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| Foreword | ||
| Translator's Note | ||
| Introduction | ||
| Chronology | ||
| I | Schnittke Speaks about Himself | 1 |
| 1 | From Conversations with Alexander Ivashkin (1985-1994) | 3 |
| II | Schnittke on the Lenin Prize | 39 |
| 2 | Letter to the Lenin Prize Committee (1990) | 41 |
| III | Schnittke on His Own Compositions | 43 |
| 3 | On Concerto Grosso No. 1 (late 1970s) | 45 |
| 4 | On the Fourth Symphony (1984) | 47 |
| 5 | On Film and Film Music (1972, 1984, 1989) | 49 |
| 6 | On Staging Tchaikovsky's The Queen of Spades (1977) | 53 |
| IV | Schnittke on Creative Artists | 57 |
| 7 | On Shostakovich: Circles of Influence (1975) | 59 |
| 8 | On Prokofiev (1990) | 61 |
| 9 | On Gubaidulina (1970s) | 67 |
| 10 | On Kancheli (1982, 1991) | 68 |
| 11 | In Memory of Filip Moiseevich Gershkovich (1988) | 70 |
| 12 | On Sviatoslav Richter (1985) | 72 |
| 13 | On Gennadi Rozhdestvensky (1991) | 75 |
| 14 | Subjective Notes on an Objective Performance (on Alexei Liubimov) (1973) | 79 |
| 15 | On Viktor Yerofeev (1988) | 83 |
| 16 | On the Paintings of Vladimir Yankilevsky (1987) | 84 |
| V | Schnittke on Twentieth-Century Music | 85 |
| 17 | Polystylistic Tendencies in Modern Music (c. 1971) | 87 |
| 18 | The Orchestra and the New Music (early 1970s) | 91 |
| 19 | The Problem of Giving Outward Expression to a New Idea (1982) | 94 |
| 20 | From Schnittke's Archive (1970s and 1980s) | 98 |
| 21 | On Jazz (1984) | 100 |
| 22 | Timbral Relationships and Their Functional Use: The Timbral Scale (1970s) | 101 |
| 23 | Klangfarbenmelodie - "Melody of Timbres" (1970s) | 113 |
| 24 | Functional Variability of Line in Orchestral Texture (1970s) | 120 |
| 25 | A New Approach to Composition: The Statistical Method (1970s) | 125 |
| 26 | Stereophonic Tendencies in Modern Orchestral Thinking (1970s) | 131 |
| 27 | Using Rhythm to Overcome Meter (1970s) | 140 |
| 28 | Static Form: A New Conception of Time (1970s) | 147 |
| 29 | Paradox as a Feature of Stravinsky's Musical Logic (1973) | 151 |
| 30 | Timbral Modulations in Bartok's Music for Strings, Percussion, and Celesta (1970s) | 201 |
| 31 | The Principle of Uninterrupted Timbral Affinities in Webern's Orchestration of Bach's Fuga (Ricercata) a 6 voci (1970s) | 211 |
| 32 | The Third Movement of Berio's Sinfonia: Stylistic Counterpoint, Thematic and Formal Unity in Context of Polystylistics, Broadening the Concept of Thematicism (1970s) | 216 |
| 33 | Ligeti's Orchestral Micropolyphony (1970s) | 225 |
| VI | Schnittke as Seen by Others | 229 |
| 34 | Gidon Kremer (1989) | 231 |
| 35 | Gennadi Rozhdestvensky (1989) | 236 |
| 36 | Vladimir Yankilevsky (1989) | 240 |
| 37 | Mstislav Rostropovich (1990) | 247 |
| 38 | Mark Lubotsky (1998) | 248 |
| Index of Names and Titles | 257 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Justine Moreau
reviewed A Schnittke Reader on August 27, 2011
A Schnittke Reader
Published in 2002, A SCHNITTKE READER is a collection of writings by or about the Russian composer Alfred Schnittke, edited by Alexander Ivashkin and translated into English by John Goodliffe.
The bulk of the material consists of Schnittke's writings on other composers' music. He did early analysis on Stravinsky's serial period, Ligeti's micropolyphony and Berio's polystylism at a time when this repertoire was still very new and little known in the Soviet Union. However, forty years later most of his insights will, I suspect, be common knowledge to fans of modernism. Schnittke also wrote some brief articles in praise of his contemporaries (e.g. Gubaidulina, Lubimov), but these are just little puff pieces and don't reveal much about their art.
I came to this collection hoping to understand Schnittke's music more deeply, but it's disappointing in that regard. There are few comments on Schnittke's own music, and the descriptions of the Concerto No. 1 or the Symphony No. 4 are as brief as CD liner notes. There are a few contributions by Schnittke's fellow musicians, but these are mostly mere recountings of the times they performed his music. An exception, however, is Gidon Kremer's piece which documents his changing relationship to the Schnittke's music.
All in all, I think A SCHNITTKE READER will be of limited appeal to Schnittke fans.
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