Beethoven Violin Concerto - Schnittke Cadenza Mov 1 - Kremer
Uploader Comments (MaestrinoClassics)
Top Comments
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HAHAHAHAHAHA this is great... lol everybody is here, Shostakovich, Brahms, lol!! love it. they are all in debt to Beethoven for being the pioneer so i think the cadenza is fitting.
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oh wow. that was great.
All Comments (40)
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The appeal of this is akin to graffiti "artists" spray painting the Parthenon (or whatever), adding some Chinese and Egyptian motives, and saying they've created something new and spectacular. I understand why this appeals to some people who like new and edgy things, and it's a slap in the face of traditional cadenzas (and so on and so forth, blah blah blah), but let's be honest: like graffiti, it's just mucking up what's underneath.
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@jbordenbass No need to put classical music in a box. The cadenza shows Beethoven's influence on the next century of musicians. There are quotes from Bartok, Brahms, Berg. I've always found it to be very powerful. I enjoy the Kreisler cadenza too. It's just different.
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This is dumb. Everyone just likes this because they think 'hey I know that piece." Cadenzas are supposed to be beautiful and stunning, not out-of-style and completely out of context.
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@MaestrinoClassics So excited that you posted this. I'll be playing this cadenza in Michigan at the end of September. There's a portion of the cadenza that is cut in this recording by the way.
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wow Beethoven meet Ysayë meets Mahler meets Schönberg
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GENIAL !
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The quotes Brahms& Shostakovich r obvious but this is more than collage.I'd like to know why Schnittke did it this way.
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Beethoven's concerto linking part 60-63, Berg's concert row 64-65, Bartók's 2nd concerto I movement 66-69, Shostakovich 1st concerto II movement 70-71, Berg 72-73, Beethoven 74-77, Shostakovich 1st concerto cadenza 78-81, Bartók 2nd Concerto I movement coda 82-84, Bach/Berg 87, Bartók 2nd Concerto I movement 88, Berg 89-96, reprise Beethoven 97 ostinato, Berg)
End of quote.
Numbers are for bars in the score (Sikorski) Note between brackets is by Shulguin, who Schnittke was talking with.



I forgot to mention - the timpani use at the end is poking fun at people's love of the soft five timpani notes at the commencing of the concerto! Make sure to see movement 3 cadenza as well - also quite interesting. It is a shame that this isn't played anymore, and it is a fabulous recording to begin with, making it quite unfortunate that it went off the record becasue of the cadenza.
MaestrinoClassics 3 years ago