Georg Kreisler

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Georg Kreisler (2009)

Georg Franz Kreisler (born July 18, 1922 in Vienna ; died November 22, 2011 in Salzburg ) was a composer , singer and poet . In worldview he saw himself as an anarchist . He came from an Austrian family. Because of his Jewish origin, he was after the takeover by the Nazis in Austria in 1938 with his parents to the United States emigrated and took 1943 the US citizenship of. In 1955 he returned to Europe.

Against being called primarily a cabaret artist , Kreisler, who practiced this profession at a young age to earn a living , has repeatedly resisted. He also protested against being referred to as an Austrian: "But under no circumstances am I Austrian ... I have been an American citizen since 1943, although Clinton has never congratulated me on my birthday."

His career began in the USA . Since the mid-1950s it has been popular in the German-speaking area through songs such as Tauben Poison , Death, That Must Be a Viennese and Vienna without a Viennese . With his black , profound humor and witty language, Kreisler strongly influenced the musical German-language cabaret of his time as an interpreter and author of his own works.



Georg Kreisler was born as the son of the Jewish lawyer Siegfried Kreisler (1884-1970) and his wife Hilda (1895-1942) in the Vienna sanatorium Hera . He was the only child of his parents, but there were many relatives: his father had ten siblings and his mother four. He attended the Kandlgasse grammar school in Vienna- Neubau and began studying piano at the age of seven, later adding the violin and music theory.

In 1938, after the " Anschluss of Austria ", Austrian Jews were also exposed to reprisals in accordance with the racial laws of National Socialism. In April 1938 he was expelled with the other Jewish students. Kreisler reported that on leaving the Kandlgasse grammar school, Christian classmates formed a line and cursed, spat at and beat their Jewish classmates. His father managed to get exit papers in time and to emigrate to the USA with the family via Genoa and Marseille , losing almost all of his fortune . On the crossing, Georg Kreisler found a chess partner in Bugsy Siegel , who had been taken in as a castaway.

Emigration to the USA

In Hollywood, his cousin, the successful screenwriter Walter Reisch , supported him financially and arranged contacts with the film business. Kreisler became acquainted with a large number of German-Jewish exiles who were also looking to find employment in the film business, but who spoke no English. At 19 he married Philine (* 1925), the daughter of the cabaret artist and composer Friedrich Hollaender , but soon separated from her. Arnold Schoenberg tried to place him at the University of California, Los Angeles , but was rejected because he could not show a Matura .

Kreisler became a US citizen in 1943 and immediately drafted into the US Army for World War II . After basic training, he was relocated to England and was stationed in Yeovil and Devizes , where he entertained soldiers of the D-Day troops in events that he partially prepared together with Marcel Prawy . As a soldier he worked as a translator in Germany immediately after the end of the war, interrogated Julius Streicher and met Hermann Göring and Ernst Kaltenbrunner .

When he returned to the USA , he was involved in film in Hollywood, where he worked with Charlie Chaplin , among others . Chaplin whistled for him the music for Monsieur Verdoux - The Woman Murderer of Paris , which Kreisler wrote on note paper and then brought to Hanns Eisler , who took care of the orchestration. It was also Kreisler's piano playing that was recorded when you saw Chaplin at the piano. Since his overall success was only moderate, he moved to New York in October 1946.

During his time there, he performed as an entertainer in nightclubs and went on tour through the United States as an interpreter of his own songs, written in English. Three records recorded there in 1947 have not been released because those responsible at the production company considered the sometimes morbid or macabre songs to be “un-American”. The time wasn't right for titles like Please Shoot Your Husband or My psychoanalyst is an idiot . From then on, the lack of success of his diverse cultural criticism ran through Kreisler's entire artistic career. He himself saw this as the typical ignorance of his contemporaries towards satire. It was not until 2005 that the 1947 recordings, believed to be lost, came out on a CD as a supplement to his biography. In 1950 he got an offer to sing in New York's Monkey Bar and performed there every evening.

