In Croce can be broken down into three main quasi-classical sections: Exposition (rehearsal numbers 0-23), Development (RNs 24-47) and Recapitulation (RNs 48-end.) The exposition represents the establishing of themes, ideas and instrumental roles. The development manipulates and transforms these elements, allowing them to interact with one another, and grow beyond the boundaries of their initial definition. The recapitulation recalls the opening statement, presenting it in a way that brings about closure of the whole movement, relating the initial ideas to their refashioning in the development. Hence, events which resemble or even duplicate their expositional origins show signs of transformation as a result of their evolutional journey in the preceding sections. I shall now discuss each main section in turn.
The significance of the title becomes immediately apparent upon the entrances of the two instruments, whose marked divergence of character is drawn attention to by the delayed entrance of the second instrument (the cello.) Thus the organ is permitted to establish fully its simple theme without distraction, one which is to remain basically unchanged throughout most of the exposition. The entrance of the cello in rehearsal number 1, on a note borrowed from the A major triad of the organ theme (namely, E) seems, consequently, to sprout from the same seed as that material. The rearticulation of that note two bars later, however, immediately demonstrates an independence from the organ material, asserting an identity of its own which differs from that of the other instrument by way of register, duration, timbre, dynamic consistency and, most notably, melodic gesture. The microtonal style which characterises the latter receives dramatic emphasis upon its first appearance as a result of its abrupt change in dynamic and mode of articulation.
Taking the first four rehearsal numbers at a glance, a section encompassing more than fifty bars, one is struck by the remarkably slow thematic pace, which seems to operate in a different way in the case of each instrument. The material of the organ is presented all at once in its complete form, consisting of a trill between E and F#, and an arpeggiation of the A major triad, always coming to rest on an E. This material remains static for many bars to come, acting as a sonorous background for events taking place in the cello, events which, although slow-moving and simple, involve a certain thematic growth. Just as the stasis of the organ-writing provides a non-detractory basis against which the gradually-spun-out cello line might be best perceived, so too is the combined eventlessness of both instruments conducive to a kind of mental spaciousness in the listener, who is thereby ideally conditioned for the perception of a semantic exposition taking place between the instruments. Hence the aesthetic aims at this stage are concerned not with the invention of compelling thematic activity, but rather with the setting-up of two dramaturgical entities which stem from the same root, but immediately point in different directions.
At this point it is necessary to clarify the term "dramaturgical", a concept which is central to this work, and indeed utilised throughout much of Gubaidulina's output. Dramaturgy concerns the assigning to the instruments of the ensemble certain theatrical roles, whose interaction forms a large-scale dramatic scenario. This scenario lies at the structural core of the work, and very often relates to the title itself.
Fundamental to the conceptual structure of In Croce is the relationship between the dramaturgical roles of the two instruments, and the geometric pattern of the cross they represent. In her discussion of In Croce1, Russian musicologist Valentina Cholopova interprets the geometric relevance of the cross in a way which would seem to work from the outside inwards; accordingly the two instruments are initially invested with radically opposing material which completes a gesture of reciprocal approach in the course of the movement:
"Consider...the contrapuntal thematicism between expressive chromaticism and a luminous glissando in a major key, amidst a general backcloth of natural harmonics. The two solo instruments represent two poles of an irreconcilable situation. Throughout the course of the work, the roles of the two instruments cross paths and exchange reciprocally."
Cholopova continues with the theme of polar opposites, describing how, in the moment of initial opposition, the organ and cello contrast by way of register, harmony, articulation and texture. To this effect, she provides the following list in summary of the treatment of the two instruments within their respective musical parameters:
| ORGAN | CELLO |
| high register | low register |
| diatonic, major | microchromatic |
| legato melody | fragmented, detached melodic motive |
| continuous | fragmented |
While not wishing to dispute the general contrasting attributes which Cholopova attaches to the two musical personalities, I contest that to interpret them as polar opposites, especially at this early stage of the piece, is to overlook an important aspect of the geometric significance of the cross. It has already been observed that the emergence of the cello emanates from the same source (at least in terms of pitch-centre) as the organ. Let us consider this point of entry as representative of a geometric fulcrum from which two contrasting entities emerge. Extending this analogy a little further, the cross may be interpreted as a source of creative energy, flowing outwards from a central fulcrum, immediately forming two divergent channels. These channels nevertheless have their roots in a central genetic germ, which ensures a certain commonality of design throughout. In accordance with this interpretation, I shall now examine the two personalities from a perspective which acknowledges their dissimilarities, while recognising their inherent sense of belonging, and, perhaps, potential for convergence.
