Lorenzo02
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Détails"Ein Prosit der Gemütlichkeit" is undoubtedly the most emblematic tune of Oktoberfest and beer festivals around the world. Although it's immediately associated with Munich, its history is quite surprising.
Here's what you need to know about this anthem of conviviality:
1. The Origin: Not at all Munich!
Contrary to popular belief, the song was not written by a Bavarian. It was composed by Georg Kunert (1863-1933), a musician from Chemnitz in Saxony (eastern Germany).
It only became the Oktoberfest anthem at the very end of the 19th century, thanks to a dynamic restaurateur named Georg Lang. He imported it to his tent in Munich to create a festive atmosphere and encourage people to toast together.
2. The Lyrics and their Meaning
The lyrics are extremely simple, allowing everyone, even tourists who don't speak German, to join in:
"Ein Prosit, ein Prosit" (A toast, a toast)
"Der Gemütlichkeit" (To conviviality / well-being together)
"Ein Prosit, ein Prosit"
"Der Gemütlichkeit"
The term Gemütlichkeit is crucial: it's a typically Germanic word that has no exact translation in French. It evokes comfort, human warmth, good humor and the pleasure of being surrounded by friends.
3. The Ritual (The "Oans, zwoa, drei...")
In the Oktoberfest tents, the orchestra plays this tune about every 20 to 30 minutes. It's a formidable tool for selling beer, as each rendition ends with a precise ritual:
1. Sing along, swinging your glass from left to right.
2. At the end of the song, the conductor shouts: "Oans, zwoa, drei, g'suffa!" (One, two, three, drink!).
3. Everyone toasts and takes a sip of beer.
4. Why is it so famous?
It's a "communion" song. It breaks the ice between strangers sitting at the same table. The slow, solemn rhythm at the start, accelerating towards the end, creates an irresistible surge of energy in the crowd.
Here's what you need to know about this anthem of conviviality:
1. The Origin: Not at all Munich!
Contrary to popular belief, the song was not written by a Bavarian. It was composed by Georg Kunert (1863-1933), a musician from Chemnitz in Saxony (eastern Germany).
It only became the Oktoberfest anthem at the very end of the 19th century, thanks to a dynamic restaurateur named Georg Lang. He imported it to his tent in Munich to create a festive atmosphere and encourage people to toast together.
2. The Lyrics and their Meaning
The lyrics are extremely simple, allowing everyone, even tourists who don't speak German, to join in:
"Ein Prosit, ein Prosit" (A toast, a toast)
"Der Gemütlichkeit" (To conviviality / well-being together)
"Ein Prosit, ein Prosit"
"Der Gemütlichkeit"
The term Gemütlichkeit is crucial: it's a typically Germanic word that has no exact translation in French. It evokes comfort, human warmth, good humor and the pleasure of being surrounded by friends.
3. The Ritual (The "Oans, zwoa, drei...")
In the Oktoberfest tents, the orchestra plays this tune about every 20 to 30 minutes. It's a formidable tool for selling beer, as each rendition ends with a precise ritual:
1. Sing along, swinging your glass from left to right.
2. At the end of the song, the conductor shouts: "Oans, zwoa, drei, g'suffa!" (One, two, three, drink!).
3. Everyone toasts and takes a sip of beer.
4. Why is it so famous?
It's a "communion" song. It breaks the ice between strangers sitting at the same table. The slow, solemn rhythm at the start, accelerating towards the end, creates an irresistible surge of energy in the crowd.
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yoyodu77
26/12/2025
DétailsCurt Mahr, born on September 23, 1907 in Schwarza (Thuringia) and died on July 30, 1978 in Niedernhausen, remains one of the central figures in German classical and entertainment accordion music. A virtuoso, prolific composer and renowned teacher, he shaped the instrument's repertoire in the 20th century.
Classical training for the accordion
Mahr began his musical studies at the Leipzig Conservatory, where he took master classes in piano and French horn (Waldhorn). This solid classical training gave him the harmonic rigor and sophistication that would become apparent in his future compositions.
From 1935 onwards, he showed himself to be a virtuoso on the accordion, an instrument then on the rise. He capitalized on his talent to become a regular presence on radio broadcasts, giving guest concerts that helped popularize the accordion among the general public.
From the Radio Milieu to Independent Creation
Curt Mahr's professional career is closely linked to German radio. For many years, he worked for Radio Hamburg (NWDR), then for Central German Broadcasting in Leipzig. This experience offered him an ideal platform for broadcasting his own works and interpretations, and for exploring different facets of music.
After 1950, Mahr left Berlin to settle in Wiesbaden. He embarked on a career as a freelance composer and music educator. This change of direction enabled him to devote himself fully to writing, creating a body of work that covers both ambitious concert pieces and didactic material.
A Major Pedagogical and Artistic Heritage
Curt Mahr's role in accordion teaching is fundamental. He published major pedagogical works such as the three volumes of Modernes Akkordeon Studium and Czerny für Akkordeon, adapting Czerny's fundamental technical exercises to his favorite instrument. These methods are still used to train accordionists in Germany and beyond.
As a composer, Mahr enriched the accordion repertoire with works of great diversity. While lively marches such as "Harmonika Freunde" ensure his popularity in the field of entertainment and ensembles, he is also the author of demanding concert pieces such as the Tzigane Overture, the Konzertino in G-Major, and the Concerto in A minor for accordion and orchestra.
