About me
I grew up near Bremen. In Göttingen, Hamburg and Paris I studied organ, piano and singing. Towards the end of my studies I became interested in early film history and film composers and accompanying silent films. In addition, I wrote articles and essays that were published in reference books and in the CineGraph encyclopedia. I have also given organ recitals for many years, directed choirs of various sizes and a salon orchestra. I accompany singers and cabaret artists on stage and as a music teacher at a Hamburg high school I stage musicals. Composing and improvising to moving images still fascinates me and is my artistic focus.
For me, the appealing thing about silent film music is to create a suitable overall musical concept for the film. Delving into the content and form of the film awakens my creativity. Which themes and motifs fit the concept of the film? To the temporal setting, to the mood, to the characters of the figures, to the rhythm? I can play a waltz to a dance scene, for example, but also to a slapstick scene or a car ride. The decisive factor here is the arc of tension that I want to build up over the entire film. When I accompany the film alone on the piano, I only look at the screen. I have the structure of the film and my concept in my head and improvise on themes and motifs that I have thought up for the film.
The painter
A selection of my work
Since participating in the Summer Academy Pentiment 2006 in Hamburg, I paint regularly again. I attend painting trips and courses from Kunsthaus Schenefeld and exhibit in the Hamburg area.
EXHIBITION VIDEO JANUARY 2023
Services
Accompany silent movies
Improvisation
You are looking for music for your event? I improvise freely on the piano – with my own or other people’s themes, to silent films, slide shows, pantomime, theater or vernissages. I play live on location or record my improvisations for you to use on a medium of your choice – when and where you want.
Festivals
I enrich your festival with specially composed and improvised silent film music. I have a lot of experience with public performances at home and abroad and accompany documentaries, slapsticks, film classics, archive treasures and newsreels, your own film productions or private recordings. (Benjamin Beckherrn: LEARNING or DOING 2010)
Scoring
My music is created on acoustic instruments and not on the computer. I compose for individual instruments and for ensembles/orchestras in various styles. For the composition of songs/chansons I am inspired by texts and will be happy to discuss your ideas with you, (example Katalyn Bohn). I play live or take over the studio production.
The silent movie
A cultural asset
Music is a wonderful way to keep silent films alive. Since they don’t have their own soundtrack, I have a lot of creative freedom. I enjoy exciting the audience with my music and making the old films an experience even today.
It is to the credit of cinematheques, archives, festivals and CineGraph that this heritage of the silent era is being restored and made accessible again.
A coincidence brought me to the silent films …
After my return from Paris in the fall of 1989, the 2nd International Film History Congress of CineGraph, titled “Rags and Silk,” was held in Hamburg. The congress was dedicated to the producer, director and screenwriter Richard Oswald, but his films were mostly shown there on mute.
The following year, I had the privilege of accompanying the films of producer and director Joe May with silent film stars Mia May and Conrad Veidt during the convention. From then on I continuously accompanied silent films, alone on the piano or with ensembles.
References
OVERVIEW
In the following list you will find an overview of realized projects, recordings, DVD recordings, appearances at festivals.