The former premise might be further satisfied by adding to the list of contrasts above the previously mentioned observation concerning the manner of thematic emergence - namely, the static background of organ material as compared to the gradually-spun-out, accumulative growth of the cello theme. Turning now to the latter premise, that is, points of similarity or inherent linkage, I shall now examine each instrumental "personality" with a view to locating within it a latent presence of the other.
Perhaps the most striking example of this type of reciprocal relationship is that instrumental camouflage which inspires the opening themes of both instruments. The organ performs a luminous, flickering array of simulated harmonics, while the cello enters with sustained, heavy "pedal" notes in a low register. This is no doubt as direct a statement as any to the intention of future role-exchange. Although many aspects of the expressive parameters of the two instruments appear in direct opposition to one another, the fact that they appear, at the outset, to have assumed one another's identity (in terms of instrumental association) already testifies to a mutual awareness of one another's existence. This musical schizophrenia extends to parameters of pitch-centre (both instruments hover unequivocally around E) and harmonic/melodic construction. The left hand of the organ, consisting of the trichord [0,1,2], foreshadows the microtonal melodic cell that generates the melodic line of the cello. In the case of the latter, the intervals are cut in half, and the gesture proceeds in ascending quartertones. This claim may appear somewhat tenuous on the grounds of the small number of pitches concerned, and their translation from a semitonal to a quartertonal gesture. It must be remembered, however, that the organ is physically incapable of imitating a microtonal melody more directly, and moreover, this trichord comes to be such a fundamental component in the cello's melodic line that its significance cannot be overstated.
Another point of commonality between the two instruments lies in the coordination of points of thematic alteration. Although it has been stated that the organ material remains relatively unchanged throughout the exposition, small fluctuations in content do exist, and it is interesting to note that those which take place on a micro level in the organ part occur, at the same location, on a more discernible level in the cello. For example, in RN 6, another note, F natural, is introduced into the organ part; at the same approximate location, another register (the upper octave E) is introduced in the cello. At the same time the rhythmic durations of the cello melody begin to shorten. I shall refrain from citing further examples of this relationship at this stage, since it begins to encroach upon the subject of thematic transformation, a discussion of which shall appear later. It suffices to note for the moment that when these changes occur, they do so at points of mutual coordination between the two instruments.
Returning to the subject of thematic divergence between cello and organ, one which might be described as evolutional versus existential, I shall now investigate the evolution of the cello melody, from its first appearance at RN 1 to its activated culmination at the end of the exposition (end of RN 23.) Beginning on a low E, the cello melody in this section is characterised by a mostly upward expansion in cells of chromatic and microchromatic trichords. The process of expansion is exponential. That is to say, looking at each element individually - the move from quartertone, to combined quarter-tone/semitone, to semitone trichords, the upward registeral expansion and the accumulation of pitches - all occur at an ever-increasing rate throughout this section. Another element of expansion has to do with the number of levels upon which the melody is grafted. According to this technique, stepwise, or micro-stepwise cells occur, initially in a single low register, based around E, each connected by a semitone or quartertone. In addition to the trichords there also appear occasional neighbour tones (which could also be interpreted as concealed trichord members, belonging to preceding or succeeding phrases.) RN 5 features the introduction of a second register, which centres around the upper octave E. Subsequently the melodic line distributes pitches in a way that forms adjacent trichords on two pitch-levels. With the introduction of a third melodic level in RN 14 (A) the axle of the second melodic level shifts to C#, so as to maintain an intervallic symmetry between the three pitch levels, as well as, no doubt, to forge yet another relationship, this time pitch-based, between cello and organ. From here a three-level melody is maintained simultaneously, whereby pitches are seen to expand upwards from three basic anchors, preserving the same quartertone, and later semitone stepwise ascent throughout. The process is accumulative; thus the original starting-points are frequently returned to, and their later chromatic adherents are constantly reiterated, such that a continuous cluster is effected on three levels, gradually expanding to the point of overlap. Another possible cross-motif suggests itself, albeit of a surreal, "three-way" variety, as the three levels occupy one another's territory to the point of self-destruction, eventually converging in a mutual thrust into the upper register, which is to form the basis for the ensuing section. Figure A traces the evolution of this melody in compressed form, whereby each melodic gesture is mapped out on a different line, and the pitches reorganised to show the three melodic levels more clearly. Repetitions of pitches are ignored, unless they belong to a separate trichord, or serve to connect pitches of the same level from one phrase to the next. Since the initial patterns occupy a far longer time span, and the melodic gestures are more fragmented, the first five lines of the graph do not represent musical phrases per se, but rather the accumulation of fragments over considerable time-spans. As the rate of expansion intensifies (RN 18 onwards), it becomes possible to view the accumulation of pitches alongside musical phrases.
