A New Formal Approach to Alfred Schnittke’s Concerto ...

Workshop “Life-World and Musical Form – Concepts, Models, and Analogies”, online, 26 to 27 March 2021

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A New Formal Approach to Alfred Schnittke’s Concerto Grosso No. 6

Soh Young Choi Introduction

Alfred Schnittke completes the six Concerti Grossi between 1977 and 1993 as one of his polystylistic practices. Each movement of the Concerti Grossi shows a characteristic large-scale formal structure, which I refer to “musical fabric.” This study examines the construction of the musical fabrics in Schnittke’s Concerto Grosso No. 6, a complete version of Schnittke’s explorations to create a unified whole over the course of a single movement in each individual Concerto Grosso.

Previous approaches to the large-scale structure in Schnittke’s polystylistic works have mainly focused on the following two aspects: (1) large-scale narrative or dialogic structures in relation to the definition of polystylism; and (2) large-scale polystylistic structure based on referential integrity in connection with quotation and allusion.1 This study shifts prior analytical emphasis to the overall trajectory of three inner structural components––distinctive pitch materials, goal-directed forces, and closing climax––in an outer formal frame. It is a central argument of this study, thus, that an inner creative flow of goal-directed forces, created by structural dissonances among polystylistic pitch materials, converges on closing climax that concludes a large-scale structure, incorporating systematically into an outer formal frame.

In the following sections, I will begin by defining the concept of polystylism. Next, I will introduce a new analytical framework made up of three inner stages—the beginning, the pathway, and the ending––and one outer formal frame. Then, using my technical model, I will identify each stage and formal frame of all the three movements in Concerto Grosso No 6. Finally, I will demonstrate how the synthesis of all structural and formal constituents generates a musical fabric that stretches over the entire movement.

1 Christopher Segall, “Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto,” in

Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism, edited by Inessa Bazayev and Christopher Segall (New York: Routledge, 2021), 249–250. These two approaches contain the following studies, respectively: (1) Lisa B. Robinson, “Mahler and Postmodern Intertextuality” (Ph.D. thesis, Yale University, 1994), Timothy R. Sullivan, “The Use of Polystylistics in Alfred Schnittke’s Concerto Grosso No. 3” (MM thesis, University of Northern Colorado, 2004), Jean-Benoît Tremblay, “Polystylism and Narrative Potential in the Music of Alfred Schnittke” (Ph.D. diss., University of British Columbia, 2007), Gavin Dixon, “Polystylism as Dialogue: A Bakhtinian Interpretation of Schnittke’s Symphonies 3, 4, and His Concerto Grosso No. 4/Symphony No. 5” (Ph.D. diss., Goldsmiths College, 2007), and Cara E. Stroud, “Juxtaposition, Allusion, and Quotation in Narrative Approaches to Music Composed after 1975” (Ph.D. diss., Florida State University, 2016); and (2) Kirsten Peterson, “Structural Threads in the Patchwork Quilt: Polystylistics and Motivic Unity in Selected Works by Alfred Schnittke” (Ph.D. diss., University of Connecticut, 2000), Eliyahu Tamar, “Polystylism and Coherence in Alfred Schnittke’s Viola Concerto and Six Rilke Songs for High Voice and Piano (Original Composition)” (Ph.D. diss., University of Pittsburgh, 2000), and Michael L. Hall, “Polystylism and Structural Unification in the Alfred Schnittke Viola Concerto” (DMA thesis, University of North Carolina at Greensboro, 2000).


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The Concept of Polystylism Schnittke’s well-known concept of polystylism is not a mere matter of identifying

quotations and allusions to various styles. Rather, Schnittke’s polystylistic practice demonstrates his devotion to the construction of an elaborate formal structure. Thus, this study argues that Schnittke’s polystylistic approach to this repertoire is based on a consistent compositional process that involves inherently stylistic clashes among two or more different styles over the course of a musical work, and stylistic synthesis near or at the end of the work. In other words, this study regards polystylism as a compositional process that comprises three core elements––stylistic references, stylistic clashes, and stylistic synthesis.

