Interpretation of the Cello in the Music of Sofia Gubaidulina and Innovations of 20th Century Cello Technique
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Abstract
Contemporary cello technique has developed under the influence
of such 20th century musical phenomena as serialism, sonoric
music, microtonality, instrumental theater, aleatory music
and electronic music. The immense possibilities of electronic
modifications of the timbre and the emergence of the two-bow
technique of performance are connected with the tendency
of contemporary music towards the dehumanization of the
instrument, i.e. its departure from its monophonic catilena nature
of sound production and the associations of its timbre with that
of the human voice.
Gubaidulina actively employs in her cello music most of the
20th century musical innovations, but at the same time the most
important trait of the instrument for her remains the ability of
the cello to manifest the image of personality, which indicates at
the connection with the classical interpretation of the role of the
instrument from the 19th century. As the result, an inalienable
feature of Gubaidulina’s music is expressed in her directedness at
the natural primacy of sound and the use of the laws of its acoustic
nature. The evolution of the image of the main protagonist,
expressed in the cello part, reflects the changes in the composer’s
worldviews: if in the composer’s early works the main character
is presented as a bearer of immutable spiritual values (a pasto r or
preacher), in her later works it becomes an ordinary person with
the doubts and fears intrinsic to him.
Keywords: Sofia Gubaidulina, cello music, cello technique,
composition technique
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