In the early 1970s, Alfred Schnittke opted for an almost traditional compositional style, which caused dismay among many young Russian composers. Despite initial resistance, he quickly gained a large following and achieved widespread acclaim. While the exploration of religious themes was taboo in the Soviet Union, Schnittke's engagement with religion and God found creative expression in his Fourth Symphony.
A turning point in his stylistic development was the Concerto for Mixed Choir, composed in 1984/85. This work is based on Grigor Narekatsi's "Book of Lamentations." In it, Schnittke combines traditional harmonies with his own expressive style. The concerto's four movements each reflect different thematic areas of a chapter from the book.
The underlying text played a particularly important role for Schnittke, significantly shaping the musical language. Features such as diatonic chords, triadic structures, imitations, and wide interval leaps are prominent in the concerto. The composition, in its simplicity, is underpinned by traditional harmonies and Orthodox melodic formulas.
Works such as the 1972 vocalise "Stimmen der Natur" (Voices of Nature) for female voices and vibraphone, and the 1980/81 composition "Minnesang" (Minstrel Song) for 52 voices, are among Schnittke's most important choral works. "Minnesang" incorporates texts by German Minnesingers and underscores Schnittke's interest in this Germanic tradition.
Through the use of borrowed musical material, Schnittke created complex yet accessible compositions. His music impresses with its clarity and expressiveness, whether in the demanding concerto for mixed choir, the simple beauty of "Stimmen der Natur," or the multifaceted "Minnesang."