Jonathan Lennie, Time Out, 13 November 2009
As Vladimir Jurowski curates a festival dedicated to Alfred Schnittke, Time Out talks to the conductor about the composer’s legacy.
By the time of his death in 1998, Alfred Schnittke had become regarded as one of the major composers of the late twentieth century. The reason? His unique position both culturally and musically, engendering an eclectic sound-world – combining the tonal language of earlier Western music with the idioms of his time (such as 12-tone serialism). This gained him a reputation for “polystylism”, which became a defining feature of his work.
His distinctive sound and technique may be traced to his background. He was born to German/Jewish parents, and lived in Vienna until he was 12, before his family returned to Soviet Russia. As much of his work was banned (as decadent Western formalism), it instigated an explosion of interest and mass programming of his music after perestroika in 1980s Russia, where he was regarded as the natural successor to Shostakovich. Yet, over here, despite a four-day Schnittke festival at the Barbican in 2001 (care of the BBC Symphony Orchestra) and the odd appearance (his oratorio “Nagasaki” was presented by the LSO at this summer’s BBC Proms), he remains somewhat obscure. Someone who aims to put that right is Vladimir Jurowski, who has curated “Between Two Worlds”, a festival exploring Schnittke’s life and works. The mercurial principal conductor of the London Philharmonic Orchestra (and director of Glyndebourne) is well suited to the task, having himself experienced the same dual cultures – he was born in Moscow in 1972, then moved to Germany in 1990, where he studied and still lives.
“This is a very personal thing – you have to perform the music in which you believe. My whole philosophy on this series is that I am trying to set the composer in context. So Schnittke is never peformed on his own – there are works by his influences Haydn, Wagner, Webern and Berg. I hope it will give audiences the chance to see not just another twentieth-century composer, but an indispensable part – maybe the last link in the chain – of what we call the European tradition.”
Are Schnittke’s roots in German music rather than Russian?
“What simply springs out of his music is that this is a German composer at work, but also someone who has been very influenced by his life in Russia. I think Schnittke’s position is unique – until he was12, he studied piano with a private teacher in Vienna, so his roots are Schubert, Mozart and Haydn, not Tchaikovsky, Rachmaninov and Borodin – something he added later.”
Schnittke said: “Faust is the theme of my whole life.” Why?
“Faust is an archetype of European culture and a problem of the European intellectual, and Schnittke certainly felt himself part of this intellectual and spiritual tradition … he was someone growing up in a cultural vacuum.”
Are all his works polystylistic?
“No, polystylism is something that he has developed as an idea in the middle period of his life. Basically it came from his very active involvement with the writing of film scores, which was the only secure way of making a living in Russia at the time as a composer. He realised about the mid-1970s that his affinity with music for entertainment was as strong as his affinity with more radical, experimental stuff. Either he would waste the rest of his life trying to reconcile them, or hiding one from another, or find a way of bringing them together under the same roof.”
Why is he a great composer?
“Schnittke has been through various phases – he has written strictly serialist works and strictly tonal works and so-called “polystylistic” pieces, but I find in his best works, and even at his worst, he remains absolutely recognisable Schnittke, and that is a rare gift.”