120831bk Weill:MASTER BOOK 5/4/07 9:12 PM Page 8

The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

Also available from Naxos Nostalgia …

8.120776 8.120800 8.120803

8.120828 8.120829 8.120830 These titles are not for retail sale in the USA

8 8.120831 120831bk Weill:MASTER BOOK 5/4/07 9:12 PM Page 2

19. Pirate Jenny 4:04 20. Mack The Knife (A Theme From The MACK THE KNIFE From The Threepenny Opera Threepenny Opera) 3:24 (Kurt Weill–Bertolt Brecht–Marc Blitzstein) (Kurt Weill–Bertolt Brecht–Marc Blitzstein) Songs of KURT WEILL Lotte Lenya, orchestra conducted by Louis Armstrong & His All-Stars Original 1929–1956 Recordings Samuel Matlowsky Columbia 40587, mx CO 53818-1 MGM E 3121, mx 54-MG-560 Recorded 28 September 1955, New York Two continents, two careers, two totally different cycle which they called Mahagonny. Its Recorded March 1954, New York styles of music. There’s only one 20th century harmonic dissonances and outspoken political Sung in English except tracks 1, 2, 3, 5 & 6 in German; track 15 instrumental composer who fits that definition: Kurt Weill. sentiments made it a succès de scandale and This strange, idiosyncratic man could deliver cemented the partnership of Brecht and Weill. Transfers & Production: David Lennick • Digital Restoration: Graham Newton everything from the tinny, rasping decadence of On 31 August 1928, at Berlin’s Original recordings from the collections of David Lennick, Peter Doyle, James Kidd & Houston Maples Weimar Germany to the lush showbiz Schiffbauerdamm Theatre, they premiered their romanticism of 1940s Broadway. next work, The Threepenny Opera, based on Producer’s Note His songs have been ‘covered’ by everyone John Gay’s classic, The Beggar’s Opera. As might be expected, the earlier recordings in this collection are exceedingly rare. Some were from Bobby Darin to The Doors and some of his Conceived in haste and executed in discord, eight-inch discs, known to exist only in a few pressings. The recordings made by Lotte Lenya and greatest hits have come from the least likely of everyone thought it was going to be a huge Kurt Weill for the small Bost label were poorly recorded and pressed on low-grade wartime shellac. sources. disaster. But the audiences adored it, especially Walter Huston made two commercial recordings of September Song, six years apart. The lyrics Call him a true original – a fact that the Die Moritat von Mackie Messer (The Ballad differed sufficiently that it was felt desirable to include both recordings, editing slightly to eliminate twenty wildly disparate selections on this Of Mack The Knife), a number they added at repetition. The earlier Brunswick recording is heard in its entirety. recording prove time and time again. the eleventh hour to appease the leading man’s David Lennick, 2007 He was born in Dessau, Germany, on desire for a ‘big’ entrance. 2 March 1900, into a religious Jewish family, the Brecht himself sings it on this recording, son of a cantor. By the time he was twelve, he along with another number best translated as was already composing serious musical works The Ballad Of The Futility Of All Human and by the age of 26 he had dazzled the musical Endeavour. Establishment with his setting of Georg Kaiser’s The new hot duo continued to turn out Der Protagonist. successful works, including 1929’s Happy End It looked like Weill was going to be one of and, in 1930, a full-scale operatic version of their the next great serious voices in German music, earlier Mahagonny song-cycle, this one called but then his life took a detour from which it The Rise And Fall Of The State Of Mahagonny. never returned. Weill was by now married to the unique In 1927, the Baden-Baden music festival put song-stylist, Lotte Lenya, of whom he once said him together with the socialist playwright ‘Everything I compose, I hear Lenya singing in Bertolt Brecht to write a one-act theatrical song- my inner ear’. Original monochrome photo of Kurt Weill from the Tully Potter Collection

