Karl Maxstadt

Karl Emil Maxstadt (born September 1, 1853 in Lahr / Black Forest ; † January 14, 1930 in Munich ) was a German entertainer (folk singer).

Life

Karl Maxstadt was born into a family of artists. He was the son of the theater director and folk singer Karl Ignaz Maxstadt and his wife Josephine, née Schwendtner, who also worked as a folk singer and was also a writer. His sister Klara Maxstadt also appeared as a singer.

In the programs of the time he was heralded as a folk singer, comedian or solo entertainer ; he described himself as a vocal humorist. He performed between 1878 and 1924, initially in musical halls and on cabaret theaters in Munich and Garmisch-Partenkirchen, with self-composed lectures, solo scenes and couplets, of which he had over 600 in his repertoire. They were published by Franz Dietrich's publishing house in Leipzig. If other vaudeville artists wanted to sing them, they had to purchase the “patented” sheet music and pay a license fee.

Although Maxstadt is often referred to as the “old master of Munich's vocal humorists”, he was never permanently engaged in the Munich Singspielhallen, but preferred appearances at international variety theaters. Guest tours led Maxstadt through the whole empire. He also performed in the Ruhr area, Berlin and Hamburg. Others took him to the variety stages of the neighboring European countries.

His brilliant memory, facial expressions and great versatility were praised, which also included command of many German dialects. He is considered to be the inventor of the "salon humorist" type, who used to appear in a frock coat, bow tie and white gloves, while until then the humorists in the variety shows were "colorful", i.e. H. worked in costume and with a strange nose glued on. He only appeared on stage in costume in his solo scenes .

In it he brought professional types such as village barbers, house servants or commercial commis and characters such as the “old man of the heavens”, the “poor devil” or the “Landstraßen-Gigerl” on stage, but also made comparative observations of time, as in “Past and present”. Such juxtapositions can also be found in his original couplets , a genus that is particularly well suited to reasoning about current events. This happens in couplets that z. B. Department stores, foreign words or “The Kosher Nation” thematize. In 1910, his couplet “In 25 Years” was thinking about the future. The humoristic lectures dealing with “highly cultural” literary models such as “Faust”, “Lohengrin” and “Wilhelm Tell” in Saxon or Bavarian are of a dialect parodistic nature .

Although Maxstadt was alive until 1930 and thus had the opportunity to capture his art in images and sound using the technical media of film and gramophone, he never made use of it. There are gramophone recordings by various artists of his couplets and lectures, but none of himself.

Maxstadt became a great role model for the Munich language artist Karl Valentin . According to the legend, he composed the artist name of his long-time partner Liesl Karlstadt , born Elisabeth Wellano, from the first names Karl (from Karl [Valentin? / Maxstadt?]) And -stadt (from Maxstadt) out of admiration for the master .

Works (selection)

1. Solo scenes

• The action commis (Dietrich, Leipzig 1890)
• The unlucky one, humorous solo scene (Dietrich, Leipzig 1891)
• The Bettelbua, cheerful solo scene [insert in: Stieler, Max: A blue devil] (Leipzig Dietrich [approx. 1895])
• The Landstrassen-Gigerl: [cheerful solo scene] (Dietrich, Leipzig approx. 1900)
• I want to drive out of my skin! : cheerful solo scene (Dietrich, Leipzig around 1905)
• The village barber (Dietrich, Leipzig around 1905)
• The house servant, humorous solo scene (1909)
• The newspaper colporteur, humorous solo scene No.11
• Past and present, humorous solo scene (Dietrich, Leipzig approx. 1909)
• The struggle for daily bread: [humorous solo scene] (Dietrich, Leipzig approx. 1909)

2. Original couplets

• Logical Evidence (1875)
• Fine and coarse (Dietrich, Leipzig around 1890)
• That comes in d 'Hell! Original couplet (Dietrich, Leipzig approx. 1891)
• Praise of women, according to a Kärthner folk tune (1896)
• The kosher nation (Dietrich, Leipzig 189th?) [= Karl Maxstadt's Original Couplets N. ° 4]
• City and Country (1900)
• Foreign words couplet. Original couplet No.40 (Leipzig, Franz Dietrich, around 1900)
• Serenade Variations (Dietrich, Leipzig approx. 1900)
• Attention! Watch out! (Dietrich, Leipzig approx. 1900)
• The rarity collector (Dietrich, Leipzig 189.?)
• Department stores (1900)
• In 25 years (Dietrich, Leipzig approx. 1910)
• Thought splinters (Dietrich, Leipzig 1910)
• Wandering of Souls [= Karl Maxstadt's Original Couplets N. ° 29]
• Solomon the Wise, original couplet (Dietrich, Leipzig approx. 1910)
• Has him [sic] already! Original couplet (Dietrich, Leipzig approx. 1910)

