Motion Picture News (Nov-Dec 1920)

November 27,1920 4147 whether popular or classical music should be used. That is a subject debatable but there is the answer that the picture should be made the basis of the music. But in connection with classical music, one point must be borne in mind and that is what might be termed the "dry" classical music must not be used. It must be sprightly and never dull. Of course if the picture is one which tends to touch the heartstrings such as " Humoresque," rag time should not be played, but neither should the unresponsive music be offered motion picture audiences, as the majority of audiences are not inclined to enjoy any music except that which sets them to humming, unless as I said before, the picture has an element of, to use the newspaper term, sob stuff. But still, there is no necessity for offering some of the ragged dragging music that we have been forced to sit through in some theatres. Classic stuff, yes, but classic with a little zest. — F. E. Kenny. Music Editor: I will be at liberty on and after November 1 and am desirous of obtaining a position as musical director. I play piano and organ and also direct orchestra, all of which I am doing at my present position ; am experienced in cueing and conducting for motion pictures, this being my present employment. Have had over twenty years' experience as leader of orchestra for vaudeville. Up to a short time ago have had charge of the orchestra at the Orpheum theatre, this city, where I have been employed for the past eleven years in the capacity of musical director. I have a large library of orchestra music of nearly two thousand copies. I would like a position where vaudeville and pictures both are given, but will consider this or either separate. —Wm, B. Millette, 104 North Third Street, Allentown, Pa. Dear Mr. Isaacson : I am deeply interested in your work and I shall certainly be at the conference. I have prepared many players for " movies " and I always insist on sterling workmanship and a high standard of interpretation. It is the future world for organists and I shall do all I can to further the musical end of the "movie" world. If there is anything I can do please let me know. You have a big task before you, but you can count on every worthy musician to help you. Will you let me know price of subscription to Motion Picture News, I zvant it surely. — Walter Heaton, Reading, Pa. Music Editor: I will name a few of the artists available for long tours in picture theatres : Marget Wylie, coloratura; Elizabeth Stackowitz, lyric; Jean King, lyric; Lurena Smith, mezzo; Alice Booth, mezzo; Ruth SimmonsWorthington, contralto ; Wm. Tell Mitchell, tenor; Gaetano Viviani, baritone; Hazel Gilso, violinist ; the Folklore quartette and the Coleman Trio, also the American Syncopated Orchestra and Singers, Inc. The quartette and trio are colored, the folklores are acclaimed by the critics as one of the few old time negro organizations left. Viviani an Italian baritone, Mr. Campanini had promised him a place with him this year, not a try-out, but a role. Looking forward to meeting you at the con ference in January, and thanking you for your kind expression, I am, James R. Saville, American Syncopated Orchestra, Chicago, 111. (Letter from H. Eugene Hall.) My Dear Mr. Isaacson : * It seems to me that the proposed conference should offer the adherents of the films and particularly those who have much invested in them, the very finest opportunity possible to present proof to those who are not in the heckling class of an intent to put the business on a plane commensurate with that enjoyed by good music everywhere as an attraction in itself. There is no doubt of the superior part music plays in the most successful of the big theatres devoted to the pictures. I am heartily in accord with our editor and president on this subject. Music Editor: I have noticed with growing interest the advance made in the music of motion picture houses, the laudable endeavor to fit the music to the picture as perfectly as possible, and the serious attitude of the directors of the orchestras and organists in these theatres. The motion picture houses are sure to be among our most powerful influences in popularizing good music, for not only do musicians attend these attractions, and applaud the every day increasingly better music, but, those who have not been accustomed to the better and best music, are growing more and more discriminating in their appreciation of it. Trusting that your movement will be highly successful in the building of the music in every motion picture theatre, I am — Ella May Smith — President, The National Federation of Musical Clubs. " WEST IS WEST " (Universal) Specially selected and compiled by M. Winkler The timing is based on a speed limit of 14 minutes per reel (1,000 ft.) Theme: "A Musical Thought" (Dramatic Andante), Titlebaum 1 — Theme (1 minute and 20 seconds), until — S: At Screening. 