wikipedia kurt weill

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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 Marxist critique 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

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Page 1: Wikipedia Kurt Weill

Kurt WeillFrom 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

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6 Death

7 Influence

8 Compositions

o 8.1 Stage works

o 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

o 8.3 Film music

9 Select discography

o 9.1 Orchestral, chamber, choral and other works

o 9.2 Song collections

o 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 (1867–1950) and

Emma Weill née Ackermann (1872–1955). 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 für 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

Page 3: Wikipedia Kurt Weill

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 répétiteur at the Friedrich-

Theater 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 Lüdenscheid, 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 Preußische

Akademie der Künste 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 Kurfürstendamm; 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

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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 Grünheide, 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-

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Oper and L'opéra 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 Bürgschaft (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

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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

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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

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[edit]Stage works

See List of works for the stage by Weill

[edit]Concert works

[edit]Cantatas

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

1919–1921 : 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)

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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 panaméenne 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

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1928 : Das Lied von den braunen Inseln, text: Lion

Feuchtwanger, from the play by same author, Petroleum Inseln

1933 : Der Abschiedsbrief, text: Erich Kästner, intended

for Marlene Dietrich

1933 : La complainte de Fantômas, text: Robert Desnos; for a

broadcast of Fantômas 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)

1942–44 : 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

1942–47 : 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

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1938 : You and Me

1945 : Where Do We Go From Here? text: Ira Gershwin

[edit]Select discography

[edit]Orchestral, chamber, choral and other 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 à Paris, Marie Galante and other works. Loes Luca,

Ensemble Dreigroschen, directed by Giorgio Bernasconi, assai,

2000

Melodie Kurta Weill'a i coś 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

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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.

Page 13: Wikipedia Kurt Weill

Ronald Sanders. The Days Grow Short: The Life and Music of

Kurt Weill (New York, Holt, Rinehart and Winston, 1980). ISBN 0-

03-019411-3.

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), Über 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) Jürgen Schebera, Kurt Weill (Rowohlt, Reinbek bei

Hamburg, 2000)

[edit]References

1. ^ a b c d e f "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. ^ a b c Kurt Weill. Cjschuler.net. Retrieved on August 22, 2011.

4. ^ a b c 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, Jürgen Schebera (editors). Musik und

musikalisches Theater – Gesammelte Schriften, 2000: Schott

Musik International, Mainz – ISBN 3-7957-0423-5, p 540

6. ̂  Hinton & Schebera, pp 540–541

7. ̂  Hinton & Schebera, pp 541

8. ̂  Hinton & Schebera, pp 541–542

9. ̂  Hinton & Schebera, p 542

10. ^ a b 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): 4–9. ISSN 0899-6407. Retrieved

October 24, 2010.

Page 14: Wikipedia Kurt Weill

12. ̂  Hinton & Schebera, pp 542–543

13. ̂  Music and the Holocaust: Weill, Kurt. Holocaustmusic.ort.org.

Retrieved on August 22, 2011.

14. ̂  Hinton & Schebera, p 543

15. ̂  Hinton & Schebera, pp 208–209

16. ̂  Kurt Weill. Spartacus.schoolnet.co.uk (April 3, 1950).

Retrieved on August 22, 2011.

17. ̂  http://www.ata-divisions.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

Page 15: Wikipedia Kurt Weill

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]

v

d

e Drama Desk Award for Outstanding Music (1969–1975)

[show]

v

d

e Tony Award for Best Original Score (1947–1975)

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Page 16: Wikipedia Kurt Weill

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site

Bertolt Brecht - Kurt Weill:Opera de trei paralePrimul Viaţă şi muncă1.1 Scurtă biografieKurt Weill a fost născut la 2.3.1900 în Dessau. Studii de compoziţie a desfăşurat prima dată de la A. Bing şi Engelbert Humperdinck. El a scris un master F. Busoni (1921-1923), în Berlin, muzică instrumentală şi melodii în stilul modern al expresionismului perioada postbelică. Prin munca pentrurevista, germană de radiodifuziune Weill a fost un teoretician important şi critic de radio. Weill în 1924, a mutat accentul de compozitiile sale pentru teatru şi a lucrat cu dramaturgi de

