Hello everyone! Those above are two pictures taken by Antonio, my boyfriend had the pleasure to work fanzine. It 's the result of a long rumination and careful selection of five drawings-drawings of departure. We thought we'd take our democratic processes, and then a vote for that to be included in the zine:)
This however is my article-biography of Kurt Weill:)
Meine Frauen und Herren, round heads and elongated heads, followers believe veterans or novel Brechtian punk cabaret, and store the bowler fashion socks with white stripes and black, you go to the theater. And it's not cheap to see a play, but a work of exception: on stage, one actor. Single Act. Subject matter? Of the best: no names, only real last name, Weill. You're listening to.
If you were told you have to live only 50 years and one month alone, and I urge you not to waste a moment, probably some of you die obese and wrinkled after a life of excess, more slender and dissatisfied, the parchment skin from too many cigarettes smoke because of stress of a life spent thinking of doing something, but do nothing. Indeed, none felt Kurt Weill, as soon as he can sound mind, who would die died of a heart attack (As Bertolt Brecht comrade in arms), but he probably belongs to that kind of Ubermensch, in this absurd event, has distilled a little more to our advantage 'of his creativity, he wrote a few short score. But these are only allegations made by my perpetual dissatisfaction. Weill would not appreciate and he was even used to say: "To hell with posterity, I want you to hear my music now, while I'm alive." So I do not even imagine what it would be able to think if a little pain in the ass, more than half a century later, would dare to thwart so openly. But despite what he says, since the success it is decreed that by posterity, we can only assume the right to proclaim one of the major players in the music scene of the last century. Significant in this regard are the two contributions made in 1985 and 1997 respectively, the latter a short time away from the 70th anniversary of the first performance of "Die Dreigroschenoper", "Lost in the Stars", produced by Hal Willner, uses the collaboration (among others) of Sting, Tom Waits, John Zorn, Lou Reed and Carla Bey, "September Songs" as well as being an album released by Sony Classics label, is an innovative project cincematografico directed by Larry Weinstein, which contributed the most faithful Lou Reed, PJ Harvey, Nick Cave, Betty Carter, Elvis Costello and even the beat poet William S. Burroughs. It would be nice if also in international politics there was a lowest common term in a position to reconcile figures from disparate areas. The same Weill's career, on the other hand, combines classical music and folk, and jazz expressionism, images of dark, smoky cabaret with blazing scenes of Broadway. It is Gebrauchmusik dipanò linearly to the two contexts in which Weill works: Germany, the birthplace, home of the fragile Weimar Republic, which soon succumb in the face of National Socialism, and the U.S., where he settled in 1935 along with Lotte Lenya, forced by his Jewish ancestry as well as his political activism.
The musical talent of Kurt Weill emerged peremptorily adolescence: the Great War took place even in the occupation of a substitute teacher at the theaters of Dessau and Ludenscheid, after taking his first lessons in theory and composition with Albert Bing. Later he was a student at the Musikhochschule in Berlin in 1926 his first play debuted in Dresden with great success: it is "Der Protagonist", one-act opera on a libretto by Georg Kaiser. In the same work in 1927 for the playwright's comic opera "Der Czar laesst sich photographieren. In the same year dates the first collaboration with Bertolt Brecht, with whom he will life in "Mahagonny (Ein Songspiel)", commissioned by the Baden-Baden Music Festival, to be followed "Aufstieg und Fall der Stadt Mahagonny", represented for the first time on stage in Leipzig in 1930. Probably the most famous fruit of the duo was "Die Dreigroschenoper", which debuted in Berlin two years earlier, in 1928: the scores of exciting Weill were interpreted by his wife, singer Lotte Lenya, the Weimar Republic shook his numbness and received vitality and raison d'être: the work was the most successful theatrical run. Also on texts by Brecht Weill composed the cantatas Das Berliner Requiem "and" Der Flug der Lindberghs " the work "Happy End" and "Der Jasager" between 1929 and 1930, abandoning the strong structural system of creative youth in favor of dance beats and "popular." The constant collaboration with Brecht Weill stopped when he turned to another dramaturg, disappointed by the reduced role that Brecht was relegating the music in his political theater. In 1932 it achieved "Der Burgshaft", to a libretto in 3 acts of the famous stage designer Caspar Neher, Brecht's former collaborator. After renewed alliance with Brecht for "Die sieben Todsunden" and have composed a series of cabaret chanson, Weill will be established in the United States to escape persecution Nazi. In Germany, his works were banned, while overseas began the prolific period of Broadway and Hollywood. Already in 1937 his innovative score for the musical "Johnny Johnson" testimony that Weill was perfectly integrated into the new world. Among the most important emerging the soundtrack of "You and Me" by Fritz Lang (1938), the musical "Knickerboxer Holiday" (which appears in the 'now evergreen "September Song"), "Love Life" (1948) and "Lost in the Stars," the last play to Broadway. But not definitive in its plans: before his death in 1950, the versatile composer was in fact planning to make another work for the American stage, written specifically for the baritone Lawrence Tibbett.
