Stummfilm Musik
live at the piano with Marie-Luise Bolte
Live improvised and composed silent film music for festivals, cinemas, film libraries, and cultural events.
- Specializing in silent film accompaniment for many years
- Improvisation and composition for piano and ensembles
- Silent film music for classics and newly discovered films
- Zusammenarbeit mit Archiven, Festivals und Kulturhäusern
Silent film music as a narrative level
In silent film accompaniment, the music responds directly to the rhythm of the images, the editing, and the characters. This creates a lively second layer that allows the film to be experienced in a new way.
Live experience for your audience
The combination of historical film footage and live silent film music creates a unique event—ideal for festivals, cinemas, museums, and cultural events.
Stummfilm Musik
Silent movie music
Musique de film muët
Musica per cinema muto
Musica de cine mudo
Sessiz Film Müzigi
Live piano accompaniment
Improvised silent film music, developed from themes and motifs that carry the film. Directly on the screen and connected to the images in the moment.
Ideal for individual silent film evenings, series, and special events.
Composition & scoring of silent films
Commissioned compositions for silent films – for live performances, concerts, DVD/Blu-ray editions, streaming, or exhibitions.
Scores for solo piano or ensembles, in consultation with archives, publishers, and event organizers.
Programs for festivals, cinemas, and cultural centers
Curated silent film programs, thematic series, and introductions tailored to your festival, cinema, or cultural institution.
Besondere Formate & Vermittlung
Silent film music for workshops, educational programs, moderated evenings, school performances, and interdisciplinary projects (e.g., theater, slide shows).
About the composer
Marie-Luise Bolte –
Silent film music as a focus
Marie-Luise Bolte is a pianist and composer specializing in silent film accompaniment. For many years, she has accompanied silent films at festivals, in cinemas, and in collaboration with archives and film libraries.
She studied music and works as an improviser and composer in the fields of silent film, theater, and cabaret.
References & selected silent film projects
Current articles in the media
Videos
Mit freundlicher Genehmigung von absolut Medien + arte Edition zur Verfügung gestellt und käuflich zu erwerben.
Slapstick — First steps in professional life
Silent film — A modern incubator
Silent film – Maggi advertising film
Silent film — The Pursuit of Happiness
Silent films with sound
Silent films with sound (selection 1990–present)
| 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 | |
| THE GOOSE THAT LAID THE GOLDEN EGGS | GASTON VELLE, 1905 | |
| LE MAGICIEN | GEORGE MÉLIÈS, 1905 | |
| L’HOMME À LA TÊTE EN CAOUTCHOUC | GEORGE MÉLIÈS, 1908 | |
| EIN MATROSENABENTEUER | OSCAR MESSTER, 1909 | |
| INSIDIOUS REVENGE | CAMILLE DE MORLHON, 1912 | |
| OSTERGLOCKEN | LOUIS FEUILLADE, 1912 | |
| A LA CONQUÊTE DU PÔLE | GEORGE MÉLIÈS, 1912 | |
| THE POTTY | EMIL ALBES, 1912 | |
| MARIAGE AU REVOLVER | JEAN DURAND, 1912 | |
| LE RAILWAY DE LA MORT | JEAN DURAND, 1912 | |
| CŒUR ARDANT | JEAN DURAND, 1912 | |
| IN NIGHT AND ICE | MIME MISU, 1912 | |
