Regen may also be short for regeneration

This article may be expanded with text translated from the corresponding article in the German Wikipedia. (March 2009) Don't speak German? Click here to read a machine-translated version of the German article. Click [show] on the right to review important translation instructions before translating. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|de|Regen (Stadt)}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

Regen
Regen
Location of the town of Regen within Regen district
Coordinates	48°58′N 13°8′E / 48.96667°N 13.13333°E / 48.96667; 13.13333Coordinates: 48°58′N 13°8′E / 48.96667°N 13.13333°E / 48.96667; 13.13333
Administration
Country	Germany
State	Bavaria
Admin. region	Lower Bavaria
District	Regen
Town subdivisions	59 districts
Mayor	Ilse Oswald (FW)
Basic statistics
Area	65.15 km2 (25.15 sq mi)
Elevation	530 m  (1739 ft)
Population	11,749 (31 December 2010)[1]
- Density	180 /km2 (467 /sq mi)
Other information
Time zone	CET/CEST (UTC+1/+2)
Licence plate	REG
Postal code	94209
Area code	09921
Website	www.regen.de

Regen is a town in Bavaria, Germany, capital of the district of Regen.

Geography[link]

Regen is situated on the great Regen River, located in the Bavarian Forest.

Division of the town[link]

Originally the town consisted of 4 districts, Bürgerholz, Grubhügel, Riedham and St. Johann.

After a governmental reform the villages Aden, Augrub, Bärndorf, Bettmannsäge, Dreieck, Ebenhof, Ecklend, Edhof, Eggenried, Finkenried, Frauenmühle, Großseiboldsried, Huberhof, Kagerhof, Kattersdorf, Kerschlhöh, Kleinseiboldsried, Kreuzerhof, Kühhof, March, Maschenberg, Matzelsried, Metten, Neigerhöhe, Neigermühle, Neusohl, Obermitterdorf, Oberneumais, Oleumhütte, Pfistermühle, Pometsau, Poschetsried, Reinhartsmais, Richtplatz, Rinchnachmündt, Rohrbach, Sallitz, Schauerhof, Schlossau, Schochert, Schollenried, Schönhöh, Schützenhof, Schwaighof, Schweinhütt, Spitalhof, Sumpering, Tausendbach, Thanhof, Thurnhof, Weißenstein, Weißensteiner-Au, Wickersdorf, Wieshof and Windschnur were added.

International relations[link]

Regen is twinned with:

• Eschwege, Germany, since 1997
• Mirebeau, France
• Roth bei Nürnberg, Germany

Notable places[link]

The "Niederbayrisches Landwirtschaftsmuseum" is a museum showing the history of agriculture and society in Lower Bavaria from the 18th and 19th century.

The "Fressendes Haus" is a former domicile of the poets Clara Nordström (1886–1962) and Siegfried von Vegesack (1888–1974), which was transformed in a museum in 1984 presenting different expositions of historical art and the archeological excavations at the castle ruin of Weißenstein.

Economy[link]

Tourism figures largely in the local economy, with over 64,000 visitors accounting for 220,000 over-night stays last year.

References[link]

External links[link]

Look up regen in Wiktionary, the free dictionary.

• Official site (German)
• Pichelsteinerfest Regen (German)

v t e Towns and municipalities in Regen Achslach Arnbruck Bayerisch Eisenstein Bischofsmais Böbrach Bodenmais Drachselsried Frauenau Geiersthal Gotteszell Kirchberg im Wald Kirchdorf im Wald Kollnburg Langdorf Lindberg Patersdorf Prackenbach Regen Rinchnach Ruhmannsfelden Teisnach Viechtach Zachenberg Zwiesel

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (April 2010)

Joris Ivens (left) with Ernest Hemingway (middle) and Ludwig Renn in the Spanish civil war, 1936/37.

Joris Ivens (18 November 1898, Nijmegen – 28 June 1989, Paris) was a Dutch documentary filmmaker and committed communist.

