Analysis of information sources in references of the Wikipedia article "Der heimliche Aufmarsch gegen die Sowjetunion" in Portuguese language version.
From 1929 to 1933 the Soviet Union represented for many the country of progress, and as such had to be protected as the nucleus, as the great hope, of a new society. On this premise Eisler and Vladmir Vogel set Erich Weinert's poem Der heimliche Aufmarsch gegen die Sowjetunion [The undercover march against the Soviet Union] in the autumn of 1930. Eisler's version is distinctly transparent throughout and, without being too simple, takes into consideration the capabilities of the amateur musician. The verses are underlaid by an urgent 6/8 meter that depicts the "undercover" preparation for war against the Soviet Union. With the latent two-beat feel of the driving eight-note motion, a direct relation is established to the 2/4 march rhythm of the refrain. Just as counter-revolution - "Mobilmachung gegen die Sowjetunion" [Mobilization against the Soviet Union] - and revolution - "Arbeiter, Bauern, nehmt die Gewehre" [Workers, peasants, arm yourselves] - are, as in Weinert's pattern of lyrics, set in relation to one another, so the war-mongering of the imperialist states and their rulers are in the same manner subversively undermined. Vogel's Heimlicher Aufsmarsch is formally constructed in a similar way, that is, with an interchange of rhythmically spoken verse and sung refrain, as was often the practice of agitprop troupes. By contrast with Eisler, the regular contrast of verse and refrain breaks up the increasingly transparent arrengement of the opening verse with fresh settings of the source material or by enriching it with variations related to the lyrics. This direct relation of lyrics to music is characteristic of Vogel's composition. "Arbeiter, Bauern, nehmt die Gewehre zur Hand! Zerstampft die faschistischen Räuberheere! Setzt alle Länder in Brand!" [Workers, peasants, arm yourselves! Stamp out the fascist armies of robbers! Set all regions on fire!] Everyone who has dealt with Kampfmusik, that is music for activating and educating the masses for revolutionary struggle, will recognize the martial vocabulary and the uncouth artlessness of the lyrics. They may also be amazed and even disgusted by the open appeal for civil war. That opposition to the ruling power must be through force rather than with talk and good words, and that the path to a humane classless society must be lined with corpses possibly forms the basic contradiction of this (as every other) revolutionary movement.
