KURT WEILL Newslerter Volume 10, Number 2 Fall1992

KURT WEILL NEWSLErTER Volume 10, Number 2 Fall1992

IN THIS ISSUE P ERFORMANCES 20 Mahagonny in Stuttgart David Drew "Judgement of Paris" in New York Bert Wechsler D AVID RAKSIN R EMEMBERS W EILL, WHERE Do W E Go FROM H ERE?, AND Mahagonny in Copenhagen Niels Krabbe " D EVELOPING" FILM M USIC IN THE 1940s Mahagonny in Geneva "Trains Bound for Glory" from Railroads on Parade in New York An Oral History Interview with Peggy Sherry 6 David Patrick Stearns

A LEC W ILDER: CURT ABOUT WEILL Arnold Sundgaard 10 RECORDINGS 24 STEVE R EICH ON K URT W EILL Der Kuhhandel (excerpts) on Capriccio Horst Koegler An Interview with K. Robert Schwarz 12 "Kleine Dreigroschenmusik"; Violin Concerto; "Vom Tod im Wald" on Ondine/"Kleine Dreigroschenmusik" on Koch International. Glen Boisseau Becker "Kurt Weill Songs" by Carole Farley; "Lucky To Be Me" by Jessye l BooKs 17 Norman; "Kiri Side Tracks" by Kiri Te Kanawa Alan Rich

Ronald Taylor's Kurt Weill: Composer in a Divided World Stephen Hinton COLUMNS John L. Stewart's Ernst Krenek: The Man and His Music Letters to the Editor 5 Christopher Hailey Around the World: Der Jasager at CalArts 14 Michael Bawtree's The New Singing Theatre: A Charter for the Recent Research 15 Music Theatre Movement Michael Morley Selected Performances 27 NEWS

William Henry Curry (conductor) , feature d the music of Britten and BBC Documentary on Weill's Francesca Zambello (director), Adrianne Shostakovich. These special "focus'' festi­ American Years Lobel (sel designer), Martin Pakladinaz vals are independentof the larger Aldeburgh (costume designer), and Jim Ingalls (light­ Festival of Music andthe Aits, a three-week ing designer) comprise the creative team. event that takes place in early Summer. The British Broadcasting Corporation in Thecastindudes Sheri Greenawald (Anna cooperation with the Hessischer Rundfunk, Maurrant), Robe rt McFarland (Frank Frankfurt, has produced Fom1erly German: Maurrant), Lee Merrill (Rose Maurrant), Feingold Translation of Kurt Weill in America, a 60-minute docu­ Kip Wilborn (Sam Kaplan), Timothy Nolen mentary on Weill's emigration to France (Harry Easter) ,Joyce Castle (EmmaJones), Threepenny Now Available for and his career in America. Directed by Eugene Perry (Henry Davis), and Jerold Performance Barrie Gavin and based on a script by Gavin Siena (Lippo Fiorentino). and Kim H. Kowalke, the film makes use of previously unpublished archival documents Other works in the H GO 1993-94 season Michael Feingold's translation of The from the Weill-Lenya Research Center, in­ are Elektra, Don Carlos, Lucia di Threepe1111y Opera is now available for per­ cludes new interviews with colleagues of Lammermoor, La traviata, Turandot, Porgy and Bess, and two new works by American formance worldwide. Feingold made the Weill and Lenya, and contains footage of translation for the 1989 Broadway produc­ Rockland County, NY. where WeilJ and composers: Hey, Alf, by Peter Schickele, Lenya made their home. and an opera based on the life of Harvey tion. For licensing information. contact Milk, commissioned from composer Stewart European Ainerican Music Corporation, PO Judy Kaye. soprano, Kevin Anderson, Wallace. Box 850, Valley Forge, PA 19482. Tele­ tenor, Franc D'Ambrosio. tenor, Daniel phone: (215) 648-0506. Narducci, baritone, and Michael Scarborough, baritone, recorded selections from Weill's American stage works with the Aldeburgh Mounts Britten-Weill KURT WEILL NEWSLETTER Hessicher Rundfunk orchestra under the Festival Vol. 10, No. 2; Fall 1992 direction ofJam es Holmes.

