Alfred Schnittke (1934-1998)

[karlhenning]

I saw three motets on one of the Chandos recordings, the clips sounded well within the traditional sound world; very nice.

[not edward]

The motets on that Chandos disc are indeed most enjoyable. On a larger scale, there are the Concerto for Mixed Chorus and Penitential Psalms, about 40 and 50 minutes respectively. Again, very much within the traditional language for such works, but very well executed.

[Grazioso]

What would your Schnittke "top 10" be, Sara?

Not Sara, but I can highly recommend his third symphony.

The whole shebang, gratis:

http://www.youtube.com/v/9RWe35YrM5E

[karlhenning]

The motets on that Chandos disc are indeed most enjoyable. On a larger scale, there are the Concerto for Mixed Chorus and Penitential Psalms, about 40 and 50 minutes respectively. Again, very much within the traditional language for such works, but very well executed.

This is why Schnittke's "polystylism" seems quite natural to me:  at least in the limited exposure I have had to his work, h e writes capably in a variety of styles, writes in a way which is sympathetically true to that style.

In a way, it surprises me that this was a while taking in music, because in (say) architecture, Historicism (a stylish 'fusion' of elements from a variety of epochs) was fairly robust in the 19th century.

Or, it may just be that Schnittke carries it off better than other composers' instances which I have heard over the years.

[Sylph]

I saw three motets on one of the Chandos recordings, the clips sounded well within the traditional sound world; very nice.

The motets on that Chandos disc are indeed most enjoyable. On a larger scale, there are the Concerto for Mixed Chorus and Penitential Psalms, about 40 and 50 minutes respectively. Again, very much within the traditional language for such works, but very well executed.

Thank you, I will check them out.

In a way, it surprises me that this was a while taking in music, because in (say) architecture, Historicism (a stylish 'fusion' of elements from a variety of epochs) was fairly robust in the 19th century.

Historicism is still alive:

http://en.wikipedia.org/wiki/Schermerhorn_Symphony_Center

[karlhenning]

Yes, I didn't mean to suggest that it had passed out of architecture. My point was the lag between how soon it was a common practice in architecture, and artful application in composition.

[karlhenning]

Not Sara, but I can highly recommend his third symphony.

Grazie, Grazi.

[Lethevich]

http://en.wikipedia.org/wiki/Schermerhorn_Symphony_Center

Statue titties in Tennessee? I wonder how they snuck that one through.

[karlhenning]

No one looks up at the architrave . . . .

[Grazioso]

Statue titties in Tennessee? I wonder how they snuck that one through.

Rednecks like boobs, too! Lord, I apologize....

[Sylph]

Could any of you clue me in on the joke? Just to be sure.

[karlhenning]

Could any of you clue me in on the joke? Just to be sure.

Up in the architrave frieze, there's a nude muse to the right of the lyre in the center, turned so that her breasts greet the viewer.

The joke, though, is how classical nudes are categorically mistaken for 'pornography' in certain circles . . . .

[Sylph]

No one looks up at the architrave . . . .

Aren't the "titties" actually on the pediment's tympanum? And the title on the frieze below which is the un-ornamented architrave?

[Sylph]

The joke, though, is how classical nudes are categorically mistaken for 'pornography' in certain circles . . . .

[karlhenning]

Aren't the "titties" actually on the pediment's tympanum?

Yes, well emended: tympanum titties!

[Grazioso]

Yes, well emended: tympanum titties!

Hey, did you hear the one about the female timpanist? 

[karlhenning]

I'd go for Polyansky, though the coupling is nothing special. Others might prefer Rozhdestvensky.

I've pulled the trigger on the Rozhdestvensky; the coupling (with the Symphony № 8) is the Concerto Grosso № 6.

[karlhenning]

Already I am cheating Not 10 pieces or 10 discs, but 10 discs worth of music:

The four string quartets (a remarkably coherent cycle from beginning to end - not in style, but in the seriousness that he approaches each piece with)
The piano quintet
The string/piano trio
The cello sonatas (imperfect music, but the cello reflects the composer's essence very well)
Concerto grosso no.1 and 3
Peer Gynt
Psalms of Repentance
Choir Concerto
Viola concerto
The 8th symphony
The 2nd cello concerto

The latter two (or maybe three) will need a particular sympathy with the composer to enjoy, which makes them an awkward recommendation, but they are works in which the composer seems to remove his skin (the shielding we build up around our personality to keep us safe from perceived attacks from people discovering too much about us) and expose every nerve for examination - it almost feels sadistic to try to criticise them, especially the cello concerto.

Thanks!  I am guessing that Bashmet will be a good fit with the Va Cto.  The Eighth Symphony and Peer Gynt I've also got on the way . . . .

[bhodges]

I am guessing  You can rest easy that Bashmet will be a good  is a perfect fit with the Va Cto. 

--Bruce

[Lethevich]

Thanks!  I am guessing that Bashmet will be a good fit with the Va Cto.

Indeedie. He recorded it at least twice, but the earlier one on Melodiya I tend not to listen to because the RCA sounds nicer. It's a remarkable piece, very intriguingly scored for an orchestra with a drastically reduced string section iirc.

I hadn't heard much of the piano concertos since my last Schnittke spree several years ago, but I have since obtained the Kupiec disc which will get a listen sometime soon. Interesting how the three works apparently span his entire career.