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Intermezzo [ sung text checked 1 time ] Language: Submitted by Emily Ezust [ Administrator ] 3. Romanzen [ author's text checked 1 time ] See other settings of this text. Du bist die Hexe Lorelei. Die Stille [ sung text checked 1 time ] Language: View original text without footnotes 1 Schumann: Mondnacht [ sung text checked 1 time ] Language: Geistliche Gedichte [ author's text checked 1 time ] See other settings of this text. View original text without footnotes 1 Brahms, Schumann: Wanderlieder [ author's text not yet checked against a primary source ] See other settings of this text. Submitted by Emily Ezust [ Administrator ] 7.
I hate these guys. This is the first of two compilations of German hits covering the era from the rise of Nazism to its demise. The first compilation leads us through the latter years of the Weimar Republic to , just before war became an inevitable prospect.
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The careers of some of the artists featured in the first mix ended with the advent of Nazism. While Dietrich agitated against the Nazis from the safety of Hollywood, her sister ran a cinema near the Bergen-Belsen concentration camp, frequented mainly by SS guards. Marlene renounced her sister as a result, yet after the war helped her financially.
In post-war West Germany, Dietrich was long regarded by many as a traitor on account of her support for the Allies in WW2.
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Half of the group comprised Jewish members, and the group struggled soon after the Nazis took power. In the group was prohibited from performing in Germany; after a year of foreign tours it split in The three Jewish members emigrated, and formed a band which toured under the original name; the three Aryans formed a new group called the Meistersextett. Instead, Richard joined the stage, appearing in operas and operettas.
Already a big star in Germany, Tauber was badly beaten up by Nazi thugs, presumably because of his Jewish ancestry, and left Germany for Austria. He fled his homeland after its annexation. He subsequently became a British citizen, and died in London at the age of Then there was the tragic Joseph Schmidt , a Jewish tenor who was among the first artists to be banned from German radio by the Nazis. While interned he fell ill and was treated in a hospital for an inflammation of the throat. The doctors refused to follow up his complaint about chest pains, and Schmidt was returned to Girenbad.
Two days later, on November 16, he died of a heart attack. The following day, his approved residence permit arrived. She refused to do so, and also resisted pressure to split from her Jewish lover. Her sudden death at 31 in was attributed to epilepsy, but in reality she died after falling from a window. It might have been suicide, but Gestapo officers were seen entering the building shortly before. She might have jumped in a panic at the approach of the feared secret police, or she might have been pushed the agents. She acted in a few Goebbels-commissioned films, then fled Germany in as rumours of her part-Jewish ancestry appeared.
Other rumours concerned an alleged affair with Hitler, who counted the Negri movie Mazurka among his favourites. Negri won a libel suit against a French magazine that had made the claim. Like the unfortunate Joseph Schmidt, many artists left Germany as the horror of life under the Nazis began to reveal itself. The movie folks and writers among them, Jewish and gentile, tended to move to the US.
But the USA had no great demand for singers. So many of them continued their careers in Germany. Some of them surely had Nazi sympathies, or at least exhibited exceedingly high levels of pragmatism and wilful ignorance. But it would be an error to believe that all artists were supportive of the Nazis. Hans Albers , one of the biggest stars in Nazi Germany, despised the Nazis. The regime forced him to officially split from his half-Jewish girlfriend, Hansi Burg, but he continued to live with her.
In , he arranged for her escape to Switzerland. When she returned to post-war Germany, Albers dropped his girlfriend at the time to reunite with Burg, with whom he lived until his death in It was nothing of the sort, at least not in intent. Released the year before the Nazis took power, Albers sung it in the sci-fi film F. Arrested by the Nazis in , he was sentenced to death for treason, with the BBC even reporting his death. With some fellow actors of much courage he helped hide Jews on the run from the Nazis.
Liederkreis von Joseph Freiherr von Eichendorff
He went on to have a long, fruitful career in Germany, where there was much affection for him. Lilian Harvey was born in London to English and German parents. During WW1, her father worked in Magdeburg, preventing the family from returning to England. Lilian might have become a big British star; instead her career hit the big time in Germany. Based in France after war, she resumed her career in West Germany.
