In Croce

The double bass is in the focus of the four compositions by Sofia Gubaidulina. The compositions which were written and reviewed over a time span of over forty years “are among the highlights in double bass literature: four gems of outstanding value every double bass player should learn to perform.” (Daniele Roccato)

In “Sonata” the double bass part is largely written in a traditional way. However, the performer can opt for various choices of fingering, positions and resonating chords according to personal preferences. Moreover, it is to be assumed that Gubaidulina also intended a specific gestural expressiveness of the double bass player to be part of the tonal result.

In “Pantomime” one immediately senses a certain theatricality which is evoked by melodic contours, dramatic pauses and dynamic progressions. Everything contributes to revealing the composer’s dramatic intention.

Gubaidulina originally composed her ten “Preludes” for violoncello. Later, she rearranged nine of these original compositions for double bass.

In 1975 Sofia Gubaidulina, Viktor Suslin and Vyacheslav Artyomov founded a group called “Astreya” whose aim was to achieve new forms of improvisation by using either ancient or folk instruments. Against this backdrop, the composer used for her third version of “In Croce” not only the double bass but also the bayan which is a sort of button accordion quite common in Russia at the beginning of the 20th century.