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ALFRED SCHNITTKE

In Memoriam (1978) (Orchestral version of the Piano


Quintet, lg72/76)
I n t h e n i g h t o f 1 6 t h -1 7 t h S e p t e m b e r 1 9 7 2 m y m o t h e r M a r i a V o g e I d i e d o f
a heart attack. My aim to compose a piece of simple yet at the iame time
earnest character in her memory set an almost insoluble problem before
me. The first movement of a Piano Quintet had come inio beine armost
without complication. After that it went no further for I had to
transplant everything I wrote from imaginary sonic locations (in which
everything was already indescribable, even dissonance) into a
psychologically real environment, where tormenting pain has an almost
light-hearted effect and where the right to dissonance, consonance and
assonance must first be foueht for.
The re was a whole series of variants and plans, some of which remained
buried in the shadowy world of unrealised sketches.Thus an independent
Requiem came into being while I was working on the
euintet, made up
liom unused material.
Progress was not made until 1976, when I found the second movement
- a B-A-C-H waltz. I was, however, consrrained
to find ,,sdl1 pein15,'
between this unearthly waltz (which nevertheless chanees into sad
meditation) and the continually recurring intrusion of real rragedy into
this meditative tranquillity. I did not find the solution for three years; but
meanwhile, durine the atternpts to solve my
euintet's problems, I had
changed so much that I now experienced it mori profoundlv that when I
composed it. But finally the second movement also came off.
The third and fourth movements are based upon situations of genuine
eriel', about which I wish to say nothing because they are of a trighty
personal nature and can only be devalued by words. Finally the fifth
movement is a mirror-imaqe passacaslia, the tiieme of which is repeated

f b u r t e e n t i r n e s . w h i l s t a l l t h c o t h e r s o n i c :c v e n t s a r e m e r e s h a d o w s o l a r l
a l r e a d y d i s a p p e a r e dt r a e i c p e r c e p t i o n .
When Gennadv Rozhdestvenskv hcarcl thc Piano Quinte t. hc
i r n m e d i a t e l y \ \ . a n t e dt o h a v e i t a s a n o r c h e s t r a ln o r k . I l i - r u n ctlh e s o l u t t o n
by maintaining the original lunctions of the strings and reworking the
s o u n c lo l t h e p i a n o i n t o s o u n d so f u i n c l i n s t r u t n e n t sa n d p e r c u s s i o n . ' f h t '
f i r s t p er l b r m a n c e t o o k p l a c e i n N l o s c o $ i n 1 9 7 9 . \ \ i t h G e n n a d r '
crchestra.
R o z h d e s t v e n s k vc o n d u c t i n q t h e \ l o s c o r v P h i l h a r m < , r n i o
Viola Concerto (1985)
l n 1 9 7 7 I r n e t t h e b r i l l i a n t I ' i o l i s t Y u r i B a s h m e ta t a r e c o r d i n g o f m r . P r a n o
me lirr a viola concerto anrl I
Quintet with Gidon Kremer. He asked
a i r e e d w i t h o u t d e l a v - l i t t l e i m a g i n i n g t h a t I s h o u l d n o t c o m p l et e i t u n t r l
1985.
- trmporar\'In a certain resPect he piecehas tlie charatterol a
I a r e u ' c l l ;l t r r t e n d a 1 ' sa l i e r l i n i s h i n g u o r k o n i t a h e a r t a t t a c k p l a c e d m e i n
a s i t u a t i o n l r o m w h i c h t h e r e w a s h a r d l y a n \ ' \ , a y g u t . I c o u l d o n l r . 's l o l l r '
enrer a secondphaseof life - a phase through u'hich I am still passing.
L i k e a p r e m o n i i i o n o 1 ' w h a t r v a s t o c o m e. t h e r n u s i c t o o k o n t h e c h a r a c t e r
l ovement) and that ol slow
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A p a r t l r o m t h e r a n g e I d i d n o t h a v e a n v t e c h n i c a ll i m i t a t i o n s o n t h e s o l o
Dart to con.ider;Ibr Yuri Bashmet can plav evervthing, livervthing
, . . - " d p o s s i b l c . I d e d i c a t e d t h e p i e c e t o h i m a n d r e - . j o i caet i t s c r n t i n r r e d
l i l e . a l s o i n t h c h a n d s o f o t h e r a r t i s t s - e s p e c i a l l vi n t h o s e o l N o b u k t r
Imai.
Alfred Schnittke

