KURT WEILL NEWSLETTER Volume 4, Number 1 Spring 1986
Lost in the Stars In Two Major Productions
Long Wharf Theatre, the nationaUy ac claimed regional theater company in New Ha ven, CT, will mount a fuUy-staged production of Lost in the Stars beginning 25 April and run ning through 1 June. Previews begin on 18 April. Directed by Arvin Brown and con ducted by Thomas Fay, the remainder of the creative team consists of Michael Yeargan, sets; Jennifer Von Mayrhauser, costumes; and Ronald WaUace, lighting. Michael V. Smartt, known to New York au diences for his recent performances of Porgy, plays the role of Kumalo. Other cast members include: William Swetland Oames Jarvis), Eb ony Jo-Anne (Linda), Michael Wright (Absa lom), and WendaU Pierce (Matthew Kumalo). Tickets may be ordered by contacting the Linda sings " Who'll Buy" in Long Wharf Theatre's production of Lost in the theater's box office at (203) 787-4282. Stars. Left to right: Wendell Pierce (Matthew Kumalo), Ebony Jo-Ann (Linda), Ellis Williams (Johannes Pafuri), and Michael Wright (Absalom Kumalo). In a semi-staged concert production with Photo:T. Charles Erickson. connecting narrative by Maurice Levine, the 92nd Street Yin New York will present Lost in New Editions David Drew Prepares the Stars as part of its ''Lyrics and Lyricists'' Three reprint editions have recently been A Kurt Weill Handbook series on 31 May, l, 2 June. Mr. Levine, the issued by Universal Edition and may be ob musical director of these performances, was tained in the United States from European David Drew has completed work on A Kurt also the original conductor of this "musical American Music. ''Sieben Stucke aus der Weill Handbook to be published by Faber and tragedy'' when it opened on Broadway in Dreigroschenoper," a coUection of concert Faber, London in late 1986 or early 1987. Of 1949. The musical, with book and lyrics by pieces for violin and piano arranged by Stefan value to performers, producers, scholars, and MaxweU Anderson (adapted from the novel Frenkel, is again available in original and sim aficionados alike, the major portion of the by Alan Paton), has Cry, the Beloved Country plified versions (UE 9969 and 99698). The handbook will be dedicated to detailed entries attracted much current attention because of operas Der Zar liisst sich photographieren (UE on every work composed by Weill and will list its setting in South Africa and its focus on is 8964) and Der Protagonist (UE 8387) have title, cast, orchestrations,synopses, historical sues of apartheid. been reissued in piano-vocal score with Eng notes, sources, and major publications. Other Tickets for this production may be arranged lish translations by Lionel Salter as weU as the chapters will contain discussions of Weill's li by caUing (212) 427-6000. original German text. brary and unrealized projects. Watch for infor mation on availability in the next issue. Berlin to Broadway continues The Hal Leonard Publishing Corporation will publish later this year five volumes of success songs in a series entitled The Singer's Musical Delta to Release New Theatre Anthology. Available as part of a box Recordings The Berlin to Broadway production running set or individuaUy, each volume will contain a at the Zephyr Theatre in Los Angeles since variety of popular songs by Kurt Weill and oth Delta Record Company in Frechen, West February 1985, was nominated for five L.A. ers. The coUections are designated for so Germany has announced plans to release the Drama Critics Circle distinguished achieve prano, mezzo-soprano/ alto, tenor, and recent WDR productions of Aufstieg und Fall ment awards: Best Production (Anna Giagni, baritone/bass. A fifth volume will consist of der Stadt Mahagonny (see review in vol. 3, Macheath Productions); Best Direction (Paul duets. no. 2) and Der Zar liisst sich photographieren Hough); Best Ensemble Performance (cast); As announced in the previous Newsletter, (see review in vol. 3, no. 1). Both productions Best Musical Direction Oohn BosweU and Jack also forthcoming are Weill's settings of four were conducted by Jan Latham-Konig. Delta Elton). At the 7 April ceremonies Berlin to poems by Walt Whitman, published by Euro is widely known for its label "Capriccio" and Broadway won the most awards, walking pean-American Music through an arrange the recent "Edition Bach Leipzig." Maha away with four and topping Cats which won ment with TRO. EAM will also offer Weill's gonny is scheduled for release in October 1986 three. orchestrations for these songs through rental. and Der Zar in the spring of 1987. Lost in the Stars NEWS IN BRIEF Album Wins Critical Acclaim Yale Press Publishes Essays 10. Most Unpleasant Things with The The album Lost in the Stars, A Tribute to the Threepenny Opera: '\'\eill, Brecht, and Money/ Music of Kurt Weill has earned wide acclaim This summer will mark the appearance of JohnFuegi within the United States and throughout Eu the first collection of essays assessing Weill's 11. "Suiting the Action to the V\brd'': Some rope . Produced by Hal Willner and Paul M. works and influence written expressly for Observations on Gestus and Gestische Musik I Young and issued by A & M Records, the re publication in a single volume. A New Michael Morley cording combines the talents of pop, rock, Orpheus: Essays on Kurt Weill, edited by Dr. 12. The Genesis of Die sieben Todsunden I classical, and jazz performers. Several do Kirn Kowalke, will be published by Yale Uni Ronald Shull mestic periodicals, including the Village Voice versity Press with tbe support of the Kurt 13. Reflections on the Last Years: Der and Billboard, have named it to the list of best Weill Foundation for Music, Inc. Most of the Kuhhandel as a Key Work / David Drew albums of 1985. The handsomely executed al essays are based on papers presented at the 14. The Road to The Eternal Road I Guy Stern bum benefits from a variety of contnbutions first international Kurt Weill Conference held 15. Weill in America: The Problem of Revival I and efforts; the array of performers includes at Yale University in November, 1983. It Matthew Scott Sting, Lou Reed, Tom Waits, Marianne should be noted, however, that the volume 16. Musical Dialects in Down in the Valley I Faithfull, and the Armadillo String Quartet, does not represent a "proceedings'' as all of John Graziano among others, and liner notes are provided by the essays have been revised and expanded 17. Street Scene and the Enigma of Broadway Peter Keepnews, Terry Southern, Paul M. by the authors and editor expressly for this Opera / Larry Stempel Young, and David L. Hamilton. publication. Ken Tucker, a widely-syndicated critic of As is evident from the following table of Orders may be placed by contacting: rock music, made special mention of the col contents, the subjects of the essays span In the United States: laborative efforts of the New Orleans rhythm Weill's European and American careers, in Yale University Press and blues singers Aaron Neville and Johnny vestigate diverse cultural influences, and 92A Yale Station Adams and the guitarist Mark Bingham in highlight some of Weill's generally unknown New Haven, Connecticut 06520 their ·interpretation of "Oh Heavenly Salva works. Telephone: (203) 436-7582 tion," describing it as "stirring," and Tucker Telex: 963531 YUP NHV added that the disc "grabs hold of your atten CONTENTS tion and doesn't let go;' 1. Looking Back: Toward a New Orpheus / InEtm,pe: The attention by the German press and mu Kim H. Kowalke Yale University Press sical community has been singular. In addition 2. Creating a Public, Addressing a Market: 13 Bedford Square to being named to a list of the top five pop Kurt Weill and Universal Edition / Christopher London WClB 3JF albums of 1985, the record has gained distinc Hailey England. tion in a variety of categories as reported in 3. Kleinkunst ..and Kuchenlied in the Socio the Frankfurter Allgemeine and the Sud Musical World of Kurt Weill / Alexander deutsche Zeitung. It is being credited with in Ringer Special Offer troducing a new generation to a range of 4. Kurt '\'\eill's Operatic Reform and Its Con Weill 's works, from Maliago1111y and text I John Rockwell "'The Kurt '\\eiD 'Fouiiaatiii ia offedai mi Threepenny Opera to the traditionally lesser 5. Weill: Neue Sachlichkeit, Surrealism, and BUbscribers a spedal ~ t,rjQe .J known works for the American stage. The re Gebrauchsmusik I Stephen Hinton $at.SO per copy.