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Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Schnittke’s own rejection of popular music seems to have been instigated in part by his son, Andrey, who in the early 1980s was a member of the noted Moscow rock group Center (Tsentr), a fact overlooked by previous scholars. The elevation of pop music in the USSR (as in the West) expanded a growing generational divide. In the turbulent final years of the Soviet Union, rock supplanted poetry as the conscience of the nation yet it still inspired deep anxiety among those embracing traditional Soviet conceptions of being “cultured.” Schnittke’s apprehensions about popular music in the 1980s stemmed from its growing presence in the fragmented late-Soviet soundscape and its growing prestige among newly influential tastemakers, chief among them younger intellectuals and other cultural figures. It considers for the first time Schnittke’s ongoing negotiations between high and low across his entire career, giving careful scrutiny to his declaration in the late 1980s that “pop culture is a good disguise for any kind of devilry.” Schnittke’s change of heart, from embracing popular music-and specifically jazz and rock-from the late 1960s through the 1970s, to expressing grave concerns about its effects a decade later, mirrored the sentiments of many. 3 (1976–81), and Faust Cantata ( Seid nüchtern und wachet, 1983), as well as several of his film scores. This chapter advances the argument of Sonic Overload by turning to the interactions between art and popular music in Schnittke’s Symphony No.

Fausts alptraum extra