In a review yesterday of Richard Field's performance of Alfred Schnittke's Viola Concerto with the Baltimore Symphony, Mr. Field's first name was inadvertently left out. Mr. Field is the BSO's principal violist.
The Sun regrets the error.
Alfred Schnittke is an eclectic composer who still manages to sound completely original.
His viola concerto runs through almost more moods and musical styles than one can count. As Baltimore Symphony Orchestra music director David Zinman wrote in a fine program note for last night's performance of the piece in Meyerhoff Hall, the Russian composer's arsenal ranges from medieval chant to avant-garde techniques. Moreover, there are allusions to other works -- Shostakovich's Viola Sonata, Prokofiev's Second Piano Concerto and Stravinsky's "Rite of Spring," to name only a few. The moods range from flip cocktail music to expansive Mahlerian gestures.
It's a monster of piece to play -- 30 minutes without a break, in which Schnittke never gives the soloist a chance to rest. The Russian composer's scoring eliminates the violins, thus giving the viola a chance to soar without having to worry about its more brilliantly-pitched cousins. In this piece, the viola is Cinderella at the ball. The orchestration is filled with ingenious effects -- I was particularly struck by a moment in which the viola sings a mournful melody over a trombone chorale -- and those effects cohere.