Alfred Harrievich Schnittke (1934-1998)

Connoisseur of Chaos

Posted in Articles by R.A.D. Stainforth on May 18, 2010

Alex Ross, The New Republic, 28 September 1992

In November 1938, when a dark-hued and dissonant work by the late Ernst Krenek was performed in Boston, the audience responded more generously than might have been the norm in a less dark-hued and dissonant time. A Brahmin matriarch turned to her companion and observed: “Conditions in Europe must be dreadful.” That casual remark anticipated a mode of music appreciation that has become increasingly dominant in recent years. Twentieth-century scores have been reduced to bulletins from one crisis or another, soundtracks to history’s docudrama. Symphonies become invasions; string quartets turn into hidden diaries.

Music composed during the brief and spectacular lifetime of the Soviet Union is especially vulnerable to historically minded readings. Shostakovich is the most obvious target; he first advertised his works as affirmations of the regime, then privately advised us of alternative, subversive programs. Either way, he allowed his music to be relentlessly politicized. During the past twenty-five years, composers in what is now Russia and the other assorted republics have also spoken out in a certain “tone”, a voice now impersonating the Evil Empire’s interminable decadence. Anarchic and synthetic, nostalgic and visionary, cynical and serene, music in the Brezhnev era was an overflowing midnight harvest, a classic End-Zeit which might one day draw comparisons to Gustav Mahler’s Vienna or to Berlin and Paris between the wars. The government that once made Shostakovich’s life a living hell may have lost interest in the tendencies of its composers toward the end, but the composers did not lose interest in the tendencies of their society.

Of the numerous major figures to inhabit the Soviet fin-de-siècle, a man named Alfred Schnittke has rapidly become the most notorious. Born in 1934 of Russian and German-Jewish descent, Schnittke has achieved indisputable international stature, and his scores are being performed and recorded many times over. (The Swedish record-label BIS intends to record all of his music, and has already imprinted sixteen hours of it on glistening compact discs.) In this country, of course, Schnittke has become wildly trendy. He happens to sate a current American appetite for artists who brood at one moment and go wacky at the next. Audiences have also listened to him eager for clues to the Russian enigma, and in that respect they have not been disappointed.

All composers somehow reflect their times; some composers do little more. Schnittke is a separate case. Conditions in Russia are, indeed, dreadful, but that is the least surprising news that this composer brings. He represents not only a moment in the history of Russia, but also a moment in the history of music. To put it simply, he will not vanish when his times are up. The multiplicity of styles, of schools, of genres; the overbearing weight of an impressive past; the overshadowing brilliance and energy of present-day “popular” modes seemingly alien to the classical tradition; the possibilities of a future in which parochial barriers will crumble away – all this is acutely observed in Schnittke’s music, and at times epiphanically reconciled. He is nothing less than the composer of our climate.

The wellspring of Alfred Schnittke’s music is, inevitably, that archetypal twilight time, the twenty-five years before the outbreak of the First World War. A great many contemporary composers are beholden to the original and much-lamented fin-de-siècle, but Schnittke has overheard the paradoxes as well as the clichés of that era. As a devotee of Gustav Mahler, for example, Schnittke has not sought to replicate that composer’s luxurious immolation of Romanticism, but rather to expand upon his last-minute discovery (realized fully in the incomplete Symphony No. 10) that the conflict of dissonance and consonance is the forge of the most intense expression. An even more important legacy from Mahler is the recurrent juxtaposition of an elegiac tone and polystylistic satire – although that technique could have been derived as well from Mahler’s non-identical twin, Erik Satie.

Nor could any young Soviet composer escape the shadow of Dmitri Shostakovich. But again, Schnittke does not ape the standard profile enshrined in today’s concert-halls. In place of the monumental Fifth Symphony, it is the wilfully chaotic Fourth – hidden for decades in Shostakovich’s desk-drawer – that has fascinated Schnittke the theorist. Also paramount is the Bolshevik radicalism of Shostakovich’s sardonic ballets and film-scores of the early thirties, rather than the socialist-realist tragedy of the later symphonies. At the dawn of Lenin’s brave new world, Shostakovich began the fusion of Mahlerian expressionism and quasi-dadaist satire that Schnittke was later able to complete in the dusk of Brezhnev’s decrepit monolith.