Analytical Framework To examine this Schnittke’s polystylistic practice, I have devised a new analytical framework, invoking Arnold Schoenberg’s concept of the musical idea. The following is Schoenberg’s remark on the musical idea, shown in his own writing on The Musical Idea:

Each composition raises a question, puts up a problem which in the course of the piece has to be answered, resolved, and carried through. It has to be carried through many contradictory situations; it has to be developed by drawing conclusions from what it postulates… and all this might lead to a conclusion, a pronunciamento.2 Among the scholars who research and apply Schoenberg’s concept of the musical idea in

their analyses, Jack Boss develops an analytical model derived from the musical idea, which consists of problem, elaboration, and solution.3 Instead of Boss’s terminology to emphasize the final resolution of the opening problematic pitch material(s), my framework adopts three temporal terms––beginning, pathway, and ending––focusing on the construction of a large-scale structure. In fact, the objective of my technical model is to identify essential formal determinants for a musical fabric.

Please see the concept map of my analytical framework in Example 1. A large-scale structure referred to as a musical fabric comprises three inner stages and one outer formal frame. The three inner stages are the beginning, the pathway, and the ending that move forward in chronological order. The beginning stage recognizes polystylistic pitch materials; the pathway stage traces the flow of goal-directed forces through structural dissonances generated by various

2 Arnold Schoenberg, “New Music, Outmoded Music, Style and Idea (1946)” in Style and Idea: Selected

Writings of Arnold Schoenberg, edited by Leonard Stein and translated by Leo Black (Berkeley and Los Angeles: University of California Press, 1984), 63. The concept of the “musical idea” is originally found in a series of twelve manuscripts from 1923 to 1934 including Schoenberg’s major incomplete manuscript, The Musical Idea and the Logic, Technique, and Art of Its Presentation, written between 1934 and 1936.

3 Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge: Cambridge

University Press, 2014), 1.


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textural manipulations of the vertical and horizontal dimensions; and the ending stage reveals Schnittke’s ways to conclude a musical fabric, positioning musical climax near or at the end of a movement. A formal frame provides an outer structure for a movement. Moreover, in relation to the concept of polystylism, each stage unfolds the three crucial elements of polystylism as a compositional process, respectively, since stylistic references correspond to polystylistic pitch materials; stylistic clashes, to structural dissonances; and stylistic synthesis, to closing climax. The framework also provides different types of pitch materials, structural dissonances, closing climax, and formal frame in the Six Concerti Grossi. I will define specific terms in the framework later.

EXAMPLE 1 Schnittke, Six Concerti Grossi, analytical framework.

Analysis of Concerto Grosso No. 6 Now I will deal with the Concerto Grosso No. 6. It is a summation of Schnittke’s polystylistic practice in the six Concerti Grossi, since it clearly demonstrates the most systematic version of a large-scale structure, synthesizing Schnittke’s compositional strategies shown in prior five Concerti Grossi. Please look at the analytical framework for this Concerto Grosso (No. 6) in Example 2. A musical fabric of each movement incorporates pitch materials, goal-directed forces, and closing climax of the three inner stages into an alternating formal frame. In the following subsections, I will explicate the three stages and the formal frame of each movement in Concerto Grosso No 6.


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EXAMPLE 2 Schnittke, Concerto Grosso No. 6, analytical framework.

The Beginning Stage Please see the beginning stage in Example 2. The two main pitch materials of Concerto Grosso No. 6 are three pitch-cipher monogrammed fragments and a twelve-tone aggregate with thirteen variants. Schnittke generates a monogram by matching the letters in “the German spelling of a person’s full name” to German pitch names.4 The notes in each monogram appear as a fragment, so I refer to this type of pitch material as monogrammed fragments. As explained in Example 3, the three pitch-cipher monograms are based on the names of the pianist Viktoria Postnikova, the dedicatee of Concerto Grosso No. 6, and her family––her husband, the well-known conductor Gennady Rozhdestvensky and their son, the violinist Alexander Rozhdestvensky.5 I label these three monograms as M1, M2, and M3. The label M0 means complimentary notes to the combination of M1, M2, and M3. Example 4 illustrates the relationship among M1, M2, M3, and M0 that makes a twelve-tone aggregate. I refer to the non-

4 Christopher Segall, “Klingende Buchstaben: Principles of Alfred Schnittke’s Monogram Technique,”

Journal of Musicology 30/2 (2013): 252. 5 The verification of the three pitch-cipher monograms follows the general principles outlined in

Christopher Segall, “Klingende Buchstaben: Principles of Alfred Schnittke’s Monogram Technique,” Journal of Musicology 30/2 (2013): 273 and 275.


