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Akademie der Künste
http://wn.com/Akademie_der_Künste -
Haverstraw, New York
Haverstraw is a town in Rockland County, New York, United States located north of the Town of Clarkstown and the Town of Ramapo; east of Orange County, New York; south of the Town of Stony Point and west of the Hudson River. The town runs from the west to the east border of the county in its northern part. The population was 33,811 at the 2000 census. The name comes from a Dutch word meaning "Oat Straw," referring to the grasslands along the river. The town contains three villages, one of which is also known as Haverstraw.
http://wn.com/Haverstraw_New_York -
High Tor State Park
High Tor State Park is a state park located on the northern edge of the Town of Clarkstown in Rockland County, New York in the USA.
http://wn.com/High_Tor_State_Park -
Nazi Germany
http://wn.com/Nazi_Germany -
New City, New York
New City is a hamlet (and census-designated place), in the Town of Clarkstown Rockland County, New York, United States. The area is located north of Bardonia; northeast of Nanuet; east of New Hempstead and New Square; southeast of Mount Ivy; south of Garnerville; southwest of Haverstraw; west, straight across Lake Deforest, of Congers; and northwest, diagonally across Lake Deforest, of Valley Cottage.
http://wn.com/New_City_New_York -
New Jersey
New Jersey (, ) is a state in the Northeastern and Middle Atlantic regions of the United States. It is bordered on the northeast by New York, on the southeast and south by the Atlantic Ocean, on the west by Pennsylvania and on the southwest by Delaware. New Jersey lies largely within the sprawling metropolitan areas of New York City and Philadelphia. It is the most densely populated state in the United States.
http://wn.com/New_Jersey -
Switzerland
Switzerland (, , , ), officially the Swiss Confederation (Confoederatio Helvetica in Latin, hence its ISO country codes CH and CHE), is a federal republic consisting of 26 cantons, with Bern as the seat of the federal authorities. The country is situated in Western Europe where it is bordered by Germany to the north, France to the west, Italy to the south, and Austria and Liechtenstein to the east.
http://wn.com/Switzerland -
United States
The United States of America (also referred to as the United States, the U.S., the USA, or America) is a federal constitutional republic comprising fifty states and a federal district. The country is situated mostly in central North America, where its forty-eight contiguous states and Washington, D.C., the capital district, lie between the Pacific and Atlantic Oceans, bordered by Canada to the north and Mexico to the south. The state of Alaska is in the northwest of the continent, with Canada to the east and Russia to the west across the Bering Strait. The state of Hawaii is an archipelago in the mid-Pacific. The country also possesses several territories in the Caribbean and Pacific.
http://wn.com/United_States
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Adolph Green
http://wn.com/Adolph_Green -
Al Carmines
Reverend '''Alvin Allison 'Al' Carmines, Jr.''' (July 25, 1936–August 9, 2005) was a key figure in the expansion of Off-Off-Broadway theatre in the 1960s.
http://wn.com/Al_Carmines -
Alan Jay Lerner
Alan Jay Lerner (August 31, 1918 – June 14, 1986) was an American lyricist and librettist. In collaboration with Frederick Loewe, he created some of the world's most popular and enduring works of musical theatre for both the stage and on film. He won three Tony Awards and three Academy Awards, among other honors.
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Alban Berg
http://wn.com/Alban_Berg -
Amanda Palmer
Amanda Palmer (born Amanda MacKinnon Palmer April 30, 1976), also known as Amanda Fucking Palmer, is an American performer who first rose to prominence as the lead singer, pianist, and lyricist/composer of the duo The Dresden Dolls. She has since started a successful solo career, and is also one half of the Evelyn Evelyn duo.
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Ann Miller
http://wn.com/Ann_Miller -
Anna Ritter
http://wn.com/Anna_Ritter -
Anne Sofie von Otter
Anne Sofie von Otter (born 9 May 1955) is a Swedish mezzo-soprano.
http://wn.com/Anne_Sofie_von_Otter -
Anton Webern
http://wn.com/Anton_Webern -
Arno Holz
Arno Holz (26 April 1863 – 24 October 1929) was a German poet and dramatist.
http://wn.com/Arno_Holz -
Arnold Schoenberg
http://wn.com/Arnold_Schoenberg -
Arthur Siegel
Arthur Siegel (December 31, 1923 - September 13, 1994) was an American songwriter.
http://wn.com/Arthur_Siegel -
August Strindberg
http://wn.com/August_Strindberg -
Bebe Neuwirth
Beatrice "Bebe" Neuwirth (born December 31, 1958) is an American actress, singer and dancer. She is known for her portrayal of Dr. Lilith Sternin, Dr. Frasier Crane's wife and ex-wife, on both the TV sitcom Cheers (in a starring role), and its spin-off Frasier (in a recurring guest role). She is also known for originating the role of Velma Kelly in the revival of Chicago.
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Ben Bagley
http://wn.com/Ben_Bagley -
Bertolt Brecht
http://wn.com/Bertolt_Brecht -
Betty Comden
Betty Comden (May 3, 1917 November 23, 2006) was one-half of the musical-comedy duo Comden and Green, who provided lyrics, libretti, and screenplays to some of the most beloved and successful Hollywood musicals and Broadway shows of the mid-20th century. Her writing partnership with Adolph Green lasted for six decades, during which time they collaborated with other leading entertainment figures such as the famed "Freed Unit" at MGM, Jule Styne and Leonard Bernstein.
http://wn.com/Betty_Comden -
Bobby Darin
http://wn.com/Bobby_Darin -
Bruno Walter
Bruno Walter (September 15, 1876February 17, 1962) was a German-born conductor. One of the most famous conductors of the 20th century, he was born in Berlin, but moved to several countries between 1933 and 1939, finally settling in the United States in 1939. He was born Bruno Schlesinger, but began using Walter as his surname in 1896, and officially changed his surname to Walter upon becoming naturalised in Austria in 1911. Bruno Walter was for many years active as a composer, but his works have not entered the repertoire.
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Carla Bley
http://wn.com/Carla_Bley -
Charlie Haden
Charles Edward Haden (born August 6, 1937) is an American jazz musician. He is a double bassist, probably best known for his long association with saxophonist Ornette Coleman. Haden is also known for his signature lyrical bass lines and is one of the most respected bassists and jazz composers today.
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Charlie Smalls
http://wn.com/Charlie_Smalls -
Chita Rivera
Chita Rivera (born January 23, 1933) is an American actress, dancer, and singer best known for her roles in musical theater. She is the first Hispanic woman to receive a Kennedy Center Honors award (December 2002). She was awarded the Presidential Medal of Freedom in 2009.
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Clifford Odets
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Cole Porter
Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. His works include the musical comedies Kiss Me, Kate, Fifty Million Frenchmen, DuBarry Was a Lady and Anything Goes, as well as songs like "Night and Day", "I Get a Kick out of You", "Well, Did You Evah!" and "I've Got You Under My Skin". He was noted for his sophisticated, bawdy lyrics, clever rhymes and complex forms. Porter was one of the greatest contributors to the Great American Songbook. Cole Porter is one of the few Tin Pan Alley composers to have written both the lyrics and the music for his songs.
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Dagmar Krause
Dagmar Krause (born 4 June 1950) is a German singer, best known for her work with avant-rock groups like Slapp Happy, Henry Cow and Art Bears. She is also noted for her coverage of songs by Bertolt Brecht, Kurt Weill and Hanns Eisler. Her unusual singing style makes her voice instantly recognisable and has defined the sound of many of the bands with whom she has worked.
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Darius Milhaud
http://wn.com/Darius_Milhaud -
David Atherton
David Atherton OBE, (born 3 January 1944) is an English conductor.
http://wn.com/David_Atherton -
Dee Dee Bridgewater
Dee Dee Bridgewater (born May 27, 1950) is an American Jazz singer. She is a two-time Grammy Award winning singer-songwriter, as well as a Tony Award - winning stage actress and host of National Public Radio's syndicated radio show JazzSet with Dee Dee Bridgewater. She is a United Nations Ambassador for the Food and Agriculture Organization.
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Duke Special
http://wn.com/Duke_Special -
Elia Kazan
http://wn.com/Elia_Kazan -
Elmer Rice
http://wn.com/Elmer_Rice -
Elvis Costello
Declan Patrick MacManus (born 25 August 1954), known by the stage name Elvis Costello, is a British singer-songwriter. He came to prominence as an early participant in London's pub rock scene in the mid-1970s and later became associated with the Punk/New Wave genre. Steeped in word play, the vocabulary of Costello's lyrics is broader than that of most popular songs. His music has drawn on many diverse genres; the critic Stephen Thomas Erlewine describes him as a "pop encyclopedia," able to "reinvent the past in his own image".Stephen Thomas Erlewine, [http://www.allmusic.com/cg/amg.dll?p=amg&sql;=10:ly09kect7q70 Get Happy!! [Ryko Bonus Tracks]], Allmusic. Retrieved 17 September 2007.
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Ernst Hardt
http://wn.com/Ernst_Hardt -
Estelle Parsons
Estelle Margaret Parsons (born November 20, 1927) is an American theatre, film and television actress and occasional theatrical director.
http://wn.com/Estelle_Parsons -
Ferruccio Busoni
Ferruccio (Dante Michelangelo Benvenuto) Busoni (April 1, 1866 – July 27, 1924) was an Italian composer, pianist, editor, writer, piano and composition teacher, and conductor.
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Francis Scott Key
http://wn.com/Francis_Scott_Key -
Franz Werfel
Franz Werfel (September 10, 1890 – August 26, 1945) was an Austrian-Bohemian novelist, playwright, and poet.
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Fred Ebb
http://wn.com/Fred_Ebb -
Frederick Loewe
Frederick Loewe (June 10, 1901 February 14, 1988), was an Austrian-American composer. He collaborated with lyricist Alan Jay Lerner on the long running Broadway musicals My Fair Lady and Camelot, with book and lyrics by Lerner, both of which were made into films.
http://wn.com/Frederick_Loewe -
Fritz Busch
Fritz Busch (13 March 1890 - 14 September 1951) was a German conductor.
http://wn.com/Fritz_Busch -
Fritz Lang
http://wn.com/Fritz_Lang -
Galt MacDermot
Galt MacDermot (born December 18, 1928) is a Canadian composer, pianist and writer of musical theatre. He won a Grammy Award for the song African Waltz in 1960. His most successful musicals have been Hair (1967; its cast album also won a Grammy) and Two Gentlemen of Verona (1971). MacDermot has also written music for film soundtracks, jazz and funk albums, and classical music, and his music has been sampled in hit hip-hop songs and albums.
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Gary Bertini
http://wn.com/Gary_Bertini -
Georg Kaiser
http://wn.com/Georg_Kaiser -
Georg Wilhelm Pabst
Georg Wilhelm Pabst (25 August 188529 May 1967) was an Austrian film director.
http://wn.com/Georg_Wilhelm_Pabst -
Germans
|ref15 =
http://wn.com/Germans -
Gianluigi Trovesi
Gianluigi Trovesi (born in 1944) is an Italian jazz saxophonist, clarinetist and composer.
http://wn.com/Gianluigi_Trovesi -
Gianni Coscia
Gianni Coscia is an Italian jazz accordionist. Originally a lawyer, Coscia began focusing full time on jazz music. Expresses an interest in developing "the remote values of cultural and popular tradition through the language of jazz." Has toured widely on the international jazz circuit. Of interest: the liner notes to his first CD were written Umberto Eco and he collaborated with Luciano Berio in the writing of the music of a stage show against antisemitism. Since 2006 he has been a member of the Council of the Chigiana Music Academy in Siena.
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Gisela May
Gisela May (born May, 31 1924) is a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weil. She also appeared as a film and TV actress in a number of movies between 1951 and 1991.
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Gustav Mahler
http://wn.com/Gustav_Mahler -
Hal Willner
Hal Willner (born 1957, Philadelphia, Pennsylvania) is an American music producer working in recording, films, TV and live events. He is best known for assembling tribute albums and events featuring a wide variety of artists and musical styles (jazz, classical, rock, Tin Pan Alley). His first tribute album was Armacord Nino Rota in 1981.
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Hal Wilner
http://wn.com/Hal_Wilner -
Hanns Eisler
Hanns Eisler (6 July 1898 – 6 September 1962) was a German and Austrian composer.
http://wn.com/Hanns_Eisler -
Harry Morgan
http://wn.com/Harry_Morgan -
Henry Jolles
Henry Jolles (November 28, 1902-July 16, 1965), born Heinz-Frederic Jolles, was a German pianist and composer. Uprooted from his native Germany by the rise of Nazism, he spent his last quarter-century in Brazil.
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Howard Da Silva
http://wn.com/Howard_Da_Silva -
Howard Dietz
http://wn.com/Howard_Dietz -
Igor Stravinsky
http://wn.com/Igor_Stravinsky -
Ira Gershwin
http://wn.com/Ira_Gershwin -
Irving Berlin
Irving Berlin (May 11, 1888September 22, 1989) was an American composer and lyricist, widely considered one of the greatest songwriters in history.
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Irwin Shaw
Irwin Shaw (February 27, 1913 – May 16, 1984) was an American playwright, screenwriter, novelist, and short-story author.
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Jean Cocteau
http://wn.com/Jean_Cocteau -
Jerry Bock
Jerrold Lewis "Jerry" Bock (born November 23, 1928) is an American musical theatre composer. He received the Tony Award for Best Musical and the Pulitzer Prize for Drama with Sheldon Harnick for their 1959 musical Fiorello! and the Tony Award for Best Composer and Lyricist for the 1965 musical Fiddler on the Roof with Harnick.
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Jerry Herman
Jerry Herman (born July 10, 1931) is an American composer and lyricist, known for his work in Broadway musical theater. He composed the scores for the hit Broadway musicals Hello, Dolly!, Mame, and La Cage aux Folles. He has been nominated for the Tony Award five times, and won twice, for Hello, Dolly! and La Cage aux Folles. In 2009, Herman received the Tony Award for Lifetime Achievement in the Theatre. He is a recipient of the 2010 Kennedy Center Honors.[]
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Jo Sullivan
Elizabeth Josephine "Jo" Sullivan Loesser is an American soprano and the widow of composer Frank Loesser. Her daughter, Emily Loesser, is also a singer-actress.
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Joe Darion
Joe Darion, (30 January 1917 - 6 June 2001) was an American musical theatre lyricist, most famous for Man of La Mancha.
http://wn.com/Joe_Darion -
John Eliot Gardiner
http://wn.com/John_Eliot_Gardiner -
John Garfield
John Garfield (March 4, 1913 – May 21, 1952) was an American actor. Garfield was especially adept at playing brooding, rebellious, working-class character roles. Garfield is acknowledged as the predecessor of such Method actors as Marlon Brando, James Dean, and Montgomery Clift.
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John Kander
John Harold Kander (born March 18, 1927) is the American composer of a number of musicals as part of the songwriting team of Kander and Ebb.
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John Zorn
John Zorn (born September 2, 1953 in New York City) is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist.
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Jule Styne
Jule Styne (December 31, 1905 – September 20, 1994) was a British-born American songwriter especially famous for a series of Broadway musicals, which included several very well known and frequently revived shows.
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Julia Ward Howe
Julia Ward Howe (May 27, 1819 – October 17, 1910) was a prominent American abolitionist, social activist, and poet most famous as the author of "The Battle Hymn of the Republic".
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Kazik Staszewski
Kazik Staszewski (born 12 March 1963) is a Polish lead singer, songwriter, and leader of the band Kult.
http://wn.com/Kazik_Staszewski -
Kurt Weill
Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a German composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was most well known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist who held the ideal of writing music that served a socially useful purpose. He also wrote a number of works for the concert hall, as well as several Judaism themed pieces.
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London Sinfonietta
The London Sinfonietta is an English chamber orchestra founded in 1968 and based in London. The ensemble specialises in contemporary music and works across a wide range of genres, performing modern classics alongside world premieres, and includes music by electronica artists as well as folk and jazz musicians. Through regular collaborations with choreographers, video artists and film-makers, the ensemble places new music at the heart of contemporary culture, reaching out to new audiences and embracing the technical challenges of pushing musical boundaries.
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Lotte Lenya
Lotte Lenya (18 October 189827 November 1981) was an Austrian singer and actress. In the German-speaking and classical music world she is best remembered for her performances of the songs of her husband, Kurt Weill. In English-language film she is remembered for her Academy Award-nominated role in The Roman Spring of Mrs. Stone (1961) and as the sadistic Rosa Klebb in the James Bond movie From Russia with Love (1963).
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Lou Reed
Lewis Allan "Lou" Reed (born March 2, 1942) is an American rock musician, songwriter, and photographer. He is best known as guitarist, vocalist, and principal songwriter of The Velvet Underground, and for his successful solo career, which spans several decades and crosses multiple genres. The Velvet Underground gained little mainstream attention during their career, but became one of the most influential bands of their era. As the Velvet Underground's main songwriter, Reed wrote about subjects of personal experience that rarely had been examined so openly in rock and roll, including a variety of sexual topics and drug culture. He is responsible for the popularization of ostrich tuning.
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Louis Armstrong
http://wn.com/Louis_Armstrong -
Mark Twain
http://wn.com/Mark_Twain -
Marlene Dietrich
http://wn.com/Marlene_Dietrich -
Mary Margaret O'Hara
'''Mary Margaret O'Hara' is a Canadian singer-songwriter and actress, who has been hailed as one of the greatest cult heroines in rock music despite having released very few of her own recordings. She is best known for the critically acclaimed album Miss America'', released in 1988.
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Maurice Abravanel
http://wn.com/Maurice_Abravanel -
Max Dessoir
:See also Dessoir.
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Max Raabe
http://wn.com/Max_Raabe -
Maxwell Anderson
http://wn.com/Maxwell_Anderson -
Mitch Leigh
Mitch Leigh (born January 30, 1928) is an American musical theatre composer and theatrical producer best known for the musical Man Of La Mancha.
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Nick Cave
Nicholas Edward "Nick" Cave (born 22 September 1957) is an Australian musician, songwriter, author, screenwriter, and occasional film actor.
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Nikolaus Lenau
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Nikos Skalkottas
Nikos Skalkottas () (21 March 1904 – 19 September 1949) was one of the most important Greek composers of 20th-century music. A member of the Second Viennese School, he drew his influences from both the classical repertoire and the Greek tradition.
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Nina Simone
http://wn.com/Nina_Simone -
Ninon de Lenclos
http://wn.com/Ninon_de_Lenclos -
Oscar Hammerstein II
http://wn.com/Oscar_Hammerstein_II -
Paul Hindemith
Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
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Philipp Jarnach
http://wn.com/Philipp_Jarnach -
Rainer Maria Rilke
http://wn.com/Rainer_Maria_Rilke -
Richard Dehmel
http://wn.com/Richard_Dehmel -
Richard Rodgers
http://wn.com/Richard_Rodgers -
Robert Desnos
Robert Desnos (4 July 1900, Paris - 8 June 1945), was a French surrealist poet who played a key role in the Surrealist movement of his day.
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Robert Frost
Robert Lee Frost (March 26, 1874 – January 29, 1963) was an American poet. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech. His work frequently employed settings from rural life in New England in the early twentieth century, using them to examine complex social and philosophical themes. A popular and often-quoted poet, Frost was honored frequently during his lifetime, receiving four Pulitzer Prizes for Poetry.
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Roger Rees
Roger Rees (born 5 May 1944) is a Welsh actor. He is best known to American audiences for playing the characters Robin Colcord on the American television sitcom show Cheers and Lord John Marbury on the American television drama The West Wing. He won a Tony Award for his performance as the lead in The Life and Adventures of Nicholas Nickleby.
http://wn.com/Roger_Rees -
Sarah Slean
Sarah Hope Slean (born on 21 June 1977) is a Canadian singer-songwriter, painter, actress and photographer from Pickering, Ontario. She has released seven albums to date (including EPs and live albums). She recorded her first EP Universe (1997) at the age of nineteen and has since completed four studio albums, Blue Parade (1998), Night Bugs (2002), Day One (2004), and The Baroness (2008). Her second EP The Baroness Redecorates was released on December 9, 2008.
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Sheldon Harnick
Sheldon Harnick (born 30 April 1924) is an American lyricist best known for his collaborations with composer Jerry Bock on hit musicals such as Fiddler on the Roof.
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Stefan Wolpe
Stefan Wolpe (August 25, 1902 – April 4, 1972) was a German-born composer.
http://wn.com/Stefan_Wolpe -
Stephen Sondheim
Stephen Joshua Sondheim (born March 22, 1930) is an American composer and lyricist for stage and film. He is the winner of an Academy Award, multiple Tony Awards (eight, more than any other composer) including the Special Tony Award for Lifetime Achievement in the Theatre, multiple Grammy Awards, and a Pulitzer Prize. His most famous scores include (as composer/lyricist) A Funny Thing Happened on the Way to the Forum, Company, Follies, A Little Night Music, Sweeney Todd, Sunday in the Park with George, Into the Woods, and Assassins, as well as the lyrics for West Side Story and . He was president of the Dramatists Guild from 1973 to 1981.
http://wn.com/Stephen_Sondheim -
Sting (musician)
Gordon Matthew Thomas Sumner, CBE (born 2 October 1951), better known by his professional name Sting, is an English musician, singer-songwriter, activist, actor and philanthropist. Prior to starting his solo career, he was the principal songwriter, lead singer and bassist of the rock band The Police.
http://wn.com/Sting_(musician) -
Tammy Grimes
Tammy Lee Grimes (born January 30, 1934) is an American actress and singer.
http://wn.com/Tammy_Grimes -
Teresa Stratas
Teresa Stratas, OC (born May 26, 1938, Toronto, Ontario), is a retired Canadian operatic soprano.
http://wn.com/Teresa_Stratas -
The Young Gods
:For the Marvel Comics group, see Young Gods (comics). Young Gods is also the name of an album by the rock band Little Angels. For the movie from Finland see Young Gods (film)
http://wn.com/The_Young_Gods -
Theodor W. Adorno
http://wn.com/Theodor_W_Adorno -
Todd Rundgren
Todd Harry Rundgren (born June 22, 1948) is an American musician, singer-songwriter and record producer. Hailed in the early stage of his career as a new pop-wunderkind, supported by the certified gold solo double LP Something/Anything? in 1972, Rundgren's career has produced a diverse range of recordings as solo artist, and during the seventies and eighties with the band Utopia. He has also been extremely active as a producer and engineer on the recorded work of other musicians.
http://wn.com/Todd_Rundgren -
Tom Waits
Thomas Alan "Tom" Waits (born December 7, 1949) is an American singer-songwriter, composer and actor. Waits has a distinctive voice, described by critic Daniel Durchholz as sounding "like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car." With this trademark growl, his incorporation of pre-rock music styles such as blues, jazz, and vaudeville, and experimental tendencies verging on industrial music, Waits has built up a distinctive musical persona. He has worked as a composer for movies and musical plays and as a supporting actor in films, including Down By Law and ''Bram Stoker's Dracula. He was nominated for an Academy Award for his soundtrack work on One from the Heart''.
http://wn.com/Tom_Waits -
Ute Lemper
Ute Lemper (born 4 July 1963) is a German chanteuse and actress renowned for her interpretation of the work of Kurt Weill.
http://wn.com/Ute_Lemper -
Venerable Bede
http://wn.com/Venerable_Bede -
Walt Whitman
http://wn.com/Walt_Whitman -
Walter Mehring
Walter Mehring (29 April 1896 – 3 October 1981) was a German author and one of the most prominent satirical authors in the Weimar Republic. He was banned during the Third Reich, and fled the country.
http://wn.com/Walter_Mehring -
Will Geer
Will Geer (March 9, 1902 – April 22, 1978) was an American actor and social activist. His original name was William Aughe Ghere. He is remembered for his portrayal of Grandpa Zebulon Tyler Walton in the 1970s TV series, The Waltons.
http://wn.com/Will_Geer -
William S. Burroughs
http://wn.com/William_S_Burroughs -
Yvan Goll
http://wn.com/Yvan_Goll
RELEASE
ALBUMS
- Act I: Ain't It Awful, the Heat
- Act I: I Got a Marble and a Star
- Act I: Gossip Trio: Get a Load of That
- Act I: When a Woman Has a Baby
- Act I: Scene: Somehow I Never Could Believe
- Act I: Ice Cream Sextet
- Act I: Let Things Be Like They Always Was
- Act I: Lonely House
- Act I: What Good Would the Moon Be?
