Three Valued Collaborators 1993 marked the passing of three people who influenced 's life and work: conductor and friend Maurice , publisher Hans Heinsheimer, and choreog­ ~her Agnes de MIiie. The following letters from the collections of the Weill-Lenya Re-rch Center present a commemoration of each one's contribution to Welll'a '8f89r and hint at the decisive influence of each. the Wetll-Lenya Research Center also has oral history interviews with each collaborator. A profile of Abravanel and a reprint of his comments made at a conference of music critics in March 1980 ~peared in the Spring 1987 (Vol. 5, no. 1) issue of this newsletter.

Maurice Abravanel

Maurice Abravanel was Weill's devoted friend and principal con­ Those two performances (private at the Vicomtesse de Noailles, ductor in Germany and the U.S. He has been an invaluable source of public the next day at Salle Gaveau) were provided for Kurt Weill. information to scholars worldwide and a devoted supporter of the Two commissions were clirect results: Princesse de Polignac (Sym­ activities ofthe Kurt Weill Foundation. He received the Foundation's phony) (and) Les Ballets 1933 (Seven Deadly Sins). first Distinguished Achievement Award in 1990. After that triumph, that version was for Kurt the definite, final, Maestro Abravanel wrote these two letters in response to queries authentic version of the Songspiel. With a partly different cast Oune concerning adaptations made to the Mahagonny Songspielforpeifor­ 20, 1933) in Paris, then July in London, then December26th in Rome, mances in 1932-33. lenya appeared as Jenny in these pe,fonnances. again different cast - except Lenya. always as Jenny - Weill never Abravanel's reorchestrated interpolations have disappeared from even discussed the possibility or desirability ofany change whatever. Weill's holograph (which is now at Yale University), and the post-war Also, a tour of specified exactly the same version (of course, versions ofthe Songspiel put together by Hans Curjel (now Located in the tour did not materialize). Kurt nevercalled it the Paris Mahagonny, the Universal Edition archives) do not, it seems, accurately reflect the but "Das kleine Mahagonny." 1932-33 versions. Therefore, Abravanel's recollections are a welcome source for information about these influential perfonnances. As for the opera in Kassel (Aufstieg), there were no changes whatever, except for Jim's aria being sung at the start of Act III (the names were changed into German ones during the rehearsal pe- Maurice Abravanel, , to riod). I have no idea what they did in and Kim Kowalke, Leipzig, except for the masks, which Kurt Kurt Weill Foundation, New York, 2 1 told me about but did not ask us to do. January 1985 Remember, Leipzig was March 9, Kassel March 12. Weill was at our dress re­ Dear Lys and Kim, hearsal. I begged him to tell us whatever I do not have total recall after all. I do he wanted changed, but he thought that get mixed up between the seven perfor­ everything was just right. Incidentally, mances of Aufstieg I conducted in 1930 there we re no revisions after that, only and the five of [the) Songspiellledin 19:32- adaptations because of the lack of oper­ 33. atic voices in Berlin. I know, because he However, I remember beyond any wanted me to conduct that run in Berlin. doubt that Kurt and I without any hesita­ While I am correcting things, there tion agreed that "Denn wie man sich neve r were Nazi demonstrations in bettet" should be added and that "Ala­ Altenburg at the Zar/ Protagonist. Dem­ bama" should, ofcourse, be Ius ed] in the onstrations, instigated by mem hers ofthe improved (opera) version. The n I was company, were threatened but did not asked to condense those two songs/or­ materialize. chestrations from the operatic (larger) (version) to the Songspiel instrume ntal ensemble. I did not (and nobody did) Maurice Abravanel, Salt Lake City, to make any other reduction of any number. Kim Kowalke, Kurt Weill Foundation, Now, itseems to me that Lenya did sing New York, 14 February 1985 "Ach bedenken SieHerrJakob Schmidt." Dear Kim, and also 110. 6 ("Ohne Wasche"). So, if Maurice Abravanel those two numbers could be taken over 1903 - 1993 As I mentioned earlie r. there never was without change in the orchestrntion (ex­ any hint about reducing the string section cept for the piano playing the guitar pa,t for the opera. Now I just find a reprint of in no. 6) then I would be inclined to think the first piano score (still with English that they were included too. If not, then my memory is playing tricks. names -- Jack O'Brien. etc.). The very first page under And, no narrator! Orchesterbesetzung lists simply ''Streicher (Violine. Viola, Cello, The Songspiel fonn was kept intact. The sequence ofthe additions Kontrabass)." The three violins that you mentioned were a neces­ was: After no. 3 (and before 4a): ;'Ach bedenken Sie," and segue no. sary(?) evil for a non-subsidized run. (I don't think that Breehl was 6 ("Ohne Wasche"). After Benares (and before Choral no. 5a): unhappy about tJ1at.) "[Denn) wie man sich bettel." * * * * *