Early life and career[link]

Born Georg Henri Anton Ivens^[1] into a wealthy family, Ivens went to work in one of his father's photo supply shops and from there developed an interest in film. He completed his first film at 13; in college he studied economics with the goal of continuing his father's business, but an interest in class issues distracted him from that path. He met photographer Germaine Krull in Berlin in 1923, and entered into a marriage of convenience with her between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy."^[2]

Originally his work focused on technique - some argue that it had that focus at the cost of relevance, especially in Rain (Regen, 1929), a 10-minute short filmed over 2 years which features impressive cinematography and a number of 'characters' but no information about them aside from what was visible, and in The Bridge (De Brug, 1928), which showed a frank admiration of engineering and also featured a number of "characters" but again did not give any information about them. Around this time he was involved in the creation of the Filmliga based in Amsterdam which drew foreign filmmakers to Holland such as Alberto Cavalcanti, René Clair, Sergei Eisenstein, Vsevolod Pudovkin, and Dziga Vertov who also became his friends.

In 1929, Ivens went to the Soviet Union and, to his astonishment, was invited to direct a film on a topic of his own choosing which was the new industrial city of Magnitogorsk. Before commencing work, he returned to the Netherlands to make Industrial Symphony for Philips Electric which is considered to be a film of great technical beauty.^[3] He returned to the Soviet Union to make the film about Magnitogorsk, Song of Heroes in 1931. It was a propaganda film about this new industrial city which was mainly built by forced labourers, who however were portrayed by Ivens as communist volunteers. Ivens later referred to these forced labourers as "weed".

With Henri Storck, Ivens made Misère au Borinage (Borinage, 1933), a moving and militant documentary on life in a coal mining region. In 1943, he also directed two Allied propaganda films for the National Film Board of Canada, including Action Stations, about the Royal Canadian Navy's escorting of convoys in the Battle of the Atlantic.[1]

U.S. and post-World War II career[link]

From 1936 to 1945, Ivens was based in the United States. For Pare Lorentz's U.S. Film Service, in the year 1940, he made a poetic documentary film on rural electrification called Power and the Land. It focused on a family, the Parkinsons, who ran a business providing milk for their community. The film showed the problem in the lack of electricity and the way the problem was fixed. Ivens was, however, known for his anti-fascist and other propaganda films, including The Spanish Earth, for the Spanish loyalists, co-written with Ernest Hemingway and music by Marc Blitzstein and Virgil Thomson. Jean Renoir did the French narration for the film and Hemingway did the English version only after Orson Welles's sounded too theatrical.. This film was financed by Archibald MacLeish, Fredric March, Florence Eldridge, Lillian Hellman, Luise Rainer, Dudley Nichols, Franchot Tone and other Hollywood movie stars, moguls, and writers who composed a group known as the Contemporary Historians. Spanish Earth was shown at the White House on July 8, 1937 after Ivens, Hemingway, Martha Gellhorn, had had dinner with President Franklin D. Roosevelt, Eleanor Roosevelt and Harry Hopkins. The Roosevelts loved the film but said that it needed more propaganda. This 1937 documentary was considered his masterpiece.^[1]

In 1938 he traveled to China. The 400 Million (1939) depicted the history of modern China and the resistance to the Japanese invasion, including dramatic shots of the Battle of Taierzhuang. Robert Capa did camerawork, Sidney Lumet worked on the film as a reader, Hanns Eisler wrote the musical score, and Fredric March provided the narration. It, too, had been financed by the same people as those of Spanish Earth. Its chief fundraiser was Luise Rainer, recipient of the best actress Oscar two years in a row; and the entire group called themselves this time, History Today, Inc . The Guomindang government censored the film, fearing that it would give too much credit to left-wing forces.^[4] Iven was also suspected of being a friend of Mao Zedong and especially Zhou Enlai.^[5]

In 1944, Ivens made Know Your Enemy: Japan for Frank Capra's U.S. War Department film series Why We Fight. The film's commentary was written largely by Carl Foreman. It was never distributed because Emperor Hirohito had been depicted and labeled as a war criminal; and as the film was due for release there had been an American government policy shift to keep the Emperor after the war as a means of maintaining order in post-war Japan. A combination of not being in step with the Truman Administration and owing to the emerging 'red scare' on known or suspected Communists by the US government after Roosevelt's death made Ivens leave the United States. Ivens' politics also put the kibosh on his first feature film project which was to have starred Greta Garbo. In fact, Walter Wanger, the producer, was adamant about "running him {Ivens} out of town {Hollywood}."

