Kurt Weill is commonly described as if he have been two composers. One spun quintessential sounds of Weimar-era Berlin in works like “The Threepenny Opera,” and the opposite wrote progressive earworms for Broadway’s golden age. His profession was bifurcated, so the story goes — break up not solely by a shift in model, but additionally by the Atlantic Ocean, when he fled Nazi Germany and finally settled within the United States.
Yet it’s attainable to hint an unbroken line from Weill’s earliest works, as a teen, to his closing tasks for the American stage, earlier than his dying in 1950. This path is obvious in a current wave of streamed performances — from his hometown, Dessau, in addition to from Berlin, Milan and elsewhere — that collectively kind a tough survey of his European output and reveal a spongy thoughts, a want for novelty and a gradual development towards simplicity that discovered a pure dwelling in his pathbreaking Broadway musicals.
The oldest piece on provide got here, appropriately, from Dessau, the place Weill was born in 1900. Today it’s a dreary city within the former East Germany, however it has a wealthy cultural heritage: The Kurt Weill Center is inside one of many Masters’ Houses of the Bauhaus school, which is an area landmark and a venue for the annual Kurt Weill Festival. That celebration went on-line this 12 months, with occasions together with a spirited recital by the younger pianist Frank Dupree.
Between duets with the trumpeter Simon Höfele, Dupree performed “Intermezzo,” a brief piano solo from 1917, earlier than Weill had studied with the likes of Engelbert Humperdinck and Ferruccio Busoni or labored beneath the conductor Hans Knappertsbusch. You can already hear, on this tender work, a present for melody, in addition to the textural sophistication of Brahms.
Music historical past looms over Weill’s early efforts. The First Symphony (1921) — recently streamed by the Berlin Philharmonic beneath its chief conductor, Kirill Petrenko — displays the energetic enthusiasm of a scholar absorbing works of the post-Wagnerian era, with an expressionistic nod to Schoenberg and a debt to Mahler. But it has greater than a classroom sense of craft; Petrenko made a persuasive case for a way tautly constructed and delicately balanced the symphony is inside its uninterrupted, chaotic 25 minutes.
At the identical time, Weill was additionally displaying an curiosity in well-liked types, resembling in “Langsamer Fox und Algi-Song” — a textbook cabaret quantity that was charmingly organized by Dupree for piano and trumpet in his Dessau program. It foreshadows Weill’s embrace of the lowbrow, which he bent to ironic and politically charged impact in “The Threepenny Opera.” But that was nonetheless some years off, and till then, his music carried traces of modern atonality, with a teeming urge for originality that got here out in works just like the Concerto for Violin and Wind Orchestra, written in 1924 and featured in a stream by the Berlin Philharmonic’s Karajan Academy.
Despite the title, the concerto can be written for percussion and double basses; nonetheless, it’s a gambit of orchestration, pitting a string soloist in opposition to an ensemble of a lot louder devices. The Karajan musicians and the conductor Marie Jacquot — joined by the coolly ready violinist Kolja Blacher — could have performed with a timidity that paled a few of the piece’s wit. But general, they validated the declare of the musicologist Kim Kowalke, the president of the Kurt Weill Foundation and writer of the landmark research “Kurt Weill in Europe,” that “nowhere is the acuity of the ear more apparent than in the orchestration of the concerto.”
Elsewhere — resembling in “Der Neue Orpheus,” a cantata for soprano and violin soloists — Weill proved a grasp of balancing disparate voices, with a eager ear for exact orchestration. It’s why his works from the 1920s not often name for a big ensemble — and maybe why so a lot of them, usually uncared for for his or her modest scale, have been programmed in the course of the pandemic.
One that is still missed is the quick comedian opera “Der Zar Lässt Sich Photographieren” (“The Czar Has His Photograph Taken”), written in 1927 and the embodiment of the mocking query Busoni is alleged to have requested Weill: “What do you want to become, a Verdi of the poor?” (To which Weill responded, “Is that so bad?”) It’s simple leisure but additionally revolutionary, not least for its use of a prerecorded tango performed onstage from a gramophone.
The dramatic works which have not too long ago been staged, nevertheless, are vital as effectively. In Milan, the Teatro alla Scala paired “The Seven Deadly Sins” with “Mahagonny Songspiel,” Weill’s first collaboration with Bertolt Brecht (and the uncooked components for his or her full-length opera “Rise and Fall of the City of Mahagonny”). Weill’s music was already transferring away from its flirtation with atonality, towards misleading simplicity and a wholesale adoption of dance and jazz idioms; his objective was nothing lower than the reformation of music theater.
Weill sought out partnerships with the playwrights and poets he thought-about one of the best of their time. He had admired Brecht’s assortment “Die Hauspostille,” in addition to a radio broadcast of “Mann Ist Mann.” Though that they had totally different temperaments, and have been finally incompatible, the pair created a few of the definitive artworks of Weimar-era Berlin, wherein Weill’s music reached its most potent, most subversive political energy.
