Weill's Musical Theater: Stages of ReformUniversity of California Press, 10 apr 2012 - 592 pagine In the first musicological study of Kurt Weill’s complete stage works, Stephen Hinton charts the full range of theatrical achievements by one of twentieth-century musical theater’s key figures. Hinton shows how Weill’s experiments with a range of genres—from one-act operas and plays with music to Broadway musicals and film-opera—became an indispensable part of the reforms he promoted during his brief but intense career. Confronting the divisive notion of "two Weills"—one European, the other American—Hinton adopts a broad and inclusive perspective, establishing criteria that allow aspects of continuity to emerge, particularly in matters of dramaturgy. Tracing his extraordinary journey as a composer, the book shows how Weill’s artistic ambitions led to his working with a remarkably heterogeneous collection of authors, such as Georg Kaiser, Bertolt Brecht, Moss Hart, Alan Jay Lerner, and Maxwell Anderson. |
Sommario
| 1874 | |
| 1879 | |
The Busoni Connection | 1901 |
Ferruccio Busoni with pupils from his Berlin master class c 1923 | 1923 |
Der Protagonist First Pantomime 2 Ferruccio Busoni Arlecchino Matteos Monologue 3 Der Protagonist First Pantomime 4 Der Protagonist First Panto... | 1925 |
Royal Palace film sequence Dejaniras motif | |
Der Zar lässt sich photographieren opening motto 8 Der Zar lässt sich photographieren ground bass 9 Der Zar lässt sich photographieren motto in orc... | |
Der Zar lässt sich photographieren the Czars entrance 11 MahagonnySongspiel ending | |
Lady in the Dark This Is New end | |
One Touch of Venus Venus Awakening | |
One Touch of Venus Speak Low end | |
One Touch of Venus Foolish Heart 48 One Touch of Venus Foolish Heart | |
One Touch of Venus Speak Low 50 One Touch of Venus A Stranger Here Myself 51 One Touch of Venus How Much I Love You | |
Richard Wagner Götterdämmerung Prelude | |
One Touch of Venus Finaletto | |
Stage vs Screen | |
OneAct Operas 4 Songspiel 5 Plays with Music | |
Happy End Der kleine Leutnant des lieben Gottes allusion to Die Internationale | |
Der Silbersee Severins revenge aria | |
Der Silbersee Severins revenge aria end of refrain | |
Wolfgang Amadeus Mozart Die Zauberflöte act 1 finale 16 Der Silbersee Melodrama | |
Der Silbersee Auf jener Strasse motif of illumination | |
Epic Opera | |
Aufstieg und Fall der Stadt Mahagonny act 1 introduction of dance rhythms in opening 19 Aufstieg und Fall der Stadt Mahagonny Typhoon fugato | |
Die Bürgschaft chorale People do not change by themselves | |
Die Bürgschaft Fog Scene | |
Fast während seines ganzen Fluges hatte der Flieger mit Nebel zu kämpfen | |
Didactic Theater Lehrstück | |
Der Jasager conclusion | |
Stages of Exile | |
Die sieben Todsünden Prologue 25 Die sieben Todsünden Prologue 26 Der Silbersee foxtrot for two bananas 27 Die sieben Todsünden Anger | |
Die sieben Todsünden Lust | |
Die sieben Todsünden Envy 30 Die sieben Todsünden Epilogue | |
A Kingdom for a Cow Prologue national anthem | |
The Eternal Road act 1 doubleaction scene | |
The Eternal Road act 1 Figaro allusion | |
Wolfgang Amadeus Mozart Le nozze di Figaro act 4 finale 35 The Eternal Road act 2 march theme | |
The Eternal Road act 2 Ring allusion sleep motif 37 Richard Wagner Die Walküre act 3 scene 3 | |
Musical Plays | |
Johnny Johnson Introduction 39 Happy End Das Lied vom Branntweinhändler | |
Der Kuhhandel Juans Lied 41 Knickerbocker Holiday September Song | |
Lady in the Dark Glamour Dream incipit of My Ship 43 Lady in the Dark This Is New beginning | |
You and Me The Right Guy for Me conclusion of verse opening of refrain | |
Street Scene opening Lonely House motto | |
Street Scene conclusion fate motif | |
Street Scene Somehow I never could believe | |
Street Scene Somehow I never could believe | |
Street Scene Introduction bustle motif | |
Street Scene Somehow I never could believe | |
Street Scene Introduction Moon Faced Starry Eyed | |
Pablo de Sarasate Introduction et Tarentelle op 43 opening | |
Street Scene Lonely House opening 64 Street Scene Lonely House ending | |
Down in the Valley The Lonesome Dove | |
Down in the Valley Down in the Valley 67 Down in the Valley Jennie and Brack embrace | |
Down in the Valley underscored spoken dialogue flight motif | |
Down in the Valley opening fanfare 70 Down in the Valley concluding fanfare | |
Love Life Here Ill Stay bridge 72 Love Life Here Ill Stay conclusion 73 Love Life Here Ill Stay opening sheet music | |
Love Life Here Ill Stay opening autograph pianovocal score | |
Lost in the Stars The Hills of Ixopo opening | |
Lost in the Stars O Tixo Tixo Help Me conclusion | |
Wolfgang Amadeus Mozart Die Zauberflöte Overture opening 78 Die Dreigroschenoper Drittes Dreigroschenfinale Browns recitative | |
Weills Works for Stage or Screen | |
Abbreviations | |
Notes | |
Credits | |
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Parole e frasi comuni
Adorno aesthetic American Anderson Anna artistic audience Aufstieg und Fall Baden-Baden Berlin Bertolt Brecht Brecht Broadway Bürgschaft Busoni chorus classical collaboration composer composition concept context creative critical cultural dance Der Jasager Der Kuhhandel Der Lindberghflug Der Protagonist Der Silbersee described Die Bürgschaft Die Dreigroschenoper dramatic Dreigroschenoper Drew earlier elements epic theater essay Eternal Road example exile expression Fall der Stadt film genre German Happy End Hindemith idea Jasager Johnny Johnson Knickerbocker Holiday Kuhhandel Kurt Weill Lehrstück Lenya letter libretto Lindberghflug Liza's melody motif movie musical numbers musical play musical theater Musik Offenbach opera operetta orchestral original performance piece political premiere production Protagonist published question quoted radio reprinted in GS role score sense sieben Todsünden Silbersee singing social song Songspiel Stadt Mahagonny stage Street Scene style stylistic theatrical Touch of Venus traditional Weill's music WLRC words work's write wrote York