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Kurt Weill und Ferruccio Busoni
Ferruccio Busoni with the pupils in his master class, left: Kurt Weill


Weill, Busch, Recuker, Gielen
Kurt Weill, the conductor Fritz Busch, the manager Alfred Reucker, and the director Josef Gielen in front of the stage entrance of the Semperoper in Dresden the night of the premiere of Der Protagonist.


Kurt Weill and Bertolt Brecht
Kurt Weill and Bertolt Brecht in conversation during the rehearsals of Threepenny Opera in August 1928.


Bertolt Brecht, Kurt Weill and Hans Flesch, Baden-Baden, 1929


Kurt Weill and Josef Witt rehearsal to Lindberghflug, Baden-Baden, 1929


Kurt Weill and Max Reinhardt
Max Reinhardt and Kurt Weill at Schloss Leopoldskron near Salzburg, 1934.


Kurt Weill and Boris Morros
Boris Morros, head of the Paramount Studio Music Department, and Kurt Weill in Hollywood in 1937.


Kurt Weill and Boris Morros
Walter Huston, Kurt Weill (at piano), Jeanne Madden and Maxwell Anderson in rehearsal, 1938


Kurt Weill and Boris Morros
Kurt Weill and music director Boris Morros at work on the score for "You and Me", 1938


Kurt Weill and Fritz Lang
Kurt Weill, Fritz Lang and Boris Morros within a studio session in Hollywood, 1938.


Kurt Weill and Ira Gershwin
Kurt Weill and Ira Gershwin writing „The Battle of Warsaw“ for the memorial pageant „We Will Never Die“ in 1943.


Kurt Weill and Elmer Rice
Elmer Rice, author of the play Street Scene, and Kurt Weill in 1946.


Weill und Lerner
Kurt Weill and the book writer and lyricist Alan Jay Lerner at a rehearsal for Love Life in 1948.


Exhibition
Musical director Maurice Abravanel, composer Kurt Weill, and Brian Sullivan, 1949


Kurt Weill and Maurice Levine
The conductor Maurice Levine and Kurt Weill at a rehearsal of Lost in the Stars.


Catalogue


I Stage Works II Unfinished Stage Works
III Incidental Music for Plays IV Film Music
V Adaptations for the Stage during Weill’s Life VI Vocal Music
VI a Choral Works VI b Works for Voice(s) and Orchestra or Ensemble
VIc Lieder, Songs and Chansons VII Instrumental Music
VIIa Works for Orchestra or Ensemble VIIb Chamber Music
VIIc Piano Music VIII Arrangements
IX Others X Lost Music


I STAGE WORKS

Zaubernacht, Children's pantomime in one act, scenario by Wladimir Boritsch, 1922

Der Protagonist, Opera in one act op. 15, text by Georg Kaiser, 1924/25

Royal Palace, Opera in one act op. 17, text by Iwan Goll, 1925/26

Der Zar lässt sich fotografieren, Opera buffa in einem Akt op. 21, Text von Georg Kaiser, 1927

Mahagonny Songspiel, text by Bertolt Brecht, 1927

Threepenny Opera, Play with music in three acts, text by Bertolt Brecht, after John Gay's The Beggar's Opera in a German translation by Elisabeth Hauptmann, 1928

Happy End, Comedy with music in three acts, book by Dorothy Lane (=Elisabeth Hauptmann), lyrics by Bertolt Brecht, 1929

Aufstieg and Fall der Stadt Mahagonny, Opera in three acts, text by Bertolt Brecht and Kurt Weill, 1927-29

Der Jasager, School opera in two acts, text by Bertolt Brecht after the Japanese play Taniko, 1930

Die Bürgschaft, Opera in three acts, text by Caspar Neher and Kurt Weill after Johann Gottfried Herder's Der afrikanische Rechtsspruch, 1930-32

Der Silbersee, Ein Wintermärchen in three acts, text by Georg Kaiser, 1932-33

Die sieben Todsünden, Ballet chanté in nine scenes, text by Bertolt Brecht, 1933

Marie Galante, Play in ten scenes, text by Jacques Deval, 1934

Der Kuhhandel, Operetta in two acts, text by Robert Vambery, 1934

Der Weg der Verheißung Biblical drama in four parts, text by Franz Werfel (in English adaptation as The Eternal Road), 1934-36

