The First International Exposition

Below are excepts from a review of the International Trade Show that was held in New York in early July. I have included primarily the passages on music and sound effects. The full article, which contains many interesting bits about equipment available to exhibitors, can be accessed via Google Books in window at the end of the post.

The First International Exposition

Splendid Showing Made by the Various Branches of
the Motion Picture Trade and Contributary Interests

It was something of a venture on the part of the promoters of the First International Exposition of Motion Picture Arts when they suggested the project. As has been frequently observed in these columns, conditions in the trade were not favorable to such an undertaking, but that fact did not deter the promoters, the New York City Exhibitors' League. They framed their plans very carefully and toiled with great industry for the ultimate success.

Whether conditions of the trade changed to please the promoters of the exposition, or whether it was their energy that overcame adverse conditions, the fact remains that the exposition was a huge success. The big hall of the Grand Central Palace was tastefully laid out, the booths were artistically designed and decorated, giving the exposition a fairyland aspect when illuminated by the thousands of incandescent lights.

It would be impossible to publish all the complimentary remarks expressed by visitors, but they were enthusiastic to the last degree, and well they might be, for it seldom happens that a trade exhibit at Grand Central Palace is more comprehensive and attractive than this. A careful review of the displays follows:

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Just across the aisle from the big Wurlitzer instrument, that makes more noise than the band, the Dramagraph effects machine has to get in when the Wurlitzer man has a heart, but the novelty of the machine holds the crowds. It is a compact collection of drummers' traps and effects self-contained and supplemented by the usual bass and snare drum. The bass pedal has an arrangement whereby the cymbal or drum may be operated independently of the other or in unison. The other has a lever device for throwing off the snares and converting it into a tom-tom. Cranks, pulls and handles work all sorts of bells and a series of tubes work the whistles, and other pneumatic effects. There is a phonograph for use where the piano is absent, and an organ run by a crank for church scenes. A typewriter key effect has its accompanying bell, and the demonstrator claims that not a single sound asked for yet has not been replied to. The jokester who asks for "a noise like a nut" is given the laugh by the operator tapping his assistant's head.

Scott and Van Altena have their display in running order and show a collection of slides that it would be hard to beat anywhere. They are all straight photographic effects in combination instead of crude drawing, and some of the colorings are unusually effective. You are missing an eye treat if you go past this booth too quickly. The interior is darkened and a glass screen shows the effect of some of the numbers in the lantern.

Phonoliszt Violina is a pretty large mouthful of name. It belongs to one of the most unique musical instruments on the floor, a combination of two violins and piano. While there are four instruments for each violin, each violin using but a single string, all are completely strung and the combination of the eight give the full effect of two good instruments, the bowing being done by a circle bow and the stopping by mechanical fingers. Apart from the novelty the tonal effects are really good and the piano accompaniment leaves nothing to be desired, being neither obtrusive nor lacking in volume. Perforated paper rolls are used, these being made in Germany. There is another instrument giving a combination of piano and organ, a pleasing effect, and there is a pipe organ with effects for those who desire something of greater volume, all of them being handled by Ernst Bocker. There is more than plenty of music in the air, but it is good music.

[. . .] There is a full equipment of Deagan's bells. A. F. Berry is in charge of the exhibit, and he is aided by J. R. Hunter and J. R. Sweeney.

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The one thing that can make the Wurlitzer organ weary is the Yerkes bells mounted on the balcony railing and operated from a booth close to the entrance. Next exposition, it is rumored, they are going to put all the musical instruments in a special

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hall and let them fight it out, but the bells are holding their own well, and are attracting attention. They have other music makers, but the bells lead the rest.

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It isn't necessary to talk much about the Wurlitzer-Hope-Jones Unit Orchestra. It speaks for itself and in no uncertain tones. Every time it starts up—and it starts up about ten minutes after it runs down—the crowd hustles over and the only person in hearing who does not seem to like it is the man who tries to sneak in a demonstration of the Dramagraph each time they change a tune.

The W-H-J has to hustle some to live up to two hyphens, but it makes it every time and with plenty to spare. The Wurlitzer people might have filled that end of the hall with their various styles of instruments, but they centered on the Unit Orchestra and the band lost its job after the opening night, just as many orchestras have been replaced by one man at the W-H-J console. The best thing about it is that having only one man, a good man may be engaged, since he is the director over a mechanical instead of a human orchestra. The regular Wurlitzer catalogue lists machines all the way from $375 up, but no one ever discovered that they had more than one standard of excellence though a score of degrees of elaborateness.

