Valencia (song)

Valencia is a Pasodoble hit by the Spanish composer and pianist José Padilla Sánchez , which was originally written in 1924 for the Zarzuela La bien amada on a libretto by José Andrés de Prada (1884–1968) and has sold over 22 million copies. The song, for which Fritz Löhner wrote the German text under his stage name Beda, was published in 1926 with the publisher number WBV 734 in the Viennese Bohème-Verlag Berlin-Vienna. In France, the Édition Francis Salabert distributed the title.

history

The song had a similar resounding success as the previous Yes! Which Beda had also provided with German lyrics . We have no bananas . The "hit of the season" in 1926 was sung and played everywhere and probably also ad nauseam . The cabaret artists Paul Morgan and Charlie Roellinghoff caricatured this “Valencia fever” in October 1926 in a vinyl sketch. And the folk singer Karl Valentin in his Petersturmmusik scene reluctantly lets the musicians, whose old tunes the modern Munich people no longer want to hear, next to What is the Maier doing in the Himalaya? and Valencia play. Without notes, because "For the glump you need notes, you can blow it by heart in your sleep".

The musical form of the paso doble, also known as “Spanish March” or simply “one-step” on the labels, became known throughout Europe through this song and was used again and again for hits in the following years. It was often called anglicised as six-eight - because of the six-eight time in which the compositions are written. In France, the next most popular hit in this time signature, also composed by José Padilla and created by Mistinguett , was the 6/8 one-step chanté with the title Ça, c'est Paris from the revue of the same name in 1927 . In Germany in 1930 it became Werner Richard Heymann's song Ein Freund, a good friend from the sound film Die Drei von der Gasstelle .

reception

France

Valencia was used as an insert in the 1926 Mistinguett revue. The artist performed the song with the French lyrics by Lucien Boyer and Jacques-Charles at the Moulin Rouge in Paris and sang it on the gramophone record with Pathé, accompanied by the Fred Mélé jazz orchestra. The other singer who made the song popular in France was the chansonette Emma Liébel ( originally Aimée Médebielle; September 13, 1873 - January 30, 1928), who had already introduced Padilla's song La Violetéra in 1920 with the text by Eduardo Montesinos; she recorded Valencia in 1926 with various gramophone companies, including Pathé and Odéon. The young Maurice Chevalier also recorded the title, but with a parodic text as balance-là .

USA and England

In the USA the orchestra Paul Whiteman and its singer Franklyn Baur made the song known, which it recorded on April 30, 1926 with Victor; the English text with which it was published by the music publisher Harms Inc., NY for America, was written by Clifford Gray. The Italian opera tenor Tito Schipa also sang the song with Victor in September 1926 . The jazz-influenced white male quartet The Revelers , which is considered a model for the German Comedian Harmonists , also recorded the title with piano accompaniment at HMV.

American pianist and organist Jesse Crawford recorded a Valencia version on the Wurlitzer organ with Victor.

In London, the famous hotel orchestra The Savoy Orpheans recorded Valencia for HMV, and band leader Jack Hylton paid tribute to the composer in 1929 with a José Padilla medley, which of course also included Valencia .

Dimitri Buchowetzki made a silent film in 1926 called Valencia or The Love Song for the American MGM , in which the song was used.

Germany

The first recorded recording of the song in Germany was made by the Hungarian violinist Edith Lorand and her orchestra with reference to the Spanish operetta in 1924 with Lindström's Beka label. The tenor Max Kuttner recorded it there in 1926 as an independent “Spanish Song and One-Step” with an orchestra under the direction of Carl Woitschach . The orchestras of Otto Dobrindt (as saxophone orchestra Dobbri), Dajos Béla , Gabriel Formiggini , Paul Godwin and Marek Weber played it on the gramophone record as a dance piece . It was also available as a piano roll for mechanical musical instruments.

Theodor W. Adorno pointed out that hit texts like that of “Valencia” and their success had something to do with the wanderlust of the German middle class, which was declassed after the First World War . Bertolt Brecht targeted the various recipients of musical enjoyment when he cited Padilla's Valencia against Richard Strauss ' death and transfiguration in an essay in 1926 . And Thomas Phleps drew attention to the changed direction of the Bedaschen text compared to the original French version, which was still clearly aimed at the city of Valencia, while Beda could also refer to an allegory, a “believed city goddess” named Valencia.

Parodies

Like the verses of other extremely popular hits, the text from Valencia soon stimulated the vernacular to parody and play language. Kurt Tucholsky calls the lines “Valencia / Let me rock, rock, rock / On the cliffs, cliffs, cliffs / With the whole company”. Another parody line that was created during the “lifetime” of the hit was “Valencia, my eyes, your eyes, corns, Kukirol” using a well-known brand name. This parody line is still quoted after 1945, e.g. B. by the journalist Thilo Koch in his theater report More than entertainment - Shakespeare, Tolstoj, de Vega and Hasenclever on the Berlin stages in the period of April 4, 1957; also in 1975 by Walter Kempowski in his family novel We're still going gold . Along with another rude line “Valencia !!! your knuckles have grown like a pig's knuckles ...! ”she was even mentioned in 2006 in a blog .

Survival

The hit is also quoted several times in more recent publications, both in narrative and memorial literature: for example Hasso Grabner and Heinz Mildner in their 1963 book “Der Weg nach Heimat. Memories from the Second World War and the anti-fascist resistance struggle ”or Knut Hartmann's memories of a“ Childhood and youth in Hamburg in the golden 50s ”, which appeared in 2002 under the title Machine, Mühle, Malesche . Likewise in the novel Hitler's niece by the Cologne author Heinz-Dieter Herbig , published in the same year, and in Gregor Eisenhauer's story The First Temptation from 2013, here with the line “Valencia, every day happy days ...”.

Refrain

Valencia, your eyes
glow and suck
my soul out of my body.
Valencia, your lips
are the cliffs of
my life, lovely woman.
Valencia, your hands
speak volumes,
your voice beckons and laughs.
Most beautiful of all roses,
let
the sailors kiss them one night

Sheet music editions

Valencia. Spanish song and one-step. Created by Mistinguett at the Moulin Rouge. Paris. German text by Beda. Published by Wien-Bln., Wr. Boheme-Vlg. 1926. Plate No. WBV 734. 4 °. 3, (1) p. (Cover with pag.) Illustrated in color.

VALENCIA: Spanish song and 6/8 Foxtrot (composer: Padilla / Conta / Boyer / Jacques-Charles), language: German / French. : Noten-Roehr (archive no .: 5943)

VALENCIA: Spanish song and one step (composer: Padilla / Boyer / Beda / Jacques-Charles), language: German: Noten-Roehr (archive no .: 5942)

Audio documents

American / British

Valencia. One-step (Padilla) Paul Whiteman Orchestra, Franklyn Baur voc. Victor 20 007 (Matr. BVE-35 242), rec. 3/30/1926

Valencia (Boyer-Charles-Padilla) arr. By Rosario Bourdon. Tito Schipa . Tenor with orchestra. In Spanish. Victor 1177-A (Matr. BVE-35 864), rec. 9/9/1926

Valencia (Boyer-Charles-Padilla) The Revelers. Negro singing. Electrola / HMV EG 238 / 4-4249 (Mat. 35 653)

Valencia. Onestep (Jose Padilla) The Savoy Orpheans at the Savoy Hotel London. Vocals by Cyril Ramon Newton. HMV B.2272 (4-332), apply. February 16, 1926

Valencia. Onestep (Jose Padilla) Van's Ten (di Leon van Straten Dance Orchestra) Edison-Bell 'Winner' 4390 (mx. 9922), rec. April 1926

French

Valencia. Paso-Doble chanté (Paroles de Lucien Boyer et J. Charles. Musique de José Padilla), succès de Mlle. Mistinguett . Pathé n ° 5242 (mx. 200 245)

Valencia (José Padilla) Paso-Doble, chanté by Emma Liebel. Disque à saphir Henry n ° H.326 (mx. 326 A), enreg. Paris, Avril 1926

Valencia (José Padilla) Paso-Doble, chanté by Mme. Emma Liebel. Odeon Aiguille n ° 74.173 (Matr.Ki 872)

German

Valencia (José Padilla) Paso doble from La bien amada . Orchestra Edith Lorand . Beka B. 5160 (Matr. 32 454). June 18, 1924

Valencia (José Padilla) Spanish song and one-step. Tenor Max Kuttner with orchestra [= Carl Woitschach]. Beka B. 5446-II (Matr. 33 317). April 16, 1926

Valencia (José Padilla) Spanish song and one-step. Saxophone Orchestra Dobbri. Beka B. 5417-I (Matr. 33 218-II). February 5, 1926