3. Humorous lectures

• Humorous lectures. 1, Faust: [humorous lecture in Saxon dialect]. (Leipzig: Dietrich, [around 1890])
• Humorous lectures. 2, Lohengrin: [humorous lecture in Saxon dialect]. (Leipzig: Dietrich, [around 1890])
• Humorous lectures. 3, Wilhelm Tell: [humorous lecture in Saxon dialect]. (Leipzig: Dietrich, [around 1890])
• Humorous lectures. 4, Bliemchen in front of the door of heaven: [humorous lecture in Saxon dialect]. (Leipzig: Dietrich, [around 1890])
• Humorous lectures. 5, The Curious: [humorous lecture in Saxon dialect]. (Leipzig: Dietrich, [around 1890])
• Faust: cheerful lecture in Bavarian dialect (= Karl Maxstadt's cheerful lectures; No. 9)

4. Collective editions

• Karl Maxstadt's humorous solo scenes (Leipzig, Dietrich, undated)
• Karl Maxstadt's cheerful lectures (Publisher: Leipzig, Dietrich 1894–)
• Karl Maxstadt's Original Couplets (Leipzig: Franz Dietrich, 1899)

Sound documents (selection)

a) European recordings:

• No trace, no idea (Maxstadt) Josef Modl , Vienna. Gramophone Concert Record 2-42 511 (Matrix number 1048 x) Date: 1902
• The Lord means it well (Maxstadt), sung by Fritz Werner , Strasbourg i. E. [with piano]. Zonophone Record X-22 451 (Matr. 4549 L), apply. 1906
• Der Bettelbua (Give it a gift) (Maxstadt) Richard Waldemar [with piano]. Gramophone Concert Record V. * 22 627 (Matr. 10 946 u), posted. in Vienna 1907
• Various national dishes, from Maxstadt. Rudolf Kumpa , operetta tenor at the kk private Karltheater Vienna. Premier Record 5082 (mat. 6120)

b) American recordings:

• Oscar Stolberg: Sapprament, what is that? Couplet (Maxstadt) Victor 63 264 (Matr. B-10 081), recorded 3/20/1911 (Camden, New Jersey).
• Oscar Stolberg: Volkslieder-Couplet (Karl Maxstadt) Victor 68 289-B (Matr. C 10 088), recorded 3/22/1911. Sung in German, with orchestra accompaniment.
• Oscar Stolberg: Kli Kla Klatscherei (Author: Karl Maxstadt) Edison Blue Amberol # 26 175. [1911] Sung in German, with orchestra accompaniment.
• Oscar Stolberg and Elise Kramer: Großstadtluft (Author: Karl Maxstadt) Edison Blue Amberol # 26 194. [1916] Vocal duet in German, with orchestra accompaniment.

Web links

The BSB Munich owns an anthology with the title label “Couplet -tex von Ed. Notes, Bacchus Jacoby, Josef Hornig, Karl Wilhelm, Karl Maxstadt and Jakob (Papa) Geis. 1893-1905 ”. It contains from Maxstadt (available in digital form):

1. the original couplets

• FD No. 36 O that's bad! Original couplet by Karl Maxstadt, vocal humorist.
• FD No. 37 national dishes. Original couplet by Karl Maxstadt, vocal humorist.
• FD No. 73 There is no further point. Da Capo Couplet by Karl Maxstadt, vocal humorist

2. and the solo scenes

• FD No. 85 An enlightened one. Humorous solo scene by Karl Maxstadt, vocal humorist.
• FD No. 90 The unlucky one. Humorous solo scene by Karl Maxstadt, vocal humorist.
• FD No. 958 Not a trace, not a jdee! Lively solo scene by Karl Maxstadt, vocal humorist.