The Shostakovich Fourth – often peripatetic in layout, at times a mere anthology of banal dances and aimless marches; passing from chillingly spare chamber music to near-anarchic fortissimi for full orchestra; in Schnittke’s vocabulary, a “polyphonic” work – came to light at the end of the nineteen-fifties. The composer had suppressed it after being declared an “enemy of the people” by Stalin in 1936. Other documents of the early Soviet era had been privately circulated: the refined atonal works of Roslavetz and Lourié, both of whom pioneered twelve-tone systems prior to Schoenberg; futuristic tone-poems like Mossolov’s The Iron Foundry; and hybrid experiments like Vladimir Deshevov’s The Red Hurricane, mingling ballet, opera, dramatic recitation, and vaudeville.

The fevered and fantastical progressivism that had been cut short in the 1930s seemed to resume abruptly after the departure of Khrushchev in 1964. Brezhnev’s cultural authorities would never fully reassert their hold over what should and should not be composed; with the ascendancy of pop, they may not have cared. Still, there must have been some consternation over, say, the early works of Estonian composer Arvo Pärt – music that lapsed centuries in time at a moment’s notice, plunging into Tchaikovsky or Handel or medieval chant. A group of Ukrainian composers wrote in minimalist and eclectic modes through the late sixties and seventies, well in advance of American trends. The current fad for Schnittke may soon give way to long-overdue enthusiasm for the music of Sofia Gubaidulina, who has pursued her own highly individual path through various movements and styles.

Schnittke kept a low profile through the disarray of the 1960s. His ventures into twelve-tone or “serial” composition resemble many works written in that manner, at least on the surface. The final movement of his Violin Sonata No. 1 (1963) is unobjectionable from the academic point of view, but at the same time it is rhythmically wry and engaging in a way that is alien to the whole Schoenberg/Boulez sensibility. It’s positively danceable, in fact. Other works from this period show similar peculiarities, but for the most part the composer was biding his time. In his own words:

My musical development took a course similar to that of some friends and colleagues, across piano concerto romanticism, neoclassic academicism, and attempts at eclectic synthesis … and took cognizance also of the unavoidable proofs of masculinity in serial self-denial. Having arrived at the final station, I decided to get off the already overcrowded train. Since then I have tried to proceed on foot.

This walking journey is remarkable not for any new ground that it happens to cross, but instead for the startling vistas it creates among familiar landmarks. In this respect his resemblance to both Mahler and Shostakovich is conspicuous. No less remarkable, however, is the distinct and individual accent audible in every bar, even amid the prevalent carnival of styles. We always know who is speaking, even as he does the composers in different voices.

As it first became known in the West, the music of Alfred Schnittke admittedly did not make so strong an impression. A retiring man who does not enjoy speaking to the press, Schnittke has permitted others to speak for him. And his friends in the West have sometimes chosen lesser works to get his name before the public. Silent Night, for violin and piano, was composed as a holiday greeting for Gidon Kremer; the violinist took to performing it in public, and caused consternation on a national level in Austria where Gruber’s Yuletide anthem is considered sacred ground. With a breathtaking economy of means, Schnittke managed to turn the song into a miniature nightmare, Christmas at Anselm Kiefer’s. In a similar vein, his cadenza for the Beethoven Violin Concerto rambles away from its core material and quotes strains of other famous concertos, while turning Beethoven’s introductory timpani motif into an obsessive rant. One short work is self-evidently titled Moz-Art (“Mozart/sort of”).

