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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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Sofia Asgatovna Gubaidulina Russian: After discovering music at the age of 5, Gubaidulina immersed herself in ideas of composition. Gubaidulina quickly learned to keep her spiritual interests secret from her parents and gunaidulina adults since the Soviet Union was against any religious ideas.

She studied composition and piano at the Kazan Conservatory, graduating in In Moscow she undertook further studies at the Conservatory with Nikolay Peyko untiland chaconhe with Shebalin until She was awarded a Stalin fellowship.

Gubaidulina: Chaconne (page 2 of 2) | Presto Classical

She was supported, however, by Dmitri Shostakovichwho in evaluating her final examination encouraged her to continue down her path despite others calling it “mistaken”. She also composed the score to the well-known Russian animated picture ” Adventures of Mowgli ” a rendition of Rudyard Kipling’s Jungle Book.

In the mids Gubaidulina founded Astreja chacobne, a folk-instrument improvisation group with fellow composers Viktor Suslin and Vyacheslav Artyomov. Gubaidulina became better known abroad during the early s through Gidon Kremer ‘s championing of her violin concerto Offertorium. Eliotusing the text from the poet’s Four Quartets. Her contribution was the Johannes-Passion. The two works together form a “diptych” on the death and resurrection of Christ, her largest work to date.

SinceGubaidulina has lived in HamburgGermany. For Gubaidulina, music was an escape from the socio-political atmosphere of Soviet Russia. Gubaidulina is a devout member of the Russian Orthodox church. The kotoa traditional Japanese instrument is featured in her work In the Shadow of the Treein which one solo player performs three different instrument— KotoBass Koto, and Chang. The use of the lowest possible registers on the cello opens new possibilities for the instrument while the limited use of chorus also adds a mystical ambience to the work.

Another influence of improvisation techniques can be found in her fascination with percussion instruments. She associates the indeterminate nature of percussive timbres with the mystical longing and the potential freedom of human transcendence. These vhaconne are at the boundary between palpable reality and the subconscious, because they have these acoustics.

Their purely physical characteristics, of the timpani and membranophones and so on, when the skin vibrates, or the wood is touched, respond. They enter into that layer of our consciousness which is not logical, they are at the boundary between the conscious and the subconscious”.

She was also preoccupied by experimentation with non-traditional methods of sound production, and as already mentioned, with unusual combinations of instruments, e.

Gubaidulina notes that the two composers to whom she experiences a constant devotion are J. 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 works were forbidden in the USSR, but nevertheless found and studied by the composer. Bubaidulina profoundly spiritual person, Gubaidulina defines “re-ligio” as re-legato bubaidulina as gubaiduina of the connection between oneself and the Absolute.

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.


Gubaidulina’s music is characterised by chafonne use of unusual instrumental combinations. Melodically, Gubaidulina’s is characterized by the frequent use of intense chromatic motives rather than long melodic phrases.

She often treats musical space as a means of attaining unity with the divine—a direct line to God—concretely manifest by the lack of striation in pitch space. She achieves this through the use of micro-chromaticism i. This notion is furthered by her chaclnne dichotomy characterized by chromatic space vs.

Finally, another important melodic technique can be seen with her use of harmonics. When talking about her piece Rejoice! Sonata for Violin and Violoncello, Gubaidulina explains. The possibility for string instruments to chaconhe pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence.

And that is joy. 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.

Rhythmically, Gubaidulina gubaidulins 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.

As Gerard Tubaidulina states:. 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. To her, rhythm is nowadays a generating principle as, for instance, the cadence was to tonal composers of the Classical period; it therefore cannot be the surface material of a work.

To this end, Gubaidulina often devises durational ratios in order to create the temporal forms for her compositions. Specifically, she is prone to utilizing elements of the Fibonacci sequence or the Golden Ratioin which each succeeding element is chacconne to the sum of the two preceding elements i. This numerical layout represents the balanced nature gubadiulina her music through a sense of cell multiplication between live gubairulina non-live substances.

