{"id":472,"date":"2016-07-04T10:31:49","date_gmt":"2016-07-04T10:31:49","guid":{"rendered":"http:\/\/test.marilu-bolte.de\/home\/"},"modified":"2023-02-15T17:18:55","modified_gmt":"2023-02-15T16:18:55","slug":"home","status":"publish","type":"page","link":"https:\/\/marilu-bolte.de\/en\/home\/","title":{"rendered":"Home"},"content":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1482224319686{padding-top: 100px !important;padding-bottom: 60px !important;}” el_id=”komponistin”][vc_column][vc_column_text]<\/p>\n

The composer<\/h3>\n

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About me<\/h4>\n

[\/vc_column_text][vc_single_image image=”397″ img_size=”medium” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482314287475{padding-top: 15px !important;padding-bottom: 15px !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]I grew up near Bremen. In G\u00f6ttingen, 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.\u00a0I 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.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]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.\u00a0When 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.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_single_image image=”390″ img_size=”full” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482229497662{padding-top: 60px !important;padding-bottom: px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1482224319686{padding-top: 100px !important;padding-bottom: 60px !important;}”][vc_column][vc_column_text]<\/p>\n

The painter<\/h3>\n

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A selection of my work<\/h4>\n

[\/vc_column_text][vc_single_image image=”397″ img_size=”medium” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482314287475{padding-top: 15px !important;padding-bottom: 15px !important;}”][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1661354218777{padding-top: 100px !important;}”][\/vc_column][vc_column width=”1\/2″ css=”.vc_custom_1661863915109{margin-bottom: 50px !important;}”][vc_column_text]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.[\/vc_column_text][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column][vc_gallery type=”image_grid” images=”628,596,620,592,681,572,586,683,590,578″ column_number=”5″ grayscale=”no” images_space=”gallery_with_space”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1485429410060{margin-top: px !important;margin-bottom: 60px !important;}”][vc_column][vc_column_text css=”.vc_custom_1661354286958{padding-bottom: px !important;}”]<\/p>\n

DOWNLOAD PORTFOLIO<\/p>\n

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Marie-Luise Bolte paintings portfolio<\/a><\/p>\n

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EXHIBITION VIDEO JANUARY 2023<\/p>\n

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Services<\/h3>\n

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Accompany silent movies<\/h4>\n

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Improvisation<\/h5>\n

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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.\u00a0I play live on location or record my improvisations for you to use on a medium of your choice – when and where you want.<\/p>\n

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Festivals<\/h5>\n

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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)<\/p>\n

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Scoring<\/h5>\n

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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.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_single_image image=”322″ img_size=”full” alignment=”center” qode_css_animation=”” css=”.vc_custom_1481723779185{padding-bottom: px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1482224398171{padding-top: 100px !important;}” el_id=”silent-movie”][vc_column][vc_column_text css=”.vc_custom_1481723812076{padding-top: px !important;}”]<\/p>\n

The silent movie<\/h3>\n

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A cultural asset<\/h4>\n

[\/vc_column_text][vc_single_image image=”397″ img_size=”medium” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482314711719{padding-top: 30px !important;padding-bottom: 60px !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]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.<\/p>\n

 <\/p>\n

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.<\/p>\n

 <\/p>\n

A coincidence brought me to the silent films …[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]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.\u00a0The congress was dedicated to the producer, director and screenwriter Richard Oswald, but his films were mostly shown there on mute.<\/p>\n

 <\/p>\n

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.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”yes” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1474301985059{background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}”][vc_column width=”1\/2″][vc_single_image image=”395″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1482230191410{padding-top: 60px !important;padding-bottom: 30px !important;}”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”394″ img_size=”full” qode_css_animation=”” css=”.vc_custom_1482230208290{padding-top: 60px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_single_image image=”389″ img_size=”full” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482229584466{background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”center” background_image_as_pattern=”without_pattern” anchor=”blog” css=”.vc_custom_1482314791736{padding-top: 100px !important;padding-bottom: px !important;}” el_id=”referenzen”][vc_column width=”1\/4″ offset=”vc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-1 vc_col-md-10″ css=”.vc_custom_1466691550042{padding-right: 8% !important;padding-left: 8% !important;}”][vc_column_text]<\/p>\n

References<\/h3>\n

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OVERVIEW<\/h4>\n

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In the following list you will find an overview of realized projects, recordings, DVD recordings, appearances at festivals.<\/p>\n