Return to Europe

In 1956 he hoped for more success in Europe, went back to Vienna and met Hans Weigel , Gerhard Bronner , Peter Wehle and Helmut Qualtinger , among others . In the Marietta bar in downtown Vienna he performed for the first time with German-language chansons and at times became a member of the nameless ensemble around Bronner, Wehle and Qualtinger. He had to experience, however, that the audience was by no means just enthusiastic about songs like Poisoning Doves . For a while, his songs were not allowed to be broadcast on Austrian radio .

In 1958 he moved to Munich, where, newly married, he gave chanson evenings with his third wife, Topsy Küppers . In 1972 he toyed with the idea of ​​emigrating to Israel, went there and came back a few months later. In 1975 Kreisler and Topsy Küppers separated. In 1976 he went to Berlin. From 1977 he appeared with his partner and later wife Barbara Peters , mainly with the voles and the porcupines . In 1988 he moved from Berlin to Hof bei Salzburg , lived in Basel from 1992 to 2007 and again in Salzburg from May 2007. Kreisler had a son by Philine Hollaender, another son by Topsy Küppers and a daughter, Sandra , who works as a chanson singer, author, director and speaker. He was largely related to the violin virtuoso and composer Fritz Kreisler .

From 2001 Georg Kreisler stopped performing with his songs. Instead, he wrote novels, short stories and essays, composed and campaigned for an independent Switzerland and against joining the EU or EEA (see also his song Der Euro ). In an open letter to the representatives of the state of Austria, he forbade himself to congratulate himself before his 75th birthday, "because the Republic of Austria has never cared about me in the forty years since I returned to Europe."

His daughter Sandra Kreisler pointed out that "in the last 60 years not even anyone had the idea of ​​giving the emigrant Kreisler back his Austrian citizenship on an honorary basis". Kreisler no longer saw himself as an Austrian and accused the state of having only granted citizenship again to those who had come to terms with the Anschluss:

“But under no circumstances am I Austrian, because in 1945, after the end of the war, the Austrians who had become Germans in 1938 automatically became Austrians again, but this time only those who had gone through the Nazi era. Anyone who fled abroad at risk of death, including myself, did not get their Austrian citizenship back. "

In 2007 the Berlin Academy of the Arts took over Kreisler's Vorlass . In 2009 his autobiography Last Songs was published .

In November 2011 Georg Kreisler died in Salzburg at the age of 89, according to his wife Barbara of the consequences of “a serious infection”. He was buried on December 1, 2011 in the Salzburg Aigen cemetery; Eva Menasse gave a funeral speech .


Kreisler was a virtuoso master of language, facial expressions and gestures. He slipped into dozens of different language masks, as a seductive woman murderer (Bidla Buh, Machs dir sein, Lotte) or as a violent entrepreneur with a right-wing disposition (capitalist song ), he could “Jewish” in Yiddish- tinged German (“Non-Arias”, “songs of a Jewish Journeyman ”), boohmak like a Czech Viennese caretaker (Telefonbuch-Polka, Der Bluntschli) and macabre parody of the cheesy Viennese song in sentimental Viennese (Am Totenbett, Der good old Franz, Where are the times gone?) . He made himself unpopular in Switzerland as a nest-polluter with a Swiss-German tone (Der Ausländer) and imitated parodic pathetic potty singers (Mütterlein, song for the Carinthian men's choir) and sea shanties (Der Paule, Der Santa Claus on the Reeperbahn) .

In terms of style, Kreisler was in the tradition of the singing piano humorist who accompanies himself to songs he has composed; this art form was established in German-speaking countries as early as the mid-1920s by artists such as Willy Rosen , Austin Egen and Hermann Leopoldi .

His songs, sometimes surrealistic and attributed to absurd lyric poetry (two old aunts dance the tango, spring fairy tale, Bessarabia), are characterized by subtle, often black humor and often criticize society and politics more and more over the years.

