Structural Layers in Alfred Schnittke's Concerto Grosso No. 3 - T. Sullivan (2003)

Structural Layers in Alfred Schnittke's Concerto Grosso No.
3
Author(s): Tim Sullivan
Source: Perspectives of New Music, Vol. 48, No. 2 (SUMMER 2010), pp. 21-46
Published by: Perspectives of New Music
Stable URL: http://www.jstor.org/stable/23076965
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Structural
Alfred
Schnittke's
Concerto
Grosso
Tim
Schnittke's
Alfred
great
doubt
deal
due
of
to
"Polystylism,"
notations
that
imply
from
embody
these
Schnittke's
music,
the
surface.
chaotic
lack
of
very
of quotations,
always
essay
seeks
that
to
uncover
works, the Concerto
Like
mature
many
contains
able
of
Schnittke's
numerous
snippets
his
quotations
of melody
works,
and
to
the
allusions,
general
with con
collage,
as
patchwork
the
some of his
a longtime
order
structure
ranging
fan
lurked
Grosso No.
Third
is no
compositional
is loaded
structural
Schnittke's middle-period
received
This
etc.and
Nonetheless,
felt
not
community.
about
musical
organization:
qualities.
I have
This
views
a term Schnittke coined,
mixing of styles, chaotic jumbles

works
theoretical
held
has
often,
performed
the
commonly
methods.
No. 3
Sullivan
while
music,
attention
some
in
Layers
Concerto
from
stylistic imitations.
of
below
of one
of
3 (1985).1
Grosso
recogniz
Schnittke
22
of New
Perspectives
some
provided
information
about
the
Music
sources
for
these
polystylistic
elements:
The
1985
year
was
a jubilee
five
times
over:
five
musical
masters
from different times were born in either 1585 (Heinrich Schtz)

or 1685
Frederick Handel,
Bach, George
(Johann Sebastian
Domenico
Scarlatti) or 1885 (Alban Berg). Many events took
in their
place
begins
"pretty"
museum
and
considerations,
elements
of
questions
remain
work
work
this
and
essay,
concerning
Basic
Materials
tonal
are
tonal
will
out
of
overall
structure
The
last
the
basic
on
the
the
threshold
in
the
work.
to
emphasis
suggested
in
surface
keys
masters."
(and
"five
some
of the
the
with
of the
the
merely
more;
use
past
to
structure
musical
is
the
of
are
the
materials
considerable
It
the
allusionsand
below,
atonal
of
quotations
much
"five
of it.
part
minutes
present.2
these
about
stratification
be
the
laid
and
for
again,
the
few
fragments
stylistic
is
are
the
look
But
the
them);
description,
expect
obliges.
between
between
to
uncertain
certain
"description"
the
of
distinction
with
and
us
a small
after
dangerous
to
Schnittke's
construction
was
composition
stand
lead
and
Schnittke
fact,
we
the
might
masters,"
degree,
In
and
before
description
musical
my
neo-classicallybut
explodes
(quotations)
This
and
honor,
Schnittke's
section
of
the
piece.
material
Schnittke
classical,"
described
the
it
though
of
opening
seems
to
refer
the
first
more
to
movement
the
as
"neo
concerto
Baroque
grosso tradition. This stylistic allusion is both general and perhaps also
specific: in the first few measures, the rhythm, melody, and pitch
center (although the mode is different) are very similar to Bach's
Another
the
movements
G minor
passage:
for
the
more
allusion,
five
no.
Concerto
Brandenburg
Violin
the
major.
and
Concerto
present,
structural
it will
layers
of
Of
worth
two
work,
outlines
course,
a
2).
mentioning.
triads
the
minor
more
piece.
plausible
Incidentally,
as
this
Throughout
dominate
beginning
triad
3).3 While this relationship
become
the
1 and
is also
subtle,
of
major triad (Example

