Alfred Schnittke: (K)ein Sommernachtstraum (1985)
Январь 27, 2011
Alfred Schnittke (1934-1998): (K)ein Sommernachtstraum, per grande orchestra (1985) — Tom Holst, 12° violino; Hanne Friis-sharp, flauto — Malmö Symphony Orchestra diretta da Leif Segerstam —
painting by Ciurlionis
——
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
403 4
41,065 просмотров
Schnittke - The Glass Harmonica
00:00 — The Musician and the Carillon
01:48 — Procession
03:12 — Faces, Flights, Pyramids
16:39 — The Awakening
1624 25
Альфред Шнитке-Мёртвые души
Альфред Шнитке-Мёртвые души
Геннадий Рождественский
Виктория Постникова
Академическая симфоническая капелла России
1.Пролог (00:36) 2.Полька (04:51) 3.Похоронный марш (06:01) 4.Марш (09:12) 5.Прошлое Плюшкина (11:24) 6.Мазурка (15:39) 7.У Маниловых (18:57) 8.Вальс (23:50) 9.Галоп (27:27)
2847 46
Alfred Schnittke: Concerto per pianoforte e archi (1979)
Alfred Schnittke (1934-1998): Concerto per pianoforte e archi (1979) — Igor Khudolei, pianoforte — Russian State Symphony Orchestra diretta da Valeri Polyansky —
painting by Ciurlionis
——
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
239 3
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
31357 497
Alfred Schnittke - Declaration of Love.wmv
Artist: Alfred Schnittke
Album: A Fairy Tale Of Travels (2004)
Track: 15 — Declaration of Love
4073 53
Alfred SCHNITTKE: "Seid nüchtern und wachet..." VII. Es geschah... Альфред Шнитке
Iva Bittova — voice
Prague Philharmonic Choir
Hradec Kralove Philharmonic
Peter Vrabel — conductor
Music forum Hradec Kralove 2008
www.hfhk.cz
1170 34
Schnittke - Choir Concerto 4 - Complete This Work Which I Began
Alfred Schnittke (1934-98) — Choir Concerto (setting of 'The Book of Lamentations' by Gregor of Narek (951-1003)
Russian State Symphonic Choir, conductor Valeri Polyansky
Info & English text:
http://www.hyperion-records.co.uk/al.asp?al=CDA67297
Альфред Шнитке (1934-98) — «Концерт для смешанного хора в четырех частях» на стихи Г. Нарекаци
4 — Сей труд, что начинал я
Российский государственный симфонический хор, дирижер Валерий Полянский
612 4
Alfred Schnittke - Piano Quintet, II
Piano Quintet (1972 -1976)
I. Moderato
II. In Tempo di Valse
III. Andante
IV. Lento
V. Moderato Pastorale
Irina Scnittke, piano
Mark Lubotsky, violin
Dimity Hall, violin
Irina Morozova, viola
Julian Smiles, cello
Alfred Schnittke's Piano Quintet is a dark and heavy planet. Even in the midst of his bewilderingly prolific output, this extremely personal work commands a massive gravity; it seems to orient, arrange, and set in motion so many of Schnittke's works, before and after. If one wants to find the founding trauma for such a consistently agonizing body of artistic work, it can be found in the Piano Quintet.
This centrality may owe much to the quintet's function: conceived as a memorial to the composer's mother, who died of a stroke in September 1972, here's a composition whose substance was drawn from a real event, powerfully tangible and irrevocable. This kind of reality had not been Schnittke's basis for previous works. His Symphony No. 1 (1972) and other contemporaneous works are brazenly extroverted stylistic carnivals, full of fantasy, denunciation, and dark humor, and are largely artistic statements on art or cultural critiques on culture itself.
In this light, the Piano Quintet was a radical departure into an entirely personal sphere. This shift caused the composer tremendous difficulty. After finishing the first movement very quickly, Schnittke was blocked, "unable to continue because I had to take what I wrote from an imaginary space defined in terms of sound and put it into the psychological space as defined by life, where excruciating pain seems almost unserious, and one must fight for the right to use dissonance, consonance, and assonance."
Hence the Piano Quintet was shelved, and Schnittke did not resume work on it for almost four years. When he did pick up the work again, his musical temperament had changed, becoming more distilled, tauter, and more unabashedly morbid. Schnittke had perfected a personal sound, a dense, claustrophobic web of chromatic clusters. This signatory sound, rich yet obscure, serves as the backdrop for much of his succeeding work, and is seamlessly crafted into this work. The second movement is a wraith-like slow waltz on the name of B-A-C-H (H in German notation is B, B is B flat). The waltz is the only "polystylistic" concession in the piece, and throughout the movement consistently descends back into torturous clusters.
The next two movements form the heart of the work, pulling it increasingly inward. Schnittke explains that they "are real experiences of grief which I would prefer not to comment on because they are of a very personal nature." Both movements bind themselves in shells of stasis; each movement suffers its own shocked outburst and epiphany. Eventually the fourth movement ruptures the thick web of chromaticism that seems to paralyze the work.
After its crushing, cathartic crisis on a single, repeated note, the movement ebbs into the work's final bars, based on a 14-measure theme repeated 14 times in the piano. Over this theme, Schubert-like in its studied rusticity, one hears blanched recollections of previous passages; everything liquefies as it materializes, swept along by the piano theme's current. Eventually a faded reconciliation emerges and the strings are silenced; the work ends on the sonic outskirts as Schnittke instructs the pianist to play tonlos, "without tone."
There is hyper-sentimentality in Schnittke's quintet, a weird excess of morose emotion that exists in few other of his works. Somehow the sentimentality works here, perhaps because of the sincerity of the utterance, perhaps because, despite wearing his heart on his sleeve, Schnittke is not merely personal but also highly idiosyncratic. The work is an uncomfortable twentieth century classic, and a key to Schnittke's music in general. [Allmusic.com]
Art by Zhang Xiaogan
335 3
Alfred Schnittke Moz-Art à la Haydn two violins and strings
Recorded at http://www.springlightmusic.com
Hamburger Camerata, Ralf Gothoni
130 7
