1999 Jahrespreis der Deutschen Schallplattenkritik

1999 Grammy Nominee – Best Classical Album

1999 Grammy Nominee – Best Chamber Music Performance

From Solomon Volkov’s liner notes: “During [the ’60s and early ’70s], every public appearance by Schnittke created a flurry of recognition and curiosity… Even amidst all this brouhaha, Schnittke managed to be staggeringly prolific. One symphony followed another, as did instrumental concertos and sonatas. Schnittke has also written three operas, several ballets, choral works – an enormous amount of music. Fans eagerly anticipated every new major work by Schnittke. In Russia at that time, many truly needed his music, which united Soviet intellectuals and gave them a sense of participating in a large secret society. In response, the authorities did everything in their power to prevent Schnittke’s music from being publicly heard…

“Kinetic and emotionally intense – listening to Schnittke’s music brings these words to mind. Opposing elements coexist in his compositions: earsplitting and quiet; highbrow and intentionally kitschy; ascetic and embarrassingly opulent. It’s not surprising that Schnittke’s music irritates many who feel that the composer has set out to confuse them by combining obviously disjointed and incongruous elements – the hidden citations (both true and imaginary), the symbols, the allusions, and even the musical monograms of the composer’s and his friends’ names. Maybe it’s just as it should be: the composer keeps his secrets to himself, and reveals them to no one.”