Exhibitor's Trade Review (Mar-May 1922)

1834 EXHIBITORS TRADE REVIEW Volume 11. IS umber 25 Music for the Photoplay Conducted by NORMAN STUCKEY 'T' HE design of this department is to diffuse among musicians and exhibitors correct information on all important -* subjects pertaining to music for the film; to improve the quality of musical interpretation and to raise the standard of music in motion picture theatres. Questions concerning music, suitable instrumentation, queries relating to organs and mechanical players, etc., should be addressed to Music Editor, Exhibitors Trade Review. Famous Composers Rimsky-Korsakoff Rimsky-Korsakoff was bom Marcli 18, 1844, at Tikhvin, in the government of Novgorod. The son of aristocratic parents, his early manifestations of musical genius were not greatly encouraged, and in 1856 he went to the Naval College at St. Petersburg, where he remained until 1862. At the same time, however, he contrived to learn a good deal about music, and when, in 1861, he made the acquaintance of Balakirev, he became, with Cui, Moussorgski and Borodin, a willing follower of that strenuous leader of the "New School" of Russian music. In 1862 Rimsky-Korsakoff went to sea on a long cruise, which lasted until 1865. During that time he completed his first symphony. As may be imagined, the work was composed under difficulties. Life on the battleship is not made pleasant for budding composers. On his return the work was performed with great success, under the direction of Balakirev, in St. Petersburg, and other orchestral works followed. In 1871 Rimsky-Kovsakoff was appointed professor of composition and instrumentation at St. Petersburg Conservatory, and in 1873 he retired permanently from the navy. He was, however, appointed inspector of naval bands until the post was abolished in 1884. He held many important posts as director and conductor in the Russian capital. His works include many operas, much orchestral music, chamber music, choral music, etc. The Mystery of Style The subject of musical styles is one that may without exaggeration be described as extremely attractive, important and useful. In the first place, let us go to literature for an illustration of the different kinds of facts alluded to and the different degrees of their tangibility. Suppose we were taking up passages from the works of two individual prose writers for the purpose of discovering the peculiarities that constitute their styles — what should we have to do first of all? We should have to study their vocabularies. Next, the structure of sentences would have to be considered. After that the grouping of sentences and complexes of sentences, and their forming into wholes would have to be considered. There lie vast extents beyond the reach of etymology and grammar, beyond the reach of accidence, syntax and composition. Listen to the reading of a passage or two of Ruskin's. Do you think the magic of the style of what you have heard is gageable by etymology and grammar, by accidence, syntax and composition? No, you cannot think it. Nor will you on listening to the different harmonies of the styles of other great masters of prose, those of Carlyle, Macaulay, Gibbon, Lamb, Addison, Milton and many more, although most of these styles are by no means so subtle as that of Ruskin's, indeed some of them but little beyond the reach of the easily gageaible. If the difficulty of analysis is great in prose and verse literature, it is very much greater in music. Ludwig Laurier, assistant conductor of the Rialto orchestra, made his first public appearance at the age of nineteen with the Buffalo Symphony Orchestra as violinist in 1894. Two years later he went to Europe to complete his studies and spent three years with Joachim and Moser in Berlin. Then followed two years with the Berlin Philharmonic, from 1899 to 1901, a period which included travels with that organization through Italy, Spain, France, Switzerland and Belgium. Upon leaving the Philharmonic Mr. Laurier went to Switzerland where he taught for a year. Mr. Laurier returned to the United States in 1902 and, at the opening of the 1903 season joined the Metropolitan Opera House Orchestra where he was first violinist for sixteen years and during the last six functioned as manager of the orchestra under the conductorship of Toscanini. About a year ago he joined the Rialto orchestra as assistant conductor. Organists' Examination The second examination for admission to the Society of Theatre Organists was held at the Magna Chordia Studios on February 21. On the first part of the examination, which includes a Bach number, improvising on a given theme, and sight-reading tests, the candidates averaged 44 per cent out of a possible 55 per cent. The solo numbers played were the Bach Preludes in G Major and E Minor, the Toccata in G by Dubois and the Toccata from the Fifth Symphony by Widor. The sight-reading consisted of an organ trio, on three staves, a piano accompaniment part and the harmonizing of a given melody. On the dramatic tests, comprising the second half of the examination, the average was 41.5 per cent out of a possible 45 per cent. These tests included accompaniments for a scenic, a fire scene, an exotic number and a western allegro from a news weekly, a misterioso, a ballet and a hurry from a feature and a "rube" number and a fox-trot suitable for a comedy. -The total average attained by the successful candidates was 85.5 per cent out of a possible 100 per cent. Those who failed of passing, while qualifying on theatrical work, fell below the standard set by the society for straight organ equipment. They may appear for examination on the section in which they failed without being required to take the dramatic tests again. Much excellent playing was developed during the course of the morning, but the examiners would like to see a higher level of attainment in improvisation and sight-readiftg, both of these being of supreme importance to the theatre organist. The solo numbers set by the board for the next examination are the Bach Toccata and Fugue in D Minor and the Toccata from the Suite Gothique by Boellman. Common Musical Terms Adagio — slowly; a slow movement. Allegro — quick, cheerful. Andante — ^slow, moderate. Arpeggio — chord in which notes are played successively. Bravura — applied to highly ornamental passages. Crescendo — becoming louder. Diminuendo — becoming softer. Fortissimo — very loudly. Glissonda — gliding effect. Largo — slow, broad. Legato — tied, connected. Lento — draggingly. Pizzicato — plucked with the finger. Presto — very quickly. Ritardando — a slowing. Rubato — ^intentional altering of time. Scherzo — a quick, capricious movement. Spiccato — short, bright strokes of the bow. Staccato — in detached style. Tntti — all the performers. Write Wurlitzer Company Music Editor, ExHiRiTORS Trade Review. I am looking for information regarding Tax Free music for theatres. I use a player piano which takes 88 note rolls and am very particular about my roll to know that they are not taxable and have been getting them of the Film Music Company of Los Angeles, Cal. Is it possible for me to get them in New York and know they are Tax Free ? Los Angeles is so far away it takes too long to get the rolls. Knowing you could furnish me with better infonnation than one not interested in theatre music, I am asking you to inform me just how to tell for sure which rolls are taxable and which are not. Would you also tell me of the roll concerns in New York who would have rolls not taxable? I thank you in advance for this information and if any expense is made in getting me the desired information, send bill. Very truly yours, C. E. Taylor, Manager, Strand Theatre, Port Leyden, N. Y.