at
3 (Examples
we
tonal
every
of Berg's
followed
row
a
by
might seem tenuous

delve
sort
of
into
"role
the
deep
reversal"
Alfred
Schnittke's
Concerto
Grosso
No.
1-7
MM.
reserved.
MOVEMENT,
rights
FIRST
All
3,
NO.
permission.
by
Used
GROSSO
Peters.
Edition
by
CONCERTO
1988
Copyright
SCHNITTKE,
:
1
EXAMPLE
24
Perspectives
of New
Music
1-7
MM.
MOVEMENT,
FIRST
3,
NO.
CONCERTO
BRANDENBURG
BACH,
2:
EXAMPLE
Alfred
EXAMPLE
an
(using
Schnittke's
3: BERG'S
atonal
quote
music,
so
much
of
the
Schnittke's
Concerto
Grosso
No.
ROW FOR THE VIOLIN
to
tonal
generate
so
that
we
will
CONCERTO
is
material)
find
another
common
in
in this
example
work.
The
"fragments
beginning
of
important
tonal
movement
now
movement,
elements.
The
from
relate
directly
from
the
dyad
Bb-G,
and
also
cell
is also
dyad
same
book
the
tonal
to
movement
which
in
reappears
the
(recalling
the
the
entire
final
Bach
and
the
passage
chromatic
of
as
the
the
passage
This
last
last
the
notes,
four-note
of
a chromatically
over
of
and
filling-in
I of
minor
held
pedal
first
descent.
also
Book
the
of
first
mono
importance
the
chromatic
monogram,
the
the
from
features
the
soloists,
in
from
minor:
at
several
B-A-C-H
fugue
subject
Two
Bach
the
the
4).
of
occur
include
J.S.
Cjf minor
with
(Example
the
to
quotation:
the
center
mentioned
predictably
allusion
ending
because
important
and
from
by
frames
Schnittke
direct
subject
Clavier,
the
last
to
way
by the
Well-Tempered
fugue
that
past"
fourth
gives
followed
gram,
the
the
the
filled
Bl-G
minor
third).
ATONAL
MATERIAL
This
by
Bach
is
seen
rarely
subjected
lists
the
no
means
monogram,
the
in
to
previously
the
(including
first
it
in
rarely
used
name
five
name
while
first
name
is
Grosso
for
the
Scarlatti).
the
only
No.
3.
Example
named
in
use
These
the
the
exclusion
of
repeated
letters
in
the
monograms,
one
the
Bach
full
name
monograms
are used to generate five different twelve-note rows (Example

explains
the
piece
not
is obvious,
others
use
this
Schnittke
As
piece.
to
in
role
composers
of the
only,
Schnittke
by
structural
Concerto
all
description
last
Bach's
the
of
monograms
the
composition
assumes
However,
treatment
quoted
uses
monogram
others.4
this
musical
the
although
6). This
resulting
26
of New
Perspectives
Music
from
Ctminor
fugue
subject
ACH
Hf
EXAMPLE
|,
CONCERTO
4: SCHNITTKE,
FOURTH
minor
from
fugue
subject
GROSSO
MM.
MOVEMENT,
|f i=
NO.
3,
1-7
Copyright1988 byEditionPeters.Used bypermission.All rightsreserved.
HEinriCh
Schtz:
Johann Sebastian
FreDeriCk
GEorge
HAndel:
AlBan
the
between
discrepancy
(ABABEG),
and Schnittke's
the
of the
opposite
a quotation
case,
third row (Bach

figure
Bach's
rows,
is the
subject
earlier
from
5: MONOGRAMS
work
five
closely
(Example
related
forms
followed
section
final
Art of the Fugue (Example
movements
use
rows
are
his
of
own
monogram
Another role reversal quotation,

