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operetta. Later Brecht proposed the project to Eisler, who visited 
Brecht in Svendborg on the Danish island Fyn and finished a first 
version of the incidental music in 1934. In that year Eisler's friend Erwin

Ratz produced piano reductions of Eisler's songs that were later 
published in Lieder und Kantaten (since 1956). In 1936 Borge Roger- 
Henrichsen arranged Eisler's music for voice/choir and two pianos. 
This version was used at the Danish premiere in Copenhagen, 
although  Eisler could  not attend  any  of the rehearsals or 
performances. The music was finally done justice during the 1962 
staging in Hannover.  Eisler adapted the score of his music to 
correspond to Brecht's final printed version, as it appeared in 1938 in 
Malik-Verlag, and he sent four heavy packages of music to the editors 
at Suhrkamp. In a reduced version, due to the small stage at the 
Studio of the Humboldtbühne, these were used for the performance 
in Hannover in October 1962. Eisler could not witness it, as he had 
died in Berlin on 6 September. He never got to hear his music for Die 
Rundköopfe und die Spitzköpfe performed in the context of the play

during his lifetime. 
This musically most complete version of 1962 is the one chosen by 
the editors as the basis for their published score, which consists of 
sixteen different song numbers. The appendix then contains the 
overture, which in itself presented complex editorial challenges, for it

is not clear whether this overture was used either in the 1934 or the 
1962 version of the play. Eisler had originally written this instrumental

music for Paul Schurek's play Kamrad Kasper, which included three 
songs by Brecht. At one point Eisler had envisioned his Kamrad Kasper 
overture as an introduction to Die Rundköpfe und die Spitzköpfe
as 
weil, but we do not know if this plan ever materialized. The appendix 
is therefore a proper place for the overture, and a few pages of 
facsimile copies of Eisler's handwritten scores follow it. They provide 
the reader with a beautiful image of Eisler's compositional process 
and some insights into the editorial work that went into this volume. 
Especially since there is not always a clear correlation between 
Eisler's musical score of 1962 and Brecht's printed text version of 1938,

the editors were faced with difficult editorial decisions. They decided 
to print the 1934 version and the 1936 adaptation by Borge Roger- 
Henrichsen in a different volume of this complete works edition, 
volume V/3A, which is yet to appear. As for the 1962 version, volume 
V/3, the editors added a sizeable citical report in an independent 
book that explains the wealth of material they were examining. 
This Kritischer Bericht guides the interested reader "back stage"
to 
the manifold resources that led to the final printing of the score. A first

section lists all 39 musical and five textual sources that the editors 
consulted and then proceeds to describe the musical sources in great 
detail. In the main source, entitled "AG" by the editors, the Kritischer

Bericht also notes the entries by Manfred Grabs, who had begun to 
edit Die Rundköpfe und die Spitzköpfe in 1984. It lists in red
ink all of 
Grabs's markings that differ from the score the editors ultimately 
 
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