Schnittke's Gogol Suite (1976) is a collection of eight very short movements lasting between one and eight minutes. They're quirky and fun. Essentially, they're experiments in collage techniques and they take their sources from Beethoven, Tchaikovsky, and Schnittke's own temperament. (They will remind you of some of Shostakovich's writing for The Bolt and The Gadfly.) Labyrinths (1971) is a five-part ballet score for a ballet that never emerged. One can hardly see this as a ballet. Parts of it suggest Japanese No theatre, other parts stand on their own, nightmarish as they are. Unusual music.
Schittke's Concerto Grosso No. 3 was commissioned by the East German Radio in 1985 and on the occasion of five composers having notable anniversaries in a year ending with the number 85: Heinrich Schütz, who was born in 1585; Johann Sebastian Bach, George Frideric Handel, and Domenico Scarlatti, who were all born in 1685; and Alban Berg, who was born in 1885. This concerto was completed just before the onset of a series of strokes that affected him greatly for the rest of his creative life, marked by his Concerto for Three (1994).
Prominent European purveyors of jazz clarinet fare—The Clarinet Trio and Le Trio De Clarinettes—align for a joint mission on this set that covers a wide spectrum of applications, ideas and surprises. They induce the sounds of nature and render highly melodic song forms while including doses of humor amid punchy motifs and hordes of delicate contrasts. At times the sextet operates within quiet and hauntingly introspective settings and launches circular ostinatos, used for sounding boards and assorted improvisational activities.
The music of Paul Hindemith can't be called crowd-pleasing. Even the overtly radical works of Schoenberg and Webern carried well-defined innovations that listeners might be excited by or reject, but with Hindemith there's always the sense that he is experimenting with the solution to a new problem each time out. Of course, this can just as easily be a stimulating challenge as a problem, and this collection of works for a single instrument from across Hindemith's career provides a good way into his music.
The first disc dedicated to the works of Alfred Schnittke on BIS was released in 1987, and has since been followed by 23 other titles, including a large part of his chamber music as well as the symphonies and other orchestral works. That first disc featured Concerto grosso No.1 in the original version for two violins and strings – the work which to some extent became Schnittke’s breakthrough in the West in the late 1970s. On the present disc that same work is heard again, but now in a world première recording of Schnittke’s own version with solo parts for flute and oboe. Soloists are Sharon Bezaly and, on the oboe, Christopher Cowie , making his first appearance on BIS. They are supported by the Cape Philharmonic Orchestra conducted by Owain Arwel Hughes, a team that collaborated already on the most recent Schnittke title in the BIS catalogue.
Schnittke as we know is a very unique composer. "all composers are unique". Well some more so than others, and some MUCH more so unique than others. Schnittke, like Pettersson stand out as the 2 greatest late 20th century composers and 2 of the greatest ever in the past 300 yrs.
Alfred Schnittke's Concerto Grosso No. 4/Symphony No. 5 was commissioned by the Royal Concertgebouw Orchestra of Amsterdam for its centenary. Riccardo Chailly led the orchestra in its premiere performance on November 10th, 1988. However, Neemi Jarvi led the Gothenburg Symphony Orchestra of Sweden in this, the work's first recording, in December 1988, released on BIS in 1989.