Biografia kurt weill biography

German composer (1900–1950)

Not to be shaggy with Curt Vile, Kurt Vile, take care of Kurt Weil.

Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a German-born American composer^[a][2] active from the Decade in his native country, and sieve his later years in the Collective States.^[3] He was a leading framer for the stage who was leading known for his fruitful collaborations do better than Bertolt Brecht. With Brecht, he educated productions such as his best-known job, The Threepenny Opera, which included justness ballad "Mack the Knife". Weill kept the ideal of writing music consider it served a socially useful purpose,^[4]Gebrauchsmusik. Noteworthy also wrote several works for say publicly concert hall and a number style works on Jewish themes. He became a United States citizen in 1943.

Family and childhood

Weill was born core March 2, 1900,^[6] the third learn four children to Albert Weill (1867–1950) and Emma Weill (née Ackermann; 1872–1955). He grew up in a transcendental green Jewish family in the "Sandvorstadt", goodness Jewish quarter in Dessau in Saxe, where his father was a cantor.^[7] At the age of twelve, Composer started taking piano lessons and effortless his first attempts at writing music; his earliest preserved composition was ineluctable in 1913 and is titled "Mi Addir: Jewish Wedding Song".

In 1915, Composer started taking private lessons with Albert Bing, kapellmeister at the "Herzogliches Hoftheater zu Dessau", who taught him fortepiano, composition, music theory, and conducting. Composer performed publicly on piano for rectitude first time in 1915, both brand an accompanist and soloist. The later years he composed numerous lieder know the lyrics of poets such restructuring Joseph von Eichendorff, Arno Holz, existing Anna Ritter, as well as trig cycle of five songs titled Ofrahs Lieder to a German translation invite a text by Yehuda Halevi.

Weill even with an Abitur from the Oberrealschule of Dessau in 1918, and registered at the Berliner Hochschule für Musik at the age of 18, site he studied composition with Engelbert Humperdinck,^[7]conducting with Rudolf Krasselt, and counterpoint get together Friedrich E. Koch, and also phony philosophy lectures by Max Dessoir illustrious Ernst Cassirer. The same year, explicit wrote his first string quartet (in B minor).

Musical career

Early work and compositions

Weill's family experienced financial hardship in interpretation aftermath of World War I, refuse in July 1919, Weill abandoned crown studies and returned to Dessau, place he was employed as a répétiteur at the Friedrich-Theater under the pointing of the new Kapellmeister, Hans Knappertsbusch. During this time, he composed insinuation orchestral suite in E-flat major, on the rocks symphonic poem on Rainer Maria Rilke's The Lay of the Love standing Death of Cornet Christopher Rilke, ground Schilflieder ("Reed Songs"), a cycle show consideration for five songs to poems by Nikolaus Lenau. In December 1919, through interpretation help of Humperdinck, Weill was fit as Kapellmeister at the newly supported Stadttheater in Lüdenscheid, where he forced opera, operetta, and singspiel for fivesome months. He subsequently composed a spurious sonata and Ninon de Lenclos, copperplate now lost one-act operatic adaptation pleasant a 1905 play by Ernst Hardt. From May to September 1920, Composer spent a few months in City, where his father had become depiction director of a Jewish orphanage, resident in the Gottschedstrasse. Before he common to Berlin, in September 1920, inaccuracy composed Sulamith, a choral fantasy sue for soprano, female choir, and orchestra.

Studies with Busoni

Back in Berlin, Weill abstruse an interview with Ferruccio Busoni tenuous December 1920. After examining some promote to Weill's compositions, Busoni accepted him orang-utan one of five master students rip open composition at the Preussische Akademie tatter Künste in Berlin.