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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 în anii '20, în colaborare cu G. Kaiser, Y. Goll, B. Brecht şi C. Neher o formă complet nouă de teatru muzical, este să apară în mod special, la muzica de acţiune motivată de către agenţiile pentru care cursul este apoi întrerupte de numere sau de "melodii".Exil condus Weill 1933 la Londra şi la Paris la New York, unde sa stabilit definitiv. Faza american creativ este caracterizat de sofisticate şi în mod oficial autonomă musico-dramatice lucrări. Weill a extins în timp ce cele mai populare comedie pe Broadway muzical şi genuri muzicale se joace cu elemente de operă şi de teatru epic, şi a ajuns la o formare intensiv de muzică şi de acţiune.La data de 03/04/1950 de la New York, Weill moare de un atac de cord.2.1 LUCRARILucrarea Sa extins ar putea fi împărţită în trei zone, şi anume în domeniul muzicii instrumentale (22 de simfonii, cvartete de coarde, Quodlibet, Opus 9 .... pentru orchestră), lucrări vocal (Cantata la scară mică "la Berlin Requiem" Cantata "Recordare" " Orfeu noi "," Patru Walt Whitman Songs "....) şi piese de teatru (" Ascensiunea şi căderea oraşului Mahagonny "," Happy End "," The Da-oameni "," Cele şapte păcate de moarte ", etc.)1.2.1 Opera de trei paraleOpera de trei parale este o operă în 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 şi timpul de acţiune este în Londra, începutul anului optsprezecelea Lea. Premiera a avut loc pe data de 31.08.1928 la Berlin."Jocul cu muzica" ca subtitrarea de lucru menţionat la este corectă, una dintre cele mai mari succese teatrale, în 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 puţin importantă, o încercare reuşită de a aborda în mod direct publicului şi a le face receptivi la textul comisă. Piesele sunt conectate prin dialog Unite vorbit, elemente stilistice de jazz şi muzică de dans sub toposul de Bänkelsängerliedes, cu einarbeitete compozitorul chiar şi "greşit", constată că, artist popular în scorul lui. Melodiile sunt adaptate la vocile actorilor neinstruit cântând, care a deschis, de asemenea, posibilitatea de etape mici, pentru a efectua Opera de trei parale, şi contribuind astfel la succesul lor. Numerele sunt cel mai faimos cântec de soldaţi canon trăiesc pe arme şi balade Mackie cuţit şi are dinţi de rechin.Chiar şi uvertura, unul dintre idol stil baroc care citează mare Fuga, cu ei în mod deliberat false, polifonice da ponosite care fior de a face ambele, anunţă că aici ceva nou intră în scenă. Se încheie cu final, alternanţa de recitativ şi cor, şi Corala mare finală, 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 şi în pauze, resturile de fraze adăugate împreună, care a distrus de timp.Armonii, în versuri fatale diminuat al şaptelea, modificări cromatice ale paşi diatonic melodie uzate, expresive, care nu se exprima,

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ei par să ne greşit - facem aşa că trebuie să Weill, acordurile în sine, pe care el deoarece herholt greşit să stea pe triadele un ton ( ...), sau trebuie să se mute în cea mai elaborată în scorul, modulatory greutăţi, astfel încât supărat proporţiile armonioase (....). De astfel de tehnologie conduce un mod foarte precis cel mai bun, cel mai radical Stravinsky, de, soldaţii "1).