I n M e m o r i a m ( 1 9 7 8 ) ( o r c h e s t e r l a s s u n sd e s K l a v i e r q u i n r e t t s 1 9 7 2 l 7 6 )
In dcr Nacht zu.'t 17- Septcrnber1972 srarb meine Mutter Maria Vogel
an cincrn Schlaeanlall. Me ine Absicht, cine Gedenkkomposition
s c r h l i c h t eur n c l q l e i c h z e i t i ee r n s t e r P r i g u n g z u s c h r e i b e n , s t c l l t c m i c h v o r
e r i nI a s t u n l o s b a r c sP r o b l e m . B e i n a h e m r i h e l o s s e l a n q d e r e r s t e S a t z c i n e s
Klavierquintctts. Danach qinq es noch weiter, denn-ich mullte das, was
ich schrieb, aus imaqiniren Klansrd:umen (wo allesschon bodenloswar,
a u c h c l a sD i s s o n i e r e n ) i n e i n e n p s y c h o l o 5 4 i s cr he a l e n L e b e n s r a u r n l r i h r e n ,
w . q u z i l c n c l eS
r c h r n e r zI ' a s tu n e r n s t w i r k t , u n d d a s R e c h t a u l ' D i s s o n i e r e n .
K < > n s o n i e r c nu n c l A s s o n i e r e n c r s t e r k d m p l t w e r d e n m u l J .
[')s gab cine Menqe Varianren und Entwtirl'e, die zum Teil in der
s.hatt.nwclt clcr unrealisierten Skizzen beeraben blieben, wihrend
i i n c l c r cs p : i t c r w c i t e r a u s q e a r b e i t e w
t urdcn. So entstandnoch wihrend der
Arbcit arn Quintctt aus nicht verwendetem Material eine selbstdndiee
l{cq u icrn - Korn position
F l r s t 1 9 7 t jr { i n q c s v o r a n , n a c h d e m i c h d e n z w e i t e n S a t z e e f u n d e n h a t t e :
cincrr B-A-C-H-Walzer. Ich mulJte allcrdines Schnittstellen suchen
zwis.hern dicscm rrcisterhalien walzer (der immerzu in traurlqes
M c c l i t i e r c n u r r - r s c h l : i e tu)n d d e m s t e t s w i e d e r k c h r e n d e n E i n b r e c h e n v o r r
-I'raeik
.calcr
i n d i c s c r n e d i r a t i v eA b g e k l i r t h e i t . D i e L o s u n e l a n d i c h e r s t
r : r t ' h c l r e i . J a h r c n .l ) o c h i n z w i s c h c n h a t t c i c h m i c h w d h r en c l d c r -L o s u r r s s ' c l s u c h t ' l ' t i r r n e i n Q u i n t e t t s o v e r i n d e r t , d a l t i c h e sj e t z t s t l r k e r e r l e b t e ,
a l s c l a l i i c h c s k r m p o n i e r r e . A b e r s c h l i e r l l i c hg e l a n g a u c h d i e s e r z w e i t c
Satz.
l ) c r c l r i t t c u n c l c l e r r ' i e r t c S a t z g e h e n r . ' o nr e a l e n T r a u e r s i t u a t i o n e n a u s .
Libcl rlic ich rnich nicht weiter duflern mochte, da sie sehr personlicher
Natur sincl uncl durch w.rte nur entwertet werden k'nnen. Der {tinlte
S a t z s c h l i c l i l i c h i s t c i n e q e s p i e q e l t ep a s s a c a g l i a ,d e r e n T h e m a s i c h v r e r _

nz e h n m a l w i e c l e r h o l t ,w a h r e n d a l l e a n c l er c n K l a n e e r e i g n i s s en u r S c h a t t e
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Konzert fiir Viola und Orchester (1985)
m e i n e s K l a V i er Im.Jahre 1977 lernte ich bei der Schallplattenauf'nahme
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i b e r s c h a u a n d e r T o d e s s c h w e l l e( i m 3 S a t z ) '
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g r e n z - t r n g e nd e s S o l o p a r t s z u d e n k e n ' d e n n . J u r i B a s c h r n e t
uber dessen
itt.r..t.ri.,.t moglich zu sein. Ich widmete ihm das Stuck'
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Weiterlcben ich mich freue. auch in Hinden :rnderer
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Alfred schnittke

