Kurt Weill

From Wikipedia, the free encyclopedia

Not to be confused with the surname Kurzweil.

Kurt Weill in 1932.

Kurt Julian Weill (March 2, 1900[1] April 3, 1950[1]) was a German-Jewish composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxistcritique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist[2] who held the ideal of writing music that served a socially useful purpose.[3] He also wrote a number of works for the concert hall, as well as several Judaism-themed pieces.
Contents
[hide]

1 Personal life 2 Early work and compositions 3 Studies with Busoni 4 Success in the 1920s and early-1930s 5 Paris, London and New York

6 Death 7 Influence 8 Compositions

o o

8.1 Stage works 8.2 Concert works

8.2.1 Cantatas 8.2.2 Chamber music 8.2.3 Piano music 8.2.4 Orchestral works 8.2.5 Lieder, Lieder cycles, songs and chansons

8.3 Film music

9 Select discography

o o o

9.1 Orchestral, chamber, choral and other works 9.2 Song collections 9.3 Tributes

10 See also 11 Bibliography 12 References 13 External links

[edit]Personal

life

Kurt Julian Weill was born on March 2, 1900,[4] the third of four children to Albert Weill (18671950) and Emma Weill ne Ackermann (18721955). He grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau, Germany, where his father was a cantor.[1] At the age of twelve, Kurt Weill started taking piano lessons and made his first attempts at writing music; his earliest preserved composition was written in 1913 and is titled Mi Addir. Jewish Wedding Song.[5] In 1915, Weill started taking private lessons with Albert Bing, Kapellmeister at the "Herzogliches Hoftheater zu Dessau", who taught him piano, composition, music theory, and conducting. Weill performed publicly on piano for the first time in 1915, both as an accompanist and soloist. The following years he composed numerous Lieder to the lyrics of poets such as Joseph von Eichendorff, Arno Holz, andAnna Ritter, as well as a cycle of five songs titled Ofrahs Lieder to a German translation of a text by Yehuda Halevi.[6] Weill graduated with an Abitur from the Oberrealschule of Dessau in 1918, and enrolled at the Berliner Hochschule fr Musik at the age of 18, where he studied composition with Engelbert Humperdinck,[1] conducting with Rudolf Krasselt, and counterpoint with Friedrich E. Koch, and also attended philosophy lectures by Max Dessoir and Ernst Cassirer. The same year, he wrote his first string quartet (in B minor).[7]

[edit]Early

work and compositions

Weill's family experienced financial hardship in the aftermath of World War I, and in July 1919, Weill abandoned his studies and returned to Dessau, where he was employed as a rptiteur at the FriedrichTheater under the direction of the new Kapellmeister, Hans Knappertsbusch. During this time, he composed an orchestral suite in E-flat major, a symphonic poem of Rainer Maria Rilke's The Lay of the Love and Death of Cornet Christopher Rilke as well as Schilflieder, a cycle of five songs to poems by Nikolaus Lenau. In December 1919, through the help of Humperdinck, Weill was appointed as Kapellmeister at the newly founded Stadttheater in Ldenscheid, where he directed opera, operetta, and singspiel for five months, and also composed a cello sonata and Ninon de Lenclos, a now lost one-actoperatic adaptation of a play by Ernst Hardt. From May to September 1920, Weill spent a couple of months in Leipzig, where his father had become the new director of a Jewish orphanage. Before he returned to Berlin, in September 1920, he composed Sulamith, a choral fantasy for soprano, female choir, and orchestra.

[edit]Studies

with Busoni

Back in Berlin, Weill had an interview with Ferruccio Busoni in December 1920. After examining some of Weill's compositions, Busoni accepted him as one of five master students in composition at the Preuische Akademie der Knste in Berlin.[8] From January 1921 to December 1923, Weill studied music composition with him and also counterpoint with Philipp Jarnach in Berlin. During his first year he composed his first symphony, Sinfonie in einem Satz, as well as the lieder Die Bekehrte (Goethe) and two Rilkelieder for voice and piano. In order to support his family in Leipzig, he also worked as a pianist in a Bierkeller tavern. In spring of 1922, Weill joined the November Group's music faction. That year he composed a psalm, a divertimento for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. On November 18, 1922, his children's pantomime Die Zaubernacht (The Magic Night) premiered at the Theater am Kurfrstendamm; it was the first public performance of any of Weill's works in the field of musical theatre.[9] Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Among his students were Claudio Arrau, Maurice Abravanel, Henry (then known as Heinz) Jolles,[10] and Nikos Skalkottas. Arrau, Abravenel, and Jolles, at least, would remain members of Weill's circle of friends thereafter,[11] and Jolles's sole surviving composition predating the rise of the Nazi regime in 1933 is a fragment of a work for four pianos he and Weill wrote jointly.[10] Weill's compositions during his last year of studies includedQuodlibet, an orchestral suite version of Die Zaubernacht, Frauentanz, seven medieval poems for soprano, flute, viola, clarinet, French horn, and bassoon, and Recordare for choir and children's choir to words from the Book of Lamentations. Further premieres that year included a performance of his Divertimento for Orchestra by the Berlin Philharmonic under the direction of Heinz Unger on April 10, 1923, and the Hindemith-Amar Quartet's rendering of Weill's String Quartet, Op. 8, on June 24, 1923. In December 1923, Weill finished his studies with Busoni.[12]

[edit]Success

in the 1920s and early-1930s

Weill in the 1920s.

In 1922 he joined the Novembergruppe, a group of leftist Berlin artists that included Hanns Eislerand Stefan Wolpe.[13] In February 1924 the conductor Fritz Busch introduced him to the dramatistGeorg Kaiser, with whom Weill would have a long-lasting creative partnership resulting in several one-act operas. At Kaiser's house in Grnheide, Weill also first met the actress and future wifeLotte Lenya in summer 1924.[14] The couple got married twice: In 1926 and again in 1937 (following their divorce in 1933). Lenya took great care to support Weill's work, and after his death she took it upon herself to increase awareness of his music, forming the Kurt Weill Foundation. From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief.[15] Although he had some success with his first mature non-stage works (such as the String Quartet, Op. 8 or the Concerto for Violin and Wind Orchestra, Op. 12), which were influenced by Gustav Mahler, Arnold Schoenberg and Igor Stravinsky, Weill tended more and more to vocal music and musical theatre. His musical theatre work and his songs were extremely popular with the wider public in Germany at the end of the 1920s and the beginning of the 1930s. Weill's music was admired by composers such as Alban Berg, Alexander von Zemlinsky, Darius Milhaud and Stravinsky, but it was also criticised by others: by Schoenberg, who later revised his opinion, and by Anton Webern. His best-known work is The Threepenny Opera (1928), a reworking of John Gay's The Beggar's Opera written in collaboration with Bertolt Brecht. Engel directed the original production of The Threepenny Opera in 1928. It contains Weill's most famous song, "Mack the Knife" ("Die Moritat von Mackie Messer"). The stage success was filmed by Georg Wilhelm Pabst in two language versions: Die 3-Groschen-

Oper and L'opra de quat' sous. Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit that Weill won and Brecht lost. Weill's working association with Brecht, although successful, came to an end over politics in 1930. Although Weill associated with socialism,[16] after Brecht tried to push the play even further into a left wing direction, Weill commented, according to his wife Lenya, that he was unable to "set the communist party manifesto to music."[17]

[edit]Paris,

London and New York

Weill fled Nazi Germany in March 1933.[18] A prominent and popular Jewish composer, Weill was officially denounced for his socialist views and populist sympathies,[19] and became a target of the Nazi authorities, who criticized and interfered with performances of his later stage works, such as Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny, 1930), Die Brgschaft (1932), andDer Silbersee (1933). With no option but to leave Germany, he went first to Paris, where he worked once more with Brecht (after a project with Jean Cocteau failed) on the ballet The Seven Deadly Sins. On April 13, 1933 his musical The Threepenny Opera was given its premiere on Broadway, but closed after 13 performances to mixed reviews.[4] In 1934 he completed his Symphony No.2, his last purely orchestral work, conducted in Amsterdam and New York by Bruno Walter, and also the music for Jacques Deval's play, Marie Galante.[18] A production of his operetta Der Kuhhandel (A Kingdom for a Cow) took him to London in 1935, and later that year he went to the United States in connection with The Eternal Road,[1] a "Biblical Drama" by Franz Werfel that had been commissioned by members of New York's Jewish community and was premiered in 1937 at the Manhattan Opera House, running for 153 performances. Weill and his wife rented a house during the summer near Pine Brook Country Club in Nichols, Connecticut, the summer home of the Group Theatre, while working on Johnny Johnson (musical). Some of the other artists who summered there were; Elia Kazan, Harry Morgan, John Garfield, Lee J. Cobb, Will Geer, Clifford Odets, Howard Da Silva and Irwin Shaw [20][21][22] He and his wife moved to New York City on September 10, 1935, living first at the St. Moritz Hotel before moving on to an apartment at 231 East 62nd Street between Third and Second Avenues. [4] Weill believed that most of his work had been destroyed.[citation needed] He seldom (and reluctantly) spoke or wrote German again, with rare exception[citation needed] (for example, letters to his parents who had escaped to Palestine[citation
needed]

).

Rather than continue to write in the same style that had characterized his European compositions, Weill made a study of American popular and stage music, and his American output, though held by some to be inferior, nonetheless contains individual songs and entire shows that not only became highly respected and admired, but have been seen as seminal works in the development of the Americanmusical. Unique among Broadway composers of the time, Weill insisted on writing his own orchestrations (with some very few exceptions, such as the dance music in Street Scene).[23] He worked with writers such as Maxwell Anderson and Ira Gershwin, and wrote a film score for Fritz Lang (You and Me, 1938). Weill himself strove to find a new way of creating an American opera that would be both commercially and artistically

successful. The most interesting attempt in this direction is Street Scene, based on a play by Elmer Rice, with lyrics by Langston Hughes. For his work on Street Scene Weill was awarded the inaugural Tony Award for Best Original Score.[24] In the 1940s Weill lived in Downstate New York near the New Jersey border and made frequent trips both to New York City and to Hollywood for his work for theatre and film. Weill was active in political movements encouraging American entry into World War II, and after America joined the war in 1941, Weill enthusiastically collaborated in numerous artistic projects supporting the war effort both abroad and on the home front. He and Maxwell Anderson also joined the volunteer civil service by working as air raid wardens on High Tor Mountain between their homes in New City, New York and Haverstraw, New York in Rockland County. Weill became a naturalized citizenof the United States in 1943.[1] Weill had ideals of writing music that served a socially useful purpose. In the US, he wrote Down in the Valley, an opera including thesong of the same name and other American folk songs. He also wrote a number of songs in support of the American war effort, including the satirical "Schickelgruber" (with lyrics by Howard Dietz), "Buddy on the Nightshift" (with Oscar Hammerstein) and with Brecht again as in his earlier career the "Ballad of the Nazi Soldier's Wife" ("Und was bekam des Soldaten Weib?"). Intended for broadcast to Germany, the song chronicled the progress of the Nazi war machine through the gifts sent to the proud wife at home by her man at the front: furs from Oslo, a silk dress from Paris etc., until finally, from Russia, she receives her widow's veil.[3] Apart from "Mack the Knife" and "Pirate Jenny" from The Threepenny Opera, his most famous songs include "Alabama Song" (fromMahagonny), "Surabaya Johnny" (from Happy End), "Speak Low" (from One Touch of Venus), "Lost in the Stars" (from the musical of that name), "My Ship" (from Lady in the Dark), and "September Song" (from Knickerbocker Holiday).

[edit]Death
Weill suffered a heart attack shortly after his 50th birthday and died on April 3, 1950 in New York City. [18] He was buried in Mount Repose Cemetery in Haverstraw, New York. The text and music on his gravestone[25] come from the song "A Bird of Passage" from Lost in the Stars, itself adapted from a quotation from the Venerable Bede:[26] This is the life of men on earth: Out of darkness we come at birth Into a lamplit room, and then Go forward into dark again. (lyric: Maxwell Anderson) An excerpt from Maxwell Anderson's eulogy for Weill read: "I wish, of course, that he had been lucky enough to have had a little more time for his work. I could wish the times in which he lived had been less troubled. But these things were

as they were and Kurt managed to make thousands of beautiful things during the short and troubled time he had"[3]

[edit]Influence

German stamp commemorating Weill.

Sixty years after his death, Weill's music continues to be performed both in popular andclassical contexts. In Weill's lifetime, his work was most associated with the voice of his wife,Lotte Lenya, but shortly after his death "Mack the Knife" was established by Louis Armstrongand Bobby Darin as a jazz standard. His music has since been recorded by many performers, ranging from The Doors, Judy Collins, Lou Reed, Todd Rundgren, John Zorn, Dagmar Krause,Tom Waits and PJ Harvey to New York's Metropolitan Opera and the Vienna Radio Symphony Orchestra. Singers as varied as Teresa Stratas, Ute Lemper, Gisela May, Anne Sofie von Otter, Max Raabe, Dee Dee Bridgewater, and Marianne Faithfull have recorded entire albums of his music. Amanda Palmer, singer/pianist of the 'Brechtian Punk Cabaret' duo The Dresden Dolls, has Kurt Weill's name on the front of her keyboard (a pun with the name of the instrument maker Kurzweil) as a tribute to the composer. In 1991, seminal Swiss Industrial music band The Young Gods released their album of Kurt Weill songs, The Young Gods Play Kurt Weill. In 2008, Weill's songs were performed by Canadian musicians (including Sarah Slean and Mary Margaret O'Hara) in a tribute concert as part of the first annual Canwest Cabaret Festival in Toronto. In 2009 Duke Special released an EP, entitled Huckleberry Finn, of five songs from an unfinished musical by Kurt Weill based on the novel by Mark Twain.

[edit]Compositions

[edit]Stage

works

See List of works for the stage by Weill

[edit]Concert [edit]Cantatas

works

1920 : Sulamith, choral fantasy for soprano, female chorus and orchestra (lost)

1927 : Der neue Orpheus, cantata for soprano, solo violin and orchestra, op.16 (text: Yvan Goll)

1927 : Der Tod im Wald, cantata for bass and band (originally belonged to Das Berliner Requiem)

1928 : Das Berliner Requiem, cantata for tenor, baritone, male chorus (or three male voices) and wind orchestra (text: Bertolt Brecht)

1929 : Der Lindberghflug, cantata for tenor, baritone and bass soloists, chorus and orchestra (text: Bertolt Brecht, first version with music by Paul Hindemith and Weill, second version, also 1929, with music exclusively by Weill)

1940 : The Ballad of Magna Carta, cantata for tenor and bass soloists, chorus and orchestra (text: Maxwell Anderson)

[edit]Chamber music
1918 : String Quartet in B minor (without opus number) 1923 : String Quartet op. 8 19191921 : Sonata for Cello and Piano

[edit]Piano music
1917 : Intermezzo 1937 : Albumblatt for Erika (transcription of the pastorale from Der Weg der Verheissung)

[edit]Orchestral works
1919 : Suite for orchestra 1919 : Die Weise von Liebe and Tod, symphonic poem for orchestra after Rainer Maria Rilke (lost)

1921 : Symphony No.1 in one movement for orchestra 1922 : Divertimento for orchestra, op.5 (unfinished, reconstructed by David Drew)

1922 : Sinfonia Sacra, Fantasia, Passacaglia and Hymnus for orchestra, op. 6 (unfinished)

1923 : Quodlibet, suite for orchestra from the pantomime Zaubernacht, op. 9

1925 : Concerto for violin and wind orchestra, op. 12 1927 : Bastille Musik, suite for wind orchestra (arranged by David Drew, 1975) from the stage music to Gustav III, by August Strindberg

1929 : Kleine Dreigroschenmusik, suite from Die Dreigroschenoper for wind orchestra, piano and percussion, (premiere conducted byOtto Klemperer)

1934 : Suite panamenne for chamber orchestra, (from Marie Galante)

1934 : Symphony No. 2 in three movements for orchestra, (premiere by Royal Concertgebouw orchestra under Bruno Walter)

1947 : Hatikvah, arrangement of the Israeli National Anthem for orchestra

[edit]Lieder, Lieder cycles, songs and chansons

1919 : Die stille Stadt, for voice and piano, text: Richard Dehmel 1923 : Frauentanz op.10, Lieder cycle for soprano, flute, viola, clarinet, horn and bassoon (after medieval poems)

1923 : Stundenbuch, Lieder cycle for baritone and orchestra, text: Rainer Maria Rilke

1925 : Klopslied, for high voice, two piccolos and bassoon ('Ick sitze da un' esse Klops'/Berliner Lied)

1927 : Vom Tod im Wald (Death in the Forest), Op. 23, ballad for bass solo and ten wind instruments, text: Bertolt Brecht

1928 : Berlin im Licht-Song, slow-fox, text: Kurt Weill; composed for the exhibition Berlin im Licht, first performance in Wittenbergplatz (with orchestra) on October 13, and on October 16 in the Kroll Opera (with voice and piano)

1928 : Die Muschel von Margate: Petroleum Song, slow-fox, text: Felix Gasbarra for the play by Leo Lania, Konjunktur

1928 : Zu Potsdam unter den Eichen (In Potsdam under the Oak Trees), song for voice and piano, alternatively male chorus a cappella, text: Bertolt Brecht

1928 : Das Lied von den braunen Inseln, text: Lion Feuchtwanger, from the play by same author, Petroleum Inseln

1933 : Der Abschiedsbrief, text: Erich Kstner, intended for Marlene Dietrich

1933 : La complainte de Fantmas, text: Robert Desnos; for a broadcast of Fantmas in November 1933 (the music was lost, and later reconstructed by Jacques Loussier for Catherine Sauvage)

1933 : Es regnet, text: Jean Cocteau (direct into German) 1934 : Je ne t'aime pas, text: Maurice Magre for the soprano Lys Gauty

1934 : J'attends un navire, text: Jacques Deval, from Marie Galante ; as an independent song for Lys Gauty; used for the Hymne der Resistance during the Second World War

1934 : Youkali (originally the Tango habanera, instrumental movement in Marie Galante), Text: Roger Fernay

1934 : Complainte de la Seine, text: Maurice Magre 1939 : Stopping by Woods on a Snowy Evening, song for voice and piano, text: Robert Frost (unfinished)

1942 : Mine Eyes Have Seen the Glory, patriotic song arrangements for narrator, male chorus, and orchestra, of the Battle Hymn of the Republic (text: Julia Ward Howe), The Star-Spangled Banner (text: Francis Scott Key), America (text: Samuel Francis Smith) andBeat! Beat! Drums! (text: Walt Whitman)

194244 : Propaganda Songs, for voice and piano; written for the Lunch Hours Follies performed for the workers of a shipbuilding workshop in New York, then broadcast:

1942 : Buddy on the Nightshift, text: Oscar Hammerstein 1942 : Schickelgruber, text: Howard Dietz

1942 : Und was bekam des Soldaten Weib? (And what was sent to the soldier's wife?), ballad for voice and piano, text: Bertolt Brecht

194247 : Three Walt Whitman Songs, later Four Walt Whitman Songs for voice and piano (or orchestra), text: Walt Whitman

1944 : Wie lange noch?, text: Walter Mehring; premiere: Lotte Lenya

[edit]Film

music

1938 : You and Me 1945 : Where Do We Go From Here? text: Ira Gershwin

[edit]Select

discography
chamber, choral and other

[edit]Orchestral,

works

Berliner Requiem / Violin Concerto op.12 / Vom Tod im Walde. Ensemble Musique Oblique/ Philippe Herreweghe (Harmonia Mundi, 1997)

Kleine Dreigroschenmusik / Mahagonny Songspiel / Happy End / Berliner Requiem / Violin Concerto op.12. /Ballade vom Tod im Walde op.23 /Pantomime I (from Der Protagonist op.14) London Sinfonietta, David Atherton, Nona Liddell (violin), Meriel Dickinson (mezzo-soprano), Mary Thomas (mezzo-soprano), Philip Langridge (tenor), Ian Partridge (tenor), Benjamin Luxon (baritone), Michael Rippon (bass), (Deutsche Grammophon 4594422, 1999)

Kurt Weill Paris, Marie Galante and other works. Loes Luca, Ensemble Dreigroschen, directed by Giorgio Bernasconi, assai, 2000

Melodie Kurta Weill'a i co ponadto Kazik Staszewski (SP Records, 2001)

Complete String Quartets. Leipziger Streichquartett (MDG 307 1071-2)

Symphonies 1 & 2. BBC Symphony Orchestra, Gary Bertini (EMI, 1968)

[edit]Song

collections

Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs (Sony 1997)

Speak Low Songs by Kurt Weill Anne Sofie von Otter, conducted by John Eliot Gardiner (Deutsche Grammophon 1995)

Youkali: Art Songs by Satie, Poulenc and Weill. Patricia O'Callaghan (Marquis, 2003)

The Unknown Kurt Weill (Nonesuch LP D-79019, 1981) Teresa Stratas, soprano, Richard Woitach, piano. Track list: "Nanna's Lied" (1939), "Complainte de la Seine" (1934), "Klops-Lied" (1925), "Berlin im Licht-song" (1928), "Und was Bekam des

Soldaten Weib?" (1943), "Die Muschel von Margate: Petroleum Song" (1928), "Wie Lange Noch?" (1944), "Youkali: Tango Habanera" (1935?), "Der Abschiedsbrief" (1933?), "Es Regnet" (1933), "Buddy on the Nightshift" (1942), "Schickelgruber" (1942), "Je ne t'aime pas" (1934), "Das Lied von den Braunen Inseln" (1928)

[edit]Tributes
Lost in the Stars: The Music of Kurt Weill Produced by Hal Wilner, with performances by Tom Waits, Lou Reed, Sting, Marianne Faithfull, Carla Bley, Charlie Haden, John Zorn and others. (A&M Records, 1987)

September Songs: The Music of Kurt Weill also produced by Wilner, with performances by Elvis Costello, PJ Harvey, Nick Cave,William S. Burroughs, and others) (Sony Music, 1997)

Gianluigi Trovesi/Gianni Coscia: Round About Weill (ECM, 2005) The Young Gods Play Kurt Weill (Pias, April 1991), Studio recording of the songs performed live in 1989.

