Alfred Schnittke (1934-1998)

[Karl Henning]

Well, now that I have had the sense to heed Sarge's call viz. this recording . . .

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. . . it seems that I have accumulated all the Concerti grossi save only for № 5. I remember being underwhelmed by that one in a live performance — but maybe I was just tired that evening . . . .

[not edward]

. . . it seems that I have accumulated all the Concerti grossi save only for № 5. I remember being underwhelmed by that one in a live performance — but maybe I was just tired that evening . . . .

The 5th doesn't seem to have a very good reputation; I've read several comments about it being routine modernist-Schnittke noodling. Which doesn't jibe at all with my personal opinion--it's very definitely my favourite of the concerti grossi; a contemporary Four Seasons starting in spring and ending in a frozen-over winter, with off-stage amplified piano triggering the changes of the season. (I've always loved the closing bars where soft violin glissandi indicate that winter is ending and the cycle is about to begin again.)

[TheGSMoeller]

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If Schnittke's 2nd was a small stream of water gliding from one point to another, and his 4th was the same water hitting some rapids in some rougher terrain but finding its way back home...then the 6th is the steam of water arriving in a dried up area of rocks...and I mean this positively. Reading up on Schnittke's personal occurrences give insight to this darker, broken tone, and it's power is effective. I still have the 7th and 8th in my pile so I'm anxious to see the direction Schnittke's compositional tone takes us.

[Karl Henning]

The 5th doesn't seem to have a very good reputation; I've read several comments about it being routine modernist-Schnittke noodling. Which doesn't jibe at all with my personal opinion--it's very definitely my favourite of the concerti grossi; a contemporary Four Seasons starting in spring and ending in a frozen-over winter, with off-stage amplified piano triggering the changes of the season. (I've always loved the closing bars where soft violin glissandi indicate that winter is ending and the cycle is about to begin again.)

I'm certainly inclined to give it a fresh go, Edward.

[snyprrr]

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If Schnittke's 2nd was a small stream of water gliding from one point to another, and his 4th was the same water hitting some rapids in some rougher terrain but finding its way back home...then the 6th is the steam of water arriving in a dried up area of rocks...and I mean this positively. Reading up on Schnittke's personal occurrences give insight to this darker, broken tone, and it's power is effective. I still have the 7th and 8th in my pile so I'm anxious to see the direction Schnittke's compositional tone takes us.

Are you comparing Chandos and BIS. We need to know why the BISs are said to suck. (6 & 7)

[Karl Henning]

Greg isn't comparing. I think our esteemed Edward may have a word on that head, though.

[not edward]

Greg isn't comparing. I think our esteemed Edward may have a word on that head, though.

Basically, the BIS recordings sound like the orchestra is practically sight-reading the scores. Minimal interpretation is apparent, though that's not so much of a negative in the 7th--where interpretative restraint is absolutely required--as compared to in the 6th, which just sounds dead on the BIS recording.

[TheGSMoeller]

Are you comparing Chandos and BIS. We need to know why the BISs are said to suck. (6 & 7)

I've never heard the BIS, this is strictly Chandos. But considering that the BIS has all of the symphonies recorded, there will some (#2, #4) that I will definitely want multiple recordings of, so BIS will be considered unless convinced otherwise.

[TheGSMoeller]

This Schnittke interest is rapidly increasing and looks to have no end....

...I need some good GMG recommendations for Requiem and Faust Cantata.


GO!

[not edward]

This Schnittke interest is rapidly increasing and looks to have no end....

...I need some good GMG recommendations for Requiem and Faust Cantata.


GO!

I don't have a good recommendation for the Requiem as I only have the BIS recording. I can believe others would be more effective.

If you can find the Rozhdestvensky Faust Cantata, that's the way to go, over the BIS performance (though the latter is more than acceptable). Haven't heard the Boreyko that Jens was very positive about, though.

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[TheGSMoeller]

I don't have a good recommendation for the Requiem as I only have the BIS recording. I can believe others would be more effective.

