“In the aftermath of WWI Europe was hit by a wave of new dances: foxtrots, shimmies, Bostons or Charlestons. But, in contrast to other European countries, Germany reacted in a more complex way to this culturally pervasive phenomenon. Partly because the Versailles Treatise had banned cultural goods from abroad, German composers and their audiences felt jazz as a sort of forbidden attraction, difficult if not impossible to hear in its original form until well into the late 1920s. Still, it is fascinating to see how young composers such as Hindemith, Weill and Wolpe, and also older ones, such as D'Albert and Niemann were instinctively seduced by the new rhythms and styles. In many of these jazzy pieces I do feel truly "German" qualities: musical craftsmanship of high calibre and an earnest ambition to link traditional compositional skills with the new musical language. The results are all sweeping and unique pieces - fantastic music from a century ago that mostly went into oblivion.” — Gottlieb Wallisch
The first volume in this series traced the inter-war craze for carefree dance music in Austria and the Czech Lands (see GP813). This latest album focuses on Germany where jazz-influenced music flourished from the mid-1920s onwards even in the face of some social, political and racial opposition. Cabarets and dancehalls rejected this nationalist resistance and the Weimar Republic rejoiced in a cross-pollination of symphonic jazz and Kunstjazz—a fusion of dance and classical elements. The many previously unrecorded pieces here chart the progress of this vigorous musical rejuvenation.
This recording was made on: Steinway, Model D, number 544063
Hindemith, Paul
|
1
Tuttifäntchen, Scene 1: Tanz der Holzpuppen, Foxtrott (version for piano) (1922) (00:02:50)
|
Bornschein, Eduard
|
2
Blues (1927) (00:01:05)
|
Künneke, Eduard
|
3
Der Vetter aus Dingsda, Op. 13, Act II: Sieben Jahre lebt' ich in Batavia - Magdelein, zart und fein (arr. H.J. Vieth for piano as Batavia Fox-Trot) (1921) (00:02:38)
|
Albert, Eugen d'
|
4
Blues (1930) (00:01:59)
|
Erdmann, Eduard
|
5
Fox Trot in C Major (1923) (00:03:04)
|
Gieseking, Walter
|
3 Dance Improvisations (1926) (00:07:48 )
|
6
No. 1. Tempo di Foxtrot (00:03:22)
|
7
No. 2. Schnell (00:02:03)
|
8
No. 3. Tempo di Charleston (00:02:20)
|
Finke, Fidelio Fritz
|
9
10 Kinderstücke: No. 10. Shimmy (1927) (00:01:59)
|
Butting, Max
|
10
15 Kurze Klavierstücke, Op. 33: No. 14. Tango (1928) (00:01:26)
|
Mittmann, Leopold
|
Konzert Jazz-Suite (1929) (00:05:55 )
|
11
I. Charleston (00:01:31)
|
12
II. Blues (00:02:27)
|
13
III. Hot (00:01:56)
|
Herbst, Kurt
|
14
Jazz-Etüde (1928) (00:03:55)
|
Sekles, Bernhard
|
15
Kleiner Shimmy () (00:00:36)
|
Niemann, Walter Rudolph
|
Moderne Tanzsuite, Op. 115 () (00:13:04 )
|
16
I. Blues (00:02:15)
|
17
II. Valse Boston (00:03:27)
|
18
III. Tempo di Charleston (00:02:56)
|
19
IV. Tango (00:02:35)
|
20
V. Negertanz (00:01:42)
|
Wolpe, Stefan
|
21
6 Klavierstücke (1920-1929): No. 3. Rag-Caprice (1927) (00:01:07)
|
22
6 Klavierstücke (1920-1929): No. 4. Tango (1927) (00:03:18)
|
Weill, Kurt
|
23
Die Dreigroschenoper (The Threepenny Opera), Act II: Zuhalterballade (arr. as Tango-Ballade for piano) (1928) (00:02:56)
|
Goehr, Walter
|
David Golder (arr. for piano) (1931) (00:03:37 )
|
24
Fox Trot (00:01:57)
|
25
Tango (00:01:38)
|
Borris, Siegfried
|
26
Quick-Fox (c. 1927-34) (00:01:28)
|
27
Tango (c. 1927-34) (00:01:57)
|
Weill, Kurt
|
Marie Galante (version for piano) (1934) (00:04:52 )
|
28
Scène au Dancing (00:02:23)
|
29
Tango, "Youkali" (00:02:28)
|
“This is intoxicating fun: a disc of foxtrots from post-World War I Germany. Wallisch’s playing combines virtuosity with the lightest of touches.” – The Arts Desk
“Gottlieb Wallisch plays Hindemith with the easy, relaxed swing of a Joplin rag. Charming!” – Fanfare
“Wallisch performs these pieces and their varying tempos with excellent pianism and grace. … As a follow-up to Volume 1, this new edition is outstanding.” – American Record Guide
“Gottlieb Wallisch is clearly committed to this genre of music. It is played here with swing, verve, and a comprehensive understanding of the technical requirements of this style. There is nothing condescending or patronising.” – MusicWeb International
“One of the year’s most surprising and consistently charming recording projects continues to gather steam. The second volume of the pianist Gottlieb Wallisch’s “20th Century Foxtrots” compendium—this time focused on works by German composers—follows up on the sprightly success of the initial set, which was devoted to works by Austrian and Czech musicians.” – The New York Times
“Fabulous playing, and there are more Wallisch discs to come.” – Yorkshire Post