In 1946, commissioned to make a Dutch film about Indonesian 'independence', Ivens resigned out of protest of what he considered ongoing imperialism, the Dutch were resisting decolonization, and filmed Indonesia Calling in secret. For around a decade Ivens lived in Eastern Europe, working for several studios there. His position concerning Indonesia and his taking sides for the Eastern Bloc in the Cold War annoyed the Dutch government. Over a period of many years, he was obliged to renew his passport every three or four months. According to later mythology however, he lost his passport for ten years, which is not true - the fact that he would make it back to New York City to sit by the bedside of his old friend Paul Robeson when he was ill would belie that.

From 1965 to 1970 he filmed life in North Vietnam during the war: 17e parallèle: La guerre du peuple (17th Parallel: Vietnam in War) and participated in the collective work Loin du Vietnam (Far from Vietnam). He was awarded the Lenin Peace Prize for the year 1967.

From 1971 to 1977, he shot How Yukong Moved the Mountains, a 763-minute documentary about the Cultural Revolution in China. He was given unprecedented access because of his old personal friendships with Zhou Enlai and Mao Zedong.

Ivens was knighted by the Dutch government in 1989, and died on 28 June that year. Shortly before his death he made the last of more than 40 films Une histoire de vent (A Tale of the Wind).

Notes[link]

1. ^ ^{a b} Flint, Peter (30 June 1989). "Joris Ivens, 90, Dutch Documentary Film Maker". New York Times. http://www.nytimes.com/1989/06/30/obituaries/joris-ivens-90-dutch-documentary-film-maker.html. 
2. ^ Sichel, Kim. Germaine Krull: Photographer of Modernity. Cambridge, Massachusetts: MIT Press, 1999. Pages 41 and 70. ISBN 0-262-19401-5.
3. ^ Erik Barnouw. Documentary. New York: Oxford University Press, 2nd revised edition, 1993. pp.: 133-134
4. ^ European Foundation Joris Ivens. Joris Ivens Filmography. The 400 Million
5. ^ Martha Gellhorn. A Memoir: Travels with Myself and Another. New York: Penguin Putnam, Inc, 1978. p.:52

Further reading[link]

• A. Zalzman, Joris Ivens, Seghers, Paris, 1963.
• Joris Ivens, The Camera and I, International Publishers, New York, 1969.
• Rosalind Delmar, Joris Ivens: 50 Years of Film-Making, Educational Advisory Service, British Film Institute, London, 1979. ISBN 0-85170-092-6
• Carlos Böker, Joris Ivens, Film-Maker: Facing Reality, UMI Research Press, Ann Arbor, Michigan, 1981. ISBN 0-8357-1182-X
• Joris Ivens and China, New World Press, Beijing, 1983. ISBN 0-8351-1088-5
• Kees Bakker (ed.), Joris Ivens and the Documentary Context, paperback edition, Amsterdam University Press, Amsterdam, 2000. ISBN 90-5356-425-X
• Hans Schoots, Living Dangerously: A Biography of Joris Ivens, Amsterdam University Press, Amsterdam, 2000. ISBN 90-5356-433-0
• Virgilio Tosi, Joris Ivens: Cinema e Utopia, Bulzoni, Rome, 2002. ISBN 88-8319-745-3

External links[link]

Wikimedia Commons has media related to: Joris Ivens

• Joris Ivens last film : A tale of Wind
• European Foundation Joris Ivens
• Biographer Hans Schoots on Ivens
• Joris Ivens at the Internet Movie Database
• Sensesofcinema.com biography
• Joris Ivens films on UbuWeb: Rain (Regen) and The Bridge (De Brug)

Hanns Eisler (left) and Bertolt Brecht, his close friend and collaborator, 1950

Hanns Eisler (6 July 1898 – 6 September 1962) was an Austrian/German composer.