In recognition of his invaluable contribution to the instrument, Curt Mahr was awarded the Golden Needle of the German Harmonica Federation (Deutscher Harmonika Verband - DHV) in 1959. His work continues to bear witness to an era when the accordion was evolving from popular music to a respected concert instrument, a transition he played a major part in bringing about.
Classical training for the accordion
Mahr began his musical studies at the Leipzig Conservatory, where he took master classes in piano and French horn (Waldhorn). This solid classical training gave him the harmonic rigor and sophistication that would become apparent in his future compositions.
From 1935 onwards, he showed himself to be a virtuoso on the accordion, an instrument then on the rise. He capitalized on his talent to become a regular presence on radio broadcasts, giving guest concerts that helped popularize the accordion among the general public.
From the Radio Milieu to Independent Creation
Curt Mahr's professional career is closely linked to German radio. For many years, he worked for Radio Hamburg (NWDR), then for Central German Broadcasting in Leipzig. This experience offered him an ideal platform for broadcasting his own works and interpretations, and for exploring different facets of music.
After 1950, Mahr left Berlin to settle in Wiesbaden. He embarked on a career as a freelance composer and music educator. This change of direction enabled him to devote himself fully to writing, creating a body of work that covers both ambitious concert pieces and didactic material.
A Major Pedagogical and Artistic Heritage
Curt Mahr's role in accordion teaching is fundamental. He published major pedagogical works such as the three volumes of Modernes Akkordeon Studium and Czerny für Akkordeon, adapting Czerny's fundamental technical exercises to his favorite instrument. These methods are still used to train accordionists in Germany and beyond.
As a composer, Mahr enriched the accordion repertoire with works of great diversity. While lively marches such as "Harmonika Freunde" ensure his popularity in the field of entertainment and ensembles, he is also the author of demanding concert pieces such as the Tzigane Overture, the Konzertino in G-Major, and the Concerto in A minor for accordion and orchestra.
In recognition of his invaluable contribution to the instrument, Curt Mahr was awarded the Golden Needle of the German Harmonica Federation (Deutscher Harmonika Verband - DHV) in 1959. His work continues to bear witness to an era when the accordion was evolving from popular music to a respected concert instrument, a transition he played a major part in bringing about.
3Comments
Détails"Mes jeunes années"(1949), composed by Charles Trenet (music co-written with Marc Herrand, then a member of Les Compagnons de la Chanson), is a hymn to freedom and nature, celebrating an idealized youth at the foot of the Pyrenees. The most famous anecdote about its creation is that the text was thrown onto a paper tablecloth in Montreal in 1948, although the original title envisaged was "La montagne". André Manoukian's program La Vie Secrète des Chansons ( https://www.youtube.com/watch?v=sARB09ye7Sw&t=2s ) underlines the profound contrast between the gaiety of the title and Trenet's own experiences, as he confided that his childhood was actually "eclipsed" by the departure of his mother and a stint in a strict boarding school. The song thus embodies the artist's rule of life: forge an optimistic joy to compensate for and transcend this difficult period.
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ELLAMOSAR
24/10/2025
thank you
DétailsÀ BICYCLETTE (1947): Le Quiproquo à Vélo by Bourvil
This score lets you perform one of the most famous comic songs in Bourvil's repertoire. Recorded in 1947, it helped establish the character of the simpleton Norman peasant who made the artist famous on stage and in film.
The song is the result of a collaborative effort: the witty lyrics are by René Laquier, while the lively music is the work of Étienne Lorin, Bourvil's loyal accordionist and composer. The song was first published on a Pathé 78 rpm disc (reference PA 2430).
The theme is a bucolic and comical encounter on a bicycle, where the comedy is based on a verbal misunderstanding. The narrator, enthusiastic about his ride, is confronted by a beautiful girl who asks him if he is a "runner". The simple man sees it as a sporting term (the Tour de France, bicycle racing), while the woman understands him as a "womanizer" (seducer). The misunderstanding continues, reinforced by Bourvil's spoken interventions, and ends with the failure of the amorous pursuit and La Fontaine's misguided moral.
It's important to note that the success and registration of this original title by Laquier et Lorin explains why Yves Montand's later song (released in 1968) was named "La Bicyclette" to avoid any confusion.
This score lets you perform one of the most famous comic songs in Bourvil's repertoire. Recorded in 1947, it helped establish the character of the simpleton Norman peasant who made the artist famous on stage and in film.
The song is the result of a collaborative effort: the witty lyrics are by René Laquier, while the lively music is the work of Étienne Lorin, Bourvil's loyal accordionist and composer. The song was first published on a Pathé 78 rpm disc (reference PA 2430).
The theme is a bucolic and comical encounter on a bicycle, where the comedy is based on a verbal misunderstanding. The narrator, enthusiastic about his ride, is confronted by a beautiful girl who asks him if he is a "runner". The simple man sees it as a sporting term (the Tour de France, bicycle racing), while the woman understands him as a "womanizer" (seducer). The misunderstanding continues, reinforced by Bourvil's spoken interventions, and ends with the failure of the amorous pursuit and La Fontaine's misguided moral.
It's important to note that the success and registration of this original title by Laquier et Lorin explains why Yves Montand's later song (released in 1968) was named "La Bicyclette" to avoid any confusion.
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