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98 TEMPO TRADITIONS OF THE CLASSICAL GUITAR by MUSICA Graham Wade. John Calder, £I2-JO. March-April 1980 Ernst Krenek 80th Birthday issue. Claudia BENJAMIN BRITTEN: Pictures from a life 1913- Maurer Zenk, Ernst Krenek—Wandiungen der 1976 compiled by Donald Mitchell and John neuen Musik, pp.n8-i2j. Wolfgang Rihm, Evans. Faber (paperback edition), £4"9J. Bruchstiicke zu: Wandiungen neuer Musik, p. 126. Walter Gieseler, 'Was an der Zeit ist . .', A YOUNG PERSON'S GUIDE TO THE OPERA by pp.127-131. Wolfgang Molkow, Der Sprung Helen Erickson. Macdonald & Jane's, £4*9^ iiber den Schatten, pp. 13 2-13j. John L. Stewart, Frauen in den Opern Ernst Kreneks, A YOUNG PERSON'S GUIDE TO THE BALLET pp.136-138. Gottfried Eberle, Klangkomplex, by Craig Dodd. Macdonald & Jane's, £4-95. Trope, Reihe, pp. 139-147. SOLFEGE, EAR TRAINING, RHYTHM, DIC- MUSICAL QUARTERLY TATION, AND MUSIC THEORY: a Comprehen- Vol.LXVI, No.2 April 1980 sive Course by Marta Arkossy Ghezzo. Uni- Stuart Feder, 'Decoration Day': a Boyhood versity of Alabama Press, £13-0$ Memory of Charles lves, pp. 234-261. Jack Gottlieb, Symbols of Faith in the Music of JOHN TAVERNER: Tudor Composer by David Leonard Bernstein, pp.287-29$. Josephson. University Microfilms Inter- nationa] (Bowker Publishing Company). PERSPECTIVES OF NEW MUSIC Spring - Summer 1979 ZUBIN MEHTA by Martin Bookspan and Ross Claudio Spies, Verscheiden (A Lament for Sey- Yockey. Robert Hale, £7-95 mour Shifrin), pp. 2-9 (composition). Milton Babbitt, Ben Weber (1919-1979), pp.11-13. THE CROSBY YEARS by Ken Barnes. Elm Michela Mollia, 'From Silence towards a New Tree Books. £9*95 Sonorous World': Franco Evangelisti, 1926-1980, pp. 14-1 r. Stefan Wolpe, Thoughts on Pitch, ORGAN TECHNIQUE: a basic course of study by pp.2 8-jj. Michael Eckert. Text and Form in Oswald G. Ragatz. Indiana University Press, Dallapiccola's 'Goethe- Lieder', pp.98-112. no U.K. price quoted George Perle, The Cerha Edition, pp.2ji =259. SCHWE1ZER1SCHE MUSIKZE1TUNG No.2, March-April 1980 Friedrich Spangemacher, Hiroshima in der Musik, pp.78-88. Herbert Henck, Zur Berech- nung und Darstellung irrationaler Zeitwerte (//), Periodicals pp.89-97 DAS ORCHESTER No.3, Mat-June 1980 7/8 1980 Erich Alban Berg, Bergiana, pp. 147-155. Siegfried Borris, Orchestermusik mit Jazz-Sound. PP.584-J88 KEY NOTES No.11 (1980/1) Rudy Koopmans Hoketus—Unequivocal Music with Pronounced Contrasts, pp. 2-7. Max Pam, Leo Cuypers, Lone Wolf of the Improvised Music Scene, pp.8-13. Kasper Jansen, Bruno Maderna and Dutch Concert Life, pp.30-36. MENS EN MELODIE No. c, May 1980 Ernst Vermeulen, In Memoriam Rudolf Escher, pp. 217-2 19. Eveline Nikkels, Vrouwelijke Componisten V—Portret van Marjo Tal, pp.247- 249. Ernst Vermeulen, Nikos Skalkottas, pp. 2JO-2J3. Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.139, on 29 Sep 2021 at 18:15:44, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200031326.

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Tocc0298notes.Pdf
ERNST KRENEK AT THE PIANO: AN INTRODUCTION by Peter Tregear Ernst Krenek was born on 23 August 1900 in Vienna, the capital of the Austro-Hungarian Empire, and grew up in a house that overlooked the original gravesites of Beethoven and Schubert. His parents hailed from Čáslav, in what was then Bohemia, but had moved to the city when his father, an officer in the commissary corps of the Imperial Austro-Hungarian Army, had received a posting there. Vienna, the self-styled ‘City of Music’, considered itself to be the well-spring of a musical tradition synonymous with the core values of western classical music, and so it was no matter that neither of Krenek’s parents was a practising musician of any stature: Ernst was exposed to music – and lots of it – from a very young age. Later in life he recalled with wonder the fact that ‘walking along the paths that Beethoven had walked, or shopping in the house in which Mozart had written “Don Giovanni”, or going to a movie across the street from where Schubert was born, belonged to the routine experiences of my childhood’.1 As befitting an officer’s son, Krenek received formal musical instruction from a young age, in particular piano lessons and instruction in music theory. The existence of a well-stocked music hire library in the city enabled him to become, by his mid-teens, acquainted with the entire standard Classical and Romantic piano literature of the day. His formal schooling coincidentally introduced Krenek to the literature of classical antiquity and helped ensure that his appreciation of this music would be closely associated in his own mind with his appreciation of western history and classical culture more generally.
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Kurt Weill Newsletter Protagonist •T• Zar •T• Santa
KURT WEILL NEWSLETTER Volume 11, Number 1 Spring 1993 IN THI S ISSUE I ssues IN THE GERMAN R ECEPTION OF W EILL 7 Stephen Hinton S PECIAL FEATURE: PROTAGON IST AND Z AR AT SANTA F E 10 Director's Notes by Jonathan Eaton Costume Designs by Robert Perdziola "Der Protagonist: To Be or Not to Be with Der Zar" by Gunther Diehl B OOKS 16 The New Grove Dictionary of Opera Andrew Porter Michael Kater's Different Drummers: Jazz in the Culture of Nazi Germany Susan C. Cook Jilrgen Schebera's Gustav Brecher und die Leipziger Oper 1923-1933 Christopher Hailey PERFORMANCES 19 Britten/Weill Festival in Aldeburgh Patrick O'Connor Seven Deadly Sins at the Los Angeles Philharmonic Paul Young Mahagonny in Karlsruhe Andreas Hauff Knickerbocker Holiday in Evanston. IL bntce d. mcclimg "Nanna's Lied" by the San Francisco Ballet Paul Moor Seven Deadly Sins at the Utah Symphony Bryce Rytting R ECORDINGS 24 Symphonies nos. 1 & 2 on Philips James M. Keller Ofrahs Lieder and other songs on Koch David Hamilton Sieben Stucke aus dem Dreigroschenoper, arr. by Stefan Frenkel on Gallo Pascal Huynh C OLUMNS Letters to the Editor 5 Around the World: A New Beginning in Dessau 6 1993 Grant Awards 4 Above: Georg Kaiser looks down at Weill posing for his picture on the 1928 Leipzig New Publications 15 Opera set for Der Zar /iisst sich pltotographieren, surrounded by the two Angeles: Selected Performances 27 Ilse Koegel 0efl) and Maria Janowska (right). Below: The Czar and His Attendants, costume design for t.he Santa Fe Opera by Robert Perdziola.
