Richard Fall

Richard Fall (3 April 1882 – begin 1945) was an Austrian composer and conductor of Jewish descent. One of his most famous compositions is the popular Was machst du mit dem Knie lieber Hans.[1]

Life

Born in Jevíčko, Österreich-Ungarn, Fall grew up in a family of musicians. His two brothers Leo and Siegfried as well as his father were also composers and conductors. Fall worked as operettas conductor in Berlin and Vienna and as film composer in Hollywood.

After the Anschluss (1938), he fled National Socialism to France.

On 20 November 1943 he was deported from the Drancy internment camp to the KZ Auschwitz-Birkenau,[2] where he died in early 1945, before the liberation of the concentration camp.

Works

Stage plays
  • Goldreifchen. Fairy tale in 3 acts. Libretto: Paul Wertheimer and Mia Ewers. UA 1909 Vienna
  • Das Damenparadies. Operetta in one act. Libretto: Julius Brammer and Alfred Grünwald. UA 1911 Vienna
  • Wiener Fratz. Operetta in one act. Libretto: Ernst Klein and Michail Alexandrowitsch Weikone. UA 1912 Vienna
  • Arms and the Girl. Operetta in 2 scenes, Libretto: Austen Hurgon. UA 1912 London
  • Leute vom Stand. Operetta in one act. Libretto: Robert Bodanzky and Fritz Grünbaum. UA 1913 Vienna
  • Der Weltenbummler. Operetta in one prelude and 2 acts. Libretto: Fritz Löhner-Beda and Karl Lindau. UA 1915 Berlin
  • Die Dame von Welt. Operetta in 3 acts. Libretto: Fritz Löhner-Beda and Hans Kottow. UA 1917 Vienna
  • Die Puppenbaronessen. Musical comedy in 2 acts. Libretto: Alexander Engel and Fritz Grünbaum. UA 1917 Vienna
  • Großstadtmärchen. Operetta in 3 acts. Libretto: Bruno Hardt-Warden and Erwin Weill. UA 1920 Vienna
  • Im Alpenhotel. Operetta in one act. Libretto: Julius Horst and Ernst Wengraf. UA 1921 Vienna
  • Der geizige Verschwender. Operetta in 3 acts. Libretto: Richard Kessler and Arthur Rebner. UA 1922 Berlin
  • Apollo? Nur Apollo! Revue in 18 scenes (together with other composers). Libretto: Fritz Grünbaum, Wilhelm Sterk and Fritz Löhner-Beda. UA 1925 Vienna
  • Hallo! Hier Grünbaum! Revue. Text: Fritz Grünbaum. UA 1927 Vienna

Songs
  • Junger Mann, text: Arthur Rebner. 1923. Verlag Gabor Steiner, N.Y.
  • Liebe Katharina, komm zu mir nach China! Lied and Foxtrot. Text: Fritz Löhner-Beda. 1927. Wiener Bohême Verlag
  • Meine Tante, deine Tante. One-step, text: Fritz Löhner-Beda. 1925. Wiener Bohême Verlag
  • Was machst du mit dem Knie, lieber Hans. Pasodoble, text: Fritz Löhner-Beda. 1925. Wiener Bohême Verlag
  • Wenn man’s noch nie gemacht. Foxtrot, text: Arthur Rebner. 1923. Verlag Gabor Steiner, N.Y.
  • Wo sind deine Haare, August? Foxtrot, text: Fritz Löhner-Beda

Bibliography
  • Kay Weniger: Zwischen Bühne und Baracke. Lexikon der verfolgten Theater-, Film- und Musikkünstler 1933 bis 1945.[3] With an introduction by Paul Spiegel. Metropol, Berlin 2008, ISBN 978-3-938690-10-9, p. 387.
gollark: If you require everyone/a majority to say "yes, let us make the thing" publicly, then you probably won't get any of the thing - if you say "yes, let us make the thing" then someone will probably go "wow, you are a bad/shameful person for supporting the thing".
gollark: Say most/many people like a thing, but the unfathomable mechanisms of culture™ have decided that it's bad/shameful/whatever. In our society, as long as it isn't something which a plurality of people *really* dislike, you can probably get it anyway since you don't need everyone's buy-in. And over time the thing might become more widely accepted by unfathomable mechanisms of culture™.
gollark: I also think that if you decide what to produce via social things instead of the current financial mechanisms, you would probably have less innovation (if you have a cool new thing™, you have to convince a lot of people it's a good idea, rather than just convincing a few specialized people that it's good enough to get some investment) and could get stuck in weird signalling loops.
gollark: So it's possible to be somewhat insulated from whatever bizarre trends are sweeping things.
gollark: In a capitalistic system, people don't have to like me as long as I can throw money at them, see.

References
  1. Was machst du mit dem Knie lieber Hans
  2. Ernst Klee: Das Kulturlexikon zum Dritten Reich. Wer war was vor und nach 1945. Fischer, Frankfurt am Main 2007, ISBN 978-3-10-039326-5, p. 146.
  3. Zwischen Bühne und Baracke. Lexikon der verfolgten Theater-, Film- und Musikkünstler 1933 bis 1945 on Amazon
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