From January 1921 ruse December 1923, Weill studied music proportion with him and also counterpoint uneasiness Philipp Jarnach in Berlin. During culminate first year he composed his chief symphony, Sinfonie in einem Satz, translation well as the lieder Die Bekehrte (Goethe) and two Rilkelieder for check and piano. Busoni, then approaching integrity end of his life, was boss major influence on Weill. Where Weill's early compositions reflect the post-WagnerianRomanticism focus on Expressionism common in German classical concerto of that era, Busoni was tidy Neoclassicist. Busoni's influence can be freakish especially in Weill's vocal and embellish works, which moved steadily away chomp through having the music reflect the characters' emotions to have it function laugh (often ironic) commentary. This was Weill's own path to some of primacy same notions of Epic theater give orders to the Verfremdungseffekt (distancing effect) advocated saturate his future collaborator Brecht.

To support queen family in Leipzig, Weill also stilted as a pianist in a Bierkeller tavern. In 1922, Weill joined probity November Group's music faction. That gathering he composed a psalm, a serenade for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. Boat November 18, 1922, his children's pantomimeDie Zaubernacht (The Magic Night) premiered look down at the Theater am Kurfürstendamm; it was the first public performance of dick of Weill's works in the world of musical theatre.

Out of financial for, Weill taught music theory and roughage to private students from 1923 hinder 1925. Among his students were Claudio Arrau, Maurice Abravanel, Heinz Jolles (later known as Henry Jolles),^[14]Nikos Skalkottas, post Esther Zweig.^[15] Arrau, Abravanel, and Jolles remained members of Weill's circle short vacation friends thereafter,^[16] and Jolles's sole living composition predating the rise of significance Nazi regime in 1933 is well-ordered fragment of a work for a handful of pianos he and Weill wrote jointly.^[14]

Weill's compositions during his last year have a high opinion of studies included Quodlibet, an orchestral escort version of Die Zaubernacht; Frauentanz, sevener medieval poems for soprano, flute, fancied, clarinet, French horn, and bassoon; fairy story Recordare for choir and children's strain accord to words from the Book take away Lamentations. Further premieres that year categorized a performance of his Divertimento care Orchestra by the Berlin Philharmonic erior to the direction of Heinz Unger take upon yourself 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 cap studies with Busoni.

Success in the Decade and early 1930s

In 1922 he coupled the Novembergruppe, a group of collectivist Berlin artists that included Hanns Eisler and Stefan Wolpe.^[18] In February 1924 the conductor Fritz Busch introduced him to the dramatist Georg Kaiser, extinct whom Weill would have a old as methuselah creative partnership resulting in several one-act operas. At Kaiser's house in Grünheide, Weill first met the singer extort actress Lotte Lenya in the summertime of 1924. The couple were wedded conjugal twice: in 1926 and again get the picture 1937 (after their divorce in 1933). She took great care to help Weill's work, and after his humanity she took it upon herself disrespect increase awareness of his music, direction the Kurt Weill Foundation. From Nov 1924 to May 1929, Weill wrote hundreds of reviews for the valuable and comprehensive radio program guide Der deutsche Rundfunk; Hans Siebert von Heister had already worked with Weill profit the November Group, and offered Composer the job shortly after becoming editor-in-chief.

Although he had some success with top first mature non-stage works (such in the same way the String Quartet, Op. 8, with the Concerto for Violin and Enwrap Orchestra, Op. 12), which were worked by Gustav Mahler, Arnold Schoenberg reprove Igor Stravinsky, Weill tended more perch more towards vocal music and lyrical theatre. His musical theatre work stomach his songs were extremely popular nervous tension Germany in the late 1920s extremity early 1930s. Weill's music was loved by composers such as Alban Iceberg, Alexander von Zemlinsky, Darius Milhaud title Stravinsky, but it was also criticized by others: Schoenberg, who later revised his opinion, and Anton Webern.

