DOCSLIB.ORG

UC Berkeley UC Berkeley Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UC Berkeley UC Berkeley Electronic Theses and Dissertations UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Operetta after the Habsburg Empire Permalink https://escholarship.org/uc/item/7xk5c77w Author Petersen, Ulrike Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated operetta comedian, which aimed to advertise the artistic potential of the new and controversial medium of film; Bruno Granichstaedten’s Der Orlow (1925) and Reklame! (1930), two of a series of jazz‐ inspired, American‐themed revue operettas meant to prove that—even after World War I—the genre was still relevant and Vienna remained its foremost innovator; Ralph Benatzky’s Das kleine Café (1934) and Herzen im Schnee (1937), two “intrinsically Austrian” operettas, endorsed by the Austrofascist government and tourism office to promote the geographical and cultural treasures of the “New Austria,” both at home and abroad; Rudolf Weys’s version of Franz Lehár’s Der Rastelbinder (1902/1944), one of the Third Reich’s many operetta revisions, with which the Nazis hoped to replenish Greater Germany’s repertory of “Aryan” works; Die Straussbuben (1946), Vienna’s first postwar Singspiel, a trusty Strauss pastiche that became the touchstone for a recovering Austrian national pride, and likewise proved a last— missed—chance to find operetta a new lifeline. 1 The patchwork adumbrated by these historical scraps points to a larger trend: after the fall of the Habsburg Empire, operetta was considered cultural capital for Vienna and, as such, increasingly became an object of political relevance. While this development inextricably linked operetta to the image of Vienna (and Austria), and at points helped to keep this form of musical theater alive, it was also largely responsible for operetta’s hopeless stagnation. 2 to MuVa with love and gratitude i Table of Contents Acknowledgements iii INTRODUCTION 1 PROLOGUE: THE HABSBURG EMPIRE 11 Setting the Screen CHAPTER 1: THE FIRST REPUBLIC 25 “Spiel’, My Jazzband, Spiel’!” CHAPTER 2: THE CORPORATE STATE 59 Of Mehlspeis’, Ski Holidays, and Other Austrian Delights CHAPTER 3: THE OSTMARK 91 Revising Lehár’s Rastelbinder for the Reich CHAPTER 4: THE SECOND REPUBLIC 121 “Operetta is Dead—Long Live Operetta!” EPILOGUE: ACROSS THE POND 139 The Emperor’s Old Whiskers Bibliography 144 Appendix 1: Alexander Girardi’s Roles in Der Millionenonkel (1913) 158 Appendix 2: The Operetta Commissions of the Reichsstelle für Musikbearbeitungen 159 Appendix 3: Rudolf Weys: “Der Wiener Januskopf” 161 Appendix 4: Pastiche Operettas based on Strauss Family Music 164 Appendix 5: Rudolf Weys: Straussbuben Texts (1943/1946) 166 Appendix 6: Operetta Premieres in Vienna from 1945 to 1970 170 ii Acknowledgements This project could not have been completed without the generous financial support of a Dissertation Fellowship of the Gerda Henkel Stiftung, an Ernst Mach Fellowship of the Austrian Exchange Service (ÖAD), and a UC Berkeley Graduate Fellowship. I am immensely grateful to the members of my dissertation committee: Richard Taruskin, who has provided wise counsel ever since my first semester at Berkeley, encouraged and supported this project, and never doubted my ability to finish it; Mary Ann Smart, who in turns pushed me with her perspicacious insights and offered heartening advice; and Elaine Tennant, who first proved a canny interlocutor in my qualifying exam and later acted as an enthusiastic reader. There are others who have been equally encouraging. Without the inspiration and still continuing support of my Cambridge mentors, Martin Ennis and Roger Parker, I would never have made it to Berkeley. Siegfried Mattl, always willing to share his expertise on Viennese history, was the best “local adviser” I could have wished for during my research trips to