her kind: sofia gubaidulina

“The art of music is capable of touching and approaching mysteries and laws existing in the cosmos and in the world.” —Sofia Gubaidulina

This week, I had the pleasure of researching and listening to the music of Sofia Gubaidulina—a composer whose studies took place in Soviet Russia. Born in 1931, Gubaidulina is considered one of the foremost Russian composers of the second half of the twentieth century.

Sofia Gubaidulina’s Piano Concerto Introitus is a one of my favorite pieces of music I’ve listened to recently. The opening unfolds from hollow, plaintive moans in the flutes and rises up in register and orchestration, building momentum to a near unison statement of one of the piece’s primary gestures. I love her choice to use the lowest registers of the flute to open the piece–it creates a beautiful, sacred ambience. Intervals of minor seconds, harmonic and melodic, evoke mysterium and tension.

The piano enters briefly after the fall of the first climactic moment, and Gubaidulina hovers again in the bass register. The strings prolong mysticism and tension with buzzing tremolos and half steps; the woodwinds create a sustained backdrop in contrast to the other textures being used. It’s surprising how little the piano is really used, considering it’s a piano concerto, but I actually love the way Gubaidulina feels no obligation to keep the pianist active for the majority of the first half of the piece. It’s unexpected, and the limited use of the piano draws more attention to it when it is playing.

She makes use of simple ascending and descending scales in layers and layers of canons with the upper voices of woodwinds. The piano’s melody returns, and strings enter in the low register, echoing chords we’d heard earlier in the piano–then echoing the scales we’d just heard in the woodwinds. This time, richer and fuller, the scalar gesture opens up to a brief bassoon/piano duet which evolves into a call-and-response between the piano and the orchestra.

Towards the end of the piece, there’s a section filled with trills layered one on top of the other which evolves in to these almost bell-like chords chiming in the piano part over a bed of trills in the string section. The strings fade away, and the piano is left alone to play meditative, scalar figures once again—this time, with harmonic seconds floating on top.

The concerto ends with a haunting trill at the top of the piano’s range that serves in opposition to the concerto’s opening. It seems as if the piece itself serves as an ascent—perhaps to the celestial, or as a metaphor in line with the “Introitus” title, ascending from the secular to the sacred at the beginning of a religious event. This idea of ascent is also apparent in smaller motives throughout the piece; particularly in the sweeping gesture of the strings that serves as a pillar Gubaidulina keeps returning to. There’s a constant rise and fall that drives forward the concerto until we arrive at the end, suspended above.

The interaction and consideration between all the voices and textures in this concerto is stunning. The textures and gestures are reminiscent of Debussy and Messiaen perhaps, but Gubaidulina’s voice is strong. Her music was thought of as troublesome during her studies in Soviet Russia, but she was supported by Shostakovich, who in evaluating her final examination encouraged her to continue down her path despite others calling it “mistaken.” I’m grateful he encouraged her, because this piece is quite lovely. If you’d like to take a listen, you can follow this link to the her kind playlist.

 

her kind: welcome & introduction

Welcome to her kind!

Welcome to her kind—a new column at arts, ink. that takes a closer look at women in the arts: their works, their influence, and their history. This column will feature a different artist each week, and we’ll be covering a wide variety of disciplines, from poetry to visual arts to composition. The title of this column comes from Anne Sexton’s poem of the same name.

My name is Nicole Knorr; I’m a composer/pianist pursuing my Master’s degree here at the University of Michigan. I wanted to start a column on women in the arts for two reasons: I get to research and find wonderful work to feature, and I get to host a platform where women’s art is celebrated and brought to readers’ attention. To go along with the blog, I’ve created a Spotify playlist (here) so you all can listen to the work featured, and those of you who perform might find some repertoire to take on someday.

I’m looking forward to sharing some of my favorite art with you all, and I’m excited to host a space where we can celebrate fantastic art together, so cheers! As artist and professor Joan Semmel put it:

 ‘…if there are no great celebrated women artists, that’s because the powers that be have not been celebrating them, but not because they are not there.’

Germaine Tailleferre

This week, I want to start with one of my favorite composers: Germaine Tailleferre. I discovered Tailleferre a few years ago while looking for piano repertoire for the semester. I chose her Pastorale, and for the first time, I studied a piece that wasn’t written by a guy. Yes—after studying piano for over ten years, I hadn’t played a single piece of music by a woman—so Tailleferre holds a special place in my heart.

