Keiner Oder Alle/Kampf Mu [Import]

Hanns Eisler | Format: Audio CD

Product Details

• Audio CD (March 10, 1997)
• Number of Discs: 1
• Format: Import
• Label: Bmg
• ASIN: B00000B4FX
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #808,540 in Music (See Top 100 in Music)

Track Listings

1. Mariannelied

2. Bankenlied

3. Keiner Oder Alle

4. Volk Ontwaak

5. Magnita - Komosmolzenlied

6. Lied Der Roten Flieger

7. Mijnwerkerlied

8. Auf Den Strassen Zu Singe

9. Chant Du Depart

10. Freedomsong

11. Vaandellied

12. Dictator's Song

13. Sozialistenmarsch

14. Der Rote Wedding

15. Wir Sind Das Rote Sprachr

16. Bruder Zur Sonne Zur Frei

17. Das Einheitsfrontlied

18. Unsterbliche Offer

19. Roter Matrosensong

20. Achturenmarsch

See all 22 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

5 of 5 people found the following review helpful:

5.0 out of 5 stars Aggressive street music by a classical composer, November 27, 2000

By 

Andrew G. Lang (Cleveland, OH USA) - See all my reviews
(REAL NAME)   

Amazon Verified Purchase

This review is from: Keiner Oder Alle/Kampf Mu (Audio CD)

Hanns Eisler's repudiation of "art for art's sake" in the mid-1920s did not prevent him from producing some of the most engaging concert works of the 20th century (especially his broad repertory of chamber music and the monumental "Deutsche Sinfonie"), but Eisler is perhaps best known in Germany for his incidental music for Bertolt Brecht's most radical political plays and the genre of leftist "Kampflieder" (Songs for the Struggle) he largely invented during the crisis years of the Weimar Republic. This album--digitally remastered from recordings made by the East German music industry--is a sampling of this style, notable both for its combative energy and its fusion of 1920s jazz and the German brass band tradition. Most startling are "Der rote Wedding" (Red Wedding)--an aggressive Communist election song dedicated to the Berlin working-class district of Wedding, and the sarcastic "Bankenlied" (Song of the Banks) with a text translated from a 19th-century French protest song. Other tracks include Eisler settings of Communist and Socialist classics. Listeners who are drawn to the politically-engaged protest music of any era might want to compare Eisler's swinging, jazz-influenced style with the plodding beer-hall sentimentality of Nazi "Kampflieder" from the same period.