Kurt Weill Newsletter Volume 11 Number 2 5 Hans W. Heinsheimer

Hans Heinsheimer's connection to Weill as a result of his distin­ score is being prepared, the first edition of 2,500 copies having been guished career with Universal Edition has been illuminated in Christo­ almost exhausted within much less than a year. pher Hailey's article "Creating a Pttblic, Addressing a Market: Kurt I am writing you today to once more emphasize the importance of Weill and Universal Edition n ( A New Orpheus: Essays on Kurt Weill, edited by Kim H. Kowalke, New Haven: Yale University, 1986). But not this development. We have created without any doubt the most as well known is Heinsheimer's connection to Weill in the . successful school opera ever presented in this country, and what is There, while working for G. Scliinner, the New York music publisher, more we have created something new in the field of dramatic Heinsheimer persuaded Weill to write a school opera in the same genre entertainment in American educational institutions. as Der Jasager. Clearly Heinsheimerimderstood the potential offered Without getting swept off my feet by this really amazing success. by America's vast, but largely untapped, cultural market. l feel that Down i11 the Valley has really Hans Heinsbeimer, G. Schirmer, New only scratched the surface of its potential York to Kurt Weill, New Cit;y, 4 Sep­ success. lf there are more than fifty tember 1947 organizations who have done it this year, Dear Kurt: there is no reason why not several hun­ dred or several thousand should do it in Well, here I am, believe it or not, nicely the future. The success is ratl!,ring from and happily installed and, so far. I like it unive rsities, such as Indiana, Michigan, immensely. Tulane, down to little high schools, and During the past weeks I did a lot of there is virtually no limit to the number of travelling and gave a couple of lectures. small institutions that can do an operetta Everywhere people asked me about op­ like this. Alsothereisnoreason lo believe era for young people: what could be done that wherever the opera is presented this to bring opera down to the young people? will be the end of it. Jn a year or two In other words: just the problem you another crop ofyoungsters will be in these faced twent;y years ago when you wrote various schools and for them Dow11in the ]asager. Well, in my talks I told them ail Valley will be a novelty just as it has been aboutjasagerand my stagingitin Vienna, for the people who did it this season. and the tremendous effect it had. What I am driving at is that this is not And today I am writing to ask whether just a momentary success, but could be you would consider at all trying your hand developed into something really big and again in the field ofeduca tional music and important, even from a monetary point of write a school opera of some sort for us view, because while it could never be here. I don't want to go into details at this Hans W. Heinsheimer compared with a Broadway hit, it will point - you might not be interested or 1900 - 1993 yield a steady source of income to every­ might have no time or you might feel that body concerned. your commitments to [Chappell) are too With the forthcoming production by the Lemonade Opera and the definite to allow you such an escapade. performance in Zilrich we are even spilling over into the professional You have gone on record repeatedly in your belief that American theater, and it is obvious to me that another play that might be operahasafutureand have stated thatBroadway would be "operized" slightly more ambitious would have even better chances to be taken sooner or later. To write for the rapidly increasing number of young up by professional companies. TI1e problem however will be to make people all over the country for whom Broadway is a far and hazy idea it not too professional and to keep it somehow within the limits set and who could not easily undertake to perform any opera of the by educational institutions. technically as well as musically. Street technical level of would, in my opinion, be another and Scene, after I heard it again the other day, seems too big in its vocal very important step in the same direction. It would. if successful, and emotional aspects to be easily adaptable to the facilities available prove the validity of your theories and could make history. for the average peiformer in this country at this time, and I think Please give the matter some thought and call me whenever you when planning the new work we should try to think more in terms of wish to discuss it And call me anyhow, even if you don't think you amateur performances than you could intend to in the case of Street would like to do it. Scene. The reason why I am writing you this lette r is only to emphasize Hans Heinsheimer, G. Schirmer, NewYorktoKurtWeill, New once more the importance of a follow up for Down i11 the Valley. I City, 1 4 February 1949 cannot help feeling that we are on the way to creating new outlets for American opera that will be extremely important in the future, and Dear Kurt: I thought I should express my very serious conviction of what is at Since I sent you a list of performances of Down in the Valley, an stake in a letter which I hope will be of some interest to you and Mr. additional six periormances have been arranged. and we have just Anderson in your future discussions on a possible follow-up to Down been notified by our facto1y that the second printing of the piano i11 the Valley.