Many of his songs have become classics such as pigeon poisoning in the park , When the circus was on fire , Two old aunts dance the tango , The music critic , The General , Capitalist song , My freedom, your freedom , We are all terrorists and the “one-woman musical “ Tonight - Lola Blau .

Georg Kreisler was an avowed anarchist, which is also expressed in some of his songs, for example in Capitalist Song , My Freedom, Your Freedom , You are so lousy , you know nothing , We are all terrorists or If everyone did that .

Copyright process

In 1984 Georg Kreisler learned from the program booklet of a Viennese theater that Topsy Küppers posed as the author of his play Tonight: Lola Blau . In a 14-year legal dispute in which the court initially followed Küppers' argument, Georg Kreisler was finally right.

Relationship with Gerhard Bronner

In 1989 Kreisler's memory book, Die alten, Bad Lieder, was published, in which Gerhard Bronner “doesn't get off well”. The book disappeared from the market immediately after its publication and was not reprinted; it was only published eight years later (heavily abridged and edited) by a German publisher. The Viennese publisher Ueberreuter asserted that water damage had destroyed the edition. Kreisler suspected Bronner of being behind the disappearance of his book. Bronner, who hated Kreisler so much, [...] certainly had a motive. Bronner could not be dissuaded from asserting, “There is no line of its own from Kreisler. He stole everything. ”Bronner accused Kreisler in his autobiography, Spiegel vormal sein. Memories of Plagiarism. So he described that Kreisler had told him about Tom Lehrer's songs in the Marietta bar and also admitted that he had taken over the idea of ​​the song Taubenotoxigen from him. Bronner said, "I knew our friendship would not last." Kreisler himself vigorously denied these claims. He stated that he had never felt comfortable in Bronner's nameless ensemble , as the form of cabaret practiced was not critical enough for him.

Allegations of plagiarism

Based on textual and musical similarities, Kreisler was repeatedly accused of having used ideas and material from other artists in three of his chansons without stating this in the usual way (e.g. by "Frei nach ein Lied von ..."). Kreisler's I got your hand is very similar to Tom Teacher's song I Hold Your Hand in Mine, Dear , which was first released in 1953 on Songs by Tom Lehrer ; Poison pigeons of Kreisler resembles teacher song Poisoning Pigeons in the Park. Kreisler would have had the opportunity to hear this at performances by Tom Lehrer between 1953 and 1955. Gerhard Bronner, who worked with him in Vienna after Kreisler's return, describes in his autobiography Spiegel vorm Face that Kreisler was already familiar with this Lehrers song at the time. The Girl with the Three Blue Eyes by Kreisler is similar to Abe Burrows ' song The Girl with the Three Blue Eyes (first recorded in 1950).

In his autobiography The Old, Bad Songs , Kreisler denied plagiarism. Among other things, he wrote: “But I do not want to claim that Teacher stole the song in question from me, because then I would not be smarter than him. Many variants are possible. Maybe someone heard my song and suggested the idea to them without giving my name. It is just as possible that we came up with the same idea independently of one another. "

Tom Lehrer himself said in an interview: "Kreisler is a Viennese who stole two of my songs."



A more detailed but incomplete catalog of works is not available on pages 297–311 of the book Georg Kreisler. Find the biography of Hans-Juergen Fink and Michael Seufert. Frédéric Döhl's Kreisler entry in the encyclopedia of contemporary composers contains clearly detailed lists of works, writings and sound recordings . This article as well as the volume Georg Kreisler edited by Michael Custodis and Albrecht Riethmüller . Cross-border commuters also contain a number of facsimile prints of handwritten and typed notes, texts and sketches by Kreisler (see under literature ). Kreisler's extensive artistic estate is in the Georg Kreisler Archive of the Berlin Academy of the Arts .


