Rudolf Schock sings Edmund Eysler But I start with the following recommendation: Please read the introduction to 'Rudolf Schock sings Nico Dostal' ! Then you know exactly where you Viennese operetta composer Edmund Eysler operetta in history must integrate:
The first major - 'GOLD' - period of Viennese operetta ends with Richard Heuberger's 'Opera Ball' (1898) and Carl's Ziehrer 'Landstreicher " (1899).
But then late 1902 Franz Lehár's 'Rastelbinder' with notable success in premiere
ère, beginning 1903 with (almost) equal success followed by "Bruder Straubinger ' of " the second new man of the season, for whom the operetta luck seems to thrive ": Edmund Eysler. in 1905 was Lehár's "Merry Widow" ripe for the stage. After some hesitation it is especially, the definitive beginning of the second major - 'SILVER' - period of Viennese operetta highlights. Together with Eysler Lehár and are particularly creative composers Leo Fall (1873-1925), Oscar Straus (1870-1954), Oskar Nedbal (1874-1930) and Emmerich Kálmán (1882-1953), whose operettas the quality of the work of their 'golden' predecessors to the crown stabbing.
left: Oscar Straus
middle: Franz Lehár
right: Leo Fall
(Photo: Archives Bernard Grun)
Edmund Eysler (1874-1949) (not to be confused with Kurt Weill's art brother, "proletarian Bühnen-und Filmkomponist" Hanns Eisler )
Father Eisler (yes, i rather y) is a successful businessman, but his family far too distant. His wife is Hungarian contrast, a loving mother and artistically gifted. As expected, the young Edmund feels strongly attracted to her.
In 18 81 Edmund's father goes bankrupt. The family is forced to sell all assets, but Edmund's mother knows the piano to save. When Edmund is 15 years, he meets the one year older Leo Fall (see photo) , and together they play piano duets, they are part of string quartets, and they visit the conservatory.
Over ten years later, Edmund Eisler the opera "Der Spiegel Witches' , but does not look like any theater director. Music, he then uses it in his first major operetta: "Bruder Straubinger ' . In the 1902/1903 season is "Bruder
Straubinger ' first performed in Vienna with Alexander Girardi (1850-1819 18 - photos ) , theater personality of the year, in the title role. Partly because of the operetta Girardi gets a very enthusiastic reception, and from then Edmund EYsler zwieriger his name with a y. In the following decades composes Eysler Approximately another 60 operettas. He lives are generated and carelessly away, puts the emphasis on wine, women and song, and loves horses. In the mid-twenties gets his money. But fortune smiles him again, he thanks to a good old-fashioned textbook further success with the typical Viennese operetta people: "That gold'ne Meisterin ' (1927) . After 1934, the operettas of Edmund Eysler not Jewish, but he must - aided and protected by friends - hiding in Vienna. Shortly after 1945, its composer Eysler down restored.
It must be said that today's music Eysler only sporadically implemented. "That gold'ne Meisterin ' remain in Austria and particularly Vienna enjoy a certain popularity and his other operettas are a number of songs literally losgezongen. They have returned to the genre of Wiener Volkslied ' go
properly and as such included in the Viennese heritage. The operetta 'Schütz Liesl " (1905), this happened to the highly sensitive ' Mutterllied ' from Der laughing Ehemann" (1913) with the torch (I do not see as a "tearjerker") 'Fein fein schmeckt uns der Wein " and " Bruder Straubinger' the most important moment in dramatic terms of the operetta: 'kisses ist keine Sund' . Eysler's music full of 'Walzerseligkeit "is cozy and warm in tone, even sentimental, but in keeping with the bold and so exciting atmosphere of the first thirty years of the last century. Eysler's choice of text books was generally not critical enough and he had a tendency, sometimes repeating themselves musically. Rudolf Schock sings Edmund Eysler
addition to excerpts from "Die gold'ne Meisterin ', " Bruder Straubinger and Der Ehemann laughing "occupying Vienna in with Yahoo Gerda Schreyer and Waldemar Kmentt are obvious in the Viennese 'Volkslieder Schatz' gone Eysler-'levensliederen "on LP and CD are available. I heard Richard Tauber tempting 'Fein fein schmeckt uns der Wein ", Waldemar Kmentt sweet voice in" Pillow ist keine Sund ", Erich Kunz in ' Mutterllied ', for him in Viennese dialect, and" Schrammel' guidance gets a movable interpretation.
