Bryan reacts to and talks about his thoughts on Альфред Шнитке - Concerto Grosso No.1 \ Alfred Schnittke - Concerto Grosso No 1 ORIGINAL VIDEO // • Альфред Шнитке - Conce... ALL LINKS // linktr.ee/criticalreactions
So excited to hear you react to this! Schnittke is so unique. I don't know of any post-50s composer that managed to combine modern and classical compositional techniques to such a degree. He called the fusion "polystylism," though most call it postmodernism. Here's something interest he wrote about this piece particularly: "I dream of the Utopia of a united style, where fragments of 'Unterhaltung' (entertaining) and 'Ernst' (serious) are not used for comic effect but seriously represent multi-faceted musical reality. That’s why I’ve decided to put together some fragments from my cartoon film music: a joyful children’s chorus, a nostalgic atonal serenade, a piece of hundred-percent-guaranteed Correlli (Made in the USSR), and finally, my grandmother’s favourite tango played by my great-grandmother on a harpsichord. I am sure all these themes go together very well, and I use them absolutely seriously." I love how Schnittke takes old idioms (like the Toccata in this piece) and will keep one aspect of it intact so it's recognizable, but change enough harmonically so that it sounds like a weird distortion of the form, as if someone stuck a Corelli piece into a microwave and watched it melt. Also, though the "chaos" of the dissonance is obvious, one "ordered" aspect here is the repeated motifs. The opening motif played on the prepared piano (that's the "percussive instrument" you hear at beginning and again at the end of the Rondo) and the second "ambient" motif played between the two lead violins recur throughout. Probably easier to notice with sheet music, because sometimes they're played on the (often barely audible) harpsichord. As for the horror film similarity, this is largely due to the popularity of atonal composers among horror film directors. Kubrick was especially influential here in his use of Ligeti, Penderecki, et al. for films like The Shining, and of course Bernard Herrmann's Psycho soundtrack. Schnittke would've been influenced by the composers themselves rather than the films. I will add that Schnittke has a pretty large and diverse oeuvre. I struggled thinking of the best piece to recommend: he has more epic works (Symphony no. 1), more emotional works (Piano Quintet), more dramatic works (String Quartet no. 2, Cello Concerto no. 1), more coherent "narrative" works (Concerto for Piano and Strings); but I do think the Concerto Grosso no. 1 captures his "postmodern" style at its peak. I think if you're looking for an overarching, coherent concept it's not here: the interest is precisely in the combination of styles/elements that shouldn't mix, as Schnittke himself said. Perhaps it hits harder if you're more familiar with, say, the Corelli Concerto Grosso that Schnittke is referencing. I just find that transformation of these old forms fascinating, especially when so much of 20th century classical was about abandoning old forms in favor of new ones. There is MUCH to explore with Schnittke, so even if this piece didn't connect there's a good chance another, different one would. The Piano Quintet would probably be my second recommendation. It was written as a lament for the death of his mother, so the context is more easily grasped. The Concerto Grosso no. 1 I mostly appreciate for the stylistic surprises and playfulness. Sorry for the novel. EDIT: One last thing: If you'd like to hear Schnittke do these old forms "straight," the Suite in the Old Style is perfectly consonant and quite lovely.
@LeftRight Postmodernism as an artistic movement is mostly marked by its very free-spirited blending of disparate genres/styles without worrying about making coherent sense of the whole. Schnittke wrote a lot of film (and some theater) music that he wrote in a more traditional, non-postmodern style; Peer Gynt (composed for a ballet) is somewhat of a middle-ground between his challenging, postmodern work and his very accessible film music, though it does have its share of postmodern, stylistic mixes as well. However, his postmodernism can very much be heard on this piece, as well as pieces like his Symphony no. 1, which is an even more extreme blending of very different styles.