- Act I: Remember That I Care
- Act II, Scene 1: Entr'acte: There'll Be Trouble
- Act II, Scene 1: A Boy Like You
- Act II, Scene 1: We'll Go Away Together
- Act II, Scene 1: The Woman Who Lived Up There
- Act II, Scene 2: Interlude: Lullaby
- Act II, Scene 2: I Loved Her Too
- Act II, Scene 2: Don't Forget the Lilac Bush; Ain't It Awful, the Heat
Paint Your Wagon (1951 original Broadway cast) / Lyrics by Lerner (Selections)
(Released 2008)
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- Act I: I'm on My Way
- Act I: Rumson
- Act I: What's Goin' On Here?
- Act I: I Talk to the Trees
- Act I: They Call the Wind Maria
- Act I: I Still See Elisa
- Act I: How Can I Wait?
- Act I: In Between
- Act I: Whoop-Ti-Ay!
- Act I: Carino Mio
- Act I: There's a Coach Comin' In
- Act II: Hand Me Down That Can o' Beans
- Act II: Another Autumn
- Act II: All for Him
- Act II: Wand'rin' Star
- Wand'rin' Star
- I Talk to the Trees
- Green-Up Time
- Love Song
- Economics
- Here I'll Stay
- Progress
- Susan's Dream
- Mr. Right
- Prologue
- Bilbao Song
- Lieutenants of the Lord
- March Ahead
- Time in a Shot Glass
- The Sailor's Tango
- Act 2 entr'acte
- The Sailor's Tango (reprise)
- Brother Give Yourself a Shove
- Song of the Bigshot
- Don't Be Afraid
- In Our Childhood's Bright Endeavor
- The Liquor Dealor's Dream
- Mandelay Song
- Goddamn It
- Surabaya Johnny
- The Heist
- Ballad of the Lily of Hell
- Song of the Bigshot (reprise)
- In Our Childhood's Bright Endeavor (reprise)
- Epilogue
- Bows
Berliner Requiem (Ensemble Musique Oblique feat. conductor: Phillipe Herreweghe)
(Released 2007)
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- Vom Tod im Wald, Op. 23
- Konzert für Violine und Blasorchester, Op. 12: I. Andante con moto
- Konzert für Violine und Blasorchester, Op. 12: IIa. Notturno
- Konzert für Violine und Blasorchester, Op. 12: IIb. Cadenze
- Konzert für Violine und Blasorchester, Op. 12: IIc. Serenata
- Konzert für Violine und Blasorchester, Op. 12: III. Allegro molto, un poco agitato
- Das Berliner Requiem: Großer Dankchoral. Sostenuto
- Das Berliner Requiem: Ballade vom entrunkenen Mädchen. Lento
- Das Berliner Requiem: Marterl. Andante moderato
- Das Berliner Requiem: Erster Bericht über den Unbekannten Soldaten unter dem Triumphbogen. Moderato assai
- Das Berliner Requiem: Zweiter Bericht über den Unbekannten Soldaten unter dem Triumphbogen. Rezitativ
- Das Berliner Requiem: Großer Dankchoral. Da Capo
- Die sieben Todsünden: Prolog
- Die sieben Todsünden: Faulheit
- Die sieben Todsünden: Stolz
- Die sieben Todsünden: Zorn
- Die sieben Todsünden: Völlerei
- Die sieben Todsünden: Unzucht
- Die sieben Todsünden: Habsucht
- Die sieben Todsünden: Neid
- Die sieben Todsünden: Epilog
- Complainte de la Seine
- Youkali
- Nannas Lied
- Wie lange noch
- Es regnet
- Berlin im Licht-Song
Symphonies Nos. 1, 2 / Lady in the Dark - Symphonic Nocturne (Bournemouth Symphony Orchestra feat. conductor: Marin Alsop)
(Released 2005)
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- Symphony No. 2: I. Sostenuto - Allegro molto
- Symphony No. 2: II. Largo
- Symphony No. 2: III. Allegro vivace
- Symphony No. 1
- Lady in the Dark - Symphonic Nocturne: Andante misterioso 'My Ship'
- Lady in the Dark - Symphonic Nocturne: 'Girl of the Moment'
- Lady in the Dark - Symphonic Nocturne: Bolero 'This Is New'
- Lady in the Dark - Symphonic Nocturne: Allegro alla marcia
- Lady in the Dark - Symphonic Nocturne: 'Dance of the Tumblers'
- Lady in the Dark - Symphonic Nocturne: 'The Saga of Jenny'
- Introduction
- Over in France
- Democracy Advancing
- Up Chickamuga Hill / The Battle of San Juan Hill
- Johnny's Melody
- Aggie's Song
- Oh Heart of Love
- Farewell Goodbye
- The West-Pointer Song
- The Sergeant's Chant
- Captain Valentine's Song
- Army Interlude
- Farewell, Goodbye (Interlude)
- Song of the Goddess
- Song of the Wounded Frenchmen
- The Tea Song
- Oh the Rio Grande / Cowboy Song
- Johnny's Dream
- Song of the Guns
- Music of the Stricken Redeemer
- Mon Ami, My Friend
- The Allied High Command
- The Laughing Generals
- The Battle
- In Times of War and Tumults
- In No Man's Land
- Johnny's Homecoming
- The Psychiatry Song
- Asylum Chorus
- A Hymn to Peace
- Asylum Chorus (instrumental)
- Johnny's Song
- Royal Palace, Op. 17: "Ah, ah"
- Royal Palace, Op. 17: "Wir haben die Erde überrannt"
- Royal Palace, Op. 17: "Wir müssen aber Orangeade trinken!"
- Royal Palace, Op. 17: [Ballett]
- Royal Palace, Op. 17: "Ich will Dejaniren essen"
- Royal Palace, Op. 17: "Ihr kennt die Frauen nicht"
- Royal Palace, Op. 17: "Teile die Orange des Himmels in vier"
- Royal Palace, Op. 17: "Ich brauche dich"
- Royal Palace, Op. 17: [Film]
- Royal Palace, Op. 17: "Kamelien meine Augenlider"
- Royal Palace, Op. 17: "Ich schenke dir die ewige Natur"
- Royal Palace, Op. 17: "Arme Werber! Traurige Liebhaber!"
- Royal Palace, Op. 17: "Dejanira, Janirade" (Tanz der Wasserfrau)
- Der neue Orpheus, Op. 16
- Knickerbocker Holiday: September Song (Walter Huston)
- Knickerbocker Holiday: September Song (Frank Sinatra)
- Knickerbocker Holiday: The scars (Walter Houston)
- Ulysses Africanus: Lost in the stars (Walter Huston)
- Ulysses Africanus: Lover man (Lotte Lenya)
- One touch of Venus: I'm a stranger here myself (One Touch of Venus Orchestra feat. conductor: Maurice Abravanel)
- One touch of Venus: Westwind (One Touch of Venus Orchestra feat. conductor: Maurice Abravanel)
- One touch of Venus: Foolish heart (One Touch of Venus Orchestra feat. conductor: Maurice Abravanel)
- One touch of Venus: Speak now (One Touch of Venus Orchestra feat. conductor: Maurice Abravanel)
- One touch of Venus: That's him (One Touch of Venus Orchestra feat. conductor: Maurice Abravanel)
- Lady in the Dark: One Life to Live (Danny Kaye)
- Lady in the Dark: The Princess of Pure Delight (Danny Kaye)
- Lady in the Dark: Tchaikovsky (and other Russians) (Danny Kaye)
- Lady in the Dark: The Saga of Jenny (Danny Kaye)
- Lady in the Dark: My Ship (Danny Kaye)
- Lady in the Dark: One Life to Live (Gertrude Lawrence)
- Lady in the Dark: The Saga of Jenny (Hildegarde)
- Lady in the Dark: The Saga of Jenny (Gertrude Lawrence)
- Lady in the Dark: My Ship (Gertrude Lawrence)
- Mine eyes have seen the glory: Battle hymn of the republic (Helen Hayes)
- Mine eyes have seen the glory: The star spangled banner (Helen Hayes)
- Mine eyes have seen the glory: America: Pledge to the flag (Helen Hayes)
- Mine eyes have seen the glory: Beat! Beat! Drums! (Helen Hayes)
- Moritat
- Ballade vom angenehmen Leben
- Liebeslied
- Kanonensong
- Seeräuber Jenny
- Finale
- Barbarasong
- Eifersuchtsduett
- Abschied
- 2. Finale
- Zuhälterballade
- Lied von der Unzulänglichkeit menschlichen Strebens
- Moritat / Schlußchoral
- Aufstieg und Fall der Stadt Mahagonny
- Der Bilbao Song
- Moritat von Mackie Messer
- Die Ballade von der Unzulänglichkeit menschlichen Strebens
- Scene 6: Abraham and Isaac
- Scene 7: Jacob and the Angel
- Scene 8: Jacob and Rachel
- Scene 16: The Death of Jacob
- Scene 17: In Egypt / Miriam and Moses
- Scene 20: Moses Receives the Commandments / Dance Around the Golden
- Scene 21: The Beam, Moses
- Scene 22: Moses Addresses the People
- Scene 23: Moses Gives the Commandments / The Death of Moses
- Scene 24: Naomi and Ruth
- Scene 24: Ruth and Boaz
- Scene 32: Isaiah and Jeremiah
- Scene 33: The Streets of Jerusalem
- Scene 34: Jeremiah
- Scenes 35 & 36: Chananiah the False Prophet / The Mob Attacks / Jeremiah
- Scene 40: Transformation / Finale
- Overture und Moritat von MacKie Messer
- Seeräuberjenny
- Kanonensong
- Liebeslied
- Barbara Song
- Erstes Dreigroschen-Finale
- Abschied
- Zuhälterballade
- Ballade vom angenehmen Leben
- Eifersuchtsduett
- Zweites Dreigroschen-Finale
- Lied von der Unzulänglichkeit des menschlichen Strebens
- Moritat und Schlusschoral
- Wie Man sich bettet (MAHAGONNY)
- Alabama Song (MAHAGONNY)
- Das Nachtgespenst (BERLIN 1930)
- Peter (BERLIN 1930)
- Guck doch nicht immer nach dem Tangogeiger hin (BERLIN 1930)
- Jonny (BERLIN 1930)
- Vom Seeman Kuttel Daddeldu (BERLIN 1930)
- Chant des Canons (L'OPERA DE QUAT'SOUS)
- Chant D'Amour (L'OPERA DE QUAT'SOUS)
- Tangoballade (L'OPERA DE QUAT'SOUS)
- Ballade De La Vie Agreable (L'OPERA DE QUAT'SOUS)
Aufstieg und Fall der Stadt Mahagonny (Norddeutscher Radio-Chor & Orchester feat. conductor: Wilhelm Brückner-Rüggeberg)
(Released 2003)
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- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 1 "Gesucht werden Leokadja Begbick"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 1 "Sie soll sein wie ein Netz"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 2 "Rasch wuchs" / "Oh, show us the way"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 3 "Die Nachricht"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 4 "In den nächsten Tagen"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 5 "Damals kam unter anderen"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 5 "Heraus, ihr Schönen von Mahagonny"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 5 "Ach, bedenken sie"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 6 "Ich habe gelernt"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 7 "Alle großen Unternehmungen"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 7 "Auch ich bin einmal"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 8 "Alle wahrhaft Suchenden"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 8 "Aber etwas fehlt"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 9 Klaviersolo / "Das ist die ewige Kunst"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 9 "Sieben Jahre"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 10 "Ein Taifun!"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 11 "In dieser Nacht des Entsetzens"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 11 "Nein, jetzt sage ich"
- Aufstieg und Fall der Stadt Mahagonny: Akt I. Nr. 11 "So tuet nur, was euch beliebt"
- Aufstieg und Fall der Stadt Mahagonny: Akt II. Nr. 12 "Hurrikan bewegt"
- Aufstieg und Fall der Stadt Mahagonny: Akt II. Nr. 12 "O wunderbare Lösung!"
Der Protagonist (Deutches Symphonie-Orchester Berlin feat. conductor: John Mauceri)
(Released 2001)
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- Ouvertüre
- Mein Saal wäre euch zur Verfügung
- Henry, meine zärtliche Taube
- Deine Nachsicht erschlägt mich
- Jetzt schiesst schon neues Feuer in mich
- Seid Ihr - uns gefolgt?
- Ihr seht ihn vor euch
- Deckt mir den Tisch
- Die erste Pantomime
- Ei, ei...
- Ich habe meine Prügel, ihr Eure küsse
- Mit Auftrag des Herzogs an Euch bin ich mein zweites Mal hier
- Die zweite Pantomime
- Über mir das Glück
- Ein Artzt
- Geht! Und sagt dem Herzog, Eurem Herrn
- The Hills of Ixopo
- Thousands of Miles
- The Train to Johannesburg / Reprise: Thousands of Miles / The Search
- The Little Gray House
- Who'll Buy / Trouble Man
- Murder in Parkwold / Fear
- Lost in the Stars
- O Tixo, Tixo, Help Me
- Stay Well
- Cry, the Beloved Country
- Big Mole / Chapel Scene
- Bird of Passage / Reprise: Thousands of Miles
- Vorspiel
- Die Moritat von Mackie Messer
- Morgenchoral des Peachum
- Der Anstatt-Dass-Song
- Bill Lawgen und Mary Syer
- Die Seeräuber-Jenny
- Der Kanonensong
- Siehst du den Mond über Soho
- Einst glaubte ich, als ich noch unschuldig war
- Die Ballade von der sexuellen Hörigkeit
- Erstes Dreigroschenfinale: Über die Unsicherheit menschlicher Verhältnisse
- Hübsch als es währte / Die Liebe dauert oder dauert nicht
- Die Zuhälterballade
- Die Ballade vom angenehmen Leben
- Eifersuchtsduett
- Zweites Dreigroschenfinale: Erst kommt das Fressen, dann kommt die Moral
- Die Ballade von der sexuellen Hörigkeit, 2. Teil
- Das Lied von der Unzulänglichkeit menschlichen Strebens
- Salomo-Song
- Ballade, in der Macheath jedermann Abbitte leistet
- Drittes Dreigroschenfinale: Verfolgt das Unrecht nicht zu sehr
- Die Moritat von Mackie Messer (Schluss)
Speak Low: Songs by Kurt Weill & The Seven Deadly Sins (feat. conductor: John Eliot Gardiner, mezzo-soprano: Anne Sofie von Otter)
(Released 2000)
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- Die sieben Todsünden: Prolog: "Meine Schwester und ich stammen aus Louisiana"
- Die sieben Todsünden: I. Faulheit: "Hoffentlich nimmt sich unsre Anna auch zusammen"
- Die sieben Todsünden: II. Stolz: "Als wir aber ausgestattet waren"
- Die sieben Todsünden: III. Zorn: "Das geht nicht vorwärts"
- Die sieben Todsünden: IV: Völlerei "Da ist ein Brief aus Philadelphia"
- Die sieben Todsünden: V. Unzucht: "Und wir fanden einen Mann in Boston"
- Die sieben Todsünden: VI. Habsucht: "Wie hier in der Zeitung steht, ist Anna"
- Die sieben Todsünden: VII. Neid: "Und die letzte Stadt der Reise war San Francisco"
- Die sieben Todsünden: Epilog: "Darauf kehrten wir zurück nach Louisiana"
- Lady in the Dark: My Ship
- Lady in the Dark: One Life to Live
- Buddy on the Nightshift
- Nannas Lied
- Happy End: Bilbao-Song
- Happy End: Surabaya-Johnny
- Happy End: Das Lied von der harten Nuss
- Je ne t'aime pas
- Schickelgruber
- Der Abschiedsbrief
- One Touch of Venus: Foolish Heart
- One Touch of Venus: Speak Low
- One Touch of Venus: I'm a Stranger Here Myself
- Die Dreigroschenoper: Ouvertüre
- Die Dreigroschenoper: Die Moritat von Mackie Messer
- Die Dreigroschenoper: Morgenchoral des Peachum
- Die Dreigroschenoper: Anstatt-daß-Song
- Die Dreigroschenoper: Moritat als Motiv
- Die Dreigroschenoper: Hochzeitslied
- Die Dreigroschenoper: Seeräuberjenny
- Die Dreigroschenoper: Kanonensong
- Die Dreigroschenoper: Liebeslied
- Die Dreigroschenoper: Kanonensong für Orchester
- Die Dreigroschenoper: Barbarasong
- Die Dreigroschenoper: Erstes Dreigroschenfinale
- Die Dreigroschenoper: Melodram
- Die Dreigroschenoper: Die Ballade von der sexuellen Hörigkeit
- Die Dreigroschenoper: Liebeslied für Orchester
- Die Dreigroschenoper: Zuhälterballade
- Die Dreigroschenoper: Zuhälterballade für Orchester
- Die Dreigroschenoper: Ballade vom angenehmen Leben
- Glamour Dream: Oh, Fabulous One
- Glamour Dream: Huxley
- Glamour Dream: One Life to Live
- Glamour Dream: Girl of the Moment
- Wedding Dream: Liza, Liza
- Wedding Dream: Mapleton High Chorale
- Wedding Dream: This Is New
- Wedding Dream: The Princess of Pure Delight
- Wedding Dream: The Woman at the Altar
- Wedding Dream: Overture
- Circus Dream: The Greatest Show on Earth
- Circus Dream: Dance of the Tumblers
- Circus Dream: The Best Years of His Life
- Circus Dream: Tschaikovsky
- Circus Dream: The Saga of Jenny
- Childhood Dream: My Ship
- Childhood Dream: Exit Music
- Die sieben Todsünden (1933) - Prolog
- Die sieben Todsünden (1933) - Faulheit
- Die sieben Todsünden (1933) - Stolz
- Die sieben Todsünden (1933) - Zorn
- Die sieben Todsünden (1933) - Völlerei
- Die sieben Todsünden (1933) - Unzucht
- Die sieben Todsünden (1933) - Habsucht
- Die sieben Todsünden (1933) - Neid
- Die sieben Todsünden (1933) - Epilog
- Symphony No.2 (1934): (1) Sostenuto - Allegro molto
- Symphony No.2 (1934): (2) Largo
- Symphony No.2 (1934): (3) Allegro vivace - Alla marcia
- Ouvertüre
- Moritat von Mackie Messer
- Morgenchoral
- Anstatt-daß-Song
- Hochzeitslied
- Seeräuber-Jenny
- Kanonen-Song
- Liebeslied
- Barbara-Song
- Erstes Dreigroschenfinale
- Melodram
- Pollys Lied
- [dialogue] "Also, wenn Ihr Mackie Messer …"
- Ballade von der sexuellen Hörigkeit
- Zuhälterballade
- Ballade vom angenehmen Leben
- Eifersuchts-Duett
- Arie der Lucy
- Zweites Dreigroschenfinale
- Lied von der Unzulänglichkeit menschlichen Strebens
- Salomon-Song
- Ruf aus der Gruft
- Grabschrift
- Drittes Dreigroschenfinale
- Mack the Knife
- Barbara's Song
- Pirate Jenny
- Surabaya Johnny
- I Wait for My Ship
- My Ship
- How Can You Tell an American
- Progress
- I'm a Stranger Here Myself
- Mon Ami My Friend
- September Song
- Brack's Song
- Lonely House
- It Never Was You
- What Good Would the Moon Be?
- Johnny's Song
- Introduction: A History of New York
- Clickety Clack
- The Entrance of the Council
- It Never Was You
- One Touch of Alchemy
- September Song
- Act One Finale: All Hail the Political Honeymoon
- Prologue to Scene Two: There's Nowhere to Go but Up
- To War!
- The Scars
- September Song (reprise)
- Finale Ultimo: That's How You Tell an American
- Act 1: The Hills of Ixopo
- Act 1: Thousands of Miles
- Act 1: Train to Johannesburg
- Act 1: Little Tin God
- Act 1: The Search
- Act 1: Intro: Little Gray House
- Act 1: Little Gray House
- Act 1: Who'll Buy
- Act 1: Trouble Man
- Act 1: Murder in Parkwold
- Act 1: Fear
- Act 1: "Lost in the Stars"
- Act 2: Entr'Acte
- Act 2: The Wild Justice
- Act 2: Soliliquy: O Tixo: Tixo: Help Me!
- Act 2: Stay Well
- Act 2: The Wild Justice (reprise)
- Act 2: Cry: The Beloved Country
- Act 2: Big Mole
- Act 2: A Bird of Passage
- Act 2: Four O'Clock
- Act 2: Finale
Die Sieben Todsünden / Mahagonny Songspiel (Kölner Rundfunkorchester feat. conductor: Lothar Zagrosek)
(Released 1993)
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- Die sieben Todsünden: Prolog
- Die sieben Todsünden: I. Faulheit
- Die sieben Todsünden: II. Stolz
- Die sieben Todsünden: III. Zorn
- Die sieben Todsünden: IV. Völlerei
- Die sieben Todsünden: V. Unzucht
- Die sieben Todsünden: VI. Habsucht
- Die sieben Todsünden: VII. Neid
- Die sieben Todsünden: Epilog
- Mahagonny Songspiel, I. Teil (Prolog) Nr. 1: Auf nach Mahagonny
- Mahagonny Songspiel, I. Teil (Prolog) Nr. 2: Alabama Song
- Mahagonny Songspiel, II. Teil (Das Leben in Mahagonny) Nr. 3a: Vivace / Nr. 3: Wer in Mahagonny blieb
- Mahagonny Songspiel, II. Teil (Das Leben in Mahagonny) Nr. 4a: Vivace assai / Nr. 4: Benares Song
- Mahagonny Songspiel, II. Teil (Das Leben in Mahagonny) Nr. 5a: Sostenuto: Choral / Nr. 5: Gott in Mahagonny
- Mahagonny Songspiel, III. Teil (Revolution in Mahagonny) Nr. 6: Largo / Aber dieses ganze Mahagonny
- Epitaph (The Berlin Requiem)
- Fennimore's Song (Silverlake)
- Barbara Song (The Threepenny Opera)
- Is It Him or Is It Me? (Love Life)
- Berlin im Licht
- Alabama Song (Aufstieg und Fall der Stadt Mahagonny)
- My Ship (Lady in the Dark)
- Song of the Big Shot (Happy End)
- J'attends un navire (Marie Galante)
- Je ne t'aime pas
- Remember That I Care (Street Scene)
Street Scene (Scottish Opera Orchestra & Chorus feat. conductor: John Mauceri)
(Released 1991)
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- Street Scene: Act I. No. 1a Introduction
- Street Scene: Act I. No. 1b "Ain't it awful, the heat?"
- Street Scene: Act I. No. 2 Blues "I got a marble and a star"
- Street Scene: Act I. No. 3a "Come in, come in"
- Street Scene: Act I. No. 3b "Get a load of that"
- Street Scene: Act I. No. 4 "When a woman has a baby"
- Street Scene: Act I. No. 5a Scene
- Street Scene: Act I. No. 5b "Somehow I could never believe"
- Street Scene: Act I. No. 6a Scene
- Street Scene: Act I. No. 6b Quartet
- Street Scene: Act I. No. 7 Ice-cream Sextet
- Street Scene: Act I. No. 8 "Let things be like they always was"
- Street Scene: Act I. No. 9a "Hail to the school"
- Street Scene: Act I. No. 9b "Wrapped in a ribbon"
- Street Scene: Act I. No. 10 "Lonely house"
- Street Scene: Act I. No. 11 "Wouldn't you like to be on Broadway?"
- Street Scene: Act I. No. 12 "What good would the moon be?"
- Street Scene: Act I. No. 13 "Moon-faced, starry-eyed"
O Moon of Alabama: Historische Originalaufnahmen (1928 - 1944)
(Released 1990)
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- Alabama-Song
- Tango Angèle
- Die Muschel von Margate
- Surabaya-Johnny
- Bilbao-Song
- Matrosensong
- Surabaya-Johnny
- Der Song von Mandelay
- Surabaya-Johnny
- Surabaya-Johnny
- Alabama-Song
- Denn wie man sich bettet
- Querschnitt aus der Oper "Aufstieg und Fall der Stadt Mahagonny" (medley)
- Das Lied vom Schlaraffenland
- Der Bäcker backt ums Morgenrot
- Lost in the Stars
- Lover Man
- J'attends un navire
- Complainte de la Seine
- Surabaya-Johnny
- Denn wie man sich bettet
- Und was bekam des Soldaten Weib?
- Wie lange noch?
