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Gubaidulina: Seven Words / Silenzio / In Croce

Gubaidulina: Seven Words / Silenzio / In Croce

13. Dezember 1995

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Gubaidulina: Seven Words / Silenzio / In Croce
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  • Ursprüngliches Erscheinungsdatum : 13. Dezember 1995
  • Erscheinungstermin: 13. Dezember 1995
  • Label: Naxos
  • Copyright: (C) 1995 Naxos
  • Gesamtlänge: 1:07:32
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  • ASIN: B001RSS09C
  • Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
  • Amazon Bestseller-Rang: Nr. 698.721 in Alben (Siehe Top 100 in Alben)

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Amazon.com: 4.0 von 5 Sternen 6 Rezensionen
10 von 10 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Deeply devout music from our greatest Christian composer 26. Oktober 2004
Von Christopher Culver - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This disc contains three works by Russian-Tatar composer Sofia Gubaidulina, an artist of deep religious sentiment as is apparent in these titles: "In croce", "Silenzio", and "Sieben Worte". The common instruments in these works are the cello and the bayan. The latter is a type of Russian accordian played here by Elsbeth Moser, who performed in the Western premier of "Sieben Worte" and to whom Gubaidulina dedicated "Silenzio." Cello is played by Maria Kliegel, who has performed under the approval of Rostropovich.

"In Croce" was originally written in 1979 as a piece for organ and cello, but it is represented here in a 1991 arrangement for cello and bayan by Elsbeth Moser which Gubaidulina has approved. It is an exploration of "vertical" music (the organ or bayan) intersected by the "horizontal" (cello), thus forming the cruciform symbolism so common in Gubaidulina's work. Personally, I prefer the performance of the cello and organ version by Ivashkin and Hicks released by Chandos, for the organ just seems to work better than the bayan. Still, Kliegel's cello work here is deeply moving and worth hearing, less restrained than Ivashkin's but perhaps more passionately religious.

"Silenzio" is a fragile, insubstantial piece for bayan, violin, and cello in which the vast majority of the work is played pianissimo. It consists of five "miniatures" which all maintain the same rhythmic proportion 7-2-5 in varying ways. It is an interesting experiment, but it results in the least interesting item on this disc, and it's technical brilliance comes at the expense of religious power.

"Sieben Worte (Seven Words)" for cello, bayan, and strings, is a crucial piece in this disc, and in Gubaidulina's oeuvre in general. I have said before that the composer's "Johannes-Passion" may be the greatest work of Christian piety of our time, but "Sieben Worte" follows not very long behind. It is an acknowledgement of the tradition of religious composition, and contains quotations from Heinrich Schuetz and clear influence from Haydn. Nonetheless, the bulk of the piece shows the originality of Gubaidulina through and through and has an elaborate technical basis on the cello which is too long to quote here, but which is included in the liner notes. The strings of the Camerata Transsylvanica (ironically based in Budapest after the emigration of its members) under Gyorgy Selmeczi are intense and unfaltering.

As is unfortunately usual with Naxos discs, the weak point is the liner notes. The English and German are, inexplicably, two different commentaries instead of a common text translated from one or the other. Keith Anderson's English commentary is quite interesting but poorly edited and unprofessional. Teresa Pieschacon Raphael's German commentary tells something about Gubaidulina's place in the Soviet music community which English readers too should have been able to enjoy. Though Naxos was kind enough to provide commentaries in two languages, the profile of the performers is only in English.

These three pieces, especially the last, make an excellent introduction to the work of this superlative composer, and at an economic price. This is one of the finest works in my collection, and I sincerely and passionately recommend it to just about anyone.
10 von 11 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen music to love - and hate - simultaneously 5. Februar 2001
Von M. J. Smith - Veröffentlicht auf Amazon.com
Format: Audio CD
This collection is one with which a love/hate relationship is nearly inevitable. To really listen to this music requires energic concentration - you'll be emotionally exhausted. On the other hand, other than the first piece "In croce", you may put the music on and continue about your other work - treating it almost as ambience.
While Gubaidulina has obviously been influence by chromaticism, and her choice of instruments, bayan, reflects her background Turkic Russian, she writes with a firm independence. The cello, bayan and strings are used in a way that make you think this is exactly the correct instrumentation - even after reading that "In croce" originally used an organ.
Even in "Seven Words", she does not paint "tone poems" or attempt to convey the words through music ... rather she uses music to convey in its own media what words do in theirs. This is the genius that keeps me coming back to her works even while being uncertain that I like them. I may not personally be fond of dissonance but I am always entralled by Gubaidulina's ability to use the media of music.
5 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Intense, dark, melodic, mysterious: truly masterful and unique 28. Oktober 2007
Von mianfei - Veröffentlicht auf Amazon.com
Format: Audio CD
Although my parents have listened to classical music all their lives, much of what I heard sounded either not particularly interesting (to my then less-cultured ears) or pompous (like opera singers often do).

It is only since listening to Bach and Messiaen organ works that I have taken any interest in classical music, but it is fair to say that nothing therein has surpassed "In croce" as a listening experience.