The documentary will be broadcast first © 1992 Kurt Weill Foundation for Music by the BBC in November 1992. As this Newsletter goes to press, a unique 7 East 20th Street juxtaposition of the music of Benjamin New York, NY 10003-1106 Britten and Kurt Weill begins in Aldeburgh, Tel. (212) 505-5240 22 -25 October. AndrewDavis and the BBC New Weill Productions at Santa Fe Symphony Orchestra open the Britten-Weill Fax (212) 353-9663 Opera and Houston Grand Opera Festival in Snape Conce11 Hall with Britten's Overture to Paul Bunyan and Sinfonia da Requiem, op. 20, followed by Weill's Violin The Newsletter is published to provide an open forum TheSanta Fe Opera will presentthe.Ameri­ Concerto, op.12, and Symphony no. 2 (1933). wherein interested readers may express a variety of can professional stage premieres of Der Ernst Kovacic is the violin soloist. ideas and opinions. The opinions expressed do not Protagonist and Der Zar lii!J.t sich necessarily represent the publisher's offlclal v,ew­ photographieren during its 1993 season. On Friday, 23 October, the Borodin String Quartet, soprano Lucy Shelton, and pianist point. The editor encourages the subm1ss1on of Performance dates are 31 July, 4 and 13 articles, reviews, and news items for inclusion in future August 1993. Both works, on librettos by Ian Brown alternate compositions by Weill and Britten: String Quartet in B minor ,ssue.s. The subm1ss1on deadline for the next issue is Georg Kaiser, will be presented in English 15 January 1993, translation. Jonathan Eaton stages the (1918), ''On This Island" (1936), "Frauentanz" (1923), and String Qua1tet double-bill, GeorgeManahan serves as con­ Editor no. 1 (1941). David Farneth, ductor, scenery and costumes will be de­ Mario R. Mercado, Associate Editor signed by Robert Perdziola, and Craig Miller Saturday morning's open forum and dis­ Edward D. Harsh. Production Editor is the lighting designer. cussion at Baptist Chapel will feature David Edward Buckley, Production Assistant Drew, HKGrub er, Kim H. Kowalke, Rodney Principal cast members for Der Protago­ Milnes, Donald Mitchell, and Marion nist are Jacque Trussel (the Protagonist), Thorpe, followed by a screening of G.W. Ashley Putnam (Cathe1;ne, his sister), Board of Trustees Pabst's Die Dreigroscheno.per film. Patryk Wroblewski (the Young Lord). and Kim Kowalke. President David Rampy (the Major-Domo). Chiefroles On Saturday night in Snape Hall, Ameri­ Henry Marx, Vice-President in Der Zar will be sung by David Malis (the can soprano Angelina Reaux joins Austrian Lys Symonette, Vice-President Tsar), Kathryn Gamberoni (Angele), and composer-performer HKGruber (baritone) Guy Stern, Secetary Angelina Reaux (the false Angele). and the BBC Singers in a program of songs MIiton Coleman, Treasurer and arias conceived by David Drew drawn Philip Getter The Santa Fe Opera opens its season with from Paul Bunyan, Der Kuhhandel, johnny Harold Prince a revival of La boheme and includes new folznson, and Knickerbocker Holiday. Jul,us Rudel productions of The Magic Flute, Xerxes 1l1e Festival closes Sunday, 25 October, (Handel), and Capriccio, in addition to the Foundation StaH Weill double-bill. with concer t presentat ions of The 171reepemiy Opera (featuring the British Kim Kowalke, President * * • premiereofMichael Feingold's translation) David Farneth, Director and Archivist Lys Symonette, Musical Executive The Houston Grand Opera will mount and the "Happy End Songspiel" by singers Mano R. Mercado, Director of Programs Street Scene during its 1993-94 season. The from the Britten-Pears School and the Edward D. Harsh, Associace Director of new production premieres on 28 January Britten-Pears Orchestra conducted by 1994 in the Brown Theater, Wortham 1l1e­ Steuart Bedford. Pub/ica tions John Andrus,,Associate Archivist aterCenter, wilh subsequent performances The Snape Hall concerts will be broad­ Edward Buckley, Secretary/Off,ce Manager on 30 January, 2, 5, 6, 8, 11 February 1994. cast on BBC Radio. Last year's fall feslival

