Hans Ulrlich Duffek in his essays " Spirituality in the Music of Sofia Gubaidulina and Giya Kancheli " writes:
Gubaidulina`s compositions focus on number and time proportion, on the Fibonnacci series and musical symbolism. Two examples for this symbolism : Gubaidulina ofen uses natural harmonics (flaggioletti) to mark the transition into a spiritual or divine world (as in Rejoice for violin and violoncello); a solo violoncello symbolises the cross (as in Seven Words ). Also, when Christ dies, the notes in the score of Seven Words form a cross
here in eurythmy Performed by the Goetheanum Stage Ensemble
M. Rye, in turn, writes:
" if there are other worlds or any Christian the other is probably the game there Canticle of the Sun Gubajduliny. Subject sun as a light source of inspiration and spiritual guide permeates the song which verbal layer refers to the text attributed to St.. Francis of Assisi (...) On one level, this kind of music retains the simplicity, which is associated with cantus planus and religious works. In this context, the unusual combination of cello, chamber choir and percussion, it seems almost out of place, but here the subtle phrasing and tone compared to the fleeting, like an extraterrestrial presence of cello music creates a unique experience ...
this work requires an appropriate attitude of the recipient in order to fully find its extraordinary world of sounds ... that come across this strange landscape of sound that is both strange and oh so close ..
vol.1
part. 2
cz.3
Vol.4
content related to faith, so here are realized in some part by the symbolism. But what remains if we want to refer to the same music? Well, complicated constructions of number sequences bearing on the type and size of intervals, consonance and dissonance creating a rhythmic, deciding moments of climax and tension. In this sense, the music is here subordinated, closed in the number and the monotony, the only thing odczuwalibyśmy at this stage are: elliotowski burden of time, understood as an inability to break out beyond the banal repetition of existence, life tangled in the mechanism of the clock: time, which determine the rhythm of the same and just as empty intervals of a clock ticking ... (cf. A. Budziak Time and History in the poetry of TS Elliot) From this yoke to free us can only postulate of discretion on the level of harmony, rhythm or melody, so that it becomes possible to change the very concept of time, tend to seek it the composer to the study of poetry: After her intensive studies of TS Eliot `s poetry, Which resulted in the octet Homage to TSElliot, the composer develops a new conception of time:
The most important task is That Article has ACCOMPLISH is the transformation of time. Man has this transformated state of time, Which is his spirituality, in himself. But it Can Be Suppressed by our everyday life, in Which there is no past and no future, but only the narrow ridge of a permanent presence. The activation of That Transformed time can only happend through Article. (cf. ibid U. Duffek) "Appropriate attitude" here can be thus understood as a merging of awareness of multiple planes determining whether the expression of above-mentioned type of landscape.
look, oranges scattered on the window, and perhaps these are the peaches, the window grows a little red fruit, they are dressed so warm, which is the month, time of year? ... These muddy boots in the corner if someone just came ... came back ... ? the candelabrum lit a candle ... and yet be ...? so many questions. Do you remember? today is ... but we do not ask ...
Paganini always appeared in dark rooms, only the dim light of candles lit up his figure, he was seems a bit demonic man ... today I can see his shadow in front of you ...
Liszt Transcendental Etude wrote no. 3 "Landscape" by drawing on the roundabout alla Campanella with bells, which is the final Concerto in B minor Paganini ... bells resound beautifully, so I like when you conduct a dialogue with the highest violin sounds ... this winter is a connection .. . and yet not often listen to the bells and violin ... so listen finale Rondo alla Campanella III concertu B minor g. Salvatore Accardo
But back to the XXIV Paganini's Folly ... A minor has developed and ; paraphrased including Chopin, Brahms, Rachmaninoff and Lutoslawski ... and thus derive from his work mostly pianists, as we also mentioned Liszt, who reportedly saw his concert in Paris ... so who had the good fortune to see during the game Arrau also affected, in a sense, Paganini ... La Risata del Diavolo (g. S. Accardo) and
