Alfred schnittke - Life with an idiot.

Description for Alfred schnittke Life with an idiot

Alfred schnittke - Life with an idiot.
Easy CD-DA Extract Professional v12.0.0 build 1 | MP3 Vbr 320 kbps / Js 44.1kbps | Ape 451 Mb | Mp3 254 Mb | No cue | No log
Vocal Ensamble (Vocal coaching: Winfried Maczewbski)
Rotterdam Philharmonic Orchestra
Mstislav Rostropovich, Cellist, Pianist, Conductos
Contemporanean classic | Release year 1992 | 2 Cd | | Total time 45:16, 68:19 | Covers

Alfred Garyevich Schnittke (November 24, 1934 Engels - August 3, 1998 Hamburg) was a Russian and Soviet composer. Schnittke's early music shows the strong influence of Dmitri Shostakovich. He developed a polystylistic technique in works such as the epic First Symphony (1969-1972) and First Concerto Grosso (1977). In the 1980s, Schnittke's music began to become more widely known abroad. In the 1980s, he wrote his Second (1980) and Third (1983) String Quartets and the String Trio (1985); the ballet Peer Gynt (1985-1987); the Third (1981), Fourth (1984) and Fifth (1988) Symphonies; and the Viola (1985) and 1st Cello (1985-1986) Concertos. As his health deteriorated, Schnittke's music started to abandon much of the extroversion of his polystylism and retreated into a more withdrawn, bleak style.

Schnittke's father was born in Frankfurt to a Jewish family of Russian origin. He moved to the USSR early in his life. His mother was a Volga German born in Russia.

Alfred Schnittke was born in Engels in the Volga-German Republic of the RSFSR, Soviet Union. He began his musical education in 1946 in Vienna where his father, a journalist and translator, had been posted. It was in Vienna, Scnittke's biographer Alexander Ivashkin writes, where "he fell in love with music which is part of life, part of history and culture, part of the past which is still alive."[1]. "I felt every moment there," the composer wrote, "to be a link of the historical chain: all was multi-dimensional; the past represented a world of ever-present ghosts, and I was not a barbarian without any conections, but the conscious bearer of the task in my life."[2] Schnittke's experience in Vienna "gave him a certain spiritual experience and discipline for his future professional activities. It was Mozart and Schubert, not Tchaikovsky and Rachmaninoff, whom he kept in mind as a reference point in terms of taste, manner and style. This reference point was essentially Classical ... but never too blatant."[1]

In 1948, the family moved to Moscow. He completed his graduate work in composition at the Moscow Conservatory in 1961 and taught there from 1962 to 1972. Evgeny Golubev was one of his composition teachers. Thereafter, he supported himself mainly by composing film scores and composed nearly 70 scores in 30 years.[3] Schnittke converted to Christianity and possessed deeply held mystic beliefs which influenced his music.

Schnittke was often the target of the Soviet bureaucracy. His First Symphony was effectively banned by the Composers' Union, and after he abstained from a Composers' Union vote in 1980, he was banned from travelling outside of the USSR. In 1985, Schnittke suffered a stroke which left him in a coma. He was declared clinically dead on several occasions, but recovered and continued to compose. In 1990, Schnittke left Russia and settled in Hamburg. His health remained poor, however, and he suffered several more strokes before his death on August 3, 1998 in Hamburg.

Schnittke's early music shows the strong influence of Dmitri Shostakovich, but after the visit of the Italian composer Luigi Nono to the USSR, he took up the serial technique in works such as Music for Piano and Chamber Orchestra (1964). However, Schnittke soon became dissatisfied with what he termed the "puberty rites of serial self-denial" and moved on to a new style which has been called "polystylism", where music of various different styles past and present are juxtaposed (the composer once wrote "The goal of my life is to unify serious music and light music, even if I break my neck in doing so"). The first concert work to use the polystylistic technique was the Second Violin Sonata, Quasi una sonata (1967-1968), but the influence of Schnittke's film work on his stylistic development is shown by the fact that much of the music of this work was derived from a score for the animation short The Glass Harmonica. He continued to develop the polystylistic technique in works such as the epic First Symphony (1969-1972) and First Concerto Grosso (1977), but also composed more stylistically unified works such as the Piano Quintet (1972-1976), written in memory of his recently deceased mother.

In the 1980s, Schnittke's music began to become more widely known abroad, thanks in part to the work of emigre Soviet artists such as the violinists Gidon Kremer and Mark Lubotsky. Despite constant illness, he produced a large amount of music, including important works such as the Second (1980) and Third (1983) String Quartets and the String Trio (1985); the Faust Cantata (1983), which he later incorporated in his opera Historia von D. Johann Fausten; the ballet Peer Gynt (1985-1987); the Third (1981), Fourth (1984) and Fifth (1988) Symphonies (the last of which incorporates his Fourth Concerto Grosso) and the Viola (1985) and 1st Cello (1985-1986) Concertos.

As his health further deteriorated, Schnittke's music started to abandon much of the extroversion of his polystylism and retreat into a more withdrawn, bleak style. The Fourth Quartet (1989) and Sixth (1992), Seventh (1993) and Eighth (1994) symphonies are good examples of this, and some Schnittke scholars such as Gerard McBurney have argued that it is the late works which will ultimately be the most influential parts of Schnittke's output. After a further stroke in 1994 left him almost completely paralysed, Schnittke largely ceased to compose, though some short works emerged in 1997 and a Ninth Symphony was left almost unreadable at his death. This Ninth Symphony was later deciphered by Alexander Raskatov. It was premiered in Dresden, Germany June 16th, 2007.

Tracklist:
Cd1
01. ACT ONE - Prologue
02. - Scene 1
03. - Scene 1
04. - Scene 1
05. - Scene 1
06. - Scene 1
07. - Scene 1
08. - Scene 1
09. - Scene 1
10. - Scene 2
11. - Scene 2
12. - Scene 2
13. - Scene 2
14. - Scene 2

Cd2
01. Act II - Prologue
02. Scene One
03
04
05
06
07
08. Scene Two
09
10
11
12
13
14
15
16
17
18
19
20

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