Interview with Hugo Riesenfeld

Here is a short interview with Hugo Riesenfeld from 1919. In this interview, Riesenfeld discusses the rise of orchestral accompaniment in the cinemas and the wider use of classical repertory.

Music in the Picture Theatre

Hugo Riesenfeld Mixes Interesting Bits of Philosophy With Plain "Hoss Sense" On Subject

MUSIC and its place in the motion-picture of yesterday, to-day and tomorrow was the subject of an interview recently had with Hugo Riesenfeld, the managing director of the Rivoli and Rialto, Broadway's photoplay palaces. The salient comments of Mr. Hugo are quoted directly, as much of their significance would be otherwise lost:

"The taste for good moving pictures is inherent; it is mankind's desire to see itself and its neighbor. In the big city, where the personal touch does not exist for a large part of the population, there are hundreds of thousands who seek in the movie the picture of domestic life, the family group, the little home incidents the romances of everyday existence that the inhabitant of the small city and the country lives day by day.

"The desire for good music, however, is not innate. It is gained by most of us from hearing the best of tunes again and again, until we acquire the taste. Added to the motion picture, in pleasing surroundings and carefully chosen to fit the story, music and pictures blend into one harmonious whole, and the audience scarcely realizes that it is getting as much good music as it would hear at an ordinary concert. And it does not go to sleep.

"The taste in pictures improves under the stimulus of good music until the original movie fan becomes a confirmed motion picture and music patron. How the taste for better things in motion picture theatres developed is best seen from the offerings in the average motion picture house. A month ago I was in a theatre far uptown and saw a beautiful scenic picture with a voice singing behind the stage. I heard people exclaiming about the beauty on the screen and the music. The idea, first conceived and executed in the more expensive theatres downtown, has spread to the little neighborhood institutions and is being appreciated to the utmost by thousands whom neither propaganda for classical music nor music school could reach.

"Four years ago we bashfully introduced a classical number here and there on our program, but the bulk of our music was of the promenade concert variety. Four years of serious effort has not been in vain. We are not afraid to-day to play the most difficult and modern composers and the people like it.

"The next step? The motion picture-music houses are coming in great numbers. If I were to venture into the field of prophecy I should say that within the next five years New York will see the present Broadway theatrical district one great array of beautiful motion picture houses. The orchestras will be an even bigger feature than they are now, and we have almost fifty trained men in each of our houses. But the people want music and they are going to get it."

Source: “Music in the Picture Theatre,” Music Picture News 22 November, 1919: 3729.
Image from Prints and Photographs Division, Library of Congress. Note that Riesenfeld's name is misspelled in the database (and on the photograph).

Not a "Moving Picture Show"

Here is an interesting ad for B. F. Keith's Bijou theater in Boston from 1910. (Click image to bring you to original source in Google Books.)

Note how the ad attempts to separate the Bijou from other movie theaters on the basis of the other elements of the show:

1. lectures


2. lantern slides


3. live drama


4. music

The description of the music shows a particular need to balance priorities: "high grade but not too classical; pleasing but not too commonplace." We would be hard-pressed to come up with a better description of the "middle-brow."

Piano Rolls

Here is a ad for a music service that provides piano rolls designed specifically for motion picture houses. This is also from Motion Picture News and you can click through to go to the original source in Google Books.

Grauman Show in 1919

Here is a nice little 1919 article from Motion Picture News describing a Sid Grauman stage act, complete with a number of good photos. Double click the image and it will take you to the article in Google Books.

Types of Musical Accompaniment

This is an excerpt from George Beynon's 23 March 1918 "Music for the Picture" column in The Moving Picture World. In this column Beynon tries to sort out the differences among the music services available to producers and exhibitors of the time. In the middle of his discussion, he takes a long detour into issues of modulation.

“Music Service for the Exhibitor.”

A well-known producer confessed to us the other day that he did not know the difference between a score, a setting or a cue sheet, and supplemented the remark by saying he did not believe one producer in ten knew what he was paying for in the matter of the much-abused term, “Music Service for the Exhibitor.”

