Books and Editions:

book1

Weill’s Musical Theater: Stages of Reform

(Berkeley, University of California Press, 2012)
Go to University of California Press
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Summary: This first musicological study of Kurt Weill’s complete stage works charts the full range of theatrical achievements by one of twentieth-century musical theater’s key figures. The book shows how Weill’s experiments with a variety 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—the author 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.

Reviews
Go to kwf.org
Go to Washington Independent
Go to Good Reads
Go to Stanford News
Go to Villanova University
Go to Opera Today
Go to Opera News
Go to Journal of the American Musicological Society
Go to Journal of Ethnomusicology Review
Go to Theatre Research International

Awards
Kurt Weill Prize (2013) for outstanding scholarship in music theater since 1900
Press release

Kurt Weill Edition

Kurt Weill: Die Dreigroschenoper

Kurt Weill Edition I/5 (Miami: European American Music, 2000); published in a revised edition as study score with a new Preface (Vienna: Universal-Edition, 2006)
Go to The Kurt Weill Foundation For Music

Summary: This critical edition of Weill’s best-known work for the musical theater presents the work, in accordance with the edition’s principles, as a coordinated unit of dialogue, lyrics and music. The principal musical and textual sources are all connected in some way with the epoch-making premiere production, whose legendary opening night took place at Berlin’s Theater am Schiffbauerdamm on 31 August 1928. The introductory essay documents in detail the work’s genesis and critical reception.

book3

Kurt Weill, Musik und Theater: Gesammelte Schriften

(with Jürgen Schebera)
(Berlin, 1990); revised and expanded edition published as Musik und musikalisches Theater: Gesammelte Schriften (Mainz: Schott, 2000)
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Summary: The volume presents Kurt Weill’s collected writings. Those originally published in English appear here in German translation.

Hindemith Edition

Paul Hindemith, Orchesterwerke 1932–34: Philharmonisches Konzert; Symphonie “Mathis der Maler”

(= Sämtliche Werke II/2, Schott: Mainz, 1991)
Go to Hindemith Institut Frankfurt

Summary: The volume contains a critical edition of these two orchestral works by Paul Hindemith, including an introductory essay that documents in detail their genesis and critical reception.

book2

Kurt Weill: The Threepenny Opera

(Cambridge Opera Handbooks, Cambridge: Cambridge University Press, 1990)
Go to Cambridge University Press
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Summary: This is a book on the best known of the Weill-Brecht collaborations which explores the extent and significance of the composer’s contribution. After a detailed reconstruction of the work’s genesis and continued revision over three decades, Stephen Hinton examines the spin-offs on which Weill and Brecht participated: the instrumental suite, the film, the lawsuit, the novel, and the musical and textual revisions of songs. In a survey of the stage history, Hinton pays particular attention to pioneering productions in Germany and Great Britain. Kim Kowalke provides an exhaustive account of the history of The Threepenny Opera in America, Geoffrey Abbott addresses questions concerning authentic performance practice, and David Drew analyses large-scale motivic relationships in the music. Among the earliest writings on the work reprinted here, those by Theodor W. Adorno, Ernst Bloch and Walter Benjamin appear for the first time in English translation. The book contains numerous illustrations, a discography, and music examples.

PhD

The Idea of Gebrauchsmusik (New York: Garland, 1989)

Go to Stanford University Library

Summary: The book presents in published form the author’s Ph.D. dissertation (University of Birmingham, 1984). As the subtitle indicates, it constitutes “a study of musical aesthetics in the Weimar Republic with particular reference to the works of Paul Hindemith.”

