Montag, 31. Oktober 2016

Paolo Conte - Same (1974)

One of the most idiosyncratic, charismatic, and internationally successful Italian singer/songwriters of the past four decades, Paolo Conte created his own unique style, combining a love for jazz and music hall together with a weary yet sympathetic and humorous understanding of human foibles. Born to a well-to-do Asti (Piedmont, Italy) family in 1937, Conte began to learn the piano at an early age, together with his younger brother Giorgio Conte -- who would also become a famous songwriter in his own right -- at the insistence of their father, a distinguished notary but also a passionate jazz amateur. Following in the family's footsteps, Conte became a lawyer and practiced the profession until well into his thirties. Contemporaneously, he played the vibraphone in several local jazz bands.                

After a decade of working as a professional songwriter for popular Italian artists such as Adriano Celentano, Patty Pravo, and Caterina Caselli, Paolo Conte released his eponymous debut album at age 37. Far from being merely an odd detail, age perfectly explains some of the best characteristics of his music, and of the persona Conte would build up throughout his discography. Indeed, part of the charm of this superb collection of songs (and of Conte's music) is the obstinate refusal to go with the times. Instead of conforming to the standard singer/songwriter mold of the 1970s, that of engaged or confessional subject matter set predominantly to acoustic guitar and string embellishments, Conte preferred the dingy ballroom entertainer persona, all tinkling piano, jazz-flavored ballads, and obsolete dance numbers. Conte presents himself as a sort of once-aspiring playboy, long fallen into hard times or obscurity, who tries to keep up the act, even if the extent of his failure is all too obvious to himself. Like Tom Waits and Serge Gainsbourg, two artists with whom Conte is often associated, his music is a portrait of decadence. Yet, unlike Waits or Gainsbourg, Conte has little interest in experimentation or provocation. Most importantly, his singular brand of misanthropy is humorous and gentle, melancholic rather than mean. Conte's main topic is the dullness and pettiness of bourgeois life and the associated obligatory pleasures that are not really much fun: the customary summer holiday at the usual second-rate sea spots or a tourist trip to Venice just to get even with a relative who would not shut up boasting about her own trip to Rome, as well as the seemingly unavoidable infidelity, divorce, and middle-age bitterness. In this, his first album, Conte's voice is thin, craggy, and surprisingly high, very different from the dark bass tones that would become his trademark in later albums (think post-'80s Leonard Cohen). Indisputably, he was already a consummate professional songwriter with a clear vision of his own music, an amalgam of jazz, polka, foxtrot, Charleston, café concert, and music hall, as performed very late by a drunk pianist who keeps on playing to a totally uninterested barroom audience made up of old prostitutes and tired men in their fifties. To top it all, he clearly had been saving these tunes for a while, for the material is uniformly superb. From the classics "Onda Su Onda" and "Una Giornata al Mare" to the less well-known "Tua Cugina Prima," "Lo Scapolo," and "Wanda," every single one of these 11 tracks is fantastic, making Paolo Conte's debut album one of the very best he would ever make.     

Questa Sporca Vita
Sono Qui Con Te Sempre Più Solo
Sindacato Miliardari
La Fisarmonica Di Stradella
Tua Cugina Prima (Tutti A Venezia)
La Ragazza Fisarmonica
Onda Su Onda
Lo Scapolo
Una Giornata Al Mare
La Giarrettiera Rosa

Paolo Conte - Same (1974)
(320 kbps, cover art included)

Sonntag, 30. Oktober 2016

Crosby, Stills, Nash & Young - Another 4 Way Street

Recorded along the same spring-summer tour of 1970 as "Four Way Street", this two-CD bootleg fills in a few holes that were left by that set, even in its expanded CD form.

In addition to a complete version of "Suite: Judy Blue Eyes," it offers Neil Young's "Tell Me Why", Stephen Stills' "As I Come of Age," "Woodstock," and "Blackbird" (none of which appear on the "Four Way Street" CD) and "Black Queen," which wasn't on the LP version of the album.

By the same token, several numbers off of the official album, including "Chicago," "King Midas in Reverse," "Right Between the Eyes," "Cowgirl in the Sand," "Laughing," "The Lee Shore," and "Don't Let It Bring You Down," are not on this bootleg.

The audio quality is excellent, soundboard quality in stereo, overall a match for the official release in more ways than one - "Four Way Street" itself was one of the last major live albums to go out without any "sweetening" of the vocals, and "Another Four Way Street", as a bootleg, is naturally similar in this detail. The vocals are rough, to be sure, and the sound is raw, especially on the electric portion of the set which, as with the official CD, is on disc two. The singing ultimately suffers under the high-wattage guitars, "Woodstock" being a shadow of its official studio version, in spite of the crunchy texture and driving beat achieved here.    

These soundboard recordings are also known as "The Complete Bill Halverson Tapes" and as "Live At Lakehurst", a non-existant concert

Disc 1:
01. Suite: Judy Blue Eyes
02. On The Way Home
03. Teach Your Children
04. Tell Me Why
05. Guinnevere
06. Don't Let It Bring You Down
07. 49 Bye-Byes / America's Children
08. Love The One You're With

Disc 2:
01. Pre-Road Dawns
02. Long Time Gone
03. Helplessly Hoping
04. Southern Man
05. As I Come Of Age
06. Ohio
07. Carry On
08. Woodstock
09. Find The Cost Of Freedom

The Forum, Los Angeles, June 28, 1970 - Disc one: tracks 1-5
Fillmore East, New York, June 7, 1970 - Disc one: tracks 6-9
The Forum, Los Angeles, June 26, 1970 - Disc two: tracks 1-9

Crosby, Stills, Nash & Young - Another 4 Way Street - CD 1
Crosby, Stills, Nash & Young - Another 4 Way Street - CD 2
(192 kbps, cover art included)

Samstag, 29. Oktober 2016

Stefan Wolpe - Entartete Musik - Zeus und Elida - Schöne Geschichten - (2000)

This disc, part of Decca's Entartete Musik series of composers suppressed by the Nazis, features Stefan Wolpe's political theater works of the 1920s, enabling a more complete picture of his artistic development. Zeus und Elida is a Dada-esque work that Wolpe accurately labeled a "musical grotesque." The story line has Zeus retiring to earth and obsessing over Elida, a whore. Things go frantically downhill from there, to music derived from dances ranging from the Charleston and tango to csárdás. Schoene Geschichten is a surrealistic chamber opera of seven brief vignettes, the text of some reading like Abbott and Costello routines. The disc's last work includes a ghostly choral chant, Stimmen aus dem Massengrab ("Voices from the Mass Grave"), a chilling augur of the coming horrors. --Dan Davis
Zeus Und Elida, Op.5a: Musikalische Groteske Für Solisten, Sprecher, Chor Und Orchester · Musical Grotesque For Soloists, Speaker, Chorus And Orchestra 26:42
5Rezitativ I0:15
7Foxtrott (Jazz-Duett)2:58
8Rezitativ II2:01
10Konzert Mit Variationen3:08
12Blues (Solo Und Duett Mit Chor)4:22
13Fortsetzung Des Konzertes1:01
14Rezitativ III0:33
17Coda (Potpourri)0:25
Schöne Geschichten, Op.5b: Kammeroper · Chamber Opera 23:56
19Religion Oder Die Geschichte Von Der Begegnung Mit Dem Lieben Gott1:33
20Recht Oder Die Geschichte Vom Herrn Tannenbaum5:23
21Bildung Oder Die Geschichte Von Der Balzac-Ausgabe2:03
22Liebe Oder Die Geschichte Vom Papier13:25
23Philosophie (Gleichnis Vom Leben)0:36
Blues – Stimmen Aus Den Massengrab – Marsch 7:05
26Stimmen Aus Dem Massengrab3:03

 For listeners who can't imagine a halfway point between Schoenberg and Satie-or perhaps a tenfold multiplication of Kurt Weill's biting irony and sardonic use of jazz-these short operas by Stefan Wolpe will come as a revelation. Influenced in equal parts by socialism, serialism and Dada, Wolpe's 1928 stage works have been long forgotten, or in the case of 'Zeus und Elida,' never performed at all until 1997.

