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Grand Ideas and Second Thoughts: Lessons from George Colburn's Personal Score to Antony and Cleopatra (Cines-Kleine, 1914)

Grand Ideas and Second Thoughts: Lessons from George Colburn's Personal Score to Antony and... JAme S m . Doeri Ng g rand ideas and Second Thoughts: l essons from g eorge Colburn’s personal Score to Antony and Cleopatra (Cines- Kleine, 1914) in late November 1913 Chicago composer g eorge Colburn (1878–1921) received a remarkable proposal. g eorge Kleine Attractions (g KA), a leading film distributor at that time, offered Colburn the opportunity to compose “special music” for the u .S. release of its newest italian import, Marcantonio e Cleopatra (Cines, 1913). The special music would have significant exposure both as the accompanying score for the film’s month-long r un at Chicago’s American m usic Theater and as a printed piano score sent to theaters exhibiting the film. For a composer like Colburn, who spent most of his time teaching (composition and harmony at Chicago’s American Conservatory) and conducting (directing bands at the Northwestern military Academy in Highland park), this combination of performances, publication, and national distribution must have caused his eyes to widen. m oreover, the project’s potential for success was significant. Antony and Cleopatra was a likely blockbuster. it depicted a classic epic of love and tragedy with flair and operatic lar gess, featuring a cast of thousands, intricate costumes and sets, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Grand Ideas and Second Thoughts: Lessons from George Colburn's Personal Score to Antony and Cleopatra (Cines-Kleine, 1914)

American Music , Volume 36 (1) – Jun 15, 2018

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

JAme S m . Doeri Ng g rand ideas and Second Thoughts: l essons from g eorge Colburn’s personal Score to Antony and Cleopatra (Cines- Kleine, 1914) in late November 1913 Chicago composer g eorge Colburn (1878–1921) received a remarkable proposal. g eorge Kleine Attractions (g KA), a leading film distributor at that time, offered Colburn the opportunity to compose “special music” for the u .S. release of its newest italian import, Marcantonio e Cleopatra (Cines, 1913). The special music would have significant exposure both as the accompanying score for the film’s month-long r un at Chicago’s American m usic Theater and as a printed piano score sent to theaters exhibiting the film. For a composer like Colburn, who spent most of his time teaching (composition and harmony at Chicago’s American Conservatory) and conducting (directing bands at the Northwestern military Academy in Highland park), this combination of performances, publication, and national distribution must have caused his eyes to widen. m oreover, the project’s potential for success was significant. Antony and Cleopatra was a likely blockbuster. it depicted a classic epic of love and tragedy with flair and operatic lar gess, featuring a cast of thousands, intricate costumes and sets,

Journal

American MusicUniversity of Illinois Press

Published: Jun 15, 2018

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