Austria. Günter Krenn answered my many film‐related questions. Marie‐Theres Arnbom and Stefan Frey advised me on operetta‐specific matters. A late‐night phone conversation with Kevin Clarke gave me fresh inspiration and ended a barren spell. Helga Benatzky and Ernst Kauffmann provided me with both materials and insider information on their respective relatives, Ralph Benatzky and Bruno Granichstaedten. Axel Sikorski enlightened me about his grandfather Hans Sikorski. Franz Fröhlich from the AKM, Boris Priebe from Felix Bloch & Erben, and Sabine Hansmann from Josef Weinberger Publishers offered information about various primary sources. The staff at the following libraries and archives made my research not only an adventure but also a pleasure: Wienbibliothek im Rathaus (especially Elisabeth Köhler and Thomas Aigner); Österreichisches Theatermuseum (especially Christiane Mühlegger and Kurt Ifkovits); Filmarchiv Austria (Thomas Ballhausen and Günter Krenn); Wiener Stadt‐ und Landesarchiv; Österreichische Nationalbibliothek; Österreichisches Staatsarchiv; Bezirksmuseum Wien Hernals; Archiv der Wiener Volksoper; Universitätsbibliothek Wien; Deutsches Bundesarchiv Berlin; Staatsbibliothek zu Berlin; Ernst Marischka Archiv, Hallein; Universitätsbibliothek Bayreuth (Georg Prechtl); Jean Gray Hargrove Music Library and Interlibrary Borrowing Services at UC Berkeley. My extended research stays in Vienna were made much more pleasant by my godmother Eva Nowotny and the Wiener Singakademie. I could share my subject‐related excitement with Viennese colleague Clara Huber during extended coffeehouse meetings and operetta‐film viewings in the charming Bellaria‐Kino. My dear friend Geelke Meier came to explore the city with me when I first arrived; she, Anna Prowse, and Jenny Clark managed to stay in touch all the way, and cheered me on from afar. At Berkeley, I was blessed with the company of many kind‐hearted and intelligent colleagues as well as incredibly supportive staff. Among my more senior siblings, Adeline Mueller, Bill Quillen, Esther Criscuola de Laix, Lisa Jakelski, Rebekah Ahrendt, and Emily iii Richmond Pollock gave especially sympathetic, levelheaded advice toward the end. Holly Replogle‐Wong, Nicholas Mathew, and James Davies kindly read and commented on early chapter drafts. Melissa Hacker, Lisa Robinson, and Jim Coates helped me jump all administrative hurdles. Jamie Apgar acted as a reliable courier of draft manuscripts. Anicia Timberlake and Nell Cloutier, as well as my Viennese friends Sarah Noemi Schulmeister and Magdalena Peyrer‐Heimstätt, looked up sources in Berlin, Paris, and Vienna when I could not do it myself. Most essential to my positive graduate‐school experience, however, were my year mates and later dissertation group, Emily Frey, Rachana Vajjhala, and Garrick Trapp who, in many friendly gatherings, offered their smart insights and emotional support as well as their precious friendship. Without them I might not have made it through. I can only hope that I have been able to give them some of what they have given me. Finally, and above all, I want to thank my parents, Elke and Erwin, who have weathered the highs and lows of my academic journey thus far with unfailing patience and good humor. Their encouragement, love, and advice kept me grounded throughout the entire process; as obliging listeners, assiduous footnote editors, and caring companions, they have been even more invaluable during these last few months. To them I dedicate this work. iv INTRODUCTION Vienna, January 2013. Arriving for my final research visit, I enter the Austrian capital through the international airport’s sparkling new terminal. As I escape the long flights of narrow corridors into the arrival hall, I am faced with a vast wall display of score excerpts from Die lustige Witwe. This operetta is Franz Lehár’s (1870–1948) most popular. Following its world premiere at the Theater an der Wien in 1905, the work quickly found a special place in music lovers’ hearts the world over, I read on the awkward English label behind an assortment of high‐tech trashcans. Directly opposite, brightly colored billboards advertise historic buildings as
