Story in Structure
This chapter presents intertwined readings of Schnittke’s Piano Quartet from four points of view: compositional, performative, esthesic, and analytical. Drawing on Schnittke’s description of the Quartet—“at first the attempt to remember” a fragment by Mahler “and then remembrance itself”—it analyzes the work as a rotational form: four passes through the fragment’s material, followed by a statement of the fragment itself. It discusses interpretive and practical considerations in depicting the journey to Mahler’s fragment. It shows that “memory” expresses Romantic irony through its evocation of a fragment from the past, denial of a clear temporal line, and search for an impossible perfection. And it dissects three techniques—rhythmic “formants,” contraction and expansion, and self-similiarity—employed by Schnittke to subvert temporal direction. Audience and performer viewpoints taken from a concert and interactive presentation supplement the authors’ interpretation. The authors’ live performance on audio (Ingolfsson, Eckert, Glyde, and Leong) complements the written text.