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N A Playing Kurt WEILL 9 900A 950) X Time: O 73:00 The Eternal Road (highlights) S Sung in English All translations broadcasting p Play by Franz Werfel, English translation by Ludwig Lewisohn &© 8.559402 rights 2003 Constance Hauman, soprano in Mil this reserved KU and Barbara Rearick, mezzo-soprano This world-premiere recording of scenes k en sound copying from Kurt Weill’s rediscovered masterpiece 3 F Hanna Wollschläger, mezzo-soprano amily . T Unauthorized The Eternal Road recording brings to life a major 20th- Ian DeNolfo, tenor WEILL: of F oundation century work that was a sensation of the 937 this Karl Dent, tenor , New %ork season. Originally conceived as a compact (highlights) artwork >ale Rideout, tenor public biblical pageant, a profound music-drama, baritone 8. Ted Christopher, THE , The Eternal disc and a theatrical extravaganza, performanc texts ' James Maddalena, baritone Road 3 prohibited. combines the legends of timeless and Rundfunk-Kinderchor Berlin (Manfred Roost, chorus master) ETERNAL Jewish heroes and heroines with the all-too- e , Ernst Senff Chor (Sigurd Brauns, chorus master) familiar story of persecution in Europe. Set Rundfunk-Sinfonieorchester Berlin against a richly colored backdrop, Weill’s Gerard Schwarz, conductor masterful score embodies the passions and ETERNAL aspirations of many dramatic characters in 1–4 Act 1 excerpts 3 search of their Jewish Destiny. ' THE 8. 5–9 Act 2 excerpts 0– Act 3 excerpts (highlights) s 2– 6 Act 4 excerpt WEILL: Made in Canada Publisher: European American Music T 3 Recording: Jesus Christus Kirche, Berlin, Germany, November 200 DDD Recording Producer: Wolfram Nehls KU Recording Engineer: Martin Eichberg AMERICAN CLASSICS Assistant Recording Engineer: Sylvia Milchmeyer Recording Project Manager: Caul Schwendener www.milkenarchive.org Coproduction with DeutschlandRadio and the 3OC Berlin-GmbH www.naxos.com 8.559402 8.559402 S O X A N 6 36943 94022 8 Eternal Rd.back/tray.8.559402 1 7/14/03, 12:02:48 PM.

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April 2008 in This Issue
The Sacred in Opera April 2008 In this Issue... Ruth Dobson For the next two editions of the SIO newsletter, we are taking an in-depth look at one-act Christmas operas which can be easily produced and are appropriate for both children and adults. This issue we will profile Amahl and the Night Visitors, Only a Miracle, St. Nicholas, Good King Wenceslas, and The Shepherd’s Play. The next issue will highlight The Christmas Rose, The Greenfield Christmas Tree, The Finding of the King, The Night of the Star, and others. Thanks to Allen Henderson for sharing his insight into a triology of operas by Richard Shephard, Good King Wenceslas, The Shepherd’s Play, and St. Nicholas, with us in this issue. As great as Amahl and the Night Visitors is, there are these and other works waiting to be discovered by all of us. We hope you will find these suggestions interesting. These operas vary in length from 10 minutes to an hour, and can be presented alone or paired with others. Amahl and the Night Visitors is almost always a successful box office draw. Pairing it with a lesser known work could make for a very enjoyable afternoon or evening presentation and give audiences an opportunity to enjoy other equally wonderful works. Several of these operas use children as cast members, while others call for only adult performers, but all have stories appropriate for children. They are written in a variety of styles and have very different production requirements. Producers would need to take into consideration the ages of the children that are the target audience.
