Dar Vuglbärbaam

Rowan tree in Vogtland

Max Schreyer's tomb with a stylized rowanberry and the text of the first stanza

melody

Dar Vuglbärbaam is a folk and native song written at the end of the 19th century in the Ore Mountains dialect , which was already popular and widespread nationwide before 1900. The text was composed by the Saxon forester and dialect poet Max Schreyer on the melody of an Austrian folk song.

Content and structure

The song is about the rowan tree , the undemanding symbol tree of the Ore Mountains , which is often planted near houses. The song consists of five stanzas. Schreyer composed the text to the melody of the folk song in waltz time of the waltz in Lower and Upper Austria as well as in Styria before 1850. Mir sein ja die lustign Hammerschmiedgsölln . The Wilhelm Vogel publishing house has also published an Ore Mountain version under the title Da lusting Hammerschmiedsgselln as a song postcard with the note that verses 2 to 8 were by Schreyer. However, there are doubts about this information. The melody is derived from the Altaussee waltz, about which Raimund Zoder wrote in 1936: “The Altausseer is well known under the name Steyrischer Walzer in Ausseer Land in Styria. The melody is widespread and popular in the Alps . As Schnaderhüpfl in Bavaria , Tyrol and in the Salzkammergut . "

The text introduces a rowan or mountain ash as the “most beautiful tree” in the first stanza, without any explicit reference to the Ore Mountains. The second and third stanzas describe a domestic scene under a tree. In the fourth stanza the lyrical ego expresses the wish to have a mountain ash placed on the grave (a stylized mountain ash and the beginning of the song can be found on Schreyer's grave). The fifth stanza takes up the praise of the mountain ash from the opening stanza, slightly varied.

melody

text

1st stanza
Can schinn'rn Baam gippt, like then Vuglbärbaam,
Vuglbärbaam, ann Vuglbärbaam.
As if a su laughs nice ann schinn'rn Baam gahm,
schinn'rn Baam gahm, ei yes -
ei yes, ei yes, ann Vuglbärbaam,
ann Vuglbärbaam,
ann Vuglbärbaam,
ei yes, ei yes, ann Vuglbärbaam,
ann Vuglbärbaam, ei Yes.

2nd stanza
Bei'n Kann'r his house
stands a Vuglbärbaam,
Thu sits unn'rn Kann'r
sein Weibs'n drahm.

3rd stanza
No los sa sews sit'n
Se lags over it -
Unn hoht se's
schlohf'n , Do huln mr schrei.

4th stanza
Unn if I have blown
- I would be nice drlaam -
Thu plant off my Grob
Fei ann Vuglbärbaam!

5th stanza
Then schinn'rn Baam gippt’s
How then Vuglbärbaam -
As ka eich su laughs nice
Ann schinn'rn Baam gahm!

1. ↑ In the template under the notes.
2. ^ Cantor
3. ↑ song postcard: "nähr"
4. ↑ "I won't see it."

Origin and Distribution

Dar Vuglbärbaam! , Lied postcard from the Wilhelm Vogel publishing house

Schreyer, who was very connected to the Ore Mountains, probably composed the song in 1887. On October 6, 1892, he sang the song in front of an audience on the occasion of his brother's wedding. It was first printed in the second volume of Georg Oertel 's Wie's Vulk redt collection (Leipzig 1894). The song became popular when it was spelled Dar Vugelbärbaam! On the initiative of Arthur Vogel . with text, sheet music and colored illustration created by the forester Paul Hermann Preiß on the first postcard of a series of the Schwarzenberger Verlag Wilhelm Vogel - probably 1899 - after Vogel had previously visited the folk singer Anton Günther in Gottesgab and for the first time his song postcards had admired. Anton Günther is often wrongly ascribed to Dar Vuglbärbaam ; the confusion may be due to the fact that Günther himself wrote some songs on the same topic with Da Vuglbeer (1900) and Wenn da Vugelbeer blooms (1921).

The first song postcards with the Vuglbärbaam initially bore no reference to the lyricist Max Schreyer, the name Schreyers was only added from around 1905.

The symbolism of the song can also be found in a book by Max Wenzel , which was published in 1920 with the title Unnern Vugelbeerbaam: Gereimtes und Unrummes aus dem Erzgebirge . In Erich Loests 1995 verfilmtem book Nikolai Church , the local popularity of the sentimental song, alongside that of 's is Feieromd and Erzgebirgshymne , by the authorities mockingly to "local inbreeding and iodine deficiency returned" the "up there en masse cretins would have produced."

The Preßnitz singers, bands and harp girls are said to have contributed to the national spread of the song between 1887 and the First World War . The Bohemian chapels had also been known for a long time under the name of Prague students ; Joseph von Eichendorff immortalized them in a poem that was published in 1826 in the novella From the life of a good-for-nothing and from 1841 also individually under the title Wanderlied der Prague Studenten . As early as 1860 around 50 of these groups with around 500 musicians were traveling in Saxony. In Preßnitz in particular, a music school was founded in 1861 and more attention was paid to the training of female musicians; as early as 1875 there had been complaints about their sometimes loose morals.

Original manuscript

The original manuscript with the lyrics of the Vuglbärbaam, written by Max Schreyer, was left by his heirs to Schreyer's hometown Johanngeorgenstadt in the 1930s to build a local museum.

literature

• Manfred Blechschmidt : August Schreyer and the song about the rowan tree . In: Jahrbuch für Volksliedforschung , 26, 1981, pp. 100-105 ( JSTOR 847816 ).
• Manfred Blechschmidt: Max August Schreyer and the song about the rowan tree . In: Year book Erzgebirge , 1985, Karl-Marx-Stadt 1985, pp. 35–41.
• Werner Keller: Clarity about the "Vuglbeerbaam". In: Erzgebirgische Heimatblätter 5/1980, p. 123, ISSN  0232-6078 .
• Theo Mang, Sunhilt Mang (ed.): The song source . Noetzel, Wilhelmshaven 2007, ISBN 978-3-7959-0850-8 , pp. 616 f .
• Heinz Rölleke (Ed.): The folk song book . Kiepenheuer & Witsch, Cologne 1993, ISBN 3-462-02294-6 , pp. 325 .
• Johann Georg Schreyer: In memory of the poet of the Vuglbeerbaams. In: Mitteilungen des Landesverein Sächsischer Heimatschutz , Volume XXI, Issue 4–6 / 1932, pp. 144–150 ( digitized version ).

Web links

• Dar Vugelbeerbaam - melody and notes

Individual evidence

1. ↑ The funny Hammaschmiedsg'sölln at ingeb.org
2. ↑ ^{a b} Manfred Blechschmidt : August Schreyer and the song of the rowan tree . In: Jahrbuch für Volksliedforschung 26 (1981), pp. 100-105, here p. 103 ( JSTOR 847816 ).
3. ↑ Altausseer: Folk dance notes and audio sample as a MIDI file
4. ^ Raimund Zoder: Old Austrian folk dances. Vienna 1936. Quoted from: Theo Mang, Sunhilt Mang (Hrsg.): Der Liederquell . Noetzel, Wilhelmshaven 2007, ISBN 978-3-7959-0850-8 , pp. 617 .
5. ↑ ^{a b} Text version: Johann Georg Schreyer: The poet of the Vuglbeerbaams for memory. In: Mitteilungen des Landesverein Sächsischer Heimatschutz , Volume XXI, Issue 4–6 / 1932, pp. 144–150 ( digitized version ).
6. ^ Erwin Günther, Anton Günther's son, based on research by Chr. Leopold for the manuscript: Life and Work of Anton Günther . Zwickau University of Education, 1968.
7. ↑ Erich Loest : Nikolaikirche. Steidl, Göttingen 1995, ISBN 3-88243-382-5 , p. 316.
8. ^ Eveline and Hans Müller: The musician city of Preßnitz
9. ↑ ^{a b c d} Elvira Werner : Traveling musicians - a Bohemian-Saxon experience. In: Heike Müns (Ed.): Music and Migration in East Central Europe. Oldenbourg, Munich 2005, ISBN 3-486-57640-2 , pp. 153–166, here p. 162 ( limited preview in Google book search).
10. ↑ Otto Eberhardt: Eichendorffs Taugenasst: Sources and meaning background (= investigations into the poetic method Eichendorffs. Volume 1). Königshausen & Neumann, Würzburg 2000, ISBN 3-8260-1900-8 , p. 587 ( limited preview in the Google book search).
11. ^ Joseph Freiherr von Eichendorff: Wanderlied der Prague students in the Freiburg anthology