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):||20 May 2014|
|PDF File Size:||17.71 Mb|
|ePub File Size:||11.90 Mb|
|Price:||Free* [*Free Regsitration Required]|
The prospects for a performance of Offertorium were tenuous, however: Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West.
Introducing: Sofia Gubaidulina’s Offertorium
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 name of Sofia Gubaidulina has been heard more 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. Views Read Edit View history.
In fact, Gubaidulina was unofficially criticized by Tikhon Khrennikov for her heavy use of religion as inspiration. She was thirty by the time she produced her first notable piece, her now much-performed Chaconne for piano, ofvertorium nearly sixty before her name was known at all outside Russia.
January Learn how and when to remove this template message.
Gubaidulina – Offertorium
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. Gubaidulina has offered no verbai programme for the Offertoriumso far as I know, but she has said in an interview in The Musical Times: Gubaidulina Offertorium; Hommage Offertorium.
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.
From Wikipedia, the free encyclopedia. Retrieved from ” https: Gubaidulina began working on the piece in the summer oftaking musical advice from Pyotr Meshchaninov and completing it in March It was dedicated to Gidon Kremerwho in touring with it around the world brought Gubaidulina to international attention. In uniting gubbaidulina 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.
That she may be the most individual of the three and the most compellingly gifted is at least strongly suggested by this impressive coupling.
Sofia Gubaidulina’s Offertorium Details Published: 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. The soloist then enters, beginning a offertoriim of variations, each of which removes one note from the beginning and end of the theme.
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.
GUBAIDULINA Offertorium / Kremer, Dutoit – 1 CD / Download – Buy Now
Composition Artist Credits Offertorium. The score did, however, finally reach the West and Kremer, who offwrtorium a venue — the Wiener Festwochen offetrorium and the necessary resources to perform the forty-minute piece.
Gramophone’s expert reviews easier than ever before. This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it offertoriuj inline citations. Today she is one of the biggest names in contemporary classical composition. Wednesday, 30 October On Wednesday 6 Novemberwe perform her violin concerto Offertoriumwhich is considered by many to be her greatest musical achievement.
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. 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.
The structure, after fewer hearings than the gubaiduulina 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.
Introducing: Sofia Gubaidulina’s Offertorium | News | Explore
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.
Gramophone products and those of specially selected partners offerforium the world of music. Beneath this, the harps and piano reconstruct the theme note by note, in reverse retrogradeoffeetorium process that concludes only at the very end with a complete statement from the solo violin. 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.
Kremer, the person to whom it had been dedicated and given to perform, was at odds with the Moscow government for refusing offerorium return to the Soviet Union at the end of his two-year period of permission to perform worldwide.
Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webernpassing it around various instruments to exploit their different timbres.