In_Memoriam (1978) (Version pour orchestre du


euintette pour,piano,
1 9 7 2 / 76 ) .
u-ne crise cardiaque emporta ma mbre Maria vogel dans la nuit du 16 au
1 7 s e p t e n r b r e1 9 7 2 . M a d 6 c i s i o nd e c o m p o s e r ) s a m 6 m o i r e u n e p i b c e ) l a
fbis de caractBre simple et au grand s6rieux me posa un problbme
p r e s q u ' i n s o l u b l e .L e p r e m i e r m o u v e m e n t d ' u n q u i n t e t t e p o u r p i a n o f u t
m.is sur papier presque sans complication. Aprbs cela, je ne pouvais plus
aller plus loin - c'est que.ie devaisIransplanter tout ce que'j'avais 6crit
des enrplacements soniques imaginairis (oil tout 6iait " presqu,indescriptible, rn6me la dissonance) ) un environnement psychologique
rdel
oil la douleur torrurante fait presque caur l6ger ei oi le i.oit
a tu
d i s s o n a n c e, l a c o n s o n n a n c ee t I ' a s s o n a n c en ' e s t i c q u i s q u ' a u p r i x d , u n e
Iutte.
Il y a tout une s6rie dc variantes et de plans dont certains restdrent
e n l i r u i s d a n s l e m o n d e i n d i s t i n c t d ' e s q u i s s e si r r 6 a l i s 6 e s .c , e s t a i n s i q u ' u n
requiem ind6pendant, compos6 ) partir de matirier inutirisd, vit
le3t-rur
pendant mon travail sur le quintette.
L e p r o e r b s s e l i t a t t e n d r e . i u s q u ' e n r 9 7 6 a l o r s q u e l e s e c o n dm o u v e m e n t
Iut dcrit - une valse B-A-C-FI.
Je fus cependant forci ) rouver des
" p . i n t s d e c o u p u r e " e n t r e c e t t e v a l s e m y s t d r i e u s e( q u i s e c h a n g e
toutefois
c. rn6ditation triste) et I'intrusion continuelle de la vraie tra-eddie
dans
cctte tranquillitd mdditative.
J'ai cherch6 la solution pendanr"rroisans;
cntretemps, lors de mes essaisde rdsorution des pioblbmes
de mon
q u i n t e t t e, . i ' a v a i s t e l l e m e n t c h a n e 6 q u e
.ie le vivais prus profonddment
e'ncorc que lorsque.je I'avais composd. Le second mouvement
fut
finalerncntachev6.
Les troisidme et quatriEme mouvements reposentsur des situations
de
.
< h a q r i n r ' 6 r i t a b l e s u r l e s q u e l l e s . i en e v e u x p a s m ' 6 t e n d r e c a r e l l e s
sont de

