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By David Blake

This quantity offers an summary of Eisler's output, from the early compositions and his paintings as a student of Schoenberg, to the advance of his person compositional strategy and magnificence. the writer balances serious research, old survey and aesthetic argument and comprises 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 precious insights into the complexities of this century which are won from a examine of Eisler's lifestyles and works, particularly from his notation of "applied track" - the linking of track to social and political wishes. additionally incorporated during this number of writings by way of and approximately Eisler is the book in English of Eisler's "Faust libretto".

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Example text

We know that when Schoenberg was away, Eisler received lessons from Webern and we will later observe the indebtedness of the Opus 2 cycle, dedicated to Webern, composed two years later. Une might conjecture that thesetwo earlier songs werethe first projected numbersof a cycle and later rejected: or that Eisler was composing songsin this laconic vein and only early in 1923 decided on which six to use for Qpus 2. It is odd that, given their quality, they did not find a place in another publishable work.

A E sharp G sharp 132 RH 139 RH bass clef 33 treble clef stet! chord E flat F natural B 201 LH ledger line missing - chord C sharp P D RH fourth beat, D natural not B natural 207 middle part B flat tied over 226 RH C sharp quaver 231 LH third beat D C. l'm suspicious of the D. lt could be A 261 LH F natural 292 LH first note F sharp 296 LH F sharp tied over 309 RH G probably tied over Not in autograph! 317 RH A sharp not flat 323 RH last chord F natural not sharp 22 Schoenberg's Opp. 23 and 24 are, of course, precedents.

The Second 18 Founded in 1924 as theViennese StringQuartet. The Early Music 41 Piano Sonata was the immediate response. 25, Berlin. Cast in the form of a theme and fourteen variations and thus playing continuously, the sonata is a rather grim and often manic scherzo. The clearly defined tripartiteshape of the theme, when later expanded byphrase extension, gives the impression of scherzo-trio-scherzo within itself. When Eisler treats the first three variations as such a shape, the result is: Var.

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