Moving Picture World (Jul - Aug 1918)

July 20, 1918 THE MOVING PICTURE WORLD 399 \&&CX*j^CX£j^ Music for the Picture Conducted by GEORGE W. BEYNON e Notice. QUESTIONS regarding music, addressed to this department, will receive a carbon copy of the department's reply by mail, when 4 cents are enclosed. Special replies by mail on matter which can not be answered in this column $1.00. Co-operation. THE caption to this department speaks truthfully but with brevity. It does not explain fully enough that this music page is conducted by us, for you and your best interests. THE MOVING PICTURE WORLD aims to give the best possible service to the exhibitor and cover every field in which he is interested. This page is yours. Your position in the picture industry is no longer that of a necessary evil. By individual and painstaking effort, supplemented by our music department, music has become a feature in the presentation of pictures. Together, we can make music the feature in the picture business, but the results to be obtained through individual effort cannot be as large and gratifying as those gained from co-operation in intelligent endeavor. We have tried to present the art of picture setting in its many phases in leading articles intended to assist in solving the knotty problems of the leaders throughout the country. We have had many kind comments made upon them, but no constructive criticism. The former we like, but the latter would be more beneficial in that it would give us a line upon the thoughts of our readers that would make for greater endeavor and more lasting results. We cannot see all the problems that may arise in picture fitting, and the time has come when glittering generalities is not the nourishing food which the orchestra leader needs. Tell us your troubles and pass some of your burdens to our broad shoulders that we may lighten the load and encourage you in your work, which in many cases is so little appreciated. Brother Mirsky, of Dubois, Pa., has been kind enough to say "It is indeed a pleasure to note the constant improvement in the Music Page of the 'World.' Can't you induce the boss to give you more space. The Leader's Service Bureau is a peach." We thank brother Mirsky and assure him that the "boss" has promised more space in the fall. This tribute to our poor efforts is indeed encouraging. A brother in Los Angeles writes: "We always read your pages with great interest and believe your music suggestions synopsis very helpful to all theaters." We are always glad to hear words of praise from the balmy land of sunshine and will renew our efforts to create an interest that will become more widespread on the Pacific slope. Even the theater managers have been generous in comment. Mr. G. R. Dettor, manager of Jefferson theater in Charlottesville, Va., writes "I have been a close reader of your music department and find it a great help and fully agree with you that an orchestra must consist of only first-class men." Friend P. A. Mangan writes us a personal letter in which he says : "Your page in THE MOVING PICTURE WORLD is the only musical department upon which I can rely for adequate information for the music for the pictures. You show a fearlessness in your reviews which is highly commendable, and your clever hints for special effects have proved of great value." Mr. Managan is a picture-presenter of no mean ability and his opinion well worth while. Friend S. R. Rothapfel in a letter of congratulation says "Keep up the good work." His praise means much to us as he really has created a standard of musical presentation which is followed by all live exhibitors. Now all these kind words are pleasant to the ear and we are glad to get them, but we want more of them. It is estimated that there are 7,644 leaders in picture houses scattered throughout the country. We want to hear from 7,643, and an excuse from the other fellow that he will write when he gets better. We want to know what your troubles are. We want to find out what kind of service you need the most, both from the producer and ourselves. We want you to use our good offices with the exhibitor if necessary. Tell us about your cue-sheets. Are you getting them regularly? Are they what you want in the way of musical service? How could the cue-sheet service be improved? Don't say to yourself that in spite of the difficulties that are constantly arising that you manage to make a living, so why kick about it. Have some consideration for your brother musician who may not be so adaptable to adverse conditions. What about the new music question? Can we help you in that respect. We do not represent any publishing house and show no preference as to the class of music placed upon the market. If it can be used for pictures we care not who puts it out. We can neither be biased nor bought, so our judgment is based solely on the merits of the music submitted and your needs in picture setting. Let us be the medium of putting you in touch with the new pieces that are Issued from time to time, a brief review of which you