Her 2017 Triple Concerto was inspired by Beethoven's. But she takes that inspiration in unexpected and innovative directions. Beethoven's concerto was for violin, cello, and piano. Gubaidulina substitutes the bayan for the piano.
The bayan is a button accordion. It's a characteristic instrument of Russian folk music. There's nothing folk-line in Gubaidulina's treatment, though. All three solo instruments use extended techniques to create otherwordly sounds. The soloists glide around each other and the orchestra. In the process their sound blends and fragments like a kaleidoscope's image.
Gubaidulina has her own musical language, but it's one with a rigorous internal logic. Every time I listened to the concerto, that logic became a little clearer. It's an amazing aural journey.
The NDR Radiophilharmonie plays with disciplined energy under the direction of Andrew Manze. This is a live recording. At the conclusion, the applause begins tentatively, as if not wishing to break the spell. (It soon picks up.)
Also included is Rejoice! Sonata for Violin and Cello. To me, this 1981 work is a sonic ice sculpture. It's transparent, yet substantial. Exceedingly delicate, yet emotionally powerful. And it's a work to test the talents of its players.
Biaba Skride, violin, and Harriet Krijgh, cello rise to the challenge. Harmonics sound with crystal clarity. Glissandi, string plucks, and bent notes sound clean and unforced. It's a work that is both intellectual and emotional.
Gubaidulina writes like no one else. If you're familiar with her style, know that these are some of her best compositions. If not, be ready for some real adventures in listening.
Sofia Gubaidulina
Triple Concerto for Violin, Cello, and Bayan
Rejoice! Sonata for Violin and Cello
Biaba Skride, violin; Harriet Krijgh, cello; Elsbeth Moser, bayan
NDR Radiophilharmonie; Andrew Manze, conductor
Orfeo
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