The Collector's Three Penny Opera (Weill-Brecht) (1929-1931 original cast, feat. Lotte Lenya)
(Released 1990)
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- Die Dreigroschenoper: Overture (Lewis Ruth Band)
- Die Dreigroschenoper: Moritat (Mack, the Knife) (feat. Kurt Gerron)
- Die Dreigroschenoper: Ballad of the Agreeable Life (feat. Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Love Duet (feat. Erika Helmke, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Cannon Song (feat. Kurt Gerron, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Pirate Jenny (feat. Lotte Lenya)
- Die Dreigroschenoper: Act I Finale (feat. Lotte Lenya, Erika Helmke, Erich Ponto)
- Die Dreigroschenoper: Barbara Song (feat. Lotte Lenya)
- Die Dreigroschenoper: Jealousy Song (feat. Lotte Lenya, Erika Helmke)
- Die Dreigroschenoper: Farewell (feat. Erika Helmke, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Act II Finale (feat. Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Procurer's Ballad (feat. Lotte Lenya, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Inadequacy of Life (feat. Erich Ponto)
- Die Dreigroschenoper: Moritat, Reprise (feat. Lotte Lenya)
- Die Dreigroschenoper: Final Chorus (Lewis Ruth Band feat. conductor: Theo Mackeben)
- Die Dreigroschenoper: Moritat von Mackie Messer (Theo Mackeben's Jazz Band, feat. Berthold Brecht)
- Die Dreigroschenoper: Song of the Inadequacy of Life (Theo Mackeben's Jazz Band, feat. Berthold Brecht)
- Kleine Dreigroschenmusik: Moritat (Mack, the Knife) (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Kleine Dreigroschenmusik: Ballade (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Kleine Dreigroschenmusik: Tango-Ballade (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Kleine Dreigroschenmusik: Kanonensong (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Die Dreigroschenoper: Complainte de Mackie (Moritat) (feat. Mme. Damia, conductor: P. Chagnon)
- Mahagonny: Alabama Song (The Three Admirals, feat. Lotte Lenya)
- Mahagonny: As You Make Your Bed (Theo Mackeben's Orchestra, feat. Lotte Lenya)
- Mahagonny: Rise and Fall of the City of Mahagonny, Selections (Chorus and Orchestra of the Kurfurstendamn Theatre, Berlin, feat. Lotte Lenya)
- Happy End: Bilbao Song (feat. Lotte Lenya)
Der Lindberghflug / The Ballad of Magna Carta (Kölner Rundfunkorchester feat. conductor: Jan Latham-König)
(Released 1990)
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- Der Lindberghflug: Prolog
- Der Lindberghflug: Erstens-Aufforderung an jedermann, den Ozean zu überfliegen
- Der Lindberghflug: Zweitens-Vorstellung des Fliegers
- Der Lindberghflug: Drittens-Aufbruch des Fliegers nach New York zu senem Fluge nach Europa
- Der Lindberghflug: Viertens-Die Stadt New York befragt die Schiffe
- Der Lindberghflug: Fünftens-Fast wärend seines ganzes Fluges hatte der Flieger mit Nebel zu kämpfen
- Der Lindberghflug: Sechstens-In der Nacht kam ein Schneesturm
- Der Lindberghflug: Siebentens-Schlaf
- Der Lindberghflug: Achtens-Wärend des ganzen Fluges sprachen alle amerikanischen Zeitungen unaufhörlich von des Fliege
- Der Lindberghflug: Neuntens-Die Gedanken des Glücklichen
- Der Lindberghflug: Zehntens schrieben die französischen Zeitungen-So fliegt er,um sich das Meer,unter sich den Schatte
- Der Lindberghflug: Elftens-Des Fliegers Gespräch mit seinem Motor
- Der Lindberghflug: Zwölftens-Endlich, unweit Schottlands, sichtet der Flieger Fischer
- Der Lindberghflug: Dreizehntens-Auf dem Flugplatz Le Bourget bei Paris erwartet in der Nacht des 21.Mai 1927 abends 10
- Der Lindberghflug: Vierzehntens-Ankunft des Fliegers auf dem Flughafen Le Bourget bei Paris
- Der Lindberghflug: Fünfzehntens-Bericht über das Unerreichbare
- The Ballad of Magna Carta
- Der Lindberghflug (first radio recording, Berlin 1930): No.1 Aufforderung an die amerikanischen Flieger, den Ozean zu überfliegen
- Der Lindberghflug (first radio recording, Berlin 1930): No.2 Vorstellung des Fliegers Ch.Lindberg
- Der Lindberghflug (first radio recording, Berlin 1930): No.3 Aufbruch des Fliegers Ch.Lindberg in NY zu seinem Flug nach Europa
- Der Lindberghflug (first radio recording, Berlin 1930): No.5 Fast während seines ganzen Fluges hatte der Flieger mit Nebel zu kämpfen
- Der Lindberghflug (first radio recording, Berlin 1930): No.6a In der Nacht kam ein Schneesturm
- Der Lindberghflug (first radio recording, Berlin 1930): No.8 Lindhberg kämpft mit Schlaf
- Der Lindberghflug (first radio recording, Berlin 1930): No.11 Lindhberg spricht mit seinem Motor
- Der Lindberghflug (first radio recording, Berlin 1930): No.13 Endlich, unweit Schottlands, wird Lindhberg von Fischern gesichtet
- Der Lindberghflug (first radio recording, Berlin 1930): No.13 Auf dem Flugplatz Le Bourget bei Paris erwartet in der Nacht des 21.Mai 1927 abends
Stratas Sings Weill (New York Chamber Symphony feat. soprano: Teresa Stratas, conductor: Gerard Schwarz)
(Released 1990)
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- I'm a Stranger Here Myself
- Havanna-Lied
- Surabaya-Johnny
- Foolish Heart
- Ich bin eine arme Verwandte (Fennimore's Song)
- One Life to Live
- J'attends un navire
- Das Lied von der harten Nuss
- Lonely House
- Le Roi d'Aquitaine
- Denn wie man sich bettet
- Le Train du ciel
- Das Lied von der Unzulanglichkeit menschlichen Strebens
- It Never Was You
- Der kleine Leutnant des lieben Gottes
- Berlin im Licht
- Slow Fox and algi-song
- Klopslied
- Ach, wär mein Lieb ein Brünnlein kalt
- Frauentanz, Op. 10
- Bastille Musik
- Öl-Musik
- Suite panaméenne
- Cowboy-Song
- Captain Valentine's-Song
- Die stille Stadt
- The Seven Deadly Sins: Prologue (Andante Sostenuto)
- The Seven Deadly Sins: No. 1 - Sloth (Allegro Vivace)
- The Seven Deadly Sins: No. 2 - Pride (Allegretto, Quasi Andantino)
- The Seven Deadly Sins: No. 3 - Anger (Molto Agitato)
- The Seven Deadly Sins: No. 4 - Gluttony (Largo)
- The Seven Deadly Sins: No. 5 - Lust (Moderato)
- The Seven Deadly Sins: No. 6 - Avarice (Allegro Giusto)
- The Seven Deadly Sins: No. 7 - Envy (Allegro Non Troppo)
- The Seven Deadly Sins: Epilogue - (Andante Sostenuto)
- The Berlin Requiem: 1. - Great Hymn of Thanksginving
- The Berlin Requiem: 2. - Ballad of the Drowned Girl
- The Berlin Requiem: 3. - Epitaph
- The Berlin Requiem: 4. - Legend of the Unknown Soldier Beneath the Triumphal Arch
- The Berlin Requiem: 5. - Second Poem on the Unknown Soldier Beneath the Triumphal Arch
- The Berlin Requiem: 6. - Great Hymn of Thanksgiving
- Die Dreigroschenoper, Vorspiel: Ouvertüre
- Die Dreigroschenoper, Vorspiel: Die Moritat von Mackie Messer
- Die Dreigroschenoper, 1. Akt: Der Morgenchoral des Peachum
- Die Dreigroschenoper, 1. Akt: Der Anstatt-daß-Song
- Die Dreigroschenoper, 1. Akt: Hochzeitslied
- Die Dreigroschenoper, 1. Akt: Seeräuber-Jenny
- Die Dreigroschenoper, 1. Akt: Kanonen-Song
- Die Dreigroschenoper, 1. Akt: Liebeslied
- Die Dreigroschenoper, 1. Akt: Barbara-Song
- Die Dreigroschenoper, 1. Akt: Dialog
- Die Dreigroschenoper, 1. Akt: Erstes Dreigroschen-Finale
- Die Dreigroschenoper, 2. Akt: Melodram
- Die Dreigroschenoper, 2. Akt: Pollys Lied
- Die Dreigroschenoper, 2. Akt: Ballade von der sexuellen Hörigkeit
- Die Dreigroschenoper, 2. Akt: Zuhälter-Ballade
- Die Dreigroschenoper, 2. Akt: Insert: Seeräuber-Jenny
- Die Dreigroschenoper, 2. Akt: Ballade vom angenehmen Leben
- Die Dreigroschenoper, 2. Akt: Eifersuchts-Duett
- Die Dreigroschenoper, 2. Akt: Arie der Lucy
- Die Dreigroschenoper, 2. Akt: Dialog
- Die Dreigroschenoper, 2. Akt: Zweites Dreigroschen-Finale
- Die Dreigroschenoper, 3. Akt: Lied von der Unzulänglichkeit menschlichen Strebens
- Die Dreigroschenoper, 3. Akt: Salomon-Song
- Die Dreigroschenoper, 3. Akt: Ruf aus der Gruft
- Die Dreigroschenoper, 3. Akt: Grabschrift
- Die Dreigroschenoper, 3. Akt: Gang zum Galgen
- Die Dreigroschenoper, 3. Akt: Drittes Dreigroschen-Finale
- Die sieben Todsünden: 1. Prolog: Andante sostenuto, "Meine Schwester und ich stammen aus Louisiana" (Anna)
- Die sieben Todsünden: 2. Faulheit: Allegro vivace, "Hoffentlich nimmt sich unsre Anna auch zusammen" (Familie)
- Die sieben Todsünden: 3. Stolz: Allegretto, quasi andantino - Schneller Walzer, "Als wir aber ausgestattet waren" (Anna)
- Die sieben Todsünden: 4. Zorn: Molto agitato, "Das geht nicht vorwärts"(Familie) - "Jetzt geht es vorwärts" (Anna)
- Die sieben Todsünden: 5. Völlerei: Largo, "Da ist ein Brief aus Philadelphia" (Familie)
- Die sieben Todsünden: 6. Unzucht: Moderato, "Und wir fanden einen Mann in Boston" (Anna)
- Die sieben Todsünden: 7. Habsucht: Allegro giustoso, "Wie hier in der Zeitung steht" (Familie)
- Die sieben Todsünden: 8. Neid: Allegro non troppo - Alla marcia, un poco tenuto, "Und die letzte Stadt der Reise war San Fransisco" (Anna)
- Die sieben Todsünden: 9. Epilog: Andante sostenuto, "Darauf kehrten wir zurück nach Louisiana" (Anna)
- Mahagonny Songspiel: Erster Teil: Prologue - No. 1 Allegro non troppo, "Auf nach Mahagonny!"
- Mahagonny Songspiel: Kleiner Marsch: Poco meno
- Mahagonny Songspiel: No 2. Moderato, "Oh show us the way to the next whisky bar" (Alabama Song - Jessie, Bessie)
- Mahagonny Songspiel: Zweiter Teil: Das Leben in Mahagonny / Nr 3a Vivace
- Mahagonny Songspiel: Nr 3: Allegro un poco moderato, "Wer in Mahagonny blieb"
- Mahagonny Songspiel: IVa. Vivace assai
- Mahagonny Songspiel: 4. Moderato assai, "There is no whisky in this town"
- Mahagonny Songspiel: 5a. Sostenuto (Choral)
- Mahagonny Songspiel: 5. Lento, "An einem grauen Vormittag"
- Mahagonny Songspiel: Dritter Teil: Finale Nr 6 Largo "Aber dieses ganze Mahagonny"
Die Dreigroschenoper: Historische Originalaufnahmen 1928-1931
(Released 1990)
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- Moritat
- Kanonensong
- Der Mensch lebt nur von Missetat allein
- Ballade vom angenehmen Leben
- Die Seeräuberjenny
- Barbara-Song
- Die Songs der Dreigroschenoper
- Kanonensong
- Zuhälterballade
- Die Seeräuberjenny
- Barbara-Song / Eifersuchtsduett
- Die Moritat von Mackie Messer
- Die Ballade vom angenehmen Leben
- Tango-Ballade
- Kanonensong
- Moritat / Choral
- Tango-Ballade und Kanonensong
- Chant de Barbara (Barbara-Song)
- Fiancée du pirate (Die Seeräuberjenny)
- Chant des canons (Kanonensong)
- Jomfru Dilemma (Barbara-Song)
- Moritat (Slow-Fox)
- Tanz-Potpourri aus "Die Dreigroschenoper" (Slow-Fox)
Concerto for Violin and Wind Orchestra, Op. 12 / Kleine Dreigroschenmusik (feat. conductor Julius Rudel)
(Released 1988)
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- Concerto for Violin and Wind Orchestra, Op. 12 - Andante Con Moto
- Concerto for Violin and Wind Orchestra, Op. 12 - Notturno, Cadenza, Serenata
- Concerto for Violin and Wind Orchestra, Op. 12 - Allegro molto, un poco agitato
- Kleine Dreigroschenmusik - Overture
- Kleine Dreigroschenmusik - Die Moritat von Mackie Messer
- Kleine Dreigroschenmusik - Anstatt-dass Song
- Kleine Dreigroschenmusik - Die Ballade vom angenehmen Leben
- Kleine Dreigroschenmusik - Pollys Lied
- Kleine Dreigroschenmusik - Tango-Ballade
- Kleine Dreigroschenmusik - Kanonen-Song
- Kleine Dreigroschenmusik - Dreigroschen-Finale
- Prelude
- Moon-Faced, Starry-Eyed
- Ain't It Awful, the Heat
- Blues: I Got a Marble and a Star
- Gossip Trio: Get a Load of That
- Arietta: When a Woman Has a Baby
- Aria: Somehow I Never Could Believe
- Wrapped in a Ribbon and Tied in a Bow
- Arioso: Lonely Home
- Scene and Song: Wouldn't You Like to Be on Broadway?
- Cavatina: What Good Would the Moon Be?
- Duet: Remember That I Care
- Introduction: Morning
- Children's Game
- Song: A Boy Like You
- Duet: We'll Go Away Together
- Choral Scene and Lament: The Woman Who Lived Up There
- Lullaby
- Finale: I Loved Her Too
- Farewell Duet: Don't Forget the Lilac Bush
- Three Preludes: I
- Three Preludes: II.
- Three Preludes: III.
- Old Folks at Home
- From the Canebrake
- Hexapoda: Gut Bucket Gus
- Hexapoda: Jane Shakes Her Hair
- Hexapoda: Betty and Harold Close Their Eyes
- Hexapoda: Jim Jives
- Hexapoda: Till Dawn Sunday
- Jeannie With the Light Brown Hair
- Porgy and Bess: Summertime
- Porgy and Bess: A Woman Is a Sometime Thing
- Porgy and Bess: My Man's Gone Now
- Porgy and Bess: It Ain't Necessarily So
- Porgy and Bess: Tempo di Blues
- Porgy and Bess: Bess, You Is My Woman Now
- A La Valse
- Jamaican Rumba
- Florida Night Song
- Deep River
- Levee Dance
- Gweedore Brae (arr. Crowther)
- Moderato Assai
- White Christmas
- Lullaby
- Where My Caravan Has Rested
- Die Dreigroschenoper: Ouvertüre
- Die Dreigroschenoper: Akt I. Die Moritat von Mackie Messer
- Die Dreigroschenoper: Akt I. Der Morgenchoral des Peachum
- Die Dreigroschenoper: Akt I. Anstatt-Dass Song
- Die Dreigroschenoper: Akt I. Hochzeitslied für ärmere Leute
- Die Dreigroschenoper: Akt I. Kanonensong
- Die Dreigroschenoper: Akt I. Liebeslied
- Die Dreigroschenoper: Akt I. Der Song von Nein und Ja (Barbara-Song)
- Die Dreigroschenoper: Akt I. Die Unsicherheit menschlicher Verhältnisse
- Die Dreigroschenoper: Akt II. Der Pferdestall
- Die Dreigroschenoper: Akt II. Pollys Abschiedslied
- Die Dreigroschenoper: Akt II. Zwischenspiel
- Die Dreigroschenoper: Akt II. Die Ballade von der sexuellen Hörigkeit
- Die Dreigroschenoper: Akt II. Die Seeräuber-Jenny oder Träume eines Küchenmädchens
- Die Dreigroschenoper: Akt II. Die Zuhälterballade
- Die Dreigroschenoper: Akt II. Die Ballade vom angenehmen Leben
- Die Dreigroschenoper: Akt II. Das Eifersuchtsduett
- Die Dreigroschenoper: Akt II. Kampf um das Eigentum
- Die Dreigroschenoper: Akt II. Ballade über die Frage: "Wovon lebt der Mensch?"
- Die Dreigroschenoper: Akt III. Das Lied von der Unzulänglichkeit
- Die Dreigroschenoper: Akt III. Salomon-Song
- Die Dreigroschenoper: Akt III. Ruf aus der Gruft
- Die Dreigroschenoper: Akt III. Ballade in der Macheath jedermann Abbitte leistet
- Die Dreigroschenoper: Akt III. Der reitende Bote
- Die Dreigroschenoper: Akt III. Dreigroschen-Finale
- Die Dreigroschenoper: Akt III. Die Schluss-Strophen der Moritat
- The Threepenny Opera: [introduction]
- The Threepenny Opera: Overture
- The Threepenny Opera: The Ballad of Mack the Knife
- The Threepenny Opera: [dialogue]
- The Threepenny Opera: [scene 1 dialogue]
- The Threepenny Opera: Peachum's Morning Hymn
- The Threepenny Opera: [dialogue]
- The Threepenny Opera: The Rather Than Song
- The Threepenny Opera: [scene 2 dialogue]
- The Threepenny Opera: Wedding Song
- The Threepenny Opera: [dialogue]
- The Threepenny Opera: Pirate Jenny
- The Threepenny Opera: [dialogue]
- The Threepenny Opera: The Army Song
- The Threepenny Opera: [dialogue]
- The Threepenny Opera: Wedding Song (reprise)
- The Threepenny Opera: Love Song
- The Threepenny Opera: [scene 3 dialogue]
- The Threepenny Opera: The No Song
- The Threepenny Opera: [dialogue]
- The Threepenny Opera: Certain Things Make Our Life Impossible
- The Threepenny Opera: [scene 4 dialogue]
- The Threepenny Opera: Goodbye
- The Threepenny Opera: Polly's Song
- Intro
- Overture
- Scene
- Oh, Fabulous One in Your Ivory Tower
- One Life to Live
- Scene
- Commercial Break
- Entr'acte
- Scene
- The Saga of Jenny
- Comercial Break
- Entr'acte
- Scene
- My Ship
- Scene
- My Ship (reprise)
- End Credits
- Prologue
- Overture
- The Ballad of Mack the Kinife
- Morning Anthem
- Instead-of Song
- Wedding Song
- Pirate Jenny
- Army Song
- Love Song
- Ballad of Dependency
- Melodrama and Polly's Song
- Ballad of the Easy Life
- The World is Mean
- Barbara Song
- Tango-Ballad
- Jealousy Duet
- How To Survive
- Useless Song
- Solomon Song
- Call From The Grave
- Death Message
- Finale: The Mounted Messanger
- Ballade vom angenehmen Leben
- Wovon lebt der Mensch?
- Songs der Dreigroschenoper
- Ouverture
- Moritat von Mackie Messer
- Ballade vom angenehmen Leben
- Liebeslied
- Kanonensong
- Seeräuber-Jenny
- Ernster Dreigroschenfinale
- Barbarasong
- Eifersuchtsduett
- Abschied...Zweiter Dreigroschenfinale
- Zuhälterballade
- Lied von der Unzulänglichkeit menschlichen Strebens
- Moritat
- Schlusschoral
- Moritat von Mackie Messer
- Lieder von der Unzulänglichkeit menschlichen Strebens
- Moritat von Mackie Messer
- Die Ballade vom angenehmen Leben
- Tango Ballade
- Kanonensong
- Bilbao-Song
- Alabama-Song
- Mahagonny
- Das Lied vom Schlaraffenland
- Der Bäcker bäckt ums Morgenrot
- September-Song
Born: 1900-03-02
Died: 1950-04-03
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Kurt Weill: Four Walt Withman Songs (1942/1947)
- Order: Reorder
- Duration: 16:12
- Published: 12 Apr 2011
- Updated: 17 Jul 2012
Kurt Weill (1900-1950): Four Walt Whitman Songs, per baritono e orchestra (1942, le prime tre orchestrate dall'Autore insieme a Irving Schlein nel 1947, la quarta da Carlos Surinach nel 1956) -- Wolfgang Holzmair, baritono -- Robert-Schumann-Kammerorchester e fiati dei Düsseldorfer Symphoniker diretti da Marc-Andreas Schlingensiepen -- I. "Oh Captain ! My Captain!" II. "Beat! Beat! Drums!" III. Dirge for Two Veterans IV. "Come up from the fields, father" ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Kurt_Weill_Four_Walt_Withman_Songs_1942_1947
Kurt Weill Sings and plays "Speak low"
- Order: Reorder
- Duration: 1:07
- Published: 18 Aug 2009
- Updated: 12 Jul 2012
Kurt Weill : Speak Low K.Weill, voice and piano
http://wn.com/Kurt_Weill_Sings_and_plays_Speak_low
Mack the Knife Sung by Lotte Lenya
- Order: Reorder
- Duration: 3:40
- Published: 30 May 2008
- Updated: 19 Jul 2012
The song "Mack the Knife" was witten by Kurt Weill for his wife Lotte Lenya. Here Ms Lenya sings "Mack the Knife" in its original German.
http://wn.com/Mack_the_Knife_Sung_by_Lotte_Lenya
Charlie Haden Kurt Weill on September Songs
- Order: Reorder
- Duration: 4:55
- Published: 05 Nov 2006
- Updated: 07 Jul 2012
Performing "Speak Low"
http://wn.com/Charlie_Haden_Kurt_Weill_on_September_Songs
Kurt Weill - Bertolt Brecht: Alabama Song "Aufstieg und Fall Mahagonny" [1]-Valentina Valente
- Order: Reorder
- Duration: 2:54
- Published: 31 Aug 2009
- Updated: 15 Jul 2012
Kurt Weill/Bertolt Brecht: "Aufstieg und Fall der Stadt Mahagonny" - akt1: "Oh, moon af Alabama"- Jenny Hill: Valentina Valente; Jim Mahoney: William Joyner; Leokadja Begbick: Gabriella Sborgi; Trinity Moses: Dale Duesing; Fatty: Fabrice Dalis; Jack O'Brien: Gianluca Floris; Bill: George Mosley; Joe: Lorenzo Muzzi; Speaker: Dinah Helal; Conductor: Jonathan Webb; Director: Daniele Abbado; Performed at the Teatro Valli in Reggio Emilia, 2005.
http://wn.com/Kurt_Weill_Bertolt_Brecht_Alabama_Song_Aufstieg_und_Fall_Mahagonny_1_-Valentina_Valente
Trombone solo 2nd symphony Kurt Weill
- Order: Reorder
- Duration: 1:27
- Published: 13 May 2009
- Updated: 17 Jun 2012
Trombone - Martin Schippers. Radio Chamer Philharmonic conducted by Otto Tausk.
http://wn.com/Trombone_solo_2nd_symphony_Kurt_Weill
UTE LEMPER - Youkali Tango
- Order: Reorder
- Duration: 5:39
- Published: 01 May 2009
- Updated: 19 Jul 2012
The ONLY OFFICIAL YouTube Channel For UTE LEMPER. Song: Youkali Tango Venue: Paris. Other Official Internet Sites For Ute Lemper: MYSPACE:- www.myspace.com www.myspace.com www.myspace.com FACEBOOK:- www.facebook.com www.facebook.com TWITTER:- www.twitter.com FRIENDSTER:- www.profiles.friendster.com iLIKE:- www.ilike.com www.utelemper.com
http://wn.com/UTE_LEMPER_Youkali_Tango
Kurt Weill - The Seven Deadly Sins-- "Stolz / Pride"
- Order: Reorder
- Duration: 5:42
- Published: 05 Jun 2007
- Updated: 13 Jul 2012
Teresa Stratas ... Anna I Nora Kimball ... Anna II Kent Nagano conducts the Orchestra of the Lyon Opera Peter Sellars directs. 1993 the nine parts of the ballet/opera, and the US city each takes place in: 1--Prologue 2--Faulheit / Sloth (city not mentioned) 3--Stolz / Pride (Memphis) 4--Zorn / Wrath (Los Angeles) 5--Völlerei / Gluttony (Philadelphia) 6--Unzucht / Lust (Boston) 7--Habsucht / Greed (Tennessee, in posthumous versions Baltimore) 8--Neid / Envy (San Francisco) 9--Epilogue (home, in the new little house)
http://wn.com/Kurt_Weill_The_Seven_Deadly_Sins-_Stolz_Pride
Kurt Weill's Cabaret Songs
- Order: Reorder
- Duration: 9:47
- Published: 20 Oct 2006
- Updated: 21 May 2012
This was a small recital by the portuguese soprano Tania Valente with the pianist Francisco Sasseti recorded live at the São Luiz Theater in Lisbon.The Weil songs are "Nana's Lied","Complainte de la Seine" and "Buddy on the nightshift".