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9. Tchaikovsky (And Other Russians) 14. Speak Low (II) 3:17 She is heard on this recording in a selection great actor Walter Huston (playing tyrannical 3:18 From One Touch Of Venus of songs from those early days, including the Peter Stuyvesant) to sing after hearing him on a From Lady in the Dark (Kurt Weill–Ogden Nash) classic Surabaya Johnny from Happy End and radio broadcast. (Kurt Weill–Ira Gershwin) Mary Martin & Kenny Baker; orchestra the Alabama Song from Mahagonny, covered A few years later, in 1941, Weill found Danny Kaye with orchestra & chorus conducted by Maurice Abravanel by The Doors on their first album. (And yes, the himself involved with the glitziest of Broadway conducted by Maurice Abravanel Decca 23296, mx 71493-A English lyrics were originally written by Brecht.) vehicles. Playwright Moss Hart, at the peak of Columbia 36025, mx CO 29836-1 Recorded 7 November 1943, New York Art as popular and yet as politically as his success, wanted to explore the phenomenon Recorded 28 January 1941, New York 15. Moderato Assai From The unsettling as that which Brecht and Weill of psychoanalysis. He picked Gertrude Lawrence 10. The Saga Of Jenny 3:14 Threepenny Opera 2:16 created was not likely to find favour with the as his star, asked Ira Gershwin to provide the From Lady In The Dark (Kurt Weill, arr. Stefan Frenkel) Third Reich when it came to power in 1933. lyrics and turned to Weill for the music. (Kurt Weill–Ira Gershwin) Jascha Heifetz, violin; Emanuel Bay, piano In fact, when the newly-elected government The resulting product, Lady In The Dark, Gertrude Lawrence; orchestra & chorus Decca DL 8521, mx W 73199 decided to put together an exhibit of the kind of was one of the biggest hits of the 1940s. It gave conducted by Leonard Joy Recorded 30 November 1945, New York ‘decadent art’ they wanted stopped, a Lawrence two solid-gold showstoppers in My Victor 27330, mx BS 060683-1 16. Moon-Faced, Starry-Eyed 3:05 gramophone playing Die Moritat von Mackie Ship and The Saga Of Jenny, as well as Recorded 23 February 1941, New York From Street Scene Messer was the central exhibit. allowing a young man named Danny Kaye the 11. Lost In The Stars 3:01 (Kurt Weill–Langston Hughes) The combination of his Jewish heritage and opportunity to perform theatrical larceny with From Ulysses Africanus & Lost In The Stars Benny Goodman & His Orchestra; his left-wing politics made Weill an easy target his tongue-twisting litany of Russian composers (Kurt Weill–Maxwell Anderson) Johnny Mercer, vocal for the Nazis and so he fled the country, first to called Tchaikovsky. Lotte Lenya with Kurt Weill, piano Capitol 376, mx 1619-4 Paris, and then to America. By 1943, Weill’s transformation was Bost 5017, mx 1240 Recorded 30 January, 1947, Hollywood His initial work in his adopted country, a complete. The score he provided for One Touch Recorded c. 1942, New York 17. Here I’ll Stay 3:15 1936 anti-war musical called Johnny Johnson, Of Venus (to lyrics by comic poet Ogden Nash) 12. Lover Man (Trouble Man) 2:50 From Love Life didn’t receive a positive greeting from the press was as smoothly sophisticated and redolent of From Ulysses Africanus & Lost In The Stars (Kurt Weill–Alan Jay Lerner) or public and indeed, sounded a lot like the Manhattan as anything a native-born composer (Kurt Weill–Maxwell Anderson) Buddy Clark with Mitchell Ayres’ Orchestra material he had written with Brecht in Germany. could have provided. Lotte Lenya with Kurt Weill, piano & Chorus But two years later, by 1938, things had Speak Low, performed here both by the Bost 5017, mx 1235-B Columbia 38294, mx CO 38583-1 changed. He collaborated with popular composer himself as well as by Mary Martin and Recorded c. 1942, New York Recorded 20 December 1947, New York playwright Maxwell Anderson on a story about Kenny Baker of the original cast, is a supreme 13. Speak Low (I) 2:04 18. Green-Up Time 2:41 the early days of Manhattan called illustration of Weill at his most cosmopolitan. From One Touch Of Venus From Love Life Knickerbocker Holiday. While still bearing the But having proven that he could conquer (Kurt Weill–Ogden Nash) (Kurt Weill–Alan Jay Lerner) distinctive Weill flavour, it was unquestionably the Broadway musical as well as the German Kurt Weill, vocal & piano Greta Keller with Cy Walter, piano & an American score. stage (as the 1945 Jascha Heifetz recording of Heritage H-0051 rhythm section It also gave birth to one of the great classic the Moderato Assai from The Threepenny From demo recording c. 1942, New York Atlantic ALS 405, mx ALP11289 Recording January 1956, New York musical theatre numbers, a bittersweet ode Opera reminds us again of his earlier origins) a called September Song they wrote for the talent as restless as Weill’s had to move on. His

