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19260798
19260798
19260798

Hollywood Songbook

By Hanns Eisler

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Voice and piano (bc)
Composed by Hanns Eisler (1898-1962). Edited by Grabs,M., O. Dahin, and P. Deeg. Song. Available for the first time: Corrected Reprint of the First Edition (ed. by Manfred Grabs) with Annotations by Oliver Dahin and Peter Deeg. Early modern. Breitkopf and Haertel #DV 9070. Published by Breitkopf and Haertel (BR.DV-9070).

Item Number: BR.DV-9070

ISBN 979-0-2004-9115-9. 9 x 12 in inches.

Available for the first time: Corrected Reprint of the First Edition (ed. by Manfred Grabs) with Annotations by Oliver Dahin and Peter Deeg Available for the first time: the Hollywooder Liederbuch

Hanns Eisler's Hollywooder Liederbuch - or Hollywood Songbook - has long been known through CD recordings. Yet as a printed book of music, this song cycle, arguably the most important one of the 20th century, has just now become available in German for the first time. Eisler did not personally authorize the compilation and sequence of the 47 songs; however, the title is found on 38 autographs (sometimes with the reductive designation Hollywooder Liederbuchlein), and nine further scores can be assigned to the collection both on the basis of chronology and contents. While working on film scores for large ensembles, Eisler began writing the songs on texts by Brecht, Holderlin and others in Hollywood in the spring of 1942: This place is for me a hell of stupidity, of (truly indescribable!) corruption, and of boredom. The only good thing is my new little songbook.... Later, in East Berlin, Eisler practically dissolved the Liederbuch and distributed the songs among various volumes of his work edition Lieder und Kantaten. It was not before 1976, many years after the composer's death, that the Hollywooder Liederbuch was published in its entirety in the complete edition Eisler - Gesammelte Werke (EGW). The first complete performance took place in Leipzig in 1982.

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TELDEC 4509-97 459-2 In diesem lyrischen Stuck spielen zwei groteske Instrumente ganz schlicht - keine aufgeblasenen Laufe und Sprunge nur sorgfaltig geplante Klange: verliebte Clowns. In diesem Orchesterstuck enthalten die Einzelstimmen nur wenige Noten. In einer der langen Pausen sollen die Spieler sogar bewegungslos wie Statuen verharren: ein gut gefulltes Stillleben.
Ein bestimmtes Prinzip kehrt in verschiedener Beleuchtung zwanghaft wieder. Ein Abschnitt wird leicht variiert wiederholt. Er wird Schritt fur Schritt weicher und dunner wahrend das Schweigen zwischen den Klangen wachst: versteckende Stille. (Martin Smolka 2008) In this lyrical piece the two grotesque instruments play soberly - no puffy runs and jumps just attentively designed sounds: Clowns in love. In this orchestral piece individual parts contain just few notes. During one of the long rests the players are even requested to stay motionless like statues: A crowded still life.

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