Programme note by Nicholas Williams, from Schnittke: A Celebration, Wigmore Hall/Barbican Hall, London, 17 February – 8 March 1990
Andante : Allegretto : Largo : Allegretto Scherzando
In 1962, in the same year that saw the premiere of Shostakovich’s Thirteenth Symphony and the height of ‘The Thaw’ following Khrushchev’s demythologising of Stalin, Luigi Nono became the first avant-garde composer to visit the Soviet Union. For Schnittke, who as a young composer at the Moscow Conservatoire had so far worked only in the approved nationalist style, as found in his oratorio Nagasaki of 1958, the visit became a stimulus for a serious study of Western contemporary music, assisted by scores and tapes smuggled in by Pousseur, Ligeti and Stockhausen, and a thorough exploration of the Second Viennese School and the possibilities of serial composition. One of the first major works to emerge from this period was the First Violin Sonata, premiered by the violinist Mark Lubotsky and the composer in 1964, and in 1968 transcribed in this present version for violin, harpsichord and string orchestra.
The serialism of the First Violin Sonata is unsophisticated – nothing else would have been acceptable in the Soviet Union at that time – and based on a row latent with tonal relations and triadic harmonies in its structure of alternating major and minor thirds. (Schnittke’s efforts to reconcile tonal and atonal elements might be compared to those of Shostakovich in a slightly later work, the Twelfth String Quartet of 1968.) The first movement acts as introduction to a substantial scherzo whose straightforward textures, although far removed from the complexity of contemporary works by Boulez or Stockhausen, are nevertheless indicative of Schnittke’s capacity to place simple elements in new contexts. The variations on an eight-bar harmonic scheme which form the third movement seem clearly modelled on the passacaglia from Shostakovich’s Piano Trio, an impression reinforced when this scheme of chords returns in the middle of the energetic finale.
Programme note by Nicholas Williams, from Schnittke: A Celebration, Wigmore Hall/Barbican Hall, London, 17 February – 8 March 1990
Moderato : Tempo di Valse : Andante : Lento : Moderato pastorale
Composed between 1972 and 1976, and dedicated to the memory of the composer’s mother, Schnittke’s Piano Quintet is the most Russian in spirit of his mature works, with the exception of those employing native liturgical chant such as the Second String Quartet and the Concerto for mixed chorus. This Russianness is inevitably bound up with the choice of medium; for any Soviet composer writing for piano and string quartet must acknowledge the Piano Quintet of Shostakovich, a profoundly Russian work by a composer Schnittke profoundly admires. His influence can be heard not only in the sound of keening strings and dark-hued lugubrious string trills, but also in the shared emotional world of darkness and light (the work has also been scored for orchestra, and entitled ‘In Memoriam’). An important role is also played by Schnittke’s characteristic use of ‘polystylism’, an allusion technique which is all the richer for being at the second degree; Schnittke’s second movement waltz, for example, alludes not only to the nineteenth century form of Tchaikovsky, but also to the allusions to that form found in the chamber music of Shostakovich, including his own Piano Quintet and the Eighth String Quartet.
Whereas the five movements of the Shostakovich are each self-contained, however, those of the Schnittke attain a unity of conception through constant thematic transformation of the opening phrase (itself an allusion, being no more than a chromatic variant of a simple cadential changing note figure) and from the fundamental nature of the musical material. Inspired, perhaps, by the example of Ligeti, Schnittke has worked on the edges and extremes of sound, making the Piano Quintet a sustained conflict between musical opposites: between sound and silence; between the micro-intervals and chromatic polyphony of the strings, and the equal temperament and triadic harmony of the piano; between the relentless chiming of repeated notes at extremes of the keyboard register and dense quartet clusters built up from the intense overlapping of irrational rhythms. There is no compromise between these factors; they exist suspended in a condition of stasis, very Russian, which only resolves in the final Moderato pastorale as a gentle piano ostinato, simply the notes of the harmonic series, confronts the motto theme in chromatic and microtonal versions – and survives to have the final word.
