Music Trade Review
Issue: 1927 Vol. 84 N. 12 - Page 39
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
Roxy Theatre Sets New Standard in
Photoplay Theatre Music Presentation
Opening Program of New Theatre Wins Wide Critical Acclaim—Flammer Publica-
tion, "The Love Waltz," Featured as Theme Song of New Swanson Film
O OXY'S new $10,000,000 theatre opened last
• ^ Friday night, March 11, and even sur-
passed most buoyant expectations of what the
acme of motion picture palaces could be. The
reviewer of this event must confine himself,
however, chiefly to the musical portion of the
program.
The proceedings opened with the mellow peal
of the chimes. Hardly had the notes of these
died away than the audience was awed by the
appearance of three organ consoles of the big
Kimball organ rising on noiseless elevators
with an organist at each console. This was
most effective. The organists played several
selections, including the "Tannhaeuser" over-
ture and the "Londonderry Air." They had
no sooner disappeared when in solemn voice
a recitation was intoned with the stage in
semi-darkness, commencing with "Unfold Ye
l'ortals" and ending with "Let There Be
Light!" At the word "light" the darkness was
instantly changed to a radiancy and an orches-
tra of 110 men, which appeared during the
brief period of darkness from the lower re-
gions, was elevated in all its glory, the instru-
ments being toned in with the golden frosting
of the theatre itself. At the same time and
at the same word "light," H. Maurice Jacquet,
one of the conductors of the orchestra, brought
down his baton and the orchestra resounded
with a patriotic symphony written especially
by him. The effect was such that it brought
the audience to its feet as it sang the "Star
Spangled Banner," and the curtains parted
revealing a representation of the event when
our national anthem was written. A little later
on the Vitaphone presented a scene from "Car-
men," with exquisite singing by Jeanne Gordon
and Martinelli.
The ballet had appeared a
short time previous with the art of Mme. Maria
Gambarelli. Julius Bledsoe next appeared in
an original setting singing "Suwanee River,"
with a back-drop of the New York waterfront
with the ships passing to and fro on the screen.
This was quite an original feature in that the
projection was done from the back of the
screen, allowing the scenic effects in front to
be used at liberty without casting any shadows
or interfering in any way. The chorus was
the next feature in a medley of Southern songs,
with Jim Coombs, basso, the soloist, and
Charleston dancers. The chorus of 100 male
and female voices was most effective and was
used on several other occasions.
Irving Berlin, who was in the audience, had
written for the opening a new song entitled
"Russian Lullaby," which was sung by Gladys
Rice and Douglas Stanbury. There followed
Two Better Melodies
Emmy Jo, and Her Beau
A Sweet, Pleading Fox Trot Hit
With Wonderful Dance Rhythm
Give Me An Hour For Tomorrow
The Popular Waltz Ballad
With a Heart Throb
Piano CoPies and Orchestrations
From Your Jobber or Direct
VOR-EEN MUSIC PUBLISHERS
So. Green St.
-
Wichita
the. first showing of "Th» Love of Sunya,"
Gloria Swanson's first independent picture.
The motion picture critics all agree that
this photoplay contains the best work that Miss
Swanson has produced in a number of years.
Throughout the screening of the photoplay
was heard the theme melody of the picture,
"The Love Waltz," written by H. Maurice
Jacquet and published by Harold Flammer,
Inc.
This song was rendered at least fifteen
times, once in minor key and with the tempo
varied on certain occasions. It was used also
with a fanfare of trumpets at the climax of
the photoplay. On leaving the auditorium we
heard many around us humming and singing
the refrain, ' T h e Love Waltz," and Frank
White played the number on the gallery organ
for the departing guests.
Erno Rapee, who conducted the selection
from "Carmen" before the singing of Martinelli,
was enthusiastically applauded after his per-
formance, and indeed he did excellent work,
considering that his right arm was in a sling,
due to a minor accident he had received a few-
days ago.
Mr. Jacquet's musicianship cannot be praised
too highly in arranging the numbers for the
orchestra, in conducting and drilling of the
organization, his precision of attack and the
response he received from each musician under
his baton. While unknown to many of the
musical publishers as a composer, he is known
internationally, having conducted abroad, where
he is well known for his many distinguished
compositions. "The Love Waltz" will undoubt-
edly make a name for Mr. Jacquet in this
country, as we understand that four editions
have already been sold and the fifth is expected
anxiously by the publishers within a few days.
"The Love Waltz" was broadcast on March
7 by Roxy and his Gang, sung by Gladys Rice
and Douglas Stanbury.
Incidentally, "The Love of Sunya," is re-
leased for exhibition in many cities throughout
the country and invariably orchestrations of
the theme song, "The Love Waltz," will accom-
pany the release, so that orchestras can carry
on a national exploitation of this offering.
Harold Flammer, Inc., is also sending to photo-
play organists specially designed colored song
slides, which should aid sales of "The Love
Waltz."
Oliver Ditson Go.
Releases for Easter
The Oliver Ditson Co. has just forwarded to
the trade some new songs particularly available
for Easter. Probably the most important of
these are "Awake! Arise!" the text of which
is by Bernhard Haig and music by Clara Ed-
wards. The number is issued for high and
medium voices.
Another sacred song appropriate at this sea-
son is "Hymn of the Last Supper," the words
and music by Victoria Demarest, issued in high,
medium and low voice.
To its octavo catalog of "Easter Anthems"
the Ditson Co. has released "Again the Morn
of Gladness," by Edward Shippen Barnes, ar-
ranged for mixed voices; "The Lord Is Risen
Indeed," by Charles Fonteyn Manney, and
39
Songs that Sell
Blue Skies
Irving Berlin
Here or There ( A s Long as l'r
With You)
Carolina Mine
Swanee River Trail
Rags
What Does It Matter
Irving Berlin
I Never See Maggie Alone
That's My Hap-Hap-Happiness
My Sunday Girl
Mv Baby Knows How
Yankee Rose
C'est Vous
Some Day
Just a Little Longer—Irving Berlin
When the Red, Red Robin Comes
Bob, Bob, Bobbin' Along
Put Your Arms Where
They Belong
Always
Remember
I'm on My Way Home—
Irving Berlin
That's a Good Girl Irving Berlin
I'm Tellin' the Birds
Tellin' the Bees
(How I Love You)
I'd C l i m b t h e H i g h e s t M o u n t a i n (If
1 Knew I'd Find You)
That's What I Call a Pal
So Will 1
In the Middle of the Night
Because I Love You
Irving Berlin
At Peace With the World—
I'rving Berlin
How Many Times Irving Berlin
I Never Knew What the Moonlight
Could Do
BOOKS THAT SELL
New Universal Dance Folio No. 12
Peterson's Ukulele Method
World's Favorite Songs
Tiddle De Ukes
Strum It With Crumit (Comic Uku-
lele Song Book)
IRVING BERLIN In,
1607 Broadway New York City
Easter processional for mixed voices; "Spring
Bursts To-day," an Easter carol anthem for
mixed voices, by Lucina Jewell. Also there is
"Alleluia! Christ is Risen" (Kopolyoff), ar-
ranged by Harvey Gaul, a Russian Easter song
for mixed voices.
CLEVELAND, O., March 12.—The Robert L. White
Music Co., which is located in the old Arcade,
has subleased to the G. Schirmer Co., of New
York, for a term of five years, the same space
that it has been occupying in the company's
store.
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
Roxy Theatre Sets New Standard in
Photoplay Theatre Music Presentation
Opening Program of New Theatre Wins Wide Critical Acclaim—Flammer Publica-
tion, "The Love Waltz," Featured as Theme Song of New Swanson Film
O OXY'S new $10,000,000 theatre opened last
• ^ Friday night, March 11, and even sur-
passed most buoyant expectations of what the
acme of motion picture palaces could be. The
reviewer of this event must confine himself,
however, chiefly to the musical portion of the
program.
The proceedings opened with the mellow peal
of the chimes. Hardly had the notes of these
died away than the audience was awed by the
appearance of three organ consoles of the big
Kimball organ rising on noiseless elevators
with an organist at each console. This was
most effective. The organists played several
selections, including the "Tannhaeuser" over-
ture and the "Londonderry Air." They had
no sooner disappeared when in solemn voice
a recitation was intoned with the stage in
semi-darkness, commencing with "Unfold Ye
l'ortals" and ending with "Let There Be
Light!" At the word "light" the darkness was
instantly changed to a radiancy and an orches-
tra of 110 men, which appeared during the
brief period of darkness from the lower re-
gions, was elevated in all its glory, the instru-
ments being toned in with the golden frosting
of the theatre itself. At the same time and
at the same word "light," H. Maurice Jacquet,
one of the conductors of the orchestra, brought
down his baton and the orchestra resounded
with a patriotic symphony written especially
by him. The effect was such that it brought
the audience to its feet as it sang the "Star
Spangled Banner," and the curtains parted
revealing a representation of the event when
our national anthem was written. A little later
on the Vitaphone presented a scene from "Car-
men," with exquisite singing by Jeanne Gordon
and Martinelli.
The ballet had appeared a
short time previous with the art of Mme. Maria
Gambarelli. Julius Bledsoe next appeared in
an original setting singing "Suwanee River,"
with a back-drop of the New York waterfront
with the ships passing to and fro on the screen.
This was quite an original feature in that the
projection was done from the back of the
screen, allowing the scenic effects in front to
be used at liberty without casting any shadows
or interfering in any way. The chorus was
the next feature in a medley of Southern songs,
with Jim Coombs, basso, the soloist, and
Charleston dancers. The chorus of 100 male
and female voices was most effective and was
used on several other occasions.