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final three American works each had a unique Weill died of a sudden heart attack on 1. Die Moritat von Mackie Messer 5. Surabaya Johnny 3:06 stamp and a particular vitality. 3 April 1950 and for a while, his reputation (The Ballad Of Mack The Knife) 2:45 From Happy End Street Scene (1947) was virtually a tragic seemed in danger of fading away. From Die Dreigroschenoper (The (Kurt Weill–Bertolt Brecht) opera about the lower classes in Manhattan’s But a quirky off-Broadway mounting of The Threepenny Opera) Lotte Lenya with Kurt Weill, piano Hell’s Kitchen, although its pop hit, Moon- Threepenny Opera in 1954 proved one of the (Kurt Weill–Bertolt Brecht) Bost 5019, mx 1229 Faced, Starry-Eyed is pure American bee-bop smash hits of the decade and started a whole Bertolt Brecht with Theo Mackeben’s Jazz Recorded c. 1942, New York optimism, especially as swung here by Benny new Kurt Weill revival. From that production, Orchestra 6. Wie man sich bettet Goodman with Johnny Mercer selling the vocal. you can hear Lenya sing the chilling Pirate Orchestrola 2131, mx 1239/A8473 (As You Make Your Bed) 3:05 Recorded May 1929, Berlin Love Life (1948) was a ground-breaking Jenny. From Aufstieg und Fall der Stadt attempt to study the institution of American Ironically, Weill had one of the biggest pop 2. Bilbao Song 3:05 Mahagonny (Rise and Fall of the City of marriage over several hundred years, but it too hits of the 1950s with a song he had written From Happy End Mahagonny) yielded such great standards as Here I’ll Stay thirty years before. (The Ballad Of) Mack The (Kurt Weill–Bertolt Brecht) (Kurt Weill–Bertolt Brecht) and Green-Up Time, performed by pop Knife was picked up and swung by Louis Lotte Lenya with Theo Mackeben’s Jazz Lotte Lenya with Kurt Weill, piano Orchestra Bost 5019, mx 1232-C favourite Buddy Clark and cabaret song stylist Armstrong in 1955, complete with a shout-out Orchestrola 2311, mx A8718 Recorded c. 1942, New York Greta Keller. to Lotte Lenya, who – legend has it – was in the Recorded c. October 1929, Berlin Weill’s final completed work was a stirring studio when Satchmo was recording it. This 7. September Song 4:44 version of the South African tragic novel, Cry, made the tune popular all over again and paved 3. Die Ballade von der Unzulänglichkeit From Knickerbocker Holiday The Beloved Country, rendered here as Lost In the way for Bobby Darin’s later chart-topping (The Ballad Of The Futility Of All (Kurt Weill–Maxwell Anderson) The Stars. In writing it, Weill used some themes 1959 version. Human Endeavour) 2:48 Walter Huston with orchestras conducted From Die Dreigroschenoper (The by Victor Young and Maurice Abravanel he had previously developed for an abandoned From Weimar Germany to Eisenhower Threepenny Opera) Decca 40001, mx L 3666B and Brunswick musical called Ulysses Africanus. One of them is America. Who could score a hit everywhere (Kurt Weill–Bertolt Brecht) 8272, mx B 23732-1 Lover Man (aka Trouble Man) sung here by down the line? No one, except for Kurt Weill. Bertolt Brecht with Theo Mackeben’s Jazz Recorded 31 October 1944, Los Angeles his wife, Lenya. Orchestra and 24 November 1938, New York Richard Ouzounian Orchestrola 2131, mx 1240/A8474 8. My Ship 2:56 Recorded May 1929, Berlin From Lady In The Dark 4. Alabama Song 2:55 (Kurt Weill–Ira Gershwin) From Aufstieg und Fall der Stadt Gertrude Lawrence; orchestra conducted Mahagonny (Rise and Fall of the City of by Leonard Joy Mahagonny) Victor 27330, mx BS 060682-2 (Kurt Weill–Bertolt Brecht) Recorded 23 February 1941, New York Lotte Lenya with The Three Admirals and Orchestra Ultraphon A 371, mx 10710 Recorded 24 February 1930, Berlin

