Drei kurzweilige Impressionen-Dans le cadre du projet ?La musique de Kurt Weill? organisé à Leeuwarden (Pays-Bas) en 2006 Peter Kleine Schaars a donné une seconde jeunesse à plusieurs œuvres que le compositeur allemand avait créées pour le Dreigroschen Orchester (L?Orchestre de quat?sous) un ensemble qu?il avait spécialement formé et dont il avait fixé l?instrumentation pour interprété sa Kleine Dreigroschenmusik (Une petite musique de quat?sous).Peter Kleine Schaars s?est inspiré des trois périodes qui ont marqué la vie de Kurt Weill (1900-1950) : ses étapes à Berlin Paris et New York. Three Aspects of Kurt Weill (?Trois impressions divertissantes de Kurt Weill?) développe un thèmerécurrent exposé dans trois climats musicaux différents qui correspondent aux trois étapes de la vie de Weill.Le premier mouvement est une marche protestataire ?aux accents berlinois? qui parodie l?utilisation de la musique sous le fascisme. Les trompettes ont le premier rôle. Le second mouvement chemine sur une valse musette toute parisienne qui fait la part belle au saxophone alto et à l?accordéon. Le troisième et dernier mouvement développe le thème dans une trame swing typique du Big Band. Votre formation se métamorphose en un grand orchestre digne de Broadway !

Drei kurzweilige Impressionen-Dans le cadre du projet ?La musique de Kurt Weill? organisé à Leeuwarden (Pays-Bas) en 2006 Peter Kleine Schaars a donné une seconde jeunesse à plusieurs œuvres que le compositeur allemand avait créées pour le Dreigroschen Orchester (L?Orchestre de quat?sous) un ensemble qu?il avait spécialement formé et dont il avait fixé l?instrumentation pour interprété sa Kleine Dreigroschenmusik (Une petite musique de quat?sous).Peter Kleine Schaars s?est inspiré des trois périodes qui ont marqué la vie de Kurt Weill (1900-1950) : ses étapes à Berlin Paris et New York. Three Aspects of Kurt Weill (?Trois impressions divertissantes de Kurt Weill?) développe un thèmerécurrent exposé dans trois climats musicaux différents qui correspondent aux trois étapes de la vie de Weill.Le premier mouvement est une marche protestataire ?aux accents berlinois? qui parodie l?utilisation de la musique sous le fascisme. Les trompettes ont le premier rôle. Le second mouvement chemine sur une valse musette toute parisienne qui fait la part belle au saxophone alto et à l?accordéon. Le troisième et dernier mouvement développe le thème dans une trame swing typique du Big Band. Votre formation se métamorphose en un grand orchestre digne de Broadway !

For the project The Music of Kurt Weill, Peter Kleine Schaars rewrote a number of works by the German composer Kurt Weill (1900?1950) for the ?Dreigroschen-Orchester? (an occasional ensemble with the line-up that Weill had prescribed for his Kleine Dreigroschenmusik). Kleine Schaars became inspired by the three periods that characterize the life of Weill: he successively lived in Berlin, Paris and New York. Three Aspects of Kurt Weill (with the subtitle Drei Kurzweilige Impressionen) has one theme that comes forward in three totally different atmospheres, corresponding with the three mentioned periods. Movement one is a ?Berlin-tinted? protest march and parodies the fascist use of music. Movement two is a French musette (valse de Paris). Finally, the theme is featured in big band style in movement three: here, your ensemble transforms into a swinging Broadway band.

German composer Kurt Weill (1900-1950) is best remembered as a leading composer for the stage. His collaboration with playwright Jacques Deval to create the dramatised production of Marie Galante was well received. Marie Galante was originally a novel by Deval. Weill composed music for the play in 1934 and later for the screen version. This collection of the favourite pieces from the stage show includes The Ladies from Bordeaux and Dancing Scene. For all opera or musical theatre vocalists the songs from Marie Galante are varied and make for an exciting additionto the repertoire.

10 songs from three of Kurt Weill's most famous stage works are presented here in easy arrangements for clarinet and piano. Players of any age will relish the chance to play these famous tunes. The CD provides invaluable listening material and an alternative accompaniment in the absence of a pianist.Includes: The Ballad of Mack the Knife Polly's Song (The Threepenny Opera) Alabama Song Jenny's Song (Rise and Fall of the City of Mahagonny)Don't be Afraid The Liquor Dealer's Dream (Happy End )… and more.

A short (45 minute) operatic work by Kurt Weill written primarily for amateur groups to perform - it is adaptable to several combinations of singers and instruments. Drawing on material from folk songs it tells the tale of Brack Weaver who kills the man who tries to take his love Jennie and is hanged. Before his execution he manages to break out of prison and see her one last time. The libretto is by Arnold Sundgaard. This is the Schirmer Edition of the Vocal Score the Orchestral parts are available on hire from G. Schirmer.

10 songs from three of Kurt Weill's most famous stage works are presented in easy arrangements for trumpet and piano. Players of any age will welcome the chance to play these famous tunes. The CD provides invaluable listening material and an alternative accompaniment in the absence of a pianist.Includes: The Ballad of Mack the Knife Polly's Song (The Threepenny Opera) Alabama Song Jenny's Song (Rise and Fall of the City of Mahagonny) Don't be Afraid The Liquor Dealer's Dream (Happy End )… and more.

10 songs from three of Kurt Weill's most famous stage works are presented in easy arrangements for viola and piano. The CD provides invaluable listening material and an alternative accompaniment in the absence of a pianist.

The song from Kurt Weill and Bertholt Brecht's The Threepenny Opera which once translated into English by Marc Blitzstein became a surprise pop hit. Arranged here for SATB Choir and Piano by Kirby Shaw.

Par WEILL KURT. Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)/ Répertoire / Violon et Orchestre d'Instruments à Vent