Kurt Weill

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Not to be confused with Curt Vile, Kurt Vile, or Kurt Weil. Kurt Weill_sentence_0

Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a German composer, active from the 1920s in his native country, and in his later years in the United States. Kurt Weill_sentence_1

He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. Kurt Weill_sentence_2

With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad "Mack the Knife". Kurt Weill_sentence_3

Weill held the ideal of writing music that served a socially useful purpose. Kurt Weill_sentence_4

He also wrote several works for the concert hall. Kurt Weill_sentence_5

He became a United States citizen on August 27, 1943. Kurt Weill_sentence_6

Childhood Kurt Weill_section_0

Weill was born on March 2, 1900, the third of four children to Albert Weill (1867–1950) and Emma Weill (née Ackermann; 1872–1955). Kurt Weill_sentence_7

He grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau in Saxony, where his father was a cantor. Kurt Weill_sentence_8

At the age of twelve, 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. Kurt Weill_sentence_9

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. Kurt Weill_sentence_10

Weill performed publicly on piano for the first time in 1915, both as an accompanist and soloist. Kurt Weill_sentence_11

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. Kurt Weill_sentence_12

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, conducting with Rudolf Krasselt, and counterpoint with Friedrich E. Koch, and also attended philosophy lectures by Max Dessoir and Ernst Cassirer. Kurt Weill_sentence_13

The same year, he wrote his first string quartet (in B minor). Kurt Weill_sentence_14

Early work and compositions Kurt Weill_section_1

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. Kurt Weill_sentence_15

During this time, he composed an orchestral suite in E-flat major, a symphonic poem on Rainer Maria Rilke's The Lay of the Love and Death of Cornet Christopher Rilke, and Schilflieder ("Reed Songs"), a cycle of five songs to poems by Nikolaus Lenau. Kurt Weill_sentence_16

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. Kurt Weill_sentence_17

He subsequently composed a cello sonata and Ninon de Lenclos, a now lost one-act operatic adaptation of a play by Ernst Hardt. Kurt Weill_sentence_18

From May to September 1920, Weill spent a few months in Leipzig, where his father had become the director of a Jewish orphanage. Kurt Weill_sentence_19

Before he returned to Berlin, in September 1920, he composed Sulamith, a choral fantasy for soprano, female choir, and orchestra. Kurt Weill_sentence_20

Studies with Busoni Kurt Weill_section_2

Back in Berlin, Weill had an interview with Ferruccio Busoni in December 1920. Kurt Weill_sentence_21

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. Kurt Weill_sentence_22

From January 1921 to December 1923, Weill studied music composition with him and also counterpoint with Philipp Jarnach in Berlin. Kurt Weill_sentence_23

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. Kurt Weill_sentence_24

To support his family in Leipzig, he also worked as a pianist in a Bierkeller tavern. Kurt Weill_sentence_25

In 1922, Weill joined the November Group's music faction. Kurt Weill_sentence_26

That year he composed a psalm, a divertimento for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. Kurt Weill_sentence_27

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. Kurt Weill_sentence_28

Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Kurt Weill_sentence_29

Among his students were Claudio Arrau, Maurice Abravanel, Heinz Jolles (later known as Henry Jolles), Nikos Skalkottas, and Esther Zweig. Kurt Weill_sentence_30

Arrau, Abravanel, and Jolles remained members of Weill's circle of friends thereafter, 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. Kurt Weill_sentence_31

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. Kurt Weill_sentence_32

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. Kurt Weill_sentence_33

In December 1923, Weill finished his studies with Busoni. Kurt Weill_sentence_34

Success in the 1920s and early 1930s Kurt Weill_section_3

In 1922 he joined the Novembergruppe, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe. Kurt Weill_sentence_35

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. Kurt Weill_sentence_36

At Kaiser's house in Grünheide, Weill first met the singer and actress Lotte Lenya in the summer of 1924. Kurt Weill_sentence_37

The couple were married twice: in 1926 and again in 1937 (after their divorce in 1933). Kurt Weill_sentence_38

She 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. Kurt Weill_sentence_39

From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Kurt Weill_sentence_40

Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief. Kurt Weill_sentence_41

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 towards vocal music and musical theatre. Kurt Weill_sentence_42

His musical theatre work and his songs were extremely popular in Germany in the late 1920s and early 1930s. Kurt Weill_sentence_43

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. Kurt Weill_sentence_44

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. Kurt Weill_sentence_45

Engel directed the original production of The Threepenny Opera in 1928. Kurt Weill_sentence_46

It contains Weill's most famous song, "Mack the Knife" ("Die Moritat von Mackie Messer"). Kurt Weill_sentence_47