• Uoiveraity hesa ~ sponse of the French and Italian press has 6. Der Zar liisst sich photographieren: Weill ~ a pubJit:atioo price of $3S.50. Tbia~ been no less enthusiastic. As evidence of the and Comic Opera / Susan Cook repr~ a aaviaga of $10.0Q per copy.~ popularity of the Lost in the Stars project, 7. Crossing the Cusp: The Schoenberg Con Oldia'& must be received by the Founda heavy demand for the compact disc (the CD nection / Alan Chapman ll1o.ug with the prepayment amount 110 contains four additional selections) in Europe 8. Music as Metaphor: Aspects of Der ~1 August 1986. Books will be~ had resulted in an initial lack of availability of Silbersee I Ian Kemp ~ themftet. PLEASE llSE THE OR the CD in the United States. 9. Weill and Berg: Lulu as Epic Opera / DBR FORM FOUND ON THE BAC lMGB.OR.mlS..JSS.UE.______KURT WEILL NEWSLETTER Douglas Jarman Vol. 4, No. 1 Spring 1986
David Fameth, Editor Donald Spoto To Write Lenya Street Scene in Boston Mario Mercado, Associate Editor Biography Assembles Original Cast James Lynch, Production Assistant Research has begun for a forthcoming biog Members © Kurt Weill Foundation for Music, Inc. 1986 raphy of Lotte Lenya to be published in the 142 West End Avenue, Suite 1-R The Boston Conservatory marked Weill's United States by Little, Brown. The author, New York, NY 10023 eighty-sixth birthday with a production of U.S.A. Donald Spoto, has garnered recent acclaim Street Scene on 27, 28 February and 1, 2 for bis best selling biographies The Dark Side (212) 873-1465 March. The final performance was distin of Genius: The Life of Alfred Hitchcock and guished by the attendance of members from Board of Trustees The Kindness ofStrangers: The Life ofTennes the original cast: Ellen Repp, Randolph Sy Kim Kowalke, President see Williams. Projected for completion in monette, Peggy Turnley Tbomas,AnnaSoko Henry Marx, Vice-President 1988, the biography will also be published in low, choreographer for the 1947 production, Lys Symonette, Vice-President the United Kingdom by Penguin Books and in and Lys Symonette, that production's re Guy Stem, Secretary the German language by Scherz. Milton Coleman, Treasurer hearsal pianist. The aforementioned partici Mr. Spoto earned the Ph.D. degree in theo Harold Prince pated in a question-and-answer session with logical literature from Fordham University Julius Rudel the student performers. and currently teaches at the New School for Neil Donohoe, of the Conservatory's The Foundation Staff Social Research in New York. atre Division faculty provided the stage direc Kim Kowalke, President Any person with information to share with tion for a cast of over sixty. Ken Stanton Lys Symonette, Musical Executive Mr. Spoto may contact him through the Kurt conducted, Peter DiMuro choreographed, David Fameth, ArchivisUDirector of Programs Weill Foundation. and the set design was created by Steve Mario Mercado, Associate Director of Programs O'Donnell. James Lynch, Secretary
KURT WEILL NEWSLETTER PAGE2 AROUND THE WORLD Weill in Great Britain by Alan Rich
The British can be slow to forgive. The des ducting a television cooking class ("Baking a theater (Aberdeen's Edwardian, gorgeously ecration wrought upon The Beggar's Opera (it with Begbick' '; I'm not making this up!) with restored as His Majesty's) other than home self, of course, an act of some desecration) by Fatty the Bookkeeper throwing up (and why base, spirited and sensible. Cassilly's Jimmy the Weill/Brecht Threepenny - ' 'as if deliber not?) into a sink in the background, and with, has never been a thrilling piece of vocalism but ately written for cretins" fumed London's of course, Brecht's famous "culinary" quota also never disgraceful, and so it was with the Eric Blom in 1931 - has rankled in some tion included in the printed program as if in Scots. (As at the Met, he sang the Drew-Ge breasts all these years. Some green shoots justification. It went on in like fashion, the liot translation, although everyone else in the here and there excepted - David Atherton's stage incessantly cluttered with visual trick cast had learned the Michael Feingold. Oh, recordings with the London Sinfonietta and playing, mostly for its own sake and unrelated well.) Flowers was a decent, if hardly compel David Drew's scholarship - Weill awareness to any consistent reading of text or music: a ling Jenny, and Palmer's Begbick (sung as a bas until recently had but sparse growth in tape recorder here, a gaggle of inflatable girl musical line, for once, without the usual vague Britain. ies there, the trial scene on a floor strewn barkinR) was best of all. Lately, however, matters have improved. with hundreds of shoes, the Alaska boys ar The problems at London's Threepenny were Events this past winter, in fact, add up to a riving on roller skates, another scene with the of similar coinage. For reasons that defy com veritable flood of Weill activity, not all splen crowd stripped down as if for an underwear mon sense or understanding, the National's did, perhaps, but activity nonetheless. My ad. If Mahagonny's anticapitalist agitprop management hit upon the cavernous Olivier itinerary that began just before Easter in Lon earned a round of applause even in Aberdeen, Theatre as the proper venue for the piece, a don with the Abbey Opera's double-bill of The headquarters for North Sea oil drilling and decision that couldn't have been more wrong Protagonist andThe Czar Has His Photograph thus capitalism's newest frontier, (delicious headed. Most of the horror of the evening Taken at the Camden Festival (both of them irony!) it was surely because of Alden's daft seemed to rise from Peter Y.bod's frenzied first-time-in-Britain stagings) looped north staging, in which the inherent message in the need to fill spaces too large for either ward to Aberdeen for the touring Scottish Op work Jay obscured under a mass of unmoti Threepenny or its aura; once again, there was era's Mahagonny then back to London for the vated biz. a constant parade of incongruous gadgets, National Theatre's Threepenny. Under the cir Still, there were musical rewards, and they most of them unexplained and/or unexplain cumstances, exhilaration easily overcame were considerable. Above all there was the able. Robert David MacDonald's humdrum jetlag. (Arriving earlier, I might have added first-rate conducting job by the young Ms. new translation tries for a Brechtian populist other entries to the list: the Royal Shakes Edwards, splendidly paced, marvelously bal vulgarity, but ends up merely graceless and peare's six-month tour of Happy End, not to anced considering an undersized orchestra in clumsy; the lyrics sing rather badly besides. mention Julie Wtlson's stint at the Ritz, where her singing of ''Surabaya-Johnny' ' had so up set diners that she was asked to drop it from her act.) Musically, at least, the Weill cause was well-served in Britain this past winter. ''Musically,'' I said. The Scottish Maha gonny was so badly jinxed from the start as to be lucky to get on at all. During rehearsals it had lost both principals, along with its conduc tor, Simon Rattle, whose presence, on paper at least, had promised much. The vacancies were filled, however, and with reasonable success. Richard Cassilly, the funmy of the Metropolitan Opera performances, took on the role for the Scots; Kate Flowers was an acceptable Jenny, the conductor was Sian Edwards, 26, winner of the First Leeds Con ductor's competition, in 1984, here conduct ing the first opera of her entire young life. One more jinx remained unresolved, how ever, the staging by David Alden - one of New York-born twin directors, popularly thought of as the madder of the two. (After brother Christopher's Seraglio in California with the Long Beach Opera this season, wherein the Pasha is murdered at the end in a palace revolt led by Osmin, I'm not so sure.) Brother David's Mahagonny began, kindly be Felicity Palmer (Begbick) surveys David Alden's Scottish Opera Mahagonny. lieve, not in the prescnbed American wilder (Left to right): Alexander Oliver (Fatty), Richard Cassilly (Jimmy), and Kate ness, but in Mrs. Begbick's spiffy-modern Flowers (Jenny). Photo: Eric Thorburn. kitchen, with the lady (Felicity Palmer) con-