Ben Bagley's Kurt Weill Revisited and Kurt Weill Revisited, Vol. 2, with performances by Chita Rivera, Ann Miller, Estelle Parsons,John Reardon, Tammy Grimes, Nell Carter, Arthur Siegel, and Jo Sullivan, among others. (Painted Smiles)

An Evening of Kurt Weill, starring Bebe Neuwirth, Roger Rees, and Larry Marshall, was performed in NYC at Alice Tully Hall. Rees directed the production.

[edit]See

also

Paul Hindemith A Kurt Weill Cabaret LoveMusik Bertolt Brecht

[edit]Bibliography

David Drew. Kurt Weill: A Handbook (Berkeley, Los Angeles, University of California Press, 1987). ISBN 0-520-05839-9.

Kim H. Kowalke. A New Orpheus: Essays on Kurt Weill (New Haven, Yale University Press, 1986). ISBN 0-300-03514-4.

Ronald Sanders. The Days Grow Short: The Life and Music of Kurt Weill (New York, Holt, Rinehart and Winston, 1980). ISBN 003-019411-3.

Donald Spoto. Lenya A Life (Little, Brown and Company 1989) Lys Symonette & Kim H. Kowalke (ed. & trans.) Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya(University of California Press 1996)

(German) David Drew (Editor), ber Kurt Weill (Frankfurt am

Main, Suhrkamp, 1975) Excellent collection of texts, including an introduction by David Drew and including texts by Theodor W. Adorno

(German) Jrgen Schebera, Kurt Weill (Rowohlt, Reinbek bei

Hamburg, 2000)

[edit]References
a b c d e f

1.

"Kurt Weill Dead; Composer, Was 50" (PDF, fee

required). The New York Times (The New York Times Co.): p. 28. April 4, 1950. Retrieved April 1, 2008. 2. ^ Alan Bush Music Trust More Than a Pleasant Way to Pass the Time?. Alanbushtrust.org.uk (April 23, 1964). Retrieved on August 22, 2011. 3. 4. ^ ^
a b c a b c

Kurt Weill. Cjschuler.net. Retrieved on August 22, 2011. Jackson, Kenneth T. (1995). The Encyclopedia of New

York City. New York City: The New York Historical Society; Yale University Press. p. 1252. ISBN 0-300-05536-6. 5. ^ Stephen Hinton, Jrgen Schebera (editors). Musik und musikalisches Theater Gesammelte Schriften, 2000: Schott Musik International, Mainz ISBN 3-7957-0423-5, p 540 6. 7. 8. 9. ^ Hinton & Schebera, pp 540541 ^ Hinton & Schebera, pp 541 ^ Hinton & Schebera, pp 541542 ^ Hinton & Schebera, p 542
a b

10. ^

Musica Reanimata of Berlin, Henry Jolles accessed

September 28, 2008 11. ^ Lenya, Lotte; George Davis (Spring 1997). "Weill and His Collaborators" (PDF). Kurt Weill Newsletter (Kurt Weill Foundation for Music) 15 (1): 49. ISSN 0899-6407. Retrieved October 24, 2010.

12. ^ Hinton & Schebera, pp 542543 13. ^ Music and the Holocaust: Weill, Kurt. Holocaustmusic.ort.org. Retrieved on August 22, 2011. 14. ^ Hinton & Schebera, p 543 15. ^ Hinton & Schebera, pp 208209 16. ^ Kurt Weill. Spartacus.schoolnet.co.uk (April 3, 1950). Retrieved on August 22, 2011. 17. ^ http://www.atadivisions.org/LD/newsletter/2009/2009Source_july3.pdf 18. ^
a b c

Mercado, Mario R. Kurt Weill: A Guide To His Works, The

Kurt Weill Foundation for Music, 1989. 19. ^ influences

[dead link]

20. ^ Pinewood Lake website retrieved on September 10, 2010. Pinewoodlake.org (May 20, 2009). Retrieved on August 22, 2011. 21. ^ Images of America, Trumbull Historical Society, 1997, p. 123 22. ^ Real Life Drama: The Group Theatre and America, 1931 1940, p. 264 23. ^ "The Boys That Make the Noise", Music section, Time (magazine), July 5, 1943. 24. ^ Tony Award for Best Original Score. Broadwayworld.com. Retrieved on August 22, 2011. 25. ^ Kurt Weill at Find a Grave 26. ^ Historia Ecclesiastica Gentis Anglorum (History of the English Church and People) Book 2, Ch. 13

[edit]External

links

Kurt Weill Foundation, including a detailed list of works Schott Music The OREL Foundation- Kurt Weill's biography and links to bibliography, discography and media.