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\n\t

\n\n\t \n Silent films, set to music 1990-2022 <\/span>\n<\/span>\n\n \n <\/span>\n <\/span>\n <\/span>\n<\/span>\n<\/h4>\n
\n
\n [vc_column_text css=”.vc_custom_1664194484092{padding-bottom: px !important;}”]<\/p>\n\n<\/colgroup>\n<\/colgroup>\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
FILM TITLE<\/strong><\/td>\nDIRECTOR \/ YEAR<\/strong><\/td>\nDETAILS<\/strong><\/td>\n<\/tr>\n
LA CASCADE DE FEU<\/td>\nGEORGE M\u00c9LI\u00c8S, 1903<\/td>\n<\/td>\n<\/tr>\n
LE FEU D\u2019ARTIFICE<\/td>\nGEORGE M\u00c9LI\u00c8S, 1903<\/td>\n<\/td>\n<\/tr>\n
LE LOCATAIRE DIABOLIQUE<\/td>\nGEORGE M\u00c9LI\u00c8S, 1904<\/td>\n<\/td>\n<\/tr>\n
DAS HUHN MIT DEN GOLDENEN EIERN<\/td>\nGASTON VELLE, 1905<\/td>\n<\/td>\n<\/tr>\n
LE MAGICIEN<\/td>\nGEORGE M\u00c9LI\u00c8S, 1905<\/td>\n<\/td>\n<\/tr>\n
L\u2019HOMME \u00c0 LA T\u00caTE EN CAOUTCHOUC<\/td>\nGEORGE M\u00c9LI\u00c8S, 1908<\/td>\n<\/td>\n<\/tr>\n
EIN MATROSENABENTEUER<\/td>\nOSCAR MESSTER, 1909<\/td>\n<\/td>\n<\/tr>\n
HEIMT\u00dcCKISCHE RACHE<\/td>\nCAMILLE DE MORLHON, 1912<\/td>\n<\/td>\n<\/tr>\n
OSTERGLOCKEN<\/td>\nLOUIS FEUILLADE, 1912<\/td>\n<\/td>\n<\/tr>\n
A LA CONQU\u00caTE DU P\u00d4LE<\/td>\nGEORGE M\u00c9LI\u00c8S, 1912<\/td>\n<\/td>\n<\/tr>\n
DAS T\u00d6PFCHEN<\/td>\nEMIL ALBES, 1912<\/td>\n<\/td>\n<\/tr>\n
MARIAGE AU REVOLVER<\/td>\nJEAN DURAND, 1912<\/td>\n<\/td>\n<\/tr>\n
LE RAILWAY DE LA MORT<\/td>\nJEAN DURAND, 1912<\/td>\n<\/td>\n<\/tr>\n
C\u0152UR ARDANT<\/td>\nJEAN DURAND, 1912<\/td>\n<\/td>\n<\/tr>\n
IN NACHT UND EIS<\/td>\nMIME MISU, 1912<\/td>\n<\/td>\n<\/tr>\n
WIE SICH DER KIENTOPP R\u00c4CHT<\/td>\nGUSTAV TRAUTSCHOLD, 1912\/13<\/td>\n<\/td>\n<\/tr>\n
ERBLICH BELASTET<\/td>\nHARRY PIEL, 1913<\/td>\n<\/td>\n<\/tr>\n
DAS ROSA PANT\u00d6FFELCHEN<\/td>\nFRANZ HOFER, 1913<\/td>\n<\/td>\n<\/tr>\n
DAS GESCHENK DES INDERS<\/td>\nLOUIS RALPH, 1913<\/td>\n<\/td>\n<\/tr>\n
DIE INSEL DER SELIGEN<\/td>\nMAX REINHARDT, D 1913<\/td>\n<\/td>\n<\/tr>\n
DIE SOUFRAGETTE<\/td>\nU. Gad, D 1913:<\/td>\n<\/td>\n<\/tr>\n
DER MANN IM KELLER<\/td>\nJOE MAY, 1914<\/td>\n<\/td>\n<\/tr>\n
HIS TRYSTING PLACES<\/td>\nCHARLIE CHAPLIN, 1914<\/td>\n<\/td>\n<\/tr>\n
FACE ON THE BARROOM FLOR<\/td>\nCHARLIE CHAPLIN, 1914<\/td>\n<\/td>\n<\/tr>\n
THE VAGABOND<\/td>\nCHARLIE CHAPLIN, 1914<\/td>\n<\/td>\n<\/tr>\n
WORK<\/td>\nCHARLIE CHAPLIN, 1914<\/td>\n<\/td>\n<\/tr>\n
A NIGHT IN THE SHOW<\/td>\nCHARLIE CHAPLIN, 1914<\/td>\n<\/td>\n<\/tr>\n
DER MANN IM KELLER<\/td>\nR.J. Guter, D 1914<\/td>\n<\/td>\n<\/tr>\n
DER GESTREIFTE DOMINO<\/td>\nADOLF G\u00c4RTNER, 1915<\/td>\n<\/td>\n<\/tr>\n
DIE TOTEN ERWACHEN<\/td>\nADOLF G\u00c4RTNER, 1915<\/td>\n<\/td>\n<\/tr>\n
