Musical Suggestions

This week's "Music for the Picture" column is devoted exclusively to musical suggestions. In this case, the printer messed up the cue lists fairly extensively, so much of the listing makes little sense. I will provide a corrected version of this column when a list of Sinn's corrections are posted (in his column of 21 June 1913).

Through courtesy of Mr. E. C. Zane, of the Bijou Dream Theater, Chicago, I offer the following musical suggestions for the two-reel Ambrosio feature film:

CHILD LABOR TRAFFIC.

Part One.

1. “Sympathy Waltz” (by Mezzacappo) until title: “The Wicked Guardian, etc.”
2. Waltz Lento until: “The Plot.”
3. Short waltz or allegretto (one scene); an accordeon [sic] is being played in the scene by street musicians. Sound effect can be introduced ad lib. At change of scene:
4. “Dream of the Flowers (Chas. Cohen-Sam Fox), until she writes letter.
5. “Chiffon” (from suite “My Lady’s Boudoir”—Witmark), until Andrea meets her.
6. “In the Shadows” (Finck) until title: “Under the Pretense of Seeking Employment.”
7. Semi-mysterious until: “On the Track.”
8. “La Rose” (Emil Ascher) until end of reel.

Part Two.

1. “Dream of the Flowers” until: “A Lesson in Misery.”
2. Plaintive till Andrea enters supper room.
3. Agitato, pp. at first and crescendo for struggle until change of scene.
4. Short waltz until child is seen a prisoner.
5. Long “hurry” music. I used “Narcissus Overture” by Schleppegrel, beginning at the Allegro moderato and repeating this movement until she receives telegram, then:
6. “Dawn of Love” (by Theo. Bendix) until last scene.
7. Four bars of Wedding March to finish.

* * *

THE LADY AND THE MOUSE (Biograph).

1. Lilacs” (Feist) until title: “Boredom and Inefficiency.”
2. “Bees” Novelette (Remick) until: “On the Road.”
3. Any slow Reverie until title: “More Readjusting.”
4. “The Mouse and the Clock” (Whitney-Witmark) until: “A Change in Climate.”
5. Pathetic music (long) until: “Later.”
6. “Pansies” (Bendix) or any waltz lento until “The Change In Climate.”
7. Waltz until end of reel.

* * *

AN EXCITING HONEYMOON (Pathe).

Part One.

1. “Wedding Glide” until title: “We Want You To Put On Lady Rowley’s Robe.”
2. “Malinda” (Remick) until drinking scene.
[NB 3 is missing.]
4. Agitato pp. and mf. until: “An Inveterate Gambler.”
5. “Apple Blossoms” (Kathleen Roberts) until: “We’uns Want to be Quality Folks.”
6. “Kiss-Me-Quick” (Novelette), by Emil Isenman, pub. by Fischer, until title: “Fleeced.”
7. Semi-mysterious until he drops his head on table.
8. “Simple Aveu” until Goree Remembers too Late, etc.”
9. Semi-mysterious until: “Let Me Ride Ahead.”
10. Agitato until shot.
11. Plaintive until: “Epilogue.”
12. Religioso until finish.

* * *

THE COURAGE OF A SOLDIER (Bison).

Part One.

1. Indian characteristic music until: “The Peaceful Hopis Appeal.”
2. March until change of scene.
3. “Love’s Dream After the Ball” (Czibulka) after introduction. For one scene.
4. Same march as No. 2 until Indians go out of gate.
5. “Spring Dreams” (pub. by Feist) until council scene.
6. “Oy-an-ee-tah,” by Victor Herbert) until all in fort.
7. March until treaty is shown.

1. “I’d Like To Go On a Honeymoon” (from “The Red Rose,” by Bowers) until title: “At Last We Are Alone.”
2. “All Alone” until: “Go ‘way Man, etc.”
3. “One Drink More” (one scene), when colored woman powders her face.
4. “Oh, You Beautiful Doll” (Chorus) once through.
5. “Honeymoon Song from Honeymoon Trail.” When Lord Rowley gets into auto.
6. “Goodbye, Everybody,” until second auto drives on.
7. Galop of lively march until they walk up gang-way to boat.
8. “Goodbye, Everybody,” until boat is seen moving out.
9. “On the Mississippi” until end of reel (lively).

Part Two.

3. Chorus of “Which He Didn’t Expect from a Lady” (from “Peggy,” by Stuart).
4. “Is There Anything Else That I Can Do for You” (Remick).
5. Lively music throughout the picture.

This picture is a bright, rollicking comedy, and the more lively and “snappy” your music, the better. Popular stuff preferred.

* * *

A SPLENDID SCAPEGRACE (Edison).

1. Allegro (4th movement) of “Morning, Noon, and Night” overture by Suppe. Subdued agitato for one scene.
2. Any popular intermezzo until title “Selling the House of His Forefathers.”
3. “Old Kentucky Home”—paraphrase (or any Novelette—scenes are neutral); until they enter barroom.
[intervening numbers skipped]
8. Indian music again until change.
9. Agitato p. and f. until end of struggle.
10. “Starlight Souix (or any popular intermezzo of similar character) until: “The Money Arrives for the Indians.”
11. “Indian Summer” (Moret) until he puts money in desk.
12. Semi-mysterioso until: “Chaplain Decides to Leave the Fort.”
13. “Twilight” (Reverie by Nat D. Ayer) until end of reel.

Part Two.

1. March until change.
2. Indian until change.
3. Sentimental, two scenes.
4. Agitato, pp. until saloon scene.
5. Mysterious, one scene.
6. “Sun Dance” (Freidman) until: “The Lieutenant Accuses the Chaplain.”
7. Intermezzo until Indians.
8. Indian music, one scene.
9. Agitato, one scene; back to Indian music, one scene.
10. Sentimental until: “The Chief Divides His Forces.”
11. Several scenes of hurry and agitato music; when Chaplain lays powder train, softly till explosion—ff. until: “Seeing the Fort Attacked.”
12. March, one scene.
13. Hurry p. and f. Can alternate marches with agitato when cavalrymen seen riding. When army rides into fort.
14. March. When Lieutenant enters.
15. Pathetic until end of reel.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 31 May 1913, 908.