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ALFRED SCHNITTKE 3Rd SYMPHONY Rundfunk ALFRED SCHNITTKE 3rd SYMPHONY Rundfunk-Sinfonieorchester Berlin Vladimir Jurowski Alfred Schnittke (1934-1998) Rich in associations opulent work that gradually spins Shostakovich. In their search for new by the massive country on both 3rd Symphony (1981) a cocoon around itself, creating a musical shores during the Khrushchev sides of the Urals. But he was less One hundred and eleven musicians dense web of both clear and covert era, these artists were attempting constrained than his predecessors 1 Moderato 11.26 celebrating a large-scale symphony. allusions. But Schnittke would not to rediscover that which had been by the verdict of Real-Socialistic 2 Allegro 13.23 That sounds like Gustav Mahler, be Schnittke had he not primarily previously outlawed, and to reject composition as to the purpose of 3 Allegro pesante 8.15 Richard Strauss, or Arnold written music that appealed to the any kind of monumentality. the basic legitimacy of the music 4 Adagio 19.08 Schoenberg. In fact, the composer senses. Heart and brain are equally itself. Nevertheless, his personal of the present symphony, Alfred stimulated to embark upon the Schnittke was born in Engels (the development bears no resemblance Schnittke, had precisely these adventure that is Schnittke. capital of the former Volga-German to that of western composers, despite composers (as well as many others) Autonomous Soviet Socialist his being sensitized to international Total playing time 52.16 in mind back in 1981. The four- Republic) on the Volga in 1934, and developments in 20th-century movement work was commissioned Engels – Vienna – Moscow – described himself as a “Russian music thanks to the training he had for the ceremonial opening of the Hamburg without a drop of Russian blood.” His received from Philip Herschkowitz new Gewandhaus in Leipzig. And father, a Jew born in Frankfurt am (the Viennese Schoenberg pupil who Rundfunk-Sinfonieorchester Berlin Schnittke – at the time still a citizen Alfred Schnittke was 19 years old Main, had emigrated with his parents had emigrated to the Soviet Union). Rainer Wolters, Concertmaster of the Soviet Union, although when Soviet Generalissimo Stalin to the USSR in 1926, and later married Heike Gneiting, Piano possessed of the particular German died. However, that certainly did a Russian-born German, Maria Vogel. After a three-year post-graduate Tobias Berndt, Organ cultural background that only an not mean that Schnittke would then From childhood onwards, Alfred course, he taught at the Moscow Vladimir Jurowski, Conductor artist raised outside of his own have had every chance to develop Schnittke spoke German – the native Conservatory from 1962 to country would preserve – accepted as an artist. Together with Edison “Volga-German” of his mother. From 1972, working for a time at the This album has been recorded at the Haus des Rundfunks, RBB, Berlin, Germany the challenge. Time-honoured Denisov and Sofia Gubaidulina, Alfred 1946 to 1948, he lived in Vienna; Experimental Studio of Electronic in July 2014. The organ has been recorded separately at the Seifert organ of the Leipzig, with a musical background Schnittke belonged to the brilliant subsequently, the family returned Music in Moscow, and alongside St. Matthias-Kirche, Berlin-Schöneberg in October 2014. unlike that of any other German city, trio of Russian composers from the to the USSR, where he studied his compositions writing numerous Special thanks to Ulrich Gembaczka. inspired the composer to create an generation succeeding Prokofiev and music. Undoubtedly, he was formed music-theoretical works. In 1972, English Photography by Kai Bienert he decided to become a freelancer, the cost.” Instead, he “generated” his Mahler, Mozart, Bach, Stravinsky, emerge triumphant, as people tend in his capacity of “seismograph his music (in the Hegelian triple composers are included. From the as various colleagues are portrayed among other things composing music own art from particles of traditions Prokofiev, and Shostakovich, he was to do. This is what saved him from of the cultural nightmares of his/ sense), one thing he surely did not do: letters that make up their names, I with exquisite detailing, whereas for some 60 films. Apart from his film past. Unfortunately, this led to a soon also borrowing concepts from retreating into an ivory tower to our present” (Vladimir Jurowski). reinvent the wheel. To him, music was have derived dodecaphonic scales” others are marched past us like music, Schnittke’s oeuvre includes withering condemnation of his abilities “trivial music,” folklore, jazz, tango, which many 20th-century composers Previously, Gustav Mahler had part of everyday life, it was there to (Alfred Schnittke). dreary tin soldiers. chamber music for the most diverse – he was said to be an uncreative as well as many other styles. “I would were enticed, like lemmings. followed a similar calling, and be used, as well as to be worn down, ensembles, operas, vocal-symphonic populist, a grubby waste-recycler. like to mention that I did not steal Schnittke’s