I shall now return to the theme of reciprocal approach, examining the way in which each instrumental personality is manipulated, in the course of the exposition, to resemble the other. The parameter of registration is clearly exploited to this end. Not only do the instruments approach one another's territory, but they perform a registeral cross-roads, a gesture whose preparation involves the whole exposition, but does not actually transpire until the final bar of the exposition (See fig. B.)
In the case of texture, approach is not so much reciprocal, but rather more one-sided. It has already been mentioned that the organ's texture does not undergo much change, but that of the cello changes considerably to resemble it, broadening out to encompass multiple melodic levels, becoming increasingly active and mobile, incorporating within it a growing number of trills, as well as ever-shorter rhythmic durations.
The element of counteropposed diatonicism and microchromaticism is one that is bridged mainly by the organ, although the cello also contributes by virtue of a transfer from microtonal to chromatic melody. The organ, meanwhile, gradually pulls away from the A major triad, beginning with the introduction of an F natural in RN6, and the appearance of descending scales, filling out the arpeggiation, beginning in RN8. These scales are at first diatonic, until they combine with the F natural to break away from the A major mode. Beginning at RN 10, the organ breaks free of its purely ornamental continuation of the triad, fanning out chromatically, in imitation of the cello line, to assume momentary melodic interest (see fig. C.) For the most part, its engagement with this idea amounts to little more than brief encounters, returning immediately to the ornamental triad. A more convincing move towards melodic independence is not achieved until the very end of the exposition.
Another means of reciprocal approach is that of increasing intervallic similarity. Just as the intervals of the organ narrow throughout the course of the exposition, those of the cello widen, initially as a result of a registeral transfer of adjacent pitches to the upper octave (see fig. D), and later by way of intervallic leaps that can no longer be labelled "disguised adjacencies". By the end of the exposition, the intervallic content of the cello line is widely abundant, arriving at a dynamic, registeral, and unharnessed melodic intensity which builds up into the volatile eruptions of the development.
The general conceptual theme of the development seems, ironically, to be one of continual undoing and collapse. The short melodic motifs of the exposition undergo mutational treatment, in accordance with the classical concept of development, but in a way that serves to undermine them rather than affirm them. The semantic concept of cyclic build-up and collapse is portrayed musically as follows: a given stylistic idea becomes animated, and gains momentum at an exponential rate, until it becomes damaged in its haste, falls apart, and finally explodes under the pressure of its own zeal. Following this eruption there follows a recovery of damaged material, triggering the genesis of a new stylistic idea formed of the same thematic cells. This pattern is repeated several times throughout the development. Associated with the idea are lines of chromatic ascent and descent, to represent build-up and collapse respectively, and the use of dynamic and timbral colour to represent varying stages of the semantic ordeal (such as bold survival, frenzied desperation, weak desolation and tentative rebirth.)
