Artist: Gubaidulina

Title: Sieben Worte in Croce

Condition:

Format: CD

Release Date: 1994

Label: Wergo Germany

UPC: 4010228626322

Genre: Classical Artists

Album Tracks

1. Vater, Vergib Ihnen, Denn Sie Wissen Nicht, Was Sie Tun 5:11
2. Weib, Siehe, Das Ist Dein Sohn. - Siehe, Das Ist Deine Mutter 4:02
3. Wahrlich, Ich Sage Dir: Heute Wirst Du Mit Mir Im Paradiese Sein 4:07
4. Mein Gott, Mein Gott, Warum Hast Du Mich Verlassen 9:42
5. Mich Dürstet 5:53
6. Es Ist Vollbracht 3:16
7. Vater, Ich Befehle Meinen Geist in Deine Hände 6:03
8. In Croce - FÜR Violoncello Und Akkordeon (1979/92) (Nach Der Originalfassung FÜR Violoncello Und Orgel) 16:37

This Wergo recording features two of Sofia Gubaidulina's works from the late 1970s/early 1980s that see her establishing a mature style after years of journeyman efforts. The titles of the works point to the Russian composer's deep religious belief, and while there is no text in these purely instrumental works, the spirit of contemplation and wrestling with spiritual questions persists throughout. The pieces are centered around cello and accordion, played here by Julius Berger and Stefan Hussong respectively. "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 accordion by Elsbeth Moser which Gubaidulina has approved. As it's title suggests, this is an exploration of "vertical" music (the organ or accordion) intersected by the "horizontal" (cello). The work is a steady slow of eerie chords from the accordion with the sinuous, yearning voice of the cello threading through them. While the first half of the work offers a feeling of stasis with the occasional outburst, the second half offers a suspenseful, gradually rising development. The work draws to a close with the cello playing harmonics by which the music seems to evaporate. The Kammerorchester Diagonal conducted by Florian Rosensteiner joins in for the next piece. "Sieben Worte (Seven Words)" for cello, bayan, and strings is a depiction of Jesus' death on the cross in the venerable classical tradition started by Heinrich Schütz (whom Gubaidulina subtly quotes at one point). Gubaidulina was attracted to writing for the accordion because it has a very living quality to it, it "breathes", and here the instrument depicts the gradual dying of breath. This is one of Gubaidulina's best pieces, the seven movements offering a variety of textures - even a tragic subject like the crucifixion can still be painted in many shares.