In 'Zeus,' the Greek god descends upon Berlin's bustling Potsdamer Platz-a location of modern urban life brilliantly and chaotically evoked by Wolpe. Zeus is understandably confused; after singing a Tango, he searches for his beloved Europa but finds a prostitute instead, only to wind up arrested for, among other things, impersonating a god.

'Schöne Geschichten' is even more unconventional: seven "pretty stories" (actually scathing jokes), accompanied by the highly complex and atonal music of an eight-piece jazz ensemble. Taking on science, religion, justice, culture, love, philosophy and patriotism, Wolpe dramatizes gaps in communication and points out the ways in which society fails to live up to its high ideals. The satirical diction used by the singers in this work should be apparent even to non-German speakers, and the Ebony Band brings impressive accuracy to the music, equal parts swing and sting. Once again, Decca/London's 'Entartete Musik' series has done a marvelous job recovering a slice of 20th-century musical history.

Stefan Wolpe - Entartete Musik - Zeus und Elida - Schöne Geschichten - (2000)
(256 kbps, cover art included)

Freitag, 28. Oktober 2016

VA - KZ Musik - CD 9

A critical review:

There is something undeniably compelling about the recovery of lost and forgotten music. Silenced Jewish voices, particularly from the august realm of classical music, stir our imagination as an immediate link to the aural texture of the past. And the stories of the thousands of Jewish musicians banned, exiled, and murdered by the Nazis and their collaborators share a special poignancy given the centrality of Jews to modern European musical life. Which is why, for decades, scholars and musicians have worked assiduously to recover the lives and music of the Nazi victims. Organizations such as the OREL Foundation, ORT, and the U.S. Holocaust Memorial Museum consistently deliver both music and history with equal accuracy. But these efforts now risk being overshadowed by the new age of multimedia Holocaust music experience.

In theory, the KZ-Musik project of Francesco Lotoro is a noble endeavor. A Catholic Italian who converted to Judaism in 2004, Lotoro has spent years collecting musical manuscripts and recording them. To date, 24 CDs have been issued. The works all come from composers who suffered imprisonment or worse at the hands of the Nazis. Their music was in many cases neglected or partially destroyed.

Yet Lotoro’s construction of a hierarchy of suffering—only incarcerated composers are included in the series, and only music written inside camps—falsifies the very history it purports to recover. This artificial delimitation ignores the full sweep of the Nazi campaign to make Western music judenrein. Where is Paul Ben-Haim in this story? The German Jewish composer left Munich for Tel Aviv in 1933, where he became a founding father of Israeli art music. What of Walter Braunfels? The half-Jewish German composer spent the war in internal exile in Germany and saw his music—the last great burst of German Romanticism—suppressed as “degenerate.” Where is the composer Mieczysław Weinberg? The Polish-born Jewish composer fled the Nazis twice—from independent Poland into the Soviet Byelorussia, then again into the Russian interior—and his wartime works are among the most searing contemporaneous responses to the Nazi genocide. Yet none of these composers finds a place in the Italian recording series, since they don’t fit this particular definition of what a Nazi musical victim should be.



Emile Goué (1904 – 1946) Oflag XB 1. Nuit d’exil, tenor & piano
Stanisław Masło (1912 – 197?) Dachau) 2. Ciągle widzę Cię, baritone & piano

Józef Kropiński (1913 – 1970) Buchenwald 3. Rezygnacja, baritone & piano
4. Na śniegu, baritone & piano
5. Echo Powstania, baritone & piano
6. O, wiem ja!, baritone & piano
7. Moja piosenka (W Buchenwaldzie), baritone & piano
8. Dzisiaj znowu, baritone & piano
9. Pieśń więźniów polskich, baritone & piano
10. Więc uchyl pucharu, baritone & piano
11. Źyczenie, baritone & piano
12. Polka Zygmus, string quartet
13. Mazurek Wojtus, string quartet
14. Mazurek Jurek, string quartet
15. Oberek Kazik, string quartet
16. Źal!, string quartet
17. Tesknota, string quartet
18. Marzenie!, string quartet
19. Andante, string quartet

Viktor Kohn (1901 – 1944) Terezin20. Praeludium EDElstein op.12a, string quartet

Jiří Kummermann (1927 – 1944) Terezin21. A Quartet, string quartet

Egon Ledeč (1889 – 1944) Terezin22. Gavotte, string quartet

Zikmund Schul (1916 – 1944) Terezin23. Schicksal, alto & flute & viola & cello

VA - KZ Musik - CD 9
(256 kbps, cover art included)

Donnerstag, 27. Oktober 2016

Bert Brecht & Kurt Weill - The Threepenny Opera

The artistic co-operation of Brecht and Weill began in 1926 in Berlin, at a point in time when Brecht had already achieved a certain degree of fame through his poems and expressionist play "Trommen in der Nacht". The composer Weill and the lyricist Brecht harmonized excellently together, mainly due to their personal attitudes and the perfect mix of their talents.
The "Threepenny Opera" is regarded to be the most important work by this writing team. The premiere took place on the 28th August, 1928 at the "Theater am Schiffbauerdamm" in Berlin. The enthusiastic response of the audience during this first performance gave an idea of the success to come and that the "Threepenny Opera" was to become the greatest musical success of the twenties in Germany.
This piece of musical history, which is staged in the "Milieu", was based on an opera persiflage and period satire by the Englishmen Pepusch and Gay. Brecht transported the subject matter into the 20th century and turned it into an attack by the "proletarian world" on the "corrupt middle-class".
The recording on hand is one of the most famous productions of the opera in existence. Two of the highlights of this recording are most certanly the titles sung by Brecht himself: "The Ballad Of Mack The Knife (Moritat)" and "The Ballad Of Why Human Effort Is Always Futile".

The opera "The Rise And Fll Of The City Of Mahagonny", a cross-section of which can be found on this CD, enjoyed its premiere just one year after the "Threepenny Opera" and caused a theatre scandal on the grounds of its crooks-and-whores milieu and the broadcasting of hollow phrases. The National Socialists already had so much influence that they were able to put a ban on furhter performances whithin an short space of time.

Weill and Brecht emigrated in 1933.

