Bill Rieflin’s top 10（１）

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Bill Rieflin’s top 10: The Following was written in response to a request from Iona Singleton. I’m sure she’ll be sorry she asked. During our stay in Poland, I listened frequently to Tokiko Kato’s versions of the only Polish music I have. Sung in Japanese, of course. The record is called Mitosci Wszystko Wybaczy (although it's a misspelling of the Polish): 1) Milosc Ci Wszystko Wybaczy (1933) (correct spelling); Dziś Do Ciebie Przyjść Nie Mogę (1943); Gdy Jesień Się Zaczyna (1933). As i write this, I’m listening to Hanka Ordonówna’s version of Gdy Jesień Się Zaczyna on yootoob. I don’t know a lot about this record and I’m the only person who seems to own it. I’ve looked for it in Japan, but it doesn’t appear to exist. I got it from a man in Chicago, over 30 years ago. The piano on the record is immaculately played by Ryuichi Sakamoto. Segueing into Germany, I am inexorably led to Kurt Weill - mostly, his music from the early 1930s - the Bertolt Brecht collaborations. Of those, my favorite might well be: 2) Die Sieben Todsünden - a 'ballet chanté,' originally directed and choreographed by Georges Balanchine. I have two versions - one sung by Ute Lemper, another by Julia Migenes. Neither is perfect, but I like both for different reasons. A combination of the two would be just right. This music was written in Paris, in 1933, after Weill & Brecht fled Germany, smelling the writing on the wall: Brecht’s work had already been banned, and Weill was Jewish. The main musical theme of Die Sieben Todsünden is based on a whole tone scale, in case anyone was wondering. Listening to this music usually brings me to Hanns Eisler, and in this case, it does. Dagmar Krause made a record of Eisler songs in 1988 for Island records, called: 3) Tank Battles. Four or so years after its release, I met the man from Island who got that record made. I thanked him. While in Vienna, on the morning we shoved off for Prague, I found a music shop where I bought the score of Eisler’s Hollywood Songbook. I spent much of that drive reading through it. Some of the music I know; most of it not. Coïncidentially, Jeremy & I both enjoy a particular record of Eisler & Weill... (tbc).

DGM Liveさん(@dgmlive)がシェアした投稿 - <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2018-12-27T13:26:51+00:00">2018年12月月27日午前5時26分PST</time>

ジャッコさんが広島公演で「墓碑銘」を歌って感じ入った気持ちを「やわな老いぼれと呼べ」とツイートしていたが、リーフリン氏もポーランド公演中にワルシャワ蜂起のパルチザンソング「今日は帰れない」（ポーランド版「リリー・マルレーン」？）を加藤登紀子＆坂本龍一の日本語ヴァージョンで聴いて、同じようにWW2に想いをめぐらせていた？だろうか。

リーフリン氏のプレイリストは、ベルトルト・ブレヒトとクルト・ヴァイルのコラボがどうの、ヴァイル作曲の「七つの大罪」はホールトーンスケールがベースになってて？どうの（ホールトーンスケールといえば「再び赤い悪夢」のメインリフである）、ダグマー・クラウゼによるハンス・アイスラーの「戦車戦」がどうのと連想ゲームのように流れていって未完！―――で、このひとめっちゃインテリなのでは？

このクソインテリが若いころ、ミニストリーみたいなバンドをやっていたというのは、ようするに「かっけ～！」なのである。


Dagmar Krause - Tank Battles - The Songs of Hanns Eisler - 1° parte

	今日は帰れない～パルチザンの唄～
	加藤登紀子 収録アルバム： 愛はすべてを赦す
	Universal Music LLC