FROM THE ARCHIVES RECENT ACQUISITIONS Compiled by Kenneth Schlesinger The following list offers a selective Gesang und Klavier" Vienna: Universal summary of the documents acquired by the ORAL HISTORY Edition 9851A, 1931. Weill-Lenya Research Center since October "Reminiscences of Weill/Lenya:" The Road of Promise, photocopy of 1988. Due to space limitations, omitted from Hesper Anderson; Ben Cutler and Maya Chappell piano-vocal rental score for The the listing are books, articles, press clip­ Gregory, cast members of The Eternal Road; Eternal Road (Ben Cutler). pings, and commercial recordings, as well Jean Dalrymple, theater producer; Martus UE rental full scores for Die Burgschaft, as most photographs, programs, and post­ Granirer; Willi Kraber, member of Group Die Dreigroschenoper, Der jasager, Der ers. The names of donors are indicated in Theater; Paula Laurence; Maurice Levine; Protagonist, Royal Palace, Der Silbersee, Der italics at the end of each entry, when appro­ Henry Marx; Lys Symonette; Wilhemena Zar la!st sich photographieren, and Der neue priate. Tuck; Peggy Turnley. Interviewed for 1988 Orpheus. Oral History Project, Professor Mel Gordon COLLECTIONS and students, New York University. SCORES -- UNPUBLISHED J tirgen Schebera, Berlin (DD R): "Chari­ "Conversation with Maurice Abra­ "America," "Battle Hymn of the Re­ vari: More details about Dreigroschenoper vanel," by Olivia Mattis. Typescript and public," and "Star Spangled Banner," piano­ early history," article, plusfourphotostats of cassette tape. vocal scores of Weill's settings in copyist's original Dreigroschenoper advertisements in hand (Rodgers and Hammerstein Theater Charivari, Bloch Erben's house journal, library). 1928-29. Donald Spoto, Los Angeles: Inter­ Firebrand ofFlorence, selections from view tapes and selected materials gathered rehearsal scores. while researching Lenya: A life. "Langsam er Fox" (1921), transcription prepared for 1975 Berlin Festival by David CORRESPONDENCE Drew (David Drew). Lotte Lenya to Milton Caniff (15 let­ Where Do We Go From Here, photo­ ters, photocopies; 1962-78) (Donald Spoto) ; copy of vocal score. (Mrs. Ira Gershwin). Kurt Weill to Ira Gershwin (20 letters, pho­ tocopies; 1940-44; random annotations by SCRIPTS Gershwin)(Mrs. Ira Gershwin). Der Silbersee, Felix Bloch Erben, from Harold Prince Collection; Der Weg der Ver­ THESES AND DISSERTATIONS hei!sung, photocopy of Werfel's holograph, Humphreys, Paul W. "Expressions of Van Pelt Library, Special Collections, Uni­ Einverstandnis: Musical Structure and Af­ versity of Pennsylvania. fective Content in Kurt Weill's Score of Der ]asager." Ph.D. dissertation, University of V IDEOTAPES California, Los Angeles, 1988. Die Dreigroschenoper, Hessischer Rund­ Scott, Harrison Charles. "Busoni's funk, 1957; Die Dreigroschenoper (1989), Doctor Faust." Masters thesis, North Texas Happy End (1988) and Der ]asager (1989), State University, 1976. Banff Art Centre; Mahagonny Songspiel (with "Conversa­ HOLOGRAPHS tions with Fear and Hope After Death") "Surabaya Johnny," early holograph Peter Sellars, BAM Opera, 1989; Aufstieg sketch, 44 measures, pencil, 1½ sides, on und Fall der Stadt Mahagonny, Hessicher