Tailleferre lived from 1892-1983 and grew up in fin-de-siecle Paris. She was the only female member of Les Six, a group of French composers who rejected both Wagner’s dramaticism and Debussy’s impressionism. They were interested in composing music for everyday—music the average listener could enjoy—while still maintaining technical rigor and prowess.

Her pre-war period was her most prolific—her catalogue of this era boasts a comic opera, a violin concerto, several songs, and the scores for seven films. When Tailleferre fled to the Pennsylvania during the 1940’s due to WWII, she married artist Ralph Barton, who disapproved of her composing career, so her musical output steeply declined. It wasn’t until she decided to divorce Barton and return to France in 1946 that she began composing again, but once she did, she built up her catalogue significantly.

Still life by Pablo Picasso, one of Tailleferre’s contemporaries.

The piece I’d like to highlight is Tailleferre’s piano concerto. It’s a highly effective piece, and I’m excited to share it with you, so let’s dive in!

The work premiered in December 1924 to a highly positive critical response. Tailleferre was hailed as a progressive; Stravinsky himself said of the concerto, “It is virtuous music!” The piece blends Tailleferre’s French roots with Baroque figurations and perhaps even some American influence. While she does follow Les Six’s ideology of composing “everyday music,” or music for the working class (no more Wagnerian drama or elaborate Debussian orchestrations), no one can deny the pristine clarity and rigor of the work—despite being accessible to the average audience.

The piece opens with a lively first movement—the strings and piano in conversation, then upper winds join, and finally Tailleferre turns our ear to the brass. One can hear the influence of Bach here, the motive is passed seamlessly between voices, and there is hardly a moment of reprieve. I was struck by the cadence capping the first movement; it’s Coplandesque–reminiscent of what one might hear in his Rodeo suite.

 

Of the slow movement, pianist Alfred Cortot says “Voilà qui n’est pas moins beau que Bach” (Here’s

Another piece by an artist who influenced Les Six: Matisse’s “goldfish with cat”

something no less beautiful than Bach). Similar to the first, the music presses onward with little space provided for rest. This maintains a steady sense of momentum, in true baroque fashion. The orchestration fills out over time. Tailleferre begins with the stark upper register of the solo piano,sparsely harmonized—the upper winds slowly filter in, then the strings add warmth as the piano’s lower register is introduced. There is an insistent pedal point occurring in the piano part for much of the piece to build tension. The piece unfolds into a densely orchestrated climax and falls away into the same register it began—this time supported by a few more members of the orchestra.

The third movement is a jubilant celebration. The rhythmic motor returns, accompanied by modal mixture, a staple in the Les Six vocabulary. This movement display’s Tailleferre’s affection for contrapuntal rigor—an effective closing for the work.

 

I hope you get a chance to listen and enjoy Tailleferre’s music as much as I do. You can listen to my favorite selections of Tailleferre’s music in this playlist, or you can scan her Spotify barcode below and explore for yourself. In the future, I’ll be adding a bit more of a reactive element in my blog posts—sketches inspired by the art discussed. Thanks for reading, and I hope you’ll join me next week!

My Name is Minette, Chapter Eighteen: Another World (Final)

They sang along with the old man, raising their arms to the sky and moving their hips to the music. Their movements were free, liquid, completely unrestrained. The music possessed them.

They were free.

Paw swore, nudging Lumpy to move faster. The horse snorted, bothered, but obeyed, moving at a faster clip. With a tight jaw, Paw spit onto the front steps of the building as they passed. The patrons didn’t blink an eye.

Minette couldn’t look away, either, maintaining eye contact with the old man until the building and its music vanished out of sight.

“Paw, what was that place?” Minette asked.

“Droz’s only sin,” Paw growled with a startling vitriol. “That place is for freaks and thieves. Everyone knows that place is dangerous. Our walls are to keep riff-raff out–they don’t belong in here with us. If they can come in, they can get the bees out.”

“Oh. That’s… terrible,” Minette said, trying very hard to sound disgusted.

“You’re damn right,” Paw snapped. “Just keep working, marry a nice woman, give her a good son, and keep your head down, and you won’t end up like any of them.”

