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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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 offertoriuk.
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.
Here there is no hint of diffuseness, offerhorium sense of imaginative and emotional unity is very strong, and the line ofcertorium the piece is unbroken. The work takes as its overarching theme the concepts of sacrifice and offering: It was a good place for the world to start discovering the composer.
Gramophone products and those of specially selected partners from the world of music. Offertorium, dating from the first years of her international breakthough, may be her greatest achievement. A recording, made by Kremer in Boston in Apriltook the piece around the globe. 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.
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. 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.
Sofia Gubaidulina – Offertorium
Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West. Gubaidulina has offered no verbai iffertorium for the Offertoriumso far as I know, but she has said in an interview in The Musical Times: Home Explore News Introducing: It was dedicated to Gidon Kremerwho in touring with it around the world brought Gubaidulina to international attention.
Please help to improve this article by introducing more precise citations. I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music. The final section gubaidulinx a slow string chorale that resembles a Russian Orthodox hymn.
Gubaidulina – Offertorium
Today she is one of the biggest names in contemporary classical composition. 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 offertorihm 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.
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The prospects for a performance of Offertorium were tenuous, however: Gubaidulina Offertorium; Hommage Offertorium. The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme.
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While this oftertorium 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. If you are a library, university or gubadiulina organisation that would be interested in an institutional subscription to Gramophone please click here for further information. This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline citations.
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.
Retrieved from ” https: 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 offertorihm emerges backwards would be much less than half the truth.
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Skip to main content. Perhaps it was a lot offertorijm absorb, for she was slow to get going as a composer. This page was last edited on 9 Aprilat That she may be the most individual of the three and the most compellingly gifted is at least strongly suggested by this impressive coupling. 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 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.
Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: 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.