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Polystylism and Narrative Potential in the Music of Alfred Schnittke

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POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOIT TREMBLAY B.Arts (education musicale), Universite Laval, 1999 B.Mus (mention en histoire), Universite Laval, 1999 M.Mus (musicologie), Universite Laval, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Music, emphasis in musicology) THE UNIVERSITY OF BRITISH COLUMBIA April 2007 © Jean-Benoit Tremblay, 2007 ABSTRACT This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Mo^-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music. For the Concerto '.'V Grosso No. 1, Schnittke devised a program, albeit a secret one. The piece is at the center of a complex network of references, some unveiled in the work's sketches, others originating from the film music of the composer. A story involving the Jungian concepts of animus, anima and collective unconscious is developed around musical elements as diverse as the BACH musical motive, a folktune, a dodecaphonic waltz and a tango. The tango, which periodically reoccurs in Schnittke's work, is the topic of the last chapter. Over the ii course of several works, the tango accumulates diverse meanings in Schnittke's music. In the Symphony No. 1, it is an easy solution to a composer's problem; in Agony, it is a lure appealing to Rasputin's inner demons; in the Concerto Grosso No. 1, the tango takes part in a stylistic Utopia; in Die Historia von D. Johann Fausten, it is the feminine; in Life with an Idiot, it is the violence present in everyone. TABLE OF CONTENTS Abstract u Table of Contents iv Table of Figures s... viii Note on Transliteration x Note on Transliteration x Acknowledgments M Dedication xii Introduction 1 Literature 8 Methodology 12 Outline - 22 Chapter 1: (Anti-)Symphony No. 1 and the Genesis of Polystylism 24 Polystylism 30 Symphony or... Anti-Symphony? 34 Program or Anti-Program? 35 Interpretations of the Symphony 37 Borrowings and References 39 (1) Beginning - Consonances and Dissonances 43 (2) The Popular and the Banal 45 (3) Beethoven 48 iv (4) Concerto Grosso a la Handel 49 (5) Batde of the Cadenza 51 (6) Triumph of the Banal 52 (7) Series, Series, Series, and Primes 54 Interlude: Prime Numbers 64 (8) Death 66 (9) Resurrection 72 Conclusion 74 Chapter 2: Mozart a la Haydn : the open space of Fragmentation 77 The Fragment and the Fragmentary 81 Formal Design 87 The Old in the Present 88 Commedia dell'arte , 90 Wolfgang Amadeus Mozart 91 KV446 (416d) 93 Combinatory Techniques 96 (1) Shift ".' 97 (2) Stratification 97 (3) Stretto • 98 (4) Morphing 99 Combination Possibilities 100 The New in the Past 102 Meaning and Narrative 112 Conclusion 116 Chapter 3: Concerto Grosso No. 1 or the "Utopia of a Unified Style' 118 Concerto Grosso No. 1 128 Synopsis 129 First Movement: Preludio 129 Second Movement: Toccata 130 Third Movement: Recitativo 131 Fourth Movement: Cadenza 133 Fifth Movement: Rondo 134 Sixth Movement: Posdudio 136 References 137 Sketches 138 Sketches: Program 139 Sketches: Movements 147 Sketches: Quasi- 148 Sketches: Tango 149 Self-Borrowings 150 BACH 151 Tango 158 Films: Cadential Figure 160 A Tentative Narrative 161 Conclusion 164 Chapter 4: Tango 167 vi "Faust Cantata" and Historia von D. Johann Fausten 169 The Feminine, the Exotic and the Devil 182 The Tango in other Works by Schnittke 184 Symphony No. 1 (1968-72) 185 Agony (1974/81) 186 Concerto Grosso No. 1 (1977) 186 Polyphonic Tango (1979) 187 Life with an Idiot (1991) 188 The Master and Margarita (1993-4) 190 Conclusion: The Tango as a Sign 190 Conclusion 194 Evolution of Polystylism 199 Polystylism and Narrative Potential 206 Bibliography 209 vii TABLE OF FIGURES Figure 1-1. Principal features and characteristics creating stylistic gaps 42 Figure 1-2. Principal series of Schnittke's Symphony No. 1 55 Figure 1-3. Serial organization 57 Figure 1-4. Details of the fifth group, 96/2/2 to 96/2/8 