The hermeneutic for understanding
(and hopefully enjoying) Austrian/American composer Ernst Krenek’s music is the
realization that his style is diverse. Virtually. every ‘ism’ in 20th
century music can be discovered in his massive catalogue. This ranges from
post-Romantic scores to electronic music, by way of atonality, serialism,
neo-classicism, jazz, and even aleatory techniques. It is just a question of
knowing the ‘aesthetic’ of the work in hand. And remember, that towards the end
of his life, his musical style began to synthesise several of these elements.
The Toccata and Chaconne, op.13 is a big work by any standards. Lasting for nearly 25 minutes, this piece had its origins in a ‘joke’ designed to fool musicologists and music critics. Krenek, and his friend the pianist Eduard Erdmann, created a subtitle for this piece, ‘…über den Choral ’Ja ich glaub’ an Jesum Christum’- ‘On the chorale, Yes! I believe in Jesus Christ.’ Alas, there is no such old Lutheran melody. It was simply a pattern of words made up by Erdmann to help him memorise the music. Yet, the title stuck. The ‘joke’ is described by the composer: ‘We anticipated that they of course would not bother to investigate whether any such chorale existed nor become suspicious on account of the utterly un-chorale-like melody which consisted of wide skips and chromatic progressions, and would indulge in remarks on my treatment, or mistreatment, as the case may be, of the ‘well-known’ chorale. It was not hard to predict that in this calculation we were absolutely right.’
The Toccata and Chaconne was
completed in 1922 and tends towards atonality. It is a powerful work, that
explores a wide variety of moods. Despite the ‘joke’ this is a work that could
well do much to encourage a timid listening public into coming to terms with a
musical style that is now at least a century old- and still detested by many
‘music lovers.’
This great work had a follow-on.
Using the same ‘chorale’ Krenek created a ‘Little Suite’, op.13a, presenting
the melody in several formal constructs – ‘Allemande’, ‘Sarabande’, ‘Gavotte’, ‘Waltz’,
‘Fugue’ and ‘Foxtrot’. I guess the ‘joke’ of the Toccata and Chaconne was
carried to the extreme here. It seems that some critics were ‘hostile’ towards
Krenek for the ‘blasphemous idea of dragging the sacred [!] theme through the
gutter of dissolute, obscene jazz rhythms, after having been defiled by the
‘cacophonous’ orgies of atonality.’ Unfortunately
for the composer, this ‘jest’ was later to cause him problems with the German
authorities. As for the music, this is a lovely suite. Full of delicious
clichés and parodies, it is entertaining from the first note to the last –
provided one knows the gag!
The Zwei Suiten, op.26 (1924) were dedicated to the great pianist Artur Schnabel. The movements in these suites are not given titles, only tempi instructions. Krenek does not deploy wit here so much as a serious reflection on ‘modern’ dance forms. Out go the ‘sarabande’ and the ‘gigue’, in comes the ‘Foxtrot’, the ‘Charleston’ and the ‘Tango’. Yet, it is the ethos of these dances that is explored: there is virtually no pastiche. This is serious music rather than flippant. Both Suites are worthy of the attention of contemporary pianists.
Of all the works on this CD, the Piano Sonata No.5, op.121 represents the composer doing his own thing. It was written in 1950, when the intelligentsia in Darmstadt and other centres of learning were endeavouring to evacuate music of any tonal references and attempting to organise every aspect of compositional technique by ‘integral serialism.’ What Krenek has done in this Sonata is to create a ‘serial’ work that is tightly controlled by the tone row. But he has not gone to the extent of total organisation that characterized the music of, say, Pierre Boulez at this time. Despite my best endeavours I have never really got my mind around ‘integral serialism’, I understand (to a certain extent) how it is ‘done.’ But I do not ‘get it’ as a form of musical expression. I imagine that precious few composers use this methodology these days. The whole project has passed into history as a lost cause. (Naturally, I stand to be corrected on this last statement!).
The liner notes explain that,
despite this work being highly ‘organised’, there are indeed ‘allusions both to
the thematic dualism of nineteenth-century sonata form, and to traditional
tonality itself (especially through the emphasis of the interval of a third,
and through the use of scalar passages on the ‘white’ keys of the piano across
all three movements).’ Krenek’s Sonata
is a success, And the reason is that his innate musicality has overcome the
demands of the ‘process’. He has created a work of art that uses ‘total’ organisation
but at socially distanced length! And a good piece it is too.
The final work on this CD, ‘Sechs Vermessene’, Op. 168 was written in 1958. The title can be literally translated as ‘Six Measures’. Yet the ethos of the work may require a subtler interpretation. ‘Vermessene’ can mean ‘measured’ (as in restrained or thoughtful) as well as ‘self-willed.’ These pieces do deploy ‘integral serialism’. This means that not only are the notes derived from the 12-tone series, but rhythm, dynamics, and density. Around the time that Krenek wrote the ‘Sechs Vermessene’ composers were beginning to experiment with aleatory (chance) music. Many felt that ‘integral serialism’ has reached an impasse. The liner notes explain that each ‘Measure’ ‘explores in epigrammatic fashion a rarefied aspect of musical structure…subject to serial organisation.’ Without the score and the tone row it is difficult to work out what is happening. But is appears that Krenek has crossed the line from ‘complete control’ into ‘improvisation’. These noticeably short pieces are often quite beautiful (in their own way) and can also be seen to nod towards ‘free-jazz.’
I enjoyed every piece on this
imaginative exploration of Krenek’s piano music. I have not heard Volume 1
(alas) in this cycle, however it has been reviewed
for these pages by Jonathan Woolf. The liner notes by Peter Tregear make
essential reading: I have relied on them heavily for my assessment of this
disc. Ernest Krenek certainly has a sympathetic campaigner in Ukrainian born
pianist Stanislav Khristenko.
I understand that only the Zwei
Suiten, op.26 is a ‘first recording.’ It is my loss that I have not heard these
pieces in other versions. Sadly, it would seem unlikely that this piano
repertoire will feature in many piano recitals in the United Kingdom. I look
forward to succeeding volumes in what I hope will eventually become a complete
cycle of Ernst Krenek’s piano music. Meanwhile, I must get myself up to speed
with this rewarding composer’s catalogue of music.
Ernst Krenek (1900-91)
Toccata und Chaconne über den Choral ’Ja ich glaub’ an Jesum Christum’, Op. 13 (1922)
Eine kleine Suite von Stücken über denselbigen Choral, verschiedenen Charakters, Op. 13a (1922)
Zwei Suiten, Op. 26 (1924)
Piano Sonata No. 5, Op. 121 (1950)
Sechs Vermessene, Op. 168 (1958)
Stanislav Khristenko (piano)
Rec. 3 and 4 January and 7, 8 and 29 March 2016 in the Clonick Hall, Oberlin Conservatory of Music, Oberlin, Ohio
TOCCATA CLASSICS TOCC 0399
With thanks to MusicWeb International where this review was first published.
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