Wienerlied

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The Wienerlied is a song that comes from Vienna and has the city of Vienna as its theme or sings about something characteristic Viennese (after Harry Zohn a song “from, about and for Vienna”). Therefore the text is mostly Viennese . It spreads cosiness and humor (including black humor and ridicule), comes from the world of cabaret in the Singspielhallen and has occasionally become a folk song . Ease of life and transience ( vanitas ) are viewed melancholy, carefree or even satirical. Often in the Wienerlied the sounding song from Vienna is sung about in a self-referential way . The Viennese song, like the Berlin hit song , is a form of the so-called "popular city song ".

The most popular was the Wienerlied from the end of the 19th century to the 1930s; in the period after the Second World War again until the 1980s. With the broadcasting of Wienerlieder on ORF to a large extent , it lost its broad impact and - in its traditional form - has to be classified as almost unknown today, especially among younger media audiences.

history

Origins

The Schrammel Quartet around 1890

The expression "Wienerlied" comes from the time of the urbanization of the city of Vienna after 1850, when the folk and the original began to be missed. Its modern marketing was in contrast to the premodern content it celebrates. The first Viennese song is often “ O, you dear Augustin! " called. However, it has long been known in relevant research that the melody was widespread as a Bohemian waltz song as early as 1800. From 1799 the song was popular in Vienna and received numerous adaptations, be it for the theater or as a parody.

The Wienerlied is closely related to written records and the increasing number of printed music after 1800. Therefore the authors are mostly known. It is in the tradition of the bailiff, hurdy-gurdy and harpists, whose performances were not replaced by this, but existed side by side. The Wiener Volksliedwerk knows several sources for the Wienerlied

  • Street song
  • Theater Couplet (e.g. Johann Nestroy , Ferdinand Raimund )
  • Art song (e.g. Franz Schubert )
  • Lectures by professional "folk singers" (e.g. Johann Baptist Moser , 1799–1863, who introduced fixed admission prices instead of collecting them and raised the pedagogical claim to raise the level of the Viennese song. Piano or string music replaced the harp.)
  • Rural songs
  • Operetta, variety show, cabaret (e.g. “Outside in Sievering” by Johann Strauss (son) , “I'm a Viennese child” by Franz Lehár or “In the Prater the trees are blooming again” by Robert Stolz ).

Heyday

In 1852 the kk NÖ Lieutenancy regulated the folk singing system. To obtain a license - only one year - integrity, musical and other education were prerequisites. The minimum age for the leader of an ensemble was 30, for members 20 years. No more than four people and (officially until 1871) no women were allowed to participate. Texts and behavior were checked by the authorities.

Popular performers appeared in bars and entertainment halls, such as Johann Fürst, Edmund Guschelbauer , Carl Lorens and Josef Matras. Folk singers like the "Fiaker-Milli" Emilie Turecek-Pemer, Antonie Mannsfeld or Fanny Hornischer were extremely popular with the audience. Opera singers and actors such as Alexander Girardi and Hermann Leopoldi also devoted themselves to the Wienerlied.

Well-known authors were Wilhelm Wiesberg (“Das hat ka Göthe gschriebn”), Carl Lorens (“Die Weana Gemütlichkeit never dies out”), Oskar Hofmann (“The City of Songs”) or Gustav Pick with his Fiaker song (“I Führ zwa harbe Rappen ", 1885).

In the interwar period , especially the time of the Great Depression , the sentimental longing for the manifested itself in Wienerlied Belle Epoque before 1914 ( "Doctor, do you remember even to the twelve years?" Or Robert Katschers "The Dr. Lueger was enough my hand . "From vinegar and oil ).

After the annexation of Austria in 1938, Viennese songs by Jewish lyricists and / or composers were banned. a. the aforementioned and extremely popular Fiaker song “The trees are blooming again in the Prater” (the lyricist, Kurt Robitschek , was a Jew) or the compositions by Hermann Leopoldi .

After the Second World War, popular interpreters such as Schmid Hansl , Paul Hörbiger , Hans Moser , the duo Hilde and Richard Czapek and later also Peter Alexander made the Viennese songs well known.

There are numerous parodies and parodies of the Wienerlied. Gerhard Bronner (“The old angel maker”), Peter Wehle (“Stand up, dear Vienna”), Helmut Qualtinger , Hermann Leopoldi and Georg Kreisler (“Poison pigeons”, “Death must be a Viennese”, “How beautiful would Vienna be ohne Wiener ”) also used the Viennese song as a cabaret song .

Roland Neuwirth at the Heurigen Bamkraxler (2000)
Ernst Molden , Willi Resetarits and Walther Soyka (2009)

Updates

In the 1970s the Viennese song was revived in different directions. The lawyer and trained singer Eberhard Kummer recorded songs from the famous Kremser albums (1911) on ORF (Radio Wien, Karl Grell ) as early as 1973 . In 1978 and 1981 these were released in two parts on long-playing record, followed by a new edition on CD in 1997. As with his other productions, Kummer follows historical performance practice and accompanies himself with the hurdy-gurdy, harp or guitar. He knew these from his family tradition, while they were no longer received by the general public. Since then, the songs in these albums have been picked up by several other artists, and a complete recording was made in the late 1980s.

Artists like André Heller , Karl Hodina or Roland Neuwirth took a completely different path, mixing traditional with modern styles of music such as jazz or blues . Other well-known interpreters of new Viennese songs are the writer Ernst Molden , the button harmonica player Walther Soyka and the chamber actor Franz Wyzner .