Bert Brecht & Kurt Weill - The Threepenny Opera
(256 kbps, cover art included)

Mittwoch, 26. Oktober 2016

VA - KZ Musik - Encyclopedia Of Music Composed In Concentration Camps (1933 - 1945) - CD 3

It goes almost without saying that any musical composition worthy of the name must be judged on its intrinsic worth irrespective of the circumstances attending its genesis. This can be an almost impossible exercise when considering, say, Gideon Klein’s Sonata for piano. It was written in Theresienstadt concentration camp. Born in Czechoslovakia in 1919, Klein was only 25 years old when, as slave labourer in a coalmine, he died in January 1945.

Francesco Lotoro gives a magnificently authoritative account of Klein’s Sonata. There is a defiant assertiveness in the outer movements – and Lotoro does wonders in evoking this powerful mood in a performance that seizes the attention in a vice-like grip.
Murdered in his prime, Klein’s tragically early death calls that of Schubert to mind. Certainly, the epitaph on Schubert’s tombstone could apply to Klein: “The art of music here entombed a rich possession but far fairer hopes”.
Lotoro  is no less impressive in three sonatas by Viktor Ullmann. Sonata No 5,  intended as a draft for his Symphony No 1, makes for absorbing listening. Lotoro does wonders with the first movement, seeming to positively relish coming to grips with  its trills and strong rhythmic underpinning. The brief Toccatina with its spiky, staccato theme is no less impressively essayed, the finale calling to mind some of Prokofiev’s more engaging essays in pianistic grotesquerie.
Lotoro is wondrously persuasive in the Sonata No 7 with insistent repeated notes in the opening Allegro and a second movement that calls Mussorgsky to mind.
Cadenzas that Ullmann wrote for Beethoven’s 1st and 3rd piano concertos are fascinating inclusions. They are strikingly original, powerfully dense- textured utterances that Lotoro  plays as if to the manner born.
Ullmann and his wife died in an Auschwitz gas chamber a day after being deported in October 1944.
The visionary intensity that Lotoro brings to his work cannot be too highly prasied. Certainly, the care lavished on the minutiae of performance is on a par with Lotoro’s ability to convey the grand sweep of whatever work he happens to be playing.
This is a recording that ought to be heard by as many people as possible, not least to marvel at how the creative impulse flourished even in an environment of appallingly murderous cruelty. - Neville Cohn

VA - KZ Musik CD 3
(256 kbps, cover art included)


GIDEON KLEIN (1919-1945):

SONATA (piano)

1. Allegro con fuoco 4:46
2. Adagio 2:32
3. Allegro vivace 2:58

VIKTOR ULLMANN (1898-1944):

SONATA N. 5 OP. 45 (piano)
4. Allegro con brio - Meno mosso 4:48
5. Andante 4:20
6. Toccatina. Vivace 0:48
7. Serenade. Comodo - Meno mosso 2:27
8. Finale fugato. Allegro molto 3:19

SONATA N. 6 OP. 49 (piano)
9. Allegro molto - Andante poco adagio 4:00
10. Allegretto grazioso 2:26
11. Presto ma non troppo - Tempo primo 5:27

SONATA N. 7 (piano)
12. Allegro. Gemächliches Halb 3:43
13. Alla marcia, ben misurato 2:19
14. Adagio, ma con moto 4:27
15. Scherzo. Allegretto grazioso - Trio - Scherzo 3:48
16. Variationen und Fuge über ein hebräisches Volkslied 6:45
(Allegro giocoso energico, martellato sempre)

17. Cadenza to Piano Concerto n. 1 op. 15 3:03
18. Cadenza to Piano Concerto n. 3 op. 37 3:48
ZIKMUND SCHUL (1916-1944):
19. A Fugue (piano) 3:11

Dienstag, 25. Oktober 2016

Thomas Hampson/Wolfram Rieger - Verboten und verbannt (Mendelssohn, Meyerbeer, Zemlinsky, Zeisl, Schönberg, Berg, Mahler)

"Verboten und verbannt" - "forbidden and banned" - a phrase used with Jewish composers whose music was proscribed by the Nazis brings to mind more than musical censorship, but also the atrocities that culminated in the Holocaust.
While some of the composers represented by this phrase died before the Third Reich, others lived through it, and like the works of their predecessors preserved on this recording, they endured the horrors of this dark period of the twentieth century. This recital is an attempt to use music of composers so wrongly branded and proscribed to reverse the situation and make the label “Verboten und verbrannt” into an emblem of their merit. The best explanation of the purpose of this recital from the 2005 Salzburg Festival is included in the liner notes by Gottfried Kraus:
"As in previous years, the programme extended over two evenings, the first of which featured Hampson alone, whereas for the second he was joined by femail colleagues who shared his commitment to the subject. In both he confronted his festival audience with the works of composers whom the National Socialists had banned, outlawed, driven into exile and in some cases even murdered. Both programmes were titled "Verboten und verbannt" ("Forbidden and Banned"). Hampson’s aim was not so much to engage on a political level with one of the darkest chapters in human history. Instead, he wanted to show that art is ultimately more powerful than evil and brute force. Many of the songs and composers’ names, especially in the second programme, may well have been unfamiliar to his Mozarteum audience, while even familiar works such as Mendelssohn’s "Auf Flügeln des Gesanges," which opened both programmes, functioning as a kind of motto, and Mahler’s Rückert-Lieder, which brought the first evening to a close, appeared in a new and different light when heard in their present context.The result was certainly not a lieder recital in the customary sense of the term, but a festival concert as it ought to be be, a distinction that it owed not only to the choice of programme and its intelligent structure but also to the way in which the audience was prepared. . . ."

This recording preserves the recital from 18 August 2005 and provides an excellent overview of the Lieder by a body of proscribed composers. With Mendelssohn’s "Auf Flügeln des Gesanges" (“On the wings of song”) opening the program, the connotes a conventional Lieder recital through the use of this familiar song that has been part of many such performances since its composition. Just the same Mendelssohn’s "Altdeutsches Frühlingslied" is another song that transcends the artificial boundaries connected to nationality and politics, but rather communicates the poet - and the composer’s - experience of rebirth. These and other selections of Mendelssohn’s songs evoke the nineteenth century, a time when Mendelssohn would have been known and admired, but hardly forbidden and banned. These songs anchor the recital in the tradition of the German Lied, an element that is wholly part of the culture in which the other composers worked. It was not an idiom for social, religious, or political activity, but rather an artistic milieu that crossed any of those artificial boundaries. This hardly means that prejudice or labeling were unknown. While it may have been less so for Mendelssohn, Mahler faced the anti-Semitic press, and the bias against his Jewish nationality certainly influenced the reception of his music in lifetime and afterward.
With Meyerbeer, the songs represent an unfamiliar side of the composer, who is known best for grand opera. The three selections chosen for this recital show Meyerbeer’s facility with the Lied in two settings of Heine and one of Michael Beer. The first two are somewhat conventional Lieder, but the third, "Menschenfeindlich" shows a more dramatic and, to a degree ironic, side of Meyerbeer. This song calls for a tight ensemble between the singer and the pianist, and the applause included in the recording demonstrates the audience’s appreciate for this bravura piece. Wit the songs of Zemlinsky that follow, the harmonic idiom is more complicated. Mit "Trommeln und Pfeifen", for example, Zemlinsky is a wonderfully colorful setting of Liliencron’s Wundhorn-like text, with modal inflections in the vocal line that underscore the sung text. Of Schoenberg’s Lieder, the setting of Viktor Klemperer’s verse in "Der verlorene Haufen" is highly evocative, and its proximity to Pierrot lunaire emerges in the passages of Sprechstimme and the pointillistic writing in the piano that underscores the vocal line in other places. Schoenberg’s proximity to Mahler and, by extension, the nineteenth-century Lied tradition may be found in his more conventional setting "Wie Georg von Frundsberg von sich selber sang" (“Mein Fleiß und Müh ich nie hab’ gespart”), with its text from "Des Knaben Wunderhorn".

