{"id":8826,"date":"2020-07-28T11:59:04","date_gmt":"2020-07-28T09:59:04","guid":{"rendered":"https:\/\/musikunrat.de\/?p=2636"},"modified":"2020-07-28T11:59:04","modified_gmt":"2020-07-28T09:59:04","slug":"klassik-eil-hanns-eisler-lebt","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2020\/07\/klassik-eil-hanns-eisler-lebt\/","title":{"rendered":"Klassik +++ Eil +++ Hanns Eisler lebt!"},"content":{"rendered":"<p>Soll man lachen, soll man weinen? Soll man reden, soll man schweigen? <strong>Opus Klassik<\/strong> auf der \u00dcberholspur des Kulturbetriebes. Auch dieses Jahr voll Neugier der Blick in die Kategorie: Komponistx des Jahres. Vor einem Jahr, nun, <a href=\"https:\/\/blogs.nmz.de\/badblog\/2019\/07\/10\/opus-klassik-die-komponistin-des-jahres-in-der-kategorie-aehhh-musik\/\" target=\"_blank\" rel=\"noopener\">\u00c4hh, da war doch was?<\/a><\/p>\n<p>War damals nix. Ist heute nix. Aber immerhin mit <a href=\"https:\/\/www.opusklassik.de\/s\/5-KomponistindesJahres.pdf\" target=\"_blank\" rel=\"noopener\">reichlich Komponist:innen versehen<\/a>, die auch in entsprechenden Programmen im Radio platziert oder auf Festivals gespielt werden. Das haben f\u00fchrende Musikmanager_innen und Musikjournalist*innen entschieden: Thomas Ad\u00e8s, Mark Andre, Hanns Eisler, Henning Fuchs, Detlev Glanert, Hagen Lars Petter, Hildur Gu\u00f0nad\u00f3ttir, Heinz Holliger, Gy\u00f6rgy Kurt\u00e1g, Christian Jost, Erich Korngold, Albena Petrovic Vratchanska, Stefan Potzmann, Max Richter, Max Richter, Sarah Nemtsov, Stephanie Szanto, Andreas N. Tarkmann, Zane ZalisI und Manfred Trojahn.<\/p>\n<p>In den v\u00f6llig \u00fcberbewerteten Regularien dieses v\u00f6llig unterbewerteten Preise findet sich der damals wie heute g\u00fcltige und damals wie heute irrelevante Satz:<\/p>\n<blockquote>\n<p class=\"\"><strong>KATEGORIE 5 | KOMPONIST\/IN DES JAHRES <\/strong><\/p>\n<p class=\"\">Ausgezeichnet wird der\/die Komponist\/in, dessen\/deren Werk im Bewertungszeitraum in besonderer Weise Beachtung gefunden hat und zur Bereicherung des hiesigen Klassik-Lebens beigetragen hat. <strong>Eine posthume Ehrung ist ausgeschlossen.<\/strong> Die Nominierung kann durch Verlage und Labels erfolgen. Die Qualifikation ist mit der Nominierung schriftlich zu begru\u0308nden und muss durch eine Rezension\/einen Artikel in einem deutschsprachigen Medium gestu\u0308tzt werden.<\/p>\n<\/blockquote>\n<p>Und wie jedes Jahr k\u00f6nnen wir uns \u00fcber auferstandene K\u00fcnstlerinnen wie Hanns Eisler und Erich Wolfgang Korngold freuen. Und besondere Sorgfalt verdient der inexistente <a href=\"https:\/\/www.nmz.de\/online\/unuebersehbar-13-nmz-streaming-empfehlungen-vom-247-bis-zum-3172020\" target=\"_blank\" rel=\"noopener\">Musikkoch Hagen Lars Petter<\/a> (bekannt als Meister der Kartoffel-Permutation), Bruder von Siegfried Lasse Petter und Wotan Bj\u00f6rn Petter.<\/p>\n<p>Immerhin freut einen schlussendlich doch die Tatsache, dass im Klassikbereich Hanns Eisler eben wieder auferstanden ist. Die Aufnahme mit den Bearbeitungen oder kompositorischen Reorganisationen Fasshauer, Bruns und Medek <a href=\"https:\/\/hoerbar.nmz.de\/2020\/06\/hanns-eisler-leipziger-sinfonie-nuit-et-brouillard-trauerstuecke-aus-filmpartituren\/\" target=\"_blank\" rel=\"noopener\">sind toll<\/a>. Dass man 2020 aber in der Liste \u00fcberhaupt kein Wort zu Beethoven Ludwig VAN verliert, entt\u00e4uscht angesichts der hochkar\u00e4tigen Jury. Verliehen wird der OPUS KLASSIK 2020 am 18. 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Soll man reden, soll man schweigen? Opus Klassik auf der \u00dcberholspur des Kulturbetriebes. Auch dieses Jahr voll Neugier der Blick in die Kategorie: Komponistx des Jahres. Vor einem Jahr, nun, \u00c4hh, da war doch was? War damals nix. Ist heute nix. Aber immerhin mit reichlich Komponist:innen versehen, die auch [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Klassik%20%2B%2B%2B%20Eil%20%2B%2B%2B%20Hanns%20Eisler%20lebt%21 https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2020%2F07%2Fklassik-eil-hanns-eisler-lebt%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" 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Februar 2026","format":false,"excerpt":"Der Deutsche Musikrat bekommt von mir den OPUS KLASSIK in der Kategorie: Unfug vom Feinsten. Nicht allein f\u00fcr seine Pr\u00e4senz in den Sozialen Medien mit ihrer Selfie-Seligkeit (siehe nmz 2\/2026), sondern f\u00fcr seinen Aktivismus in Sch\u00f6nf\u00e4rberei ohne Sinn und Verstand. Warum? In einer Pressemeldung vom 3.2.2026 gibt er seine Kooperation\u2026","rel":"","context":"In &quot;\u00c4sthetische Kunstfehler&quot;","block_context":{"text":"\u00c4sthetische Kunstfehler","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/aesthetische_kunstfehler\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1391,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/09\/regen\/","url_meta":{"origin":8826,"position":1},"title":"Regen","author":"huflaikhan","date":"2. September 2005","format":false,"excerpt":"Endlich, aber noch nicht fertig. Johannes C. Gall und andere haben es unternommen, einen Klassiker der Filmmusikgeschichte (in Theorie und Praxis) neu zug\u00e4nglich zu machen. Es handelt sich um das Rockefeller-Filmmusik-Projekt 1940-1942. Beteiligt waren unter anderem Hanns Eisler und Thedor W. Adorno. Den legend\u00e4ren \u201eRegen-Film\u201c machte Joris Ivens. Das also\u2026","rel":"","context":"In \"Hanns Eisler\"","block_context":{"text":"Hanns Eisler","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/hannseisler\/"},"img":{"alt_text":"Regen1","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2005\/09\/20050902-RegenBild7a.