tuneful way through the solo part, TO be
followed instantly by fall chorus, FORTS
simo, male and female voices in unison,
on the lines:
son Sunday night,
lis my delight,
And pleasure, don't you see?"
Braham does not venture to harmonize
his choruses. Everybody sings the air,
and it would make a pessimist blush for
happiness 10 hear the bassos hitting it up
ON the high notes.
The tricks of the waltz are even more
apparent in the song. 1--WE Come Home
to Stay" 1t is bound TO be very popular.
though it is not safe to prophesy that it
will last as long as the other numbers in
the play. tor its superlatively sensuous
phrases must eventually seem mawkis h
and irritating to the most uncuitivated
listener
The songs assigned to Mr.. Harrigan him
self are the weakest in the play but that
does not prevent the audiences from sap-
plauding wildly. Uncle Reilly" if sung
in any other than a Harrigan play, or by
any other actor than Harrigan, would not
he at all likely to secure recognition. ..Mr.
McGuinness From Troy" is much better.
but wofully suggestive of something else,
or, rather. OF q great many other light
pieces. sung spiritedly. with many voices
in the chorus. il has a power of its own to
cling to a mans memory, until Not For
getting Teddy Harrigan" threatens to be-
come lifelong penalty for going to his
show.
The last music in the play is chorus,
Leaders of the Four Hundred" Ii is
just as suggestive as the rest, as if Braham
had u ken composition that had proven
10 be popular and worked il over, disguis-
ing il here and there, simplifying always
when possible, and making 4 thing at last
that viii generally De accepted as new. 1t
doesn't matter, Mr.. Braham writes for
purpose; that purpose Is exaeting. il Is 10
suit the public, that great number who
love music and cannot tel one note from
another: simplicity, 'catchiness. and an
atmosphere Of novelty must be attained in
every number. Mr.. Braham has the rare
faculty OF fitting exactly the place he is
called upon 10 occupy. He fuIhlls his
mission, and who would refuse him credit
Tor that? Very few indeed have achieved
such pronounced success az their chosen
lines as hehas, and despite ali the show
ings of analysis and criticism, there is good
reason 70 admire his work, in that il is
what it pretends TO be and no less.
Frederick E RrRTnE