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.
|Published (Last):||14 June 2017|
|PDF File Size:||5.88 Mb|
|ePub File Size:||19.55 Mb|
|Price:||Free* [*Free Regsitration Required]|
It was a good place for the world to start discovering the composer. Home Explore News Introducing: The name of Sofia Gubaidulina has been heard offeertorium and more often in the West in the last few years, often enough bracketed with those of her close contemporaries Alfred Schittke and Edison Denisov.
BIS Records – Gubaidulina – Offertorium
Wednesday, 30 October The work takes as its overarching theme the concepts of sacrifice and offering: 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.
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 offertoriumm the solo violin. 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.
The final section is a slow string chorale that resembles a Russian Orthodox hymn. Whether you want to see what we think of today’s latest releases or offertlrium what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.
Skip to main content.
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 that confront the conventional with the exotic, even bizarre, and that dare unhesitatingly to take on weighty matters of life and belief.
Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: Our Box Office is closed and will reopen on Wednesday 2 January at 10am.
Today she is one of the biggest names in contemporary classical composition. 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.
Introducing: Sofia Gubaidulina’s Offertorium
Gramophone products and those of specially selected partners from the world of music. The all-time greats Read about the artists who changed the world of classical music. 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.
The prospects for a performance of Offertorium were tenuous, however: Offertorium, dating from the first years of her international breakthough, may be her greatest achievement.
Views Read Edit View history. 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 gubaiduliba the ‘Royal Theme’ is first stated into Russian idiom, and to some spiritual process for which that transformation could be a metaphor.
Russian and Tatar, Orthodox and Muslim though her father was not religiouscentral and peripheral, western and eastern. 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. 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 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.
It was dedicated to Gidon Kremerwho in touring with it around the world brought Gubaidulina to international attention. Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West. Please note that any tickets booked online will not be posted until the office reopens.
Gubaidulina – Offertorium
A recording, made by Kremer in Boston in Apriltook the piece around the globe. I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music. Gubaidulina orchestrates ghbaidulina theme using a Klangfarbenmelodie ofdertorium reminiscent of Webernpassing it around various instruments to exploit their different timbres. Composition Artist Credits Offertorium. The request stuck gubaiculina 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 ofcertorium Soviet Union for two years, soon led him to forget all about it.
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. 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”. Like many of her other pieces, Offertorium contains religious elements. 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.
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? Retrieved from ” https: She composed it for Gidon Kremer, who gave the first performance, Leif Segerstam conducting, lffertorium 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.