Kurt Weill Newsletter Volume 1O Number 2 2 News

Newsletter, oral histories, and other ancillary In the days leading up to the closing, lines publications. His work for the next year will at the box office grew as many waited for Foundation Welcomes New Staff concentrate on multi-faceted tasks relating to the opportunity to have one lastlook at the Members th.e establishment of the Kurt Weill Edition: production, which had been a prominent administratiolJ of the Editorial Board, analy­ part of Berlin theater life for more than a sis of software and hardware requirements. decade. Even long after the curtain had budget, fundraising, and communications fallen for tiie last time. the audience re­ The Kurt Weill Foundation's staff bas with volume editors, publishers, and ven­ maineo standing, clapping rhythmically and undergone a number of changes during dors. singing the now famous opening melody: the past year as three employees left to " ... und der Haif:isch, der hat Zahne.'' embark upon new ventures. Peggy Sherry Mr. Harsh joined the Foundation in Au­ (Associate Archivist) took a position at the gust after completing an MMA and MM in The histories of both venue and work Princeton University Libraries in January. Composition at Yale University, an MA in have been intertwined since long before Anita Weisburger (Office Administrator) Historical Musicology at Columbia Univer­ 1981. The fabulously successful 1928 pre­ and her husband Doug joined the Peace sity, and a BM in Composition at Peabody miere of Die Dreigroschenopertook place in Corps and departed this summer for a two­ Conservatory. He also studied at the Royal the ball when it was still the Theater am year tour in Papua New Guinea. John Conservatory in Holland and Ithaca CoUege. Schiffuauerdamm. In 1960, the work was Watson (Secretary) began a full-time act­ Mr. Harsh worked on the staff of the Yale revived there, again to much acclaim. How­ ing career in September. Center .for Studies in Music Technology and ever. a return engagementafter·tJie present served on the editorial committeefor Current closing is unlike ly. We welcome the following three new Musicology. His composition teachers have Major changes are in store for both com­ employees, who will play a crucial role in includedLouisAndriessen, Martin Bresnick, pany and building, though the end result of carrying out existing programs and ad­ Earle Brown, Jacob Druckman, Lukas Foss, these is as yet. uncertain. The Berliner vancing new initiatives: Karel Husa, Robert Hall lewis. and Frederic Ensemble is coming under the leadership Rzewski. John Andrus {Associate Archivist) of a new .five-man committee of directors, assumes responsibility for the technical while the theater is to be extensively reno­ processing activities of tJ1e Weill-Lenya vated and will not open again until early Research Center, including cataloging the 1993. collection on the RUN database. compil­ Weill at Rodgers and Hammerstein ing finding aids, processing, preservation. and conservation. He is developing proce­ Editing of the perfonning scores and parts dures and policies to facilitate efficient Darius Milhaud Centennial research access to the various collections for Weill's One Touch of Venus has recently in the Research Center. been completed, and the S.]