bruce d. On the eve of CBSâs broadcast of Kurt Weillâs 1940 radio cantata, The Ballad of Magna Carta, the New York Sunâs William G. King interviewed the composer. After settling into one of the Lotos Clubâs larger chairs and getting his pipe going smoothly, Weill began to discuss his reasons for composing for the commercial theater. âI wanted to reach the real people, a more representative public than any opera house attracts. So Iâve made that theater, which exists without benefit of subsidy, my life work.â Near the middle of the wide-ranging interview, Weill reflected on how posterity might regard his music and that of a fellow Ã©migrÃ©. âIâm convinced,â he explained, âthat many modern composers have a feeling of superiority toward their audiences. Schoenberg, for example, has said he is writing for a time fifty years after his death. . . . As for myself, I write for today. I donât give a damn about writing for posterity.â1 Since Weillâs death in 1950, archives have been established to preserve his legacy, conferences and exhibits devoted to the composer have generated collections of essays, and specialized monographs and sourcebooks on his works have appeared. The first tomes
Theater – Duke University Press
Published: Jan 1, 2000
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