This comprehensive master list contains every known published text by David Drew about Kurt Weill, including reprints. Entries are listed in reverse chronological order (latest first). New entries may be added as they come to light. Where available, talks and conference papers, many of which were published later, are also included. Please see also Drew’s Weill writings listed by genre and subject. David Drew’s writings are copyright by the Estate of David Drew, and permission to reprint must be secured from the Estate.
2020-2029
2000-2009
1990-1999
1980-1989
1970-1979
1960-1969
1950-1959
2020-2029[ps2id id=’2020-2029′ target=”/]
“Mahagonny‘s Musical Roots” (Part I, Mahagonny and “Popular” Idioms; Part II, Mahagonny and Tradition). Part I published in Kurt Weill Newsletter 42.1 (Spring 2024), p. 4-6. Full text of both parts.
Note: Published posthumously.
2000-2009[ps2id id=’2000-2009′ target=”/]
“Struggling for Supremacy: The Libretto of Mahagonny.” In Kurt Weill Newsletter 27.2 (Fall 2009), pp. 6-9. (full text)
Note: Published posthumously.
“Kurt Weill, Berliner Requiem: Notes on a Reconstruction.” Liner notes. Kaddish, Lucerne Symphony Orchestra, Nimbus NI 5807, compact disc, 2007. (full text)
“Anmerkungen zu einer Rekonstruktion.” Program note. Das Berliner Requiem, Lucerne, Lucerne Festival, John Axelrod (cond.), 29 August 2006. (full text)
“Fifty Years of Working on Kurt Weill [interview with Elmar Juchem].” In Kurt Weill Newsletter 23.2 (Fall 2005), pp. 6-9. (full text)
“Royal Palace and its Critics.” In David Rosen and Claire Brook (eds.), Words on Music. Essays in Honor of Andrew Porter on the Occasion of his 75th Birthday (Hillsdale, NY: Pendragon, 2003), pp. 91-119. (full text)
Program note. Die sieben Todsünden. London, St John’s Smith Square, Sally Burgess (soprano), 3 July 2001.
Review of Untwisting the Serpent: Modernism in Music, Literature, and Other Arts by Daniel Albright. In Kurt Weill Newsletter 19.1 (Spring 2001), pp. 18-20. (full text)
“Kurt Weill.” In Stanley Sadie and John Tyrrell (eds.), The New Grove Dictionary of Music and Musicians (Oxford: Oxford University Press, 2001), v. , pp. (incomplete entry)
Note: Written with J. Bradford Robinson.
“Lotte Lenya.” In Stanley Sadie and John Tyrrell (eds.), The New Grove Dictionary of Music and Musicians (Oxford: Oxford University Press, 2001), v. , pp. (incomplete entry)
Program note. Concerto for Violin and Wind Orchestra. London, BBC Proms, 14 August 2000. (full text)
Program note. Das Berliner Requiem. London, BBC Proms concert, 27 July 2000. (full text)
“The flight from Behemoth.” Review of Brinkmann and Wolff (eds.), Driven into Paradise: the Musical Migration from Nazi Germany to the United States. In Times Literary Supplement, 7 July 2000, pp. 18-19. (full text)
Program note. Das Berliner Requiem. Aldeburgh, orchestral concert, 17 June 2000. (full text)
“Reinhardt’s Choice: Some Alternatives to Weill?” In Helmut Loos and Guy Stern (eds.), Kurt Weill: Auf dem Weg zum “Weg der Verheißung” (Freiburg: Rombach, 2000), pp. 237-254. (full text)
“Kurt Weill und die Nachwelt, 1950-2000.” Pre-concert talk at Frauen-Kammerorchester von Oesterreich, Wien, 28 June 2000.
“Die Nachwelt: Kurt Weill 1950-2000.” Conference paper delivered at a symposium at the Kurt Weill Fest Dessau, 20 February 2000.
Program notes. “Berlin im Licht,” Violin Concerto, Panamanian Suite, Vom Tod im Wald, Oil-Music, Kleine Dreigroschenmusik. London, “Kurt Weill from Time to Time” festival, 2 March 2000. (full text)
Program note. Trains Bound for Glory. London, “Berlin to Broadway: The Music of Kurt Weill” festival, 16 January 2000. (full text)
1990-1999[ps2id id=’1990-1999′ target=”/]
Program notes. Mahagonny Songspiel, Marie Galante, Cry, The Beloved Country. London, “Kurt Weill from Time to Time” festival, 14 October 1999.
