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 kanadischen Radiosender CBC analysierte Krenek die 9. Symphonie von Mahler. Der Fokus seiner Analyse liegt dabei auf formalen und strukturellen Merkmalen, auf die komplex verarbeiteten Themen und Motiven und die sich daraus ergebende dramaturgische Dynamik des ausgedehnten Werks.
Um das Radio-Publikum entsprechend auf die Höreindrücke vorzubereiten, illustriert er seine Analyse mit zahlreichen Hörbeispielen.
The
in the present cycle not only its of its
worthy emotional impact, we may be sure that
spection we will discover that our spontaneous experience is
due to tangible details of the musical process which,
a point, may be
The Symphony which we shall consider in this program was
written in
who even before reaching the age of fifty had learned that his days were
numbered. Heartrending sorrow, melancholy sadness, defiance und resig-
nation speak to a directness
mistake the message of emotion and mood presented by the work.
But no matter how tragic the personal experience that inspired this
composition, it is not this experience as such which makes it
one of the great works of our century. For facing the transitoriness
of earthly life and the
been the lot of every human being since the beginning of time. We
have to look for these features, which transcend the emotional im-
pulse that prompted the creation of the work in order to appreciate
its permanent significance. These features must be found in
the ordering of the from
such ordering must be evaluated in the context of history.
unbroken continuity of the symphonic tradition set up by
the great masters of the classical period,
all, [ress]
prevailing throughout the
became bigger, if not better. Consequently
long
one and a half hours to perform so that in the present survey we
shall to be
the gigantic work. 2'45"
In the light of
ficance of
dialectical tension between two opposites. On the one hand his allegiance
to the symphonic prompted to
form as it was handed down to him from the age of classicism would
stand the strain and stress of nearly limitless
to see,
gist of many critical objections raised against
Frequently the continuity of the structure is torn up by fantastic
breaks - an
the frightful silence announcing the Last Judgment. Here it is the
poetic idea that lends the passage pragmatic justification.
From a purely musical viewpoint these awe-inspiring pages are
equally as justified because this strange interlude so to speak adds
a new dimension to a musical context which if it would stay within
the conventional would
In
overall structure, they also run as so many crevices through
the texture of the music, thus affecting its basic thematic
material. It is precisely these seemingly negative aspects
which are the truly forward-looking, prophetic features of
his work. For the development which was preordained for
the
tradition did not mean further progress
to still more colossal symphonic monsters, but it
lead to progressive fragmentation of material and
structure and
those minima of sonority which we shall encounter in
works. The fascination which
emanate is due to the fact that the foreshadowing of
backdrop that still shows the outlines of once unbroken
continuity in large areas.
In passing it may be mentioned that Eighth Sym-
and prevailing in his work from the
first movement of the
ceeds in
impetus that sweeps through this extremely long piece from be-
ginning to end. As much continuity as there is in the long chain
of attractive und grandiose details that form the second movement
of the symphony, it is more a consequence of faithfully following
than a product of musical
architectural planning.
We
analytical survey of the
just like most symphonies of
the classical type. But the
character and sequence of these move-
ments deviate conspicuously from the
traditional model. It will be remembered
that this model calls for a more or less dra-
matic first movement
trasts which are brought into agitated interplay.
slow, contemplative and lyrical second movement und a so-called Scherzo,
which emphasizes dance-like characteristics. The last movement then re-
leases the tensions built up so far in a playful mood and in very
fast tempo. This movement usually has the form of a rondo, a term
relating it to a similar structural design of poetry, in which one
recurring central idea alternates with two or more subordinate
ideas. It should be kept in mind that this scheme has never been
a strict rule according to which the individual efforts of the com-
posers could be classified as right or wrong.
no agency to set up rules except the artists themselves. Consequently
what appears to like
of a convention by which the majority of artists of a given period
durable and significant specimens constitute exceptions from
the rule.