Introduction by Alexander Ivashkin to A Schnittke Reader
Alfred Schnittke died in Hamburg on 3 August 1998 following a fifth stroke; he had
been fighting this fatal illness since 1985. His funeral in Moscow on 10 August 1998,
attended by thousands of people, was a tribute of honor and admiration to the
greatest Russian composer since Shostakovich. “The last genius of the twentieth
century,” according to the Russian newspapers and, belatedly, Russian officialdom.
With Schnittke’s music we are possibly standing at the end of the great route
from Mahler to Shostakovich. Schnittke intensifies all their contrasts and articulates
the strong ambivalence of their music. He drives this powerful post-Romantic
tradition toward the very extremes of the late twentieth century, our fin de siècle.
Shostakovich gave unique expression to the thoughts and feelings of those generations
of Russians whose fate it was to live under the yoke of totalitarian power.
Schnittke is often called the “man in between.” A strong pulse of latent energy is
undoubtedly inherent in both their musics, and extreme pessimism is common to
both: many works by Shostakovich and especially Schnittke are “dying”, dissolving
in the world, fading into the distance of time. Indisputably, all of this has to do with
time. Those wishing to listen to Schnittke’s music in the future are by no means
bound to feel all these concrete, time-connected features. But they will undoubtedly
absorb the intense energy of the flow of the music, making it part of their being, part
of their thinking, and part of their language.
Schnittke is a “man in between” different traditions. “Although I don’t have any
Russian blood,” said Schnittke, “I am tied to Russia, having spent all my life here. On
the other hand, much of what I’ve written is somehow related to German music and
to the logic that comes out of being German, although I did not particularly want
this. . . . Like my German forebears, I live in Russia, I can speak and write Russian far
better than German. But I am not Russian. . . . My Jewish half gives me no peace: I
know none of the Jewish languages, but I look like a typical Jew.”
Schnittke was one of the most prolific composers of the twentieth century.
His works are an established part of the standard repertoire for orchestras, chamber
groups, and soloists. In the 1970s and 1980s he enjoyed extraordinary popularity in
Russia. “His music used to be our language, more perfect than the verbal one,”
wrote one Russian critic. When Schnittke’s music was to be performed in Moscow,
Leningrad, or Novosibirsk, concert promoters used to warn the police in order to
prevent overcrowding and chaos. All performances of his music were important
events for Soviet listeners, for in it they found spiritual values that were absent from
everyday life during the endless years of “terror”, “thaw”, “cold war”, and “stagnation”.
In the West, especially during the 1980s and 1990s, his music was widely
performed, from Germany to the United States, from South America to New Zealand.
His works have also been recorded on more than one hundred CDs from many
During the so-called “Khrushchev Thaw” in the USSR of the early 1960s,
Schnittke became interested in absorbing new compositional techniques and in
finding new sound perspectives. By contrast, the 1970s was a time for retrospective
analysis of stylistically different idioms (exemplified in Schnittke’s well-known
polystylistic Symphony No. 1) and for trying to find new meanings for the old roots
(in, for example, the musical hermeneutics of the Concerto Grosso No. 1 or the Violin
Concerto No. 3). Finally, from the late 1970s, Schnittke began to expand the space of
his music. He wrote symphonies, concertos, and the so-called “Faust Cantata, seid
nuchtern und wachet. . . .” Later, between 1986 and 1994, he completed his major
works for stage: the ballet Peer Gynt (1986) and the operas Life with an Idiot (1991),
Gesualdo (1994), and Historia von D. Johann Fausten (1983–1994).
Schnittke’s nine symphonies reflect the various aspects of human history. The
first, third, fifth, and seventh are concerned with historical and cultural entities. The
second, fourth, sixth, and eighth symbolize religious or spiritual experience. Schnittke
tries to find a new shape, a new angle, but remains within the true symphonic
tradition. With him the tradition of the great European dramatic symphony comes to
some kind of conclusion, yet in many respects he still keeps the tradition alive, for one
may certainly detect the influence of German culture, German forms, and German
logic. But, at the same time, he virtually destroys the symphonic tradition by revealing
its erosion. In this respect, he is more the irrational Russian “destroyer” than the
precise German craftsman.