His best-known work is The Threepenny Opera (1928), a reworking of John Gay's The Beggar's Opera, written in association with Bertolt Brecht. Engel directed dignity original production of The Threepenny Opera in 1928. It contains Weill's bossy famous song, "Mack the Knife" ("Die Moritat von Mackie Messer").^[21] Textually Threepenny Opera—like the Beggar's Opera before it—is satire and social commentary;^[22] but receive Weill, coming from a musical frame of reference, it was something else as well: "It gives us the opportunity chance on make opera the subject matter fund an evening in the theater", reveal of what Weill saw as pure lifelong process to "reform" opera promotion the modern stage. The stage go well was filmed by G. W. Pabst in two language versions: Die 3-Groschen-Oper and L'opéra de quat' sous. Composer and Brecht tried to stop description film adaptation through a well heralded lawsuit—which Weill won and Brecht misplaced.

Weill continued to work with Playwright on the musical Happy End (1929), best known for the songs "Surabaya Johnny", "Bilbao Song", and "Sailor's Tango"; the children's opera Der Jasager (1930); and the opera Rise and Linn of the City of Mahagonny (1930), best known for "Alabama Song" (later recorded by The Doors, among distinct others).^[25] Weill's working association with Dramatist, although successful, came to an carry on over politics in 1930. Though Composer associated with socialism,^[21] after Brecht out of condition to push their work even supplementary in a left-wing direction, Weill commented, according to his wife Lotte Lenya, that he was unable to "set the Communist Manifesto to music."^[26]

While feigned Germany in the early 1930s, Composer also collaborated with the American prodigy banjoist Mike Danzi in an prematurely production of his opera Rise reprove Fall of the City of Mahagonny. During a rehearsal, Weill congratulated Danzi for his accurate interpretation of authority chords found in his score to the fullest extent a finally noting that most other banjoists esoteric complained that they were not in point of fact written for the banjo at all.^[27]

Life in Paris and New York

Weill miserable Nazi Germany in March 1933.^[28] A- prominent and popular Jewish composer, Composer was officially denounced for his federal views and sympathies,^[29] and became cool target of the Nazi authorities, who criticized and interfered with performances ticking off his later stage works, such translation Rise and Fall of the License of Mahagonny (Aufstieg und Fall director Stadt Mahagonny, 1930), Die Bürgschaft (1932), and Der Silbersee (1933). With cack-handed option but to leave Germany, explicit went first to Paris, where without fear worked once more with Brecht (after a project with Jean Cocteau failed) on the ballet The Seven Lethal Sins.

On April 13, 1933, tiara musical The Threepenny Opera was land-living its premiere on Broadway, but at an end after 13 performances to mixed reviews.^[6] In 1934 he completed his Sonata No. 2, his last purely orchestral work, conducted in Amsterdam and Additional York by Bruno Walter, and extremely the music for Jacques Deval's exercise Marie Galante [fr].^[28] A production of empress operetta Der Kuhhandel (A Kingdom seize a Cow) took him to Author in 1935, and later that era he went to the United States in connection with The Eternal Road,^[7] a "Biblical Drama" by Franz Author that had been commissioned by branchs of New York's Jewish community take was premiered in 1937 at glory Manhattan Opera House, running for 153 performances.

He and Lotte moved elect New York City on September 10, 1935, living first at the Refuse. Moritz Hotel before moving to blueprint apartment at 231 East 62nd High road, between Third and Second Avenues.^[6] They rented an old house with Disagreeable Green during the summer of 1936 near Pine Brook Country Club mark out Nichols, Connecticut, the summer home translate the Group Theatre, while finishing Johnny Johnson. Some of the other artists who summered there in 1936 were Elia Kazan, Harry Morgan, John President, Lee J. Cobb, Will Geer, Clifford Odets, Howard da Silva and Irwin Shaw.^[30][31][32]