These acidic bonbons, while misrepresenting Schnittke as a facile ironist, give an approximate sense of his method. Nearly all of the major works are built around a moment where scraps of historical material are put under pressure from the present. According to violinist Oleh Krysa, Schnittke has described this moment as a sometimes involuntary epiphany: “I set down a beautiful chord on paper – and suddenly it rusts.” He has a particular fondness for metamorphosing the sediments of Vienna’s golden age, the Haydn-to-Schubert era. Veins of dissonance are marbled into a wistful turn of phrase, to the point where historical classifications become useless. The corrupting of source-material proceeds sometimes at a sinister and gradual pace, sometimes more abruptly – the pastiche-passage might break off with cluster chords and fisted dissonances, in the manner of a teenage pianist getting fed up with his assigned piece of sight-reading. These gestures of musical delinquency are at the core of Schnittke’s constructive self-doubt as a composer.

The “stylistic modulations” never give a sense of arbitrariness, of random rummaging; he is always telling a story through the juxtaposition of styles. One of his most startling interventions in past music comes in the second movement of a recent work, peculiarly titled Concerto Grosso No. 4/Symphony No. 5. Gustav Mahler’s teenage sketches for a Piano Quartet are amplified beyond recognition by a confused and angry orchestra; after a final gong-splattered climax of tension, the Mahler fragment is heard in its original form, beginning confidently but soon drifting off into isolated figures and hints of figures. The movement as a whole is structured so that Mahler’s boyish thoughts sound like the logical completion of a late twentieth-century symphonic span. What Schnittke begins, Mahler finishes.

A fairly considerable fraction of Schnittke’s output falls into the category of “anti-music”, aiming to demonstrate the seeming foolishness of composition this late in the twentieth century. Much of the confusion and controversy over his work probably emanates from an over-familiarity with these extrovert exercises in self-deconstruction. The Violin Sonata No. 2 (“Quasi una Sonata”), the first piece composed after Schnittke’s decisive break from twelve-tone writing in 1968, is perhaps his most strenuous exercise in futility. A “borderline case of sonata form”, it never seems to get past a confident opening chord of G minor; as a “report on the impossibility of the sonata”, it resembles many other works of the late-modernist era. The composer himself compares it to Fellini’s 8½, in which a film director is incapable of completing or even beginning his much-anticipated masterpiece.

Schnittke has also composed five symphonies, mostly out of a sense of duty: “I do not know whether or not the symphony will survive as a musical form. I very much hope that it will and I attempt to compose symphonies, although it is clear to me that logically it is pointless.” None of the series conforms to the traditional symphonic plot, although all exceed forty minutes in length. The most remarkable is the Symphony No. 1 (1974), perhaps the apex of unruliness in Schnittke’s output. Miraculously, the piece was performed in the Soviet Union soon after its composition – apparently even with the private blessing of Tikhon Khrennikov, long-time head of the Soviet composers’ union who helped instigate the musical purges of 1948. How it came to be praised for “civic-mindedness and patriotism” is a mystery best left to future scholarship. Although classical composition no longer received the deadly scrutiny of Stalinist henchmen, conditions persisted in which the setting to music of Brezhnev’s diaries (for example) was a potentially useful act of self-abasement.

Bedlam erupts in the very first bars of this symphony, and never really subsides. Jazz combos do not merely add flavor to the texture, as they do in many urbane twentieth-century scores, but actually take charge of the piece for considerable stretches. From time to time the full orchestra attempts to bring the madness to a halt, with a loud minor chord heavy on the interval of the third. This warning goes unheeded. The second movement opens with a lampoon of mindless Baroque music that falls quickly into disrepair. At the outset of the fourth, a trumpet plays the lilting second theme from the funeral-march movement of Chopin’s Piano Sonata No. 2, significant in the annals of musical satire for its refurbishment as kitsch in Erik Satie’s Embryons desséchés. The Chopin tune is the fanfare for an unrestrained five minutes of mayhem, in which Tchaikovsky’s First Piano Concerto (among other works) fights like a wounded animal against a fusillade of sound that recalls and exceeds the most anarchic moments in the music of Charles Ives.

