Justin Austin, Baritone
Howard Watkins, Piano
Don’t Be Angry
Part of: Fall of the Weimar Republic: Dancing on the Precipice
Performers
Justin Austin, Baritone
Howard Watkins, Piano
Program
WEILL/BRECHT "Mack the Knife" from The Threepenny Opera
RAVEL "Chanson à boire" from Don Quichotte à Dulcinée
WOLF "Herr, was trägt der Boden hier" from Spanisches Liederbuch
WEILL "Oh Captain! My Captain!" from Four Walt Whitman Songs
BIENERT "Augen in der Großstadt"
EISLER "Embrace the Fascists"
WEILL/BRECHT "Ballad of the Easy Life" from The Threepenny Opera
WEILL/BRECHT "Call from the Grave" from The Threepenny Opera
WEILL/BRECHT "Death Message" from The Threepenny Opera
RICKY IAN GORDON "Song for a Dark Girl" from Only Heaven
RICKY IAN GORDON Marvin Gaye Songs
OWENS Mortal Storm
Encore:
TRAD. "I'm a poor li'l orphan in this worl'" (arr. Julia Perry)
Event Duration
The printed program will last approximately 90 minutes, including one 20-minute intermission.Salon Encores
Join us for a free drink at a post-concert reception in Weill Recital Hall’s Jacobs Room.
Learn More
This Concert in Context
Although the artistic collaboration between composer Kurt Weill and playwright Bertolt Brecht lasted barely four years (1927–1931), it was among the most storied of the Weimar period. Before the rise of the Nazis compelled both artists to flee the country in 1933, their Threepenny Opera—written in collaboration with Elisabeth Hauptmann—was among the most admired and commercially successful plays of its time. Neither Weill nor Brecht shied away from having their art reflect some of the pressing social and political questions of the day, and The Threepenny Opera was no exception. Such music would inspire future artists such as Bob Dylan, whose “When the Ship Comes In” was partly inspired by the song “Pirate Jenny” from Weill and Brecht’s masterpiece. When Weill made his way to America in 1935, he mostly left the world of art music behind and turned his attention to American idioms, such as musical theater. Although he would undoubtedly have previously encountered Walt Whitman’s poetry in translation in his native Germany, the Japanese attack on Pearl Harbor in 1941 spurred Weill to set three Civil War poems to music: “Beat! Beat! Drums!”; “O Captain! My Captain!”; and “Dirge for Two Veterans.” A fourth, Weill’s setting of Whitman’s “Come Up from the Fields Father,” would follow in 1947, three years before Weill’s early death from a heart attack shortly after his 50th birthday.
—Brendan Fay, author of Classical Music in Weimar Germany