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New Year's Eve concert

"IT MUST BE A WALTZ" - LEO FALL BRINGS JOY INTO THE NEW YEAR Only two years after Franz Lehár had catapulted himself to the top of operetta composers with his "Merry Widow", Leo Fall, who was only three years younger and born in Moravian Olomouc, started a career in 1907 with two celebrated operettas, which at its peak was in no way inferior to that of his competitor. His first two successful operettas - "The Fidele Farmer" and "The Dollar Princess" - defined the span between maudlin folk play and satirical salon comedy which should remain characteristic for Fall's further work. It was above all with the former direction that he contrasted the cosmopolitan, metropolitan operettas of Franz Lehár, Emmerich Kálmán or Paul Abraham with his own unmistakable alternative. And instead of indulging in the broad orchestral sound like his colleagues or swinging in lively rhythms from the New World, Fall relied entirely on a chiselled, transparent orchestral sound, with the help of which the fine ironic wit - in the spirit of the inventor of the operetta, Jacques Offenbach - seeps from the text into the music: there the clarinet laughs, the violins click, the piccolo giggles. And although Falls operettas take us to very different locations - from Thessaly ("Der liebe Augustin") to Paris ("Madame Pompadour") to Istanbul ("Die Rose von Stambul") - the composer remains musically closely connected to his adopted home, Vienna.

Thanks to his ingenuity and compositional mastery, he brought the Viennese waltz to its last great flowering. That is why it is also said on the Bosporus: "It must be a waltz"!

"Ulrich Lenz"
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New Year's Eve concert - Erl

"IT MUST BE A WALTZ" - LEO FALL BRINGS JOY INTO THE NEW YEAR Only two years after Franz Lehár had catapulted himself to the top of operetta composers with his "Merry Widow", Leo Fall, who was only three years younger and born in Moravian Olomouc, started a career in 1907 with two celebrated operettas, which at its peak was in no way inferior to that of his competitor. His first two successful operettas - "The Fidele Farmer" and "The Dollar Princess" - defined the span between maudlin folk play and satirical salon comedy which should remain characteristic for Fall's further work. It was above all with the former direction that he contrasted the cosmopolitan, metropolitan operettas of Franz Lehár, Emmerich Kálmán or Paul Abraham with his own unmistakable alternative. And instead of indulging in the broad orchestral sound like his colleagues or swinging in lively rhythms from the New World, Fall relied entirely on a chiselled, transparent orchestral sound, with the help of which the fine ironic wit - in the spirit of the inventor of the operetta, Jacques Offenbach - seeps from the text into the music: there the clarinet laughs, the violins click, the piccolo giggles. And although Falls operettas take us to very different locations - from Thessaly ("Der liebe Augustin") to Paris ("Madame Pompadour") to Istanbul ("Die Rose von Stambul") - the composer remains musically closely connected to his adopted home, Vienna.

Thanks to his ingenuity and compositional mastery, he brought the Viennese waltz to its last great flowering. That is why it is also said on the Bosporus: "It must be a waltz"!

"Ulrich Lenz"

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