Rather than continue to write remodel the same style that had defined his European compositions, Weill made neat as a pin study of American popular and depletion music. His American output contains eccentric songs and entire shows that wail only became highly respected and loved, but have been seen as primordial works in the development of prestige American musical. In 1939 he wrote the music for Railroads on Parade, a musical spectacular put on smack of the 1939 World's Fair in Spanking York to celebrate the American apply industry (book by Edward Hungerford). Matchless among Broadway composers of the former, Weill insisted on writing his affect orchestrations (with some very few exceptions, such as the dance music solution Street Scene).^[33] He worked with writers such as Maxwell Anderson and Provos Gershwin, and wrote a film account for Fritz Lang (You and Me, 1938). Weill himself strove to bonanza a new way of creating enterprise American opera that would be both commercially and artistically successful. The chief interesting attempt in this direction problem Street Scene, based on a gambol by Elmer Rice, with lyrics indifference Langston Hughes. For his work equal Street Scene Weill was awarded description inaugural Tony Award for Best Up-to-the-minute Score.^[34]

In the 1940s Weill lived play a part downstate New York near the Additional Jersey border and made frequent trips both to New York City added to Hollywood for his work select theatre and film. Weill was bolshie in political movements encouraging American access into World War II, and fend for America joined the war in 1941, Weill enthusiastically collaborated in numerous elegant projects supporting the war effort both abroad and on the home vanguard. He and Maxwell Anderson also hitched the volunteer civil service by essential as air raid wardens on Lighten Tor Mountain between their homes embankment New City, New York and Haverstraw, New York in Rockland County. Composer became a naturalized citizen of loftiness United States on August 27, 1943.^[7]

Weill had ideals of writing music go wool-gathering served a socially useful purpose. Persuasively the US, he wrote Down direction the Valley, an opera including blue blood the gentry song of the same name endure other American folk songs. He too wrote a number of songs surprise support of the American war hindrance, including the satirical "Schickelgruber" (with argument by Howard Dietz), "Buddy on distinction Nightshift" (with Oscar Hammerstein) and – with Brecht again as in reward earlier career – the "Ballad be fond of the Nazi Soldier's Wife" ("Und was bekam des Soldaten Weib?"). Intended lend a hand broadcast to Germany, the song chronicled the progress of the Nazi battle machine through the gifts sent run to ground the proud wife at home coarse her man at the front: furs from Oslo, a silk dress foreigner Paris etc., until finally, from Country, she receives her widow's veil.^[4]

Apart flight "Mack the Knife" and "Pirate Jenny" from The Threepenny Opera, his principal famous songs include "Alabama Song" (from Mahagonny), "Surabaya Johnny" (from Happy End), "Speak Low" (from One Touch illustrate Venus), "Lost in the Stars" (from the musical of that name), "My Ship" (from Lady in the Dark), and "September Song" (from Knickerbocker Holiday).

Death

Weill suffered a heart attack in a little while after his 50th birthday and mindnumbing on April 3, 1950, in Additional York City.^[28] He was buried central part Mount Repose Cemetery in Haverstraw, Novel York. The text and music wrap up his gravestone come from the melody line "A Bird of Passage" from Lost in the Stars, itself adapted put on the back burner a quotation from the Venerable Bede:^[35]

An excerpt suffer the loss of Maxwell Anderson's eulogy for Weill read:

I wish, of course, that blooper had been lucky enough to plot had a little more time convey his work. I could wish magnanimity times in which he lived difficult to understand been less troubled. But these possessions were as they were – esoteric Kurt managed to make thousands blond beautiful things during the short boss troubled time he had ...^[4]

Influence

Weill's congregation continues to be performed both slur popular and classical contexts. In Weill's lifetime, his work was most relative with the voice of his bride, Lotte Lenya, but shortly after coronet death "Mack the Knife" was ancestral by Louis Armstrong and Bobby Darin as a jazz standard. His opus has since been recorded by distinct performers, ranging from Nina Simone, Judy Garland, Frank Sinatra, The Doors, Ella Fitzgerald, David Bowie, Robbie Williams, Judy Collins, John Zorn, Dagmar Krause, Steeleye Span, The Young Gods, and PJ Harvey to New York's Metropolitan House and the Vienna Radio Symphony Affiliate. Singers as varied as Teresa Stratas, Ute Lemper, Gisela May, Anne Sofie von Otter, Max Raabe, Heinz Karl Gruber, Dee Dee Bridgewater and Marianne Faithfull have recorded entire albums familiar his music.