may have for the asking. If sufficient of my brethren ask for it we will give it space in this column? Are you satisfied with your present position or do you yearn for wider worlds to conquer? It is not our intention to establish an agency for supply musicians to the theaters, but we do want to help those who through circumstances cannot help themselves. Don't forget that THE MOVING PICTURE WORLD officially recognizes the musicians who are to be found enlisted in the ranks of picture players. Every orchestra leader, piano player or organist, who has charge of the music for a theater should be a subscriber of this publication. He owes it to himself to keep abreast of the times and know what things are being accomplished in the field of his chosen vocation. No longer can he afford to arrive a few minutes before the show begins, hurriedly gather together a few numbers which may be useful, play the bill in slipshod manner and hasten away immediately upon its conclusion. To get results he must be a student of the picture industry, searching it from every angle for those little touches that make an artistic presentation. He must learn what the "other fellow" is doing and how he is doing it. Self-satisfaction spells his downfall, and there is no longer room for the "bluffer." We expect to make some changes in the policy of this department, not anything of the radical order, but merely adding some things that may make it more effective, and enlarging its scope for good. We want your co-operation in this matter and solicit your suggestions along the line of an improved service to you. Let us get together for the mutual benefit of all "movie" musicians. Don't wait for weeks to elapse but write us at once. Let July be flooded with mail for our perusal and consumption. We can assure you that our request is not an idle desire for your acquaintance. We do not want to know you, but our aim is to help you, with that sincerity of purpose that comes from one who has been "through the mill" and knows its vicissitudes. Music At the Strand. During the week commencing June 23, the Strand theater offered an exceptionally good bill. Mr. Edel, the managing director, changed the routine of his numbers, which, we believe, enhanced the entire performance. Instead of beginning his show with the usual overture the orchestra played a prelude of a few minutes duration and segued immediately into the pictorial review. The music chosen for this number was, as always, very appropriate. Special mention must be made of the selection played during the scenes showing our aviators. The timeworn march was eliminated, and a trippy bird-like piece substituted. Nothing could have been more suitable. The third number offered was programmed as an exclusive war scoop, showing the rousing reception of our Camp Upton boys when they arrived in England. Let us first tell you about the clever setting of this film, at the same time, passing for the present, the opening of it. When the Highlanders appeared with their bag-pipes the orchestra created one of the best imitations of those skirling instruments that we have ever heard. Nor did they carry this strain too long. It was a simple suggestion without the monotony which would have been brought forth had they played it throughout the scene. The trumpet calls for "fall in" and "prepare to march" were beautifully synchronized, as was the fife and drum solo, when they played "The Girl I Left Behind Me" as the veterans marched into view. Every little detail showed care and great thought. The scenic received the best possible musical interpretation, and was thoroughly enjoyed. ■ Miss Cora Tracey, a newcomer, showed one of the most remarkable contralto voices in her rendition of two song numbers. "A Spirit Flower" was most artistically done, well enunciated, and with perfect breath control. Miss Tracey's voice is well placed, and her bridging is unnoticable to that extent which forces one to believe in one register. Her entire scale is smooth and well balanced, and her richness of quality is a delight. We do not happen to be privileged with her acquaintance, but predict for her a merited success. Her second number, "Somewhere a Voice Is Calling," was enhanced by a fine setting showing the tents of our soldier boys in the gathering dusk. The house lights were dimmed and a spot thrown upon the singer. Gradually the late evening glow faded as the singer progressed with her selection until at the close of the song night had enfolded in her mantle of darkness the bivouacs of the soldiers. This made a decidedly strong impression. The feature, Her Final Reckoning," with Pauline Fredericks, received a musical setting that we were proud of, and those who were responsible for it could be proud of it too, for it FITTED. The fitting of the Gypsy scenes were especially good, and the use of Chopin's Nocturne was an inspiration. Another of those little pizzicato effects played by strings was effective in conveying the idea of the guitar played in the picture by Count Menko. This selection was