Schnittke and polystylism

 Alfred Schnittke, a Russian composer of the 20th century, is recognized for having developed the concept of "polystylism," a musical technique that integrates various styles within a single work. This bold concept was born out of a desire to push the conventional boundaries of classical music and to create a new form of expression capable of fully embracing the cultural and stylistic diversity of the 20th century. In his 1971 essay, "Polystylistic Tendencies in Modern Music," Schnittke explores this innovative approach by analyzing the works of many contemporary composers, such as Alban Berg, Luciano Berio, Pierre Boulez, Edison Denisov, Hans Werner Henze, Mauricio Kagel, György Ligeti, Carl Orff, Arvo Pärt, Krzysztof Penderecki, Henri Pousseur, Rodion Shchedrin, Dmitri Shostakovich, Sergei Slonimsky, Karlheinz Stockhausen, Igor Stravinsky, Boris Tishchenko, Anton Webern, and Bernd Alois Zimmermann. Through this exploration, he manages to highlight the shared trends and reciprocal influences among these composers, thus underscoring the deeply interconnected nature of modern music.

Schnittke identifies several forms of polystylism, including direct citation, stylistic allusion, and the fusion of varied compositional techniques. According to him, this approach reflects the complexity of contemporary musical reality by juxtaposing disparate elements to create a new expressive unity. Polystylism thus aims to transcend the boundaries between "serious" and "light" genres, offering a more holistic vision of the musical experience and opening music to a greater diversity of influences. By combining seemingly opposing elements, Schnittke creates works that stand at the crossroads of multiple aesthetics, offering the audience a rich and contrasting sonic experience that reflects the diversity of the modern world. This method represents a true revolution in how composers approach musical genres, as it allows for the deconstruction of traditional hierarchies that exist between different types of music.

In his own compositions, Schnittke applies polystylism systematically, as evidenced by his Symphony No. 1 (1969-1972), often considered a manifesto of this aesthetic. This symphony incorporates quotations and allusions to various styles and eras, thus creating a constant dialogue between the musical past and present. For Schnittke, music must embrace stylistic diversity to faithfully represent the complexity of the modern world. It is not simply a matter of juxtaposing elements randomly but of integrating them organically to create a work that is both coherent and deeply meaningful. Symphony No. 1 is a perfect example, with its inventive use of references to Baroque music, jazz, folk music, and modern avant-gardes. Each element seems to interact with the others, creating a complex and captivating sonic fabric.

This musical vision not only demonstrates the richness of available aesthetic resources but also offers a response to cultural fragmentation. By layering, merging, and opposing contrasting styles, Schnittke invites us to view music as a metaphor for the human condition—made up of heterogeneous experiences yet capable of finding meaningful unity. For him, polystylistic music is a way of illustrating the modern condition, marked by the coexistence of ancient traditions and new avant-gardes, by the clash between the old and the new, and by the need to find balance among varied influences. This approach can be seen as an attempt to reconcile the different facets of human culture, a way to find common ground within diversity.

Schnittke also explains that polystylism is a response to the saturation of traditional musical languages. At a time when many composers sought to create something new while often being constrained by inherited conventions, Schnittke chose to transcend these limitations by integrating everything at his disposal. He saw no contradiction in citing Bach or Mozart alongside atonal passages or electroacoustic techniques, because, for him, all these components were part of the great mosaic of music. This non-discriminatory attitude toward styles and eras shows his conviction that every musical element has intrinsic value that can contribute to the work as a whole.

Thus, Schnittke's work can be seen as a call for greater open-mindedness and acceptance of diversity. By incorporating elements ranging from the sacred to the profane, from the complex to the simple, from the emotional to the conceptual, Schnittke expands the expressive scope of music and gives it new meaning. Polystylism is much more than a mere compositional technique: it is an artistic philosophy that reflects a profoundly pluralistic worldview, where richness lies in diversity and where every voice, every influence, deserves to be heard.