Moving Picture World (Jan-Mar 1916)

March 18, 1916 THE MOVING PICTURE WORLD 1827 Music for the Picture Conducted by Clarence E. Sinn and S. M. Berg Inquiries. QUESTIONS concerning any phase of the work ol the orchestral leader in a photoplay theater may be addressed to the Moving Picture World and the answers of Mr. Berg will appear in a Question and Answer Department, which will be a regular feature of our Music Page. Mr. Berg would be pleased to hear from those leaders and musicians who are using the Musical Suggestion Cue Sheets which he prepares for the V-L-S-B. Metro, World, Equitable and Mutual feature releases as to their practical usefulness and assistance in playing the pictures. He also invites any criticisms or suggestions from those interested in the work for their improvement for the service of the film. Musical Setting for "The Discard." Released March 6 by the V-L-S-E., Inc. Suggestions prepared by S. M. Berg by special arrangements with G. Schirmer, Inc., music publishers, New York. This "Musical Suggestion Cue Sheet" Is intended as a partial solution of the problem of what to play for the picture and to assist in overcoming that chaotic condition encountered when the film Is not available until almost the hour of showing, resulting In the first performance being a mere rehearsal. For the benefit of those readers of the Moving Picture World who are exhibitors of Mutual films the following suggestions for an accompaniment to "The Discard" were prepared by S. M. Berg of the New York music publishing house of G. Schirmer, Inc. This advance publication will afford to the progressive leader an opportunity to acquaint himself with the general character of the film story he is to portray with his orchestra. The timing of the picture is based on a speed of 15 minutes to a thousand feet. The time indications will assist the leader in anticipating the various cues, which may consist of the printed subtitle (marked T) or by a described action (marked D). Doris Wynne, at a French Convent, does not know that her mother, Alys, is an accomplice of "Python" Granitt, international crook. She marries the brother of her school-mate, Kenneth, who shortly after inherits a large amount of money. They go to America, where Granitt with the aid of -\lys attempts to swindle Kenneth. After a whiie Alys gets him in a compromising position, but when she learns thai Doris Is his wife she tells the police where they can find Granitt and commits suicide, leaving her Identity secret. The theme selected is "My Memory Maid" — Hintze. Time schedule: five reels (about 5.000 feet), 75 minutes. Time 0 D IH T 3 T 7 T 7V, T 10% T 12 T uv, D 1« T 16% D 18 D 20 T 22 T 23 T 24 T 25% D 26 T 27 T 29 VI T Subtitles or Descriptive Cues. Opening A mother's cares. The Due de Beauvral — Unlucky at cards. Alys visits her daughter. "I have milked him dry" — "What does it matter if I am financially ruined" — When Doris gets letter. Keith Maxwell. Music. My Memory Maid — Hintze, (Moderate.) (Theme.) 32 T :^s T 34H T 3714 T Reception scene. When the detectives board sliip. "I love Doris as a daughter already" — "We will communicate your wishes" — Alys weighs her daughter's future — Alvs ponders over a wedding present. The wedding. Keith and Doris receive good news — The Bournes sail to claim their — Coraps To Spend Uncle's Millions. (N ewspaper headline.) "Thanks old top. I will just have a drink and look on" — The senora and Doris become great — "I wonder if your "husband could attend to some business for me?" "You wanted some Orinoco rubber shares. Here are some." Entr'act Clarice — Loud. (Valse intermezzo.) Katinka Selection — Friml. Remembrance — Telma. (Andantino.) Repeat : My Memory Mald (Theme.) Melody of the Century — Orlob. (Fox trot.) Gondoliera — Moszkowskl. dante con moto.) (An Repeat : My (Theme.) Memory Maid. Organ solo. Serenade — Kautzenbach. (Allegretto.) Petite Serenade legretto.) Repeat : My (Theme.) -Horton. (Al Memory Maid. Innamorata — Marchettl. (Valse lento.) 38 T "No gold brick will trap a Basket of Roses — Albers. (Al square man." legretto. ) 40 T Keith and Grant arrive in New York. 41 V2 T "The turtle-dove is the Evening Twilight — Hallen. easiest bird to snare." (Andante.) 44 T "My husband cares nothing for art" — ■iOVj T After the theater. Evening Quietude — Kretsch mer. (Molto tranquiUo.) 48V2 T "Granitt is a brute to neglect" — 49% D When Alys lowers window ♦Agitato No. 2. shade. 511/i T The following day. Romanee — Karganoff. (An dante sostenutol 52% T "You can flght, but what is to"— 56 T A meal ticket for life. Inspiration — Edwards. (An dante.) 5714 T The follow-up system. 59 T Mrs. Bourne, you should Coeur Brise — Pietromarchl. • know Mrs. Granitt — (Valse lente.) 6IV2 T When Doris gets telegram. G2Mi T "I couldn't understand why Repeat: My Memory Maid. Keith left me alone so (Theme ) long." 64 T Putting on the screws. Spring Flowers— Wood. (An dante.) 66 T Every happy wife believes what — 67^ T "No man wants his mother Love's Awakening ~ Danglas. in-law around." (Waltz lento.) iO D When Keith returns to his Repeat: My Memory Maid. ^'f^ (Theme.) 72^ T At noon the following day. Bowl of Pansles— Reynard. . _ (Moderate.) ...'4 T The Discard. Repeat: My Memory Maid. (Theme.) 75 T The End. Note : For the convenience of readers of the Moving Picture World a price list of the numbers suggested in the above cuo-Pheet Is to be found in G. Schirmer's advertisement on page IfiOl. Interpretation. BY S. M. BERG. After the special performance of "The Ne'er-do-Well," given at the Candler Theater, February 10. for which the writer had the pleasure of arranging a synchronized score and conducting the orchestra, he was approached by a well-known musician who complimented the appropriateness of the musical setting, but yet severely criticized the liberty taken with the tempos during the performance. In the discussion that followed the point argued was, whether or not a conductor should alter the composer's conception of tempo and expression in the service of the film. In no half-hearted way the -writer was informed that he and others were committing a sacrilege In daring to give new interpretations. I trust that I shall not bring down too much criticism on my head, but hope to hear from musicians both pro and con on this important subject. Motion picture art to-day is the greatest educator of the age as it teaches the lessons of history, art. science, religion and astroaomj as nothing else can. When amusing its millions of disciples with stories and romance it "has set up a standard of its own and has already created a series of customs and regulations which few dare to break. When a well-known book is adapted, the story is possibly re-written, scenes are dropped and original thoughts are interloped. Last year an excellent film picturization of "Peer Gynt" was produced, but none can say that the story was minutely followed. The same is true of our most popular operas "Carmen," "Manon Lescaut" and "Madame Butterfly," which have been filmed wonderfully though not exactly as they are given on the Metropolitan stage. When the services of some great actor or actress are used in the presentation of an important character some training must be given them to convey the expressions of surprise, pleasure, grief or despair that are different from those employed on the legitimate stage. Shakespeare has been dead three hundred years, but here in New York to-day many of his plays are presented to commemorate his life. Among the many of the great artists in the past who have represented his characters, each has conveyed to his audience his own ideas of interpretation and no two have made the same impression. Speaking of the operatic performances given in the Metropolitan Opera House it is a well-known fact that no two conductors will Interpret any certain opera alike, through every scene, action and note has received the composer's Idea of phrasing, tempo and expression. Therefore, if all the customs, habits and interpretations other than those of the music have been diiferentiated for the requirements of 'the film why should certain musicians take the stand that it Is a sacrilege to change standard compositions to portray dramatic or other scenes. At present music interprets the film. Some day the film