A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z 
Alfred Garrijewitsch Schnittke
1934 - 1998
Russia
Picture Picture
A.G. Schnittke
Alfred Schnittke (24/11/1934 - 03/08/1998), a German-Russian composer. He was born in Engels, on the Volga River, in the Soviet Union. His father was born in Frankfurt to a Jewish family of Russian origin who had moved to the USSR in 1926, and his mother was a Volga-German born in Russia. Schnittke composed 9 symphonies, 6 concerti grossi, 4 violin concertos, 2 cello concertos, concertos for piano and a triple concerto for violin, viola and cello, as well as 4 string quartets and much other chamber music, ballet scores, choral and vocal works. His first opera, Life with an Idiot, was premiered in Amsterdam (April 1992). His two new operas, Gesualdo and Historia von D. Johann Fausten were unveiled in Vienna (May 1995) and Hamburg (June 1995) respectively.
Requiem
Period:Modernism
Composed in:1975
Musical form:mass
Text/libretto:Latin mass
Duration:35'29''
In memory of:the composer's mother
Label(s):Chandos 9564
BIS 498
This requiem, opus 101, is the music to Schiller's drama Don Carlos for soloists, mixed chorus and instrumental ensemble in 14 movements:
- Requiem
- Kyrie
- Dies irae
- Tuba mirum
- Rex tremendae
- Recordare
- Lacrimosa
- Domine Jesu
- Hostias
- Sanctus
- Benedictus
- Agnus Dei
- Credo
- Requiem
If only Schnittke were less prolific, or less eclectic - or less skilful in his manipulation of whichever diverse techniques he chooses in any particular work of any given period of his career - it would be so much easier to categorise him, and then eulogise or dismiss him as a composer. The Requiem, written as stage music at a time when liturgical music was banned in Soviet Russia, incorporates electric guitar and drums, recalling Bernstein's Mass, choral writing that sounds very like Britten, and ends up sounding individual, sincere and moving. If there is truly a composer for all seasons in our century, it is surely Schnittke, not Stravinsky.
Source:www.recordsinternational.com
Requiem of Reconciliation - Communio II: Lux aeterna
Period:Modernism
Composed in:1995
Musical form:fragment
Text/libretto:Latin mass
Duration:5'17''
In memory of:the victims of World War II
Label(s):Hänssler Classic 98931
The work is a collaborative composition of 14 world-renowned composers from 13 countries involved in the Second World War. The 14 composers are: Luciano Berio of Italy (Prolog); Friedrich Cerha of Austria (Introitus and Kyrie); Paul-Heinz Dittrich (Dies Irae); Marek Kopelent (Judex Ergo); John Harbison (Juste Judex); Arne Nordheim of Norway (Confutatis); Bernard Rands (Interludium); Marc-Andre Dalbavie of France (Offertorium); Judith Weir of England (Sanctus); Krzysztof Penderecki of Poland (Agnus Dei); Wolfgang Rihm (Communio I); Alfred Schnittke and Gennadi Roshdestwenski of Russia (Communio II); Joji Yuasa (Libera me); Gyorgy Kurtag of Romania (Epilog).
The requiem memorializes the victims of the war. Created as a tribute to the victims of World War II, the work was commissioned by The Internationale Bachakademie in Stuttgart, Germany, founded by the well-known conductor Helmuth Rilling, who brought together the 14 composers to collaborate on the piece. Collaborative from conception to birth, Requiem of Reconciliation (Requiem der Versöhnung) was first performed by an international ensemble on April 16, 1995. Originally created as music for a Catholic Mass to commemorate the dead, the requiem provides a venue for the living to remember and honor the dead. As such, Requiem of Reconciliation calls for an international and collective remembrance of all the victims of the Second World War. The composers from Italy, Austria, Germany, Czechoslovakia, U.S.A., Norway, England, France, Poland, Russia, Japan, and Romania, once enemies in the war, came together to provide the international community with the memorial.
Each composer was assigned a separate section of the Requiem of Reconciliation. Each worked within the tradition of the Requiem Mass differently, some incorporating Gregorian chant or other themes traditional to the Latin Mass, and some departing from tradition and simply using the general idea and spirit behind a requiem to guide their composition.
Author:Alwen Bledsoe