Kurt Weill Orden de los libros

Featuring 22 previously unpublished songs by Kurt Weill, this collection showcases works cut from successful Broadway shows yet retaining the composer's signature quality. Collaborating with iconic lyricists like Ira Gershwin and Oscar Hammerstein, these pieces highlight Weill's artistic range. Accompanied by photographs of the composer and his collaborators, the volume is designed for solo voice and piano, making it accessible for performers. It's a must-have for fans of Weill and musical theater enthusiasts alike.

(Schott). 14 art songs dating from 1925 to 1944 as masterly performed by Teresa Stratas on the Nonesuch record. Includes: Berlin im Licht-Song * Buddy on the Nightshift * Es regnet * Je ne t'aime pas * Klops Lied * Nanna's Lied * Youkali (Tango Habanera) * and more.

Featuring a collection of 11 vocal selections from the musical, this folio showcases the collaboration between Ogen Nash and Kurt Weill. Key pieces include "How Much I Love You," "Speak Low," "The Trouble with Women," and "Wooden Wedding," highlighting the musical's rich lyrical and melodic themes. This compilation is perfect for performers and enthusiasts looking to explore the unique sound and storytelling of the production.

This collection features easy arrangements of 17 songs, each accompanied by a vocal line. Accompanying the music are stills from the renowned 1931 film adaptation of the opera, directed by Georg Wilhelm Pabst, which adds a visual dimension to the experience.

Featuring 28 songs from all 12 American shows and films by the composer, this collection provides comprehensive insights into each musical. It includes detailed information, captivating photos, and a complete discography, making it an essential resource for fans and scholars alike.

Contains the edited letters of Lotte Lenya and Kurt Weill. Their tortured relationship fuelled their individual geniuses - he wrote his best music for her and her singing was its most impassioned when she sang his songs.

Als Angriff auf die Institution der traditionellen und "kulinarischen" Oper sucht Brecht am Modell eines Amüsierbetriebes für Goldgräber, bei dem man, wenn man Geld hat, "alles dürfen darf", das Wesen der spätkapitalistischen Gesellschaft zu erläutern. Kunstkritik und Gesellschaftskritik stehen nebeneinander.