GERHARD GRUBER - silent film pianist 
Gerhard Gruber in 1988 silent film accompanist at the piano. In countless performances, he has since been accompanied by the 400 films (Tokyo, Hobart, Bordeaux, Hamburg, Munich, Vienna and many others) and is considered the most important representative of his profession in Austria.
In 1988, for a short Chaplin - wanted silent film evening, a pianist. That it would incur Gerhard Gruber, a separate profession was not then in sight. His enthusiasm for this profession since then has been unbroken. "The feeling to be part of the action here was indescribable and has remained unchanged. This is also a guarantor of the vitality of the silent movie nights. It is never the film alone, it is always the Trinity Film - Music -. Audience, and so every evening, a private experience "
Gerhard Gruber's special access to the silent film accompaniment is improvisation, which he described as direct and always new dialogue with what is happening on the screen looks. This is not a performance of a movie right away, he loves to be seduced again and again by the films and to pass the seduction of the audience.
Meanwhile Gerhard Gruber played to about 400 silent films in countless performances . Especially since he joined in 1999 with the Austrian Film Archive, played for years at the Viennale and, in recent years in the Austrian. Filmmuseum was twice a guest the diagonal in Graz and the 2005 Cinéconcerts in Bordeaux and played in April 2006 and 2007 in Tokyo. Hobart in Australia was another destination. For schools in cooperation with the ÖKS (Christa Binder), he traveled throughout Austria (with the films "Metropolis", Fritz Lang and "The Freshman" / Harold Lloyd) and is always a welcome guest at cinemas and film clubs.
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OF LANDSCAPES AND SCORES
An interview with Gerhard Gruber, Guest Impara l'Arte in 2008 in Padua
linked from "http://www.nonsolocinema.com/nsc_autore.php3?id_auteur = 181 "
Author: Marco Bellano
Published on Friday 22 February - NSC Year IV No. 10
One must really say, with relief and gratitude at last. Finally, for once, L'uomo con la macchina da is not presa ("The Man with the Camera") by Dziga Vertov excuse the mixed clashing, the electronic buzz, the frenzied repetition and all the other stereotypical synonyms for "avant garde" and "assembly line" to collect together the many silent-film composer when they deal with this film.
Those that moved the film and its brilliant formal study of the image is commented on, this time, however, a thoughtful and coherent Piano improvisation: a complex sound arc that begins with a hypnotic encounter in cyclical and diatonic melodies with long pedalisierten harmonies. The film, with its vibrant visual excitement, almost seems to be independent of the so calm and controlled, fine music. In fact, the eyes of the soloists are directed to fix the screen, and sight and hearing converge in secret, to tell in the middle of the show with their hidden natural and inevitable mutual dependence to. It is the so-called sequence Sinfonia delle mani (Symphony of the hands), the pretext for the turning point: from that moment the melodic figures of the piano virtuoso and the sound intensity Grow. Section and the rhythm of the music reinforce each other, while related major keys and give input in the acoustic flow short sun moments that are enhanced by a sporadic appearance of ironic elements.
Gerhard Gruber, born in 1951, the Austrian pianist, which is due to this interpretation of the work of Vertov. He specializes in jazz improvisation and is one of the most influential musicians active dealing with silent films. We have him on the 20th after the projection February 2008 made in Padua in the MPX theater in via Bonporti.
How have the images of "L'uomo con la macchina da presa" stimulates your improvisation? It is
not easy to explain. I believe that any improvisation must be based on the uniqueness of interpretation. Each frame gives me a wealth of sonic incentives: whenever the film is projected, I use another. Thus, the path between the images changed with each performance. I was born in a place that is characterized by elevations and hills. There we could see a beautiful panorama. But after a few steps, changed the landscape: the history of the area allowed to watch new and significant details. For me, the silent films as the landscape: Each of my interpretations is just one of many factors, can be estimated by you (the silent films). So I think that making music for silent films a bit like building a musical landscapes.
but also how to interpret a score ...
That is absolutely correct and very compatible with my thoughts. In fact, you can read a score in a variety of ways. Therefore, I always emphasize that the freedom of the musician's always the film is a child. It is true that sometimes tend the senses of the audience then, to find connections between image and sound, even if they do not exist. We must therefore pay not to ignore what is happening on screen. You have the right balance between independence, consistency and find contrast. Traditionally, Americans prefer the music in the film depending on the image, the Russians reversed.
Have you never thought to write scores for films with sound?
No, actually, my only productions outside of silent films that have something to do with the movies, some music series, which are suitable for general situations and character. For example: Music for a voltage scene for a funny scene ... I have done this work for a radio station that has made my compositions useful for different programs, as required. It is more or less what did the musicians at the time of the silent film, as the one Repertoire was composed for the pianist who had to accompany the movie in the theater. In Italy
obtained thanks to the Festival of Pordenone and Bologna of the interest in silent film music alive. Do you think that this area would like for the young graduates of the academies, pursue an alternative career in art, can provide a good opportunity? Leave
For the silent film or improvise for their own development, a valuable opportunity. No doubt the problem is mainly to acquire their own repertoire: movies, where it is possible to try out, there are thousands, but few have celebrated great success, repeatedly be projected. Therefore, it ends with only the same can be interpreted. It is to be like on a narrow path between two abysses hike, full of unseen treasures. Beyond these considerations, I would say that for a young musician who approaches the music for silent films, one would be very important: to forget oneself. That is to forget the academic rules and the obligations of classical composition to follow tonal pathways that are caused by the flow of images. And mainly you will have to forget your ego. Those who want to make this kind of music will have to be totally in the service of the film. Only in this way the end result is satisfying.