@LeftRight I think Peer Gynt is more accessible compared to a work like this, or most of his symphonies. Postmodernism mostly just has a negative connotation to people who don't know what postmodernism is. I often ask people if they enjoy Tarantino films, and if they say yes then I note that they enjoy postmodernism, because Tarantino is postmodern af. If anything, what you're describing as destroying musical features of the past was more of a Modernism thing, especially that of the 12-tone Viennese school. Postmodernism is much more of an all-inclusive approach, not trying to destroy anything but rather make use of everything.
this is one of my absolute favorite pieces of all time. i'd easily put this in my top 5 pieces and it's a fantastic intro into the modern classical world
I love Schnittke's music... through all his dissonance, varied styles, and cacophony, he is one of the few 20th century composers I have genuinely connected with: a truly human voice. My ancestors lived a similar life to him, although around a century prior in the Russian Empire... So happy to see someone finally react to it :)
Oh my, Schnittke now ? I love his music so much, both in itself and the way he conceptualized it. Probably my favorite composer. "Clever irrationality makes for a better music than cold reasoning and structures" is a pretty telling quote from him. He had such interesting ideas to explore, especially polystylism, the superposition of many styles at once (creating this unique brand of cynism bordering on grotesque, absurdity). He was very attached to paradoxs, symbolism and mysticism too. There's a documentary about him on RU-vid called "The unreal world of Alfred Schnittke". I'd recommend his Choir Concerto, completely floored me on my first listen. And his Concerto for Piano and String Orchestra. His Piano Quintet Op. 108 too. The symphonies as well. Also yeah, as you pointed out he loves quoting other pieces of music !
I was very quickly put in mind of Shostakovich. Wikipedia confirms he had a strong influence. ETA Apparently he wrote scores for over 60 films. Again, according to Wikipedia, "Schnittke's desire is first and foremost to combine apparently irreconcilable idioms, in his case 'popular' (or 'banal') styles like tangos with serious styles like atonal music and quasi-baroque music. "
Schnittke’s main theme from the concerto that was used by him in the movie soundtrack: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SkOJ0wp40Oo.html
Schnittke was and still is too far ahead of his time in composition that no wonder you ran out of words for opinion - no one would. I am not a musician, but his music since childhood was fascinating me through many movies that it was used for as soundtracks, and it always completely exploded my mind with its wonder and limitless of feelings and emotions beyond my conscience. His music makes me laugh and cry and connects me to something above and beyond. Google for Butterfly movie Schnittke, where you will recognize some themes used in this concerto. It’s too bad he was not recognized properly in his own country during his life or understood even after his death. This concerto I feel as an act of creation of the Universe out of chaos with the sound of God’s notes and energy. First it was darkness, no time or certain direction in movements, just rolling in mud, though God had power and desire, and life energy, but no any ideas, any certainty , but with every movement little by little the sound becomes a form, a matter though still losing its shape or direction here or there, it acquires rhythms, but still losing its accordance, its harmony when switching directions or even bumping on unexpected black holes of silence and being lost in time. But the life is already planted in the beat of the heart and warmer sound, and finally the melody first just in remnant peaces , still though continuously chosing and changing notes for his symphony of life starts tender the ear. But it is still fragile with its instability and dissonance, and insecurity, with laughing sounds at its deformity and imperfection. This is like every act of creativity, isn’t it?! The main theme is his theme of Declaration of Love ( Butterfly movie). Postlude is lack of ending, lack of resolution, an open window. The more we love our creation the more we are fearful for it. That is how I feel it. Thank you for your interpretation. It gave me some wording to express myself to my husband when listening to this music with him together:) Though on one point I totally disagree with you. Postlude does not offer any resolution, but gives a free choice, as the result in any creativity is less important than the process. This is all about the process of creation , its freedom of choices , its imperfection and craving forever for the better. The composer purposely does not give us the name not to take away our freedom of imagination to address purely to our feelings without even slightly programming them. The name like Hiroshima is already programs your mind, tuning it to a certain message. Schnittke offers us only the sound of music and we are free to interpret it with an accord of our perception:) this is the music of the future.
Someone on RU-vid is listening to 20th century classical music? Most exciting time of my life lol If you continue with Schnittke I recommend Concerto Grosso #2, his Requiem, cello concerto #1 or Faust Cantata
This community is mostly centered around rock/metal but that really is just the core. There's so many musical tastes represented here and I'm very fortunate to have such a great group of people guiding me through musical exploration. I've checked out everything from pop to electronica to 20th century classic to avant-garde and modern jazz and drum corps. I'll keep those recommendations in mind for personal exploration. 20th century classical is a blind spot for me and I really do need to dive in and check out what modern composers have been up to.