n a t u r e s t r i c t e m e n t p e r s o n n e l l ee t l e s m o t s n c p o u r r a i e n t q u e l e s d 6 r ' a l u e r .
F i n a l e m e n t , l e c i n q u i b m e m o u v e m e n t e s t u n e p a s s a c a i l l ee n m i r o i r d o n t l t '
t h b m e e s t r d p 6 t 6 q u a t o r z e f o i s a l o r s < . 1 u ct o u s l c s a u t r e s 6 \ ' d n e m e n t s
s o n i q u e sn e s o n t q u e d e s o m b r e s d ' u n e p e r c e p t i o n t r a q i q u e d 6 j h d i s p a r u e.
L o r s q u e G e n n a d y R o z h d e s t v e n s k ye n t e n d i t l e Q u i n t e t t e p o u r p i a n o , i l
v o u l u t t o u t d e s u i t e l ' a v o i r e n v c r s i o n p o u r o r c h e s t r e . J e 1 6 s o l u sI e
p r o b l t s m ee n g a r d a n t l e s l b n c t i o n s o r i g i n a l e s d e s c o r d e s e t e n t r a n s p o s a n t
i a p a r t i e d u p i a n o e n s o n o r i t d sd ' i n s t r u m e n t s ) I ' e n t e t ) p e r c u s s i 6 n l - a
cr6ation eut lieu ) Moscou en 1979 avec Gennadv Rozhdestvenskr') la
tte de I'Orchestre Philharmonique de Moscou.
Concerto pour alto (1985)
Yuri Bashmet lors d'un
En 1977,1. ...t.o.tt.ui le brillant
"'ioloniste
e n r e g i s t r e m e n td e m o n Q u i n t e t t e p o u r p i a n o a r . ' e cG i d o n K r e m e r . I l m e
'acquiesqai
sansretard - me doutant
demanda un concertopour alto et.j
1985.
avant
pas
ache\'6e
fort peu que l'cruvre ne serait
- temporairei
D i u n e c e r t a i n e f a q o n , l a p i E c ea l e c a r a c t d r ed ' u n a d i e u
c a r d i x j o u r s a p r b s s o n a c h b v e m e n t .u n e c r i s e c a r d i a q u e m e m e t t a i t d a n s
une situation trds pr(caire. Je ne pouvais qu'entrer dans une seconde
p h a s e d e l a v i e - u n e p h a s e d a n s l a q u e l l e . j em e t r o u v e t o u j o u r s . C o m m e
une pr{monition de ce qui devait m'arriver, la musique rer'tIe caractEre
d ' u n e c o u r s e a g i t d e ) t r a v e r s l a r . ' i e( d a n s l e s e c o n d m o u V e m e n t ) e t d ' r r n e
vue d'ensemble lente et triste de la vie au seuil de la mort (dans le
troisibme mouvement).
A p a r t l ' 6 t e r r c l u e ,j e n ' a i P a s i m p o s d h l a p a r t i e s o l o d e s l i m i t a t i o n s
i m p o r t a n t e s ; Y u l i B a s h m e t p e u t t o u t . i o u e r . T o u t s e m b l a i t p o s s i b l e . . J eI u i
ai d6di6 la pidce tt me r6jouis d e l a v o i r c o n t i n u e r s a v l e a u x [ l a l n s
d'autres artistes - surtout dans t e l l e s d e N o b u k o t ^ u '
o,v"o schnittke

N o b u k o I m a i s t u c l i e cal t t h e l a m o u s T o h o S c h o o l o l ' M u s i c i n T o k v o a n d
then at Yalc University and the.luilliard School.She is the onlv violist tcr
h : r v c w o n t h c h i q h e s t p r i z e s z r tb o t h t h e M u n i c h a n c l G c n e r a I n f e l n a t i o n a l
Viol:r Cornpctitions, ancl she was lirrmerlv a mcmber of'the esteerncd
V c r m e c r Q u a r t c t . M i s s I m a i i s n o w e s t a b l i s h e c la s a d i s t i n e u i s h c c l
i n t c r n a t i o n : r ls o l o i s t , a n d a s w c l l a s a p p e a r i n q r e e u l a r l v i n H o l l a n d w h e r e
s h c n o r v l i v c s . h c r c a r c e r t a k e s h e r t o r n a . j o rc i t i e s i n E u r o p e , t h e U . S . A .
l r n r l . | : r p : r nW
. h l n s h t ' i s n o t r l i v i n q ( ( ) n (e r t s . s h t ' s p e n d sm r ) s l( ) l h e r t i r n t '
t e a c h i n ga t t h e f l o n s c r v a t o r i e si n U t r e c h t a n d t h e H a q u e . S h e i s P r o l e s s o r
at tlic Hieh School ol'Music in Dctrnold, Germany. She appears on 4
other IJIS rcr'orclinss.
N o b u k o I m a i s t u c l i c r t e: r n c l c r b e r u h m t e n T o h o - M u s i k s c h u l e i n T o k v o ,
r l z i n n a n c l c r Y a l c - U n i v e r s i t z i tu n d d c r . J u i l l i a r d - S c h u l e .S i c i s t d e r e i n z r q e
l l l a t s c h e r , c k r r c l i e re r s t c n P r e i s e s o w o h l h i n d e s M t i n c h n e r a l s a u c h d e s
( l c r r f i ' r 'I n t c r n a t i o n a l c n l l r a t s c h e n w e t t b e w e r b sq e w o n n e n l t a t , u n d s i c w a r
M i t e l i ( ' r l c l c sb c n i h n r t c n V e r m c c r - Q u a r t c t t s . N o b u k o I m a i i s t j e t z t e i n e
{ t c s c h : i t z t ei n t e r - n : r t i o n a l cS o l i s t i n , u n d n c b c n r e e e l m ; i l l i 5 4 eA
nu l i r i t t e n r n
H . l l a n c l . w , o s i e. j c t z t w o h n t , c r s c h e i n t s i c i n d e n q r . { S e nS t r i d t e nE u r , p a s ,
. f. p : r . s u n c l t l c r U S A . W . n n s i e n i c h t k r n z e r t i c r t , r ' e r b r i n q t s i e i h r e m c i s t e
Zt'it niil Unturricht an den Konsen'atorien in Utrecht, den Ha:re, und als
I ) r ' o l i ' s s o r l c l H I \ ' 1 i n D e t r n o l c l . S i e e r s c h e i n ta u l , [ w e i t e r e n B I S - P l a t t e n .
N o b u k o I m a i a < l ' : r b o r c l6 r u c l i d i l a < r d l E b r eE c o l e d e M u s i o u e T o h o )
'l'okvo,
p u i s i I ' U n i v e r s i t d Y z r l ee t I I ' E c o l e . J u i l l i a r d .E l l e e s t l a s e u l e
violonisle ir avoir gagnd les premiers prix des Comp6titions
I . t e r . a t i r . e t l e s c l ' A l t o c l eM u n i c h e t d e G e n E r . ' ee: l l e a i a d i s 6 t d u n r n e m b r e
r l e l ' c s t i r r r cQ
< u a t u o r V c r m c e r . M a d e m o i s e l l e rI m a i e s t a u i o u r d ' h u i d t a b l i e
( ()nrr)re solistr intcrnationalc distingudel en plus d'apparaitre

