+Milan Hubacek I don't hear humor in it. I hear unfathomable sadness. If the humor flew over my head, which I suspect it may have, than I think I'm the better for it.
Leider soll das Werk bei der Uraufführung in Salzburg gnadenlosn ausgepfiffen worden ... Nun ja, fanden es die Salzburger/Österreicher wohl als Sakrileg, wie man mit ihrem Wolferl (Mozart) umgehen tut ... Ich denke Mozart hätte auch seinen Spaß daran gehabt ... Unfortunately, the work was supposed to be whistled at the world premiere in Salzburg ... Well, the Salzburg / Austrians thought it was a sacrilege to deal with their Wolferl (Mozart) ... I think Mozart would have enjoyed it too ...
The choreography is not correct in this performance. Schnittke would not approve. I have just witnessed the Philadelphia Orchestra perform this correctly. There should be an empty row of music stands between the front two violins, and the rest of the players. 8 players meander from the row they are in to that row, leaving the row of 10 they had been in. Another player, the player whose music begins the piece, is always in the back of all the players. Those 8 who wandered up wander back to reform their row/circle of 10 again. The player movement in this piece is as important as the music.
Glad you agree. Yes, we are both lucky we saw the authentic choreography. Bear with just a little physics and cosmology, and you will understand why. The piece begins in the dark with players, one at a time, each playing a different, short somewhat dissonant phrase.Then the lights come up and they are playing music together. That is the moment of the Big Bang. The conductor is flanked by two violinists. The next row of 8 music stands are empty. The next semicircle of stands has 10 players, and there is one, the one who started the music, behind them all. Schnittke grew up in a milieu where pychologists, musicians and theoretical physicists socialized with each other, and exchanged their ideas. So incorporating some Edwin Hubble and Neils Bohr into a short piece, with some artistic license, was just smart stuff. Schnittke was representing the structure of the atom, and quantum mechanics, in the choreography. It was an adaptation/interpretation not a textbook explanation. The atom has 'shells' populated by atoms. The first shell has 2 (those 2 violinists that flank the conductor, who in this case is playing the role of the nucleus), the next shell has 8, the next 8, and the next 10. Do you remember what you saw? From the row of 10, 8 players descended into the second shell, played there for a while, then jumped back to the next electron shell. In quantum physics, that jump requires a discrete packet of energy. So the entire dance is a composer having fun representing quantum activity on stage (the music plays right along)Any physicist in this galaxy would have recognized all this dancing. And how does this piece end? Schnittke was certainly aware in 1976 that the prevailing theory was not that the universe was in some steady state, but rather that the universe was expanding, expanding without ever stopping, and since there was only so much matter, ultimately that meant the end of the universe into cold emptiness.. So it ends with the players dispersing to offstage, as the stage gets dark, they get more faint all the time, and the stage goes completely dark. The lights come up, and the conductor is still keeping...TIME. Einstein would have laughed out loud! So now you know. Thanks for reading.
"Schnittke would not approve." Ha! I don't think Schnittke would adopt such an unnecessarily proscriptive and rigid attitude toward musical interpretation. Music doesn't belong solely to the composer.
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![[K] ein Sommernachtstraum](/img/1.gif)
So much humor incorporated in a piece composed in such sad times. My favorite composer.
+Milan Hubacek I don't hear humor in it. I hear unfathomable sadness. If the humor flew over my head, which I suspect it may have, than I think I'm the better for it.
Beautiful music. Harmonic and disharmonical music. You will get so much more....
Excellent performance, bravo!
Wonderful music!!!
Love this
Приколист Шнитке - Прекрасное тоже любит смеяться!
Leider soll das Werk bei der Uraufführung in Salzburg gnadenlosn ausgepfiffen worden ... Nun ja, fanden es die Salzburger/Österreicher wohl als Sakrileg, wie man mit ihrem Wolferl (Mozart) umgehen tut ... Ich denke Mozart hätte auch seinen Spaß daran gehabt ... Unfortunately, the work was supposed to be whistled at the world premiere in Salzburg ... Well, the Salzburg / Austrians thought it was a sacrilege to deal with their Wolferl (Mozart) ... I think Mozart would have enjoyed it too ...
The choreography is not correct in this performance. Schnittke would not approve. I have just witnessed the Philadelphia Orchestra perform this correctly.
There should be an empty row of music stands between the front two violins, and the rest of the players. 8 players meander from the row they are in to that row, leaving the row of 10 they had been in. Another player, the player whose music begins the piece, is always in the back of all the players. Those 8 who wandered up wander back to reform their row/circle of 10 again.
The player movement in this piece is as important as the music.
I was at that show and I am disappointed watching this after seeing that live.
Glad you agree. Yes, we are both lucky we saw the authentic choreography.
Bear with just a little physics and cosmology, and you will understand why.
The piece begins in the dark with players, one at a time, each playing a different, short somewhat dissonant phrase.Then the lights come up and they are playing music together. That is the moment of the Big Bang.
The conductor is flanked by two violinists. The next row of 8 music stands are empty.
The next semicircle of stands has 10 players, and there is one, the one who started the music, behind them all.
Schnittke grew up in a milieu where pychologists, musicians and theoretical physicists socialized with each other, and exchanged their ideas. So incorporating some Edwin Hubble and Neils Bohr into a short piece, with some artistic license, was just smart stuff.
Schnittke was representing the structure of the atom, and quantum mechanics, in the choreography. It was an adaptation/interpretation not a textbook explanation.
The atom has 'shells' populated by atoms. The first shell has 2 (those 2 violinists that flank the conductor, who in this case is playing the role of the nucleus), the next shell has 8, the next 8, and the next 10.
Do you remember what you saw? From the row of 10, 8 players descended into the second shell, played there for a while, then jumped back to the next electron shell. In quantum physics, that jump requires a discrete packet of energy. So the entire dance is a composer having fun representing quantum activity on stage (the music plays right along)Any physicist in this galaxy would have recognized all this dancing.
And how does this piece end? Schnittke was certainly aware in 1976 that the prevailing theory was not that the universe was in some steady state, but rather that the universe was expanding, expanding without ever stopping, and since there was only so much matter, ultimately that meant the end of the universe into cold emptiness..
So it ends with the players dispersing to offstage, as the stage gets dark, they get more faint all the time, and the stage goes completely dark. The lights come up, and the conductor is still keeping...TIME. Einstein would have laughed out loud!
So now you know. Thanks for reading.
"Schnittke would not approve." Ha! I don't think Schnittke would adopt such an unnecessarily proscriptive and rigid attitude toward musical interpretation. Music doesn't belong solely to the composer.
@@devinmccabe1453 Your musical virtue is clearly signaled.