Frank Bockius studied Rhythmik at the conservatory in Trossingen (Germany). Since then he works as a drums and percussion teacher and as a freelancing musician. Many years he worked with his own bands, the jazz quintet Whisper Hot and the percussion band Timpanicks. He also played middle age, flamenco and latin music, worked with dance companies and for theatres. Twenty years ago Günter Buchwald asked him to join his Silent Movie Music Company and since then they have worked together intensively for national and international venues and festivals. Throughout the last years Frank has also collaborated with many other great silent film musicians (e.g. Kyoto, Sodankylä, Pordenone, San Francisco).
Matti Bye is widely recognized for having written a series of innovative scores for such early Swedish silent film classics as Phantom Carriage by Victor Sjöström, Häxan by Benjamin Christensen, and Gösta Berling Saga by Mauritz Stiller, now included on a six Dvd box set released by Svensk Filmindustri, as well as countless other silent films. In 2012 he wrote the score for Jan Troell’s latest feature Everlasting Moments and Stig Björkmans Scenes from a Playhouse, a documentary about Ingmar Bergman. Matti Bye’s work is also concerned with the tension, which exists between moving image, sound and music. He has engaged with collaborative projects involving an esthetic and performative language proper to the contemporary visual arts.
Timothy Brock is an active conductor and composer who specializes in concert works of the early 20th century and live performances of silent film. As a silent-film score preservationist, his leading work in this field include the restoration of Dmitrij Šostakovič’s only silent film score, New Babylon, Manlio Mazza’s Italian epic, Cabiria, Erik Satie’s dadaist score, Entr’acte and the infamous George Antheil score to Ballet mécanique. Since 1999, he has been serving as score preservationist for the Charles Chaplin estate, and has made thirteen live-performance versions of all major Chaplin films. As a composer of original scores for silent film, Brock has written thirty-five full orchestral scores for a number of notable orchestras and institutions. He is a frequent guest conductor of such orchestras as The New York Philharmonic, BBC Symphony Orchestra, Orchestre National de Lyon, Chicago Symphony Orchestra and the BBC Scottish Symphony Orchestra. In 2016, Brock conducted the New York Philharmonic in Shanghai, marking the first-ever live performance of City Lights in China. In 2017 he performed the world Premieres of two newly commissioned scores, Buster Keaton’s College in Lyon with the National Orchestra, and Fritz Lang’s Frau im Mond at the Vienna Konzerthaus with the Tonkünstler-Orchester.
Antonio Coppola began to study the piano at a very early age. In 1965 he enrolled in the Santa Cecilia Conservatory, and followed courses in piano performance, composition and orchestral conducting until 1977. In 1975 the Rome Cineclub L’officina invited him to perform as piano accompanist for a series of silent film retrospectives. He was so fascinated and inspired by this experience that he gave up all other musical activities in order to devote himself exclusively to creating soundtracks for silent cinema. From that time onwards, Antonio Coppola has been the guest of film festivals and retrospectives all over the world, both as a musician and as a member of juries, as well as having been engaged by a number of film archives and universities as a research consultant on the restoration of original soundtrack. He has also taught at workshops and given papers at conferences on techniques of improvisation and the composition of soundtracks for silent cinema.
Floribunda let the music flow through seamless acoustic, electric and electronic soundscapes.
The timbrical and melodic research unfolds between composition and improvisation, investigating the possibilities of continuous formal changes, metric and harmonic modulations.
While extensively practicing improvisation, Floribunda is not an extemporaneous ensemble, collectively researching compositional solutions, seeking a precise and distinctive group identity.
Giuseppe Franchellucci is a cellist who has always been interested in improvisational techniques and compositional
experiments in ethnic, contemporary and electronic music. He has collaborated with such diverse artists as Jonny Greenwood (Radiohead), Serji Tankian (System of a Down), Paolo Fresu, Teho Teardo and Blixa Bargeld, and Pierpaolo
Edoardo Marraffa, saxophon player, has been involved in improvised and free music since 1993, collaborating with the most innovative bands of the Italian scene, including Collettivo Bassesfere and Specchio Ensemble. In recent years he has collaborated with musicians such as Tristan Honsinger, William Parker, Hamid Drake, John Edwards, Olaf Rupp, Han Bennink, Clayton Thomas, Wayne Horvitz and Wadada Leo Smith. He has appeared at important international jazz festivals in Europe and America.