For ears that see much classical music as rather light or pompous, Gubaidulina' work on these three pieces is remarkable indeed. The bayan (a push-button accordion), violin and cello reach to depths of passion that would have been hard to imagine for me in my younger days. The way in which they weave melodies around each other and then explode in passionate fireworks during the middle of "In croce" must rank among the finest moments in any type of music this century. Sometimes I imagine some of the best post-rock bands of the 1990s wishing they could equal this! The quieter parts of "In croce" take some getting used to but are equally stunning when you realise their role in building this piece through melodies that are unimaginably soft yet still emotional like very little other music.

The two other pieces on this album, "Sieben Woerter" and "Silenzio" use the same basis of bayan, but this time with more string accompaniment. They are even softer than the soft parts of "In croce" but their beauty really shines through to reveal the same stark and passionate music. "Sieben Woerter", designed to reflect on the last seven words of Jesus on the Cross, really does exactly that. Both it and "In croce" take to listener precise to a place of truly excruciating pain - merely imagining Jesus' suffering, even for a non-believer like myself, is made easier after hearing these pieces.

It is remarkable that Gubaidulina is so overlooked in books on classical music even today. "In croce", in particular, ranks as one of the finest pieces written during the 20th century, and many of her even-lesser-known works are equally good and worth finding.
11 von 14 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Complex Spiritual Music 24. Januar 2003
Von Christopher Forbes - Veröffentlicht auf Amazon.com
Format: Audio CD
In a issue of the Catholic Reporter that I recieved from a friend, there is an article about the "new Spirituality" in music. In addition to profiling the Big Three of Holy Minimalism (Taverner, Part and Gorecki) the article includes rather extensive coverage of more disperate composers like Rautavaara and a mini section on Gubaidulina. On the face of this and similar press coverage, many have painted the Soviet composer as another Holy Minimalist, or at least a mystical neo-tonalist. An actual listen to the work of Gubaidulina shows the fallacy of such trite categorizations. Gubaidulina is fiercely individual, more adventurous than any of the other composers mentioned, deeply spiritual, with a greater wealth of ideas than Taverner, and with a broader emotional and tonal range than Part. She is also a more difficult listen, but immensely rewarding.
This Naxos CD is a nice introduction to the work of the composer. While nothing on the CD is an unadulterated masterpiece, they are all solid and serious works, challenging and rewarding in equal measure. All of the works on the CD feature banyan (Russian accordian) and cello in various combinations. In Croce is perhaps the most radical work on the disc. Originally written for organ and transcribed for accordian with the composer's permission, it is a meditation on the Cross and is carried symbolically in the form of the piece. The banyan begins with apreggiated triads over a sustained cluster in the highest register while the cello plays figures in it's lowest register. Gradually both instruments move toward each other, crossing in a powerful climax and then switching places. In the hands of some composers, this could be a mere formal device, but Gubaidulina turns it into a white hot explosion of clusters and colors. The piece is deeply felt, tragic and ultimately redemptive.
Silenzio is less explosive than In Croce, but no less challenging. Written in four movements for banyan, violin and cello, it shares the minimal textures of composers like Part, but is worlds away harmonically. Most of the movements are slow, and even the fast movement, No. 4, is static in content, as befits a piece about silence. Gubaidulina is not afraid of dissonance or of extended tonality. While she is certainly not a serial composer, neither is she blandly tonal. This piece is serious, intense, reminding one of nothing so much as a late Shostakovitch quartet.
The biggest work, in scope and ambition, on the CD is the Sieben Worte for cello, banyan and string orchestra. Each of it's seven movements is a mediation on one of the Seven Last Words of Christ. As such it continues a long tradition that stretches back at least as far as Haydn. The work is characterized by microtonal glissandi in the strings and clusters in the banyan. Gubaidulina has an obvious familiarity and affection for the work of the Polish avant-garde. Though not anywhere near as harsh as Penderecki or Lutoslowski in the 60's, she shows facility with the most avant-garde techniques, yet uses them in the service of the emotion of her music, rather than as the entire content. This is a lovely, eclectic and moving work.
None of the work on this CD is must-have Gubaidulina. For that I would go to the Offertorium, Viola Concerto or the St. John Passion (the strongest of the four pieces from the 2000 Passion Project.) But this CD does give a good overview of the composer and is marvelously performed. At the Naxos price, it's hard to pass up for anyone interested in new music.
19 von 21 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen quiet, complex, worth a try 11. Juni 2000
Von vic spicer - Veröffentlicht auf Amazon.com
Format: Audio CD
when i read that the bayan is a russian button accordian, and i was expecting something perhaps like the compositions of piazolla. boy was i wrong.
sometimes it flitters in the background, accenting its quietness with large sweeping cello motions and sad, profound strings.
other times it leaps out at you in what seem like erratic but are highly structured forms.
the juxaposition of strings and bayan is what makes these compositions immensely listenable. this isn't "easy" music, but it is fascinating.
again my thanks to naxos for bringing late 20th century music at a price that encourages a listen. even if it's totally not what you expected.
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