@@CriticalReactions His second Concerto Grosso has some rock elements actually... it's towards the beginning, though. I love your reactions, they're very thoughtful!
This is a piece by Schnittle I am less familiar with but it carries many of his tactics and motifs, notably his superb use of dissonance. This reminds somewhat of his Rituel. Great choice!
@@CriticalReactions I’d recommend either his Passacaglia or the Cello Concerto. But there’s so much that’s good that you really can’t go wrong no matter what you pick.
@@danalawrence4473 Both great recommendations. I love both of Schnittke's Cello Concertos, though I have a slight preference for the first (especially with its immense, climactic ending). The Passacaglia is a much lesser-known Schnittke piece that's really underrated. It's quite impressive how much tension and drama he builds up around that repeating theme.
Very cool! I think the second and fifth movements were my favorite parts, mainly for the aspect you mentioned of it feeling just off from consonance, where you can feel where the melody/harmony "should" be. Since postmodern orchestral work isn't really my realm of experience, my mind made a jump to experimental electronic music, particularly Oneohtrix Point Never. He does a similar thing but on the production side of things, choosing synths that sound just off of what you'd expect or mixing a lot of obviously electronic and possibly acoustic sounds. I'd love to hear your thoughts on his song Chrome Country, which does a bit of each. There's even a bit of dissonance thrown in lol.
I just read that Mirai from Sigh got some of his inspiration [for Imaginary Sonicscape] from this in an interview he did recently - and here you are reacting to it 😉 I wonder if the person who recommended it read that same interview or if they even know about sigh. Anyhow, this was awesome to watch/listen to with you. Thank you!!
I've heard of Sigh, but have not heard their music. No idea Schnittke was an influence on them. Your comment makes me more interested in checking them out now. :)
@@CriticalReactions 20th Century Classical (I guess like every century of classical) is a huge world. To just list some names (besides Schnittke) arranged roughly in order of my personal preferences: Messiaen, Bartok, Ravel, Scriabin, Stravinsky, Shostakovich, Prokofiev, Nielsen, Walton, Vaughan Williams, Part, Lutoslawski, Hindemith, Poulenc, Carter... of course, Schoenberg, Berg, and Webern are important because of their influence on atonality becoming a prominent form of composition, but I tend to prefer the composers (like Scriabin, Schnittke, Bartok, and Messiaen) who were less strict and more selective in how they used atonality.
@@CriticalReactions I can do even better and recommend a few of the best pieces from each: Messiaen: Vingt Regards sur l'enfant-Jésus (piano suite), Turangalila Symphony, Quatuor pour la fin du temps (quartet) Bartok: String Quartets (especially 4-6), Concerto for Orchestra, Duke Bluebeard's Castle (short opera) Ravel: Daphnis et Chloe (ballet), Piano Concerto in G, Gaspard de la nuit (solo piano) Scriabin: Piano Sonatas (especially 6-10), Symphony 4 (Le Poème de l'extase) Stravinsky: Rite of Spring (ballet), Apollo (ballet), Canticum Sacrum (choral) Shostakovich: Symphonies no. 5 and 10, String Quartet no. 8 Prokofiev: Romeo & Juliet (ballet), Symphony no. 5, Piano Concerto no. 3 Nielsen: Symphonies no. 3-5 Walton: Belshazzar's Feast (oratorio), Variations on a Theme by Hindemith (orchestral), Viola concerto Vaughan Williams: The Lark Ascending, Fantasia on a Theme by Thomas Tallis, Symphony no. 5 Part: Te Deum, Tabula Rasa, Symphony no. 3 Lutoslawski: Concerto for Orchestra, Symphony no. 4, Cello Concerto Hindemith: Mathis de Maler Symphony, String Quartet no. 4, When Lilacs Last in the Dooryard Bloom'd (oratorio) Poulenc: Flute Sonata, Les biches (ballet), Dialogues des Carmélites (opera) Carter: Piano Sonata, Concerto for Orchestra, String Quartet no. 2 Schoenberg: Verklärte Nacht, Pierrot Lunaire, Piano Concerto Berg: Violin Concerto, Wozzeck (opera), Lyric Suite Webern: Symphony, String Trio, String Quartet This should give you a damn good introduction to most of the major styles/movements of the 20th century, minus minimalism (for that you could check out Phillip Glass or Steve Reich) and electronic music (Varese or Stockhausen for that). These composers run the gamut from pretty accessible "late romantic/neoclassical"-esque, to the atonal masters, to really dense, experimental stuff like the Carter String Quartet. There's a lot that's in-between too, and most of the "in-betweens" are my favorites near the top.
