Hildegard Knef died 20 years ago, on February 1, 2002. Madeleine Joel was still a child then, grew up in Langenstein and would probably never have thought that as a young woman she would one day pay homage to the great Hildegard Knef. The singer and saxophonist, who was born in Linz and lives in Vienna, has fulfilled a long-standing dream with the album “Everything or Nothing”. In the interview she talks about the Knef and about herself.
How does a young woman come to deal with Hildegard Knef?
It was a coincidence. I was in my early 20s when I sang a song by Knef at a concert as a surprise for a guest in the audience with “For you it should rain red roses”. Of course I knew the song, it’s an evergreen. In preparation for this, I suddenly discovered other songs of hers like “I missed you so much” and thought they were cool. I’m a jazzer, love swing and big band sound. That’s how I fell into Knef’s legacy of songs. In the meantime I really know almost everything about her, but I’ve not only dealt with the songs, but also with the person, because that’s part of creating a homage. Personal respect is a very important issue.
Now there is the album “Everything or Nothing” and a concert program that should be on stage from March. What was your motivation there?
I want to prevent forgetting. I would like to revive the great music, the beautiful songs and the beautiful lyrics, some of which were written by Knef herself, and remind me of a wonderful artist. And their songs.
What can one learn from Hildegard Knef and what experiences have you gained from dealing with the person and the songs?
That you should definitely give your dreams more energy and attention than your fears. Hildegard Knef said of herself that she was a very anxious person, but she had concrete goals and always pursued them. She didn’t allow herself to be dissuaded, even when others said she should let it be. she did it Consequent. undeterred. I can totally take that with me from her, because that’s my conviction too. I was able to find some parallels between usn. I go my way undeterred and follow my dreams.
Have you already been able to fulfill your dreams that you are following?
Of course, I do that all the time. For me, dreams are also goals that you set and achieve. I’ve achieved some goals, but this Knef project has been a dream of mine for years and when it comes on stage now, the first performance will be where I’m overjoyed. I’m getting closer and closer to the dream.
I think it’s great how they keep songs that are so well known in their basic structure as they are and still give them their own special touch. How easy or how difficult was that for you and for the band?
I want to remember an artist, but at the same time show who I am. I never had the idea of singing covers. Hildegard Knef did it great in her own way. So it was clear that you had to change that, but the core always remains the same. I sing the tunes just like Knef sang them, but the whole coat, the presentation is modern and fresh. It was difficult to choose ten songs, it was pure agony for me. I passed the songs on to my arranger and pianist Rob Barged, and gave them my input on the style and solos. Rob has such a soul, it’s great art what he made of it. I have nothing to do with that. I have to play it back, interpret it, bring it across authentically, but the whole thing wouldn’t have turned out so well without Rob. The whole band is crazy. I’ve picked the best, all top-class, we just work wonderfully together. Me in the front, my Hildegard in the back and it’s a lot of fun. What would I be without my Hildegard? (laughs) It fits perfectly.
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It also sounds like it, because you also radiate such great harmony together. You can feel that everyone wants to play this…
I wanted to have a fixed band whose basic idea is that no one is interchangeable. The arrangements are very jazzy, the Knef originals were all swing-style. I wanted to break that musically, serve different styles and of course my musicians should also have their space for solos. Also, I only sing, I also play the saxophone on some songs.
How much harmony do you generally need around you?
I am an absolutely reflected person and I need harmony. If I can choose the people, then I create an environment that consists of love, respect and appreciation. There is no other way for me. I’ve often been confronted with situations where you can’t choose your colleagues. Then I’m so cool that I can tune that out and sing and play as well as I can because I see the job.
People who love harmony often have the problem that they are vulnerable and can be disappointed. Do you accept that?