Kurt Weill at the Internet Broadway Database Kurt Weill at the Internet Movie Database Program note to Kurt Weill's Symphony No. 2 from the Los Angeles Chamber Orchestra

Yale University's Gilmore Music Library has an important collection of Kurt Weill's Papers and Music, especially from his years in America

Finding aid to Universal Edition-Kurt Weill Archives Manuscripts on deposit at the Ruth T. Watanabe Special Collections Department, Sibley Music Library, Eastman School of Music, University of Rochester

[show]

Drama Desk Award for Outstanding Music (19691975)

[show]

Tony Award for Best Original Score (19471975)

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Bertolt Brecht - Kurt Weill: Opera de trei parale

Primul Via i munc 1.1 Scurt biografie Kurt Weill a fost nscut la 2.3.1900 n Dessau. Studii de compoziie a desfurat prima dat de la A. Bing i Engelbert Humperdinck. El a scris un master F. Busoni (1921-1923), n Berlin, muzic instrumental i melodii n stilul modern al expresionismului perioada postbelic. Prin munca pentrurevista, german de radiodifuziune Weill a fost un teoretician important i critic de radio. Weill n 1924, a mutat accentul de compozitiile sale pentru teatru i a lucrat cu dramaturgi de

conducere ale Republicii de la Weimar. Cel mai mare succes de data aceasta a fost de Opera de trei parale. Bazat pe expresionist de teatru Weill dezvoltat n anii '20, n colaborare cu G. Kaiser, Y. Goll, B. Brecht i C. Neher o form complet nou de teatru muzical, este s apar n mod special, la muzica de aciune motivat de ctre ageniile pentru care cursul este apoi ntrerupte de numere sau de "melodii". Exil condus Weill 1933 la Londra i la Paris la New York, unde sa stabilit definitiv. Faza american creativ este caracterizat de sofisticate i n mod oficial autonom musico-dramatice lucrri. Weill a extins n timp ce cele mai populare comedie pe Broadway muzical i genuri muzicale se joace cu elemente de oper i de teatru epic, i a ajuns la o formare intensiv de muzic i de aciune. La data de 03/04/1950 de la New York, Weill moare de un atac de cord. 2.1 LUCRARI Lucrarea Sa extins ar putea fi mprit n trei zone, i anume n domeniul muzicii instrumentale (22 de simfonii, cvartete de coarde, Quodlibet, Opus 9 .... pentru orchestr), lucrri vocal (Cantata la scar mic "la Berlin Requiem" Cantata "Recordare" " Orfeu noi "," Patru Walt Whitman Songs "....) i piese de teatru (" Ascensiunea i cderea oraului Mahagonny "," Happy End "," The Da-oameni "," Cele apte pcate de moarte ", etc.) 1.2.1 Opera de trei parale Opera de trei parale este o oper n opt scene, cu un prolog de Kurt Weill. Textul a fost scris de Bertolt Brecht de traducere a lui Elisabeth Hauptmann de Opera cersetor (1728) de John Gay.Locul i timpul de aciune este n Londra, nceputul anului optsprezecelea Lea. Premiera a avut loc pe data de 31.08.1928 la Berlin. "Jocul cu muzica" ca subtitrarea de lucru menionat la este corect, una dintre cele mai mari succese teatrale, n data de 20 Lea. Deja premiera mondiala sub bagheta lui Theo Mackeben a fost adaugat luciu. Muzica lui Weill, pentru dezvoltarea a operei este mai puin important, o ncercare reuit de a aborda n mod direct publicului i a le face receptivi la textul comis. Piesele sunt conectate prin dialog Unite vorbit, elemente stilistice de jazz i muzic de dans sub toposul de Bnkelsngerliedes, cu einarbeitete compozitorul chiar i "greit", constat c, artist popular n scorul lui. Melodiile sunt adaptate la vocile actorilor neinstruit cntnd, care a deschis, de asemenea, posibilitatea de etape mici, pentru a efectua Opera de trei parale, i contribuind astfel la succesul lor. Numerele sunt cel mai faimos cntec de soldai canon triesc pe arme i balade Mackie cuit i are dini de rechin. Chiar i uvertura, unul dintre idol stil baroc care citeaz mare Fuga, cu ei n mod deliberat false, polifonice da ponosite care fior de a face ambele, anun c aici ceva nou intr n scen. Se ncheie cu final, alternana de recitativ i cor, i Corala mare final, acest muzical plin de culoare, set de rafinat pentru un total de 23 de instrumente. Theodor W. Adorno a descris procedura foarte bine: "Weill compus melodiile sale noi, punctul de vechi pentru a se chiar i n pauze, resturile de fraze adugate mpreun, care a distrus de timp.Armonii, n versuri fatale diminuat al aptelea, modificri cromatice ale pai diatonic melodie uzate, expresive, care nu se exprima, ei par s ne greit - facem aa c trebuie s Weill, acordurile n sine, pe care el

deoarece herholt greit s stea pe triadele un ton ( ...), sau trebuie s se mute n cea mai elaborat n scorul, modulatory greuti, astfel nct suprat proporiile armonioase (....). De astfel de tehnologie conduce un mod foarte precis cel mai bun, cel mai radical Stravinsky, de, soldaii "1). 1.2.1.1 CUPRINS Legea 1: Dup o balada, care descrie faptele Mackie diametru (Preludiu), se plnge de "Ceretorul Regele" Peachum creterea ntrire a poporului. El se bazeaza pe compasiune, este entuziasmat de alt parte, cu ajutorul lui. Peachum Fiica lui Polly este de conducere n jurul cu Mack cuit. Cele mai rele temeri ale prinilor sunt depite: se cstorete cu Mackie Polly ntr-un grajd gol. Gasca lui Mackie preia furtului de bunuri i echipamente cu aspect muzical de srbtoare. Poli se ntoarce favoarea cu "Song a Pirate Jenny." Celebrarea este ntrerupt de apariia Tiger Sheriff Brown. Dar nu v facei griji, el vine acas. Mack i Tiger Brown, amintiri proaspete colective ale rzboiului colonial de ctre cntnd "Song Cannon". Polly a spus a doua zi dup ce prinii lor, indignai, c s-au cstorit Peachum merge la Sheriff a vedea fiul su.. Soia lui vrea o curv n Cazare lui Mackie, mit, astfel nct ea dezvluie Mackie la poliie litigiilor pe cale amiabil Peachum Prima familie., dar primele trei de penny de finala.
Doilea act: Mackie fuge deoarece Tiger Brown el a sczut, iar Polly preia administrarea afacerii. Mackie a fost arestat la curve n Turnbridge. Tiger Brown plnge lacrimi amare, va fi admis ca un prieten. n celula Mackie cnt "Balada de o via plcut." nainte de a se ntlnete cu fiica Polly grila Lucy Brown, mpreun, care a fost, de asemenea, o dat cstorit cu Mack. Ei se mustra violent. Cu ajutorul lui Lucy de rupere de la Mackie, de Browns bucurie de scurt durat, pentru c face Peachum apoi iad. El vrea s perturba ncoronare a Reginei. n dou Mackie i final anun-Tonk Jenny: "n primul rnd vine alimentar, apoi vine moralitatea."

