William E. Chaplin, Classical Forum: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Analyzing Classical Form: An Approach for the Classroom, William E. From Chaplin’s brilliant use of Wagner in The Gold Rush to the Bach chorale closing. Read “William E. Chaplin, Classical Forum: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, Music.
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Realizing the importance of musical accompaniment to the silent film, Chaplin sought to have it reproduced in every theatre exactly as he wished it. Chaplin plays the violin in The Vagabond, But who, better than Chaplin, could point up musically the tragic-comic adventures of the tramp character he himself created? He clasical to the girl in the window of her shop laughing claszical him… Music: Violin Caprice secondary girl theme.
Tramp Theme played slowly and tragically. It is true that one or two of the minor numbers are reminiscent. But the melodies, with the exceptions noted above, used for the associations they would evoke, were composed by Chaplin.
A fanfare on trumpets, over a night scene, opens the picture proper. A rumba-like number accompanies the party scene where the tramp swallows the whistle. W Griffith also composed some musical themes for his pictures. In similar fashion D. The famous apache dance for, a paraphrase.
Actually, from on, every town of five thousand or over had at least a three-piece orchestra — or an organ.
Played also behind the tragic of the picture, with its grim and fateful chords, the second has a distinct Puccini flavor.
After Chaplin made his first million, he installed a pipe organ in his Beverly Hills mansion. But perhaps of no other one man can it be said that he wrote, directed, acted, and scored a motion picture.
Charlie Chaplin : Chaplin as a Composer
The ending of City Lights, In fkrm moods he is known to have fingered this expensive instrument for hours at a time. Tramp finds flowers in gutter… Music: The Tramp and the Millionaire, City Lights, Saxophone bleating, in slightly off synchronization with the lips, mimics the speakers at the unveiling of the moment.
As was customary in the scoring for silent pictures, the Wagnerian leitmotiv system was followed — a distinctive musical theme associated with which character and idea. Girl touches hand of tramp… Music: Tramp comes to corner where Girl used to sell flowers Music: She had two subsidiary themes, one a pathetique for scenes in her slum chplin, and the other a violin caprice, for her wistful moments.
Chaplin as a Composer
Chaplin rehearsing with the Abe Lyman Orchestra. Incidentally, Chaplin even conducted the orchestra, himself, during recordings, an added reason for the satisfying impression of wholeness in the Chaplin films. A dramatic theme introduces him and is followed by an over-dramatic agitato as he chalpin the suicide noose. The style is marked and individual.
It is heard again as a sort of fate theme at moments of crises, such as the count over Charlie in the boxing ring, and his capture and imprisonment. Nor does Chaplin possess the virtuosity and present grandiose manner of Steiner, where too often sheer bombast attempts to make up for the emotional vacuity in the picture itself.
At least twenty numbers in the score could be published as separate and original works. The theme is repeated seven times when he is in hopeful moods. Tramp wanders the streets… Music: The tramp, let out of prison, searches for the blind girl. This shrill squeaking is used not only as a comic note itself, but as a burlesque of the talkies.
When Chaplin was classcal by the Essanay Company, he bought a violin on which he scraped for hours at night, to the annoyance of less wakeful actors when they all lived next to the studio at Niles, California. Chaplin playing the organ.