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A Kiss for Cinderella (1925) The Importance of Historical Accuracy in Reconstructing Scores to Silent Films Based on the Mirskey Collection

Agnieszka Cieślak-Krupa

Agnieszka Cieślak-Krupa

Institute of Musicology, University of Warsaw
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Cieślak-Krupa, Agnieszka
  
31 dic 2022
A Kiss for Cinderella (1925) The Importance of Historical Accuracy in Reconstructing Scores to Silent Films Based on the Mirskey Collection's Cover Image
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Publicado en línea: 31 dic 2022
Páginas: 73 - 85
DOI: https://doi.org/10.2478/muso-2022-0005
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© 2022 Agnieszka Cieślak-Krupa, published by Sciendo
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Figure 1

Newman Theatre Advertisement, The Kansas City Star, 27 December 1925, p. 14D
Newman Theatre Advertisement, The Kansas City Star, 27 December 1925, p. 14D

Figure 2

The opening fragment of the first violin part from Francis Popy's Ballet-Suite (MC 2959) and the corresponding title card from A Kiss for Cinderella
The opening fragment of the first violin part from Francis Popy's Ballet-Suite (MC 2959) and the corresponding title card from A Kiss for Cinderella

Figure 3

The opening fragment of the first violin part from the third movement of John Ansell's A Children's Suite (MC 1540/44) and the corresponding title card from A Kiss for Cinderella
The opening fragment of the first violin part from the third movement of John Ansell's A Children's Suite (MC 1540/44) and the corresponding title card from A Kiss for Cinderella

Figure 4

The opening fragment of the solo and obbligato violin part from Engelbert Humperdinck's opera Hänsel und Gretel (MC 2721) and the corresponding title card from A Kiss for Cinderella
The opening fragment of the solo and obbligato violin part from Engelbert Humperdinck's opera Hänsel und Gretel (MC 2721) and the corresponding title card from A Kiss for Cinderella

Figure 5

Fragment of the musical cue sheet (No. 6) and the opening fragment of the first violin part from Pyotr Tchaikovsky's Humoresque Op. 10 No. 2 (MC 5524)
Fragment of the musical cue sheet (No. 6) and the opening fragment of the first violin part from Pyotr Tchaikovsky's Humoresque Op. 10 No. 2 (MC 5524)

Figure 6

Fragment of the musical cue sheet (No. 36) and the opening fragment of the first violin part from Dorothy Forster's Rose in the Bud (MC 3353)
Fragment of the musical cue sheet (No. 36) and the opening fragment of the first violin part from Dorothy Forster's Rose in the Bud (MC 3353)

Figure 7

Fragment of the musical cue sheet (No. 69) and the opening fragment of the solo and obbligato violin part from Engelbert Humperdinck's opera Hänsel und Gretel (MC 2721)
Fragment of the musical cue sheet (No. 69) and the opening fragment of the solo and obbligato violin part from Engelbert Humperdinck's opera Hänsel und Gretel (MC 2721)

Figure 8

Fragment of the musical cue sheet (No. 69) and the opening fragment of the first violin part from Aristide Scassola's Pensée d'Amour (MC 3475)
Fragment of the musical cue sheet (No. 69) and the opening fragment of the first violin part from Aristide Scassola's Pensée d'Amour (MC 3475)
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Temas de la revista:
Música, Música, general
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