Chords for KURT WEIL - Ute Lemper-poland 2008
Tempo:
87.85 bpm
Chords used:
Ab
Bb
Gm
Gb
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Db]
[Ab] [Gm] [Gb]
[Eb] It's a very complex situation to come here and to sing these songs of this Jewish [Bbm] composer
from the [Ab] 20s.
[E] I [Ab] feel very emotionally involved about it.
[G]
[E] I don't know, I mean I said before this is a [G] piece which was written by Brecht who was
misused as [Ab] a status symbol so much in the former Eastern bloc countries.
So I was reluctant to actually come and sing this piece of music here as it is a satire
on the capitalist vision of America, the way it was basically proclaimed through the [A] years
of the Soviet Union.
[C] But I think it's a [A] great historical piece of music.
It's a great piece of [Gb] music with very funny satirical words and [Ab] it's a part of the music
[D] history of Germany [Em] and of Europe.
[A]
[Bm] [Gm] [Eb]
[G]
[E] [Bb] [Bb]
[Eb] [Ab] [Bb] [F]
[A] When I sing the music of that time, [N] it is necessarily a dialogue with the history of my country.
There's nothing else I can do about it.
I can sing the songs out of nostalgic reasons but really [Gb] you have to look at this repertoire.
The whole project started with this project by the record company to [E] record the entartete
[Em] musik, the music which was [N] denounced by the Nazis as degenerate music.
So I was part of this whole recording series which included a lot of different composers beyond Weil.
So it was already put into a political and [Ab] historical context.
At the same time, when you go into the [N] world as a German, I'm looking back to the 80s.
In the 80s I went to Israel, Jerusalem festival and I sang my Kurt Weill recital.
Or you go to America or you go to all the European countries and you are faced with
a lot of questions and not necessarily questions I ask myself all the time.
I mean that would be very exhausting.
But questions, I mean deep questions about being German and [Bb] living with the heritage
of Hitler and all of that.
[N] So it became clearer to me once I leave Germany, I am judged.
I find this program extraordinary, [Abm]
sophisticated and courageous.
It's a very intellectual program too.
It's a fantastic program to [Db] combine this journey from basically through the last century
and with the most [Abm] intelligentsia of [Em] cultural
[Abm] creators in Germany with Hense in Stockhausen.
I just find it unbelievably [F] sophisticated.
[Ebm] [Gm] [C]
[Db] [Bb]
[Dbm] [Fm]
[G] [Cm] [Gm]
[Gb]
[Ab] [Gm] [Gb]
[Eb] It's a very complex situation to come here and to sing these songs of this Jewish [Bbm] composer
from the [Ab] 20s.
[E] I [Ab] feel very emotionally involved about it.
[G]
[E] I don't know, I mean I said before this is a [G] piece which was written by Brecht who was
misused as [Ab] a status symbol so much in the former Eastern bloc countries.
So I was reluctant to actually come and sing this piece of music here as it is a satire
on the capitalist vision of America, the way it was basically proclaimed through the [A] years
of the Soviet Union.
[C] But I think it's a [A] great historical piece of music.
It's a great piece of [Gb] music with very funny satirical words and [Ab] it's a part of the music
[D] history of Germany [Em] and of Europe.
[A]
[Bm] [Gm] [Eb]
[G]
[E] [Bb] [Bb]
[Eb] [Ab] [Bb] [F]
[A] When I sing the music of that time, [N] it is necessarily a dialogue with the history of my country.
There's nothing else I can do about it.
I can sing the songs out of nostalgic reasons but really [Gb] you have to look at this repertoire.
The whole project started with this project by the record company to [E] record the entartete
[Em] musik, the music which was [N] denounced by the Nazis as degenerate music.
So I was part of this whole recording series which included a lot of different composers beyond Weil.
So it was already put into a political and [Ab] historical context.
At the same time, when you go into the [N] world as a German, I'm looking back to the 80s.
In the 80s I went to Israel, Jerusalem festival and I sang my Kurt Weill recital.
Or you go to America or you go to all the European countries and you are faced with
a lot of questions and not necessarily questions I ask myself all the time.
I mean that would be very exhausting.
But questions, I mean deep questions about being German and [Bb] living with the heritage
of Hitler and all of that.
[N] So it became clearer to me once I leave Germany, I am judged.
I find this program extraordinary, [Abm]
sophisticated and courageous.
It's a very intellectual program too.
It's a fantastic program to [Db] combine this journey from basically through the last century
and with the most [Abm] intelligentsia of [Em] cultural
[Abm] creators in Germany with Hense in Stockhausen.
I just find it unbelievably [F] sophisticated.
[Ebm] [Gm] [C]
[Db] [Bb]
[Dbm] [Fm]
[G] [Cm] [Gm]
[Gb]
Key:
Ab
Bb
Gm
Gb
E
Ab
Bb
Gm
_ _ _ _ _ _ _ _
_ _ _ [Db] _ _ _ _ _
_ _ _ [Ab] _ _ [Gm] _ _ [Gb] _
_ _ [Eb] It's a very _ _ complex situation to come here and to sing these songs of this Jewish [Bbm] composer
from the [Ab] 20s.
_ _ _ [E] I [Ab] feel very emotionally involved about it.
[G] _ _ _ _
[E] I don't know, I mean I said before this is a [G] piece which was written by Brecht who was
misused as [Ab] a status symbol so much in the former Eastern bloc countries.