Singles and EPs

  • Please Shoot Your Husband (contains: It's Great to Lead an Antiseptic Life / My Psychoanalist is an Idiot; Please Shoot Your Husband / I Hate You; Frikashtasni / What Are Little Girls Made of? ), Set with three 10 ″ / 78 / min Records (recorded by RCA Victor in 1947, not published; see CDs, 2005)
  • Joker II (contains: Sex is a Wonderful Habit / What Are Little Girls Made of? / Dirty Ferdy (English version of Der g'schupfte Ferdl ) / Good Old Ed ), Amadeo 1958
  • Cyanide rock'n roll (contains: cyanide / pigeon poisoning ), Amadeo 1958
  • The best from Kreisler's Digest (contains: Go poisoning pigeons ... / Two old aunts dance the tango / Biddla Boo / The triangle ), Electrola 1959
  • The cabinet of Dr. Kreisler (contains: Christmas is a nice time / the love letter / sport is healthy / Bach in Boogie-Woogie ), Electrola 1959
  • The will of Dr. Kreisler (contains: The Karajanus Head / The Woman / Uncle Fritz / Telephone Book Polka ), Electrola 1960
  • The Kreisler again (contains: Der Musikkritiker / Marie Galetta ), Electrola 1960
  • A sample pack in a good mood (contains: La malade à la mode (from Helen Vita ) / You're neurotic ), Beiersdorf advertising panel 1960
  • Only available here in Gelsenkirchen (contains: Gelsenkirchen / Santa Claus on the Reeperbahn ), Favorite 1961
  • Songs to fear (contains: When the circus was on fire / The Paule / Turn off the TV / Lullaby ), Favorite 1963
  • Max auf der Rax (contains: Max auf der Rax / Die Wanderiere / Alpenglüh'n ), Philips 1963


  • Vienna Midnight Cabaret with Georg Kreisler Amadeo 1957
  • Vienna Midnight Cabaret with Georg Kreisler II Amadeo 1958
  • Strange chants Philips 1959
  • Strange love songs with Bill Grah and his orchestra, Amadeo 1961
  • Kreisler Meets Love Meets Jazz (contains: You Bore me / Please Shoot your Husband / Antiseptic Life / Butler Burton / I Hate You / Frikashtasni , jazz pieces in between), Amadeo 1961/62
  • Sodom and Andorra a parody of Andorra by Max Frisch , radio play, Preiser 1962
  • The Georg Kreisler Platte Preiser 1962
  • Songs to fear Preiser 1963
  • Incurably healthy Preiser 1965
  • Hen party songs from the play of the same name with Georg Kreisler, Brigitte Brandt , Topsy Küppers , Erich Kleiber , Gunnar Möller , Herbert Prikopa and Harry Tagore , Preiser 1965
  • “Non-Aryan” arias Preiser 1966
  • Seven gallows songs by Georg Kreisler and Blanche Aubry , texts by Christian Morgenstern , set to music and accompanied by Friedrich Gulda , Preiser 1967
  • The hot quarter of an hour with Topsy Küppers, Preiser 1968
  • Unlike the others with Topsy Küppers, Preiser 1969
  • Death, it must be a Viennese with Topsy Küppers, Preiser 1969
  • Everblacks Intercord 1971
  • Kreisleriana Preiser 1971
  • Literary and non- Aryan Preiser 1971
  • Tonight: Lola Blau. Musical for a woman and two pianos with Topsy Küppers, on the pianos Georg Kreisler and Heinz Hruza , Preiser 1971
  • Hurray, we're dying, excerpt from the cabaret program of the same name with Georg Kreisler, Mathias Lange , Elena Manta , Ursula Oberst and Fritz Stavenhagen , Preiser 1971
  • Penultimate songs Preiser 1972
  • Everblacks Two Intercord 1974
  • Alone like a mother's soul Preiser 1974
  • Kreisler's somersaults Preiser 1975
  • Save yourself who can Intercord 1976
  • Love songs on Ultimo Intercord 1977
  • With his back against the wall with Barbara Peters, Preiser 1979
  • Everblack's three. Intercord 1980
  • Cabinet of horrors with Barbara Peters, Preiser 1981
  • Elephant wedding music for the play of the same name, Austro Mechana 1982
  • Advanced pigeon poisoning with Barbara Peters, 1983
  • Where the pepper grows with Barbara Peters, Preiser 1985
  • When the black songs bloom again with Barbara Peters, Turicaphon 1987