The Symphony No. 1 makes an especially dramatic impact in live performance, with choreography supplied in the score for the musicians as they wander on and off the stage – the only possible precedent for this work in the symphonic repertoire is Haydn’s Farewell. Schnittke has followed to its logical extreme the creed once voiced by Mahler, that “the symphony must be like the world, it must embrace everything.” Western musical history is re-created as a barrage of garbled transmissions, a radio receiving many stations on one channel. Despite its veneer of goofiness, this triumph of planned anarchy has a simple and serious effect. It produces the sound of music, rather than music itself – what is overheard by a society that no longer knows how to listen. The society in question need not be Soviet.

If Schnittke were only an imp of the perverse, the composer of quasi-sonatas and un-symphonies, he would be a beloved figure of the avant-garde, but by no means a candidate for the mantle of greatness recently offered him by various critics. Since the mid-seventies, however, he has approached the sacred genres of classical music more reverently: in the compact and emotionally intense Piano Quintet (1972/76); in the choral-orchestral Symphony No. 2 (1980), inspired by the St. Florian monastery where Anton Bruckner performed and composed; and in the staggering two-movement String Trio (1985), dedicated to and worthy of the memory of Alban Berg.

And in writing a series of concertos for soloist and orchestra between the years 1978 to 1985, Schnittke has achieved an unusually accessible balance of competing styles with his own unmistakable timbre – an extension of the technique of Berg’s Violin Concerto, in which a progressive style served as frame for a rich and haunting succession of recollections and recombinations. The philosopher and musicologist T. W. Adorno, who studied with Berg, called his teacher’s valedictory work a “concerto for composer and orchestra.” Schnittke’s concertos are seemingly a series of fantasies on this idea, with the soloist ventriloquizing the composer’s lonely voice as he negotiates his way across the minefield of tradition.

The Violin Concerto No. 3 (1978) opened Schnittke’s great concertante sequence. Its first movement tersely presents the various thematic materials from which the work will grow. A second movement interrogates that material to the point where it breaks down. In the finale, atonal argument is disrupted by the entrance of a straightforward and deliberately second-rate exercise in German Romanticism (“forest music”, the composer calls it). A slow re-opening of musical archives follows, ending in a chorale passage cast in the moody splendor of Russian Orthodoxy. The violin’s wailing trills at the outset are, in retrospect, the beseechings of a chanter whom the orchestra at first confounds and then eventually follows en masse. Opening unexpected depths in a customarily virtuoso genre, the score stands alongside Sofia Gubaidulina’s masterful Offertorium (1980) as one of the late twentieth-century’s premier violin concertos.

Unlike another “kindred soul”, Arvo Pärt, who abandoned exuberant polystylistic exercises in the 1960s for a uniform and deadly-serious regeneration of medieval modes, Schnittke cannot permit a clean escape. The Concerto for Piano and String Orchestra (1979) again introduces a chorale in the old-Russian manner, but then catches it in a dissonant web of sound – noises from the twentieth-century street. In the Violin Concerto No. 3 (1984), the orchestra’s nostalgic forest murmurs are a “fatum banale”, an inescapable platitude which receives fatal wounds in the first movement but haunts the entire span of the work. Negotiations between soloist and orchestra break off completely in the second movement; the violin is reduced to performing a “cadenza visuale”, frantic motions of virtuosic showmanship that emit no sound.

But these exercises in an old-fashioned medium are more notable for their subtle fluidity of musical construction than for their spectacular attempts at self-detonation – particularly in the case of the Viola Concerto, composed in 1985 just before Schnittke suffered a near-fatal stroke. This work is notable first for its dazzling exploitation of the possibilities of the viola’s sound, combining the brilliance of the violin and the sonorousness of the cello. The ambivalence of the instrument is perfectly suited to the composer’s predilections. The three-movement structure recalls the Violin Concerto No. 3, although it is wider in scope. In the histrionic second movement, Schnittke accomplishes what may be his most impressive conjuring act to date: the gradual transformation of a blithe German-Romantic motif into a ruthless, hammering act of orchestral rage. Everything leads up to and then retreats from this enthralling gesture. Violist and dedicatee Yuri Bashmet conceives the solo part as a Barrymore-like dramatic role, and his brilliant performances have made the concerto one of the most publicly effective of Schnittke’s works.

Schnittke’s course since 1985 is difficult to trace. The composer has told his friends that a “series B” has commenced, in which everything must be different. Even before his near-death seven years ago, signs of a new direction were beginning to appear. The tremendously moving Concerto for Choir, based on medieval Armenian poetry, seemed to indicate a tendency toward simplicity, a whittling down of musical means – the sort of development that took place late in Shostakovich’s career. Several new works conform to this trend, and others do not. The recently premiered opera Life with an Idiot is reported to be another romp in the remorseless satiric line; but the Monologue for viola and orchestra is densely atonal in texture, with the exception of a painfully brief tonal epiphany at the end. The emergence of real-life glasnost in the Soviet Union – a decade after Schnittke’s own, rather spooky prophecy of it in the seventies – evidently has not moved him to celebration. He now lives in Hamburg, Germany.

The various tendencies exhibited by recent works pale before the possibilities suggested by Schnittke’s theoretical writings, which have not been translated in the West but might prove tremendously influential. In English and German interviews, he has meditated on the boundaries, past and future, of classical composition, and how an eventual synthesis might emerge in which genres will become obsolete. He reports that his own experience writing for the Soviet cinema (some thirty scores in all, including several for cartoons) has played an important role in the development of his montage-techniques, particularly in the Symphony No. 1. (One film with music by Schnittke is currently accessible on video – Elem Klimov’s Rasputin, somewhat mangled in the course of release and distribution but still displaying some virtuoso musical/cinematic cross-cutting.)

Addressing the “commercial abyss” separating classical composition from “so-called light music”, Schnittke has said: “Perhaps I am thinking in Utopian terms, but maybe there is a way to bridge this abyss – a way that may be the challenge for the next generation. Contemporary reality will make it necessary to experience all the music one has heard since childhood, including rock and jazz and classical and all other forms, [as] a synthesis. This has not happened in my generation.” He is an admirer of jazz fusion, and speaks of a “border-complex” of fused genres as a compositional ideal. Here we enter dangerous territory. The harrowing revelation in store for artists who have previously attempted to “cross over” the classical/popular barrier (witness such bathetic spectacles as Carl Davis and Paul McCartney’s Liverpool Oratorio, or Michael Kamen’s orchestral back-up for an Aerosmith song on MTV, or even the violinists accompanying the Doors in “Touch Me”) is that burden of bathos falls not on the rock performer but on the classical musicians who sample his aura.

Schnittke’s ventures across the border have been cautious but effective. Jazz elements appear throughout his music, although he has apparently not been influenced by the fractal dissonances of free jazz. (A meeting of Alfred Schnittke and Cecil Taylor might change the world.) Here and there one finds fascinating intrusions of a rock aesthetic. Electric guitars flavor such works as the Symphony No. 2 and the highly peculiar Requiem (1975), whose “Credo” is also propelled by the syncopated stylings of a basement drum-set. And in the cantata Seid nüchtern und wachet of 1983, a setting of the 16th-century History of Dr. Johann Faust, the gruesome scene of Faust’s going-under is delivered by a Satanically amplified mezzo-soprano: in the BIS recording, Inger Blom presides over a hectic cabaret orchestra like some Ethel Merman of the apocalypse. It may not amount to “ordinary rock-music”, as the composer intended, but it manages to dumbfound listeners all the same. This cantata, one of Schnittke’s most viscerally thrilling pieces, will furnish material for an upcoming opera on Faust themes.

