Product Description
His best-known song is "Mack the Knife," with words by Bertolt Brecht, from The Threepenny Opera, first performed in Weimar Berlin in 1928. Five years later, Kurt Weill fled the Nazis to come to America, where he soon emerged as one of the most admired composers of the Broadway musical stage. His shows included: Knickerbocker Holiday, Lady in the Dark, One Touch of Venus, Street Scene and Lost in the Stars. His songs: "My Ship," "September Song," "Speak Low" and "It Never Was You." This biography concentrates on Weill's career in the United States, but its aim is to explore the truth in the comment made by Weill's wife, the unforgettable Lotte Lenya: "There is no American Weill, there is no German Weill. There is no difference between them. There is only Weill." ... Read more

Customer Reviews (3)

Excellent Overview of Weill's Work for the Theatre
Kurt Weill's career has been hotly debated for more than 60 years.The questions began while he was still alive:Did he sell out his German artistry for the crass commercialism of Broadway?Or did he only really come into his own when he was freed from European snobbery?The answer is that both opinions are somewhat true and somewhat false.Rather than treat Weill's work as two separate careers, a European one and an American one as most commentators seem to do, Foster Hirsch treats Weill's career as a single entity.Hirsch's KURT WEILL ON STAGE is a superb chronological overview of Kurt Weill's work for the theatre, showing the logical evolution of his work.Weill became a world famous celebrity by age 30 as a result of his sensational THREEPENNY OPERA and MAHAGONNY.With the rise of Hitler and the Nazis, Weill wisely fled Germany, ending up in America after a period in Paris.But could he succeed in a new country and a new culture?Many distinguished European artist-refugees of that period simply could not adapt and faded into obscurity.Weill determined that he could succeed by writing in an American idiom.He made the transition quite smoothly, creating a string of popular Broadway shows that spawned hit songs like "September Song" and "Speak Low" before dying of a heart attack at age 50.At the time of his death he seems to have been just another Broadway composer, but with the passage of time, Weill's reputation has grown and he is now recognized as one of the 20th Century's great composers.In Hirsch's book, Weill's American shows are revealed to be a continuation of the innovative thrust of THREEPENNY OPERA.Just as he had worked with the prodigy Berthold Brecht in Germany, in America he collaborated with the nation's most prestigious writers, including the Pulitzer Prize winners Paul Green, Maxwell Anderson, Ira Gershwin, Moss Hart and Elmer Rice.Among his other collaborators were Ogden Nash and a pre-MY FAIR LADY Alan Jay Lerner.He worked with such noted directors as Max Reinhardt, Elia Kazan and Josh Logan and choreographers George Balanchine and Agnes DeMille.Mary Martin had her first starring role on Broadway in ONE TOUCH OF VENUS.Gertrude Lawrence made a huge hit in LADY IN THE DARK, which also catapulted Danny Kaye and Victor Mature to fame.And of course, there was Lotte Lenya, the German star whose unorthodox marriage to Weill is still confounding to most people.She had affairs with members of both sexes before, during and after the marriage to Weill; He made no secret of his affairs with other women.But they had an unbreakable bond that went beyond sex.Lenya devoted her life to promoting his work after he died and achieved her greatest fame late in life.

Hirsch keeps his opinions of the work fairly restricted, which I appreciated.The only Weill score he really seems to denigrate is LOST IN THE STARS.(I have to agree with him, though.)This is not really a biography of Weill.The biographical aspects of the book are very sketchy.They are there to provide a context for the work.I enjoyed this book enormously and listened to all my old Weill recordings (and bought some new ones) during the weeks I was reading it.There will probably be a revival of interest in Weill with the arrival of the new Broadway show LOVE MUSIK, which deals with the relationship of Weill and Lenya.KURT WEILL ON STAGE provides an excellent overview of Weill's life and work that I would recommend to anyone interested in the subject.

Inspiration for those who write for the musical stage
Kurt Weill On Stage, a scholarly study published in 2002 by Foster Hirsch, is an outstanding overview of the theatrical career of one of the most talented and ambitious composers writing for the stage in the 20th century.Hirsch has access to the excellent materials of the Weill-Lenya Research Center and the support of the Kurt Weill Foundation for Music; he supplements the vast array of correspondence and interviews available to him with interviews and accounts of the creation of the works from participants and spectators. He writes compellingly about Weill's gifts as musical dramatist and collaborator. The book is utterly inspiring to anyone (like me) who has ambitions to write for the musical stage.