The stage success was filmed by G. Kurt Weill_sentence_48 W. Pabst in two language versions: Die 3-Groschen-Oper and L'opéra de quat' sous. Kurt Weill_sentence_49

Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit—which Weill won and Brecht lost. Kurt Weill_sentence_50

Weill's working association with Brecht, although successful, came to an end over politics in 1930. Kurt Weill_sentence_51

Though Weill associated with socialism, after Brecht tried to push the play even further into a left wing direction, Weill commented, according to his wife Lotte Lenya, that he was unable to "set the Communist Manifesto to music." Kurt Weill_sentence_52

Paris and New York Kurt Weill_section_4

Weill fled Nazi Germany in March 1933. Kurt Weill_sentence_53

A prominent and popular Jewish composer, Weill was officially denounced for his populist views and sympathies, 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). Kurt Weill_sentence_54

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. Kurt Weill_sentence_55

On April 13, 1933, his musical The Threepenny Opera was given its premiere on Broadway, but closed after 13 performances to mixed reviews. Kurt Weill_sentence_56

In 1934 he completed his Symphony No. Kurt Weill_sentence_57

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 []. Kurt Weill_sentence_58

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, 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. Kurt Weill_sentence_59

He and Lotte 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. Kurt Weill_sentence_60

They rented an old house with Paul Green during the summer of 1936 near Pine Brook Country Club in Nichols, Connecticut, the summer home of the Group Theatre, while finishing Johnny Johnson. Kurt Weill_sentence_61

Some of the other artists who summered there in 1936 were; Elia Kazan, Harry Morgan, John Garfield, Lee J. Cobb, Will Geer, Clifford Odets, Howard Da Silva and Irwin Shaw. Kurt Weill_sentence_62

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. Kurt Weill_sentence_63

His American output 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. Kurt Weill_sentence_64

In 1939 he wrote the music for Railroads on Parade, a musical spectacular put on at the 1939 World's Fair in New York to celebrate the American railroad industry (book by Edward Hungerford). Kurt Weill_sentence_65

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). Kurt Weill_sentence_66

He worked with writers such as Maxwell Anderson and Ira Gershwin, and wrote a film score for Fritz Lang (You and Me, 1938). Kurt Weill_sentence_67

Weill himself strove to find a new way of creating an American opera that would be both commercially and artistically successful. Kurt Weill_sentence_68

The most interesting attempt in this direction is Street Scene, based on a play by Elmer Rice, with lyrics by Langston Hughes. Kurt Weill_sentence_69

For his work on Street Scene Weill was awarded the inaugural Tony Award for Best Original Score. Kurt Weill_sentence_70

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. Kurt Weill_sentence_71

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. Kurt Weill_sentence_72

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. Kurt Weill_sentence_73

Weill became a naturalized citizen of the United States in 1943. Kurt Weill_sentence_74

Weill had ideals of writing music that served a socially useful purpose. Kurt Weill_sentence_75

In the US, he wrote Down in the Valley, an opera including the song of the same name and other American folk songs. Kurt Weill_sentence_76

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?"). Kurt Weill_sentence_77

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. Kurt Weill_sentence_78

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). Kurt Weill_sentence_79

Death Kurt Weill_section_5

Weill suffered a heart attack shortly after his 50th birthday and died on April 3, 1950, in New York City. Kurt Weill_sentence_80

He was buried in Mount Repose Cemetery in Haverstraw, New York. Kurt Weill_sentence_81

The text and music on his gravestone come from the song "A Bird of Passage" from Lost in the Stars, itself adapted from a quotation from the Venerable Bede: Kurt Weill_sentence_82

An excerpt from Maxwell Anderson's eulogy for Weill read: Kurt Weill_sentence_83

Kurt Weill_description_list_0

  • 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 ...Kurt Weill_item_0_0

Influence Kurt Weill_section_6

Weill's music continues to be performed both in popular and classical contexts. Kurt Weill_sentence_84

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. Kurt Weill_sentence_85

His music has since been recorded by many performers, ranging from Nina Simone, Judy Garland, Frank Sinatra, The Doors, Ella Fitzgerald, David Bowie, Robbie Williams, Judy Collins, John Zorn, Dagmar Krause, Steeleye Span, The Young Gods and PJ Harvey to New York's Metropolitan Opera and the Vienna Radio Symphony Orchestra. Kurt Weill_sentence_86

Singers as varied as Teresa Stratas, Ute Lemper, Gisela May, Anne Sofie von Otter, Max Raabe, Heinz Karl Gruber, Dee Dee Bridgewater and Marianne Faithfull have recorded entire albums of his music. Kurt Weill_sentence_87