r 6 s u l i E r e m e n t c n H o l l a n c l e o i e l l e r i s i c l c r n a i n t e r n a n t .c l l c l a i t c a r r r e r t '
dans des villcs majeurcs en Europe. aux Etats-Unis et au.Japon.
L o r s q u ' e l l e n e d o n n e p a s d e c o n c e r t s .t : l l c c r n p l o i c l a r n a j e u r c p a r t i e c l c s ( ) n
t e m p s d e n s e i q n c r a u x c o n s e r v a t o i r c sc l ' U t r c t h t e t c l e [ - a H a v e . c t e l l e e s t
p r o l ' c s s e u r) c e l u i d e D e t m o l d . A l l e r r a q n c c l e I ' C ) u e s t . E l l e a i g a l c m e n t
e n r e g i s t r 6 s u r 4 a u t r e s c l i s c l u e sB I S .
L e v M a r k i z w a s b o r n i n N l l o s c o r v r. ' r h e r ch e s t u d i e d t h e v i o l i n . c h a n t b e r
music and conductinq at thc I\loscon Clonscrvator\" For eight Iears he
w a s l e a d e r a n d s o l o i s t o l t h c N ' l o s t o n ( , j h z i t r t b e t ' O r c l i e s t r aa n d h e l a t e r
f i r r m e d t w o n e w o r c h e s t r a si n N l o s t r o r va n c l r v o r k e c lt v i t h l c a d i n g R u s s t a n
s o l o i s t si n c l u d i n e E r n i l G i l e l s . D a v i d ( ) i s t r a k h . S v i a t o s l a v R i c h t e r a n c l
G i d o n K r e m c r . H e a l s o c o n d u c t c c l t h c l ea d i n g S o v i c t s v m p h o n v
o r c h e s t r a sa n d w a s a p r o l e s s o ra t t h e \ l o s c o u a n d f b i l i s i C o n s e r v a t o t ' i c s .
With the Tbilisi Conscn'atorv Orchcstra he r,r'onthe 197U Kara1an
Competition in West Berlin. Since 1981 he lias lived in the Netherlar.rds
and he is an internationallv sought-alterguest conductor. On the sanle
label:BIS-CD-377.
Lev Markiz wurde in Moskau qeboren. \\'o er aln Konscrvatot'iutrl
V i o l i n e , K a m m e r m u s i k u n d D i r i g i e r e n s t u c l i e r t e. A c h t . J a h r e l a n g l c i t e t e
er das Moskauer Kammerorchester. Spater grundcte er in \loskau z$ci
n e u e O . c h e s t e r u n d a r b e i t e t e r n i t l u h r e n d e n r u s s i s c h e nS o l i s t en u i e E n r i l
G i l e l s , D a v i d O i s t r a c h , S wj a t o s l a r v R i c h t e r u n d G i d o n K l e n r e t '
z u s a m m e l r . E r d i r i e i e r t e a u c h d i e b e s t e n S v r l p h o n i e o t ' c h e s tre d e 1 S 6 r t . i c t r n den KonservatorienNloskau und Tbilisi \lir
union und war Prol'essoa
d e m O r c h e s t e r d e s K o n s e r v a t t o r i u n l sy o l T b i l i s i q e \ \ ' i l n ne r 1 9 7 Ui l ' r\ \ ' e s t Berlin den Karajan-Wettbe6'erb. Seit 1981 \\'ohnt er in Hollalcl und ist
e i n i n t e r n a t i o n a l e e l i a e t c r G a s t d i r i e e n t . A u f ' d e r s e l b e nN I a r k c : B I S - C D 377.

