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A
while back, I had the opportunity to meet the composer. Weill was a
private man and not ordinarily keen on frequenting the salons of the
time, but he was obliged to, due to the presence of Brecht. During a
lively evening, rich in the platitudes that only a «party» can provide,
I met the musician on the arm of his inseparable companion, his wife
Lotte Lenya. Hesitantly, I approached them and offering a glass of champagne,
I struck up a conversation.
B:
Dear maestro, how are you?
W:
Very well, thank you!
B:
(Although I know that W. is shy, his silence still makes me feel ill
at ease). Excuse me, maestro, I wondered if you might make some clarifications
regarding your music and your relationship with Brecht.
W:
Go ahead – What would you like to know?
B:
You are a musician who began with expressionist foundations and now
you have shifted to a diametrically opposed position after meeting Brecht
– what happened?
W:
In Brecht I found the innovative spirit that has offered me a way to
develop opportunities that might not otherwise have arisen. For example,
in «Mahogany» (1927 editor’s note) the rhythm, the timbres used in a
dazzling and luminous atmosphere, bring to mind images of the expressionist
theatre, where the School of Vienna was still the very first one – therefore,
as you can see, my «presumed» distance is not complete.
B:
However, there is a precise condemnation of society in the text by Brecht
and you interpreted this with a harsh and sanguinary music.
W:
Well, let’s not call it «sanguinary» – it is only a desire to use daily
instruments, better if not classical – I reach designs in vivid colours
that affect the listener – besides, research is never common.
B:
What can you tell me about the Three Penny Opera?
W:
Doubtless it has caused a scandal, becoming popular all over Germany
because of its strong political meaning. Now I fear that the work will
be banned by the new ruling class. I, too, am preparing for my departure.
B:
Where are you thinking of going?
W:
You are curious, aren’t you? – In any event, I am thinking of going
to America, where Gershwin has been working quite successfully -
B:
So you’d like to compete with Gershwin?
W:
Please don’t make me say things that I have no intention of doing! Please
just ask me about my work.
B:
In America you will surely find a completely different world – perhaps
less problematic, with fewer traumas compared with the German situation.
W:
Thank goodness! Although I will dearly miss my country, I will survive
– Besides, don’t forget that I am multifarious. I have an excellent
ability to adapt.
B:
Thank you maestro! I’m sorry if I bothered you –
And
so my interview with Weill ended, and history would have agreed with
his musical success. It is unfortunate that he died in 1950. Too few
years of dedication for a true musical genius.
(traduzione
Interpres sas-Giussano)
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