in
is present
example,
the
A-B-E-G
(ABEG).
monogram
of
G-E-F-D-C-H-A
Berg's
a tonal
B-A-C-H
ScArlatti: G-S-E-D-C-A
BErG:
EXAMPLE
in
BACH:
DomeniCo
(GuiSEppc)
-EC-S
the
the
first
of
only
row.
hexachord
by Cjj and D).
This
Contrapunctus
7). In addition
used
third
in
the
In
this
of
the
six-note
from
XIX,
to the monogram
third
and
fourth
8).
Alfred
Several
the
motivic
most
class
set
general
the
sound
conspicuous
(bracketed
all
ten
several
for
from
in
retrograde
of
is the
the
use
in the
work
of
EXAMPLE
row
Art
through
is
the
7: J.S. BACH,
of
it
is
in row
quote
into
clusters.
emphasis
interval
THIRD
the
Also
pairs
placed
ROWS
ART OF THE FUGUE,
XIX,
is
[0,1,2,3,4,5]
staggered
with particular
original
case
incorporated
use
and/or
6: THE FIVE MONOGRAM
CONTRAPUNCTUS
Set 6-1
pitch
at various
the
which
of the Fuue
and
set
with
in
first,
a doubt,
represents
of this
occurs
the
8),
consecutive
examples),
EXAMPLE
the
without
rows;
examples
monogram
except
which
of the Schtz monogram.5
in
No.
monogram,
to
Bach
row
Grosso
in
Bach
as it is derived
occurring
Concerto
prevalent
is the
addition
every
because
prevalent,
(also
In
levels,
in
impossible
also
cell
important
pitch-classes
are
cells
[0,1,2,3].
transposition
Schnittke's
SUBJECT
on
28
8: THE
EXAMPLE
interval
classes
"tonal"
intervals,
atonal,
While
the
of
rows.
and
forms
are
of an
example
of
ordered
pitch-classes
as the
the
piece
(Example
the
as
each
"melodic"
contour
are
properties
forms
in the
third
form
the
Violin
tonal
and
occurs
Because
entities
of each
and
the
absent:
excluded;
completely
the
these
it
work.6
The
the
emphasizes
rows
note
and
movements;
entire
as
sound
employment
entirely
fourth
in
(one
row
to
almost
are
crucial,
especially
row.
essential
idiosyncratic
are
operations
inverted
on
emphasis
for
between
boundaries
is Schnittke's
only
is
of
melodic
are
employed
at a time,
unidirect
becomes
more
recognizable
progresses.
AMBIGUOUS
addition
row
transposition
exclusively
ionally),
used
This
row
Berg's
movement.
retrograde-inversion
absence
almost
recalling
blur
serial
Typical
retrograde
one
to
ROWS
inversions).
(and
fourth
important
equally
transposed
only
in the
above-mentioned
work,
these
five
Schnittke
Music
FIVE ADDITIONAL
again
perhaps
particularly
of the
and
three
allows
Concerto,
In
of New
Perspectives
MATERIAL
to
9).
the
ten
These
"melodic"
rows,
there
harmonic
rows
are
are
in
five
fact
"harmonic"
extensions
rows
of
the
Alfred
rows:
monogram
by
a major
as
the
root
shown
the
top
and
aspect
An
a specific
atonal
notable
triad
E
(e.g.,
fifth)
at
types
are
to
major
a discernable
rows
is
demonstrate
occurs
positions
the
root
end
not
in the
more
effect.
of
10-12),
phenomenon,
than
one
fifth row),
row.
triad
within
between
the
linear
the
root
or
down
second.
While
in
10
example,
in
the
creates
feature
close
lists
sense
movement
prominent
roots
is
progressions
a common-practice
Another
Example
For
least
second
the
excluding
in
of
mem
progression).
triadic
a minor
(up
row,
row
interplay
(triadic
always
quality
emphasizes
of these
functional
always
F minor
the
at times
aspect
every
to
vertical
and
(at
progression
movements
of
duplication
this
in
quasi-tonal
tension-release
the
the
root
serving
are
monogram
essential
Schnittke
at others
of cadential
presence
the
and
(monogram),
a perfect
and
materials,
classes
rows
the
row,
individual
are
is harmonized
pitch
monogram
chord
rows
row
twelve
the
each
No.
monogram
harmonic
unique
harmonic
Grosso
of the
example
with
and
the
each
each
constant
These
especially
the
In
voice).
remains
work).
tonal
(in
of
with
triad,
a triad
creating
this
the
of
Concerto
member
every
minor
as the
triad
ber,
or
Schnittke's
of these
succession.
any
triad
fourth
root
group
To
that
(row
nine of the fifteen triads have roots of A, C# (Db), D,
(Scarlatti)
(Berg)
EXAMPLE
9: THE FIVE HARMONIC
ROWS
30
of New
Perspectives
Row
1-3
Position
4-6
C(2x), c
Eb(2x), eb
Music
7-9
B(2x), b
Bb, bb
10-12
Gb(2x), $
A, a
D, d
Db, db
G(2x), g
E(2x), e
Gb, $
EXAMPLE
10:
DISTRIBUTION
IN THE
or F#.7 This
creates
progression
that
definite
is
It
serial
avoids
without
is
the
polytonality
simultaneously.
pitch
a significant
ends
is
exception
arbitrary,
but
not
harmonic
rows
STRUCTURAL
In
the
each
rather
over
to
to
major,
an
rest
in
minor
abrupt
end
albeit
sounding
of the
of
only
progressions
level,
and
in
are
the
same
of Example
10
of
usage
the
particular
the
second
intervallic
introduces
quickly
the
and
the
two
present"
sort
from
the
original
key,
chord
instead
However,
of cadence,
the
with
proceeds
manner.
any
further
the
"uncertain
key of G minor is briefly

dominant pedal in the low
ensemble
reaching
ensemble
primarily
E major, A major, F major, D major, Bl>

A
measure
The
major.
28the
allusion
neo-Baroque
of
"explosion
the
comes
museum"
by the first entrance of the Bach monogram

in
simultaneously)
movement,
in
Schnittke
these
common
in
sounding
that
division
most
a quasi-Baroque
or
minor,
in
which is announced
notes
pitch
(tonality)
progressively
halt
triads
time
MOVEMENT
The
description.
by an extended
the
major,
fact,
(see
Schnittke
through third relationships:

to
FIRST
"museum"
begins
drift
of
major
same
below).
the
which
of returning
continues
piece
the
again
four-part
the
ROOT
A major-D
at
variety
in
same
reflects
movement,
that
the
and
emphasize
The
Schnittke's
from his
(atonality)
established, followed
progression
other.
USE OF MATERIALS:
first
the
entirely;
at
SHARED
of the
row,
to
to
almost
in
worlds:
opposing
strings,
present
as discussed
movement,
harmonic
due
employed
to
WITH
ROWS
reinforcement
first
important
operations
relationship
OF TRIADS
FIVE HARMONIC
the
the
reference
content.
The
chimes.
From
is specifically
motive
to
this
the
is manifested
Bach
(all
to
point
the
motive,
in the
form
Alfred
of a huge
trace
SECOND
The
veiled
the
distributed
movement
on
the
into
the
the
quarter-tones,
of
the
atonal
material,
beginning.
additive
row
completed
each
new
part
due
that
certain
as
harmonic
focus,
(m.
where
61),
towards
the
reason
for
by one,
which
As
close
noted
monogram
(marked
of
independence
where
movement,
and
of
of
use
soloists
of
present
the
the
of cacophony
this
has
allows
to
the
is
is now
brief
rows
time
to
of
moments
of
(see
present
fifth variation
without
presented
13).
leads
in
the
recurrence
always
in the
rows
with
listener
only in Example
harmonic
do
the
earlier,
monogram
that
of this are shown
occurs
row
is quite
harmonic)
amount
duality
major-minor
in row presentation
first
sort
the
is
the
creates
proximity
the
counterpart
the
next
the
number
importance
(monogram
create
entity.
in
A change
10).
rows
one
roots
although
Example
harmonic
row
in
increasing
16,
essence,
variations
simultaneous
measure
is
pair
In
13).
row
12).8
former
resulting
particular
in
not
the
separate
(Example
(Example
of five
first seven measures
of
of each
each
five
(the
Much
cycle
the
next
canons.
close
it does
be expected
identify
Of
the
rows,
constantly
starting
of all
14).9
ensemble
the
progressions.
in
of
pair
the
Each
partner;
its entire
to
directly
movement.
second
simultaneously
to
in various
extraordinary
Example
while
the
harmonic
a combination
movement;
pair
in
its
present
combination
introduction
with
of the
leads
monogram
rows
previous
rows,
this
Bach
monogram
becomes
chord
in
the
presented
chaconne
repeating
to
has
melodic
triadic
in the
as
Later,
11).
weight
in dyads
(stacked
of [0,1,2,3]
(Example
the
31
thirds
compressed
under
tonal
another
to
the
the
is
soloists
would
strings
collapses
the
row
the
The
low
reference
when
each
minor
shifting
increasingly
of the
of
monogram
canon
No.
MOVEMENT
introduction
As
the
are
quickly
no
leaving
enters
of
lines
movement
Grosso
triads) and the total permeation
lines
chromatic
Concerto
of chromatically
array
and diminished
chromatic
Schnittke's
This
its
shift
into
directly
assume
lesser
significance.
THIRD
MOVEMENT
to
Up
devoid
concerto
this
the
point,
of the expected
grosso.
It
is
Third
Concerto
opposition
only
in
Grosso
has
of forces common
this
movement
that
been
entirely
in the Baroque
the
exchange
32
Perspectives
of New
Music
26-32
MM.
reserved.
MOVEMENT,
rights
All
FIRST
3,
NO.
permission.
by
Used
GROSSE
Peters.
Edition
by
CONCERTO
1988
Copyright
SCHNITTKE,
:
11
EXAMPLE
Alfred
EXAMPLE
Schnittke's
12:
Concerto
CONCERTO
SCHNITTKE,
SECOND
MOVEMENT,
No.
Grosso
MM.
GROSSO
NO.
3,
16-36
Copyright1988 byEditionPeters.Used bypermission.All rightsreserved.
between
there
The
and
soloists
are
three
alternating
rows
monogram
in
