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Silent Sirens: Stephen Horne on playing for the ghosts of silent film

This is a guest post by Silent London award-winning silent film accompanist Stephen Horne, to mark the release of his stunning new album Silent Sirens from Ulysses Arts on 9 July.

Early in my career as a silent film accompanist I had an experience, which in retrospect probably affected the way I think about the work. I was accompanying a Louise Brooks film that, as was typical at the time, I had not seen in advance. The piano was positioned directly beneath the screen, so that the image filled my field of vision. I recall it being one of those rare evenings when I was totally lost in the film and music seemed to flow directly from brain to piano, almost bypassing the hand.

At one point Louise was held in an extended close-up – her smiling, enigmatic beauty framed by silver light. Then she started to speak and, although there was no intertitle, it was very clear to me what she was saying. In fact, just for a few seconds, I could actually hear her voice speaking the words. At least, that’s how it seemed. In retrospect, I realised that I had almost certainly been lip-reading. However, something about the moment, as immersive as it was, made the words transform into the sound of a voice within my head.

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