. Perelman-Ogden Observations Nash-Kurt Weill collaboration is now avail­ Mr. Andrus worked for over two years able for stock and amateur licensing from the asBibliographer-Catalogerofthe US-RISM Rodgers and Hammerstein Theater Library, Correspondence documenting tiie pro­ Libretto Project at the University of Vir­ 1633 Broadway, Suite 3801, New York, NY fessional and personal relationship between ginia after completing his MLS degree at 10019;telephone (212) 541-6900: telefax (212) Darius and Madeleine Milhaud and Kurt Simmons College. He has a Ph.D. in 586--6155. Weill and Lotte Lenya highlights an exhibi­ musicology from the University of Califor­ tion mounted in the Art Gallery of the The Rodgers and Hammerstein Concert nia, Santa Barbara and also attended the Abraham Goodman House in New York University of California, Berkeley and Library also has a number of arrangements available for concert perfonnance: "Cry, the City. The exhibition complemented a day­ Oberlin College & Conservatory of Music. long celebration on 4 October 1992. the His diverse travels and experiences in­ Beloved Country,'' a concert suite-from Lost in the Stars. adapted by David Drew, for 100th anniversary of Milhaud's birth, that clude studying Arabic musicin Cairo, work­ included two concerts of the composer's mezzo-soprano, tenor. double choruses, ing as an editorial assistant at Phonogram vocal, choral, and chamber music, a screen­ International in The Netherlands, and SATB. and instrumental ensemble consist­ ing of Reed 1 (cl, alto sax. fl). Reed 2 (cl, ten ing of the documentary .film A Visit with teaching English in Japan. Darius Milhaud (inlrnduced by the sax, Eng Hn), Reed 3 (cl, alto sax), tpt, piano composer's widow Madame Madeleine Edward A. Buckley (Secretary/Of. (accordion), harp, tihlp & perc; 2 viola, 2 Milhaud) followed by a round table discus­ fice Manager) carries out the day-to-day cello, and bass: War Play. a suite of music sion moderated by Nancy Shear with pan­ operations of the Foundation, including fromjohmzy Johnson arranged by David Drew reception. word processing, mailing list for soprano, mezzo-soprano, two tenors, bass, e lists William Bokom. Grant Johannesen, and Charles Jones. management, and scheduling. He assists and instrumental ensemble of Reed l (cl, eb in all program-related activities. cl, bass cl), Reed 2 (alto sax, cl, bar sax, bass Brooklyn College Opera Theater. in as­ Mr. Buckley earned a Bachelor of Lib­ cl), 2 tpt, tbn, guitar (banjo). Hammond or­ so·ciation with the Empire Center at the eral Arts at Simpson College, where his gan. piano, timp, perc, 2 vn, cello; and tiie Egg in Albany, New York, presented the majors were German, music, and educa­ Symphonic Nocturne from Lady in the Dark, first fully staged American production of lion. Previously he worked for the Easter a concert suite arrangement by Robert Russell Milhaud's Chn·stophe Colomb in Whitman Seal Society, Schock Metal Fabrik in Bennett for full orchestra. H.all on the Brooklyn College Campus. 1~ Urbach, Germany, and Career Blazers in 11 October 1992. New York. The opera, with a libretto by the French Edward D. Harsh (Production Man­ Berliner Ensemble's Final poet Paul Claude!, is an allegorical and ager for the Kurt Weill Edition and Performance of Dreigroschenoper mystical interpretation of Colom bus's-voy­ Associate Director of Publications) is age, presented by a large cast of vocal responsible for coordinating and produc­ soloists in a series of 27 tableaux connected ing the Foundation'svarious publications, Sunday, 12 July 1992, saw the 333rd and by choral and spoken interludes. Of including the new Kurt Weill Edition, edi­ final performance oflhe Berliner Ensemble's Milhaud's 15 operas, Christophe Colomb is tions of correspondence, the Kurt Weill famous 1981 staging ofDie Dreigroschenoper. conceived· on the grandest scale and has

