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The New Music TheaterSeeing the Voice, Hearing the Body$
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Eric Salzman and Thomas Desi

Print publication date: 2008

Print ISBN-13: 9780195099362

Published to Oxford Scholarship Online: January 2010

DOI: 10.1093/acprof:oso/9780195099362.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use.date: 24 May 2022

The Show Must Go On

The Show Must Go On

(p.249) Chapter 15 The Show Must Go On
The New Music Theater

Eric Salzman

Thomas Desi

Oxford University Press

This chapter discusses Songspiel and vaudeville, show music, and other popular musical theater forms; Kurt Weill in Europe and Kurt Weill in America; “theater opera” on Broadway in the 1930s and '40s starting with the Thomson/Stein 4 Saints in 3 Acts and continuing with the work of Weill, Gershwin, Britten, Menotti, Rodgers & Hart and Rodgers & Hammerstein. The American works of Weill are discussed including Love Life and the so-called concept musical with its long range influence on Blitzstein, Bernstein, William Bolcom, Anthony Davis, and others, including many pop and jazz musicians. The Kurt Weill influence was brought back to Europe by Robert Wilson and Tom Waits in their Black Rider. Limited European influence can also be traced in the work of East German composers, Henze, the Vienna group around Kurt Schwertsik and HK Gruber, Heiner Goebbels, and Christoph Marthaler.

Keywords:   Songspiel, vaudeville, popular musical, Kurt Weill, Gershwin, theater opera, Broadway, Thomson, Stein, Rodgers

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