Traditional Viennese song has disappeared completely from the broadcast offer with the changeover of the regional radio station Radio Wien to "Urban Music". Today, Radio Wien is the only one of nine ORF regional stations that does not broadcast any music from the region, although it is located in the "world capital of music". Until then (from 1946) weekly programs such as "What's new?" with Heinz Conrads for 40 years for weekly presence on the radio, later also on TV (from 1957). Even the once most popular Viennese songs are now practically unknown among the under 30-year-olds.

Since 2000, the annual festival wean hean has tried to make the Wienerlied accessible to a wider audience again. In addition, the first real: wien festival was held in 2008 , which, in addition to the Wienerlied, also features dialect literature and Viennese cuisine.

In 2015 the Austropop singer Wolfgang Ambros interpreted some of the Viennese songs that were once made famous by Hans Moser, and recorded two CD albums, which promoted the wider awareness of the Viennese song.

Andy Lee Lang, better known as an ambassador of rock'n roll, has been singing traditional Viennese songs since 2018 and has released his own CD "Weana Gaudi".

From 2019 there will be the festival of the traditional Viennese song "This is how it sounds in Vienna" in cooperation with the Wienerliedvereinen with numerous events all over Vienna.

Instrumental accompaniment

The typical instruments quoted by Eduard Kremser have their origins with the Linz violinists, who used two violins and a small bass violin ("Bassettl"). Two violinists, a harpist and a bassoonist in a quartet are drawn in the copperplate of Musicians Moving Around in Vienna by Opitz (late 18th century) .

Around 1850 the newly invented double guitar replaced the unwieldy harp, and the clarinetist Georg Dänzer in the Schrammel Quartet played the high G clarinet (the “picksweet Hölzl”) with this and the two violins from 1884 . After Dänzer's death, the (now unpopular) clarinet was exchanged for the Schrammel harmonica , which was built in 1882 and had a similar sound in high registers. From this the so-called Packl developed , a duo of double guitar and Schrammel harmonica.

Well-known composers

  • Richard Czapek ( I have a soft spot for Ober St.Veit , A klaner Beserlpark , Alt-Ottakring )
  • Josef Fiedler ( My heart, this is a picture book of old Vienna , How Bohemia was still in Austria )
  • Ludwig Gruber ( Mei Muatterl was a Weaner , It will be a wine )
  • Karl Hodina ( Lord God from Sta )
  • Hans Lang ( The old Mr. Chancellery , When I'm with my dachshund , The old sinner )
  • Hermi Lechner , H. Karner (Take a good look at your friends, I would like to grow old with you, You can rely on me,)
  • Walter Lechner (A klana Bua is playing in the sand, I have the Straussbuam, yes we are there with a bike)
  • Karl Föderl ( Phylloxera )
  • Hermann Leopoldi ( Nice is a carousel , in a small cafe in Hernals )
  • Gustav Pick ( Fiaker song )
  • Ludwig Schmidseder ( I didn't invent the beautiful girls , Franzl, I have a job for you )
  • Johann Schrammel ( 's heart from a real Weana , Was Öst'reich is' )

Well-known artists

See also

literature

expenditure

  • Marion Zib (Ed.): Viennese songs from yesterday and today. Volume 2. [Text and notes], Kral, Berndorf 2016, ISBN 978-3-99024-445-6
  • Erich Zib (Ed.): Viennese songs from yesterday and today. Volume 1. [Text and notes], Kral, Berndorf 2011, ISBN 978-3-99024-057-1
  • Jürgen Hein (Ed.): Wienerlieder. From Raimund to Georg Kreisler. [Text collection], Reclam, Stuttgart 2002, ISBN 3-15-018211-5
  • Eduard Kremser (Ed.): Viennese songs and dances , 3 vols. [Piano reductions], Gerlach & Wiedling, Vienna 1911

Secondary literature

  • Elisabeth Th. Fritz, Helmut Kretschmer (ed.): Vienna music history. Part 1: Folk music and Viennese song. Vol. 6. Lit-Verlag, Vienna 2006, ISBN 3-8258-8659-X .
  • Susanne Schedtler (ed.): Wienerlied and Weanatanz (contributions to Viennese music, vol. 1), Löcker Verlag, Vienna 2004
  • Walter Deutsch and Helga Maria Wolf: People and Melodies in Old Austria , Vienna 1998.
  • Hans Hauenstein: interpreters of the Wienerlied . Karner, Vienna 1979.
  • Hans Hauenstein : Chronicle of the Wienerlied . Jasomirgott-Verlag, Klosterneuburg 1976.
  • Rudolf Sieczyński : Viennese song, Viennese wine, Viennese language . Wiener Verlag, 1947.
  • Josef Koller: The Viennese folk singing in old and new times . Vienna 1931.

Web links

Individual evidence

  1. ↑ Alt-Wiener Volkslieder Vienna: Preiser and Cologne: EMI-Electrola ASD, 1978 (part I) and 1981 (part II) (record); New edition (CD): Vienna: Preiser and Naxos Germany, 1997
  2. ↑ Wienerliededition from the Krems albums , 1989–1996 (15 CDs), Walter Berry, Heinz Zednik (and partly Angelika Kirchschlager), ORF CD. presumably also many others, no recordings known.