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    Alfred Schnittke - Sonata For Cello and Piano

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    Karen
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    Alfred Schnittke - Sonata For Cello and Piano

    Uploaded by

    Karen
    116 views2 pages
    University composition & orchestration analytical listening of Alfred Schnittke - Sonata for Cello and Piano

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    Alfred Schnittke - Sonata for Cello and Piano

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    University composition & orchestration analytical listening of Alfred Schnittke - Sonata for Cello and Piano

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    116 views2 pages

    Alfred Schnittke - Sonata For Cello and Piano

    Uploaded by

    Karen
    University composition & orchestration analytical listening of Alfred Schnittke - Sonata for Cello and Piano

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    Alfred Schnittke - Sonata for Cello and Piano

    Alfred Schnittke composed his first Cello Sonata in 1998, during the time of post modern
    music, minimalistic, eclecticism, modal/textural music and polystylism.

    Movements: slow - fast - slow

    I Largo
    II Presto
    III Largo

    Liquidation is used as compositional development of material. The middle movement is


    easy to listen to. The last movement is very long, however it is usually the first movement
    that is very long and fast. This sonata resemble Barok sonata form following the slow, fast,
    slow. The piano uses diminished seventh chords, suggestive of a leaden waltz. The
    techniques of the following contemporary composer include music without meter for
    example Penderecki’s Symphony No.1.

    During this time period composers use markers for rhythmic accents. The lowest note
    pulsate and change where the meter interacts with the rhythm; freeing the metric
    constraints and shifting between metric units. Further more, Isorhythmic helps to lesson
    the metric pulse. This syncopation create ascent. Metric modulation is another technique
    that contemporary composers use by changing the metric value of each bar. Using the
    same metric, a strict melodic pattern can be repeated in free rhythms.

    First movement

    A slow moving melody with molto vibrato ends the phrase in single note pizz. before the
    piano join in. The piano ends with slow chordal progressions before the virtuoso cello
    plays a solo and ends with slow pizz. chords.

    Schnittke takes the major/minor third and the perfect cadence—and subjects them to
    extreme magnification. In the opening Largo, the effect is gently melancholic, circling
    around C major/minor, exploring the major/minor third oscillations of the Largo,
    transformed into multiple characters: winding chromatic thirds, the piano’s menacing bass
    tread and its rumbling bass quavers; the weird, slithering cello fifths and pizzicato chords
    over the piano’s climactic arm-cluster.

    Second movement

    There is no key signature, however accidentals are at the order of the day. The cello’s
    presto passage reminds of Rimsky-Korsakov’s Flight of the Bumblebee. The cello plays
    glissando’s while the piano plays repeated notes. Common in this movement is accented
    and articulated passages with cluster chords in the piano. This movement starts ppp,
    however the movement is generally very loud movement with sforzando’s and fortissimo
    passages. The time signature changes, so also the metric pulse.

    From marked - section 24 the cello plays trills on almost every note, maybe a variation on
    the motto vibrato passages. From marked - section 29 the piano open string overtones
    vibrato while the cello plays: fff pizz. and pizz. glissando. From marked - section 30 the
    piano open string overtones vibrato while playing chromatic accentuated runs: ff ff al fine,
    semipro martellatissimo.

    ___________________________________________

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