Oh, where do I even begin with this eclectic blend of puppetry, existential musical questioning, and socio-political commentary? It’s enough to make you grab the nearest hand puppet and start pondering your own mortality!
So, let’s dive into this charmingly chaotic world of Hanns Eisler — a man whose musical genius was so prolific, he practically had a manuscript for every existential crisis known to mankind. Seriously, one could argue that he made the average mid-life crisis look like a tidy little sonnet!
Now, have you seen that trailer? The one with a hand puppet that looks like it’s had a rough day at the office? That’s a puppet of Hanns Eisler, folks—though it seems to be channeling more than just the spirit of a long-deceased composer. You could almost imagine it whispering to you, "Who do I write music for?" as it frantically flails its tiny hands in despair. Great existential angst? Check. The unmistakable flair of drama? Check!
Eisler, who experienced everything from wars and emigration to the devastating fallout of being accused of formalism in the GDR, must have had a life like a soap opera, albeit one written by Bertolt Brecht — a man who knew all about drama. I mean, if Eisler were in a sitcom, you’d have to call it “Everybody Loves the Composers!” Maybe that’s a tad too optimistic, but you get my drift.
This art piece being presented by Sabine Köhler and Heiki Ikkola is like a captivating whirlwind of sheet music and puppet shenanigans. Don’t you just love how they tackle the big questions? Music: is it to make you feel good or just to make you think about how tragic life is? Ah, so refreshing! Personally, I believe it ought to do both—like a solid blend of humor and tragedy—much like this article!
Eisler’s complexities are represented through a display of in-your-face drama, with puppets that would have made him chuckle amidst serious political scrutiny. You can almost picture him, tilting his head, and saying, "Isn’t it nice to make music that’s actually relevant?" I mean, really, how else do you engage an audience that potentially doesn’t even know who you are anymore?
And let’s not forget to mention the ensemble of musicians — clearly, they’re not just playing the notes; they’re creating a full-throttle emotional experience! As these artists rev up your senses with a skillful orchestration, you might want to remind yourself to breathe, because who has the time for oxygen when the existential opera unfolds before you?
But of course, the lingering question is still there: Who am I composing for? Much like that awkward family dinner where you silently wonder what everyone is really thinking, Eisler confronted a world that just didn’t care to hear his voice—or the voices of those like him. It’s like he’s been left that note saying, “Hey, call me when you want to have real conversations, you know, like the state of society!”
The show wrapping up at the Elbphilharmonie certainly doesn’t shy away from the weighty topics of dictatorship, exile, and shattered dreams. It’s like going on a nostalgic road trip with no directions—just a series of melancholic detours and a puppet that isn’t afraid to ask the tough questions. Where do we go from here?
The production is not just about music; it’s about making you think, reflect, and perhaps question your own life choices. Shall we write uplifting songs, or embrace the grim realities of life? I’ll let you decide!
In conclusion, as this charming glamour meets gritty reality in "EISLER – LOST IN HOLLYWOOD," we ought to consider how critical it is to bring back these forgotten voices of the past. After all, as we skitter about our busy lives, it’s those moments of reflection and questioning that keep us human. So, dear readers, perhaps take a page out of Eisler’s book — or maybe just consult your nearest hand puppet — and ponder your own purpose. Have a show, and don’t forget to bring the existential crisis along for the ride!
In the striking new trailer for Cie.’s latest production, audiences are introduced to a mesmerizing hand puppet that bears the unmistakable facial features of Hanns Eisler. Crafted meticulously by Sabine Köhler and Heiki Ikkola, this puppet serves as the centerpiece for a performance that delves into the lives of societal outcasts and those labeled as ‘freaks’ and ‘strangers.’ Under the artistic vision of Köhler and Ikkola, the production combines innovative scenography and compelling performances to explore the essence of Eisler’s music, which remains an elusive treasure in contemporary repertoires.
The pivotal inquiry that haunted the socialist composer Hanns Eisler throughout his illustrious career was: Who is the audience for my music? This fundamental question spurs a visually rich dialogue between two dynamic winged figures, amidst a cascade of sheet music pieces that float down from above, showcasing Eisler’s distinctive works. The puppets—representing both Eisler and his collaborator Bertolt Brecht—engage in a lively debate surrounding the purpose and intent behind their compositions, asserting that music should provoke thought about the world, while leaving the question of its potential to effect change ideally unresolved.
Hanns Eisler, born in 1898, navigated the turbulent landscape of the early 20th century, confronting the realities of war, persecution, and intense cultural scrutiny. As one of Arnold Schönberg’s most illustrious students, alongside Alban Berg and Anton von Webern, Eisler mastered advanced compositional techniques. However, he diverged from his teacher’s elitist perspectives, choosing instead to channel his artistic endeavors into pieces that resonate with the struggles of the working class, notably through collaborations with Bertolt Brecht that yielded stirring revolutionary songs and didactic works.
Notably stationed in East Berlin from 1949, the Austrian-born Eisler remained an astute observer of the rigid ideological shifts within GDR cultural policy, while also maintaining his role as a significant proponent for progressive music at the Berlin University of Music. Retrospectively, he played a crucial role in the emergence of GDR modernism after 1968, advocating for the inclusion of twelve-tone music and other modern techniques, which had been unjustly dismissed by GDR ideologues. Members of the Leipzig Radio Symphony Orchestra, enthusiastic about avant-garde movements, aptly named themselves the “Group Neue Musik Hanns Eisler” during this period of cultural awakening.