1) Schebera, Jrgen: "Kurt Weill," Nabu Verlag, Hamburg 2000, pp. 60ff
Actul 3:

n timpul nopii, ceretorii din Londra se pregtesc pentru demonstrarea lor de mizerie lor. Brown conduce personal de aciune mpotriva poliiei. Peachum a ncercat n zadar s-l descurajeze de argumente. Apoi d cuvntul pn n martie. Se cnt "Cntec de insuficiena de activitate uman."Brown a recunoate c el are s dea. El promite arestarea Mackie din nou. Peachum l numete locaia lui i schimba prima linie de abordare a coloanelor sale. Lucy i Polly sunt reconciliate ca frai n suferin, pentru c Mackie este din nou admis. Ajutor este afar. Mackie face afacerea, cu Tiger Brown i contul su, cu cerul n balada a la Francois Villon "Ei s-au lovit o mnnc lor / cu ciocane grele de fier, / Pentru restul mi amintesc prea / i s le cerei s m ierte.". Acum, deziluzia ironic este condus de la ultima rezoluie de poveste: Brown anun un mesager montat la iertare reginei. Mackie este ridicat la nobilimea ereditar, devine un sistem de

blocare i o pensie frumoas de via. Finalul treilea se ncheie cu morala amoral: "Urme nu greit prea mult." Al doilea Bertolt Brecht Opera de trei parale, Brecht este foarte critic a societii, dar nu n mod consecvent marxist, el nu este deloc uniform n trend. El a compilat o serie de melodii provocatoare, uneori parodic, de coninut, uneori, anarhic, unele balade amestecate cu Villon, care, ca i propriul su, de multe ori sunt doar vag conectat cu textul. Remarca Tucholsky in "scena lumii" se aplic perfect atunci cnd scrie c Brecht n Opera de trei parale plakatiere nici o convingere. n acest sens, eroarea de critici burgheze care piesa nu a fost prezentat ca un act de acuzare a societii, ci pentru ipotezele Bren morale ale lui Brecht este de a nelege bine. Un tanar deziluzionat de dup rzboi au simit o plcere n sondare cinic i aplaudat, clasa de mijloc a provocat un pic, marxitii au fost dezamgii. Succes senzaional de Opera de trei parale, Brecht a purtat, de asemenea, nume de dincolo de Germania se bazeaz pe faptul c a reuit ntr-un amestec teatral extrem de eficient de poveste parodie i cntec, deoarece un extras din "deceniului furtunos" s fiarb, echilibru vibrant, brash i dur . n mod semnificativ a fost mijloace de teatru muzical de a transforma ntr-un mijloc de critic social.Important a fost ncercarea de un nou mod de joc. Una dintre scenele cele mai puternice din Opera de trei parale includ conturile de mic-burghez mentalitate, cei care au prosperat in lumea interlopa din Londra umor bizar. Mod de a ecuaiei Gay asumat de societate mare i lumea interlop, cu Brecht: burghezia i lumea interlop, exacerbat parodie fr ca cineva se simte cu adevrat lovit. Macheath bandit cum poate fi n cstorie stabil a avut loc la Polly Peachum fure mobila, vrea ca din gasca lui i deine un impresionant ceremonia de discursuri de prezentare cina. Intenia de Macheath de jaf de la autostrada de specialitate berzuwechseln banca, conduce spre sfritul Opera de trei parale de la parodie la un nivel mai realist de agresiune. Treilea ANALIZA 3.1 Utilizarea CONINUTUL I melodii n Opera de trei parale Cntatul este cea mai mare parte modul recitativ, cel, cor melodios. Instrumente este destul de tare, ascutit (alam, percuie), caracterul alternativ de muzic, ntre jazz i agresiv moale-moale. n general, muzica poate fi numit bizar. De cntece i balade sunt dramatic scos din teren, acestea sunt de coninut ntr-o relaie rupt cu teren (Introduceri i interaliate). Ego-ul dintre piese este rareori identic cu cifra de cantareata, ca Pirate Jenny, Canon song, ... Piesele varia n funcie de toate un subiect: ce sau cum este omul? Omul este imoral, este funcia de materialist i de instinctele sale sexuale. El nu are idealuri, i ntotdeauna gata s-i trdeze. El este incorrigibly ru. Concluzie: omul este o "creatur de obicei", fr moral i idealuri! 3.2 n dimineaa zilei de PEACHUM Chorale Trezii-v, v putred de Crciun! Ai de viata ta pctoas, da, ceea ce un Rogue esti, Domnul va da la tine, atunci deja. Vanzarea fratele tu,

nenorocitule! Verschacher Eh'weib dumneavoastr, v Dumnezeu, pentru voi este de aer? Este v arat la judecat.

