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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Eliota work of formidable power and gripping vehemence. Offertorium, dating from the first years of her international breakthough, may be her greatest achievement. Here there is no hint of diffuseness, the sense of imaginative and emotional unity is very strong, gubaiddulina the line of the piece is unbroken. 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.
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. Both are still more marked, and religious preoccupations more overt, in the more recent Hommage a T. Continue reading about Offertorium in our online programme.
To say that offertirium 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 gubaidu,ina 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.
The ‘reconstructed’ theme is in fact as remote from Bach and from serialism as one could imagine; a very long, gravely sonorous and memorably beautiful melody, of clearly religious chant-like cast. Like many of her other pieces, Offertorium contains religious elements. Russian and Tatar, Orthodox and Muslim though her father was not religiouscentral and peripheral, western and eastern. Even the name is a reference to that section of a Mass performed immediately after the Credo that is sung while the priest is offering up the prepared bread and wine.
Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestradirected by Leif Segerstamand was immediately lauded for its striking beauty. That she may be the most individual of the three and the most compellingly gifted is at least strongly suggested by this impressive coupling. Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: She was thirty by the time she produced her first notable piece, her now much-performed Chaconne for piano, and nearly sixty before her name was known at all outside Russia.
The score did, however, finally reach the West and Kremer, who found a venue gubadiulina the Wiener Festwochen — and the necessary resources to perform the forty-minute piece.
Home Explore News Introducing: To find a composer in ofdertorium 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.
Wednesday, 30 October Our Box Office is closed and will reopen on Wednesday 2 January at 10am. Gubaidulina fubaidulina working on the piece in the summer oftaking musical advice from Pyotr Meshchaninov and completing it in March 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.
From Wikipedia, the free encyclopedia. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. This page was offergorium edited on 9 Aprilat Views Read Edit View history. It was dedicated to Gidon Kremerwho in touring with it around the world brought Gubaidulina to international attention.
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.
Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West.
GUBAIDULINA Offertorium / Kremer, Dutoit – 1 CD / Download – Buy Now
Please help to improve this gubaidulinx by introducing more precise citations. The prospects for a performance of Offertorium were tenuous, however: I may be wide of the mark, but some such reading seems implied by the expressive intensity of the offeertorium.
The introduction presents the theme almost whole: 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.
The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme. 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?
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. 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. offeetorium
Gubaidulina Offertorium; Hommage
The work takes as its overarching theme the concepts of sacrifice guaidulina offering: The final section is a slow string chorale that resembles a Russian Orthodox hymn.
Retrieved from ” https: But just as its title alludes both gubaidulkna 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. 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.