Ernst Krenek
with Vivian Perils
Palm Springs, California
March 22, 1975
TABLE OF CONTENTS
Side a: pp. 1-15
Childhood in Vienna--education at the Catholic school of the Christian Brothers--studies with Franz Schreker (early composition, studies at the Academy of Music in Berlin)--met Busoni, Schnabel--family background (his father, grandmother, relatives)--early performances of works (Nuremberg, Berlin)--composers whose work he studied--Catholic background, marriage to Anna Mahler--lived in Switzerland, sponsored by Werner Reinhart of Winterthur--traveled to Paris, met Stravinsky, Milhaud, Honegger, Poulenc, George Antheil, Vincent Youmans--Jonny spielt auf, Die Zwingburg, The Leap Over the Shadow, marriage to Anna Mahler, association with Franz Werfel--Oskar Kokoschka, Orpheus und Eurydice (how it came to be)--meeting Hindemith, attitude to Nazis--writing libretti, literary works, opinion on drama--source of Kokoschka's Orpheus (love affair with Alma Mahler), reminiscences of Kokoschka.
Side b: pp. 15-30
Joined in conversation by Gladys Krenek--Harp Concerto for Edna Phillips--Kokoschka anecdote--writing own libretto--jazz and his view of America--position as Assistant to the Director of the opera house in Kassel; Jonny, its success and critical acclaim, misunderstanding, and style--Orestes and jazz idiom--The Golden Ram--Jonny: blackface? black man? European vs. American interpretation of Negro--Salzburg Jonny in the 60's--Regensburg Jonny--Recording without dialogue on Amadeo--first black performer 1968, Regensburg--Krenek conducted first Regensburg performance; photographs of scenery, production--views on opera in U.S., American attitudes about opera, translation--Orpheus, Psyche and Amor, Psyche's guarding Euridice--tape excerpt.
Side c: pp. 30-50
Talking about American singers in Europe (training, opportunities, etc.)--the Turetzkys--Edward Erdmann introduced Krenek to Schubert, an interest not very popular at the time--the result, Reisebuch song cycle, 1929--contact in Vienna with Alban Berg and Webern--an early meeting with Schönberg--early criticism of twelve-tone technique and Schönberg's reaction--a Viennese folk play, inspired by Karl Kraus, publisher of Die Fackel; unknown work, only libretto published--commission by Clemens Krauss, Director of the Vienna Opera to write an opera--Charles V, problems, politics, cancellation--Nazism and the prohibition of Krenek's music in Germany, cancellation in Vienna--political views and return to Catholic Church--arranging concerts of new music in Vienna--Jewish musicians, "Jewish audience"--Salzburg Opera Guild, formation and tour to U.S.; Krenek arrangement of Monteverdi Poppea--Hurok--trip to California, concerts, lectures--Nazi takeover and effect on Krenek's plans.
Side d: pp. 50-68
Immigration to the U.S.A., August 1938, via Canada--vacation in New Hampshire--starts American career in Boston at Conservatory of Mr. Malkin; Harold Shapero, first student--becoming familiar with different musical circles through Carl Engel, who sponsored Krenek's immigration (as did Mark Brunswick)--travels--commission to write a ballet for the Hartford Atheneum by Chuck Austin--for Trude Kaschmann and Alwin Nikolais--summer school at Michigan, appointment arranged by Joseph Brinkman--met Earl Moore, Glen McGeogh, Percival Price, and others and conducted the orchestra there--returned to Ann Arbor, summer 1940--in interim, engaged by Vassar--talks of Mr. Dickinson, organization, academia, tenure problems, teaching theory and composition--Hamline University, Minnesota, a contrast--started chapter of ISCM in Twin Cities, helped by Mitropoulos and Louis Krasner, concerts for students, Schnabel came, Kolisch Quartet--performance of Krenek Second Symphony by Mitropoulos and reaction by Board of Directors--summers of '41; '42; '43 at University of Wisconsin, Carl Bricken.
Side e: pp. 68-80
Self-Analysis, not part of Krenek autobiography; written in German for a Swiss publisher in 1948; English version, 1954, for New Mexico Quarterly--manuscript at Library of Congress covers through 1937, begun during World War II, 1942, stopped approximately 1952--attraction to Schubert's music related or unrelated to attraction to Schönberg--study of mathematics--historical relationship of music and mathematics--Here and Now, result of cycle of lectures in Vienna, 1936--serial principle, 12-tone technique--a distinction--article from Musical Quarterly--Lamentations at Hamline, Sixth Quartet, rotation technique--electronic music and measurement--Boulez Structures, Stockhausen--Sestina--Quaestio temporis.
Side f: pp. 81-92
Electronic music and serial composition--Milton Babbitt--talks about "premeditated but unpredictable"--Ligeti--teaching twelve-tone technique--interest in musicology--unfortunate disinterest of musicologists in contemporary composition--with exceptions like Lowinsky and Gustave Reese--closed minds of Bukofzer and Dickinson and others--decision to leave Minnesota--arrival in California 1947 (Los Angeles until '66)--relationship with Schönberg: Krenek as godfather to Schönberg's son, religious life of Schönberg children, Schönberg's temper and disposition--views on teaching.
Side g: pp. 92-105
Teaching in veterans' school with curriculum prescribed by Veterans' Administration--education courses--compositional method and work habits--considerations of returning to Europe after the War--Krenek as American citizen, traveling back and forth to Europe, yet not an American composer officially--limited interest in contemporary music in America, commercialism of television and radio versus Europe--European radio, radio orchestras, rehearsal schedules--Krenek's mother and father, after his immigration--being an American composer?--Bell Tower--Moog and Buchla.
Side h: pp. 105-107
Plays Holliger tape--piece written '7l-'73--electronic tape version, where tape replaces orchestra--plays portion.