Kurt Weill |

Kurt da

An haifi Maris 2, 1900 a Dessau (Jamus). Ya yi karatu a Makarantar Kiɗa ta Berlin tare da Humperdinck, kuma a cikin 1921-1924. dalibin Ferruccio Busoni ne. Weill ya rubuta abubuwansa na farko a cikin salo na zamani. Waɗannan su ne ƙungiyoyin makaɗa ("Kvodlibet", wasan kwaikwayo na violin da kayan aikin iska). Farkon haɗin gwiwa tare da mawallafin wasan kwaikwayo na Jamus "hagu" (H. Kaiser, B. Brecht) ya kasance mai mahimmanci ga Weill: ya zama mawallafin wasan kwaikwayo na musamman. A cikin 1926, wasan opera na Weill ya dogara da wasan G. Kaiser mai suna “The Protagonist” a Dresden. A shekara ta 1927, a wurin bukin sabon kade-kade a Baden-Baden, an gudanar da wani baje kolin zane mai ban sha'awa na zanen kidan "Mahogany" zuwa rubutun Brecht, a shekara mai zuwa, wasan opera na wasan kwaikwayo na satirical guda daya "An dauki hoton Tsar" (H. Kaiser) ) an yi shi a Leipzig kuma a lokaci guda ya yi tsawa a ko'ina cikin Turai sanannen "Threepenny Opera" a cikin gidan wasan kwaikwayo na Berlin "Na Schifbauerdam", wanda ba da daɗewa ba ya yi fim ("Threepenny Film"). Kafin tafiyarsa tilas daga Jamus a cikin 1933, Weill ya sami damar rubutawa da shirya wasan kwaikwayo na operas The Rise and Fall of the City of Mahagonny (tsarin sigar zane), Garanti (rubutun Caspar Neuer) da Lake Silver (H. Kaiser). ).

A birnin Paris, Weill ya shirya wa kamfanin George Balanchine wani ballet tare da rera waƙar "Zunubi Bakwai na Mutuwa" bisa ga rubutun Brecht. Daga 1935, Weill ya zauna a Amurka kuma ya yi aiki a gidan wasan kwaikwayo na Broadway a New York a cikin ƙaunataccen nau'in kiɗa na Amurka. Sharuɗɗan da suka canza sun tilasta wa Weill sannu a hankali ya sassauta sautin satirical na ayyukansa. Yankunansa sun zama masu ban sha'awa ta fuskar ado na waje, amma ba su da daɗi a cikin abun ciki. A halin yanzu, a cikin gidajen wasan kwaikwayo na New York, kusa da sabbin wasannin kwaikwayo na Weill, The Threepenny Opera an shirya shi ɗaruruwan lokuta tare da nasara.

Ɗaya daga cikin shahararren wasan kwaikwayo na Amurka da Weill ya yi shine "A Street Incident" - "wasan kwaikwayo na jama'a" bisa ga wasan kwaikwayo na E. Rice daga rayuwar matalauta na New York; The Threepenny Opera, wanda ya sanya gidan wasan kwaikwayo na kiɗan Jamus na tribune na 20s na gwagwarmayar siyasa, ya sami haɓakar tsarin kiɗan "titin" na plebeian tare da ingantattun hanyoyin fasaha na fasahar kiɗan zamani. An gabatar da wasan ne a sigar “wasan opera na bara”, tsohuwar wasan kwaikwayo ta Turanci na wasan opera na baroque. Weill ya yi amfani da "wasan opera na bara" don manufar wasan kwaikwayo (a cikin kiɗan wannan wasan kwaikwayo, ba Handel ba ne da yawa "ya sha wahala" a matsayin platitudes, "guraren gama gari" na wasan kwaikwayo na soyayya na karni na XNUMX). Kiɗa yana nan a matsayin saka lambobi - zongs, waɗanda ke da sauƙi, yaduwa da mahimmancin buɗaɗɗen pop. A cewar Brecht, wanda tasirinsa akan Weill a cikin waɗannan shekarun bai rabu ba, don ƙirƙirar sabon wasan kwaikwayo na kiɗa na zamani, mawaƙin dole ne ya watsar da duk wani ra'ayi na gidan opera. Brecht sane ya fi son kiɗan pop "haske"; Bugu da kari, ya yi niyyar warware rikicin da ya dade tsakanin kalma da waka a wasan opera, a karshe ya raba su da juna. Babu ta hanyar ingantaccen ci gaban tunanin kiɗa a cikin wasan Weill-Brecht. Siffofin gajeru ne kuma a takaice. Tsarin duka yana ba da damar shigar da kayan aiki da lambobin murya, ballet, al'amuran choral.

Tashi da faduwar birnin Mahagonny, sabanin The Threepenny Opera, ya fi kama da wasan opera na gaske. Anan kiɗa yana taka muhimmiyar rawa.