ROBERT UND BERTRAM<\/td>\nMAX MACK, 1915<\/td>\n<\/td>\n<\/tr>\n
HOFFMANNS ERZ\u00c4HLUNGEN<\/td>\nR. Oswald, D 1916<\/td>\n<\/td>\n<\/tr>\n
DER MAGISCHE G\u00dcRTEL<\/td>\nHANS BRENNERT, 1917<\/td>\n<\/td>\n<\/tr>\n
DER GELBE SCHEIN<\/td>\nVICTOR JANSON, 1918<\/td>\n<\/td>\n<\/tr>\n
HAGENBECK-FILME<\/td>\nDOKUMENTARFILME 1918\u20131928<\/td>\n<\/td>\n<\/tr>\n
VERITAS VINCIT<\/td>\nJOE MAY, 1918<\/td>\n<\/td>\n<\/tr>\n
ICH M\u00d6CHTE KEIN MANN SEIN<\/td>\nERNST LUBITSCH, 1918<\/td>\n<\/td>\n<\/tr>\n
OPIUM<\/td>\nROBERT REINERT, 1918<\/td>\nKompilation f\u00fcr Salonorchester (Fl, Klar., V, V obl., Vc, Kb, Piano)<\/td>\n<\/tr>\n
DAS ROLLENDE HOTEL<\/td>\nH. Piel, D 1918<\/td>\n<\/td>\n<\/tr>\n
DIE AUSTERNPRINZESSIN<\/td>\nERNST LUBITSCH, 1919<\/td>\n<\/td>\n<\/tr>\n
ANNA M\u00dcLLER LINKE KANDIDIERT<\/td>\nW. SINN, 1919<\/td>\n<\/td>\n<\/tr>\n
UNHEIMLICHE GESCHICHTEN<\/td>\nRICHARD OSWALD, D 1919<\/td>\n<\/td>\n<\/tr>\n
HERRIN DER WELT TEILE I,IV UND VIII<\/td>\nJOE MAY, 1919<\/td>\n<\/td>\n<\/tr>\n
HARAKIRI<\/td>\nFRITZ LANG, 1919<\/td>\n<\/td>\n<\/tr>\n
WOLVES OF KULTUR<\/td>\nJ.A. GOLDEN, 1919<\/td>\n<\/td>\n<\/tr>\n
DAS M\u00c4DCHEN AUS DER ACKERSTRASSE<\/td>\nREINHOLD SCH\u00dcNZEL, 1919<\/td>\n<\/td>\n<\/tr>\n
DIE PUPPE<\/td>\nErnst Lubitsch, D 1919<\/td>\n<\/td>\n<\/tr>\n
ANNA M\u00dcLLER LINKE KANDIDIERT<\/td>\nW. Sinn, D 1919<\/td>\n<\/td>\n<\/tr>\n
MADAME DUBARRY<\/td>\nErnst Lubitsch, D 1919<\/td>\n<\/td>\n<\/tr>\n
DAS WANDERNDE BILD<\/td>\nFRITZ LANG, 1920<\/td>\n<\/td>\n<\/tr>\n
HAMLET<\/td>\nSVEND GADE ENGL. FASSUNG, 1920<\/td>\n<\/td>\n<\/tr>\n
IM ZEICHEN DES ZORRO<\/td>\nFRED NIBLO\/DOUGLAS FAIRBANKS SR., 1920<\/td>\n<\/td>\n<\/tr>\n
DER GOLEM, WIE ER IN DIE WELT KAM<\/td>\nPAUL WEGENER, CARL BOESE, 1920<\/td>\n<\/td>\n<\/tr>\n
GENUINE<\/td>\nROBERT WIENE, 1920<\/td>\n<\/td>\n<\/tr>\n
DAS INDISCHE GRABMAL<\/td>\nJOE MAY, 1921<\/td>\n<\/td>\n<\/tr>\n
ABENTEUER EINES JOUNALISTEN<\/td>\nHARRY PIEL, 1921<\/td>\n<\/td>\n<\/tr>\n
DIE HOCHBAHNKATASTROPHE<\/td>\nVALY ARNHEIM, 1921<\/td>\n<\/td>\n<\/tr>\n
SCHLOSS VOGEL\u00d6D<\/td>\nF. WILHELM MURNAU, 1921<\/td>\n<\/td>\n<\/tr>\n
DIE GEZEICHNETEN<\/td>\nCARL TH. DREYER, 1921<\/td>\n<\/td>\n<\/tr>\n
GEIER-WALLY<\/td>\nEWALD A. DUPONT, 1921<\/td>\n<\/td>\n<\/tr>\n
DIE BERGKATZE<\/td>\nERNST LUBITSCH, 1921<\/td>\nKomposition f\u00fcr Klar., Vc, Kb, Piano<\/td>\n<\/tr>\n
THE KID<\/td>\nCHARLIE CHAPLIN, 1921<\/td>\n<\/td>\n<\/tr>\n
DAS INDISCHE GRABMAL<\/td>\nJ. May, D 1921<\/td>\n<\/td>\n<\/tr>\n
DAS WUNDER AN DER WEICHSEL<\/td>\nK. Nowak-Tyszowiecki, P 1921<\/td>\n<\/td>\n<\/tr>\n
DIE DREI MUSKETIERE<\/td>\nFred Niblo, US 1921, mit Douglas Fairbanks<\/td>\n<\/td>\n<\/tr>\n