Family background[link]

Eisler was born in Leipzig, the son of Marie (née Fischer) and Rudolf Eisler, a professor of philosophy at Leipzig. His father was Jewish and his mother was Lutheran.^[1][2][3] In 1901, the family moved to Vienna.

His brother was the journalist and Communist Gerhart Eisler, who was believed to be a major Comintern agent.^[4] His sister was Ruth Fischer (Elfriede Eisler), a leader of the German Communist Party (KPD) during the 1920s, author of several books, and from 2010, confirmed to have been a CIA spy.^{[5][dead link]}

Early years and Bertolt Brecht[link]

During World War I Hanns Eisler served as a front-line soldier in the Austro-Hungarian army and was wounded several times in combat. Returning to Vienna after Austria's defeat, he studied from 1919 to 1923 under Arnold Schoenberg. Eisler was the first of Schoenberg's disciples to compose in the twelve-tone or serial technique. He married Charlotte Demant in 1920; they separated in 1934.

In 1925 Eisler moved to Berlin—then a hothouse of experimentation in music, theater, film, art and politics. There he became a member of the Communist Party of Germany and became involved with the November Group. In 1928, he taught at the Marxist Worker's School in Berlin and his son Georg Eisler, who would grow up to become an important painter, was born.

His music became increasingly oriented towards political themes and, to Schoenberg's dismay, more "popular" in style with influences drawn from jazz and cabaret. At the same time, he drew close to Bertolt Brecht, whose own turn towards Marxism happened at about the same time. The collaboration between the two artists lasted for the rest of Brecht's life.

In 1929, Eisler composed the song cycle Zeitungsausschnitte, Op. 11. The piece is dedicated to Margot Hinnenberg-Lefebre.^[6] Though not written in the twelve-tone technique, the piece was perhaps the forerunner of a musical art style later known as "News Items" – musical compositions that parodied a newspaper's content and style, or that included lyrics lifted directly from newspapers, leaflets, magazines, and other written media of the day. Eisler's piece parodies a newspaper's layout and content, with songs in the cycle given titles similar to headlines. The piece offers evidence of Eisler's socialist leanings, as its lyrics indicate the struggles of ordinary Germans who, after World War I, encountered hardship.^[7]

Eisler also wrote music for several Brecht plays, including The Decision (1930), The Mother (1932) and Schweik in the Second World War (1957). They also collaborated on protest songs that intervened in the political turmoil of Weimar Germany in the early 1930s. Their Solidarity Song became a popular militant anthem sung in street protests and public meetings throughout Europe, and their Ballad of Paragraph 218 was the world's first song protesting laws against abortion. Brecht-Eisler songs of this period tended to look at life from "below"—from the perspective of prostitutes, hustlers, the unemployed and the working poor. He worked with Brecht and the director Slatan Dudow on the film Kuhle Wampe which was banned by the Nazis in 1933.

In exile[link]

After 1933, Eisler's music and Brecht's poetry were banned by the Nazi Party. Both artists fled, first to Moscow, where The Decision was produced and staged.^[8] Eventually, Eisler and Brecht sought refuge in the United States, along with other exiles fleeing Nazi Germany.

In New York City, Eisler taught composition at the New School and wrote experimental chamber and documentary music. Moving shortly before World War II to Los Angeles, he composed several Hollywood film scores, two of which—Hangmen Also Die! and None but the Lonely Heart—were nominated for Oscars. Also working on Hangmen Also Die! was Bertolt Brecht, who wrote the story along with director Fritz Lang.

In 1947, he wrote the book Composing for the Films with Theodor W. Adorno. In several chamber and choral compositions of this period, Eisler returned to the twelve-tone method he had abandoned in Berlin. His Fourteen Ways of Describing the Rain—composed for Arnold Schoenberg's 70th birthday celebration—is considered a masterpiece of the genre.