  • Let's fear the best with Barbara Peters, kip 1996
  • The old bad songs. kip 1997
  • Songs of a Jewish journeyman kip 1999
  • When the circus was on fire with Barbara Peters, kip 1999
  • The uprising of the butterflies opera, double CD, kip 2000
  • Words Without Songs Audiobook, kip 2001
  • If you want to laugh ... with Barbara Peters, kip 2001
  • Songs against almost everything with Barbara Peters, kip 2002
  • The unreleased record debut from 1947 on Georg Kreisler doesn't even exist. Sony Music / Joke 2005
  • Alone like a mother's soul - Kreisler's somersaults - Second to last songs - With your back against the wall , Membrane Music Ltd., Hamburg 2006, 4 CD – ROM set including booklet, ISBN 3-86562-509-6
  • Adam Schaf is afraid one-man musical with Tim Fischer , Sony BMG 2007
  • The old bad songs 2 kip 2012


Piano music

  • Three piano pieces , 1947
  • Five bagatelles , 1953
  • Sonata for Piano in three movements, 1955

All edited by Sherri Jones , Schott, Mainz 2012

Songs and chansons

  • Thomas A. Schneider, Barbara Kreisler-Peters (eds.): Georg Kreisler. Songs and Chansons (complete edition for voice and piano) . Volumes 1 to 8 with a total of 221 titles have been published by Schott Music Mainz so far. Further volumes are in preparation.

Stage works


  • Respite: Comedy, Never Performed (1962)
  • Murder by Sheet Music: TV crime thriller with songs, ordered and never produced (1962)
  • Sodom and Andorra: One-act, parody of Andorra by Max Frisch , ordered and not performed (as a radio play on LP / CD) (1965)
  • Bachelorette party: first performed December 26, 1965 in the Bernhard Theater Zurich, then Comedy Berlin , Theater an der Wien and tour (1965)
  • Hell on Earth: Operetta, music by Jacques Offenbach , performed in the Nuremberg Opera House , not afterwards (1969)
  • Tonight: Lola Blau: Musical for an actress, premiered on September 17, 1971 in the 1957-1977 to the Theater in der Josefstadt belonging to the Little Theater in the Konzerthaus ; with Topsy Küppers; subsequently played very often, also in other languages ​​(1971)
  • The Dead Playboy: Comedy with Music, performed at the Salzburg State Theater , then no more (1975)
  • Elephant wedding: by Wolfgang Lesowsky and Günther Nenning , incidental music by Georg Kreisler, performed at the Graz Opera House (also on LP) (1981)
  • Masquerade: Operetta / Singspiel, libretto and lyrics by Walter Reisch based on his script for the music film of the same name , music by Georg Kreisler, premiered as part of the Wiener Festwochen in the Theater in der Josefstadt Vienna under the musical direction of Kreisler, then played for two seasons, not since then more (1983)
  • Above: musical comedy, performed in the Landestheater Salzburg and in the Landestheater Linz , after that no more (1989)
  • The beautiful negress: comedy with music, never performed (1989)
  • The German child: satirical play with music, premiered in the Dresden comedy , not afterwards (1991/2001)
  • Welcome Home: Comedy with Music, Never Performed (1995)
  • A day in the life of the prophet Nostradamus : musical comedy, premiered in the Anhaltisches Theater Dessau , then no more (1996)
  • The Klezmer: Libretto for a musical without songs for a Klezmer group and actors, ordered, premiered in 2008 by the Rocktheater Dresden (1997)
  • Mister Elfenbein: Musical, with Art Paul (music), never performed (1999)
  • You shouldn't love: a two-person musical in 17 pictures with music by Beethoven , JSBach , Liszt , Verdi and others. a., premiered in the locksmith's shop of the Schauspielhaus Cologne and then until 2002 in 16 other cities (1999)
  • The uprising of the butterflies: satirical opera, premiered November 11, 2000 in the Sofiensaal Vienna, only five performances (also on CD) (2000)
  • Adam Schaf is afraid or: The song from the end: one-man musical, premiered in the Berliner Ensemble with Tim Fischer (2002); New production by Kreisler himself, again with Tim Fischer, in the Schmidt Theater in Hamburg (2006)
  • Aquarium or: The Voice of Reason: Opera, premiered on November 14, 2009 in the Volkstheater Rostock , staged by Corny Littmann


