Gubaidulina Handout

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Paul Coleman

1. AN INTRODUCTION TO THE MUSIC OF SOFIA GUBAIDULINA

Fig. 1.1. Gubaidulina, Chaconne for piano (1962), theme, mm. 1-8.

Fig. 1.2. Theme from Bach’s Musical Offering, with Gubaidulina’s orchestration for the opening of Offertorium.1

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Sofia Gubaidulina, Offertorium (Deutsche Grammohon 427 336-2), 4. Prepared 27 April 2005

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2. DYNAMIC PROPORTION IN THE MUSIC OF SOFIA GUBAIDULINA Early Experiments in Dynamic Proportion

Fig. 2.1. Gubaidulina’s formal sketch of the twelfth movement of Perception.2

(a) Gubaidulina’s Sketch.3

(b) Categorized, showing horizontal and vertical consonant–dissonant relationships. Fig. 2.2. Additive-automorphological number sequences. 2 3

Vera Lukomsky, “Hearing the Subconscious: Interview with Sofia Gubaidulina,” Tempo 209 (July 1999), 29. Ibid., 28. Prepared 27 April 2005

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Fig. 2.3. Gubaidulina’s formal sketch of conflicting formal proportions 1:2 and 1:7.4

Fibonacci series:

1 2 3

Lucas series: +1 3 4 Evangelists’ series:

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8 13 21 34

7 11 18 29 47

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89 144 … ∞

76 123 199 … ∞

2 5 7 12 19 31 50 81 131 212 343 … ∞

Fig. 2.4. The Evangelists’ series as result of summation of the Fibonacci and Lucas series.

Fig. 2.5. Bach’s Series, showing mirrored symmetry within digits.5

Fig. 2.6. Bach, Vor deinen Thron tret ich hiermit, Gubaidulina’s sketch of formal proportions.6

Ibid., 28. Lukomsky, “Sofia Gubaidulina: ‘My Desire is always to Rebel, to Swim against the Stream’!” Perspectives of New Music 36/1 (winter 1998), 18. 6 Ibid. 4 5

Prepared 27 April 2005

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Light, Color, and Alleluja (1990) (most intense)

(least intense)

Yellow

Orange

Red

Green

Lt. Blue

Blue

Violet

[7:1]

[6:2]

[5:3]

[4:4]

[3:5]

[2:6]

[1:7]

Fig. 2.7a. Colors with light reflection-absorption ratios, arranged by descending intensity.7

Fig. 2.7b. Color schemes with ray absorption ratios and resulting linear proportions. 7

Data from Lukomsky, “Sofia Gubaidulina: ‘My Desire…’,” 29. Prepared 27 April 2005

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Stimmen…Verstummen… (1986) I

II

III

IV

V

Eternal

Earthly

Eternal

Earthly

Eternal

VI

VII

VIII

Earthly

Eternal

Earthly Apocalypse

IX

X

XI

XII

“Zero”–Cadenza for conductor

Eternal

Earthly

Eternal

Fig. 2.8. Stimmen…Verstummen…, Distribution of movements.8

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

1:38

2:06

0:56

2:01

0:39

4:25

0:30

11:07

0:56

1:39

1:53

6:11

Fig. 2.9. Stimmen…Verstummen…, Lengths of movements from recorded performance.9

Fig. 2.10. Stimmen…Verstummen…, first movement, tonal/register scheme.

8 9

Based on Vera Lukomsky’s table, “Hearing the Subconscious…,” 31, ex. 5. Sofia Gubaidulina, Stimmen…Verstummen…, Stufen (Chandos 9183). Prepared 27 April 2005

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Fig. 2.11. Stimmen…Verstummen…, movement IX, cadenza for conductor. Prepared 27 April 2005

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Fig. 2.11. (cont.) Prepared 27 April 2005

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Fig. 2.11. (cont.)

Prepared 27 April 2005

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Fig. 2.12a. Stimmen…Verstummen…, graphed using pulse-duration lengths.10

Fig. 2.12b. Stimmen…Verstummen…, graphed using recorded performance lengths.11

10 Lower markings on graphs based on those found in Clive Pascoe, Golden Proportion in Musical Design, Ed.D. Diessertaition (University of Cincinnati, 1973). 11 Gubaidulina, Stimmen…Verstummen…, Stufen (Chandos 9183).

Prepared 27 April 2005

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Fig. 2.13. Stimmen…Verstummen…, alternate graph (original marked tempo for XI).

Prepared 27 April 2005