Playing the General Mood and Song Accompaniment

This week, Clarence Sinn gives his column over to two letters from readers. The first discusses the practice of accompanying films with an orchestra and the writer recommends playing for the general mood rather than the details. He also notes that one reel of the feature—Satan—was omitted at his theater due to time—a common occurrence throughout the silent era.

The second letter responds to Kenneth Aiken's article. The writer makes a case for using popular songs to play films with contemporary settings.

Mr. M. E. Schwarzwald, Bijou Dream, Chicago, sends the following: "As I promised you I am sending my program to the picture 'Satan.' Am sorry to say that owing to the length of this we were obliged to omit the second reel ('Satan in the Life of Christ'), but am told that it requires practically all sacred music. I wish to state that there parts of this picture I have not followed in detail—for example, the beginning of Part Three. I have made it a point rather, to get the longest selections I could which would keep to the general theme of the picture. I believe that I can make my music just as effective in this way as by always following the picture scene by scene, and therefore try to make as few changes as possible in order to keep from diverting attention from the picture. I think if one changes the music too often he is not playing enough of any one number to convey the theme of it to the audience, and by this appropriates a large part of their attention which should be given to the picture.

"From remarks overheard I gather that the orchestra most appreciated is the one that can bring out and accent the characteristic points of the picture without diverting the attention of the audience, rather than the one that constantly attracts attention by its noisy blare, quick changes of music and stopping too suddenly at times instead of trying to ‘weave’ their numbers gradually. Another thing I do not believe in, is that incessant grind heard in some theaters. I visited a house recently which has a three-piece orchestra and runs five vaudeville acts and two reels of pictures. The musicians instead of following the picture with appropriate music played a program of popular stuff. I noticed that the leader (pianist) never stopped from the time the picture started until it stopped—turning the music with one hand and playing the other. Being acquainted with the manager I mentioned this. 'Why,' said he, 'those are my orders; what is wrong. I want that music going all the time.'

"Very good, Mr. Manager, but one of a party sitting behind me from whose conversation I judged to be a regular patron, said: 'Good Lord! Won’t they ever quit. This is worse than having to listen to one of those piano machines.'

"Our manager gives us ten minutes' rest at the opening of each show and we find that with this small lay-off we can do more justice to our music than these 'on forever' orchestras, and no complaints from our patrons. What do you think of this?"

I shall offer no comments beyond stating that the Bijou Dream, like all downtown houses in this city (and most other large places), runs a continuous show from nine o’clock a. m. until eleven p.m. Regarding the long selections played, Mr. S. "humors" them more or less to fit the scenes, and in this way he often plays to details without chaging numbers.—[Ed.]

"Satan, or the Drama of Humanity" (Amrosio)Part One.

1. “Damnation of Faust” (can use storm scene from “William Tell”) until title: “The First Sin.”
2. “Devil’s Call Galop” once, then:
3. “Ghost Dance” (pub. by Will Rossiter) until end of reel.

Part Two.(Sacred Music throughout.)
Part Three.

1. Overture, "King Mydas" (Jacobs) once through.
2. “Faust” Overture (Cundy-Bettany Co.—Carl Fischer’s Selection fits better, but is more difficult for small combinations) until monk falls asleep at table.
3. Mysterious music; until monk and Satan leave monastery.
4. Sumurun Intermezzo (pub. by Stern) until monk is shown behind curtain.
5. Mysterious (37 Orpheum Collection) until Satan puts dagger in his hand.
6. Agitato (43 Orpheum Collection) until man is stabbed.
7. Semi-mysterious (51 Orpheum Coll.) until fight.
8. Hutty (19 Orph. Coll.) until change.
9. Mysterious-heavy (20 Orph. Coll.) until end of reel.

Part Four.

