Krenek(originally, Krenek), Ernst
Krenek(originally, Křenek), Ernst
Krenek(originally, Křenek), Ernst, remarkable Austrian-born American composer, whose intellect responded equally to his musical philosophy and his imaginative compositional style; b. Vienna, Aug. 23, 1900; d. Palm Springs, Calif., Dec. 23, 1991. He studied with Schreker at the Vienna Academy of Music (1916–18). Following miltary service (1918), he enrolled at the Univ. of Vienna in 1919 to study philosophy. In 1920 he went to Berlin to continue his studies with Schreker at the Hochschule für Musik. The premiere of Krenek’s atonally conceived 2nd Sym. (Kassel, June 14, 1923) brought him considerable notoriety. With his so-called “jazz” opera Jonny spielt auf (Leipzig, Feb. 10, 1927), Krenek became internationally known via performances of the score around the world. A commission from the Vienna State Opera led to his composing the 12-tone opera Karl V (1932-33). After the Nazis assumed control of Germany in 1933, Krenek was declared a degenerate artist and his works were banned. Pressure was brought to bear on the Austrian authorities and the scheduled premiere of Karl V ( in 1934 at the Vienna State Opera was cancelled. The opera finally received its premiere in Prague on June 22, 1938. Following the Anschluss of 1938, Krenek emigrated to the U.S. In 1945 he became a naturalized American citizen. After teaching at the Malkin Cons in Boston (1938–39), he taught at Vassar Coll. (1939–42). From 1942 to 1947 he was head of the music dept. at Hamline Univ. in St. Paul, Minn. In 1947 Krenek went to Los Angeles, where he continued to teach. In 1966 he settled in Palm Springs and devoted himself mainly to composing and writing. As a composer, Krenek pursued a modified serial path. After coming into contact with the avant-garde in Darmstadt, he was moved to expand his horizons. In 1957 he embraced total serial writing. In 1970 he adopted the use of rows and serial techniques in a manner that led to a much greater freedom of expression and mastery. Although Krenek was elected to membership in the National Inst. of Arts and Letters (1960) and was awarded honorary titles and degrees from various American institutions, his importance as a composer was most fully realized in Europe. In 1959 he was made an extraordinary member of the Berlin Akademie der Künste. In 1960 he received the Gold Medal of the City of Vienna. He was awarded the Grand Austrian State Prize in 1963. In 1970 he received the Ring of Honor of Vienna, and in 1982 was accorded honorary citizenship of Vienna. In 1986 a composition prize was established in Vienna in his name. His 90th birthday was celebrated by special performances of a number of his scores. Krenek deposited the MS of his autobiography in the Library of Congress in Washington, D.C., in 1950, with the stipulation that it should not be made public until 15 years after his death.
Writings
Über neue Musik: Sechs Vorlesungen zur Einrung in die theoretischen Grundlagen (Vienna, 1937; rev. ed., N.Y., 1939, as Music Here and Now); Studies in Counterpoint, Based on the Twelvetone Technique (N.Y., 1940; Ger. tr., Mainz, 1952, as Zwölfton-Kontrapunkt Studien); ed. Hamline Studies in Musicology (St. Paul, Minn., 1945, 1947); Selbstdarstellung (Zürich, 1948; rev. and enl. as “Self-Analysis,” University of New Mexico Quarterly, ( XXIII, 1953); Musik im goldenen Westen (Vienna, 1949); autobiography (MS, 1950); Johannes Okeghem (N.Y., 1953); De rebus prius factis (Frankfurt am Main, 1956); Zur Sprache gebracht (Munich, 1958); Tonal Counterpoint in the Style of the 18th Century (N.Y., 1958); Gedanken unterwegs: Dokumente einer Reise (Munich, 1959); Modal Counterpoint in the Style of the 16th Century (N.Y, 1959); Komponist und Hörer (Kassel, 1964); Prosa, Drama, Verse (Munich, 1965); Exploring Music (London, 1966); Horizons Circled: Reflections on My Music (Berkeley, 1974); Das musikdramatische Werk (Vienna, 1974-82); Im Zweifelsfalle: Aufsätze über Musik (Vienna, 1984); Franz Schubert: Ein Porträt (Tutzing, 1990); C. Zenck, ed., Ernst Krenek: Die Amerikanischen Tagebücher, 1937-1942: Dokumente aus dem Exil (Vienna, 1992).