Irving Berlin, who was in the audience, had
written for the opening a new song entitled
"Russian Lullaby," which was sung by Gladys
Rice and Douglas Stanbury. There followed
Two Better Melodies
Emmy Jo, and Her Beau
A Sweet, Pleading Fox Trot Hit
With Wonderful Dance Rhythm
Give Me An Hour For Tomorrow
The Popular Waltz Ballad
With a Heart Throb
Piano CoPies and Orchestrations
From Your Jobber or Direct
VOR-EEN MUSIC PUBLISHERS
So. Green St.
-
Wichita
the. first showing of "Th» Love of Sunya,"
Gloria Swanson's first independent picture.
The motion picture critics all agree that
this photoplay contains the best work that Miss
Swanson has produced in a number of years.
Throughout the screening of the photoplay
was heard the theme melody of the picture,
"The Love Waltz," written by H. Maurice
Jacquet and published by Harold Flammer,
Inc.
This song was rendered at least fifteen
times, once in minor key and with the tempo
varied on certain occasions. It was used also
with a fanfare of trumpets at the climax of
the photoplay. On leaving the auditorium we
heard many around us humming and singing
the refrain, ' T h e Love Waltz," and Frank
White played the number on the gallery organ
for the departing guests.
Erno Rapee, who conducted the selection
from "Carmen" before the singing of Martinelli,
was enthusiastically applauded after his per-
formance, and indeed he did excellent work,
considering that his right arm was in a sling,
due to a minor accident he had received a few-
days ago.
Mr. Jacquet's musicianship cannot be praised
too highly in arranging the numbers for the
orchestra, in conducting and drilling of the
organization, his precision of attack and the
response he received from each musician under
his baton. While unknown to many of the
musical publishers as a composer, he is known
internationally, having conducted abroad, where
he is well known for his many distinguished
compositions. "The Love Waltz" will undoubt-
edly make a name for Mr. Jacquet in this
country, as we understand that four editions
have already been sold and the fifth is expected
anxiously by the publishers within a few days.
"The Love Waltz" was broadcast on March
7 by Roxy and his Gang, sung by Gladys Rice
and Douglas Stanbury.
Incidentally, "The Love of Sunya," is re-
leased for exhibition in many cities throughout
the country and invariably orchestrations of
the theme song, "The Love Waltz," will accom-
pany the release, so that orchestras can carry
on a national exploitation of this offering.
Harold Flammer, Inc., is also sending to photo-
play organists specially designed colored song
slides, which should aid sales of "The Love
Waltz."
Oliver Ditson Go.
Releases for Easter
The Oliver Ditson Co. has just forwarded to
the trade some new songs particularly available
for Easter. Probably the most important of
these are "Awake! Arise!" the text of which
is by Bernhard Haig and music by Clara Ed-
wards. The number is issued for high and
medium voices.
Another sacred song appropriate at this sea-
son is "Hymn of the Last Supper," the words
and music by Victoria Demarest, issued in high,
medium and low voice.
To its octavo catalog of "Easter Anthems"
the Ditson Co. has released "Again the Morn
of Gladness," by Edward Shippen Barnes, ar-
ranged for mixed voices; "The Lord Is Risen
Indeed," by Charles Fonteyn Manney, and
39
Songs that Sell
Blue Skies
Irving Berlin
Here or There ( A s Long as l'r
With You)
Carolina Mine
Swanee River Trail
Rags
What Does It Matter
Irving Berlin
I Never See Maggie Alone
That's My Hap-Hap-Happiness
My Sunday Girl
Mv Baby Knows How
Yankee Rose
C'est Vous
Some Day
Just a Little Longer—Irving Berlin
When the Red, Red Robin Comes
Bob, Bob, Bobbin' Along
Put Your Arms Where
They Belong
Always
Remember
I'm on My Way Home—
Irving Berlin
That's a Good Girl Irving Berlin
I'm Tellin' the Birds
Tellin' the Bees
(How I Love You)
I'd C l i m b t h e H i g h e s t M o u n t a i n (If
1 Knew I'd Find You)
That's What I Call a Pal
So Will 1
In the Middle of the Night
Because I Love You
Irving Berlin
At Peace With the World—
I'rving Berlin
How Many Times Irving Berlin
I Never Knew What the Moonlight
Could Do
BOOKS THAT SELL
New Universal Dance Folio No. 12
Peterson's Ukulele Method
World's Favorite Songs
Tiddle De Ukes
Strum It With Crumit (Comic Uku-
lele Song Book)
IRVING BERLIN In,
1607 Broadway New York City
Easter processional for mixed voices; "Spring
Bursts To-day," an Easter carol anthem for
mixed voices, by Lucina Jewell. Also there is
"Alleluia! Christ is Risen" (Kopolyoff), ar-
ranged by Harvey Gaul, a Russian Easter song
for mixed voices.
CLEVELAND, O., March 12.—The Robert L. White
Music Co., which is located in the old Arcade,
has subleased to the G. Schirmer Co., of New
York, for a term of five years, the same space
that it has been occupying in the company's
store.
Future scanning projects are planned by the International Arcade Museum Library (IAML).