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'''''Der Jasager''''' (literally ''The Yes Sayer'' also translated as ''The Affirmer'' or ''He Said Yes'') is an [[opera]] (specifically a ''Schuloper'' or 'school-opera') by [[Kurt Weill]] to a [[German language|German]] [[libretto]] by [[Bertolt Brecht]] (after [[Elisabeth Hauptmann]]'s translation from [[Arthur Waley]]'s [[English language|English]] version of the [[Japanese language|Japanese]] [[noh|Nō]] drama ''Taniko'').
'''''Der Jasager''''' (literally ''The Yes Sayer'' also translated as ''The Affirmer'' or ''He Said Yes'') is an [[opera]] (specifically a ''Schuloper'' or 'school-opera') by [[Kurt Weill]] to a [[German language|German]] [[libretto]] by [[Bertolt Brecht]] (after [[Elisabeth Hauptmann]]'s translation from [[Arthur Waley]]'s [[English language|English]] version of the [[Japanese language|Japanese]] [[noh|Nō]] drama ''Taniko'').


Its companion piece is ''[[Der Neinsager]]'' (''He Said No'' ).
Its companion piece is ''[[Der Neinsager]]'' (''He Said No'' ) although Brecht's second text was never set by Weill.


Weill also identifies the piece, following Brecht's development of the experimental form, as a ''[[Lehrstücke|Lehrstück]]'', or 'learning-play'.<ref name="primary">Weill says: "In ''[[The Flight across the Ocean (play)|Lindbergh's Flight]]'' Bert Brecht and I had the schools in mind for the first time. I am hoping to develop this direction further in my latest play, the '[[Lehrstücke|Lehrstück]]' ''He Said Yes''. [...] I no longer want to offer 'songs' so much as self-contained musical forms. In the process I want to take over whatever I hitherto found right, like what I once termed the [[Gestus|gestic]] approach to music. The melody must give clear expression to the gest. It is clarity, not lack of clarity that has to prevail in all that the composer wishes to express. And [...] this 'Lehrstück' has to be a fully authentic work of art, not a secondary piece." (Weill 1930, 334).</ref>
Weill also identifies the piece, following Brecht's development of the experimental form, as a ''[[Lehrstücke|Lehrstück]]'', or 'learning-play'.<ref name="primary">Weill says: "In ''[[The Flight across the Ocean (play)|Lindbergh's Flight]]'' Bert Brecht and I had the schools in mind for the first time. I am hoping to develop this direction further in my latest play, the '[[Lehrstücke|Lehrstück]]' ''He Said Yes''. [...] I no longer want to offer 'songs' so much as self-contained musical forms. In the process I want to take over whatever I hitherto found right, like what I once termed the [[Gestus|gestic]] approach to music. The melody must give clear expression to the gest. It is clarity, not lack of clarity that has to prevail in all that the composer wishes to express. And [...] this 'Lehrstück' has to be a fully authentic work of art, not a secondary piece." (Weill 1930, 334).</ref>

Revision as of 00:44, 21 February 2011

Der Jasager (literally The Yes Sayer also translated as The Affirmer or He Said Yes) is an opera (specifically a Schuloper or 'school-opera') by Kurt Weill to a German libretto by Bertolt Brecht (after Elisabeth Hauptmann's translation from Arthur Waley's English version of the Japanese drama Taniko).

Its companion piece is Der Neinsager (He Said No ) although Brecht's second text was never set by Weill.

Weill also identifies the piece, following Brecht's development of the experimental form, as a Lehrstück, or 'learning-play'.[1]

Performance history

It was first performed in Berlin by students of the Akademie für Kirchen und Schulmusik at the Zentralinstitut für Erziehung und Unterricht on 23 June 1930 and broadcast simultaneously on the radio. It was successful and there were over 300 performances during the following three years.

Brecht subsequently revised the text twice, the final version, including Der Neinsager, being without music.

Roles

Role Voice type Premiere Cast,
23 June 1930
(Conductor: Kurt Drabeck)
The boy treble
The mother mezzo-soprano
The teacher baritone Otto Hopf
First student treble or tenor
Second student treble or tenor
Third student treble or baritone

Sources

References

  1. ^ Weill says: "In Lindbergh's Flight Bert Brecht and I had the schools in mind for the first time. I am hoping to develop this direction further in my latest play, the 'Lehrstück' He Said Yes. [...] I no longer want to offer 'songs' so much as self-contained musical forms. In the process I want to take over whatever I hitherto found right, like what I once termed the gestic approach to music. The melody must give clear expression to the gest. It is clarity, not lack of clarity that has to prevail in all that the composer wishes to express. And [...] this 'Lehrstück' has to be a fully authentic work of art, not a secondary piece." (Weill 1930, 334).