THE KID<\/td>\nCh. Chaplin, US 1921<\/td>\n<\/td>\n<\/tr>\n
NOSFERATU, EINE SYMPHONIE DES GRAUENS<\/td>\nFRIEDRICH W. MURNAU, 1921\/22<\/td>\n<\/td>\n<\/tr>\n
ROBIN HOOD<\/td>\nAllan Dwan, US 1922 mit Douglas Fairbanks<\/td>\n<\/td>\n<\/tr>\n
HEINRICH HEINES ERSTE LIEBE<\/td>\nEVA CHRISTA, 1922<\/td>\nKomposition f\u00fcr Streichensemble, Piano und vier S\u00e4ngern unter Verwendung von Fragmenten des Singspiels von Wilhelm Lindemann<\/td>\n<\/tr>\n
DAS CABINET DES DR. CALIGARI<\/td>\nROBERT WIENE,1923<\/td>\n<\/td>\n<\/tr>\n
DIE GR\u00dcNE MANUELA<\/td>\nEWALD A. DUPONT, 1923<\/td>\n<\/td>\n<\/tr>\n
DAS ALTE GESETZ<\/td>\nEWALD A. DUPONT, 1923<\/td>\n<\/td>\n<\/tr>\n
DER RAUB DES BANKIERS FUX<\/td>\nKarl Anton, CS 1923<\/td>\n<\/td>\n<\/tr>\n
DIE ABENTEUER DES PRINZEN AHMED<\/td>\nLOTTE REININGER, 1923-26<\/td>\n<\/td>\n<\/tr>\n
DER LETZTE MANN<\/td>\nFRIEDRICH W. MURNAU, 1924<\/td>\n<\/td>\n<\/tr>\n
SYLVESTER<\/td>\nLUPU PICK, 1924<\/td>\n<\/td>\n<\/tr>\n
MICHAEL<\/td>\nCARL TH. DREYER, 1924<\/td>\n<\/td>\n<\/tr>\n
ORLACS H\u00c4NDE<\/td>\nROBERT WIENE, 1924<\/td>\n<\/td>\n<\/tr>\n
DIE AUSSERGEW\u00d6HNLICHEN ABENTEUER DES MR. WEST IM LANDE DER BOLSCHEWIKEN<\/td>\nLEW KULESCHOW, 1924<\/td>\n<\/td>\n<\/tr>\n
GREED<\/td>\nE. von Stroheim, US 1924<\/td>\n<\/td>\n<\/tr>\n
DER DIEB VON BAGDAD<\/td>\nRaoul Walsh, US 1924 mit Douglas Fairbanks<\/td>\n<\/td>\n<\/tr>\n
DIE STADT OHNE JUDEN<\/td>\nHans Karl Breslauer, A 1924<\/td>\n<\/td>\n<\/tr>\n
DER UNGESCHICKTE R\u00c4UBER<\/td>\nKarel Lamac, CS 1924<\/td>\n<\/td>\n<\/tr>\n
DER FARMER AUS TEXAS<\/td>\nJ. May, D 1924\/25<\/td>\n<\/td>\n<\/tr>\n
RUHRSCHANDE<\/td>\nDOKUMENTARFILM, 1924<\/td>\n<\/td>\n<\/tr>\n
RHYTHMUS 21<\/td>\nHANS RICHTER, 1921\/1924<\/td>\n<\/td>\n<\/tr>\n
RHYTHMUS 23<\/td>\nHANS RICHTER, 1923\/1924<\/td>\n<\/td>\n<\/tr>\n
DIE SKLAVENK\u00d6NIGIN<\/td>\nMIH\u00c1LY KERT\u00c9SZ, 1924<\/td>\n<\/td>\n<\/tr>\n
DIE BIENE MAJA UND IHRE ABENTEUER<\/td>\nWOLFRAM JUNGHANS, 1924\/25<\/td>\nKomposition f\u00fcr Piano, Djemb\u00e9 und Kb<\/td>\n<\/tr>\n
LUXUSWEIBCHEN<\/td>\nERICH SCH\u00d6NFELDER, 1925<\/td>\n<\/td>\n<\/tr>\n
FRAUEN, DIE MAN OFT NICHT GR\u00dcSST<\/td>\nFRIEDRICH ZELNIK, 1925<\/td>\n<\/td>\n<\/tr>\n
AELITA<\/td>\nJAKOW PROTASANOFF, 1925<\/td>\n<\/td>\n<\/tr>\n
BUSHIDO \u2013 DAS EISERNE GESETZ<\/td>\nHEINZ C. HEILAND\/ZAMNU KAKO, 1925<\/td>\n<\/td>\n<\/tr>\n
SCHNELLER ALS DER TOD<\/td>\nHARRY PIEL, 1925<\/td>\n<\/td>\n<\/tr>\n
TART\u00dcFF<\/td>\nFRIEDRICH W. MURNAU, 1925<\/td>\n<\/td>\n<\/tr>\n
VARI\u00c9T\u00c9<\/td>\nEWALD A. DUPONT, 1925<\/td>\n<\/td>\n<\/tr>\n
VISAGES D\u2019ENFANTS<\/td>\nJacques Feyder, F\/CH 1925<\/td>\n<\/td>\n<\/tr>\n