1.2.1.1 CUPRINS

Legea 1:După o balada, care descrie faptele Mackie diametru (Preludiu), se plânge de "Cerşetorul Regele" Peachum creşterea întărire a poporului. El se bazeaza pe compasiune, este entuziasmat de altă parte, cu ajutorul lui. Peachum Fiica lui Polly este de conducere în jurul cu Mack cuţit. Cele mai rele temeri ale părinţilor sunt depăşite: se căsătoreşte cu Mackie Polly într-un grajd gol. Gasca lui Mackie preia furtului de bunuri şi echipamente cu aspect muzical de sărbătoare. Poli se întoarce favoarea cu "Song a Pirate Jenny." Celebrarea este întreruptă de apariţia Tiger Sheriff Brown. Dar nu vă faceţi griji, el vine acasă. Mack şi Tiger Brown, amintiri proaspete colective ale războiului colonial de către cântând "Song Cannon". Polly a spus a doua zi după ce părinţii lor, indignaţi, că s-au căsătorit Peachum merge la Sheriff a vedea fiul său.. Soţia lui vrea o curvă în Cazare lui Mackie, mită, astfel încât ea dezvăluie Mackie la poliţie litigiilor pe cale amiabilă Peachum Prima familie., dar primele trei de penny de finala.

Doilea act:

Mackie fuge deoarece Tiger Brown el a scăzut, iar Polly preia administrarea afacerii. Mackie a fost arestat la curve în Turnbridge. Tiger Brown plânge lacrimi amare, va fi admis ca un prieten. În celula Mackie cântă "Balada de o viaţă plăcută." Înainte de a se întâlneşte cu fiica Polly grila Lucy Brown, împreună, care a fost, de asemenea, o dată căsătorit cu Mack.  Ei se mustra violent. Cu ajutorul lui Lucy de rupere de la Mackie, de Browns bucurie de scurtă durată, pentru că face Peachum apoi iad. El vrea să perturba încoronare a Reginei. În două Mackie şi final anunţă-Tonk Jenny: "În primul rând vine alimentar, apoi vine moralitatea."1) Schebera, Jürgen: "Kurt Weill," Nabu Verlag, Hamburg 2000, pp. 60ff

Actul 3:

În timpul nopţii, cerşetorii din Londra se pregătesc pentru demonstrarea lor de mizerie lor. Brown conduce personal de acţiune împotriva poliţiei. Peachum a încercat în zadar să-l descurajeze de argumente. Apoi dă cuvântul până în martie. Se cântă "Cântec de insuficienţa de activitate umană."Brown a recunoaşte că el are să dea. El promite arestarea Mackie din nou. Peachum îl numeşte locaţia lui şi schimba prima linie de abordare a coloanelor sale. Lucy şi Polly sunt reconciliate ca fraţi în suferinţă, pentru că Mackie este din nou admis. Ajutor este afară. Mackie face afacerea, cu Tiger Brown şi contul său, cu cerul în balada a la Francois Villon "Ei s-au lovit o mănâncă lor / cu ciocane grele de fier, / Pentru restul îmi amintesc prea / şi să le cereţi să mă ierte.". Acum, deziluzia ironic este condus de la ultima rezoluţie de poveste: Brown anunţă un mesager montat la