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":68,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2000\/06\/das-rauhe-und-das-glatte\/","url_meta":{"origin":8826,"position":2},"title":"Das Rauhe und das Glatte","author":"huflaikhan","date":"30. Juni 2000","format":false,"excerpt":"Von Roscoe Mitchell bis Till Br\u00f6nner Wie antiquiert muss in diesem Zusammenhang zum Beispiel das St\u00fcck \u201eLeola\u201d von \u201eRoscoe Mitchell And The Note Factory\u201d aus dem Jahr 1998 erscheinen. Es gibt keine pr\u00e4zisen Instrumentaleins\u00e4tze, der Intonation nach ist diese Musik einfach unsauber gespielt. Dabei handelt es sich bei den Musikern\u2026","rel":"","context":"In &quot;jazzzeitung&quot;","block_context":{"text":"jazzzeitung","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/jazzzeitung\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":22759,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2026\/06\/opas-klassik-2026-vergeben\/","url_meta":{"origin":8826,"position":3},"title":"Opas Klassik 2026 vergeben","author":"der huflaikhan","date":"23. Juni 2026","format":false,"excerpt":"Das muss man den Macher:innen von Opus Plastik ja lassen. Mit ihren dr\u00f6lftausend Preisen, die sie j\u00e4hrlich verteilen, verstehen sie es, das Internet zu fluten, in und auf allen sozialen Medienkan\u00e4len. Die Angepriesenen sind damit nicht allein Preistr\u00e4ger:innen, sondern billige Werbetr\u00e4ger f\u00fcr die Musikindustrie, die tats\u00e4chlich hinter der Ausf\u00fchrung des\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"OPUS KLASSIK Home 06 22 2026 05 15 PM","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2026\/06\/OPUS-KLASSIK-Home-06-22-2026_05_15_PM.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2026\/06\/OPUS-KLASSIK-Home-06-22-2026_05_15_PM.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2026\/06\/OPUS-KLASSIK-Home-06-22-2026_05_15_PM.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2026\/06\/OPUS-KLASSIK-Home-06-22-2026_05_15_PM.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2026\/06\/OPUS-KLASSIK-Home-06-22-2026_05_15_PM.png?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2026\/06\/OPUS-KLASSIK-Home-06-22-2026_05_15_PM.png?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":60,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/09\/dr-hufner-analysiert-hanns-eisler-deutsche-sinfonie\/","url_meta":{"origin":8826,"position":4},"title":"Dr. Hufner analysiert: Hanns Eisler, Deutsche Sinfonie","author":"huflaikhan","date":"19. September 2004","format":false,"excerpt":"Hanns Eisler: Deutsche Sinfonie Hanns Eisler: Deutsche Sinfonie Volksfront und AvantgardeIm Gegensatz zu den Werken von Wagner und Beethoven hat die \u0084Deutsche Sinfonie\u0093 von Hanns Eisler die Popularit\u00e4t ihres Sch\u00f6pfers nicht gesteigert. Dabei hat Eisler gerade hier den Versuch unternommen, avancierte musikalische Techniken mit politischen Interessen zu verbinden, was bei\u2026","rel":"","context":"In &quot;Programmhefte&quot;","block_context":{"text":"Programmhefte","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/programmhefte\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":228,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/08\/kritische-musik-adorno-2003-ausser-betrieb\/","url_meta":{"origin":8826,"position":5},"title":"kritische musik: Adorno 2003 \u0096 au\u00dfer Betrieb","author":"huflaikhan","date":"22. August 2003","format":false,"excerpt":"Unter dem Titel Adorno 2003 \u0096 au\u00dfer Betrieb habe ich mich vor einiger Zeit mit dem Jubil\u00e4um Adornos (100. Geburtstag) befasst. Eigentlich geht es dieses Mal darum, zu zeigen, wie Adorno und auch Eisler eine gemeinsame Vergangenheit hatten - vor allem nach ihrer R\u00fcckkehr aus dem amerikanischen Exil: Beide sind\u2026","rel":"","context":"In \"Hanns Eisler\"","block_context":{"text":"Hanns Eisler","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/hannseisler\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/8826","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=8826"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/8826\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/2637"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=8826"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=8826"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=8826"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}