Wilm-Wilm Foxtrot

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Wilm-Wilm-Foxtrot is the name of a famous “fox dance” by the Munich composer Wilhelm Wieninger , after whose nickname Wilm-Wilm he is named. It was also known under the title "Eldorado" and was first published in 1919 by Fritz Schuberth Jr.'s music publisher in Leipzig. It was also included in the collection for hallways and salons. 26 fashion dances hosted by the Anton J. Benjamin Hamburg-Leipzig publishing house.

background

With Ernest Tompa's “Mariposa” and “Fox-Trot Mondain” and Siegwart Ehrlich's “Flannel” and “Man tanzt Foxtrott”, the “Wilm-Wilm” foxtrot is one of the earliest foxtrot compositions made in Germany.

The “Wilm-Wilm” foxtrot became famous because the composer Paul Hindemith quotes it in an unusual place in his “Chamber Music No. 1” with the “Finale: 1921”. After its premiere at the Musiktage in Donaueschingen in 1922, where the unusual combination of serious and popular music irritated the bourgeois concert audience, it became a “public shock” in the 1920s.

Wilhelm Wieninger, who was born in 1890 and held the title of professor, was friends with the graphic artist Ludwig Hohlwein and wrote dance and cabaret music, with which he achieved a certain local fame. He is said to have been the first to use the term jazz in his music. On the night of November 13-14, 1927, he shot himself in the head in Munich with suicidal intent.

Sheet music editions

  • Wilm Wilm: Foxtrot [Kl.] Lpz., F. Schuberth jr. (W1W) [approx. 1920], 4 °. - color. ill. Title sign. Seché : two dancers on pedestals.
  • For hall and salon. 26 fashion dances. 26 great successes. Edition for piano solo, piano & violin, piano, violin and cello and violin solo. Hamburg / Leipzig. Anton J. Benjamin. undated [approx. 1920], publisher no. AJB 6860. Original brochure, 4 °. 80 pages. Colored ill. Title.

Contains among others: Wilm-Wilm, Wilm-Wilm-Foxtrott / H. Labadie, Sur l`onde (ocean waves). Valse Boston / W. Kollo, Schiebermaxe. Onestep / O. Fetrás, Flottes Carré. Lancers.

Performers

The first musician to play Wilm-Wilms Foxtrot on the gramophone record at Parlophon in March 1919 was Marek Weber , who at the time was involved with his artists' band in the elegant Berlin Grand Hotel Esplanade on Potsdamer Platz. Kapellmeister J. Schura Polischuk recorded the title for Beka in the spring of 1920. The Odeon dance music played him in the “first dance orchestra line-up” ; also a dance orchestra (the label doesn't reveal more) recorded him for the gramophone . It also appeared on the market as a piano roll for mechanical musical instruments.

Audio documents

  • Series 1: Modern Dances. Foxtrot by Wilm Wieninger, played by Marek Weber with his artist house band from Hotel Esplanade Berlin. Parlophone [P. 399-II] [Matr.] 2-2434, applied. March 25, 1919
  • Eldorado. Foxtrot (Wilm-Wilm) Orchestra J. Schura Polischuk. Favorite F 228-II (mat. F-021 from Beka mat. 30 441). January 7, 1920
  • Wilm-Wilm-Foxtrot (Wilhelm Wieninger) Odeon dance music. First dance orchestra line-up. Odeon 311.325 (Matr. XBe 1977). January 1920
  • Wilm-Wilm-Foxtrot (Wilhelm Wieninger) dance orchestra. Gramophone 15 764 / 0940.791 (Matr. 1307 L), rec. 04/12/20
  • Piano rolls:
    • Welte red (T-100) No. 3385 Wilm - Wilm Foxtrot (Wilm - Wilm) sp. v. Hans Renner
    • Orchestrion roll for Triola 25 Note (mechanical zither) No. 112: Wilm-Wilm Foxtrot (Wilm-Wilm)

literature

  • Camilla Bork: Under the sign of expressionism: compositions by Paul Hindemith in the context of Frankfurt's cultural life around 1920 (= Frankfurter Studien, Schott Musikwissenschaft. Volume 11). Verlag Schott, 2006, ISBN 3-7957-0117-1 , p. 31.
  • Martin Demmler: Composers of the Twentieth Century . Verlag Philipp Reclam, 1999, ISBN 3-15-010447-5 , p. 177.
  • Hans Emons: Montage - Collage - Music (= art, music and theater studies. Volume 6). Verlag Frank & Timme, 2009, ISBN 978-3-86596-207-2 , p. 109.
  • Josef Häusler: Mirror of New Music - Donaueschingen. Verlag Bärenreiter, 1996, ISBN 3-476-01467-3 , p. 38.
  • Stephen Hinton: The idea of ​​utility music: a study of musical aesthetics in the Weimar Republic (1919-1933) with particular reference to the works of Paul Hindemith 1919-1933 (= Outstanding dissertations in music from British universities. Volume 24). Garland Pub., 1989, ISBN 0-8240-2009-X , p. 165 and 171.
  • Library of Congress, Copyright Office (Ed.): Catalog of Copyright Entries: Musical compositions. Part 3, Library of Congress, Copyright Office 1933, p. 1785 [to no. 5761, 5762]
  • Karin Ploog: When the notes learned to run ... Part 2: History and stories of popular music up to 1945, composers - librettists - lyricists. Verlag BoD - Books on Demand, 2016, ISBN 978-3-7386-7287-9 .
  • Dieter Rexroth, Cultural Office of the City of Bonn: Using Paul Hindemith as an example: Music and Art of the Twenties. Workshop series 20.-23. March 1975, Kultur Forum, Bonn Center, Stadttheater Bonn-Bad Godesberg. Culture Office of the City of Bonn, around 1975.
  • Heribert Schröder: Dance and light music in Germany 1918–1933 (= Orpheus series of publications on basic issues in music / Orpheus series on basic issues in music. Volume 58). Publishing house for systematic musicology, 1990, ISBN 3-922626-58-0 , p. 274.
  • Sabine Schutte: But I just want to sing about life--: about popular music from the end of the 19th century to the end of the Weimar Republic. Volume 1 (= History of Music in Germany. Rororo. Volume 7793). Rowohlt Verlag, 1987, ISBN 3-499-17793-5 .
  • Hyesu Shin: Kurt Weill, Berlin and the twenties: Sensuality and pleasure in music (= Berlin Music Studies. Volume 23). Studio Verlag, 2002, ISBN 3-89564-076-X , p. 55.
  • International Society for Jazz Research, University of Music and Performing Arts in Graz. Institute for Jazz Research (Ed.): Jazz research. Volume 21, Verlag Akademische Druck, 1989, p. 132.
  • Friedbert Streller: Sergej Prokofjew and his time (= great composers and their time ). Laaber-Verlag, 2003, ISBN 3-89007-554-1 , p. 36.
  • Carl Friedrich Whistling, Adolf Moritz Hofmeister (ed.): Hofmeister's handbook of music literature. Volume 18, Part 1, p. 742.

Individual evidence

  1. ↑ cf. Advertising poster Wilm Wilm, Dancing Composer , by Ludwig Hohlwein , printed by the Graphia Art Institute, Munich
  2. ↑ Eldorado was the name of a famous Berlin trendy bar in which travesty shows were shown, cf. wiki
  3. ↑ By Seché illustr. Note title shown at dreiraaben.de ( Memento from November 29, 2016 in the Internet Archive )
  4. ↑ publisher no. AJB 6860, volume title illustr. fig. at ZVAB.com (retr. 11/28/2016)
  5. ↑ Ernest Tompa was one of the numerous pseudonyms under which the composer and arranger Camillo Morena, originally Karl Elias Mieses (* 1867 - † unbek.) Worked, cf. on this Ploog, When the notes learned to run ... Part 2. p. 228; Schröder, dance and light music. P. 259; Schutte, I just want to sing about life. P. 283. His fox trot “Mariposa” (butterfly) was also recorded by Marek Weber on March 25, 1919 (on Parlophone 2-2438, to be heard on youtube.com ), the sheet music was copied. at imagesmusicales.be
  6. ↑ It doesn't have to be flannel - foxtrot. Wind band. Beka 30198, open. February 20, 1919.
  7. ↑ Jll. Title shown. at imagesmusicales.be
  8. ↑ cf. "The notorious finale: 1921 falls back on the Foxtrot (fox dance) by Wilm-Wilm and thus on that" kitsch "of the 1920s that Hindemith himself wrote when he could think of" no decent music "..." (so the Kammermusikführer.de ); "He was a cabaret composer and went by the nickname" Wilm-Wilm ". Hindemith quoted a Wilm-Wilm foxtrot in his "Chamber Music No. 1 with Finale 1921" . “(Benjamin Zimmer, Jan. 22, 2007); “Hindemith quotes a popular foxtrot by the dance music composer Wilm Wilm. The combination of serious and popular music irritated and horrified the bourgeois concert audience. ”(Mario-Felix Vogt, Scandalous Sounds of the Twenties, at folkwang-uni.de April 22, 2009). Listen to it on youtube.com
  9. ↑ VIAF ID: 74278601 (person). Permalink: http://viaf.org/viaf/74278601 DNB 103961739
  10. ↑ Ludwig Hohlwein has received an ex-libris 'Wilm Wilm' from 1919. It shows the portrait of Wilhelm Wieninger (called Wilm Wilm), dance music composer and friend of Ludwig Hohlwein: elegantly dressed, smiling to the left, a top hat in his hand; the 'Fox' sign at the bottom left, alluding to the composer. 15.5 × 10.5 cm (image); 27 × 20.5 cm (sheet size). Etching on cream-colored paper. Inscribed on the top right in the print: WILM WILM; Signed, dated and inscribed lower left in the print in capital letters: Ludwig Hohlwein 19 Munich. In: Exhibition catalog Ludwig Hohlwein, Münchner Stadtmuseum 1996, p. 236, no. 275/3, pictured at liveauctioneers.com
  11. ↑ z. B. the Fox-Trot “Paddy” (Wilm-Wilm, October 2, 1919), cf. oldposters.com , or the Boston “Libelle”, which is available in several recordings, cf. DNB , u. a. also by Marek Weber with his artists' band from the Esplanade, Parlophone P. 1062 (matrix number: 2-2565); Sheet music title m. color title ill., sign. Seché, ill. at dreiraaben.de ( Memento from November 29, 2016 in the Internet Archive )
  12. ↑ so z. B. the chanson “You little slim night companion” based on a text by Georg Queri , whose music title Ludwig Hohlwein illustrated. It was published in 1920 by Fritz Schuberth Jr. in Leipzig; fig. at imagesmusicales.be
  13. ↑ cf. fes.de : Volksstimme. Daily newspaper of the Social Democratic Party in the administrative district of Magdeburg. Volume 38, No. 268, Tuesday, November 15, 1927, p. 3: “A composer's suicide. Munich, November 14th. Last night the music professor Wilhelm Wieninger was shot in the head. Professor Wieninger is known by the composer's name “Wilm-Wilm” and the creator of numerous new fashion dances. He first used the word “jazz” in his music. "
  14. ↑ cf. Benjamin Zimmer, Jan. 22, 2007: Two Jazz Articles (1919, 1927), at linguistlist.org : November 15, 1927, “ Frederick (MD) Post, p. 1, col. 3: Creator Of "Jazz" A Suicide. Munich, Bavaria, Nov. 14. (AP.) - Prof. Wilhelm Wieninger, widely known here as a dance music composer, committed suicide today by shooting. Prof. Wieninger is credited with having been the first to use the word "jazz" in music. "---- Washington Post, Nov. 15, 1927, p. 1/1:" The suicide in Bavaria of Prof. Wieninger puts into the Hall of Fame the inventor of jazz, but it comes as something of a shock to learn that this style of music had its origin in Munich instead of Harlem. "
  15. ↑ on this cf. Article by user 'formiggini' Sa Nov 08 2014, 00:03 at grammophon-platten.de
  16. ↑ on the pre-war Parlophone label “Woman with record in front of a funnel gramophone” mat. No. Equal to order no. “2-2434”, on the post-war label “Röschen” order no. P. 399-II and mat. No. 2434; at Zwarg, PARLOPHON Matrix Numbers — 2-250 to 2-2999: German, PDF online , p. 302, the Foxtrot is called “Eldorado”.
  17. ↑ cf. List of Musikwerkstatt Monschau (March 2005)
  18. ↑ cf. Kevin McElhone's Table of triola at foxtail.com ( Memento from November 29, 2016 in the Internet Archive )