There is a final border Schnittke has put into question. From beginning to end, his music has been haunted by a man who does not and never did exist – Adrian Leverkühn, the composer-protagonist of Thomas Mann’s novel Doctor Faustus. Schnittke’s Faust cantata employs the same 1587 German text that was used in Leverkühn’s final composition, The Lamentations of Dr. Faustus. Schnittke’s methodology of parody, of polystylistics and playing with forms, also unmistakably recalls Leverkühn, whose works were a musical endpoint at which all possibilities were combined and then destroyed. A Soviet musicologist who has interviewed Schnittke extensively has gone so far as to state that the composer “internalized” Mann’s novel – “the book has been a program for him” (V. Cholopowa). There could be no better evocation of the atmosphere prevailing in Schnittke’s finest music than this description of a passage from Leverkühn’s Apocalypse oratorio:

Adrian’s capacity for mocking imitation, which was rooted deep in the melancholy of his being, became creative here in the parody of the different musical styles in which the insipid wantonness of hell indulges: French impressionism is burlesqued, along with bourgeois drawing-room music, Tchaikovsky, music-hall, the syncopations and rhythmic somersaults of jazz – like a tilting-ring it goes round and round, gaily glittering, above the fundamental utterance of the main orchestra, which, grave, sombre, and complex, asserts with radical severity the intellectual level of the work as a whole.

Yet Schnittke does not fall prey to the “aristocratic nihilism” that shadows Leverkühn, the colossal aloofness and condescension. The “tilting-ring” that goes round and round in Schnittke’s works might be either the insipid wantonness of light music or the grave and serious classical tradition itself. One can almost guess that melancholy is what holds Schnittke to the tradition, and that his capacity for mocking imitation is a secret urge for the outside. Registering his discontent, he has chosen to pursue a career in music prefigured by a character in fiction.

A Faustian four-and-twenty years after his breakthrough into musical freedom, Schnittke still sounds the depth of that which he professes. His music lays itself out like a documentary record – not a transcript of the crises of any particular moment, but a confession of the unease that has gathered around the practice of classical composition. As the devil tells Leverkühn, twentieth-century music has an aspect of the “highbrow swindle” about it. Schnittke has dropped the pretence of the total, self-contained work of art, and the dreadful condition that he puts in its place has a ring of truth. His chaos clarifies; his drift is mastery.

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Voices in the dark

Posted in Articles by R.A.D. Stainforth on April 30, 2010

Adrian Searle, The Guardian, 12 January 2001

Alfred Schnittke’s music, suppressed by the Soviets, was all about dark spaces, mystery and fleeting details. Adrian Searle celebrates the distinctive art of one of the 20th century’s greatest composers.

The music is sliding back into that low, constant background that we take for silence. I hear the noise of the guy in the flat upstairs pacing about and doing his morning callisthenics to Robbie Williams. Canned laughter is coming up through the floor. Then there’s the shouting and the sirens from the street. My own noise is just as pervasive. It buries the rest and papers over my empty moments.

There is never any real silence; I think it was John Cage who, when visiting a sound-proofed, anechoic chamber, heard two distinct sounds: the technician later told him that what he had heard were the sound of his blood going round and the electric hum of his own brain.

The general noise level here is unexceptional – less, I guess, than in the Moscow apartment buildings where composer Alfred Schnittke, whose work is celebrated this weekend at the Barbican, wrote much of his music. His father-in-law would slump in front of an ice-hockey game on TV in the same room; he worked next to a window above the street, with his adolescent son’s rock music bulging through the room. Schnittke, apparently, never unplugged the telephone when he worked, even when, in the 1980s, he was always in demand. No wonder so much of what he wrote was full of interruptions.

I imagine the harassed composer at work in the warrens of everyday Soviet life. So much music – scores for 66 films, eight symphonies, all those chamber pieces, choral works, solo piano compositions, an electronic work. Perhaps composers don’t need silence, in the same way that chess masters don’t need a board to run through their moves. It is all in the head. Artists, frequently, play music while they work: maybe it drowns out the doubt.

As a writer I find it hard to work to music. I need to hear the voice in my head, a voice I like to imagine is my own. It is not always the same voice, and a writer often needs the voices of others, whose cadences and tone shake you out of your own frightful monologue, or fill in when your own voice refuses to speak. Alfred Schnittke’s replay of old forms (the concerto grosso, Gregorian chants) and of other voices (Beethoven “mottos”, Mozart and Vivaldi licks, memories of Schoenberg and Shostakovich, tango fragments, the brass section that swerves unexpectedly into big-band mode for a few bars) go to demonstrate that for him the past wasn’t all used up.