Stefano Pilia is a guitar player and electro-acoustic composer, founder member with Valerio Tricoli and Claudio Rocchetti of the 3/4HadBeenEliminated group. He is also part of the psychedelic rock band In Zaire, of the BGP trio
with David Grubbs and Andrea Belfi, of Il Sogno del Marinaio with Mike Watt and Paolo Mongardi, guitar player for the Malian star Rokia Traoré and the Italian rock band Afterhours.
Daniele Furlati, pianist and composer, has a degree in composition, piano and arrangement. He earned two diplomas with honors in courses in advanced music for film conducted by Ennio Morricone and Sergio Miceli at the Accademia Musicale Chigiana in Siena. He has composed music for television commercials, short films and documentaries. His work on features includes creating the score for the film Viva San Isidro by Alessandro Cappelletti. He co-wrote, with Marco Biscarini, the music for the feature films by Giorgio Diritti Il vento fa il suo giro, L’uomo che verrà and Un giorno devi andare. He is working together with Cineteca di Bologna, playing the piano in accompaniment for silent films. In theater, he composed Asteroide Lindgren (everyone has his star) which debuted in 2007 at the Teatro Comunale in Modena and Novelle fatte al piano which had its debut in June of 2010 in Rome at the Conservatorio dell’Accademia di Santa Cecilia.
Stephen Horne, based at London’s BFI Southbank but playing at all the major UK venues, has recorded music for Dvd releases and Tv screenings of silent films. Although principally a pianist, he often incorporates flute, accordion and keyboards into his performances, sometimes simultaneously. In recent years his accompaniments have met with acclaim at film festivals in Pordenone, Telluride, San Francisco, Cannes, Hong Kong and Berlin. In 2011 and 2012, he was commissioned to compose ensemble scores for the London Film Festival Archive Galas of The First Born and The Manxman. He collaborates with a small group, which recreates magic lantern shows. He is also a specialist in dance accompaniment and plays regu-larly at the London dance academies.
Australian-born London-based pianist, composer and improviser Meg Morley creates music within diverse artistic genres (silent film, contemporary dance and ballet, solo piano, contemporary jazz ensembles and electronic music). Classically-trained, she has worked extensively with various dance companies (English National Ballet, Rambert Company, Matthew Bourne, Pina Bausch) and performs and composes for international silent film festivals and institutions (Il Cinema Ritrovato, British Film Institute, Flatpack Festival, Nederlands Silent Film Festival).
Laura Naukkarinen (born 1980) is a composer, producer and musician from Finland. She plays under the moniker Subatlantti, in IAX, a band formed with Kuupuu and Tsembla and is a visiting member of The Matti Bye Ensemble. She was also a member of free improv and psychedelic folk bands Kiila, Päivänsäde, the Anaksimandros, Avarus, Maailma, and the trio Hertta Lussu Ässä formed by fellow acid folk singer-songwriters Islaja and Kuupuu.
Besides of composing and producing her own albums, Lau Nau accompanies silent films live and composes music for feature films, theatre plays, dance and sound installations. She composed the soundtrack to the 2019 movie Land Without God, directed by Mannix Flynn.
Maud Nelissen is a Dutch composer and pianist who has particularly dedicated herself to the creation of musical accompaniment for silent films. She worked in Italy with Charlie Chaplin’s
last music arranger Eric James. Since then she has been performing at festivals and special events in Europe, America and Asia. She founded her own ensemble, The Sprockets, for silent film accompaniment, and performs with them or with various other ensembles and orchestras in Holland and abroad. Among her most notable orchestral scores is that for Erich von Stroheim’s 1925 classic The Merry Widow, interpolating themes from Franz Léhar’s operetta with the permission of the composer’s estate and The Patsy with Marion Davies.
