Uploaded November 2019 | Updated September 2026, 5 days ago
Ernst Hermann Meyer was born in Berlin. He received his first piano lessons at the age of six, and started composing at eleven. After finishing school, he worked as an apprentice at a bank, and in 1926 he started the advanced study for music at Heidelberg University, where in 1930 he completed his Ph.D. on the 17th century chamber music of North German composers. He became a pupil of Hanns Eisler. Being a Jew, he emigrated to the United Kingdom in 1933 to avoid detention by the Nazi Party; there he eventually became a close friend of leftist composer Alan Bush. In the UK, he researched English chamber music of the 17th century and lectured for the Workers Educational Association. In 1939 he began lecturing at Bedford College, London; in 1945 he was given a guest professorship at King's College, Cambridge.
Meyer returned to East Germany (GDR) in 1948 and became one of the most influential figures of music culture there. He was active politically as a communist, and his works include choral, orchestral, and chamber music written to display commitment to Marxist–Leninist ideals. In 1982 the second edition of his book Early English Chamber Music was published.
Meyer was head of the German Society of Composers and Musicologists and professor of musicology at Berlin's Humboldt University.
Honors and awards:
1952 Nationalpreis der DDR III. Klasse für Kunst und Literatur (im Kollektiv „Das Mansfelder Oratorium“)
1955 Vaterländischer Verdienstorden in Silber
1961 Artur-Becker-Medaille
1962 Händelpreis des Bezirkes Halle
1963 Nationalpreis der DDR I. Klasse für Kunst und Literatur
1964 Johannes-R.-Becher-Medaille in Gold
1964 Verdienstmedaille der DDR
1965 Ehrendoktorwürde der Martin-Luther-Universität Halle-Wittenberg
1966 Erich-Weinert-Medaille
1969 Banner der Arbeit
1971 Vaterländischer Verdienstorden in Gold
1975 Medaille für Kämpfer gegen den Faschismus 1933 bis 1945
1975 Nationalpreis der DDR I. Klasse für Kunst und Literatur
1980 Karl-Marx-Orden
1985 Ehrenspange zum Vaterländischen Verdienstorden in Gold
Ernst Hermann Meyer was born in Berlin. He received his first piano lessons at the age of six, and started composing at eleven. After finishing school, he worked as an apprentice at a bank, and in 1926 he started the advanced study for music at Heidelberg University, where in 1930 he completed his Ph.D. on the 17th century chamber music of North German composers. He became a pupil of Hanns Eisler. Being a Jew, he emigrated to the United Kingdom in 1933 to avoid detention by the Nazi Party; there he eventually became a close friend of leftist composer Alan Bush. In the UK, he researched English chamber music of the 17th century and lectured for the Workers Educational Association. In 1939 he began lecturing at Bedford College, London; in 1945 he was given a guest professorship at King's College, Cambridge.
Meyer returned to East Germany (GDR) in 1948 and became one of the most influential figures of music culture there. He was active politically as a communist, and his works include choral, orchestral, and chamber music written to display commitment to Marxist–Leninist ideals. In 1982 the second edition of his book Early English Chamber Music was published.
Meyer was head of the German Society of Composers and Musicologists and professor of musicology at Berlin's Humboldt University.
Honors and awards:
1952 Nationalpreis der DDR III. Klasse für Kunst und Literatur (im Kollektiv „Das Mansfelder Oratorium“)
1955 Vaterländischer Verdienstorden in Silber
1961 Artur-Becker-Medaille
1962 Händelpreis des Bezirkes Halle
1963 Nationalpreis der DDR I. Klasse für Kunst und Literatur
1964 Johannes-R.-Becher-Medaille in Gold
1964 Verdienstmedaille der DDR
1965 Ehrendoktorwürde der Martin-Luther-Universität Halle-Wittenberg
1966 Erich-Weinert-Medaille
1969 Banner der Arbeit
1971 Vaterländischer Verdienstorden in Gold
1975 Medaille für Kämpfer gegen den Faschismus 1933 bis 1945
1975 Nationalpreis der DDR I. Klasse für Kunst und Literatur
1980 Karl-Marx-Orden
1985 Ehrenspange zum Vaterländischen Verdienstorden in Gold

![Villa-Lobos, String Quartet No. 5 (1931), ii. Vivo e energico, Lento, Tempo Primo
I love to write quartets. One would say that it is a mania. Heitor Villa-Lobos made this confession, quoted by Pierre Vidal, in Paris in the spring of 1958. He had completed his seventeenth and final quartet the year before and had begun to sketch an eighteenth. Villa-Lobos attributed his knowledge of the string quartet to his study of Haydn.
The period from 1917 to 1931 saw the creation of major orchestral works, among them Uirapu, Amazonas and the six orchestral Choros. Much of that time was spent in Paris, where Villa-Lobos came in contact with Ravel, Dukas, Falla, Schmitt, Honegger, Stravinsky, Prokofieff, Casella and Varèse. His return to the string quartet in 1931 produced one isolated example, the fifth, or Quartetto Popular No. 1, among the most immediately appealling of all Villa-Loboss quartets and at the same time one of the most inventive. Its firm tonal sense and clearly drawn melodies, some of popular origin, coexist with extraordinary creativity and imagination. Departing from the composers usual and simpler tenary pattern, the quartets first movement consists of seven parts, arranged to suggest an overall tripartite structure. The second movement (presented in this installment) borders on the miraculous [we agree]. To begin, it quotes the first part of a nursery tune, cai, cai baiao, in dazzling fashion with descending scales and polyrhythms. Modulation from F major to d minor brings a soulful melody (foreshadowed in the first movement right after the modinha), while fantastic sul ponticello effects and swirling figurations screate an air or profound mystery.
