Broadly ignored for a hundred years simply by most reference books, actually those in German, Rudolf Sieczynski is saved from oblivion from the popularity of an individual song, the haunting Wien, du Stadt meiner Träume (Vienna, City of My Dreams). By day time a authorities clerk, Sieczynski moonlighted the majority of his existence like a composer, focusing on Wienerlieder, songs generally extremely sentimental and nostalgic about Vienna. Created there in the elevation of Austria’s Golden Age group, Sieczynski discovered the piano from his mom, but his formal research were more useful, culminating inside a doctorate in laws from Vienna School. Johann Strauss II was still alive and a prominent Viennese musical amount through Sieczynski’s youngsters, but along with his loss of life as well as the coming from the twentieth hundred years, Austrian culture dropped into what traditionalists thought to be decay, using a macabre expressionism developing in both music and visible art as well as the imperial politics world falling aside in the years before and including Globe Battle I. The period’s brand-new Viennese intellectuals and performers were viewed as intensifying trailblazers by all of those other world, but in the home they appeared even more a threat towards the comfy old methods and nostalgia became a sizzling hot item among the bourgeoisie. Sieczynski was quite definitely a traditionalist by inclination and profession. He was a federal government functionary all his adult lifestyle, toiling being a junior clerk within a provincial workplace when he composed Wien, du Stadt meiner Träume in 1913. This he called his Op. 1, and there implemented through the battle years a humble stream of very similar parts: such Wienerlieder as Das sind expire Frauen und Mädchen von Wien and Ja, therefore ein Wiener Mäd’l, and such “typical” but just subtly differentiated lieder as Du altes ?-sterreich as well as the serenade Komm’, mein Blondes, Kleines Mädchen. Nearly incongruously, while he was composing this innocent-sounding materials, he offered through the battle years being a director from the internment place from the Wöllersdorf jail camp. Following the battle, firmly settled right into a pretty high administrative post with Decrease Austria’s Regional Agricultural Power, Sieczynski continued composing the occasional melody, almost always setting up his own text message, in to the early years of Globe Battle II. He also dabbled in literary areas, composing melodramas inspired with the functions of minimal Austrian poets and creating the libretto to get a 1918 children’s musical, Die selige Kinderzeit. His prose functions include the research Alt-Wien im Liede (1921) and Altwiener Volkskomiker (1947), as well as the generally autobiographical Wienerlied, Wiener Wein, Wiener Sprache (1947). Sieczynski attained positions of some specialist in Viennese music circles, as leader from the ?-sterreichischer Komponistenbund (the Austrian composers’ association) and, for 25 years, as vice leader of AKM, the Austrian culture of writers, composers, and music web publishers. His greatest award was most likely Vienna’s Band of Honor, honored him in 1948, but his music was therefore closely linked with its period and place that Sieczynski under no circumstances achieved comparable reputation outside his indigenous land.