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RUDOLF SCHOCK RUDOLF SCHOCK zingt


Rudolf Schock singt
Edmund Eysler

beginning Aber ich mit der Empfehlung: Lesen Sie bitte zuerst that Einleitung to 'Rudolf Schock sings Nico Dostal' ! Then you know exactly where you need to classify the Viennese operetta composer Edmund Eysler in the operetta history

The first, large - ' GOLDEN' - Periodic Table of the Viennese operetta goes to Richard He transitions 'Opera Ball' (1898) and Carl Ziehrer 'vagrants' (1899) to the end. But then a few days before Christmas 1902 Franz Lehár 'tinkers' with remarkable success Premiere, which beginning in 1903 with (almost) as much Applause 'brother Straubinger' is listed for the first time, an operetta by Edmund Eysler , "the second man in the new season to bloom where the operetta happiness seems.

In 1905 Lehar's 'Merry Widow' ready for the stage. After some hesitation, she is the second major - ' SILVER' - Periodic Table of the Viennese operetta marked. Together with Eysler Lehár and it is particularly the imaginative composer Leo Fall (1873-1925), Oscar Straus (1870-1954), Oskar Nedbal (1874-1930) and Emmerich Kálmán (1882-1953), trying to stab with their operettas, the quality of the works of their 'golden' predecessor .

left: Oscar Straus
middle: Franz Lehár
right: Leo case
(Photo: Archives Bernard Grun)

Eysler Edmund (1874-1949) (not to be confused with Kurt Weill's art brother, 'proletarian stage and film composers' Hanns Eisler )

father Eisler (yes, with i and not y) is a successful businessman, but in respect to his family rather distant. His wife is Hungarian, however, a loving mother and artistically gifted. is to be expected, sic h the young Edmund feels strongly related to them.

in 188 Edmunds makes a father bankruptcy. The family is forced to all possessions sell it, but it is possible Edmunds mother to save the piano. When Edmund is 15 years old, he met the only one year older Leo Fall (photo left). Together, they play piano duets, they play music in quartets, and visit the conservatory. Edmund wants to write the opera Eysler 'The Witch mirror' , which look but not one theater director. Music from the fact he used in his first major operetta: 'brother Straubinger' . In the 1902/1903 season makes 'brother Straubinger' in Vienna premiere Alexander Girardi (1850-1918 - photo) , the leading theater personalities of those years in the title role. By Girardi, the operetta by extremely well received, and from that moment on Eysler writes his name with a sweeping y. composed

In the following decades Eysler however about 60 operettas. He lives happily and nonchalantly through the day, puts the accent on 'wine, women and song' and is fond of horses. During the twenties he gets into financial difficulties, but the happiness he laughs once again, thanks to a fine if he libretto turn right to succeed, and that the typical Viennese popular operetta: 'The golden master' (1927). After 1934, the operettas of the Jewish Edmund Eysler are not played, and he has to - hide - protected by friends and shielded from public life. Shortly after the Second World War, Edmund Eysler is rehabilitated.

must be said that nowadays the music Eysler is only performed sporadically. 'The golden master' still enjoys a certain popularity, and from other operettas, have some songs in the course of time as it becomes independent, that they have become the Viennese folk songs. From the Operetta 'Protect Liesl' (1905) was the emotional with the extremely 'Mutterllied' from which 'Laughing Husband' (1913) with the more or less worldly-wise songs (for me, no schmaltzy) ' Fine, fine we like the wine ' and from ' brother Straubinger ' with the most important in terms of dramatic moment of this operetta ' kissing is not sin . Eysler music filled he waltz is "sentimental and savory freshness has" (Bernard Grun, The light entertainment, Cultural history of the operetta - in the Albert Langen Müller Verlag). It is intended sentimental, but due to the open-hearted, and therefore a pricking sensation performers atmosphere of the first thirty years of the last century. Eysler libretto election was generally too little critical, and he tended to repeat himself musically here and there.