Program note. Dreigroschen-Songspiel (sung in German with an English narration translated by Stephen Hinton from two narrations prepared by Brecht himself). London, “Kurt Weill from Time to Time” festival, 10 October 1999. (full text)
Program notes. Der Jasager, Happy End Songspiel. London, “Kurt Weill from Time to Time” festival, 4 October 1999. (full text)
“Portraits and Snapshots (Weill Has His Photograph Taken).” Introductory essay in programs for “Kurt Weill from Time to Time” festival, London, October 1999. (full text)
Note: The version presented here is reproduced from the February 2000 festival program, representing Drew’s final revisions.
“Reinhardt’s Choice: Some Alternatives to Weill?” Conference paper given at “Kurt Weill–Leben und Werk–unter Berücksichtigung des Bibelspiels ‘Der Weg der Verheißung,'” Chemnitz, 12 June 1999.
“Der Weg der Verheissung: Weill at the Crossroads.” In Tempo 208 (April 1999), pp. 33-50. (full text)
Note: Companion essay to “Der Weg der Verheissung and the Prophecies of Jeremiah” (see below).
“Weill and The Silver Lake.” Program note. Der Silbersee. London, Broomhill Opera, 29 March 1999. (full text)
Program note. Propheten. Bochum, Ruhr-Universität, 14 November 1998.
“Der Weg der Verheissung and the Prophecies of Jeremiah.” In Tempo 206 (September 1998), pp. 12-20. (full text)
Note: Companion essay to “Der Weg der Verheissung: Weill at the Crossroads” (see above).
Program note. Propheten. London, BBC Proms, 26 July 1998. (full text)
Note: Drew’s synopsis of Propheten included.
“Weill–Propheten: David Drew on the remarkable history of a vast Biblical drama and its suppressed final act.” In BBC Prom Guide 1998, p. 99. (full text)
Program note. Propheten. Vienna, Radio-Symphonieorchester Wien, 28 May 1998. (full text)
Note: World premiere.
Program notes. The Seven Deadly Sins, Mahagonny Songspiel. London, BBC Prom, 3 August 1997.
Note: Reprinting of previous program notes: Sins from August 1968; Songspiel from August 1993.
Program notes. Suite panaméenne, “Cowboy Song,” “Captain Valentine’s Song.” New York, Tisch Center, 23 February 1997.
Note: Reprint of liner notes from Berlin im Licht, Largo 5114, 1990.
Program notes. Suite panaméenne, Vom Tod im Wald, “Cowboy Song,” “Captain Valentine’s Song,” Kleine Dreigroschenmusik. Vienna, Wiener Konzerthaus, 12 February 1997.
Note: Reprint of liner notes from Berlin im Licht, Largo 5114, 1990.
Program note. Der Silbersee/The Silver Lake, London, BBC Prom, 21 July 1996. (full text)
Note: Drew’s synposis of Der Silbersee included.
“Der Silbersee.” Pre-concert talk, London, BBC Prom, 21 July 1996.
“A Winter’s Fairy Tale.” Introduction to Der Silbersee/The Silver Lake. BBC Proms Guide, 1996. (full text)
“Afterword as Introduction to the Kurt Weill Edition.” In Edward Harsh (ed.), Die Dreigroschenoper: A Facsimile of the Holograph Full Score (New York: Kurt Weill Foundation ; Valley Forge: European American Music, 1996), pp. 149-150. (full text)
“Kurt Weill–Eine Annäherung. Einleitende Gedanken von David Drew.” Program note (introductory article) for “Kurt Weill Festival: Berlin–Paris–New York,” Vienna, Jeunesse musicale, 29 September – 24 October 1995, pp. 7-9. (full text)
Note: German translation of liner notes for 1976 Deutsche Grammophon album as revised for 1987 Handbook Foreword.
“Testimonies.” In Gramophone (July 1995), pp. 23, 25.
“I Sing of War.” In The Musical Times no. 1828 (June 1995), pp. 279-283. (full text)
Note: Drew remarked, “This is the first part of a version of the notes for Largo’s Testimonies of War CD, edited for separate publication.”
Liner notes. Testimonies of War/Kriegszeugnisse 1914-1945, Largo Records 5130, compact disc, March 1995.
“Britten and His Fellow Composers: Six Footnotes for a Seventieth Birthday.” In Philip Reed (ed.), On Mahler and Britten: Essays in Honour of Donald Mitchell on His Seventieth Birthday (Woodbridge: The Boydell Press; Aldeburgh: The Britten-Pears Library, 1995), pp. 146-166. (full text)
“Weill 1900-1950.” Program note, Frankfurt, concert of Ensemble Modern, 11 October 1994.
Note: Based on the Berlin im Licht (Largo 5114) liner notes, but with additions.