A Biography that focuses on Weill's enitre career
Too often, scholarly work on Kurt Weill focuses mainly on his German career in the 1920s-- "The Threepenny Opera," "Mahagonny"-- but Weill had a career that extended well into the 1940s as a Broadway composer, and Hirsch's book explores both aspects, although it is clear he's a fan of Weill's later American work.

I would recommend this book as a suppliment to Ronald Sanders' biography "The Days Grow Short," the standard of Weill biographies. However, Hirsch has access to different primary sources that Sanders did not have in the 1970s, and therefore can provide a different perspective. There is also a great deal of text devoted to Lotte Lenya, Weill's wife.

It has been criticzed that Hirsch's book deemphasizes musical analysis, which is true, but that is not the purpose. Analyse the music yourself or find the writings of Kim Kowalke for musical analysis.

I found this book enjoyable and a good supplient to many other Weill biographies on the shelves ... Read more

Customer Reviews (3)

Excellent Overview of Weill's Work for the Theatre
Kurt Weill's career has been hotly debated for more than 60 years.The questions began while he was still alive:Did he sell out his German artistry for the crass commercialism of Broadway?Or did he only really come into his own when he was freed from European snobbery?The answer is that both opinions are somewhat true and somewhat false.Rather than treat Weill's work as two separate careers, a European one and an American one as most commentators seem to do, Foster Hirsch treats Weill's career as a single entity.Hirsch's KURT WEILL ON STAGE is a superb chronological overview of Kurt Weill's work for the theatre, showing the logical evolution of his work.Weill became a world famous celebrity by age 30 as a result of his sensational THREEPENNY OPERA and MAHAGONNY.With the rise of Hitler and the Nazis, Weill wisely fled Germany, ending up in America after a period in Paris.But could he succeed in a new country and a new culture?Many distinguished European artist-refugees of that period simply could not adapt and faded into obscurity.Weill determined that he could succeed by writing in an American idiom.He made the transition quite smoothly, creating a string of popular Broadway shows that spawned hit songs like "September Song" and "Speak Low" before dying of a heart attack at age 50.At the time of his death he seems to have been just another Broadway composer, but with the passage of time, Weill's reputation has grown and he is now recognized as one of the 20th Century's great composers.In Hirsch's book, Weill's American shows are revealed to be a continuation of the innovative thrust of THREEPENNY OPERA.Just as he had worked with the prodigy Berthold Brecht in Germany, in America he collaborated with the nation's most prestigious writers, including the Pulitzer Prize winners Paul Green, Maxwell Anderson, Ira Gershwin, Moss Hart and Elmer Rice.Among his other collaborators were Ogden Nash and a pre-MY FAIR LADY Alan Jay Lerner.He worked with such noted directors as Max Reinhardt, Elia Kazan and Josh Logan and choreographers George Balanchine and Agnes DeMille.Mary Martin had her first starring role on Broadway in ONE TOUCH OF VENUS.Gertrude Lawrence made a huge hit in LADY IN THE DARK, which also catapulted Danny Kaye and Victor Mature to fame.And of course, there was Lotte Lenya, the German star whose unorthodox marriage to Weill is still confounding to most people.She had affairs with members of both sexes before, during and after the marriage to Weill; He made no secret of his affairs with other women.But they had an unbreakable bond that went beyond sex.Lenya devoted her life to promoting his work after he died and achieved her greatest fame late in life.

Hirsch keeps his opinions of the work fairly restricted, which I appreciated.The only Weill score he really seems to denigrate is LOST IN THE STARS.(I have to agree with him, though.)This is not really a biography of Weill.The biographical aspects of the book are very sketchy.They are there to provide a context for the work.I enjoyed this book enormously and listened to all my old Weill recordings (and bought some new ones) during the weeks I was reading it.There will probably be a revival of interest in Weill with the arrival of the new Broadway show LOVE MUSIK, which deals with the relationship of Weill and Lenya.KURT WEILL ON STAGE provides an excellent overview of Weill's life and work that I would recommend to anyone interested in the subject.

Inspiration for those who write for the musical stage
Kurt Weill On Stage, a scholarly study published in 2002 by Foster Hirsch, is an outstanding overview of the theatrical career of one of the most talented and ambitious composers writing for the stage in the 20th century.Hirsch has access to the excellent materials of the Weill-Lenya Research Center and the support of the Kurt Weill Foundation for Music; he supplements the vast array of correspondence and interviews available to him with interviews and accounts of the creation of the works from participants and spectators. He writes compellingly about Weill's gifts as musical dramatist and collaborator. The book is utterly inspiring to anyone (like me) who has ambitions to write for the musical stage.