The Berry-Wood people, at the other end of the hall—and have you noticed how these automatic players run to hyphens— have three instruments on display and many more in their catalogue.

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Source: “The First International Exposition,” Moving Picture World 19 July 1913, 324-27.

A Visit to the Deagan Factory

Deagan's large ad buy in April 1913 continued to generate favorable coverage elsewhere in the Moving Picture World. In June, Clarence Sinn devoted the first part of his "Music for the Picture" column to detailing a visit he evidently made to the factory.

In addition, Sinn also published a short letter that included a cue sheet for Kalem's The Cheyenne Massacre, for which Kalem provided a musical score. The ad on the left prominently mentions the special score, which was available for the very nominal cost of 15¢. The letter writer nevertheless rejected the score as impractical, since his theater used an orchestra, which would have meant orchestrating the piano score. The large variability of theater orchestras was one of the difficulties that such "special music" had to negotiate, and it remained a block to the widespread adoption of original scores throughout the silent film era.

A very important adjunct to the orchestra—especially the moving picture orchestra—and one which is growing in favor every day is to be found in the musical bells, chimes, marimbaphones and instruments of like character, as well as xylophones and orchestra steel bells. To J. C. Deagan more than any other man is due this growing popularity of these instruments. Mr. Deagan has done two very important things toward this end; first, he has evolved a very superior bell. Second, by means of his clever electric appliances any ordinary pianist or drummer can play them. Also, being of so simple construction, a boy of average intelligence can install them. Of course, he has long made a feature of bells and xylophones, etc., for artists’ use, but undoubtedly the impetus given to the demand for these instruments in late years is due principally to J. C. Deagan’s electric inventions which make their playing an easy matter. It takes long practice to acquire the even “roll” necessary in playing the xylophone or steel bells; it takes none to manipulate a Deagan key-board and get the same result.

A favorite manner of installing the bells is to string them around the auditorium high above the heads of the audience. Some years ago as perhaps you remember, when any one of the bells was installed got out of order, you had to place a ladder under the bell in question and climb up to fix it. Mr. Deagan has eliminated all of this. By his “no contact” mechanism he has reduced their chances of getting out of order to a minimum; and if they should need regulating (which is seldom) it can be done by the performer without leaving his seat. They can be played loud or soft at will; single stroke or roll as desired. A shut-off key is provided; drummers will appreciate this feature who remember the discordant jangle resulting from accidentally touching the key-board when reaching over for some “trap.”

I visited the factory of J. C. Deagan the other day and was much impressed by what I saw there. He occupies three floors of the pretentious Deagan Building in Chicago—25,000 feet of space on each floor—75,000 feet of floor space in all, in addition to the out buildings, dry-rooms, etc. Every thing but the wood and metal is made in the factory. The wood (for the xylophones) is cut especially for J. C. Deagan in Australia; the metal for bells, chimes, etc., is made to order by a special process. These raw materials are received at the Deagan factory and are cut, shaped, polished, tuned, plated and a lot of other things by expert artisans to become the things of beauty which you finally see and hear in the exhibiting department. There were orchestra bells to be played by hand and by electric key-board. Other electric bells in such profusion that space forbids naming them. Electric cathedral chimes; these are the same shape as the usual chimes; long tubes of a beautiful tonal quality with a hammer fixed to strike in exactly the right place and operated from a key-board. The chimes may be placed in the orchestra, lobby or any part of the house. (The same is true of all the J. C. Deagan electrical instruments.)

An electrical marimbaphone was also shown. It is impossible to convey a definite idea of this instrument. Though made of steel bars with resonators and is the same shape as a xylophone, its tone especially on the low and medium notes is something like that of an organ. The illusion was more pronounced when heard at a little distance. Mr. Deagan describes its tone quality as “like that of musical glasses,” but he is too modest; the tone is bigger and fuller than any musical glasses I ever heard. I saw a large xylophone which is played from an electric key-board also. The hammers are of the regular type—hard wood heads and rattan handles, thus insuring the correct tone—and any piano player can play a xylophone solo upon it that would be the envy of any expert xylophonist. This can be hung in the lobby of your theater if desired. I haven’t got room here to tell all the interesting things I saw, but the J. C. Deagan catalogues may be had for the asking and they will tell you more things than I can and tell them better. We visited the plating-room, where each article to be plated receives at least three coats; some of them more. They are just completing a new instrument called the “Nabimba.” This will probably be on the market by the time your read this article, otherwise I would be chary of mentioning it at all. It looked like a xylophone—bars of wood with resonators suspended beneath. When struck with the hammer two tones were produced, one the regular xylophone tone, the other a sustained reedy tone something like the low notes of a clarinet. Impulsively I looked to see where “the wind came from” to make such an effect. Of course, I couldn’t find anything of that sort, but had me guessing and I said so. “You keep right on guessing,” said J. C., “and come away before you see too much. I only wanted you to hear it, not examine it.” That’s all I can say about it, only that it is a wonder. And I am still guessing.