Program note. “Berlin im Licht,” Suite panaméenne, Öl-Musik, Lieder aus Johnny Johnson. Berlin, Ensemble Modern, 9 October 1994.
Note: Reprint of Berlin im Licht liner notes (Largo Records 5114).
“Weill and Schoenberg.” In Kurt Weill Newsletter 12.1 (Spring 1994), pp. 10-13. (full text)
Note: Reprinted from Sundry sorts of Music Books with “Introduction: An Open Letter to O.W. Neighbour” appended.
“Schoenberg and Weill.” In Chris Banks, Arthur Searle, and Malcolm Turner (eds.), Sundry Sorts of Music Books: Essays on The British Library Collections, presented to O.W. Neighbour on his 70th birthday (London: British Library, 1993), pp. 346-353. (full text)
“The Bürgschaft Debate and the Timeliness of the Untimely.” In Kim H. Kowalke and Horst Edler (eds.), A Stranger Here Myself: Kurt Weill Studien (Hildesheim: Olms, 1993), pp. 159-184. (full text)
Program note. Happy End. London, London Sinfonietta, 30 March 1993.
Note: Revised version of 1986 program note.
Program note. Mahagonny Songspiel, Cry, the Beloved Country. London, BBC Prom, 25 August 1993.
Note: See program note from 3 August 1997.
Paper on Der Zar lässt sich photographieren delivered at symposium on Der Protagonist and Der Zar lässt sich photographieren as part of Kurt Weill Week at the Santa Fe Opera, 31 July 1993.
“Weill on the Road to Broadway.” Introductory essay for program, Aldeburgh, Britten/Weill Festival, 22-25 October 1992. (full text)
Program notes. Violin Concerto, Symphony no. 2, String Quartet in B minor, Frauentanz, Songs from Knickerbocker Holiday and Johnny Johnson. Aldeburgh, Britten/Weill Festival, 22-25 October 1992. (full text)
“Kurt Weill: A Profile.” Introductory essay for program, Aldeburgh, Britten/Weill Festival, 22-25 October 1992. (full text)
Note: Reprint of the “Foreword” to Kurt Weill: A Handbook.
“Kurt Weill.” In Soundings (the magazine of the Friends of the Aldeburgh Foundation), Autumn 1992.
Review of Aufstieg und Fall der Stadt Mahagonny, Stuttgart, Staatstheater, Ruth Berghaus (dir.). In Kurt Weill Newsletter 10.2 (Fall 1992), pp. 20-21.
Note: Reprinted from Times of London.
“Building a Model Mahagonny.” Review of Aufstieg und Fall der Stadt Mahagonny, Stuttgart, Staatstheater, dir. Ruth Berghaus. In The Times of London, 22 March 1992, p. 10. (full text)
Program note. Marie Galante. New York, Les Dames et Las Damas, 26 September 1991.
“Brecht, Bertolt.” In Stanley Sadie (ed.), The New Grove Dictionary of Opera (Oxford: Oxford University Press, 1991), v. 1, p. 591.
“Lenya, Lotte.” In Stanley Sadie (ed.), The New Grove Dictionary of Opera (Oxford: Oxford University Press, 1991), v. 2, p. 1144.
Program note. Das Berliner Requiem. Berlin, Ensemble Modern, 18 March 1991.
Note: German translation of note from 1975.
“Die Bürgschaft und die Aktualität des Unzeitgemässen.” Conference paper delivered (in English?) at Internationales Kurt-Weill-Symposium, Duisburg, 24 March 1990.
Note: Later published in English in A Stranger Here Myself, ed. Edler and Kowalke, 1993 (q.v.).
“Brecht und Weill.” Program note, Aufstieg und Fall der Stadt Mahagonny. Freiburg, Grosses Haus, 13 October 1990.
“Motifs, Tags, and Related Matters.” In Stephen Hinton (ed.), Kurt Weill: The Threepenny Opera (Cambridge: Cambridge University Press, 1990), pp. 149-160. (full text)
Note: “Cambridge Opera Handbooks” series.
Liner note. Mahagonny Songspiel. John Mauceri (cond.), Decca 430 168-2, compact disc, 1990.
Program notes. Suite panaméenne, Marie Galante, War Play, Cry, the Beloved Country (“Lost in the Stars and Cry the Beloved Country: The Quest for a Concert Sequence”), London, Tenth Almeida International Festival of Contemporary Music, Matrix Ensemble, Robert Ziegler (cond.), 14 June 1990. (full text)
Liner notes. Berlin im Licht (“Berlin im Licht,” “Slow-Fox und Algi-Song,” “Klopslied,” “Ach, wär mein Lieb ein Brünnlein kalt,” Frauentanz, Bastille-Musik, Öl-Musik, Suite panaméenne, “Cowboy Song,” “Captain Valentine’s Song,” “Die stille Stadt”), Largo 5114, compact disc, 1990.
