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‘Threni’: Stravinsky's ‘Debt’ to Krenek

Published online by Cambridge University Press:  04 February 2010

Clare Hogan
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Extract

That both Stravinsky and Krenek composed a setting of the Lamentations of Jeremiah is not in itself especially startling, for it had been done before and has been done since. In his Conversations Stravinsky says that he was already familiar with Palestrina's complete service, as well as the other Lamentations of Tall is and Byrd. (He does not mention Krenek along with these, but acknowledges him elsewhere.) Stravinsky and Krenek both made selections from the Vulgate of the Lamentations: Stravinsky from chapters I, III, and V and Krenek from those sections which are used at a Catholic service on Maundy Thursday, Good Friday, and Easter Saturday. Both works are structurally tripartite, and both treat the Hebrew letters separately from the text.

Type
Research Article
Information
Tempo , Issue 141: Igor Stravinsky 17 June 1882 - 6 April 1971 , June 1982 , pp. 22 - 29
Copyright
Copyright © Cambridge University Press 1982

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References

1 Dialogues and a Diary, p. 103.

2 For a discussion of further similarities, both musical and structural, see the author's M.A. thesis, University of Keele.

3 Craft, Robertdescribes such a visit in Retrospectives and Conclusions, diary entry 22 05 1958Google Scholar.

4 See M.A. thesis op cit., for complete row analysis of Threni.

5 See The Music of Albon Berg by Douglas Jarman (Faber 1979).

6 See ‘Thematicism in Abraham and Isaac’, TEMPO 89, Summer 1969, p. 13Google Scholar.

7 Perspectives New Music Spring/Summer 1966. Remarks on the Recent Stravinsky.

8 Perspectives on Schoenberg and Stravinsky—edited , Bortez and , Cone (W. W. Norton & Co., 1972)Google Scholar.