Lev Markiz estnd ) Moscou oi il dtudia le violon. la musicue de chambre


e t l a d i r e c t i o n a u C o n s e r v a t o i r e d e M o s c o u . I l t u t l e c h e f e t l e s o l i s t ed e
I'Orchestre dc Chambre de Moscou pendant huit ans; il Ibnda ensuite
deux nouveaux orchestres de chambre ) Moscou et travailla avec
d ' d m i n e n t s s o l i s t e sr u s s e si n c l u a n t E m i l G i l e i s , D a v i d O i s t r a c h , S v j a t o s l a v
Richter et Gidon Kremer. Il a 6galement dirig6 les orchestres
symphoniques ma.jeurs de I'Union Sovi6tique et a une chaire de
p r o l e s s e u r a u x c o n s e r v a t o i r e sd e M o s c o u e t d e T b i l i s i . A v e c I ' o r c h e s t r e
du conservatoire de Tbilisi, il eagna la Comp6tition Karajan ) BerlinOuest en 1978. Depuis 1981, il r6side en Hollande er est un chel
d ' o r c h e s t r ee n d e m a n d e p a r t o u t d a n s l e m o n d e . D a n s l a m 6 m e c o l l e c t i o n :
BIS-CD-377.
T h e M a l m i i S y m p h o n y O r c h e s t r a q a v e i t s I ' i r s rc o n c e r t o n l B t h . J a n u a r v
1925 and has qrown liom an original strength ol 51 musicians to thc
p r c s c n t - d a 1t,o t a l o l ' B i J , a n d t h e p r o c e s so 1 ' e x p a n s i o ni s c o n t i n u i n q . S i n c c
thc openine ol the Malmo Citv Theatre in 1944 the orchestra has
c o r n b i n e d t h c f u n c t i o n s o 1 'a t h e a t r e o r c h e s t r a w i t h t h o s e o 1 'a s y m p h o n y
o r - t ' h e s t r aA. l t e r m a n y v e a r s w i t h o u t a n e n t i r e l v s a t i s l a c t o r yc o n c e r t b a s e ,
t h c o p e r n i n go l ' t h c M a l r n o C o n c er t H a i l i n 1 9 8 5 g a v e a d e c i s i v ei m p u l s e t o
t h c d e r . ' e l o p m c n ot l t h e o r c h e s t r a .A m o n g t h e o r c h e s t r a ' sr n o s t i m p o r t a n t
c a r l v c o n d u c t o r s ( a n b c c o u n t e d T o r M a n n a n d G e o r q S c h n 6 e v o i e t ,w h o
l c d t h e o r ( ' h c s t r al r o m 1 9 3 0 u n t i l h i s d e a t h i n 1 9 4 7 . I n r e c e n t y e a r s c h i e l '
c o n c l u c t o r sh a v c i n c l u d e d S t i g W e s t e r b e r e a n d V e r n o n H a n d l e y . O n t h e
s a r n el a b c l : B I S - C D - 4 3 7 .