The order of the four movements in
deviates from the traditional
nor very slow, and dramatic in an entirely different sense from
what the traditional models would offer. The second movement is
of the type of the old Scherzo inasmuch as it is dance-like. But it is pre-
vailingly slow and ponderous. The third movement is inscribed "Rondo", thus
anticipating the form usually reserved for the last movement. It is very fast,
but by no means in a light vein. In fact, it is as grim and dramatic
as anybody could wish an opening movement to be. The last move-
ment then is an Adagio of broad, expansive and
relaxation that was
ment.
In order to understand Mahler's unusual arrangement, we must
probe a litte deeper into the meaning of the structural procedures of the
symphonic style. The mainspring of the symphonic mechanism is the
contrast between statement of ideas and the development thereof. This
means, in other words, that on the one hand musical ideas, also called
themes, are
of stability. On the other hand, such themes are taken apart, its constit-
uent components are modified and brought into new contexts in a
continuous process involving swift changes of texture, moving from
one configuration to the next in fluid transition. The degrees of
stability and fluidity vary according to the concept of the whole. Usually
in the first, dramatic movement of the symphonic cycle, frequently de-
signated as Sonata form,
of fluidity, prevails while
the form of the rondo, are based on an alternation of more or
less clearly delineated ideas. Already in
we may observe that especially in his first movements the areas of
statement and development are not any longer as neatly separated
as in earlier phases of the style. His themes have been rather
aptly called "open-end" structures, that is to say, these themes are
hardly coming to conclusions which would correspond to the period
sign in literature. They so to speak
dashes, inviting immediate continuation, pointing to forthcoming
ideas, so that the character of developmental fluidity is spreading
out over the entire structure with points of solidity emerging
from the continuous flow.
This tendency leads to a state of affairs in which the traditional
concept of the Sonata form with its clear separation of statement
and development loses much of its earlier significance. The contrast
of stability and flow is not any longer reserved to this particular
form since fluidity becomes increasingly the nature of musical
utterance altogether.
It appears that in
related to the rondo that
characters, including the first movement in which this structural con-
cept is rarely found. Consequently this movement is most interesting
in terms of organization of ideas. In view of its extraordinary
length of nearly 30 minutes we shall present the opening and concluding
portions only which will give us sufficient insight in the expressive char-
acter of the music as well as its structure. It may be said that in
spite of the unusual expanse there are only two basic characters
which alternate with each other, which is quite astonishing. Much
shorter rondo forms
alternating with the principal statement.
If we call the two basic elements A und B, we find that
the complex A which opens and closes theappears
times, while the complex B has five
plan of the composition the consecutive entrances
of the two elements are progressively more elaborate and complex,
by means of the process which I discussed earlier as develop-
ment, that is of and
elongation of
such particles. This applies
which are much longer and more complex than the A-
sections. A being soothing, melancholy and prevailingly quiet,
while B tends to dramatic outbursts, this distribution of emph-
of its basically very moderate tempo.
We shall now hear a few brief examples which should
help us to identify later the context of the entire structure.
The first five bars of the work - obviously part of the complex
which we call A - reveal three
erable significance. The first is the halting
by violoncelli and French horn
brought out by the harp.
in again,
phrase which it will be good to remember. Here is the example.
meas. 1-5 (till the middle of the bar)
This is followed by the main substance of our A, a long drawn-out,
simple and haunting melodic line of the Violins, which the listener will
easily identify. I should like to call to his attention the frequent
gresses in very short phrases of rarely more than two or three tones.
This fragmentation of the material is an outstanding characteristic
of everything that goes into the complex A. The listener will ex-
perience the extraordinary expressive intensity and the unique mood
which is the result of this inspiration. As I mentioned earlier, it
is also typical of the late style of
some of the characteristic features of the musical language
to come.
