Mod­ernist mem­ory: Kurt Weill

Pasatiempo - - RANDOM ACTS -

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.

Kurt Weill

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