グバイドゥーリナ90歳記念。
現代を代表するロシア出身女性作曲家の奥深い管弦楽作品

ロシア出身の女性作曲家ソフィア・グバイドゥーリナの生誕90年を記念して、3曲の奥深く崇高な管弦楽作品を収録したCDがドイツ・グラモフォンより発売されます。すべて初録音となります。その中の1曲『Dialog: Ich und Du』はヴァイオリニストのヴァディム・レーピンに献呈されています。演奏はグバイドゥーリナと深い関わりのあるアンドリス・ネルソンスとゲヴァントハウス管弦楽団です。

「私たちはこれらの演奏で多くの聴衆に彼女の音楽が持つ感情に訴えかける力を伝えることができたらと願っています」(アンドリス・ネルソンス)
ユニバーサル・ミュージック/IMS

発売・販売元 提供資料 （2021/09/17）

Widely considered among the leading composers of her generation, Sofia Gubaidulina has continued writing music as she now enters her nonagenarian years. To honor her 90th birthday, Deutsche Grammophon offers three major works from Gubaidulinas later life, with Andris Nelsons leading the Gewandhausorchester Leipzig. Nelsons and Gubaidulina developed a relationship when Nelsons premiered the composers Triple Concerto with the Boston Symphony Orchestra, and a couple of years later, Nelsons invited Gubaidulina to become the composer in residence for the Gewandhausorchester. All three works concern Gubaidulinas faith and spirituality, which is a driving factor in her life and music. As the composer has become known to do, Dialog: Ich und Du and The Wrath of God continue on themes from her oratorio, On Love and Hatred. Dialog: Ich und Du is her third violin concerto, and it was written for the present soloist, Vadim Repin, who performed its world premiere in 2018. Her first two concertos had equally illustrious dedicatees, Gidon Kremer and Anne-Sophie Mutter, respectively, and all three dedicatees have presented the recorded premieres of the works. The concerto lives up to the dialogue title as Gubaidulina delivers what sounds and feels like a conversation between the soloist and orchestra rather than simply being a showcase for the soloist. Gubaidulinas chromatic treatments do well to convey the spiritual emotions put forth in The Wrath of God and The Light at the End, with excitement building throughout to dramatic climaxes. The Gewandhausorchester is in fine form throughout, with the brass getting a heavy workload. These are all stimulating, often thrilling works that will likely find accepting audiences beyond those more inclined to 21st century music, and one hopes they find their way onto programs for major orchestras everywhere.

Rovi