Exhibitor's Trade Review (Nov 1925 - Feb 1926)

j^age 64 Exhibitors Trade Review The Organ and the Screen By DR. MELCHIORRE MAURO-COTTONE Chief Organist, Capitol Theatre THE orgail, in its advanced state of perfection today, lends itself perfectly to the synchronization of motion pictures. It is an instrument which admits of perfect continuity. The organist has at his command an instrument with which he can interpret and follow the action, moods and atmosphere of the picture. He has no limitations other than his own ability, and the possibilities are innumerable. He can achieve anv number of effects — instrumentation rapid change of effect; an absolute placticity ; elasticity ; above all, continuity. Most important of all, without creating brutal passages, he can smoothly connect the different moods he has to express and make only one great score out of his interpretation of the film. For all of these reasons, the organ is an ideal instrument for the screen. The American organ is recognized today by the greatest arists of the world as the most complete instrumen of its kind. Its orchestral quality and tendency are all that can be desired in the interpretation of a film where a good sized and dignified orchestra cannot be supplied. The organist, must, of course, recognize his responsibility. He should not lack the musical equipment necessary to create a real music score to the picture. That should include, in addition to his technic, a comprehensive knowledge of composition and instrumentation sufficient to avoid staggering from one mood to another. He must also be sufficiently equipped to give the audience the much desired continuity which is the real basis of good film plaving and artistic musical interpretation. Perfect Scoring In the early stages of musical accompaniment to pictures, the scoring was a crude business. Compositions of different natures followed each other with little continuity or musical discretion. We have, at last, however, arrived at the perfect (Continued on page 67) The Pied Piper of Palermo By the Editor A little over three years ago, the Pied Piper of Palermo came to the Capitol Theatre. It was but fitting that Major Bowes should secure the greatest organist available for the greatest theatre in the world, and so, he chose Melchiorre Mauro-Cottone. Mauro-Cottone the leading organist at that theatre comes from a family of illustrious Italian organists. His career began at the age of thirteen, when he substituted at the organ of he Church of St. Dominick, Palermo, Italy, where his father was organist. At the age of nineteen, he was appointed assistant prbgressor to his father in the Organ Department of the Royal Conservatory at Palermo, having obtained the highest honors in the musical work done there. Coming to America he has successfully held the positions of organist at the Spanish Church, Church of St. Ignatius Loyola and St. Francis Xavier, all in New York. He is at the present time known all over this country as a concert organist ond composer. He is also credited with having rendered under his direction for the first time in a Catholic Church in this country, Palestrina's Stabat Mater for eight voices a cappella. His compositions are numerous, the first one having been published in Milan when he W'as only thirteen. Mauro-Cottone, who is a member of the American Guild of the National Association of Organists, Society of St. Gregory of Baltimore, (Continued on page 67) THE story of the Capitol Organ is an interesting one. Mere statistics convey little idea of the resources of this organ. It is tonally the largest ever designed by the Estey Organ Company, and it is fully equal to the needs of the largest theatre in the world. It consists of three separate manual divisions — swell, great and solo — nine stops of the swell also appearing on the choir manual. One new feature of the console is the placing of all couplers in groups over the tablets of their respective manuals. This avoids having a single unbroken row of couplers, which leads to confusion. The building plans of the Capitol Theatre were on such a large scale that it was impossible to sandwich the theatre into a Broadway block, as are other large houses, and thus, ample provision was obtained where it was most needed — at and behind the proscenium arch. Through the sagacity of the management, the architect was free to reserve ample chambers over the boxes on each side and in front of the arch, thus placing the organ about as far from the audience as the orchestra. This makes it possible to attempt combined organ and orchestral work with rare success. In this organ, the balance and distribution of the great families of tone are well planned. A noble string section of eight ranks on the swell reveals the greatest care in voicing. Theu unda maris is made from a beard clarabella and has a lightness of quality and is charming. The smaller flutes have also been given great care. The diapason family include a smooth stentorphone, entirely free from coarseness. On the pedal organ, the diapason is a noble specimen, while the second, derived from the great is immensely useful. The control viol, eight-foot two-rank 'cellox and trombone complete this department, which is equal to every demand. The scales (Continued on page 67)