Book publications

  • Two old aunts dance the tango. Sanssouci, Zurich 1961.
    • as a dtv paperback with “Seltsame Gesänge” and drawings by Werner Hofmann . Munich 1964.
  • The good old Franz. Sanssouci, Zurich 1962
  • Sodom and Andorra. Estam, Schaan 1963
  • Songs to fear. Sanssouci, Zurich 1964
  • Mother cooks father and other paintings from world literature, illustrated by the artist himself. Karl Schwarzer, Vienna 1967
  • Non-Aryan arias. Sanssouci, Zurich 1967
  • I don't know what am I supposed to mean. Texts. With two declarations of praise from Hans Weigel. Artemis, Zurich 1973
  • I don't feel like it. Henschel, Berlin / GDR 1980
  • Pigeon poisoning for advanced learners. Heyne, Munich 1983
  • Lola Blau and non-Aryan arias. Henschel, Berlin / GDR 1985
  • Words without songs. Satires. Neff, Vienna 1986
  • Is Vienna superfluous? Satires about the only city in the world I was born in. Ueberreuter, Vienna 1987
  • The old bad songs. A memory book with song lyrics. Ueberreuter, Vienna 1989 (allegedly almost the entire edition was destroyed by water damage), revised new edition: kip, Dinslaken 1997
  • A prophet with no future. Diana, Zurich 1990
  • The eye of the beholder. With illustrations by Christof Gloor . Nebelspalter, Rorschach 1995
  • The shadow jumper. Edition día, Berlin 1995
  • Today, unfortunately, a concert. Three satires. (also contains mother cooks father and other paintings of world literature ). Specifically, Hamburg 2001
  • If you want to laugh ... A reader. Edition Memoria, Hürth / Vienna 2001, ISBN 3-930353-14-8 .
  • Lola and the blue of the sky. A memory. Edition Memoria, Hürth / Vienna 2002, ISBN 3-930353-18-0 .
  • My heroic death. Prose and poetry. Arco, Wuppertal 2003, ISBN 3-9808410-3-0 .
  • Everything has no end. Novel. Arco, Wuppertal 2004, ISBN 3-9808410-7-3 .
  • My doves plead softly. Sung and unsung. Fischer, Frankfurt am Main 2005, ISBN 3-596-16946-1 .
  • Last songs. Autobiography. Arche, Zurich / Hamburg 2009, ISBN 978-3-7160-2613-7 .
  • Coincidentally in San Francisco. Unintentional poems. Verbrecher Verlag , Berlin 2010, ISBN 978-3-940426-46-8 .
  • Beginnings - A literary guess. Atrium, Zurich / Hamburg 2010, ISBN 978-3-85535-365-1 .
  • Georg Kreisler for the wicked. Insel, Berlin 2010, ISBN 978-3-458-35346-1 .
  • A prophet with no future. Novel. Completely revised new edition. Verbrecher Verlag, Berlin 2011, ISBN 978-3-940426-71-0 .
  • But I was not found . Posthumous edition of previously unpublished texts and photos. Atrium-Verlag, Zurich 2014, ISBN 978-3-85535-367-5 .


