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Bertolt Brecht-Elisabeth Hauptmann papers relating to Kurt Weill and Lotte Lenya, 1930-1956.

Author: Bertolt Brecht; Kurt Weill
Edition/Format:   Archival material : German
Publication:Small collections of the Weill-Lenya Research Center, [ca. 1898]-[ongoing]
Database:WorldCat
Summary:
Correspondence (primarily), musical sketches, and a contract.
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Genre/Form: Letters
Musical scores
Contracts
Correspondence
Manuscripts Facsimiles
Named Person: Bertolt Brecht; Bertolt Brecht; Bertolt Brecht; Bertolt Brecht; Kurt Weill; Kurt Weill; Kurt Weill; Kurt Weill; Lotte Lenya; Lotte Lenya; Lotte Lenya; Elisabeth Hauptmann; Elisabeth Hauptmann
Document Type: Archival Material
All Authors / Contributors: Bertolt Brecht; Kurt Weill
OCLC Number: 122520486
Language Note: In German and English.
Notes: Photocopies.
From the Bertolt-Brecht-Archiv, Berlin (850912).
Description: 34 letters and telegrams. 3 ms. scores. 1 contract.

Abstract:

Correspondence (primarily), musical sketches, and a contract.

Brecht and Weill correspond regarding projects (some never realized), productions, and copyright matters. Titles mentioned include: Die sieben Todsünden, Schweyk, Die Spitzköpfe, Aufstieg und Fall der Stadt Mahagonny (French film version), and The private life of the master race. Regarding Die Dreigroschenoper, they discuss copyright matters, Brecht's new (1948) version, the production by the Münchener Kammerspiele, and contract negotiations with Bloch Erben. From 1950, Lenya and Elisabeth Hauptmann carry on the dialogue, discussing the division of royalties from Die Dreigroschenoper, productions of the work in New York (Blitzstein's adaptation), London (many references, in a number of letters), Paris, and Milan, Lenya's work on a Weill biography, the Berliner Ensemble's trip to Paris, Lenya's recording of Berlin theatre songs, a production of Die sieben Todsünden in Frankfurt, a French film version of Happy end, world film rights to Die Dreigroschenoper, and Weill's music for Mann ist Mann. In an extensive letter from 1955, Brecht writes to Lenya about the copyright situation in regard to Die Dreigroschenoper.

Included also are two holograph sketches of Weill--one for Edis Kebsweib hat einen Bart auf der Brust (from the incidental music for Das Leben Eduards des Zweiten von England), the other for Das Lied vom Fluss der Dinge (from his incidental music for Mann ist Mann)--and a ms. rehearsal score of Das Lied [i.e. Die Ballade] der sexuellen Hörigkeit, from the collection of the Berliner Ensemble. Finally, there is an uncompleted copy of a contract between Brecht and Weill for The righteous maiden of Sezuan and a cover letter from the Bertolt-Brecht-Archiv.

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