New-York tribune., 1911-01-11
NAY BAR FRENCH MUSIC
society's Demand Bad for Com
posers, Musicians Say.
soyaLTlES WON'T BE PAID
philharmonic and Barreres Have
Received Demands for
Money.

I,o.sntatiye II Ovide Robillard, IN setting
-, % enforce the copyright laws in ie'
~ the performance OF musical compo-
'',o,s Yesterday seemed likely to have
',,,s little looked for by the French So
- This society intimated TO the Bar
.A,s Ensemble that IL must pay for sew
- of the compositions Il played at It's
l.oneert on Monday, and II has done
.Sa same as TO the next French concert
H., The philharmonic Orchestra. But II
As..r,es likely that II ~. Robillard was
rccessful In his endeavors he would SIM
!. eliminate the works Of his clients fIola
PImerican programmes.
l Dr Frank Damrosch said yesterday re-
,ysrding the society's attempt:
~ think the enforcement OF the foreign
,nnvrlght laws in exacting royalties on the
,.,formance of modern works an exceileht
,,,ns for musical development, and very
Rad thing for the good modern composer o
think II will have the result OF Keeping
3 on our programmes the many wouiu-oo
,,iynal compositions Of modern composers
rho are trying 10 develop new schoois OF
4 ,omposition by artificial methods, or wAo
Nv 10 cover Up their lack OF inventive
Dover and Inspiration by complexity OF
tschnical treatment
4 mo one Will be willing to pay Tor the
rivilege Of performing these WORKS anu
4 nsy will therefore disappear from our Pro-
rammes, where hitherto they have oc-
4 caslonally been seen when concert gVeIS
rasped az anything in sight for the sake
q bringing out novelty.
.'On the other hand, the best works Oh
modern composers. which should be heafd
ireouently in order that the public may
{ksrn 10 appreciate them, viii also be leit
~ the programmes, because the public does
40, nav for its musical entertainment or
ledu-at!on.
4 orehestras Not Profitable.
..Tbsre ,s not a symphony orchestra IN
H.. 1-,i,sd states which is not supported by
H. large endowment or subsidy. Ihe
A1xrcnse NJ running symphony concerts is
{slreadv so great that every additional
I,rrdsp en5sngers the continuance OF the
I,,rsrizations concerned, and it is probable,
II ns-efore. that they will hesitate TO in
esss their deficits by paying royalties
Eyben the literature Of music contains so
IN,.,v compositions Of the highest excel
Nc which are not so encumbered.
NJ Whenever the time may arrive when
rs-formances Of artistic merit, such as
b ,hose OF our principal orchestras and
1 choral societies. shall become commercial
4 ~ successful. independent Of philanthropic
4 support. Il will be proper to consider the
question 10 what extent the composer shall
share in 'he commercial prosperity Of the
4 concert givers.
Meanwhile the composer should be glad
4 4, his works are performed, for 1t is to
he supposed that he composed his works
f- that purpose and not for commercial
4 t-snr The question assumes an entirely
1 different form when such performances IN
,olye commercial profit. IT, for instance,
4 On nppra lmpresario tries to secure the
fist performance OF an opera by popular
q composer for the purpose Of sensational
advertisement Il is quite proper that he
(. should pay round sum for the privilege.
1 lie knows that the sensational event VIII
A attract great many persons who would
not otherwise have entered the doors or
his opera house. and he therefore adds
factor 20 the purely artistic side Of the
composition and its performance, which
may be- and should be, treated on a sepa-
isle basis But the idea Of trying to Sc
cuIe ROYALTIES on performances OF every
l.tle song or piano piece or chamber music
4 or concert music of any kind is ridiculous
Who is the arbiter in determining the
amount Of the royalty 10 be paid? Sup
4 tossing John Smith, who IL well known all
i oyer the world, cOmposes a song, and
/ Tom Jones, who has only local fame
/ also composes a song, will the charge for
John Smiths song be rs cents perform
Y-nce and that Of Tom Jones 49 cents
\ or will there be an even price for songs
OF 50 many pages OF 56 cents perform
sHce. and will the composer receive the
total proceeds or will the middle man or
men swallow up the larger share?
viii Purify Programmes.
4 think that the immediate effect OF an
attempt 20 collect royalties on perform
snees Of modern works will be to purify
our programmes. and therefore the plan is
10 be welcomed but l also believe that II
Will work harm TO the meritorious com
poser, and 7 trust that other ways than
this overcommercial one may be found TO
protect the composer IN his rights and to
give him fair value for his genius and
labor
Walter Damrosch felt similarly, though
he said that as vet he had received no
notice from Mr.. Robillard. Il think 1t Is
right for composer TO be paid for his
work" said he but also that such a
movement is very bad for the young com
poser whose works are not In great de-
nsnd
"0f course. we must hear work Of real
nsrit. and such works have always been
paid for through the music publishers.
myself have paid for Cigars symphony
ara only recently for Pierne's The Chill
oren az Bethlehem "
Lcudon Charlton, manager cf the Phil
harmonic Orchestra, said that Mr.. Robil-
,sYd had Informed him that certain works
On the next French programme OF the or
chestra would have 20 be paid for.
u told Mr.. Robillard," said Mr.. Charl-
~ "thst I would show him our next pro
f~smme. and that II We could not reach
p understanding I should simply eliminate
in the disputed works.
Good for Americans.
This will be bad for the French com
posers. but god for the young Americans
who will then get chance. think that
" hen the music publishers see how the
action OF the French society is hurting the
sale Of their music there will be a sudden
change"
Mrs Francis Seaver, manager OF the
Barrere Ensemble. said that the burden OF
proof rested upon Mr.. Robiliard ana tne
Frtncl. society. and that until they cou!o
prove their rights the ensemble would con-
tinue 10 produce what works it chose as
before.
Mr.. Roblllard himself said that he did not
believe that bis action would affect the per-