KURT WEILL NEWSLETTER PAGE 3 ''Food is the first thing,'' runs the litany at the end of Act II in MacDonald wording; "morals follow on,'' a line almost impossible to articu late in the shape of Weill's musical setting. But that stupendous scene, which should racket in the consciousness as we go out for intermission coffee, was vitiated anyhow in Wood's production, which had but a single in termission (after the weakish Jenny-Mac heath duet and his arrest) and therefore dumped the ' •finale ' ' midway into the second part, where it simply slid by. Even though the action was set in 1837 on the day of Queen Victoria's coronation, the props included such non-Victorian items as a telephone, a motor van (to deliver the wedding feast) and a flush toilet in Macheath's ceU (which he actually got to use, 0 lordy). The National's cast was pretty much a mixed blessing: actors not singers, most of them concurrently workjng with Wood in a generally more successful production of Con greve' s Love for Love in repertory with Threepenny, and their work suggests that some of them had forgotten which night was which. The ditsy fop played by Tim Curry in the Congreve may have been reasonably in order, but the same approach turned Ma cheath into a prancing, epicene ninny with singing style to match: that watery, unsup The Threepenny Opera, National Theatre, London. (Left to right): Edna Dore ported crooning that always seems to stamp (Betty), Michael Bryant (Crookfinger Jake), Eve Adam (Jenny), Lois Baxter the work of a redeemed one-time rock star. (Nelly), Judith Coke (Vixen), Roz Clifton (Dolly). Photo: Zoe Dominic. Sara Kestelman, the Mrs. Peachum, also looked and sounded alike in both plays, done The Czar, the first, is due out on a small Ger it happened on a stage nearly bare, filled with up as that particular kind of red-wigged Jady man label later this year; of The Protagonist, stage smoke slashed into by spotlights: ten baritone that suggests nothing so much as a there is so far only the tantalizing single ex cents worth of visual effects that told far more drag queen doing Lenya. As such, come to cerpt in Atherton's DG album.) than all of Mahagonny's or Threepenny's pri think of it, she may have been the right match The festival at Camden (that newly enfran cey paraphernalia. And there were greater for Niall Buggy's sissified Tiger Brown, but chised area of London that unites Blooms moments still in performance: Nigel Robson's not for anything dimly related to Weill/Brecht. bury, Hampstead, and the former Camden stark, terrifying work in the name role, Eliza Again, however, there were mitigating Town) is now 33 years old; one of its major beth Byrne no less terrifying as the Sister. qualities: Sally Dexter's wonderfully pert, enterprises since birth has been to present The Czar presents fewer interpretive prob musically responsive Polly (who got her "Pi small professional local companies (of which lems, perhaps, than its one-act companion, rate Jenny' ' song back in Dominic Muldow England now has many) in out-of-the-ordinary but it's still not what you'd call a self-perform ney 's scrupulously accurate return to the operas; its list of productions thus far is stag ing opera. Using a Lionel Salter translation, 1928 Urtext); Stephen Moore's nicely swag gering. The Weill/Kaiser bill got four perform and with a deliriously funny Fred-and-Ginger gering Peachum; Michael Bryant in an exqui ances in the smallish (300-or-so seats) and set by Lez Brotherston - all black, white, and site cameo as one of Macheath's gang, and, dowdy Bloomsbury Theatre: exciting stuff, mylar, a deco dream that included a marvelous above all, the bright, sassy sound of Weill's nicely, modestly produced and generously re period wind-up gramophone for the '"Thngo great original orchestration under Muldow ceived. The Protagonist presents problems; it Angele,'' Eaton's staging was a cockeyed de ney. This is the musical version - all the right raises peculiarly expressionistic questions light. The direction was all Deco, too; photog songs done by the right characters, ending about sexuality that probably never occurred raphers real and impostor oozed around the with the chorale and not with the' 'happy end to Kaiser, but which challenge any director to stage in elegant spinal curvature, with flun ing' ' reprise of the '' Moritat'' later added - day: what is this bond between brother and kies and flunkettes whizzing by like Keystone with which the Threepenny Opera should make sister that brings about the jealousy-moti Kops. Phillip O'Reilly's Czar nicely caught its way in the world; more is the pity, there vated murder of sister's lover, and what does both the absurdity and the genuine streak of fore, that so much else was botched in this all this tell us about brother himself? John humanness in the character; between splen bloated, unfocused, misconceived staging. Eaton, who translated and directed the Abbey didly forthright, yet insinuating performances The best for last: the two one-acters to Opera's performance, made the easy choice: by Elaine Padmore's Angele and Helen Ku Georg Kaiser texts, operatic writing bursting overt physicality between brother and sister, charek as her counterfeit, I would be hard with a young man's railing against the musical and between brother and almost everybody pressed to choose. conventions of his time, marvelous, varied, else in his acting company as well. It didn't Expertly s upported by Antony Shelley's terse pieces of stagecraft mastery. The one quite work; there is too much else in Kaiser's vivid, alert musical direction of an almost (The Protagonist of 1925), which '¼!ill worked text that wants to be le.ft undefined; to come expert small orchestra, Camden's double-bill on with Kaiser while also courting the Kai to it as Freudian "Pagliacci" strikes me as a was the unquestioned triumph of Weill's brief sers' house guest (Lotte Lenya), is a murky cop-out. There is too much in Weill's dazzling, jaunt under the British sun. A marvelous eve drama encrusted with double meaning; the coruscating score (those glistening, menac ning, this, in which the sense most apparent other, (The Czarof 1927 created concurrently ing, obsessive triplets! That stupendously was that of dedication to musical theater still with work on the Mahagonny Songspiel) a diz growling orchestra!) to allow such pat resolu too little known, and of the intelligence to deal zying political farce about an attempted assas tion. Yet there were great moments in Eaton's with it properly. With all the positive aspects sination by terrorists, antique, artificial, and staging; more, there was at least the sense of of Weill's return to worldwide favor, those suddenly, disconcertingly timely. Both works an honorable attempt to come to grips with qualities are still, quite obviously, in short cry out to be better known. (A recording of the material, not to bury it in gadgets. Most of supply.
