That as a scene unfolds, I'm using either a classical theme or a folk song or something to push the dramatics of the film forward. "With silent film.I use a lot of classical themes or themes that may have been popular when the film was first made, but also using that material to improvise the dramatic content of the film. I was really bitten by the bug, at that point."
And having somebody kind of walk me through that to see what those different connections are, and how you can manipulate the organ from the console. Literally, there's a mechanical connection between every note and every stop and the pipe. "My very first experience with a pipe organ was a small mechanical action organ. Carlene in Kansas City has always been a special place in my heart." She was my very first organ teacher.she was very much my first important organ teacher that taught me the landscape of the classical repertoire, and how the organ fits in the symphonic scene, and the history of the organ and so forth. On one of his first teachers, from Kansas City "It's always fun to do a big, dramatic film like The Phantom of the Opera." "I tend to do a lot of Chaplin movies, a few Buster Keatons," says Miller.
He's also accompanied a number of silent films, although mostly early comedies. Miller has gained a reputation for his "vivid musical imagination" and improvisation style. This Halloween night, organist Aaron David Miller will be in plain sight at the Kauffman Center, when he provides the soundtrack for a screening of this film.Īaron David Miller is a Minnesota-based organist and composer, who travels widely performing repertoire spanning all periods. The Phantom of the Opera, a 1925 silent film, tells the story of an organist who lurks beneath an opera house.
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