“About this recording.” Liner notes. Lotte Lenya-Weill (Die sieben Todsünden and Happy End). CBS Masterworks Portrait MPK 45 886, compact disc, 1990.
1980-1989[ps2id id=’1980-1989′ target=”/]
Liner note. Violin Concerto (re-issue of 1955 MGM recording). Polydor 839 727-2, compact disc, August 1989.
Note: Abridged version of 1977 program note for London Sinfonietta.
“Lost in the Stars: A Concert Sequence.” Letter to the Editor, Kurt Weill Newsletter 7.1 (Spring 1989), p. 7. (full text)
Note: Reply to Glen Becker’s review of Cry the Beloved Country, Drew’s concert adaptation of Lost in the Stars.
“Vorwort.” Foreword in German to Stephen Hinton and Jürgen Schebera (eds.), Kurt Weill, Musik und Theater, Gesammelte Schriften, mit eine Auswahl von Gesprächen und Interviews (Berlin: Henschel, 1990), pp. 13-15. (full text)
Note: English version unpublished; available only as typescript.
Program note. Marie Galante. London, Siva Oke, Unicorn-Kanchana, 1989.
Program note. War Play. Boston, Musica Viva, 18 March 1988. (full text)
Note: First American performance of Drew’s concert arrangement of Johnny Johnson.
Program note. Die sieben Todsünden. London, London Sinfonietta, Simon Rattle (cond.), 24 January 1988.
[“Questions on Weill supplied for BBC Television Mastermind.”], 1988. (full text)
Note: Used in broadcast of quiz program; questions 11-16 missing from full text display.
Letter to the Editor. In Kurt Weill Newsletter 5.2 (Fall 1987), pp. 3-4. (full text)
Note: Reply to Richard Taruskin’s review of A New Orpheus: Essays on Kurt Weill.
“Kurt Weill: Doubtful and Chimerical Works.” In The Musical Times no. 1736 (October 1987), pp. 548-551. (full text)
Note: Reprinted from Kurt Weill: A Handbook.
“Undiscovered Weill.” In Opera 38.10 (October 1987), pp. 1115-1124. (full text)
Note: Reprinted, with additions, from Kurt Weill: A Handbook.
Program notes. Violin Concerto, “Der Song von Mandelay,” Vom Tod im Wald, Kleine Dreigroschenmusik. New York, Merkin Festival, 30 September 1987. (full text)
Program notes. Kiddush, Two Folksongs of the New Palestine, Ofrah’s Lieder, selections from Der Weg der Verheißung, Recordare. New York, Merkin Festival, 20 September 1987. (full text)
Program notes. Bastille Music, Four Walt Whitman Songs, String Quartet no. 1, op. 8, Marie Galante. New York, Merkin Festival, 17 September 1987. (full text)
Kurt Weill: A Handbook (London: Faber & Faber; Berkeley: University of California Press, 1987).
“Reflections on the Last Years: Der Kuhhandel as a Key Work.” In Kim H. Kowalke (ed.), A New Orpheus: Essays on Kurt Weill (New Haven: Yale University Press, 1986), pp. 217-267. (full text)
“How Was Weill’s Success Achieved?” In Kurt Weill Newsletter 4.2 (Fall 1986), pp. 4-6. (full text)
Note: Excerpted and reprinted from two entries in Kurt Weill: A Handbook: “Die Dreigroschenoper” and “Ofrahs Lieder.”
Program notes. Happy End, Berliner Requiem. London, Summerscope 1986, 18 August 1986.
Note: Reprint of program note from March 1977.
Program notes. The Protagonist, The Tsar Has His Photograph Taken. London, Camden Festival, Abbey Opera, 12-15 March 1986. (full text)
Review of Der Lindberghflug, Mürzzuschlag, Mürzthaler Werkstatt, 24 October 1984. In Kurt Weill Newsletter 3.1 (Spring 1985), p. 16. (full text)
Program notes. Oil Music, “Klopslied,” Pantomime I from Der Protagonist, Vom Tod im Wald, “Cranes’ Duet,” Mahagonny Songspiel. London, London Sinfonietta Voices, 10 April 1984. (full text)
“Reflections on the Last Years.” Paper delivered at Kurt Weill Conference, Yale University, 3 November 1983.
Note: Later published as “Reflections on the Last Years: Der Kuhhandel as a Key Work” (q.v.) in A New Orpheus.
Program notes. Kleine Dreigroschenmusik, Violin Concerto. London, BBC Prom, 6 September 1983.