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monogram tones as NM, which features a twelve-tone aggregate. NMorig. is a twelve-tone cluster. Thirteen variants of NMorig. appear in the form of either partial or entire twelve-tone aggregates throughout the three movements. EXAMPLE 3 Schnittke, Concerto Grosso No. 6, labels (M1, M2, M3, M0, and NM).

Label Monogram Actual Tones

M1 Victoria Postnikova* C, A & Eb

M2 Gennady Roschdestvensky G, E, A, D, Eb, C, B & C#

M3 Alexander Roschdestvensky A, E, D, Eb, C, B & C#

M0 Complementary tones F, F#, G# & A#

NM Irrelevant tones to monogram

*The greyed and bold letters create a monogram.

EXAMPLE 4 Schnittke, Concerto Grosso No. 6, relationship among M1, M2, M3, and M0.

Twelve Tones M0 F, F#, G#, A#

M2 G M3

E, D, B, C# M1 C, A, Eb

The musical figures of M1, M2, M0, and NMorig. first appear in the initial seven-measure

introduction of the first movement. As shown in Example 5a, the piano plays M1 in m. 1, M2 in mm. 2–4, M0 in m. 5, and NMorig. in mm. 6–7. These two different types of pitch materials return constantly in their initial form or the form of a variation, and designate distinctive sections in an outer formal frame. Please listen to the musical excerpts in Example 5 that present the first and second appearances of three monograms and non-monograms in the forms of different stylistic fragments.6 I will play the excerpts continuously.

6 To be specific, in Example 5a and 5b, M1 in m. 1 features a diminished 6/4 chord [Eb-A-C]. In the first A

section, it returns in the form of a broken chord [Eb-A-A-C]. M2 begins with a whole note G1 in m. 2 and proceeds to two block chords, a trichord [E-G-A] in the left hand and a cluster [B-C-C#-D-D#] in the right hand of mm. 3–4. With the preceding note G, these two mixed chords reappear in the form of a broken chord with four eighth notes, [E-G-A-B] and [C-C#-D-Eb] from the left to the right hands in m. 10. Measure 5 contains M0 [F-Gb-Ab-Bb] in the form of four ascending quarter notes. It comes back right after the first statement of M3, changing to descending motion, Bb-Ab-Gb-F, in mm. 16–17 (see Example 5c).


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EXAMPLE 5 Schnittke, Concerto Grosso No. 6, I, first and second appearances of three monograms and non-monograms.

a. mm. 1–7, M1, M2, M0, and NMorig. in the introduction

b. mm. 8–12, M1, M2, and NM1 in A1 section

c. mm. 13–17, M3 and M0 at the beginning of B1 section


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The Pathway Stage Please see Example 2 again. The characteristic feature of each pathway depends on

Schnittke’s textural manipulations in both the vertical and horizontal dimensions. The stratification and juxtaposition of different pitch materials and instrumental timbres cause structural conflicts, which I refer to “structural dissonances.” The linear structural dissonances within one section create and increase musical energy as the “goal-directed force,” combining with the vertical ones.7 Between two sections, they reinforce or accumulate the driving forces to delineate the pathway by generating other structural clashes continuously and assist the sectional division in a large-scale structure.

Schnittke’s ultimate textural strategy to create the greatest structural dissonances is fragmentation based on a collage of disparate pitch materials. I refer to two different features of fragmentation shown between Concerti Grossi Nos. 5 and 6 as Quilt I and II respectively.8 A more systematic technique of fragmentation is Quilt II in Concerto Grosso No. 6. It results from Schnittke’s careful textural placements of repetitive monogrammed and non-monogrammed fragments with regularity in one section. In Example 6a, Schnittke regularly repeats each statement of the two distinctive pitch materials, NM3 and M3. They are combined with M0 and NM2 three more times every four measures. They also alternate instrumental layers from the piano to the tutti and vice versa every eight measures. Please listen to the excerpt in Example 6b.