| HOW THE KIENTOPP TAKES REVENGE | GUSTAV TRAUTSCHOLD, 1912/13 | |
| GENETICALLY PREDISPOSED | HARRY PIEL, 1913 | |
| THE PINK SLIPPER | FRANZ HOFER, 1913 | |
| THE GIFT OF THE INDIAN | LOUIS RALPH, 1913 | |
| THE ISLAND OF THE BLESSED | MAX REINHARDT, GER 1913 | |
| THE SOUFRAGETTE | U. GAD, GER 1913: | |
| THE MAN IN THE BASEMENT | 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 | |
| THE MAN IN THE BASEMENT | R.J. GUTER, GER 1914 | |
| THE STRIPED DOMINO | ADOLF GÄRTNER, 1915 | |
| THE DEAD AWAKEN | ADOLF GÄRTNER, 1915 | |
| ROBERT AND BERTRAM | MAX MACK, 1915 | |
| HOFFMANN’S TALES | R. OSWALD, GER 1916 | |
| BESTIA | Poland/USA 1916/17, ALEKSANDER HERTZ | |
| THE MAGICAL BELT | HANS BRENNERT, 1917 | |
| THE YELLOW LIGHT | VICTOR JANSON, 1918 | |
| HAGENBECK FILMS | DOCUMENTARY FILMS 1918–1928 | |
| VERITAS VINCIT | JOE MAY, 1918 | |
| I DON’T WANT TO BE A MAN | ERNST LUBITSCH, 1918 | |
| OPIUM | ROBERT REINERT, 1918 | Compilation for salon orchestra (flute, clarinet, violin, oboe, cello, double bass, piano) |
| THE ROLLING HOTEL | H. PIEL, GER 1918 | |
| CRUMBLE’S FIRST LOVE | GER 1918 D/B: HANNA HENNING | |
| THE EYES OF THE MUMMY MA | GER 1918, ERNST LUBITSCH | |
| THE OYSTER PRINCESS | ERNST LUBITSCH, 1919 | |
| ANNA MÜLLER RUNS FOR OFFICE | W. SINN, 1919 | |
| SPOOKY STORIES | RICHARD OSWALD, GER 1919 | |
| LADY OF THE WORLD PARTS I, IV, AND VIII | JOE MAY, 1919 | |
| HARAKIRI | FRITZ LANG, 1919 | |
| WOLVES OF KULTUR | J.A. GOLDEN, 1919 | |
| THE GIRL FROM ACKERSTRASSE | REINHOLD SCHÜNZEL, 1919 | |
| THE DOLL | Ernst Lubitsch, GER 1919 | |
| ANNA MÜLLER RUNS FOR OFFICE | W. Sinn, GER 1919 | |
| MADAME DUBARRY | Ernst Lubitsch, GER 1919 | |
| THE WANDERING IMAGE | FRITZ LANG, 1920 | |
| HAMLET | SVEND GADE RESTORED VERSION, 1920 | |
| UNDER THE SIGN OF ZORRO | FRED NIBLO/DOUGLAS FAIRBANKS SR., 1920 | |
| THE GOLEM, HOW IT CAME INTO THE WORLD | PAUL WEGENER, CARL BOESE, 1920 | |
| GENUINE | ROBERT WIENE, 1920 | |
| THE INDIAN TOMB | JOE MAY, 1921 | |
| ADVENTURES OF A JOURNALIST | HARRY PIEL, 1921 | |
| THE HIGH RAILWAY DISASTER | VALY ARNHEIM, 1921 | |
| SCHLOSS VOGELÖD | F. WILHELM MURNAU, 1921 | |
| THE SIGNED ONES | CARL TH. DREYER, 1921 | |
| GEIER-WALLY | EWALD A. DUPONT, 1921 | |
| THE MOUNTAIN CAT | ERNST LUBITSCH, 1921 | Composition for clarinet, cello, contrabass, piano |
| THE KID | CHARLIE CHAPLIN, 1921 | |
| THE INDIAN TOMB | J. May, GER 1921 | |
| THE MIRACLE ON THE VISTULA | K. Nowak-Tyszowiecki, P 1921 | |
| THE THREE MUSKETEERS | Fred Niblo, US 1921, starring Douglas Fairbanks | |
| THE KID | Ch. Chaplin, US 1921 | |
| NOSFERATU, A SYMPHONY OF HORROR | FRIEDRICH W. MURNAU, 1921/22 | |
| ROBIN HOOD | Allan Dwan, US 1922, starring Douglas Fairbanks | |
| HEINRICH HEINES ERSTE LIEBE | EVA CHRISTA, 1922 | Composition for string ensemble, piano, and four singers using fragments from Wilhelm Lindemann’s Singspiel |
| THE CABINET OF DR. CALIGARI | ROBERT WIENE,1923 | |
| THE GREEN MANUELA | EWALD A. DUPONT, 1923 | |
| THE OLD LAW | EWALD A. DUPONT, 1923 | |
| THE ROBBERY OF THE BANKER FUX | Karl Anton, CS 1923 | |
| THE ADVENTURES OF PRINCE AHMED | LOTTE REININGER, 1923-26 | |
| THE LAST MAN | FRIEDRICH W. MURNAU, 1924 | |
| SYLVESTER | LUPU PICK, 1924 | |
| MICHAEL | CARL TH. DREYER, 1924 | |