The form of the development consists of a series of contrasting passages, some of which are separated by short pauses. In a Ph.D. dissertation written on Gubaidulina's string trio, Janice Hamer describes this procedure as "moment form"2. According to Hamer, "such a form does not evoke a sense of line or continuity. If continuity is identified with anticipation or expectation, then in music where there is no ability to predict the future, there is only a series of moments."3 I would add that, while the outward character of the form does not evoke a sense of continuity, there exist, at least in the case of In Croce, elements inherent within the thematic and dramaturgical makeup which provide a basis for continuity. Hence it follows that it is unnecessary to speak in terms of anticipation or expectation, and the experience of the listener might be more objectively described as the perception of recognisable phenomena within a series of spontaneous "moments". The sections that constitute these moments appear as follows:
moment 1: RN24
moment 2: RN25 & 26
moment 3: RN 27-29
moment 4: RN 30
moment 5: RN 31 (introduction); RN 32-35
moment 6: RN 36-47
Here follows a discussion of each moment:
The thematic cells that form the building blocks for the development, already familiar from the exposition, are presented in quick succession in the cello line at the beginning of RN24. All cells are linked by virtue of their consisting of a mixture of tones and semitones, but among these can be identified two main strains - those with an upward tendency, and those with a downward tendency (related to the organ's short-lived chromaticism in the exposition.) The ascending cells (fig. Ei) arise organically from their origin as an upper-note trill, transforming to become the familiar ascending trichord. The descending cell (fig. Eii) makes its first appearance in completed form, consisting of a string of descending tones alternating with ascending semitones. This cell also appears in inversion, such that it also relates to the ascending trichord of the upward strain (fig. Eiii). Throughout the course of moment 1, the ascending cell becomes dominated and eventually overwhelmed by the descending cell, which elongates to form an extended descent, encompassing the register of the cello from top to bottom. The dramaturgical relevance of this registeral collapse is apparent, aided in this respect by the indistinct organ writing, which mirrors the melodic gestures of the cello in clumsy glissando clusters. Counter to this, certain operations serve to maintain a state of relative order, among which are the staunch presence of the chromatic trichord, the solidarity of gesture between the cello and organ, and the logical melodic structure. This follows a pattern similar to that of the exposition, but operating on two levels. The shorthand representation of this melody in fig. F demonstrates how, once again, each level accumulates pitch-members, until the entire range from top to bottom is bridged chromatically. The significance of such parameters of structural order lies in the longer-term dramaturgical plan. That is to say, a certain structural semblance must be preserved, in order that the destructive forces of future disintegration have something to feed upon.
Moment 2 involves, dramaturgically, the complete collapse of the previous gesture. The chromatic descent of moment 1, having lost something of its clarity as a result of the complete transfer to tremolo, tumbles down to a low F# (onset of moment 2), where it lies "gurgling" for a while, as a volcano about to erupt. The ensuing eruption occurs in one dramatic surge, embracing within a minimum of time numerous elements of the preceding texture, thematic cells, timbre, and even melodic structure. These include, respectively, an accompanying organ cluster, the chromatic trichord, a continuous textural trill, and the establishing of several melodic levels. Of course, the upward charge is so urgent, and so intense in its attempt to embrace so many elements, that it effectively overloads, and self-destructs. The aforementioned unifying elements of the proceeding section, namely the chromatic adjoining of melodic levels and the gestural unanimity of the two instruments, are destroyed. Vast gaps are left exposed in the cello's descent (see fig. Gi, melodic structure), and the cello and organ are thrust towards opposite ends of the registeral spectrum. On a dramatic level, the two personalities, or the two perpendiculars of the cross, arrive at remote co-ordinates, distanced as far as possible from their central fulcrum. The next two moments consist of varied attempts to reconcile these differences and pick up the pieces.
Moment 3 reintroduces the trill motive, which acquires the stamp of the trichord cell in its gradual chromatic descent. Dramaturgically, this attempt to reconstruct is one which begins passionately, and even nobly (note the expressive pathos of the cello's high register, and the majestic, sustained triads of the organ), then loses grip, starts to slide downhill, and resigns itself to collapse (end of Rn29.) In terms of melodic structure, this section attempts to bridge the registeral gap of the preceding section, but achieves this goal only partially before giving up, and allowing itself to plummet once more into oblivion (fig. Gii.)
Moment 4 constitutes another attempt at reconstruction, this time by way of approximate gestures, reminiscent of the chromatic ascents and descents of moment 1. The attempt is inherently weak, however, due in part to the imprecision of pitches, represented as wavy glissandos, positioned arbitrarily on the staff. The most striking remnants of the former moment (RN24) are the "commas" of silence wedged between each gesture. Otherwise, connections are blurred and unconvincing. The organ appears only intermittently, and its gestures, initially out of phase with those of the cello, pull progressively further away to the point of indifference. The dynamic level ranges from p to pp, and there is no sense of organic growth, either in terms of thematic change or melodic goal. Furthermore, the former state to which it refers in its attempt to reconstruct, namely moment 1, was itself the first stage of the general disintegration process. Drammaturgically, the "spirit" is jaded from start to finish, and literally gives up on life, sinking to the very bottom of the instrumental register.