Works
dramatic:Cyrano de Bergerac, ( incidental music (1917); Die Zwingburg, ( scenic cantata (1922; Berlin, Oct. 20, 1924); Napoleon, ( incidental music for G. Dietrich’s play (1922); Fiesco, ( incidental music for S. Friedrich- play (1922); Der sprung über den Schatten, ( comic opera (1923; Frankfurt am Main, June 9, 1924); Orpheus und Eurydike, ( opera (1923; Kassel, Nov. 27, 1926); Bluff, ( operetta (1924-25; withdrawn); Mammon, ( ballet (1925; Munich, Oct. 1, 1927); Der vertauschte Cupido, ( ballet (Kassel, Oct. 25, 1925); Das Leben ein Traum, ( incidental music for Grillparzer’s La vida es sueno (Kassel, 1925); Vom lieben Augustin, ( incidental music for Dietzenschmidt’s folk play (Kassel, Nov. 28, 1925); Die Rache des verhöhnten Liebhabers, ( incidental music for E. Toller’s puppet play (1925; Zürich, 1926); Das Gotteskind, ( incidental music for a radio play (Kassel Radio, 1925); Der Triumph der Empfindsamkeit, ( incidental music for Goethe’s play (1925; Kassel, May 9, 1926; suite, 1926-27; Hamburg, Nov. 28, 1927); Jonny spielt auf, ( opera (1926; Leipzig, Feb. 10, 1927); Ein Sommernachtstraum, ( incidental music for Shakespeare’s A Midsummer Night’s Dream (Heidelberg, July 1926); Der Diktator, ( opera (1926; Wiesbaden, May 6, 1928); Das geheime Königreich, ( fairy tale opera (1926-27; Wiesbaden, May 6, 1928); Marlborough s’en va-t-en guerre, ( incidental music for a puppet play after a comedy by M. Archard (Kassel, May 11, 1927); Schwergewicht, oder Die Ehre der Nation, ( operetta (1927; Wiesbaden, May 6, 1928); Die Kaiserin von Neufundlung, ( incidental music for F. Wedekind’s play (1927); Leben des Orest, ( opera (1928-29; Leipzig, Jan. 19, 1930); Kehraus um St. Stephan, ( opera (1930); Herr Reinecke Fuchs, ( incidental music for H. Anton’s play (1931); Karl V, ( opera (1932-33; Prague, June 22, 1938; rev. 1954;Dusseldorf, May 11, 1958); Cefalo e Procri, ( opera (1933-34; Venice, Sept. 15, 1934); L’incoronazione di Poppea, ( orchestration of Monteverdi’s opera (1936; Vienna, Sept. 25, 1937; suite, 1936); 8 Column Line, ( ballet (Hartford, Conn., May 19, 1939); Tarquin, ( chamber opera (1940; Poughkeepsie, N.Y., May 13, 1941); What Price Confidence!, ( chamber opera (1945; Saarbrücken, May 22, 1946); Sargasso, ( ballet (1946; N.Y., March 24, 1965; based on the Symphonic Elegy); Dark Waters, ( opera (1950-51; Los Angeles, May 2, 1951); Pallas Athene weint, ( opera (1952-53; rev. version, Hamburg, Oct. 17, 1955; also as the Symphony Pallas Athene); The Belltower, ( opera (1955-56; Urbana, 111., March 17, 1957); Jedermann, ( incidental music for Hofmannsthal’s play (1960; Salzburg, July 30, 1962; film score, 1961); Ausgerechnet und verspielt, ( television opera (1960-62; Austrian TV, Vienna, July 25, 1962; with entr’acte Roulette Sestina, ( Mannheim, Oct. 15, 1964); Jest of Cards, ( ballet (San Francisco, April 17, 1962; based on Marginal Sounds ( for Chamber Ensemble, 1957); AlpbachQuintet, ( ballet (Alpbach, Austria, Aug. 25, 1962); Der goldene Bock, ( opera (1962-63; Hamburg, June 16, 1964); Der Zauberspiegel, ( television opera (1963; 1965-66; Bavarian TV, Munich, Sept. 6, 1967); König Oedipus, ( incidental music for Sophocles’ play (1964; Salzburg, July 27, 1965); Sardakai, oder Das kommt davon, ( opera (1968-69; Hamburg, June 27, 1970); Flaschenpost vom Paradies, oder Der englische Ausflug, ( television play (1972-73; Vienna, March 8, 1974). orch.: Suite for Piano and Orch. (1915–16); Léonce und Lena, ( overture (c. 1919); 4 unnumbered syms. (1920; 1924-25, Leipzig, 1926; Kleine Symphonie ( for Chamber Orch., Berlin, Nov. 3, 1928; Symphony Pallas Athene, ( Hamburg, Oct. 11, 1954, based on the opera Pallas Athene weint); ( 5 numbered syms.: No. 1 (1921; Berlin, March 17, 1922), No. 2 (1922; Kassel, June 11, 1923), No. 3 (1922; Berlin, 1923), No. 4 (N.Y., Nov. 27, 1947), and No. 5 (1947-49; Albuquerque, March 16, 1950); 2 concerti grossi: No. 1 (1921-22; Weimar, Aug. 19, 1922; withdrawn) and No. 2 (Zürich, Oct. 14, 1924); Symphonische Musik (Donaueschingen, July 30, 1922) and Symphonische Musik No. 2 ( for Chamber Orch. (1923; Berlin, Feb. 1, 1924); 4 piano concertos: No. 1 (Winterthur, Dec. 19, 1923), No. 2 (1937; Amsterdam, March 17, 1938), No. 3 (Minneapolis, Nov. 22, 1946), and No. 4 (1950; Cologne, Oct. 22, 1951); Concertino for Flute, Violin, Harpsichord, and Strings (1924; Winterthur, Feb. 18, 1925); 2 violin concertos: No. 1 (1924; Dessau, Jan. 5, 1925) and No. 2 (1953-54; Cologne, Feb. 18, 1955); Stücke (1924; Winterthur, Nov. 4, 1926); (3) Lustige Märsche ( for Band (Donaue-schingen, 1926); Potpourri (Cologne, Nov. 5, 1927; rev. 1954; Stuttgart, Oct. 22, 1957); Theme and 13 Variations (N.Y., Oct. 29, 1931); Campo Marzio, ( overture (1937); Symphonic Piece ( for Strings (1939; Basel, June 11, 1940); Little Concerto ( for Piano, Organ, and Chamber Orch. (1939-0; Poughkeepsie, N.Y., May 23, 1940; also for 2 Pianos and Chamber Orch.); A Contrapuntal Excursion Through the Centuries ( for Student String Orch. (1941); I Wonder as I Wander, ( variations on a N.C. folk tune (Minneapolis, Dec. 11, 1942); Tricks and Trifles (1945; Minneapolis, March 22, 1946; based on Hurricane Variations ( for Piano, 1944); Symphonic Elegy ( for Strings (Saratoga Springs, N.Y., Sept. 3, 1946; also as the ballet Sargasso); Short Pieces ( for Strings (1948; Basel, Jan. 17, 1955; also for String Quartet); Double Concerto for Violin, Piano, and Orch. (1950; Donaueschingen, Oct. 6, 1951); Concerto for Harp and Chamber Orch. (1951; Philadelphia, Dec. 12, 1952); Concerto for 2 Pianos and Orch. (1951; N.Y., Oct.24, 1953); Sinfonietta a Brasileira ( for Strings (1952; Besançon, Sept. 6, 1953); 2 cello concertos: No. 1 (1952-53; Los Angeles, March 4, 1954) and No. 2 (1982; Salzburg, Aug. 9, 1983); Scenes from the West ( for School Orch. (1952–53); 11 Transparencies (1954; Louisville, Feb. 12, 1955); Suite for Flute and Strings (1954; also for Flute and Piano); Capriccio ( for Cello and Orch. (Darmstadt, May 31, 1955); Sieben leichte Stücke ( for