Since you've tried Penderecki and Schnittke, you may want to try Aïs by Iannis Xenakis with the sheet music notation, ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VLZ687XIXvY.html, since it goes even further into dissonance with pure atonal sound design, conjuring up what feels like a nightmarish evocation of satanic ritual.
What may make it of greater intrigue is the fact that it makes use of one of the most strikingly left-field contortions of the human voice ever committed to recording, in a similar way to the more recent Swan's Bring the Sun/Toussaint L'Ouverture.
Cool, I've never heard anything by Xenakis and enjoyed this piece very much. I didn't really get the feeling of being nightmarish though. But certainly very interesting use of the voice as an instrument.
Try these new young composers / performers "Generation Kill - offspring 1" by Stefan Prins, 2012 - played by the Nadar Ensemble Alexander Schubert - Codec Error [Ensemble Intercontemporain] Fausto Romitelli - Dead City Radio (2003)
You're eclectic; I like that. I like Schnittke a lot. You've done Penderecki's "Threnody", System of A Down, Soilwork, Ephel Duath, Mastodon, Zappa, Litergy, Bela Fleck, Car Bomb, a ton of other pretty varied stuff, all of which I liked. I will suggest Charles Ives, Frontierer, Otoboke Beaver, Luciano Berio, Iannis Xenakis, Alexander Scriabin, Hiromi Uehara, Cecil Taylor, Georgy Ligeti, Goat Rodeo, Silk Road Ensemble, Brian Ferneyhough, Ghostmane, The Pixies, Soundgarden, Thy Art Is Murder, Death Grips, though you may have already have covered some of these. For something really different, try the Dada artist, Kurt Schwitters' sound poem "Ur Sonate", which was written in classical four movement form; Jaap Blonk performs it well on YT.
He's done Hiromi too, also on my recommendation. From your list, of those I know, I'd "second' the Ives, Scriabin, Taylor, Ligeti, Pixies, and Soundgarden recs.
Charles Ives is definitely worth diving into, especially considering how ahead of his time he was. Being a self-sufficient millionnaire allowed him to have absolute freedom in his compositions, leading him to push boundaries at a level that would only be matched a few decades later. Also Death Grips is a no brainer
@@Vayhef Scriabin was also ahead of his time, experimenting with atonality in his middle-late sonatas before his more famous contemporaries like Schoenberg, Berg, and Webern. His piano sonatas are among my favorite works for solo instrument and show a remarkable evolution.
@@jonathanhenderson9422 Absolutely man. His piano sonatas are dazzling. Now I don't know if I'd say he explored atonality... I somewhat remember his whole harmonic language revolving around the exploration of fourths and fifths (by extension), which is why he sounds so out of pocket, so mystical. But that's not really leaving behind tonality isn't it ? Then again I'm a bit rusty on my music history. Certainly he was one of the first to develop his own harmonic language though, which paved the way for the century to come.
@@Vayhef I did say "experimented with" rather than "explored." One key difference between Scriabin and the Second Viennese School is that he didn't formalize his atonality as Schoenberg did with 12-tone serialism, which allowed him to still compose tonal music. However, especially in the late works, the tonality frequently becomes so blurry (because of the dense chromaticism) that there are (at least) extended atonal passages. I actually think Scriabin is a great case study in that blurry line between tonality and atonality, and I find him more interesting than the 2VS because of it. His last 5 sonatas were written without a key signature, and are indeed organized more by harmonic intervals than by overarching tonality.
