A Schnittke Reader

Preliminary Table of Contents:

Preface by Mstislav Rostropovich
Translator's Note

Schnittke talks about himself
From an interview with Alexander Ivashkin

Letter to the Lenin Prize Committee (1990)

Schnittke on his own compositions
On Concerto Grosso No. 1
On the premiere of his Fourth Symphony
On film and film music
On staging Tchaikovsky's The Queen of Spades

Schnittke on creative artists
Composers
On Shostakovich: circles of influence
On Prokofiev
On Gubaidulina
On Kancheli
In Memory of Filipp Moiseevich Gershkovich (Philip Hershkovish)
Peformers
On Svyatoslav Richter
On Gennady Rozhdestvensky
Subjective Notes on an Objective Performance (on Aleksey Lyubimov)
A Writer
On Viktor Yerofeev
A Painter
On the Paintings of Vladimir Yankilevsky

V. Schnittke on twentieth-century music
1. Polystylistic tendencies in modern music
2. The orchestra and "the new music"
3. The problem of giving outward expression to a new idea
4. From Schnittke's archive
5. On jazz
6. Timbral relationships and their functional use: the timbral scale
7. "Klangfarbenmelodie"—"Melody of timbres"
8. Functional instability of voice-leading in musical texture
9. A new approach to composition: the statistical method
10. Stereophonic tendencies in modern orchestral thinking
11. Using rhythm to overcome metre
12. Static form: a new conception of time
13. Paradox as a feature of Stravinsky's musical logic
14. Timbre modulations in Bartók's Music for Strings, Percussion, and Celesta
15. The closed system of timbre connections in the Bach-Webern Ricercata fugue
16. The third movement of Luciano Berio's Symphony
17. Orchestral micropolyphony in the music of Ligeti

VI. Schnittke as seen by others
Gidon Kremer
Gennady Rozhdestvensky
Vladimir Yankilevsky
Mstislav Rostropovich
Mark Lubotsky

Sources

Index of names and works