The Eternal Road, Biblical drama in four parts, text by Franz Werfel in the English translation by Ludwig Lewisohn (look also Der Weg der Verheißung), 1934-36

Johnny Johnson, Musical play in three acts, text by Paul Green, 1936

Knickerbocker Holiday, Musical comedy in two acts after Washington Irving's A History of New York by Diedrich Knickerbocker, text by Maxwell Anderson, 1938

Railroads on Parade, Peageant in five acts, text by Edward Hungerford, 1939

Lady in the Dark, Musical play in two acts, book by Moss Hart, lyrics by Ira Gershwin, 1940

One Touch of Venus, Musical comedy in two acts, book by S.J.Perelman and Ogden Nash after F. Anstery's The Tinted Venus, lyrics by Ogden Nash, 1943

The Firebrand of Florence, Broadway operetta in two acts, book by Edwin Justus Mayer after his play The Firebrand, lyrics by Ira Gershwin, 1944

Street Scene, An American opera in two acts, book by Elmer Rice based on his play of the same name, lyrics by Langston Hughes and Elmer Rice, 1946

Down in the Valley, Folk-opera in one act, text by Arnold Sandgaard, 1948 (A first version exists as radio opera written in 1945)

Love Life, Vaudeville in two acts, text by Alan Jay Lerner, 1948

Lost in the Stars, Musical tragedy in two acts after Alan Platon's novel Cry, the Beloved Country, text by Maxwell Anderson, 1949



II UNFINISHED STAGE WORKS

[Pantomime], scenario by Georg Kaiser, 1924

The Common Glory, Pageant, text by Paul Green, 1937

[The Opera from Mannheim], text by E.Y. Harburg, 1938

Davy Crockett, Musical play, text by H.R. Hays and Kurt Weill, 1938 (Songs for voice and piano are published posthumous)

Ulysses Africanus, Musical after Harry Stillwell Edward's Eneas Africanus, text by Maxwell Anderson, 1939, (four songs are adapted later in Lost in the Stars)

The Pirate, Musical after the play Der Seeräuber by Ludwig Fulda, text by Samuel Nathaniel Behrman, 1942

Der brave Soldat Schwejk, Operetta, text by Bertolt Brecht, 1943

Der gute Mensch von Sezuan, text by Bertolt Brecht, 1943

Huckleberry Finn, Musical play, text by Maxwell Anderson after Anderson's Raft on the River, an adaptation of the novel by Mark Twain, 1950 (five songs for voice and piano or with orchestra, orchestrated by Robert Russell Bennett are published posthumous)



III INCIDENTAL MUSIC FOR PLAYS

Die Weber, Incidental music for a play by Gerhard Hauptmann, 1919

Gustav III, Incidental music for a play by August Strindberg, 1927, (published posthumous as suite with the title Bastille Musik)

Leben Eduards des Zweiten von England, Incidental music for a play by Bertolt Brecht and Lion Feuchtwanger, 1928, (partly lost)

Konjunktur, Incidental music for a play by Leo Lania, 1928, (partly lost, Parte als Suite unter some music is published posthumous with the title Öl-Musik; the song Die Muschel von Margate in the version for voice and piano is published in The Unknown Weill)

Petroleuminseln, Incidental music for a play by Lion Feuchtwanger, 1928 (partly lost, the Petroleum-Song in the version for voice and piano is published in The Unknown Weill)

Madam, Will You Walk?, Incidental music for one scene in act III for the play by Sidney Howard, 1939



IV FILM MUSIC

(those movies are not listed which based directly on stage works by Weill)

The River is Blue, screenplay by Clifford Odets, directed by Lewis Milestone, 1937

You and Me, screenplay by Virginia van Upp, lyrics by Sam Coslow and Johnny Burke, directed by Fritz Lang, 1938

Where Do We Go From Here?, Musical film, screenplay by Morris Ryskind, lyrics by Ira Gershwin, directed by Gregory Ratoff, 1943/44

Salute to France, (Incidental music for a propaganda movie), screenplay by Maxwell Anderson, directed by Jean Renoir and Garson Kanin, 1944