Kurt Weill Newsletter Volume 11 Number 2 G Agnes de Mille

Agnes de Mille worked with Weill only once, when she created tile Venus darns socks. Nymphs, satyrs, Gods, and youths go by - choreography/or One Touch of Venus. In a letter dated 14 July 1943 running and calling - as well as high-school girls and boys, young she enclosed tlzefollowingi11itial ideas for a ballet sequence. (The letter lovers, soldiers and sailors. The following scene is episodic (l will goes ori to describe sequences for aForty Minutes for Lunch~ and send it to you in sequence and detail as soon as I work it out). "Westwind. ") This scenario reveals de Mille's vivid imagination and illustrates her clearly articulated ideas and dedication to the project. A One episode: second letter dated 16 July 1943 (not reprinted here) provides another A couple of young aviators are standing smoking. They see two statement ofde Mille's choreographic conception for the show. nymphs dancing and rolling on the grass. One aviator grinds out his Agnes de MiUe at the Hotel Hardey in Hobbs, New Mexico to cigarette and gives chase - catches a young modern girl - they Kurt Weill in New City, 14 July 194 3 -- [Excerpt] dance - ball-room dancing - madly in love. While they waltz (it [illegible) to be romantic and sweet) a Suggestions for Ballets circle of pagan nymphs and satyrs cavorts around them. At one point the stage I. Venus' vision of her life with Rodney: empties. There are voices calling Venus As Venus finishes her song she sits from every direction - far and near. She musing about the future. The lights dim. rushes out of the house, dances wildly The voices of young boys and girls are and starts tearing her clothes off. Rodney heard (giving Venus a couple of seconds comes out with a shawl tell.ing her she'll for a very quick change). catch cold ifshe carries on like that. They Fade in on a suburban street in Flatbush. go in together. Young adolescents are playing at dusk­ The stage gradually fills with the Bac­ andgoinghomewithagooddealofclamor. chantes and bewitched mortals. The ex­ The interior of three homes are revealed, citement is subdued, notloud, not violent, more or less alike and all furnished by but very tense. (How about a whispered Bloomingdales'. ln all three the house­ chorus?) The pipes and thin, dry, drums wives are cleaning, two with vacuums, growing louder. Suddenly there is si­ one with a broom. Venus' house is the lence. Venus can bear no more. She center one. Neighbors pass by and gos­ stands up with an ancient and terrible cry. sip, the children play. The housewives The homes fade and slideaway.111estars clean (fhis is Iillegible] pantomime). The blaze out all over the sky. She and the three husbands return, kiss their wives, dancers stand in a wilderness - a low take off their coats, and mow the lawns. Agnes de Mille range of mountains (Greece) in the back­ The wives get dinner. On Venus' lawn a ground. She runs among them (tacit and little faun sits playing madly on his pipes. 1909 - 1993 no motion from the crowd). Then stands Rodney mows around him withoutseeing and cries again. A very low drum starts to him. But a young boy hears and starts flirting with a girl (very young throb softly. She stalks among them and out. They are swaying in - drug store - Saturday afternoon - movie youngster - the an hypnotic and repetitious manner. From here on the dance builds epitome of aU that's average American) and another younger boy to absolute madness. The drum beat should never stop-but build hears and picks a fight with his buddies just for the hellovit. The it very slowly. It heightens suddenly (I am thinking of the rhythm husbands go indoors and eat without speaking. Then they settle and pace in Glazanov's "Bacchanale" - also I like the sweep of the down with the evening newspapers and their beer. The wives in each melody. One can race to it) and the dancers start the true ritual. This house get out sewing, knitting, darning. The radio in each house is is goillg to be a killer - but very free. built on leaping and running. blasting away on a different program. lt will look as though the whole crowd had covered ten miles by the time it is finished. Venus should be heard crying-and shouts - Lovely effect. Full tilt. particularly men's voices (what was the Greek cry invoking Venus is dressed like the other wives but she is bothered with Dionysius?) and the rhythms should occasionally break off short chores. Rodney is very affectionate but matter-of-fact and daily in his leaving the dancers rushing and wandering in silence -orin silence attitude toward her. punctuated by shouts (did you ever see a Southwestern American Two nymphs stand on the lawn calling. Venus grows restive. Indian ritual?) Rodney notices that it's unnaturally warm - goes outside. The The crowd finally streams out in a rout. A last couple race across nymphs are rolling in the grass. A roll of thunder is heard. Heat the stage -There is emptiness. The voices die away-The rabble lightning. The other men get jttmpy - close windows - take in is losing itself in the wilderness. Rodney and Gloria are alone on the porch furniture etc. Rodney believes it is going to rain. Venus is plain. Gloria lies on the ground moaning. Venus appears naked, listening very strangely not to the thunder but to pipes and faint translucent, Olympian, awesome-and walks in wreathings of mist drums. The nymphs call again, hauntingly, eerily. The houses dim against the stars. The enormous and terrible figures of the Zodiac and fade to almost nothing. appear in the heavens.

Kurt Weill Newsletter Volume 11 Number 2 7 Weill's 75-mlnute score for !Der Protagonist] is amazing. even lo ears Der Zar lasst sich photographieren seasoned with so much of this waning century's music. The atonal treats political tenorism in a style Expressionism of pre-12-tone Schoenberg and the dense post-Romanti­ somethtnglike a French bedroom farce. cism ofBusoni seem to form a new compound wherein long-lined melody The music foreshadows Welll's later. soars and peppery. angular dance molifs scurry all around .... One of Ills! more popular and familiar style. It is most astonishing elements is its orchestration. less complex than the music of The I should also break It to you that Der Zar !asst sich photographieren is Protagonist. and It made a good first not the musical fluff that its plot might make you think.... The story is impression. simple. but the music. for all ils fox-trotting and its near atonal but catchy JosEPH M CLELLAN "Tango-Angele." still has the coherence and complexity ofmuch other pre­ WASHINGTON Pos-r Brecht Weill. It's the texture that's lighter. LEIGHTON KERNER ThE Va.LJ\CE VOICE

In some ways. the operas are two sides of a cotn. Both are thrillers and toy al length witl1 unresolved tensions. sexual and otherwise. But one is a bleak, powerful tragedy. the other a light-spir­ ited farce. They are musical opposites. too: The Protagonist Is a sober. chilllng score in Weill's serious. BusonHnflu­ enced symphonicsly le. an insistentacidic language that tntensifles the situations it describes. Zaris flippant and urbane. and draws on the cabaret style lliat Weill used In Aufslieg und Fall der Stadt Mahagonny. ALLAN Koz1NN NEW YORK TIMES

The P rotagonist (Jacque Trussel) and his link to the external world, his s ister (Ann Panagulias). Photos by Hans Fahrmeyer.