Load more

Recommended publications
  • Volker Hartung • Cologne Swing • JPK 00 52 16 CAMERA
    If watching a motion picture, few of us are consciously One thing is certain: Hollywood's production would aware of the important role of the music soundtrack ac- have had a very different tone. The loss for German and companying the storyline. Austrian cinema was immense. What than happened to If the composer and the music director have done a German Film Art during the Third Reich? good job, music is blending in with the other elements There were still many good musicians left in Germany of the film. However, if the film music were missing, we after the exodus of their Jewish colleagues, who had left would notice this after a while. How many of todays film to the United States via Paris, London and Lissabon. buffs have ever heard of Bernard Herrmann or Max Stei- Few of them were actually interested in politics at all ner, or knowing something about their work? What a and they contributed some wonderful music to the Ger- poor impression would the screening of ‘Gone With the man film industry right until the end of the Second Wind’ from 1939 make without Max Steiner's wonderful World War- a fact which is neglected in Germany and music score and 'Tara's Theme'! What would 'The Stu- not very well known outside the country. Composers dent of Prague' (1925) or 'Bel Ami' (1940) have been like Franz Doelle, Friedrich Schröder, Leo Leux, Georg without the fascinating musical direction of Theo Mak- Hentschel, Peter Kreuder, and Fred Raymond were great keben? talents, well trained in German musical tradition and In recent years more attention has been paid to the education and they wrote equally great music for many great-but-little-known film music composers whose films produced in Babelsberg at the time.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Download Scans
    A,TON GIRARDI AANHETNOODLOT IS NIETTE ONTKOMEN ANTON GIRARDI AAN HET NOODLOT IS NIET TE ONTKOMEN Vertaling door 1. Tersteeg van Das Schicksal setzt den Hobe' an Anton Girardi AAN HET NOODLOT IS MET TF ONTKOMEN De Ievensroman van Alexander Girardi (cp UITGEVERIJ BOOT — 's-GRAVENHAGE Aan de nagedachtenis van mijn Vader, Alexander Girardi, gewijd, — Aan mijn vrouw, Elisabeth Charlotte Girardi Berliin, Winter 1940/41 PROLOOG. ....De mens heeft weinig van den vader, wanneer werkelcik de Hemel z0 vader is, — des te meer van zijn moeder (de Aarde). JOHANN NEPOMUK NESTROY. „Andredl... !" De voetstap van den Boer Johann Anton Girardi drukte zwaar op de planken vloer van zijn statige huis te Am- pezzo, in het land Tirol. Zij hielden stand onder zijn stap zonder te kraken, die planken, uit oude stammen van het Tiroolse bergwoud gezaagd en geschaafd, door de voorzichtige werkhand van zijn vader bewerkt en keurig precies tegen elkaar gelegd — geen tussenruimten waren er en geen kwastgaten waren er op die manier vakmanswerk was het, de arbeid van een man die huis en hof voor zijn kinderen en kindskinde- ren in orde had gehouden en daarbij tussen een zegen- spreuk en een spuw in de handen aan de toekomst gedacht. En het huis beloonde zijn moeite. Het stond, een eind van het dorp, eenzaam tussen bos en veld, trotseerde het weder en de storm, om het even of deze van de hemel omlaagzwierde of van de grenzen kwam aanblazen, zoals in die tijd, vijf jaren geleden, toen de kinderen en de grijsaards van deze bergwereld zich om de Iselvlag hadden geschaard en zich tegen een overmacht staande gehouden, voor zichzelf, voor hun nakomelingen en voor dit geheiligde, geliefde land Tirol..
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Profis Kommen Gerne Nach Wien: Tagungen Sind Millionengeschäft Mit Welchen Qualitäten Die Unternehmen Der Branche Den Höhenflug Schaffen- Seite 6
    Wiener Die Zeitung der Wirtschaftskammer Wien · 43. Jahrgang Nr. 38 · 19. 9. 2019 Profis kommen gerne nach Wien: Tagungen sind Millionengeschäft Mit welchen Qualitäten die Unternehmen der Branche den Höhenflug schaffen - Seite 6 Unternehmerin aus Leidenschaft Lehrbetrieb werden Jeder sucht Fachkräfte. Ein Weg ist, sie selbst auszubilden. Die Lehrstellenberater der WK Wien sind dabei sehr hilfreich, wie das Beispiel der Firma Cardsys zeigt. Seite 8 Digitalisierung ruft Wegen großem Bedarf verlängert: Die Di- gitalisierungsförderung KMU DIGITAL erfährt eine Neuauflage. Betriebe können Beratung und Zuschüsse für Projekte bekommen. Seite 17 Sprechende Statuen Wiener Fremden- führer erwecken Alexander Girardi & Co zum Leben. Seite 24 OG & Wehr Wehr Florian Wieser Florian Auftragslage noch gut Thomas Stangl, Innungsmeister der Bauhilfs- 83 Jahre sind kein Grund, in Pension zu gehen gewerbe erklärt, welche Themen die Branche 1962 hat Maria Witek die kleine Parfüme- Beratung zu ihr ins Geschäft. Dadurch und beschäftigen: Vom Fachkräftemangel über rie in der Innenstadt übernommen. Viele durch ihr exklusives Sortiment kann sie mit Pfusch bis zu Dokumentationspflichten. Stammkunden kommen wegen ihrer guten großen Ketten mithalten. Seite 14 Seite 25 ITP-RZ GmbH. Besser und günstiger! MEHR DRUCKLUFT Buchhaltung WENIGER ENERGIE ab € 0,81 je Beleg, ab € 12,00 je Mitarbeiter Linz - Wien - Graz - Wiesing - Weiler Lohnverrechnung Druckluft-Infoline: 0810 900 345 - [email protected] Die beste Alternative! WWW.KAESER.AT Tel.: 545 11 21/0, [email protected] Österreichische Post AG. PZ 17Z041093 P. WK Wien, Straße der Wiener Wirtschaft 1, 1020 Wien, Post-Nr. 29 | € 1,45. Nicht retournieren Wien, 1, 1020 Wirtschaft Straße der Wiener WK Wien, AG.
    [Show full text]
  • Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
    Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old.
    [Show full text]
  • Ideological Aspects of the Operations of the Municipal Theatre in Pressburg in the Late Nineteenth Century1
    The High Province on the Western Border of Hungary THE HIGH PROVINCE ON THE WESTERN BORDER OF HUNGARY: IDEOLOGICAL ASPECTS OF THE OpERATIONS OF THE MUNICIPAL THEATRE IN PRESSBURG IN THE LATE NINETEENTH CENTURY1 Jana LaslavÍkovÁ HistorickÝ Ústav sav, Bratislava Abstract. The newly built Városi Színház / Das Stadttheater (Municipal Theatre) in Pressburg, designed by the architects Ferdinand Fellner, Jr. and Hermann Helmer, was opened in the autumn of 1886. The building was a significant milestone in the theatrical history of Pressburg in several respects. It offered new technical possibilities for carrying out performances, provided a solid background for the performers, and impressed the spectators by being very comfortable. In the Hungarian government’s view, it was to become a symbol of the modernizing efforts of the town in terms of the proclaimed centralization and Magyarization of the country. It functioned in a typically provincial style of half-year theatrical seasons, divided into a German and a Hungarian part, and placed in the hands of newly arriving directors. The cultural history of this former coronation town helped in gaining subscribers because going to the theatre was part of the cultural life of the Pressburg bourgeoisie, and discussions about the theatre were at the centre of the attention of the town representatives. On the other hand, the audience demanded the standard that prevailed in the Viennese theatres, which they knew very well from their regular visits. Since the revenues came mainly from ticket sales, the directors tried to gain the favour of the regular theatre-goers. Whenever the German part of the season had a larger number of months, theatre operations were stable and achieved a high standard; but whenever the number of Hungarian performances increased, the town had to increase its subvention because attendance was consistently low.
