Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-08-04
w WITHIN the last couple of
AAI weeks it was announced
wv in New York dailieS that
W. ara of tho loo 6irn YnnI1Sif.

by Trade Publications, Inc, Whlch
has gone into bankruptcy. This
group was incorporated in July,
1927, with Verne Porter as pres
ident. After one year and eleven
months of operation the corpo-
ration listed assets of $50 ,51071
and liabilities of $716,839.25.
In addition to Musical America
the group of publications includ-
ed American Architect, semi
monthly, founded in 1875; Music
Trades, a monthly founded in
1890; BARRIERS Journal, monthly
founded in 1898; Beauty Culture,
a monthly founded in 1919, and
Anomalies, founded in 1920. There
were both New York and Chicago
Offices. During 1928 Musical
Trade Guide and Musical America
Guide were issued. At the time
of the initial merger it was stated
that the company hoped to econ
omiZe in operations, acquiring
new periodicals. The good will
carried on the book was estimated
at $1,2O0,00O.
Mr.. Porter, the editor, was a
newspaper man and magazine
writer of wide experience. Deems
Taylor, composer of various noted
musical works, including the
opera THE Kings Henchman."
which won admiring comment at
the performances it has been
given at the Metropolitan Opera
House in both it's initial year and
the second season, became editor
of Musical America at the time
Of the merger. Mr.. Taylor had,
previous to his poisoning into
fame as a composer, won marked
distinction as music critic of a
leading New York daily.
When these publications we're
sold at auction, the American
Architect brought the highest
price = $275, 900 from Interna-
tional Publications, Inc. The
other four magazines, including
Musical America, were purchased
by John F. MajeSki, $40 West
street, for the total sum of $45, 200.
IT will be interesting to see
4 what happens to Musical
America under this new owner
ship. The magazine was origi-
nally founded in 1893 by John C.
Freund, man who established
a vivid individuality as well as
a leading publication in New
York. Both became popular. After
Mr.. Freund'S death Irving We'll
was editor of Musical America
for a short period, and then, with
the above mentioned merger, Mr..
Taylor accepted that post. Until
Deems Taylor'S editorship, MuSi-
cal America was one of several
trade journals which combined
the stating of musical news with
many items sent in by studios,
as is still the custom of some
other journals. With the advent
of Deems Taylor the magazine
changed perceptibly. Smaller in
size and smarter in type of ma
j terial used, Musical America lost
it's trade journal appearance and
gained a most cosmopolitan type
of reader. Alas! at the same time
that the magazine refused to
publish any longer the obvious
studio style of publicity. it lost
many Of it's musician subscribers
and advertisers. Even more sur
priSingly, it was professional
artists in many cases who turned
aside from the new magazine
with its we'll set up articles OF
more literary value and attrac-
tive illustrations.
The writer of this column was
told by a member of the edito-
rial staff of Musical America that
one we'll known pianist-noted,
too, as leading American COM
poser-said he had no interest in
a magazine that tried to appeal
to others than those in the mu-
steal profession.
"All that / am interested in"
he is quoted as having stated,
ais seeing my picture and the
publicity written by my own rep
resentative about my activities in
the magazine in the issues when
I want it there. Give me 80
copies Of that issue for myself
and my manager and you can
dump the rest of it in the East
River as far as I am concerned"
Moreover, he is not the only
one who has expressed just such
opinions quite frankly.
This is amusing and somewhat
disconcerting. Especially as the
Musical Digest made a departure
from the old-fashioned type of
journal along not unSimilar lines
to those later attempted by the
Musical America, and succeeded,
apparently, very well indeed. 1t
is an attractive magazine, with
aim to appeal to those who make
up the audiences as well as the
members of the profession. Just
recently the Musical Digest pub
liShed it's annual International
Music Year Book. It is unusually
we'll compiled with every interest
of the moment as we'll as all eS-
tablished musical institutions and
individuals given under well ar
ranged and logical headings.
Pierre Key, the editor, even in
cludes the "talkieS" in his Sur
vey of World Music Conditions,
which is preface to the volume.
Alfred Human, editor of Sing
ing and Playing, also has made
departure from the old ideas,
and apparently with success.
1t seems rather ridiculous that
in this day of increasing Subtlety
in the matter of publicity, any
established artist should fail to
recognize the signs and still cling
pathetically to the old ways OF
obviously home manufactured
notes" about himself and his
activities. Certainly the greatest
of artists, in the very first rank,
do not bother with such material.
Also, the greater the artist the
easier he is to interview, the more
simple and dignified is his atti-