The Violin Sonata No. 1, described by Schnittke as an early example of dodecaphonic technique, uses serial material, but constantly varies the opening series, disrupting the rational basis of dodecaphony.
Instruments
Marco Serino, the solo violinist on this album, plays a Nicolò Amati violin from 1661.
Compositional Technique
Alfred Schnittke's Concerto Grosso No. 1 employs a 'polystylistic' approach, blending diverse styles like Baroque, atonality, popular music (tango), and a quote from Tchaikovsky's Violin Concerto.
Composition History
Schnittke's Concerto Grosso No. 1 was conceived for two prominent soloists, Gidon Kremer and Tat'jana Grindenko, but focuses more on the interplay between soloist and orchestra than on the performers themselves.
Composer's Artistic Vision
Schnittke's 'multi-stylistic' process in Concerto Grosso No. 1 is rooted in an ethical motivation, where 'banal' elements represent evil that disturbs development and triumphs, acquiring 'an almost demoniac expressive power'.
Compositional Technique
The Monologue for viola and strings features the viola soloist in a role of absolute predominance, determining the characteristics of each section of the composition.
Compositional Technique
Schnittke's Violin Sonata No. 1, originally for violin and piano, was later re-elaborated for violin and chamber orchestra in 1968.
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