Minette didn’t respond. She turned around, trying to catch another glimpse of the mysterious establishment, but it was gone.

***

This signals the end of part one of My Name is Minette, and also my final submission as a blogger for Arts, Ink., as I am graduating in May! I have just completed the novel as my honor’s thesis, and hope to query it to agents and eventually get it published.

I would like to thank Joe and all the lovely folks at Arts, Ink. for all their support and for making a dream come true.

You can find my other works at theopoling.com, and my student org at transgncartsreview.org.

Thank you,

Theo

My Name is Minette, Chapter Seventeen: Something New

She looked to Paw and his clenched jaw. “Where are we? Do you know where we’re going?”

“Of course I do,” Paw grit out. “We’re out in the sticks. It must just be a little bit further.”

Minette shook her head at Paw’s stubbornness. The only thing they stood to lose if they turned back and went another way was Paw’s pride. Minette stared straight ahead, hoping the hills would rise up over the next turn, guiding them safely to the mines. 

Droz didn’t feel like Droz here. Like this place was something unspoken–something not to speak about. And it was true, in a way—Minette had never been taught that Droz was anything other than a merry little community, safe in its walls.

Seeing something that contrasted that so aggressively made a cold feeling sit in her gut. How little did she know about the world beyond her front door?

A new building caught Minette’s attention. This one had a life dissimilar to the shacks and homes around it. It was two-story, brick, with a broad porch that wrapped around the building. All of the windows were open, and music, noise, and voices echoed out from the premises.

On the porch, a couple of old men with sunburned, sagging skin and bright white hair sat nursing their beer bellies in rocking chairs. One of the men had a banjo. He played a song that was like nothing Minette had ever heard before. It was twangy and morose, but oddly upbeat: she felt like she could weep over a dead lover and beat the bees out of a bad guy while listening to it.

The banjo man caught Minette’s eye. Her breath caught in her throat. Instead of glaring at her, or chasing her away like she thought he might, he smiled over at her, gap-toothed, and played even faster, singing along with a raspy croon. His eyes never left Minette’s, even as his fingers flew across the banjo strings.

Some other people came out from inside the building, and Minette couldn’t tell if they were boys or girls. People without shirts on. People with their shapes hidden under cloaks. They were of all heights and weights, skin colors and origins. They dressed like bandits and street workers, bartenders and night-walking women. They smoked and spit into spittoons.

They were something utterly new to Minette.

New, and not terrifying. No, they piqued Minette’s curiosity.

My Name is Minette, Chapter Sixteen: The Other Side of Town

The mines were on the opposite side of town, set into the hills and crags just beneath the walls like orange and brown canyons. Dark caverns stretched underground for miles, yawning, black mouths opening out from the hillside.

They headed toward Main Street, which was a straight shot through Droz and out the other side to the hills full of copper.

When they got close, though, Paw’s nose grew just as wrinkled as hers.

Main Street was the center of life in Droz, and apparently all that life was all out in the streets today.

The heat pushed crowds into its shady streets and pubs, food and drink in high demand. Bodies and donkeys and horses crowded one another, elbows bumping elbows and shoulders hitting shoulders, creating a density like that of cranberries shoved into a bucket to be smushed into juice.

“I know another way,” Paw grunted, jerking on Lumpy’s reins, directing the horse away from the loud, overlapping shouts and cries of peddlers and hagglers on Main Street. He took them on a zig-zagging route, moving farther and farther east until they were on the edge of Droz.

Minette had never been to this part of the city before in her life. She sat up straighter, holding her hand up as like a visor and squinting into the sun, peering at the buildings strewn about.

This neighborhood felt abandoned. Instead of cobblestones and pavers and bricks, this part of town was dotted with listing huts with gaps in the thatch; warped-wood, grey wooden buildings; and scraggly, unkempt vegetation creeping along dirt roads.

They were close to a run-down section of the wall, black with soot and shiny with moss, close enough that the entire area was cast in a permanent shadow.

They passed a few people walking in the road, wandering in the fields, lurking on porches. Each and every one of them stared up at Minette as she passed, stopping in what they were doing. She was a spectacle, something new, and the tired mistrust was apparent on their lined faces.

It made her feel itchy, sweaty, like eyes were sticking to the small of her back along with the humidity.

They were outsiders. They weren’t welcome here.