{'fraction_non_alphanumeric': 0.023457862728062554, 'fraction_numerical': 0.0, 'mean_word_length': 5.658959537572255, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Saint-Saëns’s Works for Violin and Piano

are the incorporation of Schnittke’s interlocutors’ notes on scores and personal correspondence using existing editions and sketches from the Schnittke Archive at Goldsmiths. Although the changes made to existing editions are important, the background, brief analyses of polystylism, location of serial structures, and analyses that are not immediately evident from the published score would be extremely useful. Much of the ingenuity of Schnittke’s writing and that of his Thaw colleagues, like Gubaidulina, Suslin, and Denisov, comes from a mathematical attention to structural creation, timbral virtuosity, and a complex interplay of affective elements and new developments of form. In Romantic music, the underlying form is presumed knowledge by all professionals working with a critical edition. Yet, in this generation of Soviet music, determining these structures requires an analysis of sketches, and even the composer’s personal correspondence, which was used to compile other aspects of this series. This detailed theoretical analysis of each work is missing from these otherwise excellent editions.