Many of his ideas came from his work as a film composer. (He composed
soundtracks for sixty-six films.) For Schnittke, “incidental” and “serious” music
coexisted and interpenetrated each other. Inside the “neoclassical” frame of the
Concerto Grosso No. 1 (1977), one finds the transformation of a cheerful songchorale
of Soviet schoolchildren, a nostalgic atonal serenade, quasi-Corellian allusions,
and, finally, “my grandmother’s favorite tango which her great-grandmother
used to play on a harpsichord” (Schnittke’s own words). In the Concerto Grosso, as
in many of his other compositions, Schnittke uses fragments from his film scores.
Speaking about this work, Schnittke said, “One of my life’s goals is to overcome the
gap between ‘E’ (Ernstmusik, serious music) and ‘U’ (Unterhaltung, music for entertainment),
even if I break my neck in doing so!”.
Schnittke’s late compositions are enigmatic. Their textures become very ascetic,
and the number of notes is reduced. However, the latent tension increases, and the
meaning of his last few compositions is to be found between the notes rather than in
the musical text itself. The actual musical language becomes “tough”, dissonant,
discordant. It is definitely not easy-listening music. At the first performance of the
Symphony No. 6 at Carnegie Hall, almost half the audience left before the end.
However, those who remained were enthusiastic.
In considering Schnittke’s output, one might recall Charles Ives’s saying: “Nature
creates valleys and hills, and people build fences and attach labels”. No one
knows how long it may take before Schnittke’s compositions are seen properly as an
integral part of musical history. However, it is clear that he did express the very
essence of the hectic and dramatic twentieth century, and that he pushed music out
of its “local” isolation by bravely demolishing all artificial fences.
It is hard to believe that Schnittke was writing articles on music all his life! His first
publication appeared in the main Russian musicological journal, Sovetskaia Muzyka,
in the late 1960s. He was continually analyzing the music of his fellow composers. It
is truly amazing that, although he was so busy with his own music, he always found
time to listen to the music of his contemporaries, to speak at conferences and
seminars, and to publish analytical articles. The very last speech he made was the
keynote address at the Prokofiev festival in Duisburg in 1990.
He had a tremendous number of social contacts and loved polemical arguments.
For instance he was always ready to get seriously involved in discussions on how to
teach harmony. He was also always prepared to defend those of his friends who were
accused of “modernism” or “formalism”. Schnittke’s archive is full of sketches for all
sorts of speeches, talks, lectures, and letters (including letters that were never sent).
When he was teaching at the Moscow Conservatory (1961–1974) he wrote
articles on Prokofiev’s and Shostakovich’s orchestration that were published in
Russia in the 1960s and 1970s.
Some of Schnittke’s writings on music are, in fact, summaries of his own
analyses of Western music: he was constantly analyzing all sorts of music. In the
early 1970s he wrote eleven analytical essays for a collection on the subject of the
technique of modern composition. The purpose of this collection was to help
students and listeners to gain a better understanding of the music of Ligeti, Berio,
Stockhausen (at that time still very little known in the Soviet Union), as well as the
music of Bartók, Stravinsky, and Webern. This collection, however, was never
published. At the proof stage, officials at the Ministry of Culture decided to cancel
the publication, which seemed to them too “avant-garde”. Thus, these eleven essays
are published for the first time ever in this volume. Some of them Schnittke used
later for his research talks, in particular for his talks on Stockhausen and Berio at the
Moscow Conservatory and at the Composers’ Union in the 1970s.