KURT WEILL NEWSLETTER PAGE4 GRANTS 1987 GRANT GillDELINES qualities of the performance. Examples of recom 1986 GRANTS AWARDED APPLICATION DEADLINE: NOVEMBER mended requests include funds for soloists, orches tra fees, and extra rehearsals. In January 1986 the Board of Trustees of the 1, 1986 Kurt Weill Foundation for Music, Inc. ap Types of Grants FW1ding Priorities proved the Independent Grants Advisory The Kurt Weill Foundation for Music Inc., is a not Although the Foundation does not have a long fund Panel's recommendations to award grants for for-profit corporation which promotes public under ing history from which to determine explicit funding the following projects in the areas of research standing and appreciation of the musical works by priorities, a few general inclinations may be ob and performance. .Kurt Weill. To this end, the Foundation solicits pro served; posals from individuals and non-profit organizations 1. Research proposals which demonstrate the RESEARCH for funding of projects related to the perpetuation of promise of publishable results are encouraged. Kurt Weill's artistic legacy. For the 1987 funding 2. Performance proposals which demonstrate period, the Foundation is accepting proposals in one Geoffrey Abbott, Giessen, West Germany: To musical excellence and authenticity are encour support research of the original version of Die or more of the following categories: aged. Dreigroschenoper and subsequent perform 1. Research Grants 3. Eor stage productions, performances of com ance practice. 2. Publication Assistance plete works in their original versions have priority 3. Dissertation Fellowships over new compilation properties which simply use Vkill's songs. Dr. Stephen Hinton, West Berlin, West Ger 4. Travel Grants 5. College and University Performance and Pro 4. Proposals for local productions or perform many: Research and travel in support of a ances should demonstrate a previous record of ar forthcoming opera handbook o n The duction Grants 6. Professional and Regional Performance and tistic exceUence, evidence of community support, Threepenny Opera to be published by Cam Production Grants and a potential for in1luence beyond the immediate bridge University Press. area. Descriptions of Categories 5. Stock and amateur productions of The Threepenny OperQ are not eligible for funding. PERFORMANCE Research and Travel Grants. Funding in this cate gory may be requested to support specific research 6. Proposals for script translations and musical adaptations are not eligible for funding. Center for Contemporary Opera, New York, expenses. Applicants must be pursuing a topic di New York. Der f asager and Mahagonny Song rectly related to Kurt Weill and/or Lotte Lenya and Evaluation Procedures spiel must submit a detailed outline of the proposed proj ect. Travel grants should be requested to reim After applications have been reviewed by the Foun dation staff, additional supporting materials (mclud Downtown Music Productions, New York, burse reasonable travel expenses to locations of primary source material. ing recordings, recommendations, and samples of New York. Mahagonny Songspiel previous work) may be requested for consideration Publication Assistance. Funding in this category by the Advisory Panel on Grant Evaluations, which Hampton University, Hampton, V1rginia. Lost may be requested to assist in expenses related to will make recommendations to the Board of Trust in the Stars preparing manuscripts for publication in a recog ees. The Advisory Panel on Grant Applications shall nized scholarly medium. Funds may be requested be composed of independent, prominent members from the musical, theatrical, and scholarly commu Long Wharf Theatre, New Haven, Connecti for, but not limited to, editing, indexing, design, and nities. Grants will be awarded on an objective and cut. Lost-in the Stars reproduction fees. (Publisher subventions may be requested directly from the Foundation at any time non-discriminatory basis. Grantee selection criteria and will be evaluated separately from the Grants will include: Milwaukee Chamber Music Society, Milwau Program.) kee, Wisconsin. Vwlin Concerto 1) relevance and value of the proposed project to the Foundation's purposes; Dissertation Fellowshif>s. Ph.D. candidates may ap 2) quality of the project; 92nd St. Y, New York, New York. wst in the ply for dissertation fellowships to assist in research 3) evidence of the applicant's potential, motiva Stars activities. The application must include a copy of the tion, and ability to carry out the project success dissertation proposal and two letters of recommen fully; Opera DC, Washington, DC. Lost in the Stars dation, one of which is from the faculty advisor. 4) evidence .of the applicant's prior record of achievement in the field covered by the project. Rutgers University, New Brunswick, New College and University Performance and Production Grants. Applicants will be informed ofawards by 1 February Jersey. Street Scene Stage Works 1987. The Foundation will award up to 10 grants for Application Information Applications for 1987 awards must be received $2,000 each to colleges and universities in support by 1 November 1986. Application forms and of general production expenses for Kurt Weill 's Preliminary applications for the 1987 awards must guidelines are now available from the Kurt stage works. Awards will be made based upon the be received by J November 1986, and should contain Weill Foundation/or Music. work to be performed, geographic distribution, and the following information: the musical excellence demonstrated by the applica tion. All works must be presented in fully staged 1. A detailed description of the project. versions using Weill's original orchestrations. Pro 2. An up-to-date curriculum vita or resume for Yale Register Available ductions of Threepenny Opera are not eligible for individuals, or a profile of purposes, activities, and funding. past achievements, including a list of references, for The register of the Weill/Lenya Archiv.e at organizations. Yale Unive rsity may be obtained by sending a Concert Works 3. A detailed and itemized budget showing entire check made pay;ible to ' ' Yale University Li Assistance for performances of concert works is project expenses, including income, and other pro brary'' for $18.00 plus $1.35 domestic post available in grants of up to $1,000 to cover expenses jected funding sources. 4. Performance Grant Fact Sheet (if applying for a age ($1.89 foreign postage). The register is including but not limited to increased rehearsal performance grant) 299 pages in length and will be sent unbound. time, guest soloist fees, royalty and rental costs, and promotion. Requests for the register, alo.ng with prepay All applications and correspondence should be ad dressed to: ment should be sent to: Professional and Regional Performance and Pro Publications Office duction Grants. Mr. David Fameth, Director of Programs Yale University Library In addition to the above considerations, proposals Kurt Weill Foundation for Music, Inc. P.O. Box 1603A Yale Station from professional and regional theater companies 142 West End Avenue, Suite lR New Haven, CT 06520 and concert groups should demonstrate that re New York, NY 10023 U.S.A. quested funds will be used to improve the musical Telephone: (212) 873-1465
KURT WEILL NEWSLETTER PAGES Kurt Weill's Early Recordings: 1928-1933 by Jurgen Schebera
lt is always a difficult task to assemble a Lewis Ruth Band which also performed under vue's arrangements of • 'Moritat'' and ''Bar comprehensive discography of pre-LP re the alternative names of "Dreigroschen barasong' ' as issued by Parlophon in 1930 are cordings in Germany. Most libraries lack band' • or • 'Dreigroschenoperband'' the most •'popular' ' dancing versions thus far comprehensive collections, and original rec Most readers of this Newsletter are familiar discovered. Their rhythms and harmonies ord company and dealer catalogs are scarce. with four of the recordings which have ap must be heard to be believed! Grammophon Even for libraries which have large collec peared throughout the years in several com (His Master's Voice) also rode in on the wave tions, the cataloging is often incomplete or mercial re-issues, released by Telefunken with two songs played by Paul Godwin and his nonexistent. One of the best ways to begin under the heading • ½us der 3-Groschen Jazz-Symphonists (1931) and even Pathe in assembling information is by contacting ra Oper'' with Lotte Lenya, Erika Helmke, Kurt France produced a dancing version of the dio stations and private collectors. Two of Gerron, Willy Trenlt-Trebi(sch, and Erich " Moritat" with Tom Waltham et son Jazz. the largest private collections of Weill re Ponto. Although often promoted as the• 'orig cordings in the German states provided the inal'' recordings, they were made two years Kleine Dreigroschenmusik basis for the information in this article. after the premiere. And, incidentally, Brecht Therefore, my special thanks go to Bernd provided special liner notes. Weill made his own serious instrumental ar Meyer-Rahnitz (Dresden) and Klaus Hohn Earlier in 1930, Electrola produced its'' Die rangement of songs from Die Dreigroscheno (Niirnberg). This article represents a begin Songs der Dreigroschenoper' ' with Carola per in 1929 under the title of Kleine ning effort to assemble the complex puzzle Neher, Kurt Gerron and Arthur Schroeder. Dreigroschenmusik. Two interesting, but.in that, when finished, will serve to document Additional recordings include four songs by complete, recordings of this work exist, both every recording of Weill's music made be Harald Paulsen (the first Mackie Messer) on dating