: Berlin Cabaret Songs: Music suppressed by the Third Reich - Ute Lemper

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Berlin Cabaret Songs: Music suppressed by the Third Reich
Ute Lemper
1 CD
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Catalogue Number: 4526012

Product Description

A beautiful album, dripping with emotions: longing, irony, cynicism, sarcasm, love (yes, love), anger, humor. And Ute Lemper transmits those emotions like no other performer. At least some of the song writers/composers fled to the US to escape Nazi Germany, and had distinguished careers here, too. The songs are beautiful, with meaningful lyrics that aren't just the blindingly obvious ideas and sentimentality offered by a lot of recent "political" songs.

Sung in German.

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Goldschmidt, B:

Der Verflossene


Ich tanze um die Welt mit Dir

Zieh Dich aus, Petronella!

Raus mit den Männern!

Es kommt jeder dran

Stürme der Liedenschaft


Wir wollen alle wieder Kinder sein!!


Nelson, Rudolf:

Das spricht Bände

Mir ist so nach Tamerlan!


Alles Schwindel

Das Gesellschaftslied

The Smart Set

Meine beste Freundin

100 meter Glück

L'heure bleue

Das Lila Lied


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'Quite simply, it's a sensational disc, and a revelation especially to those who have remained relatively unaware of this rich vein of popular music that was so brutally suppressed by the Nazis'
Classic CD

"Entartete Musik," of which 18 examples in English adaptation are provided here, includes, in the definition of producer Michael Haas, among other things, "important works lost, destroyed or banned by the political disruptions of the twentieth century," in particular, the Third Reich of Nazi Germany. Specifically, these are cabaret songs of the years of the Weimar Republic (1918-1933), written by such composers as Friedrich Hollaender (who became Frederick Hollander when he followed Marlene Dietrich to Hollywood) and Mischa Spoliansky. They reflect the decadence and unfulfilled hopes of a temporary oasis in German history marked by runaway inflation and agitations of the Left and Right, matters treated in the lyrics.

The album contains material that provides the perhaps unrealized source of later re-creations like the score for the Broadway musical Cabaret. Ute Lemper (who has performed extensively in that show) gives bravura readings of songs that treat corruption, homosexuality, and a doomed social idealism with music, provided by the Matrix Ensemble, that recalls Kurt Weill and hot jazz. The looming Nazi era is inescapable in such Hollaender songs as "Oh, How We Wish That We Were Kids Again" and especially "Münchhausen." The latter bears some similarity to the folk song "Last Night I Had the Strangest Dream," except that we know what happened in Germany instead of the dream of peace and social justice Hollaender proposes.

More than a mere history lesson, Berlin Cabaret Songs reawakens a lost era that engages issues of tolerance, sexual confusion, and political uncertainty that continue to affect listeners. It also contains some extremely funny numbers. Jeremy Lawrence's English lyrics, based on translations by Alan Lareau, Kathleen L. Komar, and Haas, are amazingly deft, retaining the German flavor but singing well in their adoptive language.
William Ruhlmann, AllMusic.com

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