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Wow.
Small detail I didn't find out until we were down there... the organist? Cameron Carpenter. No, I don't suspect anyone to have heard of him, but he has a ton of youtube vids up. Go grab one. This one should sound familiar. (And yes, that's *just him*. There are no other instruments or musicians.) He's considered one of the world's greatest living organists. And he's not yet 27.
Tonight he started with an "Homage to Klaus Kinski"[1] that he composed, that was so *frenetic* - it was just incredible. All four limbs were going at top speed, I've never seen anything like it.
Not bad for the warm up.
For the film, he started with an original transcription of Wagner's Prelude for Tristan and Isolde. Originally, *this* was the portion of the opera that was referred to as the Leibestod (Love-Death), not the later aria that now bears the name. It fit, perfectly.
Then he improvised most of the rest of the film[2], ending with...
Leibestod. He bookended the film with the piece, and it lent an entirely new twist to the character's interactions. Orlock's preying on Ellen took on a tender, bittersweet aura, and Knock's heartbreak at the death of his Master was palpable.
It. Was. *GLORIOUS*. I have never had that kind of film experience, where the quality of the musical interaction was of that caliber, while my seat rumbled with the bass.
I am so *very* glad we went - and I have pictures, which I'll try and get up later. Most are of, from, or on the way to/from the bell tower - most are probably pretty crappy, but I'll see what's worth putting up. Definitely not your normal shots of Trinity Church. :)
[1] Nice way to tie into the '79 remake that was *so* *cheesy*.
[2] No, really! He obviously spent a lot of time studying the film to get the themes in place, but it was just as obvious that he was winging much of it as it evolved. Badger, you would have loved it.[3]
[3] BTW, sorry for ganking the footnote schtick, but I needed it this time around. I promise to return it in good working order.
Tonight he started with an "Homage to Klaus Kinski"[1] that he composed, that was so *frenetic* - it was just incredible. All four limbs were going at top speed, I've never seen anything like it.
Not bad for the warm up.
For the film, he started with an original transcription of Wagner's Prelude for Tristan and Isolde. Originally, *this* was the portion of the opera that was referred to as the Leibestod (Love-Death), not the later aria that now bears the name. It fit, perfectly.
Then he improvised most of the rest of the film[2], ending with...
Leibestod. He bookended the film with the piece, and it lent an entirely new twist to the character's interactions. Orlock's preying on Ellen took on a tender, bittersweet aura, and Knock's heartbreak at the death of his Master was palpable.
It. Was. *GLORIOUS*. I have never had that kind of film experience, where the quality of the musical interaction was of that caliber, while my seat rumbled with the bass.
I am so *very* glad we went - and I have pictures, which I'll try and get up later. Most are of, from, or on the way to/from the bell tower - most are probably pretty crappy, but I'll see what's worth putting up. Definitely not your normal shots of Trinity Church. :)
[1] Nice way to tie into the '79 remake that was *so* *cheesy*.
[2] No, really! He obviously spent a lot of time studying the film to get the themes in place, but it was just as obvious that he was winging much of it as it evolved. Badger, you would have loved it.[3]
[3] BTW, sorry for ganking the footnote schtick, but I needed it this time around. I promise to return it in good working order.
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