Kurt Weill Newsletter Volume 1O Number 2 3 NEWS

rarely been staged since its premiere al the Berlin Staatsoper in 1930. The Brooklyn College Opera Theater performances Initiation of the Kurt Weill Edition marked both the Columbus quincentenary and the Milhaud centennial. 'Ibe perfor­ mances, sung in English, were conducted After several years of preparation, the Kurt Weill Foundation by Richard Barrett and staged by Edward announces the inception of a collected critical edition of the composer's Berkeley. work. Also in observance of the Milhaud and Columbus anniversaries, the San Francisco Opera offers the first professional Ameri­ For any organization devoted to the pro­ The Edition can performances of Christoph.e Colomb on motion and perpetuation of an artist's life­ 11 and 13 December 1992. Lotfi Mansouri, work, the most enduring and significant The Kurt Weill Editio11will be a collected, critical edition of reliable performance texts General Director of the SFO, will direct the task may be the publication of that for the music of Kurt Weill, equaUy useful semi-staged concert performances that will individual's legacy i11 "permanent" form. be conducted by Kent Nagano. The opera TheTrusteesoftheKurtWeiU Foundation for informed performance and scholarly in­ quiry. Asa rule, the Edition will contain only will be performed in French, with English recognized this when, upon Lotte Lenya's supertitles, and the actor Derek Jacobi will death more than a decade ago, they adopted those works wbich the composercomp leted. Variant pieces and "cut" numbers from the deliver the narration in English. Principal an ambitious agenda for the future. Al­ stage works may, when appropriate, be in­ singers in the extensive cast are Maria though the conception ofa Gesamta.usgabe cluded in an appendix to each volume, al­ Fortuna (Isabella), Jean-Philippe Lafont requires only a noble thought, its realiza­ though performing versions of unfinished (Christophe Colomb I), Victor Ledbetter tion demands an investment of resources or fragmentary works assembled by some­ (Christophe Colomb IO, Mary Mills (Wife and skiUs of a considerably more imposing one other than the composer himself are of Colomb). Philip Skinner (King of Spain). order. Thus. for many years the notion of beyond the scope of the edition. Similarly, and Michel Senechal (Major-Domo). a completee dition ofWeiU's work remained neither reconstructions of lost works nor a desirable. but still distant goal. The performances of Christophe Colomb arrangements of Weill's music will be in­ in San Francisco bear added significance cluded. because ofMilhaud's association with Mills College in Oakland, CA, where he taught History of the Project 171e text of each work presented in the Edition will, of course, be the result of a from 1940 until 1971. In 1990. Kim Kowalke recommended to rigorous examination of all relevant primary the Foundation's Trustees that the time and secondary sources and documents. was right to begin the task of preparing a Thus, the composer's oeuvre will be pre­ Weill edition. A meeting was organized for sented for the first time in a form realizing October of that year to determine the feasi­ the highest standards of musical scholar­ bility of an edition of Weill's music: in ship, with each editorial decision carefuUy New Publications particular U1e nature, organization, fund­ ing, and production of such an edition. In documented. Equally important in the eyes of the editors. however, is that this careful addition to Foundation staff members scholarship provide to performers usable Recordings: (Kowalke, David Farneth, Mario Mercado, and authoritative practical editions for works and Lys Symonette) those attending in­ that until now have been represented only in Kleine Dreigroschemnusik. Philharmonia cluded Theodore Chapin, Gabriel Dotto, corrupt editions or even (in several cases) Orchestra; Otto Klemperer, conductor. EMI Ronald Freed, Lawrence Gushee, John not represented at all. Classics CDM 7 64142 2 . .[Recorded Octo­ Shepard and James Zychowicz. (David ber and December 1961.] [Includes Drew and Stephen Hinton were unable to Current plans for the Edition anticipate a Stravinsky, Symphony in Three Movements; attend but later reviewed and commented total of45volumes, with accompanyingcriti­ Stravinsky. PulcinellaSuite; Strauss, Wiener upon the post-meeting report.) Those as­ cal reports, that will be organized into the Blut.) sembled met in round table discussions in following 9 series (with the number of vol­ four sessions moderated by staff members. umes projected within each series in paren­ Der Kuhhandel (excerpts) . Soloists, Koiner The outcome of these meetings led the theses): Board ofTrustees, at its annual meeting in Rundfunkchor, Koiner Rundfunkorchester; Series I. Music Thearer (30) Jan Latham-Konig, conductor. Capriccio 60 December 1990, to approve tl1e next stage: developing a detailed prospectus for a Weill Series II. lncidenlal Music(!) 013-1. edition and commissioning a preliminary Series IH. Film Music (2) Sonata for cello and piano. Roger Drinkall, draft of editorial guidelines. cello; Dian Baker. piano. Pyramid 13505. A year later, after the staff had drafted Series IV. Orchestral Music (2) !Includes Martinu. Sonata no. 3; Kodaly, the Prospectus (in consultation with David S.-rics V. Vocal and Chontl with Orchestra (2) Fantasia, op. 4; Hindemith, Sonata no. 3.) Drew and Stephen Hinton), the Board ap­ proved in principle the founding, organiza­ Series VI. Chamber Music ( I ) tion, and announcement of - and initial Series VII. Choral Music ( I ) fundraising for - the Kurt Weill Edition. Scores: Kim Kowalke then met with the principal Series VIII. Lieder, Chansons, Songs (I ) Der Lindberglzflug: Revidierter Text (Der publishers ofWeill's music to discuss prac­ s.,ries rx. Unfini shed works, Juvenllia, e1c. (5) tical aspects of production and distribution Ozeanllug) von Bertolt Brecht. UE 9938. of the Edition. The meeting, in Stuttgart, TI1e bulk ofeach volume will comprise the (Reprint of the 1930 edition.) resulted in a concurrence on basic prin­ musical score itself. Preceding the score ciples, and all participants agreed that plan­ will be a general foreword to the edition and ning and development should continue. a dual-language preface (German and En-