    [Show full text]
  • ½%Y ‰Žâïý Ä *Ñ ©
    120776bk Dietrich2 9/7/04 8:08 PM Page 2 11. Ja, so bin ich 3:05 15. You Do Something to Me 2:57 (Robert Stolz–Walter Reisch) (Cole Porter) Also available from Naxos Nostalgia With Peter Kreuder conducting Wal-Berg’s With Victor Young’s Orchestra; in English Orchestra Decca 23139, mx DLA 1913-A Polydor 524182, mx 6470-1bkp Recorded 19 December 1939, Los Angeles Recorded c. July 1933, Paris 16. Falling in Love Again 2:55 12. Mein blondes Baby 3:14 (Friederich Holländer) (Peter Kreuder–Fritz Rotter) With Victor Young’s Orchestra; in English With Peter Kreuder, piano Decca 23141, mx DLA 1884-C Polydor 524181, mx 6471-4bkp Recorded 11 December 1939, Los Angeles Recorded c. July 1933, Paris 17. The Boys in the Back Room: Parody 13. Allein – in einer grossen Stadt 3:44 1:18 (Franz Wachsmann–Max Kolpe) (Friedrich Holländer–Frank Loesser) With Peter Kreuder conducting Wal-Berg’s With unknown piano; in English Orchestra Private pressing, mx VE 061492-1 8.120557* 8.120558 8.120601* Polydor 524181, mx 6476-3bkp Recorded 1941, Hollywood Recorded c. July 1933, Paris Transfers and Production: David Lennick 14. Wo ist der Mann? 3:08 (Peter Kreuder–Kurt Gerhardt) Digital Noise Reduction: Graham Newton With Peter Kreuder conducting Wal-Berg’s Original recordings from the collections of Orchestra David Lennick and Horst Weggler Polydor 524182, mx 6477 3/4bkp Original monochrome photo from Mary Evans Recorded c. July 1933, Paris Picture Library 8.120613* 8.120630* 8.120722 * Not Available in the U.S.
    [Show full text]
  • Poetik Und Dramaturgie Der Komischen Operette
    9 Romanische Literaturen und Kulturen Albert Gier ‚ Wär es auch nichts als ein Augenblick Poetik und Dramaturgie der komischen Operette ‘ 9 Romanische Literaturen und Kulturen Romanische Literaturen und Kulturen hrsg. von Dina De Rentiies, Albert Gier und Enrique Rodrigues-Moura Band 9 2014 ‚ Wär es auch nichts als ein Augenblick Poetik und Dramaturgie der komischen Operette Albert Gier 2014 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliographie; detaillierte bibliographische Informationen sind im Internet über http://dnb.ddb.de/ abrufbar. Dieses Werk ist als freie Onlineversion über den Hochschulschriften-Server (OPUS; http://www.opus-bayern.de/uni-bamberg/) der Universitätsbibliothek Bamberg erreichbar. Kopien und Ausdrucke dürfen nur zum privaten und sons- tigen eigenen Gebrauch angefertigt werden. Herstellung und Druck: Digital Print Group, Nürnberg Umschlaggestaltung: University of Bamberg Press Titelbild: Johann Strauß, Die Fledermaus, Regie Christof Loy, Bühnenbild und Kostüme Herbert Murauer, Oper Frankfurt (2011). Bild Monika Rittershaus. Abdruck mit freundlicher Genehmigung von Monika Rittershaus (Berlin). © University of Bamberg Press Bamberg 2014 http://www.uni-bamberg.de/ubp/ ISSN: 1867-5042 ISBN: 978-3-86309-258-0 (Druckausgabe) eISBN: 978-3-86309-259-7 (Online-Ausgabe) URN: urn:nbn:de:bvb:473-opus4-106760 Inhalt Einleitung 7 Kapitel I: Eine Gattung wird besichtigt 17 Eigentlichkeit 18; Uneigentliche Eigentlichkeit
    [Show full text]
  • Filmklassiker Bel Ami (1939)
    Filmklassiker Bel Ami (1939)...........................................................................................................................2 Der blaue Engel (1930)...............................................................................................................2 Ein blonder Traum (1932)...........................................................................................................3 Bomben auf Monte Carlo (1931).................................................................................................4 Die Brücke (1960) ......................................................................................................................4 Des Teufels General (1955) ........................................................................................................5 Das doppelte Lottchen (1950) .....................................................................................................6 3 Männer im Schnee (1956) ........................................................................................................6 Die Drei von der Tankstelle (1956) .............................................................................................7 Emil und die Detektive (1931) ....................................................................................................8 Die Feuerzangenbowle (1944).....................................................................................................8 Frauenarzt Dr. Prätorius (1950)...................................................................................................9
