Talk:Kurt Weill

message: Why has Lotte Lenya been essentially omitted from this article?  — Preceding unsigned comment added by 71.29.79.206 (talk) 18:30, 15 October 2012 (UTC)
thread_title:  Lotte Lenya, 2X wife: her omission from this article 

message: Substituted at 21:27, 29 April 2016 (UTC)
thread_title: Assessment comment

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thread_title:  External links modified 

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thread_title:  External links modified 

message: Commissioned by Cantor David Putterman of New York’s Park Avenue Synagogue, 1946.
https://www.milkenarchive.org/music/volumes/view/swing-his-praises/work/kiddush-weill/
Drsruli (talk) 05:26, 5 December 2020 (UTC)
thread_title:  Kiddush 

message: As of 2021-15-02 our article begins "Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a German composer…" That phrase "a German composer" seems problematic to me: Weill in 1947 explicitly disavowed that characterization. In a 1947 letter to Life magazine, reprinted in Henry Marx (Ed.), Weill-Lenya Goethe House, (New York, 1976) and cited by Douglas Jarman, Kurt Weill: An illustrated Biography, Indiana University Press (Bloomington, 1982), p.140, Weill wrote, "Although I was born in Germany I don not consider myself a 'German composer'. … I am an American citizen and during my dozen years in this country have composed exclusively for the American stage … I would appreciate your straightening out your readers on this matter." Jarman doesn't say what Life may have done, but his sense of his own nationality could not be more clearly stated. I am editing this to say "a German (later American) composer," and I suppose I should cite the above. Not sure how best to do this multi-layered citation, so someone may want to clean up my footnote. - Jmabel | Talk 01:02, 16 February 2021 (UTC)
replies: text: Why not German-American? It's not describing his music (which is what he was complaining about), it's describing his nation of origin and his eventual nationality. --jpgordon𝄢𝄆 𝄐𝄇  05:19, 16 February 2021 (UTC)
thread_title:  "a German composer" 

message: I'm not sure where to put this in the current article structure, but Douglas Jarman, Kurt Weill: An illustrated Biography, Indiana University Press (Bloomington, 1982; ISBN 025314650X), mentions two other significant influences on Weill's mature work. Although he largely drifts away from post-Wagnerian German Expressionism, he retains Mahler's clashing timbres (Jarman, p. 90) and, unusually for a German, he showed strong influences from Russian classical music, especially Mussorgsky. Like the latter, Weill threads his way between atonalism and the diatonic scales, often finding a compromise in the less common modes (Jarman, p. 121 et. seq.). - Jmabel | Talk 05:02, 16 February 2021 (UTC)
thread_title:  Two other influences on Weill