59 Figure 1-5. Dynamic Triangle of the Third Movement 62 Figure 1-6. Rhythmic organization of Symphony No. 1, 1st movement, section 4 65 Figure 1-7. Emergence of chords from series, from 129/1/2 68 Figure 1-8. Emergence of the Dies Irae from series, from 134/1/1, example 69 Figure 1-9. Emergence of series from the Dies Irae, from 153/1/2, piccolo 1 70 Figure 2-1. Formal design of Mo^Art. 88 Figure 2-2. Partition in thematic fragments of Mozart's 416d 94 Figure 2-3. Stylistic shift at measure 36 [7] 97 Figure 2-4. Stratification from m. 220 to 261 98 Figure 2-5. Stretto from measure 1 99 Figure 2-6. Morphing in the double bass part in the Introduction 100 Figure 2-7. Most important thematic fragments used in Mo^-Art 102 Figure 2-8. Principal thematic combinations in Mot^Art 102 Figure 2-9. Similarity of fragments 2.1 and 12.1, combined from measure 36 108 Figure 2-10. Cadenza-like episode of measure 154 108 Figure 2-11. Contrasts around fragment 3.3, measures 66, 76 and 185 109 viii Figure 2-12. Chromatic transition at measure 51 114 Figure 3-1. Main stylistic elements 122 Figure 3-2. Categories of stylistic elements 126 Figure 3-3. Stylistic elements in the first movement 130 Figure 3-4. Stylistic elements in the second movement 131 Figure 3-5. Quotation of Tchaikovsky and Berg's Violin Concertos 132 Figure 3-6. Stylistic elements in the third movement 133 Figure 3-7. Stylistic elements in the fourth movement 134 Figure 3-8. Stylistic elements in the fifth movement 136 Figure 3-9. Stylistic elements in the sixth movement 136 Figure 3-10a. London Sketches, sheet 10 140 Figure 3-10b. Translation of London Sketches, sheet 10 141 Figure 3-11. Excerpt of London Sketches, sheet 1 143 Figure 3-12. Various kind of dualities in London Sketches 145 Figure 3-13. Quasi-Periodic as notated in LS 8 and the Chorale theme 149 Figure 3-14. Borrowings in Glass Harmonica 153 Figure 3-15. Exchange of the waltz theme and BACH aggregate spelling 156 Figure 3-16. BACH in the Cadenza, mvt. IV, from 62/1/1. 157 Figure 4-1. Beginning of the third act 174 Figure 4-2. The tango melody, as of 345/1/5 [65] 177 Figure 4-3. Libretto adaptation of the 1587 Volksbuch 181 Figure 4-4. The tango melody, as of 345/1/5 [65] 191 Figure 5-1. Evolution of polystylism in Schnittke's works 200 ix NOTE ON TRANSLITERATION Whenever possible, the transliteration of Russian names and titles in this thesis complies with the ISO 9:1995 standard. The only exception to that rule pertains to familiar names like Stravinsky, Prokofiev or Shostakovich, for which the traditional English spelling has been preserved. In the bibliography and footnotes, in the case of publications using the Roman alphabet, the spelling of Russian names has been kept as published. The table below summarizes the most commonly used transliteration systems. ISO GOST ALA BS ISO GOST ALA BS A, a a P.P r B, 6 b C, c s B,B V T,T t r, r 9 u A. A d O, dp f E, e e e, ye X, x h kh kh E, e e yo LU c ts ts >K,)K z zh zh 4, H c ch ch 3,3 z UJ, uj s sh sh H, M i W,w. s sc shch shch M, M J T "b,"b " K, K k bl, bi y Jl.n 1 b, b ' M, M m 3, KD e e e[e] H, H n K), io u ju iu yu O, o 0 a ja la ya n, n P ISO: International Standards Organization 9:1995, used in this thesis. GOST: Gosstandart Rossii 1983, used in Die Musik in Geschichte und Gegenwart, 2"d ed. ALA: American Language Association, used by the Library of Congress. BS: British Standards 2929, used in the New Groa Dictionary of Music and Musicians, 2nd ed. X ACKNOWLEDGMENTS When I started my doctorate studies at the School of Music of the University of British Columbia, I had litde idea of the amount of work and of time lying in front of me. The whole enterprise would have been impossible without the help of many people. I want to take this opportunity to thank the members of my committee. Vera Micznik believed in my capacities from the beginning and has unfailingly offered perceptive advice and encouragement throughout my stay at UBC.
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