Schnittke: Cello Sonatas Nos. 1 & 2, Suite in the Old Style, Musica Nostalgica
Carl-Oscar Østerlind (cello), Emil Gryesten (piano) (Danacord)
(scroll down for English review)
想不到這個月又有一張舒尼卡專輯推出，這次是大提琴曲目，但也有《古風祖曲》，改由大提琴演奏。
我始終覺得大提琴這種樂器較廣闊的音域、音量及音色，比小提琴更適合舒尼卡的音樂風格。此外，本碟雖也有易聽及嚴肅的舒尼卡，但這裏是用輕鬆來作調劑或間場，不會像Hope那樣太強調輕鬆易聽。
寫於1978年的《第一大提琴奏鳴曲》有三個樂章，用兩個廣板圍住一個很是神經緊張的急板，對我來說是很接近蕭斯塔高維契的晚期作品，例如《小提琴奏鳴曲》及《中提琴奏鳴曲》。此曲的重點還是第三樂章，雖說是廣板，大部分段落都是大提琴以很激昂的狀態演奏，先是音量上的激動，之後雖然逐漸細聲，但仍有一種令人屏息的繃緊，另一種形態的絕望。
舒尼卡一生最後十年，最支持他的知名音樂家應該是羅斯卓波維奇，屢屢委約他寫大提琴作品，也以指揮身份推廣他的歌劇。寫於1994年的《第二大提琴奏鳴曲》有五個樂章，但樂章長度及總長度都比上一首短，無論是凝重還是激憤的樂章都是言簡意駭。這種作品才是真正代表舒尼卡嘛。
最後收錄了都是為羅斯卓波維奇寫的《懷舊音樂》，其實是《古風祖曲》第三樂章的重寫，旋律優美但又帶着舒尼卡式的陰沉，但也不像《平安夜》怪誕。
Another brand new Schnittke album this time on the cello, with the two cello sonatas plus Suite in the Old Style played on cello.
I somehow believe that the cello, with its wider range, dynamics and tone colour, is more akin to Schnittke’s sound world than the violin. Also, in this album, the easy-listening serves as interludes to hardcore Schnittke. While Hope’s Schnittke album is too much on the easy listening side.
Written in 1978, the First Cello Sonata has three movements, with a frantic Presto sandwiched between two Largos. I think this work is very close to some of Shostakovich’s late works, such as the Violin Sonata and the Viola Sonata. The emotional crux is on the third movement. Despite it being a Largo most of the cello part is agitated, only relaxing towards the end. But far from repose it is more like a silent despair.
In Schnittke’s final decade, his most endeared champion was probably Rostropovich. Not only did he commissioned many cello works from Schnittke, he also conducted world premieres of Schnittke’s operas. Written in 1994, the Second Cello Sonata has five movements but the individual and gross lengths are both shorter than the previous sonata. Both static and frantic movements are more focused and concise. Now this is what I call the real Schnittke.
As an encore there’s the Musica Nostalgica, also a Rostropovich commission. This is actually a rewrite of the third movement from the Suite in the Old Style. On top of the sweet melody, there’s also the Schnittke gloom but it is not as macabre as Silent Night.