Beethoven Papier Nr. 38a (28 Linien) [1929] Rund.funk, 196-; The Eternal Road, Para­ Sketch for "Ira" from Die sieben mount newsreel (1937) and "On Stage: Todsiinden by Casper Neher. March of Time" (1949) (Mel Gordon). NON- COMMERCIAL RECORDINGS All rights reserved. "Kurt Weill and his Jewish Heritage," VISUAL ART Symposium at Merkin Concert Hall, 1987; Studs Terkel Radio Show, WFMT-Chicago PROGRAMS Neher, Caspar. "Ira," sketch for Die [Happy End, Court Theatre, 1989]; Happy 'The Judgement of Paris," Agnes de sieben Todsunden stage panel. Yellow and End, Westdeutscher Rund.funk, Koln, 1988; Mille ballet to Weill score, Westminster gray wash on paper. 36 X 24 cm. Purchased The Seven Deadly Sins, Sinfonia San Fran­ Theatre, London, July 1938 (Jane Pritchard); from the Edward James Collection. cisco, 1987; The Threepenny Opera and johnny Der ]asager, Music School of the Henry Johnson, The Banff Centre, Banff, Alberta, Street Settlement, New York, 25 April 1933; WRITINGS 1989; "Cry, The Beloved Country /Lost in Der ]asager, Akademie fiir Kirchen- und "Der deutsche Rundfunk," photocop­ the Stars," a concert sequence devised by Schulmusik, Berlin; original playbills from ies of articles by Weill, January 1925-May David Drew, American Composers Orches­ Weill Broadway musicals: Firebrand of 1929 (Jurgen Schebera); "Musikfest oder tra, Carnegie Hall, 1988; War Play (Weill/ Florence, Knickerbocker Holiday, lady in the Musikstudio?"; [Zu Der lindberghfl,ug] Drew), Ensemble Modem, Frankurt, 1988; Dark, Lost in the Stars, love life, and Street "Keine Differenz Weill-Hindemith"; "Kurt Weill" and archival recordings, Hun­ Scene. "Rundfrage Richard Strauss," Musikblatter garian Radio, Budapest, 1988; lady in the des Anbruch 6:5 (May 1924); "Schriftsteller Dark, Edinburgh Festival, John Mauceri, SCORES-- PUBLISHED 1934: Eine Umfrage," in Pariser Tageblatt 1988; Street Scene, Scottish Opera, John "Sechs ausgewahlte Stticke aus der 2:41 (21 January 1934). Mauceri, 1989; Violin Concerto, Stephanie Oper Aufsteig und Fall der Stadt Mahagonny Gonley with Guildhall Chamber Orchestra, von Kurt Weill/Text von Bert Brecht/ 1987. Ku rt Weill Newslet ter Volume 7 Number 2 15 NEW PUBLICATIONS 60007-1 ARTICLES """' KU R T WE I LL ~ DER ZAR l](SST SICH PHOTOGRAPHIEREN Fehn, Ann Clark. "Concepts of the Masses and German Drama in the Weimar Republic." - THE TSAR HAS HIS PHOTOGRAPH TAKEN - Seminar24:l (February 1988): 31-57. McDANIEL · POHL · NAPIER Hinton, Stephen. 'The Concept of Epic Opera: Theoretical Anomalies in the Brecht-Weill l<ULNER Partnership." Festschrift Carl Dahlhaus (1988), pp. 285--294. R\JNDRJNK­ ORCHESTER JAN LATHAM -KONIG Lucchesi, Joachim. "Eine moderne und politische Kunst: Der Komponist Wladimir Vogel." Musik und Gesellschaft 5, (May 1989): 247-249. Raddatz, Fritz]. "Besuch bei der al ten Dame." Zeitmagazin, 24 March 1989, pp. 24-34. [Pro.file of Maria Ley-Piscator.] Werner, Paul. "Frauen, die Geschichte machten: Lotte Lenya, Stimme des Volkes." Viva, 4 April 1989, pp. 106-113. BOOKS Bassi, Ad riano. Kurt Weill: I Grandi Musicisti del XX Secolo. Milano: Targa Italiana Editore, Collana Musica Studio, 1988. Bentley, Eric. The Brecht Memoir. Manchester: Carcanet Press Limited, 1989. [New British edition with an introduction by Martin Esslin.] Berlau, Ruth. Living/or Brecht: The Memoirs ofRuth Berlau. Edited by Hans Bunge. Translated by Geoffrey Skelton. New York: Fromm International Publishing Corporation, 1987. Gilbert, Michael John T. Bertolt Brecht's Striving/or Reason, Even in Music. New York: Peter Lang, 1988. Gordon, Eric A Mark the Music: The Life and Work ofMarc Blitzstein. New York: St. Martin's Press, 1989. Martin, Jeffrey Brown. Ben Hecht: Hollywood Screenwriter. Studies in Cinema, No. 27. Ann Arbor: UMI Research Press, 1985. [References to Hecht's 1943 ''We Will Never Die," with music by Weill.] Mehner, Klaus andJ oachim Lucchesi, editors. Studien zur Berliner Musikgeschichte: Musikkul­ tur der zwanziger fahre. Im Auftrag der Akademie der Ktinste der DDR. Berlin (DDR): Hen­ schelverlag Kunst und Gesellschaft, 1989. MHS 512l81Z Speirs, Ronald. Bertolt Brecht. London: Macmillan Publishers Ltd., 1987. KURT WEILL Symphony No. 2 RECORDINGS ALBERTOGINASTERA Variacioncs concen:uucs Entartete Musik: Eine Tondokumentation zur Diisseldorfer Ausstellung van 1938. I. Sauber­ ungen; II. MiBbrauch; III. "Deutsche Musik"; IV. Widerstand. Zusammengestellt und kom­ mentiert von Albrecht Dtimling. CDP Berlin 57265043 & 57265023. (4 CDs) Der Jasager. Joseph Protschka (Student); Lys Bert Symonette (Mother); Willibald Vohla (Teacher). Dtisseldorf Children's Chorus and Chamber Orchestra; Siegfried Kohler, conductor. Concerto for Violin and Wind Orchestra; Anahid Ajemian, soloist, with M-G-M Wind Orchestra; Izler Solomon, conductor. "Dance of the Tumblers" from Lady in the Dark and "Gold!" from Lost in the Stars; M-G-M Chamber Orchestra; Arthur Winograd, conductor. Symphonkorcbcstcr dc5 BaycrilCben Ruodfunks PolyGram 839727-4 (cassette); 839727-2 (CD) [Reissue.] JULIUS RUDEL, CONDUCTOR Der Lindberghjl.ug and The Ballad of Magna Carta . Pro Musica Koln; Ko iner Rundfunkorch­ ester; Jan Latham-Konig, conductor. Capriccio 60012-1 (CD). [Includes a 1930 broadcast recording of the Weill-Hindemith version of Der Lindberghflug, conducted by Hermann Scherchen.] Over There: Songs of War and Peace, c. 1900-1920. Michael Feinstein; Armen Guzelimian, piano. EMI Angel CDC 7 49768 2. (CD) [Includes Weill's "Riders' Song [Reiterlied]," "Parting Song (Im Volkston)" and 'The Beautiful Child. (Das schone Kind)".] Die sieben Todsiinden. Gisela May, with the Rundfunk-Sinfonie-Orchester Leipzig; Herbert Kegel, conductor. Das Berliner Requiem. The London Sinfonietta; David Atherton, conduc­ tor. PolyGram 429333-2/4 (CD/cassette). [Reissue.] Symphony no. 2. Variaciones concertantes, op. 23 by Alberto Ginastera. Symphonieorchester des Bayerischen Rundfunks; Julius Rudel, conductor. Musical Heritage Society 5123812 (CD); 312381H (Cassette) Threepenny Opera Suite (Kleine Dreigroschenmusik). Chicago Pro Musica. Reference Record­ ings RR-29. (LP and CD.) A Walk on the Weill Side. Helen Schneider. CBS Masterworks MK45703 (CD); MT 45703 (cas­ sette). Kurt Weil l Newsletter Volume 7 Number 2 16 BOOKS snippets of information, diary entries, un­ for the most part, but effective, and crucial to published earlier versions, or textual