The Silent Film Music Podcast with Ben Model - ep 53: underscoring “Frankenstein”; using leitmotifs

In this episode: Ben reflects on his conversation with William Perry heard in the previous two episodes of the podcast; discusses how considering a show’s intended audience is part of his programming process; covers the different film options for Halloween shows; talks at length about his recent live-underscoring of the 1931 “Frankenstein” at the Library of Congress, incl. multiple examples recorded during the show; shares a few minutes of his pipe organ accompaniment for Harold Lloyd’s “The Freshman” at South Dakota State University; answers listener questions, and more.
Show notes for episode 53: www.silentfilm...
Ben Model's website: www.silentfilm...
The Silent Film Music Podcast with Ben Model - it’s the podcast that takes you inside the mind of someone as they prepare for, perform, and reflect upon performances of live musical accompaniments to silent films. Hosted by renowned silent film accompanist and historian Ben Model, along with co-host Kerr Lockhart, each episode includes discussion on the silent film composer-musician’s process, approach toward the films, practice in performance, and on silent film history. Ben and Kerr cover a range of topics unique to the perspective of someone creating a live score to help an audience enter the world of the film, and include excerpts of live musical scores Ben has performed at shows on piano and theatre or pipe organ.
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[@garydmcgath]

I'm the first commenter? Hopefully someone reads this. Lately I've had a regular (quarterly) slot as a silent film accompanist at a small-town library, and yes, I started in October with Nosferatu. Since then I've done The Black Pirate and City Lights. There was a lot for me to learn from this video. The most valuable point for me was making the music come from within the film.
Leitmotifs figure rather heavily in my accompaniment; it's my style. For the vampire and swashbuckler movies, it came naturally. City Lights was different for me, more outside my comfort zone (if that's the right expression) of SF and horror. In preparing, I avoided hearing Chaplin's score. The last scene was the real challenge; the music needed to capture its understated magic. By the end I expected the audience would recognize the Tramp's motif, and I avoided using it till the moment where the girl recognizes him by touch. From the comments by the audience, I'd say it worked. There are some things I'd probably have done differently after hearing your comments, though.
I'll keep following and learning more.