Who was this man? This is the Edmund Eysler statue. Right here in Vienna’s Schönbornpark. It stands as a tribute to a remarkable composer. A man whose life mirrored the vibrant yet turbulent history of Vienna itself.
Edmund Eysler wasn’t just another composer. He was a pivotal figure in the “Silver Age” of Viennese operetta. Born Edmund Eisler in 1874 he initially trained as an engineer. His friend Leo Fall convinced him to study music instead. This led him to the Vienna Conservatory. He excelled there studying under renowned teachers like Anton Door and the Fuchs brothers. His classmates included notable figures like Ernst Decsey and Franz Schmidt.
Eysler started his career accompanying singers in Bertha von Suttner’s salon. His first published work was a waltz. It was dedicated to Bertha von Suttner. The waltz was appropriately titled “Friedensklänge” or “Sounds of Peace”. He worked as a piano teacher and a Kapellmeister supplementing his income. His early ambition to have his ballet “Schlaraffenland” produced at the Vienna State Opera was thwarted. Gustav Mahler rejected it citing high production costs. Another setback followed when Mahler rejected his opera “Der Hexenspiegel”. Yet from this apparent failure came something remarkable. While residing in Grinzing he composed the immortal melody “Kissing is no sin”. This became a highlight in his operetta “Bruder Straubinger”.
“Bruder Straubinger” became a breakthrough success in 1903. This was after a period of financial instability and even unemployment. His success was partly due to his change of name from Eisler to Eysler. His director thought the ‘Y’ would bring him fame. From then on he produced a string of operettas. His most famous include “Schützenliesl”, “Künstlerblut”, “Vera Violette”, “Der unsterbliche Lump”, “Der Frauenfresser”, “Der lachende Ehemann”, “Ein Tag im Paradies”, and “Die goldene Meisterin”. He collaborated with many librettists including Ignaz Schnitzer and Moritz Georg West. Many of his Viennese songs also gained popularity. His patriotic song “Ich liebe dich unendlich, mein Wien” is a testament to his love for Vienna.
Despite his success his Jewish heritage brought hardship during the Nazi era. His works were banned. Instead of fleeing he found refuge with relatives and friends. His title of “Honorary Citizen of Vienna” offered some protection. After the war he achieved a final great success with “Wiener Musik” in 1947. Tragically he died in 1949 falling from the stage during a revival of one of his operettas. He received an honorary grave in Vienna’s Zentralfriedhof. His legacy lives on not just in his music but also in the Eyslergasse in Vienna and this very statue. A lasting reminder of a man who embodied the spirit of Vienna.