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.
Tuba mirum
Alfred Schnittke Lyrics
We have lyrics for 'Tuba mirum' by these artists:
Berliner Philharmoniker BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Berliner Philharmoniker - Riccardo Muti BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Berliner Philharmoniker/Claudio Abbado BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Choir & Orchestra Of The Sofia Opera BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Daniel Landa Tuba mirum spargens sonum Per sepulca regionum Coget omnes…
Krips Josef/Wiener Philharmoniker BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Liva Tuba mirum spargens sonum Per sepulcra regionum Coget omne…
London Philharmonic Choir & Orchestra BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
London Philharmonic Choir and Orchestra-Franz Welser-Möst BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Mozart Requiem Tuba mirum spargens sonum per sepulchra regionum, coget omne…
Novoselie Труба зовёт нас за собой! Всё проникающая медь Живых застави…
Philharmonia Chorus & Orchestra BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Quatuor Debussy BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
R.S.S.Orchestra; R.S.S.Capella; Cond: Valery Polyansky BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Riccardo Muti - Orchestra del Teatro alla Scala Milano BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Wiener Philharmoniker - Karl Bohm BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Wiener Philharmoniker - Solti BASS SOLO Tuba mirum spargens sonum Per sepulchra regionum, …
Wolfgang Amadeus Mozart Tuba mirum spargens sonum per sepulchra regionum, coget om…
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@fred.chapman
You can hear the low moaning of the electric guitar and electric bass so clearly at the beginning of this recording! You can also hear the terrifying sound of the flexatone very clearly at the end. Schnittke's orchestration and choral setting of the Tuba Mirum section of the Dies Irae movement of the Latin Requiem Mass is utterly amazing to me! So very scary!
@victoriavasta6153
WHY IS THIS SO LIT?!
@nadir6929
all of schnittke's requiem pieces are!! on!! fire!!
@gFkDYVMx
I strongly recommend you to check his Faust cantata, especially its seventh movement. This piece is litness defined.
https://www.youtube.com/watch?v=dR78SQeRiC4
@fred.chapman
Maybe it's lit because of how the electric guitar and electric bass make a low moaning sound in the first minute, or perhaps it's lit because of the terrifying sound the flexatone makes in the last minute. The music perfectly portrays what this section of the Latin Requiem Mass is about: the trumpet waking the dead on the day of judgment. It's horror-movie scary, yes? 😱
@nicholas72611
Crescendo at 2:08 is amazing
@user-pp6fs8yq9o
I don't have musical education but this performance I like most of all
@Felix-nh5pw
Yes Russian composers are awescome!! :-D This is my favourite kind of Christian art. I like this much more then Mozarts Requiem-Tuba mirum:)
@pedrosaune
lmao Mozart's Tuba Mirum and Recordare are the boring parts of his Requiem
@ElQuePregunto
I feel i'm going straight to hell