The Danubius Quartet was established in 1983 under the artistic direction of the distinguished violinst Vilmos Tatrai, and has won awards in Trapani, Evian and Graz. Villa-Lobos, String Quartet No. 5 (1931), ii. Vivo e energico, Lento, Tempo Primo](https://i.ytimg.com/vi/LsKZ4-0IyTk/mqdefault.jpg)





![Ernst Krenek, Drei Lieder op. 216
In the fall of 1972 Krenek wrote three Songs for Soprano and Piano op. 216, with lyrics by the Tylroean poet Lilly von Sauter. Krenek gently and discretely translates her images into flexible, transparent sound. The second poem (whose interior rhymes resemble the verses on peasant calendars) and the third text (with its explanatio of the nights astronomy) find their equivlent in the musics relaxed, clear part writing that nevertheless owes its simplicity to the multi-layered calculation. Due to the seemingly fleeting, but actually very elaborate mosaic-like way of composing, the vaguely remembered sounds of coherent motives dervied from tonal triades and dense twelve-tone figures never seem to take too much effort. Their search for the inexpressible is expressed insound at the threshhold of silence that circles through fields of silence.
Krenek was born in Vienna as the son of a Czech soldier in the Austro-Hungarian army. Throughout his life, however, he insisted that his name be written Krenek rather than his fathers Křenek, and that it should be pronounced as a German word. He studied there and in Berlin with Franz Schreker before working in a number of German opera houses as conductor. During World War I, Krenek was drafted into the Austrian army, but he was stationed in Vienna, allowing him to go on with his musical studies. In 1922 he met Alma Mahler, wife of the late Gustav Mahler, and her daughter, Anna, whom he married in March 1924. That marriage ended in divorce before its first anniversary.
At the time of his marriage to Anna Mahler, Krenek was completing his Violin Concerto No. 1, Op. 29. The Australian violinist Alma Moodie assisted Krenek, not with the scoring of the violin part, but with getting financial assistance from her Swiss patron Werner Reinhart at a time when there was hyper-inflation in Germany. In gratitude, Krenek dedicated the concerto to Moodie, and she premiered it on 5 January 1925, in Dessau. Kreneks divorce from Anna Mahler became final a few days after the premiere. Krenek did not attend the premiere, but he did have an affair with Moodie, which has been described as short-lived and complicated. He never managed to hear her play the concerto, but he did immortalize some aspects of her personality in the character of Anita in his opera Jonny spielt auf. In 1924, Krenek also dedicated his Sonata for Solo Violin, Op. 33 to Alma Moodie, and his Kleine Suite, Op. 28 (1924) to Reinhart.
His journalism was banned and his music was targeted in Germany by the Nazi Party beginning in 1933. On March 6, one day after elections in which the Nazis gained control of the Reichstag, Kreneks incidental music to Goethes Triumph der Empfindsamkeit was withdrawn in Mannheim, and eventually pressure was brought to bear on the Vienna State Opera, which cancelled the commissioned premiere of Karl V. The jazz imitations of Jonny spielt auf were included in the 1938 Degenerate art exhibition in Munich. Nonetheless, despite protests by conservatives and the fledgling Nazi party, that work was a great success in Kreneks lifetime, playing all over Europe and becoming so popular that even a brand of cigarettes, still on the market today in Austria, was named Jonny.
In 1938 Krenek moved to the United States of America, where he taught music at various universities, the first being Bassar College. He later taught at other institutions including Hamline University in Saint Paul, Minnesota from 1942-1947. There he met and married his third wife, his student and composer Gladys Nordenstrom. He became an American citizen in 1945. He later moved to Toronto, Canada where he taught at The Royal Conservatory of Music during the 1950s. His students included Milton Barnes, Lorne Betts, Samuel Dolin, Robert Erickson, Halim El-Dabh, Richard Maxfield, Will Ogdon, and George Perle. He died in Palm Springs, California. In 1998 Gladys Nordenstrom founded the Ernst Krenek Institute and in 2004 the private foundation Krems die Ernst Krenek in Vienna, Austria.
Krenek abandoned the neoromantic style in the late 1920s to embrace Arnold Schoenbergs twelve-tone technique,[8] the method exclusively employed in Kreneks opera Karl V (1931 33) and most of his later pieces. His most uncompromising use of the twelve-tone technique was in his Sixth String Quartet (1936) and his Piano Variations (1937). In the Lamentatio Jeremiae prophetae (1941 42) Krenek combined twelve-tone writing with techniques of modal counterpoint of the Middle Ages. Ernst Krenek, Drei Lieder op. 216](https://i.ytimg.com/vi/Mq4xAbU3Kio/mqdefault.jpg)