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final three American works each had a unique Weill died of a sudden heart attack on 1. Die Moritat von Mackie Messer 5. Surabaya Johnny 3:06 stamp and a particular vitality. 3 April 1950 and for a while, his reputation (The Ballad Of Mack The Knife) 2:45 From Happy End Street Scene (1947) was virtually a tragic seemed in danger of fading away. From Die Dreigroschenoper (The (Kurt Weill–Bertolt Brecht) opera about the lower classes in Manhattan’s But a quirky off-Broadway mounting of The Threepenny Opera) Lotte Lenya with Kurt Weill, piano Hell’s Kitchen, although its pop hit, Moon- Threepenny Opera in 1954 proved one of the (Kurt Weill–Bertolt Brecht) Bost 5019, mx 1229 Faced, Starry-Eyed is pure American bee-bop smash hits of the decade and started a whole Bertolt Brecht with Theo Mackeben’s Jazz Recorded c. 1942, New York optimism, especially as swung here by Benny new Kurt Weill revival. From that production, Orchestra 6. Wie man sich bettet Goodman with Johnny Mercer selling the vocal. you can hear Lenya sing the chilling Pirate Orchestrola 2131, mx 1239/A8473 (As You Make Your Bed) 3:05 Recorded May 1929, Berlin Love Life (1948) was a ground-breaking Jenny. From Aufstieg und Fall der Stadt attempt to study the institution of American Ironically, Weill had one of the biggest pop 2. Bilbao Song 3:05 Mahagonny (Rise and Fall of the City of marriage over several hundred years, but it too hits of the 1950s with a song he had written From Happy End Mahagonny) yielded such great standards as Here I’ll Stay thirty years before. (The Ballad Of) Mack The (Kurt Weill–Bertolt Brecht) (Kurt Weill–Bertolt Brecht) and Green-Up Time, performed by pop Knife was picked up and swung by Louis Lotte Lenya with Theo Mackeben’s Jazz Lotte Lenya with Kurt Weill, piano Orchestra Bost 5019, mx 1232-C favourite Buddy Clark and cabaret song stylist Armstrong in 1955, complete with a shout-out Orchestrola 2311, mx A8718 Recorded c. 1942, New York Greta Keller. to Lotte Lenya, who – legend has it – was in the Recorded c. October 1929, Berlin Weill’s final completed work was a stirring studio when Satchmo was recording it. This 7. September Song 4:44 version of the South African tragic novel, Cry, made the tune popular all over again and paved 3. Die Ballade von der Unzulänglichkeit From Knickerbocker Holiday The Beloved Country, rendered here as Lost In the way for Bobby Darin’s later chart-topping (The Ballad Of The Futility Of All (Kurt Weill–Maxwell Anderson) The Stars. In writing it, Weill used some themes 1959 version. Human Endeavour) 2:48 Walter Huston with orchestras conducted From Die Dreigroschenoper (The by Victor Young and Maurice Abravanel he had previously developed for an abandoned From Weimar Germany to Eisenhower Threepenny Opera) Decca 40001, mx L 3666B and Brunswick musical called Ulysses Africanus. One of them is America. Who could score a hit everywhere (Kurt Weill–Bertolt Brecht) 8272, mx B 23732-1 Lover Man (aka Trouble Man) sung here by down the line? No one, except for Kurt Weill. Bertolt Brecht with Theo Mackeben’s Jazz Recorded 31 October 1944, Los Angeles his wife, Lenya. Orchestra and 24 November 1938, New York Richard Ouzounian Orchestrola 2131, mx 1240/A8474 8. My Ship 2:56 Recorded May 1929, Berlin From Lady In The Dark 4. Alabama Song 2:55 (Kurt Weill–Ira Gershwin) From Aufstieg und Fall der Stadt Gertrude Lawrence; orchestra conducted Mahagonny (Rise and Fall of the City of by Leonard Joy Mahagonny) Victor 27330, mx BS 060682-2 (Kurt Weill–Bertolt Brecht) Recorded 23 February 1941, New York Lotte Lenya with The Three Admirals and Orchestra Ultraphon A 371, mx 10710 Recorded 24 February 1930, Berlin

