All DJs and those aspiring to become one know that in the clubs, it’s all about the right transitions and the mood in the dance crowd. But what is the right way to play in a beer garden? Mathias Achatz became known beyond Munich, among other things as the bandmaster at the Chinesischer Turm beer garden and as the Oktoberfest bandmaster at the Ochsenbraterei (Oktoberfest tent). We chat with him about rhythm changes in brass music, crowd pleasers and the right moment for 15 minutes of silence.
Mr Achatz – It is well known that DJs think about the dramaturgy of their sets. But what about beer garden music: How do you play in a beer garden like the one at the Chinesischer Turm (Chinese tower)?
Well, that’s not so easy to answer. It depends on the audience. It can be very different from one Saturday to another, for example.
In what way?
It sometimes happens that at lunchtime there are real brass music fans downstairs, from the clubs in the area, from Pöcking or Starnberg. They really appreciate more demanding brass music, so you have to play concert polka sometimes.
And on the next Saturday?
The benches are full of football fans.
And what do they want?
They want to listen to “Böhmischer Traum” (Bohemian Dream) 15 times. Right and wrong is always relative in a beer garden. You can, however, also play “Böhmischer Traum“ really well.
Is there anything beer garden bandmasters tend to do wrong at the beginning of their career?
In the beginning, the musicians are more challenging than the audience. Good musicians are sensitive people, otherwise they wouldn't be good musicians. They can take even the slightest criticism very badly.
How do you deal with audience requests that don't actually suit you?
You have to be sovereign. As I mentioned earlier, if “Böhmischer Traum” is requested, we play it. Everything else would be nonsense.
Which song do you choose when you want to really heat things up?
Then we can also venture into the world of pop songs. Hits like “Ein Bett im Kornfeld“ still work very well.
Do the innkeepers give you instructions on how often you have to play “Ein Prosit der Gemütlichkeit“ so that people empty their glasses quickly?
No, it's a myth that “Prosit“ has to be played a certain number of times per hour.
But when you play it, you do it on autopilot, don't you?
Of course, and then there’s toasting and drinking. But at this year's Wiesn (Oktoberfest), for example, we could have played as many “Prosits“ as we wanted, and there still wouldn't have been any more drinking.
Are you really tired of “Prosit” sometimes?
No, that’s part of it. On the contrary, when you've played three or four pieces, “Prosit“ also means that there's a five-to-ten-minute break. After all, we play for many hours in the beer garden, usually from 12 noon to 5.30 pm.
What are the moments when, after 30 years, your musical heart still swells during those five and a half hours?
When everything fits together, the piece being played then doesn't really matter. You're like in a fever.
How often does that happen?
There are days when it's 80 percent of the time. But, of course, there or other days, when your’e glad when it’s over.
Do you always play with the same eight musicians at Chinesischer Turm?
No, but that would be great. I have a pool of 70 people. The line-up changes from one day to the next. It used to be different in the past.
When do you allow yourself or your musicians the first beer?
The people who play with us know what's going on and have a beer or sometimes two, but that's it. When I was a co-musician, I experienced a few unpleasant things when it came to alcohol in brass bands. After all, we are service providers.
And you yourself?
A sip at the most, when the boss comes on stage or a guest has a birthday.
Have you ever thought to yourself during your performances at Chinesischer Turm: That's really weird, sitting on a Chinese tower with a brass band?
Haha, of course! That's what everyone sitting there thinks, too. By the way, it's interesting that the tower is a terrific amplifier. Sometimes you can hear the music all the way to the garden of the Residenz (city palace). Totally crazy.
You are a professionally trained classical musician, do you ever feel you are betraying the art when you play in a beer garden or beer tent?
No, not at all. You can also play in a beer garden without betraying the art. Like a ball evening with a gala band: it can be performed at a very, very high level. And conversely, a symphony orchestra cannot automatically stage a brilliant “West Side Story“. That's one of the things you can't learn when you study classical music. I know very good orchestra musicians who can't interpret a polka properly.
Really?
Indeed. The polka is all about the right feeling. If you haven't grown into it, you have a hard time. No matter how well trained you are. Basically, it's like swing, where European musicians also run the risk of sounding too static and edgy. The correct interpretation of the polka quavers alone is a science in itself. Dam-da-daram-da ... many a renowned bandmaster has really struggled with this. Some say, it must clearly go in the 6/8 direction, others that it must be played straight.
And what do you say?
The bottom line is that none of this is quite true. You can't actually fully explain it. Many things also differ from region to region. The Austrians, for example, play the quavers quite differently than we do in Bavaria. And the Moravian musicians play the eighth notes in yet another way, very straight, almost classical. In the end, the feeling has to be right. As Gustav Maler said: “The best in music cannot be read in the notes.”
Do you have a favourite polka?
“Wenn Heidrun erzählt“ – the Heidrun polka by Franz Watz. A bit atypical, yet brilliant.
You also perform on the Oktoberfest. Which do you prefer: A beer garden or the Oktoberfest?
It's more relaxed in the beer garden. But at the Oktoberfest, we have the really big line-up, with electric guitar, electric bass, four singers. Very enthralling.
Finally, a short round of questions about Oktoberfest hits. I name the most famous ones and you say the first thing that comes to your mind. “Skandal im Sperrbezirk“?
Always goes down incredibly well. But also as a song – as great as ever.
“Hulapalu“?
We have a good version where our singer mingles with the audience and does a choreography with the people. Personally, I’m a bit tired of that one.
“So ein schöner Tag (Das Fliegerlied)“?
I don’t need that.
“Purple Rain“?
Still love that one.
“Happy“?
We played it once a few years ago, didn't work at all. Dead, no vibe.
“Viva Colonia“?
I don’t need it at all.
But you play it?
Now and then the chorus after “Prosit“.
Why is it actually “Viva Colonia“ and not “Viva Bavaria“ in Bavaria?
I never understood that. But that often happens to me. I don’t think you have to understand all the Wiesn hits.
“Weilst a Herz hast wie a Bergwerk“?
The best bouncer. Still is. Probably will be one forever.
Ever heard “Prosit” in your dreams?
No, never.
So? Are you glad you didn’t?
Indeed!
Born in 1981 in Neukirchen beim Heiligen Blut in the Upper Palatinate, Mathias Achatz has played the trumpet since the age of five and has been a professional musician since the age of 19. He studied his instrument at the Richard Strauss Conservatory in Munich and completed a Master's degree at the Academy of Music in Malmö. After engagements with the Stuttgart Philharmonic and various other orchestras, he started his own business as a bandmaster and music arranger for brass and light music in 2004. He has never completely given up classical music, but today, he is mainly regarded as one of the best brass band conductors in and around Bavaria. He became world-famous in Munich through his performances in the beer garden at Chinesischer Turm, in the Ochsenbraterei as part of the Oktoberfest, and as trumpet soloist at the traditional square concert for all Oktoberfest hosts under the Bavaria (monument).
