For unaccompanied cello. Ten Preludes by Sofia Gubaidulina. Chanson Contre Raison Sonata by Viktor Suslin.

Also includes Chanson Contre Raison, a sonata for Cello Solo by Viktor Suslin.

A welcome piece of contemporary literature for this relatively uncommon ensemble. Duration ca. 8 minutes.

Performance score. Note: some pages are unbound to avoid page turns within movements.

Contains three performance scores.

From the AMP Library Of Russian-Soviet Music comes TWO PIANO SONATAS in one publication. The first is a 1965 Sofia Gubaidulina sonata and the second was written by Tigran Mansurian in 1967.

Composed in 1984 (original instrumentation was viola, bassoon and piano), this work harks back to the medieval technique of the hocket (which comes from the Breton word for hiccups). It is a technique in which a melody is broken up into fragments which then roam through all the parts in an open, filigree texture. In Gubaidulina's work, however, the hocket embraces not only the melodic parameter, but also and above all the harmony and timbres of her material. The filigree writing consolidates itself gradually into a linear continuum, whereby spiritual symbolism in the form of cross and number figures (e. g. seven and thirteen) takes on a particular importance. The work pledges a certain allegiance to tradition in its distinct formal, harmonic and tonal structure and in its obvious references to Johann Sebastian Bach. However, it is also genuinely and refreshingly innovative, particularly in the treatment of the harmonics in the viola, the multiple stops on the bassoon and the clusters in the piano. Brought to a consummate synthesis in this masterful chamber music work, these two aspects - tradition and innovation - reflect Gubaidulina's uniquely personal relationship to her heritage. My ideal is a relationship to tradition and to new compositional means in which the artist masters all of these means both new and traditional- but does so in a way that makes it seem he is paying no attention to either of them. There are composers who construct their works very consciously; I, however, number myself among those who prefer to 'cultivate' their works. This is why the entire world which I can assimilate constitutes, in a way, the roots ofa tree; its branches and leaves are the works which grow from it. One can call them new, but in the end they are still leaves, and thus they are always traditional, old. (Sofia Gubaidulina) The work is dedicated to Mikhail Tolpygo, Valeri Popov and Alexander Bakhchiyev.

Composed in 1985 (original instrumentation was viola, bassoon and piano), this work harks back to the medieval technique of the hocket (which comes from the Breton word for hiccups). It is a technique in which a melody is broken up into fragments which then roam through all the parts in an open, filigree texture. In Gubaidulina's work, however, the hocket embraces not only the melodic parameter, but also and above all the harmony and timbres of her material. The filigree writing consolidates itself gradually into a linear continuum, whereby spiritual symbolism in the form of cross and number figures (e. g. seven and thirteen) takes on a particular importance. The work pledges a certain allegiance to tradition in its distinct formal, harmonic and tonal structure and in its obvious references to Johann Sebastian Bach. However, it is also genuinely and refreshingly innovative, particularly in the treatment of the harmonics in the viola, the multiple stops on the bassoon and the clusters in the piano. Brought to a consummate synthesis in this masterful chamber music work, these two aspects - tradition and innovation - reflect Gubaidulina's uniquely personal relationship to her heritage. My ideal is a relationship to tradition and to new compositional means in which the artist masters all of these means both new and traditional- but does so in a way that makes it seem he is paying no attention to either of them. There are composers who construct their works very consciously; I, however, number myself among those who prefer to 'cultivate' their works. This is why the entire world which I can assimilate constitutes, in a way, the roots ofa tree; its branches and leaves are the works which grow from it. One can call them new, but in the end they are still leaves, and thus they are always traditional, old. (Sofia Gubaidulina) The work is dedicated to Mikhail Tolpygo, Valeri Popov and Alexander Bakhchiyev.

For cello, 3 guitars and double bass. Study score.

This edition contians two very accessible works by Gubaidulina for trumpet and piano. Song Without Words is scored for trumpet and piano. Two Ballads is scored for two trumpets and piano.

Dedicated to the double bassist Alexander Suslin.

It so happens, time and again, that composers have written one work or another with great élan and then withheld it for a while. This is rather an exception with Sofia Gubaidulina. Nonetheless, several decades passed before the striking Tatar Dance for bayan and two double basses - unusual simply in view of its instrumental combination - could now be published as a printed edition. The Tatar Dance was composed in 1992, and it is thanks to the bayan virtuoso Friedrich Lips that he continued to speak to the composer about this wonderful composition and motivated her to have it published. Lips has now edited the work which is full of magnificent new sounds, with the double basses forming a sonorous counterpoint to the bayan. The world premiere of the chamber work Tatar Dance was given on 25 July 1992 by the soloists Elsbeth Moser (bayan), Wolfgang Güttler and Alexander Suslin (both double bass) in Hitzacker. Sofia Gubaidulina dedicated this work to Viktor Suslin.

For unaccompanied cello. Ten Preludes by Sofia Gubaidulina. Chanson Contre Raison Sonata by Viktor Suslin.

This extraordinary work by Sofia Gubaidulina features the unusual combination of two solo violas and orchestra. It was commissioned by Kurt Masur, who conducted its sensational premiere in 1999 with the New York Philharmonic. The subtitle, A Dedication to Mary and Martha, refers to two New Testament figures whose contrasting experiences of worldly and spiritual love provide the dramatic stimulus for the music.