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Background: In the 1960s Schnittke's work reflected the new forms of music which were infiltrating the iron curtain. The First Sonata incorporates serialist techniques in a heady mix of styles characteristically juxtaposed. The largo pays direct homage to Shostakovich and is framed by a hectic scherzo and a spoof finale, which parodies the popular song La Cucaracha. The Second Sonata was a complete departure from traditional form: hence the nickname "Quasi una sonata" and the frequent indications like ‘Senza Tempo’, ‘Quasi Cadenza’ which confirm its discursive and improvisational nature. Writing many film scores enabled him to try out new ideas or instrumental combinations. His film music would also act as a reservoir to dip into later for his concert scores, as with the Suite in Olden Style (1972) and with Gratulationsrondo (1974), both pastiches full of 'pseudo-quotations', where stylish melodies emerge. The Third Sonata (1994) is a fairly short testament and reverts to a traditional form, a recapitulation which restores the importance of inner melody. |
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COMPOSER: Alfred Schnittke |
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