Eisler's two most notable works of the 1930s and 1940s were the monumental Deutsche Sinfonie (1935–57)—a choral symphony in eleven movements based on poems by Brecht and Ignazio Silone—and a cycle of art songs published as the Hollywood Songbook (1938–43). With lyrics by Brecht, Eduard Mörike, Friedrich Hölderlin and Goethe, it established Eisler's reputation as one of the 20th century's great composers of German lieder.

The House investigation[link]

Eisler's promising career in the U.S. was interrupted by the Cold War. He was one of the first artists placed on the Hollywood blacklist by the movie studio bosses. In two interrogations by the House Committee on Un-American Activities, the composer was accused of being "the Karl Marx of music" and the chief Soviet agent in Hollywood. Among his accusers was his sister Ruth Fischer, who also testified before the House Committee that her other brother, Gerhart, was a major Communist agent. The Communist press denounced her as a "German Trotskyite." Among the works that Eisler composed for the Communist Party was the "Comintern March", "The Comintern calls you / Raise high Soviet banner / In steeled ranks to battle / Raise sickle and hammer."

His supporters[link]

Eisler's supporters—including his friend Charlie Chaplin and the composers Igor Stravinsky, Aaron Copland^[9] and Leonard Bernstein—organized benefit concerts to raise money for his defense fund, but he was deported early in 1948.

Folksinger Woody Guthrie protested the composer's deportation in his lyrics for "Eisler on the Go"—recorded fifty years later by Billy Bragg and Wilco on the 1998 Mermaid Avenue album. In the song, an introspective Guthrie asked himself what he would do if called to testify before the House Committee on Un-American Activities, "I don't know what I'll do, / I don't know what I'll do / Eisler's on the come and go / and I don't know what I'll do."

On departing from the USA[link]

On 26 March 1948, Eisler and his wife departed from LaGuardia Airport flying to Prague. Before he left he read a statement:

"I leave this country not without bitterness and infuriation. I could well understand it when in 1933 the Hitler bandits put a price on my head and drove me out. They were the evil of the period; I was proud at being driven out. But I feel heart-broken over being driven out of this beautiful country in this ridiculous way."

In East Germany[link]

Eisler's grave in Berlin

Eisler returned to Austria and later moved to Berlin, GDR. Back in Germany, he composed the national anthem of the German Democratic Republic, a cycle of cabaret-style songs to satirical poems by Kurt Tucholsky, and incidental music for theater, films and television, and party celebrations.

His most ambitious project of the period was the opera Johannes Faustus on the Faust theme. The libretto, written by Eisler himself, was published in the fall of 1952.It portrayed Faust as an indecisive person who betrayed the cause of the working class by not joining the German Peasants' War. In May 1953, Eisler's libretto was attacked by a big article in Neues Deutschland, the SED organ.^[10] All of these disapproved of the negative depiction of Faust as a renegade and accused the work of being "a slap in the face of German national feeling" and of having "formalistically deformed one of the greatest works of our German poet Goethe" (Ulbricht). Eisler's opera project was discussed in three of the bi-weekly meetings "Mittwochsgesellschaft" [Wednsday club] of a circle of intellectuals under the auspices of the Berlin Academy of Arts beginning on May 13, 1953. The last of these meetings took place on Wednesday, June 10, 1952.^[11] A week after that, the workers rebellion of June 17, 1953 pushed those debates from the agenda.

Eisler fell into a deep depression and did not write the music for the opera.

In his last work "Ernste Gesänge" (Serious Songs) written between spring 1961 and August 1962, Eisler worked on his depression, taking up the 20th Congress of the Communist Party of the Soviet Union with its demise of the Stalin cult, as a sign of hope for a future enabling to "live without fear".

Although he continued to work as a composer and to teach at the East Berlin conservatory, the gap between Eisler and the cultural functionaries of East Germany grew wider in the last decade of his life. During this period, he befriended musician Wolf Biermann^[specify], whose critical attitude towards the GDR government later led him to be stripped of the GDR citizenship while he was on a concert tour in West Germany.

Eisler collaborated with Brecht until the latter's death in 1956. He never recovered completely from his friend's demise and his remaining years were marred by depression and declining health. He died of a heart attack (his second)^[12] in East Berlin and is buried near Brecht in the Dorotheenstadt cemetery.