http://wn.com/Kurt_Weill's_Cabaret_Songs
Marianne Faithfull - Pirate Jenny
- Order: Reorder
- Duration: 4:35
- Published: 18 May 2009
- Updated: 09 Jul 2012
From "The Seven deadly sins", 1998. Music: Kurt Weill Lyrics: Bertolt Brecht, from the Threepenny Opera, 1928 English Translation: Frank McGuinness, 1987
http://wn.com/Marianne_Faithfull_Pirate_Jenny
Kurt Weill - Berlin im Licht
- Order: Reorder
- Duration: 3:22
- Published: 29 Oct 2009
- Updated: 18 Jul 2012
Kurt Weill - Berlin im Licht Composed by Kurt Weill Performed by Ensemble Modern Sung by Heinz Karl Gruber Originally composed for the exhibition Berlin im Licht
http://wn.com/Kurt_Weill_Berlin_im_Licht
The Persuasions on September Songs
- Order: Reorder
- Duration: 3:35
- Published: 05 Nov 2006
- Updated: 13 Jul 2012
Performing "Oh Heavenly Salvation"
http://wn.com/The_Persuasions_on_September_Songs
Tango Youkali/Kurt Weill
- Order: Reorder
- Duration: 4:39
- Published: 16 Mar 2007
- Updated: 16 Jun 2012
Tiziana Sojat soprano singing Youkali Tango at RAI TV. Tiziana Sojat is Italian of German and Moggolian descent daughter of soprano Alda Noni
http://wn.com/Tango_Youkali_Kurt_Weill
Surabaya Johnny - Julia Messenger sings Kurt Weill
- Order: Reorder
- Duration: 5:03
- Published: 19 Aug 2010
- Updated: 05 Jun 2012
Julia Messenger sings Kurt Weill Surabaya Johnny @ Bennetts Lane in Melbourne with Sam Keevers (piano), Ben Robertson (bass), James Sherlock (guitar) Mike Jordan (drums).
http://wn.com/Surabaya_Johnny_Julia_Messenger_sings_Kurt_Weill
More Teresa Stratas on September Songs
- Order: Reorder
- Duration: 6:46
- Published: 05 Nov 2006
- Updated: 24 Jun 2012
Performing "Youkali Tango"
http://wn.com/More_Teresa_Stratas_on_September_Songs
Speak Low - Kurt Weill - HRC Trio Concert
- Order: Reorder
- Duration: 10:58
- Published: 29 Jun 2011
- Updated: 15 Jul 2012
HRC came together as a result of some jam sessions based on tunes most jazz musicians have in common. These songs have long been the basis of impromptu performances, often by musicians playing together for the first time. Following the lead of the Bill Evans Trio, we found focusing on a finite number of well known tunes allowed us to explore and develop performance practices beyond the traditional roles of our instruments. This isn't new territory, but the freedom afforded by the material invites the performance to be listenable, changeable and intensely personal.
http://wn.com/Speak_Low_Kurt_Weill_HRC_Trio_Concert
Lotte Lenya sings Kurt Weill
- Order: Reorder
- Duration: 9:50
- Published: 30 Jun 2010
- Updated: 06 Jul 2012
Lenya sings "Havana Song" (3:25) from Mahagonny and "Surabaya Johnny" (5:20) from Happy End. Introduced by Aaron Copland, who talks about opera in the 1920s. English subtitles added for the songs.
http://wn.com/Lotte_Lenya_sings_Kurt_Weill
Teresa Stratas on September Songs
- Order: Reorder
- Duration: 5:58
- Published: 03 Nov 2006
- Updated: 03 Jul 2012
Stratas singing "Surabaya Johnny" from September Songs.
http://wn.com/Teresa_Stratas_on_September_Songs
Ute Lemper - The Music of Kurt Weill
- Order: Reorder
- Duration: 2:21
- Published: 29 Jun 2010
- Updated: 03 Jun 2012
A preview of the 2010-11 The Music of Kurt Weill concert featuring Ute Lemper.
http://wn.com/Ute_Lemper_The_Music_of_Kurt_Weill
Russell Wilson - Mack The Knife - Kurt Weill
- Order: Reorder
- Duration: 2:46
- Published: 14 Jun 2010
- Updated: 18 Jul 2012
member.tripod.com Highlights of the 2010 Old-Time Piano Contest held Memorial Day weekend at the Hotel Pere Marquette in Peoria, IL. Russell Wilson plays Mack The Knife by Kurt Weill (1928) Russell placed 2nd in the Regular Division Championship. He is a member of "The President's Own" United States Marine Band and functions as the piano player for the White House.
http://wn.com/Russell_Wilson_Mack_The_Knife_Kurt_Weill
My Brightest Diamond - Youkalli (Kurt Weill)
- Order: Reorder
- Duration: 4:06
- Published: 22 Apr 2007
- Updated: 05 Jun 2012
My Brighest Diamond at MusicNOW Festival, Memorial Hall 4/6/07
http://wn.com/My_Brightest_Diamond_Youkalli_Kurt_Weill
The Threepenny Opera by Kurt Weill.mov
- Order: Reorder
- Duration: 22:58
- Published: 27 Mar 2011
- Updated: 30 Jun 2012
The Sonoma State University Chamber Wind Ensemble, directed by Dr. Andy Collinsworth, performs "The Threepenny Opera by Kurl Weill" in the Green Music Center Joan and Sanford I. Weill Hall on March 25, 2011. No copyright infringement intended.
http://wn.com/The_Threepenny_Opera_by_Kurt_Weillmov
Kurt Weill- Pimp's Ballad
- Order: Reorder
- Duration: 4:14
- Published: 26 Apr 2008
- Updated: 27 Nov 2011
Main Squeeze Orchestra performs Brecht/Weill's "Pimp's Ballad" with Jenny's part in English and MacHeath in German.
http://wn.com/Kurt_Weill_Pimp's_Ballad
photo: AP / Alastair Grant
01 Aug 2012
LONDON — Maica Garcia scored her second goal of the night with under a minute to play and Spain rallied for a 9-9 draw against the United States on Wednesday in women's water polo at the...
photo: AP / Pablo Martinez Monsivais
02 Aug 2012
US President Barack Obama has signed a secret order authorising US support for rebels seeking to depose Syrian President Bashar al-Assad and his government, Reuters news agency said...
The Examiner
Related topics Operaart song Advertisement Last May the University of California Press published Weill’s Musical Theater: Stages of Reform by Stanford University Professor in the Humanities Stephen Hinton. In its almost 600 pages this book probably now provides the most extensive (if not exhaustive)...(size: 10.5Kb)
The New York Times
LONDON — A small girl and boy play with their toys before falling asleep, and when they have done so, the toys come to life. Adventures ensue as Evil is battled, with Good duly prevailing and the toys returning to their former inert state. This is not, as you might think, “Toy Story...(size: 10.2Kb)
'Voyage' a revue of Kurt Weill's hits
08 Oct 2010
The Columbus Dispatch
Opera Columbus navigates choppy waters this weekend in a collaborative presentation of Berlin to Broadway With Kurt Weill: A Musical Voyage. Though the production is not always smooth sailing, it stays afloat via a talented cast and strong staging and choreography from director Tim Veach. The...(size: 1.9Kb)
The Examiner
<p style="text-align: center;"><img class="ngg-singlepic ngg-center aligncenter" src="http://www.gothicgoddessmedia.com/wp-content/gallery/gothic-goddess-media-photographs-dances-of-vice-a-tribute-to-kurt-weill-at-the-players-club-in-gramercy-park-nyc-9-24-10/3a3v0543dovkw.jpg" alt="Dances...(size: 5.0Kb)
David Drew: Musicologist and authority on Kurt Weill who transformed the fortunes of Boosey & Hawkes
05 Oct 2009
The Independent
For half a century David Drew stood at the centre of musical life in Britain, as critic, writer, musicologist, editor and publisher. As Director of Publications at Boosey & Hawkes his astute choices of composer conditioned the contents of concert halls around the globe - and transformed the lives of...(size: 8.9Kb)
Jazzy Variations on Kurt Weill's Themes
01 Sep 2009
The New York Times
Ever since its introduction by Mary Martin in the 1943 musical "One Touch of Venus," the Kurt Weill-Ogden Nash ballad "Speak Low," crooned against a softened tango beat, has been synonymous with Olympian seduction. (That goddess-made-flesh Ava Gardner, her voice dubbed, performed it in the movie.)...(size: 8.5Kb)
photo: AP /
Patti LuPone takes on Kurt Weill at Ravinia
07 Aug 2009
Chicago Sun-Times
Patti LuPone, just back from a long tour in Australia and New Zealand -- where she performed a joint program with Mandy Patinkin, an old pal and fellow Broadway veteran -- is not one to kick back, smell the roses and take a break from work. In fact, when we chatted last week, she was already revving...(size: 4.7Kb)
Chicago Sun-Times
Since James Conlon took over as music director at Ravinia, he has shown his skill with opera and has brought us infrequently heard works by composers murdered or otherwise sidelined during the Holocaust. These last two weeks of his annual summer residency offer chances to hear both when Patti LuPone...(size: 2.7Kb)
Pittsburgh Tribune Review
Veteran conductor Julius Rudel is glad to be back in Pittsburgh, collaborating again with Opera Theater of Pittsburgh on the music of Kurt...(size: 0.9Kb)
September Songs: The Music of Kurt Weill
16 Nov 2007
TimeOut
A career trajectory that includes collaboration with Bertolt Brecht, and takes in both the Hollywood screen and the...(size: 0.8Kb)
Not to be confused with the surname Kurzweil.
Kurt Julian Weill (March 2, 1900[1] – April 3, 1950[1]) was a German-Jewish composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist[2][unreliable source?] who held the ideal of writing music that served a socially useful purpose.[3] He also wrote a number of works for the concert hall, as well as several Judaism-themed pieces.
Contents |
Personal life[link]
Kurt Julian Weill was born on March 2, 1900,[4] the third of four children to Albert Weill (1867–1950) and Emma Weill née Ackermann (1872–1955). He grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau, Germany, where his father was a cantor.[1] At the age of twelve, Kurt Weill started taking piano lessons and made his first attempts at writing music; his earliest preserved composition was written in 1913 and is titled Mi Addir. Jewish Wedding Song.[5]
In 1915, Weill started taking private lessons with Albert Bing, Kapellmeister at the "Herzogliches Hoftheater zu Dessau", who taught him piano, composition, music theory, and conducting. Weill performed publicly on piano for the first time in 1915, both as an accompanist and soloist. The following years he composed numerous Lieder to the lyrics of poets such as Joseph von Eichendorff, Arno Holz, and Anna Ritter, as well as a cycle of five songs titled Ofrahs Lieder to a German translation of a text by Yehuda Halevi.[6]
Weill graduated with an Abitur from the Oberrealschule of Dessau in 1918, and enrolled at the Berliner Hochschule für Musik at the age of 18, where he studied composition with Engelbert Humperdinck,[1] conducting with Rudolf Krasselt, and counterpoint with Friedrich E. Koch, and also attended philosophy lectures by Max Dessoir and Ernst Cassirer. The same year, he wrote his first string quartet (in B minor).[7]
Early work and compositions[link]
Weill's family experienced financial hardship in the aftermath of World War I, and in July 1919, Weill abandoned his studies and returned to Dessau, where he was employed as a répétiteur at the Friedrich-Theater under the direction of the new Kapellmeister, Hans Knappertsbusch. During this time, he composed an orchestral suite in E-flat major, a symphonic poem of Rainer Maria Rilke's The Lay of the Love and Death of Cornet Christopher Rilke as well as Schilflieder, a cycle of five songs to poems by Nikolaus Lenau. In December 1919, through the help of Humperdinck, Weill was appointed as Kapellmeister at the newly founded Stadttheater in Lüdenscheid, where he directed opera, operetta, and singspiel for five months, and also composed a cello sonata and Ninon de Lenclos, a now lost one-act operatic adaptation of a play by Ernst Hardt. From May to September 1920, Weill spent a couple of months in Leipzig, where his father had become the new director of a Jewish orphanage. Before he returned to Berlin, in September 1920, he composed Sulamith, a choral fantasy for soprano, female choir, and orchestra.
Studies with Busoni[link]
Back in Berlin, Weill had an interview with Ferruccio Busoni in December 1920. After examining some of Weill's compositions, Busoni accepted him as one of five master students in composition at the Preußische Akademie der Künste in Berlin.[8] From January 1921 to December 1923, Weill studied music composition with him and also counterpoint with Philipp Jarnach in Berlin. During his first year he composed his first symphony, Sinfonie in einem Satz, as well as the lieder Die Bekehrte (Goethe) and two Rilkelieder for voice and piano. In order to support his family in Leipzig, he also worked as a pianist in a Bierkeller tavern. In spring of 1922, Weill joined the November Group's music faction. That year he composed a psalm, a divertimento for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. On November 18, 1922, his children's pantomime Die Zaubernacht (The Magic Night) premiered at the Theater am Kurfürstendamm; it was the first public performance of any of Weill's works in the field of musical theatre.[9]
Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Among his students were Claudio Arrau, Maurice Abravanel, Henry (then known as Heinz) Jolles,[10] and Nikos Skalkottas. Arrau, Abravenel, and Jolles, at least, would remain members of Weill's circle of friends thereafter,[11] and Jolles's sole surviving composition predating the rise of the Nazi regime in 1933 is a fragment of a work for four pianos he and Weill wrote jointly.[10] Weill's compositions during his last year of studies included Quodlibet, an orchestral suite version of Die Zaubernacht, Frauentanz, seven medieval poems for soprano, flute, viola, clarinet, French horn, and bassoon, and Recordare for choir and children's choir to words from the Book of Lamentations. Further premieres that year included a performance of his Divertimento for Orchestra by the Berlin Philharmonic under the direction of Heinz Unger on April 10, 1923, and the Hindemith-Amar Quartet's rendering of Weill's String Quartet, Op. 8, on June 24, 1923. In December 1923, Weill finished his studies with Busoni.[12]
Success in the 1920s and early-1930s[link]
In 1922 he joined the ‘Novembergruppe’, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe.[13] In February 1924 the conductor Fritz Busch introduced him to the dramatist Georg Kaiser, with whom Weill would have a long-lasting creative partnership resulting in several one-act operas. At Kaiser's house in Grünheide, Weill also first met the actress and future wife Lotte Lenya in summer 1924.[14] The couple got married twice: In 1926 and again in 1937 (following their divorce in 1933). Lenya took great care to support Weill's work, and after his death she took it upon herself to increase awareness of his music, forming the Kurt Weill Foundation.
From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief.[15]
Although he had some success with his first mature non-stage works (such as the String Quartet, Op. 8 or the Concerto for Violin and Wind Orchestra, Op. 12), which were influenced by Gustav Mahler, Arnold Schoenberg and Igor Stravinsky, Weill tended more and more to vocal music and musical theatre. His musical theatre work and his songs were extremely popular with the wider public in Germany at the end of the 1920s and the beginning of the 1930s. Weill's music was admired by composers such as Alban Berg, Alexander von Zemlinsky, Darius Milhaud and Stravinsky, but it was also criticised by others: by Schoenberg, who later revised his opinion, and by Anton Webern.
His best-known work is The Threepenny Opera (1928), a reworking of John Gay's The Beggar's Opera written in collaboration with Bertolt Brecht. Engel directed the original production of The Threepenny Opera in 1928. It contains Weill's most famous song, "Mack the Knife" ("Die Moritat von Mackie Messer"). The stage success was filmed by Georg Wilhelm Pabst in two language versions: Die 3-Groschen-Oper and L'opéra de quat' sous. Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit that Weill won and Brecht lost. Weill's working association with Brecht, although successful, came to an end over politics in 1930. Although Weill associated with socialism,[16] after Brecht tried to push the play even further into a left wing direction, Weill commented, according to his wife Lenya, that he was unable to "set the communist party manifesto to music."[17]
Paris, London and New York[link]
Weill fled Nazi Germany in March 1933.[18] A prominent and popular Jewish composer, Weill was officially denounced for his socialist views and populist sympathies,[19] and became a target of the Nazi authorities, who criticized and interfered with performances of his later stage works, such as Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny, 1930), Die Bürgschaft (1932), and Der Silbersee (1933). With no option but to leave Germany, he went first to Paris, where he worked once more with Brecht (after a project with Jean Cocteau failed) on the ballet The Seven Deadly Sins.
On April 13, 1933 his musical The Threepenny Opera was given its premiere on Broadway, but closed after 13 performances to mixed reviews.[4] In 1934 he completed his Symphony No.2, his last purely orchestral work, conducted in Amsterdam and New York by Bruno Walter, and also the music for Jacques Deval's play, Marie Galante.[18]
A production of his operetta Der Kuhhandel (A Kingdom for a Cow) took him to London in 1935, and later that year he went to the United States in connection with The Eternal Road,[1] a "Biblical Drama" by Franz Werfel that had been commissioned by members of New York's Jewish community and was premiered in 1937 at the Manhattan Opera House, running for 153 performances.
Weill and his wife rented a house during the summer near Pine Brook Country Club in Nichols, Connecticut, the summer home of the Group Theatre, while working on Johnny Johnson (musical). Some of the other artists who summered there were; Elia Kazan, Harry Morgan, John Garfield, Lee J. Cobb, Will Geer, Clifford Odets, Howard Da Silva and Irwin Shaw [20][21][22]
He and his wife moved to New York City on September 10, 1935, living first at the St. Moritz Hotel before moving on to an apartment at 231 East 62nd Street between Third and Second Avenues.[4] Weill believed that most of his work had been destroyed.[citation needed] He seldom (and reluctantly) spoke or wrote German again, with rare exception[citation needed] (for example, letters to his parents who had escaped to Palestine[citation needed]).
Rather than continue to write in the same style that had characterized his European compositions, Weill made a study of American popular and stage music, and his American output, though held by some to be inferior, nonetheless contains individual songs and entire shows that not only became highly respected and admired, but have been seen as seminal works in the development of the American musical. Unique among Broadway composers of the time, Weill insisted on writing his own orchestrations (with some very few exceptions, such as the dance music in Street Scene).[23] He worked with writers such as Maxwell Anderson and Ira Gershwin, and wrote a film score for Fritz Lang (You and Me, 1938). Weill himself strove to find a new way of creating an American opera that would be both commercially and artistically successful. The most interesting attempt in this direction is Street Scene, based on a play by Elmer Rice, with lyrics by Langston Hughes. For his work on Street Scene Weill was awarded the inaugural Tony Award for Best Original Score.[24]
In the 1940s Weill lived in Downstate New York near the New Jersey border and made frequent trips both to New York City and to Hollywood for his work for theatre and film. Weill was active in political movements encouraging American entry into World War II, and after America joined the war in 1941, Weill enthusiastically collaborated in numerous artistic projects supporting the war effort both abroad and on the home front. He and Maxwell Anderson also joined the volunteer civil service by working as air raid wardens on High Tor Mountain between their homes in New City, New York and Haverstraw, New York in Rockland County. Weill became a naturalized citizen of the United States in 1943.[1]
Weill had ideals of writing music that served a socially useful purpose. In the US, he wrote Down in the Valley, an opera including the song of the same name and other American folk songs. He also wrote a number of songs in support of the American war effort, including the satirical "Schickelgruber" (with lyrics by Howard Dietz), "Buddy on the Nightshift" (with Oscar Hammerstein) and – with Brecht again as in his earlier career – the "Ballad of the Nazi Soldier's Wife" ("Und was bekam des Soldaten Weib?"). Intended for broadcast to Germany, the song chronicled the progress of the Nazi war machine through the gifts sent to the proud wife at home by her man at the front: furs from Oslo, a silk dress from Paris etc., until finally, from Russia, she receives her widow's veil.[3]
Apart from "Mack the Knife" and "Pirate Jenny" from The Threepenny Opera, his most famous songs include "Alabama Song" (from Mahagonny), "Surabaya Johnny" (from Happy End), "Speak Low" (from One Touch of Venus), "Lost in the Stars" (from the musical of that name), "My Ship" (from Lady in the Dark), and "September Song" (from Knickerbocker Holiday).
Death[link]
Weill suffered a heart attack shortly after his 50th birthday and died on April 3, 1950 in New York City.[18] He was buried in Mount Repose Cemetery in Haverstraw, New York. The text and music on his gravestone[25] come from the song "A Bird of Passage" from Lost in the Stars, itself adapted from a quotation from the Venerable Bede:[26]
-
- This is the life of men on earth:
- Out of darkness we come at birth
- Into a lamplit room, and then –
- Go forward into dark again.
-
-
- (lyric: Maxwell Anderson)
-
An excerpt from Maxwell Anderson's eulogy for Weill read:
"I wish, of course, that he had been lucky enough to have had a little more time for his work. I could wish the times in which he lived had been less troubled. But these things were as they were – and Kurt managed to make thousands of beautiful things during the short and troubled time he had…"[3]
Influence[link]
Sixty years after his death, Weill's music continues to be performed both in popular and classical contexts. In Weill's lifetime, his work was most associated with the voice of his wife, Lotte Lenya, but shortly after his death "Mack the Knife" was established by Louis Armstrong and Bobby Darin as a jazz standard. His music has since been recorded by many performers, ranging from Nina Simone, The Doors, Judy Collins, , John Zorn, Dagmar Krause and PJ Harvey to New York's Metropolitan Opera and the Vienna Radio Symphony Orchestra. Singers as varied as Teresa Stratas, Ute Lemper, Gisela May, Anne Sofie von Otter, Max Raabe, Dee Dee Bridgewater, and Marianne Faithfull have recorded entire albums of his music.
In 1985, Hal Willner produced Lost in the Stars: The Music of Kurt Weill, a tribute album in which Weill's songs were interpreted by a variety of artists, including Todd Rundgren, Tom Waits, Lou Reed and Sting.[27]
Amanda Palmer, singer/pianist of the 'Brechtian Punk Cabaret' duo The Dresden Dolls, has Kurt Weill's name on the front of her keyboard (a pun with the name of the instrument maker Kurzweil) as a tribute to the composer. In 1991, seminal Swiss Industrial music band The Young Gods released their album of Kurt Weill songs, The Young Gods Play Kurt Weill. In 2008, Weill's songs were performed by Canadian musicians (including Sarah Slean and Mary Margaret O'Hara) in a tribute concert as part of the first annual Canwest Cabaret Festival in Toronto. In 2009 Duke Special released an EP, entitled Huckleberry Finn, of five songs from an unfinished musical by Kurt Weill based on the novel by Mark Twain.
