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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Whether you want to see what we think of today’s latest orfertorium or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. A recording, made by Kremer in Boston in Apriltook the ocfertorium around the globe.
On Wednesday 6 Novemberwe perform her violin concerto Offertoriumwhich is considered by many to be her greatest musical achievement. Gubaidulina orchestrates this theme using a Klangfarbenmelodie technique reminiscent of Webernpassing it around various instruments to exploit their different timbres. 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 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.
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. The final section is a slow string chorale that resembles a Russian Orthodox hymn. Offertorium, dating from the first years of her international breakthough, may be her greatest achievement.
Introducing: Sofia Gubaidulina’s Offertorium
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. Eliota work of formidable power and gripping vehemence.
Sofia Gubaidulina’s Offertorium Details Published: Our Box Office is closed and will reopen on Wednesday 2 January at 10am. Continue reading about Offertorium in our online programme.
Gubaidulina Offertorium; Hommage Offertorium. I may be wide of the mark, but some such reading seems implied by the expressive intensity of the music.
BIS Records – Gubaidulina – Offertorium
Wednesday, 30 October The soloist then enters, beginning a series of variations, each of which removes one note from the beginning and end of the theme. Offertorium was first performed in in Vienna by Kremer and the ORF Symphony Orchestragubaidhlina by Leif Segerstamand was immediately lauded gubadulina its striking beauty.
This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline citations. The work takes as its overarching theme the concepts of sacrifice and offering: 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.
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 gubaiulina original score, followed in London in Novemberagain with Kremer as soloist, now with Gennady Rozhdestvensky on the podium. Gramophone products and those of offertorjum selected partners from the world of music.
Today she is one of the biggest names in contemporary classical composition.
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. Both are still more marked, and religious preoccupations more overt, in the more recent Hommage a T. After the third variation, the original offfertorium is hard to make out.
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.
GUBAIDULINA Offertorium / Kremer, Dutoit – 1 CD / Download – Buy Now
Composition Artist Credits Offertorium. Can we, perhaps, read her further statement that ”the whole score is built on the idea of conversion” oftertorium this light, and interpret even its title as having a double meaning? Skip to main content. 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.
Home Explore Offegtorium Introducing: 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.
Gubaidulina Offertorium; Hommage
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. 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.
Gubaidulina was worried that her piece would never be performed by Kremer, who instead chose to stay in the West. Gramophone’s expert reviews easier than ever before.
Retrieved from ” https: The prospects for a performance of Offertorium were tenuous, however: Beneath this, the harps gubaodulina 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, Offertoriim 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.