Kurt Weill Newsletter Volume 1O Number 2 4 glish) tothevolume. Thepreface will present will allow a clear separation of financial and Significance of the Edition the historical background ofthework(s)and operational responsibility while permitting Editorial procedures developed by the offer a general overview of the relevant coordination of the Edition's activities may set important prece­ sources, as well as address questions and within the broad goals and mission of the Kurt Weill Edition dents for future projects. Never before issues related to peiformance practice. lt Foundation. have works from the American musical will necessarily also draw attention to the theater had the benefitof the careful schol­ general editorial problems associated with Overseeing all the Edition's work will be lhe work. Facsimile pages and, in the case an Editorial Board, initially a four-member arly scrutiny that is a natural by-product of the critical edition process. None of the of the stage works, documentation concern­ committee consisting of David Drew, works of Weill's last years has been ing design or staging may also be included Stephen Hinton, Giselher Schubert, and 15 available for study except in piano reduc­ as part of the prefatory material Kim Kowalke. The board will establish an editorial policy which addresses the multi­ tion made by others. This alone testifies to A critical report, published separately, farious nature of Weill's output and make the importance of the endeavor, leaving will furnish detailed source information, an the assignments of musical works to indi­ aside the obvious practical benefits to be explanation of editorial decisions, and a list vidual volume editors, who will be com­ gained from preserving and solidifying an ofmusical and textual variants or alternative missioned from the scholarly community important artist's legacy. readings. 111e report will be made available on a volume-by-volume basis. Yet another benefit may obtain from the in a range of electronic media, as well as Coordinati11g the interaction of editorial project. In a very direct and physical way, paper. personnel with one another as well as with a collected edition concretizes a composer's An important feature ofthe Edition will be other agents in the process such as librar­ output, perhaps making it less susceptible separate but parallel ancillary publications, ians, archivists, and publishers will be the to partitioning. The appearance of the Kurt newly-appointed Production Manager of Weill Edition may shed new light on the such as newly prepared piano-vocal scores 11 to the stageworks (particularly to theAmeri ­ the Edition, Edward Harsh (see New Staff long-standing critical construct of the two can stage works), new instrumental parts, news article). Mr. Harsh will oversee all Weills," and not only because all the vol­ practical editions of chamber music and aspects of the Edition's production and umes will be bound with the same material. song collections. finances. Each work will be presented in comparable terms to a new generation ofscho lars. who In addition to the primary organi7..ational will have the opportunity to introduce the Organizational Structure structure of the Edition, several dozen "American" and "European" Weills to each distinguished mem hers ofthe international other on common ground and deterniine The Kurt Weill Edition will be produced musical community have been invited to whether they are or are not one and the by an independent not-for-profit corporate serve on an advisory board. Members of same. entity, established and administered by the this group will counsel on matters pertain­ Kurt Weill Foundation. 171is arrangement ing to their respective areas of expertise. * * * * * LETTERS

