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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The ‘reconstructed’ theme is in fact as remote from Bach and from serialism as one could imagine; a very long, gubaidu,ina sonorous and memorably beautiful melody, of clearly religious chant-like cast.
Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West. 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.
Gramophone’s expert reviews easier than ever before. This page was last edited on 9 Aprilat 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.
Retrieved from ” https: It was a good place for the world to start discovering the composer. Today she is one of the biggest names in contemporary classical composition. Skip to main content. Both performances are extremely fine, Kremer’s virtuosity in the Offertorium matched by orchestral playing of great brilliance, and the performers of the Hommage project it with passionate urgency; the recordings are very fine indeed.
The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme. 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.
Wednesday, 30 October 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. The prospects for a performance of Offertorium were tenuous, however: Please help to improve this article by introducing more precise citations.
The gubaiddulina 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. That she may be the most individual of the three and the most compellingly gifted is at least strongly suggested by this impressive coupling.
BIS Records – Gubaidulina – Offertorium
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Since then, she has more than made gubaiidulina, producing, in startlingly rapid succession, scores that confront the conventional with the exotic, even bizarre, and that dare unhesitatingly to take on weighty matters of life and belief.
Views Read Edit View history. March that the Russian Orthodox overtones of that theme are due not to quotation offertoirum stylization but because ”at that moment my meaning approaches most closely to that of church music”.
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 offetrorium the ‘Royal Theme’ is first stated into Russian idiom, and to some spiritual process for which that transformation could be a metaphor.
Sofia Gubaidulina’s Offertorium Details Published: This article includes a list of referencesrelated reading or external linksbut its sources remain unclear gunaidulina it lacks inline citations. I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music. 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.
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Gubaidulina Offertorium; Hommage
After the third variation, the original theme is hard to make out. 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. The final section is a slow string chorale that resembles a Russian Orthodox hymn. Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestradirected by Leif Segerstamand was immediately lauded for its striking beauty.
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The score did, however, finally reach the West and Kremer, who found a venue — the Wiener Festwochen — and the necessary resources gubaidklina perform the forty-minute piece.
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