A Biography that focuses on Weill's enitre career
Too often, scholarly work on Kurt Weill focuses mainly on his German career in the 1920s-- "The Threepenny Opera," "Mahagonny"-- but Weill had a career that extended well into the 1940s as a Broadway composer, and Hirsch's book explores both aspects, although it is clear he's a fan of Weill's later American work.

I would recommend this book as a suppliment to Ronald Sanders' biography "The Days Grow Short," the standard of Weill biographies. However, Hirsch has access to different primary sources that Sanders did not have in the 1970s, and therefore can provide a different perspective. There is also a great deal of text devoted to Lotte Lenya, Weill's wife.

It has been criticzed that Hirsch's book deemphasizes musical analysis, which is true, but that is not the purpose. Analyse the music yourself or find the writings of Kim Kowalke for musical analysis.

I found this book enjoyable and a good supplient to many other Weill biographies on the shelves ... Read more

Product Description
Der Erwerb des Buches enthält gleichzeitig die kostenlose Mitgliedschaft im Buchklub des Verlags zum Ausprobieren - dort können Sie von über einer Million Bücher ohne weitere Kosten auswählen. Das Buch besteht aus Wikipedia-Artikeln: Torbjörn Ek, Kurt Andersson, Wilhelm Petersén, Konrad Hirsch, Ingemar Ingevik, Arthur Svensson, Rolf Zetterlund, Ivan Bodin, Jim Nildén, Hilding Gustafsson, Sven Bergqvist, Benny Söderling, Per Kaufeldt, Leif Eriksson, John Nilsson, Joakim Hedqvist, Lennart Backman, Gösta Sandberg, Götrik Frykman, Stefan Jonsson, Olle Sääw, Michael Carlsson, Per Fosshaug,. Online finden Sie die kostenlose Aktualisierung der Bücher. Nicht dargestellt. Auszug:Torbjörn Erik Ek (* 25. Juni 1949 in Ljusdal, Gävleborgs län) ist ein ehemaliger schwedischer Fußball- und Bandyspieler. Im Bandy bestritt er 102 Länderspiele und nahm an sechs Weltmeisterschaften teil. Ek begann parallel mit dem Fußball- und Bandyspielen. 1967 debütierte der Stürmer in der Männermannschaft von Ljusdals IF, die seinerzeit in der dritten Liga spielte. Unter Trainer Jens Lindblom stieg er mit der Mannschaft in die zweite Liga auf. Im Sommer 1971 folgte er dem Trainer zu AIK in die Allsvenskan, da er sich in Stockholm an der Gymnastik- och Idrottshögskolan zum Lehrer ausbilden ließ. Blieb ihm in seiner ersten Spielzeit in acht Spielen ein Torerfolg im schwedischen Oberhaus verwehrt, konnte er am ersten Spieltag der Spielzeit 1972 beim 2:2-Unentschieden gegen Örgryte IS seinen ersten Torerfolg in der ersten Liga feiern. Im Verlauf der Spielzeit gelangen ihm sieben Saisontore. Auch in der folgenden Spielzeit konnte er anfangs seine Torgefährlichkeit unterstreichen, ab der Saisonmitte wurde er jedoch als Abwehrspieler eingesetzt. Nach Abschluss seiner Ausbildung kehrte er 1974 nach Ljusdal zurück, wo er fortan als Lehrer arbeitete. 1975 schloss er sich kurzzeitig GIF Sundsvall an und kam zu acht weiteren Einsätzen in der Allsvenskan. Nach seiner V...http://booksllc.net/?l=de&id=3530479 ... Read more

Customer Reviews (1)

For a definitive biography, not very definitive
TURKENHIRSCH is said to be the definitive biography of the philanthropist Baron Moritz de Hirsch, and Amazon searched for a copy for me for almost a year. So, pleased as I am with this Amazon service, I was disappointed when this biography finally arrived.

The only other work on Baron de Hirsch that I have been able to find, MOSES OF THE NEW WORLD by Samuel Lee, turned out to be far superior.

