Youtor
Norman Leigh Loves Yearning
>> YOUR LINK HERE: ___ http://youtube.com/watch?v=uZeT2Swg_jA
Phillip Sear plays a 1928 piece by the American pianist and composer Arthur Cleveland Morse (1885–1936) writing under the pseudonym Norman Leigh. • -------------------------------------------------- • Born in Massachusetts, Morse worked for the Boston publisher Walter Jacobs writing pieces to be used for photoplay purposes (ie, background music for silent films). Before that, he was a salesman for Colonial Pianos in Boston. Jacobs's magazine 'Melody' (in which this piece was printed) suggested that 'Love's Yearning' could be used for “quiet sentimental situations, love themes” when used for photoplay (see below). • “American photoplay music, born in the silent film era, was a unique blend of improvisation, adaptation, and emerging technology. Before dedicated film scores existed, pianists in cinemas would weave together existing melodies, drawing from classical pieces, popular tunes, and their own musical intuition to accompany the flickering images on screen. This era, roughly from the 1890s to the 1910s, saw the rise of “mood music,” with generic cues like “fast and exciting” or “sad and sentimental” guiding the pianist's choices. • As silent films grew more complex, so did the need for more nuanced musical accompaniment. Around 1910, specialized publishers like Sam Fox Music and Academic Music began issuing “photoplay music” folios. These short, thematic pieces were designed to evoke specific emotions or situations, and pianists could choose and combine them to create a score for a particular film. Popular titles included The Automobiliste for chase scenes, The Weeping Willow for melodramatic moments, and the ever-present Mysterious Scherzo for scenes of suspense. • The invention of the photoplayer in the early 1910s further revolutionized silent film music. These automated instruments, essentially player pianos tricked out with pipe organs and percussion, could play pre-recorded scores synchronized to the film. Photoplayers offered a wider range of sounds and greater consistency than live pianists, but they also lacked the flexibility and expressiveness of human performance. • By the late 1920s, the arrival of sound films made both photoplayers and silent film music obsolete. However, the legacy of this era lives on in the DNA of modern film scoring. The concept of using music to enhance mood, create atmosphere, and guide the audience's emotions remains a cornerstone of cinematic storytelling. And while the days of pianists improvising in the dark and photoplayers whirring to life are long gone, the spirit of American photoplay music—inventive, adaptable, and always striving to bring the silver screen to life—continues to inspire composers and filmmakers to this day.” (Bard, 30/1/24). • The folios of photoplay scores have in them many pieces that make effective standalone piano solos (which is all that they are likely to be used for today). • Thumbnail image created with Wombo Dream ( https://rb.gy/ekerq ). • #americanmusic #silentcinema • --------------------------------------------------- • Played by Phillip Sear • http://www.psear.co.uk (Email: [email protected] • WhatsApp: http://wa.me/441444483794 ) TikTok: / pianogems
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