Besides Portugal Raon has performed in Germany, Austria, France, Slovenia, Serbia, Spain, Russia, Holland, Belgium and Macau (China). As an interpreter he has premiered both solo and chamber works by Eurico Carrapatoso, Clotilde Rosa, Ivan Moody, João Lucas, Joana Sá, Daniel Schvetz, Eli Camargo, Sebastian Duh and Fernando Lobo. Raon regularly composes for Cinema, Animation, Theater, Dance e Fine Arts projects. In particular, he composed music for several silent films, including: “Die Puppe” by Ernst Lubitsch; “Metropolis” by Fritz Lang; “Enthusiasm – Symphony of the Donbass” by Dziga Vertov.
Guido Sodo and François Laurent
Guido Sodo and François Laurent have been collaborating together for a number of years on a project reinterpreting Neapolitan music and songs from the 13th century onwards in a classical- contemporary key, which they have performed both in Italy and abroad. For Cineteca di Bologna they composed live musical scores for silent Neapolitan films from the early 20th century. These were performed at MoMA in New York, as part of the Napoletana, Images of a City exhibition; in San Francisco, Buenos Aires and Bogotà as part of the Dive exhibition series, promoted by the Ministry of Foreign Affairs, at the Centre Pompidou, Paris; during several editions of the Cinema Ritrovato festival in Bologna; at numerous other European silent cinema festivals; and in Italian and foreign cinematheques. They have composed musical accompaniments for the films Assunta Spina, Il miracolo, Blood and Sand, Napoli è una canzone and Napule…e niente cchiù.
Donald Sosin, composer, keyboards, arranger and conductor, grew up in New York and Munich. He has performed at Il Cinema Ritrovato each year since 1999, often joined by his wife, singer Joanna Seaton. They also appear at Le Giornate del Cinema Muto, Lincoln Center, MoMA, MOMI, the National Gallery, and film festivals on three continents including Telluride, Jecheon (South Korea), Seattle, San Francisco, Moscow, and college campuses like Yale, Harvard, Brown and Emory. The couple leads music workshops around the US. Sosin received the Career Achievement Award in 2016 from the Denver Silent Film Festival and he scored Chaplin’s The Pawnshop for the touring edition of Il Cinema Ritrovato at Brown University in March. Sosin’s orchestral score for Sherlock Holmes premiered in the 2016 summer at the Odessa International Film Festival. Dvd releases of his soundtracks scores include Keaton films for Lobster and Ten Nights in a Bar Room for KinoLorber’s African-American set. Other commissions: Chicago Symphony Chorus, Jerusalem Symphony Orchestra, San Francisco Chamber Orchestra, MoMA, and Metropolitan Museum of Art.
John Sweeney has played for silent film since 1990, starting at Riverside Studios in London and subsequently playing at many venues in Britain including the National Film Theatre, the Barbican Cinema, Nottingham Broadway, The Imperial War Museum, and Bristol Watershed. He has played for the British Silent Cinema Festival since it’s inception, and has since 2000 been a regular pianist at the Giornate del Cinema Muto in Pordenone, Italy. He is a regular performer at the Slapstick Festival of silent comedy in Bristol, and has also played at other festivals in Austria, Germany, Italy and Slovenia. He has recorded DVDs for the British Film Institute (Wonderful London, parts of Pioneers and Primitives) and also Cineteca di Bologna (Albert Capellani) and Edition Filmmuseum (Crazy Cinématographe), as well as recording a soundtrack for Hitchcock’s Downhill for broadcast on Sky Tv. He is one of the founders of the Kennington Bioscope, doing regular screenings of neglected silent films at the Cinema Museum London with live music.
Gabriel Thibaudeau, born in 1959, Canadian composer, pianist and conductor, studied piano in Montreal at the Vincent D’Indy music school and composition at l’Université de Montréal. He started work at the age of 15 as a pianist for ballets. Since then, he has been a pianist for Les Grands Ballets Canadiens, appointed pianist at La Cinémathèque Québécoise for the last 25 years and the composer in residence with L’Octuor de France for more than 15 years. Thibaudeau’s work includes music for ballets, the opera, chamber music and several orchestral compositions for silent films. His works are performed in the Americas, as well as in Europe, Asia and Africa. Several international institutions have commissioned him work, among them: Le Musée du Louvre in Paris, the Cineteca di Bologna, Le Festival de Cannes, the National Gallery in Washington, Les Grands Ballets Canadiens and the Montreal Symphony Orchestra. Gabriel Thibaudeau is represented by Troublemakers Inc.