EIN WALZERTRAUM<\/td>\nLUDWIG BERGER, 1925<\/td>\nKomposition f\u00fcr Salonorchester (Fl, Klar., V, V obl., Vc, Kb, Piano)<\/td>\n<\/tr>\n
DER STUDENT VON PRAG<\/td>\nHENRIK GALEEN, 1926<\/td>\n<\/td>\n<\/tr>\n
HALLOH CAESAR!<\/td>\nREINHOLD SCH\u00dcNZEL, 1926<\/td>\nKomposition f\u00fcr Pos.\/Tuba, Schlagzeug, Piano<\/td>\n<\/tr>\n
DIE KEUSCHE SUSANNE<\/td>\nRICHARD EICHBERG, 1926<\/td>\nnach der Operette von Jean Gilbert Arrangement und Komposition f\u00fcr Salonorchester (Fl, Klar., V, V obl., Vc Kb, Piano)<\/td>\n<\/tr>\n
DER GENERAL<\/td>\nBUSTER KEATON, 1926<\/td>\n<\/td>\n<\/tr>\n
DER SCHWARZE PIRAT<\/td>\nALBERT PARKER\/DOUGLAS FAIRBANKS SR., 1926<\/td>\n<\/td>\n<\/tr>\n
DAS BLUMENWUNDER<\/td>\nM. Reichmann, D 1926<\/td>\n<\/td>\n<\/tr>\n
MARE NOSTRUM<\/td>\nREX INGRAM, 1925\/26<\/td>\n<\/td>\n<\/tr>\n
ALRAUNE<\/td>\nHENRIK GALEEN, 1927<\/td>\n<\/td>\n<\/tr>\n
DIE PASSION DER JEANNE D\u2019ARC<\/td>\nCARL TH. DREYER, 1927<\/td>\n<\/td>\n<\/tr>\n
SYMPHONIE DER GROSSSTADT<\/td>\nWALTER RUTTMANN, 1927<\/td>\n<\/td>\n<\/tr>\n
DIE LIEBE DER JEANNE NEY<\/td>\nGEORG W. PABST, 1927<\/td>\n<\/td>\n<\/tr>\n
FAMILIENTAG IM HAUSE PRELLSTEIN<\/td>\nHANS STEINHOFF, 1927<\/td>\n<\/td>\n<\/tr>\n
M\u00dcNCHEN-BERLIN: OSKAR FISCHINGER<\/td>\nDOKUMENTARFILM, 1927<\/td>\n<\/td>\n<\/tr>\n
MOSKAU<\/td>\nMIKHAIL KAUFMANN, 1927<\/td>\n<\/td>\n<\/tr>\n
THE CAT AND THE CANARY<\/td>\nPAUL LENI, 1927<\/td>\n<\/td>\n<\/tr>\n
DIE LETZTEN TAGE VON ST. PETERSBURG<\/td>\nWSEWOLOD PUDOVKIN, 1927<\/td>\n<\/td>\n<\/tr>\n
DIRNENTRAG\u00d6DIE<\/td>\nBRUNO RAHN, 1927<\/td>\n<\/td>\n<\/tr>\n
DER HIMMEL AUF ERDEN<\/td>\nALFRED SCHIROKAUER\/REINHOLD SCH\u00dcNZEL, 1927<\/td>\n<\/td>\n<\/tr>\n
COLLEGE<\/td>\nJAMES W. HORNE\/BUSTER KEATON, 1927<\/td>\n<\/td>\n<\/tr>\n
SUNRISE<\/td>\nFRIEDRICH W. MURNAU, 1927<\/td>\n<\/td>\n<\/tr>\n
AM R\u00dcDESHEIMER SCHLOSS STEHT EINE LINDE<\/td>\nJ. Guter, D 1927<\/td>\n<\/td>\n<\/tr>\n
DAS ENDE VON ST. PETERSBURG<\/td>\nSU 1927, Regie: W. Pudowkin<\/td>\n<\/td>\n<\/tr>\n
DIE B\u00dcCHSE DER PANDORA<\/td>\nGEORG W. PABST, 1928<\/td>\nKompilation f\u00fcr Salonorchester (V, Vc, Kb, Piano)<\/td>\n<\/tr>\n
TRAG\u00d6DIE IM CIRKUS ROYAL<\/td>\nALFRED LIND, 1928<\/td>\nKomposition und Improvisation f\u00fcr Jazz-Trio (Pos., Schlagzeug, Piano)<\/td>\n<\/tr>\n
GIRL IN EVERY PORT<\/td>\nHOWARD HAWKS, 1928<\/td>\n<\/td>\n<\/tr>\n
ROBERT UND BERTRAM<\/td>\nRUDOLF WALTER-FEIN, 1928<\/td>\n<\/td>\n<\/tr>\n
WIR HALTEN TREU UND FEST ZUSAMMEN<\/td>\nFRAGM. N. NOSSEN, 1928<\/td>\n<\/td>\n<\/tr>\n
DIE DAME MIT DER MASKE<\/td>\nWILHELM THIELE, 1928<\/td>\n<\/td>\n<\/tr>\n
PICCADILLY<\/td>\nEWALD A. DUPONT, 1928<\/td>\n<\/td>\n<\/tr>\n
HEIMKEHR<\/td>\nJOE MAY, 1928<\/td>\n<\/td>\n<\/tr>\n
RAPA NUI<\/td>\nMARIO BONNARD, 1928<\/td>\n<\/td>\n<\/tr>\n
DIE CARMEN VON ST. PAULI<\/td>\nERICH WASCHNECK, 1928<\/td>\n<\/td>\n<\/tr>\n
REPUBLIK DER BACKFISCHE<\/td>\nCONSTANTIN J. DAVID, 1928<\/td>\n<\/td>\n<\/tr>\n
TOTTE ET SA CHANCE<\/td>\nAUGUSTO GENINA, 1928<\/td>\n<\/td>\n<\/tr>\n
STEAMBOAT BILL JR.<\/td>\nBUSTER KEATON, 1928<\/td>\n<\/td>\n<\/tr>\n
DER GEHEIME KURIER<\/td>\nGENNARO RIGHELLI, 1928<\/td>\n<\/td>\n<\/tr>\n
POLIZEIBERICHT \u00dcBERFALL<\/td>\nERN\u00d6 METZNER, 1928<\/td>\n<\/td>\n<\/tr>\n
DIE WUNDERBARE L\u00dcGE DER NINA PETROWNA<\/td>\nD 1928, Regie: H. Schwarz<\/td>\n<\/td>\n<\/tr>\n
FR\u00c4ULEIN ELSE<\/td>\nPAUL CZINNER, 1928\/29<\/td>\n<\/td>\n<\/tr>\n
DAS TAGEBUCH EINER VERLORENEN<\/td>\nGEORG W. PABST, 1929<\/td>\n<\/td>\n<\/tr>\n
DURCHS BRANDENBURGER TOR<\/td>\nMAX KNAAKE, 1929<\/td>\n<\/td>\n<\/tr>\n
Der Teufelsreporter<\/td>\nCARL LAEMMLE, 1929<\/td>\n<\/td>\n<\/tr>\n
EROS IN KETTEN<\/td>\nCONRAD WIENE, 1929<\/td>\n<\/td>\n<\/tr>\n
DIE WEISSE H\u00d6LLE VON PIZ PAL\u00dc<\/td>\nARNOLD FANCK\/GEORG W. PABST, 1929<\/td>\n<\/td>\n<\/tr>\n
DER SONDERLING<\/td>\nWalter Jerven, D 1929, mit Karl Valentin<\/td>\n<\/td>\n<\/tr>\n
TR\u00dcMMER DES IMPERIUMS<\/td>\nFriedrich Markowitsch Ermler, UDSSR 1929<\/td>\n<\/td>\n<\/tr>\n
IHR DUNKLER PUNKT<\/td>\nJ. Guter, D 1929<\/td>\nKomposition und Einspielung f\u00fcr DVD<\/td>\n<\/tr>\n
HOOGSTAAT<\/td>\nA. von Barsy, NL 1929<\/td>\n<\/td>\n<\/tr>\n
DAS HEILIGE PRAG<\/td>\nHANS CURLIS, 1929<\/td>\n<\/td>\n<\/tr>\n
LE CHIEN ANDALOU<\/td>\nLOUIS BUNUEL, 1929<\/td>\n<\/td>\n<\/tr>\n
DIE FRAU, NACH DER MAN SICH SEHNT<\/td>\nKURT BERNHARDT, 1929<\/td>\n<\/td>\n<\/tr>\n
WOCHENSCHAUEN<\/td>\n1918-1929<\/td>\n<\/td>\n<\/tr>\n
VERSCHIEDENE KURZFILME w\u00e4hrend der Flensburger Kurzfilmtage<\/td>\n1912-1929<\/td>\n<\/td>\n<\/tr>\n
DIE JAGD NACH DEM GL\u00dcCK<\/td>\nLOTTE REINIGER, 1929<\/td>\nKomposition f\u00fcr Piano, DVD Arte-Edition<\/td>\n<\/tr>\n
MENSCHEN AM SONNTAG<\/td>\nROBERT SIODMAK\/BILLY WILDER, 1929\/30<\/td>\n<\/td>\n<\/tr>\n
WINDJAMMER UND JANMAATEN<\/td>\nHANS HAUSER, 1930<\/td>\n<\/td>\n<\/tr>\n
PRIX DE BEAUT\u00c9 \u2013 MISS EUROPE<\/td>\nAUGUSTO GENINA, 1930<\/td>\n<\/td>\n<\/tr>\n
MESHES OF THE AFTERNOON<\/td>\nMAYA DEREN, 1943<\/td>\n<\/td>\n<\/tr>\n
Laurel&Hardy-Filme: DO DETEKTIVES THINK?, TWO TARS, WE FAW DOWN, FLYING ELEFANTS<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Kurzfilme von und mit Charlie Chaplin: TANGO TANGLES, KIDA AUTO RACES AT VENICE, BEHIND THE SCREEN, THE IMMIGRANT, BOXKAMPF<\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text] <\/div>\n<\/div>

