 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Well, Mr. Phelps, your mission, etc, etc, is to get this album. Wilner also did a fantastic Rota/Fellini tribute and a Thelonious Monk tribute.
|
|
|
|
|
|
Yep, all of those tributes are fantastic albums - I particularly recall the Weill and the Monk.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've read a couple of Weill bios. The Days Grow Short by Ronald Sanders is thorough and entertaining.
|
|
|
|
|
|
|
 |
Posted: |
Feb 9, 2020 - 1:38 PM
|
|
|
|
By: |
Jim Phelps
(Member)
|
I've read a couple of Weill bios. The Days Grow Short by Ronald Sanders is thorough and entertaining.
Scrolling quickly through Amazon, and The Days Grow Short (OOP) looks to be the lone proper Weill biography. Everything else I've seen deals with his relationship with Lotte Lenya or with distinct aspects of his career.
Speaking of which, "The Partnership: Brecht, Weill, Three Women, and Germany on the Brink" looks promising.
"Among the most creative and outsized personalities of the Weimar Republic, that sizzling yet decadent epoch between the Great War and the Nazis' rise to power, were the renegade poet Bertolt Brecht and the rebellious avant-garde composer Kurt Weill. These two young geniuses and the three women vital to their work—actresses Lotte Lenya and Helene Weigel and writer Elizabeth Hauptmann—joined talents to create the theatrical and musical masterworks The Threepenny Opera and The Rise and Fall of the City of Mahagonny, only to split in rancor as their culture cracked open and their aesthetic and temperamental differences became irreconcilable.
"The Partnership is the first book to tell the full story of Brecht and Weill's impulsive, combustible partnership, the compelling psychological drama of one of the most important creative collaborations of the past century. It is also the first book to give full credit where it is richly due to the three women whose creative gifts contributed enormously to their masterworks. And it tells the thrilling and iconic story of artistic daring entwined with sexual freedom during the Weimar Republic's most fevered years, a time when art and politics and society were inextricably mixed."
https://www.amazon.com/Partnership-Brecht-Weill-Three-Germany/dp/0385534914
|
|
|
|
|
|
|
I just ordered Phillip Lambro's Los Angeles, 1937. Haven't heard it yet, but one review I read said that it had a Kurt Weill flavor to it--which, frankly, conflicts with everything I've heard about Lambro's score. Looking forward to hearing it. Reading the new book on Chinatown has put me in the mood.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The Kurt Weill tribute album produced by Hal Wilner is fantastic with covers by rockers, jazzbos, and eccentrics of all types and it is really an eye-opener into Weill's music. When I first heard this, mid-eighties, I was floored, and I've been a Weill nut ever since. It's called Lost in the Stars.
Also, Richard Peaslee's bizarre song-score for Marat/Sade indicates some Weill influence.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 23, 2020 - 8:49 PM
|
|
|
|
By: |
EricHG30
(Member)
|
I don't think it's ever had an official release, but John Kander's score for Something for Everyone has a Weill quality to it (no big surprise since Kander often evoked Weill in his musicals with Fred Ebb--Cabaret, particularly the original stage version with Lotte Lenya's songs which were cut in the film as was that storyline,and I know it's been mentioned, and to a much lesser degree Chicago, in particular).
Though Weill changed his sound somewhat for his Broadway work, there's a lot of great stuff there too (not just My Ship, The Saga of Jenny, Speak Low and September Song, the best known Broadway stuff). I really recommend Jerry Hadley's album of Weill's Broadway songs, conducted by John McGlinn who restored for the first time their original Kurt Weill's orchestrations. http://castalbums.org/recordings/Kurt-Weill-On-Broadway-1996-Thomas-Hampson/5096
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
