Our Cats – No 3, 2015 Pdf

One hundred and eleven musicians celebrating a large-scale symphony that sounds like Gustav Mahler, Richard Strauss, or Arnold Schoenberg. In fact, the composer of this symphony, Alfred Schnittke, had precisely these composers (and many others) in mind back in 1981. Whereas he initially mirrored certain styles from figures as Mahler, Mozart, Bach, Stravinsky, Prokofiev and Shostakovich, he was soon also borrowing concepts from trivial music, folklore, jazz, tango, as well as many other styles. He himself described his compositional technique, but an aesthetic programme: a serious effort to break through the vicious circle of the self-satisfied and self-sufficient avant-garde music.

The composer who dared such open rivalry with God himself was also a brilliant conductor. “Architecture is music in space, as it were a frozen music”, Schelling once wrote, and Mahler applied this in his conducting style: music is architecture transposed into the dimension of time – moving, flowing architecture. Instead of merely tracing the outlines of fellow-artists’ musical blueprints with a schoolboyish hand, Mahler built forms based on the drawings of great musical architects. To Mahler, the actual process of constructing a musical form – its deployment along the axis of time – was infinitely more important than the ultimate goal, a perfectly formed crystal.

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