from 1929. Grammophon produced two tween 1928 and 1933. I hope that it encour Homocord, Brecht himself singing two songs discs with the ensemble that presented the ages others to fill in the gaps. for Orchestrola, and two songs performed by premiere performance on 7 February 1929: So far I have located 37 shellac recordings Carola Neher, also on Orchestrola. Parlophon the orchestra of the Berlin Staatsoper con issued by 15 different companies in Germany, presented concert singer Beate Roos-Reuter ducted oy Otto Klemperer. This release in Austria, and France, not counting the identical with renditions of ''Barbarasong'' and cluded only numbers 2, 4, 5a and 6 of the versions which were commonly marketed and ''Seerauberjenny!' suite. At the same time, Audiphon Electro sold in countries other than that of the original Two instrumental recordings may be found presented Theo Mackeben conducting a wind release. Each of these recordings provides an to represent " authentic" versions. The first orchestra in a recording that combined short important document of either the "authen was released in 1930 when Odeon issued two ened versions of numbers 2 with 7 and num tic'· Weill sound of his European years, or songs performed by the Lewis Ruth Band bers 5a with 6. It is interesting to note the they trace the remarkable beginning of the di with Theo Mackeben conducting. ln 1931, the differences in tempi between the interpreta lution of Weill's music in popular arrange same team performed ''Tangoballade'' .for tions of the ''theater-man'' Mackeben and ments, a practice that continues even more Clangor, a record club then considered the the' 'serious'' concert-oriented Klemperer. strongly today. most important of the Weimar Republic (the The first recorded example listed here is • 'Schallplatten-Volksverband ''). Surprise Discoveries ''Tango Angele,'' produced in January 1928 Shortly after the Paris premiere of the One of the most surprising discoveries of for use in stage productions of Der Zar ldsst Pabst film in September 1930, three record my explorations has been the unearthing of a sich photographieren. Weill conceived the mu ings were produced in France. Two of them recording produced by Paloma in 1930 as a sic to be played on stage by a gramophone. featured the famous singer Florelle and the tribute to the Berlin theater wor:k of Erwin (Weill's manuscript full score merely indicates Orchestra Jean Lenoir, and one. was made by Piscator: songs from his staging of Leo 'ta the gramophone music in piano-vocal reduc Lys Gauty and the Orchestra Pierre Chagnon. nia's Konjunktur (1928) and Walter Mehring's tion.) Universal Edition produced a recording (Both of these singers were subsequently to Der Kaufmann v011 Berlin (1929). Here we which was made available as part of the per record songs from Marie Galante, a bawdy find Weill (' 'Die Muschel von Margate' ') and formance material. The dance band version play with music composed by Weill in 1934.) Eisler (' ' Lied vom Trockenbrot' ') on the listed in this discography was commercially same record! Both are vocal and feature Otto distnbuted by the Beka company, performed Arrangements Pasetti, tenor, and Alfred Schlee, a man who by the Saxophon-Orchester Dobbri, and was was later to become a leading force at Univer By 1930, the' 'Threepenny wave'' had con available when the opera premiered on 18 sal Edition. The same company also produced sumed Europe, and arrangements of the February 1928 in Leipzig (as evidenced by an "Vorstellung des Fliegers" (with piano ac songs were in great demand for performance advertisement in the program). companiment) from Der Lindberghflug, a re in the ballrooms of luxury hotels. in local pubs, cording which was completely unknown to me Die Dreigroschenoper and as entertainment in Berlin's revue the until recently. aters. The most fashionable band in Berlin, Marek Weber and his Orchestra, played every HappyEnd Weill's important record career began with afternoon in the ' 'Tanztee'' room of the for DieDreigroschenoper. Ofco urse,many compa Only a few of Weill's great songs were re midable hotel Ad.Ion. Electrola issued two re corded after the hasty close of Happy End at nies wanted to cash in on the enormous suc cordings of this orchestra: ''Dancing cess of the work and, as a result, no less than the Theater am Schiffbauerdamm in the au Potpourri" in 1930, and "dancing versions" tumn of 1929. Lotte Lenya sang ''Surabaya eight different labels released songs in Ger of "Tango Angele" and ' ruabama-Song" in many. The most important of them bear the Johnny'' and ''Bilbaosong'' probably for 1931. Next to the Theater am Schiffbauer Homocord, but thus far I have been unable to initials of Theo Mackeben, the musical direc damm, the Haller-Revue performed every tor of the premiere performances, and the locate the original recording (enly a reissue evening at the Ad.miralspalast. The Haller-Re- has surfaced in the Federal Republic of Ger many without information regarding its origi Dr. Jurgen Schebera holds the position of Wissenschaftlicher Mitarbeiter, Akademie der Wis senschaften der DDR, Zentralinstitutfur Literaturgeschichte, Berlin. nal release). Four instrumental arrangements (' ' Matrosensong'.' •'Surabaya-Johnny;'
KURT WEILL NEWSLETTER PAGE6 "Bilbao-Song" and "Song von Mandelay") appeared on two Electrola discs, again per formed by the Lewis Ruth Band under Theo Mackeben. Here is a chance to hear what must be the authentic tempi and dynamics of DISCOGRAPHY these wonderful songs. Mahagonny Given the information currently available, it is impossible to construct an exact chronologi cal listing. Therefore, I present a rough chronology showing all songs from a larger work The first recording of a song from Aujstieg under a main heading. All titles and spellings reflect the information as given on the record und Fall der Stadt Mahagonny was produced labels. by Telefunken before the premiere. Lotte Lenya sang "Denn wie man sich bettet" and ' i\labama Song'' with Theo Mackeben in an arrangement not using Weill's orchestration. Der Zar liisst sich photographieren The record is advertised in the program ofthe 1928 Instrumental Beka B 6313 1: Tango delirico (Edith Lorand) Leipzig premiere, 9 March 1930. Both songs 2: Tango Angele were recorded by Lenya later in 1932 by Ho Saxophon-Orchester Dobbri mocord with Weill credited as conductor, thus making his only recording appearance in Ger 1930 Dancing Electrola E.H. 853 1: Tango Angele many thus far discovered. The Berlin produc Arrangement Marek Weber und sein Orchester tion which ran from 21 December 1931 until the spring of 1932 stimulated two further rec ords. Ernst Josef Aufricht produced a special Die Dreigroschenoper cardboard recording for distribution in the 1929 Vocal Homocord H 3747 1: Moritat theater which featured impressive artwork 2: Kanonensong covering both sides of the disc. This recording Harald Paulsen mit contained instrumental versions of ' i\labama Orchesterbegleitung Song'' and ''Denn wie man sich bettet' ' played by Emil Roosz and his Kiinstlerorches Vocal Homocord H 3748 1: Ballade vom angenehmen ter and was later commercially distributed by Leben Kristall. More important., however, was a 2: Der Mensch lebt nur von release by Electroia in 1932 entitled Missetat ''Querschnitt aus der Oper Aufstieg und Fall Harald Paulsen mit der Stadt Mahagonny'' which featured Len Orchesterbegleitung ya, the Ensemble and Orchestra of the The ater am Kurfiirstendamm, and Hans Sommer, Vocal Orchestrola 2131 1: Die Moritat vom Mackie conductor. This recording gives wh;it proba Messer bly is a much more authentic rendering of how 2: Die Ballade von der the Berlin production actually sounded. Unzuianglichkeit Bertolt Brecht mit Orchester Der Silbersee 1: Barbara-Song Th complete the summary of Weill's com Vocal Orchestrola 2132 2: Die Seerauberjenny mercial recordings in Germany, we find a re Carola Neher mit Orchester cording of two songs from Der Silbersee sung by Ernst Busch and issued by Gloria only a Aus der ''3-Groschen-Oper'' short time before all performances of the 1930 Vocal Telefunken A 752 work were banned by the Nazis. Maurice Telefunken A 753 Verhindende Worte: Kurt Gerron Abravanel was the conductor. Telefunken A 754 Lotte Lenja, Erika Helmke, Telefunken A 755 Kurt Gerron, Willy Trenk- Non-commercial Recordings Trebitsch, Erich Ponto, Lewis Ruth Band So far this discography includes only one Dirigent: Theo Mackeben non-commercial recording but it is important: the original radio version of Der Lindbergh/lug Vocal Electrola E .H. 301 Die Songs der ''Dreigroscheno- which Weill composed in tandem with Hin per" demith. The three discs were recorded at the Carola Neher, Kurt Gerron, Berlin Deutschlandsender on 18 March 1930 Arthur Schroeder und die with Hermann Scherchen conducting. Upon Dreigroschenband he.aring these invaluable documents, it is easy to understand why Weill withdrew the compo Vocal Parlophon 1: Barbarasong sition and later went on to compose a revised B 12053 2: Seerauberjenny version using only his music. Beate Roos-Reuter mit Orchesterbegleitung In summary, the accompanying list repre Kapellmeister: Hans Schindler sents only the first step in compiling an early Weill discography. No doubt there are other 1930 Instrumental Odeon 2703 1: Kanonensong recordings, especially non-commercial, yet to 2: Zuhfiltetballade be discovered. In addition, documentation Dreigroschenoper-Band must be compiled about foreign issues of the (Lewis Ruth-Theo Mackeben) recordings listed here. I urge all readers of the Newsletter to send any additional informa tion to the Editor, so that it may be printed as a later addendum to this beginning effort.
