Moving Picture News (Jan-Jun 1913)

22 THE MOVING PICTURE NEWS PICTURE MUSIC By ERNST LUZ No! Not among the missing, only on a short vacation, during which time I have been endeavoring to prove the practicability of my picture music views, as suggested in my previous articles, to my own further satisfaction. Under the present unsatisfactory conditions it is possible to greatly improve, assist and add an appreciated tone of class to the "Picture Theatre." It is certainly a pleasure to cater to an intelligent audience and hear them laugh (not snicker) at comedy that is comedy, and see tears in their eyes when well acted pathos is thrown on the screen. Let us hope that the producer of film will soon realize that the public at large demands pictures which show contrast in scene setting as well as action. It is difficult to get the full value of a pathetic situation unless it is surrounded by more or less frivolous action. A picture which most beautifully illustrates this is the Biograph release, "The Mothering Heart," to which I give musical suggestions this week. It is a fact that all pictures which have a telling effect on the audience are those which naturally suggest musical temperaments. In the past it was thought that the dramatic accompaniment was the more important in picture playing, and while I know it to be a factor, nevertheless I know from actual experience that pictures showing good acting, with no violent dramatic action, do not only afford the best musical opportunities but are the most appreciated by the audience. To further substantiate this I have a request written on my theatre program reading as follows: "Please play the music written for the accompaniment of the picture plays like Edison's 'A Concerto for the Violin,' which was applauded more than any selection." The Edison Company follows with a new on«, "Love's Old Sweet Song," which was applauded as much as the first mentioned. Both picture plays show contrast and are suggestive of good music. I mention this knowing it to be a universal habit in picture playing to ignore a temperamental setting of music in such picture plays, wherein there is no violent dramatic action. The most pertinent reason for this is the ridiculous endeavor of many picture players to follow the picture action with numbers of suggestive titles. Having personally met with greater success in accompanying the pictures of less violent action, I shall write a series of articles giving illustrations (or plots), of which ''The Mothering Heart" is the first. While dramatic accompanying is very effective, there is a counteracting tendency on the part of the producer to draw this excitable action to such length that the picture story an well as the music becomes tiresome, for melody in music rules over all. Since my last mention of the "Talking Picture" in these columns I have been thrown in contact with the production of them, and from what I have seen I can assure my readers that they will be an inducement to good music in the picture theatre showing them. They may replace vaudeville, not music, requiring music for their more perfect projection and capable musicians for its rendition. The Biograph two-reel release of June 21st, "The Mothering Heart," is not only an excellent picture production, but is very suggestive of music, and can be helped by a proper musical setting, for which reason I give the program I selected, although any numbers of similar character would answer as well. 1. "Kroll's Ball Klange Waltz"— Intro. Waltz and Coda — until after husband meets with success. 2. "A Frangesa," until after dancer swings girl partner overhead. 3. "Butterflies" (Jos. W. Stern), until husband and Coquette exterior cabaret. 4. "La Guapa" (Jos. W. Stern), until dancers bow to applause. 5. "Gold and Silver" Waltz (Jos. W. Stern), connects parts 1 and 2 until wife returns home after seeing husband enter auto with Coquette. 6. Barcarolle, "Tales of Hoffman." Once through slowly until wife lays head on bed with baby. 7. "Malmaison" Waltz," lively, until husband and Coquette exterior cabaret after flirtation. 8. "Alita" (Carl Fischer), until baby sick and husband's advances rejected by wife. "Abenlied," by Schumann, to end. These numbers will naturally connect themselves, none are difficult and all good repertoire for picture playing. NEW PUBLICATIONS Le Poeme, by S. Romberg. Pub. by Jos. W. Stern, 102 W. 38th street, New York City. A Valse Lento with a predominating minor theme. Excellent relief number to follow a serious number in picture wherein pathetic action is long drawn out. Tempo can be effectively changed without marring composition. Indispensable in serious pictures. Hearstease, by Niel Moret. A beautiful pathetic number, well suited for the serious moments in romantic dramas. Is most beautiful when played with shadings suitable to picture action. Is of sweet tone and theme. Entire number in major key. Pub. by Jerome H. Remick, 219 W. 46th street, New York City. After Vespers, by Niel Moret. A beautiful number, less serious than "Hearstease," with a beautiful theme that will attract. Your audience will want to know the name. The introduction has excellent preparatory movement for the leading to semi-pathetic love scenes. The number proper is very effective in gavotte tempo. Pub. by Jerome H. Remick, New York City. Bees, by Stephen O. Jones. A 6-8 number excellent for opening descriptive or introductory action in pictures void of violent action. A good number to take the place of the eternal waltz so much overworked in picture playing. Pub. by J. H. Remick, New York City. Night Song, by R. M. Stults. A Reverie of Lullaby or Barcarolle effect that is very necessary in the accompanying of pictures, wherein a baby role is prominent. Catchy number and will be appreciated. Not difficult. The Chimes, by Harry Armstrong. A Reverie that is true to its title. Opens with excellent chime or bell opportunities. Opens in 3-4 with an expressive common time strain that is of serious vein. An excellent semi-pathetic number. Introduction and Coda is arranged for chime effect. Both numbers pub. by M. Witmark, 144 W. 37th street, New York City. Dramatic Music for Piano, by Theo. Tobani and Theo. Bendix. A new publication of dramatic numbers known as Series No. 3. Contains 30 numbers, all selected from the 18 books of dramatic music published for orchestra. Contains excellent agitatos, hurries, mysteriosos and pathetic themes. I can personally vouch for the picture value of Nos. 9, 11, 13, 14, 16. 17, 18, 19, 21, 22, 24, 28, having used them with orchestra and piano. All are well arranged and not difficult. Short term instructions are placed at the beginning of each number. Pub. by Carl Fischer, 6-8 Cooper Square, New York City. THE TRAIL OF THE HANGING ROCK Eclair (Two Reel) Release July 9th.