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"Propheten" Von Kurt Weill
((Prophetenn von Kurt Weill Ende 1935 erschien in New York im Verlag «Viking Hau se» << The Eternal Road », Ludwig Lewisohns sorgfältige Überset zung von «Der Weg der Verheißung», für die man einen griffi geren und «verkaufbareren » Titel al s «The Road of Promi se» gewählt hatte. Im Vorwort dieses Buches wurde die Urauffüh rung vo n Werfels «Drama » (bzw. «Bibelspiel », wie noch auf dem ersten Manuskript zu lesen war) in Lewisohns Überset zung angekündigt, und zwar für Jänner 1936 im Manhattan Opera Hau se in einer Inszenierung von Max Reinhardt. Nur wen ige Tage vor der geplanten Premiere meldeten die Produzenten Konkurs an . Reinhardt reiste nach Hollywood ab, und Werfel kehrte nach Europa zurück. Genau ein Jahr später - am 4. Jänner 1937 - und in Abwesenheit von Werfel brach te Reinhardt eine vielfach veränderte Version von «Th e Eternal Road » am selben Schauplatz in Manhattan heraus, begleitet von einem gigantischen Werbefeldzug und unter al lgemeinem Beifall von Presse und Publikum. Schon im September 1935 hatte Reinhardt über erbarmungs losen Kürzungen eines Dramas gesessen, das über sechs Stunden dauern sollte, wobei mindestens 3 '/, Stunden Musik erklungen wären . Angeblich wegen dieser ungeheuren Länge, aber auch aus Gründen der Zweckdienlichkeit strich Reinhardt fa st den ganzen vierten und letzten Akt. in dem Weill derart von dem Stoff gefangen genommen worden war, daß er - wiewohl in großer Zeitnot - sogar noch jene Stel len vertonte, die von Werfel als Sprechtexte konzipiert worden waren . Werfel hatte den IV. Akt ursprünglich mit «Propheten » über• schrieben, nicht «Die Propheten », aber aus unbekanntem Grund hatte Lewisohn diesen unspezifischen Titel mit «The Proph ets» übersetzt und damit auf mißverständliche Weise auf die ganze Reihe von Propheten und Heiligen angespielt, die in den hebräischen Königreichen Palästinas vom 8.
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Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence.
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Topical Weill: News and Events
Volume 15 Number 2 topical Weill Fall 1997 A supplement to the Kurt Weill Newsletter news &news events Mark your calendars—18 October 1998 is Lenya’s 100th Birthday! &news events Publications CD features the legendary Verlag Kiepenheuer & Witsch of Cologne will publish recordings that Lenya the German edition of Speak Low (When You Speak made for Philips in Ham- Love): The Letters of Kurt Weill and Lotte Lenya in the burg in 1955 and 1956, and fall of 1998. Entrusted to editors and translators Kim the booklet includes never- H. Kowalke and Lys Symonette by Lenya on her before-published photos of deathbed in 1981, these letters are testimonies to one of the recording sessions. the century’s most legendary artistic partnerships. The Lenya’s performances are German version contains minor revisions along with indeed “masterworks” and some new material. continue to be held up by The University of California Press gets a head start music critics as bench- on the centenary by reissuing the English version of marks of Weill interpreta- Speak Low in a paperback edition this month. Critics tion. from around the world praised the 1996 hardcover edi- tion as an outstanding achievement. Events Overlook Press will publish Lenya the Legend: A Pic- The New York-based torial Autobiography in the summer of 1998, an illustrat- American Foundation for ed narrative of Lenya’s life, told in her own words, AIDS Research (AmFAR) assembled entirely from interviews, correspondence, will be the beneficiary of autobiographical notes, and other writings. Compiled an all-star Broadway gala and edited by David Farneth, director of the Weill-Lenya tribute to Lenya on 18 Research Center, the book features nearly 350 photos October 1998 at the Majes- (300 black-and-white and 50 color) showing Lenya’s tic Theatre.
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Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication.
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Sampler Linernts 8 559406.Indd
Cover Art A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews ﬁrst arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. My personal interest in music and deep abiding commitment to synagogue life and the Jewish people united as I developed an increasing appreciation for the quality and tremendous diversity of music written for or inspired by the American Jewish experience. Through discussions with contemporary Jewish composers and performers during the 1980s, I realized that while much of this music had become a vital force in American and world culture, even more music of speciﬁcally Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve, and transmit the collective memory contained within this music, the Milken Archive of American Jewish Music was founded in 1990. This project would unite the Jewish people’s eternal love of music with their commitment to education, a commitment shared by the Milken Family Foundation since our founding in 1982. The passionate collaboration of many distinguished artists, ensembles, and recording producers has created a vast repository of musical resources to educate, entertain, and inspire people of all faiths and cultures.
