“There is no more important reason for composing music than spiritual renewal.” –Sofia Gubaidulina.
Shostakovich
once famously said of his student, Sofia Gubaidulina, “I want you to
continue along your mistaken path.” Mistaken, that was, in the former
Soviet Union, where the deliverance preached through her devout
composing sat uncomfortably with censors. So much so that when she
composed her Seven Words in 1982, she was obliged to leave out “…of Our
Savior on the Cross” from its title. Nevertheless, this riveting work is
one of the twentieth century’s reigning masterpieces. One will want to
compare Gubaidulina’s instinctive metaphorical approach to Haydn’s more
direct setting of the same. The two could hardly be more different,
either in sound or in circumstance, but they clearly embrace the same
fragile heart. Providing the blood herein is the bayan, a button
accordion typically heard in Russian folk contexts. Through
Gubaidulina’s notecraft, and in the hands of longtime associate Elsbeth
Moser, it becomes a speech act in its own right. In constant dialogue
with a cello soloist and tentative orchestral commentary, the bayan
comports itself not unlike the turbulent waves on the album’s sleeve.
And while there are far too many moments to single out for praise, the
epiphany of Part VI (“It is finished”) is a wondrous experience indeed,
and leads us to an ending that is beyond earthly.
The following
Ten Preludes (1974, rev. 1999) for cello were originally conceived as
instructional etudes, with the final piece leaving room for
improvisation, and therefore the creative edge of the performer.
Inevitably, these have taken on lives of their own, and flow here in a
line of fractured counterpoint that “resets” us for the heavenly strains
of De profundis (1978) for bayan alone. The instrument’s multilayered
sound lends itself beautifully to the Trinitarian gaze in which it finds
itself illuminated, lapsing into trundled passages where lateral
divisions turn our souls to the indecipherable limits of their own
awareness.
There is no ground on which to stand in this music.
One must remain elevated, if not airborne, in relation to one’s
expectations, always approaching them from above. It is a revelation to
finally have Gubaidulina’s music represented on ECM, where spacious
production values give it all the berth it needs. Let us hope this is
not a one-off affair.
webTracklist :
The Seven Last Words, for cello, bayan & strings
Preludes (10) for cello
Musicians
Elsbeth Moser - bayan
Boris Pergamentschikow - cello
Münchener Kammerorchester
Christoph Poppen - conductor
Recorded January 2001, Himmelfahrtskirche Sendling, München
Produced by Manfred Eicher
