Nonetheless, Schnittke speak about the later work as if encountering the same compositional problem: "Here, too, the attempt to breathe new life into the sonata form confronted me with a problem. Yet by the time of the Second Piano Sonata, Schnittke seems to have taking a slightly more weary, mystical stance.
He spoke more frequently of intuition, of a world in which authentic perception and reality were extremely deceptive if not completely inaccessible. Given these conditions, Schnittke cultivated a much more fantastical approach towards composition, one less guided by calculatedly pitting contrasting styles and methods against each other, and more nourished by inspiration.
Such was the stance that offered Schnittke to escape his frustrations with the instrument: "Little by little I stopped thinking in terms of keys, passage-work and pedals and concentrated on the actual content of what I was writing. It then seemed totally uninteresting whether it was new or old, insuperably difficult or whether it had existed a thousand times before. What was important was simply that it struck me as essential This attitude offers some explanation of Second Piano Sonata's whimsicality, freely moving between the intimate, playful, and fairy tale-like, and the violent and despairing.
Of the three movements, the first is the largest. It begins in a sound-world reminiscent of Schumann , and gradually moves through waves of crescendi into a wild, brutal climax. After quieting itself into a calm coda, it yields to the slight, delicate middle movement; marked Lento, this music exploits a figure which provided the backbone to Schnittke 's evening-length ballet Peer Gynt.
A third and final movement begins with deceptive airiness, but soon collapses into an odd bathos, as disconcerting as it inexplicable.
After a massive, triple-forte cluster is repeated some 12 times, Schnittke composes a disconcertingly beautiful coda, eloquent, mute, and wise. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age.
Aggressive Bittersweet Druggy. Moderato; 2. Larghetto; 3. Largo; 4. Andante—Allegro; 2. Adagio; 3. Allegro vivace Youtube. Lento; 2. Moderato; 3. Andantino; 4. Agitato; 5. Senza tempo. Sonata No. Suite in the Old Style, for violin and piano or harpsichord Youtube. Septet for flute, two clarinets, violin, viola, cello and harpsichord or organ — 1. Perpetuum mobile. Allegretto; 3. Eight Pieces, for piano Dedicated to his son Andrei 1. Folk Song — Andantino; 2. In the Mountains — Moderato; 3.
Cuckoo and Woodpecker — Vivo; 4. Melody — Andante; 5. Tale — Lento; 6. Play — Allegro; 7. Children's Piece — Andantino; 8. March — Allegretto. Five Aphorisms, for piano Youtube. Life with an Idiot, opera in 2 acts, libretto by Viktor Yerofeyev Youtube. Historia von D. Gesualdo, opera in 7 tableaux, a prologue and an epilogue, libretto by Richard Bletschacher Concerto for Piano and String Orchestra Concerto for Viola and Orchestra Dedication to Grieg for two violins, solo and orchestra Dedication to Stravinsky, Prokofiev and Shostakovich Dialogue for Cello and Seven Instruments Epilogue from the ballet "Peer Gynt" for cello, piano and tape recording Eroffnungsvers zum Ersten Festspielsonntag Entry to the first Sunday holiday for a four-voiced mixed chorus and organ Five Aphorisms for piano Five fragments of the paintings Hieronymus Bosch for tenor and small orchestra part of an unfinished Cantata Four Hymns for Cello and Ensemble.
Fugue for solo violin Hymn I for cello, harp and timpani Hymn II for cello and double bass Hymn III for cello, bassoon, harpsichord and bells Hymn IV for cello, bassoon, double bass, harpsichord, harp, timpani and bells Improvisation and Fugue for piano Improvisation for cello solo In memoriam orchestral version of the Piano Quintet Konzert zu dritt for violin, viola, cello and chamber orchestra, Lebenslauf for four metronomes, three percussion and piano Little Tragedies.
The music for the film Lux aeterna for mixed choir and orchestra Madrigal memory of Oleg Kagan for solo violin Magdalena for Voice and Piano lyrics by B. Pasternak Minuet for String Trio Monologue for viola and chamber orchestra Moz-Art a la Haydn for two violins and eleven strings
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