V ADAPTATIONS FOR THE STAGE DURING WEILL'S LIFE

The Judgement of Paris, Ballet compiled by Antony Tudor with music from Threepenny Opera by Kurt Weill, 1938



VI VOCAL MUSIC

VI a Choral Works

Ich weiß wofür, for four-part male chorus a cappella, text by Guido von Güllhausen, 1914

Gebet, for sister Ruth's confirmation, text by Emanuel Geibel, 1915

Divertimento for small orchestra, and male chorus op. 5, 1922, (partly lost; in the suite In the Old Style by David Drew and Christopher Shaw from 1971 you will find a reconstruction)

Psalm VIII, for six-part mixed chorus, 1922 (fragment)

Sulamith, Choral fantasia for soprano, female chorus, and orchestra, 1920, (fragment)

Recordare, for four-part mixed chorus and children's choir a cappella op. 11, 1923

Das Berliner Requiem, Cantata for tenor solo, baritone solo, male chorus, and wind orchestra, text by Bertolt Brecht, 1928 (posthumous published by David Drew; it exists also an alternative version for solo tenor, baritone, and bass, with wind orchestra, look works for voices and orchestra or ensemble)

Der Lindberghflug, Cantata for tenor solo, baritone solo, bass solo, four-part chorus, and orchestra, text by Bertolt Brecht, 1929 (the original version is composed by Weill and Hindemith, Weill replaced later Hindemith's movements with own compositions)

Zu Potsdam unter den Eichen, for four-part male chorus a cappella, text by Bertolt Brecht, 1929 (arrangement of one movement for male chorus from Das Berliner Requiem)

Die Legende vom toten Soldaten, for four-part mixed chorus a cappella, text by Bertolt Brecht, 1929

The Ballad of Magna Carta, Radio-cantata for narrator, tenor solo, bass solo, chorus, and orchestra, 1940

Mine Eyes have seen the Glory, four patritoic melodramas for narrator, male chorus, and orchestra, texts by Julia Ward Howe, Francis Scott Key, Samuel Francis Smith and Walt Whitman, 1942

Kiddush, for tenor solo, chorus and organ, 1946



VI b Works for Voice(s) and Orchestra or Ensemble

Das Standenbuch op. 13, Song cycle for baritone and orchestra, text by Rainer Maria Rilke, 1923/24 (fragment and partly lost, look also Rilkelieder for voice and piano)

Frauentanz op. 10, Seven poems from the medieval for sopran, flute, viola, clarinet, horn and bassoon, 1923

Der neue Orpheus op. 16, Cantata for soprano, solo-violin, and Orchestra, text by Iwan Goll, 1925

Vom Tod im Wald op. 23, Ballad for bass solo and wind instruments, text by Bertolt Brecht, 1927 (planned as one movement of Berliner Requiem)

Das Berliner Requiem, Cantata for tenor solo, baritone solo, bass solo and wind orchestra, text by Bertolt Brecht, 1928 (posthumous published by David Drew, it exists also a version for tenor solo, baritone solo, male chorus, and wind orchestra, look Choral Works)

Four Walt Whitman Songs, for voice and orchestra, 1942/47 (the first three songs are orchestrated by Kurt Weill and Irving Schlein, the last song is orchestrated by Carlos Surinach; it exists also a version for voice and piano)

Russian War Relief, for voice, piano and guitar, text by J.P. McEvoy, 1942



VI c Lieder, Songs and Chansons

Mi addir: Jüdischer TrauungsVocals, for voice and piano or organ, 1913, (fragment)

Es blühen zwei flammende Rosen, author unknown, 1913, (fragment)

Reiterlied, text by Hermann Löns, 1914 (published Early Songs)

Sehnsucht, text by Joseph von Eichendorff, 1916 (fragment)

Ofrahs Lieder, Song cycle, on Hebrew poems by Jehuda Halevi in modern German translation, 1916

Im Volkston, text by Arno Holz, 1916 (published in Early Songs)

Volkslied, text by Anna Ritter, 1917 (published in Early Songs)

Das schöne Kind, author unknown, 1917 (published in Early Songs)

Maikaterlied, Duet for two Sopranos and piano, text by Otto Julius Bierbaum, 1918