literature

• Rolf Badenhausen: Karlstadt, Liesl. In: New German Biography. 11 (1977), pp. 276 f. [Online version]; Url
• Clive Barker, Simon Trussler, Maria Shevtsova (Eds.): New Theater Quarterly. 79: Volume 20, Part 3. Cambridge University Press, March 21, 2005.
• Georg W. Forcht: The mediality of the theater with Frank Wedekind: a media-theoretical study of the influence of the bank singer and actor Frank Wedekind on his work. (= Linguistics series. Volume 37) Verlag Centaurus, 2005.
• Susanne von Goessel: Munich folk singer - entertainment for everyone. In: Wolfgang Till (Ed.): Karl Valentin. Folk singer? Dadaist? Exhibition for Karl Valentin's 100th birthday, organized by the Munich City Museum. Schirmer-Mosel, Munich 1982, pp. 26-49.
• Mathilde Jamin (author), Lisa Kosok (ed.): Have fun: Public merrymaking in the Ruhr area at the turn of the century. Verlag Ruhrlandmuseum, 1992, ISBN 3-89355-077-1 .
• Josef Maria Lutz: The Munich folk singers. A book of memories of the good old days. According to e. Collection of Erwin Münz. Munich 1956.
• Karl Maxstadt. In: German biography.
• Erni Maxstadt (ed.): Münchner Volkstheater in the 19th century and its directors: Documentation. Buchendorfer Verlag, 2002, ISBN 3-934036-86-4 , pp. 13, 86 u. 110
• Klaus Pemsel: Karl Valentin in the environment of the Munich folk singer stages and variety shows. Dissertation . (= Series of publications of the Valentin-Volkssänger-Musäum). Verlag Wilhelm Unverhau, 1981, ISBN 3-920530-60-8 , pp. 108-110.
• Claudia Preis: Münchner Volksleben in song and word. Folk singer entertainment in Munich. In: Johannes Moser, Eva Becher: Munich Sound - urban folk culture and popular music. Herbert Utz Verlag, 2011, pp. 71–78.
• Claudia Preis: Volkssängerei in Munich 1870–1930: On the production of entertainment culture in the city. Dissertation. LMU Munich, Faculty of Cultural Studies 2010. (PDF; 869 kB)
• Ursula Rohr: The theater jargon. Society for Theater History, Berlin 1952.
• Viktoria Schmidt-Linsenhoff, Kurt Wettengl (author), Historisches Museum Frankfurt am Main, Almut Junker (ed.): Posters. (= Small writings of the Historisches Museum Frankfurt am Main. Volume 29). Verlag Historisches Museum Frankfurt am Main, 1986, pp. 26, 113, 124.
• Manuel Schramm: Consumption and regional identity in Saxony 1880 - 2000: the regionalization of consumer goods in the field of tension between nationalization and globalization (= quarterly journal for social and economic history, supplements, No. 164, ISSN  0341-0846 ), Steiner, Stuttgart 2002, ISBN 3-515-08169-0 (Dissertation Uni Leipzig 2001, 326 pages).
• Gustav Schumann: Bundle of 4 writings with stories by the particularist Bliemchen in Saxon dialect . Different editions. Leipzig, Reissner, approx. 1880–1900. (With some text drawings by A. Reinheimer et al., The compilation contains: Bliemchen in Switzerland, Bliemchen at the Saxon-Thuringian exhibition in Leipzig; Summer freshness; From the portfolio of the particularist Bliemchen)
• Alfons Schweiggert: Münchner Blut, about the renaissance of the couplet. In: Bayerische Staatszeitung. No. 24 - Look around - Friday, June 11, 2004.
• Karl Spengler: It happened in Munich. Publisher Bruckmann, Munich 1962.
• Dr.-Ing.-Hans-Joachim-Lenz-Stiftung (Hrsg.): KulturForumWissen 2014: The great comedians. Books on Demand, 2015, p. 126 f.
• Joachim Sturm: Karl Maxstadt (1853–1930): e. Lahrer d. Mentor Karl Valentins. In: Geroldsecker Land. 31. 1989, pp. 63-68 ISSN  1614-1407 ; Existing in: BLB Karlsruhe: Signature: OZA 1104 - WLB Stuttgart: Signature: Z 6425.
• Wolfgang Till, Sabine Sünwoldt, Florian Dering, Philipp Luidl: Karl Valentin. Folk singer? Dadaist? Exhibition for Karl Valentin's 100th birthday, organized by the Munich City Museum, July 2 - October 3, 1982. Schirmer-Mosel, Munich 1982, ISBN 3-88814-106-0 .