KURT WEILL NEWSLETTER PAGE7 Dancing Parlophon B 12039 1: Barbarasong Arrangement (France: 2: Moritat Parlophon 22399, Haller-Revue-Jazz~Orchester 1931) Kapellmeister: Hans Schindler
Dancing Electrola E.G. Tanzpotpourri aus · •Die Arrangement 1281 Dreigroschenoper'' (France: Marek Weber und sein Gramophone Orchester K-6406, 1931)
Instrumental Grammophon 1: Kanonensong 21943 2: Tango-Ballade Paul Godwin mit seinen Jazz-Symphonikern
1931 Vocal Polydor 522171 1: Complainte de Mackie (France) 2: Le chant de Barbara Florelle, OrchestreJean Lenoir
.\..EC't'~ Vocal Polydor 522172 1: La fiancee du pirate (France) 2: Chant des canons ~o Florelle, OrchestreJean Lenoir EKTr/1sno AUF~ENOM Instrumental Clangor 4177 1: Tangoballade 8411- • - Nr "ll. I 2: Tango Donna Vatra (not rol Weill) tlUS "flfl)\!~1 ► Lewis Ruth Band Blt1s•Orchosle r r'~enl l'l,eo Moel: 1932 Vocal Columbia L 3680 1: La fiancee du pirate (France) 2: Chant de Barbara Lys Gauty, Orchestre Pierre Chagnon
...... ~· .. .,..., ... Instrumental Pathe X 96106 1: Complainte de Mackie (France) 2: (not Weill) Tom Waltham et son Jazz
Kleine Dreigroschenmusik Instrumental Audiphon Electro 1: Moritat und Choral .. 1929 \ 5007 2: Tango-Ballade und ,i Kanonensong Blas-Orchester, Dirigent: Theo Mackeben
1930 Instrumental Grammophon 24172 1: no. 2 Moritat von Mackie (France: Polydor Messer 24172, 1931) 2: no. 4 Ballade vom angenehmen Leben Mitglieder der Kapelle der Staatsoper Berlin, Dirigent: Otto Klemperer
Instrumental Grammophon 24173 1: no. Sa Tango-Ballade (France: Polydor 2: no. 6 Kanonensong 24173, 1931) Mitglieder der Kapelle der Staatsoper Berlin, Dirigent: Otto Klemperer
Happy End 1929 Instrumental Electrola E.G. 1: Bilbao-Song 1569 2: Der Song von Mandelay Lewis Ruth Band
Instrumental Electrola E.G. 1:SurabayaJohnny 1590 2: Matrosensong Lewis Ruth Band
KURT WEILL NEWSLETTER PAGES 1930 Vocal [Homocord?) 1: Bilbao-Song [Electrola?) 2:SurabayaJohnny Lotte Lenja mit Orchester (Dirigent: Theo Mackeben)
Der Lindberghflug 1930 Vocal Non-commercial Complete recording 3 records Weill and Hindemith Betty Mergler, Erik Wirt, Herbert Janssen, Radio-Chor Berlin, Berliner Funk-Orchester, Dirigent: Hermann Scherchen
1931 Vocal Paloma 3502 1: Vorstellung des Fliegers (Austria) 2: (not Weill) Otto Pasetti ~ · , Klavier: Alfred Schlee I
Konjunktur 1931 Vocal Paloma3501 1: Die Muschel von Margate (Austria) (Petroleumsong) 2: (Liedvom Trockenbrot: Eisler/Mehring) Otto Pasetti, Klavier: Alfred Schlee
Aufstieg und Fall der Stadt Mahagonny 1930 Dancing Electrola E.H. 853 2: Alabama-Song Arrangement Marek Weber und sein Orchester
Vocal Telefunken A 371 1: Alabama-Song 2: Denn wie man sich bettet Lotte Lenja, The Three Admi- rals, Theo Mackeben und sein Jazz-Orchester
1931 Instrumental Aufricht- 1: Alabama-Song Production 2: Wie man sich bettet Emil Ro6sz und sein Kiinstlerorchester
1932 Instrumental Kristall 3236 [same as above]
Vocal Electrola E.H. 736 Querschnitt aus der Oper ''Aufstieg und Fall der Stadt Mahagonny'' Lotte Lenja mit grossem Ensemble und Orchester des Theaters am Kurfiirstendamm, Leitung: Hans Sommer
Vocal Homocord H 3671 1: Alabama Song 2: Denn wie man sich bettet Lotte Lenja mit Orchester, Dirigent: Kurt Weill
Der Silbersee 1933 Vocal Gloria GO 10713 1: Der Backer backt urns Morgenrot 2: Das Lied vom Schlaraf- fenland Ernst Busch mit Orchester, Leitung: Kapellmeister Maurice de Abravanel
KURT WEILL NEWSLETTER PAGE 9 The Firebrand of Florence: A Musical Inventory by Joseph Smith
The Firebrand of Florence (1945) reunited ''There Was Life, There Was Love, There chords of the ninth. The best nonsense, how Weill with lyricist Ira Gershwin after their big Was Laughter.' ' Although introduced by a rec ever, exhibits the beguiling appearance of hit of 1941, Lady in the Dark, and their engag itative, this is in the standard 32-bar song sense, and it is here that the song falls short. ing contributions to the movie Where Do ~ form and will be reprised as a love duet, Go From Here? Firebrand's libretto (adapted "There'll Be Life ..." The.robust, extrovert Edwin's defense in Trial by J1try may not by Edwin Justus Mayer from his own play, The tune, climaxing in an octave leap to a high F, satisfy everyone's idea of morality, but its in Fire/Jrant!) is based on incidents from the has the wide melodic range favored by ternal logic is unassailable. Liza Elliott's memoirs of Benvenuto Cellini. Cellini, the re Sigmund Romberg, who, incidentally, had " Jenny" parable corroborates its premise nowned goldsmith and sculptor, was also a once considered composing a show based on with verse after verse after verse of evi fascinating, megalomaniacal raconteur - his the same property. Harmonically, however, it dence. In contrast, ''You Have To Do'' stories of intrigue in the so.-teenth-century is not the least Rombergian, built as it is on a merely asserts its convenient premise. As a court of the Medici seethe with theatrical ex variety of chords with added sevenths. These ''tipsy gypsy'' once explained to Cellini, all is travagance. The libretto focuses on the con unresolved dissonances lend the tune its dis predestined by fate; therefore, no one is re flict between Cellini, armed with wit, daring, tinctive poignancy. sponsible for his actions. Cellini's catalogue of and his repute as a great artist, and Alessan In musical theater, the simplest way to be examples, if delightfully ear-catching {' 'Is dro, Duke of Florence, possessed of absolute heroic is to sing heroically. After all, producing Plato to blame for being platonic? Or Babylon political power. Given these circumstances, it a glorious sound which can surge (unampli for being babylonic?"), fail to prove his point is highly inconvenient that the Duke develops fied!) over an orchestra is a genuine physical - they merely restate it. a mad crush on Ce.llini's girlfriend and that the feat. Cellini's music lies in the range com The show's heroine is not as well served Duchess cherishes an overwhehning desire monly called "bari-tenor" or "Broadway musically, and understandably so. Cellini's for Cellini himself. baritone'' (high E's , F's, and F sharps memoirs are rich in adventure and humor, but Although announced as a musical comedy, abound), but the sound must be a full, ''legiti the task of trying to extract a love story from The Firebrand ofFlorence is actually an oper mate'' one. {The classic Viennese operetta them is highly unenviable. The book teems etta. Unlike Weill's other American shows, it composers would have cast such a role as a with references to "satisfying his appetite" has a distant, exotic setting - sixteenth-cen tenor. Around the Twenties, American taste with some model or·"enjoying" another in tury Florence. (Although set in South Africa, began to find the baritone to be the more ''vir bed, but otherwise he does m>t seem to re the magnificent musical tragedy Lost in the ile" sonority.) gard any woman with even friendly interest. Stars is not exotic in tone. Its black characters The historical Cellini was an insensitive, brut elicited from Weill songs in the most American In the next scene (oh, yes - his execution ish user of women. (The memoirs contain an of idioms; "Thousands of Miles" is in the is put off!), Cellini the braggart turns a scuffle incident involving a certain Caterina which with his enemy, Maffio, into a pat little narra style of a spiritual; ''Trouble Man:' a blues.) shows how low he could sink; only Mozart and The extent of sheer vocal display in Firebrand tive of heroism in the face of overwhehning da Ponte could have successfully portrayed is atypical of its composer outside of _parodis odds. The strophic form of this "arietta" is the real Cellini!