Abendlied, Duet for two sopranos and piano, text by Otto Julius Bierbaum, 1918

Die stille Stadt, text by Richard Dehmel, 1919 (published in Early Songs)

Langsamer Fox and Algi-Song, for piano solo (1st movement) and voice and piano (2nd movement), 1921

Die Bekehrte, text by Johann Wolfgang von Goethe, (fragment), 1921

Rilkelieder, for voice and piano, 1921, (fragment, partly lost, look also Das Standenbuch for baritone solo and orchestra op. 13)

Klops-Lied, for high voice, two piccolos and bassoon, 1925, (in the version for voice and piano published in The Unknown Weill)

Berlin im Licht, Song for voice and piano, 1928, (published in The Unknown Weill, it exists also a version for wind orchestra)

Petroleum-Song - Das Lied von den braunen Inseln, 1928, (from the incidental music from the play Petroleuminseln by Lion Feuchtwanger in the version for voice and piano published in The Unknown Weill)

Die Muschel von Margate, text by Felix Gasbarra, 1928, (from the incidental music from the play Konjunktur by Leo Lania in the version for voice and piano published in The Unknown Weill)

Es regnet, for voice and piano, text by Jean Cocteau and Kurt Weill, 1933, (published in The Unknown Weill)

Der Abschiedsbrief, for voice and piano, text by Erich Kästner, 1933, (published in The Unknown Weill)

Complainte de la Seine, for voice and piano, text by Maurice Magre, 1934, (published in The Unknown Weill)

Je ne t’aime pas, for voice and piano, text by Maurice Magre, 1934, (published in The Unknown Weill)

Youkali, for voice and piano, text by Roger Fernay, 1935 (This tango was in an instrumental version part of Marie Galante, published in The Unknown Weill)

The Fräulein and the Little Son of the Rich, Song Drama for Lenya and piano, text by Robert Graham, 1936

High Wind in Jamaica, for voice and piano without text, 1936

Pauv’ Madam’ Peachum!, for voice and piano, additional song for L'Opera de quat' sous [Dreigroschenoper], 1937

Two Folksongs of a New Palastine („Havu l’venim“, “Baa M’nucha”), text trad., arranged by Weill for voice and piano, 1938

Stopping by Woods on a Snowy Evening, text by Robert Frost, 1939 (fragment)

Nannas Lied, for voice and piano, text by Bertolt Brecht, 1939, (published in The Unknown Weill)

Four Walt Whitman Songs, for voice and piano, 1942/47 (It exists also a version for voice and orchestra)

and was bekam des Soldaten Weib?, Ballad for voice and piano, text by Bertolt Brecht, 1943, (published in The Unknown Weill)

Schickelgruber, for voice and piano, from the [Songs for the War Effort], text by Howard Dietz, 1942, (published in The Unknown Weill)

The Good Earth, for voice and piano, from the [Songs for the War Effort], text by Oscar Hammerstein, 1942, (published in The Unsung Weill)

Buddy on the Nightshift, for voice and piano, from the [Songs for the War Effort], text by Oscar Hammerstein, 1942, (published in The Unknown Weill)

Song of the Inventory, for voice and piano, from the [Songs for the War Effort], text by Lewis Allan, 1942

We Don’t Feel Like Surrendering Today, for voice and piano, from the [Songs for the War Effort], text by Maxwell Anderson, 1942

Oh Uncle Samuel!, for voice and piano, from the [Songs for the War Effort], text by Maxwell Anderson, Melodie von Henry C. Work, 1942

Toughen Up, Buckle Down, for voice and piano, from the [Songs for the War Effort], text by Dorothy Fields, 1942

Song of the Free, for voice and piano, from the [Songs for the War Effort], text by Archibald Mac Leish, 1942

Wie lange noch?, for voice and piano, text by Walter Mehring, 1943, (published in The Unknown Weill)



VII INSTRUMENTAL MUSIC

VII a Works for Orchestra or Ensemble

Andante from the piano sonata A major by Carl Maria von Weber, arranged for orchestra by Kurt Weill, 1918

Suite in E for Orchestra, 1918/19

Symphony in one movement [No. 1, "Berlin Symphony"], 1921

Divertimento for small orchestra Orchester and male chorus op. 5, 1922, (partly lost; in the suite In the Old Style by David Drew and Christopher Shaw from 1971 you will find a reconstruction)