Rudolf Schock sings Edmund Eysler

addition to fragments from the 'golden master' , 'brother Straubinger' and 'Laughing Husband' with occupation in Vienna Others Gerda Schreyer and Waldemar Kmentt are of course the heritage listed Eysler the Vienna-'Lebenslieder 'on LP and CD to have. I heard Richard Tauber seductive in 'Fine, fine us, the wine tastes' , Waldemar Kmentt with melting voice in ' kissing is not sin and Erich Kunz in 'Mutterllied' that from him in Viennese dialect, and with Schrammel accompaniment is sung touching.

Rudolf Schock takes on 20 February 1969 with the Berlin Symphony Orchestra conducted by Robert Stolz 'Fine, fine we like the wine ... and also love' on ( 'Gruss an Wien' Disc LP € 79 237 IU) .

April 1977, he sings with the same orchestra, but now under Fried Walter , 'kissing is not sin with a beautiful child' uit 'brother Straubinger' (€ Disc LP Quadro SQ 28 709 IU) .

FIG 'brother Straubinger' appeared in 1820 on a song from the Bavarian town of Straubing. The occasional poet is a student-doctor Carl Theodor Müller and his songs is called 'God greet you, Brother Straubinger'. This greeting is a craft and journeymen addressed, which is almost a century later, the hero of the new operetta Eysler PhD. As for the plot of the operetta, I limit myself to the context of the song 'kissing is not sin .

Straubinger versa - in search of work - back in the hometown, even though the documents were stolen from him. Coincidentally (!) He has the backpack still probably the pass of the great-grandfather, who would now have been 114. Straubinger determined masked a job and wants to be a very old soldier with a very special, but valid ID. In this outfit, he meets the spirited Oculi, which he recognizes as his former lover, Marie. The former love lives so hard again that he wants to make her on the spot to marry him. But how could a very old man of 114 years, something like thread? Straubing is a knowing head: he sings in his role as a sprightly old man, the song that he has the Marie taught in the past ever: 'kissing is not sin . Nevertheless, he is in perhaps the outbreak of Eysler as emo-intentioned second Verse known about clear who stand before her, and what they want. Oculi of course immediately recognize the former Straubinger lovers across the disguise through giving - to the horror of bystanders - he word "yes .

Rudolf shocks presentation from the 1977 seems the song 'kissing is not sin back to the original operetta environment . restore It stresses the somewhat older anmutendender voice to the text content and makes the scene (because she actually is) understood as the dramatic climax of this Eysler operetta. The wide sound of the quadraphonic recording reinforces this impression (Fourpoint in the late seventies, used briefly, but is quickly overtaken by the digital revolution). Only in the most highly sensitive third and last stanza, which Straubinger the kisses still reserved exclusively for the grandchild occurs, the 'folk song' in the foreground.

'Fine, fine we like the wine' Rudolf Schock interpreted entirely as a Viennese folk song and seduction as much as Richard Tauber. The song about the wine, which - unlike love - even more heated when a / a the body "older, gets a bit colder" is on the here above LP 'Gruss an Wien' from the year 1969. Rudolf Schock sings and accompanies Robert Stolz - next Eysler homage to the wine - Songs of Arnold, Benatzky (see also: 'Rudolf Schock sings Benatzky' ) Kreuder, Sieczynski, pride, and Strecker Ziehrer . This Viennese songs need urgent a reincarnation on CD (Sony / € Disc, Attention please !) : shock and pride are in top form, and the recordings of an intimacy that is right for the heart-rejoicing songs.

Edmund Eysler in the old 2010 and Leo Fa ll in the new year 2011!

I wish the readers of my blog blessed Christmas season and a happy New Year! February 2011 I hope the text 'Rudolf Schock sings Leo Fall' to publish . Franz Lehár, Oscar Straus, and Leo Fall - considered the most important representatives of the Silver Viennese operetta - with the slightly later Emmerich Kálmán.

Krijn de Lege, 05/12/2010