She believes that this abstract theory is the foundation of her personal musical expression. The “Golden Ratio” between the sections are always marked by some musical event, and the composer explores her chacohne fully in articulating this moment. The first work in which Dhaconne experiments with this concept of proportionality is Perceptions for Soprano, Baritone, and Seven String Instrumentsrev.

The 12th movement, “Montys Tod” Monty’s Deathuses the Fibonacci series in its rhythmical structure with the number of quarter notes in individual episodes corresponding cyaconne numbers from Fibonacci series. In the early s, she began to use the Fibonacci sequence as a way of structuring the form of the work.

The sequence was especially appealing because it provides a basis for composition while still allowing the form to “breathe”. Later the Lucas and Evangelist series, sequences derived from that of Fibonacciwere added to her repertoire. Gubaidulina’s entire piano output belongs to her earlier compositional period and consists of the following works: Some of the titles reveal her interest in baroque genres and the influence of J.

The Piano Sonata is dedicated to Henrietta Mirvisa pianist greatly admired by the composer. The work follows the classical formal structure in 3 movements: Allegro Sonata formAdagioand Allegretto. Four motives pitch sets are chaconhe throughout the entire sonatawhich also constitute the cyclical elements upon which the rhetoric of the piece is constructed.

Each motive is given a particular name: There are two elements in the primary thematic complex of the first movement: The slower secondary theme introduces a melodic element associated with the ostinato element of the previous theme.


In gubidulina development section, these sets are explored melodically, while the dotted rhythm figure gains even more importance.

In the recapitulation, the chord progression of the first thematic complex is brought to the higher registers, preparing the coda based on secondary theme cantabile element, which gradually broadens. The second movement shifts to a different expressive world. A simple ternary form with a cadenza—AB cadenza A, gubaldulina B section represents an acoustic departure as the chromatic figurations in the left hand, originating in section A, are muted.

In the cadenza the performer improvises within a framework given by the composer, inviting gugaidulina deeper exploration of the secrets of sound.

It consists of two alternating elements— open-sounding strings, stroke by fingers, with gubsidulina pitch determination, and muted articulation of the strings in the bass register—separated by rests marked with fermatas.

The third movement is constructed of 7 episodes, in which there is a continuous liberation of energy accumulated during the previous movement.

Musical expression in this work is achieved through a variety of means. Rhythm is a very important element in the construction of the work, articulating a distinct rhetoric, as well as in the development of the musical material.

Exploration of a wide range of sounds, within the possibilities of the instrument, involving both traditional and nontraditional methods of sound productions are another important gubaidulin. Some examples of the nontraditional sounds produced are a glissando performed with a bamboo stick on the piano pegs against a cluster performed on the keyboard, placing the bamboo stick on vibrating strings, plucking the strings, glissando along the strings using fingernail, touching the strings creating a muted effect.

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. 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.

The meeting point of these two lines in music happens at the end of second movement, and that reflects transformation of the human being at crossing this two dimensions. The third movement “celebrates the newly chaconbe freedom of the spirit”. In she became Honour Professor of the Kazan Conservatory.

Chaconne for piano

In she was elected as a foreign honorary member of the American Academy of Arts and Letters. The jury in its citation praised the “outstanding musical and personal qualities” of the Russian composer, and the “spiritual quality” of her work.

A more complete list of her scores for animated films may be found on her profile at Animator.

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The Republic of Tatarstan Academy of Sciences. Institution of the Tatar Encyclopaedia. Indiana University Press, Retrieved on September 6, Conversations About Music, ed. An interview with sofia gubaidulina. Interview with Sofia Gubaidulina,” 27— See also Hakobian, Interview with Sofia Gubaidulina”, Archived from the original on Banco Bilbao Vizcaya Argentaria, S. Retrieved 16 September