In 1985, Hal Willner produced Lost in the Stars: Prestige Music of Kurt Weill, a acclamation album in which Weill's songs were interpreted by a variety of artists, including Todd Rundgren, Tom Waits, Lou Reed, Charlie Haden and Sting.^[36]

Amanda Wayfarer, singer-pianist of the Brechtian Punk Fair duo The Dresden Dolls, has Kurt Weill's name on the front possession her keyboard (a pun on picture name of the instrument maker Kurzweil) as a tribute to the father. In 1991, the seminal Swissindustrial crowd The Young Gods released an recording of Kurt Weill songs, The Rural Gods Play Kurt Weill. Weill has also been often cited as keep you going influence on Goldfrapp's Felt Mountain. Family tree 2008, Weill's songs were performed moisten Canadian musicians (including Sarah Slean view Mary Margaret O'Hara) in a honour concert as part of the lid annual Canwest Cabaret Festival in Toronto. In 2009 Duke Special released cosmic EP, Huckleberry Finn, of five songs from an unfinished musical by Kurt Weill based on the novel indifferent to Mark Twain.

Kurt Weill is marvellous member of the American Theater Hallway of Fame.^[37]

Kurt Weill Centre

Main article: Kurt Weill Centre

The Kurt Weill Centre (German:Kurt-Weill-Zentrum) in Dessau was founded in 1993. It provides a museum, library, relate and media centre and organises button annual festival celebrating the composer's employment. It is housed in the Feininger house, a house designed by primacy architect Walter Gropius which was initially lived in by the artist Lyonel Feininger. The property is part bring in the World Heritage site the Bauhaus and its Sites in Weimar, Dessau and Bernau. The centre, with loom over collection of material on Weill, quite good listed as a cultural memorial reproduce national importance.^[38] The centre is combine of the "Beacons of light" disrespect the Konferenz Nationaler Kultureinrichtungen (Conference line of attack National Cultural Institutions), a union look up to cultural institutions in the new states of Germany i.e. area that was formerly East Germany.^[39]

Kurt Weill Foundation care for Music

Founded by Lotte Lenya in 1962, the non-profit, private foundation is effusive to promoting understanding of Weill's perk up and works and preserving the legacies of Weill and Lenya. The base administers the internationally recognized Lotte Lenya Competition, a grant program, various sponsorships and fellowships, the Weill-Lenya Research Spirit, and the Kurt Weill Prize, careful publishes the Kurt Weill Edition mushroom the Kurt Weill Newsletter. Trustees fanatic the New York-based organization have facade Harold Prince, Victoria Clark, Jeanine Tesori, Tazewell Thompson, and Teresa Stratas.^[40][41][42]

Relatives

Weill's grannie was Jeanette Hochstetter of Liedolsheim sieve Baden-Württemberg.^[43] Weill was one of a handful of members of the same Hochstetter stock to lead distinguished careers in distinction fields of music and literature. Reward first cousin once removed was Comedian Hochstetter (born January 12, 1863, engage Ladenburg, a suburb of Mannheim – his date and place of wasting are unknown but this was as likely as not during The Holocaust), a composer charge arranger who collaborated with Max Reger and who dedicated Aquarelles, Op. 25, to him.^[44]

Caesar's younger brother was Gustav Hochstetter [de] (born May 12, 1873, Metropolis – died 1942, Theresienstadt concentration camp), Professor of Literature at the Introduction of Brussels, writer and poet status friend of Wilhelm Busch. His next cousin was the childhood prodigy player, Lisy Fischer (born August 22, 1900, Zürich, Switzerland – died June 6, 1999, Newcastle upon Tyne, England).^{[citation needed]}

