Upload
lee-lidia
View
133
Download
6
Embed Size (px)
Citation preview
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
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
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
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-
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
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 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)
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
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
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
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 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.
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
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)
View page ratings
Rate this page
What's this?
Trustworthy
Objective
Complete
Well-written
I am highly knowledgeable about this topic (optional)
Submit ratings
Categories:
1900 births
1950 deaths
People from Dessau-Roßlau
German Jews
German socialists
German composers
American composers
20th-century classical composers
Opera composers
American musical theatre composers
German musical theatre composers
Jewish classical musicians
Jewish composers and songwriters
People from Anhalt
German Jews who emigrated to the United States to escape Nazism
American musicians of German descent
Songwriters Hall of Fame inductees
Tony Award winners
People from Rockland County, New York
Log in / create account
Article
Talk
Read
Edit
View history
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact Wikipedia ToolboxPrint/exportLanguages
Català
Česky
Dansk
Deutsch
Ελληνικά
Español
Esperanto
Euskara
فارسی
Français
Galego
한국어
Ido
Bahasa Indonesia
Italiano
עברית
Latina
Latviešu
Magyar
Nederlands
日本語
Norsk (bokmål)
Norsk (nynorsk)
Occitan
Polski
Português
Русский
Simple English
Slovenčina
Slovenščina
Srpskohrvatski / Српскохрватски
Suomi
Svenska
Türkçe
中文
This page was last modified on 15 January 2012 at 18:40.
Text is available under the Creative Commons Attribution-ShareAlike License;
additional terms may apply. See Terms of use for details.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a
non-profit organization.
Contact us
Privacy policy
About Wikipedia
Disclaimers
Mobile view
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
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,
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
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
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?
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
Text original în Germană:
Theodor W. Adorno beschrieb die Vorgehensweise sehr treffend: „Weill komponiert seine neuen Melodien, die alten zu deuten, selber schon in
Brüchen, fügt die Trümmer der Floskeln aneinander, die die Zeit zerschlagen hat.
Sugeraţi o traducere mai bună