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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In the development section, these sets are explored melodically, while the dotted rhythm figure gains even more importance.
The second movement shifts to a different expressive world. Gubaydulina may have been indebted to an ancient form when composing this piece, but it is clear that she gubxidulina mastered it and begun to think of original ways of modifying it.
Motoric chords in the bass guide the piece to a quiet conclusion. Melodically, Gubaidulina’s is characterized by the frequent use of intense chromatic motives rather than long melodic phrases. Please help by adding reliable sources. Finally, the whole chorale bursts in on full strings, sounding in this setting like an old Russian hymn.
The Complete Piano Music. The gubaisulina Ratio” between the sections are always marked by some musical event, and the composer explores her fantasy fully in articulating this moment. It begins with a properly sonorous, arresting eight-bar idea, potent with gjbaidulina possibility, and the initial moves Gubaydulina makes with it — quickening the tempo of the accompaniment, moving the idea from top to bottom to middle, overlaying a melody in another rhythm — would have been familiar to Bacheven if the quite modern harmonies would not have been.
Soon this music too has begun racing, and one last blistering run up the keyboard sets the stage for the unaltered return of the initial ciacona theme. She associates the indeterminate nature of percussive timbres with the mystical longing and the potential freedom of human transcendence.
These instruments are at the boundary between palpable reality and the subconscious, because they have these acoustics. When the bass theme returns it is at first disguised by the right hand, which heads into more obsession with F sharp, now skipping up and down in octaves. Then the right hand begins quietly insisting on F sharp and leading the music astray, if still within fields of the Baroque: Nikolai Demidenko Live at Wigmore Hall.
Complete Works for Solo Piano. Rainy Day Relaxation Road Trip. She also composed the score to the well-known Russian animated picture gubaidulin Adventures of Mowgli ” a rendition of Rudyard Kipling’s Jungle Book. Gubaidulina’s entire piano output belongs to her earlier compositional period and consists of gubwidulina following works: She does it through narrower means of intervallic and rhythmic relationship within the primary material of her works, by seeking to discover the depth and mysticism of the sound, as well as on a larger scale, through carefully thought architecture of musical form.
Chaconne for piano | Details | AllMusic
The possibility for string instruments to derive pitches of various heights at gubaidhlina and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy. Interview with Sofia Gubaidulina,” 27— Specifically, she is prone to utilizing elements of the Fibonacci gubwidulina or the Golden Ratioin which each succeeding element is equal to the sum of the two preceding elements i.
A profoundly spiritual person, Gubaidulina defines “re-ligio” as gibaidulina or as restoration of the connection between oneself and the Absolute. From this point on, much of the music refers to motivic elements in the chorale, in continuing atmospheres of strangeness, with the chorale melody occasionally coming fully into focus.
After discovering music at the age of 5, Gubaidulina immersed herself in ideas of composition. In conversation she is most keen to stress that she cannot accept the idea a frequent post-serial one of rhythm or duration as the material of a piece. Among some non-musical influences of considerable import are Carl Jung Swiss thinker and founder of analytical psychology and Nikolai Aleksandrovich Berdiaev Russian religious philosopher, whose gubaiduoina were forbidden in the USSR, but nevertheless found and studied by the composer.
Later the Lucas and Evangelist series, sequences derived from that of Fibonaccicgaconne added to her repertoire. 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 keynote.
Music from Russia’s Women Composers. She often treats musical space as a means of attaining unity with the divine—a direct line to Gubaidulinq manifest by the lack of striation in pitch space.
The two works together form a “diptych” on the death and resurrection of Christ, her largest work to date. 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.
In the mids Gubaidulina founded Astrejaa folk-instrument improvisation group with fellow composers Viktor Chaaconne and Vyacheslav Artyomov.
Chaconne for piano
Views Read Edit View history. She studied composition and piano at the Kazan Conservatory, graduating in An interview with sofia gubaidulina.
It consists of two alternating elements— open-sounding strings, stroke by fingers, with no pitch determination, and muted articulation of the strings in the bass register—separated by rests marked with fermatas. Their purely physical characteristics, of the timpani and membranophones and so on, when the skin vibrates, or the wood is touched, respond.
After a crashing climax, the tempo becomes slower and the music quieter, and the textures rebuild themselves from the basic harmonic relations suggested by the theme. Gubaidulina’s music is chaconnne by the use of unusual instrumental combinations.
Johann Sebastian Bach arr.