Sofia Gubaidulina. Chaconne for piano. Composition Information ↓; Description ↓; Appears On ↓. Share on. facebook · twitter · tumblr. Sofia Gubaidulina. Publisher: G. Schirmer. Chaconne (). Work Notes. available in the USA, Canada and Mexico only. Publisher. Hans Sikorski/VAAP. Sofia Gubaidulina (b. ) Chaconne (). Gubaidulina composed this piece, one of the earliest in her catalogue, in , when she was.
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The piece plays for twelve minutes or so. These instruments are at the boundary between palpable reality and the subconscious, because they have these acoustics. Interview with Sofia Gubaidulina,” 27— Harmonically, Gubaidulina’s music resists traditional tonal centers and triadic structures in favor of pitch clusters and intervallic design arising from the contrapuntal interaction between melodic voices. It is true that Gubaydulina ‘s mature style is present here only in occasional glimmers and foretastes, but the Ciacona is nevertheless quite a satisfying work to listen to, the product of both a good student of music at work and a ferocious creative temperament which would eventually find its full expression.
Later, the double bass has another solo, tremolando and with sliding bow, from which it moves toward an implacable ostinato drawn from the chorale.
Each motive is given a particular name: In keeping with Baroque tradition — soon to be exemplified in this concert — the work is based on an eight-bar bass moving slowly and with gravity, though Gubaidulina makes this a bass in duple time rather than the orthodox triple.
Retrieved on September 6, SinceGubaidulina has lived in HamburgGermany. As Gerard McBurney states:. Share on facebook twitter tumblr. Articles with Tatar-language external links All articles with unsourced statements Articles with unsourced statements from August All articles with dead external links Articles with dead external links from November Articles with permanently dead external links Articles with dead external links from March CS1 maint: Two distinct aspects of the sonata—the driving force and the meditative state—can be seen through the architecture of the work as portraying the image of the cross.
Gubaidulina quickly learned to keep her spiritual interests secret from her parents and other adults since the Soviet Union was against any religious ideas.
Chaconne for piano
Music from Russia’s Women Composers. Elements of the theme are treated in dialogue by the solo flute and gubaidulkna, but the keyboard comes to assert itself as the dominant solo instrument, chacobne passages where it is unaccompanied. The third movement “celebrates the newly obtained freedom of the spirit”. A more complete list of her scores for animated films may be found on her profile at Animator. Contentious material about living persons that is unsourced or poorly sourced must be removed immediatelyespecially if potentially libelous or harmful.
One thing it cannot do, of course, is sustain notes, and this difference from the flute and violin is exploited in widening divergences of speed, to the point where the keyboard is careering in thirty-seconds against whole notes from the other soloists. When talking about her piece Rejoice! Sonata for Violin and Violoncello, Gubaidulina explains.
Sofia Gubaidulina – Chaconne () – Music Sales Classical
This collection he published as Das musikalische Opfer The Musical Offeringwith a dedication to the man who had prompted it. The harpsichord, however, has the last word, closing chhaconne a sequence of chords whose top notes spell out B—A—C—H. Finally, the whole chorale bursts in on full strings, sounding in this setting like an old Russian hymn.
She studied composition and piano at the Kazan Conservatory, graduating in Early as the piece is, it makes a powerful effect and projects typical Gubaidulinian matters of determination and conflict, exhilaration and exhaustion. The two works together form a “diptych” on the death and resurrection of Christ, her largest work to date.
The young king presented the aging composer with a theme, and asked him to improvise a fugue, which Bach duly did.
In she became Honour Professor of the Kazan Conservatory. The first movement is related to the “horizontal” line, which symbolizes human experience while the second movement reflects the “vertical” line, which represents man’s striving for full realization in the Divine.
Melodically, Gubaidulina’s is characterized by the frequent use of intense chromatic motives rather than long melodic phrases. Only the soloists take part in the slow movement, which opens with an eight-measure duet for flute and keyboard, with pizzicato violin accompaniment, followed by a variation for violin and keyboard with flute accompanying.
To this end, Gubaidulina often devises durational ratios in order to create the temporal forms for her compositions.
Gubaidulina became better known abroad during the early s through Gidon Kremer ‘s championing of her violin concerto Offertorium. Retrieved from ” https: This notion is furthered by her extreme dichotomy characterized by chromatic space vs. Sixty-four times it comes, on through a middle section in the major variationsall the time supporting counterpoint that implies up to seven simultaneous lines, until finally the voices spiral into the chacone.
Gubaydulina may have been indebted to an ancient form when composing this piece, but it is clear that she had mastered it and begun to think of original ways of modifying it.