The modernism that Schoenberg expressed in his songs is part of the idiom that Alban Berg adopted for his own style, and in so doing both created music that eventually became associated with artistic decadence. It is possible to hear Berg’s challenges to convention in even the early songs included in this recital, with a piece like "Schlummerlose Nächte" poised keenly between traditional structure and turn-of-the-century innovation. Other Lieder are, perhaps, less experimental, with the fine examples from the young composer Erich Zeisl being a bit anachronistic. Mahler has the final word with this set of five Rückert-Lieder found at the close. Four of the songs were on the program, with the last, "Liebst du um Schönheit" offered an encore.

This recording preserves essentially all of Hampson’s performances of this important part of the 2005 Salzburg Festival. It is no surprise to find Hampson balancing the attention to the lines of text with the execution of the musical line and never at the expense of one over the other. His phrasing of Mahler’s Rückert-Lieder is exemplary, with the comfortable ensemble with Rieger apparent on those pieces and throughout the recording. It is a fine contrbituion on various counts, with the sometimes infrequently performed literature here executed masterfully. The focus of the recital itself merits attention for its supra-musical motivation whcih, in this live recording were hardly lost on the audience. The overall quality of the reproduction is fine, and while some of the audience and stage sounds sometimes intrude on several selections, such details contribute the sense of immediacy that the audience itself experienced. While music that was forbidden and banned by the Third Reich has been the subject of various books and articles, as well as London’s series of recordings labeled “Entartete Musik” - proscribed music - this concise exploration of the subject speaks volumes. - James Zychowicz

(192 kbps)

Montag, 24. Oktober 2016

VA - KZ Musik - Encyclopedia of Music Composed in Concentration Camps (1933 - 1945) - CD 6

"The sixth CD is a wild potpourri, demonstrating that an astounding range of music--liturgical, classical, popular; choral, vocal, instrumental--can be deeply moving. It opens with Pinkhof's Jewish liturgical songs for a cappella male choir. Two long Hebraic chants by Bischofswerder, intoned by solo male voice (Paolo Candido), are surpassingly haunting, as is Zrzavý's V'lirushalaim for baritone and string quartet. Note that both sides imprisoned foreigners during World War II: Bischofswerder, a German rabbi who moved to London in 1933, was interned as an "enemy alien" in England and later in Australia. Hilsley's Fantasia is for a plaintive oboe and string quartet, his Dance Pieces for oboe and viola. Kropiński's instrumental music is somber; Bez Titulu a slow, sad tango. The remaining tracks are sentimental, often bittersweet ballads. (...)

Volume 6 (68 minutes) is an assemblage of vocal works along with a few short instrumental items. There are short, solemn liturgical texts set for a cappella male choir and solo male voice by Josef Pinkhof (1906-45) and Boaz Bischofswerder (d 1956); more characteristic songs and short piano solos and pianoand- violin duos by composers already represented in earlier volumes (Ullmann, Kropinski, Peskarova); and a conventionally tonal and bizarrely sweet 7-minute setting--presumably sardonic?--of a brutal text, warbled out by a childlike female voice with four-square piano accompaniment and given the cruel title Auschwitz Lied. This is credited to one Camilla Mohaupt, though the name is uncertain and there are no birth or death dates. The Kropinski numbers (my favorite things on this volume) exhibit that composer's pleasing way with traditionally harmonized, Slavic-inflected melodies such as his `Bez Titulu'. The universal appeal of this idiom is underscored by the popularity of George Gershwin's "blue" music--more Eastern European than African- American in origin--as well as such popular songs as the catchy, at once cynical and nostalgic `Those Were the Days', made worldfamous in a 1968 English language adaptation released on the Beatles' label, but actually written by a Russian song-writer, Boris Fomin, in the early 1900s. Indeed, `Bez Titulu' and `Those Were the Days' bear a strong enough resemblance to suggest Kropinski was familiar with the earlier song; at any rate he certainly knew the style. In sharp contrast are two pieces by William Hilsley (1911-2003), an English composer who had emigrated to the Netherlands before he was apprehended by the Third Reich and held in an internment camp for British citizens. His Fantasia on a Provencal Christmas Carol for oboe and string quartet and Three Dances for oboe and viola are fresh, sprightly, modal, pastoral, and pensive, very much in a Vaughan Williams vein and seemingly out of place among the darkened weltschmerz of so many downtrodden Eastern European Jews and fiery Communist martyrs. How innocent and undamaged Hilsley's music seems by comparison." -- American Record Guide, Mark L Lehman, November-December 2009

"In 1982, Dr. Francesco Lotoro visited Auschwitz and was amazed to find in its archives, a treasure trove of music written by prisoners. Ever since, Professor Lotoro has dedicated his life and career to finding, authenticating, transcribing, and cataloguing this precious legacy.
Traveling all over the world in search of this lost music, Professor Lotoro has found over 4,000 pieces of music — from astonishingly beautiful chamber music to avant-garde jazz to bawdy vaudevillian songs—and he estimates that 1,500 pieces are still waiting to be discovered.
These pieces were scribbled in notebooks, diaries, and even on toilet paper. Many of the finds originated in Terezin in the Czech Republic. Terezin was a concentration camp used by the Third Reich as propaganda to hide their plans for extermination., where music was allowed. Orchestras and bands were created and allowed to perform.
Thus far, Lotoro’s discoveries have resulted in a collection of over 4,000 manuscripts, around 13,000 microfiches, as well as numerous letters, drawings, and photographs. Professor Lotoro converted to Judaism and believes it is his Mitzvah to preserve this cultural heritage. He knows that he must move quickly or the music of that generation will be lost.
As a concert pianist, Professor Lotoro studied at The Franz Liszt Academy of Music in Budapest, Hungary. Subsequently, he studied with Tamas Vasary and Aldo Ciccolini. In 1995, Lotoro founded the Orchestra Musica Judaica. His discography includes over 40 CDs, including 24 of Concentrationary music with KZ Musik.
In 2007 Dahlan and Honora Foah met Francesco Lotoro and inspired by his work, created a concert of some of the works he had discovered. The concert evolved into the Creativity in Captivity project dedicated to supporting Dr. Lotoro’s work."