Compositions[link]
Stage works[link]
See List of works for the stage by Weill
Concert works[link]
Cantatas[link]
- 1920 : Sulamith, choral fantasy for soprano, female chorus and orchestra (lost)
- 1927 : Der neue Orpheus, cantata for soprano, solo violin and orchestra, op.16 (text: Yvan Goll)
- 1927 : Der Tod im Wald, cantata for bass and band (originally belonged to Das Berliner Requiem)
- 1928 : Das Berliner Requiem, cantata for tenor, baritone, male chorus (or three male voices) and wind orchestra (text: Bertolt Brecht)
- 1929 : Der Lindberghflug, cantata for tenor, baritone and bass soloists, chorus and orchestra (text: Bertolt Brecht, first version with music by Paul Hindemith and Weill, second version, also 1929, with music exclusively by Weill)
- 1940 : The Ballad of Magna Carta, cantata for tenor and bass soloists, chorus and orchestra (text: Maxwell Anderson)
Chamber music[link]
- 1918 : String Quartet in B minor (without opus number)
- 1923 : String Quartet op. 8
- 1919–1921 : Sonata for Cello and Piano
Piano music[link]
- 1917 : Intermezzo
- 1937 : Albumblatt for Erika (transcription of the pastorale from Der Weg der Verheissung)
Orchestral works[link]
- 1919 : Suite for orchestra
- 1919 : Die Weise von Liebe and Tod, symphonic poem for orchestra after Rainer Maria Rilke (lost)
- 1921 : Symphony No.1 in one movement for orchestra
- 1922 : Divertimento for orchestra, op.5 (unfinished, reconstructed by David Drew)
- 1922 : Sinfonia Sacra, Fantasia, Passacaglia and Hymnus for orchestra, op. 6 (unfinished)
- 1923 : Quodlibet, suite for orchestra from the pantomime Zaubernacht, op. 9
- 1925 : Concerto for violin and wind orchestra, op. 12
- 1927 : Bastille Musik, suite for wind orchestra (arranged by David Drew, 1975) from the stage music to Gustav III, by August Strindberg
- 1929 : Kleine Dreigroschenmusik, suite from Die Dreigroschenoper for wind orchestra, piano and percussion, (premiere conducted by Otto Klemperer)
- 1934 : Suite panaméenne for chamber orchestra, (from Marie Galante)
- 1934 : Symphony No. 2 in three movements for orchestra, (premiere by Royal Concertgebouw orchestra under Bruno Walter)
- 1939 " mother courage and her childen" with Bertolt Brecht
- 1947 : Hatikvah, arrangement of the Israeli National Anthem for orchestra
[edit] Lieder, Lieder cycles, songs and chansons
- 1919 : Die stille Stadt, for voice and piano, text: Richard Dehmel
- 1923 : Frauentanz op.10, Lieder cycle for soprano, flute, viola, clarinet, horn and bassoon (after medieval poems)
- 1923 : Stundenbuch, Lieder cycle for baritone and orchestra, text: Rainer Maria Rilke
- 1925 : Klopslied, for high voice, two piccolos and bassoon ('Ick sitze da un' esse Klops'/Berliner Lied)
- 1927 : Vom Tod im Wald (Death in the Forest), Op. 23, ballad for bass solo and ten wind instruments, text: Bertolt Brecht
- 1928 : Berlin im Licht-Song, slow-fox, text: Kurt Weill; composed for the exhibition Berlin im Licht, first performance in Wittenbergplatz (with orchestra) on October 13, and on October 16 in the Kroll Opera (with voice and piano)
- 1928 : Die Muschel von Margate: Petroleum Song, slow-fox, text: Felix Gasbarra for the play by Leo Lania, Konjunktur
- 1928 : Zu Potsdam unter den Eichen (In Potsdam under the Oak Trees), song for voice and piano, alternatively male chorus a cappella, text: Bertolt Brecht
- 1928 : Das Lied von den braunen Inseln, text: Lion Feuchtwanger, from the play by same author, Petroleum Inseln
- 1933 : Der Abschiedsbrief, text: Erich Kästner, intended for Marlene Dietrich
- 1933 : La complainte de Fantômas, text: Robert Desnos; for a broadcast of Fantômas in November 1933 (the music was lost, and later reconstructed by Jacques Loussier for Catherine Sauvage)
- 1933 : Es regnet, text: Jean Cocteau (direct into German)
- 1934 : Je ne t'aime pas, text: Maurice Magre for the soprano Lys Gauty
- 1934 : J'attends un navire, text: Jacques Deval, from Marie Galante ; as an independent song for Lys Gauty; used for the Hymne der Resistance during the Second World War
- 1934 : Youkali (originally the Tango habanera, instrumental movement in Marie Galante), Text: Roger Fernay
- 1934 : Complainte de la Seine, text: Maurice Magre
- 1939 : Stopping by Woods on a Snowy Evening, song for voice and piano, text: Robert Frost (unfinished)
- 1942 : Mine Eyes Have Seen the Glory, patriotic song arrangements for narrator, male chorus, and orchestra, of the Battle Hymn of the Republic (text: Julia Ward Howe), The Star-Spangled Banner (text: Francis Scott Key), America (text: Samuel Francis Smith) and Beat! Beat! Drums! (text: Walt Whitman)
- 1942–44 : Propaganda Songs, for voice and piano; written for the Lunch Hours Follies performed for the workers of a shipbuilding workshop in New York, then broadcast:
- 1942 : Buddy on the Nightshift, text: Oscar Hammerstein
- 1942 : Schickelgruber, text: Howard Dietz
- 1942 : Und was bekam des Soldaten Weib? (And what was sent to the soldier's wife?), ballad for voice and piano, text: Bertolt Brecht
- 1942–47 : Three Walt Whitman Songs, later Four Walt Whitman Songs for voice and piano (or orchestra), text: Walt Whitman
- 1944 : Wie lange noch?, text: Walter Mehring; premiere: Lotte Lenya
Film music[link]
- 1938 : You and Me
- 1945 : Where Do We Go From Here? text: Ira Gershwin
Select discography[link]
Orchestral, chamber, choral and other works[link]
- Berliner Requiem / Violin Concerto op.12 / Vom Tod im Walde. Ensemble Musique Oblique/ Philippe Herreweghe (Harmonia Mundi, 1997)
- Kleine Dreigroschenmusik / Mahagonny Songspiel / Happy End / Berliner Requiem / Violin Concerto op.12. /Ballade vom Tod im Walde op.23 /Pantomime I (from Der Protagonist op.14) London Sinfonietta, David Atherton, Nona Liddell (violin), Meriel Dickinson (mezzo-soprano), Mary Thomas (mezzo-soprano), Philip Langridge (tenor), Ian Partridge (tenor), Benjamin Luxon (baritone), Michael Rippon (bass), (Deutsche Grammophon 4594422, 1999)
- Kurt Weill à Paris, Marie Galante and other works. Loes Luca, Ensemble Dreigroschen, directed by Giorgio Bernasconi, assai, 2000
- Melodie Kurta Weill'a i coś ponadto Kazik Staszewski (SP Records, 2001)
- Complete String Quartets. Leipziger Streichquartett (MDG 307 1071-2)
- Symphonies 1 & 2. BBC Symphony Orchestra, Gary Bertini (EMI, 1968)
Song collections[link]
- Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs (Sony 1997)
- Speak Low – Songs by Kurt Weill – Anne Sofie von Otter, conducted by John Eliot Gardiner (Deutsche Grammophon 1995)
- Youkali: Art Songs by Satie, Poulenc and Weill. Patricia O'Callaghan (Marquis, 2003)
- The Unknown Kurt Weill (Nonesuch LP D-79019, 1981) – Teresa Stratas, soprano, Richard Woitach, piano. Track list: "Nanna's Lied" (1939), "Complainte de la Seine" (1934), "Klops-Lied" (1925), "Berlin im Licht-song" (1928), "Und was Bekam des Soldaten Weib?" (1943), "Die Muschel von Margate: Petroleum Song" (1928), "Wie Lange Noch?" (1944), "Youkali: Tango Habanera" (1935?), "Der Abschiedsbrief" (1933?), "Es Regnet" (1933), "Buddy on the Nightshift" (1942), "Schickelgruber" (1942), "Je ne t'aime pas" (1934), "Das Lied von den Braunen Inseln" (1928)
Tributes[link]
- Lost in the Stars: The Music of Kurt Weill – Produced by Hal Wilner, with performances by Tom Waits, Lou Reed, Sting, Marianne Faithfull, Carla Bley, Charlie Haden, John Zorn and others. (A&M Records, 1987)
- September Songs: The Music of Kurt Weill – also produced by Wilner, with performances by Elvis Costello, PJ Harvey, Nick Cave, William S. Burroughs, and others) (Sony Music, 1997)
- Gianluigi Trovesi/Gianni Coscia: Round About Weill (ECM, 2005)
- The Young Gods Play Kurt Weill (Pias, April 1991), Studio recording of the songs performed live in 1989.
- Ben Bagley's Kurt Weill Revisited and Kurt Weill Revisited, Vol. 2, with performances by Chita Rivera, Ann Miller, Estelle Parsons, John Reardon, Tammy Grimes, Nell Carter, Arthur Siegel, and Jo Sullivan, among others. (Painted Smiles)
- An Evening of Kurt Weill, starring Bebe Neuwirth, Roger Rees, and Larry Marshall, was performed in NYC at Alice Tully Hall. Rees directed the production.
See also[link]
Bibliography[link]
- David Drew. Kurt Weill: A Handbook (Berkeley, Los Angeles, University of California Press, 1987). ISBN 0-520-05839-9.
- Kim H. Kowalke. A New Orpheus: Essays on Kurt Weill (New Haven, Yale University Press, 1986). ISBN 0-300-03514-4.
- Ronald Sanders. The Days Grow Short: The Life and Music of Kurt Weill (New York, Holt, Rinehart and Winston, 1980). ISBN 0-03-019411-3.
- Donald Spoto. Lenya A Life (Little, Brown and Company 1989)
- Lys Symonette & Kim H. Kowalke (ed. & trans.) Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya (University of California Press 1996)
- (German) David Drew (Editor), Über Kurt Weill (Frankfurt am Main, Suhrkamp, 1975) Excellent collection of texts, including an introduction by David Drew and including texts by Theodor W. Adorno
- (German) Jürgen Schebera, Kurt Weill (Rowohlt, Reinbek bei Hamburg, 2000)
References[link]
- ^ a b c d e f "Kurt Weill Dead; Composer, Was 50" (PDF, fee required). The New York Times (The New York Times Co.): p. 28. April 4, 1950. http://select.nytimes.com/gst/abstract.html?res=FA0D1EFD385F177A93C6A9178FD85F448585F9. Retrieved April 1, 2008.
- ^ Alan Bush Music Trust – More Than a Pleasant Way to Pass the Time?. Alanbushtrust.org.uk (April 23, 1964). Retrieved on August 22, 2011.
- ^ a b c Kurt Weill. Cjschuler.net. Retrieved on August 22, 2011.
- ^ a b c Jackson, Kenneth T. (1995). The Encyclopedia of New York City. New York City: The New York Historical Society; Yale University Press. p. 1252. ISBN 0-300-05536-6.
- ^ Stephen Hinton, Jürgen Schebera (editors). Musik und musikalisches Theater – Gesammelte Schriften, 2000: Schott Musik International, Mainz – ISBN 3-7957-0423-5, p 540
- ^ Hinton & Schebera, pp 540–541
- ^ Hinton & Schebera, pp 541
- ^ Hinton & Schebera, pp 541–542
- ^ Hinton & Schebera, p 542
- ^ a b Musica Reanimata of Berlin, Henry Jolles accessed September 28, 2008
- ^ Lenya, Lotte; George Davis (Spring 1997). "Weill and His Collaborators" (PDF). Kurt Weill Newsletter (Kurt Weill Foundation for Music) 15 (1): 4–9. ISSN 0899-6407. http://www.kwf.org/kwf/images/newsletter/kwn151p1-24.pdf. Retrieved October 24, 2010.
- ^ Hinton & Schebera, pp 542–543
- ^ Music and the Holocaust: Weill, Kurt. Holocaustmusic.ort.org. Retrieved on August 22, 2011.
- ^ Hinton & Schebera, p 543
- ^ Hinton & Schebera, pp 208–209
- ^ Kurt Weill. Spartacus.schoolnet.co.uk (April 3, 1950). Retrieved on August 22, 2011.
- ^ http://www.ata-divisions.org/LD/newsletter/2009/2009Source_july3.pdf
- ^ a b c Mercado, Mario R. Kurt Weill: A Guide To His Works, The Kurt Weill Foundation for Music, 1989.
- ^ influences[dead link]
- ^ Pinewood Lake website retrieved on September 10, 2010. Pinewoodlake.org (May 20, 2009). Retrieved on August 22, 2011.
- ^ Images of America, Trumbull Historical Society, 1997, p. 123
- ^ Real Life Drama: The Group Theatre and America, 1931–1940, p. 264
- ^ "The Boys That Make the Noise", Music section, Time (magazine), July 5, 1943.
- ^ Tony Award for Best Original Score. Broadwayworld.com. Retrieved on August 22, 2011.
- ^ Kurt Weill at Find a Grave
- ^ Historia Ecclesiastica Gentis Anglorum (History of the English Church and People) Book 2, Ch. 13
- ^ Viglione, Joe (February 9, 2010). "Lost in the Stars". allmusic.com. http://www.allmusic.com/album/lost-in-the-stars-the-music-of-kurt-weill-r23905/review. Retrieved May 2, 2012.
External links[link]
- Kurt Weill Foundation, including a detailed list of works
- Schott Music
- The OREL Foundation- Kurt Weill's biography and links to bibliography, discography and media.
- Kurt Weill at the Internet Broadway Database
- Kurt Weill at the Internet Movie Database
- Program note to Kurt Weill's Symphony No. 2 from the Los Angeles Chamber Orchestra
- Yale University's Gilmore Music Library has an important collection of Kurt Weill's Papers and Music, especially from his years in America
- Finding aid to Universal Edition-Kurt Weill Archives – Manuscripts on deposit at the Ruth T. Watanabe Special Collections Department, Sibley Music Library, Eastman School of Music, University of Rochester
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| Persondata | |
|---|---|
| Name | Weill, Kurt |
| Alternative names | Weill, Kurt Julian |
| Short description | German American composer |
| Date of birth | March 2, 1900 |
| Place of birth | |
| Date of death | April 3, 1950 |
| Place of death | New York City |
http://wn.com/Kurt_Weill
Related pages:
http://ru.wn.com/Вайль, Курт
http://fr.wn.com/Kurt Weill
http://de.wn.com/Kurt Weill
http://it.wn.com/Kurt Weill
http://es.wn.com/Kurt Weill
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Kurt_Weill
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Lotte Lenya | |
|---|---|
 photographed by Carl Van Vechten, 1962 |
|
| Born | Karoline Wilhelmine Charlotte Blamauer (1898-10-18)October 18, 1898 Vienna, Austria-Hungary |
| Died | November 27, 1981(1981-11-27) (aged 83) New York City, New York, USA |
| Occupation | Actor |
| Years active | 1922–1981 |
| Spouse | Kurt Weill (1926–1933, 1937–1950) George Davis (1951–57) Russell Detwiler (1962–1969) |
Lotte Lenya (18 October 1898 – 27 November 1981) was an Austrian singer, diseuse, [1] and actress.[2] In the German-speaking and classical music world she is best remembered for her performances of the songs of her husband, Kurt Weill. In English-language film she is remembered for her Academy Award-nominated role in The Roman Spring of Mrs. Stone (1961) and as the sadistic and vengeful Rosa Klebb in the James Bond movie From Russia with Love (1963).
Contents |
The early years[link]
Lenya was born as Karoline Wilhelmine Charlotte Blamauer to working class parents in Vienna. She moved to study in Zürich in 1914, taking up her first job at the Schauspielhaus using the stage name Lotte Lenja. She moved to Berlin to seek work in 1921.
Career[link]
In 1922 Lenya was seen by her future husband, the German composer Kurt Weill, during an audition for his first stage score Zaubernacht, but because of his position behind the piano, she did not see him. She was cast, but owing to her loyalty to her voice teacher who was not, she declined the role. She accepted the part of Jenny in the first performance of The Threepenny Opera (Die Dreigroschenoper) in 1928 and the part became her breakthrough role. During the last years of the Weimar Republic, she was busy in film and theatre, and especially in Brecht-Weill plays. She also made several recordings of Weill's songs.[citation needed]
With the rise of Nazism in Germany, she left the country, having become estranged from Weill. (They would later divorce and remarry.) In March, 1933, she fled to Paris, where she sang the leading part in Brecht-Weill's "sung ballet," The Seven Deadly Sins.
Lenya and Weill settled in New York City on 10 September 1935.[3] During the summer of 1936, Lenya, Paul Green, Cheryl Crawford and her husband rented an old house at 277 Trumbull Avenue in Nichols, Connecticut, about two miles from Pine Brook Country Club, which was the summer rehearsal headquarters of the Group Theatre.[4][5] It was here that Green and Weill wrote the screenplay and music for the controversial Broadway play Johnny Johnson, which was titled after the most frequently occurring name on the American casualty list of World War I. It was also during this time that Lenya had her first American love affair with playwright Paul Green.[6][7]
During World War II, Lenya did a number of stage performances, recordings and radio performances, including for the Voice of America. After a badly received part in her husband's musical The Firebrand of Florence in 1945 in New York, she withdrew from the stage.[citation needed] After Weill's death in 1950, she was coaxed back to the stage. She appeared on Broadway in Barefoot in Athens and married influential American editor George Davis.
Late career[link]
In 1956 she won a Tony Award for her role as Jenny in Marc Blitzstein's English version of The Threepenny Opera, the only time an Off-Broadway performance has been so honored. Lenya went on to record a number of songs from her time in Berlin, as well as songs from the American stage. Her voice had deepened with age. When she was to sing the soprano part in Rise and Fall of the City of Mahagonny and The Seven Deadly Sins, the part needed transposition to substantially lower keys.[citation needed]
Sprechstimme was used in some famous songs in the Brecht-Weill plays, but now Lenya used it even more to compensate for the shortcomings of her voice. Lenya was aware of this as a problem; in other contexts she was very careful about fully respecting her late husband's score.[citation needed] She founded the Kurt Weill Foundation for Music, to administer incomes and issues regarding rights, and to spread knowledge about Weill's work. She was present in the studio when Louis Armstrong recorded Brecht-Weill's Mack the Knife. Armstrong improvised the line "Look out for Miss Lotte Lenya!" and added her name to the list of Mack's female conquests in the song.
Her role as Vivien Leigh's earthy friend Contessa Magda Terribili-Gonzales in the screen version of Tennessee Williams' The Roman Spring of Mrs. Stone (1961) brought Lenya an Academy Award nomination as Best Supporting Actress.
In 1963, she was cast as the SPECTRE agent Rosa Klebb in the James Bond movie From Russia with Love, starring Sean Connery and Robert Shaw. In the final scene in the film, she wore a shoe with a switchblade knife that sprang forth to stick out the front of the shoe; however this failed to eliminate Bond and she was fatally shot by Bond girl Tatiana Romanova (played by Daniela Bianchi).[8] She later said in interviews that when she met new people, the first thing they looked at was her shoes.
In 1966, Lenya originated the role of Fräulein Schneider in the original Broadway cast of the musical Cabaret. Kander's and Ebb's score was considered by some to be inspired by Weill's music. This, combined with Lenya's personal history made her a particularly appropriate casting choice.
Personal life[link]
Lenya and Weill did not meet properly until 1924 through a mutual acquaintance, the writer Georg Kaiser. They married in 1926, and later divorced in 1933, only to reconcile in September 1935 after emigrating to the United States. They remarried in 1937. In 1941, the couple moved to a house of their own in New City, Rockland County, New York, roughly 50 km north of New York City. Their second marriage lasted until Weill's death in 1950.
Her second husband was the American editor George Davis (1951–57). After Davis's death in 1957, she married the artist Russell Detwiler in 1962. He was 26 years her junior, but died at the age of 44 in 1969.
Death[link]
Lenya died in New York of cancer in 1981, aged 83. She is buried next to Weill in Haverstraw, New York.
Legacy[link]
In 2007, the musical Lovemusik, based on Lenya's relationship with Weill, opened on Broadway. Lenya was portrayed by Donna Murphy.
In 1956, Louis Armstrong recorded the song "Mack the Knife", both as a solo number and as a duet with Lenya. Armstrong added Lenya's name into the lyrics, in place of one the characters in the play. Other recordings of the song, most notably Bobby Darin's in 1959, have continued this tradition.
She is also mentioned in the Fascinating Aida song "Lieder", which originally described her as German, but was corrected for later performances.
Filmography[link]
- The Threepenny Opera (1931) - Jenny Diver
- Interregnum (1960) - Narrator
- The Roman Spring of Mrs. Stone (1961) - Contessa
- From Russia with Love (1963) - Rosa Klebb
- Übungstücke für Schauspieler (1964)
- Mutter Courage und ihre Kinder (1965) - Mother Courage
- Ten Blocks on the Camino Real (1966) - The Gypsy
- The Appointment (1969) - Emma Valadier
- Semi-Tough (1977) - Clara Pelf
Notes[link]
- ^ Biography of Kurt Weill, Pickford Prod., Inc (unpublished biography April 20, 1945) Yale Music Library
- ^ Obituary Variety, December 2, 1981.
- ^ Jackson, Kenneth T. (1995). The Encyclopedia of New York City. New York, NY: The New York Historical Society; Yale University Press. pp. 1252. ISBN 0-300-05536-6.
- ^ Pinewood Lake website retrieved on 2010-09-10
- ^ Images of America, Trumbull Historical Society, 1997, p. 123
- ^ Speak Low (when you speak of love): The Letters of Kurt Weill and Lotte Lenya
- ^ A Southern Life: Letters of Paul Green, 1916-1982, p. 258
- ^ James Bond media website retireved on 2011-10-02[1]
External links[link]
 |
Wikimedia Commons has media related to: Lotte Lenya |
- Register to the Papers of Kurt Weill and Lotte Lenya at Yale University Music Library
- Lotte Lenya at Find a Grave
- Lotte Lenya at the Internet Broadway Database
- Lotte Lenya at the Internet Off-Broadway Database
- Lotte Lenya at the Internet Movie Database
- FemBio: Lotte Lenya
- Threepenny Opera Off-Broadway
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||||||||
| Persondata | |
|---|---|
| Name | Lenya, Lotte |
| Alternative names | Lenja, Lotte; Blamauer, Karoline Wilhelmine Charlotte |
| Short description | Austrian singer and actress |
| Date of birth | 1898-10-18 |
| Place of birth | Vienna, Austria-Hungary |
| Date of death | 1982-11-27 |
| Place of death | New York City, New York, U.S. |
http://wn.com/Lotte_Lenya
Related pages:
http://ru.wn.com/Лотте Ленья
http://fr.wn.com/Lotte Lenya
http://de.wn.com/Lotte Lenya
http://es.wn.com/Lotte Lenya
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Lotte_Lenya
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Charlie Haden | |
|---|---|
 Haden in Pescara Italy, 1990 |
|
| Background information | |
| Birth name | Charles Edward Haden |
| Born | (1937-08-06) August 6, 1937 (age 74) |
| Origin | Shenandoah, Iowa, U.S. |
| Genres | Free jazz Mainstream jazz Post-bop Hard bop |
| Occupations | Double bassist |
| Instruments | Double bass |
| Years active | 1957–present |
| Associated acts | Ornette Coleman, Pat Metheny, Liberation Music Orchestra, Quartet West |
Charles Edward Haden (born August 6, 1937)[1] is an American jazz musician. He is a double bassist, probably best known for his long association with saxophonist Ornette Coleman. Haden is also known for his signature lyrical bass lines.
Contents |
Early life[link]
Haden was born in Shenandoah, Iowa, and raised in a musical family, which often performed together on the radio playing country music and American folk songs. Haden made his professional debut as a singer when he was two years old, and continued singing with his family until he contracted a mild form of polio when he was 15.[1] The polio damaged his throat muscles and vocal cords, and as a result, Haden was unable to control his pitch while singing. A few years before contracting polio, Haden had become interested in jazz, and began playing his older brother's double bass. Eventually he set his sights on Los Angeles, and to save money for the trip took a job as house bassist for ABC-TV's Ozark Jubilee in Springfield, Missouri.
Career[link]
Early period[link]
Haden moved to Los Angeles in 1957. His first recordings were made that year with Paul Bley. He began recording with Ornette Coleman shortly after, including the important The Shape of Jazz to Come.[1] Haden's folk-influenced style complemented the microtonal, Texas blues elements of Coleman. Haden would enter Keith Jarrett's trio and his 'American Quartet' from 1967 to 1976 with Paul Motian and Dewey Redman.[1] He also played in the collective Old and New Dreams.[1]
He went on to lead the Liberation Music Orchestra in the 1970s. Largely arranged by Carla Bley, their music was very experimental, exploring the realms of free jazz and political music at the same time; the first album focused specifically on the Spanish Civil War. The LMO has had a shifting membership comprising a "who's who" of jazz instrumentalists. Through Bley's arranging, they have concentrated on a wide palette of brass instruments, including tuba, French horn, and trombone, in addition to the more standard trumpet and reed section. The LMO's 1982 album The Ballad of the Fallen commented again on the Spanish Civil War as well as the political instability and United States involvement in Latin America. In 1990, the orchestra returned with Dream Keeper, a more heterogeneous album which drew on American gospel music and South African music to comment on politics in Latin America and apartheid in South Africa. The album featured choral contributions from the Oakland Youth Chorus.
In 1971, while on tour with the Ornette Coleman Quartet in Portugal (at the time under a fascist dictatorship), Haden decided to dedicate a performance of his "Song for Che" to the anticolonialist revolutionaries in the Portuguese colonies of Mozambique, Angola, and Guinea-Bissau. The following day, he was detained at Lisbon Airport, jailed, and interrogated by the DGS (the Portuguese secret police). He was promptly released the same day after the intervention of the American cultural attaché, though he was later interviewed by the FBI in the United States about his choice of dedication.[2]
Later period[link]
Thematic exploration of genres not typically considered to be jazz standards became one of the signature approaches of the Charlie Haden Quartet West. Started in 1987, the Quartet consists of Ernie Watts on sax, Alan Broadbent on piano, and Larance Marable on drums. Quartet West's albums feature lush, romantic arrangements by Broadbent, often with strings, of music from the 1930s and 1940s, often music associated with films of that period.
Haden has also performed and recorded in a number of duos with pianists including Hank Jones (with whom he recorded Steal Away, and Come Sunday, both collections of American folk and gospel tunes), Kenny Barron, and Denny Zeitlin. He has also recorded two albums of Cuban music with the pianist Gonzalo Rubalcaba, Nocturne and Land of the Sun.
A brief collaboration with Joe Henderson and Al Foster, players not normally associated with Haden or his immediate circle, showcased Haden's playing in a more hard-driving jazz context.
In 1989, Haden was featured at the Montreal Jazz Festival, and performed in concert every night of the festival, with different combos and bands. Each of these events was recorded, and most have been released in the series The Montreal Tapes.
In late 1996, he collaborated with Pat Metheny on the album Beyond the Missouri Sky (Short Stories), exploring the music that influenced them in their childhood experiences in Missouri with what they call "contemporary impressionistic Americana".
Haden reconvened the Liberation Music Orchestra in 2005, with largely new members, for the album Not In Our Name, released on Verve Records. The album dealt primarily with the contemporary political situation in the United States. Haden's 2008 release, Rambling Boy, features several members of his immediate family, along with Béla Fleck, Pat Metheny, Elvis Costello, and others. The album, released on 23 September 2008, hearkens back to his days of playing Americana and bluegrass music with his parents on their radio show. A concert tour with Quartet West (with a new drummer) took place in the late summer of that year.
In 2012, Haden was a recipient of the NEA Jazz Masters Award.
Family[link]
His son Josh Haden is a bass guitarist and singer. He recorded with 1980s punk band Trecherous Jaywalkers (who recorded for SST Records), and is presently a member of Spain. His triplet daughters, Petra, Tanya and Rachel Haden, are all musicians. Petra and Rachel were in that dog.; Petra was a member of progressive folk group The Decemberists, Rachel played in the rock band The Rentals, and Tanya is married to actor Jack Black.
Discography[link]
As leader[link]
- As Long as There's Music with Hampton Hawes (Artists House, 1976 [1978])
- Closeness (Horizon, 1976)
- The Golden Number (Horizon, 1977)
- Gitane with Christian Escoude (All Life, 1978)
- Magico with Jan Garbarek and Egberto Gismonti (ECM, 1979)
- Folk Songs with Jan Garbarek and Egberto Gismonti (ECM, 1979)
- Time Remembers One Time Once with Denny Zeitlin (ECM, 1981)
- Etudes with Geri Allen and Paul Motian (Soul Note, 1987)
- Silence with Chet Baker, Enrico Pieranunzi and Billy Higgins (Soul Note, 1987)
- First Song with Enrico Pieranunzi and Billy Higgins (Soul Note, 1990 [1992])
- In Montreal with Egberto Gismonti (ECM, 1989 [2001])
- Dialogues with Carlos Paredes (Antilles, 1990)
- Steal Away with Hank Jones (Verve, 1995)
- Night and the City with Kenny Barron (Verve, 1996)
- Beyond the Missouri Sky (Short Stories) with Pat Metheny (Verve, 1997)
- None But the Lonely Heart with Chris Anderson (Naim, 1997)
- Nocturne with Gonzalo Rubalcaba (Verve, 2001)
- American Dreams with Michael Brecker (Verve, 2002)
- Land of the Sun with Gonzalo Rubalcaba (Verve, 2004)
- Nightfall with John Taylor (Naim, 2004)
- Heartplay with Antonio Forcione (Naim, 2006)
- Rambling Boy (Decca, 2008)
The Montreal Tapes
- The Montreal Tapes: Tribute to Joe Henderson (Verve, 1989 [2004])
- The Montreal Tapes: with Geri Allen and Paul Motian (Verve 1989 [1997])
- The Montreal Tapes: with Don Cherry and Ed Blackwell (Verve, 1989 [1994])
- The Montreal Tapes: with Gonzalo Rubalcaba and Paul Motian (Verve 1989 [1997])
- The Montreal Tapes: with Paul Bley and Paul Motian (Verve, 1989 [1994])
- The Montreal Tapes: Liberation Music Orchestra (Verve, 1989 [1997])
With the Liberation Music Orchestra
- Liberation Music Orchestra (Impulse!, 1969)
- The Ballad of the Fallen (ECM, 1982)
- Dream Keeper (Blue Note, 1990)
- Not in Our Name (Verve, 2005)
With Old and New Dreams
- Old and New Dreams (Black Saint, 1976)
- Old and New Dreams (ECM, 1979)
- Playing (ECM, 1980)
- A Tribute to Blackwell (Black Saint, 1987)
With Quartet West
- Quartet West (Verve, 1986)
- In Angel City (Verve, 1988)
- The Private Collection (Naim, 1987-88 [2007])
- Haunted Heart (Verve, 1991)
- Always Say Goodbye (Verve, 1993)
- Now Is the Hour (Verve, 1996)
- The Art of the Song (Verve, 1999)
- Sophisticated Ladies (EmArcy, 2010)
As sideman[link]
With Geri Allen
- In the Year of the Dragon (JMT, 1989)
- Segments (DIW, 1989)
- Live at the Village Vanguard (DIW, 1990)
With Ray Anderson
- Every One of Us (Gramavision, 1992)
With Ginger Baker
- Going Back Home (Atlantic, 1994)
- Falling off the Roof (Atlantic, 1996)
With Gato Barbieri
- The Third World (Flying Dutchman, 1969)
With Kenny Barron
- Wanton Spirit with Roy Haynes (1994)
With Beck
- Odelay (DGC, 1994)
With Carla Bley
- Escalator Over The Hill (JCOA, 1971)
- Musique Mecanique (Watt, 1978)
With Paul Bley
- Live at the Hillcrest Club (Inner City, 1958)
- Memoirs (Soul Note, 1990)
With Jane Ira Bloom
- Mighty Lights (Enja, 1982)
With Dusan Bogdanovich
- Early to Rise (Palo Alto, 1983)
With Charles Brackeen
- Rhythm X (Strata East, 1968)
With Michael Brecker
- Michael Brecker (Impulse!, 1987)
- Don't Try This at Home (Impulse!, 1988)
- Nearness of You: The Ballad Book (Verve, 2000)
With Gavin Bryars
- Farewell to Philosophy (Point, 1995)
With Ruth Cameron
- First Songs (Polygram, 1997)
- Road House (Verve, 1999)
With Don Cherry
- Brown Rice (EMI, 1975)
- Art Deco (A&M, 1988)
With Ornette Coleman
- The Shape of Jazz to Come (Atlantic, 1959)
- Change of the Century (Atlantic, 1959)
- This Is Our Music (Atlantic, 1960)
- The Art of the Improvisers (Atlantic, 1959-60 [1970])
- To Whom Who Keeps a Record (Atlantic, 1959-60 [1975])
- Free Jazz: A Collective Improvisation (Atlantic, 1961)
- Friends and Neighbors: Live at Prince Street (Flying Dutchman, 1970)
- Science Fiction (Columbia, 1971)
- Soapsuds, Soapsuds (Artists House, 1971)
With Alice Coltrane
- Journey in Satchidananda (Impulse!, 1971) - on one track, "Isis and Osiris"
- John Coltrane: Infinity (Impulse!, 1972)
- Eternity (Warner Bros., 1975)
- Translinear Light (Impulse!, 2004)
With John Coltrane
- The Avant-Garde with Don Cherry (Atlantic, 1960)
With James Cotton
- Deep in the Blues (Verve, 1995)
With Robert Downey Jr.
- The Futurist (Sony, 2004)
With Dizzy Gillespie
- Rhythmstick (1990)
With Tom Harrell
- Form (Contemporary, 1990)
With Joe Henderson
- The Elements (Milestone, 1973)
- An Evening with Joe Henderson (Red, 1987)
- The Standard Joe (Red, 1991)
With Fred Hersch
- Sarabande (Sunnyside, 1986)
With Mark Isham
- Songs My Children Taught Me (Windham Hill, 1991)
With Keith Jarrett
- Life Between The Exit Signs (Votrex, 1967)
- Somewhere Before (Atlantic, 1968)
- The Mourning of a Star (Atlantic, 1971)
- El Juicio (The Judgement) (Atlantic, 1971)
- Birth (Atlantic, 1971)
- Expectations (Columbia, 1971)
- Fort Yawuh (Impulse!, 1973)
- Treasure Island (Impulse!, 1974)
- Death and the Flower (Impulse!, 1974)
- The Survivors' Suite (ECM, 1977)
- Eyes of the Heart (ECM, 1979)
- Jasmine (ECM, 2010)
With Rickie Lee Jones
- Pop Pop (Geffen, 1991)
With Lee Konitz
- Alone Together (Blue Note, 1996) with Brad Meldhau
- Another Shade of Blue (Blue Note, 1997)
- Live at Birdland (ECM, 2011) with Brad Mehldau & Paul Motian
With David Liebman
- Sweet Hands (Horizon, 1975)
With Abbey Lincoln
- The World Is Falling Down (Verve, 1990)
- You Gotta Pay the Band (Verve, 1991)
- A Turtle's Dream (Verve, 1994)
With Joe Lovano
- Universal Language (Blue Note, 1992)
With Michael Mantler
- The Jazz Composer's Orchestra (JCOA, 1968)
With Harvey Mason
- With All My Heart (RCA, 2004)
With John McLaughlin
- My Goal's Beyond (1970)
With Helen Merrill
With Pat Metheny
- 80/81 (ECM, 1980)
- Rejoicing (ECM, 1983)
- Song X with Ornette Coleman (Geffen, 1985)
- Secret Story (Geffen, 1992)
With Mingus Dynasty
- Chair in the Sky (Elektra, 1980)
With Paul Motian
- Conception Vessel (ECM, 1972)
- On Broadway Volume 1 (JMT, 1988)
- On Broadway Volume 2 (JMT, 1989)
- On Broadway Volume 3 (JMT, 1991)
With Bheki Mseleku
- Star Seeding (Polygram, 1995)
With Yoko Ono
- Yoko Ono/Plastic Ono Band (1970)
With Joe Pass
- 12-string Guitar Movie Themes (World Pacific, 1964)
With Art Pepper
- Living Legend (Contemporary, 1975)
- So In Love (Artists House, 1979)
- Art 'N' Zoot with Zoot Sims (Pablo, 1981)
With Enrico Pieranunzi
- Fellini Jazz (Cam Jazz, 2003)
- Special Encounter (Cam Jazz, 2005)
With Dewey Redman
- Soundsigns (Galaxy, 1978)
With Joshua Redman
- Wish (Warner Bros., 1993)
With Gonzalo Rubalcaba
- Discovery - Live at Montreux (Blue Note, 1990)
- The Blessing (Blue Note, 1991)
- Suite 4 Y 20 (Blue Note, 1992)
- Imagine (Blue Note, 1994)
With Roswell Rudd
- Everywhere (Impulse!, 1966)
With Pee Wee Russell and Henry "Red" Allen
- The College Concert (Impulse!, 1966)
With Dino Saluzzi
- Once Upon a Time - Far Away in the South (ECM, 1985)
With David Sanborn
- Another Hand (Elektra, 1991)
With John Scofield
- Time on My Hands (Blue Note, 1989)
- Grace Under Pressure (Blue Note, 1991)
With Archie Shepp
- Mama Too Tight (Impulse!, 1967)
With Alan Shorter
- Orgasm (Verve, 1968)
With Wadada Leo Smith
- Divine Love (ECM, 1978)
With Ringo Starr
- Ringo Rama (2003)
With Masahiko Togashi
- Session In Paris (Take One, 1979)
With Denny Zeitlin
- Carnival (Columbia, 1964)
- Live at the Trident (Columbia, 1965)
- Zeitgeist (Columbia, 1967)
- Tidal Wave (Quicksilver, 1983)
References[link]
- ^ a b c d e allmusic Biography
- ^ Jazz Legend Charlie Haden on His Life, His Music and His Politics. Democracy Now. September 01, 2006 Accessed January 5, 2009.
External links[link]
|
Wikimedia Commons has media related to: Charlie Haden |
- Charlie Haden Official Web site
- Charlie Haden interview on Democracy Now!, September 1, 2006
- Official Documentary Website
- Charlie Haden at the Internet Movie Database
- Interview by Ethan Iverson
- All About Jazz Charlie Haden Discography
- NPR interview
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| Date of birth | August 6, 1937 |
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"Brecht" redirects here. For other uses, see Brecht (disambiguation).
Bertolt Brecht (German: [ˈbɛɐ̯tɔlt ˈbʁɛçt] (
listen); born 
Eugen Berthold Friedrich Brecht (help·info); 10 February 1898 – 14 August 1956) was a German poet, playwright, and theatre director.
An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble – the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel.[3]
Contents |
Life and career[link]
Bavaria (1898–1924)[link]
Bertolt Brecht was born in Augsburg, Bavaria, (about 50 miles (80 km) north-west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to have a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914.[4] Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama.[5] Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied.[6] At school in Augsburg he met Caspar Neher, with whom he formed a lifelong creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre.
When he was 16, the First World War broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army".[4] On his father's recommendation, Brecht sought a loophole by registering for an additional medical course at Munich University, where he enrolled in 1917.[7] There he studied drama with Arthur Kutscher, who inspired in the young Brecht an admiration for the iconoclastic dramatist and cabaret-star Wedekind.[8]
From July 1916, Brecht's newspaper articles began appearing under the new name "Bert Brecht" (his first theatre criticism for the Augsburger Volkswille appeared in October 1919).[9] Brecht was drafted into military service in the autumn of 1918, only to be posted back to Augsburg as a medical orderly in a military VD clinic; the war ended a month later.[4]
In July 1919, Brecht and Paula Banholzer (who had begun a relationship in 1917) had a son, Frank. In 1920 Brecht's mother died.[10]
File:MYSTERIES OF A BARBERSHOP VALENTIN W HEAD.jpg
Karl Valentin as the barber in Mysteries of a Barbershop (1923).
Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian Karl Valentin.[11] Brecht's diaries for the next few years record numerous visits to see Valentin perform.[12] Brecht compared Valentin to Chaplin, for his "virtually complete rejection of mimicry and cheap psychology". [13] Writing in his Messingkauf Dialogues years later, Brecht identified Valentin, along with Wedekind and Büchner, as his "chief influences" at that time:
- But the man he [Brecht writes of himself in the third person] learnt most from was the clown Valentin, who performed in a beer-hall. He did short sketches in which he played refractory employees, orchestral musicians or photographers, who hated their employers and made them look ridiculous. The employer was played by his partner, a popular woman comedian who used to pad herself out and speak in a deep bass voice.[14]
Brecht's first full-length play, Baal (written 1918), arose in response to an argument in one of Kutscher's drama seminars, initiating a trend that persisted throughout his career of creative activity that was generated by a desire to counter another work (both others' and his own, as his many adaptations and re-writes attest). "Anyone can be creative," he quipped, "it's rewriting other people that's a challenge."[15] Brecht completed his second major play, Drums in the Night, in February 1919.
In 1922 while still living in Munich, Brecht came to the attention of an influential Berlin critic, Herbert Ihering: "At 24 the writer Bert Brecht has changed Germany's literary complexion overnight"—he enthused in his review of Brecht's first play to be produced, Drums in the Night—"[he] has given our time a new tone, a new melody, a new vision. [...] It is a language you can feel on your tongue, in your gums, your ear, your spinal column."[16] In November it was announced that Brecht had been awarded the prestigious Kleist Prize (intended for unestablished writers and probably Germany's most significant literary award, until it was abolished in 1932) for his first three plays (Baal, Drums in the Night, and In the Jungle, although at that point only Drums had been produced).[17] The citation for the award insisted that:
File:RIVERSIDE EDWARD POSTER 20.jpg
Poster for the Riverside Shakespeare Company's production of Brecht and Lion Feuchtwanger's Edward II. New York City, 1982.
- "[Brecht's] language is vivid without being deliberately poetic, symbolical without being over literary. Brecht is a dramatist because his language is felt physically and in the round."[18]
That year he married the Viennese opera-singer Marianne Zoff. Their daughter—Hanne Hiob (1923–2009)—was a successful German actress.[4]
In 1923, Brecht wrote a scenario for what was to become a short slapstick film, Mysteries of a Barbershop, directed by Erich Engel and starring Karl Valentin.[19] Despite a lack of success at the time, its experimental inventiveness and the subsequent success of many of its contributors have meant that it is now considered one of the most important films in German film history.[20] In May of that year, Brecht's In the Jungle premiered in Munich, also directed by Engel. Opening night proved to be a "scandal"—a phenomenon that would characterize many of his later productions during the Weimar Republic—in which Nazis blew whistles and threw stink bombs at the actors on the stage.[12]
In 1924 Brecht worked with the novelist and playwright Lion Feuchtwanger (whom he had met in 1919) on an adaptation of Christopher Marlowe's Edward II that proved to be a milestone in Brecht's early theatrical and dramaturgical development.[21] Brecht's Edward II constituted his first attempt at collaborative writing and was the first of many classic texts he was to adapt. As his first solo directorial début, he later credited it as the germ of his conception of "epic theatre".[22] That September, a job as assistant dramaturg at Max Reinhardt's Deutsches Theater—at the time one of the leading three or four theatres in the world—brought him to Berlin.[23]
Weimar Republic Berlin (1925–33)[link]
In 1923 Brecht's marriage to Zoff began to break down (though they did not divorce until 1927).[24] Brecht had become involved with both Elisabeth Hauptmann and Helene Weigel.[25] Brecht and Weigel's son, Stefan, was born in October 1924.[26]
In his role as dramaturg, Brecht had much to stimulate him but little work of his own.[27] Reinhardt staged Shaw's Saint Joan, Goldoni's Servant of Two Masters (with the improvisational approach of the commedia dell'arte in which the actors chatted with the prompter about their roles), and Pirandello's Six Characters in Search of an Author in his group of Berlin theatres.[28] A new version of Brecht's third play, now entitled Jungle: Decline of a Family, opened at the Deutsches Theater in October 1924, but was not a success.[29]
| In the asphalt city I'm at home. From the very start |
| Provided with every last sacrament: |
| With newspapers. And tobacco. And brandy |
| To the end mistrustful, lazy and content. |
| Bertolt Brecht, "Of Poor BB". |
At this time Brecht revised his important "transitional poem", "Of Poor BB".[30] In 1925, his publishers provided him with Elisabeth Hauptmann as an assistant for the completion of his collection of poems, Devotions for the Home (Hauspostille, eventually published in January 1927). She continued to work with him after the publisher's commission ran out.[31]
In 1925 in Mannheim the artistic exhibition Neue Sachlichkeit ("new objectivity") had given its name to the new post-Expressionist movement in the German arts. With little to do at the Deutsches Theater, Brecht began to develop his Man Equals Man project, which was to become the first product of "the 'Brecht collective'—that shifting group of friends and collaborators on whom he henceforward depended."[32] This collaborative approach to artistic production, together with aspects of Brecht's writing and style of theatrical production, mark Brecht's work from this period as part of the Neue Sachlichkeit movement.[33] The collective's work "mirrored the artistic climate of the middle 1920s," Willett and Manheim argue:
with their attitude of 'Neue Sachlichkeit' (or New Matter-of-Factness), their stressing of the collectivity and downplaying of the individual, and their new cult of Anglo-Saxon imagery and sport. Together the "collective" would go to fights, not only absorbing their terminology and ethos (which permeates Man Equals Man) but also drawing those conclusions for the theatre as a whole which Brecht set down in his theoretical essay "Emphasis on Sport" and tried to realise by means of the harsh lighting, the boxing-ring stage and other anti-illusionistic devices that henceforward appeared in his own productions.[34]
In 1925, Brecht also saw two films that had a significant influence on him: Chaplin's The Gold Rush and Eisenstein's Battleship Potemkin.[35] Brecht had compared Valentin to Chaplin, and the two of them provided models for Galy Gay in Man Equals Man.[36] Brecht later wrote that Chaplin "would in many ways come closer to the epic than to the dramatic theatre's requirements."[37] They met several times during Brecht's time in the United States, and discussed Chaplin's Monsieur Verdoux project, which it is possible Brecht influenced.[38]
In 1926 a series of short stories was published under Brecht's name, though Hauptmann was closely associated with writing them.[39] Following the production of Man Equals Man in Darmstadt that year, Brecht began studying Marxism and socialism in earnest, under the supervision of Hauptmann.[40] "When I read Marx's Capital", a note by Brecht reveals, "I understood my plays." Marx was, it continues, "the only spectator for my plays I'd ever come across."[41]
| For us, man portrayed on the stage is significant as a social function. It is not his relationship to himself, nor his relationship to God, but his relationship to society which is central. Whenever he appears, his class or social stratum appears with him. His moral, spiritual or sexual conflicts are conflicts with society. |
| Erwin Piscator, 1929.[42] |
In 1927 Brecht became part of the "dramaturgical collective" of Erwin Piscator's first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theatre".[43] Brecht collaborated with Piscator during the period of the latter's landmark productions, Hoppla, We're Alive! by Toller, Rasputin, The Adventures of the Good Soldier Schweik, and Konjunktur by Lania.[44] Brecht's most significant contribution was to the adaptation of the unfinished episodic comic novel Schweik, which he later described as a "montage from the novel".[45] The Piscator productions influenced Brecht's ideas about staging and design, and alerted him to the radical potentials offered to the "epic" playwright by the development of stage technology (particularly projections).[46] What Brecht took from Piscator "is fairly plain, and he acknowledged it" Willett suggests:
The emphasis on Reason and didacticism, the sense that the new subject matter demanded a new dramatic form, the use of songs to interrupt and comment: all these are found in his notes and essays of the 1920s, and he bolstered them by citing such Piscatorial examples as the step-by-step narrative technique of Schweik and the oil interests handled in Konjunktur ('Petroleum resists the five-act form').[47]
Brecht was struggling at the time with the question of how to dramatize the complex economic relationships of modern capitalism in his unfinished project Joe P. Fleischhacker (which Piscator's theatre announced in its programme for the 1927–28 season). It wasn't until his Saint Joan of the Stockyards (written between 1929–1931) that Brecht solved it.[48] In 1928 he discussed with Piscator plans to stage Shakespeare's Julius Caesar and Brecht's own Drums in the Night, but the productions did not materialize.[49]
1927 also saw the first collaboration between Brecht and the young composer Kurt Weill.[50] Together they began to develop Brecht's Mahagonny project, along thematic lines of the biblical Cities of the Plain but rendered in terms of the Neue Sachlichkeit's Amerikanismus, which had informed Brecht's previous work.[51] They produced The Little Mahagonny for a music festival in July, as what Weill called a "stylistic exercise" in preparation for the large-scale piece. From that point on Caspar Neher became an integral part of the collaborative effort, with words, music and visuals conceived in relation to one another from the start.[52] The model for their mutual articulation lay in Brecht's newly-formulated principle of the "separation of the elements", which he first outlined in "The Modern Theatre is the Epic Theatre" (1930). The principle, a variety of montage, proposed by-passing the "great struggle for supremacy between words, music and production" as Brecht put it, by showing each as self-contained, independent works of art that adopt attitudes towards one another.[53]
_1988,_MiNr_Block_091.jpg)
In 1930 Brecht married Weigel; their daughter Barbara Brecht was born soon after the wedding.[54] She also became an actress and currently holds the copyrights to all of Brecht's work.
Brecht formed a writing collective which became prolific and very influential. Elisabeth Hauptmann, Margarete Steffin, Emil Burri, Ruth Berlau and others worked with Brecht and produced the multiple teaching plays, which attempted to create a new dramaturgy for participants rather than passive audiences. These addressed themselves to the massive worker arts organisation that existed in Germany and Austria in the 1920s. So did Brecht's first great play, Saint Joan of the Stockyards, which attempted to portray the drama in financial transactions.