1. Bright lively novelette until iron merchant falls asleep.
2. Mysterious until devil appears in full dress.
3. Waltz, “Druids Prayer” (Stern), until title: “Later Engrossed With Mary’s Love, etc.”
4. “Perfume” (from suite “My Lady’s Boudoir,” Witmark), until end of scene.
5. Waltz, “The Devil” (pub. By Emil Ascher), until end.
(Last part of Part Four.)
6. Waltz, “The Devil, until Frank shoots at carriage.
7. Agitato (soft) until police auto enter and shots fired.
8. Hurry until chase.
9. Presto until Frank and Satan arrive at ruined castle.
10. Agitato (soft) until title: “You Can Get Revenge, etc.”
11. Plaintive until Mary arrives at the castle.
12. Agitato (33 Bendix-Fischer melodramatic music), p. and f. until title: “Mary Has Lied to You! Destroy.”
13. Prison Scene from “Faust” (Leo Feist-Reckers arrangement) until close.

Thomas Bruce, of the Majestic Theater, North Yakima Wash, whose letterhead reads, “Musical Interpreter of Pictures, Pipe Organ and Piano,” writes: “In the February 1st issue of Moving Picture World, under the heading, ‘Thoughts for Pianists,’ in your department, Mr. Aiken says: 'Picture playing does not consist as some suppose of merely fitting song titles to the scenes.' I fully agree with him, for to play a modern song to some pictures would be out of place and inartistic, on the other hand, it would be worse to play Grieg’s ‘Ich Liebe Dich’ to some light modern drama when ‘I’d Love to Live in Loveland’ would be more suitable.

“Then, of course, there are pictures when no songs can be used. One I have in mind is ‘At Napoleon’s Command’ (Cines), which I improvised through entirely with the exception of ‘Marseilles.’ To have played ‘Just Before the Battle, Mother’ at the title, ‘The Even Before the Battle,’ would have been comedy. The summary of all this is that the picture player must have ingenuity and artistic judgment and an unlimited repertoire. I am sending a program to illustrate my point, and criticism from the editor or any one who has seen the picture, ‘When Love Leads,’ will be greatly appreciated, as I wish to know what other musicians think about the very important subject of popular music for modern pictures.”

“When Love Leads” (Lubin).

1. “Stein Song” from “Prince of Pilsen” (Witmark, pub.), or, better still, Alma Mater song from nearest college, until title: “David Meets Josephine..”
2. “Beautiful Lady” valse (Remick, pub.) until title: “One Month later.”
3. “Cuddle Up a Little Closer” (from “Three Twins”).
4. Agitato while Josephine reads letter and through scene between David and father.
5. Pathetic for scene between David and mother.
6. “Goodbye Sweetheart, Goodbye until title: “David in City.”
7. “Give My Regards to Broadway” (from “Little Johnny Jones”) until title: “Married.”
8. “Honeymoon” (from “Time, Place and Girl”—pub. by Harris).
9. Agitato for scene between father and mother.
10. “Gee, But This is a Lonesome Town.”
11. Agitato and pathetic through five scenes until title: “David Loses Reason.”
12. Tosti’s “Goodbye” until title: “Scrubwoman Finds Child.”
13. “If I Only Had a Home, Sweet Home” until title: “David Regains Reason.”
14. Pathetic until David enters home, then:
15. Grandioso waltz until end.

[986]

["]The first number should be played more as an introduction to the picture to give a college atmosphere, and if “Prince of Pilsen Stein Song” is used should be timed so that “Oh! Heidelberg, Dear Heidelberg” comes for first scene.["]

I do not remember accurately the details of the picture above mentioned, but Brother Bruce has furnished us an excellent illustration of the method of applying songs, whose suggestiveness lies largely in the fitness of their titles, to certain pictures. Discriminating performers would not need the reminder that modern songs should be used only in modern pictures, but I am sorry to say there are many who are not so thoughtful as our correspondent. Come again, Mister Bruce—you are always welcome.—Ed.

Clarence E. Sinn, “Music for the Picture,” Moving Picture World 8 March 1913, 985-86.

Thoughts for the Pianist

This article is part of the trend calling for less popular music and more classical music, especially for dramas. Especially noteworthy is this passage:

Picture playing does not consist, as some suppose, in fitting song titles to the action of the picture.... Proper accompaniments for pictures are those which reflect their peculiar atmosphere, their tone of sadness or joy or their dramatic movement. Anything short of this is just quack.