Josef Pinkhof Bergen-Belsen
1. Lecho Adonoi, male choir
2. Scharchoret, male choir
3. Wajhie, male choir
4. Gadlu, male choir & male singer

Boaz Bischofswerder (? – 1956) Hay/Tatura
5. El Male Rachamim, male singer
6. Lehu Nerann’no, male singer
7. Mi Addir, baritone & piano

David Grünfeld – Zikmund Schul Terezin
8. Uv’tzeil Knofecho, baritone & piano

Viktor Ullmann (1898-1944) Terezin
2 Lieder der Tröstung
9. Tote wollen nicht verweilen, baritone & piano
10. Erwachen zu Weihnachten, baritone & piano

Vilem Zrzawy – Zikmund Schul Terezin
11. V'lirushalaim, baritone & strings quartet

William Hilsley Oflag XVIII C/Oflag VIII A
12. Fantasy on Provencal Christmas Carol, hautbois & strings quartet
13-15. 3 Dance Pieces, hautbois & viola

Hermann Gürtler Bolzano, Italy
16. Rigaudon, piano

Jozef Kropiński (1913-1970) Buchenwald
17. Bez titułu, piano
18. Poem (after Poem Z. Fibich’s 5th Symphony), piano
19. Tęsknota, piano
20. Pieśń bez słów, violin & piano
21. Dlaczego?, violin & piano

Ludmila Peškařová (1890-1987) Ravensbrück
22. Černe vlajky, female singer & piano
23. Modlitba za vlast, female singer & piano
24. Hradčany krásné, female singer & piano
25. Kdybych měla aero, female singer & piano
26. Slunce vzchází a zapadá, female singer & piano

Jadwiga Leszczynska Auschwitz
27. Frauenlager, female singer & piano

Camilla Mohaupt Bergen-Belsen
28. Auschwitz Lied, female singer & piano

VA - KZ Musik - Encyclopedia of Music Composed in Concentration Camps (1933 - 1945) - CD 6

(256 kbps, cover art included)

Jesse Fuller - San Francisco Bay Blues (1963)

"San Francisco Bay Blues", Fuller’s first album, was released by the label Good Time Jazz in 1963 and features Fuller performing mostly originals, singing and playing guitar while accompanying himself on a variety of instruments, including harmonica, kazoo, high-hat, and the fotdella, a musical instrument of Fuller’s own creation that is essentially an upright bass with six strings that are plucked by a row of foot pedals. Every track is all Fuller and completely live with no overdubs of any kind.

The record kicks off with the title track, San Francisco Bay Blues, a completely classic song in every way. One of the quirkiest blues songs ever laid to wax, this tune has a good-time jug band vibe that leaves the listener feelin’ good and waiting for more. Side 2 kicks off with Fuller showcasing his bluesy bottleneck guitar style on John Henry, his own re-telling of the classic railroad tale of man vs. machine. Stealin’ Back To My Old Time Used To Be is an upbeat rag that features Fuller accompanying himself on acoustic 12 string guitar and harmonica, channeling a country blues sound straight from the Piedmont Georgia pines and backwoods farms of his youth. Fuller wraps it all up with Brownskin Girl (I’ve Got My Eye On You), a rollicking country-blues pop tune that sounds, like much of the album, too big to have been performed by just one man.

Fuller’s debut is notable not only for the top-notch singing and songwriting, as well as Fuller’s unique one-man band approach that he had perfected to a tee, but for being such a vivid portrait of, essentially, an old time street performer. Good Time Jazz Records had the foresight to capture Fuller in his prime, playing the songs the way he had intended, instead of forcing him to record with a band backing him, as was becoming more and more common with many of the blues records of the era that were streaming out of studios like Chess in Chicago. Good Time Jazz made the equally smart decision to send Fuller to a quality recording studio, and San Francisco Bay Blues greatly benefits from a wonderful quality of sound, where every instrument can be heard with a surprising clarity– putting the album, in terms of listenability, heads and shoulders above piles of excellent but muddy sounding blues records. The Grateful Dead, Dylan, Clapton, and others have covered his songs and the influence of Fuller and his bold one-man band sound can be heard in groups like Jim Kweskin and his motley crue of jug fanatics and the legions of kazoo blowing washboard wailers that had began popping up around America in the years just before and following the release of this lp. With a sound equally rooted in the Georgia country blues of Blind Willie McTell, the ragtime rompers of Gary Davis, and the old-timey jug sound of groups like The Memphis Jug Band, Fuller’s San Francisco Bay Blues serves as a bridge between the acoustic blues of the late 20s/early 30s and the acoustic blues and jug sounds of the mid-century urban folk music revival that brought hordes of bohemian beatniks into coffee shops from coast to coast–San Francisco Bay Blues brought the blues into a new era and onto the West Coast.

Simply put, San Francisco Bay Blues serves up a heapin’ helpin’ of upbeat, feel-good blues tunes, reminding you that, dark as the days may get, as long as you’re alive you’ve got a reason to dance. Better get ready! ~Review by D.A. Glasebrook

01. San Francisco Bay Blues (3:04)
02. Jesse's New Midnight Special (2:47)
03. Morning Blues (3:50)
04. Little Black Train (2:21)
05. Midnight Cold (3:11)
06. Whoa Mule (2:22)
07. John Henry (4:51)
08. I Got A Mind To Ramble (2:44)
09. Crazy About A Woman (3:09)
10. Where Could I Go But To The Lord (1:57)
11. Stealin' Back To My Old Time Used To Be (2:46)
12. Brownskin Girl (I've Got My Eye On You) (3:36)

Fresh & working link:

Jesse Fuller - San Francisco Bay Blues (1963)
(320 kbps, cover art included)

Sonntag, 23. Oktober 2016

KZ Musik - Encyclopedia Of Music Composed In Concentration Camps (1933 - 1945) - CD 4

Since 1991 the Italian pianist Francesco Lotoro has traveled the globe to seek out and bring to light symphonies, songs, sonatas, operas, lullabies and even jazz riffs that were composed and often performed in Nazi-era concentration camps.

“This music is part of the cultural heritage of humanity,” Lotoro, 48, told JTA after a concert in Trani, a port town in southern Italy, that featured surprisingly lively cabaret songs composed in the camps at Westerbork in the Netherlands and Terezin (Theresienstadt) near Prague.

The concert formed part of Lech Lecha, a week long Jewish culture festival in early September that took place in Trani and nine other towns in the Apulia region, the heel of Italy’s boot.

“When I started seeking out this music, my interest was based on curiosity, on passion,” said Lotoro, who was the festival’s artistic director. “I felt that someone had to do it -- and that someone was myself. Today it has become a mission.”

Lotoro has collected original scores, copies and even old recordings of some 4,000 pieces of what he calls “concentrationary music” -- music written in the concentration camps, death camps, labor camps, POW camps and other internment centers set up between 1933, when Dachau was established, and the end of World War II.

In the 1990s he formed an orchestra to perform the pieces, and in 2001 began recording the compositions. A selection was released earlier this year in a 24-CD boxed set called "KZ Musik," or “The Encyclopedia of Concentrationary Music.” (KZ is the German abbreviation for concentration camp.) Some of the pieces have long been known, including music by several prominent composers who were interned in Terezin. The Nazis used Terezin, a ghetto concentration and transit camp, as a propaganda tool, allowing cultural life to develop.

Other musical pieces, however, had been long lost or totally forgotten until Lotoro deciphered, transcribed and arranged them.

Many compositions had been jotted down in notebooks or scribbled in letters or on scraps of paper. In the Pankrac prison in Prague, the Czech composer Rudolf Karel scrawled music on sheets of toilet paper.