Following these foiled attempts at reconstruction, one might infer that the methodology used thus far, namely the recycling of damaged fragments, is destined to fail. The only possibility of restructure after such comprehensive destruction is through regenesis, and this is exactly what transpires in moment 5. The organ forms a low, murky cluster, a "primeval ooze" from which the cello begins slowly to arise. Gradually the trichords reappear, the impulsive dynamics of the cello's personality reassert themselves, and the melodic line (see fig. H) ascends a little way in preparation for the cello cadenza, which is to form the central exposition of the instrument's personality and potential. The cadenza, occurring at RN 32, is thematically and polyphonically rich, although never becomes too impulsive or indulgent. Remaining within the bounds of a relatively light timbre (pizzicato, followed by artificial harmonics) it maintains a certain consistency of rhythmic duration, tempo and dynamic level. Three melodic levels are established (see fig. Ii), whose surface material is composed of trichord gestures, but whose general thrust constitutes a gradual chromatic ascent. Fig. Iii illustrates the compressed melodic contour of each level. Level I, the lowest level, rises slowly to the same pitch an octave higher, returning in a controlled manner to its original pitch (C3.) Level II performs a moderate registeral ascent, initially stepping down a tritone, before ascending to middle C, the point of departure of level III. Level III, which is to carry the cello voice into a high, more luminous register (its final destination), performs a more extended ascent (up to B6), but again, this is tempered by the initial descent of a major third. The transfer from pizzicato to artificial harmonics towards the upper end of the descent, and then to a wavering glissando harmonic, allows the cello line to dissolve into the background, without need for termination, in preparation for the next moment.
For the first time in the whole piece, the organ assumes the thematic foreground. The trichord theme is very strong at this stage, operating on a number of different levels. On the melodic surface, a distinct pattern of tones and semitones (STTSTS) appears in descending sequence (see Fig. Ji.) The point of departure for each chain of the sequence also accumulates to form a descent that is mostly semitonal, but also incorporates some tones. The strict sequence is broken at RN39, although the descent can still be identified among the melodic material. A similar pattern of chromatic descent becomes established on a second, lower level, and in RN40, a third melodic level emerges, this time a chromatic ascent. Throughout the remainder of the development, each level turns around, and returns chromatically to its original pitch. Meanwhile a chromatic ascent is discernible from the cello melody of RNs37-47, and another chromatic descent appears in parallel 6/4 chords, encompassing RNs 38-4 (Fig.Jii). The significance of so many chromatic lines appearing simultaneously has to do with the idea of continued renewal on a semantic level. None of the lines is hasty or uncontrolled, but stretches gradually towards its goal to form with the other voices a combined five-way genetic helix. The symbolism of the cross reaches maximum potential, as the three voices return to their initial pitches, recrossing their own territory as well as that of the other voices. Meanwhile two more distinct voices, the personifications of the cello and organ, approach each other from opposite registeral poles, cross paths, and continue at an increasingly drawn-out rate, until arriving once more at opposing ends of the registeral spectrum, their respective destinations for the recapitulation.
From the 5-note chord at the end of the development section can be extracted three of the four pitches necessary for the reconstruction of the A-based "harmonics" continuity of the piece's opening. These are A, C# and F# (the upper note of the trill.) The most important, central pitch, E, is not sounded until the onset of the recapitulation, although its appearance is anticipated, or insinuated, by the fact that it is surrounded, or "embraced" by the pitches present in the final chord of the development, namely D and F#. A quick glance at the brief recapitulation suggests a simple role-reversal between the organ and cello. The former sustains a chromatic cluster chord, while the latter inherits the prolongation of the A-based harmonic series. A more discerning look, however, reveals the retaining within each instrument of certain characteristics belonging to its former self. These include the sustained, legato character of the organ, the subtle swell of its dynamics, its unintrusive, background role, and conversely, the impulsive dynamic fluctuation of the cello, its relative mobility compared to the organ, and its changeable timbre. This characteristic volatility of the cello is epitomised by its playful final gesture, an expressive departure from the harmonic series, to an intense, non-harmonic high E, which descends, in wavery glissando, to the bottom of the cello range. The descent comes to rest at D flat, carefully avoiding the very lowest pitch, C, which has already been associated with pre-evolutional nothingness. The implication here is that the spirit, having already achieved a state of ever-spiralling continuity at the end of the development, continues to spin out its chain of life beyond the audible remnants of the fading music. Thus the recapitulation serves not to replace or terminate the spiralling motion that preceded it, but to suggest that it is still in effect elsewhere. Further to this, its continuity, and that of life in general, is safe-guarded by that luminous, immovable, and eternal presence which existed at the beginning of the work, is restored at the end, and perhaps was never truly absent.
