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Published online by Cambridge University Press: 04 February 2010
In West Berlin on 8 September 1987, Fischer-Dieskau is to give a recital of Hanns Eisler's songs, with Aribert Reimann at the piano. A tribute at this level to Eisler's achievement within and around the Lieder tradition was long overdue. Since the concert is sponsored by the Berliner Festwochen—which this year is handsomely celebrating the city's 750th anniversary—it is assured international attention, which it deserves for a variety of reasons, not least because it is impossible to construct a complete and balanced programme of Eisler Lieder without somehow calling in question the very idea of official blessings, from whatever quarter.
* Sinn und Form. Sonderheft Hanns Eisler 1964 (Rütten & Loening, Berlin) pp. 379–81Google Scholar.
* See Betz, Albrecht, trs. Hopkins, Bill, Hanns Eisler, Political Musician (Cambridge University Press 1982), p. 41Google Scholar
* Schoenberg, Arnold, Letters, ed. Stein, Erwin (Faber and Faber, 1964), p. 120Google Scholar.
* Schoenberg's letter was one of the ‘examples’ cited in the Lehrstück am Beispiel Arnold Schoenbergs by the post-war Austrian composer and pianist Otto M. Zykan (see p. 49 below)
* The influence was mutual—there are traces of Eisler in Weill's music until as late as 1938.
* See for instance Steuermann's remarkable Suite for piano (1954), Margun Music Inc., Boston.
† See Betz, (op. cit., p 119)Google Scholar, citing Ernst Fischer; the Vienna première of Die Massnahme was, however, in September 1932; Die Mutter, which had its Austrian première in the Theatersaal of the Hotel Post some time before the end of that year, was given in the main hall of the Konzerthaus early in 1933. (see Palm, Kurt, Vom Boykott zur Anerketmung, Brecht und Österreich, Vienna/Munich 1983, p. 281)Google Scholar.
* Already in 1933 he wrote an ‘operetta’ entitled Der Diktator. See Monika Lichtenfeld's entry in The New Grove for a short account of Wildgans's life and a list of works.
* See Palm, Kurt, op. cit, p. 82. Palm's documentation of the background and the consequences of the scandal is a valuable adjunct to the very full account inGoogle Scholar Saathen, Friedrich, Einem-Chronik. Dokumentation und Deutung (Vienna, 1982). Both books are essential reading for any student of Austrian cultural politics since the warGoogle Scholar.
† letter from Mann to Eisler of 5 November 1952; reprinted in Sinn und Form (op. cit.) p. 247
* See Schebera, Jurgen, Hanns Eisler (Henschelvcrlag, East Berlin, 1981) p.158Google Scholar. Schebera's pictorial biography for the general reader is in many matters of detail a helpful adjunct to Betz's slightly earlier and more specialized work.
† Dümling, Albrecht, Lasst euch mich verführen, Brecht und die Musik (Munich, 1985), pp. 648–658.Google Scholar
* Just such a programme was planned for the Almeida Festival, but for practical reason could not be realised.
† See, for instance, Robin Holloway's review of books on Stravinsky, Strauss, and Schoenberg in TEMPO No. 120 (March 1977), pp. 41–44.
‡ For von Einem's recollections of Brecht and the Salzburg episode, see TEMPO No. 104 (1973), pages 20–21.