To The Editor: Brook House and the cottage wou Id be left utilized the distinctive theme of Kol Nidre. on their 5.5 acre setting near the stream I found his review quite interesting, and I I offer these clarifications to two items in wiU1 no further residential building allowed; too missed a more adeqttate discussion of the Spring 1992 Newsletter that concern that no more than onehouse would ever be Kurt Weill in Alexander Ringer's worthy Brook House, Weill's and Lenya's home built on the four-acre remnant of a larger book on Arnold Schoenberg. There is, from 1941 until their deaths. parcel Lenya donated to a county park in after all, much to link those two creative fn the script of a 1950 radio broadcast, ["A 1975: and rhat we would keep 8.5 acres figures, fascinating for their similarities and New Addition to Weill's Gesammelte along the brook.downstream ofthe houses, contrasts. Both recognized and suffered Schriften" in Newsletter 10:1] Weill says he as a nature preserve. early on the peril of Jewish life in post­ has ·'about a half a mile of property" near a World War I Europe and especially felt the When we sold Brook House and the trout stream in New City. Actually, it was advance ofNazism in Germany itself. In the four-acre building site (1111developed even about one-sixth of a mile in road frontage, 1930s Schoenberg actively sought the es­ now), we knew that the full extent of new and nowhere near half a square mile or even tablishment ofa Jewish national homeland, development on !:he eighteen acres Lenya a hal.(-mile square in area. I suppose, even had owned would be one more house, well and Weill settled his pareuts and other then, hyperbole in radio interviews was a family members in Palestine. Though each out of sight. Because of other land-saving celebrity's duty. But the stream was-and went his distinctively different professional we had accomplished nearby. that section is - real. way in America, both responded to Judaic of South Mountain Road should remain reflections personally and in various works. The item that announced that Brook just about as it was in 1950. Weill'screativeenvironmentwasoutwarclly House is once again for sale had some erro­ Troutarescarcerthan in Weill'sdav, but clirected, whereas Schoenberg's source of neous background. West Branch Conserva­ U1e brook continues to flow through the tion Association did not "assume control'' of inspiration was internalized and inner-fo­ same natural setting enjoyed by Weill and cused. Beyond their personal histories and some of the land smTounding Brook House musical careers, both are fascinating for and its cottage (not a "carriage house." that Lenya. their intellectual strengths. Perhaps it is I know of-garage, perhaps.) West Branch MARTUS GRANIRER bought the entirety of Lenya's property on time now for a serious consideration of the President, West Branch Conserva­ intriguing parallels in these two Weimar­ South Mountain Road from her estate. tion Association.New City, NY Americans, and how such matters affected Our goal was to preserve. as much as their distinctive impacts on 20th-<:entury possible, the natural attributes ofthis impor­ To The Editor; musical history. tant place within our watershed. Lenya's land could have become a nine-lot subdivi­ Please inform Christopher Hailey that IRENE HESKES sion. Instead, we were able to insure that Max Bruch was not a Jew. Beethoven also Forest Hills, NY

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