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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Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West. Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestradirected by Leif Segerstamand was immediately lauded for its striking beauty. 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.
Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webernpassing it around various instruments to exploit their different timbres.
Wednesday, 30 October Retrieved from ” https: That she may be the most individual of the three and the most compellingly gifted is at least strongly suggested by this impressive coupling.
The final section is a slow string chorale that resembles a Russian Orthodox hymn.
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.
Like many of her other pieces, Offertorium contains religious elements. 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. Gubaidulina has offered no verbai programme for the Offertoriumso far as I know, but she has said in an interview in The Musical Times: January Learn how and when to remove this template message.
I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music. Today she is one of the biggest names in contemporary classical composition.
Gubaidulina Offertorium; Hommage
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 idiom, 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.
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. Perhaps it was a lot to absorb, for she was slow to get going as a composer. 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. 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.
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. It was a good place for the world to start discovering the composer.
Kremer, the person to whom offertorium 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.
The work takes as its overarching theme the concepts of sacrifice and offering: Offertorium, dating from the first years of her international breakthough, may be her greatest achievement. Composition Artist Credits Offertorium. Gubaidulina began working on the piece in the summer oftaking musical advice from Pyotr Meshchaninov and completing it in March 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.
Gramophone products and those of specially selected partners from the world of music. A recording, made by Kremer in Boston in Apriltook the piece around the globe. After the theme’s demise the central section is a free rhapsody. Gubaidulina Offertorium; Hommage Offertorium.
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. The structure, after fewer hearings than the work 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.
Sofia Gubaidulina’s Offertorium Details Published: 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. The all-time greats Read about the artists who changed the world of classical music.
The introduction presents the theme almost whole: Home Explore News Introducing: This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline citations.
The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme. 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? Gubaidulina was requested to prepare a shortened version, completed inalthough it is gubaidylina 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’s offertoriun reviews easier than ever before. Continue reading about Offertorium in our online programme.
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.
Sofia Gubaidulina – Offertorium
March that the Russian Orthodox overtones of that theme are due not to quotation or stylization but because ”at that moment my meaning approaches gubzidulina closely to that of church music”. 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.
Please note that any tickets booked online will not be posted until gubaidjlina office reopens.