“People continued to create despite being in those places,” Lotoro said. “These composers felt that the camp was probably the last place they would be alive, and so they made a will, a testament.

“They had nothing material to leave,” he said, “only their heart, only their mind, only the music. And so they left the music to future generations. It is a great testament of the heart.”

Jews who were killed in the Shoah wrote most of the music that Lotoro has collected. But his collection also includes pieces by Quakers, Jehovah’s Witnesses, Roma (Gypsies), political prisoners, homosexuals and others held in camps and prisons as far afield as Asia. He also has music written by German officers and troops in POW camps run by Allied powers and even American GIs held captive by the Japanese.

“Everybody made music, wrote music,” Lotoro said. “Because, you know, music is a social phenomenon. You can be a musician as an amateur, because you have a good ear, you can improvise, you can play the harmonica. Of course there are the great composers and musicians. But music is all of this, from amateur to professional.”

Lotoro, who lives in the town of Barletta, near Trani, and teaches at a music conservatory, believes he is descended from Jews who were forced to convert to Christianity centuries ago. He was drawn to Judaism as a teenager; he and his wife formally converted in 2004.

But Lotoro said this was not the reason he began his search for the lost concentration camp music.

“Of course as a Jew, I now feel that this is a mitzvah; it is something I have to do,” he said. “But I think that if I had not become Jewish I would anyway have done this.”

His first foray to seek out music came long before his conversion. It was a 1991 trip to Terezin, where imprisoned composers such as Viktor Ullmann and Gideon Klein -- both killed at Auschwitz -- had written works, such as Ullmann’s opera “The Emperor of Atlantis,” that already had become part of the international musical repertoire.

“I started there because I thought it would be easier,” Lotoro recalled. “But from Terezin I went on to research other former camps in the region, and at the end of three weeks I had to buy another suitcase to bring home all the material I found.”

Since then he has scoured antiquarian bookshops, catalogs, archives, libraries, museums, private collections and other holdings in more than a dozen countries for traces of lost music. Along the way he has amassed a trove of 13,000 items: scores, notebooks, papers, diaries, microfilms, photocopies, photographs, recordings and other material that he continues to sift through, catalog and sometimes reconstruct. He hopes to load all the pieces he has found onto a digital database for posterity.

As part of his research, Lotoro has consulted with scholars who specialize in the music of the Holocaust, and also has interviewed some of the few surviving musicians as well as relatives of those who perished. But he has carried out most of the work on his own.

“It is yet another testament to Italian creativity -- the ability to address such global issues from a relatively ‘remote’ place, and as a single-handed initiative,” Francesco Spagnolo, an Italian musicologist who is the curator at the Magnes Collection of Jewish Art and Life in Berkeley, Calif., told JTA.

Much of Lotoro’s work also has been self-financed. Although he has received some grants over the years, he told JTA that he had gone into debt and even taken out a second mortgage on his home to cover costs.

Still, Lotoro said, he must continue. “I cannot stop because if I stop, all the research stops automatically,” he said. “And how many works are still out there that I haven’t found? How many works am I missing? How many will I be able to save?”      



Hugo Löwenthal (1879 - 1943) - Terezin

1. Traditionelle Weisen für Pesach, Schwuos und Sukkot
2. Lieder für die Schawuoth Feiertage

Viktor Ullmann (1898-1944) - Terezin

 3. Seeräuber-Ballade (a fragment), violin
 4. Schnitterlied
 5. Säerspruch
 6. Die Schweizer
 7. Wanderer erwacht in der Herberge
 8. Der müde Soldat
 9. Wendla im Garten
 10. Chansons des enfants françaises

Pavel Haas (1899-1944) - Terezin
4 Chinese Songs

11. Zaslech jsem divoké husy
12. V bambusovém hàji
13. Daleko mesic je domova
14. Probdenà noc

Rudolf Karel (1880-1945) - Terezin

15. Pìsen Svobody op.41a
16. Zena-Moje Stestì op.41b
17. Pankràc March op.42a
18. Pankràc Polka op.42b
19. Pankràc Valzer op.42c

Robert Dauber (1922-1945) - Terezin
21. Serenata

VA - KZ Musik - CD 4
(256 kbps, front cover included)

Mittwoch, 19. Oktober 2016

Hai & Topsy Frankl ‎– Jiddische Lieder (1988)

The 1960s were a time of social upheaval the world over, and Germany was no exception. The children of the 1940s were now old enough to wonder what had
happened during the war, and they were not getting many answers from their parents.Though American hippies were able to turn to their own history for ideals of labour and egalitarianism, Germans had no such luxury. Much of their history was tainted by association; the Nazis had appropriated swathes of German culture for their own purposes.

German folksongs were especially suspect. In the nineteenth and early twentieth centuries the Volkslied was used to stitch together the patchwork principalities and
duchies that formed the new German nation. As with other newly-formed nations and nationalities in nineteenth-century Europe, belief in a common mythology
helped unify people. Previously disparate groups were brought together with tales
of a shared heritage. The "Landschaftliche Volkslieder", ‘‘folk songs of landscape’’, were
just one example of the integrationist project - an enormous forty-three-volume
anthology that attempted systematically to incorporate regional folk music into a
national version.

German folk song was thus inextricably bound upwith nationalism, and nationalism had a nasty aftertaste after the Second World War. ‘‘Ever since folk songs were taken over by the Nazis . . . few Germans have been able to sing them with a clean conscience,’’ musicians Hein and Oss Kröher wrote in 1969.

If the German folk song was "verboten" to the younger generation, they would need to take their cues from other traditions, and they did. Judaism was one of those traditions. The culture of the victims was not tainted by association with the Holocaust. Yiddish was somewhat understandable to the German ear. And besides, Yiddish was fun to sing.Why not embrace it?

An important member of the1960s Yiddish music scene was Hai Frankl. Frankl was a Jew who learned Yiddish later in life; he became popular in West Germany, and did much to popularise Yiddish songs on the western side of the Wall. Frankl was born in Wiesbaden in 1920 to a German-Jewish family. Just before the outbreak of war he escaped to Sweden, and, while there, he ‘‘frequently spent evenings with Eastern European Jews, and in long nights at the tavern learned Yiddish songs from them’’, according to Aaron Eckstaedt.

Hai’s father, Dr. Erich Frankl (born in Vienna on September 29, 1880) had been the manager of the porcelain factory belonging to his parents-in-law in Sophienau near Breslau. He served as an officer in the Austrian Army from 1914 to 1918. After 1939 he was a forced-laborer at the BEO Soap-Factory in Dotzheimer Straße in Wiesbaden.
On June 10, 1942, Erich Frankl and his wife Elli (née Schachtel in Charlottenbrunn /Silesia on August 12, 1896) were deported to Lublin and Majdanek – respectively to Sobibor – and murdered. Their daughter Hermine (born in Sophienau /Silesia on March 9, 1922) was able to reach Pyrford, England in a children’s transport and later moved to the USA.

Hai and his Swedish (non-Jewish) wife, Topsy, toured West Germany in the 1960s and 1970s,  singing songs from the labour movement as well as Yiddish folk songs. (They never moved to Germany permanently.)

In 1981 the Frankls released a compilation of Yiddish folk songs, somewhat like Lin Jaldati’s, which helped spark widespread German interest in actually playing Yiddish music, not just listening to it.

