Cinema News and Property Gazette Technical Supplement (1924-1925, 1943, 1946)

October 2, 1924. Supplement to THE CINEMA NEWS AND PROPERTY GAZETTE. 21 THE CINEMA AND THE ORCHESTRA. THE PROBLEM OF THE SMALLER THEATRES. It is quite unnecessary to point out the value of music to what we call the " silent drama." Not that I am one of those (writes a correspondent) who think that it is impossible to fully enjoy a picture unless it has suitable musical accompaniment. No doubt music, is essential in every type of entertainment ; a few soft bars add to the effect of a strongly dramatic scene on the legitimate stage, and it may often be wondered how some of our much-boomed comedians would fare unless they had the assistance of a kind and generous orchestra. Whilst music is admittedly essential in the cinema, I rather demur from the inference sometimes conveyed that the orchestra is of much more importance than the picture. The play's the thing — and so is the picture. But with appropriate music (and I emphasise appropriate), the visualisation of a story on the screen creates a much more intense impression. If this be so, and the whole trade seems to accept it as beyond controversy, then the question arises as to hew the smaller cinemas are to provide something approximating to the class of music that was heard when the picture was trade shown or presented at one of the large first-run houses. The engagement of an adequate orchestra is prohibitive from the point of view of expense alone, even if the musicians were available in some of the smaller centres. The only alternative is that some methods should be devised whereby sufficient volume of tone can be produced to meet the requirements of the musical suggestions which renters invariably supply. Necessity is the mother of invention, and, fortunately, inventors in the musical world have not lost sight of the imperative need of the less important cinemas for a combination of instruments to meet the difficulty, and thus secure that concentration which is at the moment lacking. THE ORGAPIAN Many, however, may not be fully aware of the extent to which the problem has already been solved. I certainly was in blissful ignorance until one day last week, when I met the manager of Messrs. Springer's new musical department, which is located at 91, Shaftesbury Avenue. He pointed out to me the excellent effect which it is possible to obtain with the orgapian, which is a really wonderful combination of the piano and the reed organ. It certainly possesses many novel features, which make it equally valuable to a cinema with a stating accommodation of 2,000 as one with 603 or 700. Then there is the novel and extremely serviceable invention cf Messrs. Nathan and Wall in the shape of the HARMONIC PIANO. which, it can be demonstrated to the most sceptical, is capable of greatly magnifying the normal tone of an ordinary instrument. Amongst other interesting features of the invention is that it is possible to obtain with it the effect of the well-tuned harp and the oldfashioned spinet. Again, there is the glockenspiel (which gives the bell dulcima tone and adds to the variety of sound effect), the resonophones, tubular bells, and tubaphones, each of which can be played by the pianist simultaneously, and obviously produce a refinement of Cone cf very distinctive quality. Any of these inventions can be utilised for the purpose cf a solo with a pianoforte accompaniment. For the smaller exhibitor these inventions are a decided boon and blessing. Thev go a very long way to solve his musical difficulties, and to enable him to compete on more equal terms with his neighbour, who is able to engage a comparatively full band. THE MODEL ORCHESTRA. But from what I saw of a hurried inspection of the showroom convinced me that, whilst the smaller man is well catered for, the super-cinema is far from overlooked. It was pointed out to me that hitherto there has been little attempt made to furnish the orchestra, which I well remember was in many theatres the acknowledged receptacle of the orange peel, &c, from the " gods " and upper circle. And, after all, it was not surprising. As a rule, the orchestra seems to be that part of the house which has had the least care bestowed upon it in any scheme of decoration or furnishing. At Springer's I saw what are described as cabinet stands to equip the orchestra. Each stand contains a recess for holding the instrument of the player and a rack for storing music. Each is likewise fitted with that most serviceable patent known as the " Gripall " music desk, whereby not only can scores be turned over without the slightest trouble, but there are means for holding music until it is required, and retaining it in strict rotation when finished with. But what is of very great importance, there is a device attached to each stand whereby all possibility of reflecting light on the screen from the shaded lamps is removed. It is obvious that a set of these cabinets in any orchestra would add immensely to the appearance of the " stage " part of the theatre, prove of thoroughly practical service, and make for good order and economy in the preservation of the musical scores.