By Alfred Schnittke
This compilation assembles formerly released and unpublished essays by means of Schnittke and vitamins them with an interview with cellist and student Alexander Ivashkin. The e-book is illustrated with musical examples, lots of them in Schnittke’s personal hand. In A Schnittke Reader, the composer speaks of his lifestyles, his works, different composers, performers, and a wide diversity of issues in 20th-century track. the quantity is rounded out with reflections by way of a few of Schnittke’s contemporaries.
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Additional info for A Schnittke Reader (Russian Music Studies)
Ed. From Schnittke’s Conversations with Alexander Ivashkin 13 whole of your work is not at all a putting together and carrying out of technical instructions; it is a kind of listening in to something that is already there. And this predetermines everything—the significance of the details and the rational interpretation of them. Of course there is a certain moment when the ideal conception has to be turned into reality, and then you have to resort to a rational explanation that simplifies the process.
IVASHKIN: I believe Berio’s starting point was literary texts, Lévi-Strauss and the structuralists, whereas in your First Symphony your starting point was the cinema. Apparently, when he was working on his symphony Berio was greatly assisted by Umberto Eco. In your First Symphony there is no mythological or structuralist layer. 18 Schnittke Speaks about Himself SCHNITTKE: You are right, I derived a great deal from the cinema. As long ago as 1965–1967 I remember having many conversations with Elem Klimov16 and Andrei Khrzhanovsky,17 who at that time were attempting to use the polystylistic method, to use quotations in film.
So I have renewed my interest in fiction. But of course I realize that our current fascination with what we were deprived of for decades is the fascination people feel for what they have been starved of. I now realize how much we were starved of it, and I have been reading for the past three years and have still not grown tired of it. But many of the things I previously pounced on no longer arouse my interest. I no longer get excited about the endless articles that appear in every newspaper about Akhmatova, Mandelshtam, or Pasternak.
A Schnittke Reader (Russian Music Studies) by Alfred Schnittke