\n\n\t \n Compositions 1990-2021 <\/span>\n<\/span>\n\n \n <\/span>\n <\/span>\n <\/span>\n<\/span>\n<\/h4>\n
\n
\n [vc_column_text css=”.vc_custom_1662992342679{padding-bottom: px !important;}”]<\/p>\n\n<\/colgroup>\n<\/colgroup>\n<\/colgroup>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
COMPOSITIONS<\/strong><\/td>\nYEAR<\/strong><\/td>\nDETAILS<\/strong><\/td>\n<\/tr>\n
SECHS WIE PECH UND SCHWEFEL von Kremfresch privat<\/td>\n1990<\/td>\n<\/td>\n<\/tr>\n
HARRY PIEL-FILME open air in Woltersdorf, ehemalige Filmstadt bei Berlin<\/td>\n1992<\/td>\n<\/td>\n<\/tr>\n
ZUM 100. GEBURTSTAG VON PAUL DESSAU<\/td>\n1994<\/td>\nMerging 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<\/td>\n<\/tr>\n
DIE PASSION DER JEANNE D\u2019ARC<\/td>\n1995<\/td>\nTHE PASSION OF JEANNE D’ARC (Carl Th. Dreyer, 1927) Organ and piano with Wolfgang Zilcher in the Rellinger Church<\/td>\n<\/tr>\n
OPIUM<\/td>\n1996<\/td>\n(Robert Reinert, 1918) Compilation for salon orchestra (Fl, Klar., V, V obl., Vc, Kb, Piano)<\/td>\n<\/tr>\n
DIE KEUSCHE SUSANNE<\/td>\n1997<\/td>\n(Richard Eichberg, 1926) after the operetta by Jean Gilbert arrangement and composition for salon orchestra (Fl, Klar., V, V obl., Vc, Kb, Piano)<\/td>\n<\/tr>\n
HEINRICH HEINES ERSTE LIEBE<\/td>\n1997<\/td>\n(Eva Christa, 1922) Komposition f\u00fcr string ensemble, piano and four singers using fragments of the Singspiel by Wilhelm Lindemann<\/td>\n<\/tr>\n
DER FASCHINGSPRINZ<\/td>\n1997<\/td>\n(Rudolf Walter-Fein, 1928) Compilation for salon orchestra (Fl, Klar., V., V obl., Vc, Kb, Piano)<\/td>\n<\/tr>\n
DER KOMISCHE KINTOPP<\/td>\n1998<\/td>\nEarly German Comedies, six episodes on Arte. Settings of 16 early German comedies before 1920 for piano, organ and salon orchestra DVD absolut medien<\/td>\n<\/tr>\n
EIN WALZERTRAUM<\/td>\n1998<\/td>\n(Ludwig Berger, 1925) Composition for salon orchestra (Fl, Klar., V, V obl., Vc, Kb, Piano)<\/td>\n<\/tr>\n
ROSEMAGIE, HOLZHAFENPOEM<\/td>\n2000<\/td>\nand other diaporams by Heinrich Korella, settings with organ and piano<\/td>\n<\/tr>\n
DIE B\u00dcCHSE DER PANDORA<\/td>\n2001<\/td>\n(Georg W. Pabst, 1928) Compilation for salon orchestra (V, Vc, Kb, Piano)<\/td>\n<\/tr>\n
TRAG\u00d6DIE IM CIRKUS ROYAL<\/td>\n2001<\/td>\n(Alfred Lind, 1928) composition and improvisation for jazz trio (pos., drums, piano)<\/td>\n<\/tr>\n
HALLOH CAESAR!<\/td>\n2002<\/td>\nJubil\u00e4um im Karlsbad (R. Sch\u00fcnzel, 1926) composition for pos.\/tuba, percussion, piano<\/td>\n<\/tr>\n
DIE BERGKATZE<\/td>\n2003<\/td>\nFilmfest Hamburg (Ernst Lubitsch, 1921) Composition for clarinet, vc, cb, piano<\/td>\n<\/tr>\n
TEILNAHME AN DER SMI<\/td>\n2004<\/td>\n(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..<\/td>\n<\/tr>\n
M\u00c4RCHEN<\/td>\n2005<\/td>\n12 children’s song compositions to fairy tales by Christian P\u00f6rksen, published by Hos\u00e9 Christian Anersen: The Magic Trumpet, The Blue King of the Birch River, The Trolls of Jerichow, The Fairy Tale Chest<\/td>\n<\/tr>\n
DIE BIENE MAJA UND IHRE ABENTEUER<\/td>\n2005<\/td>\n(Wolfram Junghans, 1924\/25) Composition for piano, djemb\u00e9 and Kb<\/td>\n<\/tr>\n
DIE JAGD NACH DEM GL\u00dcCK<\/td>\n2007<\/td>\n(Lotte Reiniger, 1929) Composition for piano, DVD Arte edition<\/td>\n<\/tr>\n
LEARNING OR DOING<\/td>\n2010<\/td>\nBenjamin Beckherrn youtube<\/td>\n<\/tr>\n
JULIUS PINSCHEWER<\/td>\n2010<\/td>\nKlassiker des Werbefilms. Soundtracks of 18 films 1910 – 1927 DVD absolut medien<\/td>\n<\/tr>\n
VERTONUNG MIT KINDERN<\/td>\n2011<\/td>\ntwo 7th grade classes develop music to fairy tale films by Lotte Reiniger with public performance at KASCH, Achim<\/td>\n<\/tr>\n
AUS FREMDEN KELLERN<\/td>\n2012<\/td>\n14 Documentaries from 1910 – 1928, From Fish Processing to Children’s Recreation DVD to be released in 2017, Eds. Joachim Paschen, Werner Grassmann.<\/td>\n<\/tr>\n
HALLOH CAESAR!<\/td>\n2015<\/td>\n(Reinhold Sch\u00fcnzel, 1926) Composition for pos.\/tuba, percussion, piano, 25 years Hamburg-Praha in the German Embassy in Prague<\/td>\n<\/tr>\n
KATALYN BOHN<\/td>\n2016<\/td>\nFor cabaret program “Miss Geschicke” four settings for slapstick pantomine<\/td>\n<\/tr>\n
KATALYN BOHN<\/td>\n2016<\/td>\n5 cabaret songs for the show “sein oder online” by and with Katalyn Bohn<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text] <\/div>\n<\/div><\/div>[vc_empty_space height=”30px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1479483974845{padding-top: 0px !important;padding-bottom: 60px !important;}”][vc_column][vc_single_image image=”386″ img_size=”full” alignment=”center” qode_css_animation=””][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”center” background_image_as_pattern=”without_pattern” anchor=”blog” css=”.vc_custom_1479469262907{padding-top: 30px !important;padding-bottom: 60px !important;}”][vc_column width=”1\/4″ offset=”vc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-1 vc_col-md-10″ css=”.vc_custom_1466691550042{padding-right: 8% !important;padding-left: 8% !important;}”][vc_column_text]<\/p>\n