Jonathan Eaton, working with Lionel Salter's ex­ Mr. Eaton has tinkered with the works' settings, and although pert translation, set the action [of The Protagonis~ in the moves do no real violence, they make for some loose ends. the 1920s, making nonsense of certain of the charac­ Moving The Protagonist from Elizabethan England to Germany in ters' attitudes. More damagingly, Eaton seemed to the 1920s, for example, enhances the spirit of decadence central think incest was the catastrophe's cause and let to Mr. Eaton's view, but left a listener momentarily puzzled by the brother grope sister unduly. The conflict is really Innkeeper's reference to women not being allowed to travel with between theater and reality, and someone should !heater troupes, something that would have made sense in the break it to him. original. LEIGHTON KERNER ALLAN K OZINN THE Y IU.AGE Voice THE NEW Y ORK TIMES

Contemporary opera production has tor a while been moving away from accepting the libretto as a true guide to the period in which we should see the action, except in a few obstinate cases .... Santa Fe offered two productions in which the action was placed at the time of the music's composition. Such updating has an appealing logic. Western music - this is one of its most conspicuous and curious attributes - is marked by its time. If it's sung by characters who appear to belong in its own epoch, then a harmony between visual and musical design is guaranteed. As Jonathan Eaton, the director of the Weill pairing, remarked in the program book, the music of The Protagonist is in conflict with the work's ostensible Shakespearean setting; "Listening to this score, the ear does not lead the eye to see a rustic English inn of the year 1600.• .... Mr. Eaton's resituation of the piece in a dark twentieth-century basement, dominated by a huge boiler and piles of lumber (Robert Perdziola was the designer), had the virtue of directness. Besides, it worked. PAUL GRIFFITHS THE New Y ORKER

Kurt Weill Newsletter Volume 11 Number 2 8 Writing very much In the wake of Busoni and Hindemith, Weill The almost unknown Kurt Weill - before he shared their ideal of music moving over its own planes aside from the hooked up with Bertolt Brecht - is a treasure dramatic continuity, and the Santa Fe double bill pointed up how much trove, and the Santa Fe Opera proved it this of the fam1l1ar Brecht-Weill irony - the ostinatos, marches. and summer. To call [Der Protagonist and Zarl pre­ dances, the embittered harmony - came out of those musical Brecht, however, is a left-handed acknowledg­ exemplars and was in place before the composer met the playwright ment of the echt-Expressionist dramatist and to match him. novelist, Georg Kaiser, who wrote both libretti PAUL GRIFFITHS and for whose huge, great play Der Silbersee THE FINANCl",L T1MES Weill later (during a Brechtian collaboratius interruptus) supplied his last theater music be­ fore fleeing Hitler's Germany. But not only did Santa Fe celebrate the dramatic resourceful­ ness of Kaiser in both tragedy and comedy, it also reminded us how, in the mid 1920s, Weill jumped from a dense compositional style (in This music presents a glimpse of a composer whose career might Protagonist) nurtured by his teacher. Ferruccio have been very different if his later collaborator, Bertolt Brecht, had not Busoni, and influenced by his most vitriolic lured him into satire and social protest and the Nazis had not driven him critic, Arnold Schoenberg, to the semicabaret to the United States, where he became a major figure in the history of verve of Zar and its German successors.... Kai­ Broadway musicals. There seems to be nothing Weill could not have ser and Weill surely had jumped the "distanc­ done in music, popular or classical, given the opportunity and motiva­ ing" gun on Brecht. tion. LEIGHTON K ERNER JOSEPH MclELLAN THE V1LLAGE Voice WASHINGTON PosT

As its Litle suggests, The Pro1ago11is1 is more overwhelmingly a vehicle for its central performer. and Jacque Trussel gave a vivid ponrayal of genius on the edge. There was also beautiful orches­ tral playing, e,pecially or the 1wosubstan1ial passages 1hat accom­ pany 1he mime plays. PAVL GRJFFITliS THE N E\~ Y ORKER

In Friday's third and final performance [of Der Protagonist], one could only praise 1hc commitment and skill of those on stage. Ann Panagulias as 1he sister and Patry k Wroblewski as her lover sang ou1 1heirdespair in glorious voices, and Jacque Trussel as the actor shook the audience with his ferocity. LAWSON T •\ITTE DALLAS MORNING tWS

The False Angele (Angelina Reaux) in a self­ reflective moment

The casts for both works were extraordinarily strong. Jacque Trussel as the Pro1agonis1 and Ann Panagulias as his sister met the work's considerable vocal demands unninchingly and conveyed 1he barely submerged currems of mad­ ness and desperation, which are balanced differently in each oftheircharacters. There were also powerful pamomime performances by Wilbur Pauley. Michael Chioldi. and Judith Christin. And Dale Travis and Patryk Wroblewski made valuable cont1ibutions as the Innkeeper and the sister's paramour. In Zar. David Malis sang the 1itle role with an appealing naivete; one could believe K aiser's notion that he would rather be a regular guy than a Zar. Angelina Reaux wa~ no1 quite the femme fa1ale one expects of 1hc False Angele, but he sang the music powerfully. And Kathryn Gamberoni was in good voice and dramatically persuasive as the real. somewhat perplexed Angele. George Manahan led the orchestra (which, in The Pro1ago11ist, is split between the s1age and the pit) in driven, polished performances of both works. ALLAI( K OZINN Tttt- N EW Y ORK Ti~IES The T sar (David M alis) has his photograph taken

Kurt Weill Newsletter Volume 11 Number 2 9 FROM THE ARCHIVES

Following is a selective list compiled by John Andrus and David Farneth of archival materials received and accessioned at the Welll-Lenya Research Center since Spring 1991. Not included are currently available commercial recordings and books. Many ofthe items have been acquired in photocopy only.