Compositions[link]

• 1918: Gesang des Abgeschiedenen ("Die Mausefalle" (after Christian Morgenstern); "Wenn es nur einmal so ganz still wäre" (after Rainer Maria Rilke)
• 1919: Drei Lieder (Li-Tai-Po, Klabund); "Sehr leises Gehn im lauen Wind"; "Spartakus"
• 1922: Allegro moderato and Waltzes; Allegretto and Andante for Piano
• 1923: Divertimento; Four Piano Pieces
• 1925: Eight Piano Pieces
• 1926: Tagebuch des Hanns Eisler (Diary of Hanns Eisler); 11 Zeitungsausschnitte; Ten Lieder; Three Songs for Men's Chorus (after Heinrich Heine)
• 1928: "Drum sag der SPD ade"; "Lied der roten Matrosen" ("Song of the Red Sailors", with Erich Weinert); Pantomime (with Béla Balázs); "Kumpellied"; "Red Sailors' Song"; "Couplet vom Zeitfreiwilligen"; "Newspaper's Son"; "Auch ein Schumacher (verschiedene Dichter)"; "Was möchst du nicht" (from Des Knaben Wunderhorn); "Wir sind das rote Sprachrohr"
• 1929: Tempo der Zeit (Tempo of Time) for chorus and small orchestra, Op. 16; Six Lieder (after Weinert, Weber, Jahnke and Vallentin); "Lied der Werktätigen" ("Song of the Working People"; with Stephan Hermlin)
• 1930: "Die Maßnahme" ("The Measure", Lehrstück, text of Bertolt Brecht), Op. 20; Six Ballads (after Weber, Brecht, and Walter Mehring); Four Ballads (after B. Traven, Kurt Tucholsky, Wiesner-Gmeyner, and Arendt); Suite No. 1, Op. 23
• 1931: "Lied der roten Flieger" (after Kirsanow); Four Songs (after Frank, Weinert) from the film Niemandsland'; Three Songs from the film Kuhle Wampe (texts of Brecht); "Ballad of the Pirates", "Song of Mariken", Four Ballads (with Bertolt Brecht); Suite No. 2, Op. 24 ("Niemandsland"); Three Songs after Erich Weinert; "Das Lied vom vierten Mann" ("The Song of the Fourth Man"); "Streiklied" ("Strike Song"); Suite No. 3, Op. 26 ("Kuhle Wampe")
• 1932: "Ballad of the Women and the Soldiers" (with Brecht); "Song from the Urals" (after Tretyakov); Seven Piano Pieces; Kleine Sinfonie (Little Symphony); Suite No. 4, Op. 30 ("Die Jugend hat das Wort")
• 1934: "Einheitsfrontlied" ("United Front Song"); "Saarlied" ("Saar Song"), "Lied gegen den Krieg" ("Song Against War"), "Ballade von der Judenhure Marie Sanders" ("Ballad of the Jews' Whore Marie Sanders"), Songs from Die Rundköpfe und die Spitzköpfe; "Sklave, wer wird dich befreien" ("Slave, who will liberate you"; with Brecht); "California Ballad"; Six Pieces; Prelude and Fugue on B–A–C–H (string trio)
• 1935: "Die Mutter" ("The Mothers", with Brecht; cantata)
• 1935: Lenin Requiem for solo voices, chorus and orchestra
• 1937: "Friedenssong" ("Peace Song", after Petere); "Kammerkantaten" ("Chamber Cantatas"); Ulm 1592; "Bettellied "("Begging Song", with Brecht); "Lenin Requiem" (with Brecht)
• 1938: Cantata on Herr Meyers' First Birthday; String Quartet; Theme and Variations "Der lange Marsch"
• 1939: Nonet No. 1
• 1940: Chamber Symphony; Suite for Septet No. 1
• 1940/41: Film Music to The Forgotten Village
• 1940/41: Nonet No. 2
• 1941: Woodburry-Liederbüchlein (Woodbury Songbook, 20 Songs); "14 Arten" (for the 70th birthday of Arnold Schoenberg)
• 1942: "Hollywood-Elegien" ("Hollywood Elegies"; with Brecht) in the Hollywooder Liederbuch (Hollywood Songbook)
• 1943: Film music for Hangmen Also Die!; Piano Sonata No. 3
• 1943: Songs to "Schweik in the Second World War"; "Deutsche Misere" (with Brecht)
• 1946: "Glückliche Fahrt" ("Prosperous Voyage", after Goethe); Incidental music to The Life of Galileo
• 1946: Film score for A Scandal in Paris
• 1947: Septet No. 2
• 1947: music for The Woman on the Beach, film directed by Jean Renoir
• 1948: "Lied über die Gerechtigkeit" ("Song of Justice", after W. Fischer)
• 1949: Rhapsody; "Lied über den Frieden" ("Song about Peace"); National Anthem of the DDR (text by Becher); "Treffass"
• 1950: "Mitte des Jahrhunderts" (after Becher); Four Lieder on Die Tage der Commune; Children's Songs (with Brecht)
• 1952: "Das Lied vom Glück" ("The Song of Happiness"; after Brecht); "Das Vorbild" (after Goethe)
• 1955: Night and Fog (film), Songs for the film Herr Puntila und sein Knecht Matti; "Im Blumengarten" ("In the flower garden"); "Die haltbare Graugans"; Three Lieder after Brecht; "Bel Ami"
• 1956: Vier Szenen auf dem Lande ("Four Scenes from the Country", after Erwin Strittmatter); Children's Songs (after Brecht); "Fidelio" (after Beethoven)
• 1957: Deutsche Sinfonie (after texts of Bertolt Brecht and Ignazio Silone); Bilder aus der Kriegsfibel; "Die Teppichweber von Kujan-Bulak" ("The Carpetweavers of Kujan-Bulak", with Brecht); "Lied der Tankisten" (text by Weinert); "Regimenter gehn"; "Marsch der Zeit" ("March of Time", after Mayakovsky); Three Lieder (after Mayakovsky and Peter Hacks); "Sputnik-Lied" ("Sputnik Song", text of Kuba)
• 1958: "Am 1. Mai" ("To May Day", with Brecht)
• 1962: "Ernste Gesänge" ("Serious Songs"), seven Lieder after Friedrich Hölderlin, Viertel, Giacomo Leopardi, Richter, and Stephan Hermlin