Individual evidence

1. ↑ Pemsel p. 109.
2. ^ Karl Maxstadt in the Bavarian Musicians' Lexicon Online (BMLO)
3. ↑ cf. Alfons Schweiggert: Münchner Blut, about the renaissance of the couplet. In: Bayerische Staatszeitung. No. 24 - Look around - Friday, June 11, 2004 and Goessel p. 45, there also a photo of Maxstadt with hsl. Dedication.
4. ↑ "The original lectures by Mr. Maxstadt are available at the cloakroom. Public presentation of the original couplets, in whole or in part, is strictly prohibited. ”, Cf. Goessel p. 45.
5. ↑ like the "Colosseum" of the host Karl Hundeshagen, cf. Photo of the location near Goessel p. 28.
6. ↑ "He was the first and greatest vocal humorist and performing artist in German-language variety before, around and after 1900 (1878-1924) and appeared - always crowned with success - at the major German and international variety stages in neighboring European countries such as Austria, Switzerland and Hungary , Czechoslovakia, Denmark, Holland, Sweden, Lithuania, Romania, Russia. ” Can be read at Maxstadt's and friends .
7. ↑ cf. Jamin / Kosok p. 180 and 193
8. ↑ a greeting postcard ( memento of the original from July 25, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from the guest performance in the Hansa-Theater (Hamburg) 1898 shows the 'master humorist Maxstadt as' Bettelbua ''. In the Hamburg Foreign Journal of March 13, 1901, his appearance at this house is announced as follows: “As was to be expected, this month's particularly rich program is extremely popular. Lina Abarbanell, the “star” of the program, always finds rapturous applause for her amiable performances, as does Karl Maxstadt, the famous humorist with his new solo scene “A Karlsbader Curgast”. “See GECD # 1578 
9. ↑ Forcht p. 22 f., Spengler p. 218, Lutz p. 30.
10. ↑ The Salonhumoristen were more up-market, performing in a better class of venue and in formal dress, see. Barker, Trussler, Shevtsova p. 204; “It was Karl Maxstadt who created the 'comedian in tailcoat' on the variety stage. In his big solo scenes he appeared in 'mask'. ”Cf. Maxstadt's and friends
11. ↑ with "Kittneese", as "Kittneesenkomiker", cf. Rohr p. 69.
12. ↑ Costume couplets for men No. 7, cf. ebay.co.uk (accessed July 22, 2015)
13. ↑ z. B. in “Fine and coarse”, “City and Country”, “Berlin and Saxon”, where he also thought about the dialects.
14. ↑ defined as “wording and tone of Karl Maxstadt”, as indicated on the sheet music titles.
15. ↑ as the recordings on Edison cylinders and records of the Victor Co. in Camden, NJ show, his songs were also popular in the United States
16. ↑ In his estate there are envelopes with the names "Maxstadt Material", "Nachlass Maxstadt 1930", "Nachlass-Maxstadt 1930 Letters to M." and "To the Maxstadt Collection" with photos, passport, correspondence and newspaper clippings by the Munich singing humorist Karl Maxstadt; next to it 6 handwritten couplings by Maxstadt (all with blue cover). Cf. Deutsches Theatermuseum and karl-valentin.de : "... the famous music comedian Karl Maxstadt, whose performances fascinate the young carpenter's apprentice Karl Valentin so much that he decides to look for his luck on stage too." And Rudolf Hartbrunner writes in his “Zeitensprüngen”: “1896 - Valentin Ludwig Fey's zither teacher, Ignaz Hepper, takes his“ pupil ”to the“ Colosseum ”, where the“ vocal humorist ”Karl Maxstadt appears. That was Valentine's "awakening experience". Later he wrote: "I wanted to be a variety humorist like Karl Maxstadt". "
17. ↑ cf. Folk singing , also Rolf Badenhausen: Karlstadt, Liesl. In: New German Biography. 11 (1977), pp. 276f
18. ↑ Stieler, Max: A blue devil. Or: "Altbayer und Picarde." / Genre picture with singing as a counter-scene to "Kurmärker und Picarde" by Max Stieler. Munich 1881. Extent: 16 p., Quoted. Raimundtheater 1894, cf. Lower Austria Reg.Pres Theater TB K 582/12. Date / duration: 1881–1894, noela.findbuch
19. ↑ title page fig. at dreiraaben.de ( Memento of the original from July 26th, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. 
20. ↑ Title sheet with picture of Maxstadt reproduced. at albis (accessed on July 22, 2015)
21. ↑ Title sheet with picture of Maxstadt reproduced. at antikbuch (accessed on July 22, 2015)
22. ↑ Digitized at BSB Munich
23. ^ Title sheet with a portrait of Maxstadt in various masks in Goessel, p. 44.
24. ^ Digitized in the Weimar Classic Foundation Duchess Anna Amalia Library
25. ↑ that was a fictional character invented by the authors Gustav and Paul Schumann around 1870, which initially appeared in the magazine "Puck", but since 1878 in independent publications. In it, humorous stories in Saxon dialect were circulated by a first-person narrator named Fritz Bliemchen , who soon gained a life of its own as a symbolic figure for the "Coffee Saxon" through the thought connection to the Bliemchen coffee, cf. Schramm p. 93 f.
26. ^ Digitized at the Weimar Classic Foundation Duchess Anna Amalia Library
27. ↑ prev Saxon State Library -. State and University Library Dresden   Karl Maxstadt  in the German Digital Library
28. ↑ label shown. at dismarc.org , listen to gramofononline.hu
29. ↑ cf. DAHR Discography of American Historical Recordings
30. ↑ cf. UCSB  ( page can no longer be accessed , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. University of Santa Barbara, Calif. (USA), to be heard on jukebox (recording from Victor record 68288 (Matrix Number C-10085/1) from the same year)  
31. ↑ cf. UCSB  ( page can no longer be accessed , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. University of Santa Barbara, Calif. (USA), to be heard at cylinders library  
32. ↑ with an anti-Semitic stanza about the members of the "kosher nation"!
33. ↑ on line. at couplet-ag ( Memento of the original from July 25, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. 
34. ^ State bibliography of Baden-Württemberg online