So I was reluctant to actually come and sing this piece of music here as it is a satire
on the capitalist _ vision of America, the way it was basically proclaimed through the [A] years
of the Soviet Union. _
[C] But I think it's a [A] great historical piece of music.
It's a great piece of [Gb] music with very funny satirical words and [Ab] it's a part of the music
_ [D] history of Germany [Em] and of Europe.
_ _ _ [A] _
_ [Bm] _ _ _ [Gm] _ _ _ [Eb] _
_ _ _ _ _ _ [G] _ _
[E] _ _ [Bb] _ _ _ _ [Bb] _ _
[Eb] _ _ [Ab] _ _ [Bb] _ _ _ [F] _
_ [A] When I sing the music of that time, [N] it is necessarily a dialogue with the history of my country.
There's nothing else I can do about it.
I can sing the songs out of nostalgic reasons but really [Gb] you have to look at this repertoire.
The whole project started with this project by the record company to [E] record the entartete
[Em] musik, the music which was [N] denounced by the Nazis as degenerate music.
So I was part of this whole recording series which included a lot of different composers beyond Weil.
_ _ _ _ So it was already put into a political and [Ab] historical context.
At the same time, when you go into the [N] world as a German, I'm looking back to the 80s.
In the 80s I went to Israel, Jerusalem festival and I sang my Kurt Weill recital.
Or you go to America or you go to all the European countries and you are faced with
a lot of questions and not necessarily questions I ask myself all the time.
I mean that would be very exhausting.
But _ questions, I mean deep questions about being German and [Bb] living with the heritage
of Hitler and all of that.
[N] So it became clearer to me once I leave Germany, I am judged.
I find this program extraordinary, [Abm]
sophisticated and courageous.
It's a very intellectual program too.
It's a fantastic program to [Db] combine this journey from basically through the last century
and with the most _ [Abm] _ intelligentsia of [Em] cultural _
[Abm] creators in Germany with Hense in Stockhausen. _
I just find it unbelievably [F] sophisticated. _
_ _ _ _ _ _ _ _
_ _ [Ebm] _ _ [Gm] _ _ _ [C] _
_ _ _ _ _ [Db] _ _ [Bb] _
_ _ [Dbm] _ _ [Fm] _ _ _ _
[G] _ _ [Cm] _ _ _ _ _ [Gm] _
_ [Gb] _ _ _ _ _ _ _
_ _ _ [Db] _ _ _ _ _
_ _ _ [Ab] _ _ [Gm] _ _ [Gb] _
_ _ [Eb] It's a very _ _ complex situation to come here and to sing these songs of this Jewish [Bbm] composer
from the [Ab] 20s.
_ _ _ [E] I [Ab] feel very emotionally involved about it.
[G] _ _ _ _
[E] I don't know, I mean I said before this is a [G] piece which was written by Brecht who was
misused as [Ab] a status symbol so much in the former Eastern bloc countries.
So I was reluctant to actually come and sing this piece of music here as it is a satire
on the capitalist _ vision of America, the way it was basically proclaimed through the [A] years
of the Soviet Union. _
[C] But I think it's a [A] great historical piece of music.
It's a great piece of [Gb] music with very funny satirical words and [Ab] it's a part of the music
_ [D] history of Germany [Em] and of Europe.
_ _ _ [A] _
_ [Bm] _ _ _ [Gm] _ _ _ [Eb] _
_ _ _ _ _ _ [G] _ _
[E] _ _ [Bb] _ _ _ _ [Bb] _ _
[Eb] _ _ [Ab] _ _ [Bb] _ _ _ [F] _
_ [A] When I sing the music of that time, [N] it is necessarily a dialogue with the history of my country.
There's nothing else I can do about it.
I can sing the songs out of nostalgic reasons but really [Gb] you have to look at this repertoire.
The whole project started with this project by the record company to [E] record the entartete
[Em] musik, the music which was [N] denounced by the Nazis as degenerate music.
So I was part of this whole recording series which included a lot of different composers beyond Weil.
_ _ _ _ So it was already put into a political and [Ab] historical context.
At the same time, when you go into the [N] world as a German, I'm looking back to the 80s.
In the 80s I went to Israel, Jerusalem festival and I sang my Kurt Weill recital.
Or you go to America or you go to all the European countries and you are faced with
a lot of questions and not necessarily questions I ask myself all the time.
I mean that would be very exhausting.
But _ questions, I mean deep questions about being German and [Bb] living with the heritage
of Hitler and all of that.
[N] So it became clearer to me once I leave Germany, I am judged.
I find this program extraordinary, [Abm]
sophisticated and courageous.
It's a very intellectual program too.
It's a fantastic program to [Db] combine this journey from basically through the last century
and with the most _ [Abm] _ intelligentsia of [Em] cultural _
[Abm] creators in Germany with Hense in Stockhausen. _
I just find it unbelievably [F] sophisticated. _
_ _ _ _ _ _ _ _
_ _ [Ebm] _ _ [Gm] _ _ _ [C] _
_ _ _ _ _ [Db] _ _ [Bb] _
_ _ [Dbm] _ _ [Fm] _ _ _ _
[G] _ _ [Cm] _ _ _ _ _ [Gm] _
_ [Gb] _ _ _ _ _ _ _