Gerald Strang: Sonatina for Clarinet

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    Titel Gerald Strang: Sonatina for Clarinet
    Spieldauer 00:04:26
    Urheber/innen Strang, Gerald [Komponist/in] [GND]
    Mitwirkende Newlin, Dika [Komponist/in] [GND]
    McBride, Robert [GND]
    New Music Quarterly Recording [Label]
    Datum 1937 [Bezugsdatum]
    Ort Long Beach, Wohnhaus / residence Gerald Strang [Ortsbezug]
    Schlagworte Musik ; E-Musik ; Instrumente - Klarinette ; Instrumentalmusik - Sonate, Sonatine ; Instrumentalmusik - Solostück ; Publizierte und vervielfältigte Aufnahme
    20. Jahrhundert - 30er Jahre
    Typ audio
    Format SCS [Schallplatte, Schellack]
    Sprache Englisch
    Signatur Österreichische Mediathek, e11-00646_b01_k02
    Medienart Mp3-Audiodatei
    Arnold Schönberg, Gerald Strang and Mark Strang at Brentwood, Arnold Schönberg Center, CC BY-SA 3.0 AT

    Arnold Schönberg, Gerald Strang and Mark Strang at Brentwood, Arnold Schönberg Center, CC BY-SA 3.0 AT

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    Arnold Schönberg’s first work to be published in the US in April 1932 – around 18 months before he emigrated there – was the “Piano Piece” op. 33b in Henry Cowell’s publication series, the “New Music Quarterly”. In late 1933 Cowell launched the New Music Quarterly Recordings, the first record label that was mainly dedicated to contemporary US music. In 1937 the label released the “Sonatina for Clarinet Solo” by Gerald Strang, “an uncommon musician of the strongest integrity” (Leonard Stein, 1983). Strang started lessons with Schönberg soon after the latter moved to California, and later became his assistant, publisher of a posthumous textbook by Schönberg (“Fundamentals of Musical Composition”, 1967), and finally acoustician for the concert hall in the Arnold Schoenberg Institute (Los Angeles), predecessor to today’s Arnold Schönberg Center in Vienna. The Sonatina was written in 1932 before he started studying with Schönberg. Strang later remarked: “Most of the work the students did with him was conventional theoretical training and an awful lot of counterpoint. I can’t remember any student ever having actually finished a composition during the course of a particular class simply because, of course, Schönberg was careful about every little detail. [...] Eventually his students produced, but they produced afterwards, after having gone through the experience rather than during it.” (Gerald Strang, 1975) (Text: Arnold Schönberg Center)

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