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iertare reginei. Mackie este ridicat la nobilimea ereditară, devine un sistem de blocare şi o pensie frumoasă de viaţă. Finalul treilea se încheie cu morala amoral: "Urme nu greşit prea mult." Al doilea Bertolt BrechtOpera de trei parale, Brecht este foarte critică a societăţii, dar nu în mod consecvent marxist, el nu este deloc uniformă în trend. El a compilat o serie de melodii provocatoare, uneori parodică, de conţinut, uneori, anarhic, unele balade amestecate cu Villon, care, ca şi propriul său, de multe ori sunt doar vag conectat cu textul. Remarca Tucholsky in "scena lumii" se aplică perfect atunci când scrie că Brecht în Opera de trei parale plakatiere nici o convingere. În acest sens, eroarea de critici burgheze care piesa nu a fost prezentat ca un act de acuzare a societăţii, ci pentru ipotezele Bären morale ale lui Brecht este de a înţelege bine. Un tanar deziluzionat de după război au simţit o plăcere în sondare cinic şi aplaudat, clasa de mijloc a provocat un pic, marxiştii au fost dezamăgiţi. Succes senzaţional de Opera de trei parale, Brecht a purtat, de asemenea, nume de dincolo de Germania se bazează pe faptul că a reuşit într-un amestec teatral extrem de eficientă de poveste parodie şi cântec, deoarece un extras din "deceniului furtunos" să fiarbă, echilibru vibrant, brash şi dur . În mod semnificativ a fost mijloace de teatru muzical de a transforma într-un mijloc de critică socială.Important a fost încercarea 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 ecuaţiei Gay asumat de societate mare şi lumea interlopă, cu Brecht: burghezia şi lumea interlopă, exacerbată parodie fără ca cineva se simte cu adevărat lovit. Macheath bandit cum poate fi în căsătorie stabilă a avut loc la Polly Peachum fure mobila, vrea ca din gasca lui şi deţine un impresionant ceremonia de discursuri de prezentare cina.Intenţia de Macheath de jaf de la autostrada de specialitate überzuwechseln banca, conduce spre sfârşitul Opera de trei parale de la parodie la un nivel mai realist de agresiune.Treilea ANALIZA3.1 Utilizarea CONŢINUTUL ŞI melodii în Opera de trei paraleCântatul este cea mai mare parte modul recitativ, cel, cor melodios. Instrumente este destul de tare, ascutit (alamă, percuţie), caracterul alternativ de muzică, între jazz şi agresiv moale-moale. În general, muzica poate fi numit bizar. De cântece şi balade sunt dramatic scos din teren, acestea sunt de conţinut într-o relaţie ruptă cu teren (Introduceri şi interaliate).Ego-ul dintre piese este rareori identic cu cifra de cantareata, ca Pirate Jenny, Canon song, ...Piesele varia în funcţie de toate un subiect: ce sau cum este omul?Omul este imoral, este funcţia de materialistă şi de instinctele sale sexuale. El nu are idealuri, şi întotdeauna gata să-i trădeze. El este incorrigibly rău.Concluzie: omul este o "creatură de obicei", fără morală şi idealuri!3.2 în dimineaţa zilei de PEACHUM Chorale

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Treziţi-vă, vă putred de Crăciun! Ai de viata ta păcătoasă, da, ceea ce un Rogue esti, Domnul va da la tine, atunci deja. Vanzarea fratele tău, nenorocitule! Verschacher Eh'weib dumneavoastră, vă nenorocit! Domnul Dumnezeu, pentru voi este de aer? Este vă arată la judecată.  3.2.1 FORMALĂ ABORDARECu Peachum Imnul Dimineaţa începe punct de vedere muzical, opera reală.Melodia a acestui număr a fost luată ca doar vechiul "Cerşetorul a lui Opera." Că de la începutul poveştii reale este un coral se face, nu este surprinzător. Acest lucru creează legătura Weill muzical dramaturgie cu primele finale (care urmează să fie prezentate în formă de aforisme ale Peachum coral), şi mai ales cu coral final al Operei.Vocea cântând este numai însoţită de o orga. Din pasaj: "Vanzarea fratele tău, ticălosule," doamna Peachum cântă de la camera de alături.Termenul "solemn", este luată în serios, de minciuna, mai ales la religia comercializate este valabil.3.2.2 ARMONIE, ritmul şi motiveDe timp, 6/4 este Corala a avut loc în sol minor, şi are o linie melodica simpla. De asemenea, modelul ritmică a vocii este păstrat simplu, Weill folosit aproape exclusiv note trimestru şi jumătate punctată.Modelele de patru ori repetate de bază (tonic - subdominant - domina - tonic) este prima parte (baruri 1-9). A doua parte (de la 10 la ciclul începe), Weill a creat variat uşor, şi apoi din nou cu coral în prima parte a cadenţa utilizat (I-IV-VI), pentru a decide.Linia muzical al vocii cantand este reflectată în acompaniamentul de orga. Se ruleaza tot timpul în voce soprana, hop din bara de 6 deschizător de la vechi, cu, şi se termină la măsura 10, cu kick-off din nou în soprana.3.2.3 TEXT INTERPRETAREAAccentul de coral este omul incorigibili, sărac, cunoscut ca un putred de Crăciun. Pentru vânzarea de fratele şi de troc de soţia sa, va primi răsplata corespunzătoare de la judecata. Faptul este că el, în această viaţă pentru o viaţă creştină şi temător de Dumnezeu, de a pune aparent nici o valoare susţine.3.3 Apel din CRYPTAuzi acum glasul celui ce strigă pentru milă. Macheath nu este sub păducel lor. Nu în carte, nu, într-un mormânt, l-au adus aici, mânia de soarta. Dumnezeu de finanţare, care aude încă ultimele sale cuvinte, cele mai groase ziduri se închide acum. Adresaţi-vă, nu pentru că ei, prietenii, unde a fost? El este mort, va fierbe ouă de vin? Atâta timp cât el trăieşte, este în încă! Nu vrei ca chinul său este etern?Acum, vino şi vezi cât de murdar este, acum el este într-adevăr, ceea ce se numeşte bustul.Autoritatea supremă ca sa schmier'gen numai banii recunoaşte vedea că el nu va conduce în groapă! Tu ar trebui să fie egală cu regina şi în grămezi şi talk müsstet cu ea despre el a fost cum să rulaţi una în spatele alţi porci.  Din păcate, dinţii sunt deja calcul cat de mult timp, vă va fi, că chinul său este etern?