One of his most important essays—on Stravinsky’s paradoxical logic—was
written for the collection I. F. Stravinskii: Stat’i i materialy [I. F. Stravinsky: Articles
and Materials], published in Moscow in 1973. After Stravinsky’s visit to Russia in
1962, a Russian translation of Conversations with Igor Stravinsky (written with Robert
Craft) was published in the Soviet Union in 1971, but only in extensive excerpts. It
was a time when Soviet officials were trying to change the official “image” of
Stravinsky in Soviet Russia. Instead of being referred to as a “hooligan” and
“composer with no musical talent whatsoever” (as he was frequently described in
official Soviet textbooks on music history published in the 1950s), Stravinsky started
to be called a truly Russian composer.
Schnittke was always interested in Stravinsky’s music. His comments on Stravinsky’s
latest compositions (The Flood, Threni, Cantata) are particularly interesting.
Schnittke was engaged in a search for a hidden tonality in Stravinsky’s serial works,
but he never published any results of this analysis. Fortunately, his essay on Stravinsky is published in the present volume. It shows not only Schnittke’s ideas on Stravinsky but also the “paradoxical” principles that we can clearly detect in his own music. Schnittke was a very good friend, with the ability to listen and to respond to other people’s needs. His essays on Edison Denisov, Sofia Gubaidulina, and Giya
Kancheli, and on various performers, speak for themselves. They show Schnittke’s
special gift for listening to his friends’ works and finding the most essential features
in their compositions. Giya Kancheli often says that Schnittke understood his music
better that Kancheli himself.
Some of the texts published here were originally presented as talks. One of them,
“Polystylistic Tendencies in Modern Music” (given at the Moscow International
Music Congress in 1971), reflects Schnittke’s own experience, as he was engaged in
writing his “polystylistic” Symphony No. 1. Schnittke’s address on Prokofiev (at the
opening of the Prokofiev festival in Duisburg, Germany, 1990) was his last public
address. In it he summarized some of his ideas on the development and progress of
music (in which he did not believe!). Also included are personal recollections of
Prokofiev’s last public appearance at the première of his Sinfonia Concertante, and on
Prokofiev’s funeral in March 1953 (which coincided with Stalin’s funeral).
This volume presents Schnittke’s most important articles and talks, together
with selections from conversations we had between 1985 and 1994.
(The complete book of these conversations was published in Russia in 1994, and in
Germany in 1998.) When Schnittke talked about music, what he said was so nearly
perfect that it could be published practically without any editing. He spoke as if he
were writing! I tried to preserve the “presence” of his own “voice” and “intonation”
in the text of our conversations.
I should like to express my sincere thanks to John Goodliffe for his wonderful
translation of the often complex and difficult texts. And a very special “hero” of this
publication is Professor Malcolm Hamrick Brown, founding editor of the series
Russian Music Studies. Together with Jeffrey Ankrom (formerly music editor at
Indiana University Press), Professor Brown has devoted an enormous amount of
time and energy to editing this book, going far beyond what one might expect of any
ordinary editor. Using his considerable skill, insight, and specialized musical knowledge,
he has helped to produce the clearest and most expressive English equivalent
of what Schnittke said or wrote. The editor would like to express deepest thanks to
The Leverhulme Trust (UK) for sponsoring his research work at the Alfred Schnittke
Archive, Goldsmiths College, University of London.
I hope that this book, the first to present Schnittke’s own ideas in English, will
help to promote a better understanding of his life and work, and that its readers will
thus be enabled to share his many original and brilliant ideas on the development of
London, December 2000
Programme note by Nicholas Williams, from Schnittke: A Celebration, Wigmore Hall/Barbican Hall, London, 17 February – 8 March 1990
Andante : Agitato : Pesante
The striking juxtapositions of disparate material to be found in the music of Alfred Schnittke frequently have a quality of bathos and irony, and the intention of incorporating past styles within a musical language of the present. But what is to be made of the particularly bold choice of quotations which open the Third String Quartet, including within the first eight bars a phrase from a Stabat Mater by Lassus, the theme of Beethoven’s Grosse Fuge, and the personal musical monogram of Dmitri Shostakovich, DSCH?