For the information of exhibitor, producer and orchestra leaders, we will try to classify specifically all forms of music pertinent to “Fitting the Pictures.”

MUSICAL SCORE—A Musical score is a compilation of either original or standard music, prepared in synchrony with each and every dominant scene of the picture, carrying throughout themes and counter-themes to denote the characters portrayed on the screen. Each number should be in key sequence and arranged in such a manner that there be no obvious break during the playing of the entire score. They must of necessity be short, and for that reason requires varied orchestral treatment to avoid monotony. Many occasions arise where there are two characters in the foreground, and two themes must be blended together, showing two emotions at one and the same time. Frequently a standard number must be changed in tempo and rhythm to convey the proper idea. Special legitimate effects sometimes must be arranged by the use of the orchestral instruments themselves to obviate shoddiness. All these things call for superb orchestration and a thorough knowledge of instrumentation. A real musical score requires almost as much ingenuity, careful thought and untiring efforts as an opera score, for in every way it meets the same obstacles, which must be overcome. “The scores for “The Birth of a Nation,” “Ramona,” “Civilization,” “Intolerance,” or “Peer Gynt,” will live and continue to be classed as epochs in the picture industry. These are prepared only for the big run features.

MUSICAL SETTING—A musical setting is comprised of standard selections placed loosely, in rotation, in a folder, for the purpose of fitting a picture. There is no synchrony, and because of that fact, no key sequence is considered, for it may happen that where the break occurs the key will fit the following number perfectly. For practical purposes one theme only is used, although it is sometimes feasible to use two. This music cannot possibly fit every foot of the picture, but can hold the atmosphere in a general way and carry the picture. These are used in every theater and are frequently prepared by the aid of cue sheets.

MUSICAL CUE SHEET—A musical cue sheet is a prepared list of cues, indicating where the music should be changed, and suggesting certain selections which are suitable for use, with the tempo and character of each noted to allow for substitution. The approximate time is shown, and sometimes a three-word description of the scene to be fitted is given. Cue sheets are distributed by the picture producers for the benefit of the exhibitor who cannot procure his film in time to see it before the first performance, and are good, bad, or indifferent, according to the ability displayed by the writer of them.

MUSICAL SUGGESTION SYNOPSIS is a concise musical review of the picture with suggested numbers that may be used as a theme. Atmosphere, period of time, location and big moments are noted, and frequently selections are mentioned for use in the climaxes.

At the present time of writing, the above is a complete classification of music for the pictures. The rapid growth of the industry, bringing with it new ideas, may cause changes to be made in the method of musical presentation, but now we can only rely on four forms denoting picture accompaniment.

The importance of music as an adjunct to the picture has been but recently recognized, and there is considerable confusion in the minds of producer, exhibitor and layman regarding its classification. By definition, example and qualifications, we have tried to standardize music for the pictures in order that the producer will not be further muieted [quieted?] by unscrupulous arrangers, and exhibitors will know what they are getting when called by its proper name.

Scores and settings are frequently regarded as one, and the same thing and capital is made out of it by those fakers who throw together loose music and demand score prices for it. In many respects the two are alike; they are played as an accompaniment and must fit the picture. The difference lies in the necessary qualifications required by each.

A score must follow the picture minutely, foot by foot, as an accompaniment follows the voice. It must be in perfect synchrony. By this we mean that if a dominant scene has a footage of 150 feet, and the film projection calls for 15 minutes to the thousand feet, the appropriate selections should run exactly two minutes and fifteen seconds. Naturally the number of measures required will be governed by the tempo selected. An adagio or andante sostenuto number will not be as long as an allegro or allegretto. The following examples, indicative of the time duration of fifteen seconds, will show a marked difference, and by using these as a basis one can readily understand how an entire score can be in absolute synchrony.


A score must have key sequence—in other words, each successive number must be in a relative key to the one immediately preceding it. As students of harmony well know, there are five relatives to every key, so the task is not so great as would appear on the surface. Besides using legitimate relatives, it is permissible to use an enharmonic key, or one which begins with a note common in the chord of the preceding key; for example: Going from the key of F to the Key of A major, we find A is the third of the chord in the key of F, and is also the tonic of the key of A. The best results are obtained when they finish and begin.