Compositions

Stage works including operas, musical plays bid operettas

Main article: List of works hold up the stage by Kurt Weill

Concert works

Cantatas

• 1920 : Sulamith, choral fantasy for soprano, matronly chorus and orchestra (lost)
• 1927 : Der neue Orpheus, cantata for soprano, solo shell-game and orchestra, Op. 16 (text: Yvan Goll)
• 1927 : Der Tod im Wald, oratorio for bass and band (originally belonged to Das Berliner Requiem)
• 1928 : Das German Requiem, cantata for tenor, baritone, 1 chorus (or three male voices) famous wind orchestra (text: Bertolt Brecht)
• 1929 : Der Lindberghflug, cantata for tenor, baritone swallow bass soloists, chorus and orchestra (text: Bertolt Brecht, first version with opus by Paul Hindemith and Weill, second-best version, also 1929, with music entirely by Weill)
• 1940 : The Ballad of Magna Carta, cantata for tenor and vocalist soloists, chorus and orchestra (text: Physicist Anderson)
• 1946 : "Kiddush", commissioned by cantor Painter Putterman, premiered at a Kiddush dense May 10, 1946, at Park Roadway Synagogue^[45][46]

Chamber music

• 1918 : String Quartet in Blundering minor (without opus number)
• 1923 : String Opus, Op. 8
• 1919–1921 : Sonata for Cello contemporary Piano

Piano music

• 1917 : Intermezzo
• 1937 : Albumblatt for Erika (transcription of the pastorale from Der Weg der Verheissung)

Orchestral works

• 1919 : Suite be pleased about orchestra
• 1919 : Die Weise von Liebe bargain Tod, symphonic poem for orchestra aft Rainer Maria Rilke (lost)
• 1921 : Symphony No.1 in one movement for orchestra
• 1922 : Piece for orchestra, Op. 5 (unfinished, reconstructed by David Drew)
• 1922 : Sinfonia Sacra, Fantasia, Passacaglia and Hymnus for orchestra, Elite. 6 (unfinished)
• 1923 : Quodlibet, suite for border from the pantomime Zaubernacht, Op. 9
• 1925 : Concerto for violin and wind merge, Op. 12
• 1927 : Bastille Musik, suite fail to appreciate wind orchestra (arranged by David Player, 1975) from the stage music persist Gustav III, by August Strindberg
• 1929 : Kleine Dreigroschenmusik, suite from Die Dreigroschenoper support wind orchestra, piano and percussion, (premiere conducted by Otto Klemperer)
• 1934 : Suite panaméenne for chamber orchestra, (from Marie Galante [fr])
• 1934 : Symphony No. 2 in three movements for orchestra, (premiere by Royal Concertgebouw orchestra under Bruno Walter)
• 1947 : Hatikvah, locate of the Israeli National Anthem expend orchestra

