Buch, Englisch, Band 189, 226 Seiten, Print PDF, Format (B × H): 238 mm x 161 mm, Gewicht: 460 g
Reihe: Eastman Studies in Music
A Study of Influence
Buch, Englisch, Band 189, 226 Seiten, Print PDF, Format (B × H): 238 mm x 161 mm, Gewicht: 460 g
Reihe: Eastman Studies in Music
ISBN: 978-1-64825-060-6
Verlag: Boydell & Brewer Ltd
The first study to explore the crucial influence of Kurt Weill on operas and musicals by Marc Blitzstein and Leonard Bernstein.
Theodor Adorno famously proclaimed that the model of Kurt Weill could not be repeated. Yet Weill's stage works set an inescapable precedent for composers on both sides of the Atlantic. Rebecca Schmid explores how Weill's formal innovations in particular laid the groundwork for operas and musicals by Marc Blitzstein and Leonard Bernstein, although both composers resisted or downplayed his aesthetic contribution to American tradition. Comparative analysis based on Harold Bloom's Anxiety of Influence and other modes of intertextuality reveals that the principles of Weill's opera reform would catalyze an indigenous movement in sophisticated, socially engaged music theatre.
Weill, Blitzstein, and Bernstein: A Study of Influence focuses on works that represent different phases of Weill's mission to renew the genre of opera, evolving from Die Dreigroschenoper to the musical play Lady in the Dark and the Broadway Opera Street Scene. Blitzstein and Bernstein in turn defied formal boundaries with The Cradle Will Rock, Regina, Trouble in Tahiti, Candide, and West Side Story - part of a short-lived movement in mid-twentieth century America that coincided with a renaissance for Weill's German-period works following the premiere of Blitzstein's translation, The Threepenny Opera, under Bernstein's baton. The unpublished A Pray by Blecht, for which Bernstein rejoined Stephen Sondheim and Jerome Robbins, his collaborators on West Side Story, deepens the connection of Bernstein's aesthetic to Weill.
Schmid
Weill, Blitzstein, and Bernstein jetzt bestellen!
Theodor Adorno famously proclaimed that the model of Kurt Weill could not be repeated. Yet Weill's stage works set an inescapable precedent for composers on both sides of the Atlantic. Rebecca Schmid explores how Weill's formal innovations in particular laid the groundwork for operas and musicals by Marc Blitzstein and Leonard Bernstein, although both composers resisted or downplayed his aesthetic contribution to American tradition. Comparative analysis based on Harold Bloom's Anxiety of Influence and other modes of intertextuality reveals that the principles of Weill's opera reform would catalyze an indigenous movement in sophisticated, socially engaged music theatre.
Weill, Blitzstein, and Bernstein: A Study of Influence focuses on works that represent different phases of Weill's mission to renew the genre of opera, evolving from Die Dreigroschenoper to the musical play Lady in the Dark and the Broadway Opera Street Scene. Blitzstein and Bernstein in turn defied formal boundaries with The Cradle Will Rock, Regina, Trouble in Tahiti, Candide, and West Side Story - part of a short-lived movement in mid-twentieth century America that coincided with a renaissance for Weill's German-period works following the premiere of Blitzstein's translation, The Threepenny Opera, under Bernstein's baton. The unpublished A Pray by Blecht, for which Bernstein rejoined Stephen Sondheim and Jerome Robbins, his collaborators on West Side Story, deepens the connection of Bernstein's aesthetic to Weill.
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
Introduction
1 Why Influence?
2 "Have You Seen My New Opera?"
3 "Something Like Opera"
4 "Make Our Garden Grow
5 "This Isn't Worth drei Groschen"
6 A Pray by Blecht
7 "The Saga of Lenny"
Epilogue
Bibliography
Index
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