Kanitz (Ernest) Papers Edit




  • circa 1921-circa 1968 (Creation)


  • 35 Linear Feet (Whole)
    35 boxes

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  • Abstract

    Books, scores, recordings, and correspondence of Austrian emigre composer and teacher Ernest Kanitz (1894-1978).

  • Preferred Citation

    [Box/folder# or item name], Ernest Kanitz Papers, Collection no. 0196, Special Collections, USC Libraries, University of Southern California

  • Conditions Governing Access

    COLLECTION STORED OFF-SITE: Advance notice required for access.

  • Biographical note

    Ernst Kanitz was born April 9, 1894 in Vienna. He studied law at the University of Vienna (J.D. 1918), but Kanitz continuously devoted himself to the systematic study of piano, theory and composition with R. Heuberger (1912-1914) and Franz Schreker (1914-1920). Early successes as composer [principally the premiere of the oratorio Das Hohelied (1921)] aided his musical career, which also led to teaching. Beginning in 1922, he was a Professor of Theory and Analysis at the New Vienna Conservatory, numerous private students in composition. In 1930 Kanitz founded the Vienna Women's Chorus, with which he brought new choral music to the public in Vienna, Paris, Brno and Budapest. The chorus remained in existence until Kanitz's emigration to the United States in 1938.

    Kanitz was not alone when he came to the United States in July 1938. His wife, Getrude Reif, came along with their three children, Elizabeth (born ca. 1922), Tom (born ca. 1924) and Mary Bridget (born ca. 1926). Gertrude must have also been interested in the study of music just as Ernest was, as many of the music scores in his collection originally belonged to her during the 1910s. Despite the complications that undoubtedly were involved in uprooting a family of five, they seem to have settled in quickly to a home in South Carolina. Also in 1938, Kanitz embarked on the first step in an extended teaching career, first at Winthrop College in Rock Hill (1938-1941) and then as Head of the Music Department of Erskine College (1941-1944). He also appeared as conductor of various women's choruses and student orchestras. By the early 1940s, almost all members of the family had obtained American citizenship. In 1943, Kanitz's Elizabeth married an American soldier; his son Tom joined the army and worked as a photographer throughout World War II.

    Things changed significantly for Kanitz after his wife passed away from Hodgkin's disease in 1944. Soon afterward, he went to Los Angeles in the summer of 1944. While it was initially intended to be a short vacation, after a brief time in the city he decided instead to resign from his position at Erskine and try to make a living as a composer and teacher in southern California. His youngest daughter, Mary Bridget, joined him and found work in Los Angeles. It was a difficult first year as Kanitz tried to establish a career in the highly competitive field of film scoring, and he lived mostly off of some freelance work and private music lessons, but his persistence and diligence prevailed by 1945. When Ernst Toch took a summer off from teaching at USC due to illness, Kanitz was invited to take his place. By November 1945, he was appointed to the faculty at the USC school of music, where he taught composition and counterpoint until his retirement in 1959 (he returned as a guest professor there in 1960/1961).

    From 1961-1964 he taught at Marymount College in Palos Verdes, California; then he devoted himself exclusively to private teaching and composition, activities which were severely restricted in 1967 by diminishing vision. Kanitz died in Palo Alto, CA in 1978.

    His compositions include: -Chamber operas (Room No. 12, Royal Auction, Perpetual)

    -Orchestral works (Gay Ouverture, Motion Picture, Concerto Grosso for wind instruments, strings and piano; Concert Piece for trumpet and orchestra or piano, Concerto for Chamber Orchestra (1955); Visions At Twilight for flute, piano and strings (1962); Concerto for Bassoon and Orchestra (1962); Sinfonia Seria (first symphony, 1963), Second Symphony (1965); Sinfonia Concertante (third symphony) for violin, cello and orchestra (1967); Sinfonietta da Camera (1972))

    -Chamber music (works for solo instruments, 4 duos, 3 trios, 2 string quartets, 3 quintets and one sextet)

    -Works for voice (Das Hohelied (Christian Morgenstern), oratorio for four solos, mixed chorus and orchestra (1920; 1921); Music of Our Time, chamber cantata for baritone, women's chorus and chamber orchestra (1932); Evening Festival for Radio for soprano solo, two guitars, two pianos and orchestra (1934); Ballet Music for women's chorus and orchestra (1936); Gotthelf Schlicht, cantata for solos, mixed chorus and orchestra (1937); choral works and songs with piano accompaniment).

    He also published A Counterpoint Manual: Fundamental Techniques of Polyphonic Music Writing (Boston, 1948). The critic Rudolf Klein wrote: "Color, complex tonality which expands to the extreme when the occasion arises, and freedom from systems are the most outstanding characteristics of Kanitz' later works. In keeping with European tradition, melody, harmony and texture unite to produce a personal synthesis, whereby the romantic richness and impressionistic influences of his teacher Schreker had been overcome at an early time. The music of Kanitz likes quietude, discretion, often also the agile; it may be formally counted among that stylistic direction which stemmed from the symphonic thought of Viennese tradition and was carried on in the twentieth century by Arnold Schoenberg. In this respect Kanitz' orchestral works are of particular importance. His works have been performed internationally by leading orchestras and conductors, such as Josef Krips (2 world premieres), Zubin Mehta, Eleazar de Carvalho, Herman Abendroth, Clemens Kraus, Richard Hagen, Carl Schuricht, Franz Schreker, Eugene Ormandy, and many others."

  • Conditions Governing Use

    All requests for permission to publish or quote from manuscripts must be submitted in writing to the Manuscripts Librarian. Permission for publication is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained.


  • Type
    sheet music
    Container 1 Type
    Container 1 Indicator