Schnittke’s phrase, “the difference between the conceivable and the audible”, was his measure. There is a tension between what a composer can imagine and write, and what can be performed. He was at times happy to utilise what seemed like jazz improvisation – unscored tuning up as an integral part of a piece; or to ask performers to mime frenetic playing in performance while producing no sound at all – a “cadenza visuale”, which, in recordings, is marked by the performer’s exhausted sighs, sudden explosive “Oohs” and laboured breaths; or to orchestrate for an invisible piano (amplified, and hidden behind the stage).

Schnittke’s music is much more than accumulation, accretion, disruption and surprise. It may be filled with other voices and different styles, but he is never just a montage-mannerist; no more a ventriloquist than any other artist of our time. But inevitably no less of one, either. Doubts about the authenticity of a voice, are for him another level of play: what he called his “polystylistic” voice.

You can’t have Schnittke as background music. It demands too much attention. It isn’t just the dissonant patches, the eardrum-flexing notes, the changing pace of it, the chase-music losing its way in the weeds, the alternating currents of anxiety and grace. It is simply too arresting. A passage of lush strings is systematically prised apart just when you are getting into it. Not simply because of all the switches, turnstiles and reverses the music goes through, but because Schnittke continually reconfigures our emotions, changing the pattern as well as the material, and our response to it.

His music is not like Matisse’s comfortable armchair for a tired businessman. Nor is it bracing in that muscular, angular, tough-love way you think must be good for you, but makes you wish it would stop. Schnittke’s music is very carefully structured, paced, configured, for all its seismic faults. If his music is as much spatial as temporal – sculptural and filmic as much as it is atmospheric – then all those movie scores may have had their uses.

His music is big, complex, erudite and multiformed, but you never lose the details amid it all – he is very good at details, at what I think of as glimpses, an eye flickering from the larger forms to something left accidentally on the floor. Listening, then, becomes an experience of transitions. Of phases, figures passing in front and behind one another, things in transit.

Familiarity doesn’t dull it. The familiar is a necessary part of his repertoire, the almost subliminal sense of déjà vu that holds the shapes together. I don’t think Schnittke cared whether what he did sounded “modern” or “difficult”, high or low. He could be all these things, with enough space in hand to let things breathe, to keep them alive.

Certain of Schnittke’s spiritual preoccupations, such as his dabblings in the occult, in the I-Ching (like John Cage), in anthroposophy (though he said he could never trust a man with eyes like Rudolf Steiner’s), culminated in his indecision as to whether to join the Catholic or the Russian Orthodox churches. Schnittke, half Jewish, his parents and grandparents atheists, a German Russian who spent much of his post-war childhood in Vienna, was a polystylistic man. He was led to the spiritual. His music, therefore, makes appeals to dark spaces, to mysteries, to enduring things, certainties. He was no reductivist, and more, I think, a synthetic than an analytical composer.

He plays too, on our sense of perpetual expectation, our hunger for differences, for change and mutability. Where he leads is another matter. His unusual orchestrations (the piano, harpsichord and celesta opening to the Fourth Symphony, for example) keep us listening, and waiting, keep us wanting more. The mad plunges, the returns to a sober, almost sentimental lyricism, sounds creeping in like light under a door and the shadow of someone pacing about beyond: there is real suspense here. It has been said that Schnittke’s music is both ambivalent and pessimistic. This is its unavoidable condition. I can throw adjectives and claims at it all day, but they just slide off the surface. He is seductive, awkward, unhinging. Schnittke’s music knows it will be subsumed back into the world around it when it is done, back into what passes for silence.

