Performances of Alfred Schnittke’s music require two important elements: spot-on execution by the performers, and a palpable depth to the recording ambience. Otherwise, Schnittke’s music can become ugly and repulsive. Regarding the first factor: there are moments in the middle passages of the Concerto Grosso No. 1 (1977) where the strings collide, and not in a particularly pleasant fashion. Also throughout the piece are pizzicato elements that seem almost arbitrary. And while Schnittke was known for his hijinks, allowing for inaccurate execution was never one of them. (This last is hard to account for in the Concerto Grosso because one of the violin soloists is the otherwise dependable Gidon Kremer.) However, performance values aside, the overall recorded sound here is far too shrill for this music. For whatever reason, the engineers gave little regard to providing a solid bass grounding for the cellos and basses. This is especially true in the Concerto Grosso where just about every instrument is practically allowed to scream, and rather artlessly at that. Even Two Short Pieces (1983) for organ fails. Though there are heavy, low octave bass passages in this work, the contrasting high notes are far too strident. Only the Trio-Sonata (1987) has adequate sonic balances. But it’s far too little and way too late. Even fans of Schnittke–and I count myself as one–will want to avoid this release.