The reference to Shostakovich, and in particular the DSCH idea, provides a clue. In his Eighth Quartet, for example, it not only forms the motivic substance for much of the work, but can also be identified with themes from other works by the same composer. Similarly, Schnittke’s quotations, although in one sense symbolic of two past masters of the string quartet idiom, are carefully chosen for their motivic correlation – the DSCH motive being no more than a transposition of the first four notes of the Beethoven. From this kind of musical wit grows an opposition between the contemporary world they represent and the diatonic world of Lassus, then the consequent synthesis of the two, which is achieved in the third movement as the turn figure of the opening tonal cadence is progressively incorporated into the chromatic language of the former.
Once these basic themes have been identified, the overall structure explains itself on a descriptive level. Schnittke characteristically interrelates separate movements by shared material, and the saturation of the texture by these three elements makes the Third Quartet a model for this kind of activity. Within this thematic unity there are allusions to a number of different historical musics, from the points of canonic imitation in the first movement to the nineteenth century Waltz-Scherzo of the second. At the same time, the opening cadence by Lassus returns in its original form at important junctures throughout the piece, like a punctuation mark containing the overall diversity of style.
Steve Smith, The New York Times, 7 November 2007
A Little Composition and a Little Archaeology
The ability to read the score of a complex orchestral composition is by no means a common skill. But even to the untrained eye, the manuscript of the Russian composer Alfred Schnittke’s Symphony No. 9 would speak volumes. Notes are only approximately positioned on the staffs, and their stems are shaky squiggles. Bar lines veer off at a slant. The handwriting, at times nearly illegible, is clearly pained.
“It’s a testament by someone who knows he’s dying,” the conductor Dennis Russell Davies said during a recent interview. “He was determined to finish this piece. You can see and feel this in his shaking hand.”
Mr. Davies, a conductor long associated with Schnittke’s music, will conduct the Juilliard Orchestra in the American premiere of the work at Avery Fisher Hall tonight, in one of only a few appearances here since taking a year off for treatment of Hodgkin’s lymphoma.
Schnittke completed the three-movement symphony in short score before he died in August 1998. But a series of strokes had paralyzed his right side, including his writing hand, preventing him from orchestrating the work. He tried to have the piece completed by others — Mr. Davies would not say who they were — but was not satisfied with their results.
After Schnittke died, Irina Schnittke, his widow, engaged the Russian composer Alexander Raskatov to finish the work. The Dresden Philharmonic provided a partial commission and reached out to Mr. Davies, who conducted the world premiere there in June. Mr. Davies also enlisted the Bruckner Orchestra Linz, of which he is the chief conductor, and the Juilliard School as co-commissioners.
Joseph W. Polisi, the president of the Juilliard School, said the project had particular resonance for Juilliard because it related to an important collection of musical manuscripts the school acquired in March 2006, which included many sketches and manuscripts by Schnittke. “We have become sensitive to his work,” Mr. Polisi said, “and I thought this was a natural parallel.”
Mr. Davies laid a photocopy of Schnittke’s manuscript next to the finished score on a desk and pointed out several places where the original had raised issues. Some combinations of notes created dissonances that were unusual even in Schnittke’s work. Mr. Raskatov occasionally overruled instrumental voicings that Schnittke had indicated.
Mr. Raskatov, born in 1953, had a close personal relationship with Schnittke, Mr. Davies said. The younger composer’s cool, ritualistic music has little in common with the eclecticism and pastiche of Schnittke’s most familiar works. Still, Mr. Davies says the work is faithful to Schnittke’s intentions.
“It’s pretty direct, pretty formidable in its tonal components,” he said. “There’s not time for references to some of the religious and popular elements that he liked to bring into his music.” Some passages unfurl with a weighty Mahlerian melancholy; others echo the ascetic severity of late Shostakovich.
Mr. Raskatov composed an original epilogue, “Nunc Dimittis,” a stark 15-minute meditation based on verses by the Russian poet Joseph Brodsky and an Orthodox monk, Staretz Silouan. Alison Tupay, a mezzo-soprano, and the Hilliard Ensemble will sing the work tonight.
