Dialogue of the Historical Time Periods in the Music of Alfred Schnittke
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Abstract
The article is dedicated to the eightieth anniversary of the birthday
of the outstanding composer Alfred Schnittke. He was an inimitable
stylist, possessing a virtuosic mastery of replication of any strata
of musical culture. “The Promised Land” for the composer
was exempliied by the Baroque period, the genre model of the
Concerto Grosso, revived by him, following the modes of Corelli
and Handel. The composer has spoken numerous times about the
exceptional signiicance of Johann Sebastian Bach, considering
him the center of “the musical Universe” and an unattainable ideal.
The monograph of BACH for Schnittke becomes a leitmotif for
musical creativity, passing through various metamorphoses from
composition to composition. Mozart became a key musical igure
for him, and allusions on the style of the great Viennese Classicist
appeared many times in the works of Schnittke, which makes it
possible to conclude about his Mozartianism. Much more rarely
Schnittke had the urge to turn to the styles of 19th century music
as sources of stylization. Nevertheless, here too Wagner must
be singled out, to whom he constructed austere and pompous
monuments in his compositions, although more frequently one can
discern in his music an organic synthesis of Wagner and Bruckner.
The range of polystylistic space in Alfred Schnittke’s music
turned out to be truly fathomless, and no less impressive was the
skill with which he worked with the most diverse musical material.
Two of the most noteworthy examples of this are the First and the
Third Symphonies, in which the stylistic pluralism served the goals
of creating a multidimensional panorama of the world in its past,
present and future. The composer himself viewed in polystylistics
“a convincing musical means for a philosophical substantiation
of ‘the connection between the historical time periods.’” The allencompassing
scale of stylistic modes developed by him made it
possible to establish this “connection between the historical time
periods” and to realize in all fullness the acute sense of historical
memory intrinsic to the artistic thought of the second half of the
20th century. Most likely, therein in particular lay the chief artistic
achievement of Alfred Schnittke.
Keywords: Alfred Schnittke’s music, stylistic pluralism,
stylistic models, Mozartianism, Baroque genre models, the
monogram ВАСН
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References
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3. Shnitke A. Stat’i o muzyke [Articles about Music]. Compiled by A. V. Ivashkin. Moscow: Kompozitor Press, 2004. 280 s. 4. Shul’gin D. Gody neizvestnosti Al’freda Shnitke [Alfred Schnittke’s Years of Obscurity]. Second Edition Moscow: Kompozitor Press, 2004. 110 p.