  • Hans-Juergen Fink, Michael Seufert: Georg Kreisler doesn't even exist. The biography. Scherz, Munich 2005, ISBN 3-502-15021-4 (with audio CD).
  • Michael Custodis, Albrecht Riethmüller (ed.): Georg Kreisler. Frontier workers. Rombach (Litterae 169), Freiburg 2009, ISBN 978-3-7930-9554-5 .
  • Stefan Balzter: Georg Kreisler's chansons and their position in the development of German-language cabaret. Grin, Munich 2007, ISBN 978-3-638-69900-6 .
  • Frédéric Döhl: Georg Kreisler's music theater and the format of the chamber musical. In: Albrecht Riethmüller, Michael Custodis (ed.): Georg Kreisler. Frontier workers. Rombach, Freiburg 2009, ISBN 978-3-7930-9554-5 , pp. 59-75.
  • Frédéric Döhl: Broadway reception in chamber format. Georg Kreisler's “Tonight: Lola Blau”. In: Nils Grosch, Elmar Juchem (Ed.): The reception of the Broadway musical in Germany. Waxman, Münster 2012, ISBN 978-3-8309-2614-6 , pp. 159-176.
  • Frédéric Döhl: Georg Kreisler and art music. In: mr-Mitteilungen No. 78 (July 2012), ISSN  0943-5093 , pp. 1-6.
  • Frédéric Döhl: Georg Kreisler. In: Hanns-Werner Heister, Walter Wolfgang Sparrer (ed.): Contemporary composers. 48th delivery, edition text + kritik , Munich 2013, ISBN 978-3-86916-164-8 .
  • Daniel Kehlmann: The tear suppliers are getting closer. About Georg Kreisler. In: ders .: Where is Carlos Montúfar? Rowohlt, Reinbek 2005, ISBN 3-499-24139-0 , pp. 117-124.
  • Georg Kreisler, Ulrich Müller: Conversation with Georg Kreisler. Interview leader: Ulrich Müller, editor: Bettina Hatheyer. In: Peter Csobádi, Gernot Gruber, Jürgen Kühnel, Ulrich Müller, Oswald Panagl, Franz Victor Spechtler (eds.): The (music) theater in exile and dictatorship. Lectures and discussions of the Salzburg Symposium 2003. Mueller-Speiser, Anif (Salzburg) 2005, pp. 13–37 (= Word and Music 58; Salzburg Academic Contributions, Ulrich Müller, Franz Hundsnurscher, Oswald Panagl (eds.)).
  • Dirk von Nayhauß: Questions about life. Conversation with Georg Kreisler. In: Chrismon, the evangelical magazine. 05.2011, p. 38 ( online file ).
  • Mandy Kasek: A nomad with a home. Georg Kreisler's relationship to his hometown Vienna . Master's thesis University of Potsdam, 2007 ( online file ).


  • Georg Kreisler doesn't even exist. A bow. Documentary, Germany, 2012, 53 min., Script and director: Dominik Wessely , production: arte , ZDF , first broadcast: February 27, 2013 on arte, summary by arte. In the course of this production, well-known Kreisler's songs were filmed by various filmmakers and some were also made into animated films, such as Die Telefonbuchpolka by Benjamin Swiczinsky and the group Neuer Österreichischer Trickfilm .

