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“CONFIDONTIAL musician. “Yes" I answered, “he is a virtuoso since he has been capeble of destroying the high German musical culture in such a slow time.” Striking changes have also taken place in Germany in the realm of music theory. Prior to the Pascist coup dtetat leading musical theorists attempted to adopt the materialistic method to the compositions. This told of the gravitetion and sympathy towarde the new ideology vhich became the fowmdation in the reorganization of one-sixth of the globe. But "base materialien” under Hitler vas replaced by the most primitive idealism which lead the once progressive German musical science to oblivion, I am still looking into the future optimistically, since I believe in the inexhaustible power of the organized masses, The dark epoch of Fascism _ makes it apparent to every honest artist that the only possible road to creative power is close cooperation with the working masses. Only in the revolutionary struggle can the artist attain his personality. In Fascist Germany revolutionary musicians are almost completely deprived of the opportunity to work. But the revolutionary musical movement ie expanding and gathering strength. More and more frequently outstanding English, French, American and Czechoslovakian artists join the revolutionary front. There are many examples. A well known Czech composer, master in "querter-tone” music, ia writing an opera on the libretto from Theodor Glador‘s work. The old French professor, Coquelin, master of counterpoint wrote a remarkeble composition -- the song "Liberate Tellman,” The English composer Alan Bush is collaborating vith the Worker's Musical Movement. All these facts, which even three years ago could not have been preaupposed, prove there is only one road in art for the true artist -- that is the road to revolution. The time ig nesring when not a single great master will be left on the other side of the barricade. Revolutionary music is more powerful today than at any cther tine. Its political and creative significance increases from day to day. HANS EISLER Trenslated from the Ewsian Newspaper "SOQOVETSKOE ISKUSTVO," Moscow July 29, 1955. O. L. McMahon 'CONFOSENTIAL,