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"Blitzstein, Marc"
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Translating the Gestus of “Mac the Knife”
“Die Moritat von Mackie Messer,” probably the most famous theatre song of the twentieth century, is known to most Americans simply as “Mac the Knife.” That title is the legacy of the Hit Parade of the 1950s. Like many Broadway show tunes, it had been yanked out of its theatre context and made into a commercial commodity.
Journal Article
Lost in The Cradle: The Reconstruction and Meaning of Marc Blitzstein’s “FTP Plowed Under” (1937)
Many are familiar with the infamous opening night of Marc Blitzstein's The Cradle Will Rock on Jun 16, 1937. But most are likely unaware of Blitzstein's theatrically staged rebuke of the Federal Theatre Project (FTP) a mere five months later. Blitzstein, so infuriated with the FTP and its direct censorship of The Cradle, turned to the most powerful weapon he knew: his pen. He wrote the musical skit \"FTP Plowed Under,\" which satirized the professional silencing he experienced at the hands of the federal government. Here, Wright discusses Blitzstein's FTP Plowed Under.
Journal Article
Brecht's Broadway Debut: The Faithful Failure of 3-Penny Opera (1933)
[...]uncongenial\" is exactly the \"mood\" that comes across in many reviews to a theatrical work that brazenly challenged so much about Broadway's bourgeois values, both aesthetic and political. According to Steve Giles, \"the 1931 version is designed to be read\" while \"the 1928 text bears the imprint of its theatrical realization\" (253).22 Aided, then, by Mendelssohn's direction (borrowed from Engel), Neher's designs, and a script that documented so many aspects of the first performance, Krimksy and Cochran were now prepared to faithfully \"import\" what they trumpeted in advertisements as \"The Continental Success\" (\"Display Ad\"). [...]cutting the scene would have had the effect of favoring the production's \"culinary\" appeals over its ideological provocations. There are a few things that stir men's souls, just a few, but the trouble is that after repeated use they lose their effect. Because man has the abominable gift of being able to deaden his feelings at will, so to speak.
Journal Article
Schoenberg and His World
As the twentieth century draws to a close, Arnold Schoenberg (1874-1951) is being acknowledged as one of its most significant and multifaceted composers.Schoenberg and His Worldexplores the richness of his genius through commentary and documents.
Marilyn McCoy opens the volume with a concise chronology, based on the latest scholarship, of Schoenberg's life and works. Essays by Joseph Auner, Leon Botstein, Reinhold Brinkmann, J. Peter Burkholder, Severine Neff, and Rudolf Stephan examine aspects of his creative output, theoretical writings, relation to earlier music, and the socio-cultural contexts in which he worked.
The documentary portions ofSchoenberg and His Worldcapture Schoenberg at critical periods of his career: during the first decades of the century, primarily in his native Vienna; from 1926 to 1933, in Berlin; and from 1933 on, in the U.S. Included here is the first complete translation into English of the remarkableFestschriftprepared for the 38-year-old Schoenberg by his pupils in 1912; it presciently explored the diverse talents as a composer, teacher, painter, and theorist for which he was later to be recognized. The Berlin years, when he held one of the most prestigious teaching positions in Europe, are represented by interviews with him and articles about his public lectures.
The final portion of the volume, devoted to the theme Schoenberg and America, focuses on how the composer viewed--and was viewed by--the country where he spent his final eighteen years. Sabine Feisst brings together and comments upon sources which, contrary to much received opinion, attest to both the considerable impact that Schoenberg had upon his newly adopted land and his own deep involvement in its musical life.
eBook
Marc Blitzstein Part 2, Composer with a message
First of a two-part series examining the life, work and influence of Marc Blitzstein. This series brings together comrades and admirers from the world of theater, and performance excerpts. The first program concentrates on reminiscences of the man and his work.
Streaming Video
Marc Blitzstein : the cradle will rock
Colleagues and admirers from the world of theater come together to examine the life, work and influence of Marc Blitzstein. Excerpts of performances are included.
Streaming Video
Marc Blitzstein : the cradle that rocked Broadway
\"Examination of the life, work and influence of Marc Blitzstein. With Aaron Copland, composer. Arvin Brown, director. John Houseman, producer-actor. Leonard Bernstein, composer. Actor-singers Howard Da Silva, Brenda Lewis, Jerry Jarrett, Joyce Ebert. Blitzstein's work includes \"The Cradle Will Rock\" (a 1937 Federal Theater Project project), \"Regina\" (based on Lillian Hellman's play \"The Little Foxes\"), and an adaptation of the Brecht-Weill musical play \"The Threepenny Opera.\" Through all his work there runs a vivid social consciousness, often expressed in angry commentary on injustice and the irony of misery in a land of plenty. When he died (in an act of violence when he was only 58) he was working on an opera about Sacco and Vanzetti. Performance excerpts include portions from the above titles as well as from Blitzstein's contributions to \"No For an Answer\", and \"Daarlin' Juno\". 1976.\"
Streaming Video
Marc Blitzstein: His Life, His Work, His World
Hisama reviews Marc Blitzstein: His Life, His Work, His World, by Howard Pollack.
Book Review