} tic uses. The emotional peaks of Street Scene cannily chosen. He tells the same story to Firebrand's bl>rettist came up witfi the fol may climax in high notes, but the lovers in each of two girls, but by the second telling, lowing story: just when Cellini and his model Firebrand flaunt their high notes for decora the alleged number of his adversaries has es Angela have avowed their love, the Duke en tive effect. The influence of Gilbert and Sul calated from three to five (when in fact there ters the sculptor's studio. The Duke finds livan is obvious the minute the curtain rises. was only one). At the same gory moment in Angela irresistibly charming and carries her Gilbert found the-professions of torturer and the narrative, each girl shrieks, and the or off. Cellini manages to abduct her, but the executioner irresistibly droll (The Mikado, chestra continues with a suitably dismayed in next morning, their affair having been con ¼omen ofthe Guart!). Firebrand opens with a terlude. The orchestra's short phrase before summated, the real trouble begins. Jealous of hangman, gallows-builders, and vendors pre his final ''and that's my story'' is like a musi his zeal for work, she demands that he will paring for a gala execution. The trial scene in cal shrug of the shoulders. The exact repeti never work without her permission. His solu the second act and several other numbers also tion of the verses reflects Cellini's habit of tion is to abandon her when political circ11m recall the style of the Savoy operas, not to courting different women with the identical stances force him to flee to France. He then mention the common model of Offenbach. impressive turns of phrase. ''discovers'' that he can't work without her, The least characteristic of Weill's American The protagonist's madcap streak is given and they are eventually and somewhat arbi shows, it is also the least known (excluding full rein in the second act trial scene which in trarily reunited. Cellini's coming to value her The Eternal Road, produced in New York but evitably recalls both the Circus Trial from love happens between scenes - it is totally written primarily in Europe). His only Broad Lady in the Dark, as well as Gilbert and Sul undramatized. Nor is there any reason to be livan's Trial by Jury. His flamboyant defense way flop - hostilely received by the press and lieve that she has come to respect his devo closed after only 43 performances - Fire for (supposedly) killing Maffio, ''You Have To tion to art. After the final curtain, we can brand remains unrecorded and unpublished, Do What You Do Do," is based on the "Zo imagine her renewing her selfish demands, and little has been written about it in the diac'' number c1,1t from Lady in the Dark and his discarding her all over again. It is hard standard sources. (which was replaced by the celebrated "Saga to feel involved in this casual story. of Jenny''). That insanely persistent lyrical Cellini's three solos illustrate the many Some composers seem able to compose a sides of this rich central character: dedicated phrase, "you have to do what you do do;• great love song outside of a specific context. boasts an equally catchy musical phrase. artist, impulsive quarreler, adept con-man, Gershwin, for example, wrote glorious melo Whereas ''There Weis Life;' (Cellini's first manipulator, daredevil, and boaster. About to dies to such general texts as ' 'Love Walked be hanged in the opening scene, he neverthe song) features seventh chords, the spooky In" and "Soon." Weill, however, was a musi harmonies of his last song are predominantly less bursts out undaunted in the sweeping cal dramatist who did his best work only when Josq,h Smith is a New lvrk Pianist, known for his propamming of unusual repertoire. His inspired by an interesting character or dra recent recording' 'American'' Piano Music by European Composers, is auaila/Jlefro,n Musi matic situation. For instance, ''It Never Was cal Heritage Society (MHS 7035F). You' ' from Knickerbocker Holiday is a very at-
KURT WEILL NEWSLETTER PAGE 10 tractive song, but "September Song," from the important phrase, ''Hail the man you sub the sbow's tunes. The Duchess is always pre the same score, is unforgettable. The one is sidize,'• is underlined by a sudden modulation ceded by a little Moorish servant boy singing to an all-purpose text, the other is specifically a tone down. At the end of each of the songs's an exotic melodic fragment, "Make Way for the song of an aging man aware of his mortal verses, minor chords leeringly emphasize the the Duchess," to the accompaniment of a ity. The comparative weakness of the num rhymes, "I sponsor the cele.stial, but I don't high-pitched, jangling, but delicate orchestra bers involving Firebrands's love story was run down the bestial," and " By action I em tion. Ira Gershwin suggested that Weill use inevitable; the shallow relationship could bellish both the heavenly and the hellish.'' A this thematic idea as a source for ' 'Sing Me hardly inspire Weill to write his most memora whole-tone scale tinges the chorus' cry of Not a Ballad.'' But the lyricist's remark that ble music. ' 'Alessandro the Wise' ' with justified equivo the first six melodic notes are identical is an The lovers' two duets, as well as a song for cation. understatement: in fact, the first twenty-two the secondary character, Emilia, are waltzes; notes are identical. The salient feature of the the waltz was, after all, an operetta inevitabil first phrase of the song is the sharpened ity, whether the locale be Heidelberg or Ha fourth degree of the major scale - a touch of waii. Generally, though, \¾!ill used the waltz the Lydian mode from its original ''Moorish'' source. Although the harmonic setting is not in his Broadway shows only for parody; per MA-X (,ORDON haps he thought that the idiom itself had be actually in this mode, its modulations follow come a cliche. (He rarely used three-four ii the direction suggested by this raised tone, meter even outside of the waltz genre - the i.e., towards the sharp keys. The third ' 'Lilac Duet' ' from Street Scene being a nota phrase, ''I require no ballad,'' moves from the ble exception.) The first duet, ' 'I'm Afraid rich D-flat major of the song's tonic to brighter You're Far Too Near Me;' is reprised several I harmonic areas, starting with a C seventh times, suggesting that the authors hoped that chord. This contrast of harmonic colors gives it would prove a hit. The first eight-bar phrase II the tune its special ambiance. At the song's close, the phrase, ''Spare me your ad ends with a promising harmonic turn, the II result of the melody's chromatic descent, but vances'' is first set with harmonies within the the answering phrase is a disappointment; it is scale, then repeated with chromatically raised too harmonically bland for its context, and is ~,, notes which increase its urgency. The repeti IRA GF.RSHWIN~ f
KURT WEILL NEWSLETTER PAGE 11 REVIEWS
