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Born in Chistopol in the Tatar Republic of the Soviet Union, Sofia Gubaidulina received instruction in piano and composition at the Kazan Conservatory, studied composition with Nikolai Peiko at the Moscow Conservatory, and pursued graduate studies there under Vissarion Shebalin. Prior to 1992 she lived in Moscow, but has since made her primary residence in Germany, outside Hamburg. Gubaidulina is the author of symphonic and choral works, two cello concertos, a viola concerto, four string quartets, a string trio, works for percussion ensemble, and many works for nonstandard instruments and distinctive combinations of instruments. Her scores frequently explore unconventional techniques of sound production. Since 1985, when she was first allowed to travel to the West, Gubaidulina's stature in the world of contemporary music has skyrocketed. She has been the recipient of prestigious commissions from the Berlin, Helsinki, and Holland Festivals, the Library of Congress, the Chicago Symphony Orchestra, the New York Philharmonic, and many other organizations and ensembles. (classical.net) - - - The bayan is a Russian accordion with a distinctively Eastern European timbre that Gubaidulina has featured in several of her works. Her idiomatic writing for the instrument exploits its coloristic and expressive range as both a melodic and harmonic instrument. In Fachwerk for bayan, percussion, and strings, she uses the percussion with great subtlety as a member of the accompanying forces to provide color and a rhythmic and dynamic foundation for the strings, rather than falling into the temptation of exploiting its potential for taking center stage. The piece doesn't feel quite like a concerto because the bayan is so thoroughly integrated into the orchestral textures. Gubaidulina has a gift for creating memorable colors that serve as structural element and that gives her music much of it character. Fachwerk has a largely contemplative tone, but toward the end it begins to build to a trmendous climax. Silenzio for bayan, violin, and cello is, as its title would suggest, largely a very quiet piece, and like much of the composer's music its unfolding is more textural than motivic. Both works, in their mood, tonal language (which is not traditionally tonal but makes use of free-floating tonal elements), and direct expressiveness, situate Gubaidulina in the mystical tradition of Valentin Silvestrov and Edison Denisov. The performers, including bayan player Geir Draugsvoll, percussionist Anders Loguin, violinist Geir Inge Lotsberg, cellist and conductor Oyvind Gimse, and the Trondheim Symphony Orchestra, play with intense focus and attention to tonal purity. Naxos sound is clean, detailed, and atmospheric, with excellent depth. (allmusic.com) - - - Sofia Gubaidulina - Fachwerk. Silenzio 2011 (Naxos) 1. Fachwerk for Bayan, Percussion & String Orchestra 2. Silenzio for Bayan, Violin & Cello I 3. Silenzio for Bayan, Violin & Cello II 4. Silenzio for Bayan, Violin & Cello III 5. Silenzio for Bayan, Violin & Cello IV 6. Silenzio for Bayan, Violin & Cello V Geir Draugsvoll, bayan Anders Loguin, slagverk Geir Inge Lotsberg, violin Trondheim Symphony Orchestra Strings Oyvind Gimse, violoncell, dir.
|Sofia Gubaidulina - Fachwerk - Silenzio 2011/01. Fachwerk for Bayan, Percussion & String Orchestra.flac||144.356 MB|
|Sofia Gubaidulina - Fachwerk - Silenzio 2011/02. Silenzio for Bayan, Violin & Cello I.flac||15.496 MB|
|Sofia Gubaidulina - Fachwerk - Silenzio 2011/03. Silenzio for Bayan, Violin & Cello II.flac||10.196 MB|