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9. Tchaikovsky (And Other Russians) 14. Speak Low (II) 3:17 She is heard on this recording in a selection great actor Walter Huston (playing tyrannical 3:18 From One Touch Of Venus of songs from those early days, including the Peter Stuyvesant) to sing after hearing him on a From Lady in the Dark (Kurt Weill–Ogden Nash) classic Surabaya Johnny from Happy End and radio broadcast. (Kurt Weill–Ira Gershwin) Mary Martin & Kenny Baker; orchestra the Alabama Song from Mahagonny, covered A few years later, in 1941, Weill found Danny Kaye with orchestra & chorus conducted by Maurice Abravanel by The Doors on their first album. (And yes, the himself involved with the glitziest of Broadway conducted by Maurice Abravanel Decca 23296, mx 71493-A English lyrics were originally written by Brecht.) vehicles. Playwright Moss Hart, at the peak of Columbia 36025, mx CO 29836-1 Recorded 7 November 1943, New York Art as popular and yet as politically as his success, wanted to explore the phenomenon Recorded 28 January 1941, New York 15. Moderato Assai From The unsettling as that which Brecht and Weill of psychoanalysis. He picked Gertrude Lawrence 10. The Saga Of Jenny 3:14 Threepenny Opera 2:16 created was not likely to find favour with the as his star, asked Ira Gershwin to provide the From Lady In The Dark (Kurt Weill, arr. Stefan Frenkel) Third Reich when it came to power in 1933. lyrics and turned to Weill for the music. (Kurt Weill–Ira Gershwin) Jascha Heifetz, violin; Emanuel Bay, piano In fact, when the newly-elected government The resulting product, Lady In The Dark, Gertrude Lawrence; orchestra & chorus Decca DL 8521, mx W 73199 decided to put together an exhibit of the kind of was one of the biggest hits of the 1940s. It gave conducted by Leonard Joy Recorded 30 November 1945, New York ‘decadent art’ they wanted stopped, a Lawrence two solid-gold showstoppers in My Victor 27330, mx BS 060683-1 16. Moon-Faced, Starry-Eyed 3:05 gramophone playing Die Moritat von Mackie Ship and The Saga Of Jenny, as well as Recorded 23 February 1941, New York From Street Scene Messer was the central exhibit. allowing a young man named Danny Kaye the 11. Lost In The Stars 3:01 (Kurt Weill–Langston Hughes) The combination of his Jewish heritage and opportunity to perform theatrical larceny with From Ulysses Africanus & Lost In The Stars Benny Goodman & His Orchestra; his left-wing politics made Weill an easy target his tongue-twisting litany of Russian composers (Kurt Weill–Maxwell Anderson) Johnny Mercer, vocal for the Nazis and so he fled the country, first to called Tchaikovsky. Lotte Lenya with Kurt Weill, piano Capitol 376, mx 1619-4 Paris, and then to America. By 1943, Weill’s transformation was Bost 5017, mx 1240 Recorded 30 January, 1947, Hollywood His initial work in his adopted country, a complete. The score he provided for One Touch Recorded c. 1942, New York 17. Here I’ll Stay 3:15 1936 anti-war musical called Johnny Johnson, Of Venus (to lyrics by comic poet Ogden Nash) 12. Lover Man (Trouble Man) 2:50 From Love Life didn’t receive a positive greeting from the press was as smoothly sophisticated and redolent of From Ulysses Africanus & Lost In The Stars (Kurt Weill–Alan Jay Lerner) or public and indeed, sounded a lot like the Manhattan as anything a native-born composer (Kurt Weill–Maxwell Anderson) Buddy Clark with Mitchell Ayres’ Orchestra material he had written with Brecht in Germany. could have provided. Lotte Lenya with Kurt Weill, piano & Chorus But two years later, by 1938, things had Speak Low, performed here both by the Bost 5017, mx 1235-B Columbia 38294, mx CO 38583-1 changed. He collaborated with popular composer himself as well as by Mary Martin and Recorded c. 1942, New York Recorded 20 December 1947, New York playwright Maxwell Anderson on a story about Kenny Baker of the original cast, is a supreme 13. Speak Low (I) 2:04 18. Green-Up Time 2:41 the early days of Manhattan called illustration of Weill at his most cosmopolitan. From One Touch Of Venus From Love Life Knickerbocker Holiday. While still bearing the But having proven that he could conquer (Kurt Weill–Ogden Nash) (Kurt Weill–Alan Jay Lerner) distinctive Weill flavour, it was unquestionably the Broadway musical as well as the German Kurt Weill, vocal & piano Greta Keller with Cy Walter, piano & an American score. stage (as the 1945 Jascha Heifetz recording of Heritage H-0051 rhythm section It also gave birth to one of the great classic the Moderato Assai from The Threepenny From demo recording c. 1942, New York Atlantic ALS 405, mx ALP11289 Recording January 1956, New York musical theatre numbers, a bittersweet ode Opera reminds us again of his earlier origins) a called September Song they wrote for the talent as restless as Weill’s had to move on. His