next section, ''In all of Italy,'' falls clearly into iod almost all theoretical opinions either go two-bar phrases, and its stepwise movement Gestusund back to Busoni or derive from Brecht·' (p. has a contrasting legato flow. Verfremdung: Studien 105) Although I have cautiously argued else The tarantella is an intentionally loo11y where that Brecht was more of a theorizer choice for a big vocal ensemble(' 'The Night zum Musiktheater bei than Weill, this particular assertion did cause time Is No Time for Thinking"). The frantic Strawinsky und Brecht/ some furrowing of the brows. speed of this dance idiom bas rarely allowed Weill. By Jurgen Engelhardt. It is all the more unfortunate that the author its use in vocal music. In Rossini's song, ''La chooses to adopt the Brechtian/structuralist/ Danza;' the only familiar example, the com Miinchen-Salzburg: Musikverlag Hegelian manner for much of his study, since poser does not assign a new syllable to each Emil Katzbichler, 1984. 269 pages. scattered through the pages are some sharp, note, and some of the text is ''la, la, la.'' An intelligent, and persuasive analyses of individ intelligible rendition of the Firebrand taran ual works, some helpful theoretical commen tella, with its hailstorm of syllables, would be tary, and a good grasp of the links between an entertaining tour de force. The dance sup Writing in the fifties in the volume Brecht/Weill's and Stravinsky's notions of the posedly originated as a cure for tarantula Theaterarbeit, Brecht commented, not with aesthetics of performance and theater. (Cf. in bites. This tarantella is enhanced, therefore, out a touch of weary asperity:" ... a lot of my particular the remarks on ''expression' ' and by the text's ludicrous assumption that the remarks about the theater are wrongly under ·its theatrical rendering on p. 35; the discus dance is conventionally ''romantic'' stood. I conclude this above all from those let sion of the Busonl Schlagwort and its relation ("Heaven, you quickly discover .. .. never ters and articles which agree with me. I then to Gestus on p. 104; and a clear, concise pre too far from your lover"), as well as by the. feel as a mathematician might if he reads: sentation of the relationships between can euphonious rhymes: ''Dreamily, dreamily, · Dear Sir, I am wholly of your opinion that two tata, oratorio, Lehrsliick and Stravinsky's peaches and creamily:' and two make five .. .' ' ' music-theater on pp. 142-3). But the work's The soldiers' chorus·, "Just in Case," is, One wonders how he would have felt about overall structure militates against any intelligi naturally, a march, but the weirdly jangling the present volume which presents as indi ble treatment of the topic. chords of the verse, ''We 're soldiers of the gestible a mixture of musicological, proto It is divided into three sections: Historic Duchy, whose Puke is very touchy,' ' already Marxist, pseudo-structuralist, and plain philosophical conditions; Cubism; and Dialec convey less than unshakable patriotism. The muddle-headed critical jargon as this reader tical music-theater. While there is ample chorus begins with apparent militaristic fer has plowed through in many a long day. What evidence of the author's extensive study of vor, •'On to Pisa! - On to Verona!'' but at the is one to make, for instance, of the following Brecht's writings and of an otherwise impres phrase, ''on to, on to, on to .. .'' the repetition sentence which sets out to sum up the •gestic ' sively wide reading, his attempt to define a of two notes, increasing in. speed two meas approach to composing: fairly familiar technique and structure by re ures later, expresses the soldiers' genuine ... Gestic composing therefore means that sorting to derivations of the terms "cubism" sentiment: petulant reluctance. The text con the composer consciously deals with the (' 'cubistic music,'' ''cubizing of the theater;' tinues: ' 'We don't want to, want to, want to.'' fact that in the musical fabric pre-provided and the- to me -appalling neologism "Ku Surely this piece would be fun on stage. elements (a musical 'frameworlc of attitude,' bierung" and its v. tr. "kubieren ") inevitably The Firebrand of Florence is an uneven a situation of societally formed patterns of occasions reflections like: ''Must be a varia work. Because the score is so different from behavior as a complex associative structure tion on what you do to vegetables (dicing); or any other Weill, the expedient of "pasti of material ideological and musico-cultural " \\ell, I suppose it's a squared version of ching'' a revival version is out of the question. conditions) and the specific social and musi theater-in-the-round:' Advantageous cuts, however, could certainly cal consciousness of the compositional sub One wishes that, rather than indulging in be made. Granting the libretto's weaknesses, ject constitute themselves in an organized this fondness for abstractions, the author had it still has much to recommend it. (Edwin Jus tonal framework. (p 57) concentrated instead on other, more immedi tus Mayer was not an insignificant figure; he There are whole pages of this study which ately relevant and substantial matters which wrote the screen play for To Be or Not to Be, appear to have been constructed according to he either touches on briefly or ignores alto that brilliantly original 1942 comedy, directed a scheme which notes down adjectives on the gether. There may be much that is unfairly ex by Lubitsch.) Three of the principals are left-hand side of the page, nouns on the eight, cluded by Brecht's commitment to' 'rational'' vivid, and the plot, although loose, is not bur and runs linking arrows back and forth be music, but the fact that it abhors the Wag dened with digressions. The love interest tween the two, bearing in mind that suitably nerian Rausch - a view for which Weill had does not engage the emotions (nor, I suspect, limp and non-denotative verbs like "is;• "re some sympathy - might have prompted Dr. could it be rewritten to do so), but at least its fers to,'• ''has described,'' etc. need to be in Engelhardt to look a little further for traces of treatment is breezy in tone; it is neither pre serted occasionally to help the alphabet soup similar attitudes and their origins in tentious nor maudlin. slide across the page. Stravinsky. The latter's caustic comments on Since amplification has become universal in There is no doubt that Brecht - or rather the Bayreuth religious ceremony are familiar Broadway theaters, show singing has his painstaking elucidators - is partly to from his Autobiography as are his remarks on changed so much that the commercial theater blame for this, but only partly. Throughout his meeting with Busoni. Surely something on has become a poor custodian of its own musi this study one senses the chill hands of the shared outlooks might have found its place cal classics, as numerous unsatisfactory re Adorno and Hegel grasping a half-formed in the study? Often one feels the author is vivals testify. Conversely, opera houses are thought and ensuring it emerges frozen and more concerned with - as Brecht puts it in a achieving increasing success with those clas unyielding. This is not, of course, to imply poem: ... ' ' [Making] obscurity more obscure sic musicals that demand ' 'legitimate' • sing that either writer has nothing to contribute to and (preferring) to believe the absurd rather ing. Firebrand might well find a home in the any study of the philosophy and aesthetics of than to seek for a sufficient cause.:' At times opera house. possibly with a non-operatic star music in the twentieth century. But in this both Weill's and Brecht's pronouncements on as the Duchess. Ironically, some of the oper case, Weill's own observations and theoretical Gestus and gestische Musik are puzzling etta conventions which made the show seem statements receive only cursory attention and enough without the researcher seeking to so old-fashioned in 1945 might be a strong even lead the author to declare - speaking of make them even more abstruse. recommendation for its revival in the Eight the composer's statements from the late And while I should not like to argue in favor ies. twenties - '' .. ,In Weill's writings of thfs per- of a rigidly historico-empicicist approach to in-
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