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From the “Crown Theater,” Hartford, Conn.: “I am enclosing my musical program to Kalem’s ‘The Cheyenne Massacre.’ Though they had a special piano score for this picture, I did not use it, as I would have had to make an orchestration. My orchestra consists of five men in the winter and four in the summer. At present I am using violin, cello and flute, which can’t be beat for playing pictures and for good music. People want good music and not noise. I have a large library of nearly all the standard overtures, selections, waltzes, etc., and keep a record of all I play, so my audience don’t hear the same music all the time. I change programs three times a week; every number is changed and not played for months again, except when some number is repeated by request. I have trained my men so they have all the cue-music at their finger tips—the whole orchestra—so it is as easy for me to play a picture with them at it is alone on the piano. Every leader should have his men learn all the National airs, a gallop, a march, a waltz and dramatic music, so they can play it the moment he wants it. In that way a picture can be played at sight, then at the end of that picture he can arrange a program for it. The following picture went pretty good the first time and fine the second, so I had the whole program made up of pretty good music.”

“THE CHEYENNE MASSACRE” (Kalem).

Part First.

1. “Brides and Butterflies Waltz.” Play introduction while title is on; as the first scene appears (dancing) segue to the waltz. Until title: “Next Morning, Chief Swift, etc.”
2. “Indian Summer Intermezzo” until title: “That Night.”
3. “Garden of Dreams Serenade” until Indians are seen.
4. “Tom-Tom Intermezzo” until fight scene starts.
5. Agitato until boy is seen standing alone near ruins.
6. “Alpine Rose—a Flower Song” until scene exterior of post appears; watch for bugle call, then segue.
7. “The Twelfth Regiment March” until end of reel.

Part Second.

1. Introduction of “Danube Waves” waltz until the title is on.
2. Agitato until title: “Vengeance of the Red Men.”
3. “Big Chief Battle Axe” (Indian Novelty) until title: “Lieutenant Ellis Volunteers, etc.”
4. “Venetian Water Waltz” until Indians are seen.
5. Agitato until man with shawl meets Indian girl, then:
6. Chorus of “Silver Bell” or “Red Wing” until he jumps on horse.
7. “Petersburgh Sleighride Galop” until title: “The Attack of Fort Bryson.”
8. Agitato until bugler blows bugle.
9. Bugle call, Siegel march, “Weinblut Wein” until soldiers are seen on hill with American flag.
10. “Red, White and Blue” until fight starts, then:
11. Agitato until title: “After the Battle.”
12. “Boy Scout March.” Lieutenant puts his arm around the girl.
13. “Star Spangle Banner.”

“Read this over a couple of times and arrange your music in this order. You don’t have to use the same waltzes or marches. Play any you have and you will find this program O.K. Let me hear from those who use it. Yours,

R. J. Besette, Musical Director “Crown Theater,” Hartford, Conn.

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I am afraid I have not got your name correctly, Brother B., as you did not write it distinctly. However, your method of playing to the pictures with an orchestra is correct all right. The only way to get results is to have a lot of music “at your finger tips”—as you say: “every man in the orchestra.” This applies particularly to the dramatic music, as it enables all to watch the picture. Will be glad to hear from you again.

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“WAMBA: A CHILD OF THE JUNGLE” (Selig).

Part One.

1. “Daisies” (Bendix; pub. Witmark). First part only until title: “Dr. Rice of the Settlement.” Then second movement through two scenes.
2. “Mystic Shrine” (Earl Cameron; pub. Carl Fischer). Until Wamba arrives at Dr. Rice’s home.
3. “Idle Thoughts” (Harry von Tilzer). Until after title: “Wamba’s Baby Dies.” Continue No. 3 until Doctore breaks the news to Wamba; then:
4. Plaintive until end of scene.
5. Agitato p. and f. until Doctor R. orders Pete away.
6. Short sentimental until end of scene.
7. “Flight of the Birds” (or any pretty caprice or novelette) until end of Part One.

