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.

Author: Nele Kajimi
Country: Guadeloupe
Language: English (Spanish)
Genre: Software
Published (Last): 5 March 2010
Pages: 14
PDF File Size: 18.39 Mb
ePub File Size: 8.13 Mb
ISBN: 378-8-11963-852-8
Downloads: 32639
Price: Free* [*Free Regsitration Required]
Uploader: Bralkis

Gramophone’s otfertorium reviews easier than ever before. The work takes as its overarching theme the concepts of sacrifice and offering: I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music.

Retrieved from ” https: Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West.


By using this site, you agree to the Terms of Use and Privacy Policy. It was a good place for the world to start discovering the composer. Russian and Tatar, Orthodox and Muslim though her father was not religiouscentral and peripheral, western and eastern.

From Wikipedia, the free encyclopedia. She was thirty by the time she produced her first notable piece, her now much-performed Chaconne for piano, and nearly sixty offertogium her name was known at all outside Russia.

The ‘reconstructed’ theme is in fact as remote from Bach and from serialism as one could imagine; a very long, ofefrtorium sonorous and memorably beautiful melody, of clearly religious chant-like cast. Today she is one of the biggest names in contemporary classical composition.

Gubaidulina has offered no verbai programme for the Offertoriumso far as I know, but she has said in an interview in The Musical Times: 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. 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.


Composition Artist Credits Offertorium. Please note that any tickets booked online will not be posted until the office reopens.

Like many of her other pieces, Offertorium contains religious elements. 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.

Gubaidulina Offertorium; Hommage |

Offertorium, dating from the first years of her international breakthough, may be her greatest achievement. Wednesday, 30 October January Learn how and when to remove this template message. 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. After the theme’s demise the central section is a free rhapsody. Both are still more marked, and religious preoccupations more overt, in the more recent Hommage a T.

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.

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. Gramophone products and those of specially selected partners from the world of music. Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webernpassing it ggubaidulina various instruments to exploit their different timbres.

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. In fact, Gubaidulina was unofficially gubaidilina by Tikhon Khrennikov for her heavy use of religion gubaiduliina inspiration. Gubaidulina Offertorium; Hommage Offertorium.


BIS Records – Gubaidulina – Offertorium

Our Box Office is closed and will reopen on Wednesday 2 January at 10am. Even the name is a reference to that section of a Mass performed immediately after the Credo that is sung while gubaodulina priest is offering up the prepared bread and wine.

After the third ogfertorium, the original theme is hard to make out. 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? Please help to improve this article by introducing more precise citations.

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. 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.

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 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.

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. 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.