lp rip @320 w/ART! (also with the English translation booklet which describes the play and lyrics)
http://www.mediafire.com/?bj34e52n66c9110
What better way to end 2011 than with the 'happy' sounds of a Kurt Weill/Bertolt Brecht piece, sung in German by the incomparable Lotte Lenya? This music actually makes me feel pretty good because it makes me realize...things could always be worse.
I hope everyone has a safe and happy New Year's Eve...here's looking forward to a great 2012! See you all next year!
For which many thanks, Rocket. There are big scholarly debates about this recording, but methinks this ain't the place to have them. Lenya's artisty and presence are amazing.
Now I'm curious...pray tell Phillip can you give us the nickel version of what those debates center around? I (for one) promise NOT to comment and/or take sides...
In essence, many of Lenya's 50s and beyond recordings of her late husband's works were arranged around her - how shall I put this - vocal characteristics. Songs allocated to other characters in the original theatre pieces were, in many cases, also given to her. This meant transposing the originals into different keys to suit Lenya. It's a while since I've read the scholarship on this, but in essence, if memory serves, the discussion weighs up the benefits of bringing these then obscure pieces back into the light against the somewhat distorted view of the works these recordings created.
If any Weill scholars are reading this, please be gentle.
Thanks Philip that was a pretty concise and easy to understand explanation. I really appreciate it.
I also understand certain scholars were upset because everyone knew Rosa Klebb was actually a Russian SMERSH agent and NOT really an operative of Blofeld and SPECTRE. ;)
lp rip @320 w/ART! (also with the English translation booklet which describes the play and lyrics)
ReplyDeletehttp://www.mediafire.com/?bj34e52n66c9110
What better way to end 2011 than with the 'happy' sounds of a Kurt Weill/Bertolt Brecht piece, sung in German by the incomparable Lotte Lenya? This music actually makes me feel pretty good because it makes me realize...things could always be worse.
I hope everyone has a safe and happy New Year's Eve...here's looking forward to a great 2012! See you all next year!
Thanks, Rocket - best of the new year to you as well!
ReplyDeleteAhhhh...my favourite villaness from "From Russia With Love". Definitely not a "Bond girl" but a heck of an actress. Thanks.
ReplyDeleteBob
For which many thanks, Rocket. There are big scholarly debates about this recording, but methinks this ain't the place to have them. Lenya's artisty and presence are amazing.
ReplyDeleteNow I'm curious...pray tell Phillip can you give us the nickel version of what those debates center around? I (for one) promise NOT to comment and/or take sides...
ReplyDeleteIn essence, many of Lenya's 50s and beyond recordings of her late husband's works were arranged around her - how shall I put this - vocal characteristics. Songs allocated to other characters in the original theatre pieces were, in many cases, also given to her. This meant transposing the originals into different keys to suit Lenya. It's a while since I've read the scholarship on this, but in essence, if memory serves, the discussion weighs up the benefits of bringing these then obscure pieces back into the light against the somewhat distorted view of the works these recordings created.
ReplyDeleteIf any Weill scholars are reading this, please be gentle.
Thanks Philip that was a pretty concise and easy to understand explanation. I really appreciate it.
ReplyDeleteI also understand certain scholars were upset because everyone knew Rosa Klebb was actually a Russian SMERSH agent and NOT really an operative of Blofeld and SPECTRE. ;)
Damn! I knew there was one other thing! Thanks for sorting that out, Rocket. I am shaken and stirred.
ReplyDelete