Im Digitalisierungsprojekt „Ernst Krenek lectures online: die musiktheoretischen Vorträge eines Exil-Österreichers“ wurden die im Archiv der Ernst-Krenek-Institut-Privatstiftung aufbewahrten Manuskripte und Typoskripte zu Kreneks Lehrveranstaltungen, Vorträgen und Radiosendungen in einer kuratierten Auswahl online verfügbar und durchsuchbar gemacht, sowie mit begleitenden historischen und biographischen Informationen kontextualisiert.
Digitalisiert wurden rund 90 Schriftgutobjekte mit einem Gesamtseitenumfang von rund 800 Seiten. 75% dieser Objekte sind Manuskripte, die restlichen 25% sind Typoskripte, wobei die Hälfte der Dokumente in deutscher, die andere Hälfte in englischer Sprache verfasst sind. Diese Dokumente stammen aus dem Nachlass Ernst Kreneks und stehen im Zusammenhang mit seiner Lehr- und Vortragstätigkeit sowohl in akademischen Institutionen als auch in Rundfunksendungen.
Textfehler und Schreibfehler wurden übernommen.
Fehlende i-Punkte, Umlautzeichen etc. werden stillschweigend ergänzt. Geminationsstriche werden aufgelöst. Leerzeichen und Abteilungszeichen werden standardisiert.
Fehlende Interpunktion wird nicht ergänzt. In Zweifelsfällen wird das den Rechtschreibregeln entsprechende Interpunktionszeichen erfasst. Striche werden immer als Bindestriche erfasst.
Es werden ausschließlich englisch Anführungszeichen verwendet. Es wird vorlagegemäß zwischen einfachen und doppelten Anführungszeichen unterschieden.
Die Silbentrennung wird vorlagegemäß übernommen.
Der Text wird in Seiten, Textfelder (Paragraphen, Überschriften, Seitenzahlen, Notizen) und Zeilen segmentiert.
Für den liberalen, überwiegend durch Freiwilligenarbeit getragenen kalifornischen Radiosender KPFA analysierte Krenek die Anwendung der Zwölftontechnik in seiner Sonate für Viola solo, op. 92, Nr. 3.
The
in the
was interested in adapting the twelve-tone technique, which I had studied
and employed for more than twelve years, to the purposes of a type
of structural design which was derived from the traditional concept
of the sonata form.
The
constantly brought into variegated interplay until in the last move-
ment they are integrated with each other. From the viewpoint of
dodecaphonic procedure the treatment of the tone-rows may be
called "free" in that the order of succession of the tones is occas-
ionally modified in order to satisfy both the demands of the
structural concept of the piece as well as the intention of
gradually revealing the internal
tone-rows which originally seem to be quite different from
each other.
The first movment of the sonata follows the traditional
form of such a movement, as it has an exposition containing
two contrasting themes, a development section, and a
recapitulation. The first theme is based on the following
tone row:
Ex. 1
Students of twelve tone music will easily notice that this
row is very similar to that used by Ex 2
Both rows consist of a sequence of thirds, although the alternation
of major and minor third is different.
after eight thirds with a sequence of three whole tone steps,
while my series has two skips of a fourth each after nine
thirds. The fact
with
sequence established in a twelve tone row in no way determines
the nature of the music derived from it.
The first theme of the Ex 3, meas 1-3
In the transition to the second theme some of the triad
formations which abound in the series are singled out and
also used by inversion:
Ex 4, meas. 11-15 (to the first note)
The second theme is derived from the second twelve tone row:
Ex 5
(2nd th)
In the brief development section fragments of both themes, and
consequently fragments of the two tone-rows alternate with each other
in successively shorter spans, leading up to the recapitulation which
presents the first theme by inversion
Ex. 6, meas. 55 - 56
The transition is similar to that of the exposition, but shorter.
The second theme is
appearance. The coda returns to the first theme.
The second movement, Adagio, is based on the following modified
form of the original tone-row:
Ex 7
The third movement is a Scherzo, which is repeated after a Trio,
according to the classical pattern. The opening theme presents a
slight modification of the original row in that the last four tones
here change their position:
Ex 8, followed by meas. 1-2
In analogy to the first movement, the recapitulation here also
makes use of the inversion of the original statement:
Ex 9, meas. 19 - 22
The Trio is really a variation of the Scherzo since it contains
the same thematic material. The rhythmic shape and the phrase
context are different. Compare the tone-row which opens the
Scherzo
Ex10 = Ex 8
with the row which opens the Trio.
Ex. 11
It is a nearly literal inversion of the first series.
The last movement is called Chaconne because in it a
relatively brief, concise statement is treated much in the
way of the ancient form of this name. This statement is
derived from the second of the two twelvetone rows used in
the Ex. 12 meas 19 - 22 (I)
and the theme of the Chaconne.
Ex 13 1-9 ( IV)
After the first variation of the Chaconne the design begins to
reveal the close but so far hidden kinship of the tone-rows. It
turns out that the second row consists of a number of skips of
diminished fifth
Ex 14
When the thirds missing within the diminished fifths are filled in,
we obtain a series of thirds very similar to the arrangement of
our first tone-row.
Ex. 15
The three tones attached to the string of thirds
Ex 16
have an intervallic relation very similar to that of the group which
concluded the first tone-row.
Ex. 17
The group is always used as a sort of punctuation sign
separating the variations of the Chaconne. There are eight such
variations. The last variation leads
of the first movement. It serves as conclusion of the whole work
Ex 18 meas. 62 - 67 (IV)