The Three Piano Sonatas of Alfred Schnittke: Performance, Syntax and Morphology

Abstract

This thesis presents a performance and analysis of Alfred Schnittke’s three piano sonatas, composed between 1987 and 1992, widely regarded as representative of his late style. The analysis aims to explore the semantic and symbolic aspects of the musical language in these sonatas, focusing on identifying Schnittke’s idiosyncratic compositional devices, leitmotives, lexemes , and the stylistic features characteristic of his late works. A particular focus is placed on his use of Baroque rhetorics, specifically Schnittke’s use of neo-rhetorical figures, and the broader relationship between his piano sonatas and Baroque musical traditions such as use of canons, contrapuntal textures, chorales, chorale preludes, sarabande and the sonata da chiesa. Chapter 1 sets out the background to the analysis, discussing the significance of Bach, Shostakovich, Baroque music and specific motives and figures, such as the sign of the cross motive. Chapters 2, 3 and 4 analyse Piano Sonatas 1, 2 and 3 respectively, using the concepts outlined in Chapter 1. The thesis concludes with examination of the evolution of the three piano sonatas and their role as a macrocycle, comparable to the macrocycles discussed by Chigareva in relation to other late works by Schnittke, including Symphonies No. 7 and 8. The recordings are realisations in performance of the conception of the three sonatas outlined in the written thesis.