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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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. In similar fashion D. The ending of City Lights, Played also behind the tragic of the picture, with its grim and fateful chords, the second has a distinct Puccini flavor.
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. A fanfare on trumpets, over a night scene, opens the picture proper. After Chaplin made his first million, he installed a pipe organ in his Beverly Hills mansion. But the melodies, with the exceptions noted above, used for the associations they would evoke, were composed by Chaplin.
She had two subsidiary themes, one a pathetique cjaplin scenes in her slum room, and the other a violin caprice, for her wistful moments. The style is marked and individual. Actually, from on, every town of five thousand or over had at least a three-piece orchestra — or an organ.
Charlie Chaplin : Chaplin as a Composer
When Chaplin was signed 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 rehearsing with the Abe Lyman Orchestra. Chaplin plays the violin in The Vagabond, Realizing the importance of musical accompaniment to the silent film, Chaplin sought to have it reproduced in every theatre exactly as he wished it.
But perhaps of no other one man can it be said that he wrote, directed, acted, and scored a motion picture. But who, better than Chaplin, could point up musically the tragic-comic adventures of the tramp character he himself created?
The tramp, let out of prison, searches for the blind girl. Violin Classsical secondary girl theme. A dramatic theme introduces him and is followed by an over-dramatic agitato as he ties the suicide noose. Incidentally, Chaplin even conducted the orchestra, himself, during recordings, an added reason for the satisfying impression of wholeness in classsical Chaplin films. W Griffith also composed some musical themes for his pictures. Tramp Theme played slowly and tragically.
Tramp comes to corner where Girl used to sell flowers Music: The famous apache dance is a paraphrase.
Girl touches hand of tramp… Music: The Tramp and the Millionaire, City Lights, 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.
He turns to the girl in the window of her shop laughing at him… Music: A rumba-like number accompanies the party scene where the tramp swallows the whistle. Tramp finds flowers in gutter… Music: Saxophone bleating, in slightly off synchronization with the lips, mimics the speakers at the unveiling of the moment.
It is true that one or two of the minor numbers are reminiscent. In certain moods he is known to have fingered this expensive instrument for hours at a time.
Chaplin as a Composer
This shrill squeaking is used not only as a comic note itself, but as a burlesque of the talkies. Tramp wanders the streets… Music: Chaplin playing the classifal.
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.