| ORLAC’S HANDS | ROBERT WIENE, 1924 | |
| THE EXTRAORDINARY ADVENTURES OF MR. WEST IN THE LAND OF THE BOLSHEVIKS | LEW KULESCHOW, 1924 | |
| GREED | E. von Stroheim, US 1924 | |
| THE THIEF OF BAGHDAD | Raoul Walsh, US 1924, starring Douglas Fairbanks | |
| THE CITY WITHOUT JEWS | Hans Karl Breslauer, A 1924 | |
| THE CLUMSY ROBBER | Karel Lamac, CS 1924 | |
| THE FARMER FROM TEXAS | J. May, GER 1924/25 | |
| RUHRSCHANDE | DOCUMENTARY FILM, 1924 | |
| RHYTHMUS 21 | HANS RICHTER, 1921/1924 | |
| RHYTHMUS 23 | HANS RICHTER, 1923/1924 | |
| THE SLAVE QUEEN | MIHÁLY KERTÉSZ, 1924 | |
| THE BARCAROLE | GER 1924, D: LOTTE REINIGER | |
| MAYA THE BEE AND HER ADVENTURES | WOLFRAM JUNGHANS, 1924/25 | Composition for piano, djembe, and kb |
| LUXURY WOMEN | ERICH SCHÖNFELDER, 1925 | |
| WOMEN YOU OFTEN DON’T GREET | FRIEDRICH ZELNIK, 1925 | |
| AELITA | JAKOW PROTASANOFF, 1925 | |
| BUSHIDO – THE IRON LAW | HEINZ C. HEILAND/ZAMNU KAKO, 1925 | |
| FASTER THAN DEATH | HARRY PIEL, 1925 | |
| TARTÜFF | FRIEDRICH W. MURNAU, 1925 | |
| VARIÉTÉ | EWALD A. DUPONT, 1925 | |
| VISAGES D’ENFANTS | Jacques Feyder, F/CH 1925 | |
| A WALTZ DREAM | LUDWIG BERGER, 1925 | Composition for salon orchestra (flute, clarinet, violin, oboe, cello, double bass, piano) |
| FROM THE INVISIBLE KINGDOM: SERVING THE SICK AND ELDERLY | GER 1925, D: GERTRUD DAVID | |
| THE STUDENT FROM PRAGUE | HENRIK GALEEN, 1926 | |
| HALLOH CAESAR! | REINHOLD SCHÜNZEL, 1926 | Composition for bassoon/tuba, percussion, piano |
| THE CHASTE SUSANNE | RICHARD EICHBERG, 1926 | Based on the operetta by Jean Gilbert Arrangement and composition for salon orchestra (flute, clarinet, violin, oboe, cello, double bass, piano) |
| THE GENERAL | BUSTER KEATON, 1926 | |
| THE BLACK PIRATE | ALBERT PARKER/DOUGLAS FAIRBANKS SR., 1926 | |
| THE FLOWER MIRACLE | M. Reichmann, GER 1926 | |
| MARE NOSTRUM | REX INGRAM, 1925/26 | |
| ALRAUNE | HENRIK GALEEN, 1927 | |
| THE PASSION OF JOAN OF ARC | CARL TH. DREYER, 1927 | |
| SYMPHONY OF THE BIG CITY | WALTER RUTTMANN, 1927 | |
| THE LOVE OF JEANNE NEY | GEORG W. PABST, 1927 | |
| FAMILY DAY AT THE PRELLSTEIN HOUSE | HANS STEINHOFF, 1927 | |
| MUNICH-BERLIN: OSKAR FISCHINGER | DOCUMENTARY FILM, 1927 | |
| MOSKAU | MIKHAIL KAUFMANN, 1927 | |
| THE CAT AND THE CANARY | PAUL LENI, 1927 | |
| THE LAST DAYS OF ST. PETERSBURG | WSEWOLOD PUDOVKIN, 1927 | |
| PROSTITUTE TRAGEDY | BRUNO RAHN, 1927 | |
| HEAVEN ON EARTH | ALFRED SCHIROKAUER/REINHOLD SCHÜNZEL, 1927 | |
| COLLEGE | JAMES W. HORNE/BUSTER KEATON, 1927 | |
| SUNRISE | FRIEDRICH W. MURNAU, 1927 | |
| THERE IS A LINDEN TREE AT RÜDESHEIM CASTLE | J. Guter, GER 1927 | |
| THE END OF ST. PETERSBURG | SU 1927, D: W. Pudowkin | |
| ALL KINDS OF FOLK ENTERTAINMENT IN JAVA | GER 1927, D/K: LOLA KREUTZBERG | |
| EVAS DAUGHTERS | CS/D 1927/28, CARL LAMAČ | |
| PANDORA’S BOX | GEORG W. PABST, 1928 | Compilation for salon orchestra (V, Vc, Kb, Piano) |
| TRAGEDY AT THE CIRCUS ROYAL | ALFRED LIND, 1928 | Composition and improvisation for jazz trio (trumpet, drums, piano) |
| GIRL IN EVERY PORT | HOWARD HAWKS, 1928 | |
| ROBERT AND BERTRAM | RUDOLF WALTER-FEIN, 1928 | |
| WE STICK TOGETHER LOYALLY AND FIRMLY | FRAGM. N. NOSSEN, 1928 | |
| THE LADY WITH THE MASK | WILHELM THIELE, 1928 | |
| PICCADILLY | EWALD A. DUPONT, 1928 | |