At (A) you will notice the upper A is held in common, the F falls one half tone, and the C rises one-half tone, while at (B) these progressions similarly obtain, but in different voices.

The following examples of enharmonic keys are the only ones available and must be used judiciously lest discord appear in the change:

1—5 flats, key of Db, has for its enharmonic 7 sharps, key of C sharp
2—6 flats, key of Gb, has for its enharmonic 6 sharps, key of F sharp
6—7 flats, key of Cb, has for its enharmonic 5 sharps, key of B
and vice versa.

The following table of relative flat keys is worked out in the sharp keys in the same manner.

[1662] Our contention is not that these keys should be used in sequence and selection made with this in mind only. By no means. A number must first be selected for its suitability alone, and then if it does not fall within the rule for key sequence, it should be transposed to a key relative to the preceding number. Before deciding the key for transposition, the orchestration should be carefully scrutinized lest a key be selected that will carry some instrument out of its range. This would be calamitous and make the work of transposition absolutely abortive. Where there appears to be no key suitable for transposition, it is better to write an original modulation for approximately a fifteen-second length. This should be tacked on the end of the preceding number and not used at the cue for the next number. Of course, allowance should be made for it in the timing.

The qualifications required for a musical setting are by no means so exacting, nor do they entail such minute detail or painstaking effort. It must fit the picture in a general way and portray the big emotions depicted. No special orchestral arranging is necessary, no blending of themes is possible, nor is key sequence counted upon to work out satisfactorily. Synchrony is not attempted; the principal problem is simply to fit the picture with standard music. This form of musical accompaniment is not a score and must not be classed as such.

Turning from the playable music to the suggestion sheets, remarkable as it may seem, we frequently see producing companies advertise their cue sheets as scores. This is misleading to the exhibitor and his orchestra leader, and is most detrimental to the company itself.

The difference between the cue sheet suggestions and the musical suggestion synopsis is again the difference between detail and generality. In both cases the picture must be seen in order to suggest proper music, but when a cue sheet is prepared, it entails the use of a stop-watch to catch the time, a stenographer to get the titles, and an assistant to note the effects. When the data has been obtained, each number must be selected with care, looking to its suitability, and practicability, for small combinations, as well as for its probable existence in the library of the average orchestra leader. Of course, the tempo being given, he has a chance to substitute if he deems it wise, and this is made easy because of the given time duration. Cue sheets are sent out when no score is prepared, and from them the leader can compile his musical setting.

Musical leaders prefer to disregard cue sheets for some reason or other, and yet they require some idea of the picture they must fit. These fellows used to read the reviews of the pictures in question and thus learn its general trend. As an aid to this class of musicians, the musical suggestion synopsis was adopted and has received many high commendations for its brevity and conciseness. It is also an aid to those leaders who have been neglected by the exchange, or whose cue sheet has been delayed in the mails. It suggests the music required in a general way and leaves to the judgment of the orchestra conductor the proper presentation of his picture.

Music service in any form is absolutely essential to the up-to-date theater, and every producer should see to it that he is getting the service he is paying for under its proper classification.

Source: [George W. Beynon,] “Music for the Picture,” MPW 23 March 1918, 1661-62.

The Truth About Voice Doubling, Part IV

Here is the fourth and final part of the article on voice doubling. (Part I here. Part II here. Part III here.)

In this segment, Larkin notes that the practice of voice doubling seems to be waning and in any case there are numerous other issues for the sound film that are exceedingly more troublesome.

[110] Songs for "The Divine Lady" were "dubbed" in after Miss Griffith completed the picture. An odd complication developed when it came to doubling the harp. It had been arranged for Zhay Clark to play this instrument for Miss Griffith, but when that portion of the picture was viewed it was discovered that Miss Griffith's fingernails were longer than Miss Clark's, and that her hands, therefore, could not substitute effectively for Miss Griffith's.

