The concerto is scored for solo
viola and an orchestra of: 3
flutes (no. 2 doubling
piccolo, no. 3 doubling
alto flute), 3
oboes (no. 3 doubling
cor anglais), 3
clarinets in B (no. 2 doubling
clarinet in E, no. 3 doubling
bass clarinet), 3
bassoons (no. 3 doubling
contrabassoon), 4
horns, 4
trumpets, 4
trombones,
tuba,
timpani,
percussion (6 players),
harp,
celesta,
harpsichord,
piano, and 8 each of
violas,
cellos and
double basses. Note that
violins are absent. The movements are as follows: Depending on the precise
tempi chosen a performance typically lasts between 35 and 40 minutes. Almost the entire structure of the concerto is based on a 6 note
motif derived from the first 6 letters of the German spelling of Yuri Bashmet's surname (Baschmet). In German and French music
letter notation the note names B–A–Es–C–H–Mi correspond to the notes B–A– E–C–B()–E() in the more familiar Anglo-Saxon notation. Each movement is longer than its predecessor, with the final movement being almost as long as the previous two together. The first commences with a declamation from the soloist, echoed by the orchestra, in which the "Bashmet motif" is first heard. This is followed by an extended version of the declamation culminating in a fortissimo chord from the orchestra. The movement closes with a delicate cadence. The second movement begins with frenetic
arpeggios, including multiple
double stopping, from the viola. During the movement Schnittke interweaves ideas from the first movement with an array of other musical references - dance-band music, film music, Soviet military marches - typical of Schnittke's brand of
polystylism. Further iterations of the opening music lead to the viola's
cadenza and, finally, a march-like theme which slowly fades out. The final movement returns to the slow tempo of the first. Its mood has been described as "bleak" and "funereal", the music formed of disjointed fragments from the first two movements. Schnittke himself commented on the music's structure as follows: ==Discography==