Alfred Garrievich Schnittke (Russian: Альфред Гарриевич Шнитке; born Novemb… Read Full Bio ↴Alfred Garrievich Schnittke (Russian: Альфред Гарриевич Шнитке; born November 24, 1934 in Engels, USSR; died August 3, 1998 in Hamburg) was a soviet composer, pianist, theoretician of music and educator. His music is derived from various traditions: Russian (Dmitri Shostakovich, Igor Stravinsky), Germanic (Gustav Mahler, Alban Berg), and American (Charles Ives).
On his mother’s side he was of Volga German and Roman Catholic extraction, on his father’s side he was German-Jewish. His sense that his background set him apart from the majority in the USSR was reinforced when, from 1945-48, his father was posted to Vienna, and the delighted boy discovered Austro-German cultural and musical traditions.
He entered the Moscow Conservatory in 1953, completed post-graduate work in 1961, and from then on earned his living, partly by teaching, partly by writing for the cinema (nearly 70 scores in 30 years). Fired by the rebellious modernism prevailing in Moscow in the early 1960s, Schnittke embarked on a voyage of compositional discovery. His works of the 1960s show him embracing the modernist and avant-garde fascinations of the time. Outstanding among his pieces of this period are 2 violin sonatas (1964, 1968), and the String Quartet No.1 and Violin Concerto No.2 (both 1966).
In 1972 he finished the massive First Symphony, blending Soviet symphonic thought, often parodied, with highly experimental elements. This powerful work established him as a leader of Soviet modern music, loathed by the authorities and adored by the anti-Soviet ‘underground’. Later came the hauntingly simple Piano Quintet (1976), and the comically sinister Concerto Grosso No.1 (1977). All three pieces have taken his name all over the world.
String concertos play a large part in Schnittke’s output and reflect his close friendship with some of the leading players of his time including Gidon Kremer, Yuri Bashmet and Mstislav Rostropovich. For such stars he has written 4 violin concertos, a viola concerto, 2 cello concertos, 6 concerti grossi and much else besides. Symphonies continued to be important. At the time of his death he had sketched, but not finished, a Ninth. He also wrote much chamber music.
In 1985 Schnittke suffered a stroke which left him in bad health for the rest of his life. Far from impeding him, however, sickness seems to have released an inner torrent and in later years he became prolific, answering each successive brush with death with a further flood of music. And with each new work he moved further from the more playful and satirical modernism of his earlier pieces into a dark and often difficult but always personal world where spiritual concerns and religious themes predominate. In his last years he and his wife moved to Hamburg, where he died on 3 August 1998.
On his mother’s side he was of Volga German and Roman Catholic extraction, on his father’s side he was German-Jewish. His sense that his background set him apart from the majority in the USSR was reinforced when, from 1945-48, his father was posted to Vienna, and the delighted boy discovered Austro-German cultural and musical traditions.
He entered the Moscow Conservatory in 1953, completed post-graduate work in 1961, and from then on earned his living, partly by teaching, partly by writing for the cinema (nearly 70 scores in 30 years). Fired by the rebellious modernism prevailing in Moscow in the early 1960s, Schnittke embarked on a voyage of compositional discovery. His works of the 1960s show him embracing the modernist and avant-garde fascinations of the time. Outstanding among his pieces of this period are 2 violin sonatas (1964, 1968), and the String Quartet No.1 and Violin Concerto No.2 (both 1966).
In 1972 he finished the massive First Symphony, blending Soviet symphonic thought, often parodied, with highly experimental elements. This powerful work established him as a leader of Soviet modern music, loathed by the authorities and adored by the anti-Soviet ‘underground’. Later came the hauntingly simple Piano Quintet (1976), and the comically sinister Concerto Grosso No.1 (1977). All three pieces have taken his name all over the world.
String concertos play a large part in Schnittke’s output and reflect his close friendship with some of the leading players of his time including Gidon Kremer, Yuri Bashmet and Mstislav Rostropovich. For such stars he has written 4 violin concertos, a viola concerto, 2 cello concertos, 6 concerti grossi and much else besides. Symphonies continued to be important. At the time of his death he had sketched, but not finished, a Ninth. He also wrote much chamber music.
In 1985 Schnittke suffered a stroke which left him in bad health for the rest of his life. Far from impeding him, however, sickness seems to have released an inner torrent and in later years he became prolific, answering each successive brush with death with a further flood of music. And with each new work he moved further from the more playful and satirical modernism of his earlier pieces into a dark and often difficult but always personal world where spiritual concerns and religious themes predominate. In his last years he and his wife moved to Hamburg, where he died on 3 August 1998.
Presto
Alfred Schnittke Lyrics
We have lyrics for 'Presto' by these artists:
24 Preludes op.28 - No.12 in gis-moll I want my money presto It's been mine from the get-go So…
C. W. Gluck Passano gli anni e non cambia un cazzo Questa rabbia te…
D'Champ yea haha alright alright ok uh yea yea girl we can kick it…
Enrico Onofri - violin; Petr Zeijfart - recorder;Giovanni Antonini - recorder; Il Giardino Armonico Inflammatus et accensus per te Virgo sim defensus in die jud…
Generic Animal Tutti i mattoni che fanno un palazzo Non li puoi contare…
I. Adagio Sostenuto Passano gli anni e non cambia un cazzo Questa rabbia te…
Il Gardino Armonico - ensemble Craignant les éclairs, fuyant le tonnerre Le chevrier épuisé…
J.A. Hasse (Strofa 1) Mm dove sei Dammi due ore Sai ti trovo…
J.S.B Eu não presto Você não vale nada Nossa vida é uma piada Não…
KAMIJO Rekishi no yami ni houmurareta kizokutachi e no rekuiemu So…
KOTOKO 空へと発(た)つ花のように 風をはらむ靴底たち …迷え 叫べ 笑いながら… あの歌が聞こえるかい? 涙と汗 ……
Le Concert des Nations con. Jordi Savall O Freunde, nicht diese Töne! Sondern laßt uns angenehmere a…
Ludwig van Beethoven Freude, schöner Götterfunken, Tochter aus Elysium, wir bet…
No Money Enterprise I want my money presto It's been mine from the get-go So…
P-L-A Raccontami una storia Che mi tenga calmo Per sentirmi meglio…
Palm Dat Got a magic trick to show you When I hit a…
Rush If I could wave my magic wand I am made from…
Various Artists Interpreted by A.M.P. Got a lot a shitt better ease my mind You cannot…
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@katrmior
Very interesting work that i was not expecting to enjoy, and did (at least somewhat) nevertheless. It is definitely fascinating to listen to, and there are a few passages that i enjoy fully, as they are not only harmonically compelling, but also structurally sound.