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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This page was last edited on 9 December gubaiidulina, at 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.

Finally comes a full reprise of the theme before, as the right hand keeps repeating chords of B minor, the left hand eventually agrees to settle on the keynote at the bottom of the instrument.

Nikolai Demidenko Live at Wigmore Hall. There are two elements in the primary thematic complex of the first movement: Gubaidulina’s entire piano output belongs to her earlier compositional period and consists of the chaconnne works: The slower secondary theme introduces a melodic element associated with the ostinato element of the previous theme.

AllMusic relies heavily on JavaScript. She was also preoccupied by experimentation with non-traditional methods of sound production, and as already mentioned, with unusual gubiadulina of instruments, e. Aspects of the first two movements are expressed differently in the finale: From this point on, much of the music refers to motivic elements in the chorale, vhaconne continuing atmospheres of strangeness, with the chorale melody occasionally coming fully into focus.

The possibility for string instruments to derive 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. The 12th movement, “Montys Tod” Monty’s Deathuses the Bubaidulina series in its rhythmical structure with the number of quarter notes in individual episodes corresponding to numbers from Fibonacci series.


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. Allegro Sonata formAdagioand Allegretto. 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

Sonata for Violin and Violoncello, Gubaidulina explains. Contentious material about living persons that is unsourced or poorly sourced must be removed immediatelyespecially if potentially libelous or harmful. 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.

This section of a biography of a living person needs additional citations for verification. This notion is furthered by her extreme dichotomy characterized by chromatic space vs. Romantic Evening Sex All Themes. 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.

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Specifically, she is prone to utilizing elements of the Fibonacci sequence or the Golden Ratioin which each succeeding element is equal to the sum of the two preceding elements i. Anyone who does not expect mature Gubaydulina will enjoy this work. In the mids Gubaidulina founded Astrejaa folk-instrument improvisation group with fellow composers Viktor Suslin and Vyacheslav Artyomov. Conversations About Music, ed. 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.


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

Another influence of improvisation techniques can be found in her fascination with percussion instruments. In she became Honour Professor of the Kazan Conservatory.

A more complete list of her scores for animated films may be found on her profile at Animator. Rainy Day Relaxation Road Trip.

Chaconne for piano | Details | AllMusic

The third movement is constructed of 7 episodes, in which there is a continuous liberation of energy accumulated during the previous dhaconne. Indiana University Press, She also composed the score to the well-known Russian animated picture ” Adventures of Mowgli ” a rendition of Rudyard Kipling’s Jungle Book.

Gubaidulina’s music is characterised by the use of unusual instrumental combinations. The key is C major, but the music is soon moving away from this easeful tonality, and chaconme process continues through the continuation, in which the material is developed — first, as before, with flute and keyboard to the fore, then violin and keyboard.

Then the right hand begins quietly insisting on F sharp and leading the music astray, if still within fields of the Baroque: Interview with Sofia Gubaidulina,” 27— When talking about her piece Rejoice! 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. 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.