counterparts
continuing
to
ensemble
play
the
the
are
groups:
now
strings
plays
soloists,
entirely
and
monogram-harmonic
from
with
pairs
their
the
(Example
this
and
harpsichord,
separated
soloists,
In
role.
significant
case,
strings.
harmonic
harpsichord
15).
34
Row
Perspectives
1-15
16-30
soloists
31^5
46-60
soloists piano/strings
soloists
va/bass
vn I, II
soloists
example
13:
of New
second
61-75
14:
vn I, va 2-3
soloists
row
movement,
SCHNITTKE,
SECOND
76-90
91-105
vn II (M only) vn I (M only)
ve, val, piano
vc, bass
(monogram/harmonic
EXAMPLE
Music
solo I
solo II
vn II, va
piano
vnl, va 12
vn II, va 3, vc,
bass
piano
soloists
distribution
combined)
CONCERTO
MOVEMENT,
MM.
GROSSO
NO.
3,
76-82
Copyright 1988 by Edition Peters. Used by permission. All rights reserved.
Alfred
Measures:
Schnittke's
6-11
1-5
Rows:
38-11
7, R4
solists
3.4
EXAMPLE
The
in measure
6 and
12,
the
between
8
section
use
with
An
the
same
melodic
that
4)
measure
the
first
initial
in this
65
of
note
for
remainder
value,
rhythmic
soloist
for the
In
atonal
enters
with
material
has
a complete
the
material,
reversal
familiar
of
disintegration
gradually
pulled
measure
who
Db).
rhythmic
the
80,
continue
As
the
away
the
entire
to
the
comes
the
the
in
two
rows
the
at the
beginning
by
sustains
its
part
through
To
times.
a constant
but
texture.
the
(7
row
is formed
several
75,
the
unique
When
saturation
the
point
reached.
the
first
Each
its row
ensemble
and
on
then
a complete
sound
an
D
the
the
the
(except
final
notes
basses
halt.
the
in
arpeggiated
major
to
and
invades
part
into
is in
hold
it is now
movement,
that
triad,
momentum.
to
measure
At
continuing
shifting
of
eight
shows
strings
string
with
proceeds
major
chimes
Every
continually
been
first violins,
triad,
in
repeated
stubbornly
motion
major
17,
Example
then
from
from
in
cluster
is
row
17
period
entire
strings.
the
including
before
in
major
the
where
the
(Example
time
part
This
in
65-80,
of
resulting
rows
present
used
by
of rows,
also
alternation
58-64.
ensemble
which
enter
of row
the
also
inversion
but
row,
soloists
rows.
follows.
row,
As
eventually
that
each
matters,
complicate
second
the
Bach
first appearance
in measures
noted
1-64
the
work.
simultaneously
the
row
the
monogram
of
nine-note
different
of
of
As
initial
each
soloists
in measures
section).
the
pitch
the
a series
in
the
entire
example
play
missing
strings
MM.
when
16);
forms
played
5 15
harpsichord
present
occurs
are
soloists
are
distribution
of
rows
the
time,
and
only
strings
moment
extraordinary
ten
and
the
in the
58-64
2 (M+H)
presenting
in the
continues,
harpsichord
50-57
(Example
retrograde
occurring
strings
R2. RS
strings
simultaneously
groups
4 (M+H)
ROW DISTRIBUTION,
the
of retrograde
against
closes
work,
the
they
first
the
and
with
material
26-29
solists
MOVEMENT,
begins
scalar
intervening
20-25
42-19
2.8
strings
THIRD
movement
with
15:
No.
19
6, RI
soloists
harpsichord
30-37
Rows:
Grosso
12
1(M+H)
strings
Measures:
Concerto
Bach
enter
After
so
triad,
for
the
of their
in
for
tonal
to
the
section
string
a brief
cluster
the
leads
by
soloists,
rows,
major,
crescendo
the
is
that
first
E\>
the
on
time
36
of New
Perspectives
Music
Row 1(+H)
EXAMPLE
16:
CONCERTO
GROSSO
NO.
3, THIRD
MM.
MOVEMENT,
1-8
m. 65
Solo
Solo
II
R3
66
67
68
69
73
72
74
75
R2 -
76
77
78
DM
10
DM
R9
DM
R5
DM
1
DM
17:
DM
(At)
(G)
(Fit)
80
79
R2
Vn. 11(4) (B)