References[link]

External links[link]

Wikimedia Commons has media related to: Hanns Eisler

• The International Hanns Eisler Society
• EislerMusic.com
• Orel Foundation Hanns Eisler – biography, bibliography, works and discography.
• Hanns Eisler Project
• Georg Eisler Gallery
• Eisler FBI File

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)

Luttenberger*Klug
Background information
Origin	Styria, Austria
Genres	Pop-rock, schlager
Years active	2005–present
Website	Official Site
Members
Chrissi Klug (Vocals, Guitar), Michelle Luttenberger (Vocals, Keyboard)

Luttenberger*Klug is a pop duo from Styria, Austria and consist of Michelle Luttenberger (Born 12.7.1990, Feldbach) and Chrissi Klug (Born 5.2.1989, Deutschlandsberg).

Their music style fits in well into the Austropop-movement, lying somewhere between pop and rock. The band is produced by Alexander Kahr who also produced another famous Austrian singer, Christina Stürmer.

Biography[link]

In 2005, Chrissi and Michelle met at a concert of Chrissi's band, a short time later they decided to establish their own group^[1] and became famous in Germany by TV stations. In Austria they got very famous with the song Super Sommer (2005). Initially not very successful, however it became a hit when it was re-released in Austria and Germany one year later. The following single was "Vergiss Mich" (English: Forget me) which entered the Austrian Top 40 and the German Top 100.

The first album, "Mach Dich Bereit" was released on 23.2.2007 and hit the Austrian charts for 25 weeks. Their biggest concert to date was attended live at Brandenburg gate in Berlin and broadcasted by RTL Television. On the Austrian Amadeus Awards of 2007, they won under the category "single of the year"^[2] with the song "Vergiss Mich".

