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Kompozitor’s Collected Works of Alfred Schnittke: A Selected Evaluation of Editions Featuring Violin

2022; Music Library Association; Volume: 79; Issue: 1 Linguagem: Inglês

10.1353/not.2022.0083

1534-150X

Alexandra Birch,

Diverse Musicological Studies

Kompozitor’s Collected Works of Alfred Schnittke: A Selected Evaluation of Editions Featuring Violin Edited by Matthew Ertz Alfred Schnittke.Sonata dlskripki i kamernogo orkestra: (avtorskaversiSonaty no 1 dl skripki i fortepiano) = Sonata for violin and chamber orchestra: (arrangement by the composer of the sonata no.1 for violin and piano). Tom podgotovlen Alekseem Vul´fsonom = volume edited by Aleksey Vulfson. (Sobranie sochineniǐ. Seri III, Sochineni dlsoliru shchikh instrumentov s orkestrom ili instrumental´nym ansamblem; tom 9 = Collected works. Series III, Works for solo instruments accompanied by orchestra or by ensemble; v. 9). Saint Petersburg: Kompozitor, 2019. [Pref. by Alexander Ivashkin in Rus. and Eng., p. 7–8; editorial notes Rus. and Eng., p. 9–10; score, p. 13–51; critical commentary in Rus. and Eng., p. 52–53. s 7145 k. ISMN 979-0-352-21154-4. $22] Alfred Schnittke. Quasi una sonata: dl skripki i kamernogo orkestra: (avtorskaversiSonaty no. 2 dlskripki i fortepiano) = Quasi una sonata: for violin and chamber orchestra: (arrangement by the composer of the Sonata no. 2 for violin and piano). Tom podgotovlen Alekseem Vul´fsonom = volume edited by Aleksey Vulfson. (Sobranie sochineniǐ. Seri III, Sochinenidl soliru shchikh instrumentov s orkestrom ili instrumental´nym ansamblem; tom 10 = Collected works. Series III, Works for solo instruments accompanied by orchestra or by ensemble; v. 10). Saint Petersburg: Kompozitor, 2020. [Pref. by Alexander Ivashkin in Rus. and Eng., p. 6–7; editorial notes in Rus. and Eng., p. 8; score, p. 11–80; critical commentary in Rus. and Eng., p. 81–82. s 7146 k. ISMN 979-0-352-21155-1. $31.60] Alfred Schnittke. Concerto grosso no. 1: dldvykh skripok (ili fleĭtny i gobo, klavesina, fortepiano i strunnogo orkestra = Concerto grosso no. 1: for two violins (or flute and oboe), harpsichord, piano and strings. Tom podgotovlen Alek-seem Vul´fsonom i Elenoĭ Isaenko = volume edited by Aleksey Vulfson and Yelena Isayenko. (Sobranie sochineniĭ. SeriIII, Sochineni dlsoliru shchikh instrumentov s orkestrom ili instrumental´nym ansamblem; tom 20 = Collected works. Series III, Works for solo instruments accompanied by orchestra or by ensemble; v. 20). Saint Petersburg: Kompozitor, 2013. [Pref. by Alexander Ivashkin in Rus. and Eng., p. 6–7; editorial notes in Rus. and Eng., p. 8–10; score, p. 13–94; critical commentary in Rus. and Eng., p. 95–97. s 6136 k. ISMN 979-0-706-40610-7. $37.10] [End Page 111] Alfred Schnittke. Sonata no. 3 dlskripki i fortepiano = Sonata no. 3 for violin and piano. Tom podgotovlen Alekseem Vul´fsonom = volume edited by Aleksey Vulfson. (Sobranie sochineni. SeriVI, Kamernye sochineni. Tom 1, Sochinenidlskripki i fortepiano, skripki solo i al´ta solo; tetrad´ 4 = Collected works. Series VI, Chamber works. Volume 1, Works for violin and piano, solo violin and solo viola; part 4). Saint Petersburg: Kompozitor, 2013. [Pref. by Alexander Ivashkin in Rus. and Eng., p. 7–8; editorial notes in Rus. and Eng., p. 9–10; score, p. 12–31; critical commentary in Rus. and Eng., p. 32–38. s 6235 k. ISMN 979-0-352-20509-3. $14.80] Alfred Schnittke holds particular interest for string players internationally, as his music has been championed by prominent pedagogues and performers including Gidon Kremer, Yuri Bashmet, and Mstislav Rostropovich. Schnittke wrote extensively for strings including multiple concertos for violin and cello, and arguably the most significant concerto for viola since Bartók and Walton in the earlier half of the century. In 2009, the Russian music publisher Kompozitor began a series of the complete works of Schnittke from which series three, four, six, and seven are mostly published and contain primarily compositions for chamber ensembles and solo instruments. Cellist Alexander Ivashkin (1948–2014) was the series editor. The work of Ivashkin and volume editors seems to be an excellent synthesis of the available archival and autographic materials and a keen attention to detail which is most pertinent to performers and to playing these works accurately. Within a longer history of Soviet musicology, Schnittke occupies a special place in the post-Shostakovich generation of composers. He was not formally rebuked like “Khrennikov’s Seven”: Alexander Knaifel, Sofia Gubaidulina, Viktor Suslin, Vyacheslav Artyomov, Elena Firsova, Edison Denisov, and Dmitri Smirnov, a group of Soviet composers...