Notes from a life in music

1934: Alfred Schnittke is born in Engels, Russia, to German parents.
1946-8: Studies composition in Vienna – a formative experience of Austrian culture.
1949-61 Studies at the October Revolution Music College, Moscow, and at the Moscow Conservatory.
1958 His oratorio Nagasaki is condemned by the Russian Union of Composers. A troubled relationship with the Soviet authorities begins.
1974: His First Symphony is effectively banned in the Soviet Union. Schnittke dubs his work of this period “polystylistic”.
Late 1970s: Works such as the First Sonata for Cello and Piano see him move to a personal language less reliant on musical quotation.
1982: Baptised a Catholic.
1985: Gorbachev comes to power; for the first time Schnittke is allowed to travel regularly outside the Soviet Union. At the same time, his health begins to fail.
1990: Moves to Hamburg.
1993-4: Schnittke’s eighth and last symphony is completed. His mature style is spare and refined, reminiscent of late Shostakovich and the work of the Italian Luigi Nono.
1998: He dies in Germany after a series of strokes.

The radiant rowdiness of Alfred Schnittke

Posted in Reviews by R.A.D. Stainforth on March 9, 2010

Tom Service, The Guardian, 15 January 2001

Alfred Schnittke’s music is defined by diversity. His symphonies lurch from modernist violence to quotations from Beethoven; his concertos contain everything from baroque pastiche to jazz solos; and his chamber music is brutal then beguiling.

This BBC weekend was the first major retrospective of Schnittke’s work since his death in 1998; it included appearances from his closest friends, including violinist Gidon Kremer, cellist Alexander Ivashkin, and the composer’s widow, the pianist Irina Schnittke.

There was no more telling contrast in the first two days of concerts than that between the riotous First Symphony, composed in 1969-72, and the Concerto for Mixed Choir, written in 1985. The symphony was played in the Barbican by Martyn Brabbins and the BBC Symphony Orchestra, while the BBC Singers and Stephen Cleobury performed the concerto in the haunting intimacy of St Giles, Cripplegate.

Schnittke’s First Symphony is one of the great showpieces of the recent orchestral repertoire, and the BBCSO’s performance was a major event. The 70-minute symphony began with every musician playing as they walked on stage, creating a ferocious dissonance. It goes on to parody genres of music from military marches to waltzes, and the niceties of concert-hall convention.

After one outburst, a violin and piano duo started a separate performance in front of the first violins – disregarded by the orchestra, which continued to play. Violinist Daniel Hope and pianist Simon Mulligan gave a hyperactive recital, mercilessly satirising the virtuoso tradition. At the end of the symphony, the players continued performing on the journey backstage, only to reappear exactly as they did at the start of the symphony, before Brabbins finally called a halt to proceedings.

Next to this extraordinary collage, the serene concentration and austere atmosphere of the Concerto for Mixed Choir, settings of sacred verses by the 9th century Armenian Grigori Narekatsi, could have been the work of another composer. Yet there is a profound connection between the archaic style of the concerto and the “polystylism”, as Schnittke described it, of the symphony.

Although the First Symphony is often hilarious, there is a tragic tension in the piece between its hidden architecture and the fragments of music Schnittke pastes over it. The funny stuff on the surface has a deadly serious meaning; it’s the modernist structure underneath that Schnittke is really parodying. So the timeless qualities of diatonic melody and plainchant in the choir concerto (and in other of Schnittke’s works of the 1980s performed over the weekend, such as the Fourth Symphony) are one way of bypassing the dilemma of the symphony. Yet the ultimate irony is that these languages are no less borrowed than any passage of the First Symphony.

At the end of his life, Schnittke found a musical language that escaped the conflicts of his previous music. The London Sinfonietta gave the world premiere of Fragment, part of a piece they had commissioned from Schnittke in 1994, but which he never finished. There is an amazing conviction and clarity about the work’s three existing movements. Even more striking was the British premiere of the radiant Eighth Symphony, given by the BBCSO under conductor Eri Klas. There, the earlier tussle between styles and structures is replaced by a music that is more unified but also more terrifying: a stillness and calm that seems to reflect Schnittke’s gaze upon death.

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