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, Charlie Haden and Sting. Kurt Weill_sentence_88

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 on the name of the instrument maker Kurzweil) as a tribute to the composer. Kurt Weill_sentence_89

In 1991, the seminal Swiss industrial band The Young Gods released their album of Kurt Weill songs, The Young Gods Play Kurt Weill. Kurt Weill_sentence_90

Weill has also been often cited as an influence on Goldfrapp's Felt Mountain. Kurt Weill_sentence_91

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. Kurt Weill_sentence_92

In 2009 Duke Special released an EP, Huckleberry Finn, of five songs from an unfinished musical by Kurt Weill based on the novel by Mark Twain. Kurt Weill_sentence_93

Kurt Weill is a member of the American Theater Hall of Fame Kurt Weill_sentence_94

Kurt Weill Centre Kurt Weill_section_7

Main article: Kurt Weill Centre Kurt Weill_sentence_95

The Kurt Weil Centre (German:Kurt-Weill-Zentrum) in Dessau was founded in 1993. Kurt Weill_sentence_96

It provides a museum, library, archive and media centre and organises an annual festival celebrating the composer's work. Kurt Weill_sentence_97

It is housed in the Feininger house, a house designed by the architect Walter Gropius which was originally lived in by the artist Lyonel Feininger. Kurt Weill_sentence_98

The property is part of the World Heritage site the Bauhaus and its Sites in Weimar, Dessau and Bernau. Kurt Weill_sentence_99

The centre, with its collection of material on Weill, is listed as a cultural memorial of national importance. Kurt Weill_sentence_100

The centre is one of the "Beacons of light" of the Konferenz Nationaler Kultureinrichtungen (Conference of National Cultural Institutions), a union of cultural institutions in the new states of Germany i.e. area that was formerly East Germany. Kurt Weill_sentence_101

Kurt Weill Foundation for Music Kurt Weill_section_8

Founded by Lotte Lenya in 1962, the non-profit, private foundation is dedicated to promoting understanding of Weill's life and works and preserving the legacies of Weill and Lenya. Kurt Weill_sentence_102

The foundation administers the internationally recognized Lotte Lenya Competition, a grant program, various sponsorships and fellowships, the Weill-Lenya Research Center, and the Kurt Weill Prize, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter. Kurt Weill_sentence_103

Trustees of the New York-based organization have included Harold Prince, Victoria Clark, Jeanine Tesori, Tazewell Thompson, and Teresa Stratas. Kurt Weill_sentence_104

Relatives Kurt Weill_section_9

Kurt Weill's grandmother was Jeanette Hochstetter of Liedolsheim in Baden-Württemberg. Kurt Weill_sentence_105

Weill was one of four members of the same Hochstetter family to lead distinguished careers in the fields of music and literature. Kurt Weill_sentence_106

His first cousin once removed was Caesar Hochstetter (born January 12, 1863 in Ladenburg, a suburb of Mannheim – his date and place of death are unknown but this was probably during The Holocaust), a composer and arranger who collaborated with Max Reger and who dedicated to him. Kurt Weill_sentence_107

Caesar's younger brother was Gustav Hochstetter [] (born May 12, 1873, Mannheim – died 1942, Theresienstadt concentration camp), Professor of Literature at the University of Brussels, writer and poet and friend of Wilhelm Busch. Kurt Weill_sentence_108

His second cousin was the childhood prodigy pianist, Lisy Fischer (born August 22, 1900, Zürich, Switzerland – died June 6, 1999, Newcastle upon Tyne, England). Kurt Weill_sentence_109

Compositions Kurt Weill_section_10

Stage works Kurt Weill_section_11

Main article: List of works for the stage by Kurt Weill Kurt Weill_sentence_110

Concert works Kurt Weill_section_12

Cantatas Kurt Weill_section_13

Kurt Weill_unordered_list_1

  • 1920 : Sulamith, choral fantasy for soprano, female chorus and orchestra (lost)Kurt Weill_item_1_1
  • 1927 : Der neue Orpheus, cantata for soprano, solo violin and orchestra, op.16 (text: Yvan Goll)Kurt Weill_item_1_2
  • 1927 : Der Tod im Wald, cantata for bass and band (originally belonged to Das Berliner Requiem)Kurt Weill_item_1_3
  • 1928 : Das Berliner Requiem, cantata for tenor, baritone, male chorus (or three male voices) and wind orchestra (text: Bertolt Brecht)Kurt Weill_item_1_4
  • 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)Kurt Weill_item_1_5
  • 1940 : The Ballad of Magna Carta, cantata for tenor and bass soloists, chorus and orchestra (text: Maxwell Anderson)Kurt Weill_item_1_6
  • 1946 : "Kiddush", commissioned by cantor David Putterman, premiered at a Kiddush on May 10, 1946, at Park Avenue SynagogueKurt Weill_item_1_7