I consider it a blessing that I need so much harmony and am always looking for love (laughs). Not for recognition, but for love and appreciation. I also claim in principle that I’m not arguing, just explaining why I’m right. I know the line is thin. I know the situation where you get stuck, where you get disharmony because you don’t like a person. I am very sensible. And of course I have to be careful that this good nature is not abused. I’ve learned that over the past few years. Trust is good, waiting is better. In the beginning you are always promised roses. You shouldn’t always trust them blindly. That’s a good approach.
Was there a moment when you knew music would be your life?
Definitely yes. I started playing the saxophone relatively late, when I was 14 years old. When I fell into the saxophone and the music, I knew relatively quickly that I wanted to be a musician. I said that to a professor at school and I can still remember her slight smile. For me was a pretty clear decision. After the lower grades at the Körnerschule in Linz, I switched to the Gymnasium Perg because there was a musical focus there. At the age of 16 I started studying for pre-gifted students at the Bruckner University.
Saxophone is not the most classic of all instruments that a young woman devotes herself to. How did you get the saxophone?
I started playing the guitar when I was six or seven years old, taking drumming classes. Everyone in Langenstein, where I grew up, noticed that. When the wind was right, everyone heard it. I don’t think it was always nice. But I’ve always tried. I honestly can’t say why the saxophone came to my mind. It was a brainstorm in the night. I got up the next morning and said: I want to learn the saxophone next week. When I was asked why, I said I just want it. Then we looked for a private teacher who was very fond of jazz and who drew me into jazz music. I loved it.
You have been living in Vienna for six years. How else does the Upper Austrian make itself felt in you?
I would say in stubbornness (laughs). And, of course, words that are Upper Austrian come up again and again in my way of speaking. I come from a house of quotes and sayings, my grandmother always quotes and these sayings, which you have noticed from the age of 5, you don’t forget either.
For example?
One can only talk about the weather. Since I grew up in the country, I carry an eternal down-to-earthness in me. I got a lot of peace from here. There was nothing going on. I wasn’t a party kid either. I wasn’t in the brass band, not in the youth group, I was a loner and I still am today, even though I’m very social and love being with people.
But you don’t look like a loner.
I love to report, to tell stories, to be open and warm-hearted – but I am always confronted with myself and my thoughts. I’ve always thought a little differently and very independently. That’s what I mean by loner. I don’t join the big bubble or the stream, I really like to go my own way.
Where will this path take you in the near future?
I’m a step by step person. I hope that the Knef program will be a success in that it can reach a certain audience that likes our way of interpretation. Now we have to go on stage and we have to convince and get good feedback. We would like to extend the concerts to Germany and Switzerland in 2023. I don’t want this to be just a short-lived band project. I have so many songs that I would like to sing, maybe there will be a second album with Knef songs, vocal duets for example, because it would have to have a different character than “all or nothing”. And then of course I want to stay healthy and true to myself. I want to continue on my way undeterred, no matter how the criticism turns out. I have to deal with the fact that people don’t like what I do. I have to accept that, even if I don’t have to understand it. Hildegard Knef once said: If you are married to art, then you have criticism for your mother-in-law.
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Did you actually consider postponing the album due to the corona pandemic or was that not an issue?
The release date is already postponed (laughs). To be honest, I don’t care anymore about postponing the album again. I wanted to publish it now, also because it fits the 20th anniversary of Hildegard Knef’s death.
Corona is certainly more of a curse for artists because concerts were not possible. How has the pandemic affected you?
I was able to make full use of the lockdowns for my personal and artistic development. If that hadn’t happened, I wouldn’t have started certain projects, like my trio Autobiography. I was only able to do that because nothing happened. And you are confronted with yourself. There has been nothing. No distraction. I made good use of the time. But now it’s been a long time. I can tell that the air is already out, both among the artists and the audience – in all areas. Everyone is already annoyed by the situation because we have to live in uncertainty for too long. That puts pressure on the mind. The first concerts with my Knef band are scheduled for mid-March, which is still a question mark. That’s the curse, because I’d like to have a certain level of security. But you can’t conjure them up. In summer I am optimistic that the concerts can take place.
Info: madeleine-joel.com
Source: Nachrichten