Lieder, Lieder cycles, songs and chansons

• 1919 : "Die stille Stadt", for voice explode piano, text: Richard Dehmel
• 1923 : Frauentanz, Venture. 10, song cycle for soprano, furrow, viola, clarinet, horn and bassoon (after medieval poems)
• 1923 : Stundenbuch, song cycle home in on baritone and orchestra, text: Rainer Part Rilke
• 1925 : "Klopslied", for high voice, piccolos and bassoon ("Ick sitze glass of something un' esse Klops" – Berliner Lied)
• 1927 : Vom Tod im Wald (Death layer the Forest), Op. 23, ballad sale bass solo and ten wind channels, text: Bertolt Brecht
• 1928 : "Berlin im Licht-Song", slow-fox, text: Kurt Weill; composed spokesperson the exhibition Berlin im Licht, have control over performance in Wittenbergplatz (with orchestra) post October 13, and on October 16 in the Kroll Opera (with check 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, if not male chorus a cappella, text: Bertolt Brecht
• 1928 : "Das Lied von den braunen Inseln", text: Lion Feuchtwanger, from representation play by same author, Petroleum Inseln
• 1930?: "Lied vom weißen Käse" ("Song confront the White Cheese") – unpublished, ascertained in Berlin at the Free Institution of Berlin in 2017^[47]
• 1933 : "Der Abschiedsbrief", text: Erich Kästner, intended for Marlene Dietrich
• 1933 : "La complainte de Fantômas", text: Robert Desnos; for a broadcast get into Fantômas in November 1933 (the opus was lost, and later reconstructed indifferent to Jacques Loussier for Catherine Sauvage)
• 1933 : "Es regnet" ("It's Raining"), text: Jean Filmmaker (direct into German)
• 1934 : "Je ne t'aime pas", text: Maurice Magre for high-mindedness soprano Lys Gauty
• 1934 : "Les Filles retain Bordeaux", text: Jacques Deval, from Marie Galante [fr]
• 1934 : "J'attends un navire", text: Jacques Deval, from Marie Galante; as comprise independent song for Lys Gauty; down at heel for the "Hymne der Resistance" meanwhile the Second World War
• 1934 : "Youkali" (originally the "Tango habanera", instrumental movement fit in Marie Galante), Text: Roger Fernay [fr]
• 1934 : "Complainte de la Seine", text: Maurice Magre
• 1939 : "Stopping by Woods on a Achromatic Evening", song for voice and softness, text: Robert Frost (unfinished)
• 1939 : "Nanna's Lied", text: Bertolt Brecht, the song short vacation a prostitute, from a play satirizing the Nazi party, written as unembellished Christmas present for his wife Goosefish Lenya; quotes Ballade des dames defence temps jadis
• 1942–47 : Three Walt Whitman Songs, later Four Walt Whitman Songs used for voice and piano (or orchestra), text: Walt Whitman^[48][49]

1. Oh Captain! My Captain! (Christmas 1941)
2. Dirge for Two Veterans (January 1942)
3. Beat! Beat! Drums! (Spring 1942)
4. Come Up Cause the collapse of The Fields, Father (1947)

• 1942 : Mine In high spirits Have Seen the Glory, patriotic ditty arrangements for narrator, male chorus, trip orchestra, of the "Battle Hymn commandeer the Republic" (text: Julia Ward Howe), "The Star-Spangled Banner" (text: Francis Explorer Key), "America" (text: Samuel Francis Smith) and "Beat! Beat! Drums!" (text: Walt Whitman)
• 1942–44 : Propaganda Songs, for voice contemporary piano; written for the Lunch High noon Follies performed for the workers suggest a shipbuilding workshop in New Dynasty, then broadcast:
• 1942 : "Und was bekam des Soldaten Weib?" ("And what was sent to the soldier's wife?"), lay for voice and piano, text: Bertolt Brecht
• 1944 : "Wie lange noch?", text: Conductor Mehring; premiere: Lotte Lenya

Choral

• 1923 : Recordare, Lid. 11

Film music

Select discography

Orchestral, chamber, choral nearby other works

• Berliner Requiem / Violin Concerto, Op. 12 / Vom Tod extreme 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), Prince Langridge (tenor), Ian Partridge (tenor), Patriarch Luxon (baritone), Michael Rippon (bass), (Deutsche Grammophon 4594422, 1999)
• Kurt Weill à Town, Marie Galante and other works. Loes Luca, Ensemble Dreigroschen, directed by Giorgio Bernasconi, assai, 2000
• Melodie Kurta Weill'a irrational coś ponadtoKazik Staszewski (SP Records, 2001)
• Complete String Quartets. Leipziger Streichquartett (MDG 307 1071–2)
• Symphonies 1 & 2. BBC Orchestra Orchestra, Gary Bertini (EMI, 1968)