Chamber music Kurt Weill_section_14

Kurt Weill_unordered_list_2

  • 1918 : String Quartet in B minor (without opus number)Kurt Weill_item_2_8
  • 1923 : String Quartet op. 8Kurt Weill_item_2_9
  • 1919–1921 : Sonata for Cello and PianoKurt Weill_item_2_10

Piano music Kurt Weill_section_15

Kurt Weill_unordered_list_3

  • 1917 : IntermezzoKurt Weill_item_3_11
  • 1937 : Albumblatt for Erika (transcription of the pastorale from Der Weg der Verheissung)Kurt Weill_item_3_12

Orchestral works Kurt Weill_section_16

Kurt Weill_unordered_list_4

  • 1919 : Suite for orchestraKurt Weill_item_4_13
  • 1919 : Die Weise von Liebe und Tod, symphonic poem for orchestra after Rainer Maria Rilke (lost)Kurt Weill_item_4_14
  • 1921 : Symphony No.1 in one movement for orchestraKurt Weill_item_4_15
  • 1922 : Divertimento for orchestra, op.5 (unfinished, reconstructed by David Drew)Kurt Weill_item_4_16
  • 1922 : Sinfonia Sacra, Fantasia, Passacaglia and Hymnus for orchestra, op. 6 (unfinished)Kurt Weill_item_4_17
  • 1923 : Quodlibet, suite for orchestra from the pantomime Zaubernacht, op. 9Kurt Weill_item_4_18
  • 1925 : Concerto for violin and wind orchestra, op. 12Kurt Weill_item_4_19
  • 1927 : Bastille Musik, suite for wind orchestra (arranged by David Drew, 1975) from the stage music to Gustav III, by August StrindbergKurt Weill_item_4_20
  • 1929 : Kleine Dreigroschenmusik, suite from Die Dreigroschenoper for wind orchestra, piano and percussion, (premiere conducted by Otto Klemperer)Kurt Weill_item_4_21
  • 1934 : Suite panaméenne for chamber orchestra, (from Marie Galante [])Kurt Weill_item_4_22
  • 1934 : Symphony No. 2 in three movements for orchestra, (premiere by Royal Concertgebouw orchestra under Bruno Walter)Kurt Weill_item_4_23
  • 1947 : Hatikvah, arrangement of the Israeli National Anthem for orchestraKurt Weill_item_4_24

Lieder, Lieder cycles, songs and chansons Kurt Weill_section_17

Kurt Weill_unordered_list_5

  • 1919 : "Die stille Stadt", for voice and piano, text: Richard DehmelKurt Weill_item_5_25
  • 1923 : Frauentanz, Op. 10, song cycle for soprano, flute, viola, clarinet, horn and bassoon (after medieval poems)Kurt Weill_item_5_26
  • 1923 : Stundenbuch, song cycle for baritone and orchestra, text: Rainer Maria RilkeKurt Weill_item_5_27
  • 1925 : "Klopslied", for high voice, two piccolos and bassoon ("Ick sitze da un' esse Klops" – Berliner Lied)Kurt Weill_item_5_28
  • 1927 : Vom Tod im Wald (Death in the Forest), Op. 23, ballad for bass solo and ten wind instruments, text: Bertolt BrechtKurt Weill_item_5_29
  • 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)Kurt Weill_item_5_30
  • 1928 : "Die Muschel von Margate: Petroleum Song", slow-fox, text: Felix Gasbarra for the play by Leo Lania, KonjunkturKurt Weill_item_5_31
  • 1928 : "Zu Potsdam unter den Eichen" ("In Potsdam under the Oak Trees"), song for voice and piano, alternatively male chorus a cappella, text: Bertolt BrechtKurt Weill_item_5_32
  • 1928 : "Das Lied von den braunen Inseln", text: Lion Feuchtwanger, from the play by same author, Petroleum InselnKurt Weill_item_5_33
  • 1930?: "Lied vom weißen Käse" ("Song of the White Cheese") – unpublished, discovered in Berlin at the Free University of Berlin in 2017Kurt Weill_item_5_34
  • 1933 : "Der Abschiedsbrief", text: Erich Kästner, intended for Marlene DietrichKurt Weill_item_5_35
  • 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)Kurt Weill_item_5_36
  • 1933 : "Es regnet" ("It's Raining"), text: Jean Cocteau (direct into German)Kurt Weill_item_5_37
  • 1934 : "Je ne t'aime pas", text: Maurice Magre [] for the soprano Lys GautyKurt Weill_item_5_38
  • 1934 : "Les Filles de Bordeaux", text: Jacques Deval, from Marie Galante []Kurt Weill_item_5_39
  • 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 WarKurt Weill_item_5_40
  • 1934 : "Youkali" (originally the "Tango habanera", instrumental movement in Marie Galante), Text: Roger Fernay []Kurt Weill_item_5_41
  • 1934 : "Complainte de la Seine", text: Maurice MagreKurt Weill_item_5_42
  • 1939 : "Stopping by Woods on a Snowy Evening", song for voice and piano, text: Robert Frost (unfinished)Kurt Weill_item_5_43
  • 1939 : "Nanna's Lied", text: Bertolt Brecht (which also quotes François Villon's most famous poem), the song of a prostitute, from a play satirizing the Nazi party, written as a Christmas present for his wife Lotte LenyaKurt Weill_item_5_44
  • 1942–47 : Three Walt Whitman Songs, later Four Walt Whitman Songs for voice and piano (or orchestra), text: Walt WhitmanKurt Weill_item_5_45

