By David Blake
This quantity offers an outline of Eisler's output, from the early compositions and his paintings as a student of Schoenberg, to the improvement of his person compositional process and magnificence. the writer balances severe research, historic survey and aesthetic argument and contains a few of Eisler's personal articles and extracts from his conversations. Blake confronts the attitudes of the GDR management in the direction of this influential composer and indicates the dear insights into the complexities of this century which are received from a research of Eisler's lifestyles and works, in particular from his notation of "applied track" - the linking of track to social and political wishes. additionally integrated during this selection of writings by way of and approximately Eisler is the booklet in English of Eisler's "Faust libretto".
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Additional info for Hanns Eisler (Contemporary Music Studies)
Mockery. On theevidence of entries inhis diary5 beginning in August1921, Eisler was prey to great changes of mood, suffered extreme depressions and used the diary to indulge in self pity, self mockery, bitter irony and sarcasm. Uneentry reads: 'I am very alone, no one knows me. Not even myself. When I play hide-and-seek, its called a pose. ' A little further on: 'I won't live to be old. Unfortunately. But the few things I've done will remain. 12 ]uly 1922. Eisler confesses to himself only, or posterity too?!
25 The secondis forceful and abrupt, with suddenchangesof mood and much variety of tone colour. The row is heard at the outset as a six-part chord and then the simultaneous melodic statement of the remaining six notes in counterpoint with the retrograde of them: Ex. 26 tl T~ n Ex. 26 Eislerusesthe four basicforms. Sincetwo of the four segments form triads Ex. 27 Ex.
7 Webern. No. 1 of Ftlnf Lieder Op. 3 The right hand thirds of these bars relate to Eislers bar 4 sonority. The regular collision in Webern of a semitone with one or other notes of the third is also part of Eislers technique. The extent to which Webern exploitedthis procedure, as well as the building of chords symmetrically or by the multiple leading-note voice-leading usedby 24 I-Ianns Eisler Rvhlg in gtk' Q; get 1 ,. 1 frm [3 ;- $0 ¢l~J'92~ in RQ, dw To _de; Kan-MQV! Ex. 2 No. 2 'fx lin. e no L' » t» .