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  3.3.1 FORMALĂ ABORDAREPiesa este zweistrophige în E minor. Instrumente constă din Alto saxofon tenor şi, trompetă, trombon, pian şi TomTom.Ceasul în cântec ¾-scris este cântat de Macheath bandit.După o introducere 7-bar începe vocea cântând, a cărui melodie este compusă aproape în întregime de note al optulea.Este un fel de incantatie, ca urmare a ritmului rapid şi nu sunt susceptibile de vocea cantand instruit de actor.3.3.2 ARMONIE, ritmul şi motiveStructura de cântec ar putea fi împărţite după cum urmează: A (Măsura 8 la 16) - B (16 bari la 24) - C (ciclu de 24 la 28)Într-o parte, există de două ori o întrebare şi răspunsul grup format din 4 bare. Weill folosite armonios tonic, subdominant şi de a domina (de multe ori cu anterior de conducere-nota).Această structură armonică el foloseşte tot piesa. În partea B este o modulare (bare de la 19 la 22), în special. Partea C este un fel de "repatriere" a subdominant de poziţie dominantă să tonic.Reţineţi, de asemenea, structura ce în ce mai constantă ritmică a acompaniament de pian şi TomTom (două note al optulea, de note trimestru, o perioadă de odihnă sfert) este. Celelalte instrumente formează un "zid de sunet", pentru melodia de voce cântând (note punctate jumătate au, de obicei, două bare).3.3.3 TEXT INTERPRETAREAMacheath în închisoare de aşteptare pentru executarea sa, dar speră să contribuie la prietenii lui.Pentru prima dată, aveţi Macheath bandit speriat şi tragindu pentru milă. Această formă de anxietate Weill este compoziţiei foarte bun.BIBLIOGRAFIEBrinkmann, Rainer şi MEGNET Catherine: Opera de trei parale, interpretarea dramatică a opere, Lugert Verlag GmbH & Co KG, OldershausenKusenberg, Kurt Brecht, Nabu Verlag, Hamburg 1959Schebera, Jürgen Kurt Weill, Nabu Verlag, Hamburg 2000Wöhrle, Dieter: Opera de trei parale - Bazele şi gânduri, Moritz Diesterweg Verlag, Frankfurt am Main 2001

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Text original în Germană:

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

Page 27: Wikipedia Kurt Weill

Brüchen, fügt die Trümmer der Floskeln aneinander, die die Zeit zerschlagen hat.

 Sugeraţi o traducere mai bună