If you can find the Rozhdestvensky Faust Cantata, that's the way to go, over the BIS performance (though the latter is more than acceptable). Haven't heard the Boreyko that Jens was very positive about, though.

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Thanks, Edward.

How is the Requiem from BIS though?

[Karl Henning]

I have a recording of the Requiem, somewhere . . . it was on a Danish label, I am somehow thinking . . . .

[not edward]

Thanks, Edward.

How is the Requiem from BIS though?

It's mostly a rather restrained work--the backbeat in the Credo notwithstanding--and the performance seems to go along with that view. Whether it's due to unfamiliarity or intent, I find the performance a little on the tentative side. There's a lot of other options out there, but I've yet to explore them.

[snyprrr]

It's mostly a rather restrained work--the backbeat in the Credo notwithstanding--and the performance seems to go along with that view. Whether it's due to unfamiliarity or intent, I find the performance a little on the tentative side. There's a lot of other options out there, but I've yet to explore them.

That backbeat IS some of my fav AS.

[Drasko]

If you can find the Rozhdestvensky Faust Cantata, that's the way to go, over the BIS performance (though the latter is more than acceptable). Haven't heard the Boreyko that Jens was very positive about, though.

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I also prefer Rozhdestvensky's Faust Cantata to the one on BIS on almost all points but there are two things that make me think that having both (or Rozhdestvensky and Boreyko, if that one is preferable to BIS) wouldn't be bad idea.
BIS recording (and Boreyko, I think) are in German while Rozhdestvensky's is in Russian translation, and that ever so slightly alters the color of the piece, for instance the choral opening of 'Faust's farewell to his pupils' in German sounds like some old german drinking song, while in Russian it sounds to me it could almost come out of Les Noces.
The other point are altos, who have pretty different take on all-important 'Death of Faust' part, where I find Rozhdestvensky's alto bit over the top.

Some videos and clips to sample:

complete BIS recording
http://www.youtube.com/watch?v=0g4RFX_RLS0

Death of Faust - BIS via BBC
http://www.youtube.com/watch?v=dR78SQeRiC4

Death of Faust - Kotova for Rozhdestvensky (my upload, audio)
http://www.mediafire.com/?ndmm93ypq0tjv9y

[Karl Henning]

The 5th doesn't seem to have a very good reputation; I've read several comments about it being routine modernist-Schnittke noodling. Which doesn't jibe at all with my personal opinion--it's very definitely my favourite of the concerti grossi; a contemporary Four Seasons starting in spring and ending in a frozen-over winter, with off-stage amplified piano triggering the changes of the season. (I've always loved the closing bars where soft violin glissandi indicate that winter is ending and the cycle is about to begin again.).

Maybe that's it, Edward — that it's really камерная музика which got just a bit lost in Symphony Hall.

[Karl Henning]

I must have listened to the Fourth Symphony some 5-6 times now, and have listened to all three recordings.  But it's only this afternoon that I've read the composer's notes on the piece.   Obviously, I am crazy about it, just on the evidence that comes to my ears;  but I am further intrigued by his notes.  Including the remark, The artist is — however strange this may sound — put under no pressure by any sort of rules.  I have a feeling there will be yet more Schnittke in my future . . . .

[TheGSMoeller]

I must have listened to the Fourth Symphony some 5-6 times now, and have listened to all three recordings.  But it's only this afternoon that I've read the composer's notes on the piece.   Obviously, I am crazy about it, just on the evidence that comes to my ears;  but I am further intrigued by his notes.  Including the remark, The artist is — however strange this may sound — put under no pressure by any sort of rules.  I have a feeling there will be yet more Schnittke in my future . . . .

Conforming to a set of rules would somewhat diminish the individualism of the artist anyhow, wouldn't you think? I too have become a little crazy about Schnittke, thanks to my GMG friends here, and I feel as if listening to his music is like hearing the composer talk himself, or telling a story. It seems very personal, and the 4th is no exception.

How did the BIS recording turn out?

[ibanezmonster]

I think Schnittke is a good fit for you, Karl. Modern style + Russian composer...
If I listened to him more, I could easily grow to love his music even more...

[snyprrr]

GMG fiends

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