Strings (Mainz, 1955); Suite for Clarinet and Strings (1955; also for Clarinet and Piano); Divertimento (1956; Ossiach, Austria, Aug. 23, 1986); Kette, Kreis und Spiegel, sinfonische Zeichnung (1956-57; Basel, Jan. 23, 1958); Hexahedron ( for Chamber Orch. (Darmstadt, Sept. 7, 1958); Quaestio temporis (1959; Hamburg, Sept. 30, 1960); From ( 3 Make ( 7 (1960-61; Berlin, March 3, 1965; rev. version, Baden-Baden, Feb. 16, 1968); 6 Profiles (1965-68; Fargo, N.Dak., March 14, 1970); Horizon Circled (Rochester, Mich., Aug. 12, 1967); Perspektiven (1967; Chicago, July 6, 1968); Exercises of a Late Hour (1967; San Diego, Jan. 19, 1968; rev. 1969); Fivefold Enfoldment (1969; Bonn, Jan. 5, 1970); Kitharaulos (1971; The Hague, June 20, 1972; also as Aulokithara ( for Oboe, Harp, and Tape); Statisch und Ekstatisch (1971-72; Zürich, March 23, 1973); Von vorn herein ( for Chamber Orch. (Salzburg, Aug. 21, 1974); Auf- und Ablehnung (1974; Nuremburg, June 13, 1975); Dream Sequence ( for Symphonie Band (1975-76; College Park, Md., March 11, 1977); Concerto for Organ and Strings (1978-79; Ossiach, Austria, July 22, 1979); Im Tal der Zeit (1979; Graz, Oct. 26, 1980); Arc of Life ( for Chamber Orch. (1981; Palm Springs, Calif., Feb. 24, 1982); Organ Concerto (1982; Melbourne, May 17, 1983). chamber:Variationen über ein lustiges Thema ( for Violin, Cello, and Piano (1916); Cello Sonata (1917); Serenade ( for Clarinet, Viola, and Cello (1919; Berlin, Feb. 8, 1921); 2 unnumbered violin sonatas (1919-20, Berlin, June 21, 1921; 1944-45, Minneapolis, Oct. 21, 1945); Albumblatt ( for Violin and Piano (1920); 1 unnumbered string quartet (1920); 8 numbered string quartets: No. 1 (Nuremberg, June 16, 1921), No. 2 (1921; Berlin, April 24, 1922), No. 3 (Salzburg, Aug. 3, 1923), No. 4 (1923-24; Salzburg, Aug. 5, 1924), No. 5 (Copenhagen, Sept. 29, 1930), No. 6 (1936; Darmstadt, Jan. 16, 1953), No. 7 (1943-44; Indianapolis, Nov. 15, 1944), and No. 8 (1980-81; N.Y., June 7, 1981); Kleine Suite ( for Clarinet and Piano (1924; Bamberg, Jan. 7, 1967); 2 sonatas for Solo Violin: No. 1 (1924; Darmstadt, Nov. 28, 1960) and No. 2 (Washington, D.C., Dec. 19, 1948); Intrada ( for Clarinet, Bassoon, Trumpet, 2 Horns, Trombone, and Timpani (Kassel, June 1, 1927); Triophantasie ( for Violin, Cello, and Piano (1929; Berlin, May 15, 1930); School Music ( for Various Instruments (1938-39; Ann Arbor, July 27, 1939); Suite for Cello (Poughkeepsie, N.Y., Nov. 16, 1939); Deep Sea ( for Tuba and Piano (c. 1939); Sonatina for Flute and Viola (1942; Buenos Aires, Oct. 22, 1945; also for Flute and Clarinet, Buenos Aires, Oct. 30, 1944); Sonata for Solo Viola (1942; Chicago, April 11, 1947); Trio for Violin, Clarinet, and Piano (Minneapolis, Nov. 27, 1946); Short Pieces ( for String Quartet (1948; also for String Orch.); Viola Sonata (1948; San Francisco, March 1949); String Trio (1948-49; Los Angeles, April 4, 1949); Parvula corona musicalis ( for String Trio (1950; RAI, Rome, Jan. 15, 1951); Invention ( for Flute and