Freitag, 15. Mai 2009

Hochzeitsreise, ein Lied aus der Hoechsten Eisenbahn

In seinem Blog vom 15. Mai lobt Kurt von Gerolstein artdeshauses und die Höchste Eisenbahn in höchsten Tönen: …
Höchste Eisenbahn (‘It’s high time ..’) is a genuine 1932 satirical and comical Berlin Kabarettrevue (forget Liza Minelli, this is the real thing), written and composed by Friedrich Holländer of Blue Angel (etc) fame. It has been reassembled from the original material, is recreated here by a group of just six un-miked performers (instead of the original 14) who make up a semi-professional group called artdeshauses and, thanks to a Maecenas, it is being played in a fifty-seater room in the basement of an Unter den Linden bookshop. It deserves a much more prominent (if not too much larger) venue …

Eisenbahn 1932

Kevin Clarke vom Operetta Research Center Amsterdam schreibt am gleichen Tag;
Friedrich Holländer „Revuette“ reconstructed and revived in Berlin
Although most people would not immediately associate Blue Angel-composer Friedrich Holländer (1896-1976) with operetta, the little cabaret revues he wrote at the beginning of the 1930s are closely related in tone and style to what happened in operetta at the same time: frivolous little songs and sketches, topical jokes and a lot a ‚easy listening‘ dance rhythms.
Even if many of Holländer’s songs from these ‚revuettes‘ are still popular and in the repertoire of countless singers, one hardly ever gets a chance to actually see or hear a complete „Kabarettrevue“ – with story line and all side aspects. In 2002, a group of theater history students from Berlin’s Humboldt University, fascinated by the era and the sound world of Holländer & Co., decided to reconstruct the 1932 Höchste Eisenbahn, which contains the famous song „Notbremse“ about a psychologically disturbed women who wants to pull the emergency stop in the train again and again and again, as a special thrill („Ach, Herr Stationsvorsteher! Ist einer schuld, sind Sie’s. Denn ach, verbotene Bremsen die schmecken ja so süß!“)
And what a score that is: each and every song in the show is fabulous, funny and sentimental in turns, catchy and bouncy, melancholy, naughty, cheeky, political… take your pick.

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