So Miss Clark spent two days teaching Miss Griffith the fingering of the harp, and how to come in with the orchestra. Then the star did the scene herself. The music and songs, according to those acquainted with the facts, were "dubbed" in the East—a feat easily accomplished merely by watching the picture on the screen and getting from doubles a sound-track that would fit properly.

Voice doubling is often done in the monitor room after the production is complete, the double playing the designated instrument or reading the lips of the player and timing his words to fit these lip movements.

But voice doubling seems to be on the wane. As time goes on, there will be less need for it. In rare instances, of course, it will be done where stars can't sing or play the instruments called for int he script. But stars are rapidly learning to sing and play. It won't be long now until a majority of players can boast of these accomplishments.

Then, too, microphone miracles are becoming more prevalent every day. This is due primarily to rapid improvement in equipment. Josef Cherniavsky, the musical director for one company, says: "Give me a person who is not tone deaf and I will make him ninety-five percent perfect in talking pictures." Perhaps Mr Cherniavsky is a wee bit enthusiastic, but at least his outlook indicates the present Hollywood trend.

Bearing out his statement, it is interesting to note that if a voice has tone quality, but lacks volume, the fault can easily be corrected by the amplifier. Take Alice White. Alice White sang her own songs (unless I have been terribly fooled, and I suspect I have!) in "Broadway Babies," sang them sweetly, but in a piping little voice that couldn't be heard off the set. Yet when the "play-back" gave evidence of surprising volume in her tones, loud cheers went up from company officials. The "play-back," by the way, is a device which plays back the voices of the cast from a wax record shortly after the scene is filmed. It's an invaluable check-up.

The problem of the foreign player is, of course, difficult to solve. At first t was regarded as an insurmountable obstacle. It is being discovered by producers, however, that what they thought was a hopeless liability in the beginning has actually become an asset. In the case of feminine players in particular, accent is a decided charm. Such foreign players as Baclanova, Goudal, et al, are giving up the thought of perfecting their English. Nils Asther is studying English religiously. Care will always have to be exercised, nevertheless, in casting these players.

Another instance of piano doubling occurred in "Speakeasy," that splendid underworld picture about the prize-fighter and the girl reporter. Fred Warren, an exceptionally capable pianist, doubled at the piano for Henry B. Walthall. This was accomplished by tying down the keyboard of the real piano at which Walthall sat, so that when he struck the keys, nothing happened. You will remember, of course, that he sat facing the audience in such as position as to conceal his hands. Warren sat off stage at a real piano, about fifteen or twenty feet away, in a spot where he and Walthall could see each other. The recording "mike" was near Warren. As he played, Walthall imitated his motions. They had rehearsed the thing to perfection.

Although voice doubling is to the public the most interesting phase of sound work—because it is hidden from public view, no doubt—it is one of the comparatively simple things which confront producers. Problems much more subtle really vex them. For instance: New caste has grown up with the advent of conversing pictures; sound engineers are competing with directors for prestige and dominance; there is often open warfare between directors and monitor men; the new terminology of the business—"dubbing," "bloping," the invention of "split sets"; the mere fact that light travels faster than sound—a circumstance baffling to engineers, and one that gives them grey hairs.

Just recently sound engineers found out that perfect synchronization in a big theater is virtually impossible—all because light travels faster than sound. IF you are sitting comparatively close to the screen, all is well. If you are sitting in the back of the house, or in the balcony, it's another matter. Sound vibrations reach you after you have seen the image speak. The speed with which light vibrations exceed sound vibrations will depend of course upon where you sit. And this is a problem the sound engineers are trying to solve.

So you see producers have other troubles than doubles!

Source: Mark Larkin, "The Truth About Voice Doubling," Photoplay Magazine, July 1929, 32-33, 108-10.

NB: It is my understanding that Photoplay Magazine from this era is in the public domain due to not having renewed the copyright.

The Truth About Voice Doubling, Part III

Here is the third part of the article on voice doubling. (Part I here. Part II here.)

This section notes difficulties Douglas Fairbanks had negotiating the recording apparatus and questions whether Hollywood has any reason to be concerned when people find out that voice doubling is a common practice.

[109] A surprisingly large number of players in the film capital are now training their voices, in diction as well as singing, for the express purpose of avoiding the necessity of voice doubling. Vilma Banky, for instance, spends two hours a day perfecting her English. And James Burroughs, Bessie Love, Carmel Myers, Billie Dove, Gwen Lee, Jaxqueline Logan, Frances Lee, Leatrice Joy, Armand Kaliz and innumerable others are all taking vocal lessons. Most of these have sung professionally at some time in their career.



In that worthy picture, "Alibi," Virginia Flohri, a widely-known radio singer, doubled for Irma Harrison who, you remember, sang a song in the cafe as Toots, the chorus girl. Miss Harrison simulated singing while Miss Flohri actually sang into the microphone off stage. In this instance their timing was not perfect.

MISS FLOHRI also sang for Jeanne Morgan in the Romeo and Juliet vaudeville number, if you remember it, and Edward Jordon sang for Robert Cauterio.

Obtaining suitable voice doubles is often a difficult task. The voice must not only fit the player, it must suit the characterization as well. And good singing voices are not always easily found. One reason for this is that persons of marked vocal accomplishments are frequently reluctant to double. They are afraid their voices will be recognized, that it will cheapen them. A notable case in point was that of Marion Harris, the vaudeville headliner, who turned down an offer of $10,000 from Universal, according to one of her representatives, to substitute her voice for a film player, presumably in "Broadway."

No end of problems develop, of course, in connection with registering the voice. When

[110] Douglas Fairbanks did his bit of talking for "The Iron Mask" his stentorian tones all but wrecked the recording apparatus.

BEFORE beginning, he was cautioned by the sound engineers to speak softly. However, for Doug this was impossible. He could not get dramatic effect with his conversation thus cramped. As a result the first uproarious line of his speech brought the sound men pouring out of the mixing chamber like a swarm of mad hornets. Much argument ensued. Finally Earle Browne, director of dialogue, hit upon the bright idea of moving the microphone thirty feet away and turning it so that it faced away from Fairbanks.

Laura La Plante's problem in "Show Boat" was quite the opposite of Doug's. The most difficult thing she had to learn in working with a double was, not to sing silently, but to finger a banjo perfectly. She realized, naturally, that the eyes of countless trained musicians would be upon her in the audiences the world over. In consequence, she could not fake. She had to be convincing. So she spent several weeks learning the correct fingering of a banjo.

Some of the stars, of course, actually play musical instruments, though few have done so professionally. There's Bessie Love and her ukulele, and a few others. In "Mother Knows Best," Barry Norton actually played the piano while Sherry Hall sang his song. Sherry stood before the "mike" just outside the camera lines and Barry played his accompaniment and at the same time spoke the words of the song inaudibly, putting into them the proper timing, a thing possible to him because of his knowledge of music.

Of course, every effort is made on the part of producers to guard the secret of doubling. Picture-makers feel that it spoils the illusion, that it hurts a production's box office appeal. In this respect, however, they are wrong. I know this from my own personal experience in exploitation work. In nearly twelve years of steering the box office destinies of photoplays—especially film roadshows, some of the largest of which I have handled personally—I have yet to encounter a single set-back or loss because the public had knowledge of a double's work. On the other hand, I found that it often stimulated business to let the public in on a secret or two.

Eva Olivotti, one of Hollywood's most prominent voices, assured a friend that, if it became known that she doubled for Laura La Plante in the singing numbers of "Show Boat," she would never be able to obtain another job. That is an example of the fear instilled into the hears of the doubles by the companies for which they work. They are afraid even to breathe the nature of their employment.

THE fact remains, however, that Miss Olivotti did sing Miss La Plante's songs and sang them very well, indeed.

Part IV here.

Source: Mark Larkin, "The Truth About Voice Doubling," Photoplay Magazine, July 1929, 32-33, 108-10.

NB: It is my understanding that Photoplay Magazine from this era is in the public domain due to not having renewed the copyright.