Va. (1)
(Bt)
Va. (2)
(A)
EXAMPLE
71
R8
Vn. 11(1) (E)

Vn. 11(2) (D)
Vn. 11(3) (C)
Va. (3)
Ve. (1)
Vc. (2)
70
TEN MELODIC
DM
2
DM
ROWS PRESENTED
MOVEMENT,
MM.
SIMULTANEOUSLY,
THIRD
65-80
DM
Alfred
since
the
from
onto
a unison
D,
completing
previous
in
the
erode
cluster)
first
structures
of
near
the
the
the
end.
it
very
These
doubling
of
turns
ten-note
diagrammed
where
in the
the
soloists
row
second
movement
to
rows
split
is
by the soloists in double-stops).
The
the
and
the
followed
monogram
already
strayed
panied
by
The
soloists,
is maintained
by a quotation
in measures
B-A-B-E-G)
presenting
ensemble
into
another
the
fourth
which
change
movement
is
punctuated
of Berg's
in
row
row
with
treatment,
with
culminates
by
point
in arpeggios
five
culminating
in measure
between
brief
play
the
Bach
monogram
(A
the ensemble
the
(Example
twelve-note
measure
separation
harmonies.
dissonant
complete
in
pairs
basses
complete
at which
85-90,
increasingly
first harmonic
until
initial
fragments
with
them,
row
monogram-harmonic
71 (played
soloists
(for
the
recalled
between
is
the
continuing
row
resume
the
section
the
strings
chart
play
to
only
in
(in
including
soloists
the
results
This
show
the
by
material
distribution
(to
afore
by
and/or
atonal
points,
the
motto),
begin
of the
reintroduction
parts).
counterpoint).
several
8-15,
The
3, string
sketch
At
triads).
B-A-C-H
after.
immediately
bass-line
measures
the
involving
in
with
which
play
apparent
held
part,
80
entire
the
blurred
harpsichord
soloists
of rows
18,
and
in
rise
(usually
rows
Example
quasi-tonal
of G
chromatic
stream
the
are
a string
91,
the
this
with
pedal
works
Example
measure
while
in
7 (see
until
in
and
prominence
note
measure
an
makes
to
and
(soloists
from
foreshadows
over
row
began
atonal
movement,
tonal
allusion
the
separation
Schnittke
part
elements
Baroque
co-existed
fourth
from
material,
of a continuous
soloists)
the
most
Atonal
where
co-existence
material.
invaded
that
so,
movement,
entering
by measure
measure
major
purpose.
of
harpsichord
quasi-tonal
form
this
quotations
cluster
From
to
the
triad
the
everything
atonal
for
the
atonal
of
foreshadowing
elements.
supplanted
D
that
out,
time,
was
atonal
materials
quotations
each
collapse
Even
(strings)
end
of the
the
third
beginning
Bach
soloists.
57,
tonal
As
mentioned
play
of the
final
the
first
there
movement.
dedicated
the
from
end
Near
the
and
and
triggering
Eventually,
and
disrupted
third
and
movement
tonal
the
movement.
movements,
movement,
harpsichord)
to
three
separation
B-A-C-H
for
fourth
between
No.
harpsichord.
fragmented
the
In
(the
the
of
Grosso
movement,
and
become
MOVEMENT
the
first
soloists
FOURTH
distinct
the
Concerto
feature
significant
settles
the
rows
movement,
a
in
explosion
outburst
Schnittke's
This
is
first
solo
has
accom
violin
19).
cadenza
chords
for
both
from
the
38
Perspectives
of New
Music
SKETCH
BASS-LINE
AND
DISTRIBUTION
ROW
8-91.
MM.
MOVEMENT,
FOURTH
3,
NO.
GROSSO
CONCERTO
SCHNITTKE,
18:
EXAMPLE
Alfred
Harmonie
RowI
b
(Arpeggiateci)
c$
fl(E)
Schnittke's
Concerto
Ab
Ei
bb
AD
1 1 f f 1J-f . h X
J7
|j,.
No.
ft
Grosso
} r -^1
Kow3
j fe
ff
'
, *4"
t M
fifiSrf'fTifi
==
ff=====
L_ i j>
^=,
>j
ff
-_
ff
MJ
J = rf
-s
-
bp
vi
*+
H
i-
.J
xr
AB
EXAMPLE
19:
:...
=::
illll=ii=j
EG
SCHNITTKE,
FOURTH
"
ff
bjg
AB
CONCERTO
MOVEMENT,
MM.
GROSSO
NO.
3,
83-91
40
of New
Perspectives
At
ensemble.
Bach
and
orchestral
then
chords
are
literally
other
every
solo
note
parts
audible
The
final
presented
new
is
in
resulting
row
the
soloists
Berg
celesta)
continually
The
the
Bach
row
measure
reminiscence
row
part
the
movement,
first movement
clearly
work
row
Schtz
movement.
to
arpeggiate,
(but
simultaneously
Over
21).
the
and
the
in
this, the
row,
the
to
21.
Handel
the
basses
the
Finally,
basses
take
work,
closes
measure
with
along
with
is passed
and
is
clusters.
last
follow
beginning
the
(the
in measure
33,
most
entire
begins
which
in trills
not
example
the
Scarlatti
soon
in measure
The
staggered
the
(Example
plays
row
are
the
sounding
soloists
Berg
37.
of the
also
counterpart),
start
rather
movement
string
row
from
are
time,
to
five
derived
harpsichord
bridge
the
rows
in the
in
the
by
The
that
same
of the
the
each
counterpart.
the
in
as
harmonic
its harmonic
note
fourth
Schtz
soloists
reach
row
the
serves
with the
with
(also
the
motive
top
when
first
(now
harmonic
when
of
note
20;
At
the
but
the
work,
followed
Fittingly,
order.
versa),
B-A-C-H
and
added
the
horizontally)
keyboard
the
whole
row,
conglomeration
vice
(or
the
fragments.
reverse
(Example
a verticality)
element
in
abbreviated).
of
sonority
as
row
a twelve-note
bottom
chimes
MOVEMENT
Berg
in pairs
or
FIFTH
its
to
been
by the
in
of the
presented
occurrence
sounded
dramatic
other
each
top
have
most
fragments
several
rows
monogram
stacked
the
point,
different
play
row,
the
this
each
soloists
Music
45
over
the
with
(Example
22). While the strings (minus the basses and violin II, fourth part) and
celeste
continue
soloists
of
play
the
enter
first
with
second
the
final
by the
of
at the
chimes)
with
Bach
are
twelve-note
rows
the
andin
work),
end
determine
of the
at least
and
quotations
monograms
handedly
of
used
as
(effecting
the
the
the
case
entire
row,
Berg
of
part
with
of
to
the
the
pedal
in
culminating
played
the
the
simultaneously
movement.
in this
the
of
structural
(Bach
and
Berg),
melodic
and
harmonic
the
melodic
that
work,
particular
on
allusions
quotations
both
4-21
similar
entrance
material,
before,
(as
enters
very
the
atonal
the
fourth
now,
progression
monogram
it is clear,
until
movement,
measures
playing
the
the
respectively,
from
parts
while
silent
chord
third
rows,
previously
pedal,
been
collapse
the
summary,
works
the
eventual
repeat
has
Scarlatti
of their
major
arpeggiated
in
and
basses,
which
As
beginning.10
the
The
expected
an
Schtz
recapitulation
movement.
and
signals
the
exact
violins,
pedal
In
with
an
Bach
and
Schnittke
level:
to
generate
aspects
monogramto
harmonic
the
elements
of
single
of
an
Alfred
Schnittke's
'i*p^
"
mA'
?" IJ
r
i >f
Grosso
No.
al'JW^
_ _
*4
'/*
=
!
iHnV
.
M
^
'
41
ST.
Concerto
jfci:
m
>'
Mil
or >*
EXAMPLE
20:
SCHNITTKE,
FOURTH
CONCERTO
MOVEMENT,
MM.
GROSSO
NO.
3,
92-96
42
of New
Perspectives
EXAMPLE
21 : SCHNITTKE,
FIFTH
Music
CONCERTO
MM.
MOVEMENT,
GROSSO
NO.
3,
1-8
entire
the
section
(first
movement,
m.
28
difficulties of analyzing such

