wimpel69
03-20-2017, 01:04 PM
Please request the FLAC link (inc. artwork and booklet) in this thread. PM's will be ignored!
Limited sharing period. This is my own material - Please do not share any further!
Besides the Oscar-nominated score for Fritz Lang's film 'Hangmen Also Die' (1943), this CD contains other rarely heard
works by Hanns Eisler (1898-1962), in which the special interpretation Sch�nberg's pupil had developed of the twelve-tone
technique plays an astonishingly important role for the field of film and orchestral music.
The "score" to 'The Grapes of Wrath' has no immediate connection to the John Ford film (and certainly not to Alfred Newman's
score); Eisler composed some music as an "alternative score" commissioned by the Rockefeller Film Music Project. The suite
from the documentary feature 'The 400 Million' includes the F�nf Orchesterst�cke, which Eisler himself extracted from the
score for concert use.
Music Composed by
Hanns Eisler
Played by the
Berlin Radio Symphony Orchestra
Conducted by
Johannes Kalitzke
"One of the most original and prolific composers of the twentieth century, Hanns Eisler proved that expressing humanistic
and political concerns does not necessarily lead to musical banalities, but can achieve his stated aesthetic ideal of
"freshness, intelligence, strength and elegance" (as opposed to "bombast, sentimentality and mysticism").
Eisler's family could not afford a piano, so he learned music from books and scores, an activity he continued through
his teen years (1908 - 1915) at the Staatsgymnasium. In World War I, he served in a Hungarian regiment (1916 - 1918),
composed an oratorio Gegen den Krieg (Against War, a title revived later for his cantata with words by Brecht), and
afterwards became a student at the New Vienna Conservatory and a proofreader for Universal Edition.
Both Arnold Schoenberg and Anton Webern gave Eisler free private lessons in composition (1919 - 1923), influencing
Eisler's highly chromatic and harmonically dense yet witty and graceful early style (notably in the Piano Sonata, Op. 1).
Eisler moved to Berlin to teach in 1925, and thinned his harmonic style and added jazz-inspired rhythms. The next year,
Eisler joined the German Communist Party, wrote articles for the periodical Rote Fahne (Red Flag), and composed
choral works (eg., "Der neue Stern"/The New Star) and popular marching songs ("Solidarit�tslied"/Solidarity Song,
"Einheitsfrontlied"/The United Front Song, and other classics).
In 1930 he began his lifelong collaboration with writer Berthold Brecht, immediately producing Die Massnahme and
one of the first important works of socialist realism, the moving cantata Die Mutter (The Mother, 1932). This work
contains neo-Classical elements, energetic choruses ("Der zerrissene Rock"/The Torn Coat, about factory bosses who
deride workers' needs, and the "Grabrede"/Funeral Oration, a melodically powerful Stravinskian harmonization of
Gregorian chant), and touching arias (the extraordinarily beautiful quasi-twelve-tone song "Lob der dritten Sache"/
In Praise of Lower Class Causes). The final chorus contains the image of the Mother carrying the red banner, untiringly.
After 1933, Eisler's works were banned by the Nazis. Forced into exile for 15 years, he traveled throughout Europe
and to the U.S. and Mexico, teaching and composing for films (such as the beautiful Fourteen Ways of Describing the
Rain, 1941, based on an anagram of the name Schoenberg). Eisler began his largest work in 1935, the Deutsche
Sinfonie, Op. 50 (1935 - 1957), a soul-moving, dramatic, "anti-fascist cantata" in Eisler's tonal-serialist style. The text
is by Brecht with portions from the novel Bread and Wine (1936) by the "renegade" author Ignazio Silone, who
opposed Stalin's "show trials."
In 1947, Eisler and Brecht were brought before the infamous House Committee on Un-American Activities and
questioned about works like "Lob des Kommunismus" (In Praise of Communism) from Die Mutter which states that
communism is against filth and criminality. Eisler left the States and eventually settled in the DDR, composing their
national anthem, and writing "applied music" for the theater (17 plays), cinema, cabaret (36 chansons, and the
splendid "Neue deutsche Volkslieder"/ New German Folksongs), television, public events, and so on."
Source: Capriccio CD (My rip!)
Format: FLAC(RAR), DDD Stereo
File Size: 308 MB
Please request the FLAC link (inc. artwork and booklet) in this thread. PM's will be ignored!
