Some time ago, while browsing through a stack of records in my collection, I realised that I had two albums that, in their own very different ways, captured something of the musical spirit of Austria. One came from the Alpine folk tradition, the other from one of the world’s most famous choirs. Listening to them back to back was almost like taking a short musical journey through that country.
The Arlberg region lies in the Tyrol, and the group came from the well-known mountain resort of St Anton am Arlberg. In those days, visitors to the area would often attend what was called a Tiroler Abend, or Tyrolean Evening, which was a lively programme of folk music, yodelling and traditional dances performed for both tourists and locals. Groups like Die Lustigen Arlberger were at the heart of this tradition.
For many years the ensemble was led by the colourful musician Sepp Staffler who was not only a skilled yodeller but also known for playing the unusual instrument called the "singing saw". Under his leadership the group became a regular presence in the region’s folk entertainment scene.
Their music reflected the unmistakable Alpine folk style. Instruments such as the zither, dulcimer, clarinet, harmonica, accordion, and even the occasional xylophone contributed to the lively arrangements. Some members of the ensemble were also well-known specialists on these instruments, including zither and dulcimer players Werner Nußbaumer and Margit Raffl Staffler.
The anniversary LP functioned almost like a sampler of their repertoire. Among the pieces were Ein Jodlergruss, which opened the record with a cheerful yodel greeting; Salzkammergut-Plattler, a traditional dance tune associated with thigh-slapping; and Kirchtag in St. Anton, which evoked the atmosphere of a festive church fair in the mountains.
One particularly eye-catching item was Zirkus Renz, a dazzling showpiece that featured rapid-fire passages on the xylophone. It is the sort of virtuoso novelty number that audiences always enjoyed at folk concerts. Another track was the Dengel-Lied, a song that grew out of everyday rural life.
The LP was issued as part of Polydor’s Austria Gold series which aimed to preserve and promote traditional Austrian music. One can almost picture a mountain inn with wooden tables and a cheerful gathering of singers and dancers after a long day in the Alps.
Released around 1958 or 1959, the album was clearly intended for international audiences. Capitol had the clever idea of presenting music from different countries almost like musical travel postcards to give listeners a taste of distant cultures through recorded sound.
The Vienna Boys’ Choir is known in German as the Wiener Sängerknaben and they are the perfect ambassador for Austrian music. With a history dating back centuries, the choir had already built a worldwide reputation for its pure, disciplined sound.
During the period when this album was recorded, the choir was typically conducted by musicians such as Helmuth Froschauer or Xaver Meyer. Under their direction the ensemble toured extensively and was widely admired for the clear, almost crystalline quality of the boys’ voices.
The programme on Austria Revisited mixed classical pieces with traditional songs. Naturally, the music of Johann Strauss II appeared prominently. The album opened with the famous waltz An der schönen blauen Donau, better known in English as The Blue Danube, followed by the lively Sängerlust-Polka. Later in the programme came another Strauss favourite, G’schichten aus dem Wienerwald (Tales from the Vienna Woods).
Alongside these orchestral classics were several folk-influenced items, including the Erzherzog Johann-Jodler which linked the choir’s repertoire to the same Alpine traditions celebrated by Die Lustigen Arlberger.
The album also included gentle choral pieces such as Johannes Brahms’s lullaby Guten Abend, gut’ Nacht, as well as sacred music by Johann Sebastian Bach. The result was a programme that moved gracefully between the concert hall, the church and the countryside.
When one listens to these two records together, an interesting contrast emerges. The Vienna Boys’ Choir represented the polished musical culture of Vienna: refined, disciplined and steeped in centuries of tradition. On the other hand, Die Lustigen Arlberger embodied the more rustic side of Austrian life, with its yodels, folk dances and cheerful village celebrations.
Yet both recordings shared a common thread. Each reflected a different facet of Austria’s musical identity: the elegance of its classical heritage and the earthy vitality of its Alpine folk traditions.
For a music enthusiast, that combination made for a rather satisfying discovery. Two albums, separated by style and audience, but together offering a small window into the sounds of a remarkable musical nation. After listening to them, I found myself thinking that perhaps one day I should finally visit Austria and experience some of this musical culture first-hand.