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Toccata Classics TOCC 0125 Notes
P ERNEST KRENEK: MUSIC FOR CHAMBER ORCHESTRA by Peter Tregear The Austrian-born composer Ernst Krenek (1900–91) has been described, with good reason, as a compositional ‘companion of the twentieth century’.1 Stretching over seventy years of productive life, his musical legacy encompasses most of the common forms of modern western art music, from string quartets and symphonies to opera and electronic music. Moreover, it engages with many of the key artistic movements of the day – from late Romanticism and Neo- classicism to abstract Expressionism and Post-modernism. The sheer scope of his music seems to reflect something profound about the condition of his turbulent times. The origins of Krenek’s extraordinary artistic disposition are to be found in the equally extraordinary circumstances into which he was born. He came to maturity in Vienna in the dying days of the First World War and the Austro-Hungarian Empire and, with its collapse in 1919, the cultural norms that had nurtured Vienna’s enviable musical reputation all but disappeared. In addition, by this time, new forms of transmission of mass culture, such as the wireless, gramophone and cinema, were transforming the ways and means by which cultural life could be both propagated and received. As an artist trying to come to terms with these changes, Krenek was doubly fortunate. Not only was he generally recognised as one of the most gifted composers of his generation; he was also an insightful thinker about music and its role in society. Right from the moment in 1921 when, in the face of growing tension between himself and his composition teacher Franz Schreker, he set out on a full-time career as a composer, he determined that he would be more than just as a passive reflector of the world around him; he would be both its witness and conscience.
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The Concurrent Prevalence of Modernism and Romanticism As Seen in the Operas Performed Between the World Wars and Exemplified in Ernst Krenek’S Jonny Spielt Auf
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 6-10-2020 The Concurrent Prevalence of Modernism and Romanticism as seen in the Operas Performed between the World Wars and Exemplified in Ernst Krenek’s Jonny Spielt Auf Nicole Fassold Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons Recommended Citation Fassold, Nicole, "The Concurrent Prevalence of Modernism and Romanticism as seen in the Operas Performed between the World Wars and Exemplified in Ernst Krenek’s Jonny Spielt Auf" (2020). LSU Doctoral Dissertations. 5301. https://digitalcommons.lsu.edu/gradschool_dissertations/5301 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE CONCURRENT PREVALENCE OF MODERNISM AND ROMANTICISM AS SEEN IN THE OPERAS PERFORMED BETWEEN THE WORLD WARS AND EXEMPLIFIED IN ERNST KRENEK’S JONNY SPIELT AUF A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts by Nicole Fassold B.M., Colorado State University, 2015 M.M., University of Delaware, 2017 August 2020 Acknowledgements I would like to express my deepest gratitude to the professors and panel members that have guided me throughout my Doctoral studies as well as to my parents and sister, my family all over the world, my friends, and my incredible husband for their unending support and encouragement.
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John Stewart Papers
http://oac.cdlib.org/findaid/ark:/13030/c8qj7jg3 No online items John Stewart Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2013 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html John Stewart Papers MSS 0614 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: John Stewart Papers Identifier/Call Number: MSS 0614 Physical Description: 5.6 Linear feet(15 archives boxes) Date (inclusive): 1916-1991 Abstract: The papers of John Stewart, author, musician and UCSD Muir College provost (1965-1987) contain the research materials for his book about composer Ernst Krenek titled Ernst Krenek: The Man and His Music (1991), including typescript drafts; notes describing correspondence, essays, and articles about Krenek; chronologies; and a series of reel-to-reel audiorecordings of interviews with Krenek by Stewart. Also included are drafts of writings, teaching materials, and correspondence with colleagues including Ernst Krenek. Biography John Lincoln Stewart was born January 24, 1917 in Alton, Illinois, and grew up in Granville and Dwight, Ontario. He graduated from Dennison College with a double major in English and Music and received his doctorate in English literature at Ohio State University. He served in World War II in the Army Signal Corps. He taught English at UCLA and Dartmouth before joining UCSD, publishing The Burden of Time: The Fugitives and Agrarians, a history of the Nashville literary groups of the 1920s and 1930s. Stewart came to UCSD in 1964 to take the lead in establishing arts departments on campus.
