episode 18: scoring The Bride’s Play, explaining the 1920s jokes, travel to South Korea and Norway
Welcome (back)! Long time no podcast, so I recap a few highlights from March-July. Such as: finishing a year of being Professor Model, releasing the “Found at Mostly Lost” DVD, et al.
Performance recording: accompanying “The Moth” starring Norma Talmadge at Mostly Lost 4 in 2015 on the Walker Digital Theatre Organ, at the Library of Congress.
A discussion of the unique situation of being able to play a live show of a rare film just before recording a score for it, in this case Marion Davies in “The Bride’s Play”. (Did you pledge to Ed Lorusso’s Kickstarter for this project?)
Performance recording: accompanying Ozu’s “Tokyo Chorus” at the Cinema Arts Center on theatre organ, using Paramount Organ Works’ sample set via Hauptwerk.
My upcoming trip to play at a big festival in South Korea, plus news about an award from the American Theatre Organ Society. Then – a tip to presenters and accompanists about the merits of giving an audience cultural historical context for a silent film before a show.
Performance recording: a few minutes of a live score on piano for Laurel & Hardy in “Putting Pants on Philip” at the Silent Clowns Film Series.
Looking forward to my 11th time at the “Silent Film Days” festival in Tromsø Norway, plus fall plans to release a few DVDs and some news about the current Silent Clowns shows. We close with a call-to-arms about Audience Preservation and the fact that you can’t wonder “why wasn’t this advertised more?” Thanks for listening!
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