Alfred Schnittke. Polka
Июнь 15, 2015
Концерт "Музыкальное путешествие странами мира" в рамках авторского проекта Маргариты Левицкой "Диалоги эпох", 03.06.2015 г. в Посольстве Германии в Киеве.
Исполнители: Александр Павлов (скрипка), Маргарита Левицкая (фортепиано)
(Alexandr Pavlov (violin), Margarita Levitskaya (piano)
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2,235 просмотров
Gidon Kremer - Polka - Alfred Schnittke | Yellow Lounge
Violinist Gidon Kremer and his Kremerata Baltica perform "Polka" by Alfred Schnittke in 2017 at the Yellow Lounge in Berlin.
Explore Gidon Kremer’s 2017 recording Preghiera: https://DG.lnk.to/kremer_preghiera
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Polka A.Schnittke, anniversary of Y.Shishkin / Полька А.Шнитке, юбилей Ю.Шишкина
http://www.accordionplus.ru
Юрий Шишкин, Екатерина Мечетина, Родион Замуруев
Yuri Shishkin, Ekaterina Mechetina, Rodion Zamuruyev
172 1
Rachmaninov - Italian Polka (Violin arrangement)
Caroline Adomeit, violin
Nadiya Kholodkova, piano
booking: [email protected]
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BCMF Schnittke "Moz-Art" for Two Violins
Bridgehampton Chamber Music Festival: Live Performance — August 2, 2012
Stefan Jackiw, Jonathan Crow
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Alfred Schnittke: Der Walzer (1969)
Alfred Schnittke (1934-1998): Der Walzer, suite dalla colonna sonora del film di Viktor Titov (1969).
1.Building plot
2.Coach
3.Factory
4.Vovka
Rundfunk-Sinfonieorchester Berlin diretta da Frank Strobel
***
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Spivakov - Shnitke "Polka"
Владмир Теодорович Спиваков Исполняет польку "Шинель" из "Гоголь-сюиты" композитора Альфреда Гарриевича Шнитке по мотивам произведения Николая Васильевича Гоголя. Изначально Шнитке написал эту музыку к спектаклю "Ревизская сказка" театра на Таганке (постановка Юрия Петровича Любимова).
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SCHNITTKE Polka
Russian Chamber Philharmonic St. Petersburg /
Russische Kammerphilharmonie St.Petersburg
Juri Gilbo, Conductor / Dirigent
Gubbio, Italy / December 2011
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Kremer - Schnittke - Rondo
Alfred Schnittke — Rondo
Gidon Kremer, violin
Martha Argerich, piano
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Schnittke Violin Sonata No. 2, "Quasi Una Sonata" (Mints, Apekisheva)
Schnittke's second sonata for violin and piano (1968) was his first "polystylistic" work. He subtitled it "Quasi una sonata, " which means "like a sonata, " or "in the manner of a sonata." Schnittke called it "a sort of borderline case of sonata form, " explaining that it was, in a sense, about the process of writing a sonata. "The form is called into question; it seems not to be achieved — and then the sonata is already over." He also called it "a report of the impossibility of the sonata."
The "impossibility of the sonata" for a composer steeped in atonality is that sonata form is based on tonality: it is, in essence, a journey from tonic key to the dominant key and back again. A composer who eschews the whole idea of key is likely to eschew the idea of the sonata. Indeed, after years of avoiding major and minor chords, Schnittke was changing course significantly. "The Sonata begins with a loud, short G-minor triad. That was very important for me, " he wrote, "after a very long period of writing exclusively serial music. Suddenly I had to write this piece, without rules of construction. It was, so to speak, a mutiny against everything else. There is a continual exchange between this triad and a dissonant violin chord: the piece seems to stammer. Then, suddenly, the motif B-A-C-H (B-flat, A, C, B-natural) appears…at the end it stands out clearly as the solution. The solution consists of the fact that nothing is solved, " concluded Schnittke, since both the minor chord and the atonal material "remain as contrasting elements which are balanced against each other."
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