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Willi Forst , an Austrian actor, director and singer, was highly regarded by the Nazis, and made movies commissioned by them including that Hitler favourite starring Pola Negri. Their lyric is different from the more comedic version of Die Goldene Sieben more about whom in part 2 , who draw some verses from the movie version of the song, including the notion that Mickey Mouse lives in a mousehole. In the hit version Fritsch is more interested in being a chicken so that he need not have to go to the office.
And it is that everyday-man persona with which he cemented his acting career. Like Heesters and Fritsch, her post-war career was not inhibited by the taint of Nazi associations. Another performer with a dodgy Third Reich record could never be taken to task: Comedian Harmonists — Gitarren spielt auf Hilde Hildebrandt — Liebe ist ein Geheimnis Erwin Hartung — Kannst du pfeifen, Johanna Hans Albers — Auf der Reeperbahn nachts um halb eins Die Metropol Vokalisten — Buh-Buh Willy Forst — Kapriolen What an absolutely beautiful woman she was, as even Any Minor Dude now 17 agrees. Obviously a superstar in France, she had some hits in Germany as well, with covers of French hits as well as German originals with material that took a bit from chanson, a bit from what was called Beat music.
A cute song, it has cute lyrics. Er war wie Du was the b-side, a lilting song very much of its time. Barry Ryan — Zeit macht nur vor dem Teufel halt In he had a top 10 in West Germany hit with the catchy Zeit macht nur vor dem Teufel halt Time stops only before the devil. The latter wrote the lyrics for other songs Ryan recorded in German, to less commercial attention, and also the English lyrics for his minor hit Sanctus Sanctus Hallelujah. Barry Ryan even appeared on the German-language only music show ZDF Hitparade with Zeit macht nur vor dem Teufel halt, to my knowledge the first time an international rock star appeared on the show Video here.
This was a German original, written by Herbert Falk and Helmut Flohr, neither one of whom ever set the world alight with their hitmaking potential. Fritz Walter und die Altinternationalen — Schwarz und Weiss It is difficult to measure the social, political and even economic impact of that on West Germany. Just nine years earlier Germany had been structurally, socially, politically and morally devastated like no other European nation in modern history ravaged and savaged by both the Allies and by the Nazis, it must be said.
Now, being world champions, the refrain in West Germany was: The inspirational captain on that July day in — the same day, give or take a few hours, that Elvis Presley entered the Sun studios in Memphis to record his first single — was Fritz Walter. Two decades later, with West Germany preparing to host the World Cup which their team would win , Fritz got together a bunch of old internationals the Altinternationalen , ranging from pre-war player Paul Janes to recently retired Uwe Seeler, to record a ditty titled Schwarz und Weiss — black and white, the colours of the German team — written by serial hitmaker Jack White.
Rarely has a song sounded as comprehensively German as this. And not in a good way. The lyrics are infused with customary German subtlety: Well, here are some: In , The Springfields, featuring Dusty Springfield, issued a rather lovely folk recording of that and other German-language songs. David Bowie — Helden When Bowie recorded Heroes , he was long past the Ziggy deal.
It was his Berlin period during which he fused the cultures of the Weimar Republic cabarets, Krautrock and Kraftwerk, and the local junkie scene. As it turns out, he put as much effort in enunciating German words correctly as English football commentators take care to pronounce the names of German or any non-Latinate football players. I still think that Siebzehn Jahr Blondes Haar and the funny Es Wird Nacht Senorita are superior Schlager moments; if more songs of that genre were as good as those, nobody would have cause to laugh at German music. Peace Now was the rocking English-language b-side of a German single titled Deine Einsamkeit, released in October Suzanne Doucet — Sei mein Baby So it was with Suzanne Doucet.
Later she appeared with Donna Summer in the German version of the musical Godspell. Chubby Checker — Der Twist Beginnt You can almost hear it: Karl Schiller — High. He did not record this track. Schiller had a rather colourful political career. Eight years later he re-joined the SPD. He died in Here are a few more German re-recordings, plus a Motown-goes-Schlager track, a most unexpected cover, pre-Schlager stardom Krautrock, a slightly strange Beatles cover, and another singing footballer. And, of course, in St Pauli the boys really grew up. And yet, they did not seem to have much of a sentimental attachment to the country that gave them their first international break.
