Toward the end of the second movement, as the orchestra rises to an overwhelming climax (about 11:20), the soloist plays a "visual cadenza" - that is, he appears to be playing, the bow and fingers are moving, but he makes no sound. This is not one of Schnittke's musical jokes; the point is surely obvious and needs no explanation.
Indeed, although it is written "without sounds but molto appassionato". In 22:57, the soloist should also mimic that E (which is played by a double bass). By the way, there is also a second "visual cadenza" (about 32:13).
Vadim plays somber better than anybody else I have heard. His buildup of terror is breath taking as well! Melodic sadness.... It is like a horror show. If there would but be a Halloween this year the music would play perfectly from our porch. No candy, Little Kids..., just monsters. And a deep pit of life taking demons. This is also a great orchestra.
Certainly, Gidon Kremer, the ultimate in Schnittke interpretations. But this interpretation on Mr. Gluzman is an asset. It is interpreted an incredibly intense masterpiece, an absolute highlight. It is omitted no facet: from softnesses to sound hardships intense rhythm, increases to almost towards ecstasy. An inner life is built up, with a dark, serene, fine, coarse and much beauty. It is believed the same time to hear everything. It will be torn to new sounds. Thanks Alfred Schnittke and the Super Orchestra in a very excellent Live recording.
Thank you so much for sharing this. What an extraordinary piece and what a marvelous performance. So many echoes and refractions. It reminded me of attending a performance at the Royal Opera House in London, in the early 80s. It was one of those Bel Canto vehicles for a star singer. I wasn't sure if I wanted to go because it was the one opportunity I would get to hear this particular singer, who I had loved all my life (I was 22!) and I didn't want to be disappointed. The reviews were good so I queued all night and got a ticket. It was extraordinary - actually she was a bit past her peak but there was one moment where she sang a high b {her best note}, which seemed to catch a resonance in the building and for a brief moment it was as though the echo of all the great prima donnas singing the same note was released from the memory of the auditorium. It was probably tiredness and over excitement on my part but it was an amazing thing. I had a similar experience watching this only, of course, it's built into the piece. It's as though we have a collective memory of what has been performed before, even when it's a new experience. Really I can't speak too highly of this. I found it very, very moving.
