A lesson from Anna Lapwood: on storytelling and organ music

A few years ago, I was asked to play at a funeral. The day before the service, the family made a request: the deceased had been very fond of Una Mattina by Ludovico Einaudi. Would I be willing to play it? I agreed. I did not yet know the composer, but immediately began looking for the score. I soon found it online and started playing through the little piece. It did not look particularly difficult.
After two pages of broken chords, I began to feel uneasy: I had the impression that I had downloaded an accompaniment and wondered when the solo instrument would enter. After another two pages, the arpeggios ended abruptly.
Not wishing to make a fool of myself at the funeral, with all the mourners waiting in vain for ‘the theme’ to enter, I scoured the internet for recordings of the work. I discovered two things: Una Mattina was one of Einaudi’s works used on the soundtrack of the film Les Intouchables. And there was no solo instrument.