The idea of pairing on disc Bach, paragon of Baroque order, and Alfred Schnittke, pioneer of modern polystylistic chaos, is a fresh one. But it shouldn't be; Schnittke's principal models (or foils) were Baroque, and a certain bristling density is common to both composers. Each is quite amenable to transcription for new instruments, and indeed all the works here were originally for two violins. The versions for flute and oboe work perfectly well; the one of Schnittke's Concerto Grosso No. 1 for two violins, harpsichord, ...
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The idea of pairing on disc Bach, paragon of Baroque order, and Alfred Schnittke, pioneer of modern polystylistic chaos, is a fresh one. But it shouldn't be; Schnittke's principal models (or foils) were Baroque, and a certain bristling density is common to both composers. Each is quite amenable to transcription for new instruments, and indeed all the works here were originally for two violins. The versions for flute and oboe work perfectly well; the one of Schnittke's Concerto Grosso No. 1 for two violins, harpsichord, prepared piano, and strings is by Schnittke himself. The Concerto Grosso has been one of Schnittke's most successful works, and with its aggressive, somehow gleeful mix of Baroque melodic material, contemporary textures, dissonance, bits of popular music and jazz, and more, it nicely balances the Bach Concerto for two violins and orchestra in D minor, BW 1043. The clean performances by the Chamber Orchestra Kremlin under Misha Rachlevsky, with flutist Maria Alikhanova and oboist Dmitri...
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