Il cofanetto Russian Music for Guitar of the 20th and 21st centuries tra le varie prime registrazioni assolute contiene anche la prima registrazione dei due pagine per chitarra della compositrice russa Sofia Gubaidulina (1931). Si tratta della Serenata e della Toccata, due composizioni che lasciano spazi ampi di movimento all’interprete a causa di una concezione dello strumento da parte dell’autrice molto ridotta ma funzionale.
Qui le note tratte dalla release discografica di cui sopra scritte dall’amcio e collega Oleg Timofeyev
Before addressing the two works by Sophia Gubaidulina (1931), we should recall the limitations of the Soviet musical system in which she developed as a composer. Born in Tatarstan, the talented composer graduated from the Moscow conservatoire in 1963 (under the Prof. V. Shebalin). Dmitry Shostakovich left her an iconic wish: “I recommend that you continue developing in your ‘incorrect’ way.” As she was not willing to conform to the Socialist musical aesthetics, Gubaidulina was strongly criticized by Tikhon Khrennikov in 1979, the same person under whose guidance Valery Kikta graduated. For a number of years Gubaidulina’s music was banned from Soviet radio and TV. Highly regarded as one of the most outstanding living composers, she has been living in Germany since 1992.
A composer of many ambitious works, Gubaidulina had two “guitar periods” in her life: once in the 1960s when she wrote the two pieces presented in this album, and four decades later, when she wrote for cello and a guitar quartet. At first glance, her 1961 Serenade seems quite limited in scope and means of expression. However, once approached as a little jewel, it offers technical challenges to the performer and encourages the listener to pay attention. Written eight years later, her Toccata requires virtuosity and precision. Both pieces are enigmatic and magical: Sofia Gubaidulina does not to belong to any established avant-garde style or movement, and its only her taste and intuition that tie in her works the familiar and surprising, the soothing and disturbing.
Ecco la traccia con la possibilità di seguire lo spartito.
