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Hanns Eisler

Perhaps one of the most primary and prolific composers from the twentieth hundred years, Eisler proved that expressing humanistic and political issues will not necessarily result in music banalities, but can perform his stated cosmetic ideal of “freshness, cleverness, strength and beauty” (instead of “bombast, sentimentality and mysticism”). Eisler’s family members cannot afford a piano, therefore he discovered music from books and ratings, a task he continuing through his teenager years (1908 – 1915) in the Staatsgymnasium. In Globe Battle I, he offered inside a Hungarian regiment (1916 – 1918), made up an oratorio Gegen den Krieg (Against Battle, a name revived later on for his cantata with terms by Brecht), and later on became students at the brand new Vienna Conservatory and a proofreader for Common Release. Both Arnold Schoenberg and Anton Webern offered Eisler free personal lessons in structure (1919 – 1923), influencing Eisler’s extremely chromatic and harmonically thick however witty and elegant early design (notably in the Piano Sonata, Op. 1). Eisler transferred to Berlin to instruct in 1925, and thinned his harmonic design and added jazz-inspired rhythms. Another year, Eisler became a member of the German Communist Party, composed content for the periodical Rote Fahne (Crimson Flag), and constructed choral functions (eg., “Der neue Stern”/The New Superstar) and well-known marching music (“Solidaritätslied”/Solidarity Melody, “Einheitsfrontlied”/The United Front side Song, and various other classics). In 1930 he started his lifelong cooperation with article writer Berthold Brecht, instantly making Die Massnahme and among the initial important functions of socialist realism, the shifting cantata Die Mutter (The Mom, 1932). This function contains neo-Classical components, full of energy choruses (“Der zerrissene Rock and roll”/The Torn Layer, about stock bosses who deride employees’ needs, as well as the “Grabrede”/Funeral Oration, a melodically effective Stravinskian harmonization of Gregorian chant), and coming in contact with arias (the extraordinarily gorgeous quasi-twelve-tone melody “Lob der dritten Sache”/In Compliment of Lower Course Causes). The ultimate chorus provides the picture of the Mom carrying the crimson banner, untiringly. After 1933, Eisler’s functions were banned with the Nazis. Compelled into exile for 15 years, he journeyed throughout Europe also to the U.S. and Mexico, teaching and composing for movies (like the gorgeous Fourteen Means of Explaining the Rainfall, 1941, predicated on an anagram from the name Schoenberg). Eisler started his largest function in 1935, the Deutsche Sinfonie, Op. 50 (1935 – 1957), a soul-moving, dramatic, “anti-fascist cantata” in Eisler’s tonal-serialist design. The text is definitely by Brecht with servings from your novel Breads and Wines (1936) from the “renegade” writer Ignazio Silone, who compared Stalin’s “display tests.” In 1947, Eisler and Brecht had been brought prior to the infamous Home Committee on Un-American Actions and questioned about functions like “Lob des Kommunismus” (In Compliment of Communism) from Die Mutter which claims that communism is definitely against filth and criminality. Eisler remaining the States and finally resolved in the DDR, composing their nationwide anthem, and composing “used music” for the theatre (17 takes on), movie theater, cabaret (36 chansons, as well as the marvelous “Neue deutsche Volkslieder”/ New German Folksongs), tv, public events, etc.

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