Part Two.

1. Agitato; through first scene. Then subdue for second scene or short neutral. At end of second scene:
2. Long agitato p. and f. for flight and pursuit by lions; continue until child climbs up the river bank.
3. Short Intermezzo (“In Cupid’s Garden”—pub. by T. B. Harms), until Dr. Rice and wife enter house.
4. Agitato until child seen crossing glade.
5. “Mozembique” (Oriental intermezzo by Gruenwall; pub. by O. Ditson), until lion comes to child’s hiding place in log.
6. Agitato until Dr. Rice and party leaves Pete’s shack.
7. “Amina” (Paul Lincke; pub. by Stern), until end of picture.

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A FIGHTING CHANCE (Vitagraph).

1. Novelette until girl is seen at piano.
2. “That’s How I love You” (follow pianist in picture).
3. At change, back to No. 1 until: “Not Knowing Wynne Is Married.”
4. Waltz until they enter restaurant.
5. “If You Talk In Your Sleep, Don’t Mention My Name.” When at piano.
6. “That’s How I Love You” (short), then:
7. Waltz lento until: “The Firm Sends Wynne on a Four Months’ Tour.”
8. “Pearls” (Moret) until: “A Stranger to the Wife, etc.”
9. Waltz lento until: “Preparations to Leave for the City.”
10. “Dimples” (Bratton) until: “Learning the Charm of Grace.”
11. Waltz (for dancing) until change of scene.
12. Restaurant scene. Popular cabaret music, “Home From His Trip.”
13. Waltz (Neutral) until: “The Appointment.”
14. “You’re a Great Be Blue-Eyed Baby” until he sees his wife in box.
15. “If You Talk In Your Sleep, etc.” very softly, crescendo at change of scene. When he meets his wife.
16. Sentimental until she plays piano; then:
17. “That’s How I Love Your,” until end, dying away with picture.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 7 June 1913, 1020-21.
Image Source: Moving Picture World 26 April 1913, 409.

Deagan Bells

This two-page ad for Deagan Bells appeared in Moving Picture World on 5 April 1913, and it initiated a new advertising campaign for the company, which began running a weekly full page ad in the paper. (One example of the weekly version is shown to the right.) As this ad from 1910 shows, Deagan had previously run ads in the trade paper, but with this ad buy they became the most prominent music advertiser in the paper, eclipsing Wurlitzer's regular quarter page. Presumably, as part of the ad buy, they received this favorable notice in the paper:

Remarkable List of New Electrical Instruments

J. C. Deagan, the well known manufacturer of musical novelty instruments, announces in his advertisement, in this issue of the Moving Picture World, a new catalogue, introducing 240 different, electrically operated instruments, particularly suited for just motion picture theaters, and which can be played either individually, collectively, or in any combination in connection with a piano easily manipulated by the piano player.

A representative of the Moving Picture World recently made a call at the home of the Deagan Bells, a beautifully appointed and modern factory, costing $350,000. located at 1770 Berteau Avenue, Chicago. Claude Deagan, the genial young manager, conducted the World man through the factory and showed him a great number of remarkable instruments, which, no doubt, will make a great hit in motion picture theaters. The two most striking instruments are the new improved Musical Electric Bells and the new Deagan Electric Cathedral Chimes. The Musical Electric Bells have been improved considerably. They can be played soft or loud, single stroke or vibrating, at the will of the operator, by merely pressing buttons conveniently located on an ivory keyboard. The bells are mounted on a handsomely nickel-plated floor rack, but can also be distributed around various parts of the theater, if so desired.

A truly beautiful instrument is the Electrical Cathedral Chimes, made of the purest bell metal. It gives the best imitation of church chimes ever produced. These chimes are also electrically operated from an ivory key-board, and can be distributed throughout the theater, the same as the Deagan Musical Electrical Bells. Other new instruments are the new style Swiss Electric Bells, the Electric Octaphone, the Electric Orchestra Bells, the Electric Parsifal Bells, the Electric Steel Marimbaphone and Electric Xylophones.

Source: “Remarkable List of New Electrical Instruments,” Moving Picture World 5 April 1913, 50.
Image Sources: Two page spread: Moving Picture World 5 April 1913, 112-13; one-page version: Moving Picture World 12 April 1913, 207.

Deagan Bells

J. C. Deagan was a frequent advertiser in the early trade papers. This small ad appeared in the Film Index.



Source: Film Index 10 December 1910, 27.