Stainzer Polka (E. Reinisch) [Sheet music]

Stainzer Polka (Stainz is a municipality in Styria, so based on Grazer Spatzen being from Styria, it’s probably named after that) is an instrumental from the 1990s by Erich Reinisch, the trumpet player from one of Austria’s most popular and influential (while specialising in Oberkrainer style) Alpine folk music bands from Austria, Grazer Spatzen (Sparrows from Graz) from Styria. They are known for highly energetic, virtuosic playing, and extremely fast polkas. For example ‘Stainzer Polka’ was performed at around 160bpm by Grazer Spatzen, which is particularly impressive with 16th note accompaniment on accordion and the Gypsy Swing inspired Oberkrainer style guitar rhythm. Although the original was performed in a quintet […]

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Beltuna Polka – Blick vom Dachstein (M. Kovačič) [Sheet music]

‘Beltuna Polka’ or ‘Blick vom Dachstein’ (View from Dachstein – a mountain range in the Upper Austria, Styria and Salzburg regions of Austria) is a recent instrumental polka by Matej Kovačič, an amazing accordionist from Slovenia who has been performing since the 1980s. His parents are legendary composer/arranger Boris Kovačič and singer Stanka Kovačič, known for her gentle, beautiful voice, and songs such as ‘Prinesi mi rože‘. Matej is known for his virtuosic playing and a unique style that I believe has several influences such as Jože Burnik and Vital Ahačič, and incorporates a lot of energy into his playing. He initially recorded with his father’s ensemble in the 1980s

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Moje sanje, sanje najine (B. Kovačič) [Sheet music]

This is a beautiful waltz by legendary Slovenian composer Boris Kovačič, sung by his wife Stanka Kovačič in the 1960s and covered several times by Slovenian popular-folk (Oberkrainer) ensembles. The title translates to “My dream, our dream” and sings of two people in love, who dreamed together every night when they first met, and continue to share dreams and wishes throughout their lives. Stanka Kovačič is known for her exceptionally gentle, beautiful voice, which was perfectly paired together with Trio Vital Ahačič’s warm accompaniment, beautiful lyrics, and Boris Kovačič’s beautiful compositions and arrangements. Sheet music 📝 Sheet music pdf (F major)

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Hegl Boarischer – Rehragout Boarischer (Bavarian folk song) [Sheet music] [Accompaniment track]

This is a traditional folk song which is said to have originated from Bavaria, known as ‘Rehragout Boarischer’ which translates to ‘Venison stew’ and is a Boarischer (basically a slower paced 2/4 dance from Bavaria). In the 1980s it was adapted by an incredibly popular Austrian folk music group from Tirol, Zillertaler Schürzenjäger, as ‘Hegl Boarischer’, despite not crediting it as a folk song initially (later compilation albums did). According to some sources ‘Hegl’ is a Tyrolean dialect term for a pleasant young person, or possibly for a young boy. Although both versions have lyrics in part C, it can also be played as an instrumental, and is often played

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Mi ne gremo na drug planet – Wir bleiben hier auf dieser schönen Welt (V. & S. Avsenik) [Sheet music]

This is another one of the Avsenik brothers’ polkas which have become more widely played in the last few decades. Its Slovenian title translates to “We’re not going to another planet” and its German title similarly translates to “We’ll stay here in this beautiful world”. Its lyrics speak of refusing to visit other planets, as Earth is too beautiful and precious to trade for any other location. Slovenian and German versions with lyrics in both languages were released, and an instrumental version was released on the Slovenian double album “Vesele Urice” and German album “Fröhliche Stunden Mit Musik”. The Slovenian double album from 1977 which features the vocal version, “Povsod

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Harmonika Hans’l (Austrian folk song) [Sheet music]

“Harmonika Hans’l” is a traditional Austrian waltz (from the context of existing recordings I’m assuming it’s from Austria) of unknown origin and has been recorded several times by different Austrian folk music groups, primarily traditional folk music rather than the Oberkrainer style, and on the Steirische Harmonika (Styrian or Alpine button accordion), however it was also recorded by a little known Oberkrainer style group presumably from Austria or Germany called “Marburger Quintett” (named after Slovenian city, Maribor) in the 1980s in the style of a Slovenian/Oberkrainer trio, on piano accordion, possibly by Oberkrainer accordion icon, Sandi Jug. I couldn’t find much else on this song, but I thought it’s a

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