2 — Continue to action (2 minutes and 40 seconds), until — T: "Some distance away." 3 — " Conspirators " (sinister misterioso), by Santos (2 minutes and 35 seconds), until — T: "That evening." 4 — "On Hilo Bay" (Hawaiian guitar waltz), by Levy (1 minute and 25 seconds), until — T: "At the big house." 6 — "Heavy Misterioso" (for general use), by Levy (1 minute and 40 seconds), until — T: "Everything is set." 6 — "Dramatic Conflict," by Levy (1 minute and 40 seconds), until — S: Scene of Explosion. 7 — "Bleeding Hearts" (a floral poem), by Levy (2 minutes), until — T: " My Daddy." g — Theme (4 minutes and 30 seconds), until — T: "The following afternoon." 9 — "Devotion" (light moderato), by Deppen (2 minutes and 50 seconds), until — T: "There's nothing here for a." 10 — " Dramatic Agitato," by Simon (1 minute and 40 seconds), until — T : " Gimme that letter." 11 — "May Dreams" (And. con moto), by Borch (3 minutes), until — T: " And so it happened." 12 — Theme (2 minutes and 10 seconds), until — T: " Ready to make good." 13 — "Serenade Romantique " (And. con moto), by Borch (2 minutes and 10 seconds), until — T: "Old J. C. takes command." 14 — "Flirty Flirts" (Mel. rubato), by Levy (2 minutes and 40 seconds), until — T: " It sure felt good." 15 — " Reve D'Amour " (Romance), by Zamecnik (1 minute and 25 seconds), until — T: "Dinner hour in San Clemente." 16— " Coronado Land " (Valse Lente), by Leith (1 minute and 25 seconds), until — T: "The reception saloon." 17 — "Men of Harlech" (Welsh song) (1 minute), until — T: "Now for a song." 18 — " L'Adieu" (12/8 Dramatic), by Favarger (5 minutes and 15 seconds), until — T : " I am no gun man." 19 — " Slimy Viper," by Borch (1 minute and 5 seconds), until — T: " Pretty sure of me." 20 — " Pizzicato Misterioso," by Borch (2 minutes and 5 seconds), until — T: "Daylight and dynamite." 21 — " Furioso " (depicting conflict and riot), by Shepherd (2 minutes and 10 seconds), until — S: Close up of burning fuse. NOTE: Begin pp then to action. Watch explosion. 22 — " Perpetual Motion," by Borch (2 minutes and 20 seconds), until — T: " Sure I did it." 23 — "Dramatic Recitative No. 2," by Levy (2 minutes), until — T: "It's too late to start." 24 — "Gavotte & Musette" (Allegro), by Raff (2 minutes and 10 seconds), until — T: "Mr. Armstrong understands." 25 — Theme ff (2 minutes and 25 seconds), until — T: " His mind filled." THE END " OH LADY, LADY " (Realart) Specially selected and compiled by M. Winkler The timing is based on a speed limit of 14 minutes per reel (1,000 ft.) Theme: "Flirty Flirts" (Melodious Rubato), Varley 1 — " Capricietta " (Light Moderato), by Varley (2 minutes and 40 seconds), until — S: At Screening. 2 — " Frivolette " (Entr'Acte), by Baron (4 minutes and 20 seconds), until — T: "So poor Will pined for four." 3 — Theme (3 minutes and 25 seconds), until — T: 'No man can be trusted." 4 — " Canterbury Bells " (From Boutonniere Suite), by Tonning (1 minute and 15 seconds), until — T: "Also at the inn is Jack." 5 — Continue to action (2 minutes and 50 seconds), until — T: "Then just as Will is in." 6 — "Sinister Theme" (For scenes of impending danger), by Vely (25 seconds), until — T: " May Barber." 7 — Theme (4 minutes and 40 seconds), until — S: Scene fades back to Bebe Daniels. 8 — Continue pp (30 seconds), until — T: "Fine. I'll shoot into the." 9 — "Kiss a Miss" (Valse Chantee), by Baron (2 minutes and 15 seconds), until — T: "During the next two hours." 10 — "Lohengrin Wedding March" (2 minutes and 20 seconds), until — T: " We will now rehearse." NOTE: To be produced as organ solo pp or ff. 11 — "The Vampire," by Vely (2 minutes and 10 seconds), until — T: " She's marrying him. Stop." 12 — Theme (3 minutes and 50 seconds), until — T: " Keep it up, Will." 13 — "Twilight Reverie" (Andante Dramatic), by Berge (2 minutes and 10 seconds), until — T: "How Will and Hale occupy." 14 — Theme (1 minute), until — T: "And when Molly gets Will's." 15 — " Hindoo Hop " (an oddity fox trot), by Levy (1 minute and 5 seconds), until — T: "At the studio party." 16 — "On Hilo Bay" (Hawaiian Guitar Waltz), by Levy (1 minute and 30 seconds), until — T: "In the midst of the gaiety." 17 — " Naughty Hawaii," by Sanders & Carlo (1 minute and 20 seconds), until — T: "Come, let's give her a." 18 — Continue to action (2 minntes and 40 seconds), until — T: " Meanwhile Mrs. Farringdon." 19 — Prelude from "Carmen," by Bizet (2 minutes and 20 seconds), until — T: "Perhaps this is a chance." 20 — " Japoloma " (Sparish Dance), by Sanders & Carlo (1 minute and 10 seconds), until — T: " Ri la begins the dance." 21 — "Comedy Allegro," by Berg (1 minute and 5 seconds), until — T: " Woman, away with you." 22 — "Moorish Rose" (Fox Trot), by Baron (1 minute and 5 seconds), until — T: "Will Finch, I don't want you.'' 23 — Theme (3 minutes and 50 seconds), until — T: "Come, my d-ughter, we will." UNTIL THE END " ALE TAX FREE MVSIC IN REALART CUES"