hadn't
Schnittke
at
Nonetheless,
least
at the
one
layer
least
I hope
polystylistic methods
music
warrants
further
of
analytical
to
have
are complicated
analytical
the
end).
Of
course,
one
of
a work is the need for inside

mentioned
the "five musical
informationif
masters,"
to
meaning
demonstrated
would
be
that
Schnittke's
and multilayered,
lost.
and that his
examination.
Alfred
EXAMPLE
22:
Schnittke's
SCHNITTKE,
FIFTH
Concerto
Grosso
CONCERTO
MOVEMENT,
MM.
No.
GROSSO
NO.
3,
45-50
44
of New
Perspectives
Music
Notes
1.
This
in
is one
of only
in
detail,
any
a few
works
Kirsten
by Schnittke
has
been
Threads
in
that
Structural
Petersen,
analyzed
the Patch
work Quilt: Polystylistics and Motivic Unity in Selected Works by

Diss., University of Connecticut,
2000).
Alfred Schnittke (Ph.D.
While
that
Peterson
makes
Schnittke
uses
her
monogram,
note
some
of
the
Bach
twelve-tone
is primarily
analysis
an
and
quotations
rows
based
on
of
exploration
the
the
fact
BACH
surface-level
connections.
2.
Alfred
Grosso
"Concerto
Schnittke,
Nr.
in
3,"
Schnittke
Alfred
zum 60. Geburtstag, 102 (My translation).

3.
Schnittke
alluded
in previous
(Violin Sonata No.

used
minor
works
as
extensively
to the
content
pitch
it entirely (Concerto
1), quoted
a key
center
in
of this
row
Grosso No.
numerous
1),
and
works,
used the triad as a kind of leitmotif (Violin Sonata No. 2).

4.
other
Two
tural
works
fashion
Fantasia,"
Also
By
2.
See
that
by
of
"Marginalia
the
row,
is split
Violin
una
quasi
Bach
between
a struc
and
2-10.
monograms
and
such
Harmonica
Smirnov,
the
in
monogram
Glass
is
monogram
the
first and
last
row.
inversion
using
only
Bach
for
220 (April 2002),

Scarlatti
Berg
excluding
the
score
Dmitri
because
in the
in the
dyads
and
film
Tempo
note
reordered
6.
feature
the
No.
Sonata
5.
that
are
one
(with
retrograde
exception),
retrograde-inversion,
Schnittke
sparingly,
might
be
again
alluding to the practices of Berg. See George Perle, The Operas of

Alban Ber[, Vol. Two: Lulu (Berkeley: University of California
Press, 1985), 85.
7.
The
nine
there
each
are
In
are
shown
of
fifteen
of the
triads
8.
triads
a total
the
while
are
five
harmonic
indicated
example,
the
harmonic
in
that
rows
fourth
for
and
the
occur
When the second
chords
in the
are
shown
note
example)
and double
the
that
downbeat
Example
10;
triads
from
(three
major
letters,
row
monogram
on
of
group
lower-case
then arpeggiated.
in alternating arpeggios
column
each
Please
rows).
by uppernote
the
triads
and
minor
respectively.
are
pitches
chords
circled,
which
are
row begins (only the first three

