JAVS Spring 2010

E RNST K RENEK AND THE V IOLA : N EW D ISCOVERIES IN THE M ODERN R EPERTOIRE

by Brett Banducci

In 2008 I found myself in the glam orous Southern California resort/retirement town of Palm Springs, playing viola in a chamber music concert. At the reception fol lowing the concert, one of my col leagues pointed out a petite and probing woman: “That’s Gladys Krenek!” Having just started my master’s degree in composition, I was searching for a thesis idea that was both rewarding and musically impor tant; something that would actually make a difference and be used by performing musicians. I suddenly had a vision of the subject of my the sis. I quickly ran up to Mrs. Krenek—the widow and former stu dent of Ernst Krenek and a brilliant composer herself—and without as much as a proper introduction blurt ed out my not-well-thought-out plan, “I’d like to research Krenek’s works for viola for my master’s the sis.” Somewhat stunned and taken aback, she soon became excited about my enthusiasm. We spoke at length for the duration of the recep tion, and I am happy today to count Mrs. Krenek as one of the musical treasures of my life. One can imagine my excitement when the Library of

Ernst Krenek, c. 1930 (photo courtesy of Nationalbibliothek Wien)

feature the viola. In chronological order, these works are: Sonatina for Flute and Viola, op. 92, no. 2A

Congress sent a facsimile of the original manuscript of the Sonata for Viola—at Mrs. Krenek’s request—only a couple of weeks after our meeting. The project was off and running!

Sonata for Viola [solo], op. 92, no. 3 Sonata for Viola and Piano, op. 117

Initially it was my plan to research and include the Sonata for Viola, op. 92, no. 3 and the Sonata for

Krenek composed three chamber works that prominently

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