7 The distinctive flow of goal-directed forces characterizes the “pathway” of a movement. I define “goal-

directed forces” as the increase and decrease of musical energy created, reinforced, or accumulated through structural dissonances in a section and a movement.

8 In Concerto Grosso No. 5, Schnittke embroiders Quilt I by recycling constantly three opening motives

and their fragmentary variants in distinctive instrumental layers. Using this fragmentation, Schnittke achieves one of the biggest structural dissonances through the most frequent and consecutive clashes among continual fragments of three initial motives and their variants.


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EXAMPLE 6 Schnittke, Concerto Grosso No. 6, I, mm. 32–47, Quilt II.

a. Quilt II

[1st statement] [2nd statement] [3rd statement] [4th statement] Instrumental layers mm. 32–33 mm. 34–35 mm. 36–37 mm. 38–39 mm. 40–41 mm. 42–43 mm. 44–45 mm. 46–47 Piano R.H. NM3 NM3 M3 M0 M3 M0 NM2

L.H. M3 M0 NM2 M3 M0 Tutti Violin I M3 M0 NM2 NM3 NM3

Violin II M3 M0 Viola M3 M0 M3 Cello M3 M0 Double Bass NM2

b. Musical excerpt


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The Ending Stage: Closing Climax Please see Example 2 again. I define climax as the moment or the section that demands

the most attention in a large-scale structure. Each movement of the six Concerti Grossi contains the climax at the ending measures or the ending section of the movement. Thus, I refer to it as closing climax. In other words, the destination of goal-directed forces is the arrival at this closing climax. Since some movements exhibit similar features of closing climax, I categorize those features into the three types: (1) Culminating climax; (2) Decreasing climax; and (3) Distortive climax.9

Culminating climax shows the maximum instrumental layers, the loudest dynamics, the largest or highest register, and/or faster rhythmic gestures. The first movement of Concerto Grosso No. 6 concludes with Culminating I climax, in which the accumulative process continues to the final measure(s). Please look at Example 7a. Decreasing climax involves the gradual diminution of the number of instrumental layers, the level of dynamics, and/or registral change from high to low. Please see Example 7b. At the end of the second movement, Decreasing I climax begins with an alternating play between the piano and the violin solos in m. 44, and proceeds to the ending in m. 54, decreasing dynamics from mp to pp and moving to the lower register of the piano. Distortive climax consists of unexpected appearances from the beginning of the last section such as suddenly reduced textural layers, soft dynamics, slower rhythmic gestures, and/or an abrupt change of performance techniques in the instruments. The subtype Distortive III is the combination of the distortive ending and the recall of the previously introduced pitch-material(s). Schnittke finishes the last movement with Distortive III climax. Please see Example 7c. First, he abruptly reduces the number of instrumental layers from full ensemble to the piano and the level of dynamics from ff to mp, and changes into slower rhythmic gestures at the very beginning. He also recalls the introduction of the first movement. In the last two measures, Schnittke suddenly places a chordal version of the combination of M2 and M0 with full ensemble and dynamics ff. Please listen to the excerpt of this Distortive III climax. I will play music from m. 157, two measures before the beginning of Distortive III climax.

9 Blair Johnston’s article has an important influence on the concept of Culminating climax in my technical framework. See Blair Johnston, “Off-Tonic Culmination in Rachmaninoff’s Rhapsody on A Theme of Paganini,” Music Analysis 33, no. 3 (2014): 301. Also, the idea of Distortive climax derives from the device “reversal,” introduced in V. Kofi Agawu’s article. See V. Kofi Agawu, “Structural ‘Highpoints’ in Schumann’s Dichterliebe,” Music Analysis, 3/2 (1984): 160.