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From Kotoński to Duchnowski. Polish Electroacoustic Music
MIECZYSŁAW KOMINEK (Warszawa) From Kotoński to Duchnowski. Polish electroacoustic music ABSTRACT: Founded in November 1957, the Experimental Studio of Polish Radio (SEPR) was the fifth electronic music studio in Europe and the seventh in the world. It was an extraordinary phenomenon in the reality of the People’s Poland of those times, equally exceptional as the Warsaw Autumn International Festival of Contemporary Music, established around the same time - in 1956. Both these ‘institutions’ would be of fundamental significance for contemporary Polish music, and they would collabo rate closely with one another. But the history of Polish electroacoustic music would to a large extent be the history of the Experimental Studio. The first autonomous work for tape in Poland was Włodzimierz Kotoñski’s Etiuda konkretna (na jedno uderzenie w talerz) [Concrete study (for a single strike of a cymbal)], completed in November 1958. It was performed at the Warsaw Autumn in i960, and from then on electroacoustic music was a fixture at the festival, even a marker of the festival’s ‘modernity’, up to 2002 - the year when the last special ‘con cert of electroacoustic music’ appeared on the programme. In 2004, the SEPR ceased its activities, but thanks to computers, every composer can now have a studio at home. There are also thriving electroacoustic studios at music academies, with the Wroclaw studio to the fore, founded in 1998 by Stanisław Krupowicz, the leading light of which became Cezary Duchnowski. Also established in Wroclaw, in 2005, was the biennial International Festival of Electroacoustic Music ‘Música Electrónica Nova’. KEYWORDS: electroacoustic music, electronic music, concrete music, music for tape, generators, experimental Studio of Polish Radio, “Warsaw Autumn” International Festival of Contemporary Music, live electronic, synthesisers, computer music The beginnings of electroacoustic music can be sought in works scored for, or including, electric instruments.
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Structural Analysis Through Ordered Harmony Transformations in the Early Works of Arnold Schoenberg
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Ernst Křenek's Second Piano Sonata the Embodiment of His Stabilization
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A NOTE from Johnstone-Music
A NOTE FROM Johnstone-Music ABOUT THE MAIN ARTICLE STARTING ON THE FOLLOWING PAGE: We are pleased for you to have a copy of this article, which you may read, print or saved on your computer. These presentations can be downloaded directly. You are free to make any number of additional photocopies, for Johnstone-Music seeks no direct financial gain whatsoever from these articles (and neither too the writers with their generous contributions); however, we ask that the name of Johnstone-Music be mentioned if any document is reproduced. If you feel like sending any (hopefully favourable!) comment visit the ‘Contact’ section of the site and leave a message with the details - we will be delighted to hear from you! SPECIAL FEATURE on HEINRICH SCHIFF .. .. Heinrich Schiff was born on 18th November 1951 in Gmunden, Austria. His parents, Helga (née Riemann) and Helmut Schiff, were both composers. He began playing piano when he was 6, and took up cello at the age of 10. He studied cello with Tobias Kühne and André Navarra and made his solo debut in Vienna and London in 1971, aged just 20. Since then he was a regular guest of virtually all the leading orchestras, at the big music centres and at the major festivals in Europe, North America and Japan. .. He was a cellist whose lyrical, understated style and singing tone made him a profound interpreter of music from Bach through a long list of contemporary composers. His recording of the Bach Cello Suites won prizes, and his recording of the Shostakovich concertos won the Grand Prix du Disque in 1985.
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Priore, Irna. "Theories of Histories of Serialism: Terminology
SERIALISM PANEL (SMT MEETING 2009)1 Theories of Histories of Serialism: Terminology, Aesthe- tics, and Practice in Post-War Europe – as Viewed by Luciano Berio Irna Priore University of North Carolina at Greensboro The term serialism is commonly used in music theory to designate a compositional method that uses fixed order as its organization principle. The term often refers to the compositional practices of Schoenberg and its adepts, although it was known then as twelve-tone technique. The term serialism came later in 1947 when it was introduced by both René Leibowitz in France and Humphrey Searle in England as transliterations of Zwölftontechnik and Reihenmusik [row music].2 In 1955, the term serielle Musik was used by Herbert Eimert and Karlheinz Stockhausen in Die Reihe, although by then it had acquired a broader significance.3 This article addresses the problem of the terminology associated with serialism and the use of serialism as practice after 1950.4 The article is divided into two parts: 1 The following four articles are selected contributions to a panel presented at the annual meeting of the Society of Music Theory, Montreal 2009. 2 Both studied with Anton Webern (1983-1945). 3 The periodic Die Reihe was published between the years of 1955-1962 by Universal Editions of Vienna. Both Eimert and Stockhausen served as its editors. 4 I would like to thank Robert Morris for his suggestions and advice regarding this subject. A short version of this paper was presented at the 2009 SMT conference in Montreal in a Special Session entitled: “Theories and Aesthetics: An Historical Reconsideration of Serialism as Practice.” The panel discussion also included papers by Richard Hermann, Bruce Quaglia, and Chris Shultis.
