Interview and Performance of “A Trip To the Moon”

Recordings, Video July 18th, 2008

A word about the video:

This is an amateur video made by Anthropology Professor Robert Anderson, taken in 2006 in Lisser Theater on the Mills campus. It shows the 1902 Trip to the Moon and a brief introduction to my creative process of structured improvisation that I use to accompany the film.  My warmest thanks to Professor Anderson for all his support.

3 Responses to “Interview and Performance of “A Trip To the Moon””

  1. Stu Sweetow Says:

    By far the best accompaniment to Georges Méliès’ classic film, one of the most technically innovative films of its time. Read the Wikipedia article
    This 1902 film may have been the first to be pirated, by none other than Thomas Edison, according to the article. Méliès never made a dime on it, the article continues.

  2. Alan Dunkel Says:

    I heard Judy live performing to Underworld ( 1927 ) at the Niles Essanay Silent Film Museum and to truly understand go listen when she is playing live at a showing. This video is quite interesting, but doesn’t begin to do her playing justice. The score was on the fly watching for the first time and that music really made the movie for me, enough I remembered her name a year and a half latter from that one performance. Had heard she plays for the dance department at Mills as still don’t understand how she did that so effectively. The Essanay museum theater is doing allot with a little and don’t know of another place that projects silent movies on film every week with a live musical score. It makes a huge difference as I can’t really watch silent movies from a DVD at home, but like this I now understand why they were so popular. Judy added so much emotion to the film, it was truly a great experience. Treat yourself and go the next time she is scheduled. -Alan

  3. Mai Lon Gittelsohn Says:

    I first heard Judy Rosenberg improvise and play the accompaniment to the silent film, “The Curse of Quon Gwon” (made in 1916) about a year ago. The heroine, Violet Wong, is my mother. I was struck with how much the music added to the mood and impact of the story. Since the subtitles are missing and what’s left of the restored film is a 28 minute fragment–the musical background becomes very important. After that first hearing, I have heard the film two more times with piano provided by other musicians. To my ears, the other efforts could not even begin to compete with Judy’s sensitivity and artistry as a silent film accompanist. –––Mai Lon Gittelsohn

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