Mr. Davies plans to record both pieces with the Dresden Philharmonic for the ECM label in January and will conduct them in Linz, Austria, in April. Still, after taking the 2005-6 season off for chemotherapy and recovery, he has reduced his travel schedule.
Last month, he conducted Philip Glass’s new opera, “Appomattox,” in San Francisco, then went to Detroit for another premiere, William Bolcom’s Symphony No. 7. But he turned down offers for engagements that would have deviated from his gradual path back to Linz.
His own illness, Mr. Davies asserted, did not affect his approach to the Schnittke piece. “But during my treatment, I was around people who were much worse off than I was and saw how courageous they were,” he said. “Having seen that, then seeing this manuscript and recognizing how desperately the man wanted to write this music, it made my work that much more meaningful.”
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.
Allan Kozinn, The New York Times, 15 August 2007
Tikhon Khrennikov, a prolific Russian composer and pianist best known in the West as an official Soviet antagonist of Shostakovich and Prokofiev, died yesterday in Moscow. He was 94.
His death was widely reported in the Russian media. The English-language Web site Russia-InfoCentre (russia-ic.com) said his farewell ceremony would take place in Moscow tomorrow.
Mr. Khrennikov, regarded as a promising young composer in the 1930s, was able to survive in the perilous currents of Soviet politics from the Stalin era on. In 1948 Josef Stalin personally selected him to be the secretary of the composers’ union. He was the only head of a creative union to retain his post until the collapse of the Soviet Union.
Mr. Khrennikov saw the value of ingratiating himself with Soviet leaders early in his career, when he adopted the optimistic, dramatic and unabashedly lyrical style favored by Soviet leaders. He based his first opera, “Into the Storm” (1939), on “Loneliness,” a novel by Nikolai Virta that Stalin was known to have liked.
By the mid-1940s, his star was rising on the strength of works like his broad-shouldered, blustery Symphony No. 2, as well as his First Piano Concerto (1933), his incidental music for Shakespeare’s “Much Ado About Nothing” (1936) and many wartime patriotic songs.
In the late 1940s he endeared himself to both Stalin and the cultural ideologue Andrei Zhdanov by endorsing Zhdanov’s decree that music must embody nationalistic Soviet values and by criticizing composers who seemed to be abandoning those values in favor of modernist experiments.
Whether or not he was behind Zhdanov’s public denunciation of Shostakovich, Prokofiev, Khachaturian and others for “formalism” in 1948 (he insisted, in his 1994 memoir, “That’s How It Was,” that he was buffeted by the same winds as everyone else), he threw his weight behind it. At the first Congress of Composers, two months after Zhdanov’s attack, he took up the cudgel himself, declaring: “Enough of these symphonic diaries, these pseudo-philosophic symphonies hiding behind their allegedly profound thoughts and tedious self-analysis. Armed with clear party directives, we will stop all manifestations of formalism and popular decadence.”
In “Testimony,” the supposed and still hotly disputed posthumous memoirs of Shostakovich, published by Solomon Volkov in 1979, Shostakovich is quoted as saying that his problems with Mr. Khrennikov began when he sent him a long, friendly letter discussing what he saw as problems with “Into the Storm.” Until then, Shostakovich said, Mr. Khrennikov kept a portrait of Shostakovich on his desk. But he took the criticism amiss and became Shostakovich’s mortal enemy.
In a 1979 speech, Mr. Khrennikov denounced “Testimony” as a “vile falsification concocted by one of the renegades who left our country.” But Shostakovich did leave an unassailably authentic comment about Mr. Khrennikov, a lampoon in the form of a cantata, “Rayok,” which remained hidden until after his death in, 1975, but was performed privately in his home (and has been performed publicly since 1989).
