Sonata for violin & piano No. 2 ("Quasi una sonata")
Gratulationsrondo, for violin & piano in C major
Piano Quintet
As a means of transcending the limitations of schools or theories, "polystylism" served Alfred Schnittke well, and it enabled him to surprise audiences with his enormous musical vocabulary. However, there is a fine line between playing with styles and outright pastiche, which Schnittke sometimes crosses, seemingly jumping from a position of ironic commentary to comic mimicry. This disc presents three frequently performed pieces, which, if heard from beginning to end, may baffle, because Schnittke's stylistic sweep goes from ...
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As a means of transcending the limitations of schools or theories, "polystylism" served Alfred Schnittke well, and it enabled him to surprise audiences with his enormous musical vocabulary. However, there is a fine line between playing with styles and outright pastiche, which Schnittke sometimes crosses, seemingly jumping from a position of ironic commentary to comic mimicry. This disc presents three frequently performed pieces, which, if heard from beginning to end, may baffle, because Schnittke's stylistic sweep goes from the jolting gesturalism of the Sonata No. 2 for violin and piano (1968) to the Mozartian prattling of the Gratulationsrondo (1974) without any transition. The former piece was clearly meant to shock, where the latter was a lighthearted amusement intended as a personal birthday gift. Even though it comes last on the program, the Piano Quintet (1972-1976) ought to be heard first, if only to prepare the listener for Schnittke's chimerical changes of style in a serious work, where the...
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