Like Jaldati’s collection, the Frankls’ "Jiddische Lieder" presented songs in transliteration and translation, and also included a short history of the Jews of Europe, the Yiddish language, and Hassidism. Unlike Jaldati’s, the Frankls’ collection of songs was accompanied by music including
chords. It was a practical collection intended for actual use.

 Tracklist :
1Wacht Ojf!2:05
3Majn Jingele2:36
4Saj schtolz!1:58
5Sog nit kejnmol2:38
6Schlof majn Kind2:37
7Der Becher3:09
8Ot asoj nejt a Schnajder2:23
9Jid, du Partisaner1:22
12Der Weg is schwer2:50
13Schpil-she mir a Lidele2:18
14Nigun 1 / Nigun 23:19
15Mir lebn ejbig1:37
16Doss jidische Wort3:24
17Und du akerst2:27
18In salzikn Jam3:21
19Di Schwue1:42
20Fun wos lebt a Jid2:31
22Lebn sol Kolumbuss1:29
23Majn Sawoje3:02
24In Kamf2:38
25Schmilik, Gawrilik1:46
26Wir wandern2:34
28Sol schojn kumn di Geule3:04

Hai & Topsy Frankl ‎– Jiddische Lieder (1988)
(256 kbps, cover art included)

Peter Rohland - Jiddische Lieder (1965)

75 years ago, the Nazis began deporting Jews to death camps. The infamous Track 17 at Berlin's Grunewald station was the departure point. In official Nazi documents the deportation is euphemistically referred to as a "resettlement" or "evacuation" or people being "deposited." In reality, people were taken with the German state railway to their deaths in ghettos, labor camps or concentration camps.
The first deportation left Track 17 of Berlin's Grunewald station on the 18th October 1941. 1089 children, women and men were taken by force to Lodz. By the end, some 50,000 Jews from Berlin were deported; victims of the Nazi "Reign of Terror."

Peter Rohland (* 22. February 1933, † 5. April 1966) was a German singer, singer-songwriter and a folk music researcher. Together with Hein and Oss Kröher he initiated the "Burg Waldeck Festivals".

Peter Rohland investigated, considerably affected by the work of Wolfgang Steinitz, the song property of the vagrants and the revolution of 1848, as well as jewish songs. He was the first chansonnier to sing jewish songs in West Germany after the Holocaust.

01. Un as der Rebbe Alimelech
02. Fohr ijch mir arois
03. Hot majne homntash
04. Wolt ijch sejn a rov
05. Mai komashma lon
06. Jich nehm dos peckel
07. Frateg far nacht
08. Baj dem shtetl
09. Bin ijch mir a schnajderl
10. Jomme, jomme, shpil mir a lidele
11. Un as der Rebbe singt
12. Hot der tate fun jaridl
13. Tzen Bridder
14. Amol is gewen a majsse
15. Tumbalalalaika
16. Unter a klajn bajmele
17. Du majdele, du shajns
18. Lo mir ale singen
19. Baj majn Rebben is gewen
20. Un as de jontefdige tejg
21. Shlof, majn sun
22. Unter de chirwes von Pojln
23. Shtil, die nacht ist ojsgeshternt
24. S' brent, bridderlech, s' brent

Peter Rohland - Jiddische Lieder
(192 kbps, cover art included)

VA - KZ Musik - CD 5 - Encyclopedia of Music Composed in Concentration Camps (1933 - 1945)

In light of the unspeakable atrocities that occurred in the various concentration camps, gulags, death camps, and forced labor camps during the Second World War, it is entirely remarkable that such an abundance and variety of music should emerge.

Many of these works, such as Olivier Messiaen's Quartet for the End of Time, have survived as part of the modern canon while others have all but fallen into oblivion. To prevent this, KZ Musik is releasing a spectacular series of discs featuring all of the known music composed in these camps. This disc, Volume 5, features the Eighth Symphony of Erwin Schulhoff in its original piano score version. While Schulhoff did not survive to complete the Finale, the disc also includes a version completed by Francesco Lotoro, who also performs. The piano's sound is not one of a marvelous, rich instrument, but that seems to be the point. Rather, the instrument sounds a bit distant, a bit tinny, and a bit sparse; these characteristics only enhance Schulhoff's rather bleak score and put listeners in mind of the circumstances surrounding its composition.

Lotoro continues the program with selections from Karel Berman's Terezín Suite. Although Berman was to continue working on this piece once he was liberated, this disc provides listeners with the original score composed while incarcerated. Both Berman's writing and Lotoro's playing are gripping and powerful. Combined with well-written liner notes that include a brief history of each composer's stay in the camps, this album - and indeed all of the volumes in the set - are must-haves.  

VA - KZ Musik - CD 5 - Encyclopedia of Music Composed in Concentration Camps (1933 - 1945)
(320 kbps, small front cover included)       

Peter Rohland - Der Rebbe zingt - Jiddische Volkslieder und Chansons - Peter Rohland und Ensemble (EP, Thorofon, 1963)

Jewish Music in Post-War Germany, Part 1

Jewish music once hand political meaning; the first Germans to sing Yiddish songs in the 1960s were young leftist who were disillusioned with the older generations´s silcence about the Holocaust. Anything that broached the topic of Judaism in post-war Germany then was taboo; to hear the sounds of amurdered Eastern European culture resurrected on German stages was truly a shock. "Each Yiddish song was potentially a provocation to our fathers´ generation, was a political demonstration", writes the musicolgist Wolfgang Martin Stroh, who was present at some of the early performances. And there were other political messages, too; in the 1970s, for example, East germans used the genre to blow a raspberry at their Communist government, which was anti-Zionist.

The 1960s were a time of social upheaval the world over, and Germany was no exception. The children of the 1940s were now old enough to wonder what had happened during the war, and they were not getting many answers from their parents. Though American hippies were able to turn to their own history for ideals of labour and egalitarianism, Germans had no such luxury. Much of their history was tainted by association; the Nazis had appropriated swathes of German culture for their own purposes.

German folksongs were especially suspect. In the nineteenth and early twentieth centuries the Volkslied was used to stitch together the patchwork principalities and duchies that formed the new German nation. As with other newly-formed nations and nationalities in nineteenth-centruy Europe, belief in a common mythology helped unify people. Previously disparate groups were brought together with tales of a shared heritage. German folk song was thus inextricably bound up with nationalism, and nationalism had a nasty aftertaste after the Second World War. "Ever since folk songs were taken over by the Nazis... few Germans have been able to sing them with a clean conscience", musicians Hein and Oss Kröher wrote in 1969. If the German folk song was verboten to the younger generation, they would need to take their cues form other tradtions, and they did. Judaism was one of those traditions. The culture of the victims was not tainted by association with the Nazis. Yiddish was somewaht understandable to the German ear. And besides, Yiddish was fun to sing.

One of the most important early interpreters of jewish music in Germany was Peter Rohland. Here´s his EP "Der Rebbe zingt" from 1963.