Kurt Weill_ordered_list_6

  1. Oh Captain! My Captain! (Christmas 1941)Kurt Weill_item_6_46
  2. Dirge for Two Veterans (January 1942)Kurt Weill_item_6_47
  3. Beat! Beat! Drums! (Spring 1942)Kurt Weill_item_6_48
  4. Come Up From The Fields, Father (1947)Kurt Weill_item_6_49

Kurt Weill_unordered_list_7

  • 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)Kurt Weill_item_7_50
  • 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:Kurt Weill_item_7_51
    • 1942 : "Buddy on the Nightshift", text: Oscar HammersteinKurt Weill_item_7_52
    • 1942 : "Schickelgruber", text: Howard DietzKurt Weill_item_7_53
  • 1942 : "Und was bekam des Soldaten Weib?" ("And what was sent to the soldier's wife?"), ballad for voice and piano, text: Bertolt BrechtKurt Weill_item_7_54
  • 1944 : "Wie lange noch?", text: Walter Mehring; premiere: Lotte LenyaKurt Weill_item_7_55

Choral Kurt Weill_section_18

Kurt Weill_unordered_list_8

  • 1923 : Recordare, Op. 11Kurt Weill_item_8_56

Film music Kurt Weill_section_19

Kurt Weill_unordered_list_9

Select discography Kurt Weill_section_20

Orchestral, chamber, choral and other works Kurt Weill_section_21

Kurt Weill_unordered_list_10

  • Berliner Requiem / Violin Concerto op.12 / Vom Tod im Walde. Ensemble Musique Oblique/ Philippe Herreweghe (Harmonia Mundi, 1997)Kurt Weill_item_10_61
  • 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_item_10_62
  • Kurt Weill à Paris, Marie Galante and other works. Loes Luca, Ensemble Dreigroschen, directed by Giorgio Bernasconi, assai, 2000Kurt Weill_item_10_63
  • Melodie Kurta Weill'a i coś ponadto Kazik Staszewski (SP Records, 2001)Kurt Weill_item_10_64
  • Complete String Quartets. Leipziger Streichquartett (MDG 307 1071-2)Kurt Weill_item_10_65
  • Symphonies 1 & 2. BBC Symphony Orchestra, Gary Bertini (EMI, 1968)Kurt Weill_item_10_66

Song collections Kurt Weill_section_22

Kurt Weill_unordered_list_11

  • Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs (Sony 1997)Kurt Weill_item_11_67
  • Speak Low – Songs by Kurt Weill – Anne Sofie von Otter, conducted by John Eliot Gardiner (Deutsche Grammophon 1995)Kurt Weill_item_11_68
  • Youkali: Art Songs by Satie, Poulenc and Weill. Patricia O'Callaghan (Marquis, 2003)Kurt Weill_item_11_69
  • 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)Kurt Weill_item_11_70
  • Georgia Brown: September Song – Music of Kurt Weill, Decca LP SKL 4509 (1962), conducted by Ian FraserKurt Weill_item_11_71
  • Dee Dee Bridgewater: This is New (2002)Kurt Weill_item_11_72

Tributes Kurt Weill_section_23

Kurt Weill_unordered_list_12

See also Kurt Weill_section_24

Kurt Weill_unordered_list_13


Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Kurt Weill.