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for tenor soloist, choir, and orchestra. From the mid-'20s on, he also wrote music for plays given by Moscow's Jewish Drama
Theater. There is also a large amount of music that is either purely classical in design or Soviet in nature. In the latter category are works like the revolutionary opera
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in 1870) was a noted violinist. All of the seven Krein brothers received their first musical training from him and became musicians; Alexander and
Grigori made names for themselves as composers, David gained a strong reputation as a violinist. Of the three Krein family composers, Alexander, his
201:, the music section of a newly formed ministry of arts and education. Throughout the 1920s, Krein was widely regarded as the leader of a Jewish national school in Russia (which included his brother Grigori and his nephew Julian). Among those he influenced were minor composers such as
229:. Krein's own Jewish heritage was a constant source of inspiration; there are a number of instrumental works whose titles bear quite obvious witness to this, such as the Caprice Hebraique, Op. 24, and the Jewish Sketches for clarinet and string quartet. In 1921, he composed
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brother
Grigori, and Grigori's son Julian, it is Alexander who composed the most music and thus to whom the most attention has been paid. After decades of posthumous neglect, however, his very name seems to have disappeared from international reference books.
209:, he held a variety of official and semi-official music administration posts. He died April 1951 in Staraya Ruza. His son, Alexander Kron, was a Soviet playwright.
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Krein's pioneering spirit had led him to incorporate the intonations and styles of both sacred and secular
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Alexander Krein 3 Sketches on Hebrew Themes for
Clarinet Quintet, Op.12 Soundbites and discussion
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where his studies included cello classes with
Alexander von Glehn and composition lessons with
342:(Орнаменти, Три песни без слов), 3 Songs without Words for voice and piano, op. 42 (1924/1927)
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for clarinet and string quartet, op. 12 (1914, reprinted 2008 by
Edition Silvertrust)
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In 1896, at the early age of 14, Alexander Krein entered the
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into a relatively advanced idiom that was as influenced by
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2 Pieces on
Turkish Themes, for solo piano Op.46 (1941)
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for Mixed Choir and large orchestra, op. 40 (1925–1926)
280:(3 Songs from the Ghetto) for soprano and piano, op. 23
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Symphony No.1 for large orchestra, op. 35 (1922–1925)
138:Александр Абрамович Крейн; Aleksandr Abramovich Kreyn
321:(2 Hebrew Songs) for voice and piano, op. 39 (1926)
193:in 1901. During the years immediately prior to the
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378:Jonathan Powell. 2003. Liner notes of the CD
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250:for viola and piano, op. 2a (1902–1911/1927)
274:for violin, cello and piano, op. 16 (1913)
160:tradition; his father Abram (who moved to
404:International Music Score Library Project
234:Zagmuk (1930), the Threnody in Memory of
117:Learn how and when to remove this message
144:– 25 April 1951 in Staraya Ruza, Moscow
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225:as it was by the music of his friend
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382:on ASV / Sanctuary Classics DCA1154.
189:. His first works were published by
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333:for violin and piano, op. 41 (1927)
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262:for string quartet, op. 9 (1909)
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400:Free scores by Alexander Krein
205:. After the formation of the
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130:Alexander Abramovich Krein
20:Kreyn Aleksandr Abramovich
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293:Eine Träne (1915–1916)
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380:Songs from the Ghetto
140:; 20 October 1883 in
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354:, opera (1929–1930)
325:Trauer-Ode to Lenin
319:2 Hebräische Lieder
315:Piano Sonata (1925)
278:3 Lieder des Ghetto
179:Moscow Conservatory
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367:References
152:Background
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359:Laurencia
340:Ornamente
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248:Prologue
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