Fantasia, Passacaglia and Hymnus for orchestra op. 6, 1923 (fragment)

Quodlibet op. 9, Suite for orchestra from the pantomime Zaubernacht. 1923

Concerto for Violin and Wind Instruments op. 12, 1924

Berlin im Licht, March for wind ensemble, 1928, (it exists also a version for voice and piano)

Kleine Dreigroschenmusik, for wind orchestra, Suite from Threepenny Opera, 1929

Symphony [No. 2], 1933/34

Hatikvah, arrangement of the Israel National Hymn by Kurt Weill for orchestra, 1947

Suite In the Old Style for small orchestra and male chorus, 1971 ed. posthumous by David Drew and Christopher Shaw, (The movements 1 and 2 are orchestrations of the first two movements of the first version of the string quartet op. 8; the movements 3 and 4 are reconstructionsfrom the Divertimento op. 5)



VII b Chamber Music

String Quartet B minor, 1918

Sonata for violoncello and piano, 1919/20

String Quartet, (1st version of the string quartet op. 8; only the movements 3 and 4 are adopted in op. 8; the first two movements are posthumous published as "Two Movements for String Quartet; look also the arrangement of the suite In the Old Style for small orchestra and male chorus, 1971), 1922-23

String Quartet No. 1 op. 8, 1923



VII c Piano Music

Intermezzo, for piano solo, 1917

[Polka], for piano solo, 1921, (fragment)

Langsamer Fox, for piano solo, contain in Langsamer Fox and Algi-Song, 1921

Albumblatt für Erika [=transcription of No. 7 "Pastorale" from Der Weg der Verheißung], 1937



VIII ARRANGEMENTS

Andante from the piano sonata A major by Carl Maria von Weber, arranged for orchestra, 1918

Divertimento for flute and orchestra op. 52 by Ferruccio Busoni, arranged for flute and piano, 1921

Two Folksongs of a New Palastine ("Havu l'venim", "Baa M'nucha"), Text trad., arranged for voice and piano, 1938

Hatikvah, arrangement of the Israel National Hymn for orchestra, 1947



IX OTHERS

The Fraeulein and the Little Son of the Rich, Song Drama for Lenya and piano, text by Robert Graham, 1936

Russian War Relief, for voice, piano and guitar, text by J.P. McEvoy, 1942



X LOST MUSIC

Zriny, Opera after the tragedy by Theodor Körner, 1916

Die Weise von Liebe and Tod des Cornets Christoph Rilke, Symphonic poem after Rainer Maria Rilke, 1919

Schilflieder, Song cycle after texts by Nikolaus Lenau, 1919

Ninon von Lenclos, Opera in one act after a play by Ernst Hardt, 1919-20

Herzog Theodor von Gothland, Incidental music for the play by Christian Dietrich Grabbe, 1926

Na and?, Opera in two acts and seventeen numbers, text by Felix Joachimson, 1926/27

Katalaunische Schlacht, Incidental music for the play by Arnolt Bronnen, 1928

Herzog Theodor von Gothland, Radio music with text by Christian Dietrich Grabbes Drama, 1926

Mann ist Mann, Incidental music for the play by Bertolt Brecht, 1931

La grande complainte de Fantômas, Radio Music, text by Robert Desnos, 1933

Tu me démolis, for voice and piano, additional song for L'Opera de quat' sous [Dreigroschenoper], 1937

Two on an Island, Incidental music for the play by Elmer Rice, 1939

Your Navy, Incidental music for a radio Programme, text by Maxwell Anderson, 1942

Fun to be Free, Music for a pageant, text by Ben Hecht and Charles Mac Arthur, 1941

One Morning in Spring, for voice and piano, from the [Songs for the War Effort], text by St. Clair McKelway, 1942

We Will Never Die, Music for a pageant, text by Ben Hecht, 1943

A Flag is Born, Music for a pageant, text by Ben Hecht, 1946




“The greatness of Kurt Weill as a composer will gradually be discovered – since he was a greater musician than is generally known nowadays. This will take years, even decades, but when the time has come, Kurt Weill will remain among only few others, who have written great music.“

Maxwell Anderson
© Roßdeutscher & Bartel GbR, Leipzig, 2018