Three more Clara Haskil 10inch records have been added: A 00752 R, A 00753 R and G 05334 R (a reissue of A 00752 R)
See also this post.
Three more Clara Haskil 10inch records have been added: A 00752 R, A 00753 R and G 05334 R (a reissue of A 00752 R)
See also this post.
Added today: scans of a peculiar album (in English: “When The Baby Comes…”), featuring pregnancy gymnastics for the soon to be mother – though the front cover shows the baby already. Included is a laminated insert with exercises and photos (the model is a non-pregnant woman!). Click on the front cover image below to see all images (including the insert).
Around 50 records, mainly classical 10inch albums, have been added to the website in the last week. No scans yet, just the album information has been entered.
Today I finished the Favourite Series (on LP) featuring the cover photography of Paul Huf. All albums from this series that I have in my possession are scanned (front, back, labels) and all pages have navigation buttons for going through the pages easily.
Other than that, I also added scans for the following:
Today I added the album “Lotte Lenya Sings Kurt Weill” (Philips B 07089 L). Lenya and Weill two were married twice and an interesting history sketch can be found on Wikipedia. I used parts of the text and pasted it below.
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. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad “Mack the Knife”. Weill held the ideal of writing music that served a socially useful purpose. He also wrote several works for the concert hall. He became a United States citizen on August 27, 1943.
Weill was born on March 2, 1900, the third of four children to Albert Weill (1867–1950) and Emma Weill (née Ackermann; 1872–1955). He grew up in a religious Jewish family in the “Sandvorstadt”, the Jewish quarter in Dessau in Saxony, where his father was a cantor. 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” (a Jewish Wedding song).
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. Weill performed publicly on piano for the first time in 1915, both as an accompanist and soloist. 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.
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. The same year, he wrote his first string quartet (in B minor).
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. During this time, he composed an orchestral suite in E-flat major, a symphonic poem of Rainer Maria Rilke’s The Lay of the Love and Death of Cornet Christopher Rilke as well as Schilflieder, a cycle of five songs to poems by Nikolaus Lenau. 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. He subsequently composed a cello sonata and Ninon de Lenclos, a now lost one-act operatic adaptation of a play by Ernst Hardt. From May to September 1920, Weill spent a couple of months in Leipzig, where his father had become the director of a Jewish orphanage. Before he returned to Berlin, in September 1920, he composed Sulamith, a choral fantasy for soprano, female choir, and orchestra.
Back in Berlin, Weill had an interview with Ferruccio Busoni in December 1920. 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.
From January 1921 to December 1923, Weill studied music composition with him and also counterpoint with Philipp Jarnach in Berlin. 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. To support his family in Leipzig, he also worked as a pianist in a Bierkeller tavern. In 1922, Weill joined the November Group’s music faction. That year he composed a psalm, a divertimento for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. 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.
Out of financial need, Weill taught music theory and composition to private students from 1923 to 1925. Among his students were Claudio Arrau, Maurice Abravanel, Heinz Jolles (later known as Henry Jolles) and Nikos Skalkottas. 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.
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. 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. In December 1923, Weill finished his studies with Busoni.
In 1922 he joined the Novembergruppe, a group of leftist Berlin artists that included Hanns Eisler and Stefan Wolpe. 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. At Kaiser’s house in Grünheide, Weill first met singer/actress Lotte Lenya in the summer of 1924. The couple were married twice: in 1926 and again in 1937 (following their divorce in 1933). 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. From November 1924 to May 1929, Weill wrote hundreds of reviews for the influential and comprehensive radio program guide Der deutsche Rundfunk. Hans Siebert von Heister had already worked with Weill in the November Group, and offered Weill the job shortly after becoming editor-in-chief.
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 to vocal music and musical theatre. His musical theatre work and his songs were extremely popular with the wider public in Germany at the end of the 1920s and the beginning of the 1930s. 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.
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. Engel directed the original production of The Threepenny Opera in 1928. It contains Weill’s most famous song, “Mack the Knife” (“Die Moritat von Mackie Messer”). The stage success was filmed by G. W. Pabst in two language versions: Die 3-Groschen-Oper and L’opéra de quat’ sous. Weill and Brecht tried to stop the film adaptation through a well publicised lawsuit—which Weill won and Brecht lost. Weill’s working association with Brecht, although successful, came to an end over politics in 1930. 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 party manifesto to music.”
Weill fled Nazi Germany in March 1933. 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). 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.
On April 13, 1933 his musical The Threepenny Opera was given its premiere on Broadway, but closed after 13 performances to mixed reviews. In 1934 he completed his Symphony No. 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. 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.
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. 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. 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.
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. 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. 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). 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). He worked with writers such as Maxwell Anderson and Ira Gershwin, and wrote a film score for Fritz Lang (You and Me, 1938). Weill himself strove to find a new way of creating an American opera that would be both commercially and artistically successful. The most interesting attempt in this direction is Street Scene, based on a play by Elmer Rice, with lyrics by Langston Hughes. For his work on Street Scene Weill was awarded the inaugural Tony Award for Best Original Score.
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. 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. 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. Weill became a naturalized citizen of the United States in 1943.
Weill had ideals of writing music that served a socially useful purpose. In the US, he wrote Down in the Valley, an opera including the song of the same name and other American folk songs. 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?”). 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.
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).
Weill suffered a heart attack shortly after his 50th birthday and died on April 3, 1950, in New York City. He was buried in Mount Repose Cemetery in Haverstraw, New York.
In 1922, Lenya was seen by her future husband, German-Jewish composer Kurt Weill, during an audition for his first stage score Zaubernacht, but because of his position behind the piano, she did not see him. She was cast, but owing to her loyalty to her voice coach, she declined the role. She accepted the part of Jenny in the first performance of The Threepenny Opera (Die Dreigroschenoper) in 1928, and the part became her breakthrough role. During the last years of the Weimar Republic, she was busy in film and theatre, and especially in Brecht-Weill plays. She made several recordings of Weill’s songs.
With the rise of National Socialism in Germany, many artists were not appreciated, and although not Jewish, she left the country, having become estranged from Weill. (They would later divorce and remarry.) In March 1933, she moved to Paris, where she sang the leading part in Brecht-Weill’s “sung ballet”, The Seven Deadly Sins.
Lenya and Weill settled in New York City on 10 September 1935. During the summer of 1936, Weill, Lenya, Paul Green, and Cheryl Crawford rented a house at 277 Trumbull Avenue in Nichols, Connecticut, about 2 miles from Pine Brook Country Club, the summer rehearsal headquarters of the Group Theatre. Here, Green and Weill wrote the screenplay and music for the controversial Broadway play Johnny Johnson, which was titled after the most frequently occurring name on the American casualty list of World War I. During this period, Lenya had a love affair with playwright Paul Green.
During World War II, Lenya did a number of stage performances, recordings, and radio performances, including for the Voice of America. After a badly received part in her husband’s musical The Firebrand of Florence in 1945 in New York, she withdrew from the stage. After Weill’s death in 1950, she was coaxed back to the stage. She appeared on Broadway in Barefoot in Athens and married editor George Davis.
In 1956, she won a Tony Award for her role as Jenny in Marc Blitzstein’s English version of The Threepenny Opera, the only time an off-Broadway performance has been so honored. Lenya went on to record a number of songs from her time in Berlin, as well as songs from the American stage. Her voice had deepened with age. When she was to sing the soprano part in Rise and Fall of the City of Mahagonny and The Seven Deadly Sins, the part needed transposition to substantially lower keys.
Sprechstimme was used in some famous songs in the Brecht-Weill plays, but now Lenya used it even more to compensate for the shortcomings of her voice. Lenya was aware of this as a problem; in other contexts, she was very careful about fully respecting her late husband’s score.
She founded the Kurt Weill Foundation for Music, to administer incomes and issues regarding rights, and to spread knowledge about Weill’s work. She was present in the studio when Louis Armstrong recorded Brecht-Weill’s “Mack the Knife”*. Armstrong improvised the line “Look out for Miss Lotte Lenya!” and added her name to the list of Mack’s female conquests in the song.
Her role as Vivien Leigh’s earthy friend Contessa Magda Terribili-Gonzales in the screen version of Tennessee Williams’ “The Roman Spring of Mrs. Stone” (1961) brought Lenya Academy Award and Golden Globe nominations as Best Supporting Actress. In 1963, she was cast as the spectre agent Rosa Klebb in the James Bond movie “From Russia with Love” starring Sean Connery and Robert Shaw.
In 1966, Lenya originated the role of Fräulein Schneider in the original Broadway cast of the musical “Cabaret”. Kander and Ebb’s score was considered by some to be inspired by Weill’s music. In 1979, two years before her death, Lotte Lenya was inducted into the American Theater Hall of Fame. Lenya died in Manhattan of cancer in 1981, aged 83. She is buried next to Weill at Mount Repose Cemetery in Haverstraw, New York.
* Louis Armstrong’s version can be found on several Philips issues, for instance on this one: EP 12035.
Scans have been added for the following albums and 7 inch records:
The first more or less complete recorded version of “Porgy And Bess” appeared on Columbia in 1951. As a result of the cooperation between Philips and Columbia the recordings were released in Europe on the Philips label in 1955 (probably). I acquired a copy of this 3LP album recently.
Gershwin’s opera was an important work of art and the following text (from Wikipedia) explains (partly) why.
Porgy and Bess is an English-language opera by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin. It was adapted from Dorothy Heyward and DuBose Heyward’s play Porgy, itself an adaptation of DuBose Heyward’s 1925 novel of the same name.
Porgy and Bess was first performed in Boston on September 30, 1935, before it moved to Broadway in New York City. It featured a cast of classically trained African-American singers—a daring artistic choice at the time. After an initially unpopular public reception, a 1976 Houston Grand Opera production gained it new popularity, and it is now one of the best-known and most frequently performed operas.
The libretto of Porgy and Bess tells the story of Porgy, a disabled black street-beggar living in the slums of Charleston. It deals with his attempts to rescue Bess from the clutches of Crown, her violent and possessive lover, and Sportin’ Life, her drug dealer. The opera plot generally follows the stage play.
In the years following Gershwin’s death, Porgy and Bess was adapted for smaller scale performances. It was adapted as a film in 1959. Some of the songs in the opera, such as “Summertime”, became popular and are frequently recorded.
About the recordings:
Columbia recorded a 3 LP album (1951) of what was then the standard performing version of Porgy and Bess – the most complete recording made of the opera up to that time. It was billed as a “complete” version, but was complete only insofar as that was the way the work was usually performed then (actually, nearly an hour was cut from the opera.) Because album producer Goddard Lieberson was eager to bring as much of Porgy and Bess as he felt was practical on records at the time, the recording featured more of Gershwin’s original recitatives and orchestrations than had ever been heard before. The recording was conducted by Lehman Engel, and starred Lawrence Winters and Camilla Williams, both from the New York City Opera. Several singers who had been associated with the original 1935 production and the 1942 revival of Porgy and Bess were finally given a chance to record their roles more or less complete. The album was highly acclaimed as a giant step in recorded opera in its time. The album is not sung in as directly “operatic” a style as later versions, treading a fine line between opera and musical theatre.
The complete Wikipedia text can be read here.
Porgy and Bess albums and singles on this website:
Over 60 singles and EP’s have been added to the website. I have had these for some time but had not entered them yet. Images need to be added.