Track Listing

Disc 1:

1. Peer Gynt, ballet in 3 acts: Prologue: Into the World
2. Peer Gynt, ballet in 3 acts: Prologue: Into the World
3. Peer Gynt, ballet in 3 acts: Prologue: Into the World
4. Peer Gynt, ballet in 3 acts: Prologue: Into the World
5. Peer Gynt, ballet in 3 acts: Prologue: Into the World
6. Peer Gynt, ballet in 3 acts: Prologue: Into the World
7. Peer Gynt, ballet in 3 acts: Prologue: Into the World
8. Peer Gynt, ballet in 3 acts: Prologue: Into the World
9. Peer Gynt, ballet in 3 acts: Prologue: Into the World
10. Peer Gynt, ballet in 3 acts: Prologue: Into the World
11. Peer Gynt, ballet in 3 acts: Prologue: Into the World
12. Peer Gynt, ballet in 3 acts: Prologue: Into the World
13. Peer Gynt, ballet in 3 acts: Prologue: Into the World
14. Peer Gynt, ballet in 3 acts: Prologue: Into the World
15. Peer Gynt, ballet in 3 acts: Prologue: Into the World
16. Peer Gynt, ballet in 3 acts: Prologue: Into the World
17. Peer Gynt, ballet in 3 acts: Prologue: Into the World
18. Peer Gynt, ballet in 3 acts: Prologue: Into the World
19. Peer Gynt, ballet in 3 acts: Prologue: Into the World
20. Peer Gynt, ballet in 3 acts: Prologue: Into the World
21. Peer Gynt, ballet in 3 acts: Prologue: Into the World
22. Peer Gynt, ballet in 3 acts: Prologue: Into the World
23. Peer Gynt, ballet in 3 acts: Prologue: Into the World
24. Peer Gynt, ballet in 3 acts: Prologue: Into the World
25. Peer Gynt, ballet in 3 acts: Prologue: Into the World

Disc 2:

1. Peer Gynt, ballet in 3 acts: Prologue: Into the World
2. Peer Gynt, ballet in 3 acts: Prologue: Into the World
3. Peer Gynt, ballet in 3 acts: Prologue: Into the World
4. Peer Gynt, ballet in 3 acts: Prologue: Into the World
5. Peer Gynt, ballet in 3 acts: Prologue: Into the World
6. Peer Gynt, ballet in 3 acts: Prologue: Into the World
7. Peer Gynt, ballet in 3 acts: Prologue: Into the World
8. Peer Gynt, ballet in 3 acts: Prologue: Into the World
9. Peer Gynt, ballet in 3 acts: Prologue: Into the World
10. Peer Gynt, ballet in 3 acts: Prologue: Into the World
11. Peer Gynt, ballet in 3 acts: Prologue: Into the World
12. Peer Gynt, ballet in 3 acts: Prologue: Into the World

Product Details

• Amazon Sales Rank: #40683 in Music
• Released on: 1995-03-06
• Number of discs: 2
• Format: Import
• Dimensions: .17 pounds

Customer Reviews

A blistering performance of Schnittke's masterpiece
Now that the Schnittke cult has settled down to a more reasonable vein than over the last few years, we are able to see more clearly the extent of his achievement. More of an expressionist in the line of Mahler and Zimmermann than the postmodernist he was often painted as, Schnittke is clearly one of the most engaging voices of the last thirty years - while his music is often uneven, at his best (as in the Piano Concerto, Piano Quintet and Violin Sonatas) there is nobody like him.

But perhaps greatest of all his works is the symphonically conceieved ballet Peer Gynt. Given Schnittke's interests (particularly that of the Faust legend), a dramatic musical version of Ibsen's play was always likely to draw a strong response from him, and the music bears this out. The first of the three acts (preceded by an atmospheric prelude) is largely fairly conventional music in a style descended from Prokofiev and Stravinsky - which suits the relatively straightforward action of the first three acts of the play well. The second act (corresponding to the fourth act of the play) becomes stylised, parodic and grotesque, ending in a truly horrendous climax. But it's not until the third act that Schnittke's true intentions finally become clear, for here, we have overpoweringly sad, then tragic music for which the reference points can only be Tristan and Mahler 6 -- and just when the listener feels they can't take any longer, we are swept into the most astonishing part of the work, the Epilogue. This is amazingly simple in construction, a tape-loop of a constantly repeating choral sequence in the background, over which the orchestra plays all the main themes of the work, each melting into the next (and yes, there is a very definite dramatic point to the order given -- I leave it to the listener to work it out), before its horrific climax is replaced by a slow ascent into the treble register, then silence.

As this may make clear, this is not music for those who want to remain emotionally impassive, but it never feels indulgent in its expressivity. What is perhaps most remarkable about it is that over a two-hour length, perhaps only ten minutes of it falls below masterpiece quality, and this consistency contributes to its effect, as does the outstanding performance conducted by Eri Klas, a good friend and trusted colleague of the composer.

Schnittke at his greatest!
The most accessible and still mysterious music by Alfred Schnittke... and a great recording. You embark on a journey and wish that you'd been there at the premiere, touched by this human adventure. A musical poem Peer Gynt goes far beyong Grieg's spectacular version and carry the initiatic aspect of the adventure. Melodies can be found underlying the complex and less accessible music of the violin concerto No. 5. Therefore this music is A must have for XX century music lovers and Schnittke addicts!

Schnittke at his best
Alfred Schnittke's music for the ballet Peer Gynt (freely adapted from Henrik Ibsen's play) is a monumental work full of surprises. Although the music is mostly tonal, relies on a series of themes, and has a Romatic flavour, the composer, known for polystylism, pours many more elements into the mix. Peer's vision of his loved one is accompanied by a truly imposing organ solo, the protagonist's memories are underscored by a whimsical harpsichord tune, and when he goes to Hollywood, we hear a fun ragtime polka for piano. I was reminded of the nostalgic, innocent music of Grieg, Prokofiev's wit, and Mahler's tragedy. The polystylism is not as extroverted as in the Faust cantata, but it never once feels kitsch.
However, the best moment of the work is the epilogue. Clocking at nearly 25 minutes, most of the themes we heard earlier are put together over pre-recorded choir loops. The effect is mesmerizing and cathartic.
The orchestra and the conductor are up to the challenge and tackle this mammoth of a score effortlessly. The only problem is the recording, which is often muddy (the harpsichord is nearly inaudible). Nevertheless, this is one of the best ballets of the last decades and one of Schnittke's best efforts.