Before I begin to write about another forgotten composer, one more representative of the departing 18th and beginning 19th century, I would like to propose a small quiz: an excerpt from one of his piano sonatas. A little hint is offered – he is often (even by honorable scholars) branded as a charlatan:
And the composer is…..
Lately in a private conversation Snezhina Tchelebieva, a well-known Bulgarian actress and reciter mentioned how quickly an actor’s life goes on and how even quicker he gets forgotten. I would add – same applies to a musician as well.
So even though there is enough biographical information about the members of “Comedian Harmonists” on the web, I wanted to write even if little but separately about the Bulgarian Ari (Asparouh) Leschnikoff and to give some evidence of his later musical existence.
Ari remained in Germany until about 1940 when he returned in Bulgaria to join the army. After the war he was able to continue to sing, recording a good deal for the Bulgarian label Balkanton.
Interesting is the variety of the songs he interpreted – including the Bulgarian version of the popular Russian song “Katiusha”:
Asparouh Leschnikoff – Katiusha
Then in the late 50’s he was accused being a traitor (probably because he sang some old town songs), and although it was done anonymously, he was no more allowed to work as a singer.
Such a proceeding was not an exception during the communist regime. Under the mask of politically correct behavior many less talented fellows got rid of their successful rivals. So for example in the 1950’s the phenomenal Bulgarian musician, the pianist Trifon Siljanovski spent years in a labour camp because of an “anonymous” letter by another musician, also a pianist. Even 20 years later, in 1975 the actress Snejina Tchelebieva, by then a brand name in Bulgaria, was forbidden to work – Snejina was accused to recite in foreign languages like Spanish or French, which was seen as a conduct of a traitor. This interdiction came as a result of an anonymous letter (by an actress) too.
On the other hand – how big were Leschnikoff’s musical chances as a representative of an older generation in the rapidly changing musical (and not only) world of the 60’s and 70’s?
A rare TV documentation of the aging Ari with still great voice – in a small excerpt from the song “I love the women passionately”:
What can a musician do more except for playing or singing, especially if already over 60 years old? It seems that he worked as a cleaner or gardener and as such he certainly received a meager pension.
Asparouh Leschnikoff – Bitter coffee
On some of the Bulgarian sites the people are questioning why Leschnikoff as a member of such a famous ensemble did not receive any according remuneration in Bulgaria. But he did not represent Bulgaria during those years in Germany (partly already Nazis’ Germany) and later exposed as a betrayer, his work and recordings in Bulgaria were for sure being seen as unworthy such remuneration. Other wondered why he never received any help (in form of royalties from their recordings) he asked for Biberti in the last years. It is easily forgotten today that Leschnikoff has lived in a different world – behind the Iron Curtain, where the contacts with the Western countries were prohibited. Same Biberti helped Frommermann who was back to Germany. Or was it the old quarrel (ending eventually in a lawsuit) they had with Ari which stopped Biberti from helping his former friend and colleague? How could we know?
Unfortunately, little is known about Ari’s second marriage and the son, named Henry (who was alive in 2006) or may be even some grandchildren.
We can only hope that his granddaughter from the first marriage, the singer Jessica Leschnikoff (who has already a blog about her distant ancestry) will be able to write about him too. Even if she never met him, she is certainly the person who knows more than anybody else.
“The whisper of the waves”:
In my Bulgarian entourage there is no one who does not know Leschnikoff’s name. He is still remembered in Bulgaria and that’s all that counts.
“White stone fountain”:
John Rutter’s “Lord bless you and keep you” – with “The Cambridge singers”:
Initially I wanted to post the following version which I definitely prefer but found the video’s subject not appropriate for a Christmas wish. Yet I think the comparison is worth listening to:
“Saint Paul Cathedral Choir”
In fact the “Comedian Harmonists” took an example from an already existing model “The Revelers”, an American group, created exactly 85 years ago, on 30th of November 1924.
It seems that “they all made solo records as well and recorded in various combinations as vocalists with dance bands, often uncredited“.
“The Revelers” with “Was it a dream”, recorded in 1928:
Another of their songs – “Lucky day”:
The “Comedian Harmonists” were not the only singer ensemble in Germany – an interesting research went on Youtube about the German group called “Die Abels” or later “Die 5 Songs”. As the member wally1435 on Youtube pointed out about them: “a group of Hungarians, who found success in Germany, they were an inspiration to the Comedian Harmonists, who soon surpassed them in popularity”:
The groups then changed easily (too easily?) their names. The same “Die Abels” can also be found as “Abel-Quartett”:
“Bei Lied und Wein”:
Who knows, if the American „The Mills Brothers“ were an inspiration to the “Comedy Harmonists” too? It could be – “The Mills Brothers” appeared in the late 1920’s. And they survived all through the years. Some of their many wonderful songs:
“Tiger Rag”:
“Till then”:
