![]() An important role is also played by Schnittke’s characteristic use of ‘polystylism’, an allusion technique which is all the richer for being at the second degree Schnittke’s second movement waltz, for example, alludes not only to the nineteenth century form of Tchaikovsky, but also to the allusions to that form found in the chamber music of Shostakovich, including his own Piano Quintet and the Eighth String Quartet. His influence can be heard not only in the sound of keening strings and dark-hued lugubrious string trills, but also in the shared emotional world of darkness and light (the work has also been scored for orchestra, and entitled ‘In Memoriam’). This Russianness is inevitably bound up with the choice of medium for any Soviet composer writing for piano and string quartet must acknowledge the Piano Quintet of Shostakovich, a profoundly Russian work by a composer Schnittke profoundly admires. ![]() ![]() Moderato : Tempo di Valse : Andante : Lento : Moderato pastoraleĬomposed between 19, and dedicated to the memory of the composer’s mother, Schnittke’s Piano Quintet is the most Russian in spirit of his mature works, with the exception of those employing native liturgical chant such as the Second String Quartet and the Concerto for mixed chorus. ![]() Programme note by Nicholas Williams, from Schnittke: A Celebration, Wigmore Hall/Barbican Hall, London, 17 February – 8 March 1990 ![]()
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