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  1. Alfred Schnittke was born in Engels in the Volga-German Republic of the Russian SFSR. He began his musical education in 1946 in Vienna, where his father had been posted. It was in Vienna, Schnittke's biographer Alexander Ivashkin writes, where "he fell in love with music which is part of life, part of history and culture, part of the past which ...

  2. Alfred Garrievich Schnittke (24 November 1934 – 3 August 1998) was a Russian composer. [1] [n 2] Among the most performed and recorded composers of late 20th-century classical music , [1] [6] he is described by musicologist Ivan Moody as a "composer who was concerned in his music to depict the moral and spiritual struggles of ...

  3. Alfred Schnittke was a postmodernist Russian composer who created serious, dark-toned musical works characterized by abrupt juxtapositions of radically different, often contradictory, styles, an approach that came to be known as “polystylism.”

  4. Alfred Gárievich Schnittke (ruso: Альфре́д Га́рриевич Шни́тке; Enguels, 24 de noviembre de 1934-Hamburgo, 3 de agosto de 1998) fue un prolífico compositor soviético y alemán, que vivió sus últimos años en Alemania.

  5. www.historiadelasinfonia.es › los-compositores-mas-notables-3 › schnittkeSCHNITTKE – HISTORIA DE LA SINFONIA

    Alfred Schnittke (1932-1998) en cirílico Альфре́д Га́рриевич Шни́тке, nació el 24 de noviembre de 1934 en Engels en la República Germánica del Volga, en aquel tiempo una autonomía dentro de la Unión Soviética. El padre del compositor, Harry Schnittke era un judío nacido en 1914 en Frankfurt.

  6. Born in Engels, an autonomous region for ethnic Germans on the Volga river, Alfred Schnittke trained as a pianist in Vienna, Austria, where his father served as a correspondent for a Soviet newspaper. In 1953, he moved on to the Moscow Conservatory and served on its faculty from 1962 to 1972.

  7. The music of Alfred Schnittke (1934-1998) is marked by an intense expressiveness, an unpredictable flow of ideas, an innate sense of drama, and a natural lyricism. Turning his back on the dissonant sounds of atonal academic modernism, Schnittke favored a synthesis of familiar styles.