Alfred Schnittke: Film Music Edition
| # | 跟踪 | 持续时间 | |
|---|---|---|---|
| 1. | Die Geschichte von einem unbekannten Schauspieler / The story of an unknown actor (Alexander Sarchi / Mosfilm 1976) | ||
| 2. | Die Kommissarin / The Commissar (Alexander Askoldow / Mosfilm 1967/87) |
| # | 跟踪 | 持续时间 | |
|---|---|---|---|
| 1. | Clowns und Kinder / Clowns and Children (Alexander Mitta, Mosfilm 1976) | ||
| 2. | Der Walzer / The Waltz (Viktor Titow / Mosfilm 1969) | ||
| 3. | Die Glasharmonika / The Glass Harmonica (Andrei Khrzhanovsky, 1968) | ||
| 4. | Der Aufstieg / The Ascent (Larissa Schepitko / Mosfilm 1976) |
| # | 跟踪 | 持续时间 | |
|---|---|---|---|
| 1. | Das Märchen der Wanderungen / The Fairytale oft he Wanderings | ||
| 2. | Rikki-Tikki-Tavi (Alexander Sguridi / ZentrNaútschFilm, 1976) |
| # | 跟踪 | 持续时间 | |
|---|---|---|---|
| 1. | Sport, Sport, Sport (Elem Klimow, Mosfilm 1970) | ||
| 2. | Die Abenteuer eines Zahnarztes / The adventures of a dentist (Elem Klimow, Mosfilm 1965) |
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.