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Product details
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Track Listings
| 1. Seven Words for violincello, bayan and strings |
| 2. Ten Preludes for violincello solo |
| 3. De profundis for bayan solo |
Product Description
CD Description
The composer from the Tartar Republic of the former Soviet Union is a unique figure in contemporary music, and the first ECM album of her compositions underlines many of the strengths of her work, foremost among them a deep feeling for sound and texture. As a colourist, too, Gubaidulina has few equals, and the way in which she mixes "folk" and "concert" instruments - in this case the bayan (the Russian button accordion), the violoncello and strings - is exceptional. Tremendous performances by Elsbeth Moser, Boris Pergamenschikow and the Münchener Kammerorchester under Christoph Poppen.
Recorded 2001
Personnel: Elsbeth Moser (bayan), Boris Pergamentschikow (cello), Münchener Kammerorchester, Christoph Poppen (conductor)
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3.0 out of 5 stars (1 customer review)
2 of 2 people found the following review helpful:
3.0 out of 5 stars
A good solo accordion work, but a lesser "Seven Words", and Ten Preludes doesn't sell a disc, 19 July 2008
By Christopher Culver - Published on Amazon.com
This review is from: Sofia Gubaidulina (Audio CD)
It's a real shame that this 2002 ECM disc was never released in the United States, as it is generally a smartly made production that merits being more widely available. In the early part of her mature career, Gubaidulina wrote highly original music for the bayan, a traditional Russian accordion, and cello. Here we get two solo works for each of the instruments, and then hear them in combination with a string orchestra. Elsbeth Moser performs on bayan, Boris Pergamenschikow on cello, and Christoph Poppen leads the Muenchener Kammerorchester.
The collection "Ten Preludes" for solo piano (1974) began as a pedagogical exercise, and in fact were originally titled "Ten Etudes". The work has been performed many times since its premier in 1977, and are probably one of Gubaidulina's most-recorded efforts. While musically not all of these are very interesting, some of them do entertain. It is interesting to see Gubaidulina's first exploration of the techniques that would later play a great role in her "Canticle to the Sun" work for cello, choir, and orchestra.
The bayan has appealed to Gubaidulina because it "breathes", and thus can seen seen as having a distinct and human spirit. "De profundis" (1978) was Gubaidulina's first piece for the instrument and was dedicated to Friedrich Lips, who thirty years later continues to champion her music. The atmosphere here is the human side of prayer. "Out of the depths I have cried..." says the psalmist, and here the accordion is constantly active, with writing so frenetic and challenging that the instrument approximates an organ. I like this performance by Elsbeth Moser a lot, and would recommend it over Geir Draugsvoll's classical accordion performance on a BIS disc.
"Seven Words" for bayan, cello, and strings (1980), the "...of Christ on the Cross" left out of the title to avoid problems from Soviet music bureacrats, is one of Gubaidulina's best works, and has gained a wide audience leading to frequent performance and recording. Each of its seven movements consists of variations and mutations on the same several motives. There is a "crucifiction" motive where a pitch sounds on the violin with the simultaneous sounding of a glissando between a semitone above and below that pitch, clear cruciform symbolism. The music Schuetz used to set Christ's words "I Thirst" appears as another motive throughout the work. In spite of the sadness of its theme, the piece is a moving and uplifting experience for the believer. The sound quality of this ECM recording is good, but I don't like the tempos so much and there are places where it seems Poppen just doesn't get it. However, I find the tempos in this performance a bit too quick. I prefer to hear the piece on the Naxos disc with Elsbeth Moser on bayan, Maria Kliegel on cello and the Camerata Transsylvanica led by Gyorgy Selmeczi.
The liner notes are informative about Gubaidulina's career and the ideas behind the pieces. There's original photography of the composer, including her surrounded by the folk instruments she accumulated while being part of the "Astreya" improvisation ensemble.
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