contemporaries Valentin repaired, and altered. However, it Based on a reference to the Richard Wagner is allotted a works, symphonies, and solo Who could spread such contempt? any ‘antiques’ in my compositions: Silvestrov and Giya Kancheli also set should not be allowed to gather dust. Thomaskirche in Leipzig, the special position in the parade. His concertos. Thanks to a concert tour The guardians of so-called progress, no, I ‘forged’ them,” Schnittke once The luck of the vagabond their thoughts about timeless and Thus, considering this background, following composers are invoked: name, represented by the notes in 1977 given by Gidon Kremer, among who were also popping up in the remarked with a chuckle. He himself spaceless topics to music. Perhaps it seems perfectly logical that for Schütz, Bach (piccolo), Haydn, a-g-e, blends into motifs from the others, his reputation spread to the world of music – blind apologists of coined the term “polystylistic” to Alfred Schnittke’s Symphony No. 3 it is natural that Schnittke, who was his Symphony No. 3 he borrowed not Mozart, and Beethoven. They all lead Rheingold (clarinets); but above all, West. After then, Schnittke lived and the modern disposable society. What describe his compositional technique. bears witness to all this searching, born too late for the times, yet at only from Myaskovsky (in particular, to the first climax, a fortissimo in the Symphony No. 3 commences worked primarily in Germany and a contradiction! Thus the “modern” But this was far more than just a this “in-betweenness”. He used the the same time too early, could never from the second movement of his D major. In the ebb and flow that with the opening theme from this Austria. He was granted German suddenly becomes synonymous with technique or concept: no, it was prestigious commission from Leipzig really break through anywhere – be Symphony No. 24), Shostakovich follows, the names of Schubert, opera. Schnittke adapts the primal citizenship in 1990, finally passing the “inflexible” and the “cramped”, an aesthetic programme, a serious as an opportunity to grapple not only it in Russia, Germany, in the avant- (Symphony No. 4 and opera The Schumann, Brahms, Mendelssohn, source from that legendary well of away in Hamburg on August 3, 1998. while a thoughtful treatment of attempt to break through the with the multi-layered historical past, garde movement, neo-romantic Nose), Prokofiev, and Stravinsky, Strauss and Strauß, Reger, Bruckner, all music, the minute-long sustained citations from past eras of music vicious circle of the self-satisfied but also with the ailing current state postmodernism, in Judaism, but that he likewise immortalized 22 Mahler (chimes), Schoenberg note of E flat, fanning it out over a develops new ground. Both academic and self-sufficient avant-garde of affairs, and the possibilities of the Christianity, atheism, in the past, the composers in his Leipzig symphony. (clarinet), Berg (highlighted in the total of 66 strings, ranging from the In between all styles and utility music from familiar and music. Suddenly, polystylism had future of music culture in general and present, or the future. “This is a German symphony. In other timpani) and Webern (celesta) lowest double-bass at the rear, to the foreign cultures can be heard, broken become the means to write music German culture in particular. He did words, the piece is based on quasi- are invoked; then Eisler, Dessau, highest violin of the leader up front. After 1968, Schnittke developed his down and seen through the lens of the that was closely related to social not go about this like a carping and quotes. Literal quotes hardly ever Hindemith, Orff, Bernd Alois All strike up the same melodic figure own style of composition, based on second half of the 20th century. reality. Schnittke’s protagonists do pedantic critic, he remained highly Moderato appear, but the music constantly Zimmermann (Photoptosis), Henze, in canon, staggered over the bars: a Anton von Webern’s contrast concept not shine like steel and glass heroes; respectful of the achievements of evokes the development of German Kagel, and Stockhausen file past. We harmonic series on the note C. Here, (“tight and loose”). His motto was no Whereas initially he imitated certain instead, they make mistakes, laugh, both the past and the present. He Although Schnittke recycled music from Bach to the present hear Schnittke combining enigmatic Schnittke has in mind a sound that is longer “innovation, no matter what styles from leading figures such as have their weak moments, and was not alone everything he deemed suitable in day. The names of more than 20 humour with awesome earnestness, explicitly not well tempered; this procession from darkness to light yet cheeky faces. The percussion chase after the fleeing strings, world-famous music still entrenched be beaten by tinkling and jingling, we work with an adagio movement is brass chorale does not offer the Finally, the symphony ends on an is meant to develop in a pure and section does not pound, but glitters dispersing them.
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