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Michael Isaacson Collection
MICHAEL ISAACSON COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gail E. Lowther, spring-summer 2018 1 Photograph of Michael Isaacson with Samuel Adler (ca. 1972). Photograph by Louis Ouzer, from Michael Isaacson Collection, Box 31, Folder 13 Photograph of Michael Isaacson conducting the Israel Pops Orchestra during recording session for the Museum of Jewish Heritage (1997). From Michael Isaacson Collection, Box 31, Folder 14. 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 8 INVENTORY Series 1: Manuscripts and Sketches Sub-series A: Numbered Works . 14 Sub-series B: Orchestral Arrangements . 58 Sub-series C: Unnumbered Manuscripts . 62 Series 2: Papers Sub-series A: Correspondence. 95 Sub-series B: Composition Projects . 101 Sub-series C: Lectures and Pedagogical Materials . 119 Sub-series D: Writings . 124 Sub-series E: Professional Papers . 128 Sub-series F: Milken Papers . 159 Sub-series G: Milken Recording Project . 166 Sub-series H: Photographs and Images . 174 Series 3: Publicity and Press Materials Sub-series A: Scrapbooks . 179 Sub-series B: Concert Programs . 187 Sub-series C: Press Clippings . 190 Series 4: Library Sub-series A: Study Scores . 200 3 Sub-series B: Literature. 232 Series 5: Audio-Visual Materials Sub-series A: 5” Reel-to-Reel Audio Tapes . 233 Sub-series B: 7” Reel-to-Reel Audio Tapes. 233 Sub-series C: 10.5” Magnetic Tape. 236 Sub-series D: 12” LPs . 236 Sub-series E: 7” EPs . 237 Sub-series F: Cassette Tapes . 238 Sub-series G: Compact Discs (CDs) . 253 Sub-series H: Digital Audio Tapes (DATs) .
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Kurt Weill Newsletter FALL 2013
VOLUME 31 NUMBER 2 Kurt Weill Newsletter FALL 2013 FEATURES New Light on Weill: The David Drew Collection Kurt Weill on Broadway IN THIS ISSUE VOLUME 31 Kurt Weill Newsletter NUMBER 2 3 Editors’ Note FALL 2013 In the Wings - Upcoming Performances FEATURES ISSN 0899-6407 4 New Light on Weill: The David Drew Collection © 2013 Kurt Weill Foundation for Music 7 East 20th Street 13 Kurt Weill on Broadway New York, NY 10003-1106 Peter Filichia tel (212) 505-5240 fax (212) 353-9663 REVIEWS Performances Published twice a year, the Kurt Weill Newsletter features articles and reviews (books, performances, recordings) that center on Kurt Weill but take a broader 15 The Cradle Will Rock (Blitzstein) look at issues of twentieth-century music and theater. With a print run of 5,000 Encores! Off-Center copies, the Newsletter is distributed worldwide. Subscriptions are free. The editors John Mauceri welcome the submission of articles, reviews, and news items for inclusion in future issues. 16 The Firebrand of Florence Staatsoperette Dresden A variety of opinions are expressed in the Newsletter; they do not necessarily Gisela Maria Schubert represent the publisher’s official viewpoint. Letters to the editors are welcome ([email protected]). 17 Mahagonny Songspiel / Baden-Baden 1927 Gotham Chamber Opera Staff Michael Feingold Kate Chisholm and Dave Stein, Co-Editors Recordings Brady Sansone, Production and Circulation 18 Zaubernacht James Holmes Kurt Weill Foundation Trustees Kim H. Kowalke, President 19 Railroads on Parade Philip Getter, Senior Vice President and Treasurer Erica Scheinberg Guy Stern, Vice President Ed Harsh, Secretary 20 The Threepenny Opera from André Bishop Leonard Bernstein: Historical Recordings 1941–1961 Victoria Clark Howard Pollack Joanne Hubbard Cossa Susan Feder NEWS Corey Field James Holmes 21 Lotte Lenya Competition News Welz Kauffman Tazewell Thompson 22 Foundation News Trustees Emeriti Honorary Trustees Milton Coleman James Conlon Paul Epstein Stephen E.
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Weisgall Linernts 9425.Indd
Cover Art WEISGALL A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews ﬁrst arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of speciﬁcally Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture.