Kurt Weill lo Winnaretta, Princesse de Polignac, 15 Documents Correspondence December 1933 from Unpublished Scores Louveciennes: autograph letter, signed. Photocopy. Bibliotheque de )'arsenal, Paris. Saul Bolasni and Lotte Lenya, From: Alain Ollivier. Aufstieg und Fall der Stadt l 8 p. of various press clippings. September 1954-November Mahagonny. Editorial notes: 1956 (6 items). Photocopies. "Revision: David Drew. 1967" Dessauer Stadtarchiv. Docu­ 2 typed pages plus 6 p. of vocal Olin Downes, Kurt Weill. and score. ments and information from Lenya. 1949-1953 (1 5 items}. Berliner Requiem. Photocopies Dessauer Stadtarchiv, incl Photocopies. From: Hargrett of notes inserted into vital statistics, photocopies of Rare Book and Manuscript "archivexemplar" of vocal documents, newspaper Library. University of Georgia Published Scores clippings re: Kurt Weill, E. at Athens. score. Feuge, Albert Bing, Hans Berliner Requiem. Copyists p/v Paul Green and Lys Symonette, Knappertsbusch, and Franz score, 64 p., UE 9786. Begins 1970-1981 (15 items). "Alabama-Song" aus der oper Mikorey: Dessauer with "Yorn Tod" and ends with Lotte Lenya to Hesper Ander­ Aufstieg und Fall der Stadt "Zu Potsdam." Theatergeschichte by Gustav Mahagonny. A Hahn (photocopy). From: son, 1972-1981 (15 items}. Concerto, violin & winds. Photocopies. Spezialarrangement fur Dr. Ulla Jablonowski. Salonorchester mit Korrektion exemplar, violin & Lotte lenya to Hans Curiel, Jazzstimmen von Richard piano, UE 8339, 18Jan.1988. G.T. Mandi of Papierfabrik 1957. 1970. Photocopies. Etlinger. VE V.CJ. 115. Parts. 1 p. of typed notes by Flissl Netstal. Weill. Kurt. Der From: Deulsches and p.17. "Berlin-im-Licht Song" Llteraturarchiv, Marbach. Kampf gegen die Arrangement von Otto Concerto, violin & winds. Kulturreaktion in Deutschland Lotte Lenya to Paul Moor, Lindemann. UE No. V.C.J. 104 . Korrektion exemplar. partitur. ... 3 p., ea 1930. Photocopy. envelope postmarked Suffern, Parts. UE 8340, 1983, photocopies of pages with corrections. NY. 29 September 1980 (letter "Blues-Potpourri (Tanzpotpourri Rone!I, Ann. Collection of one [?] missing): autograph .letter. Die Dreigroschenoper. No. 11 letter to Maxwell Anderson, 0 aus Die Dreigroschenoper' signed, from New City, NY. 11 arrangement fur (Act 11, scene 1): Melodram recollections of Kurt Weill and February 1981. Salonorchester mit ("Siehst du den Mond Uber T1ie River is Blue, three songs Lotte Lenya lo Caspar Neher, Jazzstimmen von Hartwig von Soho?" - "Die Liebe dauert from You and Me, an 1955, 1958 (2 items). Platen. UE V.C.]. 110. Parts. oder dauert nicht") Holograph unpublished song "Your vocal score (sketch?), I leaf. Photocopies. From: Austrian "Les filles de Bordeaux" (Slow­ Technique." recto only. From: Wiener National Library. fox) Arrangement de Paul Antiquariat lngo Nebehay. Howard E. Reinheimer to I.H. Saegel. Heugel "Au Menstrel" Societe des Auleurs, Love Life. Vocal score prepared Compositeurs & Editeurs, Prinzmetal, Esq. (cc.: Kurt (H 30 932). (Repertoire de Weill), 20 December 1945: danses) 1.0 parts. for the abandoned EM! Paris. Hommages to Roger recording; supervised byJohn autograph letter, signed. "Foxtrot-Potpouni F'e rnay. McGlinn. 2 vols. Photocopy. (Tanzpotpouni maus Die Marie Galante. Photocopies of Universal Edition, Promotion Kurt Weill and Heugel, 1934- Dreigroschenoper" arrange­ ment fur Salonorchester mil materials in the Heugel Archive. Photocopies of all 1937 (29 items). Photocopies. archives, including full scores, reviews of original produc­ From: Heugel. Jazzstimmen von Hartwig von Platen. UE V.CJ. 111. Parts. holograph piano drafts. and tions, programs. the Kurt Weill Kurt Weill to Rudolf Kastner: "My Week." Music by Kurt original orchestra parts. obituary file, interviews. autograph letter. signed, from Weill: words by Ann Ronell. Mahagonny [Songspiel: Rome journal articles, and magazine Luisenplatz, Charlottenburg, New York: Chappell, 1943, version I Italian text, German articles. Berlin, 14 August 1925. 1948. [From the 61m version underlaid in other hand. 126 p., Photocopy. copyist p/v score. Photocopy. Universal Edition Archive. of One Touch o/VemtS.I Performance records: Kurt Weill to Boris Kochno: Photocopy. From: Library of Mahagom1y [Songspiel) "Pariser autograph letters, signed, from Congress. Fassung" on cover. German typewritten sheets for stage Paris, 5 April 1933, and works, 12 p.; Concert works. "Le roi d'Aquilaine (Valse)" and ltalian text. UE 12188, Alassio, 20 June 1933. through 1963, 34 p.; Stage Arrangement de Paul Saegel. 153 p. Photocopy. works. through 1963, 40 p.; Kurt Weill to Erika Neher, 18 Heugel "Au Menstrel" (H 30 Mahagonny (Songspiel), 918). (Repertoire de danses) Stage works, 1963 - present, April 1933. Austrian National typescript libretto, copyright 11 parts. ea. 400 p.; pasted-up list of all Library. Photocopy. 1953, "Achtung: Pass! nicht "Tango-Ballad uod Kanonen­ KW entries from the UE Kurt Weill to Victor Samrock: zum Drew-Klavierauszug UE Song~ arranged by J. Fitelberg. Vorschau, arranged by work, autograph note, signed, on 12889!" Photocopy. UE No. V.C.J. 102/103, piano­ ea. 92 p. postcard of Malibu Beach. Streichquartelt in h-moll. California, dated 26 July 1939. direction aml parts. Corrected proofs.

