Quasi Experimentation

Alfred Schnittke - Violin Works, Quasi una sonata & Other Works (2006) {BIS Schnittke Edition, BIS-1437} (Item #22)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 264 Mb | MP3 @320 -> 155 Mb
Full Artwork @ 300 dpi (jpg) -> 38 Mb | 5% repair rar
© 2006 BIS Records AB | BIS-CD-1437
Classical / Contemporary Classical / 20th Century

Early on in his career, the violin became an immensely important instrument for Alfred Schnittke (1934-1998). He developed a remarkable skill in composing for the instrument, resulting in a number of highly successful works of which several have been gathered on this disc. During the 1960s, a time when the violin was not the preferred instrument for the avant-garde as it carried too much historical ballast, Schnittke used it as tool for experimentation developing polystylism, an incorporation of historical sources or techniques into a modernistic context.
An early polystylistic work was Quasi una sonata, one of Schnittke's best-known works largely due to its narrative character; Schnittke tells a story filled with contrasts and drama.

Francesco Carella aka Frenkcarella poly instrumentalist (keyboards, guitars, drums and percussion), composer, researcher in the experimentation of the Arts, actor and Anthroposophus, Giuseppe Cascarano guitarist, Giuseppe Quarta drummer. The three, after years and various musical experiences behind them, met in Lecce at the beginning of 2015 and after a month I Viaggi di Madeleine was born. Who is Madaleine? "Madeleine represents the adolescent soul who, despite all the rottenness, resists trying to remain intact". In May 2015, the first studio work, a demo of 4 songs recorded live at SUM_Km 97 (Lecce), immediately after the first concerts arrive, a mini tour of 5 dates and in August they open the Med Festival of San Marzano ( TA).

More than 120 years after the death of Johannes Brahms, the answer to this question would seem to be a foregone conclusion. Not even Arnold Schoenberg’s essay “Brahms the Progressive”, famed at least for its title, has done anything substantial to change it. Schoenberg pointed to the asymmetry and irregularity of Brahms’s phrase structure, his stern adherence to and sharpening of Beethoven’s technique of dislodging the “strong” beats until the rhythm as we previously knew it fully dissolves. What we hear as downbeats are more likely to be upbeats, and vice versa.