Mr. Khrennikov was able to play both sides of the political fence, however, particularly when prodded by other musicians. After the 1948 denunciation of Prokoviev, the cellist Mstislav Rostropovich persuaded Mr. Khrennikov to provide money quietly to buy Prokofiev food. Harlow Robinson, the Prokofiev biographer and expert on Russian music, has said that Prokofiev’s widow, Lina, told him that Mr. Khrennikov had been kind and supportive to her in the late 1950s, after her husband’s death. Mr. Khrennikov did occasionally support composers who were in danger of official attack, even supporting the Sinfonietta by Moshe Vaynberg during the anti-Semitic purges of 1948-49.
Mostly, though, he is known for the composers he opposed. Although he reportedly helped Alfred Schnittke get his First Symphony performed, in 1974, he denounced him soon thereafter, and never relented. In 1979 he criticized seven Russian composers — Elena Firsova, Dmitri Smirnov, Alexander Knayfel, Viktor Suslin, Vyacheslav Artyomov, Sofia Gubaidulina and Edison Denisov — for allowing their works to be performed outside the Soviet Union. He declared an official ban on their works.
Tikhon Nikolayevich Khrennikov was born in Yelets, in central Russia, on June 10, 1913. He began his musical studies as a pianist but was composing as well by the time he was 13. He enrolled at the Gnessin School in Moscow in 1929 and at the Moscow Conservatory in 1932. He completed his First Symphony (1935) as his graduation work and began to win attention with his music for a production of “Much Ado About Nothing” at the Vakhtangov Theater in Moscow.
In the 1960s he returned to the concert stage to perform his three piano concertos. He also wrote a cello concerto, which was given its premiere by Rostropovich in 1964, and two violin concertos, both given their premieres by Leonid Kogan, in 1959 and 1975. His catalog also includes 10 operas, 3 symphonies, 6 ballets, 2 musical theater works (“Wonders, Oh Wonders,” for children, from 2001, and “At 6 P.M. After the War,” from 2003) and many chamber works and songs.
“I was a person of my times,” Mr. Robinson, the Prokofiev biographer, quoted Mr. Khrennikov as repeatedly telling him about his history under the Soviets. “It’s very hard for anyone who did not live here through those times to understand them and the way we lived.”
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.
Schnittke’s oratorio about Nagasaki was worth hearing once, but it was a relief to hear real music (Shostakovich) afterwards
Hilary Finch, The Times, 26 August 2009
Who would dare to write an oratorio about Nagasaki? Perhaps only a 24-year-old student, fired by a Soviet propaganda poet and eager to summon all his youthful strength and idealism to express the inexpressible. The best that can be said about Alfred Schnittke’s 1958 Nagasaki, an oratorio for mezzo-soprano, chorus and orchestra, heard in Britain for the first time at Monday’s Prom, is in the composer’s own words. This was, he said, “a very honest work … where I was absolutely sincere”.
Forget tone clusters and polystylism: this is poster art, drawn in strong, bold shapes and colours. It tips dangerously (too dangerously for authorities at the time) towards Expressionism and is heady with the language of every composer whose music touched Schnittke’s hypersensitised palate. Shostakovich, Prokofiev, Bach, Hindemith, Bartók, Stravinsky, Orff: they’re all there, jostling for position in the huge orchestral battery.
Woodwind fan the flames, pitched percussion, trombones, tuba and organ crackle with fiery anger. The London Symphony Chorus strained helplessly to find a vocal strength and focus comparable to their Russian counterparts. They chanted, grappled with Schnittke’s arduous student counterpoint, and hummed with the rising “sun of peace”. Elena Zhidkova “walked quietly on this scorched land”, rather as Prokofiev’s lonely woman trod the icy battlefields in Alexander Nevsky. And an electronic theremin wailed amid the numb radiation of celesta and piano. With its hideously inadequate orchestral explosion and its distancing rhetoric, this Nagasaki was worth hearing — perhaps, and just once.
It was a relief to hear real music and profound responses after the interval. Valery Gergiev conducted the London Symphony Orchestra in a performance of Shostakovich’s Eighth Symphony that was searingly powerful in its raw energy and cumulative strength.
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.”