And the Beatles really did not want to record any of their songs in German, or any other language. The Beatles resisted the instruction to record in German, going as far as not turning up to the booked session in the EMI Pathe Marconi studio in Paris in January A stern George Martin who himself thought the idea was stupid had to remindhis truant boys of their professional obligations before they gathered in the studio the following day, January Komm gib mir eine Hand was quickly recorded to the backing track sent from London, but the instrumentation of the German She Loves You had to be re-recorded because the tape with the original track had been lost.
It took 14 takes to record the song.
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The lyrics for the two German songs had been written by singer and TV personality Camillo Felgen under the pseudonym J. Two other non-Beatles are credited: These credits have long puzzled Beatles historian. It appears that both Heinz Hellmer and Jean Montague incorrectly spelled on the credits were additional pseudonyms employed by Felgen , I would guess as a tax dodge. These credits appeared on the German single release and the US album Something New , on which the German songs incongruously turned up. The pair epitomised square. They reminded us of the nice young couple who rented the apartment on the top floor of her house and always paid the rent on time.
The cover photo of the single, which is not bad, is entirely misleading. Howard Carpendale — Du hast mich. None of those 25 million records soiled my collection, I am pleased to say, for I always thought he was a bit of a drip. The flip side, however, was entire unschlagerish, a rocker called Du hast mich You Have Me , a cover of the song Glory Be by German psychedelic rockers Daisy Clan which sounds like a heavy fuzz-guitared, organ-hammering Santana number.
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The dude actually knew how to rock. Just to prove that not all Schlagersingers are naff fools with bad hair, Holm also collaborated with the eternally cool Giorgio Moroder in a project named, unappetisingly, Spinach. Holm has even been nominated for Grammys three times as part of the ambient music outfit Cusco. Like most other songs transcribed from English to German, it was not a hit. It was quite usual for the original performer of a French or Italian song to score big successes with their German versions of these — singers such as Mireille Mathieu and Salvatore Adamo made a career of that — but English pop translations rarely impressed the record-buying public.
I suspect the reason for that was two-fold. The vocals were usually sung from phonetic lyric sheets, and most international stars who recorded in German did not pay meticulous attention to the standards of their pronunciation. I have no idea whether Marvin Gaye was a polyglot or whether he just gave more of a shit, but he did a better job of it than most of his peers. The international exposure helped her maintain an international career, recording in French, Spanish, Italian, Portuguese, English and even Japanese.
In her hands, the hard day was suffered not by her but by a unspecified him, and the whole shebang includes a strong hint of a Harrison-style eastern vibe.
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In , Cash recorded two other German versions of his songs, though neither was released until Both, it seems, were intended to be released as a single, but I can find no record of their release. And it was there that Cash started to become serious about music. The goalkeeper was something of a humorous character on the pitch who had the entertaining tendency to run outside his penalty area to dribble around opponents. As one does, he recorded a single to celebrate his celebrity.
The song — literally: The first instalment of German music and novelties was rather popular. Marianne Rosenberg — Ich bin wie Du It is fair to say, however, that the German Schlager scene was not a hotbed of disco or, indeed, anything else but banality. She resorts to emotional blackmail: John and Ringo and even the odd Rolling Stone would have sent her an autograph by now. But not Paul, oh no. So she has to resort to singing this song to attract his attention.
To the shock of nobody, the claims were found to be — gasp — untrue. Somebody will surely tell me. Johnny Cash — Wer Kennt den Weg Foremost among the European countries to offer a market for such things was West Germany. Recorded in , Sandie sounds like she actually knows what she is singing. She clearly makes an effort though towards the end the effort apparently becomes a bit too much for her , and her diction is charmingly foreign. Diana Ross makes a game attempt at it; one can understand her implorations not to be left by the addressee of the song. The Temptations take rather more relaxed view of linguistic doctrines, anticipating the German tendency to include English words as part of the conversational language.
Millie — My Boy Lollipop German And how could she? So we can forgive that. Franz Beckenbauer — Gute Freunde kann niemand trennen Beckenbauer is, in my view, the greatest defensive player of all time. Adept at playing in virtually any position, he was an elegantly authoritative figure on the pitch. After finishing his playing career which included a stint with New York Cosmos , Beckenbauer led the West German national team as coach to a World Cup final in and the world championship in Today he is a dear friend of FIFA president Sepp Blatter, a thoroughly nasty piece of work behind his grinning mask of buffoonery.
