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Kurt Weill Och Gitarren En Reflektion Över Användningen Av Knäppinstrument I Verk Av Kurt Weill

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Kurt Weill Och Gitarren En Reflektion Över Användningen Av Knäppinstrument I Verk Av Kurt Weill EXAMENSARBETE Kurt Weill och gitarren En reflektion över användningen av knäppinstrument i verk av Kurt Weill skrivna under perioden 1927 - 1933 Mikael Mannberg 2013 Konstnärlig kandidatexamen Musik Luleå tekniska universitet Institutionen för Konst, kommunikation och lärande 1 Kurt Weill och gitarren En reflektion över användningen av knäppinstrument i verk av Kurt Weill skrivna under perioden 1927 - 1933 Mikael Mannberg Konstnärlig kandidatuppsats, Musik Institutionen för Konst, kommunikation och lärande Luleå tekniska universitet 2013 Konstnärlig handledare: Harri Ihanus Forskningshandledarresurs: Åsa Unander-Sharin 2 Abstract I detta arbete presenteras en redovisning av Kurt Weill som kompositör under en tumultartad period (1927 - 33) av hans händelserika liv. Arbetet har jag skrivit ur en gitarrists och banjospelares ögon, och jag har i min redovisning av hans verk givit kortfattade beskrivningar om hur Weill kan ha gått tillväga då han komponerade för dessa knäppinstrument. Följaktligen har jag resonerat över varför han skrev för dessa instrument; vilka omständigheter och vilka personer som kan ha inspirerat honom till att göra detta. Syftet med detta har varit att samla kunskap till interpretation och arrangering av hans verk, kunskap som jag sedan har använt i en konsert. Jag har även haft som mål att öka min egen kunskap om Weill som kompositör, och att kunna få andra att upptäcka kvalitéerna i hans kompositörskap. Efter att ha skaffat fördjupad kunskap om ett stort antal verk av Weill så har jag valt ut ett antal stycken att arrangera. Jag har graderat dessa efter hur mycket gitarr och banjo de innehåller i sitt originalformat, och jag har sedan skapat ett gradvis stegrande schema för arrangeringen. Arbetet med detta har jag sedan redovisat i min uppsats, och fört en slags loggbok i vilken jag bland annat tar upp de utmaningar eller fördelar som mina arrangemang har inneburit under repetitionerna. Jag har i arbetet med uppsatsen kommit fram till att jag ej kan ge något säkert svar på varför eller hur Weill skrev för knäppinstrument, men jag har fått några klara utgångspunkter till till fortsatt forskning. Främst av allt har jag fått mycket värdefull information om, och förståelse för Weill som kompositör; och min bild av honom har stärkts. Jag vill tacka mina handledare Harri och Åsa för allt värdefullt stöd med detta arbete; och jag vill även tacka min gitarrlärare Jan-Olof Eriksson för stöd och kunskap kring mesta som rör gitarr och arrangering! Stort tack även till min kompositionslärare Johan Ramström, och även till alla de som har bidragit med intervjuer och information, såsom David Härenstam, Juergen Rück och anställda på The Kurt Weill Foundation for Music. 3 Centrala, vanligt förekommande verk i denna uppsats: Mahagonny Songspiel (1927) Die Dreigroschenoper (Tolvskillingsoperan) (1928) Das Berliner Requiem (1928) Kleine Dreigroschenmusik (1929) Happy End (1929) Aufstieg und Fall der Stadt Mahagonny (1930) Die Sieben Todsünden (1933) Läsare som ännu inte har samlat större kunskap om Kurt Weill rekommenderas att noggrant studera tidslinjen över Weills liv (sid. 9 -12), och då kanske främst de delar som berör dessa verk och årtal, innan han/hon fortsätter att studera resten av arbetet. 4 Innehållsförteckning 1. Inledning ...................................................................................................................................... 6 1.1 Bakgrund ................................................................................................................................ 6 1.2 Syfte och metod ..................................................................................................................... 7 2. Centrala personer och begrepp ................................................................................................. 9 2.1 Tidslinje över Kurt Weills liv ................................................................................................. 9 2.2 Kurt Weill ............................................................................................................................ 13 2.3 Bertolt Brecht ....................................................................................................................... 14 2.4 Verfremdung inom musik ..................................................................................................... 15 2.5 The Lewis Ruth Band ........................................................................................................... 16 2.6 Idiomatiskt skriven musik .................................................................................................... 17 3. Kurt Weill och gitarren ............................................................................................................ 18 3.1 Verk av Kurt Weill med gitarr, banjo eller annat knäppinstrument. .................................... 19 3.2 Reflektion ............................................................................................................................. 19 3.3 Resonemang kring Weills bruk av gitarr .............................................................................. 20 3.3.1 Tolvskillingsoperan. .......................................................................................................... 20 3.3.2 Lärares inverkan. ............................................................................................................... 22 3.3.3 Kontakter. .......................................................................................................................... 23 3.3.4 Jazz-influenser. .................................................................................................................. 23 3.3.5 Ackord/greppkunskap. ....................................................................................................... 24 3.3.6 Tolvskillingsklangens fortsatta inflytande. ........................................................................ 25 3.3.7 Brecht och gitarren. ........................................................................................................... 28 3.3.8 Källmaterial. ...................................................................................................................... 30 4. Redovisning av verk ................................................................................................................. 32 4.1 Die Dreigroschenoper (Tolvskillingsoperan) ....................................................................... 32 4.2 Kleine Dreigroschenmusik ................................................................................................... 37 4.2.1 Att uppföra Kleine Dreigroschenmusik ............................................................................. 38 4.3 Das Berliner Requiem .......................................................................................................... 39 4.4 Happy End ............................................................................................................................ 40 4.5 Aufstieg und Fall der Stadt Mahagonny ............................................................................... 42 4.6 Die Sieben Todsünden .......................................................................................................... 43 5 5. Arrangering ............................................................................................................................... 46 5.1 Threepenny-potpurri ............................................................................................................. 47 5.2 Das Lied vom Branntweinhändler ........................................................................................ 49 5.3 Ballade von der sexuellen Hörigkeit .................................................................................... 51 5.4 Fantasy on Anstatt-dass-Song ............................................................................................... 53 5.4.1 Ännu ett arrangemang: Lost in the Stars ........................................................................... 54 5.5 Nanna’s Lied ......................................................................................................................... 54 5.6 Byt ut min kropp ................................................................................................................... 55 6. Konsert ...................................................................................................................................... 57 6.1 Förberedelser inför konsert ................................................................................................... 59 6.2 Repetitioner .......................................................................................................................... 60 6.3 Konsert (forts.) ...................................................................................................................... 63 6.4 Hur blev resultatet av konserten? ......................................................................................... 64 7. Summering ................................................................................................................................ 66 Lyssningstips ................................................................................................................................. 68 Källförteckning ............................................................................................................................. 70 Videoklipp och ljudfiler ..............................................................................................................
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