Limited sharing period. This is my own material - Please do not share any further!
Limited sharing period. This is my own material - Please do not share any further!
Besides the Oscar-nominated score for Fritz Lang's film 'Hangmen Also Die' (1943), this CD contains other rarely heard
works by Hanns Eisler (1898-1962), in which the special interpretation Sch�nberg's pupil had developed of the twelve-tone
technique plays an astonishingly important role for the field of film and orchestral music.
The "score" to 'The Grapes of Wrath' has no immediate connection to the John Ford film (and certainly not to Alfred Newman's
score); Eisler composed some music as an "alternative score" commissioned by the Rockefeller Film Music Project. The suite
from the documentary feature 'The 400 Million' includes the F�nf Orchesterst�cke, which Eisler himself extracted from the
score for concert use.
Music Composed by
Hanns Eisler
Played by the
Berlin Radio Symphony Orchestra
Conducted by
Johannes Kalitzke
"One of the most original and prolific composers of the twentieth century, Hanns Eisler proved that expressing humanistic
and political concerns does not necessarily lead to musical banalities, but can achieve his stated aesthetic ideal of
"freshness, intelligence, strength and elegance" (as opposed to "bombast, sentimentality and mysticism").
Eisler's family could not afford a piano, so he learned music from books and scores, an activity he continued through
his teen years (1908 - 1915) at the Staatsgymnasium. In World War I, he served in a Hungarian regiment (1916 - 1918),
composed an oratorio Gegen den Krieg (Against War, a title revived later for his cantata with words by Brecht), and
afterwards became a student at the New Vienna Conservatory and a proofreader for Universal Edition.
Both Arnold Schoenberg and Anton Webern gave Eisler free private lessons in composition (1919 - 1923), influencing
Eisler's highly chromatic and harmonically dense yet witty and graceful early style (notably in the Piano Sonata, Op. 1).
Eisler moved to Berlin to teach in 1925, and thinned his harmonic style and added jazz-inspired rhythms. The next year,
Eisler joined the German Communist Party, wrote articles for the periodical Rote Fahne (Red Flag), and composed
choral works (eg., "Der neue Stern"/The New Star) and popular marching songs ("Solidarit�tslied"/Solidarity Song,
"Einheitsfrontlied"/The United Front Song, and other classics).
In 1930 he began his lifelong collaboration with writer Berthold Brecht, immediately producing Die Massnahme and
one of the first important works of socialist realism, the moving cantata Die Mutter (The Mother, 1932). This work
contains neo-Classical elements, energetic choruses ("Der zerrissene Rock"/The Torn Coat, about factory bosses who
deride workers' needs, and the "Grabrede"/Funeral Oration, a melodically powerful Stravinskian harmonization of
Gregorian chant), and touching arias (the extraordinarily beautiful quasi-twelve-tone song "Lob der dritten Sache"/
In Praise of Lower Class Causes). The final chorus contains the image of the Mother carrying the red banner, untiringly.
After 1933, Eisler's works were banned by the Nazis. Forced into exile for 15 years, he traveled throughout Europe
and to the U.S. and Mexico, teaching and composing for films (such as the beautiful Fourteen Ways of Describing the
Rain, 1941, based on an anagram of the name Schoenberg). Eisler began his largest work in 1935, the Deutsche
Sinfonie, Op. 50 (1935 - 1957), a soul-moving, dramatic, "anti-fascist cantata" in Eisler's tonal-serialist style. The text
is by Brecht with portions from the novel Bread and Wine (1936) by the "renegade" author Ignazio Silone, who
opposed Stalin's "show trials."
In 1947, Eisler and Brecht were brought before the infamous House Committee on Un-American Activities and
questioned about works like "Lob des Kommunismus" (In Praise of Communism) from Die Mutter which states that
communism is against filth and criminality. Eisler left the States and eventually settled in the DDR, composing their
national anthem, and writing "applied music" for the theater (17 plays), cinema, cabaret (36 chansons, and the
splendid "Neue deutsche Volkslieder"/ New German Folksongs), television, public events, and so on."
Source: Capriccio CD (My rip!)
Format: FLAC(RAR), DDD Stereo
File Size: 308 MB
Please request the FLAC link (inc. artwork and booklet) in this thread. PM's will be ignored!
Limited sharing period. This is my own material - Please do not share any further!