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UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Opera after Stunde Null Permalink https://escholarship.org/uc/item/8qq8z2m7 Author Pollock, Emily Richmond Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Opera after Stunde Null by Emily Richmond Pollock A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Mary Ann Smart, Chair Professor Richard Taruskin Professor Martin Jay Fall 2012 © 2012 Emily Richmond Pollock All Rights Reserved 1 Abstract Opera after Stunde Null by Emily Richmond Pollock Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation discusses the musical, dramatic, and political implications of postwar German opera through the examination of four case studies: Boris Blacher’s Abstrakte Oper Nr. 1 (1953), Hans Werner Henze’s König Hirsch (1956), Carl Orff’s Oedipus der Tyrann (1959), and Bernd Alois Zimmermann’s Die Soldaten (1965). Both the composers’ musical decisions and the finished works’ critical and musicological reception demonstrate just how urgently the genre of opera was thought to be in crisis. Enabled by the myth of the “Stunde Null” or Zero Hour, many avant-garde composers shunned opera as artistically bankrupt and conservative, preferring instead genres that were less closely tied to the musical past. Opera’s coherence as a genre depended upon the maintenance and renewal of dramatic and musical conventions from eras both immediate and distant – a dependence that became politicized as the boundaries of “new music” were policed.
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University of California, Irvine
UNIVERSITY OF CALIFORNIA, IRVINE Constructions of Masculinity in Ernst Krenek’s Schwergewicht, oder die Ehre der Nation THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS in Music by Ciera Ott Thesis Committee: Assistant Professor Cecilia Sun, Chair Professor David Brodbeck Professor Colleen Reardon 2016 © 2016 Ciera Ott TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS vi ABSTRACT OF THE THESIS vii CHAPTER 1: INTRODUCTION 1 CHAPTER 2: THE BOXER 8 Ochsenschwanz’s Music 15 The Journalist 18 The Himmelhubers 23 The Government Worker 27 CHAPTER 3: THE DANCER 31 Gaston’s Music 37 39 Tempo di Blues Tango milonga 43 Gaston vs. Ochsenschwanz 46 CHAPTER 4: CONCLUSION 50 APPENDIX: Summary of 52 Schwergewicht BIBLIOGRAPHY 54 LIST OF FIGURES Page Figure 2.1 (1930) 14 Simplcissimus Figure 2.2 Ernst Krenek, , Journalist’s Watlz Schwergewicht 20 Figure 2.3 Ernst Krenek, , Journalist’s Watlz Schwergewicht 22 Figure 2.4 Ernst Krenek, , Anna Maria’s Introduction 24 Schwergewicht Figure 2.5 Ernst Krenek, , Regierungsrat 28 Schwergewicht Figure 3.1 Otto Dix, (1922) 32 An die Schönheit Figure 3.2 Ernst Krenek, , Schwergewicht Tempo di Blues 41 Figure 3.3 Ernst Krenek, , , mm. 386—388 Schwergewicht Tango milonga 44 Figure 3.4 Ernst Krenek, , 46 Schwergewicht Tango milonga Figure 3.5 Ernst Krenek, , Closing theme, oboe, mm. 578—585 47 Schwergewicht Figure 3.6 Ernst Krenek, , Closing theme, Evelyne and Gaston, 47 Schwergewicht mm. 607—614 v ACKNOWLEDGMENTS I would like to express the deepest appreciation to my committee chair, Cecilia Sun, who continuously inspired me to keep going throughout this thesis’s various directions, highs, and lows.
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