I am doing a transcription of some of Krenek’s papers in preparation for a paper I am writing on his Solo Viola Sonata. \u00a0Below are some of the notes from the work I’m doing and an excerpt from the beginning of the transcription (I am not sure whether I am allowed to post it all.)<\/p>\n
Transcriber\u2019s Notes:<\/span><\/p>\n Below is a transcription of 3 pages of analysis that were written by Ernst Krenek in preparation for a lecture that was broadcast by KPFA in Berkeley, CA in August of 1957.\u00a0 The analysis is on Krenek\u2019s own Sonata for Solo Viola, op. 92\/3 (1942), which is published by Universal Edition.<\/p>\n In this transcription I have tried to leave everything as Krenek wrote it, down to the punctuation.\u00a0 This transcription is mainly for ease of reading for future researchers as Krenek\u2019s handwriting can be more difficult to read at some points.<\/p>\n I have also included images of the examples that Krenek cites, in some cases where he refers to a tone row in a piece, I have included the row and the excerpt of the row in its musical context.<\/p>\n Eric Lemmon, 2\/2\/2013<\/p>\n <\/p>\n Notes for KPFA<\/span>, Aug. 1957<\/p>\n Krenek Music, Berkeley<\/p>\n The Sonata for Viola solo was written in August 1942 at Bear Lake in the Rocky Mountains National Park of Colorado.\u00a0 In that time I was interested in adapting the twelve \u2013 tone technique, that 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.<\/p>\n The Sonata is based on two different twelve \u2013 tone rows which are constantly brought into variegated interplay until in the last movement they are integrated with each other.\u00a0 From the viewpoint of dodecaphonic procedure the treatment of the tone \u2013 rows may be called \u201cfree\u201d in that the order of succession of the tones is occasionally 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 kinship of the two tone \u2013 rows which originally seem to be quite different from each other.<\/p><\/blockquote>\n