Rudolf Schock takes on 20 February 1969 with the Berliner Symphoniker conducted by Robert Stolz 'Fein fein schmeckt uns der Wein, who Liebe und auch " on (LP 'Gruss an
W ien' Eurodisc LP 79 237 IU) . In April 1977, he sings with the same orchestra, but under Fried Walter , 'kisses ist keine Sund mit einem schönen Child' from "Bruder Straubinger ' (E urodisc LP Quadro SQ 28 709 IU) .
The figure "Bruder Straubinger ' emerges around 1820 in a song from the Bavarian town of Straubing and the author is student-physician and occasional poet Carl Theodor Müller . The song is called: 'dich Gott Grüß, Bruder Straubinger " and greeting is addressed to a traveling companion craft (Severe Sell Wall '), hero who later bombed by Eysler's new operetta. As the act of "Bruder Straubinger ' concerned, I limit myself to the context of the song ' kisses ist keine Sund" . Straubinger returns - looking for work - back to the st
ad, but is robbed of his papers. "Coincidentally" he has in his backpack still the passport of his grandfather, who already 114 years old would have been. Straubinger definitely wants a job and disguises himself as an ancient army veteran in possession of a valid ID. In that outfit he meets the spirited oculi, which he recognizes his former girlfriend Marie. His first love is playing again with the result that her offhand would ask to marry. But how can a very old man from the 114? Straubinger is smart: he sings in his role as the spry old song that he Marie have ever learned: 'kisses ist keine Sund " . Moreover, he may well be as emotional outburst provided by Eysler second verse clearly known, who for her and what someone wants. Oculi suddenly recognizes her boyfriend Straubinger right through his disguise and gives him back - to the astonishment of onlookers, her married immediately. 
Rudolf Schock's performance in 1977 appears the song 'kisses ist keine Sund " again back into its original operetta Area: Schock stresses in an older sounding voice the text content and makes the scene (because that's actually) are understandable as the dramatic climax of Eysler's operetta. The 'Breit Klang' of quadrophonie recording reinforces that impression (quadrophonie was used in the late seventies and overtaken by the digital revolution). Only in the very sensitive third and final verse, Straubinger hugs which are exclusively reserved for a grandchild, enter the "anthem" in the foreground.
'Fein fein schmeckt uns der Wein " brings Rudolf Schock as wholly anthem and with as much temptation as Richard Tauber. The song about the wine, which - unlike the love - still heats when the body "older, a little colder" , is on the aforementioned LP 'Gruss an Wien from 1969. Rudolf Schock sings and accompanies Robert Stolz - next Eyslers homage to the wine - songs of Arnold, Benatzky (see also: "RS Benatzky sings" ) Kreuder, Sieczynski, Stolz, Strecker and Ziehrer. This Viennese songs are in urgent need of reincarnation on CD (Sony / Eurodisc, attention please!) : Schock and Stolz are in top form and the images are of a intitimiteit, which fits the heartwarming songs.
Eysler Edmund in 2010 and Leo in Fall 2011!
I wish the readers of my blog readers and blessed Christmas, and a healthy New Year. In February 2011 I hope the text 'Rudolf Schock sings Leo Fall publishing. Franz Lehár, Oscar Straus, and Leo Fall be - followed by Emmerich Kálmán operetta beschouwd as de IMPORTANTES vertegenwoordiger van de zilveren Weense -.
Krijn de Lege, 5 december 2010
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