Krenek, Ernst [ Ernst Křenek] (
b Vienna, 1900;
d Palm Springs, Calif., 1991). Austrian-born composer (Amer. cit. 1945). His chamber mus., neo-classical in style, was played at Donaueschingen and Nuremberg, and his
Die Zwingburg, to a text by Franz Werfel, was prod. in Berlin, 1924, under Kleibecategr. In 1925–7 he was ass. to Paul Bekker as gen. man. of opera at Kassel and Wiesbaden. In 1926 he completed his opera
Jonny spielt auf (Johnny strikes up), using jazz idiom. After rejection by several Ger. opera houses, it was staged in Leipzig in 1927 and was a sensational success, being perf. in over 100 cities and trans. into 20 languages. It made Krenek's name and fortune. He returned to Vienna in 1928 and made extensive study of 12-note technique, later writing for
Frankfurter Zeitung 1930–3. During this time he wrote an elaborate opera,
Karl V, using the 12-note method. (Its scheduled prod. in Vienna was cancelled when the Nazis occupied Austria and he was categorized as a composer of ‘degenerate music’. It was perf. in Prague, 1938.) In some later works he employed a free atonal technique and also applied a ‘principle of rotation’, in which serial variants are formed through the systematic exchange of the pitches of a given series with their adjacent pitches. He also used elec. procedures and later returned to a more lyrical style. He emigrated to USA in 1938, becoming prof. of mus. at Vassar Coll. 1939–42 and at Hamline Univ., St Paul, 1942–7. In 1948 he settled near Los Angeles, devoting his time to comp., lecture-tours, etc. After 1945 he preferred his name to be spelt simply as Krenek. Prin. works:OPERAS:
Die Zwingburg, Op.14 (lib. by Werfel) (1922);
Der Sprung über den Schatten, Op.17 (1923);
Orpheus und Eurydike, Op.21 (lib. by Kokoschka) (1923);
Bluff, Op.36 (1924–5);
Jonny spielt auf, Op.45 (1925–6);
Der Diktator, Op.49 (1926);
Das geheime Königreich, Op.50 (1926–7);
Schwergewicht (1926–7);
Leben des Orest, Op.60 (1928–9);
Kehraus um St Stephan, Op.66 (1930);
Karl V, Op.73 (1930–3);
Cefalo e Procri, Op.77 (1933–4);
Tarquin, Op.90 (1940);
What Price Confidence?, Op.111 (1945–6);
Dark Waters (1950);
Pallas Athene weint (1952–5);
The Bell Tower (1955–6);
Ausgerechnet und verspielt (1961);
Der goldene Bock, Op.186 (1963);
Der Zauberspiegel (1966);
Sardakai (1967–9).BALLETS:
Der vertauschte Cupido, after Rameau (1925);
8-Column Line, Op.85 (1939);
Jest of Cards (1957).ORCH.: syms.: No.1, Op.7 (1921), No.2, Op.12 (1922), No.3, Op.16 (1922), No.4, Op.34, wind, perc. (1925), No.5 (1949), sym. (unnumbered, 1947),
Little Symphony, Op.58 (1928), Sym.
Pallas Athene (1954), Symphonic mus., 9 instr., Op.11 (1922); pf. concs.: No.1, Op.18 (1923), No.2, Op.75 (1937), No.3 (1946), No.4 (1950); 2-pf. conc. (1951);
Concerto grosso No.1, Op.10, (1921), No.2, Op.25 (1924); vn. concs.: No.1, Op.29 (1924), No.2 (1954); 7
Pieces, Op.31 (1924);
Potpourri, Op.54 (1927);
Symphonic Piece, str., Op.86 (1939);
Little Concerto, pf., org., chamber orch., Op.88 (1940);
I Wonder as I Wander, variations on N. Car. folksong, Op.94 (1942);
Symphonic Elegy, str. (on death of Webern) (1946);
Brazilian Sinfonietta, str. (1952);
Kette, Kreis und Spiegel (1956–7);
Quaestio temporis (1958–9);
Marginal Sounds (1960); conc., vn., pf., small orch. (1950); vc. conc. No.1 (1953), No.2 (1982);
Capriccio, vc., small orch. (1955); hp. conc. (1951);
Horizon Circled (1968);
Dream Sequence, concert band (1975); conc., org., str. (1979);
Im Tal der Zeit, sym. sketch (1979); org. conc. (1982).CHAMBER MUSIC: str. qts.: No.1, Op.6 (1921), No.2, Op.8 (1921), No.3, Op.20 (1923), No.4, Op.24 (1923–4), No.5, Op.65 (1930), No.6, Op.78 (1937), No.7, Op.96 (1943–4), No.8 (1952); vn. sonata (1919);
Suite, Op.28, cl., pf. (1924); Suite, solo vc., Op.84 (1939); org. sonata, Op.92, No.1 (1941); fl. and va. sonatina, Op.92, No.2 (1942); sonata, solo va., Op.92, No.3 (1944);
Pentagram, wind quintet (1957); str. trio No.1 (1948), No.2 (1987); wind quintet (1951); solo vn. sonata (1948); va. sonata (1948); ob. sonatina; guitar suite; fl. piece in 9 phases (1959).CHORAL:
The Seasons (Hölderlin), Op.35 (1925);
Symeon der Stylit (1935–87);
Lamentatio Jeremiae Prophetae, Op.93 (1941);
The Santa Fe Time Table (1945);
In Paradisum (1945); 6
Motets (Kafka) (1959);
Canon ‘Igori’ (for Stravinsky's 80th birthday, 1962);
German Proper of the Mass for Trinity Sunday (1966–7);
Opus sine nomine, oratorio (1989).SONGS: 9
Songs (1921–3);
Reisebuch aus den österreichischen Alpen (Diary from the Austrian Alps), Op.62, 20 songs to own words (1929);
Die Nachtigall, Op.68 (1931); 5
Songs (Kafka) Op.82 (1938);
Ballad of the Railroads (1944);
Sestina, sop., 10 players (1957);
Wechselrahmen (Change of Frames), 6
songs, sop., pf. (1968).PIANO: sonatas: No.1, Op.2 (1919), No.2, Op.59 (1928), No.3, Op.92 No.4 (1943), No.4 (1948), No.5 (1950), No.6 (1951); 2 Suites, Op.26 (1924); 5 Pieces, Op.39 (1928); completion of Schubert's C major sonata (1921);
Echoes from Austria (1958); 8 Pieces (1946);
George Washington Variations (1950); 6
Vermessene (1958).ELECTRONIC:
Spiritus intelligentiae Sanctus, oratorio, vv. and sounds (1956);
San Fernando Sequence (1963);
Quintina, sop., tape, chamber ens. (1965).MISCELLANEOUS: Edn. and orch. of Monteverdi's
L'incoronazione di Poppea (Vienna 1937); perf. version of 1st and 3rd movts. of Mahler's 10th sym. (with Berg and F. Schalk) (Vienna 1924).