Note: Reprinted from liner notes to the 1976 Deutsche Grammophon LP.
Program notes. Kleine Dreigroschenmusik, Violin Concerto. Paris?, Ensemble Intercontemporain, 1983.
Program note. Kleine Dreigroschenmusik, London, South Bank Summer Music, 9 August 1981.
“Brecht, Bertolt.” In Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), vol. 3, pp. 247-248.
“Lenya, Lotte.” In Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), vol. 10, pp. 665-666.
“Neher, Caspar.” In Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), vol. 13, p. 97.
“Weill, Kurt.” In Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), vol. 20, pp. 300-310.
“Kurt Weill in Europe and America.” Book review. The days grow short (Ronald Sanders) and Kurt Weill in Europe (Kim H. Kowalke). In London Review of Books, v. 2, no. 18, 18 September – 1 October 1980, pp. 17-18.
1970-1979[ps2id id=’1970-1979′ target=”/]
“Weill, Borchardt und Kaiser–Notizen zu dem Problem: Deutsche Dramatiker in Amerika.” In Lothar Schirmer, ed. Theater im Exil 1933-1945, Ein Symposium der Akademie der Künste (Berlin: Akademie der Künste, 1979), pp. 236-241. (full text)
Note: Publication of paper (q.v.) given at 1973 conference.
“Gespräch mit Lotte Lenya.” In Lothar Schirmer, ed. Theater im Exil 1933-1945, Ein Symposium der Akademie der Künste (Berlin: Akademie der Künste, 1979), pp. 242-249. (full text)
Note: Round table discussion with Lenya, Drew, and several others, mostly pertaining to The Eternal Road.
“Beiträge zu einer musikalischen Perspektive.” In Ingo F. Walther (ed.), Paris-Berlin 1900-1933 (München: Prestel, 1979), pp. 550-557. (full text)
Note: Essay on composers of the first third of the twentieth century: translated by Horst Leuchtmann, introduced by Pierre Boulez.
Program notes. “Tango Angèle,” “Alabama-Song,” “Bilbao-Song,” Berliner Requiem, Happy End. De Doelen and Utrecht, London Sinfonietta, 12-13 June 1977. (full text)
Program notes. “Berlin im Licht,” “Klopslied,” Pantomime from Der Protagonist, Vom Tod im Wald, “Tango Angèle,” Mahagonny Songspiel, Bastille-Musik, “Können ihm Essig holen,” Oil Music, Berliner Requiem, String Quartet in B minor, “Kraniche-Duett,” Happy End, Violin Concerto, Kleine Dreigroschenmusik. London, series of London Sinfonietta concerts, March 1977.
Note: An abridged version of the note on the Violin Concerto was reprinted in the Polydor CD release of the MGM recording in 1989 (q.v.).
Program note. Kleine Dreigroschenmusik. London, London Sinfonietta, 23 January 1977. (full text)
“Weill in Berlin.” Intermission talk for BBC broadcast of recorded concert from the Berliner Festwochen of 10 September 1975 (Der Neue Orpheus, Symphony No. 2, Der Silbersee, Concert Suite arr. Drew), 16 January 1977.
Program note. The Threepenny Opera. London, English Music Theatre Company, Sadler’s Wells, 8 September 1976. (full text)
Liner notes. Kleine Dreigroschenmusik, Violin Concerto. Deutsche Grammophon 2543 808, LP, 1976.
Note: Abridged from liner notes for 3-LP set released in 1976; full text available in next entry.
Liner notes. Mahagonny Songspiel, Pantomime I from Der Protagonist, Vom Tod im Wald, Happy End (Songspiel), Das Berliner Requiem, Kleine Dreigroschenmusik, and supplementary biographical and critical notes. Kurt Weill, Deutsche Grammophon 2740 153 (later 2709 064), 3-LP set, May 1976. (full text)
Note: Drew’s chronology of Weill’s life from the LP booklet has been appended to the full text of the liner notes.
“Editor’s Preface” and “Editor’s Report” for Das Berliner Requiem: Partitur (Wien: Universal Edition, 1976), pp. V-VI. (full text)
Note: Dated “January 1967, rev. 1976” at end of report.
Program note. Mahagonny Songspiel. Wiesbaden, Hessisches Staatstheater, 17 December 1975.
“Weill: Recordare.” Talk broadcast on the BBC, 11 December 1975 (recorded 17 November 1975).
“Kurt Weill and his Critics–2.” In Times Literary Supplement, 10 October 1975, p. 1198-1200. (full text)
“Kurt Weill and his Critics.” In Times Literary Supplement, 3 October 1975, pp. 1142-?. (full text)
Note: English version of introduction to Über Kurt Weill (Suhrkamp).
