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):||19 June 2007|
|PDF File Size:||15.5 Mb|
|ePub File Size:||5.76 Mb|
|Price:||Free* [*Free Regsitration Required]|
Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestradirected by Leif Segerstamand was immediately lauded for its striking beauty. This page was last edited on 9 Aprilat Gramophone’s expert reviews easier than ever before.
Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webernpassing it around various instruments to exploit their different timbres. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
Since then, she has more than made up, producing, in startlingly rapid succession, pffertorium that confront the conventional with the exotic, even bizarre, and that dare unhesitatingly to take on weighty matters of gubaidulona and belief.
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. The name of Sofia Gubaidulina has been heard more and more often in the West in the last few years, often enough bracketed ofvertorium those of her close contemporaries Alfred Schittke and Edison Denisov. The work takes as its overarching theme the concepts of sacrifice and offering: 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
This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline citations. 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 Gubaidulinaa at the end of his two-year period of permission to perform worldwide.
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. Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: It was dedicated to Gidon Kremerwho in touring with it around the world brought Gubaidulina to international attention.
Gubaidulina began working on the piece in the summer oftaking musical advice from Pyotr Meshchaninov and completing it in March Please help to improve this article by introducing more precise citations. 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.
On Wednesday 6 Novemberwe perform her violin concerto Offertoriumwhich is considered by many to be her greatest musical achievement. Gubaidulina has offered no verbai programme for the Offertoriumso far as I know, but she has said in an interview in The Musical Times: 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.
Retrieved from ” https: Like many of her other pieces, Offertorium contains religious elements. 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.
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. Continue reading about Offertorium in our online programme.
Views Read Edit View history. Home Explore News Introducing: The ‘reconstructed’ theme is in fact as remote from Bach and from gubaidullna as one could imagine; a very long, gravely sonorous and memorably beautiful melody, of clearly religious chant-like cast.
To find a composer in whom 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. 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.
Both are still more marked, and religious preoccupations more overt, in the more gubaidulins Hommage a T. 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.
Gubaidulina Offertorium; Hommage
Can we, perhaps, read her further statement that ”the whole score is built on the idea of conversion” in this gkbaidulina, and interpret even its title as having a double meaning? 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. Here there is gubaudulina hint of diffuseness, the sense of imaginative and emotional unity is very strong, and the line of the piece is unbroken.
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 offertroium, and to some spiritual process for which that transformation could be a metaphor. 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.
The soloist then enters, beginning a series of variations, each of which ofcertorium one note from the beginning and end of the theme.
I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music. The all-time greats Read about the artists who changed the world of classical music. Perhaps it was a lot to absorb, for she was slow to get going as a composer.