Nothing on this CD is what it seems. The principle of transcription is the most innocent example of this, because the solo violin couple has been exchanged for a heterogeneous duo of flute and oboe in all works performed. In this way, Bach's Concerto for two violins and strings BWV.1043 receives the same kind of treatment as several of Vivaldi's solo concertos in the hands of Bach. More disturbing,
… on the other hand, are the style pastiches in Schnittke's Moz-Art à la Haydn (1977). Analogous to Haydn's Abschiedssinfonie, the orchestra continues to thin out until only the conductor is on the stand. Gradually all kinds of Mozart quotations tumble over each other, they are parodied and eventually brought to a head. Yet this work only functions as a prelude to the illustrious Concerto Grosso No. 1 (1977). Not only are the same polystilistic pastiches further enlarged, at the same time Schnittke stretches the form of the concerto grosso, in which bizarre playing techniques and a prepared piano regularly transform the traditional Baroque orchestra into a many-headed stylistic monster. And so as a listener you are constantly put on the wrong track. Well, nothing is what it seems. (JWvR)more