“Vorwort.” In Kurt Weill: Ausgewählte Schriften (Frankfurt am Main: Suhrkamp, 1975), pp. 11-15. (full text)
Note: Dated 9 May 1975.
“Vorwort” and “Zu dieser Ausgabe.” In Über Kurt Weill (Frankfurt am Main: Suhrkamp, 1975), pp. VII-XXXIV. (full text)
Note: Dated December 1974 and 7 January 1975, respectively (both pieces included in full text display).
“Kurt Weill für (oder gegen?) den Broadway.” Talk given during “Offenbach und Eisler” weekend, Frankfurter Funkhaus, 13-14 September 1975.
Program notes. “Weberlied I und II,” Bastille Musik, Kriegschöre, Öl-Musik, Das Berliner Requiem, War Play. Berlin, Berliner Festwochen, program titled “Of War and Revolution,” London Sinfonietta, 13 September 1975. (full text)
Note: All Berliner Festwochen program notes are included in the same PDF file; in the original program, a single note covered concerts on 12 and 13 September.
Program notes. “Berlin im Licht,” “Klops-Lied,” Pantomime from Der Protagonist, Vom Tod im Wald, “Tango Angèle,” Mahagonny Songspiel, Happy End (Songspiel). Berlin, Berliner Festwochen, program titled “Of Peace and Prosperity,” London Sinfonietta, 12 September 1975. (full text)
Note: All Berliner Festwochen program notes are included in the same PDF file; in the original program, a single note covered concerts on 12 and 13 September.
Program notes. Der neue Orpheus, Symphony no. 2, Der Silbersee (Concert Suite), Berlin, Berliner Festwochen, Anja Silja, et al., 10 September 1975. (full text)
Note: Also see full text of Drew’s notes from the general Berliner Festwochen program.
Program notes. String Quartet in B Minor, Cello Sonata, Frühe Lieder und Balladen, Späte Songs, Sieben Stücke nach der Dreigroschenoper (arr. Stefan Frenkel). Berlin, Berliner Festwochen, 9 September 1975. (full text)
Note: All Berliner Festwochen program notes are included in the same PDF file; in the original program, a single note covered concerts on 12 and 13 September.
“Gespräch über Weill.” Introductory essay for program, Berliner Festwochen, September 1975, p. 11. (full text)
Synopsis of Aufstieg und Fall der Stadt Mahagonny, used during BBC Radio 3 broadcast of recording (Columbia K3L 243), 3 April 1975.
“Kurt Weill 2.3.1900-3.4.1950.” In Deutsche Oper Berlin brochure (Fortsetzung 1974/75), June 1975.
Note: Excerpted from Vorwort to Über Kurt Weill.
Program note. Kleine Dreigroschenmusik. London, London Sinfonietta, Queen Elizabeth Hall, 4 December 1974.
Program notes. Violin Concerto, Kleine Dreigroschenmusik. London, London Sinfonietta, 3 May 1974.
Program note. Symphony no. 1. Scottish National Orchestra, 27 November 1973. (full text)
“Kurt Weill and the German Theatre in Exile.” Paper delivered at “Konferenz zur Austellung ‘Theater im Exil 1933-1945,'” Berlin, Akademie der Künste, 10 November 1973.
Note: Original text in English. Subsequently transcribed with footnotes and sent to Dr. Huder 12 March 1974. Translated into German by Lothar Schirmer under the title “Weill, Borchardt und Kaiser–Notizen zu dem Problem Deutsche Dramatiker in Amerika.” Published 1979 as part of Theater im Exil 1933-1945, Ein Symposium der Akademie der Künste (q.v.).
“Unhappy Beginning.” Liner note. Happy End. Columbia COS 2032, Lotte Lenya, Wilhelm Brückner-Rüggeberg (cond.), LP, 1973? (full text)
Program note. String Quartet, op. 8. London, Camden Festival, 2 May 1972. (full text)
“Weill–Der Silbersee.” Introductory talk for broadcast of program from 1971 Holland Festival on BBC Radio 3, 13 January 1972.
“Weill–Royal Palace.” Introductory presentation of broadcast of program from 1971 Holland Festival on BBC Radio 3, 9 January 1972.
Program notes. Royal Palace, Der Silbersee (concert version). The Hague, Holland Festival, 25-26 June 1971. (full text)
Note: Program notes titled, “Before Hearing ‘Royal Palace’ and “Before Hearing ‘Der Silbersee’.”
Note: Program note taken from the event program. Drew’s “conversation” with Jo Elsendoorn was printed in the general festival program (full text).
