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Hour of the Soul

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Sofia Gubaidulina

Sofia Gubaidulina


Subtitle: Poem for Mezzo Soprano and Large Wind Orchestra.

This work also appears under its German title, Stunde der Seele.


General Info

Year: 1974 / 1988
Duration: c. 25:00
Difficulty: (see Ratings for explanation)
Publisher: Boosey & Hawkes
Cost: Score and Parts - Rental


Instrumentation

Full Score
C Piccolo
Flute I-II-III-IV (II double Piccolo; IV doubles Alto Flute)
Alto Flute
Oboe I-II-III
English Horn
Bassoon I-II-III
B-flat Soprano Clarinet I-II-III
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
Cornets I-II-III-IV
Horn in F I-II-III-IV-V-VI
Trombone I-II-III-IV
Tuba I-II-III
String Bass I-II
Piano
Celesta
Harp I-II
Timpani
Percussion I-II-III, including:

  • Bass Drum
  • Bells
  • Bongos (5)
  • Crash Cymbals (5)
  • Glockenspiel
  • Marimba
  • Snare Drum
  • Tam-Tam
  • Temple Blocks
  • Tom-Tom (5)
  • Vibraphone

Solo Mezzo-Soprano


Errata

None discovered thus far.


Program Notes

Gubaidulina's work Hour of the Soul for percussion, mezzo-soprano and large orchestra was composed during the years 1974 to 1976, but extensively revised and re-orchestrated in 1988.

This work, dedicated to the percussionist Mark Pekarsky, placed the percussion at the centre of the musical events through all the transformations taking place. In the extensive arsenal of percussion instruments at the soloist’s disposal, the timpani have precedence at first; later, at the end of the work, the exotic sound of the chang, an Uzbek mallet instrument related to the Hungarian cimbalom, appears by the side of the voice.

In the complexly structured one-movement composition, there is a striking section in the middle in which music from Soviet cinema films and a Chaplin melody are quoted; drinking songs and street songs flash up, along with signal fanfares from the Soviet newsreels of the 1930s and '40s. This section curiously appears like an intrusion of everyday life into the individual’s inner world, in the sense of a hectic, busy superficiality. At the end of the work, after a section of resolution more or less collapsing into itself, the voice rises up with verses of Marina Tsvetayeva (1892-1941) above a pedal point.

- Program Note by Sikorsky


Commercial Discography


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of Missouri-Kansas City Conservatory Wind Symphony (Derek Shapiro, conductor; Kelly Birch, mezzo-soprano) – 28 April 2016
  • University of Michigan Symphony Band (Michael Haithcock, conductor; Kristin Eder, mezzo-soprano) - 30 October 2015


Works for Winds by this Composer


References