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Weill Program
kurt weill uncovered: in cabaret operamission Friday, February 11, 2011, 8:00 PM Gershwin Hotel, New York City soprano MARCY RICHARDSON baritone IAN GREENLAW with JENNIFER PETERSON and guests: Janinah Burnett Hai-Ting Chinn Sarah Nelson Craft Dora Hastings Mary Ann Stewart Lauren Worsham Glenn Seven Allen Ryan Allen Dennis Blackwell Kevin Burdette Tommy Wazelle Jorell Williams KURT WEILL (1900-1950) year event song artist 1900 Born Kurt Julian Weill, Dessau, Germany. 1906 Starts elementary school. 1909 Attends Herzogliche Friedrichs-Oberrealschule [secondary school]. 1912-13 Studies piano with Franz Brückner and, later, with Margaret Schapiro 1913 Mi Addir: Jüdischer Trauungsgesang. Es blühen zwei flammende Rosen. Song fragment. 1915-17 Studies piano and theory with Albert Bing, a former student of Hans Pfitzner. 1915 Earliest known public performance by Weill: Für uns, January 1915, Dessauer Feldkorps. Performs a Chopin prelude and the third nocturne from Liszt’s Liebesträume in a recital at the palace of Duke Friedrich of Anhalt. 1916 Ofrahs Lieder, Jehuda Halevi. A cycle of five songs. The date of the first performance is “In meinem Garten MARCY unknown. (Weill later considered this to be his starting point as a composer.) stehn zwei Rosen” RICHARDSON “Nur dir fürwahr, mein stolzer Aar” 1917 Das schöne Kind (author unknown) “Das schöne Kind” IAN Employed as a volunteer accompanist and coach at the Dessau Court Theater. Undertakes GREENLAW intensive studies in conducting, orchestration, and score-reading with Albert Bing. Appears in concert with Emilie Feuge in Cöthen. Weill is writing fugues. A music teacher finds them “too modern, too chromatic” but free of mistakes and full of musical ideas.
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Weill Program
kurt weill uncovered: in cabaret operamission Friday, February 11, 2011, 8:00 PM Gershwin Hotel, New York City soprano MARCY RICHARDSON baritone IAN GREENLAW with JENNIFER PETERSON and guests: Janinah Burnett Hai-Ting Chinn Sarah Nelson Craft Dora Hastings Mary Ann Stewart Lauren Worsham Glenn Seven Allen Ryan Allen Dennis Blackwell Kevin Burdette Tommy Wazelle Jorell Williams KURT WEILL (1900-1950) year event song artist 1900 Born Kurt Julian Weill, Dessau, Germany. 1906 Starts elementary school. 1909 Attends Herzogliche Friedrichs-Oberrealschule [secondary school]. 1912-13 Studies piano with Franz Brückner and, later, with Margaret Schapiro 1913 Mi Addir: Jüdischer Trauungsgesang. Es blühen zwei flammende Rosen. Song fragment. 1915-17 Studies piano and theory with Albert Bing, a former student of Hans Pfitzner. 1915 Earliest known public performance by Weill: Für uns, January 1915, Dessauer Feldkorps. Performs a Chopin prelude and the third nocturne from Liszt’s Liebesträume in a recital at the palace of Duke Friedrich of Anhalt. 1916 Ofrahs Lieder, Jehuda Halevi. A cycle of five songs. The date of the first performance is “In meinem Garten MARCY unknown. (Weill later considered this to be his starting point as a composer.) stehn zwei Rosen” RICHARDSON “Nur dir fürwahr, mein stolzer Aar” 1917 Das schöne Kind (author unknown) “Das schöne Kind” IAN Employed as a volunteer accompanist and coach at the Dessau Court Theater. Undertakes GREENLAW intensive studies in conducting, orchestration, and score-reading with Albert Bing. Appears in concert with Emilie Feuge in Cöthen. Weill is writing fugues. A music teacher finds them “too modern, too chromatic” but free of mistakes and full of musical ideas.
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Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) A tool of remembrance: the shofar in modern music, literature and art van Hage, K.R.A. Publication date 2014 Link to publication Citation for published version (APA): van Hage, K. R. A. (2014). A tool of remembrance: the shofar in modern music, literature and art. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 Bibliography Aberbach, David. 1988. Bialik. London: Peter Halban Publishers. Abramson, Glenda. 1989. The Writing of Yehuda Amichai: A Thematic Approach. New York: State Uni- versity of New York Press. ---. 2010. “Yitzhak Oren’s Fantastic Science: Two Stories.” Melilah: Manchester Journal of Jewish Stud- ies, 2010/5. Piscataway, NJ: Gorgias Press: 2-17. Ackerman, James S.
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