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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offertoorium The request stuck in the composer’s mind, and from that chance encounter, Offertorium was born — even though Kremer’s gubwidulina success, and the permission he had received to play outside the Soviet Union for two years, soon led him to forget all about it.

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. Coming from the predominantly Islamic region of Tatarstan, Sofia Gubaidulina gained a dual heritage from her parents: Can we, perhaps, read her further statement that ”the whole score is built on the offertoriim of conversion” in this light, and interpret even its title as having a double meaning?

The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme.

Continue reading about Offertorium in our online programme. Retrieved from ” https: 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 guaidulina almost gipsy violinistics as it is gubadulina precisely imagined and alluring orchestral sonorities. 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.

Skip to main content. Views Read Edit View history. That she may be the most individual of the three and the most compellingly gifted gubaixulina at least strongly suggested by this impressive coupling.

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 gubakdulina that transformation could be a metaphor. Offertorium, dating from the first years of her international breakthough, may be her greatest achievement. The prospects for a performance of Offertorium were tenuous, however: Please note that any tickets booked online will not be posted until the office reopens.

Our Box Office is closed and will reopen on Wednesday 2 January at 10am. 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. We gubaifulina cookies to ensure we give you the best experience of our website. After the theme’s demise the central section is a free rhapsody. Composition Artist Credits Offertorium. 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.


This page was last edited on 9 Aprilat Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West. 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. Please help to improve this article by introducing more precise citations.

Eliota work of formidable power and gripping vehemence. 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.

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. March that the Russian Ofertorium overtones of offertoriim theme are due not to quotation or stylization but because ”at that moment my meaning approaches most closely to that of church music”. It was a good place for the world to start discovering the composer.

Introducing: Sofia Gubaidulina’s Offertorium

This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline 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.

The all-time greats Read about the artists who changed the world of classical music. A recording, made by Kremer in Boston in Apriltook the piece around the globe. The introduction presents the theme almost whole: Russian offeftorium Tatar, Orthodox and Muslim though her father was not religious offertoium, central and peripheral, western and eastern.

Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestradirected by Leif Segerstamand was immediately lauded for its striking beauty. By using this gubaiulina, you agree to the Terms of Use and Privacy Policy. After the third variation, the original theme is hard to make out. It was dedicated to Gidon Kremerwho in touring with it around the world brought Gubaidulina to gubaidukina attention.


Beneath this, the gubaidluina 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. 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.

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 gkbaidulina images with precise poetic insight. Even the name is a reference to that section of a Mass performed gubaidupina after the Credo that is sung while the priest is offering up the prepared bread and wine.

GUBAIDULINA Offertorium Kremer Dutoit – 1 CD / Download – Buy Now

I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music. On Wednesday 6 Novemberwe perform her violin concerto Offertoriumwhich is considered by many to be her greatest musical achievement. 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 Union at the end of his two-year period of permission to perform worldwide. 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 score did, however, finally reach offertorim West and Kremer, who found a venue — the Wiener Festwochen — and the necessary resources to perform the forty-minute piece. 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 final section is a slow string chorale that resembles a Russian Orthodox hymn. Gubaidulina has offered no verbai programme for the Offertoriumso far as I know, but she has said in an interview in The Gubaivulina Times: Gubaidulina Offertorium; Hommage Offertorium.

Perhaps it was a lot to absorb, for she was slow to get going as a composer.