| RETURN HOME | JOE MAY, 1928 | |
| RAPA NUI | MARIO BONNARD, 1928 | |
| THE CARMEN OF ST. PAULI | ERICH WASCHNECK, 1928 | |
| REPUBLIC OF THE BACKFISCHE | CONSTANTIN J. DAVID, 1928 | |
| TOTTE ET SA CHANCE | AUGUSTO GENINA, 1928 | |
| STEAMBOAT BILL JR. | BUSTER KEATON, 1928 | |
| THE SECRET COURIER | GENNARO RIGHELLI, 1928 | |
| POLICE REPORT ASSAULT | ERNÖ METZNER, 1928 | |
| THE WONDERFUL LIE OF NINA PETROVNA | GER 1928, D: H. Schwarz | |
| HANDS. THE LIFE AND LOVE OF A TENDER GENDER | GER 1928, D: STELLA F. SIMON, MIKLÓS N. BÁNDY | |
| MISS ELSE | PAUL CZINNER, 1928/29 | |
| THE DIARY OF A LOST GIRL | GEORG W. PABST, 1929 | |
| THROUGH THE BRANDENBURG GATE | MAX KNAAKE, 1929 | |
| The Devil’s Reporter | CARL LAEMMLE, 1929 | |
| EROS IN CHAINS | CONRAD WIENE, 1929 | |
| THE WHITE HELL OF PIZ PALÜ | ARNOLD FANCK/GEORG W. PABST, 1929 | |
| THE OUTSIDER | Walter Jerven, GER, 1929, with Karl Valentin | |
| RUINS OF THE EMPIRE | Friedrich Markowitsch Ermler, USSR 1929 | |
| HER DARK SPOT | J. Guter, GER 1929 | Composition and recording for DVD |
| HOOGSTAAT | A. von Barsy, NL 1929 | |
| HOLY PRAGUE | HANS CURLIS, 1929 | |
| LE CHIEN ANDALOU | LOUIS BUNUEL, 1929 | |
| THE WOMAN YOU LONG FOR | KURT BERNHARDT, 1929 | |
| WEEKLY NEWSREELS | 1918-1929 | |
| VERSCHIEDENE KURZFILME während der Flensburger Kurzfilmtage | 1912-1929 | |
| THE PURSUIT OF HAPPINESS | LOTTE REINIGER, 1929 | Composition for piano, DVD Arte Edition |
| PEOPLE ON SUNDAY | ROBERT SIODMAK/BILLY WILDER, 1929/30 | |
| BLACKMAIL/ERPRESSUNG | GB 1929/30, ALFRED HITCHCOCK | |
| WINDJAMMER AND 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 | ||
| Short films by and starring Charlie Chaplin: TANGO TANGLES, KIDA AUTO RACES AT VENICE, BEHIND THE SCREEN, THE IMMIGRANT, BOXING MATCH |
compositions
| COMPOSITIONS | YEAR | DETAILS |
| SIX LIKE PITCH AND SULFUR by Kremfresch private | 1990 | |
| HARRY PIEL FILMS open air in Woltersdorf, former film city near Berlin | 1992 | |
| ON THE 100TH BIRTHDAY OF PAUL DESSAU | 1994 | Combination of the music and animated films from 1926 and 1928, performed during the Hamburg Music Festival at the Metropolis with the Bremen Chamber Philharmonic Orchestra |
| THE PASSION OF JOAN OF ARC | 1995 | THE PASSION OF JOAN OF ARC (Carl Th. Dreyer, 1927) Organ and piano with Wolfgang Zilcher in Rellinger Church |
| OPIUM | 1996 | (Robert Reinert, 1918) Compilation for salon orchestra (flute, clarinet, violin, oboe, cello, double bass, piano) |
| THE CHASTE SUSANNE | 1997 | (Richard Eichberg, 1926) based on the operetta by Jean Gilbert Arrangement and composition for salon orchestra (flute, clarinet, violin, oboe, cello, double bass, piano) |
| HEINRICH HEINES ERSTE LIEBE | 1997 | (Eva Christa, 1922) Composition for string ensemble, piano, and four singers, using fragments from Wilhelm Lindemann’s Singspiel. |
| THE CARNIVAL PRINCE | 1997 | (Rudolf Walter-Fein, 1928) Compilation for salon orchestra (flute, clarinet, violin, oboe, cello, double bass, piano) |
| THE FUNNY KINTOP | 1998 | Early German comedies, six episodes on Arte. Musical setting of 16 early German comedies from before 1920 for piano, organ, and salon orchestra DVD absolut medien |
| A WALTZ DREAM | 1998 | (Ludwig Berger, 1925) Composition for salon orchestra (flute, clarinet, violin, oboe, cello, double bass, piano) |