Online course:

Defining the String Quartet: Haydn https://haydn.lagunita.stanford.edu

  

Articles:

“Musical Beauty,” article coauthored with Nick Zangwill for The Oxford Handbook of Western Music and Philosophy — in press

“Modular Opera,” for Salzburg Festival program (2015)

“The Sound Worlds of Mahagonny,” program booklet of the Royal Opera House Covent Garden in conjunction with a new production of The Rise and Fall of the City of Mahagonny (2015)

“Lady in the Dark as Musical Talking Cure,” Opera Quarterly [special issue on “Opera after Freud”], 31 (2015): 134-44

“Zur Rezeption der Emigranten in der Nachkriegszeit: Der Fall Weill,” Musikwissenschaft – Nachkriegskultur – Vergangenheitspolitik, ed. Thomas Schipperges — in press

“Weill’s Self-Borrowings,” Kurt Weill und Frankreich, ed. Andreas Eichhorn (Münster, New York: Waxmann, 2014), 89-101

“A Note on the Vineyard Style,” Stanford Live, Inaugural Issue (January 2013): 10-12; https://live.stanford.edu/blog/january-2013/note-vineyard-style

“Schoenberg’s Harmonielehre: Psychology and Comprehensibility,” Tonality 1900-1950: Concept and Practice, ed. Felix Wörner, Ullrich Scheideler and Philip Rupprecht (Steiner: Stuttgart, 2012), 113-24.

“Back to Bach: The Conscience of History,” http://www.americansymphony.org/concert_notes/back-to-bach-the-conscience-of-history

“The Emancipation of Dissonance: Schoenberg’s Two Practices of Composition,” Music & Letters, 91, no. 4 (2010): 568-579.

“Carl Dahlhaus: Biographie und Methode,” Carl Dahlhaus und die Musikwissenschaft: Werk, Wirkung, Aktualität, ed. H. Danuser et al.  (Schliengen: Argus Verlag, 2011), 37-43; also in same volume “Einleitung” to “Der Schriftsteller Carl Dahlhaus,” 345-46.

“Weill Contra Wagner: Aspects of Ambivalence,” in “… dass alles hätte anders kommen können”: Beiträge zur Musikgeschichte des 20. Jahrhunderts, ed. S. Schaal, L. Schader and H.-J. Winkler (=Frankfurter Studien 12, Frankfurt am Main: Schott, 2009), 155-74.

“Zur Epistemologie des Ursatzes,” Musik und Verstehen, ed. C. v. Blumröder and W. Steinbeck (Laaber: Laaber Verlag, 2004), 74-83

“Mahagonny as Conceived by Weill-Brecht and Smith: Musical Visions of Urbanity,” Harry Smith: The Avant-Garde in the American Vernacular, ed. A. Perchuk and R. Singh (Los Angeles: Getty Research Institute, 2010), 155-71.

“Amerikanische Musiktheorie: Disziplin ohne Geschichte?” Musiktheoretisches Denken und kultureller Kontext, ed. D. Schmidt (Schliengen: Argus-Verlag, 2005), 231-46

“The Urform of Opera,” A New History of German Literature, ed. A. Kaes et al. (Cambridge, Mass.: Harvard, 2004), 758-64

Review-article on recent Adorno-related publications, Journal of the American Musicological Society, 56:1 (2003), 198-213

Analyse statt Ästhetik (= Funkkolleg Musik: Studieneinheit 24, Mainz, 1988; rev. and repr. in Europäische Musikgeschichte, ed. L. Finscher et al., Kassel, 2002)

Wider das bürgerliche Konzertleben (= Funkkolleg Musik: Studieneinheit 25, Mainz, 1988; rev. and repr. in Europäische Musikgeschichte, ed. L. Finscher et al., Kassel, 2002)

“Romantische Ironie in der Musik?” Beiträge zur Kleist-Forschung, 16 (Frankfurt Oder: Kleist-Museum, 2002), 21-35

“Gebrauchsmusik,” New Grove Dictionary of Music and Musicians (London: Macmillan, 2000)

“Foreword to the New Kurt Weill Edition,” Music Library Association Notes, 56:2 (December 1999)

“A New Edition of Die Dreigroschenoper: Challenges, Principles, and Solutions,” Music Library Association Notes, 56:2 (December 1999)

“Die Musiktheorie Heinrich Schenkers und ihre Übertragung ins Englische,” Musik als Text, ed. H. Danuser and T. Plebuch (Kassel: Bärenreiter, 1999), 184-89

“Hindemith and Weill: Cases of ‘Inner’ and ‘Other’ Direction,” Driven into Paradise, ed. Wolff and Brinkmann (Berkeley: University of California Press, 1999), 261-78

“Die Dreigroschenoper — ein Mißverständnis?,” Kurt Weill: Die frühen Werke 1916-1928, ed. Gunther Diehl (Munich, 1998), 130-42

“Not Which Tones? The Crux of Beethoven’s Ninth,” in 19th-Century Music, 22:1 (1998), 61-77

“Hindemith, Bach and the Melancholy of Obligation,” in Bach Perspectives 3: Creative Responses to Bach from Mozart to Hindemith. (University of Nebraska Press, 1998),  133-45; reprinted in Hindemith-Jahrbuch 1998

“Die Dreigroschenoper: The 1928 Full Score,” in Kurt Weill, Die Dreigroschenoper: A Facsimile of the Full Score, Kurt Weill Edition IV, 1 (1998)

“Adorno’s philosophy of music,” in Oxford Encyclopedia of Aesthetics, ed. Michael Kelly (Oxford, 1998)

“Kurt Weill’s ‘modern classical art’,” Die klassizistische Moderne in der Musik des 20. Jahrhunderts, ed. Hermann Danuser (Basel, 1997), 115-22

“Street Scene” and “Down in the Valley” for Pipers Enzyklopädie des Musiktheaters (Munich: Piper, 1997)

“Adorno’s Unfinished Beethoven,” Beethoven Forum 5 (Lincoln and London: University of Nebraska Press, 1996), 139-53

“Emigration als Selbstfindung: Paul Hindemith in den USA,” Themenheft “Hindemith,” Internationale Bachakademie Stuttgart (Stuttgart, 1995), 30-40; published in English as “Emigration and Self-Discovery,” Hindemith-Jahrbuch 1998

“Hanns Eisler and the Ideology of Modern Music,” New Music and Ideology, ed. M. Delaere (Wilhelmshaven, 1996), 79-85

“Ballad Opera,” Musik in Geschichte und Gegenwart, vol. 1 (Kassel, 1994)

“Großbritannien als Exilland: Der Fall Weill,” Musik in der Emigration 1933-1945: Verfolgung – Vertreibung – Rückwirkung, ed. H. Weber (Stuttgart, 1994), 213-27

“Defining Musical Expressionism: Schoenberg and Others,” Expressionism Reassessed, ed. S. Behr, et al. (Manchester, 1993), 121-29

“Germany, 1919-45,” Modern Times, Man and Music, vol. 8, ed. R. Morgan (London, 1993), 83-110 (also published in Japanese)

“Benjamin Britten,” Metzler Komponisten-Lexikon, ed. Horst Weber (Stuttgart, 1992)

“Lehrstück: an Aesthetics of Performance,” Music and Performance in the Weimar Republic, ed. B. Gilliam, Cambridge Studies in Performance Practice (Cambridge, 1994), 59-73; reprinted in Hindemith-Jahrbuch 1993/XXII, 68-96

Entries for the New Grove Dictionary of Opera, ed. S. Sadie (London and New York, 1992):

“Kurt Weill”
“Aufstieg und Fall der Stadt Mahagonny”
“Die Bürgschaft”
“Down in the Valley”
“Die Dreigroschenoper”
“Der Jasager”
“Der Kuhhandel”
“Lost in the Stars”
“Mahagonny-Songspiel”
“Der Protagonist”
“Die sieben Todsünden”
“Der Silbersee: ein Wintermärchen”
“Street Scene”
“Der Zar lässt sich photographieren”

“Zur Ästhetik des frühen Hindemith,” Kunst als Antithese: Karl Hofer Symposium 1988, ed. Heinrich Poos (Berlin, 1990), 131-41

“Vom Songspiel zur Oper,” Program booklet of the Frankfurt Opera, October 1990, 45-56

“Drops in the Dreigroschen Ocean,” [preface to a reprint of Hans Keller’s “Film Music: the Harry Lime Theme”], Kurt Weill Newsletter, 9/2 (1991), 10-11

Neue Sachlichkeit (= Handwörterbuch der musikalischen Terminologie, Auslieferung 18, Wiesbaden, 1990; reprinted in Terminologie der Musik im 20. Jahrhundert, ed. H.H. Eggebrecht, Wiesbaden, 1995)

Gebrauchsmusik (= Handwörterbuch der musikalischen Terminologie, Auslieferung 15, Wiesbaden, 1988; reprinted in Terminologie der Musik im 20. Jahrhundert, ed. H.H. Eggebrecht, Wiesbaden, 1995)

“Fragwürdiges in der deutschen Weill-Rezeption,” A Stranger Here Myself: Kurt-Weill-Studien, ed. H. Edler and K. Kowalke (Hildesheim, 1993), 23-33 (author’s own translation: “Issues in the German Reception of Weill,” Kurt Weill Newsletter 11 (1993), No. 1, 7-9)

“Zur Urform der Oper,” Vom Kurfürstendamm zum Broadway: Kurt Weill (1900-1950), ed. B. Kortländer et al. (Düsseldorf, 1990), 40-46

“‘Natürliche Übergänge’: Heinrich Schenkers Begriff von der Sonatenform,” Musiktheorie, 4 (1990), 101-16

“The conscience of musicology: Carl Dahlhaus 1928-1989,” The Musical Times, 130 (1989), 737-39

“Musikwissenschaft und Musiktheorie oder Die Frage nach der phänomenologischen Jungfräulichkeit,” Musiktheorie, iii (1988), 195-204

“Opera or Play with Music? An unsung “Dreigroschenprozess”,” Kurt Weill Newsletter, vi (1988), No. 2, 7

“The concept of epic opera: theoretical anomalies in the Brecht-Weill partnership,” Festschrift Carl Dahlhaus, ed. Danuser, de la Motte, Leopold, Miller (Laaber, 1988), 283-94

“Hindemith: pedagogy and personal style,”  Hindemith-Jahrbuch 1988/XVII (Mainz, 1992), 54-67 (also published in Italian in Paul Hindemith nella cultura tedesca degli anni venti, ed. C. Piccardi [=Musica/RealtΒ 25], Milan, 1991)

“Expressionismus beim jungen Hindemith?,” Hindemith-Jahrbuch 1987/XVI (Mainz, 1991), 18-31

“Analyse heute,” Musiktheorie, 1 (1986), 97-99

“Alte Musik als Hebamme einer neuen Musikästhetik der Zwanziger Jahre,” Bericht über den internationalen musikwissenschaftlichen Kongress Stuttgart 1985, vol. 2, ed. D. Berke and D. Hanemann (Kassel, 1987), 325-30

“Aspects of Hindemith”s Neue Sachlichkeit,” Hindemith-Jahrbuch 1985/XIV (Mainz, 1987), 22-107

“Alexander Goehr,” Konzertbuch: Kammermusik A-G, ed. I. Allihn (Leipzig, 1988), 683-88

“Weill: Neue Sachlichkeit, Surrealism and Gebrauchsmusik,” A New Orpheus: Essays on Kurt Weill, ed. K.H. Kowalke (New Haven, 1986), 61-82

“Musik nach Mass: Zum Begriff der Gebrauchsmusik bei Paul Hindemith,” Musica, 34 (1985), 146-50

“Hanns Eisler,” Makers of Modern Culture, ed. J. Wintle (London, 1981), 150-51

 

Reviews:

[I have published some three dozen reviews and occasional articles in the following journals: Music and Letters, Musica, Kurt Weill Newsletter, Musiktheorie, Notes, The Journal of Modern History, Musical Times, The New York Times, Brecht Yearbook]

in Music and Letters:

Hilda Meldrum Brown, “Leitmotiv and Drama: Wagner, Brecht, and the Limits of ‘Epic’ Theatre,” 78, (1992): 466-68

Wolfgang Osthoff & Reinhard Wiesend (eds.), “Colloquium Klassizität, Klassizis­mus, Klassik in der Musik 1920-1950,” 71 (1990): 126-28

Annegrit Laubenthal, “Paul Hindemiths Einakter-Triptychon,” 69 (1988): 289-91

Ernst Bloch, “Essays on the philosophy of music,” 67 (1986): 423-24.

Manfred Grabs, “Hanns Eisler: Kompositionen, Schriften, Literatur,” 67 (1986): 405-06.

Heister and Klein (eds), “Musik und Musikpolitik im faschistischen Deutsch­land,” 67 (1986): 188-90

Jürgen Schebera, “Kurt Weill: Leben und Werk,” 66 (1985): 393-94.

Paul Hindemith, “Sämtliche Werke: I/6, VI/1, VI/5,” 65 (1984): 416-19

Hanns Eisler, “Schriften: vols 2 & 3,” 65 (1984): 382-84

Paul Dessau, “Drei Intermezzi für Klavier,” “Leonce und Lena,” “Musik für 15 Streichinstrumente,” 65 (1984): 127-29

Erik Fischer, “Zur Problematik der Opernstruktur,” 65 (1984): 272-75

Albrecht Betz, “Hanns Eisler”; Hans Werner Henze, “Collected Writings,” 64 (1983): 287-90

Hanns Eisler, “Orchestersuiten,” 63 (1982): 378-79.

Kurt Weill, “Happy End,” 63 (1982): 168-69.

in Musica:

Albrecht Dümling, “Lasst euch nicht verführen: Brecht und die Musik,” 40 (1986): 271-72.

“Der 2. Kongress der internationalen Schönberg-Gesellschaft in Wien,” 38 (1984): 357-58.

Leo Karl Gerhartz, “Oper: Aspekte der Gattung,” 38 (1984): 271-72.

in Kurt Weill Newsletter:

Tamara Levitz, “Teaching New Classicality: Ferruccio Busoni’s Master Class in Composition. European University Studies 152.  Frankfurt/Main et al.: Peter Lang, 1996,”

Ronald Taylor, “Kurt Weill: Composer in a Divided World”, 10 (1992), No. 2: 17f.

Kurt Weill, Aufstieg und Fall der Stadt Mahagonny. Kölner Rundfunkorchester. Jan Latham-König, Capriccio (CD: 10-160/61), 7 (1989), No. 2: 23-24.

Csampai, Attila and Holland, Dietmar, eds. “Bertolt Brecht/Kurt Weill, Die Dreigroschenoper. Igor Strawinsky, The Rake’s Pro­gress: Texte, Materia­lien, Kommentare,” 6 (1988), No. 1: 18
Kurt Weill, “Scores” [four reissued vocal scores], 5 (1987), No. 1: 19-20.

Werner Hecht (ed.), “Brechts Dreigroschenoper,” 3 (1985), No. 2: 19

Leo Karl Gerhartz, “Oper” and Erik Fischer, “Zur Problematik der Opernstruktur,” 2 (1984), No. 2: 16f.

in Musiktheorie:

David Neumeyer, “The Music of Paul Hindemith,” 7 (1988), 258-61; Engl. translation in Music Analysis, 7 (1988): 3565-9

“Bericht: Cambridge University Music Analysis Conference 1986,” 6 (1987): 103-06

in Notes:

Anthony Pople, Berg: Violin Concerto, Cambridge Music Handbooks; Radovan Lorkovi, Das Violinkonzert von Alban Berg: Analysen – Textkorrekturen – Interpretationen, Musikreflektionen 3, 64/2 (1992/93)

in The Journal of Modern History:

Robert Stradling and Meirion Hughes, The English Musical Renaissance 1860 – 1940: Construction and Deconstruction, 67/3 (1995): 709-12

in Brecht Yearbook:

Esbjörn Nyström, Libretto im Progress: Brechts und Weills Aufstieg und Fall der Stadt Mahagonny aus textgeschichtlicher Sicht and Fritz Hennenberg and Jan Knopf (eds.) Brecht/Weill Mahagonny, 32 (2007)

 

Other publications:

“Hinton, Stephen,” autobiographical article for Die Musik in Geschichte und Gegenwart

“Speak Low (Songs by Kurt Weill) & The Seven Deadly Sins [Die Sieben Todsunden]”– liner notes for CD by Deutsche Grammophon Gesellschaft (singer: Anne Sofie von Otter; conductor: John Eliot Gardiner; 1995)

“Hindemith’s works for cello” – liner notes for recording issued by Bridge Records (1999)