Sofia Gubaidulina (b. 1931)
Triple Concerto for Violin, Cello and Bayan (2017)
Sonata for Violin and Cello “Freue dich!” (Rejoice!) (1981)
Baiba Skride (violin), Harriet Krijgh (cello), Elsbeth Moser (bayan)
NDR Radiophilharmonie/Andrew Manze
rec. live, 19-20 April 2018, Großer Sendesaal des NDR Landesfunkhauses Niedersachsen RBB, Germany (Concerto); 2022, Saal 3, Haus des Rundfunks Berlin, Germany (Sonata)
Orfeo C230121 [61]
Although it has taken until now for a recording of Gubaidulina’s Triple Concerto to be issued, it has been more than worth the wait. Orfeo has found an appropriate coupling that utilizes two of the same soloists. While this is the German premiere performance of the concerto, Rejoice!, the Sonata for Violin and Cello, has been recorded a few times before. Fans of the composer who know her violin concertos, among her other orchestral oeuvre, will certainly want to add this CD to their Gubaidulina collection.
It has been suggested that Gubaidulina’s model for her Triple Concerto was Beethoven’s work, with the bayan, a Russian chromatic button accordion, replacing the piano. Gubaidulina herself has mostly discounted this, noting that the inspiration for the concerto was the symbol of the number “three”. Not only are there three soloists, but also a tripartite structure to the piece and the frequent employment of triads in the music. This “trinity” likewise has religious connotations that correspond to the composer’s profound Orthodox faith. The Triple Concerto is not the first work Gubaidulina composed for the bayan. Earlier pieces include In croce for bayan and cello; Silenzio for bayan, violin, and cello; and Sieben Worte for cello, bayan, and strings. Elsbeth Moser, who plays the bayan here, asked Gubaidulina to compose the concerto, and played the instrument’s solos in the recordings of the aforementioned works. The Triple Concerto was commissioned jointly by the Boston Symphony, the Tonhalle-Orchester Zürich, and the NDR Radiophilharmonie. It was premiered in Boston by the Boston Symphony with the soloists on this recording, under the direction of Andris Nelsons.
The concerto is scored for a very large orchestra with multiple winds and brass, strings, timpani and much percussion. As is customary for Gubaidulina, there is emphasis on the low brass, including three trombones and two tubas. The orchestral part is no mere accompaniment, but plays an equal role to that of the soloists. Although the work is in three sections, there are no breaks between them. It would have been helpful if the piece had been divided into three tracks instead of a single track, so the listener would be aware when one section ends and the next begins. Hans-Ulrich Duffek, in the CD booklet, cites Gubaidulina on the start of the piece: the bayan is heard “first with cluster sounds, each consisting of the eleven chromatic semitones, which are the source of all the overtones”. The composer writes: “This is the initium of the work, to which the entire further work structure reacts, and to which a chord of gradually increasing intervals responds at the end. Thus, you could interpret this work as a revelation of three forces: the expansion of the enlarging intervals, the pull of the steadily condensing intervals, and the reaction to this cosmic drama.”
After the buzz of the bayan’s low-register cluster chords, the tubas and double basses enter growling at their depths before the solo cello makes its appearance— all in the first minute. The violin and cello interweave throughout and have solo cadenzas. The bayan is used both as accompaniment and as a solo instrument with notable glissandi. The piece has several climaxes with the orchestra often taking the lead and readily maintains one’s attention from the beginning to the thunderous conclusion. As typical of the composer, there is both high, piercing writing for the winds and strings juxtaposed with the lowest brass and double basses. Gubaidulina seems especially fond of the trombones and tubas. Like her other concertos, the Triple Concerto is immediately identifiable as Gubaidulina. This no virtuosic showpiece where the soloists continuously grab the limelight – more a concertante work than a true concerto. The piece rewards repeated listening. The performance here is authoritative. The soloists and orchestra are superb, and Andrew Manze steers the course with assurance. Orfeo, likewise, has contributed an outstanding recording that captures the huge dynamic range.
The Sonata for Violin and Cello, Rejoice!, provides quite a contrast. Gubaidulina composed the piece while she was in Moscow before she moved to Germany. She developed her own style and sound in Russia, which is already evident in Rejoice!. The work has five movements, separately tracked here, each with a subtitle taken from the writings of the itinerant philosopher Hryhorii Skovoroda (1722-1794). As cited by Duffek, Gubaidulina describes the sonata’s subject, as “the metaphorical representation of the transition to another reality, expressed by contrasting normal sound and string harmonics”. For Gubaidulina, the movements can also be understood as parts of the mass: Kyrie, Gloria, Credo, Agnus Dei, and Deo Gratias. As Duffek indicates, “in the even-numbered movements violin and cello form an overall sound, but are used contrastively in the odd-numbered movements”. In two of the movements, she employs flageolets that resemble a breathing sound.
The first movement, “Your joy no one can take from you”, has the violin playing in its normal range and then with high harmonics and flageolets. The cello enters with bravura and covers the whole range of the instrument. In the second movement, “Rejoice with joy”, the violin and cello perform together in a more rhythmic fashion at a quick tempo. This animated virsuosic movement reminds me at times of insects buzzing around. The performers of “Rejoice, Rabbi”, the third movement, enter separately, first the violin and then the cello. This by far the longest section of the work contains much variety in tempo and style; the two instruments reach a climax in their contrasting virtuosity. The fourth movement, “And he returned to his own abode”, has the musicians playing together in very close harmony. This dissonance is accomplished at the higher range of the instruments. All is still and meditative until near the end when the music becomes faster, with some pizzicati and portamento. The final movement, “Heed thyself”, is much livelier and more harmonic. It is rhythmically interesting, with violin acrobatics over long cello notes. There is considerable employment of pizzicato on the violin. Later the cello plays glissandi, and employs col legno and flageolets, while the violin chirps with avian sounds. Rejoice! absolutely holds no terrors for Baiba Skride and Harriet Krijgh, who turn in a stunning performance.
This CD is a must for all Gubaidulina fans, and foranyone interested in contemporary music of a highly individual nature. Orfeo has contributed a first-class product with informative and detailed notes, translated by Dorothee Kau from the German. There is an error in the timing of Rejoice! – 24:55 instead of the correct 31:27. The colourful spiral drawing on the booklet cover further enhances the product.
Leslie Wright
Buying this recording via a link below generates revenue for MWI, which helps the site remain free