Cie. Freaks and Strangers has drawn from Eisler’s rich and diversified catalog to craft a thought-provoking program titled “EISLER – LOST IN HOLLYWOOD: Grace, Effort, Passion, Intelligence.” This title resonates on multiple levels—it not only evokes Eisler’s dislocation and struggles in America during 1947, particularly before the “Committee for Un-American Activities,” but it also nods to Brecht’s “Children’s Hymn,” an anthem that resurfaced in discussions following 1991. The terms encapsulate the complex facets of Eisler’s character, his life’s journey, and the guiding principles that shaped his artistic vision.
These compositions feature extensively in a dynamic production where anecdotal elements intertwine with Eisler’s biographical intricacies. Themes of exile permeate his extensive song repertoire, reflecting his life experiences through various historical contexts. The audience witnesses everything from the fervent songs of the 1920s to the haunting melodies emerging from the shadows of exile, echoing a longing for the German cultural landscape he was forced to abandon. The portrayals of these significant moments are brought to life through the engaging performances of Köhler and Ikkola, who embody various roles with vibrant physicality and linguistic finesse.
Interpreted with sensitivity by Frieder Zimmermann, the orchestration of these works adapts them for versatile small ensembles, while ensuring that the essence of Eisler’s sound remains intact throughout the new interpretations. Musicians such as Anna Katharina Schumann showcased their talents by seamlessly transitioning between multiple instruments, while Anna Zepnick provided a solid piano accompaniment, enriching the production’s texture.
The narrative trajectory reflects critical milestones in Eisler’s life, chronicling his journey from 1916 through to his emigration in 1933 while the climate of persecution rose in Germany. Tobias Herzz Halbauer delivers a compelling rendition of the “Ballad of the Jewish Whore Marie Sanders,” illustrating the painfully poignant aspects of Eisler’s experiences. As Eisler found himself ensnared in the conflicting currents of Hollywood, with Brecht’s words highlighting the disjunction between art and American reality, the layered complexity of his artistry began to unravel.
Though Eisler faced renewed challenges post-fascism, specifically from the FBI scrutinizing his revolutionary compositions, he consistently defended his artistic integrity against lingering suspicions. His later experiences in the GDR were marked by disappointment when the cultural dogmatists criticized his opera “Faustus,” casting a shadow over his last years. Questioning afresh who he was composing for, Eisler found himself mired in disquiet about his role within the constrictive GDR landscape, ultimately resorting to Brecht’s hopeful notion of change as a distant possibility.
The intricate video cuts and projections that illuminate this theatrical journey were meticulously crafted by Beate Oxenfarth, with Eckart Reichl capturing the visual essence during filming. Lighting concepts were innovatively designed by Josia Werth, while Jörg Lehmann adeptly handled the dramatic structure of the production. It is imperative that this captivating presentation reaches a broader audience and graces stages far and wide.
Next performances: February 14th, 18th/19th April 2025, 8 p.m. each time
Reiner Zimmermann / About the author
Dr. Reiner Zimmermann, born in 1941, serves as an editor at the esteemed music publisher Edition Peters Leipzig. His illustrious career includes roles such as dramaturge at the Dresden Music Festival in 1986, alongside heading the art department of the Saxon State Ministry for Science and Art from 1991 to 2003. He is also the author of “Being more than SHINING – cultural policy in Saxony after 1990” (Donatus-Verlag 2022) and has edited works for renown composers like Debussy, Fauré, Meyerbeer, and Weber. Additionally, he is recognized for his comprehensive biography on Meyerbeer as well as editing the series “Monuments of Musical Art in Dresden.”
Eisler’s resilience in the face of adversity is a testament to his unwavering commitment to the power of music as a medium for social change and reflection. The production ”EISLER - LOST IN HOLLYWOOD” not only celebrates his artistic achievements but also invites audiences to grapple with the wider implications of his life and work—questioning who truly listens to the marginalized voices in society and what responsibility artists have to engage with the zeitgeist of their times.
As we embark on this artistic journey, the puppet of Eisler serves as a whimsical yet profound symbol of the ongoing struggle for relevance in music and art. It raises the critical question: Are we, as contemporary audiences, willing to engage with the uncomfortable truths that live within the notes and lyrics of the past? As we witness the emotive performance, with sheet music cascading down like poignant thoughts in the wind, we are urged to reflect on our own perceptions of art and our role in the ever-evolving narrative of culture.
In this theatrical exploration, the nuances of Eisler’s compositions not only evoke a sense of nostalgia but also encourage critical conversations around themes like exile, identity, and artistic purpose. The puppets, animated with an eclectic charm, provoke laughter while simultaneously invoking the somber realities they represent, encapsulating the dual nature of Eisler’s music—a blend of humor and tragedy that resonates deeply with the human experience.
Ultimately, “EISLER – LOST IN HOLLYWOOD” offers more than just a glimpse into one man’s tumultuous life; it invites each of us to ponder the echoes of societal concerns that linger in the art we consume and create. As we navigate our own existential inquiries, we are reminded that art, in all its forms, has the power to inspire, challenge, and ignite meaningful dialogues that transcend time and circumstance. So, as the curtain rises, let us allow ourselves to be swept away in this captivating whirlpool of existential musings, led by a charming puppet and a remarkable score that echoes the passion and intelligence of Hanns Eisler himself.