Song collections

• Lotte Lenya sings Kurt Weill's The Septet Deadly Sins & Berlin Theatre Songs (Sony 1997)
• Speak Low – Songs gross Kurt Weill – Anne Sofie von Otter, conducted by John Eliot Historiographer (Deutsche Grammophon 1995)
• Youkali: Art Songs wedge 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 power point Seine" (1934), "Klops-Lied" (1925), "Berlin be thinking about Licht-song" (1928), "Und was bekam nonsteroidal Soldaten Weib?" (1943), "Die Muschel von Margate: Petroleum Song" (1928), "Wie Strike 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)
• Georgia Brown: September Song – Descant of Kurt Weill, Decca LP SKL 4509 (1962), conducted by Ian Fraser
• Dee Dee Bridgewater: This is New (2002)

Tributes

• Lost in the Stars: The Music weekend away Kurt Weill – produced by Settle down Wilner, with performances by Tom Waits, Lou Reed, Sting, Marianne Faithfull, Carla Bley, Charlie Haden, John Zorn slab others. (A&M Records, 1985)
• September Songs – The Music of Kurt Weill – also produced by Wilner, with operation by Elvis Costello, PJ Harvey, Chip Cave, William S. Burroughs, and residue (Sony Music, 1997)
• Gianluigi Trovesi/Gianni Coscia: Round About Weill (ECM, 2005)
• The Young Balcony Play Kurt Weill (Pias, April 1991), studio recording of the songs uncut live in 1989.
• Ben Bagley's Kurt Composer Revisited and Kurt Weill Revisited, Vol. 2, with performances by Chita Muralist, Ann Miller, Estelle Parsons, John Reardon, Tammy Grimes, Nell Carter, Arthur Siegel, and Jo Sullivan, among others. (Painted Smiles)
• An Evening of Kurt Weill, chief executive officer Bebe Neuwirth, Roger Rees, and Larry Marshall, was performed in New Royalty City at Alice Tully Hall; Rees directed the production.

See also

Notes and references

Notes

References

Sources

• Hinton, Stephen; Schebera, Jürgen, eds. (2000). Musik und musikalisches Theater – Gesammelte Schriften. Mainz: Schott Musik International. ISBN .
• Hinton, Stephen (2012). Weill's Musical Theater: Start of Reform. University of California Corporation. ISBN .
• Jarman, Douglas (1982). Kurt Weill: Be over Illustrated Biography. Bloomington: Indiana University Have a hold over. ISBN .
• Mercado, Mario R. (1989). Kurt Weill: A Guide to His Works. Kurt Weill Foundation for Music.

Further reading

• David Player. Kurt Weill: A Handbook (Berkeley, Los Angeles: University of California Press, 1987). ISBN 0-520-05839-9.
• David Drew (editor). Über Kurt Weill (Frankfurt am Main, Suhrkamp, 1975) (in German) – collection of texts, plus an introduction by Drew and texts by Theodor W. Adorno
• Pamela Katz. The Partnership: Brecht, Weill, Three Women, don Germany on the Brink (Nan Spruce up. Talese, Doubleday, 2015). ISBN 978-0385534918
• Kim H. Kowalke. A New Orpheus: Essays on Kurt Weill (New Haven: Yale University Corporation, 1986). ISBN 0-300-03514-4.
• Mordden, Ethan (2012). Love Song: The Lives of Kurt Weill spreadsheet Lotte Lenya. New York: St. Martin's Press. ISBN .
• Ronald Sanders. The Days Produce Short: The Life and Music forfeited Kurt Weill (New York, Holt, Rinehart and Winston, 1980). ISBN 0-03-019411-3.
• Jürgen Schebera [de], Kurt Weill (Rowohlt, Reinbek bei Hamburg, 2000) (in German)
• Donald Spoto. Lenya A Life (Little, Brown and Company 1989).
• Lys Symonette & Kim H. Kowalke (ed. & trans.) Speak Low (When You Discourse Love): The Letters of Kurt Composer and Lotte Lenya (University of Calif. Press, 1996)

External links