To say the least, TURKENHIRSCH is skimpy with background and detail. Admittedly, the topic itself does not lend to lively writing. While neither book does justice to this many facets of this fascinating man, MOSES OF THE NEW WORLD will be a more useful resource to anyone doing research on the Baron and his philanthropies. ... Read more

Customer Reviews (3)

Excellent Overview of Weill's Work for the Theatre
Kurt Weill's career has been hotly debated for more than 60 years.The questions began while he was still alive:Did he sell out his German artistry for the crass commercialism of Broadway?Or did he only really come into his own when he was freed from European snobbery?The answer is that both opinions are somewhat true and somewhat false.Rather than treat Weill's work as two separate careers, a European one and an American one as most commentators seem to do, Foster Hirsch treats Weill's career as a single entity.Hirsch's KURT WEILL ON STAGE is a superb chronological overview of Kurt Weill's work for the theatre, showing the logical evolution of his work.Weill became a world famous celebrity by age 30 as a result of his sensational THREEPENNY OPERA and MAHAGONNY.With the rise of Hitler and the Nazis, Weill wisely fled Germany, ending up in America after a period in Paris.But could he succeed in a new country and a new culture?Many distinguished European artist-refugees of that period simply could not adapt and faded into obscurity.Weill determined that he could succeed by writing in an American idiom.He made the transition quite smoothly, creating a string of popular Broadway shows that spawned hit songs like "September Song" and "Speak Low" before dying of a heart attack at age 50.At the time of his death he seems to have been just another Broadway composer, but with the passage of time, Weill's reputation has grown and he is now recognized as one of the 20th Century's great composers.In Hirsch's book, Weill's American shows are revealed to be a continuation of the innovative thrust of THREEPENNY OPERA.Just as he had worked with the prodigy Berthold Brecht in Germany, in America he collaborated with the nation's most prestigious writers, including the Pulitzer Prize winners Paul Green, Maxwell Anderson, Ira Gershwin, Moss Hart and Elmer Rice.Among his other collaborators were Ogden Nash and a pre-MY FAIR LADY Alan Jay Lerner.He worked with such noted directors as Max Reinhardt, Elia Kazan and Josh Logan and choreographers George Balanchine and Agnes DeMille.Mary Martin had her first starring role on Broadway in ONE TOUCH OF VENUS.Gertrude Lawrence made a huge hit in LADY IN THE DARK, which also catapulted Danny Kaye and Victor Mature to fame.And of course, there was Lotte Lenya, the German star whose unorthodox marriage to Weill is still confounding to most people.She had affairs with members of both sexes before, during and after the marriage to Weill; He made no secret of his affairs with other women.But they had an unbreakable bond that went beyond sex.Lenya devoted her life to promoting his work after he died and achieved her greatest fame late in life.

Hirsch keeps his opinions of the work fairly restricted, which I appreciated.The only Weill score he really seems to denigrate is LOST IN THE STARS.(I have to agree with him, though.)This is not really a biography of Weill.The biographical aspects of the book are very sketchy.They are there to provide a context for the work.I enjoyed this book enormously and listened to all my old Weill recordings (and bought some new ones) during the weeks I was reading it.There will probably be a revival of interest in Weill with the arrival of the new Broadway show LOVE MUSIK, which deals with the relationship of Weill and Lenya.KURT WEILL ON STAGE provides an excellent overview of Weill's life and work that I would recommend to anyone interested in the subject.

Inspiration for those who write for the musical stage
Kurt Weill On Stage, a scholarly study published in 2002 by Foster Hirsch, is an outstanding overview of the theatrical career of one of the most talented and ambitious composers writing for the stage in the 20th century.Hirsch has access to the excellent materials of the Weill-Lenya Research Center and the support of the Kurt Weill Foundation for Music; he supplements the vast array of correspondence and interviews available to him with interviews and accounts of the creation of the works from participants and spectators. He writes compellingly about Weill's gifts as musical dramatist and collaborator. The book is utterly inspiring to anyone (like me) who has ambitions to write for the musical stage.

A Biography that focuses on Weill's enitre career
Too often, scholarly work on Kurt Weill focuses mainly on his German career in the 1920s-- "The Threepenny Opera," "Mahagonny"-- but Weill had a career that extended well into the 1940s as a Broadway composer, and Hirsch's book explores both aspects, although it is clear he's a fan of Weill's later American work.

I would recommend this book as a suppliment to Ronald Sanders' biography "The Days Grow Short," the standard of Weill biographies. However, Hirsch has access to different primary sources that Sanders did not have in the 1970s, and therefore can provide a different perspective. There is also a great deal of text devoted to Lotte Lenya, Weill's wife.

It has been criticzed that Hirsch's book deemphasizes musical analysis, which is true, but that is not the purpose. Analyse the music yourself or find the writings of Kim Kowalke for musical analysis.

I found this book enjoyable and a good supplient to many other Weill biographies on the shelves ... Read more