Program note. Recordare. Utrecht, Holland Festival, 2 July 1971. (full text)
Note: Drew’s account of the discovery of the score of Recordare in 1970 appended.
Program note. Der Ozeanflug (The Lindbergh Flight). London, Royal Festival Hall, 20 January 1971. (full text)
Note: Revised version of note from July 1970.
Program note. Der Ozeanflug (The Lindbergh Flight). London, BBC Prom, 25 July 1970. (full text)
“An Epic Cantata.” In The Listener, 23 July 1970, pp. 125-126. (full text)
Program note. Bastille-Musik (“Barnovsky music”). Aberdeen, University of Aberdeen, 17 May 1970. (full text)
1960-1969[ps2id id=’1960-1969′ target=”/]
“Preface to the 1969 Edition.” Aufstieg und Fall der Stadt Mahagonny: Klavierauszug (Wien: Universal Edition, 1969), pp. [6], 1-2. (full text)
Program note. The Seven Deadly Sins. London, BBC Prom, Evelyn Lear (soprano), 24 August 1968. (full text)
Program note. Symphony no. 2. London, BBC Prom, Gary Bertini (cond.), 7 August 1968. (full text)
Program note. Mahagonny Songspiel. London, Festival of the City of London, staged by Drew and John Cox, 16-17 July 1968.
“Preface” and “Editor’s report.” Symphony no. 1: Studien-Partitur (Mainz: Schott, 1968), pp. IX-XIII. (full text)
Note: Dated May 1968 at end of report.
Program note. Symphony no. 2. De Doelen, Rotterdam Philharmonic, 14 January 1968. (full text)
Note: Accompanied by biographical note also written by Drew.
“Weill herontdekt.” In Ouverture 2.5 (January 1968), pp. 4-5. (full text)
Liner notes. Symphony no. 1. EMI/HMV ASD 2390, Symphonies no. 1-2, Gary Bertini (cond.), LP, 1968. (full text)
Note: The original EMI issue printed a separate biographical note on weill written by Drew; the full text is here.
“Kurt Weill’s Symphonies.” In Radio Times, 11-17 November 1967. (full text)
Note: The broadcast of Weill’s Symphony no. 1 and Symphony no. 2 took place on 13 November.
Introduction of broadcast. Symphonies no. 1 and 2. BBC Third Programme, Gary Bertini (cond.), 13 November 1967.
Note: First performance in the UK.
Program note. Mahagonny-Songspiel. Brighton Festival, 22 April 1967.
Note: Drew provided program notes for both the general festival program (full text) and the evening program (full text).
“Editor’s preface” and “Editor’s Report.” Das Berliner Requiem: Klavierauszug (Wien: Universal Edition, 1967), pp. V-VII. (full text)
Note: Dated January 1967 at end of report.
“Neher und Weill.” In: Gottfried von Einem and Siegfried Melchinger (eds.), Caspar Neher (Hannover: Friedrich, 1966), pp. 96-100. (full text)
Note: Unattributed translation of essay entitled “Neher and Weill,” edited, translated, and published without consultation.
“Two Weill Scores.” In The Musical Times, vol. 107, no. 1483 (September 1966), pp. 797-798. (full text)
Note: Review of Down in the Valley vocal score (Schirmer) and Violin Concerto piano score (Universal Edition).
“Preface.” Symphony no. 2: Studien-Partitur (Mainz: Schott, 1966), pp. [4]-[5]. (full text)
“Weill’s School Opera.” In The Musical Times, vol. 106, no. 1474 (December 1965), pp. 934-937. (full text)
“Kurt Weill.” In Radio Times, 24-30 July 1965. (full text)
Note: Note on broadcast performance of Violin Concerto from 24 July on BBC Third Programme page.
“Mahagonny.” Letter to the Editor. The Observer, 14 March 1965. (full text)
“Off to Mahagonny.” In New Statesman, 26 February 1965. (full text)
“Kurt Weill – Musica e Società 1918-1939, Una sequenza dei documenti, commentari e musica.” Conference paper given at Convegno Internazionale di Studi sull’Espressionismo, Firenze, chaired by H.H. Stuckenschmidt, 18-23 May 1964.
Note: Drew described the paper as follows: “A collage of brief spoken texts-–some quoted, some original-–juxtaposed with sections from Weill’s music for Strindberg’s Gustav III recorded by Ian Kemp and student orchestra.”
“Kurt Weill and German Expressionism.” Conference paper given at Convegno Internazionale di Studi sull’Espressionismo, Firenze, 18-23 May 1964.