Here, the author argues explicitly against song-title approach accompaniment, which though it had been under attack for years evidently remained a prevalent practice. Instead the author advocated playing for the general mood, which is the approach that would be adopted by most orchestras.

Thoughts for the Pianist

The pianist who aspires to be an artist at accompanying pictures will surround each picture with a musical atmosphere of its own. He will think of the general trend of the story, its manner of starting off and ending and its climax. He will notice who the leading actors are in the cast, for by this he may judge somewhat of the intensity of the performance. If the picture is serious drama and is done by the best stars he may need one or two of what might be called his reserve pieces, pieces of considerable difficulty carrying the utmost emotional appeal.

What are some of the pieces? One of the strongest pieces emotionally that I know of is [Franz] Liszt’s third Liebestraum. The first two pages are quiet and serene with an extremely simple melody, yet though simple it has a depth and strength such as can be found only in great music. For those of slight technical ability these first two pages alone should be invaluable. A cadenza follows and then the same strain is taken in the key of B, after which it modulates in E, where the whole piano seems to be brought into action. The finale is soft and tender.

It would be folly to bring out a piece of this description for the ordinary run of pictures. There are sometimes pictures, however, which in character of plot and production show the artistic finish of a poem. Such a one was “The Painted Lady.” Miss Sweet’s acting in the role of the mad girl deserved a musician’s best efforts. How to respond to her loneliness, her first glimmerings of love, her despair at finding she had shot her lover, and her sweet but insane sorrow! Nothing like rag time now, nothing that is the “latest out”; the music must mirror deep emotion. For this we have [Giacomo] Puccini’s “Madame Butterfly” and his “La Boheme,” the Liebesträume (three of the them), by Liszt, also his Consolation and such well-known songs as [Guy] D’Hardelot’s “Because,” [James Carroll] Bartlett’s “A Dream,” [John W.] Metcalf’s “Absent,” Roger’s [James Hotchkiss Rogers] “At Parting,” [Edvard] Grieg’s “Ich Liebe Dich” and [Ethelbert] Nevin’s “Rosary.” These last should be paraphrased to get the best piano effects.

The great need to-day is far more seriousness on the musical side. The picture companies do not hesitate—heavy dramatic subjects are coming out all the time and the public does not weary of them either, only the whole thing lacks artistic success because of crude music. Wrong ideas have contributed to bring about the present condition. Picture playing does not consist, as some suppose, in fitting song titles to the action of the picture. This is not exactly a bad thing in itself, but it amounts to no more in picture playing than tooting the whistle does in running an engine. Proper accompaniments for pictures are those which reflect their peculiar atmosphere, their tone of sadness or joy or their dramatic movement. Anything short of this is just quack.

All is impossible, however, without the proper music, so the buying of music becomes a very important matter. The pianist should select his music with special purposes in view. He will pick out “The Dance of the Hours” (Gioconda [by Amilcare Ponchielli]) for light gay action in say a society drama; “Valse Triste” ([Jean] Sibelius) will serve for dark, sombre effects; “Heart’s Ease” (MacBeth) for any romance; “Pomp and Circumstance March” ([Edward] Elgar) for those splendid pageants in Pathe Weekly; “Nita Gitana” ([Reginald] De Koven) for Mexican love scenes; “Gondoliera” ([Moritz] Moskowski) for boat scenes; “Autumn” ([Cécile] Chaminade) for any simple sadness; “Summer” (Chaminade) for freshness and life.

Recently the Russian Symphony Orchestra did this entire industry an honor by accompanying the Pilgrim’s Progress pictures with a special program prepared by the conductor. Some day, perhaps, one of our great pianists will favor us in a similar manner. In the meantime every exhibitor can help things along by keeping the piano well-tuned. Those who have really seen the light will shelf the old upright and put in a modern grand.

Kenneth Aiken, “Thoughts for the Pianist,” Moving Picture World 1 February 1913, 470.