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5. Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union

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Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 i v ABSTRACT From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Yana Alexandrovna Lowry 2014 Abstract Group songs with direct political messages rose to enormous popularity during the interwar period (1918-1939), particularly in recently-defeated Germany and in the newly- established Soviet Union. This dissertation explores the musical relationship between these two troubled countries and aims to explain the similarities and differences in their approaches to collective singing. The discussion of the very complex and problematic relationship between the German left and the Soviet government sets the framework for the analysis of music. Beginning in late 1920s, as a result of Stalin’s abandonment of the international revolutionary cause, the divergences between the policies of the Soviet government and utopian aims of the German communist party can be traced in the musical propaganda of both countries. There currently exists no scholarly literature providing a wide-ranging view of the German and Soviet musical exchange during the 1920s and 30s. The paucity of comprehensive studies is especially apparent in the English-language scholarship on German and Russian mass music, also known as “music for the people.” Even though scholars have produced works devoted to the Soviet and Weimar mass music movements in isolation, they rarely explore the musical connections between the two countries. The lack of scholarship exploring the musical exchanges between the Soviet Union and Germany suggests that scholars have not yet fully examined the influences that the Soviet and German mass songs and their proponents had on each other during the 1920s and iv 1930s. Exposing these musical influences provides a valuable perspective on the broader differences and similarities between the Soviet and German communist parties. The connections between Soviet and German songs went beyond straightforward translations of propaganda texts from one language to another; the musical and textual transformations—such as word changes, differences in the instrumental arrangements, and distinct approaches to performance—allow for a more nuanced comparison of the philosophical, ideological, and political aspects of Soviet and the German communist movements. In my dissertation, I consider the musical roots of collective singing in Germany as opposed to Russia, evaluate the musical exchanges and borrowings between the early Soviet communists and their counterparts in the Weimar Republic, and explore the effects of musical propaganda on the working classes of both countries. I see my research as a mediation of existing Soviet and Weimar music scholarship. v Dedication To my grandparents: Vasilii†, Valentina, Boris†, and Galina vi Contents Abstract ......................................................................................................................... iv List of Figures .................................................................................................................x List of Examples ............................................................................................................ xi Abbreviations .............................................................................................................. xiii Translation and Transliteration ...................................................................................... xv Acknowledgements ......................................................................................................xvi Introduction .....................................................................................................................1 1. Finding the “Collective Voice" .............................................................................. 13 1.1 The Genre .......................................................................................................... 14 1.2 The Singing Body .............................................................................................. 24 1.3 The Collective Ritual ......................................................................................... 31 1.4 The Active Audience ......................................................................................... 42 1.5 The Collective Voice ......................................................................................... 49 2. Between Art and Agitation: Proletarian Music Organizations, Hanns Eisler, and the “Ideal Song” .................................................................................................................. 54 2.1 The Beginning of Musical Organizing and the Struggle for Cultural Autonomy ................................................................................................................................ 58 2.2 Evaluating the Heritage of the Past ..................................................................... 67 2.2.1 The Bourgeois Music Heritage ...................................................................... 67 2.2.2 The Case of Folk Music ................................................................................ 74 2.3 Confronting the Present ...................................................................................... 77 vii 2.4 The Old, the New, and the Rate of Cultural Change ........................................... 89 3. On Proletarian Performance: Ernst Busch, Agitational Theater, and the Issue of Audience ....................................................................................................................... 96 3.1 On the Act of Performing: Proletarian Singing Ideals, Pedagogy, and the Idea of Performer-Organizer .............................................................................................. 101 3.2 Ernst Busch—the “Singer-Orator” and His Changing Times ............................ 111 3.3 Performing Solidarity: Agitational Theater of Living Newspapers .................... 131 3.3.1 Entertaining Agitation? ............................................................................... 133 3.3.2 When the East Meets the West .................................................................... 148 3.4 Agitating while Entertaining: the Issue of Audience ......................................... 163 4. Singing for a Revolution: the Early Soviet Weimar Song Exchange ......................... 172 4.1 Songs of the International Struggle................................................................... 177 4.2 A Revolutionary Folk Song .............................................................................. 194 4.3 An Old March Made New ................................................................................ 213 4.4 Toward a Genuine Proletarian Song ................................................................. 234 5. Calling for International Solidarity: Hanns Eisler’s Mass Songs in the Soviet Union .................................................................................................................................... 237 5.1 The Age of Growing Totalitarianism and the Soviet Eisler Narrative ............... 239 5.2 Identifying the Enemies: the Song of the Comintern (1929) and the Solidarity Song (1930) ........................................................................................................... 252 5.3 Workers Unite!: The Song of the United Front (1934-1935) and the Song of the Peatbog Soldiers (1933, 1935) ............................................................................... 271 5.4 The Mythology of Eisler and His Music ........................................................... 286 Conclusion .................................................................................................................. 289 Appendix A ...................................................................................................................... viii Translations of Songs Discussed in Chapter Four......................................................... 299 Appendix B ...................................................................................................................... Translations of Songs Discussed in Chapter Five ......................................................... 326 Bibliography ................................................................................................................ 340 Biography ...................................................................................................................
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