Alfred Schnittke as a composer of film music - that is a fact well known to anyone who has ever been concerned with Alfred Schnittke. However, only very few people are familiar with his actual work in the film music genre. This is all the more surprising since on the one hand, Alfred Schnittke wrote more than 60 film scores during the years between 1961 and 1984, and on the other hand, his poly-stylistic techniques found a nearly perfect equivalent in film. Since Alfred Schnittke suffered from the artistic regimentations like many contemporary composers in the USSR, and his works could often only be performed under difficult circumstances, his work for the film to a large extent contributed to his livelihood. web
Film Music Vol. I
Tracklist 1:
1. Thema - Titelmusik / Title music (2:44)
2. Agitato I - Schlitten / Sledge (3:15)
3. Agitato II - Reise / Trip (4:42)
4. Walzer (Abschied) / Waltz (Farewell) (3:23)
5. Thema und Marsch / Theme and march (2:26)
6. Epilog / Finale (2:08)
Tracks 1–6: Die Geschichte eines Unbekannten Schauspielers / The Story of an Unknown Actor
7. Spaaziergänge der Wawilowa durch die Stadt / Wawilowa’s City Walk (4:24)
8. Hochzeit / Wedding (01:37)
9. Attacke / Attack (3:21)
10. Spiel / Game (4:12)
11. Einzung in die Stadt / Entering the city (2:43)
12. Liebe / Love (3:30)
13. Keller / Cellar (6:15)
14. Regen / Rain (7:40)
15. Traum / Dream (6:25)
16. Wanderung der Verdammten / Trek of the Damned (4:28)
17. Einsicht / Conclusion (2:51)
Tracks 7–17: Die Kommisarin / The Commissar
Film Music Vol. II
Tracklist 2:
1. Titelmusik / Title music (1:41)
2. Intermezzo (1:38)
3. Akrobaten / Acrobats (1:19)
4. Im Krankenhaus / In the hospital (2:35)
5. Walzer / Waltz (1:44)
Tracks 1–5: Clowns und Kinder / Clowns and Children
6. Die Baustelle / The building site (3:43)
7. Kutsche / Carriage (2:37)
8. Fabrik / Factory (3:27)
9. Wowka / Vovka (1:22)
Tracks 6–9: Der Walzer / The Waltz
10. Der Musioker und das Carillon / The musician and the carillon (1:50)
11. Prozession / Procession (1:23)
12. Die Gesichter - Die Flüge - Pyramide / Faces - Flights - Pyramids (13:26)
13. Der Musiker - Das Erwachen / The musician - The awakening (4:07)
Tracks 10–13: Die Glasharmonika / The Glass Harmonica
14. Sotnikows Tod / Sotnikov’s Death (6:56)
15. Auf dem Schlitten / On the sled (4:33)
16. Reue / Remorse (2:46)
Tracks 14–16: Der Aufstieg / The Ascent
Film Music Vol. III
Tracklist 3:
1. In der Fledermaushöhle / In the bat cave (4:48)
2. Absturz der Kutsche - Das Meer / Crash of the carriage - The sea (5:30)
3. Liebeserklärung - Orlandos Thema / Pledge of love - Orlando’s theme (5:22)
4. Katz-und-Maus-Spiel / Cat and mouse game (2:46)
5. Maitanz - Spelunke - Jagd / Mayday dance - Dive bar - Hunt (8:05)
6. Pest / Plague (5:54)
7. Menuett / Minuet (2:05)
8. Tanz - Walzer - Orlandos Tod / Dance - Waltz - Orlando’s death (4:48)
9. Zerstörung des Schlosses / Destruction of the castle (2:32)
10. Finale (3:05)
Tracks 1–10: Dea Märchen der Wanderungen / The Fairytale of the Wanderings
11. Titelmusik / Title music (3:33)
12. Bedrohung und Rettung / Menace and rescue (7:00)
13. Nacht / Night (4:29)
14. Legende / Legend (0:58)
15. Kampf / Fight (4:51)
16. Epilog / Epilogue (3:12)
Tracks 11–16: Rikki-Tikki-Tavi
Film Music Vol. IV
Listeners familiar only with Alfred Schnittke's frequently spiky concert music may be taken off guard by the fluency with which he created film scores in a completely accessible vernacular aesthetic. Given the catholicity of languages he incorporated in his polystylism, though, it's not surprising that when required to, he could isolate an idiom and write music of a more conventional stylistic unity. While he does draw on a number of influences, including jazz, Baroque, and folk song, these are used in the way a traditional film composer might employ them, not in Schnittke's usual astonishing juxtapositions. What may be surprising is the genuinely memorable lyricism of this music -- these scores don't sound like they were casually knocked off, but are lovingly and carefully constructed, the product of an exceptionally fertile imagination. The scores for the Russian films by director Elem Klimow -- Sport, Sport, Sport (1970) and The Adventures of a Dentist (1965) -- have an easy lyricism and driving rhythmic energy that would make them attractive to fans of more traditional film soundtracks. Both pieces are notable for their inventive orchestrations, strong dramatic impulse, and seamless incorporation of elements of pop and European folk traditions. The two multi-movement suites are arranged by Frank Strobel who conducts the Rundfunk-Sinfonieorchester Berlin in stylish and lively performances. The sound of Capriccio's SACD is exceptionally vivid and well-defined. The recording should be of strong interest to Schnittke fans, not only because if the compositional versatility it demonstrates, but because the music itself is so engaging and enjoyable. by Stephen Eddins
Tracklist 4:
1. Titelmusik - Interview / Title music - Interview (1:42)
2. Griechenland - Das Bad / Greece - The bath (Adagio - Presto) (6:28)
3. Zukunft / Future (Menuett) (1:40)
4. Das Lied des Kaufmanns Kalaschnikow / Merchant Kalaschnikow’s song (Allegro) (5:18)
5. Schlachtenbummler / Away fans (Menuett - Fuge - Allegro) (4:48)
6. Der moderne Sport: Training - Sieger - Finale / Modern sports: training - winner - finale (Allegro molto - Andante) (5:25)
Tracks 1–6: Sport, Sport, Sport
7. Maschas Lied / Mascha’s song (Tempo di Valse) (3:18)
8. Gloria (Maestoso) (3:20)
9. Der Park / The park (Tempo di Valse) (2:12)
10. Pantomime (Allegretto) (3:47)
11. Charleston (1:57)
12. Frühling / Spring (2:56)
13. Walzer / Waltz (Moderato) (2:03)
14. Verzweiflung / Despair (Andante) (2:24)
15. Finale (3:39)
Tracks 7–15: Die Abenteuer eines Zahnarztes / The Adventures of a Dentist
