By Ottaviucci, Pitocco, and Roccato. By Sofia Gubaidulina (1931-). Listening CD. Wergo #WER 67602. Published by Wergo (NX.WER-67602).
Item Number: NX.WER-67602
The double bass is in the focus of the four compositions by Sofia Gubaidulina. The compositions which were written and reviewed over a time span of over forty years â€œare among the highlights in double bass literature: four gems of outstanding value every double bass player should learn to perform.â€ (Daniele Roccato)
In â€œSonataâ€ the double bass part is largely written in a traditional way. However, the performer can opt for various choices of fingering, positions and resonating chords according to personal preferences. Moreover, it is to be assumed that Gubaidulina also intended a specific gestural expressiveness of the double bass player to be part of the tonal result.
In â€œPantomimeâ€ one immediately senses a certain theatricality which is evoked by melodic contours, dramatic pauses and dynamic progressions. Everything contributes to revealing the composer's dramatic intention.
Gubaidulina originally composed her ten â€œPreludesâ€ for violoncello. Later, she rearranged nine of these original compositions for double bass.
In 1975 Sofia Gubaidulina, Viktor Suslin and Vyacheslav Artyomov founded a group called â€œAstreyaâ€ whose aim was to achieve new forms of improvisation by using either ancient or folk instruments. Against this backdrop, the composer used for her third version of â€œIn Croceâ€ not only the double bass but also the bayan which is a sort of button accordion quite common in Russia at the beginning of the 20th century.
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