Turning now to B, we observe in its opening phrase immed-
iately three aspects in which it differs from A. One: a different tonal
flavor (it moves into the minor mode and emphasizes other harmonic
combinations than those of A) Two: the melodic line has
continuity (it is not interrupted by rests), and Three; as compared
to A, there is more agitation, drive and dynamic expansion.
is themeas. 3 after the b signature - to 3 first beat (p 5)
Toward the end of this first
spite of its brevity quickly reaches a high pitch of intensity
we hear a short motif pronounced by the trumpets. The
repetition of its three
notes is extremely characteristic.
times later. Here it is:
three last bars on p. 7 (3 before return of [Key signature showing F# and C#])
and B. The second B rises to a vigorous climax und stops ab-
ruptly at its high point. This is followed by the halting rhythm
which we know from the first two bars of the work, now omni-
ously sounded by the heavy brass. The four-tone group which
had been heard at the beginning in the gentle tones of the
harp is now given over to the harsher sonority of
kettledrums, horns and trumpets. Here our first fragment
comes to an end. You hear now the opening section of
the first movement.
1st movement, till 1st bar on p. 20 (4 meas.
before 7, first half of meas.)
We now come in on the analogous situation which concludes the
fourth, enormously extended appearance of B. The high point of the
climax is considerably more powerful than the previous one. The
halting rhythm now takes on the character of catastrophic menace,
thunderously pounded out by the low brass. The composer indicates
a triple forte and adds "mit höchster Gewalt", with supreme force.
The four-tone phrase is again hammered out by kettledrums and
evokes in the ensuing transition the mood of a funeral march. Taken
over by the harps and the solemn, otherworldly sound of chimes, the four-
tone motif imperceptibly becomes the accompaniment of the gentle,
melancholy strains of A. The last reappearance of the passionate
B is suddenly interrupted by one of the strangest details of the symphony.
The musical process seems to disintegrate into inarticulate elements
of sound. A few isolated instruments, far apart from each other, wander
around aimlessly as if lost in the immensity of a suddenly empty
musical space. The fearful mood suggested here evokes, the similar
situation in the finale of the
The similar result is achieved here with purely musical means (that
is, without the stage effect of the faraway trumpets) and with a
much more advanced vocabulary. After this the music returns
slowly to the last, in time and space equally reduced statement
of A.
1st movement, 8th meas. before 15 p. 46 - to end
In a sense
conveyed by the whole work.
resignation, the later outbursts of passion and their interruptions
by the overwhelming blows of the halting rhythm assume the character
of flashbacks. Whatever the struggle the
been about, it is all over. The resignation
struggle was lost. The scope of the work, the intellectual effort that is
revealed through the originality of its every inspiration, ex-
of the last things of man, of death and what might come
The ensuing movements elaborate on the commanication set
forth by the first, adding forceful emphasis to its various aspects.
The second movement is, as mentiond before, dance-like. It is modelled
after the Ländler, the
aminated three-quarter time considerably slower than the waltz.
interpretation of this dance in the
the customary tempo, with the exception of the second idea,
progresses at a more lively pace.
slowness of the dance removes it from reality and lends it a dream-
like character, as if motion
sow-motion camera. We shall
this movement.
2nd mot., till last bar on p. 62, first two beats
From the faster moving second section we quote a section
which is important because its sequence of descending chords
is, in modified forms carried over into the third and fourth
movements. I also should like the listener to notice the quick
turn of a few notes at the end of the fragment to be now
heard,
figure will be of 2nd mot., p. 78, 3rd bar ("a tempo II") to 3rd bar
on p. 79 (first beat)
We shall now hear the third movement in its entirety.
It is
by
the new territory of dissonant counterpoint. The move-
ment is inscribed "Rondo. Burleske". It should be noticed that
the term "burlesque" in German carries none of the connotations
attached to it in present day American parlance. It rather
means bizarr, grotesque, grimly humorous. This Rondo consists
of three thematic complexes. The first is exceedingly aggressive
through the ruthlessness with which sharply dissonating
sounds are piled one onto the other. Again the phrases are
very short,
While
sighs, produces
animal, or the desperate gasps of a lost soul. The orchestration
too is progressive in that
upon artful blending and mixing of sonorities, but
allows the different
each other in bold juxtapositions. The texture is highly
polyphonic, that is the music consist of two or more melodic lines
progressing simultaneously, and these lines are so conceived that
they constantly rub each other in sharply dissonant combinations.
The overall impression is one of extroordinary ferocity.