nenorocit! Domnul

3.2.1 FORMAL ABORDARE Cu Peachum Imnul Dimineaa ncepe punct de vedere muzical, opera real. Melodia a acestui numr a fost luat ca doar vechiul "Ceretorul a lui Opera." C de la nceputul povetii reale este un coral se face, nu este surprinztor. Acest lucru creeaz legtura Weill muzical dramaturgie cu primele finale (care urmeaz s fie prezentate n form de aforisme ale Peachum coral), i mai ales cu coral final al Operei. Vocea cntnd este numai nsoit de o orga. Din pasaj: "Vanzarea fratele tu, ticlosule," doamna Peachum cnt de la camera de alturi. Termenul "solemn", este luat n serios, de minciuna, mai ales la religia comercializate este valabil. 3.2.2 ARMONIE, ritmul i motive De timp, 6/4 este Corala a avut loc n sol minor, i are o linie melodica simpla. De asemenea, modelul ritmic a vocii este pstrat simplu, Weill folosit aproape exclusiv note trimestru i jumtate punctat. Modelele de patru ori repetate de baz (tonic - subdominant - domina - tonic) este prima parte (baruri 1-9). A doua parte (de la 10 la ciclul ncepe), Weill a creat variat uor, i apoi din nou cu coral n prima parte a cadena utilizat (I-IV-VI), pentru a decide. Linia muzical al vocii cantand este reflectat n acompaniamentul de orga. Se ruleaza tot timpul n voce soprana, hop din bara de 6 deschiztor de la vechi, cu, i se termin la msura 10, cu kick-off din nou n soprana. 3.2.3 TEXT INTERPRETAREA Accentul de coral este omul incorigibili, srac, cunoscut ca un putred de Crciun. Pentru vnzarea de fratele i de troc de soia sa, va primi rsplata corespunztoare de la judecata. Faptul este c el, n aceast via pentru o via cretin i temtor de Dumnezeu, de a pune aparent nici o valoare susine. 3.3 Apel din CRYPT Auzi acum glasul celui ce strig pentru mil. Macheath nu este sub pducel lor. Nu n carte, nu, ntr-un mormnt, l-au adus aici, mnia de soarta. Dumnezeu de finanare, care aude nc ultimele sale cuvinte, cele mai groase ziduri se nchide acum. Adresai-v, nu pentru c ei, prietenii, unde a fost? El este mort, va fierbe ou de vin? Atta timp ct el triete, este n nc! Nu vrei ca chinul su este etern? Acum, vino i vezi ct de murdar este, acum el este ntr-adevr, ceea ce se numete bustul.Autoritatea suprem ca sa schmier'gen numai banii recunoate vedea c el nu va conduce n groap! Tu ar trebui s fie egal cu regina i n grmezi i talk msstet cu ea despre el a fost cum s rulai una n spatele ali porci. Din pcate, dinii sunt deja calcul cat de mult timp, v va fi, c chinul su este etern? 3.3.1 FORMAL ABORDARE

Piesa este zweistrophige n E minor. Instrumente const din Alto saxofon tenor i, trompet, trombon, pian i TomTom. Ceasul n cntec -scris este cntat de Macheath bandit. Dup o introducere 7-bar ncepe vocea cntnd, a crui melodie este compus aproape n ntregime de note al optulea. Este un fel de incantatie, ca urmare a ritmului rapid i nu sunt susceptibile de vocea cantand instruit de actor. 3.3.2 ARMONIE, ritmul i motive Structura de cntec ar putea fi mprite dup cum urmeaz: A (Msura 8 la 16) - B (16 bari la 24) - C (ciclu de 24 la 28) ntr-o parte, exist de dou ori o ntrebare i rspunsul grup format din 4 bare. Weill folosite armonios tonic, subdominant i de a domina (de multe ori cu anterior de conducere-nota). Aceast structur armonic el folosete tot piesa. n partea B este o modulare (bare de la 19 la 22), n special. Partea C este un fel de "repatriere" a subdominant de poziie dominant s tonic. Reinei, de asemenea, structura ce n ce mai constant ritmic a acompaniament de pian i TomTom (dou note al optulea, de note trimestru, o perioad de odihn sfert) este. Celelalte instrumente formeaz un "zid de sunet", pentru melodia de voce cntnd (note punctate jumtate au, de obicei, dou bare). 3.3.3 TEXT INTERPRETAREA Macheath n nchisoare de ateptare pentru executarea sa, dar sper s contribuie la prietenii lui.Pentru prima dat, avei Macheath bandit speriat i tragindu pentru mil. Aceast form de anxietate Weill este compoziiei foarte bun. BIBLIOGRAFIE Brinkmann, Rainer i MEGNET Catherine: Opera de trei parale, interpretarea dramatic a opere, Lugert Verlag GmbH & Co KG, Oldershausen Kusenberg, Kurt Brecht, Nabu Verlag, Hamburg 1959 Schebera, Jrgen Kurt Weill, Nabu Verlag, Hamburg 2000 Whrle, Dieter: Opera de trei parale - Bazele i gnduri, Moritz Diesterweg Verlag, Frankfurt am Main 2001

Text original n German:

Theodor W. Adorno beschrieb die Vorgehensweise sehr treffend: Weill komponiert seine neuen Melodien, die alten zu deuten, selber schon in

Brchen, fgt die Trmmer der Floskeln aneinander, die die Zeit zerschlagen hat.
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