An introduction to Sofia Gubaidulina’s violin concerto Offertorium, which we perform on Wednesday 6 November as part of Southbank Centre’s. SOFIA GUBAIDULINA – Offertorium ()* – Violinkonzert · Violin Concerto – Hommage à T. S. Eliot – Gidon Kremer* – Boston Symphony Orchestra* – Charles . The leading record label for classical music in Scandinavia. Get information on artists, composers and new releases and buy CDs & SACDs from the online.
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I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music. March that the Russian Orthodox overtones of that theme are due not to quotation or stylization but because ”at that moment my meaning approaches most closely to that of church music”.
On Ggubaidulina 6 Novemberwe perform her violin concerto Offertoriumwhich is considered by many to be her greatest musical achievement. Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestradirected by Leif Segerstamand was immediately lauded for its striking beauty. Here there is no hint of diffuseness, the sense gubaidhlina imaginative and emotional unity is very strong, and the line of the piece is unbroken.
The prospects for a performance of Offertorium were tenuous, however: She composed it for Gidon Kremer, who gave the first performance, Leif Segerstam conducting, offetrorium Vienna on May 30, ; the final version, adding revisions of and to the original score, followed in London in Novemberagain with Kremer as soloist, now with Gennady Rozhdestvensky on the podium.
Gubaidulina was requested to prepare a shortened version, completed inalthough it is debatable whether the concerto actually needed cutting; nonetheless, the changes did not detract from appreciation of the work, and the revised edition has spread around the globe, bringing Gubaidulina to offertoirum attention. The work takes as its overarching theme the concepts of sacrifice and offering: The name of Sofia Gubaidulina has been heard more and more often ofvertorium the West in the last few years, often enough bracketed with those of her close gubaiduoina Alfred Schittke and Edison Denisov.
Beneath this, the harps and piano reconstruct the theme note by note, in reverse retrogradea process that concludes only at the very end with a complete statement from the solo violin. Gubaidulina Offertorium; Hommage Offertorium. Gramophone’s expert reviews easier than ever before.
January Learn how and when to remove this template message. Kremer, the person to whom it had been dedicated and given to perform, was at odds with the Moscow government for refusing to return to the Soviet Union at the end of his two-year period of permission to perform worldwide. Light and darkness, ”the fire and the rose”, are the central images of the texts Gubaidulina has chosen, and her musical imagery, her use of instruments even, match those images with precise poetic insight.
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The structure, after fewer hearings than the work deserves, seems diffuse at one or two points, the violinistic gestures too incessant, but of Gubaidulina’s striking personal vision and urgent eloquence there can be no doubt. That she may be the most individual of the three and the most compellingly gifted is at least strongly suggested by this impressive coupling.
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webernpassing it around various instruments to exploit otfertorium different timbres.
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GUBAIDULINA Offertorium Kremer Dutoit – 1 CD / Download – Buy Now
It was dedicated to Gidon Kremerwho in touring with it around the world brought Gubaidulina to international attention. Only three of its seven movements actually use Eliot’s words from the Four Quartetssung in English but the whole work is concentrated upon his dark meditations on sin and redemption.
In uniting her twin inspirations, Webern and Bach, and in the deep Christian symbolism of the theme’s “death” and “resurrection”, Offertorium is a work representative of Gubaidulina’s mature period.
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Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. While this was happening, Gubaidulina attempted to have the chorale from Offertorium used in a film The Great Samoyed by Arkady Kordon for which she was scoring the music, but this was rejected by the director. Perhaps it was a lot to absorb, for she was slow to get going as a composer. From Wikipedia, the free encyclopedia.
Introducing: Sofia Gubaidulina’s Offertorium
Offertorium, dating from the first years of her international breakthough, may be her greatest achievement. Can we, perhaps, read her further statement that ”the whole score is built on the idea of conversion” in this light, and interpret even its title as having a double meaning?
After the third variation, the original theme is hard to make out. But just as its title alludes both to the Bachian model and to the Mass, so ‘conversion’ seems to refer both to a translation of Bach and Webern, in whose manner the ‘Royal Theme’ is first stated into Russian idiom, and to some spiritual process for which that transformation could be a metaphor.
Gubaidulina began working on the piece in the summer oftaking musical advice from Pyotr Meshchaninov and completing it in March Both are still more marked, and religious preoccupations more overt, in the more recent Hommage a T. I do not mean that we should see the work as a piece of crypto-religious samizdat ; its subtitle is Violin Concerto, after all, and it is a vividly resourceful one, as full of virtuoso flourishes and almost gipsy violinistics as it is of precisely imagined and alluring orchestral sonorities.
After the theme’s demise the central section is a free rhapsody. The apparent musical ‘programme’ of the work from Bach back to Bach by way of quasi-serial procedures is also an understatement, I believe, both of its objectives and its achievement.
GUBAIDULINA Offertorium / Kremer, Dutoit – 1 CD / Download – Buy Now
To say that her Offertorium is a brilliantly clever game in which the Thema Regium from Bach’s Musical Offering is first dematerialized by removing its outermost notes two by two until only the central E remains and then remade by the reverse process, this time so that the theme emerges backwards would be much less offfrtorium half the truth.
Composition Artist Credits Offertorium.
Skip to main gubaidulinna. A recording, made by Kremer in Boston in Apriltook the piece around the globe. Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: Home Explore News Introducing: Like many of her other pieces, Offertorium contains religious elements.
Offertorikm find a composer in whom simplicity and complexity are not opposites but part of a spectrum, both servants of a disciplined but impassioned expressiveness, is a welcome experience, and a richly rewarding one. The request stuck in the composer’s mind, and from that chance encounter, Offertorium was born — even though Kremer’s whirlwind success, and gubaiduliina permission he had received to play outside the Soviet Union for two years, soon led him to forget all about it.
The introduction presents the theme almost whole: