![]() ![]() Ever guided by his mentor and friend Victor Herbert, he would surely have followed Herbert's lead by 1915 ( Death of a Nation, extended musical accompanyment ) if not before. He began recording short compositions in the years before World War One. As a young composer on the New York scene before 1900 he was busy ghost-writing melodies for musical theater as well taking a hand at publishing popular sheet music alongside his more serious classical endeavors. The precise details of Hadley's early involvement in film music are not known, but many clues suggest that an early beginning is possible. "Silent film" was never silent, of course, in a theater showing. ( special thanks to silent film performer Frederick Hodges for assistance in locating this example.) The desire for a consistent musical accompaniment to a film with no spoken dialog was one of the major motivations driving the development of recorded soundtracks. ![]() ![]() Completely improvised accompaniments from a solo keyboard, utilizing the same sort of themes was also common, along with fully written-out, original scores. Throughout the silent film era, such composite accompaniments from a stock library were one of the most common methods of providing uninterrupted music for the film. ![]() Suite Ancienne was originally published as chamber music for accompanied violin, cello, or piano solo. Parts could be obtained either from the sheet publisher, or pulled from the extensive libraries that large theaters maintained. Copyright is ascribed to Carl Fischer, with the first eight bars prompted on the sheet. Depending on the venue, this might be played by an orchestra, a tiny ensemble, a pipe organ or a piano. 108 is called for as cue#16, a title, approximately twenty-three minutes into the film. Hadley's "Plaintiff" from his Suite Ancienne, Op. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2022
Categories |