D a s M a l m i i e r S i n f o n i e o r c h e s t e r g a b s e i n e r s t e sK o n z e r t a m 1 8 . . f a n u a r
1 9 2 5 u n d w u c h s i m L a u l ' e d e r J a h r e v o n u r s p n - i n g l i c h5 1 M u s i k e r n a u l ' d i e
heutige Stirke von 83. Das Orchesterexpandiert weiter. Es dient seitdcr
E r o f f n u n e d e s M a l m o e r S t a d t t h e a t e r s1 9 4 4 s o w o h l a l s T h e a t e r e n s e m b l e
a l s a u c h a l s S i n f o n i e o r c h e s t e r .N a c h v i e l e n . J a h r e n o h n c c i n e n g d n z l i c h
z u l r i e d e n s t e l l e n d e nK o n z e r t r a u m w u r d e 1 9 8 5 d a s M a l m o e r K o n z e r t h a u s
erolfnet, was dem Orchester entscheidendeImpulse gab. Unter den
w i c h t i g s t e nf r u h e r e n D i r i g e n t e n w d r e n T o r M a n n u n d G e o r g S c h n d e v o i g t
zu erwdhnen. Dieser leitetedas Orchester von 1930 bis zu seinem Tode
1 9 4 7. Z u d e n C h e l d i r i g e n t e n s p i t e r e r Z e i t g e h o r e n S t i g W e s t e r b e r s u n d
V e r n o n H a n d l e y . A u f d e r s e l b e nM a r k e : B I S - C D - 4 3 7 .
L'Orchestre Symphonique de Malmii donna son premier concert le 1B
. j a n v i e r 1 9 2 5 e t s e c o m p o s a i t a l o r s d e 5 1 m u s i c i e n s ;i l s s o n t a u j o u r d ' h u r a u
nombre de 83 et I'orchestre est en perp6tuelle expansion. Depuis
l ' o u v e r t u r e d u T h 6 A t r e d e l a V i l l e d e M a l m o e n 1 9 4 4 . I ' o r c h e s t r ea c u m u l i
les fonctions d'un orchestrede thdAtre et d'un orchestresvmphonique.
AprEs plusieurs ann6es sans salle de concert entibrement satislaisante.
I'inauguration de la Salle de Concert de Malmo en 1985 contribua
grandement au d6veloppement de l'orchestre. Tor Mann et Georg
S c h n 6 e v r . ; ' g tq, u i d i r i g e a I ' o r c h e s t r e d e 1 9 3 0 . j u s q u ' h s a m o r t e n 1 9 4 7 .
comptent parmi les plus importants des premiers chels de la lbrmation.
Ces dernidresann6es,Stig Westerberg et Vernon Handlev ont dt6 deux
des chefs invit6s. Dans la mme collection:BIS-CD-437.

Other compositions by Alfred Schnittke available on BIS:


Concerto Grosso No.1; Concerto for oboe, harp & strings; Concerto for
Piano and Strings. Christian Bergquistand Patrik Swedrup, uiolins; Heldn
Jahren, oboe;Kjell Axel Lier, harp; Roland Pt)ntinen,piano; New Stockholm
ChamberOrchestra/ Leu Markiz. BIS-CD-377
4. Concerto Grosso - 5. Sinfonie; Pianissimofor large orchestra.
GothenburgSymphonl Orchestra/ lVeeme
Jrirui. BIS-CD-427
Ritual tbr large symphony orchestra; (K)ein Sommernachtstraum fbr
l a r g e o r c h e s t r a ; P a s s a c a g l i af o r l a r g e o r c h e s t r a ; + F a u s t C a n t a t a ( " S e i d
ntichtern und wachet"). *Inger Blom, mezzo-soprano;*Mikael Bellini,
counler-tenor;*Louis Deuos, tenor,' *Ulrik Cold, bass;Malmij Slmphony
and *.JamesDePreist. BIS-CD-437
Orchestraand *Chorus / LeiJ Segerstam
Sonata fbr Cello and Piano. TorLeif Thedien, cello; RoLandPdntinen, piano.
BIS-CD-.?36
Sonata No.1 lbr violin and piano. ChristianBergquist,uiolin, Roland
Ptintinen,piano. BIS-CD-364
First Performances
In Memoriam: 20th December 1979. Great Hall of Moscow
Conservatory. Moscow Philharmonic Symphony Orchestra / Gennady
Rozhdestvenskv.
Viola Concerto: 9th January 1986, Amsterdam. Yuri Bashmet, viola /
Royal Concertgebouw Orchestra, Amsterdam / Lukas Vis.