Year: 1868

Music Publishers and American Composers.


1t is very singular feature in the music
trade that the parties engaged in it adopt an
entirely different system from those of other
branches of business. The difference consists
in the TRANSACTIONS which take place between
the proprietor of music publishing house and
the persons who supply him with the materials
to carry on his business. In other branches of
business the merchant cannot procure stock
of goods for his establishment without givinga
sufficient guarantee that he will pay tho full
amount agreed upon between him and the per-
son from whom he buys his goods. In the
music publishing trade, however, the case is
different. A composer brings work to tho
publisher, and as he never can obtain anything
like the prospective value for it in ready cash
on the spot, he agrees to receive only certain
percentage on the sale of bis composition. Tho
only guarantee he has for knowing the number
Of copies sold, and consequently the percentage
he should receive, is the word of the publisher.
The composer calls in few months to ascer-
tain what success has attended his work. He
may hear on all sides that it has
become popular and q household word,
that every person sings or plays it
and that it has reached every part Of tho
country. On applying to the publisher, how
ever, for his share in the proceeds, the unfortu-
nate composer is coolly informed that the work
is unstable and that the house experienced
considerable difficulty in disposing Of few
copies. The composer has no redress. He
cannot accuse the publisher OF falsehood
although he may be sure that he is being
shamelessly cheated; for there are no means of
asccrtaining the truth of the case. The consc-
quence is that songs and piano pieces which
netted thousands Of dollars to the publisher
have hardly brought dollar to the composer
This ia singular mode of iransacting business
The only parallel we can find for it is The
system on which the poor seamstresses OF this
city are paid for their work, lives, health and
happiness. No Wholesale merchant would
dream of supplying his retail customers with
the materials for carrying on their business
without receiving some other guarantee for
payment besides their word Of honor. Yet
such is the case with music publishers and
composers. The only equitable system is the
London one, in which every copy Of work
is stamped with the composers own seal,
II is very easy then to ascertain the exact
number Of copies sold without any reference
whatever to the sword Of honor" business.
We have repeatedly characterized as trash GER
tain compositions which the publishers en-
deavored to foist upon the public in most
elegant dress as far az the engraving aud illus
tration went The term may be a harsh ono,
but there is no other which can suitably and
justly express the merits of the compositions
after which II is placed. II is often the case
that this trash is conceded by some relative
OF wealthy friend Of the publisher, or some
person who brings some strong influence be-
sides that OF merit to bear on the case. Other
wise, why should real gems of melody and
harmony be set in wretched frame and this
trash got up in superb styles The entire sys-
tenn of music publishing must be changed in
this city, or il may happen that an association
will be started like the Musical Bouquet Asso-
citation. in London, to break down monopoly
tba. robs composers, discourages native talent
and charges exorbitant rates for music. Il
often happens that piece of music which
costs the publisher only ten cents is sold BY
him for dollar. Here is profit with ven
peance. And yet the poor composer is refused
his scanty pittance.