The second theme of the rondo is somewhat more amiable. Its
bouncy, lilting melody grows out of one of the gruff figurations of the
first theme, reducing its speed to one half. The attentive listener will
notice that the sequence of descending chords underlying this little
tune is exactly the same as that which I brought to his attention in the
brief, second example from the Ländler movement.
The ferocious first theme repeated
renewed statement of the bouncy second theme. Here the French
horns deliver themselves of a bellowing ditty-like tune. The first
theme returns briefly, stopping on a sustained high note of
violins and flutes, which introduces the third theme. This again has
less consistency than the second, but its articulation is also different
from that of the first. While in the first theme the fragmentation of the
substance only
resistibly sweeps over the cracks and crevices, the third theme is
hang together. The standstill thus created is a powerful contrast
to the rapidity of the other themes. A few bars after the high tone ment-
ioned the trumpet sings out with the short phrase which is the main
substance of this thematic area. The listener might be able to recogn-
ize in it a slowed down version of the little conventional turn
which concluded our second example from the dance-movement.
This particular motive appears many times, faster and slower, at
various pitchlevels simultaneously, combined with fragments from
other places. The whole passage has a dreamy quality, and the various
fragments suggest dimly remembered images of reality passing through
the dreamer's subconscious mind. The fragments of the ferocious
first theme which appear among these images soon prove to be
tokens of reality. The aggressive rhythms of the first theme emerge
more distinctly, and soon it returns with its full violence, chasing
away the peaceful dream.
speed it carries the movement to is breathless, crashing end.
Here now is the third movement of Third movement, in its entirety
The fourth movement, an extremely slow Adagio, has the char-
acter of an epilogue, stressing the mood of peaceful resignation
which was indicated in the first movement. However the elements of
stuggle and suffering are absent, and thus the expression of resignation
is perhaps less heartrending, but by the same token less original and
thematic characters which are not meant to stress contrast but
are different only in texture und harmonic flavor,
mood. We shall hear the first statement of the first of the two
ideas. Even in the first bar we meet again the litte turn
which I traced from the second movement through the third. It
may be heard throughout the short section which shall presenting
in the middle and lower voices, now faster, now slower. But we
encounter here another familiar element: as soon as the full
string orchestra enters after two
violins only we hear again that sequence of descending chords
which I also traced back to the second movement. They are not
any longer bouncy or lilting, they are broad,
Let us now hear this opening passage of the fourth movement.
4th mot., beginning till meas. 11, first beat
Coming back for a moment to this little turn I have pointed
out several times, I should like to say that its use is quite
typical of
early romantic music will remember having heard this formula
many times
with whom it was a favorite idiom when he wanted to suggest
the overpowering upsurge of passion.
employed such elements of the early romantic tonal language.
In the surroundings into which he places such elements they
easily take on the character of archaic relics, standing about
features. I have always felt that in this respect anticipated some of the principles which much later became
identified with surrealism.
At the time when
is in [A]rnold Schoenberg
breakthrough into the unknown territory of atonality.
in similar ways. There will be elsewhere in this cycle ample op-
portunity for getting acquainted with the nature of these efforts
so that it is not necessary to pursue the matter at this time.
In a sense
symphony written in the grand style. To be sure, many orchestral works
of considerable length and scope were written since, many of them
bearing the title Symphony. But in the majority of these works the
monumentality of outline and the long breath, features which we
since
largely missing. This does not imply a shortcoming on the
part of their composers, a lack of genius, or a general de-
cline of creative abilities. It indicates that a phase of
musical history has come to an end and that the
characteristic properties of the new musical language
emerging at the beginning of our century made
composers to preoccupy themselves with different pro-
blems and new types if projects. What music seems to
have lost in this respect, it has gained in other directions,
as it has been the case at any of the numerous turning
points in the agitated history of occidental music.
The emotional impact and the intensity of its personal
manent human interest. The position of the work, at the
dividing line between two worlds of musical thought makes it
an historical landmark. The
ation and organization of musical ideas which is due
to both expressive intensity and historical position assure
the symphony of lasting value as a work of art.