Probably, in the international music scene today, the Dresden Dolls are a good hope for those who dream of an art versatile and 360 degrees in some respects, can return to the path traced by the good Weill. And God rest his soul.
If you were told you have to live only 50 years and one month alone, and I urge you not to waste a moment, probably some of you die obese and wrinkled after a life of excess, more slender and dissatisfied, the parchment skin from too many cigarettes smoke because of stress of a life spent thinking of doing something, but do nothing. Indeed, none felt Kurt Weill, as soon as he can sound mind, who would die died of a heart attack (As Bertolt Brecht comrade in arms), but he probably belongs to that kind of Ubermensch, in this absurd event, has distilled a little more to our advantage 'of his creativity, he wrote a few short score. But these are only allegations made by my perpetual dissatisfaction. Weill would not appreciate and he was even used to say: "To hell with posterity, I want you to hear my music now, while I'm alive." So I do not even imagine what it would be able to think if a little pain in the ass, more than half a century later, would dare to thwart so openly. But despite what he says, since the success it is decreed that by posterity, we can only assume the right to proclaim one of the major players in the music scene of the last century. Significant in this regard are the two contributions made in 1985 and 1997 respectively, the latter a short time away from the 70th anniversary of the first performance of "Die Dreigroschenoper", "Lost in the Stars", produced by Hal Willner, uses the collaboration (among others) of Sting, Tom Waits, John Zorn, Lou Reed and Carla Bey, "September Songs" as well as being an album released by Sony Classics label, is an innovative project cincematografico directed by Larry Weinstein, which contributed the most faithful Lou Reed, PJ Harvey, Nick Cave, Betty Carter, Elvis Costello and even the beat poet William S. Burroughs. It would be nice if also in international politics there was a lowest common term in a position to reconcile figures from disparate areas. The same Weill's career, on the other hand, combines classical music and folk, and jazz expressionism, images of dark, smoky cabaret with blazing scenes of Broadway. It is Gebrauchmusik dipanò linearly to the two contexts in which Weill works: Germany, the birthplace, home of the fragile Weimar Republic, which soon succumb in the face of National Socialism, and the U.S., where he settled in 1935 along with Lotte Lenya, forced by his Jewish ancestry as well as his political activism.
The musical talent of Kurt Weill emerged peremptorily adolescence: the Great War took place even in the occupation of a substitute teacher at the theaters of Dessau and Ludenscheid, after taking his first lessons in theory and composition with Albert Bing. Later he was a student at the Musikhochschule in Berlin in 1926 his first play debuted in Dresden with great success: it is "Der Protagonist", one-act opera on a libretto by Georg Kaiser. In the same work in 1927 for the playwright's comic opera "Der Czar laesst sich photographieren. In the same year dates the first collaboration with Bertolt Brecht, with whom he will life in "Mahagonny (Ein Songspiel)", commissioned by the Baden-Baden Music Festival, to be followed "Aufstieg und Fall der Stadt Mahagonny", represented for the first time on stage in Leipzig in 1930. Probably the most famous fruit of the duo was "Die Dreigroschenoper", which debuted in Berlin two years earlier, in 1928: the scores of exciting Weill were interpreted by his wife, singer Lotte Lenya, the Weimar Republic shook his numbness and received vitality and raison d'être: the work was the most successful theatrical run. Also on texts by Brecht Weill composed the cantatas Das Berliner Requiem "and" Der Flug der Lindberghs " the work "Happy End" and "Der Jasager" between 1929 and 1930, abandoning the strong structural system of creative youth in favor of dance beats and "popular." The constant collaboration with Brecht Weill stopped when he turned to another dramaturg, disappointed by the reduced role that Brecht was relegating the music in his political theater. In 1932 it achieved "Der Burgshaft", to a libretto in 3 acts of the famous stage designer Caspar Neher, Brecht's former collaborator. After renewed alliance with Brecht for "Die sieben Todsunden" and have composed a series of cabaret chanson, Weill will be established in the United States to escape persecution Nazi. In Germany, his works were banned, while overseas began the prolific period of Broadway and Hollywood. Already in 1937 his innovative score for the musical "Johnny Johnson" testimony that Weill was perfectly integrated into the new world. Among the most important emerging the soundtrack of "You and Me" by Fritz Lang (1938), the musical "Knickerboxer Holiday" (which appears in the 'now evergreen "September Song"), "Love Life" (1948) and "Lost in the Stars," the last play to Broadway. But not definitive in its plans: before his death in 1950, the versatile composer was in fact planning to make another work for the American stage, written specifically for the baritone Lawrence Tibbett.
Probably, in the international music scene today, the Dresden Dolls are a good hope for those who dream of an art versatile and 360 degrees in some respects, can return to the path traced by the good Weill. And God rest his soul.
0 comments:
Post a Comment