music


The Mark of Zorro with Douglas Fairbanks 2

My latest silent film upload with my accompaniment is the 1920 The Mark of Zorro, starring Douglas Fairbanks. It’s one of the most libertarian films of the silent era, presenting a masked hero who fights against oppressive rulers in Spanish California. He wears a mask, appears when he is most needed, and has a secret identity as a rich but timid caballero. It’s obvious that he was part of the inspiration for Batman. The film was Fairbanks’ first role starring as an action hero.

As usual, the accompaniment is my improvised music, played on a Roland EX-50. For this movie, I wanted to sound a bit Mexican, so I did some research. It led to a wonderful discovery: the Spanish scale, which oddly enough is also the Jewish scale. The common source is the Sephardi Jews of the Middle Ages. I started noodling in that scale and, olé! It’s a tricky scale to use when creating harmonies; there’s no proper dominant chord. With some practice, I was able to weave between major, minor, and Spanish modes. Also, I tried to sound like a guitar in some scenes, as if I were a storyteller accompanying myself.
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The Lost World 1

Let’s start 2025 with one more silent movie accompanied by me: The 1925 The Lost World. This film, presenting a plateau populated by dinosaurs, uses stop-motion effects created by Willis O’Brien, who did the effects for King Kong a few years later. It still looks pretty good. It’s vastly better than the 1960 version directed by Irwin Allen. I saw that one as a kid and immediately recognized that it was using poorly disguised lizards as dinosaurs.

The movie is based on a novel of the same title by Arthur Conan Doyle. It’s one of three novels that featured Professor Challenger, a man with a brilliant mind, a large body, and a terrible temper. The other two have fallen into obscurity. He has received the diary of an explorer, Maple White, containing sketches of dinosaurs and pterosaurs supposedly living on a South American plateau. He is ridiculed for claiming these creatures are alive in his time, and he responds by organizing an expedition to find the plateau and its inhabitants. He finds plenty of them, brought to the screen with stop motion. After his party struggles to survive and escape, he brings a brontosaurus back to London, where it gets loose to cause panic and wreckage.
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20,000 Leagues Under the Sea: The 1916 film

The latest in my series of accompanied silent films on YouTube is an early Universal picture: 20,000 Leagues Under the Sea. It mixes two Jules Verne novels: 20,000 Leagues Under the Sea and Mysterious Island. It’s a breakthrough movie on a technical level and an exciting tale, though the plot is a mess. Be warned there are spoilers below the cut.
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Now on Bandcamp: Beacons in the Darkness

My latest album, Beacons in the Darkness, is now available on Bandcamp. It’s a living-room album, and I make no great claims for my vocal abilities, so payment is optional. It’s the songs themselves which I think have some interest. The title track, a secular solstice song, is one of my best songs, and it’s on the album in both English and German. Album cover for Beacons in the Darkness. Picture of a lighthouse. Text: Beacons in the Darkness / Songs by Gary McGath. Source: https://commons.wikimedia.org/wiki/File:Eiger%C3%B8y_fyrstasjon_28.09.2015_Super_m%C3%A5neform%C3%B8rkelse.jpg

You can find my other albums, likewise on a payment-optional basis, at garymcgath.bandcamp.com.


Silent Movie Day

September 29 is Silent Movie Day, and I’m participating with a short Méliès movie, The Haunted Castle or Le Manoir du Diable, for which I’ve provided improvised accompaniment.

And don’t forget my livestreaming of The Cabinet of Dr. Caligari on October 9 at 8 PM. I’ll also accompany it for a live audience at the Plaistow Library on October 11. Hopefully many of you will be able to make it for one or the other.


Spohr’s opera Faust

Spohr and Faust. You knew I couldn’t resist writing about that combination, didn’t you? The delay was in finding an adequate recording. Years ago, I got a CD set where the opera was so heavily cut it was incomprehensible. Since then, I’ve gotten a CPO recording of the 1852 version by the Bielefeld Opera. It’s complete or nearly so, but the download from Presto Music doesn’t include a booklet. I need a libretto to follow along, and there’s a libretto for reading or downloading here. It’s got a lot of typos, as if it was made from an uncorrected scan, but it will do. The Capriccio recording has brutal cuts, and I can’t recommend it.
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Spohr’s Symphony No. 3

Louis Spohr’s third symphony, Opus 78, dates from 1828, the year after Beethoven’s death, and there are several indications he was thinking of Beethoven when he wrote it, starting with the key of C minor. It’s on a large scale for the early 19th century. In most recordings it runs half an hour. The instrumentation includes a brass section of four horns, two trumpets, and three trombones.

The slow introduction sets an initially tragic tone but quickly opens up into an expression of hope. The main body continues the conflict of emotions. The first theme expresses a struggle, while the second, made from the same material, is dance-like. The development is brief but surprising; it’s based not on the first and second themes, but on the introduction. This approach recalls the opening mood without breaking the tempo. The coda goes into C minor, creating a moment of doubt, but returns to the major for the final measures.
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The language of music isn’t exactly Italian

Musical annotation is a language in its own right. Its words come from Italian, but the syntax is very different, and the meaning of the words often is too. I’m sure linguists have studied it in detail. I’m neither a linguist nor a professional musician, but I have a strong interest in both areas, so let me offer a few thoughts on the subject.

Since the nineteenth century, musical directions have come in other languages, usually the composer’s native language. I think Schumann was the first major composer to do it. For this piece, I’m just talking about annotations based on Italian.
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