But it was a misnomer. He was, however, compact with a low centre of gravity and an almost unerring positioning instinct. Many of his goals were scored with his backside, or while he was on the ground. Still, the man is a legend and probably not a friend of the evil Blatter. The Dutch-born singer and former actor, whose career was directed almost exclusively at German audiences, is still at it at years of age.
As one might expect, he is much loved in Germany. I suspect that he might not be entirely loose with the truth here not all entertainers are very bright ; and even if he knew, how much courage might he have needed to muster to tell the SS to bugger off. At the same time, he did move to Germany in , so fuck him for that. Still, almost years of age, and still performing. And he has a wife who is 45 years younger than he is — Respect! Of course he had no intention of pleading for post-war clemency towards Germans; quite the contrary.
And yet, to some extent his satirical entreaty would be realised. But, truth be told, Germans subjected to occupation in the West cannot have too many complaints about the treatment they received. Some readers may remember a series of posts in which I looked at songs that evoked particular times, the way music often does. In my excitement, I rushed through the years, overlooking some essential songs. One I found a couple of weeks ago; the chorus had been a recurring, random earworm for more than three decades without revealing itself in a manner by which I could carry out the appropriate research in order to identify and acquire it.
Around the same time, I stumbled upon a song I had entirely forgotten about. That then, is the point of this revised series I will probably recycle some blurb I wrote two years ago while pretending to ignore what I posted: Be warned, some of the music will be utterly horrible, enjoyable only as an act of nostalgia, and even then not very much. There will be oddities that must be included because they were pivotal in my life, like my first idol, childstar Heintje, or my first single an obscure soul song now regarded as a classic in its genre called… oh, OK, a terrible Schlager single.
But I also know that there are many who will share these records of bad taste, the questionable purchases, and enjoy revisiting these — maybe even recalling the same songs with similar experiences. This, then, is my musical autobiography. My interest in knowing the names of performers, other than the legend that is Heintje, began in , when I was four. In this first installment we look at songs that were hits before then, but which remind me of my childhood, not necessarily of the time when they were hits except for Heintje, of course.
I had opportunity last year to report on how I pretended to be an old-fashioned record player. I was about two. I was a fan of the boy who as Hein Simon would enjoy considerably diminished success once, hurrah! Listening to Heintje today, it is difficult to see on what foundations of excellence his career was built.
It was almost exclusively sentimental gunk, mostly addressed to his mother whom he repeatedly beseeched not to cry for his sake. Alexandra — Mein Freund der Baum Banal Schlager singers were a Pfennig-a-dozen in Germany. All the more tragic when a real chanteuse, the beautiful, husky voiced Alexandra perished in a car crash on 31 July at I faintly remember my grandmother telling me that Alexandra was dead when footage of her appeared on the old monochrome television.
A year before Alexandra died, in when I was two, my great-uncle died. Will he come visit tomorrow? But now I was affected by the gravity of what my grandmother was telling me about the pretty singer. Death seemed serious, shocking business. Quite likely, I would have recovered soon from notions of mortality, had it not been for the song that accompanied the footage of the dead Alexandra: Knowing this person was dead freaked me out so much that for a couple of years I refused to watch reruns of shows or movies that featured people I knew to be dead except Laurel and Hardy, probably because they were immortal.
And The Little Rascals, who were kids and therefore not possibly dead. The Peels — Juanita Banana My mother, on the other hand, kept her singles in an album with plastic sleeves to which I had unrestricted access, at least once I got my own record player for my fifth birthday. It still tasted great.
Manfred Mann — Ha! Said The Clown Of course a small kid will be attracted by the idea of a song about clowns, especially laughing ones the kid need not be aware that the protagonist wanted to bang the wife of the clown. But two other things attracted me to the record: As the Peels entry revealed, I had an interest in record labels as soon as my love affair with vinyl began.
And the Fontana one appealed to me greatly. I loved all black labels, it seems. The song itself is brilliant; it features the flute and whistling! Chris Andrews — Pretty Belinda