Kurt Weill Newsletter Volume 11 Number 2 10 Symphony No. 2. Holograph "Kurt Weill Retrospective." Joe [Marie Galante] "Les dames et "Song of the Free• (Weill); "Lied score (presentation copy, for Leiberman. on WLFR-FM • las damas" [incl. selections einer deutschen Mutter" Winnaretta, princesse de (New Jersey), 1992. from Marie Galante]. (Dessau). Lenya, recording Polignac). Photocopy. Gift- of Der Li11dbergliflug [The Flight of Angelina Reaux, with John for Voice of America. dubbed Prince Louis de Polignac. (See Lindbergh]. Voices Interna­ from WEDV broadcasL illustratio11.) McGlinn, Merkin Concert tional. Soundplay 1991-1992. Hall, New York. 26 September Street Scene. Cleveland Lnstitute ··Variations on a Theme of Kurt distributed by f>acifica 1991. of Music, June 1991, Andrew Weill" (1977) for Brass Quintet Program Service. Foldi. artistic director. and Piano by Stanley Street Scene. University of Silverman. Full score. Arizona School of Music Opera Vom Tod im Wald, clean Theater, November 1991 at copyist's p/v score with newly­ Centennial Hall, Joseph Knott, sei titles, UE 18212. Photo­ cond. copy. String Quartet in B minor. Vom Tod im Wald. clean Armadillo String Quartet, 29 copyist's partitur with newly­ April 1990. set t.itles, UE 16854. Photo­ String Quartet, op. 8. Armadillo copy. Quartet, 4 March 1990. "Your Technique." Holograph Symonette, Lys. Broadcast score with words by Ann Ronell. Photocopy. interview re: Street Scene. WXXI, 25 March 1991. "Anhang: Zu Potsdam unter den Eichen", UE 9786. pp. 34-46. Symonette, Lys. "Der Photocopy. unbekannte Weill." Interview with Ursula Deutschendorf recorded from the broadcast. EXTRA 1542/845, 20 October 1990. Symonette. Lys. Interview with Brigitte Schuber-Riese. NOR 3, 9 September 1993. Non-commercial Symphony no. 2. Milwaukee Symphony Orchestra, Julius Audio Recordings Rudel, cond., 11 January 1992. Symphony no. 2; Three songs; A11/slieg 1111d Fall der Siad/ Die siebe11 Todsiinden (The Maha_gom1y [Rise and Fall of Seven Deadly Sins ). Mount the City of Mahagonny]. ~ -rr,~ ~-­ Vernon Orchestra, Nancy Stratford, Ontario Festival, .~~~~~ Scimone, soprano, Ulysses S. 1965. CBC broadcasL " James, cond., Alexandria, VA, 25 October 1992. "Caterina Valente singt Kurt Weill." With WDR Big Band. "Tribute to Kurt Weill." The Jerry van Rouyan, conrl. Young Gods, Artag Studio Zurich, November 1990. Concert at the Kurt Weill A recent and major acquisiticn of the Weil/-Le11ya Research Center is a fine Festival. DusseJdorf. 30 March reprod11ctio11 ofth e holograph copy ofth e Symphony No. 2, which Weill presented Violin Concerto. Tamara 1991. to Wimwrelta, princesse Edmo11d de Polig1zac (1865-1943), who had commis­ Smirnova-Sajfar, violin, Pro Arte Chamber Orchestra of "Cry, the Beloved Country." sioned it in late 1932. A sophisticated and committed patroness of music who an Boston, Gunther Schuller, Matrix Ensemble; Robert played import.ant role i11 the careers of Fa11re1 Satie, Stravinsky, Ravel, Poulenc, and other composers, she was tile dauglzteroflsaac Singer, the American cond., Sanders Theatre, Zie.gler, conductor. BBC Cambridge, MA 21 April 1991. Proms, 25 Aug ust 1993. sewing-machine magnate. Upon her death in 1943, her library, containing manuscripts ofmusi cal works she commissioned (among /Item Satie's Socrate Where Do We Go from Here? Die Dreigrosclumoper. Budapest, and Fa/la's Retablo de Maese Pedro, as well as this Symphony), was inherited Columbus sequence. Dessoff radio broadcast, 1986. by lter sister-in-law, Marie-8/anclte, comtesse Jean de Polignac, whose stamp Choir. Merkin Concert Hall, appears 1111 tile dedicatory page. 771ereafter it passed into the hands ofthe current Dfe Dreigrosche11oper [L'Opera New York, 15 March 1992. prince de Polignac, Louis, wlto generously donated the manuscript reproduction de quat'sousJ. "Le chant des to the Research Center. (Note )he dedicatio,1, in which Weill styled the work canons." Happy End. "Symphonie Nr. 1. ') "Surabaya-Johnny." Marianne Oswald singing French A photocopy of/he letter in which Weill a11no1111ced to the Princess Ifie immi-ltent translations by Mauprey. completion oftltesymp/wnya11dhis inte11tio11 to dedicate it tolier was also acquired recently (cf the Correspondence section). bt both acq1'isitions, tile WLRC Non-commercial '/11e Exception and 1/te Rule, by benefited from the services of Dr. Sylvia Ka/tan, who ltas 1uritte11 a doctoral thesis Bertolt BrechL for 1/te City U11iversily ofNew York on the contributions of"T ante Winnie" to the Video Recordings Kleine Dreigroschenmusik; Die musical life ofParis ill the period between tile wars. Dr. Kahan prod1tced and siebe11 Todsiinden; Marie perfonned ill (as pianist) a concert of works written or commissioned by tile Maurice Abravanel discusses Kurt Weill's Seven Deadly Si11s Galante (excerpts). Angelina Princess. !video recording shown at Reaux, soprano, Wesleyan concert of Symphony, University Orchestra. Melvin Der Li11dberglif/ug (excerp\S). Die sieben Todsunden. Anja Jan. IS.16, 1993, followed by a Strauss. cond. Otto Pasetli, tenor. Die Silja. soprano; Christoph von performance o( the work]. Knickerbocker Holiday. Light Dreigroschenoper (excerpts). Dohnanyi, conrluctor; Zebracka Opera, Prague. "Alabama Song." Performed by Opera Works. Evanston, LL, P. Cleveland Orchestra, Salzburg Lost in the Stars. New Sussex Lotte Lenya As used on Lipari, cond. ., December 1992- 29 July 1992. "Monitor" by BBC. Ken January 1993. Opera, at U1e Brighton F'est.ival, England, May 1991. Russell. dir. ''Sona McDonald sings "Kurt Weill Gala." Hessischer Lost in tile Stars. Princeton "Change: the Music of Ernst Rumlfunk broadcast, 17 Festival, 13 June 1987, Victor American Songs." Llve Krenek." Regents of the October 1990. Symonette, cond. performance, ln.d.l. University of California, c l 990.

