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A Schnittke Reader (Russian Music Studies) - download pdf or read online

By Alfred Schnittke

ISBN-10: 0253338182

ISBN-13: 9780253338181

This compilation assembles formerly released and unpublished essays by means of Schnittke and supplementations them with an interview with cellist and student Alexander Ivashkin. The ebook is illustrated with musical examples, lots of them in Schnittke’s personal hand. In A Schnittke Reader, the composer speaks of his lifestyles, his works, different composers, performers, and a vast variety of subject matters in 20th-century tune. the amount is rounded out with reflections by way of a few of Schnittke’s contemporaries.

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Additional info for A Schnittke Reader (Russian Music Studies)

Sample text

And that Anton Bruckner’s life was almost holy. With the passage of time, all this becomes completely meaningless! There is, for example, a definite resemblance between Andrei Volkonsky’s10 Shchaza’s Laments and Edison Denisov’s11 Sun of the Incas. Volkonsky’s work was composed earlier, but this does not mean that Sun of the Incas is inferior. A long time ago Yuri Butsko12 showed me his Polyphonic Concerto, a work unique of its kind. It is a composition for four keyboard instruments in every possible combination.

IVASHKIN: It seems to me, as far as allusions are concerned, that it is your Third Symphony that more closely resembles Luciano Berio’s Symphony, not your First. SCHNITTKE: Yes and no. In Berio’s Symphony, unlike my Third Symphony, all the quotations are genuine, and the composer’s task was to join a vast number of them into a single whole so they seem to have developed by natural course of chance. IVASHKIN: I believe Berio’s starting point was literary texts, Lévi-Strauss and the structuralists, whereas in your First Symphony your starting point was the cinema.

Throughout the history of music there are vast numbers of such parallels: Stravinsky’s Rite of Spring and Prokofiev’s Scythian Suite. Or the neoclassicism of Stravinsky, Hindemith, and Honegger. All these are multiple manifestations of the same phenomenon. I think that if they really wanted to, each of these composers could accuse the others of plagiarism. I recall Stockhausen in one of the first two volumes of his Texts on Music15 referring indignantly to the disgraceful way Boulez had behaved.

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A Schnittke Reader (Russian Music Studies) by Alfred Schnittke

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