Videos<\/h3>\n

[\/vc_column_text][vc_empty_space height=”13px”][vc_column_text css=”.vc_custom_1485778134668{padding-bottom: 15px !important;}”]<\/p>\n

Insight into my projects<\/h4>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1483990496925{padding-bottom: 15px !important;}”]<\/p>\n

Provided courtesy of absolut Medien + arte Edition<\/a> and available for purchase.<\/p>\n

[\/vc_column_text][vc_single_image image=”397″ img_size=”medium” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482314287475{padding-top: 15px !important;padding-bottom: 15px !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1485785872258{margin-top: 30px !important;margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 100px !important;}”][vc_column width=”1\/2″][vc_video link=”https:\/\/vimeo.com\/192116178?dnt=1″ align=”center” title=”Slapstick \u2014 Erste Schritte im Berufsleben” css=”.vc_custom_1645463357963{margin-top: 0px !important;}”][vc_video link=”https:\/\/vimeo.com\/201101731?dnt=1″ css=”.vc_custom_1645463432098{padding-top: 60px !important;}”][\/vc_column][vc_column width=”1\/2″][vc_video link=”https:\/\/vimeo.com\/183281796?dnt=1″][vc_video link=”https:\/\/vimeo.com\/183282238?dnt=1″ align=”center” css=”.vc_custom_1645463423386{margin-top: 0px !important;padding-top: 60px !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1479471158069{padding-top: 100px !important;padding-bottom: 30px !important;}”][vc_column][vc_single_image image=”391″ img_size=”full” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482229995062{background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”center” background_image_as_pattern=”without_pattern” anchor=”about” css=”.vc_custom_1482224426586{padding-top: 100px !important;padding-bottom: 60px !important;}” el_id=”kontakt”][vc_column offset=”vc_col-lg-offset-2 vc_col-lg-8 vc_col-md-offset-1 vc_col-md-10″ css=”.vc_custom_1466691550042{padding-right: 8% !important;padding-left: 8% !important;}”][vc_column_text]<\/p>\n

Contact<\/h3>\n

[\/vc_column_text][vc_single_image image=”397″ img_size=”medium” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482314854374{padding-top: 30px !important;padding-bottom: 60px !important;}”][vc_column_text]
\nFestivals, silent films, musicals, theater, soundtracks – an individual film music.
\nDepending on your needs and wishes, I will develop a very individual sound world for you.
\nContact me and let us stage something unique for your project.
\nI look forward to hearing from you.<\/p>\n

 <\/p>\n

zetchi@marilu-bolte.de<\/p>\n

<\/h5>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css=”.vc_custom_1482224319686{padding-top: 100px !important;padding-bottom: 60px !important;}” el_id=”komponistin”][vc_column][vc_column_text] The composer [\/vc_column_text][vc_empty_space height=”13px”][vc_column_text css=”.vc_custom_1481882066401{padding-bottom: 15px !important;}”] About me [\/vc_column_text][vc_single_image image=”397″ img_size=”medium” alignment=”center” qode_css_animation=”” css=”.vc_custom_1482314287475{padding-top: 15px !important;padding-bottom: 15px !important;}”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/2″][vc_column_text]I grew up near Bremen….<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"full_width.php","meta":{"_uag_custom_page_level_css":"","footnotes":""},"class_list":["post-472","page","type-page","status-publish","hentry"],"yoast_head":"\nMarie-Luise Bolte | Silent movie music<\/title>\n<meta name=\"description\" content=\"The silent movie - a cultural asset. 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