Ernst Krenek (1900-91), known primarily for his jazz-infused opera Jonny spielt Auf, completed his Violin Concerto No. 1 in 1924. Composed for the violinist Alma Moodie, the concerto reflects Krenek’s adoption of neo-classicism, among other compositional styles in vogue at the time. Stravinsky’s innovations make their appearance, but so do Schoenberg’s as the musical language skirts along the edges of atonality. The concerto is in a single movement with three clearly distinguishable sections: a first part based on a violin theme that sounds like a corrupted scale; a slow central section; and a “finale” that reprises the introductory material. The slow “movement” is the heart of the piece, with its strange, Bergian beauty in the solo part and Wagnerian woodwind chorales.
The Double concerto for Violin, Piano, and Small Orchestra was composed in 1950 after Krenek had retreated somewhat from his strict adherence to 12-tone techniques. Even so, this is “hardcore” atonality–no compromises here. Get out your harmonic slide rules, ’cause this one’s strictly by the book. Interestingly, the piece is scored like a Mozart concerto, with many translucent passages of great delicacy in the orchestra, while the solo writing is brilliant and highly accomplished. Violin Concerto No. 2, from 1954, is the longest (32 minutes) and in some ways the most ambitious work on the disc. The language is still stridently atonal, but Krenek employs a large orchestra and has conceived his three movements along broad symphonic lines. From the sad waltz of the first movement to the march-like finale, the character of the music is primarily elegiac, with the solo violin weaving silken threads throughout. Krenek’s concerto is similar in mood to Berg’s masterpiece in this genre, though it is far less ingratiating harmonically.
Violinist Peter Rosenberg is astonishingly secure in all three of the difficult solo parts, managing to sound emotionally involved while meeting the music’s many challenges. His brother Gabriel Rosenberg is no less accomplished in the piano part for the Double Concerto. Florian Merz’s full immersion in Krenek’s music is evident by his penetrating and sympathetic performances with the Bamberg Symphony. Koch’s full sound is beautifully and naturally balanced. This is for curious, 20th-century German music aficionados, and for those who like their coffee black.