“Weill’s ‘Deadly Sins.'” In The Listener, 22 August 1963. (full text)
“Mahagonny-Songspiel.” Editor’s note. Mahagonny-Songspiel: Urfassung 1927: Klavierauszug (Wien: Universal Edition, 1963), pp. 1-5. (full text)
Program notes. Quodlibet, Frauentanz. New York, Town Hall, Friends of Live Music, 4 February 1963. (full text)
“Mahagonny.” Letter to the Editor, The Observer, 27 January 1963.
Note: Reply to Kenneth Tynan’s review of the Sadler’s Wells production.
“The History of Mahagonny.” In The Musical Times No.1439 (January 1963), pp. 18-24. (full text)
“Trips to Mahagonny.” In New Statesman, 5 October 1962.
“Kurt Weill’s Mahagonny.” BBC broadcast talk for ‘Music Magazine’ with Julian Herbage, 1962.
“Fault-ridden Mahagonny.” Performance review. Hamburg Staatsoper. In The Daily Telegraph and Morning Post, 18 September 1962. (full text)
“Musical Theatre in the Weimar Republic.” Talk extracted from the proceedings of the Royal Musical Association 88th Session 1961/62, 16 May 1962, pp. 89-108. (full text)
Liner note. Kleine Dreigroschenmusik. Angel S 35927, Philharmonia Orchestra, Otto Klemperer (cond.), LP, 1962. (full text)
Note: Note unsigned.
“Musical Theatre.” Program note on The Seven Deadly Sins, Edinburgh Festival, 4 September 1961, pp. 39-40. (full text)
“Mahagonny.” Program note. Mahagonny Songspiel. Gelsenkirchen, Städtische Bühnen, 2 March 1961, p. 199-201. (full text)
“Towards the City of Mahagonny.” In New Statesman, 24 September 1960.
Introduction to broadcast of Lenya recordings (from Berlin Theatre Songs), BBC Third Programme, 29 August 1960. (full text)
Note: Script annotated in an unknown hand.
“Kurt Weill.” Program notes on Der Protagonist, Der Zar lässt sich photographieren, and Die sieben Todsünden. Frankfurt, Städtische Bühnen, 6 April 1960, pp. 78-92. (full text)
Short introductory talk in German on Der Protagonist, Der Zar lässt sich photographieren, and Die sieben Todsünden. Frankfurt, Städtische Bühnen, late March 1960.
Note: Some minor corrections in another hand on typescript.
Liner note. Happy End. Lotte Lenya, Wilhelm Brückner-Rüggeberg (cond.), Philips ABL 3364, LP, 1960. (full text)
Note: Different from “Unhappy Beginning” (q.v.), the liner note provided for a reissue of the recording on Columbia in 1973.
1950-1959[ps2id id=’1950-1959′ target=”/]
Liner note. Kurt Weill in Berlin. Angel 35727, Peter Sandloff and his Orchestra, LP, 1959. (full text)
“The Art of Lotte Lenya.” Liner note. The Art of Lotte Lenya, vol. 1, Philips ABE 10118, 7″ disc, 45 rpm. (full text)
Note: Reissue of selections from Lotte Lenya singt Kurt Weill, originally released in 1955.
Liner note. Die sieben Todsünden. Philips ABL 3363, Lotte Lenya, Wilhelm Brückner-Rüggeberg (cond.), LP. (full text)
Note: Appears only on reissues of the recording, not the first release.
“Weill/Brecht/Gay.” Liner note for Die Dreigroschenoper, Columbia Odyssey Y2 32977 (re-issue), Lotte Lenya, et al., Wilhelm Brückner-Rüggeberg (cond.), LP.
Note: Abridged version of “Weill and Die Dreigroschenoper” (see below).
“The Music in the Album.” Liner note. Speak Low: The Great Music of Kurt Weill, Warner B1313, Maurice Levine (cond.), LP, 12 May 1959. (full text)
“Weill and Die Dreigroschenoper.” Liner note. Die Dreigroschenoper. Columbia O2L 257, Lotte Lenya, Wilhelm Brückner-Rüggeberg (cond.), LP, 1958. (full text)
“Kurt Weill: 1900-1950.” In David Drew (ed.), The Decca Book of Ballet (London: Frederick Muller, 1958), pp. 389-391. (full text)
Note: Covers Judgment of Paris, created by Antony Tudor with music arranged from Die Dreigroschenoper, more extensively than Zaubernacht or Die sieben Todsünden.)
“Brecht versus Opera, Some Comments.” In The Score no. 23 (July 1958), pp. 7-10. (full text)
“Topicality and the Universal: The Strange Case of Weill’s Die Bürgschaft.” In Music and Letters no. 39 (July 1958), pp. 242-255. (full text)