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EXAMPLE 7 Schnittke, Concerto Grosso No. 6, I, II, and III, Closing climax.

a. 1st movement, mm. 124–134, Culminating I climax


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b. 2nd movement, mm. 44–54, Decreasing I climax

c. 3rd movement, mm. 159–175, Distortive III climax


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Formal Frame Please see Example 2 again. In the six Concerti Grossi, the formal frame changes from

traditional, through pre-alternating and continuous, to alternating forms. A formal frame serves as an outer shell of a musical fabric. Its individual sections contain specific pitch materials and feature a form of structural dissonances through textural interactions of those materials. Its last section always conveys one type of closing climax and concludes a large-scale structure. Likewise, a formal frame interacts with the three stages to construct an entire musical fabric over the course of a movement. All three movements of Concerto Grosso No. 6 employ the alternating form.10 I define the “alternating” form as a formal frame in which two sections with different pitch materials alternate (for example, A1-B1-A2- B2-A3-B3…).11

Musical Fabrics Example 8 illustrates the distribution of the two main types of pitch materials to the

alternating form in each movement. In the form, Schnittke reinforces association among the sections by assigning the same pitch material(s) to one section and by repeating the section several times to the end of each movement. He also boosts and accumulates goal-directed forces through the horizontal structural dissonances constantly by alternating two different sections.

Please see Example 8a. In the first movement, two alternating sections A and B employ two different pairs among all Ms: one pair of M1 and M2 in all A sections; and the other pair of M3 and M0 in all B sections. The sections A and B differentiate between their use of NMs as well. In Example 8b and 8c, the second and third movements slightly modify this alternating form. The second movement exchanges pitch materials between the solo and tutti instruments, and the third movement repeats a section with previous pitch materials once more. As shown in Example 9, vertically, each pair makes structural clashes with a single or multiple NMs; and horizontally, the pair of M1 and M2 generates structural conflicts with the pair of M3 and M0. These fragmentary monograms and non-monograms continuously embroider Quilt IIs on the pathway of the first movement. Interacting with the alternating form, the succession of Quilt IIs creates and builds up goal-directed forces toward closing climax that completes the large-scale structure. In similar ways, the other two movements construct their distinctive musical fabrics.

10 The alternating form is derived from Stravinsky’s “ritornello” form. See Lynne Rogers, “Rethinking

Form: Stravinsky's Eleventh-Hour Revision of the Third Movement of His Violin Concerto,” The Journal of Musicology, 17/2 (1999): 273–6.

11 Following the conventional criteria, I use the sectional labels A, B and C when they show totally

distinctive pitch materials; and the numerals 1, 2 and so on whenever the pitch material designated to each label returns with some differences including the variation of the pitch material, the addition of the new pitch material(s) and/or the change of the instrumentation.


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EXAMPLE 8 Schnittke, Concerto Grosso No. 6, I, II, and III, distribution of the two main types of pitch materials to the alternating form.

a. 1st movement

Section Intro. A1 B1 A2 B2 A3 B3 A4 Coda Measure mm. 1–7 mm. 8–12 mm. 13–47 mm. 48–68 mm. 69–83 mm. 84–93 mm. 94–123 mm. 124–131 mm. 132–134

Pitch Material

Piano Solo

M1 M2 M0 NMorig.*

[M1+M2] [M3+M0] NM2 NM3

[M1+M2]var. [M3+M0] NMorig. NM3

[M1+M2]var. NM3 [M1+M2]var. NMorig.

Tutti NM1 [M3+M0] NM3

NM4 NM1

M1 [M3+M0]

NM4 [M3+M0] NM4 NM1

*The greyed areas indicate NMs.

b. 2nd movement

Section A1 A2 A3 Measure mm. 1–28 mm. 28–43 mm. 44–54

Pitch Material

Violin Solo

M3+M0 NM5 NM6

M1+M2 NM7

M3+M0

Piano Solo

M1+M2 NM5

NM6

M3+M0 M2 NM7

M1+M2

c. 3rd movement

Section A1 B1 A2 B2 A3 B3 A4 B4 A5 A6* Coda Measure mm.

1–16 mm.

17–27 mm.

28–34 mm.

35–62 mm.

63–76 mm.

77–104 mm.

105–109 mm.

110–124 mm.

125–150 mm.

151–158 mm.

159–175 Pitch

Material Violin Solo

NM10 NM10 NM10 M1var.

NM10 NM10 NM9

NM10 NM9 Note Eb

M1var. [M3+M0]

Piano Solo

NM8 NM9

NM11 NM8 NM12 NM10

NM8 M1var.

NM9

NM12 NM10

NM8 NM12 M2 (Note G) NM9 NM13

NM9 M1 M2 M0 NMorig.