Kurt Weill Newsletter Volume 11 Number 2 11 "Cry the Beloved Country" Stree/ Sce11c. Eastman Opera "Operelte nach Wunsch,"" 15 (Concert sequence by David ·n1eatre. Eastman School of September 1991. \.'lDR. Drew from Lost in the Stars): Music. Kim Kowalke, cond., Viertes Programm. Oral History Marie Galante (selections); 1991. (Audio casseite also Interviews "War Play" (Concert seque nce available.) "Uperette nach Wunsch." 29 by David Drew fromjolm11y September 1991. WDR. Johnson). Concert al Almeida Street Sce11e. Carnegie Mellon Vicn es Programm. Opera Workshop, January­ Adler. Stella. with Peggy Sherry: Festival, H;June 1990 filmed Die sieben T11dsii 111ie11 ISeve n Los Angeles. 2 October 1991. by BBC. (Audio casselte also februa11•. 1992. (Audio cassette also available.) Deadly Sinsl. English lransl. available.) by W.H-Auden and Chesler Anderson. Hesper, with Peggy Die Dreigroschenoper Street Sce11e. English National Kallman. Sherry: Studio City. CA, (Threepenny Opera! . Opera, James Holmes, cond .. 30 September 1991. Cranbrook School filmed by BBC. "These Precious Days with Kurt (Darlingburst, Australia), Weill" by Herman Rudin and Dalrymple.Jean. with Peggy Stephen Lalor, cond.. August Pred Woessner. Revue using Sherry: New York City, 6 June 1991. Weill's music. cl991. 1991. "Weltstars singen Weill." Das "Echt Brecht" '[neater Forum. Daniels, Danny, with Peggy Dorbnund. Samstagskonzert, 1 December Sherry: Santa Monica, 1990. WDR, Viertes Happy End. Oxbow High School 2 Oclober 1991. (Bradford. V[). 7 February Scripts Programm. 199.1. Der Zar liissl siclt De Mille, Agnes. with Peggy Happy End. Rehearsals for phologrophieren English Sherry; New York City. JuiUiard Drama Division Die 81irgschaft. Translated into transl. by Lys Symonette. 9 Augugt 1991. production atJuilliard 'lneater, D111ch by Jean-Marie Drabek, Kurt, with Bernd April 1991 (rehearsals fit med Tenvelden, 1987. Kortlander; Berlin, June 1991. in February 1991). 171e Common Glory, a symphonic "I'm a Stranger Here Myself' drama of American History by Duncan. Todd, with Peggy [documentary on Kurt Weill in Paul Green. ln.d.J Shei;ry; Washington. DC. America]. Barrie Gavi n, dir., Die Dreigroschenoper 2 May 1991. BBC-TV, 31 December 1992. !Threepenny opera]. frank Also German version: "Morita! McGuinness. transl. For lhe F'abray, Nanette, with Peggy vom unbekannten Weill," Dublin Gate 11leat.re, Dublin. Theses and Sherry: Pacific Palisades. CA, Hessischer Rundfunk l October 1991. broadcast. "Good Morning. Mr. Weill" Dissertations Kleine Dreigroschenmusik. [Giinaydin Mr. Weill]. Granirer. Martus, with Peggy Turkish translation by Haldun Sherry; New City, NY, "Melodrame," NAPAC Dance Bohaumilit7.sky. Walter. Dormen. Company, Durban, South ·'Caspar Nehers SzeneobiJd in 3 December 1991. Africa. 28June 1991. "I'm a Stranger Here Myself." den zwanziger Jahren: sein Hayes, Helen. with Peggy (Kurt Weill Edition) CNN News Transcriptions of interviews Friihwerk (1923-1930)." Ph.D. Sherry: Nyack, NY, 25 July 1hesis. University ofVienna, Report, 18 February 1993. on conducted for BBC-TV 1991. Kurt Weill Foundation for broadcast. 