Download A Schnittke Reader (Russian Music Studies) by Alfred Schnittke PDF

By Alfred Schnittke

This compilation assembles formerly released and unpublished essays by way of Schnittke and supplementations them with an interview with cellist and pupil Alexander Ivashkin.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 subject matters in 20th-century tune. the quantity is rounded out with reflections by way of a few of Schnittke’s contemporaries.

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Extra info for A Schnittke Reader (Russian Music Studies)

Example text

What is your “circle of reading”? Do you ever copy down anything that you regard as essential for your work or life? Are there any texts, formulae, or rules that you constantly repeat to yourself or to which you constantly return? What kind of reading matter do you prefer, fiction or essays? SCHNITTKE: In theory I would be in favor of trying to systematize life in every possible way, and this would include copying things down. But that’s only in theory. In practice I’ve never been able to do that, and nowadays I wouldn’t even want to, just as I don’t want to do anything else I was so anxious to do earlier.

And it is as if I have still not forgotten that. The other half of me belongs not so much to a cultural milieu as to an urban one, and those are two very different things! So while I have a great respect for culture I would give priority to nature. Even when nature is as cruel as she is kind, even though in nature there is much that is good and much that is dangerous, she is still nature. IVASHKIN: In connection with this, is the music itself, your own music, a reflection of certain phenomena that exist in nature, in the broad sense of the word, or of what comes from culture, that is, of what relates to human consciousness?

All these are multiple manifestations of the same phenomenon. I think that if they really wanted to, each of these composers could accuse the others of plagiarism. I recall Stockhausen in one of the first two volumes of his Texts on Music15 referring indignantly to the disgraceful way Boulez had behaved. This was because when Stockhausen showed him his Groups [Gruppen], Boulez had reacted unfavorably to the idea behind the work, but then immediately wrote his own composition for two or three interacting orchestras.

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