Clarinet (1951; Bamberg, Jan. 7, 1967); Quintet for Flute, Clarinet, Oboe, Bassoon, and Horn (1952; rewritten 1957 as Pentagramm; ( Los Angeles, March 31, 1958); Fantasy ( for Cello and Piano (1953; Lucerne, April 6, 1954); Suite for Flute and Piano (1954; Santiago, Chile, July 5, 1956; also for Flute and String Orch.); Suite for Clarinet and Piano (1955; Miami, Nov. 29, 1962; also for Clarinet and String Orch.); Sonata for Solo Harp (1955; N.Y., Jan. 27, 1958); Oboe Sonatina (1956; N.Y., May 9, 1960); Monologue ( for Clarinet (1956; N.Y., May 9, 1960); Marginal Sounds ( for Violin, Piano, Celesta, Vibraphone, Xylophone, and Percussion (1957; N.Y., Feb. 22, 1960; also as the ballet Jest of Cards); ( Suite for Guitar (1957; Los Angeles, Feb. 16, 1959); Flötenstück neun-phasig ( for Flute and Piano (1959; Venice, Sept. 22, 1960); Hausmusik ( for Various Instruments (Berlin, Nov. 22, 1959); Toccata ( for Accordion (1962); Cello Studien ( for 1 to 4 Cellos (1963; Riehen, Switzerland, April 23, 1968); Fibonacci Mobile ( for String Quartet and Piano, 4-Hands (1964; Hanover, N.H., July 7, 1965); Stücke ( for Oboe and Piano (1966; Zagreb, May 21, 1967); Pieces ( for Trombone and Piano (Buffalo, Nov. 5, 1967); Duo for Flute, Double Bass, and Tape (1970; Palm Desert, Calif., Jan. 24, 1971); Aulokithara ( for Oboe, Harp, and Tape (1971; Mainz, Oct. 11, 1972; based on Kitharaulos ( for Orch., 1971); Acco-music ( for Accordion (1976); Opus 231 ( for Violin and Organ (1979; Vienna, March 10, 1980); Streichtrio in zwölf Stationen (1985; Ossiach, Austria, Aug. 23, 1987). keyboard: piano: 1 unnumbered sonata (1913); 6 numbered sonatas: No. 1 (1919; Salzburg, May 3, 1920), No. 2 (1928; Berlin, March 27, 1929), No. 3 (1942-43; St. Paul, Minn., Dec. 1, 1943), No. 4 (San Francisco, Nov. 5, 1948), No. 5 (1950), and No. 6 (Donaueschingen, Oct. 1951); 1 unnumbered suite (c. 1916); 2 numbered suites (Berlin, Dec. 12, 1924); 3 double fugues (1917, Vienna, May 14, 1918; for Piano, 4-Hands, 1917; for 2 Pianos, 1918); 5 sonatinas {\-A, ( 1920; 5, 1928-29); Tanzstudie (1920); Toccata und Chaconne über den Choral Ja ich glaub an Jesum Christum (Berlin, Oct. 16, 1922); Eine kleine Suite von Stücken über denselbigen Choral, verschiedenen Charakters (Berlin, Oct. 16, 1922); Klavierstücke (Kassel, Nov. 18, 1925); Vier Bagatellen ( for Piano, 4-Hands (1931; Vienna, April 25, 1937); Zwölf Variationen in drei Sätzen (Los Angeles, Dec. 16, 1937); 12 Short Piano Pieces Written in the 12-tone Technique (1938; NBC, Washington, D.C., Jan. 3, 1939); Hurricane Variations (1944; also as Tricks and Trifles ( for Orch.); Piano Pieces (1946; St. Paul, Minn., Feb. 9, 1947); George Washington Variations (Los Angeles, Sept. 24, 1950); Miniature (1953); 20 Miniatures (1953-54; St. Gallen, Sept. 21, 1954); Sechs Vermessene (1958; Kassel, Oct. 9, 1960); Basler Massarbeit ( for 2 Pianos (1960; Basel, Jan. 19, 1961); Piano Piece in 11 Parts (1967; Chicago, Dec. 4, 1970); Doppelt beflügeltes Band ( for 2 Pianos and Tape (1969-70; Graz, Oct. 26, 1970). organ: Sonata (1941; Poughkeepsie, N.Y., May 3, 1942); Organologia (1962; Mülheim, Nov. 24, 1968); 10 Choralvorspiele (1971); Orga-nastro ( for Organ and Tape (Ann Arbor, Oct. 18, 1971); 4 Winds Suite (1975;Dusseldorf, March 13, 1977). vocal:Missa in Pesto SS. Trinitatis ( for Chorus and Organ (1913); Grosse Ostersonate ( for Chorus and Organ (c. 1914); Missa symphonica prima ( for Soloists, Chorus, Orch., and Organ (c. 1915); Zwischen Erd und Himmel ( for Soloists, Chorus, Violin, and Orch. (1916); Um Mitternacht ( for Soloists, Chorus, and Orch. (1916); Über einem Grabe ( for Soloists, Chorus, and Orch. (1916); Bühnenmusik zu? ( for Chorus and Orch. (c. 1917); Gott gib dein Gericht dem König, ( motets for Chorus (c. 1918); O meine armen Füsse ( for Voice and Small Orch. (c. 1921); (7) Lieder ( for Voice and Piano (1921–22); (2) Lieder ( for Voice and Piano (1922); (5) Lieder ( for Voice and Piano (1922); (5) Lieder ( for Voice and Piano (1923; Berlin, March 26, 1926); Gemischte a cappella Chöre (1923); (13) Lieder ( for Voice and Piano (1924); (3) Lieder ( for Mezzo-soprano, Clarinet, and String Quartet (1924); Vier kleine Männerchöre (1924; Vienna, March 25, 1935); Die Jahreszeiten ( for Chorus (Donaueschingen, July 1925); Wechsellied zum Tanz ( for Soprano and Piano or Orch. (1926); Vier a cappella Chöre (1926; Vienna, Dec. 7, 1927); O Lacrymosa, ( 3 songs for High or Medium Voice and Piano or 7 Instruments (1926; Cologne, Jan. 29, 1927); Gedicht ( for Baritone and 5 Instruments (1926); Kleine Kantate ( for Chorus (1927); (4) Gesänge nach alten Gedichten ( for Mezzo-soprano and Piano (1927; Berlin, Nov. 21, 1929; also for Mezzo-soprano and Winds, Munich, Oct. 1927); (3) Gesänge ( for Baritone and Piano (1927; Dresden, Nov. 5, 1928); Konzert-Arie ( for Soprano and Piano (Berlin, June 1928; as Monolog der Stella ( for Soprano and Orch., Hannover, Aug. 1928); (3) Gemischte Chöre (1929; Vienna, Nov. 27, 1932); Reisebuch aus den österreichischen Alpen, ( 20 songs for Voice and Piano or Orch. (1929; Leipzig, Jan. 17, 1930); Kalendar ( for 4 Men’s Voices (1929–30); (7) Fiedellieder ( for Medium Voice and Piano (Dresden, April 11, 1930); Wach auf mein Hort ( for Chorus (Berlin, June 23, 1930); Durch die Nacht ( for Soprano and Piano (1930-31; Dresden, April 10, 1931; also for Soprano and Orch., Vienna, June 19, 1932); Die Nachtigall ( for Soprano and Piano (Frankfurt am Main, Nov. 26, 1931; also for Soprano and Orch., Bern, Oct. 27, 1931); (11) Gesänge des späten Jahres ( for Voice and Piano (1931; Dresden, March 25, 1932); Kantate von den Lieden des Menschen ( for Chorus and Orch. (1932); Kantate von der Vergänglichkeit des Irdischen ( for Soprano, Chorus, and Piano (1932; Zürich, Oct. 9, 1933); Fragmente aus dem Bühnenwerk Karl V ( for Soprano and Orch. (1932-33; Barcelona, April 19, 1936); Jagd im Winter ( for Men’s Chorus, 4 Horns, and Timpani (1933); Das Schweigen ( for Bass and Piano (1933; Win-terthur, Jan. 24, 1934); Währed der Trennung ( for Mezzo-soprano, Baritone, and Piano (1933; Winterthur, Jan. 24, 1934); Vocalise ( for Voice and Piano (1934); (4) Austrian Folk Songs for Chorus (1934; Vienna, Feb. 25, 1935); Italian Ballads ( for Voice and Piano (1934); Symeon der Stylit, ( oratorio for Soprano, Mezzo-soprano, Tenor, Baritone, Chorus, and Orch. (1935-37; 1987; Salzburg, July 27, 1988); (5) Lieder nach Worten von Franz Kafka ( for Voice and Piano (1937-38; Poughkeepsie, N.Y., March 1, 1942); The Night is Far Spent ( for Voice and Piano (1938); 2 Choruses on Jacobean Poems (1939; Poughkeepsie, N.Y., Dec. 7, 1940); Proprium missae in festo SS. Innocentium martyrum (die 28 Decembris) ( for Women’s Chorus (Poughkeepsie, N.Y., Dec. 15, 1940); La corona, ( cantata for Mezzo- soprano, Baritone, Organ, and Percussion (1941; Copenhagen, 1958); The Holy Ghost’s Ark ( for Mezzo-soprano, Oboe, Clarinet, Viola, and Cello (Madison, Wise, July 24, 1941); Lamentatio Jeremaie prophetae ( for Chorus (1941-2; Kassel, Oct. 5, 1958); Cantata for Wartime ( for Women’s Chorus and Orch. (1943; Minneapolis, March 24, 1944); 5 Prayers for Women’s Voices Over the Pater noster as Cantus Firmus (1944; St. Paul, Minn., June 3, 1945); The Ballad of the Railroads ( for Medium Voice and Piano (1944; N.Y., April 5, 1950); Santa Fe Time Table ( for Chorus (1945; Los Angeles, Feb. 20, 1961); Aegrotavit Ezechias, ( motet for Women’s Chorus and Piano (1945; St. Paul, Minn., March 12, 1947); Etude ( for Coloratura Soprano and Contralto (1945; St. Paul, Minn., 1946); In paradisum, ( motet for Women’s Chorus (St. Paul, Minn., May 10, 1946); O Would I Were, ( canon for Chorus (1946); (4) Songs on Poems by Gerard Manley Hopkins ( for Tenor and Piano (1946-47; Waco, Tex., April 25, 1947); Remember Now, ( motet for Women’s Voices and Piano (St. Paul, Minn., 1947); Medea, ( monologue for Mezzo-soprano and Orch. (1951; rev. 1952; Philadelphia, March 13, 1953); (2) Sacred Songs ( for Medium Voice and Piano (1952; N.Y., Jan. 4, 1953); (4) Choruses ( with Organ or Piano (1953); Motette zur Opferung für das ganze Kirchenjahr ( for Chorus (1954; Basel, March 27, 1955); Proprium missae in domenica tertia in quadragesima ( for Chorus (1955); Psalmenverse zur Kommunion für das ganze Kirchenjahr ( for Chorus (1955); Ich singe wieder, wenn es tagt ( for Chorus and String Orch. or String Quintet (1955-56; Linz, May 14, 1956); Spiritus intelli-gentiae, Sanctus, ( oratorio for Pentecost for 2 Singers, Speaker, and Electronics (1955-56; WDR, Cologne, May 30, 1956); Egregii, carissimi, 2 ( voice canon (1956); Guten Morgen, Amerika ( for Chorus (1956); Psalmverse ( for Chorus (1956); Sestina ( for Soprano and 8 Instruments (1957; N.Y., March 9, 1958); Missa duodecim tonorum ( for Women’s or Men’s Chorus and Organ (1957); 6 Motetten nach Worten von Franz Kafka ( for Chorus (Berlin, Sept. 29, 1959); (5) Holiday Motets ( for Chorus (1959–66); Children’s Song: 3 Madrigals ( for Women’s Chorus (1960); Children’s Songs: 3 Motets ( for Women’s Chorus (1960); The