Ophelia Orchestra - Sound and Smoke: The Music of the Berlin Cabaret Era FLAC
Tracklist
| 1 | Das Lila Lied | 4:57 |
| 2 | Mir is heut so nach Tamerlan | 3:56 |
| 3 | Hannelore | 2:53 |
| 4 | Ich Bin Die Marie von Der Haller-Revue | 2:34 |
| 5 | Einmal Kommt die Liebe | 2:54 |
| 6 | Fox Macabre | 2:58 |
| 7 | Was is mit deiner Nase los, süser Emil? | 3:00 |
| 8 | Veronika, der Lenz is da | 3:32 |
| 9 | Auf Wiedersehn, Leb Wohl | 4:54 |
| 10 | Raus Mit Den Männern Aus Dem Reichstag | 2:40 |
| 11 | Wenn ich mire was wünchen durfte | 5:38 |
| 12 | Berlin im Licht | 3:17 |
| 13 | Nim Dich in Acht vor Blonden Frauen | 3:26 |
| 14 | Lied des Händlers | 3:49 |
| 15 | Ach, er hasst, dass ich ihn liebe | 3:01 |
| 16 | Foxtrot-Potpourri aus der Dreigroschenoper | 4:47 |
| 17 | Morphium | 3:54 |
| 18 | Wagneria | 3:19 |
| 19 | Jonny | 3:07 |
| 20 | Süser...Süser! | 2:52 |
Credits
- Producer – Tom Garretson
Notes
SOUND AND SMOKE: THE MUSIC OF THE BERLIN CABARET ERA is the only existing modern recording featuring completely authentic arrangements of songs from the glorious Berlin Cabaret era, from 1918 to 1933. Presented in quality performances by such critically-lauded artists as Solveig Slettahjell, Morten Gunnar Larsen, Karin Krog, Anne Grete Preus, Ståle Ytterli, Henriette Myhre, Anne Baahino, Marika Enstad and the Ophelia Orchestra, this recording is the first of its kind – to truly re-create the aura and ambience of the Weimar Berlin cabaret era authentically with extensively researched arrangements or transcriptions from recorded archival material. In doing so, SOUND AND SMOKE pays tribute to many of the performers and composers of that period.
“Sound and Smoke” (taken from the actual Berlin cabaret “Schall und Rauch”) is an attempt to provide the listener with a sense of what it might have been like to be in a cabaret or revue audience during the Weimar years. Songs were chosen that are representative, and which might appeal to the modern sensibility, yet remain entirely true to the spirit of the period.
When available, original arrangements for small orchestra were used, found in the archives and libraries of Berlin (Akademie der Künst, Staatsbibliothek), New York (The Kurt Weill Foundation), Denmark, Sweden and Norway. When needed arrangements were not to be found anywhere, these were faithfully recreated, either transcribed from actual recordings from the period or through applying the style to new arrangements. It was decided not to have a dry, “classical” production approach in the recording (with endless editing and retakes striving for ultimate perfection), but to instead maintain the spontaneity and energy which you might have found if you wandered into a Berlin cabaret or revue. We wanted the listener to have a more “live” experience of the recording, with all the variability this includes – and above all, to be vibrant and exciting.
More info: www.provocateurmedia.com
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