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In the first musicological study of Kurt Weill's complete stage works, Stephen Hinton charts the full range of theatrical achievements by one of twentieth-century musical theater's key figures. Hinton shows how Weill's experiments with a range of genres—from one-act operas and plays with music to Broadway musicals and film-opera—became an indispensable part of the reforms he promoted during his brief but intense career. Confronting the divisive notion of \"two Weills\"—one European, the other American—Hinton adopts a broad and inclusive perspective, establishing criteria that allow aspects of continuity to emerge, particularly in matters of dramaturgy. Tracing his extraordinary journey as a composer, the book shows how Weill's artistic ambitions led to his working with a remarkably heterogeneous collection of authors, such as Georg Kaiser, Bertolt Brecht, Moss Hart, Alan Jay Lerner, and Maxwell Anderson.

The music of Gustav Mahler repeatedly engages with Romantic notions of redemption. This is expressed in a range of gestures and procedures, shifting between affirmative fulfilment and pessimistic negation. In this groundbreaking study, Stephen Downes explores the relationship of this aspect of Mahler's music to the output of Benjamin Britten, Kurt Weill and Hans Werner Henze. Their initial admiration was notably dissonant with the prevailing Zeitgeist – Britten in 1930s England, Weill in 1920s Germany and Henze in 1950s Germany and Italy. Downes argues that Mahler's music struck a profound chord with them because of the powerful manner in which it raises and intensifies dystopian and utopian complexes and probes the question of fulfilment or redemption, an ambition manifest in ambiguous tonal, temporal and formal processes. Comparisons of the ways in which this topic is evoked facilitate new interpretative insights into the music of these four major composers.

The French text portrays someone who could be male or female.Since it was written for Gauty, it may have originally portrayed some sort of homosexual relationship.The poet has a distinct style, cultivated not only through his own life experiences, but also through music.Because Britten and Auden shared an important relationship both professionally and personally, a discussion about the effect he had on Britten is important.According to Britten's diary, \"Johnny\" was composed on May fifth.Life has ended not only for the one in the coffin, but also for the one left.[...]shouldn't everyone in the world feel it also?

When Lady in the Dark opened on January 23, 1941, its many firsts immediately distinguished it as a new and unusual work.The curious directive to playwright Moss Hart to complete a play about psychoanalysis came from his own Freudian psychiatrist.

This is an analytical monograph by a Schenkerian music theorist, but it is also written by one performer and enthusiast for another. Tonality as Drama draws on the fields of dramaturgy, music theory, and historical musicology to answer a fundamental question regarding twentieth-century music: why does the use of tonality persist in opera, even after it has been abandoned in other genres? Combining the analytical approaches of the leading music and dramatic theorists of the twentieth century--Austrian music theorist Heinrich Schenker (1868-1935) and Russian director Constantin Stanislavsky (1863-1938)--Edward D. Latham reveals insights into works by Scott Joplin, George Gershwin, Kurt Weill, and Aaron Copland that are relevant to analysts, opera directors, and performers alike. Latham reveals a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of dramatic characters.

This article inspects selected thematic and adaptive links between Alan Paton’s classic South African novel, Cry, the Beloved Country, and its stage adaptation for Broadway by Maxwell Anderson and Kurt Weill, the musical tragedy Lost in the Stars. Particular focus is given to the latter work’s title song ‘Lost in the Stars’, in order to examine a Ulyssean-inspired message contained in its lyrics, which concerns God’s purported abandoning of humankind. To understand this message more fully, an earlier and unrealised collaboration of Anderson’s and Weill’s called Ulysses Africanus is investigated, dormant material of which resurfaced in their eventual adaptation of Paton’s novel. After a discussion of certain intricacies of adapting Cry, the Beloved Country into Lost in the Stars, it is demonstrated that Anderson’s religious worldview was incompatible with that which permeates Cry, the Beloved Country, with the result that Paton was greatly unhappy with Lost in the Stars.

The article analyzes and interprets the music to the television series Babylon Berlin (seasons 1-3: 2017-2020) as a pastiche that offers a multifaceted examination of historical images and imaginings of the Weimar Republic and its musical culture. A first step is an outline of the types of music used in the series according to different functions in terms of reference structure and dramaturgy. This includes processing the usage of historical footage from the 1920s. Analyses of three songs written for the series-“Zu Asche, zu Stau”; “Bitter Sweet”; “Bis in den Mondenschein”-with respect to their compositional and dramaturgical structure offers insight into the multilayered artistic handling of music-historical knowledge and the functions of reference afforded by pastiches.

The article analyzes and interprets the music to the television series Babylon Berlin (seasons 1-3: 2017-2020) as a pastiche that offers a multifaceted examination of historical images and imaginings of the Weimar Republic and its musical culture. A first step is an outline of the types of music used in the series according to different functions in terms of reference structure and dramaturgy. This includes processing the usage of historical footage from the 1920s. Analyses of three songs written for the series-“Zu Asche, zu Stau”; “Bitter Sweet”; “Bis in den Mondenschein”-with respect to their compositional and dramaturgical structure offers insight into the multilayered artistic handling of music-historical knowledge and the functions of reference afforded by pastiches.