Flea ( for Tenor or Soprano and Piano (1960; Raleigh, N.C., 1968); Like Dew ( for 3 Voices (1962); Kanon Igor Strawinsky zum 80. Geburtstag ( for 2-voice Chorus (1962); O Holy Ghost, ( motet for Chorus (1964; Berlin, May 3, 1965); Wechselrahmen ( for Soprano and Piano (1964-65;Dusseldorf, Sept. 9, 1965); Quintina über die fünf Vokale ( for Soprano, 6 Instruments, and Tape (Danish Radio, Copenhagen, Oct. 3, 1965); Glauben und Wissen ( for 4 Speakers, Chorus, and Orch. (North German Radio, Hamburg, Dec. 21, 1966); Proprium für das Dreifaltigkeitsfest ( for Soprano, Chorus, 2 Trumpets, Timpani, and Organ (1966-67; Basel, July 2, 1967); Instant Remembered ( for Soprano and Orch. (Hanover, N.H., Aug. 1, 1968); Proprium Missae per a le festa de la nativitat de la mare de Due (8 de setembre) ( for Chorus, Instruments, and Tape (Mont-serrat, Abadia, Aug. 22, 1968); Deutsche Messe (Ordinarium) ( for Chorus, Clarinet, Trumpet, 2 Trombones, Timpani, and Percussion (1968; Lucerne, Oct. 1969); Messe Gib uns den Frieden ( for Chorus and Orch. (1970; Hamburg, Oct. 17, 1971); 3 Sacred Pieces ( for Chorus (Ann Arbor, Oct. 18, 1971); 3 Lessons ( for Chorus (Ann Arbor, Oct. 18, 1971); Zeitlieder ( for Mezzo-soprano and String Quartet (1972; Augsburg, May 15, 1974); (3) Lieder ( for Soprano and Piano (1972; Vienna, Sept. 22, 1975); Spätlese, ( 6 songs for Baritone and Piano (1972; Munich, July 22, 1974); Feiertags-Kantate ( for Speaker, Mezzo-soprano, Baritone, Chorus, and Orch. (1974-75; Berlin, Sept. 12, 1975); 2 Silent Watchers ( for Voice and Piano (1975; Palm Springs, Calif., 1976); 2 Kanons für Paul Sacher ( for Voices (1975–76); (2) Settings of Poems by William Blake ( for Chorus (1976; Honolulu, May 1977); They Knew What They Wanted ( for Narrator, Oboe, Piano, Percussion, and Tape (1976-77; N.Y., Nov. 6, 1978); Albumblatt ( for Voice and Piano (1977); The Dissembler, ( monologue for Baritone and Ensemble (1978; Baltimore, March 11, 1979; Deutsche Messgesänge zum 29. Sonntag im Jahreskreis ( for Narrator, Chorus, and Organ (Graz, Oct. 19, 1980); Opus sine nomine, ( oratorio for Soprano, Mezzo-soprano, 2 Tenors, Baritone, Narrator, Chorus, and Orch. (1980–88); For Myself, at Eighty-five, ( 4-voice canon (1985). tape:San Fernando Sequence (San Francisco, March 15, 1963); Quintona (1965).
Bibliography
W. Grandi, II sistema tonale ed il contrappunto dodecafonico di E. K (.(Rome, 1954); E Saathen, E. K (.(Munich, 1959); L. Knessl, E. K (.(Vienna, 1967); E. Marckhl, Rede für E. K (.(Graz, 1969); W. Rogge, E. K.s Opern: Spiegel der zwanziger Jahre (Wolfenbüttel, 1970); C. Maurer-Zenck, E. K.: Ein Komponist in Exil (Vienna, 1980); O. Kolleritsch, ed., E. K.: Studien zur Wertungsforschung (Vienna, 1982); S. Cook, Opera During the Weimar Republic: The Zeitopern of ( E. K., Kurt Weill, and Paul Hindemith (Ann Arbor, 1987); G. Bowles, E. K.: A Bio-Bibliography (London, 1989); J. Stewart, E. K.: The Man and His Music (Berkeley, 1991).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire