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Ernst Heinrich Krenek (23 August 1900 – 22 December 1991) was an Austrian, later American, composer. He explored atonality and other modern styles and wrote a number of books, including Music Here and Now (1939), a study of Johannes Ockeghem (1953), and Horizons Circled: Reflections on my Music (1974). Krenek wrote two pieces using the pseudonym Thornton Winsloe.
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Ernst Heinrich Krenek (23 August 1900 – 22 December 1991) was an Austrian, later American, composer. He explored atonality and other modern styles and wrote a number of books, including Music Here and Now (1939), a study of Johannes Ockeghem (1953), and Horizons Circled: Reflections on my Music (1974). Krenek wrote two pieces using the pseudonym Thornton Winsloe.
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Life Born Ernst Heinrich Křenek in Vienna (then in Austria-Hungary), he was the son of a Czech soldier in the Austro-Hungarian army. He studied there and in Berlin with Franz Schreker before working in a number of German opera houses as conductor. During World War I, Krenek was drafted into the Austrian army, but he was stationed in Vienna, allowing him to go on with his musical studies. In 1922 he met Alma Mahler, widow of Gustav Mahler, and her daughter, Anna, to whom he dedicated his Symphony No. 2, and whom he married in January 1924. That marriage ended in divorce before its first anniversary. At the time of his marriage to Anna Mahler, Krenek was completing his Violin Concerto No. 1, Op. 29. The Australian violinist Alma Moodie assisted Krenek, not with the scoring of the violin part, but with obtaining financial assistance from her Swiss patron Werner Reinhart at a time when there was hyper-inflation in Germany. In gratitude, Krenek dedicated the concerto to Moodie, and she premiered it on January 5, 1925, in Dessau. Krenek's divorce from Anna Mahler became final a few days after the premiere. Krenek did not attend the premiere, but he did…
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Completions of other composers' unfinished works After meeting Krenek in 1922, Alma Mahler asked him to complete her late husband's Symphony No. 10. Krenek assisted in editing the first and third movements but went no further. More fruitful was Krenek's response to an approximately contemporary request from his pianist and composer friend Eduard Erdmann, who wished to add Schubert's Reliquie piano sonata to his repertoire, for completions of that work's fragmentary third and fourth movements. Krenek's completion, dated to 1921 in some sources but to 1922 in his own memory, later found other champions in Webster Aitken in the concert hall and Ray Lev; Friedrich Wührer; and, more recently, Stanislav Khristenko on records. In his notes to the Lev recording, dated July 1947, Krenek offered insights into the challenges of completing another composer's works in general and the Schubert sonata in particular. Completing the unfinished work of a great master is a very delicate task. In my opinion it can honestly be undertaken only if the original fragment contains all of the main ideas of the unfinished work. In such a case a respectful craftsman may attempt, after an absorbing study of the master's style, to elaborate on those ideas…
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Musical style Krenek's music encompassed a variety of styles and reflects many of the principal musical influences of the 20th century. His early work is in a late-Romantic idiom, showing the influence of his teacher Franz Schreker, but around 1920 he turned to atonality, under the influence of Ernst Kurth's textbook, Grundlagen des linearen Kontrapunkts, and the tenets of Busoni, Schnabel, Erdmann, and Scherchen, amongst others. A visit to Paris, during which he became familiar with the work of Igor Stravinsky (Pulcinella was especially influential) and Les Six, led him to adopt a neo-classical style around 1924. Shortly afterward, he turned to neoromanticism and incorporated jazz influences into his opera Jonny spielt auf (Jonny Strikes Up, 1926) and one-act opera Schwergewicht (1928). Other neoromantic works of this period were modeled on music of Franz Schubert, a prime example being Reisebuch aus den österreichischen Alpen (1929). Krenek abandoned the neoromantic style in the late 1920s to embrace Arnold Schoenberg's twelve-tone technique, the method exclusively employed in Krenek's opera Karl V (1931–33) and most of his later pieces. His most uncompromising use of the twelve-tone technique was in his Sixth String Quartet (1936) and his Piano Variations (1937). In the Lamentatio Jeremiae…
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Decorations and awards 1951: Order of Merit of the Federal Republic of Germany 1955: City of Vienna Prize for Music 1960: Grand Decoration of Honour in Silver (Grosses Silbernes Ehrenzeichen) 1960: Gold Medal of the City of Vienna 1963: Grand Austrian State Prize for Music 1965: Commander's Cross of the Order of Merit of the Federal Republic of Germany (Großes Verdienstkreuz der Bundesrepublik Deutschland) 1966: Bach Prize of the Free and Hanseatic City of Hamburg
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1970: Honorary Ring of the Vienna 1975: Austrian Decoration for Science and Art
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1978: Goethe Medal of Hesse 1980: Honorary Citizen of the City of Vienna 1984: Honorary Citizen of the City of New Orleans
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1990: Grand Decoration of Salzburg On Krenek's 85th birthday, the City of Vienna donated the Ernst Krenek Prize.
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Sources Bischof, Günter, and Anton Pelinka (eds.) (2003). The Americanization/Westernization of Austria. New Brunswick, New Jersey: Transaction Publishers. ISBN 0-7658-0803-X Bowles, Garrett H (2001). "Krenek, Ernst". In Stanley Sadie; John Tyrrell (eds.). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan. Krenek, Ernst (1943). "New Developments of the Twelve-Tone Technique". The Music Review 4, no. 2 (May): 81–97. Krenek, Ernst (1964). "A Composer's Influences". Perspectives of New Music 3, no. 1 (Autumn–Winter): 36–41. Lev, Ray (1947). Album notes for Franz Schubert – Piano Sonata No. 15 in C major (Unfinished); Allegretto in C minor. Ray Lev, piano (78 rpm). [n.p.]: Concert Hall Society, Release B3. Maurer Zenck, Claudia; Fetthauer, Sophie (2006). "Ernst Krenek". In Claudia Maurer Zenck; Peter Petersen (eds.). Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit (in German). Hamburg: University of Hamburg. Ogdon, Will, and Ernst Krenek. 1972. "Conversation with Ernst Krenek". Perspectives of New Music 10, no. 2 (Spring-Summer): 102–110. Purkis, Charlotte (1992a). "Karl V". In Stanley Sadie (ed.). The New Grove Dictionary of Opera. London: Macmillan. ISBN 0-333-73432-7. Schmidt, Matthias. "Ernst Krenek". 2001. Oesterreichisches Musiklexikon online. (in German) Wührer, Friedrich (c. 1955). Franz Schubert Piano Sonatas vol. 3) (LP album notes). Vox VBX 11.
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Art of the States: Ernst Krenek Ernst-Krenek-Institut site contains an English-language discography, worklist, and details of each work, so only some works and information have been given above Krenek page at Lexikon verfolgter Musiker und Musikerinnen der NS-Zeit Interview with Ernst Krenek, January 18, 1986 Ernst Krenek Letters to Mildred Kayden MSS 713. NAMM Oral History Interview with Gladys Krenek March 25, 2010 Special Collections & Archives, UC San Diego Library
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Ernst Krenek's Buchla synthesizer, GreatSynthesizers.com Interview with Ernst Krenek in 1976 at California State University, Northridge (by Norman Tanis)