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28 January : completes
the monograph forming the centre-piece of WEILL AT 25.
30 January : in
Frankfurt for the annual 3-day meeting of the Board of The Kurt Weill Edition
(originally due to have taken place in New York, 13-15 September 2001).
21-22 February: Hears
for the first time the three Hölderlin cycles by Wilhelm Killmayer,
in the very fine recording (for EMI) by Christoph Prégardien (tenor) and
Siegfried Mauser (piano). Ten years after the original release, the experience
is a reminder of the role 'commercial' CDs have played in conveying essential
musical information.
April-June: Busoni
essay for Alexander Goehr Festschrift.
May: Start of
collaboration with Cathy Walsingham on website.
11-28 May: In Berlin
as guest of the Akademie der Künste - two research-projects connected with
the Blacher Centenary in 2003.
7-8 June: At the
Aldeburgh Festival, for the world premiere of Alexander Goehr's Piano
Quintet and the stage premiere, conducted by Adès, of Gerald
Barry's The Triumph of Beauty and Deceit. The production is
re-staged at the Almeida Festival and toured to Germany. The Largo CD of the
opera was released in 1997
June-December: 25,000
words on Weill-Goll Royal Palace.
July: Killmayer
Fragments (a birthday offering) published in Tempo 221.
September: Ma Jian
wins Thomas Cook Travel Book Award.
3
October: Deep, Deeper, Deepest - letter published by
London Review of Books, nominally in reply to a similarly-titled letter in
the issue of 5 September, but primarily in praise of Robin Holloway's
important review of a recent collection of essays by Donald Frances
Tovey.
November:
The Fall 2002 issue of The Kurt Weill Newsletter - vol.20, no.2 ,edited
by Elmar Juchem and published in New York by the Kurt Weill Foundation for
Music - begins with a 6-page essay entitled (not without irony) 'Putting Kurt
Weill in His Historical Place. The New Grove Articles'. The articles in
question are Drew's original Weill entry for the 1980 New Grove, and the
version of it published in the revised Grove of
2001. In deploring the original entry and unreservedly dismissing its
'binarist' perspectives and 'modernist strategy', Levitz cites a distinguished
(though by no means unique) precedent for her critique in Stephen Hinton's 1992
Opera Grove article. She notes a few marginal improvements in the
Drew/Robinson entry of 2001, but expresses a doubtless widely-shared regret
that instead of commissioning an entirely new entry from (say) Hinton or Kim
Kowalke, the editors of the revised Grove had seen fit to publish so
ineffectual and 'anachronistic' a revision:
In the context
of Weill research, it is a travesty. Most tragically, it gives the impression
that Drew [...] no longer cares. If he did, he would not have left his 1980
formulations unreformed, but would discuss Weill's theater pieces as performed
events in history, abandoning his prejudices about their worthiness.
For more
information and comment, visit The New
Grove.
17 - 25
November: In Berlin as guest of the Epiphanienkirche in Charlottenburg for
the 28th in their annual series of 'Organ Days' - arranged by the church's
organist and choirmaster Gottfried Matthei - Drew delivers an illustrated talk
entitled 'Taverner-Tavener-Taverner: Kirche, Staat, Musikkultur,
gestern u. heute'; its main subject is the historical Taverner and the opera by
Peter Maxwell Davies -- with reference to Goehr's Behold the Sun
and Schweinitz's Patmos. The Organ Days include a choral concert of
Tallis, Byrd, Purcell, Elgar, Vaughan Williams, and Britten, and conclude with
a public discussion of Anglo-German relations in the fields of music, culture,
church, politics, and society. It is introduced by prepared statements from a
panel of seven speakers, including Drew.
Meetings with
Wolfgang von Schweinitz in Berlin's Kreuzberg district; discussions of
his major work in progress, which will have its premiere in March 2003.
December:
Roberto Gerhard. Aspekte einer Physiognomie, published in
Musik-Konzepte (Heft 117-118), 'Arnold Schönbergs "Berliner Schule"'
(edition text + kritik, München)
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