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| | Schnittke |
 | | The ‘BACH’ motif, used by J.S.Bach as a subject in the final unfinished fugue of his ‘Art of the Fugue’, became a sort of obsession in music of both 19th and 20th centuries for composers such as Schumann, Liszt, Reger, Piston, Casella, Busoni, Honneger, Schoenberg, Webern, Paert, Denisov, and many others. |
 | | The third is the antithesis of the first two: it is a positive, harmonious ideal taken from a past culture (a chorale harmonisation of the ‘BACH’ motif in the piano part, and the separate tonal chords). |
 | | In the Andante episode (c.30-31) the ‘BACH’ motif is harmonised in the Romantic style of ‘Les Preludes’ by Liszt. |
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