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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January Learn how and when to remove this template message. Eliota work of formidable power and gripping vehemence. Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West.
Gubaidulina – Offertorium
The prospects for a performance of Offertorium were tenuous, however: Wednesday, 30 October After the theme’s demise the central section is a free rhapsody.
Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webernpassing it around various instruments to exploit their different timbres. 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.
Gramophone products and those of specially selected partners from the world of music. Retrieved from ” https: A recording, made by Kremer in Boston in Apriltook the piece around the globe. 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 than half the truth.
Views Read Edit View history. Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestradirected by Leif Segerstamand was immediately lauded for its striking beauty.
Our Box Office is closed and will reopen on Wednesday 2 January at 10am. 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 worldwide attention.
BIS Records – Gubaidulina – Offertorium
offfertorium The request stuck in the composer’s mind, and from that chance encounter, Offertorium was born — even though Kremer’s whirlwind success, and the permission he had received to play outside the Soviet Union for two years, soon led him to forget all about it. Continue reading about Offertorium in our online programme.
Here there is no hint of diffuseness, the sense of imaginative and emotional unity is very strong, and the line of the piece is unbroken. 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. The score did, however, finally reach the West and Kremer, who found a venue — the Wiener Festwochen — and the necessary resources to perform the forty-minute piece.
Even the name is a reference to that section of a Mass performed immediately after the Credo that is sung while ofvertorium priest is offering up the prepared bread and offertoriumm.
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. On Wednesday 6 Novemberwe perform her violin concerto Offertoriumwhich is considered by many to be her greatest musical achievement.
Offertorium, dating from the first years of her international breakthough, may be her greatest achievement. Gramophone’s expert reviews easier than ever before.
Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: Home Explore News Introducing: 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.
Introducing: Sofia Gubaidulina’s Offertorium | News | Explore
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.
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.
Gubaidulina has offered no verbai programme for the Offertoriumso far as I know, but she has said in an interview in The Musical Times: This page was last edited on 9 Aprilat Gubaidulina Offertorium; Hommage Offertorium.
The final section is a slow string chorale that resembles a Russian Orthodox hymn. She composed it for Gidon Kremer, who gave the first performance, Leif Segerstam conducting, in 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. I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music.
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. That she may be the most individual of the three and the most compellingly gifted is at least strongly suggested by this impressive coupling.
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The name of Sofia Gubaidulina has been heard more and more often gubaidjlina the West in the last few years, often enough bracketed with those of her close contemporaries Alfred Schittke and Edison Denisov. The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme. From Wikipedia, the free encyclopedia. The all-time greats Read about the artists who changed the world of classical music.
The work takes as its overarching theme the concepts of sacrifice and offering: 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. Since then, she has more than made up, producing, in startlingly rapid succession, scores offerrorium confront the conventional with the exotic, even bizarre, and that dare unhesitatingly to take on weighty matters of life and belief.
Perhaps it was a lot to absorb, for she was slow to get going as a composer. 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.