Valencia (José Padilla) Spanish song and one-step. Paul Godwin with his artist ensemble. Record “Grammophon” 20 475 / B 41 303 (Matr. 420 bf)

Valencia (José Padilla) Spanish song and one-step. Marek Weber with his artist band from the Hotel “Adlon” Berlin. Record “Grammophon” 19 516 / B 60 829 (Matr. 333 bg), put on. Spring 1926

Valencia. Step from the Mistinguett-Revue (José Padilla) Dajos Béla . Odeon AA 50 450 / O-6254 (Matr. XxBo 8693), apply. Berlin, spring 1926

Valencia. One-step (José Padilla) Merton Chapel. Disque Parlophone n ° P.2157-1 (mx. 8564) enreg. c. 1926

Valencia! One-step (José Padilla) homocord dance orchestra. Homocord 4-8702 (Matr. M 51 980) [30cm] "electrically recorded!"

Valencia! One-step (José Padilla) Gabriel Formiggini with his orchestra. Vox 8214 (Matr. 687 BB) "Electrical recording"

Piano rolls

Hupfeld Animatic T (Triphonola) No. 323

Hupfeld Animatic S number 59 608

Welte Mignon reproducing piano roll No.7432. Played by Harry Perrella, 1927

Duo-Art 713.244 Valencia, Foxtrot and Song-Roll

Universal roll U4170. Played by Swensen & Katt

Organ recording

Jesse Crawford plays "Valencia" on the "Mighty WurliTzer": Victor 20 075 (matrix BVE-35079)

literature

Berthold Leimbach: audio documents of cabaret and their interpreters 1898-1945. Self-published, Göttingen 1991, DNB 911350551 .

Otto May: From growing to leading: the picture postcard as a witness of a failed education for democracy in the Weimar Republic. Brücke-Verlag Kurt Schmersow, Hildesheim 2003, ISBN 3-87105-032-6 .

Monika Portenlänger: Flirty girl and sophisticated vamp: the representation of women on cover illustrations and in hit texts from the 1920s and early 30s. Jonas, Marburg 2006, ISBN 3-89445-380-X , p. 75.

Christian Zwarg: PARLOPHON Matrix Numbers - 30173 to 34999: German. PDF online at phonomuseum.at

Individual evidence

↑ La bien amada (Spanish)

↑ Provide entertainment . In: Der Spiegel . No. 48 , 1955, pp. 45 ( online ).

↑ reproduced at grammophon-platten.de , February 3, 2015

↑ title shown. at ZVAB

↑ Valencia (notes, p. 2) ill. at tias.com

↑ Cf. May (2003), p. 333: “Valencia alone was sold 22 million times”, as well as Greis-King (2005) p. 84: “Bestsellers like the hit Valencia did not decrease in the second half of the 1920s sold more than 22 million times. Since the piano was too expensive for the impoverished bourgeoisie and even more so for employees and workers, the gramophone took its place as a universal instrument. "

↑ Valencia fever . Lecture in German with music. Paul Morgan and CKRoellinghoff. Electrola EG 289 (Matr. Bw 357-II), apply. Berlin, October 1926

↑ cf. Michael Schulte (Ed.): Everything from Karl Valentin. Piper, Munich 1978, ISBN 3-492-02346-0 , pp. 628-629.

↑ Title of the sheet music with picture by Mistinguett. at delcampe.com (retrieved 21.06.16)

↑ poster shown. at blogspot.com

↑ read at fr.lyrics

↑ Albert Willemetz and Saint-Granier wrote the French text, cf. Advertisement on ebay.ch (retrieved 8.08.16)

↑ Label Pathé 4266 (mx. 200.325) ill. at delcampe.com ( Memento of the original of August 9, 2016 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. @1@ 2
↑ cf. Sheet music title with picture by Mistinguett published by Harms Inc. 1926
↑ on the electronic labels it was announced as "Negerquartett in Engl. With piano", cf. grammophon-platten.de
^ The Revelers - Valencia on YouTube recorded June 2, 1926; the recording was also available in Germany on Electrola EG 238 (Matr. 35 653).
↑ Memories of Paris - Jack Hylton plays Jose Padilla (1929) on YouTube on Disque Gramophone K 5768 / 5-0643, recorded at Small Queen's Hall on 30/10/1929
↑ " Released December 18, 1926 ". see. Valencia (1926) in the Internet Movie Database (English) and silentera.com
^ Theodor W. Adorno : Musical writings. Volume 18: Musical Writings. Editors Rolf Tiedemann, Klaus Schultz. Suhrkamp, Frankfurt am Main 1984, ISBN 3-518-57695-X , p. 781: "Musically, Valencia becomes the gateway into the distance for the closed, impoverished, battered bourgeoisie."
↑ Bertolt Brecht : Who means whom? Or "Valencia" versus "Death and Transfiguration". In: ders .: Writings on literature and art. Volume 1, 1920-1939. Aufbau Verlag, Berlin and Weimar 1966, pp. 51–52.
↑ Thomas Phleps: The foreign as an island of the blessed in the German hit. In: Zeitschrift für Kultur Austausch , 41 (1991), no. 2, pp. 282–287 ( online ; PDF; 527 KB): “If the original French version clearly referred to the Spanish city, Beda, one of the most accomplished hit writers, did Years, from the geographical term an allegory, a 'believed city goddess' in the sense of Ernst Bloch. No real travel destination is intended here, yes, one wonders whether it's still the city or already a girl. "

↑ Knut Hartmann gives two examples with the lines "Valencia, your tits / are circumcised / by the customs / police" from the 1950s and "Valencia, my eyes, your eyes, corns, Kukirol" from his father's memory. Knut Hartmann: Machine, mill, Malesche. Rock around the clock: childhood and youth in Hamburg in the golden 50s. Hartmann, Hamburg 2002, ISBN 3-8311-4004-9 , p. 79.

↑ Peter Panther: What do people do when they are alone? October 1926. In: Kurt Tucholsky: Collected Works: 1925–1926 (= Collected Works Volume 4). Rowohlt, Reinbek 1975, pp. 513-515 ( online ).

^ Friedhelm Greis, Ian King (ed.): Tucholsky and the media. Documentation of the 2005 conference: "We live in a strange newspaper" (= series of publications by the Kurt Tucholsky Society , Volume 3). Röhrig University Press, St. Ingbert 2006, ISBN 3-86110-417-2 .

↑ Christine M. Kaiser (Ed.): Lust for Life with Kurt Tucholsky. Insel, Berlin 2012, ISBN 978-3-458-35328-7 .

↑ Trademark of the factory for foot care products founded in Magdeburg in 1919 by the pharmacist Kurt Krisp, who was also a pioneer in product advertising; his Kukirol brand had been on everyone's lips since the 1920s.

^ "Hans Lietzau's staging of the comedy A Better Lord by Walter Hasenclever in the Schloßparktheater. 'Valencia, my eyes, your eyes, corns, Kukirol ...' Loud hits from the twenties accompany this wonderful satire on modern times from 1927. ”cf. zeit.de/1957

↑ “The one officer - shoulder pieces the size of a breakfast board - sat on the sofa, a Ukrainian woman with him. The other kept the gramophone going: 'Valencia! My eyes, your eyes, corns Kukirol! ' Half-full and spilled wine glasses on the table, coffee pots, cups, bread. "

↑ workout.de : “Valencia !!! My eyes, your eyes, corns Kukirol ... "[ user XIM 08.02.2006, 16:21 'Walk' back to Zero-Gravity # 4594]

^ Hasso Grabner, Heinz Mildner: The way home. Memories from the Second World War and the anti-fascist resistance struggle. Deutscher Militärverlag, Berlin (Ost) 1963, p. 63: "Suddenly someone, stimulated by our travel destination, started the silly hit: Valencia, your eyes glow and suck ..."

↑ Heinz-Dieter Herbig: Hitler's niece. Novel. Königshausen & Neumann, Würzburg 2002, ISBN 3-8260-2358-7 , p. 125: “From the different halls the melodies of the individual orchestras enticed, cheerful, undulating and again and again: Valencia , the hit of 1930. Only a young one Lady was not in costumes. "

^ Gregor Eisenhauer: The first temptation. Narrative. Mitteldeutscher Verlag, Halle (Saale) 2009, ISBN 978-3-89812-641-0 : “'Why Valencia?' She excused it with the favorable opportunity, the man in the travel agency had recommended it to her, Spain had always been a childhood dream anyway. I suspected it was the hit 'Valencia, happy days every day ...', the sweeping song in the Ballhaus. "