Edith Lorand

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Edith Lorand

Edith Lorand (born December 17, 1898 in Budapest , † November 23, 1960 in New York ) was a Hungarian-American violin virtuoso and orchestra leader.

Youth and studies in Budapest

Edith Lorand came from a Hungarian - Jewish family and grew up in Budapest . Her father was the director of an oil refinery, her mother a pianist from Austria with Italian roots. Lorand studied at the Royal Music Academy in Budapest with Jenő Hubay and Carl Flesch , and made her debut in Vienna in 1920.

Career in Berlin, recordings for Lindström AG

In the 1920s, Edith Lorand made Berlin the center of her life. Lorand was successful with both E and U music . In addition to concerts and spectacular “shows”, she became known through numerous recordings and radio broadcasts. Since 1923 she was under contract with the Lindström Group . The sales figures of the late 1920s show that Lorand was one of the "top stars of the record industry".

Ensembles

Edith Lorand initially recorded numerous titles as a soloist, accompanied by Frieder Weißmann (1893–1984) or Michael Raucheisen (1889–1984) on the piano. She also founded the “Edith Lorand Trio” (Edith Lorand, violin, Michael Raucheisen, piano, and Gregor Piatigorsky (1903–1976) or Hans Schrader, cello) and the “Edith Lorand Quartet” (with Heinemann, second Violin). In addition, Edith Lorand performed with a 15-piece "gentlemen's orchestra" put together by the Lindström Group. The glamorous "Edith Lorand Orchestra" was one of the most famous bands of the Weimar Republic . a. through appearances in the Berlin Admiralspalast . In her dual role as violin virtuoso and orchestra leader, Lorand quickly became a star and at the same time a symbol of the women's emancipation of the 1920s.

repertoire

Viennese waltzes , Hungarian and Slavic folk tunes were Lorand's "very own domain". In terms of chamber music she preferred the Viennese classical music (including Beethoven and Schubert ). She also appeared as a soloist with violin compositions by Mozart , Mendelssohn and Hubay . The permanent repertoire of her orchestra also included salon music , operetta arrangements , popular classical music and dance music - in keeping with contemporary tastes .

European successes

From Berlin the "Edith Lorand Orchestra" toured all of Europe. The French press named Lorand the “Queen of the Waltz”, the English audience “Female Johann Strauss”.

Exclusion through Nazi cultural policy, emigration to the USA

As a result of the National Socialist cultural policy, Edith Lorand's work and performance opportunities were increasingly restricted from 1934. Her name was exemplarily listed in propaganda pamphlets on racial ideology, her contract with Lindström expired with no prospect of renewal. So she first went back to Hungary and built an "All-Gipsy-Orchestra" with which she worked in 1935 a. a. performed at Carnegie Hall in New York . Because of the uncertain political situation in Hungary , Lorand finally emigrated to the United States in 1937 , accepted its citizenship and married the illustrator Egon Hood. She continued to give concerts with her "Hungarian" or "Viennese Orchestra", but could not build on her successes of the 1920s and 1930s. In 1960, shortly before her death, Edith Lorand returned to Berlin once more.

literature

  • Alfred Hagemann: Edith Lorand. In: Alfred Hagemann, Elmar Hoff (eds.): Gronau - Enschede - Berlin: A musical journey through the world of entertainment from the Weimar Republic to the post-war period. Klartext, Essen 2011, ISBN 978-3-8375-0537-5 , pp. 74-77.
  • Marco Paysan: "... from the spirit of the boulevard"! On the physiognomy of urban dance music and entertainment culture in the sound film operetta. In: Katja Uhlenbrok (Red.): Musik Spektakel Film - Music theater and dance culture in German film 1922–1937. Munich 1998, pp. 46-66.
  • Knud Wolffram: With salon music to the female record star of the twenties and thirties: Edith Lorand. In: Fox on 78 , No. 21, Dietramszell 2001, pp. 10-13.

Web links

Individual evidence

  1. ^ New York Times , November 24, 1960.
  2. ^ Robert L. Bigg: Edith Lorand. In: Grammophone-Archive (February 1927), p. 39.
  3. ↑ Der Ton , Heft 10, 1931, p. 7.
  4. ^ Berlin address books (1930–1934).
  5. ^ Parlophone: the matrix numbers of the acoustic recordings 1910 to 1926. Düsseldorf: Sieben 1990
  6. ↑ Knud Wolffram: With salon music to the female record star of the twenties and thirties: Edith Lorand. In: Fox on 78 , No. 21, Dietramszell 2001, p. 10.
  7. ↑ Detectable by parlophone labels.
  8. ^ Frank Forman: Acoustic Chamber Music Sets (1899-1926): A Discography. First web version.
  9. ↑ Marc Paysan: "... from the spirit of the boulevard"! On the physiognomy of urban dance music and entertainment culture in the sound film operetta. In: Katja Uhlenbrok (Red.): Musik Spektakel Film - Music theater and dance culture in German film 1922–1937. Munich 1998, p. 65.
  10. ↑ Der Ton , Heft 10, 1931, p. 7.
  11. ↑ Parlophone catalog (02/1929).
  12. ↑ Der Ton , Heft 6, 1931, p. 19.
  13. ↑ Der Ton , Heft 6, 1931, p. 19.
  14. ↑ See The Jews in Germany. 8th edition. Munich 1935, u. a., p. 313.
  15. ↑ Knud Wolffram: With salon music to the female record star of the twenties and thirties: Edith Lorand. In: Fox on 78 , No. 21, Dietramszell 2001, p. 13.
  16. ^ George Barati: A Life in Music. University of California, Santa Cruz 1991 (manuscript), p. 23.
  17. ^ New York Times , November 25, 1935.
  18. ^ New York Times , November 24, 1960.
personal data
SURNAME Lorand, Edith
BRIEF DESCRIPTION Hungarian violin virtuoso and orchestra leader
DATE OF BIRTH December 17, 1898
PLACE OF BIRTH Budapest
DATE OF DEATH November 23, 1960
Place of death New York City