One of the most versatile and influential composers of the musical theatre in the twentieth century, Kurt Weill (b. Dessau, Germany, March 2, 1900; d. New York, April 3, 1950),
had two important careers, one in Germany in the 1920s, the other from
his emigration to the United States in 1935 until his death. The style
of his second period is sharply distinct from that of the first. Die Dreigroschenoper (The Threepenny Opera
1928) is by far his best known stage piece; its famous "Mack the Knife"
("Die Moritat von Mackie Messer") has been recorded countless times by
an unbelievably wide range of artists (Bobby Darin, Louis Armstrong,
Lotte Lenya). Weill also composed a number of "serious" works for the
concert hall.
The third of four children born to a cantor in the
Jewish quarter of Dessau, Weill began piano lessons at the age of twelve
and soon began to write songs, mostly to the verse of serious poets. He
studied piano, composition, theory, and conducting from 1915 with
Albert Bing, Kapellmeister at Dessau's "Court Theatre," and occasionally
performed as Bing's stand-in. At eighteen he went to Berlin to the
Hochschule für Musik, and wrote his first string quartet under the
tutelage of Engelbert Humperdinck (composer of Hansel and Gretel).
That eminent Wagnerian apparently had little time for him, and when
Weill learned that his family had fallen on hard times, he returned to
Dessau.
He joined the staff of the Friedrich-Theater as a
rehearsal pianist, and in 1919 obtained a post at the Stadttheater in
Lüdenscheid, where he directed light opera for a few months. He returned
to Berlin in late 1920 to study composition with Ferruccio Busoni,
eking out a living playing the piano in a beer-hall.
Most of Kurt Weill's compositions of this period
were those of a young man with high aspirations: a symphony, a choral
fantasy, a psalm. The first of them to find its way to the public stage
was a children's pantomime Die Zaubernacht (The Magic Night), premiered in late 1922. Soon thereafter, the Berlin Philharmonic performed his Divertimento for Orchestra
and the Hindemith-Amar Quartet played his String Quartet Op. 8. In late
1923 Weill concluded his studies with Busoni and was well on his way to
being seen as one of the leading composers of his generation.
In 1926, Weill's first opera, Der Protagonist,
in one act, had a sensational debut in Dresden. Its librettist was
Georg Kaiser, the most prominent playwright during the years of the
Weimar Republic. Kaiser's expressionist style avoided characterization
and psychology, relying on archetypes to focus on society's ills; his
influence was strong upon the dramatists Iwan Goll and Bertolt Brecht,
who would also work closely with Weill. Kaiser collaborated on two more
stage works, the comic opera Der Zar lässt sich photographieren (The Czar Has His Picture Taken 1928) and a play with music, Der Silbersee (The Silver Lake 1933).
Through Kaiser, Weill met actress and singer Lotte
Lenya in the summer of 1924. They would be married in 1926, divorced in
1933, and married again in the United States in 1937. Theirs was an
"open" marriage that lasted until Weill's death in 1950. Lenya
subsequently established the Kurt Weill Foundation for the management
and promotion of his legacy.
Weill first sought a collaboration with Bertolt Brecht in 1927, in the creation of a cabaret-scaled "Songspiel," Mahagonny. Its scandalous success encouraged them to expand the work to opera length, and as Der Aufstieg und Fall der Stadt Mahagonny (The Rise and Fall of the City of Mahagonny),
it premiered in Leipzig in March 1930. In the three years between,
Brecht and Weill worked together on numerous theatrical projects, among
them the wildly popular Threepenny Opera and Happy End
(1929). All this time, workaholic Weill was writing critical reviews by
the hundreds for the German Radio's program guide. The last
collaboration with Brecht was the sung ballet Die sieben Todsünden (The Seven Deadly Sins 1933), produced in Paris (and starring Lotte Lenya) after both Brecht and Weill had fled the Nazis' rise to power.
In September 1935 Weill and Lenya (now divorced)
traveled to New York. Max Reinhardt was producing an epic stage-piece by
Franz Werfel, Der Weg der Verheissung (The Promised [later "Eternal"] Road
1937), for which Weill had written an ambitious score. Though this
project was delayed, the Group Theatre was putting together a musical
play on Hasek's The Good Soldier Schweik, and finding Weill close at hand, engaged him to write Johnny Johnson. Thus for a time in 1937 two successful Weill works were running on Broadway simultaneously.
Weill pursued the foremost playwrights of the day as his collaborators: Maxwell Anderson (Knickerbocker Holiday 1938, with Weill's first standard hit "September Song"; Lost in the Stars 1949), Moss Hart (Lady in the Dark 1940, with lyrics by Ira Gershwin), and S.J. Perelman (One Touch of Venus
1943, with another timeless hit, "Speak Low," lyrics by Ogden Nash). In
1947 the Playwrights Producing Company, to which he had been elected as
its only musician, brought Weill's opera Street Scene, with a libretto based on Elmer Rice's Pulitzer Prize-winning play and lyrics by the Harlem poet Langston Hughes, to Broadway.
The temperament of Street Scene (which won the first Tony Award® for Best Original Score) is a far cry from that of Mahagonny;
one would hardly guess it was by the same composer. Weill had become a
US citizen in 1943, and avoided using the German language again, except
to write to his parents who had escaped to Israel. He had also traded
the brittle, dissonant, confrontational style of his Weimar compositions
for a more lyrical, pacific approach when he turned to the American
theatre – indeed Weill believed his German works had been destroyed.
Shortly after his fiftieth birthday, still working
overtime, Weill died of a heart attack. His death immediately stimulated
a resurgence of interest in his earlier work: Der Aufstieg und Fall der Stadt Mahagonny is now firmly entrenched in the operatic repertory; The Threepenny Opera continues to be performed and known by heart all over the world.
Liszt also gave a number of public concerts, including a musical matinee on 18 June at the Franchini Mansion at Buyukdere. Further private and public concerts were held at the Fethi Pasha Mansion and the Russian Embassy at Pera on 28 June. During this concert, “Liszt saw the panorama of Istanbul from the window and got really excited of seeing the east and the west at the same time. He even thought that he could seen Mount Olympus in the distance.” During his five-week stay, Giuseppe Donizetti hosted Liszt and he arranged accommodations for him at the home of the piano manufacturer Alexander Kommendinger. Donizetti had previously composed two marches for the Sultan, and at Liszt’s request, Donizetti gave him his compositions. “Liszt was in my house,” he writes. “He has just left. He wanted the notes of the two marches I composed for the Sultan. He said he was going to work them into variations sets.” Liszt first played the variations during concerts at Buyukdere on 14 and 15 June. Liszt eventually wrote out the manuscript and gave it to the Austrian ambassador, who passed it to the Minister of Foreign Affairs, who in turn presented it to the Sultan. In return, Liszt received the already mentioned enamel box studded with diamonds. Additionally, the Sultan handed Liszt a special seal, with the name of the composer written in Arabic alphabet with Turkish letters, and we do know that Liszt used it to seal a number of his letters. As it turns out, Istanbul delivered the perfect setting for Liszt to say goodbye to his life as a traveling virtuoso.
