Musical Accompaniment

Unsere Musiker beim cinefest 2019


Marie-Luise Bolte

As pianist, organist and composer Marie-Luise Bolte accompanied silent films at the International Film History Conferences and the cinefest.
Marie-Luise Bolte has worked intensively on the history of film music, but goes her own way. She has set silent films to music with keyboard, Hammond organ, church organ, with salon orchestra and with the use of the djembé. Bolte has led her own ensembles and presents musical compilations as well as through-composed scores, e.g. in 1996 with the "Opium Salon Orchestra" at the performance of OPIUM (1918, Robert Reinert) at the Metropolis cinema and in 2001 with the Caesar Trio (piano, trombone, drums) at the performance of HALLOH - CAESAR! (1926, Reinhold Schünzel) at the International Film Festival in Karlovy Vary; at cinefest 2005 for the accompaniment of DIE BIENE MAJA UND IHRE ABENTEUER (1924, Wolfram Junghans) with piano, double bass and djembé and at the Hamburg Film Festival 2007 with a four-piece ensemble to DIE BERGKATZE (1921, Ernst Lubitsch). As a soloist she improvises predominantly freely to the film. Improvisation is always a great adventure, because the question of the special sound for a silent film always arises anew.
DVD recordings are DER KOMISCHE KINTOPP, Lotte Reiniger's DIE JAGD NACH DEM GLÜCK, 18 silent commercials from the studio of Julius Pinschewer as well as silent films for DVDs of cinefest-edition

At cinefest 2019 she accompanied the film DIE STADT OHNE JUDEN (AT 1924, Hans Karl Breslauer)

Genosse Amtsschimmels Adventure Orchestra

Georgia Hoppe and Peter Imig

For the second time Georgia Ch. Hoppe and Peter Imig as the Adventure Orchestra. They will bring them to the stage: violin, guitars, ukulele, mandolin, electric bass, saz, clarinet, saxophone and various effects. On the music stand they have pieces from early and modern jazz, south-east European folklore, German hits of the 20s, waltzes, marches and improvisation notes. A time travel through 100 years of music and social history, which seem strangely current and contemporary. Are the feelings real in this turbulent film? The scenes are overdrawn, slap sticky and surreal-dadaistic, distorted and exaggerated by visual experiments. The music, on the other hand, is direct and immediate: where the Charleston is danced, a Charleston sounds, where love is spurned - a Georgian romance. The violin sighs in deep desperation at the ridiculous suicide, free punk fuels the marital brawl. A tough blues accompanies Kafkaesque waiting in front of the offices, and when the bureaucracy's machinery kicks in, the walking bass and clarinet also start. Electronic effects underline the cinematic ones.

Georgia Hoppefreelance musician, plays clarinet, saxophone in several hybrid and experimental variations, as well as guitar and variations. Studied musicology (Dr. phil), member of Tuten und Blasen, in the TonArt-Ensemble, various own projects and formations (including silent film music, text and theme programs), leads the impror series "Karo Shopping Music".

Peter Imig studied musicology, ethnology and new composition techniques at the University of Hamburg and at the University of Music and Theatre Hamburg (M.A.) and lives as a freelance musician in the Lüneburger Heide. Theatre productions at the Hamburg Schauspielhaus, Kammerspiele Hamburg, Theater Bremen, Schauspielhaus Bochum, Theater Oberhausen, Theater Lübeck, Rheinische Landestheater in Neuss, Freilichtspiele Schwäbisch Hall, Jagsthausen, Kreuzgangspiele Feuchtwangen, tour theatre and with various independent theatre groups. Compositions for theatre, film, television (ARTE), radio (NDR/ORF/DLR Kultur) and for Deutsche Grammophon/Universal Music.

At cinefest 2019 they accompanied the film CHEMI BEBIA / MOÂ BABUŠKA (MEINE GROSSMUTTER) (SU(GE) 1929, Kote Mikaberidze)