Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   Seven Words, Silenzio, In Croce

Год издания : 1995

Компания звукозаписи : Naxos

Время звучания : 1:07:32

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Modern Classics/SU)      

In croce, for cello & organ (or bayan)

with Elsbeth Moser, Maria Kliegel

Silenzio, pieces (5) for bayan, violin & cello

with Elsbeth Moser, Maria Kliegel, Kathrin Rabus

The Seven Last Words, for cello, bayan & strings

with Transylvanica Camerata, Elsbeth Moser, Maria Kliegel

Conducted by Gyorgy Selmeczi

The Seven Last Words, for cello, bayan & strings

Drawing upon her own faith and upon musical examples provided in past centuries by Heinrich Schutz and Franz Josef Haydn, Gubaydulina composed her Sem' slov na kreste (The Seven Words on the Cross) in 1982. Unlike the two earlier works, Gubaydulina's is entirely instrumental (although she does borrow one thematic idea from Schutz's work). The first performance of the work came in that same year of 1982, with cellist Vladimir Tonkha and bayan soloist Friedrich Lips (to whom the work is dedicated), along with the Ricercar Chamber Orchestra conducted by Y. Nikolayevsky.

In order to classify and characterize the various musical devices used in her works, Gubaydulina has created what has been dubbed a "parameter of expression." In the present work, some of the string orchestra's parts are marked "consonant expression" (i.e., played legato, with consistent sound), whereas the cello and bayan are marked "dissonant expression" (with pizzicati in the cello and tone clusters and wide leaps in the bayan). These qualities are not consistent throughout the 40-plus minutes of this work, but they do give a general idea of the musical content.

To convey the idea of the Cross, Gubaydulina relied on musical metaphors. She has written of how the cello moves "through glissandi of the neighboring strings," of how the bayan (a Russian accordion) crosses through the orchestra, and of the string orchestra's "glissando crossings from unison to multi-octave textures and again back to unison (the figure of the Cross)." The cello and bayan enter tentatively, and their isolated notes resound into space in the first movement, "Father, forgive them, for they know not what they do." Here and in the second movement, "Woman, behold thy son - Son, behold thy mother," the two soloists' spare utterances are followed by a ghostly chorale from the string orchestra. Throughout, the reedy sound of the bayan reminds the listener of the instrument's folk origins.

An expressionistic cello line is juxtaposed with those ethereal strings in movement three, "Verily, I say unto thee: today thou shalt be with me in paradise." In the fourth movement, "My God, my God, why hast thou forsaken me?," the very earthbound sounds of the cello and bayan offer strong contrasts with the almost disembodied sounds of the string orchestra. The music becomes strident and intense at this point. By contrast, "I thirst," the fifth movement, is very spare and desolate. Aggressive tone clusters from the bayan mark "It is accomplished," with gently rocking strings in the background. The final movement, "Father, into thy hands I commend my spirit," begins with quiet gestures from the cello and bayan. The strings join in, and the texture grows dense and anxious. But the tension recedes and the music ends quietly.

- Chris Morrison

  Соисполнители :

Elsbeth Moser (Bayan)
Gyorgy Selmeczi (Conductor)
Kathrin Rabus (Violin)
Maria Kliegel (Cello)

№ п/п

Наименование трека



   1 In Croce, For Cello & Organ (or Bayan)         0:15:25  
   2 I.         0:04:11 Silenzio, For Bayan, Violin, And Cello
   3 II.         0:02:33 -"-
   4 III.         0:02:48 -"-
   5 IV.         0:01:19 -"-
   6 V.         0:07:45 -"-
   7 The Seven Last Words, For Cello, Bayan & Strings / Vater, Vergib Ihnen, Denn Sie Wissen Nicht, Was Sie Tun         0:04:31 Father, Forgive Them, For They Know Not Who...
   8 Weib, Siehe, Das Ist Dein Sohn. - Siehe, Das Ist Deine Mutter         0:04:13 Woman, Behold Thy Son. Son, Behold
   9 Warlich, Ich Sage Dir: Heute Wirst Du Mit Mir Im Paradiese Sein         0:03:51 Verily, I Say Unto Thee: Today The...
   10 Mein Gott, Mein Gott, Warum Hast Du Mich Verlassen?         0:09:12 My God, My God, Why Hast Thou Forsaken Me?
   11 Mich Duerstet         0:04:53 I Thirst
   12 Es Ist Vollbracht         0:02:48 It Is Accomplished
   13 Vater, Ich Befehle Meinen Geist In Deine Haende         0:04:04 Father, Into Thy Hands I Commend My Spirit


 T   'щелкнуть' - переход к тексту композиции.

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