6 8.120831 8.120831 3 120831bk Weill:MASTER BOOK 5/4/07 9:12 PM Page 2

19. Pirate Jenny 4:04 20. Mack The Knife (A Theme From The MACK THE KNIFE From The Threepenny Opera Threepenny Opera) 3:24 (Kurt Weill–Bertolt Brecht–Marc Blitzstein) (Kurt Weill–Bertolt Brecht–Marc Blitzstein) Songs of KURT WEILL Lotte Lenya, orchestra conducted by Louis Armstrong & His All-Stars Original 1929–1956 Recordings Samuel Matlowsky Columbia 40587, mx CO 53818-1 MGM E 3121, mx 54-MG-560 Recorded 28 September 1955, New York Two continents, two careers, two totally different cycle which they called Mahagonny. Its Recorded March 1954, New York styles of music. There’s only one 20th century harmonic dissonances and outspoken political Sung in English except tracks 1, 2, 3, 5 & 6 in German; track 15 instrumental composer who fits that definition: Kurt Weill. sentiments made it a succès de scandale and This strange, idiosyncratic man could deliver cemented the partnership of Brecht and Weill. Transfers & Production: David Lennick • Digital Restoration: Graham Newton everything from the tinny, rasping decadence of On 31 August 1928, at Berlin’s Original recordings from the collections of David Lennick, Peter Doyle, James Kidd & Houston Maples Weimar Germany to the lush showbiz Schiffbauerdamm Theatre, they premiered their romanticism of 1940s Broadway. next work, The Threepenny Opera, based on Producer’s Note His songs have been ‘covered’ by everyone John Gay’s classic, The Beggar’s Opera. As might be expected, the earlier recordings in this collection are exceedingly rare. Some were from Bobby Darin to The Doors and some of his Conceived in haste and executed in discord, eight-inch discs, known to exist only in a few pressings. The recordings made by Lotte Lenya and greatest hits have come from the least likely of everyone thought it was going to be a huge Kurt Weill for the small Bost label were poorly recorded and pressed on low-grade wartime shellac. sources. disaster. But the audiences adored it, especially Walter Huston made two commercial recordings of September Song, six years apart. The lyrics Call him a true original – a fact that the Die Moritat von Mackie Messer (The Ballad differed sufficiently that it was felt desirable to include both recordings, editing slightly to eliminate twenty wildly disparate selections on this Of Mack The Knife), a number they added at repetition. The earlier Brunswick recording is heard in its entirety. recording prove time and time again. the eleventh hour to appease the leading man’s David Lennick, 2007 He was born in Dessau, Germany, on desire for a ‘big’ entrance. 2 March 1900, into a religious Jewish family, the Brecht himself sings it on this recording, son of a cantor. By the time he was twelve, he along with another number best translated as was already composing serious musical works The Ballad Of The Futility Of All Human and by the age of 26 he had dazzled the musical Endeavour. Establishment with his setting of Georg Kaiser’s The new hot duo continued to turn out Der Protagonist. successful works, including 1929’s Happy End It looked like Weill was going to be one of and, in 1930, a full-scale operatic version of their the next great serious voices in German music, earlier Mahagonny song-cycle, this one called but then his life took a detour from which it The Rise And Fall Of The State Of Mahagonny. never returned. Weill was by now married to the unique In 1927, the Baden-Baden music festival put song-stylist, Lotte Lenya, of whom he once said him together with the socialist playwright ‘Everything I compose, I hear Lenya singing in Bertolt Brecht to write a one-act theatrical song- my inner ear’. Original monochrome photo of Kurt Weill from the Tully Potter Collection

