Wagner, Star Wars, adn Lightsabers: Lübeck Philharmonic Celebrates the Power of Film Music
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A captivating concert at the Lübeck Philharmonic Orchestra demonstrated the enduring influence of classical compositions on the world of cinema, culminating in a playful, yet masterful, lightsaber-wielding finale. The nearly sold-out Music and Congress Hall (MuK) resonated with iconic scores on Thursday evening, proving that the connection between classical music and film is both profound and enduring.
The concert opened with a bold statement: that Richard Wagner would be “the number one film composer” if he were working today – a statement attributed to the legendary Max Steiner. The Lübeck Philharmonic launched into Wagner’s “Ride of the Valkyries,” a piece indelibly linked to cinematic history through its use in Francis Ford Coppola’s Apocalypse Now.
The orchestra, comprised of around 90 musicians, then explored the interesting intersection of classical music and film, presenting pieces initially composed outside the realm of cinema but later adopted for iconic soundtracks. Aram Khachaturian’s “Gayane Suite,” for example, gained new life in Stanley Kubrick’s 2001: A Space Odyssey. “Their soundscapes provide emotional anchors, halftones open the space into the depths of the soul,” noted one attendee, reflecting on the suite’s evocative power.
Soviet Melodies and Family Traditions
The program continued with Dmitri Shostakovich’s Waltz No. 2, originally written for Soviet films and later featured in Kubrick’s Eyes Wide Shut. The concert drew a diverse audience, including families making the event a multi-generational experience. Rebecca Fornaschon, attending with her three children, praised the MuK’s acoustics and affordability, noting it was seven-year-old Theo’s first concert.The Weber family, traveling from near Hamburg with three generations, were particularly excited for the Star Wars segment, leveraging their “theatercard 100” for access.
Nuance and Nonverbal Communication
The orchestra’s performance drew praise for its subtlety and precision. Steffen Ralfs from Travemünde was particularly impressed by conductor Takahiro Nagasaki’s decision to conduct the first part of the concert without sheet music. “It’s nice when you recognize something,” he remarked, appreciating the conductor’s connection to the music.
The second half of the concert shifted focus to music specifically composed for film, beginning with a vibrant John Barry and Paul McCartney medley from the James Bond franchise.The arrangement showcased the full range of the orchestra,highlighting the contributions of each instrument group. Individual scores were then represented by signature instruments: the saxophone from Breakfast at Tiffany’s, the violin from Schindler’s List, and the piano from Spirited Away. Nagasaki himself offered an early encore, performing the theme from Hayao Miyazaki’s Princess Mononoke on the piano.
A galactic Finale
The evening culminated in a powerful rendition of the Star Wars Suite, seamlessly connecting back to the initial tribute to Wagner. The fanfare’s cheerful energy contrasted with the lyrical theme for Princess Leia, while the darker elements of the Imperial march conveyed the saga’s complex conflict. The music’s enduring appeal, extending far beyond the film series, was palpable.
In a surprising and delightful finale, Nagasaki emerged wielding an LED lightsaber, conducting the final section of the suite with playful seriousness. A young audience member succinctly captured the moment: “Never before has a laser sword been used so sensibly.”
