Motion Picture News (Sept-Oct 1921)

October -?p, i p 2 j Music and the Picture " Sweet Kitchen Sentiments" in the Picture Theatre GILBERT W. GABRIEL writing in the New York Sun, severely condemns the practise of placing popular numbers on the program as the final group at American recitals. " Pianists have their Liszt, violinists their triHing transcriptions but singers must go down into deepest ballardry," wails Mr. Gabriel. '■ Gleaming bassos muffle their thunder in sweet kitchen sentiments," is another scathing line. And then follows some musical history as follows : " In London such pieces are consigned to ballad concerts, honestly and openly arranged b)" song publishers for the sake of trying out and popularizing their new merchandise. They are interminable affairs, singer succeeding singer, the audience wandering in and out, with no stricter desire than to come away with a touched heart and a couple of tunes to hum. But worthy young recitals are far different matters with them, and they never mi.x wine and water. Several American singers learned this abroad to their sorrow. British and continental audiences wouldn't munch, after Mozart, at Picardy roses from a hothouse of ballads, nor favored following Schumann with something like ' Sweet Kitty Malone.' They were hot against our hybrid programmes." All of which is quoted not so much to epitomize Mr. Gabriel's musical tastes but to serve as an excuse to editorialize somewhat, on what to serve in the musical programme offered at the motion picture theatre. Mr. Gabriel probably reflects the opinion of the average high-grade musician whether he be appearing in recital or before, the more varied and probably less high-brow audience of the picture theatre. Left to himself, the musician will forget that " sweet kitchen sentiments " appeal to many a lover of music — whose education — both musical and otherwise, does not permit him to appreciate that which the artist finds most satisfying. Mr. Gabriel's complaint will probably find scant sympathy in the mind of the business manager for either recital or picture theatre interests, who has learned that a sop to the layman is advisable when finances alone are to be considered. " Sweet kitchen sentiments " may be overdone at either the recital or in the theatre but so too can the classics. It is well to listen to the voice of the showman occasionally, lest music in America become a bore to some, through lack of understanding. It is best to creep before we attempt to walk. London may condemn its popular ballads to the music hall but the picture theatre cannot as yet afford such a course. Boston Symphony Begins Season PIERRE MONTEUX has begun his third season as conductor of the Boston Symphony Orchestra. Among the scores presented in the early concerts at Boston are Mendelssohn's " Italian " symphony, Rimsky-Kersakoff's " Sadko," Debussy's two nocturnes, " Nuages " and " Fetes " and Strauss's " Don Juan." Philharmonic Has Many Novelties in Repertoire JOSEF STRAXSKV. conductor of the Philharmonic Orchestra has announced some of the novelties that have been selected for the first part of the season of the Philharmonic concerts. One of them finds a place in the first program of the season — a Prelude and Fugue for piano and orchestra by an American composer, Daniel Gregory Mason. Among the other works new to Philharmonic audiences scheduled by Stransky arc Encsco's Symphony in E flat major, opus 13; Henry liadley's tone poem, " The Ocean " ; Charles S. Skilton's Suite Primeval ; a symphonic picture by Whithorn entitled " In the Courts of Pomegranate " ; Ravel's Rhapsodic Espagnol ; l-'ive orchestra pieces by Shoenberg, opus 16, and " Le Mort de Tintagilles," a symphonic poem by Charles E. Loeffier. More novelties will be announced later. Stage Settings for Overture Numbers Featured by Goldman DIRECTOR WILLIAM GOLDMAN, of the Missouri theatre, St. Louis, has inaugurated another unique idea in connection with his musical overtures which are rendered by a symphony orchestra of 27 pieces under the direction of Tony Sarli. The idea consists of illustrating the music with elaborate scenes on the miniature stage which stands to the rear of the major stage at ihc Missouri theatre. The effect of accompanying the music with tableaux and dancing scenes is the same on the audience as that of playing music to the motion pictures. The local critics on the newspapers have given Goldman considerable notice and praise for his work, especially in view of the comment which it has evoked from the general public. The accompanying photograph shows a recent musical set. The swan scene is that used in connection with the " Swan Song " from ■' Lohengrin." The swan moved across the stage, and the rider sang to the music. The idea has proven popular with the music lovers of the Missouri, and Mr. Goldman is sure that the added expenditures for the settings are more than offset by the added patronage brought in by the presentation. "Dance Pictures" Lates* Brooklyn Music Innovation <<r\.\.\'CE Pictures" are the latest stage ■L' novelties included in the programs of the Brooklyn Mark Strand Theatre. This newconception calls for the translating or interpreting of a classic song through choreography or rythmic art, and in turn the interpretation of the dance through the words of the song as sung from off stage. Grieg's " .\ Dream ' was the first experiment in " Dance Pictures." The set was that of a garden in dim early evening light with the silhouette of blossom laden trees barely visible. The Serova Dancers, young girls in convention-colored draperies and in sportive mood came singly and in pairs upon the stage, surrounding a wooing pair and dancing happily around them. Henry Moeller, tenor, off stage, sang the words of the song which the dancers strived to work out in rythmic motion. Their dancing in turn accentuated the words of Mr. Moeller's song. • As the song started the lights come up gradually as if lifting the fog of a dream. As the trees and dancers became more definite Mr. Moeller's song increased in volume. Toward finale the action of the dancers became less lively, the lights dropped again and the scene closed almost dark, as if curtaining a dream. Seattle Theatre Installs New Organ The Pantages theatre in Seattle has just completed the installation of a modern Robert Morton orchestral organ, and Glenn Goff, an organist schooled in his art by the makers of the instrument, has been engaged by the Pantages' management, to play the instrument. The installation of the instrument is the first step taken by the theatre in their plan to feature motion pictures with organ accompaniments, and possible concerts, in conjunction with their present program of vaudeville bills. The organ is fully equipped with numerous members of the flute, violin and brass instrument families, and a new touch system enables the organist to use two separate combinations of tones from the same division simultaneously. Stage setting for the rendition of "Lohengrin" at the Missouri theatre, St. Louis, as told in the accompanying article