Tutti [M1+M2] M1var.

NM8

NM9

NM11 M1 NM10 [M1+M2] (transp.) NM9

Note E NM11

M1var.

NM10 NM12 M2

(Note G) M1+NM9

[M1+M2] NM9

[M3+M0]

* Due to the appearance of A6 section right after A5, I regard this outer alternating form as a modified one.

EXAMPLE 9 Schnittke, Concerto Grosso No. 6, I, structural dissonances in the vertical and horizontal dimensions of A and B sections.

Horizontal Dimension

Vertical Dimension A [M1+M2] ↔ B [M3+M0]

↕ ↕

A [NMs] ↔ B [NMs]


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Final Remarks To sum up, this study demonstrates how the continuous interaction among the three inner structural components––disparate pitch materials, goal-directed forces, and closing climax––and an outer formal frame generates a large-scale formal structure over the course of each movement in Schnittke’s Concerto Grosso No. 6. Incorporating Schoenberg’s concept of the musical idea and Schnittke’s notion of polystylism, I offer a new model for the analysis, and shift prior analytical focus to the construction of a musical fabric through the synthesis of essential structural and formal components. In this regard, for further studies of Schnittke’s works, the current study provides a new perspective to understand Schnittke’s approach to an elaborate large-scale structure.

Selected Bibliography Agawu, V. Kofi. “Structural ‘Highpoints’ in Schumann’s Dichterliebe.” Music Analysis, 3/2

(1984): 159–180. Boss, Jack. Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea. New York:

Cambridge University Press, 2014. Cairns, Zachary. “Svetlana Kurbatskaya on Serial Music: Twelve Categories of ‘Twelve-

Toneness.’” Gamut 5/1 (2012): 99–132. Cara E. Stroud. “Juxtaposition, Allusion, and Quotation in Narrative Approaches to Music

Composed after 1975.” Ph.D. diss., Florida State University, 2016. Cone, Edward T. “Stravinsky: The Progress of a Method.” Perspectives of New Music, 1/1

(1962): 18–26. Dixon, Gavin. “Polystylism as Dialogue: A Bakhtinian Interpretation of Schnittke’s Symphonies

3, 4, and His Concerto Grosso No. 4/Symphony No. 5.” Ph.D. diss., Goldsmiths College, 2007.

Hall, Michael Lawrence. “Polystylism and Structural Unification in the Alfred Schnittke Viola

Concerto.” DMA thesis, University of North Carolina at Greensboro, 2000. Johnston, Blair. “Off-Tonic Culmination in Rachmaninoff’s Rhapsody on A Theme of Paganini.”

Music Analysis, 33/3 (2014): 291–340. Peterson, Kirsten. “Structural Threads in the Patchwork Quilt: Polystylistics and Motivic Unity

in Selected Works by Alfred Schnittke.” Ph.D. diss., University of Connecticut, 2000. Robinson, Lisa B. “Mahler and Postmodern Intertextuality.” Ph.D. thesis, Yale University,

1994.


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Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg, edited by Leonard Stein and translated by Leo Black. Berkeley and Los Angeles: University of California Press, 1984.

______. The Musical Idea and the Logic, Technique, and Art of Its Presentation, edited by

Patricia Carpenter and Severine Neff. New York: Columbia University Press, 1995. Segall, Christopher. “Klingende Buchstaben: Principles of Alfred Schnittke’s Monogram

Technique.” Journal of Musicology, 30/2 (2013): 252–286. ______. “Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto.” In

Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism, edited by Inessa Bazayev and Christopher Segall, 243–263. New York: Routledge, 2021.

Sullivan, Timothy R. “The Use of Polystylistics in Alfred Schnittke’s Concerto Grosso No. 3.”

MM thesis, University of Northern Colorado, 2004. Tamar, Eliyahu. “Polystylism and Coherence in Alfred Schnittke’s Viola Concerto and Six Rilke

Songs for High Voice and Piano (Original Composition).” Ph.D. diss., University of Pittsburgh, 2000.

Tremblay, Jean-Benoît. “Polystylism and Narrative Potential in the Music of Alfred Schnittke.”

Ph.D. diss., University of British Columbia, 2007.

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