Hanns Eisler Political Musician by Albrecht Betz

By Albrecht Betz

Eisler's function in German track is the same to that of Brecht in German literature and the 2 males labored jointly for almost thirty years. including Webern and Berg, Eisler is taken into account one of many 3 nice students of Schoenberg. Albrecht Betz divides Eisler's lifestyles and song into 4 classes. The early formative interval as scholar of Schoenberg comprises compositions written in Vienna as much as 1925. From 1926 to 1933, the second one interval, Eisler lived in Berlin and made his maximum influence together with his political vocal song. The 3rd part of Eisler's existence, fifteen years of exile, was once spent largely within the united states, and the fourth (from 1948) in East Germany. the writer exhibits how Eisler is amazing from different nice twentieth-century composers in his trust that track had a social functionality, and the way he liberated sleek track from what he and others felt used to be its isolation. initially released in German in 1976, this English version is illustrated with track examples and contains a entire checklist of works, and a bibliography which has been tailored for the English-speaking reader.

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This means without sarcastic winks, but also without the irony which would indicate a secret sympathy with its object. In a completely serious way the documents tell of what had become oflove and family relationships during and after the war. The damage done to human feelings through the inflation, the oppression and sadism felt in the rhymes of children and gutterSnipes, themisery of back yards and the aspirations reflectedin the hypocritical phrases of those better off: what these big-city songs record is the emotions of reduced circumstances.

The fact that people change is an inescapablefact of life from which no one can be immune. But I do not change allegiances or points ofview like old clothes. Schoenbergs last word in this affair, in which he cannotallow Eisler even the smallest loophole through which you would escape, remorselesslyinsists on what seemsto him Eislers tactless and unethical behaviour, since at a point when there was no necessityfor it for I could perhaps have found your opinion interesting, approved of it, indeed possibly even accepted it!!

When Eislerarrived in Berlin, the name ofPiscator wassynonymous with political theatre, indeed with political art pure and simple. , which he staged for the Tenth Party Conference of the KPD in Berlin in _Iuly 1925,may havebeen Eislers Erst radically new experience in the arts in Berlin. What was new was that the historical material [1914-19] . . was handled without reference tothe personalexperience ofthe hero;the way in which documentary material was used- to far stronger effect in those days than any number of poetic conceptions ofart or sophistries clothed in iambic metre - was also novel, aswas finally the inclusion of film for the first time in the sequenceof scenes.

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