31 December 1992. 1969. Music and its Kurl Weill jolmny jolt11s(ln. German Colby, Michael. "Das Berliner Jeffreys. Anne (Sterling), with Edition. translation/adaptation by Requiem and the development Peggy Sherry: Bel Air, CA, Lady i11 the Dark. Television Richard Weihe. for Opera of epic opera." (M.A. thesis, 5 October 1991. production starring An11 Factory ZHrich. San Francisco Slate University. Kidd, Michael, wilh Peggy Southern, broadcast 25 March 1990.) 1954. Knit-kerbocker Holiday. Sherry: Los Angeles. "Knickerbocker Holiday: a Huynh. Pascal. "Kurt Weill et la l October 1991. Ute Lemper. Perform­ Travesty in Two Acts."' 14 republique de Weimar: une ing Arts Showcase, Bravo leaves. photocopy. vision de l'avant-garde clans la Lazar. Irving, with Peggy Sherry Cable 1V broadcast, January presse (1923-1933)." Ph.D. and David Farnetl1: New York 1993. of performance at Bath !Der K11hha11del] "Die thesis. Univer$ite Frani;:ois City. 12 November 1991. Festival 1989. Verlobung von Santa Maria: Rabelais de Tours, 1990. expose.'' Synopsis of 13 Lewis, Bobby, with Peggy [Mahagonny So11gspiell "An scenes by Robert Vambery Evening with Kurt Weill: Kilroy. David. "Kurt Weill on Sherry: New York City, Mahagonny & Happy End with handwritten annotations Broadway: the Postwar Years. 29 May 1991. by Hans Curjel. Photocopy. Songspiele." Concert given by 1945- 1950." Ph.D. thesis. From: Deutsches The Curtis institute of Music's Harvard University, 1992. Raksin, David. with Peggy Literaturarchiv. Marbach. Sherry: Van Nuys, CA. Opera Theatre. David Hayes. Luxner. Michael David. -~1ne cond.. 30 April 1992. 2 October 1991. Lost in the Stars. Adaptation by Early lnstmmental Style of ''September Song" Jack Benny Burgess Meredith. Libretto Kurt Weill." MA thesis. and vocal score. December Samrock, Victor. with Peggy Show ln.d.l. Jack Benny and University of Rochester, 1972. Sherry and David Fameth; Liberace play September Song. H)91. Meotre, Nathalie. ··Kurt Weill: New York City. 14 June 1991. !Lost in the Stars!. ··Cry, ·n1e /Die sieben Todst"itiden/ '111e 1933-1935: la Periode Beloved Country." adaptation Seven Deadly Sins:· Excerpts: Frani;:aise et les Chansons en Sokolow. Anna, with Peggy : M. by Frank Galati for the Fran,ais.fl M. Musicology Sherry; New York Cily, Goodman ·n1eatre . Chicago. Ragionetti: J . Silverstein. thesis, Universite de Nancy. 10 May, 1991. conductor: M. Jacobs, 1993. 1993. projections and staging. Wager, Michael, with Peggy ILooe L1fe/ "A Dish for the Gods: Sherry and David Farneth: {Die siebe11 Todsii.11de11l "Les a Vaudeville:· cl948. Strangis. Frnncis Anthony. sepl peches capitaux." Teresa "Kurt Weill and Opera for the New York City, 19 May, 1991. Stratas. Anna I; Nora Kimball, Marie Ga/011/e: a treatment for a People in Germany and Yannopoulos, Dino, with Peggy Anna 11: Kenl Nagano. cond.: play in 2 acts (after the novel America." (M.Mus. thesis, Peter Sellars, dir. Produced by by Deval) by Richard Felnagle University of\Nestem Ontario. Sherry: Philadelphia, PA, RM Associates for broadcast and John Mucci. 1987.) 4 May 1991.

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