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The Music of Alfred Schnittke
Published online by Cambridge University Press: 04 February 2010
Extract
In recent years, Alfred Schnittke has seemed to provide a point of focus for interest in Russian music which has been absent since the death of Shostakovich in 1975: not least because he appears in some respects to be the latter's natural successor. Many of Shostakovich's aesthetic as well as technical preoccupations have played a significant part in Schnittke's work. Schnittke has developed these preoccupations, in fact, to a further extreme: his principal inheritance from Shostakovich, the sense of irony and alienation, has become the most obvious trait in the music of a composer who has consistently followed his own star quite independently of any stylistic clique.
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- Copyright © Cambridge University Press 1989
References
1 Quoted in prefatory note to the score (Boosey & Hawkes HPS 949).
2 Boulez, Pierre: ‘Mahler: Our contemporary’, in Orientations- translation of preface to Gustav Mahler et Vienne by Walter, Bruno, Paris, 1979Google Scholar
3 Schnittke, Alfred: Polstylistic tendencies in modern music, in Music in the USSR, 04/06 1988Google Scholar.
4 Alfred Schnittke: programme note to Symphony no.2.
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