Irina Brook’s staging of “Mahagonny Songspiel” for La Scala — carried out clearly if slowly by Riccardo Chailly and that includes the mezzo-soprano Kate Lindsey and the soprano Lauren Michelle — was an imaginatively scrappy reflection of the New York Times critic Olin Downes’s report from the 1927 premiere, which he described as “a clever and savage skit on the degeneration of society, the triumph of sensualism, the decay of art.”
Chailly’s foot-dragging interpretation, which didn’t put sufficient belief within the music’s dancing rhythms and tempos, is a standard drawback amongst Weill performances at present. Members of the Berlin Philharmonic came close, but ultimately fell short, in taking part in the jubilant fox trot “Berlin im Licht” (1928) and the “Threepenny” suite “Kleine Dreigroschenmusik” (1929) in a single live performance, and Wilhelm Brückner-Rüggeberg’s suite from the “Mahagonny” opera, imprecisely conducted by Thomas Sondergard, in one other. Contrast these performances with Dupree’s rollicking association of “Berlin im Licht,” whose smiling spirit wouldn’t have been misplaced in a 1920s nightclub.
“Kleine Dreigroschenmusik” particularly reveals how the liveliness of dance is crucial to a Weill efficiency. The music needs to be pleasant, even whereas sticking its tongue out at you; that’s the sly magic of its politics, the triumph of Weill and Brecht’s partnership, admired to this present day by composers like David Lang. Otherwise, the piece dangers being weighty and ponderous — in different phrases, no enjoyable.
An energetic interpretation can carry even the much less profitable of Weill and Brecht’s tasks. Take “Happy End” (1929) — liked by neither man, however however full of hits together with “Bilbao-Song” and “Surabaya-Johnny.” For the Brecht Festival, in Augsburg, Germany, the actress Winnie Böwe, joined by Felix Kroll on accordion, salvaged the present by presenting “Happy End für Eilige,” a breathless abridgment that cleverly repurposed the script’s chunk in touches like singing the mocking hymn “Hosiannah Rockefeller” from inside an apse.
Weill and Brecht parted methods whereas getting ready a revised “Mahagonny” for its Berlin run in 1931. But they have been reunited of their exile following Hitler’s rise to energy in 1933. Weill had fled to Paris not lengthy after “Der Silbersee,” which options one among his most interesting European scores, turned a goal of Nazi demonstrations and was banned. In his new metropolis, he shortly acquired a fee from George Balanchine’s Les Ballets 1933.
It turned “The Seven Deadly Sins,” a “ballet chanté” that tells the story of two sisters — one singing, one dancing — who set out from Louisiana hoping to make sufficient cash within the large metropolis to construct their household a bit of dwelling on the Mississippi River. It’s a bitter story, liable to aggressive interpretations. But at La Scala, Lindsey struck a stability of ironic magnificence and grittier outbursts held in reserve for maximal impact. In Amsterdam, the Dutch National Opera presented its personal digital “Sins,” starring Eva-Maria Westbroek, who approached the position with a type of generic magnificence fascinatingly at odds with unhinged performing, intensified by the multicamera manufacturing’s kinetic close-ups and harsh lighting.
There is a few of the “Sins” rating in Weill’s Second Symphony, which was written on the similar time and premiered in 1934. Performed by the Karajan Academy alongside the violin concerto, this symphony is extra centered than its 1921 predecessor within the style, however can be composed with an easy language higher suited to dramatic than live performance works. It’s likable, however to what finish?
That’s a query you would ask of a lot of Weill’s music from this interlude between Berlin and Broadway. His inclination to novelty is mirrored extra in chameleonic adaptation than in innovation. Members of the Berlin Philharmonic recently played “Suite Panaméenne,” which is tailored from “Marie Galante” (1934), a present whose music is clearly desperate to be liked — and was, particularly the tango “Youkali” and the chanson “J’Attends un Navire,” which turned one thing of an anthem for the French Resistance. There is a confidence and an unpretentious ease in these songs, however they behave just like the work of a tunesmith. “J’Attends un Navire” doesn’t sound mockingly French, the best way schmaltz is skewered in “Mahagonny” as “eternal art”; it simply sounds authentically French.
But the hallmarks of this era in Weill’s life — excessive requirements for collaborative companions, a knack for internalizing various types, an ear for unforgettable melodies — would quickly serve him effectively within the United States. Some of his greatest work was nonetheless to return: setting Ira Gershwin’s lyrics in “Lady in the Dark”; mixing opera and Broadway with Langston Hughes in “Street Scene”; pioneering the idea musical with Alan Jay Lerner in “Love Life.”
He simply needed to get there first. That alternative would come a 12 months after “Marie Galante,” when Weill left for New York and a undertaking with a becoming provisional title: “The Road of Promise.”