Sofia Gubaidulina’s religious nature, specifically Russian Orthodox, finds expression in each of these pieces. Each also makes use of her much-loved bayan, the. Check out Gubaidulina: In Croce / 10 Preludes / Quaternion by Alexander Ivashkin on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on. “Written over a span of forty years, these compositions by Sofia Gubaidulina have become staples of the double bass literature. In Pantomime one immediately.

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One of the many works in which Sofiya Gubaydulina makes reference to Christian themes and imagery, In croce was composed in for cellist Vladimir Tonkha, who, along with organist Oleg Yanchenko gave the work its first performance in the concert hall of the Moscow Conservatory. Later on, Gubaydulina began to incorporate the bayan, the Fubaidulina push-button accordion, into her works, and she and bayan player Elsbeth Moser rearranged In croce for cello and bayan in The work’s title can mean either “On the Cross” or “Cross-Wise,” and it carres a musical meaning, along with the obvious Christian one.


Roughly speaking, the organ or bayan begins the work playing comparatively diatonic music in the upper part of its register, while the cello plays spare tones in its lower register. Both instruments center their activities on the note E.

As the gubaifulina progresses the two instruments begin to approach each other, eventually crossing in the most aggressive passage. After some wild playing from both instruments, the mood grows hushed again; dissonant chords in the organ accompany the barest of textures from the cello as they both converge again on E.

The work’s ending is quiet and somber.

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Sofia Gubaidulina – In croce (cello, bayan) () – Music Sales Classical

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Chamber Music for Bayan. Chamber Music with Double Bass.

In croce, for cello & organ (or bayan)

In croce; Quaternion; Ten Preludes. Seven Words; Silenzio; In Croce. Sofia Gubaidulina, Galina Ustvolskaya: Chamber Music from Russia. In Croce; Seven Last Words.