For the record

  title={For the record},
  author={Alexander Rehding},
  journal={Canadian Medical Association Journal},
  pages={E1055 - E1057}
  • A. Rehding
  • Published 1 February 2004
  • Canadian Medical Association Journal
The score of Kurt Weill's Zeitoper, Der Zar läßt sich photographieren (1928), is void at its centre: the musical and dramatic climax, the ‘Tango Angèle’, only exists as a gramophone recording, played on stage, while the orchestra falls silent. Just as the perennial themes of love and death are relentlessly updated in this farcical opera into their anti-metaphysical modern-day equivalents – sex and political assassination – so the music avails itself of modern media to bring across its… 


Jazz as Deliverance: The Reception and Institution of American Jazz during the Weimar Republic
"Jazz as Deliverance [Rettung]" was the title Alfred Baresel chose for his 1926 article that appeared in the Prague avant-garde music journal Auftakt. Baresel had written on jazz as early as 1921,
Kim Kowalke points out that the 'Tango Angèle' is atypical of the musical style of the tango at the time: see Kurt Weill in Europe
    Susan Cook makes this point (Opera for a
    • New Republic
    In exploring the sexual and racial narratives in the reception of jazz in Weimar Germany, Mark Weiner shows on a broader cultural level how such a conflation was not difficult to achieve
    • See his Undertones of Insurrection: Music, Politics, and the Social Sphere in the Modern German Narrative
    • 1988
    Weill insists that while influenced by jazz in the broadest sense, his music does not try to be an imitation of it: see Musik und musikalisches Theater
    • Music and Performance during the Weimar Republic
    • 1993