Wienerlied

The Viennese song is a song that comes from Vienna and the city of Vienna as its theme or something characteristic Viennese sings (after Harry Zohn a song " from, about and for Vienna "). Therefore, the text is mostly Viennese. It oozes cosiness and humor (even black humor and ridicule ), comes from the world of cabaret in the music halls and occasionally folksongs. Levity and evanescence (Vanitas ) are considered melancholic, carefree or satirical. Often the sounding song from Vienna is self-referential sung in Wienerlied.

Most Popular Viennese song was from the late 19th century to the 1930s.

• 3.1 expenditure
• 3.2 secondary literature

History

Origins

The term " Viennese songs " dates only from the time of the urbanization of the city of Vienna after 1850, when it began to miss the Folk and Primitive. Its modern marketing was in contrast to the pre-modern content that it sings. First Wienerlied often " O, du lieber Augustin " is called. However, in the relevant research has long been known that the melody was widespread before 1800 as Bohemian waltz song. From 1799 the song was popular in Vienna and has undergone numerous treatments, whether for the theater or a parody.

The Viennese song is closely related to written tradition and with the increasing music prints after 1800. Therefore, the authors are mostly known. It is in the tradition of the ballad singer, lyre men and harpist performers whose performances are characterized but not detached, but existed alongside each other. The Vienna Volksliedwerk knows several sources for the Wienerlied

• Street song
• Theatercouplet (eg Johann Nestroy, Ferdinand Raimund )
• Art song (eg Franz Schubert)
• Lectures professional " folk singer " (eg Moser Johann Baptist, 1799-1863, who introduced instead of the Absammelns fixed fees, and the educational claim arose, to raise the level of the Viennese song. Piano or string music replaced the harp. )
• Country songs
• Operetta, vaudeville, cabaret (eg " Outside in Sievering " by Johann Strauss ( son ), "I am a child of Vienna " by Franz Lehár or "Im Prater bloom again the Trees" by Robert Stolz ).

Heyday

1852 regulated the k.u.k. Northeast Lieutenancy the folk singer beings. To obtain a - just one year - Stock blamelessness, musical and other education were required. The minimum age for the head of an ensemble was 30, for members 20 years. There were not more than four persons, and ( officially 1871 ) involved no women. Texts and behavior were checked by the authorities.

Popular performers appeared in clubs and music halls, such as Johann Prince, Edmund Guschelbauer Carl Lorens or Josef Matras. Folk singers such as the " cab - Milli" Emilie Turecek - Pemer, Antonie Mannsfeld or Fanny Hornischer were extremely popular with the public. Also, opera singer and actor Alexander Girardi or Hermann Leopoldi devoted to the Viennese song.

Well-known authors were William Wiesberg ( "This has ka Goethe gschriebn " ) or Carl Lorens ( " The Weana coziness never dies off"), Gustav pick with his Fiakerlied ("I led zwa Harbe centimes ", 1885).

In the interwar period, especially at the time of world economic crisis manifested itself in the Viennese song the sentimental nostalgia for the Belle Epoque before 1914 ( "Doctor, do you remember ans Twelve years? ", Or Robert Katschers: " The Dr. Lueger has my hand enough. " of vinegar and oil).

After Austria in 1938 connecting Viennese songs were forbidden by Jewish lyricists and / or composers, as, inter alia, the above-mentioned and extremely popular Fiakerlied, "Im Prater bloom again the Trees" ( the librettist, Kurt Robitschek, was a Jew ) or the compositions of Hermann Leopoldi.

From Vienna's song parodies and pastiches, there are numerous. Gerhard Bronner ( " The old abortionist " ), Peter Wehle ( " Stand up, dear Vienna " ), Helmut Qualtinger, Hermann Leopoldi and Georg Kreisler ( " poison pigeons ", "Death must be a Wiener be," " How nice it would Wien used without Wiener " ) form the style of the Viennese song as a cabaret song.

Updates

In the 1970s, the revival of the Viennese song in different directions was performed. The lawyer and trained singers Eberhard Kummer took in 1973 at the ORF (Radio Vienna, Karl Grell ) songs from the famous Kremser Albums ( 1911) to 1975 these were issued on an LP, 1978 and 1981 was followed by CDs. As with his other productions follows agony of historical performance practice and accompanied with hurdy-gurdy, harp or guitar. He knew this from his family tradition, while they were no longer rezipiert by the general public. Since then, the songs were taken up in these albums of several other artists and the late 1980s, there was a complete recording.

A completely different approach was pursued by an artist such as André Heller, Karl Hodina or Roland Neuwirth, the Traditional mixed with modern music styles such as jazz or blues. Other well-known performers of new Viennese songs are the writer Ernst Molden, the button accordion player Walther Soyka or the Kammerschauspieler Franz Wyzner.

Since 2000, the annual festival wean hean tried to make the Viennese song to a wider audience. In addition, in 2008 the festival was first genuine: vienna organized, which has next to Wienerlied also dialect literature and Viennese cuisine in the program.

Instrumental accompaniment

The typical instruments quoted in Eduard Kremser have used their origin at the Linz violinists, two violins and a small bass violin ( " Bassettl "). In the engraving around withdrawing musicians in Vienna by Opitz ( late 18th century), two violinists, a harpist and a bassoonist are drawn in the quartet.

In 1850 replaced the newly invented Kontragitarre the unwieldy harp, and the clarinetist Georg Dänzer in traditional Viennese quartet played from 1884 to the high G- Clarinet ( the "pick sweet Hölzl " ) to this and the two violins. After Dänzers death they changed the (now infamous ) Clarinet against the built from 1882 Schrammelmusik harmonica, which had a similar sound at high altitudes. This results in the so-called Packl, a duo from contra-guitar and harmonica Schrammelmusik developed.