Celebration of Cinematic Horror in Barcelona
On October 31, coinciding with All Saints’ Eve, Barcelona experienced an unforgettable night with the simultaneous screening of two iconic horror films. At 20:00, the Filmoteca hosted ‘Vampyr’ (1932), a masterpiece by the Danish director Carl Theodor Dreyer. At the same time, the Palau de la Música offered its traditional Halloween concert with the presentation of ‘The Cabinet of Dr. Caligari’ (1920) by Robert Wiene, a fundamental pillar of German cinematic expressionism.
The Art of Image and Sound: A Shared Journey
Both films not only share the genre, but also the artistic talent of Hermann Warm, an art director who gave both works a dreamlike and visually captivating atmosphere. His contribution was essential to create a plastic beauty that has left a lasting mark on the history of cinema.
The Power of the Organ: Accompanying the Silence
The experience at the Palau de la Música Auditorium was enriched by the live performance of organist Juan de la Rubia. Known for his dexterity, de la Rubia brought a new dimension to ‘El cabinet del Dr. Caligari’, using an organ instead of a piano, as was common in the cinemas of the early 20th century. This instrument, capable of producing a much wider range of sounds, was fundamental in intensifying the emotions conveyed by the images.
A Magnificent Interpretation: Music as a Character
From the first chord, Juan de la Rubia wove a musical narrative that perfectly complemented the horror scenes. Its introduction was a fanfare that evoked a funeral march, and culminated in a majestic epilogue that echoed through the hall. Each note was designed to reflect the characteristics of the characters, from the ethereal sounds that surrounded the protagonist Francis to the vibrant music of the fair.
Key Moments: Cesare’s Presentation
One of the most shocking moments was the appearance of the sleepwalker Cesare. De la Rubia created a rhythmic progression that perfectly embodied the tension of his entrance, reminding us of the iconic images of ‘Frankenstein’ (1931).
The Kidnapping of Jane: A Musical Journey to Hell
During the attempted abduction of Jane, the organist transformed his performance into a fugue that reflected the anguish of the scene. It began with an almost imperceptible whisper, growing into a contrapuntal structure that captured the frantic spirit of the narrative.
A Future Full of Possibilities: More Gems of Terror
With a dark atmosphere and careful lighting, the organ seemed to come to life, becoming a sonic monster that expressed the intensity of silent cinema. The cultural community hopes that the Palau de la Música will continue to be the scene of more nights of terror, with the promise that Juan de la Rubia will bring his magic to other classics of the genre, such as ‘Häxan’ (1922) or ‘La carreta fantasma’ (1920), works that deserve to be rediscovered with their vibrant music.
