Sofija Asgatovna Gubajdulina — Pianoconcerto Forum

Member

Posts: 1,032
City: Castel San Pietro Terme

July 24, 2014, 10:58

Sofija Asgatovna Gubajdulina is, from my listening perspective, a giant of contemporary music,

Two days ago Italy – and in particular my region in Forlì – hosted the world premiere of her latest work. It is "Warum? Wofur? Wodurch?"

While waiting to listen to it, I am doing a total immersion into her music. Enjoy listening.

Sofija Asgatovna Gubajdulina Warum? Wofur? Wodurch?

Open content (youtube)

Aspirante

Member

Posts: 190
City: Isernia

July 24, 2014, 12:34

I know her very little, only by name because you had reported one of her awards from last year.

danielescarpetti

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Posts: 1,032
City: Castel San Pietro Terme

July 24, 2014, 13:09

Aspirante wrote:
I know her very little, only by name because you had reported one of her awards from last year.

It could be a good opportunity to get to know her better, it is truly worth it.

Aspirante

Member

Posts: 190
City: Isernia

July 25, 2014, 10:57

Ok Daniele, but which pieces should I listen to?

Can you suggest 4 or 5 different listens, so that I can get a good idea?

Thanks

danielescarpetti

Member

Posts: 1,032
City: Castel San Pietro Terme

July 25, 2014, 12:49

Aspirante wrote:
Ok Daniele, but which pieces should I listen to?
Can you suggest 4 or 5 different listens, so that I can get a good idea?
Thanks

Gubajdulina began her compositional history in the tonal realm before arriving at serialism in the mid-60s. Her great abilities in this field appeared immediately; her production manifested itself in tackling both ancient and modern texts, both Christian and pagan. For this period, I would recommend listening to: Pantomime for double bass and piano (1966), String Quartet No. 1 (1971).

Hardly attacked by Soviet critics, she was however encouraged by Dmitri Shostakovich to continue on her path. However, her great predecessor died in 1975 and the composer remained isolated. She emerged from this isolation after a short period by founding a group interested in the discovery of national folklore. In 1980, she met Gidon Kremer, who was the one who made her known to the whole world. From this partnership, Offertorium (1980) was born, a concerto for violin and orchestra that is an absolute must-listen, drawing inspiration from Johann Sebastian Bach's immense masterpiece, the Musical Offering BWV 1079. I could say that if Gubajdulina had composed even just this, she would deserve to enter the pantheon of art music.

A very religious and spiritual composer, from the 80s onwards, probably also influenced by the figure and music of Olivier Messiaen, she allowed all of this to surface in her music. And here, there is only the embarrassment of choice: I personally love the St. John Passion (2000).

Finally, to lighten things up a bit and since we are in the 21st-century section, I would say: The Light of the End for large orchestra (2003).

Gubajdulina serialismo