01. Un as der Rebbe zingt
02. Fahr jich mir arois
03. Bei mein Rebben iz gewesen
04. Du Maydele, du fayns
05. Shtil die Nacht iz oysgesh

Peter Rohland - Der Rebbe zingt - Jiddische Volkslieder und Chansons - Peter Rohland und Ensemble (EP, Thorofon, 1963)
(192 kbps, cover art included)

Thanks to for the original upload.

Populäre jüdische Künstler - Berlin - Hamburg - München. Musik & Entertainment 1903 - 1933

From the booklet:

"This album shows that Jewish culture is local German culture and that what is dear and familiar to us, would be unthinkable without its input. The extinction of Jewish culture is synonymous with the extinction of our culture.

The year 1945 is a total cultural breakdown, an hour 0 for everyone in Germany, Jew or non-Jew. Only if we understand that, a life in a truly multi-cultural society can be possible, today."


CD 1:
01. Max Hansen - War'n sie schon mal in mich verliebt 3:35
02. Otto Wallburg & Olly Gebauer - Lachst du mich auch aus mein Schatz 2:23
03. Curd Bois & Rosie - Reizend 2:41
04. Kurt Gerron - Großstadtinfantrie 3:09
05. Paul Graetz - Berliner Bilderbogen 5:11
06. Max Ehrlich - Lieber Leierkastenmann 3:19
07. Josef Plauth - Lippische Schützen 3:37
08. Max Hansen - Frau Abendstern 2:50
09. Curd Bois - Guck doch nicht so nach dem Tangogeiger hin 2:46
10. Paul Morgan - Das Rothschildlied 3:14
11. Richard Tauber - Das alte Lied 2:31
12. Irene Eisinger & Richard Fritz Wolff - Tic-to-tic-ta 2:45
13. Fritzi Massary - Im Liebesfalle 3:02
14. Fritzi Fruo - Was ist mit deiner Nase los, süßer Emil 2:13
15. Paul Graetz - Das ist der Herzschlag 6:01
16. Willi Prager - Wohnungsamt 2:27
17. Willi Rosen - Die sparsame Brigitte 2:51
18. Siegfrid Arno - Maddalena 2:47
19. Fritzi Massary & Max Pallenberg - Josef ach Josef 2:49
20. Otto Berco - Es sitzt ein Pinguin 2:44
21. Paul O'Montis - Ghetto 2:49
22. Blandine Ebinger & Oskar Karlweis - Auf Wiedersehn 2:58

 CD 2
01. Gitta Alpar - La bella Tangolita 2:59
02. Die Gebrüder Wolf - Twüschen Elvchaussee und Stadtparksee 3:09
03. Kurt Gerron - Macky Messer 1:58
04. Curd Bois - Ich hab, ich bin, ich wär 2:29
05. Blandine Ebinger - Wenn ich einmal tot bin 2:29
06. Trude Berliner - Ein Mädel von der Reeperbahn 2:48
07. Josef Plaut - Als die Römer frech geworden 3:59
08. Julius Thannhäuser - Das Sendlinger Thor 2:51
09. Guido Gialdini - Tamelan 1:44
10. Martin Bendix - Auf dem Berliner Bahnhof 1:46
11. Friedrich Hollaender - Marion Tango 2:51
12. Alfred Auerbach - Abgefahren 1:47
13. Robert Koppel - Ich hab ne alte Tante 2:34
14. Willi Prager - Jüdische Anekdoten 3:18
15. Richard Tauber - Manon 3:04
16. Willi Rosen - Wenn ich Richard Tauber wär 2:50
17. Willi Prager - Ich weiß das ist nicht so 3:09
18. Dolly Haas - Für'n Groschen Liebe 3:25
19. Siegfrid Arno - Was kann der Sigismund dafür dass er so schön ist 2:54
20. Willi Rosen - Das find ich reizend von Lulu 2:47
21. Margo Lion - Die Braut 1:44
22. Max Pallenberg - Scharfrichter-Couplet 2:09
23. Wilhelm Bendow & Paul Morgan - Nur nicht unterkriegen lassen (2.Teil) 3:11
24. Max Hansen - Man trägt wieder treue Augen 2:23
25. Paul O'Montis - Kaddisch 2:58

Max Ehrlich (1892-1944 KZ Auschwitz)
Fritzi Fruo (1875-1942 Exil Shanghai)
Kurt Gerron (1897-1944 KZ Auschwitz)
Guido Gialdini (1878-194? KZ?)
Paul Morgan (1886-1938 KZ Buchenwald)
Paul O'Montis (1894-1940 KZ Sachsenhausen)
Max Pallenberg (1877-1934 KZ Karlsbad)
Willi Rosen (1894-1944 KZ Auschwitz)
Otto Wallburg (1889-1944 KZ Auschwitz)
James Wolf (1870-1943 KZ Terezin)
Gitta Alpar (1903-1991)
Siegfried Arno (1895-1975)
Alfred Auerbach (1875-1954)
Trude Berliner (1904-1977)
Curd Bois (1901-1991)
Blandine Ebinger (1900-1993)
Paul Graetz (1890-1937)
Dolly Haas (1910-1994)
Max Hansen (1897-1961)
Friedrich Hollaender (1896-1976)
Oskar Karlweis (1899-1956)
Robert Koppel (1874-1966)
Margo Lion (1899 - 1989)
Fritzi Massary (1882-1969)
Josef Plaut (1879-1966)
Willi Prager (1877-1956)
Richard Tauber (1892-1948)
Ludwig Wolf (1867-1955)

Populäre jüdische Künstler - Berlin - Hamburg - München, pt 1
Populäre jüdische Künstler - Berlin - Hamburg - München, pt 2
(320 kbps, booklet included)

Dienstag, 18. Oktober 2016

Os Mutantes - Mutantes (1969)

Here´s another fine album by Os Mutantes, the Brazilian rockers who blended pop packaging, avant-garde experimentation, and an irreverent attitude during the late-'60s tropicalia movement

One album into their career in 1969, "Mutantes" showed few signs of musical burnout after turning in one of the oddest LPs released in the '60s. Similar to its predecessor, "Mutantes" relies on an atmosphere of experimentation and continual musical collisions, walking a fine line between innovation and pointless genre exercises. The lead track ("Dom Quixote") has the same focus on stylistic cut-and-paste as their debut LP's first track ("Panis et Circenses"). Among the band's musical contemporaries, "Mutantes" sounds similar only to songs like the Who's miniature suite "A Quick One While He's Away" -- though done in three minutes instead of nine, and much more confusing given the language barrier.
The album highlights ("Nao Va Se Perder por Ai") and ("Dois Mil e Um") come with what sounds like a typically twisted take on roots music (both Brazilian and American), complete with banjo, accordion, and twangy vocals. Though there are several other enjoyable tracks, including "Magica" and a slap-happy stomp called "Rita Lee," there's a palpable sense that the experimentation here isn't serving much more than its own ends.       

A1 Dom Quixote 3:53
A2 Não Vá Se Perder Por Aí 3:15
A3 Dia 36 4:00
A4 2.001 3:56
A5 Algo Mais 2:39
A6 Fuga N° II Dos Mutantes 3:44
B1 Banho De Lua 3:40
B2 Rita Lee 3:09
B3 Mágica 4:43
B4 Qualquer Bobagem 4:47
B5 Caminhante Noturno 5:09

Os Mutantes - Mutantes (1969)
(320 kbps, cover art included)