Modernist memory: Kurt Weill
Listeners today remember Kurt Weill mostly through the biting scores he wrote for the alternative theater of the 1920s and ’30s (particularly his Brecht collaborations like The Threepenny Opera) and through chestnuts from his Broadway shows of the 1930s and ’40s (like “Speak Low” from One Touch of Venus or “September Song” from Knickerbocker Holiday). Before then, he was a more mainstream modernist, as one hears in his 1924 Concerto for Violin and Wind Orchestra. Violinist-and-conductor John Storgårds presides over it at the Santa Fe Chamber Music Festival at 6 p.m. on Monday, Aug. 14, at the Lensic Performing Arts Center (211 W. San Francisco St.) The concert also includes Poulenc’s Sonata for Horn, Trumpet, and Trombone and Mendelssohn’s C-minor Piano Trio. For tickets ($10-$86, with discounts for attendees 35 and under), contact the festival (www.santafe chambermusic.com; 505-982-1890; 888-221-9836, ext. 102). — J.M.K.