Web links

Commons : Georg Kreisler  - Collection of images, videos and audio files

Individual evidence

  1. ^ Albert Hefele: To the death of Georg Kreisler: An anarchist in tails. In: Spiegel Online . Retrieved November 8, 2015 .
  2. a b c Sven Hartberger: No concessions to people who are worthwhile. In: Falter , Vienna, No. 29, July 18, 2012, p. 26 f.
  3. ^ Georg Kreisler: A letter to Vienna . In: Süddeutsche Zeitung (feature section) of October 1, 1996.
  4. But still a Viennese . In: FAZ , November 23, 2011; Obituary; Retrieved November 28, 2011.
  5. a b Song poisoning in Vienna. Pessimistic optimist: For the singing critic Georg Kreisler on his eightieth birthday . In: FAZ , July 18, 2002, beginning of the article.
  6. ^ A b Thomas Wagner: We live in an injustice society. ( Memento of July 14, 2014 in the Internet Archive ) From: Junge Welt , November 14, 2009, beginning of the original article .
  7. ^ Martin Krist, Albert Lichtblau: National Socialism in Vienna. Victim. Perpetrator. Opponent. (= National Socialism in the Austrian Federal States , Volume 8) Studienverlag, Innsbruck / Wien / Bozen 2017, ISBN 978-3-7065-5321-6 , p. 230.
  8. Tanja Krienen on the book: Georg Kreisler: Doesn't exist at all. Website about Georg Kreisler
  9. Verena Mayer, Norbert Thomma: "I am amazed that I am not dead yet." In: Der Tagesspiegel , October 25, 2009, interview.
  10. Pit choice: Who I am and who I love: Identity - Love - Sexuality . Vandenhoeck & Ruprecht, 2018, p. 32
  11. Sandra Kreisler. In: Andrea von Treuenfeld: Heirs of the Holocaust. Life between silence and memory. Gütersloher Verlagshaus, Gütersloh 2017, ISBN 978-3-641-20867-7 . P. 134ff.
  12. ^ Georg Kreisler: A letter to Vienna . In: Süddeutsche Zeitung , Feuilleton, October 1, 1996.
  13. Sandra Kreisler: My father Georg Kreisler: author, composer and intellectual. ( Memento from February 17, 2009 in the Internet Archive ) In: oe1. ORF .at Kultur , July 14, 2007.
  14. The Georg Kreisler Archive - "full of dreams and without comment" News from the archive of the Academy of Arts .
  15. Book review: Melancholy with thorns. Georg Kreisler's “Last Songs” . In: Neue Zürcher Zeitung , November 12, 2009.
  16. Georg Kreisler died at the age of 89. In: Der Standard , November 22, 2011.
  17. Dissatisfaction made him happy . In: FAZ , December 3, 2011, p. 37, beginning of the article.
  18. ^ Image: The grave of Georg Kreisler from
  19. Hans Weigel : The first 50 years of Georg Kreisler. Epilogue to: Georg Kreisler: I don't know what should I mean . Artemis, Zurich / Munich, 1973.
  20. Stefan Deisenberger: The anarchy of the moment ; Music Information Center Austria, August 18, 2009
  21. Markus Metz, Georg Seeßlen : Art comes from revolution . In: specifically , 2002, No. 8, interview.
  22. Georg Kreisler: The old, evil songs: A memory book (224 pages), Ueberreuter, Vienna 1989 / Georg Kreisler: The old, evil songs (109 pages), kip Verlag, Dinslaken 1997
  23. ^ Konstantin Schmidt: Georg Kreisler and Tom Lehrer. “Similarities” between two cabaret artists
  24. a b Excerpt from The Old Bad Songs. ( Memento of September 27, 2007 in the Internet Archive ) Ueberreuter, Vienna 1989, pp. 33-36 (via Internet Archive )
  25. "Tom Lehrer and Georg Kreisler" ( memento from August 13, 2010 in the Internet Archive ) on The Tom Lehrer Wisdom Channel
  26. Olten Cabaret Days: Previous winners ( Memento from March 24, 2014 in the Internet Archive ). Accessed on August 27, 2014.
  27. Georg Kreisler Archive
  28. Gelsenkirchen - never go back. The song by Georg Kreisler . In: Der Spiegel . No. 48 , 1961 ( online ).
  29. ^ Kreisler musical . In: Arbeiter-Zeitung . Vienna August 27, 1971, p. 12 ( - the open online archive - digitized).
  30. Eva Baumgartner (Red.), Karin Bellmann (Red.): Brut history (...) brut im Konzerthaus (...) ( Memento from July 15, 2012 in the Internet Archive )
  31. World premiere of the Georg Kreisler opera The Aquarium or the Voice of Reason in the Great House , Rostock Volkstheater, November 14, 2009
  32. Daniel Kehlmann on Georg Kreisler: From songs and the consolation of clarity . The Standard September 12, 2014; Retrieved October 21, 2014