This collective adapted John Gay's The Beggar's Opera, with Brecht's lyrics set to music by Kurt Weill. Retitled The Threepenny Opera (Die Dreigroschenoper) it was the biggest hit in Berlin of the 1920s and a renewing influence on the musical worldwide. One of its most famous lines underscored the hypocrisy of conventional morality imposed by the Church, working in conjunction with the established order, in the face of working-class hunger and deprivation:
|
|
The success of The Threepenny Opera was followed by the quickly thrown together Happy End. It was a personal and a commercial failure. At the time the book was purported to be by the mysterious Dorothy Lane (now known to be Elisabeth Hauptmann, Brecht's secretary and close collaborator). Brecht only claimed authorship of the song texts. Brecht would later use elements of Happy End as the germ for his Saint Joan of the Stockyards, a play that would never see the stage in Brecht's lifetime. Happy End's score by Weill produced many Brecht/Weill hits like "Der Bilbao-Song" and "Surabaya-Jonny".
The masterpiece of the Brecht/Weill collaborations, Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny), caused an uproar when it premiered in 1930 in Leipzig, with Nazis in the audience protesting. The Mahagonny opera would premier later in Berlin in 1931 as a triumphant sensation.
Brecht spent his last years in the Weimar-era Berlin (1930–1933) working with his "collective" on the Lehrstücke. These were a group of plays driven by morals, music and Brecht's budding epic theatre. The Lehrstücke often aimed at educating workers on Socialist issues. The Measures Taken (Die Massnahme) was scored by Hanns Eisler. In addition, Brecht worked on a script for a semi-documentary feature film about the human impact of mass unemployment, Kuhle Wampe (1932), which was directed by Slatan Dudow. This striking film is notable for its subversive humour, outstanding cinematography by Günther Krampf, and Hanns Eisler's dynamic musical contribution. It still provides a vivid insight into Berlin during the last years of the Weimar Republic. The so-called "Westend Berlin Scene" in the 1930 was an important influencing factor on Brecht, playing in a milieu around Ulmenallee in Westend with artists like Richard Strauss, Marlene Dietrich and Herbert Ihering.[citation needed]
By February 1933, Brecht’s work was eclipsed by the rise of Nazi rule in Germany. (Brecht would also have his work challenged again in later life by the U.S. House Un-American Activities Committee (HUAC), which believed he was under the influence of communism.[55])
Nazi Germany and World War II (1933–1945)[link]
Unhappy the land where heroes are needed.
Fearing persecution, Brecht left Germany in February 1933, when Hitler took power. After brief spells in Prague, Zurich and Paris he and Weigel accepted an invitation from journalist and author Karin Michaelis to move to Denmark where they settled in a house in Svendborg on the island of Funen. This became the residence of the Brecht family for the next six years, where they often received guests including Walter Benjamin, Hanns Eisler and Ruth Berlau. During this period Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations.
When war seemed imminent in April 1939, he moved to Stockholm, Sweden, where he remained for a year.[1] Then Hitler invaded Norway and Denmark, and Brecht was forced to leave Sweden for Helsinki in Finland where he waited for his visa for the United States until 3 May 1941.[1]
During the war years, Brecht became a prominent writer of the Exilliteratur.[56][56] He expressed his opposition to the National Socialist and Fascist movements in his most famous plays: Life of Galileo, Mother Courage and Her Children, The Good Person of Szechwan, The Resistible Rise of Arturo Ui, The Caucasian Chalk Circle, Fear and Misery of the Third Reich, and many others.
Brecht also wrote the screenplay for the Fritz Lang-directed film Hangmen Also Die! which was loosely based on the 1942 assassination of Reinhard Heydrich, the Nazi Reich Protector of German-occupied Prague, number-two man in the SS, and a chief architect of the Holocaust, who was known as "The Hangman of Prague."[1] It was Brecht's only script for a Hollywood film: the money he earned from the project enabled him to write The Visions of Simone Machard, Schweik in the Second World War and an adaptation of Webster's The Duchess of Malfi. Hanns Eisler was nominated for an Academy Award for his musical score. The collaboration of three prominent refugees from Nazi Germany –Lang, Brecht and Eisler – is an example of the influence this generation of German exiles had in American culture.
Cold War and final years in East Germany (1945–1956)[link]
In the years of the Cold War and "Red Scare", Brecht was blacklisted by movie studio bosses and interrogated by the House Un-American Activities Committee. Along with about 41 other Hollywood writers, directors, actors and producers, he was subpoenaed to appear before the HUAC in September 1947. Although he was one of 19 witnesses who declared that they would refuse to appear, Brecht eventually decided to testify. He later explained that he had followed the advice of attorneys and had not wanted to delay a planned trip to Europe. Dressed in overalls and smoking an acrid cigar that made some of the committee members feel slightly ill, on 30 October 1947 Brecht testified that he had never been a member of the Communist Party.[55] He made wry jokes throughout the proceedings, punctuating his inability to speak English well with continuous references to the translators present, who transformed his German statements into English ones unintelligible to himself. HUAC Vice Chairman Karl Mundt thanked Brecht for his co-operation. The remaining witnesses, the so called Hollywood Ten, refused to testify and were cited for contempt. Brecht's decision to appear before the committee led to criticism, including accusations of betrayal. The day after his testimony, on 31 October, Brecht returned to Europe.
In Chur in Switzerland, Brecht staged an adaptation of Sophocles' Antigone, based on a translation by Hölderlin. It was published under the title Antigonemodell 1948, accompanied by an essay on the importance of creating a "non-Aristotelian" form of theatre. An offer of his own theatre (completed in 1954) and theatre company (the Berliner Ensemble) encouraged Brecht to return to Berlin in 1949. He retained his Austrian nationality (granted in 1950) and overseas bank accounts from which he received valuable hard currency remittances. The copyrights on his writings were held by a Swiss company.[57] At the time he drove a pre-war DKW car—a rare luxury in the austere divided capital.
Though he was never a member of the Communist Party, Brecht had been deeply schooled in Marxism by the dissident communist Karl Korsch. Korsch's version of the Marxist dialectic influenced Brecht greatly, both his aesthetic theory and theatrical practice. Brecht received the Stalin Peace Prize in 1954.
Brecht wrote very few plays in his final years in East Berlin, none of them as famous as his previous works. He dedicated himself to directing plays and developing the talents of the next generation of young directors and dramaturgs, such as Manfred Wekwerth, Benno Besson and Carl Weber. Some of his most famous poems, including the "Buckow Elegies", were written at this time.
At first Brecht supported the measures taken by the East German government against the Uprising of 1953 in East Germany, which included the use of Soviet military force. In a letter from the day of the uprising to SED First Secretary Walter Ulbricht, Brecht wrote that: "History will pay its respects to the revolutionary impatience of the Socialist Unity Party of Germany. The great discussion [exchange] with the masses about the speed of socialist construction will lead to a viewing and safeguarding of the socialist achievements. At this moment I must assure you of my allegiance to the Socialist Unity Party of Germany."[58]
File:Brechtgrave.jpg
Graves of Helene Weigel and Bertolt Brecht in the Dorotheenstadt cemetery
Brecht's subsequent commentary on those events, however, offered a different assessment—in one of the poems in the Elegies, "Die Lösung" (The Solution), Brecht writes:
-
<poem> After the uprising of the 17th of June The Secretary of the Writers Union Had leaflets distributed in the Stalinallee Stating that the people Had forfeited the confidence of the government And could win it back only By redoubled efforts. Would it not be easier In that case for the government To dissolve the people And elect another?[59]</poem>
Death[link]
Brecht died on 14 August 1956 of a heart attack at the age of 58. He is buried in the Dorotheenstädtischer cemetery on Chausseestraße in the Mitte neighbourhood of Berlin, overlooked by the residence he shared with Helene Weigel.
Theory and practice of theatre[link]
From his late twenties Brecht remained a lifelong committed Marxist who, in developing the combined theory and practice of his "epic theatre", synthesized and extended the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism.
Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable.
Brecht's modernist concern with drama-as-a-medium led to his refinement of the "epic form" of the drama. This dramatic form is related to similar modernist innovations in other arts, including the strategy of divergent chapters in James Joyce's novel Ulysses, Sergei Eisenstein's evolution of a constructivist "montage" in the cinema, and Picasso's introduction of cubist "collage" in the visual arts.[60]
One of Brecht's most important principles was what he called the Verfremdungseffekt (translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect").[61] This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them".[62] To this end, Brecht employed techniques such as the actor's direct address to the audience, harsh and bright stage lighting, the use of songs to interrupt the action, explanatory placards, and, in rehearsals, the transposition of text to the third person or past tense, and speaking the stage directions out loud.[63]
In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to "re-function" the theatre to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the "high art/popular culture" dichotomy—vying with the likes of Adorno, Lukács, Ernst Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger dubs him "the most important materialist writer of our time."[64]
Brecht was also influenced by Chinese theatre, and used its aesthetic as an argument for Verfremdungseffekt. Brecht believed, "Traditional Chinese acting also knows the alienation effect, and applies it most subtly.[65]... The [Chinese] performer portrays incidents of utmost passion, but without his delivery becoming heated." [66] Brecht attended a Chinese opera performance and was introduced to the famous Chinese opera performer Mei LanFang in 1935.[67] However, Brecht was sure to distinguish between Epic and Chinese theatre. He recognized that the Chinese style was not a "transportable piece of technique," [68] and that Epic theatre sought to historicize and address social and political issues.[69]
Impact[link]
Brecht left the Berliner Ensemble to his wife, the actress Helene Weigel, which she ran until her death in 1971. Perhaps the most famous German touring theatre of the postwar era, it was primarily devoted to performing Brecht's plays. His son, Stefan Brecht, became a poet and theatre critic interested in New York's avant-garde theatre. Brecht has been a controversial figure in Germany, and in his native city of Augsburg there were objections to creating a birthplace museum. By the 1970s, however, Brecht's plays had surpassed Shakespeare's in the number of annual performances in Germany.
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner, Robert Bolt and Caryl Churchill.
In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Joseph Losey, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.[70][71]
Brecht in fiction[link]
- In the 1930 novel Success, Brecht's mentor Lion Feuchtwanger immortalized Brecht as the character Kaspar Pröckl.
- In the 2006 film The Lives of Others, a Stasi agent is partially inspired to save a playwright he has been spying on by reading a book of Brecht poetry that he had stolen from the artist's apartment.
- Brecht at Night by Mati Unt, transl. Eric Dickens (Dalkey Archive Press, 2009)
Collaborators and associates[link]
Collective and collaborative working methods were inherent to Brecht's approach, as Fredric Jameson (among others) stresses. Jameson describes the creator of the work not as Brecht the individual, but rather as 'Brecht': a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, Carola Neher and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."[72]
List of collaborators and associates[link]
Works[link]
Plays[link]
Entries show: English-language translation of title (German-language title) [year written] / [year first produced][73]
- Baal 1918/1923
- Drums in the Night (Trommeln in der Nacht) 1918–20/1922
- The Beggar (Der Bettler oder Der tote Hund) 1919/?
- A Respectable Wedding (Die Kleinbürgerhochzeit) 1919/1926
- Driving Out a Devil (Er treibt einen Teufel aus) 1919/?
- Lux in Tenebris 1919/?
- The Catch (Der Fischzug) 1919?/?
- Mysteries of a Barbershop (Mysterien eines Friseursalons) (screenplay) 1923
- In the Jungle of Cities (Im Dickicht der Städte) 1921–24/1923
- The Life of Edward II of England (Leben Eduards des Zweiten von England) 1924/1924
- Downfall of the Egotist Johann Fatzer (Der Untergang des Egoisten Johnann Fatzer) (fragments) 1926–30/1974
- Man Equals Man (Mann ist Mann) 1924–26/1926
- The Elephant Calf (Das Elefantenkalb) 1924–26/1926
- Little Mahagonny (Mahagonny-Songspiel) 1927/1927
- The Threepenny Opera (Die Dreigroschenoper) 1928/1928
- The Flight across the Ocean (Der Ozeanflug); originally Lindbergh's Flight (Lindberghflug) 1928–29/1929
- The Baden-Baden Lesson on Consent (Badener Lehrstück vom Einverständnis) 1929/1929
- Happy End (Happy End) 1929/1929
- The Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny) 1927–29/1930
- He Said Yes / He Said No (Der Jasager; Der Neinsager) 1929–30/1930–?
- The Decision (Die Maßnahme) 1930/1930
- Saint Joan of the Stockyards (Die heilige Johanna der Schlachthöfe) 1929–31/1959
- The Exception and the Rule (Die Ausnahme und die Regel) 1930/1938
- The Mother (Die Mutter) 1930–31/1932
- Kuhle Wampe (screenplay) 1931/1932
- The Seven Deadly Sins (Die sieben Todsünden der Kleinbürger) 1933/1933
- Round Heads and Pointed Heads (Die Rundköpfe und die Spitzköpfe) 1931–34/1936
- The Horatians and the Curiatians (Die Horatier und die Kuriatier) 1933–34/1958
- Fear and Misery of the Third Reich (Furcht und Elend des Dritten Reiches) 1935–38/1938
- Señora Carrar's Rifles (Die Gewehre der Frau Carrar) 1937/1937
- Life of Galileo (Leben des Galilei) 1937–39/1943
- How Much Is Your Iron? (Was kostet das Eisen?) 1939/1939
- Dansen (Dansen) 1939/?
- Mother Courage and Her Children (Mutter Courage und ihre Kinder) 1938–39/1941
- The Trial of Lucullus (Das Verhör des Lukullus) 1938–39/1940
- Mr Puntila and his Man Matti (Herr Puntila und sein Knecht Matti) 1940/1948
- The Good Person of Szechwan (Der gute Mensch von Sezuan) 1939–42/1943
- The Resistible Rise of Arturo Ui (Der aufhaltsame Aufstieg des Arturo Ui) 1941/1958
- Hangmen Also Die! (screenplay) 1942/1943
- The Visions of Simone Machard (Die Gesichte der Simone Machard ) 1942–43/1957
- The Duchess of Malfi 1943/1943
- Schweik in the Second World War (Schweyk im Zweiten Weltkrieg) 1941–43/1957
- The Caucasian Chalk Circle (Der kaukasische Kreidekreis) 1943–45/1948
- Antigone (Die Antigone des Sophokles) 1947/1948
- The Days of the Commune (Die Tage der Commune) 1948–49/1956
- The Tutor (Der Hofmeister) 1950/1950
- The Condemnation of Lucullus (Die Verurteilung des Lukullus) 1938–39/1951
- Report from Herrnburg (Herrnburger Bericht) 1951/1951
- Coriolanus (Coriolan) 1951–53/1962
- The Trial of Joan of Arc of Proven, 1431 (Der Prozess der Jeanne D'Arc zu Rouen, 1431) 1952/1952
- Turandot (Turandot oder Der Kongreß der Weißwäscher) 1953–54/1969
- Don Juan (Don Juan) 1952/1954
- Trumpets and Drums (Pauken und Trompeten) 1955/1955
Fiction[link]
- Stories of Mr. Keuner (Geschichten vom Herrn Keuner)
Theoretical works[link]
- The Modern Theatre is the Epic Theatre (1930)
- The Threepenny Lawsuit (Der Dreigroschenprozess) (written 1931; published 1932)
- The Book of Changes (fragment also known as Me-Ti; written 1935–1939)
- The Street Scene (written 1938; published 1950)
- The Popular and the Realistic (written 1938; published 1958)
- Short Description of a New Technique of Acting which Produces an Alienation Effect (written 1940; published 1951)
- A Short Organum for the Theatre ("Kleines Organon für das Theater", written 1948; published 1949)
- The Messingkauf Dialogues (Dialogue aus dem Messingkauf, published 1963)
Notes[link]
- ^ a b c d Brecht Chronology, International Brecht Society
- ^ Davies 2009
- ^ The introduction of this article draws on the following sources: Banham (1998, 129); Bürger (1984, 87–92); Jameson (1998, 43–58); Kolocotroni, Goldman and Taxidou (1998, 465–466); Williams (1993, 277–290); Wright (1989, 68–89; 113–137).
- ^ a b c d Thomson (1994).
- ^ Thomson (1994, 22–23). See also Smith (1991).
- ^ See Brecht's poem "Of Poor B.B." (first version, 1922), in Brecht (2000b, 107–108).
- ^ Thomson (1994, 24) and Sacks (xvii).
- ^ Thomson (1994, 24). In his Messingkauf Dialogues, Brecht cites Wedekind, along with Büchner and Valentin, as his "chief influences" in his early years: "he," Brecht writes of himself in the third person, "also saw the writer Wedekind performing his own works in a style which he had developed in cabaret. Wedekind had worked as a ballad singer; he accompanied himself on the lute." (1965, 69). Kutscher was "bitterly critical" of Brecht's own early dramatic writings (Willet and Manheim 1970, vii).
- ^ Thomson (1994, 24) and Willett (1967, 17).
- ^ Willett and Manheim (1970, vii).
- ^ Sacks (1994, xx) and McDowell (1977).
- ^ a b McDowell (2000).
- ^ Willett and Manheim 1970, x.
- ^ Brecht (1965, 69–70).
- ^ Quoted in Thomson (1994, 25).
- ^ Herbert Ihering's review for Drums in the Night in the Berliner Börsen-Courier on the 5 October 1922. Quoted in Willett and Manheim (1970, viii–ix).
- ^ See Thomson and Sacks (1994, 50) and Willett and Manheim (1970, viii–ix).
- ^ Herbert Ihering, quoted in Willett and Manheim (1970, ix).
- ^ McDowell (1977).
- ^ Culbert (1995).
- ^ Thomson (1994, 26–27), Meech (1994, 54–55).
- ^ Meech (1994, 54–55) and Benjamin (1983, 115). See the article on Edward II for details of Brecht's germinal 'epic' ideas and techniques in this production.
- ^ Brecht was recommended for the job by Erich Engel; Carl Zuckmayer was to join Brecht in the position. See Sacks (1994, xviii), Willett (1967, 145), and Willett and Manheim (1970, vii).
- ^ Ewen (1967, 159) and Völker (1976, 65).
- ^ Thomson (1994, 28).
- ^ Hayman (104) and Völker (1976, 108).
- ^ According to Willett, Brecht was disgruntled with the Deutsches Theater at not being given a Shakespeare production to direct. At the end of the 1924–1925 season, both his and Carl Zuckmayer's (his fellow dramaturg) contracts were not renewed. (Willett 1967, 145). Zuckmayer relates how: "Brecht seldom turned up there; with his flapping leather jacket he looked like a cross between a lorry driver and a Jesuit seminarist. Roughly speaking, what he wanted was to take over complete control; the season's programme must be regulated entirely according to his theories, and the stage be rechristened 'epic smoke theatre', it being his view that people might actually be disposed to think if they were allowed to smoke at the same time. As this was refused him he confined himself to coming and drawing his pay." (Quoted by Willett 1967, 145).
- ^ Willett (1967, 145).
- ^ Willett and Manheim (1979, viii).
- ^ Willett and Manheim point to the significance of this poem as a marker of the shift in Brecht's work towards "a much more urban, industrialized flavour" (1979, viii).
- ^ Willett and Manheim (1979, viii, x).
- ^ Willett and Manheim (1979, viii); Joel Schechter writes: "The subjugation of an individual to that of a collective was endorsed by the affirmations of comedy, and by the decision of the coauthors of Man is Man (Emil Burri, Slatan Dudow, Caspar Neher, Bernhard Reich, Elisabeth Hauptmann) to call themselves 'The Brecht Collective'." (1994, 74).
- ^ Willett (1978).
- ^ Willett and Manheim (1979, viii–ix).
- ^ Willett and Manheim (1979, xxxiii).
- ^ Schechter (1994, 68).
- ^ Brecht (1964, 56).
- ^ Schechter (1994, 72).
- ^ Sacks (1994, xviii).
- ^ Thomson (1994, 28–29).
- ^ Brecht (1964, 23–24).
- ^ Erwin Piscator, "Basic Principles of a Sociological Drama" in Kolocotroni, Goldman and Taxidou (1998, 243).
- ^ Willett (1998, 103) and (1978, 72). In his book The Political Theatre, Piscator wrote: "Perhaps my whole style of directing is a direct result of the total lack of suitable plays. It would certainly not have taken so dominant form if adequate plays had been on hand when I started" (1929, 185).
- ^ Willett (1978, 74).
- ^ See Brecht's Journal entry for 24 June 1943. Brecht claimed to have written the adaptation (in his Journal entry), but Piscator contested that; the manuscript bears the names "Brecht, Gasbarra, Piscator, G. Grosz" in Brecht's handwriting (Willett 1978, 110). See also Willett (1978, 90–95). Brecht wrote a sequel to the novel in 1943, Schweik in the Second World War.
- ^ Willett (1998, 104). In relation to his innovations in the use of theatre technology, Piscator wrote: "technical innovations were never an end in themselves for me. Any means I have used or am currently in the process of using were designed to elevate the events on the stage onto a historical plane and not just to enlarge the technical range of the stage machinery. This elevation, which was inextricably bound up with the use of Marxist dialectics in the theatre, had not been achieved by the plays themselves. My technical devices had been developed to cover up the deficiencies of the dramatists' products" ("Basic Principles of a Sociological Drama" [1929]; in Kolocotroni, Goldman and Taxidou [1998, 243]).
- ^ Willett (1978, 109–110). The similarities between Brecht's and Piscator's theoretical formulations from the time indicate that the two agreed on fundamentals; compare Piscator's summation of the achievements of his first company (1929), which follows, with Brecht's Mahagonny Notes (1930): "In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality." From a speech given by Piscator on 25 March 1929, and reproduced in Schriften 2 p. 50; Quoted by Willett (1978, 107). See also Willett (1998, 104–105).
- ^ Willett (1998, 104–105).
- ^ Willett (1978, 76).
- ^ The two first met in March 1927, after Weill had written a critical introduction to the broadcast on Berlin Radio of an adaptation of Brecht's Man Equals Man. When they met, Brecht was 29 years old and Weill was 27. Brecht had experience of writing songs and had performed his own with tunes he had composed; at the time he was also married to an opera singer (Zoff). Weill had collaborated with Georg Kaiser, one of the few Expressionist playwrights that Brecht admired; he was married to the actress Lotte Lenya. Willett and Manheim (1979, xv).
- ^ Willet and Manheim (1979, xv–xviii). In Munich in 1924 Brecht had begun referring to some of the stranger aspects of life in post-putsch Bavaria under the codename "Mahagonny". The Amerikanismus imagery appears in his first three "Mahagonny Songs", with their Wild West references. With that, however, the project stalled for two and a half years. With Hauptmann, who wrote the two English-language "Mahagonny Songs", Brecht had begun work on an opera to be called Sodom and Gomorrah or The Man from Manhattan and a radio play called The Flood or 'The Collapse of Miami, the Paradise City', both of which came to underlie the new scheme with Weill. See Willett and Manheim (1979, xv–xvi). The influence of Amerikanismus is most clearly discernible in Brecht's In the Jungle of Cities.
- ^ In this respect, the creative process for Mahagonny was quite different from The Threepenny Opera, with the former being durchkomponiert or set to music right through, whereas on the latter Weill was brought at a late stage to set the songs. See Willett and Manheim (1979, xv).
- ^ Willett and Manheim (1979, xvii) and Brecht (1964, 37–38).
- ^ "Barbara Brecht-Schall – About This Person". The New York Times. http://movies.nytimes.com/person/642308/Barbara-Brecht-Schall. Retrieved 26 July 2011.
- ^ a b Brecht_HUAC_hearing
- ^ a b Exilliteratur.
- ^ GradeSaver: ClassicNote: Biography of Bertolt Brecht
- ^ Letter published in the Neues Deutschland, 21 June 1953.
- ^ Brecht (2000b, 440). The poem was first printed in Die Welt in 1959 and subsequently in the Buckow Elegies in the West 1964. It was first published in the GDR in 1969; Helene Weigel insisted on its inclusion in a collected edition of Brecht's works.
- ^ On these relationships, see "autonomization" in Jameson (1998, 43–58) and "non-organic work of art" in Bürger (1984, 87–92). Willett observes: "With Brecht the same montage technique spread to the drama, where the old Procrustean plot yielded to a more "epic" form of narrative better able to cope with wide-ranging modern socio-economic themes. That, at least, was how Brecht theoretically justified his choice of form, and from about 1929 on he began to interpret its penchant for "contradictions", much as had Eisenstein, in terms of the dialectic. It is fairly clear that in Brecht's case the practice came before the theory, for his actual composition of a play, with its switching around of scenes and characters, even the physical cutting up and sticking together of the typescript, shows that montage was the structural technique most natural to him. Like Hašek and Joyce he had not learnt this scissors-and-paste method from the Soviet cinema but picked it out of the air" (1978, 110).
- ^ Brooker (1994, 193). Brooker writes that "the term 'alienation' is an inadequate and even misleading translation of Brecht's Verfremdung. The terms 'de-familiarisation' or 'estrangement', when understood as more than purely formal devices, give a more accurate sense of Brecht's intentions. A better term still would be 'de-alienation'".
- ^ Brecht, quoted by Brooker (1994, 191).
- ^ Brecht (1964, 138).
- ^ The quotation from Raymond Williams is on page 277 of his book (1993) and that from Peter Bürger on page 88 of his (1984).
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 91
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 92
- ^ http://www.jstor.org/stable/40246399
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 95
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 96
- ^ On Jan Bucquoy, see Jan Bucquoy, La vie est belge; Le paradis, là, maintenant, tout de suite!, (2007), p. 98: Sans illusion car j'avoue que mon but dans la vie c'était de monter Mère Courage de Berthold Brecht au théâtre de l'Odéon à Paris. Au lieu de ça ce sont les escaliers du Dolle Mol que j'ai plutôt bien descendus. C'est le destin.. English translation: It was my destiny that I never would bring Mother Courage and Her Children to the Odéon Theatre in Paris.
- ^ Ritwik Ghatak first translated Brecht into Bengali, before then making use of some of his key theories in the later films Cloud-Capped Star and Subarna-Rekha. See BANGLAPEDIA: Film, Feature. Retrieved 27 July 2006.
- ^ Jameson (1998, 10–11). See also the discussions of Brecht's collaborative relationships in the essays collected in Thomson and Sacks (1994). John Fuegi's take on Brecht's collaborations, detailed in Brecht & Co. (New York: Grove, 1994; also known as The Life and Lies of Bertolt Brecht) and summarized in his contribution to Thomson and Sacks (1994, 104–116), offers a particularly negative perspective; Jameson comments "his book will remain a fundamental document for future students of the ideological confusions of Western intellectuals during the immediate post-Cold War years" (1998, 31); Olga Taxidou offers a critical account of Fuegi's project from a feminist perspective in "Crude Thinking: John Fuegi and Recent Brecht Criticism" in New Theatre Quarterly XI.44 (Nov. 1995), p. 381–384.
- ^ The translations of the titles are based on the standard of the Brecht Collected Plays series (see bibliography, primary sources). Chronology provided through consultation with Sacks (1994) and Willett (1967), preferring the former with any conflicts.
Primary sources[link]
Essays, diaries and journals[link]
- Brecht, Bertolt. 1964. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. British edition. London: Methuen. ISBN 0-413-38800-X. USA edition. New York: Hill and Wang. ISBN 0-8090-3100-0.
- 2000a. Brecht on Film and Radio. Ed. and trans. Marc Silberman. British edition. London: Methuen. ISBN 0-413-72500-6.
- 2003a. Brecht on Art and Politics. Ed. and trans. Thomas Kuhn and Steve Giles. British edition. London: Methuen. ISBN 0-413-75890-7.
- 1965. The Messingkauf Dialogues. Trans. John Willett. London: Methuen, 1985. ISBN 0-413-38890-5.
- 1990. Letters 1913–1956. Trans. Ralph Manheim. Ed. John Willett. London: Methuen. ISBN 0-413-51050-6.
- 1993. Journals 1934–1955. Trans. Hugh Rorrison. Ed. John Willett. London and New York: Routledge, 1996. ISBN 0-415-91282-2.
Drama, poetry and prose[link]
- Brecht, Bertolt. 1994a. Collected Plays: One. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-68570-5.
- 1994b. Collected Plays: Two. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-68560-8.
- 1997. Collected Plays: Three. Ed. John Willett. London: Methuen. ISBN 0-413-70460-2.
- 2003b. Collected Plays: Four. Ed. Tom Kuhn and John Willett. London: Methuen. ISBN 0-413-70470-X.
- 1995. Collected Plays: Five. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-69970-6.
- 1994c. Collected Plays: Six. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-68580-2.
- 1994d. Collected Plays: Seven. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-68590-X.
- 2004. Collected Plays: Eight. Ed. Tom Kuhn and David Constantine. London: Methuen. ISBN 0-413-77352-3.
- 1972. Collected Plays: Nine. Ed. John Willett and Ralph Manheim. New York: Vintage. ISBN 0-394-71819-4.
- 2000b. Poems: 1913–1956. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-15210-3.
- 1983. Short Stories: 1921–1946. Ed. John Willett and Ralph Manheim. Trans. Yvonne Kapp, Hugh Rorrison and Antony Tatlow. London and New York: Methuen. ISBN 0-413-52890-1.
- 2001. Stories of Mr. Keuner. Trans. Martin Chalmers. San Francisco: City Lights. ISBN 0-87286-383-2.
Secondary sources[link]
- [Anon.] 1952. "Brecht Directs". In Directors on Directing: A Source Book to the Modern Theater. Ed. Toby Cole and Helen Krich Chinoy. Rev. ed. Boston, MA: Allyn & Bacon, 1963. ISBN 0-02-323300-1. 291- [Account of Brecht in rehearsal from anonymous colleague published in Theaterarbeit]
- Banham, Martin, ed. 1998. "Brecht, Bertolt" In The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8. 129.
- Benjamin, Walter. 1983. Understanding Brecht. Trans. Anna Bostock. London and New York: Verso. ISBN 0-902308-99-8.
- Brooker, Peter. 1994. "Key Words in Brecht's Theory and Practice of Theatre". In Thomson and Sacks (1994, 185–200).
- Bürger, Peter. 1984. Theory of the Avant-Garde. Trans. of Theorie der Avantgarde (2nd ed., 1980). Theory and History of Literature Ser. 4. Trans. Michael Shaw. Minneapolis: University of Minnesota Press. ISBN 0-8166-1068-1.
- Calandra, Denis. 2003. "Karl Valentin and Bertolt Brecht". In Popular Theatre: A Sourcebook. Ed. Joel Schechter. Worlds of Performance Ser. London and New York: Routledge. 189–201. ISBN 0-415-25830-8.
- Counsell, Colin. 1996. Signs of Performance: An Introduction to Twentieth-Century Theatre. London and New York: Routledge. ISBN 0-415-10643-5.
- Culbert, David. 1995. Historical Journal of Film, Radio and Television (March). [Bibliographic information on this article is missing at present – need article title, is this the author of article?, and page numbers]
- Davies, Steffan; Ernest Schonfield (2009). Davies, Steffan and Schonfield, Ernest. ed. Alfred Döblin: Paradigms of Modernism. Berlin and New York: Walter de Gruyter. ISBN 978-3-11-021769-8.
- Demetz, Peter, ed. 1962. "From the Testimony of Berthold Brecht: Hearings of the House Committee on Un-American Activities, 30 October 1947". Brecht: A Collection of Critical Essays. Twentieth Century Views Ser. Eaglewood Cliffs, NJ: Prentice Hall. ISBN 0-13-081760-0. 30–42.
- Diamond, Elin. 1997. Unmaking Mimesis: Essays on Feminism and Theater. London and New York: Routledge. ISBN 0-415-01229-5.
- Eagleton, Terry. 1985. "Brecht and Rhetoric". New Literary History 16.3 (Spring). 633–638.
- Eaton, Katherine B. "Brecht's Contacts with the Theater of Meyerhold". in Comparative Drama 11.1 (Spring 1977)3-21. Reprinted in 1984. Drama in the Twentieth Century ed. C. Davidson. New York: AMS Press, 1984. ISBN 0-404-61581-3. 203-221. 1979. "Die Pionierin und Feld-Herren vorm Kreidekreis. Bemerkungen zu Brecht und Tretjakow". in Brecht-Jahrbuch 1979. Ed. J. Fuegi, R. Grimm, J. Hermand. Suhrkamp, 1979. 1985 19–29. The Theater of Meyerhold and Brecht. Connecticut and New York: Greenwood Press. ISBN 0-313-24590-8.
- Eddershaw, Margaret. 1982. "Acting Methods: Brecht and Stanislavski". In Brecht in Perspective. Ed. Graham Bartram and Anthony Waine. London: Longman. ISBN 0-582-49205-X. 128–144.
- Ewen, Frederic. 1967. Bertolt Brecht: His Life, His Art and His Times. Citadel Press Book edition. New York: Carol Publishing Group, 1992.
- Fuegi, John. 1994. "The Zelda Syndrome: Brecht and Elizabeth Hauptmann". In Thomson and Sacks (1994, 104–116).
- Fuegi, John. 2002. Brecht and Company: Sex, Politics, and the Making of the Modern Drama. New York: Grove. ISBN 0-8021-3910-8.
- Giles, Steve. 1998. "Marxist Aesthetics and Cultural Modernity in Der Dreigroschenprozeß". Bertolt Brecht: Centenary Essays. Ed. Steve Giles and Rodney Livingstone. German Monitor 41. Amsterdam and Atlanta, GA: Rodopi. ISBN 90-420-0309-X. 49–61.
- Hayman, Ronald. 1983. Brecht: A Biography. London: Weidenfeld & Nicolson. ISBN 0-297-78206-1.
- Jameson, Fredric. 1998. Brecht and Method. London and New York: Verso. ISBN 1-85984-809-5.
- Jacobs, Nicholas and Prudence Ohlsen, eds. 1977. Bertolt Brecht in Britain. London: IRAT Services Ltd and TQ Publications. ISBN 0-904844-11-0.
- Kolocotroni, Vassiliki, Jane Goldman and Olga Taxidou, eds. 1998. Modernism: An Anthology of Sources and Documents. Edinburgh: Edinburgh University Press. ISBN 0-7486-0973-3.
- Krause, Duane. 1995. "An Epic System". In Acting (Re)considered: Theories and Practices. Ed. Phillip B. Zarrilli. 1st ed. Worlds of Performance Ser. London: Routledge. ISBN 0-415-09859-9. 262–274.
- Leach, Robert. 1994. "Mother Courage and Her Children". In Thomson and Sacks (1994, 128–138).
- Giuseppe Leone, "Bertolt Brecht, ripropose l'eterno conflitto dell'intellettuale fra libertà di ricerca e condizionamenti del potere", su "Ricorditi...di me" in "Lecco 2000", Lecco, giugno 1998.
- Meech, Tony. 1994. "Brecht's Early Plays". In Thomson and Sacks (1994, 43–55).
- Mitter, Schomit. 1992. "To Be And Not To Be: Bertolt Brecht and Peter Brook". Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London: Routledge. ISBN 0-415-06784-7. 42–77.
- McDowell, W. Stuart. 1977. "A Brecht-Valentin Production: Mysteries of a Barbershop." Performing Arts Journal 1.3 (Winter): 2-14.
- McDowell, W. Stuart. 2000. "Acting Brecht: The Munich Years". In The Brecht Sourcebook. Ed. Carol Martin and Henry Bial. Worlds of Performance ser. London and New York: Routledge. 71–83. ISBN 0-415-20043-1.
- Müller, Heiner. 1990. Germania. Trans. Bernard Schütze and Caroline Schütze. Ed. Sylvère Lotringer. Semiotext(e) Foreign Agents Ser. New York: Semiotext(e). ISBN 0-936756-63-2.
- Needle, Jan and Peter Thomson. 1981. Brecht. Chicago: U of Chicago P; Oxford: Basil Blackwell. ISBN 0-226-57022-3.
- Pabst, G.W. 1984. The Threepenny Opera. Classic Film Scripts Ser. London: Lorrimer. ISBN 0-85647-006-6.
- Reinelt, Janelle. 1990. "Rethinking Brecht: Deconstruction, Feminism, and the Politics of Form". The Brecht Yearbook 15. Ed. Marc Silberman et al. Madison, Wisconsin: The International Brecht Society-University of Wisconsin Press. 99–107.
- Reinelt, Janelle. 1994. "A Feminist Reconsideration of the Brecht/Lukács Debate". Women & Performance: A Journal of Feminist Theory 7.1 (Issue 13). 122–139.
- Rouse, John. 1995. "Brecht and the Contradictory Actor". In Acting (Re)considered: A Theoretical and Practical Guide. Ed. Phillip B. Zarrilli. 2nd ed. Worlds of Performance Ser. London: Routledge. ISBN 0-415-26300-X. 248–259.
- Sacks, Glendyr. 1994. "A Brecht Calendar". In Thomson and Sacks (1994, xvii–xxvii).
- Schechter, Joel. 1994. "Brecht's Clowns: Man is Man and After". In Thomson and Sacks (1994, 68–78).
- Smith, Iris. 1991. "Brecht and the Mothers of Epic Theater". Theatre Journal 43: 491–505.
- Szondi, Peter. 1965. Theory of the Modern Drama. Ed. and trans. Michael Hays. Theory and History of Literature Ser. 29. Minneapolis: University of Minnesota Press, 1987. ISBN 0-8166-1285-4.
- Taxidou, Olga. 1995. "Crude Thinking: John Fuegi and Recent Brecht Criticism". New Theatre Quarterly XI.44 (Nov. 1995): 381–384.
- Taxidou, Olga. 2007. Modernism and Performance: Jarry to Brecht. Basingstoke, Hampshire: Palgrave Macmillan. ISBN 1-4039-4101-7.
- Thomson, Peter. 1994. "Brecht's Lives". In Thomson and Sacks (1994, 22–39).
- Thomson, Peter. 2000. "Brecht and Actor Training: On Whose Behalf Do We Act?" In Twentieth Century Actor Training. Ed. Alison Hodge. London and New York: Routledge. ISBN 0-415-19452-0. 98–112.
- Thomson, Peter and Glendyr Sacks, eds. 1994. The Cambridge Companion to Brecht. Cambridge Companions to Literature Ser. Cambridge: Cambridge University Press. ISBN 0-521-41446-6.
- Völker, Klaus. 1976. Brecht: A Biography. Trans. John Nowell. New York: Seabury P, 1978. Trans. of Bertolt Brecht, Eine Biographie. Munich and Vienna: Carl Hanser Verlag. ISBN 0-8164-9344-8.
- Willett, John. 1967. The Theatre of Bertolt Brecht: A Study from Eight Aspects. Third rev. ed. London: Methuen, 1977. ISBN 0-413-34360-X.
- Willett, John. 1978. Art and Politics in the Weimar Period: The New Sobriety 1917–1933. New York: Da Capo Press, 1996. ISBN 0-306-80724-6.
- Willett, John. 1998. Brecht in Context: Comparative Approaches. Rev. ed. London: Methuen. ISBN 0-413-72310-0.
- Willett, John and Ralph Manheim. 1970. Introduction. In Collected Plays: One by Bertolt Brecht. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry and Prose Ser. London: Methuen. ISBN 0-416-03280-X. vii–xvii.
- Weber, Carl. 1984. "The Actor and Brecht, or: The Truth Is Concrete: Some Notes on Directing Brecht with American Actors". The Brecht Yearbook 13: 63–74.
- Weber, Carl 1994. "Brecht and the Berliner Ensemble – the Making of a Model". In Thomson and Sacks (1994, 167–184).
- Williams, Raymond. 1993. Drama from Ibsen to Brecht. London: Hogarth. ISBN 0-7012-0793-0. 277–290.
- Witt, Hubert, ed. 1975. Brecht As They Knew Him. Trans. John Peet. London: Lawrence and Wishart; New York: International Publishers. ISBN 0-85315-285-3.
- Wright, Elizabeth. 1989. Postmodern Brecht. Critics of the Twentieth Century Ser. London and New York: Routledge. ISBN 0-415-02330-0.
- Youngkin, Stephen D. 2005. The Lost One: A Life of Peter Lorre. University Press of Kentucky. ISBN 0-8131-2360-7. [Contains a detailed discussion of the personal and professional friendship between Brecht and classic film actor Peter Lorre.]
- Wizisla, Erdmut. 2009. Walter Benjamin and Bertolt Brecht – The Story of a Friendship. Translated by Christine Shuttleworth. London / New Haven: Libris / Yale University Press. ISBN 1-870352-78-5. ISBN 978-1-870352-78-9 [Contains a complete translation of the newly-discovered Minutes of the meetings around the putative journal Krise und Kritik (1931)].
See also[link]
External links[link]
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Wikiquote has a collection of quotations related to: Bertolt Brecht |
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Wikimedia Commons has media related to: Bertolt Brecht |
- Brecht's works in English: A bibliography: The bibliography of Bertolt Brecht's works in English translation aims to present a comprehensive listing of Brecht's works published in English translation.
- The Brecht Yearbook
- The International Brecht Society
- FBI files on Bertolt Brecht
- Brechts Werke, Bibliography
- A history of Mack the Knife by Joseph Mach at Brechthall
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| Persondata | |
|---|---|
| Name | Brecht, Bertolt |
| Alternative names | |
| Short description | German poet, playwright, and theatre director |
| Date of birth | 10 February 1898 |
| Place of birth | Augsburg, Germany |
| Date of death | 14 August 1956 |
| Place of death | East Berlin, East Germany |
http://wn.com/Bertolt_Brecht
Related pages:
http://ru.wn.com/Брехт, Бертольт
http://fr.wn.com/Bertolt Brecht
http://de.wn.com/Bertolt Brecht
http://it.wn.com/Bertolt Brecht
http://es.wn.com/Bertolt Brecht
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Bertolt_Brecht
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Ute Lemper | |
|---|---|
 Ute Lemper |
|
| Background information | |
| Born | (1963-07-04) 4 July 1963 (age 48) Münster, West Germany |
| Genres | Cabaret |
| Occupations | Singer, actress |
| Years active | 1987–present |
| Labels | Decca/Universal Classics |
| Website | www.utelemper.com |
Ute Lemper (born 4 July 1963) is a German chanteuse and actress renowned for her interpretation of the work of Kurt Weill.
Contents |
Biography[link]
Born in Münster, Germany, Ute Gertrude Lemper was raised in a Roman Catholic family. She joined the punk music group known as the Panama Drive Band at the age of 16. Later, she graduated from the Dance Academy in Cologne and the Max Reinhardt Seminary Drama School in Vienna.[1]
Her diverse credits include musicals, such as her breakthrough role in the original Viennese cast of Cats, the title role in Peter Pan, a recreation of the Marlene Dietrich-created Lola in The Blue Angel, the original European Sally Bowles in a Paris production of Cabaret, and Velma Kelly in Chicago (Lemper has played the role of Velma Kelly in Chicago in both London and New York. She won the Laurence Olivier Award for her performance in London). She also dubbed the singing voice of Ariel in Disney's The Little Mermaid for German-speaking audiences. The movie has since been redubbed for a second run in theaters in 1998, and was never released on DVD in its original German dub.
A painter in the neoclassical style, Lemper's paintings have been showcased in numerous galleries.
Lemper, a mother of four, resides on the Upper West Side section of Manhattan in New York City. She performs worldwide, recently even in the war-torn Middle East. Her autobiography was published in Berlin in 1995.[2] She has also authored several journal articles.
Film and television work[link]
She starred as Marie Antoinette for L'Autrichienne (1989, directed by Pierre Granier-Deferre), and subsequently appeared in films such as Prorva, Bogus, Jean Galmot, aventurier, Prospero's Books, Appetite and Prêt-à-Porter (in the latter appearing in a well-publicised nude scene filmed while she was pregnant, and she received National Board of Review for Ensemble Cast award). She has contributed to the soundtracks of numerous films, including The Voyager, Kissing Jessica Stein and Appetite.
In 2007, Lemper was a juror in Let's Dance, the German version of Dancing with the Stars.
Recording[link]
Lemper, named Billboard's Crossover Artist of the Year for 1993/1994, is a prolific recording artist, appearing on numerous cast recordings and compilation concerts, including Roger Waters' "The Wall" concert in 1990. As a solo artist, her extensive discography includes ubiquitously well-reviewed interpretations of Kurt Weill's compositions from the late 1980s, in addition to German cabaret songs, which were very political songs sung in underground locations in 1930s Berlin and elsewhere. She recorded Illusions in 1992, devoted to the songs of Marlene Dietrich and Édith Piaf. She has numerous pop albums, variously in English, French, and German, and 2000s lauded modern Punishing Kiss. Punishing Kiss featured songs written especially for her by the likes of Scott Walker, Nick Cave, Tom Waits, Elvis Costello, Philip Glass, and Neil Hannon, the latter of whom performed with her on two of the album's tracks. Lemper is known for wild interpretations on discs like the Sondheim tribute City of Strangers, containing a particularly mannered version of the Elaine Stritch-popularized song "The Ladies Who Lunch". In 1998, a Lemper compilation, All That Jazz: The Best of Ute Lemper, was released. In 2003 and 2006 Lemper's songwriting talents were shown on her discs from those years as she moved from being an interpretive singer to a singer/songwriter.
Discography[link]
- Cats (original German cast recording, 1983)
- Ute Lemper Singt Kurt Weill (1987) [3]
- Life is a Cabaret (1987)[4]
- Ute Lemper Sings Kurt Weill (1988)[5]
- Starlight Express (original German cast recording, 1988)[6]
- I Dreamed a Dream (1988)[7]
- Crimes of the Heart (1989)
- Die Dreigroschenoper (1990)
- The Seven Deadly Sins (1990)
- The Wall - Live in Berlin (1990)
- Arielle, die Meerjungfrau (1990)[8]
- Andrew Lloyd Webber Welterfolge (1990)[9]
- Prospero's Books (1991)
- Ute Lemper Live: Ihre Grossen Tournee-Erfolge (1991)
- The Michael Nyman Songbook (1991)[10]
- Homo Faber (1991)
- Guarda La Fotografia (1991)
- Illusions (1992)
- Prorva (1992) / Прорва
- Komisch' Wetter (1992)[11]
- Ute Lemper Sings Kurt Weill - Volume 2 (1993)
- Espace Indécent (1993)
- Portrait of Ute Lemper (1995)
- City of Strangers: Songs by Sondheim, Prévert... (1995)
- Die Eisprinzessin (1995)
- Birds in Cages (1995)
- Der Glöckner von Notre-Dame (1996)
- Bogus (1996)
- Berlin Cabaret Songs (versions in English and German, 1996/1997)
- Nuits Étranges (1997)
- All That Jazz: The Best of Ute Lemper (1998)
- Chicago (London cast recording, 1998)
- Kurt Gerrons Karussell (1999)[12]
- Punishing Kiss (2000)
- Little Water Song (2000)
- But One Day... (2002, Decca/Universal Classics)
- Blood & Feathers: Live from the Café Carlyle(2005)
- Between Yesterday and Tomorrow (2009)
- Paris Days, Berlin Nights (2012)
References[link]
- ^ Decca Music Group" Biography
- ^ Lemper, Ute. Unzensiert. Berlin: Henschel, 1995. ISBN 978-3-89487-213-7
- ^ Bayer Records: BR 100 018
- ^ CBS Records 460493
- ^ Decca/PolyGram Records 425 204
- ^ CBS Records 462585
- ^ CBS 651425
- ^ Polydor/PolyGram Records 847 642
- ^ Polydor/PolyGram Records 843 648
- ^ Decca/PolyGram Records 425 227
- ^ Mood Records 6392
- ^ Red Moon/WEA 3984-27075
External links[link]
- The World of Ute Lemper - the official Ute Lemper website
- Ute Lemper at the Internet Movie Database
- Ute Lemper at the Internet Broadway Database
- Video including Lemper's performance as Ariel
- Ute Lemper performs "The Saga of Jenny" by Kurt Weill and Ira Gershwin (public domain)
- Ute Lemper German Interview with Pictures
|
||||||||
| Persondata | |
|---|---|
| Name | Lemper, Ute |
| Alternative names | |
| Short description | |
| Date of birth | 4 July 1963 |
| Place of birth | Münster, Germany |
| Date of death | |
| Place of death | |
http://wn.com/Ute_Lemper
Related pages:
http://fr.wn.com/Ute Lemper
http://de.wn.com/Ute Lemper
http://it.wn.com/Ute Lemper
http://es.wn.com/Ute Lemper
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Ute_Lemper
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
10:58
Speak Low - Kurt Weill - HRC Trio Concert
reubenization
Speak Low - Kurt Weill - HRC Trio Concert
HRC came together as a result of some jam sessions based on tunes most jazz musicians have in common. These songs have long been the basis of impromptu performances, often by musicians playing together for the first time. Following the lead of the Bill Evans Trio, we found focusing on a finite number of well known tunes allowed us to explore and develop performance practices beyond the traditional roles of our instruments. This isn't new territory, but the freedom afforded by the material invites the performance to be listenable, changeable and intensely personal.
2:46
Russell Wilson - Mack The Knife - Kurt Weill
rtpress
Russell Wilson - Mack The Knife - Kurt Weill
member.tripod.com Highlights of the 2010 Old-Time Piano Contest held Memorial Day weekend at the Hotel Pere Marquette in Peoria, IL. Russell Wilson plays Mack The Knife by Kurt Weill (1928) Russell placed 2nd in the Regular Division Championship. He is a member of "The President's Own" United States Marine Band and functions as the piano player for the White House.
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