Abstract
Although Hanns Eisler's work is increasingly studied and appreciated, his relation to the East German government has been misunderstood. The misunderstanding arises in part from genuine complications in the political and cultural circumstances surrounding Eisler's output; complications which this essay describes in some detail. But it also arises from the widely-held notion that communism and fascism are to equal degrees “totalitarian,” and thus have the same stifling effect upon art. This essay argues against that position. Eisler's successes in the last phase of his life are described, and his position as a notable composer and great humanitarian is asserted.
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