2 8.120831 8.120831 7 120831bk Weill:MASTER BOOK 5/4/07 9:12 PM Page 8

The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

Also available from Naxos Nostalgia …

8.120776 8.120800 8.120803

8.120828 8.120829 8.120830 These titles are not for retail sale in the USA

8 8.120831 MACK THE KNIFE Songs of Kurt Weill 8.120831 Mack TheKnife o o aei h ntdSae MadeintheEU Not for SaleintheUnitedStates ൿ www. NOTES ANDFULLRECORDING DETAILS INCLUDED Transfers &Production: DavidLennick •DigitalRestoration: Graham Newton 1929-1956Original Recordings 20. Mack The Knife (A Theme From The Threepenny Opera) TheThreepenny MackTheKnife(AThemeFrom 20. PirateJenny 19. Time Green-Up 18. I’llStay Here 17. Moon-Faced,Starry-Eyed 16. Opera TheThreepenny ModeratoAssaifrom 15. SpeakLow(II) 14. SpeakLow(I) 13. LoverMan(Trouble Man) 12. LostInTheStars 11. TheSagaOfJenny 10. .Tchaikovsky (AndOtherRussians) 9. MyShip 8. SeptemberSong 7. Wie mansichbettet(AsYou MakeYour Bed) 6. SurabayaJohnny 5. AlabamaSong 4. DieBalladevonderUnzulänglichkeit(TheBallad Of TheFutilityAllHuman 3. BilbaoSong 2. DieMoritatvonMackieMesser(TheBalladOfMackTheKnife) 1. & Total Time:62:47 Endeavour) Ꭿ 07NxsRgt nentoa t.Design: RonHoares Ltd. 2007 NaxosRightsInternational naxos.com G ERTRUDE B L L ERTOLT B OTTE OTTE K UDDY L M G OTTE URT W ARY RETA L L L L OTTE L AWRENCE ALTER OTTE G ENYA W B ENYA C L M ERTRUDE RECHT LARK EILL ENYA K ARTIN L LE WITH ELLER L H NAWITH ENYA , NAWITH ENYA 3:05 4:04 VOCAL USTON B 3:15 L 2:55 ENNY 2:56 & K 2:48 OTTE L AWRENCE & ENNY 8.120831 G 4:44 L C PIANO NAWITH ENYA K OODMAN K Y URT og of Songs URT W D B AKER ANNY ALTER 3:14 W W 2:04 EILL EILL & H , K K 3:17 PIANO , , AYE URT PIANO PIANO IS L J O ASCHA OTTE W 3:18 RCHESTRA 2:41 EILL K 3:01 3:06 L , H NAWITH ENYA PIANO URT EIFETZ ; J OHNNY L , 2:50 VIOLIN OUIS W K URT A M ; E B RMSTRONG ERCER ERTOLT EILL W MANUEL EILL , VOCAL , B PIANO RECHT B 3:24 AY , P 3:05 IANO 3:05 2:45 ADD

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MACK THE KNIFE THE MACK Songs of Kurt Weill Kurt of Songs 8.120831