the
harmonic
rows
are
presented
stops.
Alfred
9.
In
this
voice
very
the
simply
(Row
or
3)
triad
in
row
major
triad.
as
time
acknowledged
See
Alfred
Alexander
a
the
Ivashkin,"
have
work.
triad,
major
of
importance
"From
in
that
third
in
instead
an
especially
of
which
progression
the
voice-leading.
ning
of the
triadic
For
over the D
motion
comparison,
first movement
pedal
is determined
the
occurs
only
that
in
ed.
by
his
through
from
music.
with
Alexander
is: D-g-E-A-F-D-Bb-B,
mostly
the
Schnittke
IN: Indiana
progression
this
that
Conversations
Reader,
Eb
substitution
triad
specific
the
the
expected
interesting
Ivashkin, trans, by John Goodliffe (Bloomington,

versity Press, 2002), 12.
10. The
of
example,
the
given
Schnittke's
Schnittke
either
chords
intentional
it is also
that
highest
member
the
variation
this
However,
the
presented
repeated-note
that
been
as
are
the
by
Note
triad
major
could
Schnittke,
alternating
5).
occur
rows
followed
it is curious
entire
is
this
No.
again
harmonic
in
4),
(Row
with
part,
in the
replacement
and
notes
While
rows
the
double-stops
starts
Schnittke's
one
(Row
Grosso
Concerto
monogram
while
section,
repeated
fourth
on
the
example
in
Schnittke's
Uni
after
chromatic
the
begin
is: g-D-E-A-F-D-Bb-G-c-A.
46
Perspectives
of New
Music
References
Kirsten.
Petersen,
2000.
Structural
Polystylistics and Motivic

Ph.D.
Diss.,
1985.
Berkeley:
University
in
the
Patchwork
Quilt:
of Connecticut.
University
Perle, George.
Threads
Unity in Selected Works by Alfred Schittke.
The Operas of Alban Berg, Volume Two: Lulu.

of California
Press.
A Schnittke Reader. Edited by Alexander

Schnittke, Alfred. 2002.
Ivashkin. Translated by John Goodliffe. Bloomington,
IN: Indiana
Press.
University
. 1994.
Edited
by
Internationale
. 1988.
Smirnov,
Alfred Schnittke zum 60. GeburtstagEine
Internationalen
Dmitri.
Musikverlage
Concerto
2002.
Hans
Musikverlagen
Hans
Grosso
No.
"Marginalia
Violin Sonata by Alfred Schnittke."
Sikorski.
Festschrift.
Hamburg:
Sikorski.
3.
Hamburg:
quasi
una
Hans
Fantasia:
Sikorski.
on
the
Second
Tempo 220 (April): 2-10.

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Structural Layers in Alfred Schnittke's Concerto Grosso No.

works, the Concerto

a term Schnittke coined,

mixing of styles, chaotic jumbles

from different times were born in either 1585 (Heinrich Schtz)

3).3 While this relationship

major triad (Example

might seem tenuous

ROW FOR THE VIOLIN

are used to generate five different twelve-note rows (Example

Copyright1988 byEditionPeters.Used bypermission.All rightsreserved.

third row (Bach

Art of the Fugue (Example

Another role reversal quotation,

by Cjj and D).

ART OF THE FUGUE,

6: THE FIVE MONOGRAM

of the Schtz monogram.5

nine of the fifteen triads have roots of A, C# (Db), D,

9: THE FIVE HARMONIC

key of G minor is briefly

E major, A major, F major, D major, Bl>

by the first entrance of the Bach monogram

through third relationships:

of this are shown

first seven measures

triads) and the total permeation

Copyright1988 byEditionPeters.Used bypermission.All rightsreserved.

Copyright 1988 by Edition Peters. Used by permission. All rights reserved.

Copyright 1988 by Edition Peters. Used by permission. All rights reserved.

Vn. 11(4) (B)

Vn. 11(1) (E)

by the soloists in double-stops).

Copyright 1988 by Edition Peters. Used by permission. All rights reserved.

Copyright 1988 by Edition Peters. Used by permission. All rights reserved.

Copyright 1988 by Edition Peters. Used by permission. All rights reserved.

difficulties of analyzing such

a work is the need for inside

and that his

Copyright 1988 by Edition Peters. Used by permission. All rights reserved.

work Quilt: Polystylistics and Motivic Unity in Selected Works by

zum 60. Geburtstag, 102 (My translation).

(Violin Sonata No.

used the triad as a kind of leitmotif (Violin Sonata No. 2).

220 (April 2002),

alluding to the practices of Berg. See George Perle, The Operas of

When the second

row begins (only the first three

Ivashkin, trans, by John Goodliffe (Bloomington,

Polystylistics and Motivic

Unity in Selected Works by Alfred Schittke.

The Operas of Alban Berg, Volume Two: Lulu.

A Schnittke Reader. Edited by Alexander

Alfred Schnittke zum 60. GeburtstagEine

Violin Sonata by Alfred Schnittke."

Tempo 220 (April): 2-10.

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