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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Finally, the whole chorale bursts in on full strings, sounding in this setting like an old Russian hymn. Sexy Gubaidluina All Moods. The work follows the classical formal structure in 3 movements: 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.

As Gerard McBurney states:.

Four motives gubaivulina sets are utilized throughout the entire sonatawhich also constitute the cyclical elements upon which the rhetoric of the piece is constructed.

Indiana University Press, Interview with Sofia Gubaidulina”, Sonata for Violin and Violoncello, Gubaidulina explains.

A simple ternary form with a cadenza—AB cadenza A, the B section represents an acoustic departure as the chromatic figurations in the left hand, originating in section A, are muted. 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.


From Tubaidulina, the free encyclopedia.

Chaconne for piano

Nikolai Demidenko Live at Wigmore Hall. She achieves this through the use of micro-chromaticism i.

In the development section, these sets are explored melodically, while the dotted rhythm figure gains even more importance. December Learn how and when to remove this template message. Rainy Day Relaxation Road Trip.

Retrieved 16 September The Republic of Tatarstan Academy of Sciences. Brahms, who also made a transcription, for piano left hand, had this to say: Her contribution was the Johannes-Passion.

This collection he published as Das musikalische Opfer The Musical Offering cnaconne, with a dedication to the man who had prompted it.

In Moscow she undertook further studies at the Conservatory with Nikolay Peyko untiland then with Shebalin until Johann Sebastian Bach arr. This numerical layout represents the balanced nature in her music through a sense of cell multiplication between live and non-live substances. In the mids Gubaidulina guhaidulina Astrejaa folk-instrument improvisation group with fellow composers Gybaidulina Suslin and Vyacheslav Artyomov.

Views Read Edit View history. Finally a fugato, nervous and thrilling, takes off from the wreckage of one particularly emphatic series of chords, signaling Gubaydulina ‘s complete abandonment of the eight-bar form. Rachmaninov, Gubaidulina, Tchaikovsky, Scriabin. This section of a biography of a living person needs additional citations for verification.

The two works together form a “diptych” on the death and resurrection of Christ, her largest work to date. Written on a commission from pianist Marina Mdivani inSofiya Gubaydulina ‘s Ciacona has been deemed a “student work” by its author, not worthy of the same recognition as pieces written only a few years later saw the composition of what she considered her “opus one”.


Sofia Gubaidulina – Chaconne () – Music Sales Classical

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. The six-part ricercar, in C minor, has the second, third, and fourth voices each entering when the immediately preceding voice has got to the end of the royal theme, producing an effect of variation form.

These instruments are at the boundary between palpable reality and the subconscious, because they have these acoustics. Rhythmically, Gubaidulina places significant stress on the fact that temporal ratios should not be limited to local figuration; rather, the temporality of the musical form should be the defining feature of rhythmic character.

This evening we hear an arrangement for strings by Torsten Johann, kindly made available by the Freiburg Baroque Orchestra. This page was last edited on 9 Decemberat This notion is furthered by her extreme dichotomy characterized by chromatic space vs.