JAVS Spring 2010

Page one of the original manuscript of the Sonata for Viola (photo courtesy of Gladys Krenek, with permission of Library of Congress, Music Division)

ic systems of Webern and Schoenberg through inno vations made by Krenek to pre-established twelve tone techniques. The first movement can be summed up as a study in compression, as all contributing ele

United States. The sonata is in four movements and employs what can be described as a free serialized har monic language. Pre-dating Krenek’s post-serial idiom of the 1960s, this work relaxes the strict dodecaphon

J OURNAL OF THE AMERICAN VIOLA SOCIETY 38