    [Show full text]
  • CD Gesamtkatalog 2002
    INHALTSVERZEICHNIS 1. Schlagerarchiv - Chansons - Originale 73415 Die schönsten Schlager aller Zeiten - 1 La bella Musica - Herr Kapellmeister bitte - Wunderbar - Jeden Abend stehe ich am Hafen u.a. 1. Schlagerarchiv - Chansons - Originale 1 - 5 Peter Alexander - Evelyn Künneke - Zarah Leander - Hildegard Knef u.a. 2. Original Schweizer Schlager 6 - 8 73416 Die schönsten Schlager aller Zeiten - 2 Der Theodor im Fussballtor - Schützenliesl - Du 3. Let's dance - Ballroom Dancing 7 - 9 bist die Rose vom Wörthersee u.a. Theo Lingen - Heinz Conrads - Maria Andergast - 4. Instrumentals 9-12 Hans Lang - Vico Torriani u.a. 73417 Die schönsten Schlager aller Zeiten - 3 5. Stimmung - Humor 12-14 Oh, Mister Swoboda - Mariandl - Santa Lucia - Virginia Blues u.a. Greta Keller - Peter Alexander - Hans Moser - Leila Negra u.a. 6. Lieder fürs Herz - Volksmusik - Natur 14-17 73418 Die schönsten Schlager aller Zeiten - 4 Sinfonie - Ja, da kann man nichts machen - Mach nicht so traurige Augen u.a. 7. Märsche - Blasmusik 17-19 Heidi Brühl - Paul Hörbiger - Liane Augustin - Peter Kreuder u.a. 73419 Die schönsten Schlager aller Zeiten - 5 8. Wiener Originale - Walzer... 19-21 Revoir Paris - Heimat, deine Sterne - La Paloma - Ich bin von Kopf bis Fuss... u.a. Josefine Baker - Fred Weyrich - Rita Gallos - Horst Winter - Hein Jansen und 9. Operetten 22-24 die Hamburger Jungs u.a. 73420 Die schönsten Schlager aller Zeiten - 6 10. Opernchöre - Arien - Classics 25-27 Ein Musikus, ein Musikus - Dreh' dich doch einmal um - Ich küsse Ihre Hand Madame u.a. 12. Weihnachten - Mariensingen 28-29 Willy Hagara - Maria von Schmedes - Johannes Heesters - Heinz Erhardt u.a.
    [Show full text]
  • STRAUSS II Jabuka (The Apple Festival)
    660216-17bk EU 19/9/07 8:22 pm Page 16 mit anrührenden Motiven aus der Introduktion zum dritten Akt und findet ihren Höhepunkt in der Übernahme des Duetts, das Anita und Vasil im zweiten Aufzug zu singen haben: „O blüh’ für mich, o sei mir gut“. Die Jabuka-Qua- drille op. 460 @ ist schließlich ein Defilee verschiedener Melodien aus den beiden ersten Akten des Bühnenstückes: Wer dieses Arrangement erstmals hört, ohne die Geschichte und die Hintergründe des „Apfelfestes“ zu kennen, käme nie auf die Idee, dass am Anfang dieser zündenden Musik eine Operette stand, die trotz einer vorteilhaften Aus- gangssituation im Theater „versagte“ – zumindest nach den Standards des Komponisten Johann Strauß, der nach einem halben Jahrhundert des öffentlichen Musizierens in aller Welt ganz andere Aufführungszahlen gewöhnt war, als ihm Johann die Apfelernte im Herbst 1894 bescherte. # Jabuka – Potpourri Nr. 1 für Klavier STRAUSS II Zwar hatte der Berichterstatter des Fremden-Blattes nach der Uraufführung der neuen Strauß-Operette von langan- haltendem Applaus, von donnernden Zugabenrufen, Blumenbuketts, Lorbeerkränzen und allgemeiner Begeisterung geschrieben, doch mit dem Jubel des Premierenabends war, so muss man noch einmal konstatieren, in den Äpfeln von Gradinaz und Raviza der Wurm. Nach dem 18. Dezember 1894 verschwand Jabuka vom Spielplan des Theaters an Jabuka der Wien und machte der neuesten Kreation von Carl Millöcker Platz, dem Probekuss. Inzwischen gab es seit zwei Monaten im Verlage von Gustav Lewy bereits mehrere Jabuka-Potpourris für zwei Kla- viere, die vermutlich (wenngleich nicht nachweislich) von Louis Roth eingerichtet wurden. Christian Pollack hat auf (The Apple Festival) der Grundlage der Operettenpartitur eine Instrumentation dieses musikalischen Querschnitts vorgenommen.
    [Show full text]