| ROSEMAGIE, HOLZHAFENPOEM | 2000 | and other slide shows by Heinrich Korella, set to music with organ and piano accompaniment |
| PANDORA’S BOX | 2001 | (Georg W. Pabst, 1928) Compilation for salon orchestra (V, Vc, Kb, Piano) |
| TRAGEDY AT THE CIRCUS ROYAL | 2001 | (Alfred Lind, 1928) Composition and improvisation for jazz trio (trumpet, drums, piano) |
| HALLOH CAESAR! | 2002 | Anniversary in Karlsbad (R. Schünzel, 1926) Composition for French horn/tuba, percussion, piano |
| THE MOUNTAIN CAT | 2003 | Filmfest Hamburg (Ernst Lubitsch, 1921) Composition for clarinet, cello, double bass, piano |
| PARTICIPATION IN THE SMI | 2004 | (School for Music and Image) Giornate del Cinema Muto in Pordenone/Sacile. To apply for this master class, applicants were required to submit accompaniment for six different short silent films on video. Design of a program section according to specifications and without prior viewing. |
| FAIRY TALES | 2005 | 12 children’s song compositions based on fairy tales by Christian Pörksen, published by Hosé Christian Andersen Verlag: The Magic Trumpet, The Blue King of the Birch River, The Trolls of Jerichow, The Fairy Tale Chest |
| MAYA THE BEE AND HER ADVENTURES | 2005 | (Wolfram Junghans, 1924/25) Composition for piano, djembe, and Kb |
| THE PURSUIT OF HAPPINESS | 2007 | (Lotte Reiniger, 1929) Composition for piano, DVD Arte Edition |
| LEARNING OR DOING | 2010 | Benjamin Beckherrn youtube |
| JULIUS PINSCHEWER | 2010 | Classics of advertising film. Soundtracks from 18 films, 1910–1927 DVD absolut medien |
| SOUNDTRACK WITH CHILDREN | 2011 | Two seventh-grade classes develop music for fairy tale films by Lotte Reiniger, with a public performance at KASCH, Achim. |
| FROM FOREIGN CELLARS | 2012 | 14 documentaries from 1910–1928, from fish processing to children’s recreation DVD to be released in 2017, edited by Joachim Paschen and Werner Grassmann |
| HALLOH CAESAR! | 2015 | (Reinhold Schünzel, 1926) Composition for French horn/tuba, percussion, piano, 25 Years of Hamburg-Prague at the German Embassy in Prague |
| KATALYN BOHN | 2016 | Four musical accompaniments for slapstick pantomime for the cabaret program “Miss Geschicke” |
| KATALYN BOHN | 2016 | 5 cabaret songs for the show “sein oder online” (to be or online) by and with Katalyn Bohn |
Der Stummfilm und seine Musik
Silent film as a living cultural asset
Silent films are historical documents and, at the same time, contemporary, moving works of art. Silent film music brings them into the present and keeps them alive as cultural assets.
From image structure to musical dramaturgy
The musical work begins with an analysis of scenes, characters, and dramatic arcs. This gives rise to motifs and timbres that support the narrative—whether improvised or composed.
In collaboration with archives and film libraries, Marie-Luise Bolte accompanies restored versions and re-releases of silent film classics.
Request for silent film music
Festivals, silent films, musicals, theater, soundtracks—individual film music.
Depending on your needs and wishes, I can develop a completely individual soundscape for you.
Get in touch with me and let’s create something unique for your project.
I look forward to hearing from you.