Original soundscape meets silent film, Graeme Stephen and his ensemble score Metropolis (1927) in a stunning cinematic experience. A must see for the film and composing community!
Oh what a great start to this years Soundhouse Winter Festival! Award winning Scottish composer and guitarist Graeme Stephen beckoned his audience to the theater for his newest underscoring of Fritz Lang’s famous 1920 silent film Metropolis. This score is his seventh in an impressive list of silent film composition projects with one, the classic film Sunrise by F W Murnau, winning him the Innovation Award at the Scottish Jazz Awards in 2012. A black and white film and a live music experience at the same time, how exciting. That’s a new one for me and boy was it good.
There are two special things happening in this type of showing. One is experiencing the striking and sci-fi pioneering work of art that is Lang’s Metropolis, and the other is watching a master composer present his inspired work right in front of his inspiration. It’s a joy. The set up was like so: imagine you attend the cinema but in that wide space in front of the screen sits a drum kit and drummer (Tom Bancroft), a guitar and pedal board (Graeme Stephen) and a quartet of strings including a viola (Fiona Winning), a cello (Sonia Cromarty), and violins (George Smith, Tom Hanky). The ensemble was obviously of the highest standard, each reading off of scores while taking cues from Stephen who seemed to be the only one with proper access to the visuals (floor monitor perhaps?), though this wasn’t obvious at all which made it entirely more impressive. If there were any hitches, that too was imperceptible with the timing lining up so well with certain moments on screen. It’s always great to watch a group of musicians listen and create together so intently.
Overall, Stephen’s composition did this striking film justice and resulted in a fascinating merging of older film practices with a newer sound/association in composition. As Stephen is a force of nature in Scotlands jazz scene, this carried over into a kind of rhythmic fusion between genres which became the overarching theme and feel of the music yet created an exciting juxtaposition with the older content, especially upon remembering that there is supposed to be no sound at all. Moments, usually ones of keen drama, were particularly notable when there was a focus on one or two instruments, only the amazing quartet or just experiencing the sheer power of live crescendos during visual climaxes. It was complex and thoughtful, hypnotic in its looping rhythms and carried the energy of a futuristic city through slavery, rebellion and peace beautifully.
The experience as a whole was very enjoyable if not slightly overwhelming when deciding weather or not to focus more on the film or the musicians as it begins but either way its presentation allows you to do either or all which is quite freeing. This kind of performance is really great if you’d like to truly witness the reality of a film score as it heightens the awareness of its function and the work of the musicians.
Dear Mr Stephen and Co., you’ve spoiled me. How shall I ever return to the normal cinematic experience. From my corner I sing you nothing but praises.