Moving Picture World (Jul-Sep 1911)

THE MOVING PICTURE WORLD 617 Music for the Picture By CLARENCE E. SINN VEOLA THOMPSON, of Portland, Ore., writes: "Way out West in wigwams and blankets we are beating our turn turns for the so-called discriminating public whose eyes gleam with delight as we play 'Hot Time in the Old Town To-night,' where one grand comedy fracas takes place and 'You're All Right If You've Only Got the Money' on a Hebrew comedy. But art, how saddening thou art— to the picture pianist who, after years of application finds his ideals so little valued. When we introduce such compositions as Friske movement from Liszt's 'Rhapsodie Hongroise No.' 2,' the Allegro from Harold's 'Zampa' overture, etc., on wild and exciting situations; 'Stradella' on the murderous and in addition music of all nationalities according to situations. It is heart 'rendering' (that's the way they try out lard) to have a nice pulchritudinous woman remark, 'that Annie Rooney you played was just lovely. Of course the other music was all right, but what a genius the drummer is; I laughed my sides off when he made that kee-kee sound with that whistle. My! they must pay him a big salary.' This is all well and good where the Irish cook receives the attentions of the policeman— 'Oh, Bedelia, I'd like to steal you,' and the 'Irish Washerwoman' if a dance is introduced, but wouldn't Beethoven rise up in his grave could he but hear some of the so-called realistic effects. If you are delivering lines from 'The Bells,' ring a cow bell all through — it will help people to understand. I want to call attention to the misuse of the 'Rosary.' Why do singers and musicians appropriate this song when depicting a monastery scene? The poem refers to a romance and 'each bead is a tender love.' (True. The song is a love song and not a religious; yet the music is of such a purely religious character that one can almost forgive its misuse in this direction occasionally.— C. E. S.) "As you have previously written, what can be finer than 'Aida' in the Cleopatra line? Previous to your most interesting discussion on this peculiar line of scenario I had played Pryor's 'Egyptian Love Dance,' on a picture of this foreign type. I experimented with various compositions before deciding upon the aforesaid, and they were like the board who said to the plane, T don't like your style — you rub abainst my grain.' The Pryor number seemed to be the only one adapted to the action. Upon reading your opinion I felt compensated. Two heads are always better than one. "There is an inborn taste regarding suitable music which by hard study and reading can attain to wonderful conceptions. The field is one endless chain without the customary financial fund as a premium. Our art is gulped down as Jonah did the whale. Brother, the musicians are the Jonah and the audience is the whale. Oh, these people. Is it any surprise pianists do not take more interest in picture playing? Other fields offer greater recompense. Is it fair to bill and feature vocalists and forget the musician? The latter sits in darkness; he is unknown. A green vest and yellow tie are his only marks of distinction from the janitor. Musicians ask for glory as well as other artists. He is not in business for the coin alone. Good pianos, good light and your name on the front of the house means something. Without publicity we might as well put on our bonnets and stroll out to our tent. . . . To musicians who for their own personal benefit desire to manifest intelligence in picture music I add that your suggestions are of great assistance, and way out West in our wigwams we derive much that is good out of that article called 'Music for the Picture.' " Mrs. Thompson is well known on the Pacific coast as a pianist, entertainer and exhibitor. Having experience in the managerial part of the business her opinions ought to have some weight. As to the proposition mentioned in the last part of the letter, it seems to me that when the music is far enough out of the ordinary to be a drawing card, the man who is paying for it would advertise it along with his other attractions. That's business. But why should he pay for such advertising unless the subject thereof can bring a substantial return in dollars and cents? I believe there are a few piano players in the country who have made their work worth featuring and are being featured accordingly. Advertising must be paid for by somebody, and if the musician wants the manager to dig for it, he must first show the said manager why. Star Theater, De Kalb, 111., says: "I have read the Moving Picture World with much interest, especially trie music department. I have played in the 'Star' for a year and a half and in that time have made quite a collection of cue music, but am always glad to get something new. Will you please tell me where 1 can get the book you mention as published in England. (August 12th, page 370)? If you happen to see 'In the Sultan's Garden' (Imp), how would you play it? I think pictures that carry a story of two or more countries are hardest to play, and play the patriotic music in the right place to make the best effect. In sad dramas I use slow waltzes, reveries, and things of that sort and vary the tempo and expression to suit the scene. Don't you think there is sometimes a better effect made by stopping the music, as in a quiet death scene? (Pauses in the music are often effective when introduced with discretion. I have frequently given examples of such on this page. — C. E. S.) Could you tell me the names of some good waltzes? I have about six hundred copies of that kind of music; but it gets old. (1 do not care to advertise in this page any publishers' wares further than necessary to illustrate certain points as they may occur. But the music problem is a serious one financially to many. Why can't some of you start an exchange list. Undoubtedly many of you are tired of playing certain numbers that some one else hasn't got. You might get together with mutual profit. — C. E. S.) "We have the finest theater in the town and as good a picture as shown anywhere; if you came to De Kalb, come in and see the place." Thanks. I shall be delighted to drop in if I come that way. Now to answer some of your questions. First, I am trying to get some detailed information regarding the book "published in England," and when I do I shall share it with you and the numerous others who have written regarding it. Second, I do not remember "The Sultan's Garden," therefore can give you no practical suggestions. If it calls for music of an Oriental type, there is much in the market suggestive of such. However, judging from the way you handle the other pictures, I don't think you went far wrong in this. Thanks for your good oninion of the "Moving Picture World" and my little page. Ohio says: "I have little trouble with the pictures, but the comics bother me sometimes. There seems to be nothing in particular to work up sometimes, and I don't like to play rag marches always. Cannot you suggest something?" Nothing definite unless I have seen and studied the picture. You know yourself that one cannot always remember details (even of a picture he has played) well enough to "lay out" a practical musical synopsis for another's guidance. There are many little musical oddities on the market, such as "Jumping Jack's Jubilee," "Bugville Parade," etc., which can often be used to advantage. Perhaps the answer to "Ohio" might help you. Minnie E. (Chicago) writes: "We had 'The Clown and His Best Performance,' and I played it as follows: Circus Parade march, Marcelline till end of circus scene, then Circus Parade again until boy alone in room. Then 'I Want to be a Soldier,' while he is playing clown. (Why this? The boy wants to be a clown, not a soldier. Why not repeat your clown music through this scene? C. E. S.) 'Hearts and Flowers' through the sick room scene, then lively when the automobile appears, waltz in the clown's residence till clown appears, then Marcelline till sick room, then Spring song till clown plays on drum, then circus parade again, going back till last scene which I finish with a waltz." The picture is comparatively fresh in my mind and if you are submitting the above for my opinion, I would say there is much room for improvement. In the first place, you should have played the Clown's music where the boy is playing clown, as that is the dominant idea in that scene. After the sick room is shown, the principal motive is pathetic and you should not depart too far from this. If you used "Marcelline" in the clown's residence, it should have been kept subdued, as the dominant idea is still the illness of the boy.