(1977). Other works were more stylistically unified, such as his Piano Quintet (1972-1976, later orchestrated and retitled as In Memoriam...), written in memory of his mother, who had died in 1972. During the late 1970s, Schnittke developed a darker and more fragmented chamber style, exemplified by the Cello Sonata No. 1 (1978).

In the 1980s, Schnittke's music began to become more widely known abroad, thanks in part to the work of émigré Soviet