Hanns Eisler: Suite per orchestra n.5 op.34 "Dans les rues" (1934)
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- Опубліковано 20 жов 2024
- Hanns Eisler (1898-1962): Suite für Orchester n.5 op.34, dalle musiche per il film "Dans les rues" di Victor Trivas (1933) -- Collegium Musicum Leipzig diretto da Adolf Fritz Guhl --
I. Präludium. Larghetto
II. Intermezzo
III. Tema con variazioni I. Larghetto
IV. Marsch
V. Tema con variazioni II. Andante
VI. Andante eroico. Andante - Marschtempo
VII. Tema con variazioni III. Andante
VIII. Finale. Larghetto - Allegro. Eilend
--- cover image: painting by Andreas Weise
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I wouldn't agree that he wasn't a modernist. I think he moved quite fluidly between the states of being a quasi-Mahlerian and Schoenbergian modernist. What's refreshing is that he actually took his leftist sentiments into his art as did Brecht (see the Solidarity song at the end of Kuhle Wampe). It's all well and good theorising about these things, but unless it's in your art and people are going to listen to it, then what hope is there of any kind of 'emancipation'?
I would agree with you to a point
But most leftists are subjected to their brutal masters, and somehow accept their fate.
I. Präludium. Larghetto- 0:00
II. Intermezzo-1:48
III. Tema con variazioni I. Larghetto- 4:00
IV. Marsch- 6:45
V. Tema con variazioni II. Andante- 8:12
VI. Andante eroico. Andante - Marschtempo-11:22
VII. Tema con variazioni III. Andante-14:00
VIII. Finale. Larghetto - Allegro. Eilend- 16:38
Wonderful to hear this🎶🎶🎶👍
There is the Hymn to the Comintern at some point!
Nice. I think Eisler's rejection of modernism was a good move on his part as he went from being a very average expressionist to a great writer of popular and accessible music. I'm a big modernism fan, but I love me a good tune too!
wow 10 years
Such an anticlimactic end...
I love it.
bought the scores a while ago, one of my Eisler s favorites.. thank you WelleszC ( i visit you often; very good choices... thnx.
Very fine!
Lovely piece; not great but not everything has to aspire to greatness. Truly evokes the spirit of the '30s; seems as if Eisler (and Copland in the U.S.) caught the leftist sentiments of those times.
Something of Kurt Weill in the second movement
absolutely!
还好, but to me - probably in keeping with your latest uploads of ballet music - this is a bit too Ching De Rassa Bum Bam; the best, I think, Eisler did, is his "14 Arten den Regen zu beschreiben", Op. 70 (1941) (Fourteen Ways of Describing the Rain), uploaded, as always meticulously complete with the actual movie it was meant to illustrate, by you in March this year.
Cette musique pourrait servir de musique de film.
c'est une musique de film, et a été employée dans d'autres films
Lembra Philippe Sarde na trilha sonora de L’Horloger de Saint Paul.
11:22 Comintern anthem
Bien vu
Aber trotzdem beste Musiklehrerinnen :)
Weiß vielleicht jemand, von wem das Bild ist?
The artist is Andreas M. Wiese. The title of the painting is One-Way Street (2003).
6:45
11:22
The fact that Hans Eisler is a communist does make the music sound different from other classical music, the music sounds very aggressive and militaristic, and when I listen to it I imagine a large group of peasants revolting against their king.
I've been listening to this one for over a year. like another commenter below me said, it represents the feelings of the left at that time
I'd argue the semantics here, not your point though. Militaristic may be the wrong word, because it's very different from the right-wing marching music that dominated much of Germany at that time. It's not a call to fall in line, stop thinking and execute orders, it's a call to fight back and rise up.
That that's a distinction Eisler himself wanted to make becomes even more obvious later in his life, when he composed the national Hymn for the GDR and intentionally made it impossible for it to be marched in line to.
Koikat I wouldn’t call it militaristic, but very inspiring
Maybe not peasants. They didn't do too well out of communism.
@@rolleicanon Well yes and no... It was the alliance of workers and a largely peasant mass that created the october revolution, so the peasants were a revolutionary force. The slogan of the revolution was peace-land-bread, so leave the 1. world war, do a land reform in favor of the peasants and stop the hunger. And they made a land reform so many peasants had their own land. The New Economic policy which Lenin proposed in 1921 allowed free competition amongst the peasants.
This lead via the laws of capital accumulation to concentration of wealth and land into fewer and fewer hands within the peasant ranks.
This new emerging class of rich farmers were called “NEP-man” or “kulaks”.
And those posed a threat to the society by demanding more and more privileges and suppressing the smaller peasants which lost the competition.
So the bolsheviks proposed the foundation of the farmers collectives (kolkhoz), mechanizing agriculture, improving and modernising it.
Many smaller peasants followed this proposal and formed collectives.
However, the wealthy peasants, the kulaks struggled harshly against this new policy. They burned down their crops, murdered their cattle, etc. Paired with drought this lead to the famous famine of 1933/34 in wide areas of the ukraine and kazakhstan.
Western historians make this out to be the “Holodomor”, as if Stalin and the bolsheviks purposefully starved ukrainians and kazakhs out of pure evil, for no reason.
Or they will say that collectivization was “just a disaster” which lead to this.
As if agriculture based on tractors, artificial watering and mechanization is somehow less productive and bad compared to wooden tools and manual labor.
The history of regular famines ended after 1933/34 and the supply of the soviet citizens with enough food was secured.
So it is a complicated relationship between peasants and communists.
18 10 17 18 14
Farkli seyler kesfedip bilmedigim yollarda kaynolmak istiyorum.bu beni rahatlatir 19 10 17 00 43
el intermezzo es medio ska punk xD xD tiene hasta la bateria
Eisler is no Schoenberg or Mahler. A second rate composer really, (like Kurt Weill) who dabbled with politics at the wrong time and suffered the consequences. Shostakovich survived in Russia because he was a genius and the authorities knew it. Eisler sadly didn't survive anywhere. Proof that music and politics don't mix.
Where do you place Gershwin in your hierarchy?
@@marktyler2068 Good question Mark. Gershwin was (in my opinion) an outstanding composer of his generation. Love his rhythms and syncopation that are cleverly interwoven into his symphonic writing. Apart from the obvious classics, I'd put the Piano Concerto in F major as one of the top 20 20th Century concertos. It's a shame it's not performed more today.
what a sad way of thinking/valueing/dealing with art/ people.
Das ist sooooooio ne kak musik Hausaufgabe
This is about the most pretentious music I have ever heard, totally over the top.
You can keep your empty, pretentious and over-the-top criticism to yourself.
I am interested. Pretentious how? It definitely brings me to the era and a city scape of a certain class - and not a pretentious one. It is dance music per its name. The jazz influence is very strong - that wasn't pretentious then at all. People were marching around the world and it makes you want to join in a free-form march. I see it as very successful.
@@dionbaillargeon4899 Oh, you are not allowed to have an opinion if it contradicts authority. Get lost commisar!
With you.