The second album "Mädchen im Regen" (Girl in the rain) ( English lyrics ) was released on 21.11.2008.

Their single "Fliegen" was released as a summer hit on 19.6.2009. The music video for the song was taken on a building rooftop in Berlin, right above the Alexanderplatz.

The single "Zeig mir den Weg" was released on October 29 for the animated series "Chi Rho". Their single "Immer wenn du schläfst" from their new album "Unsere Zeit" was released on 19.11.2010. The album "Unsere Zeit" will be released in 2011.^{[dated info]}

Discography[link]

Singles and albums by Luttenberger*klug with charts positions.^[3]

Singles[link]

Albums[link]

Gallery[link]

• 

  Luttenberger*Klug at Donauinselfest 2007

• 

  Michelle Luttenberger

• 

  Chrissi Klug

References[link]

Wikimedia Commons has media related to: Luttenberger*Klug

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Rob de Nijs (born December 26, 1942, Amsterdam) is a Dutch singer and actor, active since the 1960s.

Biography[link]

1962-68[link]

De Nijs, backed by The Lords, released his first single in 1962, Ritme van de Regen. In 1966 he embarked on a joint circus-tour with Johnny Lion. Meanwhile, The Lords signed their own record-deal at another label forcing them to split from De Nijs.

1969-72[link]

Now a free agent, De Nijs performed at small venues and worked as a bartender for a living. His attempts to keep up with the zeitgeist failed; he only made the headlines by marrying his girlfriend Elly in 1968^[1] and landing into hospital through a carcrash of his own fault.^{[citation needed]}

In 1969 De Nijs took part in the Dutch heat of the Eurovision Song Contest and through the Sajensfiksjen-musical he landed himself a role in children's TV-series Oebele. This was followed in 1972 by Hamelen in which he played Bertram Bierenbroodspot.

1973-79[link]

Singer Boudewijn de Groot and songwriter Lennaert Nijgh helped De Nijs relaunching his singing-career; in 1973 he was back in the charts with Jan Klaassen de Trompetter.

The hits continued through 1975-1976, notably Malle Babbe and Zet een Kaars voor Je Raam (a Dutch translation by Lennaert Nijgh of Can I Get There by Candlelight? by David McWilliams). In 1977 De Nijs released Tussen Zomer en Winter, a concept-album chronicling the change from a hot summer's day to a cold winter's night and featuring a translation of Lou Reed's Perfect Day.

1980s[link]

In 1980 De Nijs met Belinda Meuldijk who gave up her own singing-career (after releasing a one-off single the previous year) to become his chief-songwriter and his second wife (they married in 1984). The first efforts of their collaboration were collected on the albums Met Je Ogen Dicht (Eyes Wide Shut; including the top 10-hit Zondag, which is still a crowd-pleaser) and De Regen Voorbij (Past The Rain; a reference to his artistic growth) from respectively 1980 and 1981.

De Nijs had entered a decade in which he recorded English-language versions of his songs; Zonder Jou became On My Own (released in 1990 as a B-side to the English original Girls For Sale) and the 1985 Christmas #2-hit Alles Wat Ademt became Let Love Be The Answer (also recorded by US-exile singer Joe Bourne for his Bourne in Holland-album of translated covers). In 1986 De Nijs saw a dream-wish come true by releasing an album of covers from the 1950s/1960s-era; it included his version of Living Doll shortly after the Comic Relief-remake topped the charts.

In 1987 he celebrated his silver jubilee; he re-recorded Ritme van de Regen for a Best Of-album and made a guest-appearance in television-series De Band as himself, suggesting an onstage-jam with his chosen support-act.

In 1989 De Nijs released De Reiziger (Travelling Man) which included the bilingual single Ik Hou Alleen Van Jou; follow-up single Toerist in het Paradijs was also recorded in English. At the end of the year he resurrected his Bertram Bierenbroodspot-outfit for a reunion with the leading-actors of Hamelen.

References[link]

External links[link]

• • Official Site