Silent films, set to music 1990-2022
| FILM TITLE | DIRECTOR / YEAR | DETAILS |
| LA CASCADE DE FEU | GEORGE MÉLIÈS, 1903 | |
| LE FEU D’ARTIFICE | GEORGE MÉLIÈS, 1903 | |
| LE LOCATAIRE DIABOLIQUE | GEORGE MÉLIÈS, 1904 | |
| DAS HUHN MIT DEN GOLDENEN EIERN | GASTON VELLE, 1905 | |
| LE MAGICIEN | GEORGE MÉLIÈS, 1905 | |
| L’HOMME À LA TÊTE EN CAOUTCHOUC | GEORGE MÉLIÈS, 1908 | |
| EIN MATROSENABENTEUER | OSCAR MESSTER, 1909 | |
| HEIMTÜCKISCHE RACHE | CAMILLE DE MORLHON, 1912 | |
| OSTERGLOCKEN | LOUIS FEUILLADE, 1912 | |
| A LA CONQUÊTE DU PÔLE | GEORGE MÉLIÈS, 1912 | |
| DAS TÖPFCHEN | EMIL ALBES, 1912 | |
| MARIAGE AU REVOLVER | JEAN DURAND, 1912 | |
| LE RAILWAY DE LA MORT | JEAN DURAND, 1912 | |
| CŒUR ARDANT | JEAN DURAND, 1912 | |
| IN NACHT UND EIS | MIME MISU, 1912 | |
| WIE SICH DER KIENTOPP RÄCHT | GUSTAV TRAUTSCHOLD, 1912/13 | |
| ERBLICH BELASTET | HARRY PIEL, 1913 | |
| DAS ROSA PANTÖFFELCHEN | FRANZ HOFER, 1913 | |
| DAS GESCHENK DES INDERS | LOUIS RALPH, 1913 | |
| DIE INSEL DER SELIGEN | MAX REINHARDT, D 1913 | |
| DIE SOUFRAGETTE | U. Gad, D 1913: | |
| DER MANN IM KELLER | JOE MAY, 1914 | |
| HIS TRYSTING PLACES | CHARLIE CHAPLIN, 1914 | |
| FACE ON THE BARROOM FLOR | CHARLIE CHAPLIN, 1914 | |
| THE VAGABOND | CHARLIE CHAPLIN, 1914 | |
| WORK | CHARLIE CHAPLIN, 1914 | |
| A NIGHT IN THE SHOW | CHARLIE CHAPLIN, 1914 | |
| DER MANN IM KELLER | R.J. Guter, D 1914 | |
| DER GESTREIFTE DOMINO | ADOLF GÄRTNER, 1915 | |
| DIE TOTEN ERWACHEN | ADOLF GÄRTNER, 1915 | |
| ROBERT UND BERTRAM | MAX MACK, 1915 | |
| HOFFMANNS ERZÄHLUNGEN | R. Oswald, D 1916 | |
| DER MAGISCHE GÜRTEL | HANS BRENNERT, 1917 | |
| DER GELBE SCHEIN | VICTOR JANSON, 1918 | |
| HAGENBECK-FILME | DOKUMENTARFILME 1918–1928 | |
| VERITAS VINCIT | JOE MAY, 1918 | |
| ICH MÖCHTE KEIN MANN SEIN | ERNST LUBITSCH, 1918 | |
| OPIUM | ROBERT REINERT, 1918 | Kompilation für Salonorchester (Fl, Klar., V, V obl., Vc, Kb, Piano) |
| DAS ROLLENDE HOTEL | H. Piel, D 1918 | |
| DIE AUSTERNPRINZESSIN | ERNST LUBITSCH, 1919 | |
| ANNA MÜLLER LINKE KANDIDIERT | W. SINN, 1919 | |
| UNHEIMLICHE GESCHICHTEN | RICHARD OSWALD, D 1919 | |
| HERRIN DER WELT TEILE I,IV UND VIII | JOE MAY, 1919 | |
| HARAKIRI | FRITZ LANG, 1919 | |
| WOLVES OF KULTUR | J.A. GOLDEN, 1919 | |
| DAS MÄDCHEN AUS DER ACKERSTRASSE | REINHOLD SCHÜNZEL, 1919 | |
| DIE PUPPE | Ernst Lubitsch, D 1919 | |
| ANNA MÜLLER LINKE KANDIDIERT | W. Sinn, D 1919 | |
| MADAME DUBARRY | Ernst Lubitsch, D 1919 | |
| DAS WANDERNDE BILD | FRITZ LANG, 1920 | |
| HAMLET | SVEND GADE ENGL. FASSUNG, 1920 | |
| IM ZEICHEN DES ZORRO | FRED NIBLO/DOUGLAS FAIRBANKS SR., 1920 | |
| DER GOLEM, WIE ER IN DIE WELT KAM | PAUL WEGENER, CARL BOESE, 1920 | |
| GENUINE | ROBERT WIENE, 1920 | |
| DAS INDISCHE GRABMAL | JOE MAY, 1921 | |
| ABENTEUER EINES JOUNALISTEN | HARRY PIEL, 1921 | |
| DIE HOCHBAHNKATASTROPHE | VALY ARNHEIM, 1921 | |
| SCHLOSS VOGELÖD | F. WILHELM MURNAU, 1921 | |
| DIE GEZEICHNETEN | CARL TH. DREYER, 1921 | |
| GEIER-WALLY | EWALD A. DUPONT, 1921 | |
| DIE BERGKATZE | ERNST LUBITSCH, 1921 | Komposition für Klar., Vc, Kb, Piano |
| THE KID | CHARLIE CHAPLIN, 1921 | |
| DAS INDISCHE GRABMAL | J. May, D 1921 | |
| DAS WUNDER AN DER WEICHSEL | K. Nowak-Tyszowiecki, P 1921 | |
| DIE DREI MUSKETIERE | Fred Niblo, US 1921, mit Douglas Fairbanks | |
| THE KID | Ch. Chaplin, US 1921 | |
| NOSFERATU, EINE SYMPHONIE DES GRAUENS | FRIEDRICH W. MURNAU, 1921/22 | |
| ROBIN HOOD | Allan Dwan, US 1922 mit Douglas Fairbanks | |
| HEINRICH HEINES ERSTE LIEBE | EVA CHRISTA, 1922 | Komposition für Streichensemble, Piano und vier Sängern unter Verwendung von Fragmenten des Singspiels von Wilhelm Lindemann |
| DAS CABINET DES DR. CALIGARI | ROBERT WIENE,1923 | |
| DIE GRÜNE MANUELA | EWALD A. DUPONT, 1923 | |
| DAS ALTE GESETZ | EWALD A. DUPONT, 1923 | |
| DER RAUB DES BANKIERS FUX | Karl Anton, CS 1923 | |
| DIE ABENTEUER DES PRINZEN AHMED | LOTTE REININGER, 1923-26 | |
| DER LETZTE MANN | FRIEDRICH W. MURNAU, 1924 | |
| SYLVESTER | LUPU PICK, 1924 | |
| MICHAEL | CARL TH. DREYER, 1924 | |
| ORLACS HÄNDE | ROBERT WIENE, 1924 | |
| DIE AUSSERGEWÖHNLICHEN ABENTEUER DES MR. WEST IM LANDE DER BOLSCHEWIKEN | LEW KULESCHOW, 1924 | |
| GREED | E. von Stroheim, US 1924 | |
| DER DIEB VON BAGDAD | Raoul Walsh, US 1924 mit Douglas Fairbanks | |
| DIE STADT OHNE JUDEN | Hans Karl Breslauer, A 1924 | |
| DER UNGESCHICKTE RÄUBER | Karel Lamac, CS 1924 | |
| DER FARMER AUS TEXAS | J. May, D 1924/25 | |
| RUHRSCHANDE | DOKUMENTARFILM, 1924 | |
| RHYTHMUS 21 | HANS RICHTER, 1921/1924 | |
| RHYTHMUS 23 | HANS RICHTER, 1923/1924 | |
| DIE SKLAVENKÖNIGIN | MIHÁLY KERTÉSZ, 1924 | |
| DIE BIENE MAJA UND IHRE ABENTEUER | WOLFRAM JUNGHANS, 1924/25 | Komposition für Piano, Djembé und Kb |
| LUXUSWEIBCHEN | ERICH SCHÖNFELDER, 1925 | |
| FRAUEN, DIE MAN OFT NICHT GRÜSST | FRIEDRICH ZELNIK, 1925 | |
| AELITA | JAKOW PROTASANOFF, 1925 | |
| BUSHIDO – DAS EISERNE GESETZ | HEINZ C. HEILAND/ZAMNU KAKO, 1925 | |
| SCHNELLER ALS DER TOD | HARRY PIEL, 1925 | |
| TARTÜFF | FRIEDRICH W. MURNAU, 1925 | |
| VARIÉTÉ | EWALD A. DUPONT, 1925 | |
| VISAGES D’ENFANTS | Jacques Feyder, F/CH 1925 | |
| EIN WALZERTRAUM | LUDWIG BERGER, 1925 | Komposition für Salonorchester (Fl, Klar., V, V obl., Vc, Kb, Piano) |
| DER STUDENT VON PRAG | HENRIK GALEEN, 1926 | |
| HALLOH CAESAR! | REINHOLD SCHÜNZEL, 1926 | Komposition für Pos./Tuba, Schlagzeug, Piano |
| DIE KEUSCHE SUSANNE | RICHARD EICHBERG, 1926 | nach der Operette von Jean Gilbert Arrangement und Komposition für Salonorchester (Fl, Klar., V, V obl., Vc Kb, Piano) |
| DER GENERAL | BUSTER KEATON, 1926 | |
| DER SCHWARZE PIRAT | ALBERT PARKER/DOUGLAS FAIRBANKS SR., 1926 | |
| DAS BLUMENWUNDER | M. Reichmann, D 1926 | |
| MARE NOSTRUM | REX INGRAM, 1925/26 | |
| ALRAUNE | HENRIK GALEEN, 1927 | |
| DIE PASSION DER JEANNE D’ARC | CARL TH. DREYER, 1927 | |
| SYMPHONIE DER GROSSSTADT | WALTER RUTTMANN, 1927 | |
| DIE LIEBE DER JEANNE NEY | GEORG W. PABST, 1927 | |
| FAMILIENTAG IM HAUSE PRELLSTEIN | HANS STEINHOFF, 1927 | |
| MÜNCHEN-BERLIN: OSKAR FISCHINGER | DOKUMENTARFILM, 1927 | |
| MOSKAU | MIKHAIL KAUFMANN, 1927 | |
| THE CAT AND THE CANARY | PAUL LENI, 1927 | |
| DIE LETZTEN TAGE VON ST. PETERSBURG | WSEWOLOD PUDOVKIN, 1927 | |
| DIRNENTRAGÖDIE | BRUNO RAHN, 1927 | |
| DER HIMMEL AUF ERDEN | ALFRED SCHIROKAUER/REINHOLD SCHÜNZEL, 1927 | |
| COLLEGE | JAMES W. HORNE/BUSTER KEATON, 1927 | |
| SUNRISE | FRIEDRICH W. MURNAU, 1927 | |
| AM RÜDESHEIMER SCHLOSS STEHT EINE LINDE | J. Guter, D 1927 | |
| DAS ENDE VON ST. PETERSBURG | SU 1927, Regie: W. Pudowkin | |
| DIE BÜCHSE DER PANDORA | GEORG W. PABST, 1928 | Kompilation für Salonorchester (V, Vc, Kb, Piano) |
| TRAGÖDIE IM CIRKUS ROYAL | ALFRED LIND, 1928 | Komposition und Improvisation für Jazz-Trio (Pos., Schlagzeug, Piano) |
| GIRL IN EVERY PORT | HOWARD HAWKS, 1928 | |
| ROBERT UND BERTRAM | RUDOLF WALTER-FEIN, 1928 | |
| WIR HALTEN TREU UND FEST ZUSAMMEN | FRAGM. N. NOSSEN, 1928 | |
| DIE DAME MIT DER MASKE | WILHELM THIELE, 1928 | |
| PICCADILLY | EWALD A. DUPONT, 1928 | |
| HEIMKEHR | JOE MAY, 1928 | |
| RAPA NUI | MARIO BONNARD, 1928 | |
| DIE CARMEN VON ST. PAULI | ERICH WASCHNECK, 1928 | |
| REPUBLIK DER BACKFISCHE | CONSTANTIN J. DAVID, 1928 | |
| TOTTE ET SA CHANCE | AUGUSTO GENINA, 1928 | |
| STEAMBOAT BILL JR. | BUSTER KEATON, 1928 | |
| DER GEHEIME KURIER | GENNARO RIGHELLI, 1928 | |
| POLIZEIBERICHT ÜBERFALL | ERNÖ METZNER, 1928 | |
| DIE WUNDERBARE LÜGE DER NINA PETROWNA | D 1928, Regie: H. Schwarz | |
| FRÄULEIN ELSE | PAUL CZINNER, 1928/29 | |
| DAS TAGEBUCH EINER VERLORENEN | GEORG W. PABST, 1929 | |
| DURCHS BRANDENBURGER TOR | MAX KNAAKE, 1929 | |
| Der Teufelsreporter | CARL LAEMMLE, 1929 | |
| EROS IN KETTEN | CONRAD WIENE, 1929 | |
| DIE WEISSE HÖLLE VON PIZ PALÜ | ARNOLD FANCK/GEORG W. PABST, 1929 | |
| DER SONDERLING | Walter Jerven, D 1929, mit Karl Valentin | |
| TRÜMMER DES IMPERIUMS | Friedrich Markowitsch Ermler, UDSSR 1929 | |
| IHR DUNKLER PUNKT | J. Guter, D 1929 | Komposition und Einspielung für DVD |
| HOOGSTAAT | A. von Barsy, NL 1929 | |
| DAS HEILIGE PRAG | HANS CURLIS, 1929 | |
| LE CHIEN ANDALOU | LOUIS BUNUEL, 1929 | |
| DIE FRAU, NACH DER MAN SICH SEHNT | KURT BERNHARDT, 1929 | |
| WOCHENSCHAUEN | 1918-1929 | |
| VERSCHIEDENE KURZFILME während der Flensburger Kurzfilmtage | 1912-1929 | |
| DIE JAGD NACH DEM GLÜCK | LOTTE REINIGER, 1929 | Komposition für Piano, DVD Arte-Edition |
| MENSCHEN AM SONNTAG | ROBERT SIODMAK/BILLY WILDER, 1929/30 | |
| WINDJAMMER UND JANMAATEN | HANS HAUSER, 1930 | |
| PRIX DE BEAUTÉ – MISS EUROPE | AUGUSTO GENINA, 1930 | |
| MESHES OF THE AFTERNOON | MAYA DEREN, 1943 | |
| Laurel&Hardy-Filme: DO DETEKTIVES THINK?, TWO TARS, WE FAW DOWN, FLYING ELEFANTS | ||
| Kurzfilme von und mit Charlie Chaplin: TANGO TANGLES, KIDA AUTO RACES AT VENICE, BEHIND THE SCREEN, THE IMMIGRANT, BOXKAMPF |
Compositions 1990-2021
| COMPOSITIONS | YEAR | DETAILS |
| SECHS WIE PECH UND SCHWEFEL von Kremfresch privat | 1990 | |
| HARRY PIEL-FILME open air in Woltersdorf, ehemalige Filmstadt bei Berlin | 1992 | |
| ZUM 100. GEBURTSTAG VON PAUL DESSAU | 1994 | Merging of the music and the animated films from 1926 and 1928, performance during the Hamburg Music Festival at the Metropolis with the Bremen Chamber Philharmonic Orchestra |
| DIE PASSION DER JEANNE D’ARC | 1995 | THE PASSION OF JEANNE D’ARC (Carl Th. Dreyer, 1927) Organ and piano with Wolfgang Zilcher in the Rellinger Church |
| OPIUM | 1996 | (Robert Reinert, 1918) Compilation for salon orchestra (Fl, Klar., V, V obl., Vc, Kb, Piano) |
| DIE KEUSCHE SUSANNE | 1997 | (Richard Eichberg, 1926) after the operetta by Jean Gilbert arrangement and composition for salon orchestra (Fl, Klar., V, V obl., Vc, Kb, Piano) |
| HEINRICH HEINES ERSTE LIEBE | 1997 | (Eva Christa, 1922) Komposition für string ensemble, piano and four singers using fragments of the Singspiel by Wilhelm Lindemann |
| DER FASCHINGSPRINZ | 1997 | (Rudolf Walter-Fein, 1928) Compilation for salon orchestra (Fl, Klar., V., V obl., Vc, Kb, Piano) |
| DER KOMISCHE KINTOPP | 1998 | Early German Comedies, six episodes on Arte. Settings of 16 early German comedies before 1920 for piano, organ and salon orchestra DVD absolut medien |
| EIN WALZERTRAUM | 1998 | (Ludwig Berger, 1925) Composition for salon orchestra (Fl, Klar., V, V obl., Vc, Kb, Piano) |
| ROSEMAGIE, HOLZHAFENPOEM | 2000 | and other diaporams by Heinrich Korella, settings with organ and piano |
| DIE BÜCHSE DER PANDORA | 2001 | (Georg W. Pabst, 1928) Compilation for salon orchestra (V, Vc, Kb, Piano) |
| TRAGÖDIE IM CIRKUS ROYAL | 2001 | (Alfred Lind, 1928) composition and improvisation for jazz trio (pos., drums, piano) |
| HALLOH CAESAR! | 2002 | Jubiläum im Karlsbad (R. Schünzel, 1926) composition for pos./tuba, percussion, piano |
| DIE BERGKATZE | 2003 | Filmfest Hamburg (Ernst Lubitsch, 1921) Composition for clarinet, vc, cb, piano |
| TEILNAHME AN DER SMI | 2004 | (School for Music and Image) Giornate del Cinema Muto in Pordenone/Sacile. For the application of this masterclass the accompaniment of 6 different short silent films on video had to be sent in. Design of a part of the program according to specifications and without prior viewing.. |
| MÄRCHEN | 2005 | 12 children’s song compositions to fairy tales by Christian Pörksen, published by Hosé Christian Anersen: The Magic Trumpet, The Blue King of the Birch River, The Trolls of Jerichow, The Fairy Tale Chest |
| DIE BIENE MAJA UND IHRE ABENTEUER | 2005 | (Wolfram Junghans, 1924/25) Composition for piano, djembé and Kb |
| DIE JAGD NACH DEM GLÜCK | 2007 | (Lotte Reiniger, 1929) Composition for piano, DVD Arte edition |
| LEARNING OR DOING | 2010 | Benjamin Beckherrn youtube |
| JULIUS PINSCHEWER | 2010 | Klassiker des Werbefilms. Soundtracks of 18 films 1910 – 1927 DVD absolut medien |
| VERTONUNG MIT KINDERN | 2011 | two 7th grade classes develop music to fairy tale films by Lotte Reiniger with public performance at KASCH, Achim |
| AUS FREMDEN KELLERN | 2012 | 14 Documentaries from 1910 – 1928, From Fish Processing to Children’s Recreation DVD to be released in 2017, Eds. Joachim Paschen, Werner Grassmann. |
| HALLOH CAESAR! | 2015 | (Reinhold Schünzel, 1926) Composition for pos./tuba, percussion, piano, 25 years Hamburg-Praha in the German Embassy in Prague |
| KATALYN BOHN | 2016 | For cabaret program “Miss Geschicke” four settings for slapstick pantomine |
| KATALYN BOHN | 2016 | 5 cabaret songs for the show “sein oder online” by and with Katalyn Bohn |
Videos
Insight into my projects
Provided courtesy of absolut Medien + arte Edition and available for purchase.
Contact
Festivals, silent films, musicals, theater, soundtracks – an individual film music.
Depending on your needs and wishes, I will develop a very individual sound world for you.
Contact me and let us stage something unique for your project.
I look forward to hearing from you.
zetchi@marilu-bolte.de