In view of the religious connotations that one automatically assumes upon consideration of the title In Croce, it now remains to summarise those factors that are most pertinent in this case.4 Among these are the respective roles of light and darkness, which Cholopova addresses in her study of the beginning of the work - "the luminous part of the organist, lowering in register, and thus darkening...the gloomy cello part..." and the "culmination" at RN 48 - "Luminous trills resound...The sounds of the cello seem to pass from an earthly to a celestial sphere, in which the harmonics of the A major triad shine through." Cholopova cites musicologist Niccolo Cusano,5 who also acknowledges the spiritual value of light and darkness in In Croce. Cusano identifies another religious symbol, the cycle, one which has been mentioned earlier in the context of dramaturgical death and resurrection. Cusano, however, attributes the presence of the cycle in In Croce to the fact that each of the two contrasting musical personalities is never entirely devoid of the other. "Every theology has a cyclic character, and rests upon a circle", he claims. "For example, supreme justice is supreme truth, and supreme truth is supreme justice, and so it is with everything." The parallel becomes rather nebulous at this point, owing perhaps to the fact that the two theological concepts under discussion are more or less synonymous, which is not so in the case of the two musical personalities of In Croce. These differ to the extent that they never once appear united, yet they share sufficient commonality to enable them to cross paths and exchange certain characteristics.
The geometric representation of the cross occurs in a number of ways. The image of an outward-moving flow, emanating from a central fulcrum has already been applied during the discussion of the piece's opening. Following this, and the subsequent establishing of contrasting personalities, there follows a gesture of reciprocal approach, along the lines of Cholopova's interpretation. This does not occur, however, in the manner of a gradual, incremental convergence of the two personalities over the course of the piece. Indeed, the development section, detouring as it does to undergo hitherto unknown experiences, transpires in a way that is completely extraneous to the idea of gradual approach. Nevertheless, musical parameters are seen, ultimately, to have been passed between the instruments, to form a cross whose precise point of intersection cannot be identified.
Another cross-related undercurrent concerns the journey of the human spirit, which can be interpreted either as a religious, or as an non-religious, purely philosophical phenomenon.6 According to the former interpretation, the soul is portrayed in a state of inward and outward struggle, undergoing trials of suffering and utter desolation before its transcendental reformation in the closing stages. According to the non-religious interpretation, the natural phenomenon of life, or of humanity, endures both physical and psychological devastation. Yet, by virtue of its cyclic nature and instinct for survival, it is able to overcome these disasters, rebuilding genetically to reassert itself in a manner that implies infinite continuity. Common to both perspectives, that is religious and non-religious, is the prevalence of an everlasting presence, be it divine or spiritual, which is represented musically by the sustaining of an A-based harmonic series throughout much of the piece - steadfastly throughout the exposition and recapitulation, but also intermittently in the development. Also belonging to both strains of thought are a tenacious hold on life, and a reluctance to submit to complete destruction. Since such struggle exists, in reality, on a binary level, and tends to become manifest in physical confrontation, the symbol of the cross provides an ideal visual representation of this condition. Hence the intersecting perpendiculars can be seen to represent a variety of simultaneously confrontational and co-dependent dichotomies, each with its roots in the very nature of existence: the interaction between God and man; man's introspective psychological dialogue; nature's reciprocal relationship between life and destruction; the spiritual attainment of everlasting life through suffering; the philosophical confrontation between forces of construction and forces of termination; the aesthetic dichotomy of continuity versus sectionalisation.7 All of these combine at a central fulcrum to graft man's understanding of his own condition, an intensity of self-awareness fundamental to age-long human philosophy, and to Gubaidulina's self-confessed aesthetic preoccupation:
"The unavailability of an interpretation [performance] and the opposition of the bureaucrats led...to the fact that I devoted myself in my composition to that highest philosophy of the world's origin, and that, in doing so, I allowed myself the most complicated constructions."
"The whole point of mortal life lies in the striving, the attempt to eliminate one's own death. Perestroika shows that in our country there are still living cells which resist the disintegration of the spirit."8
1 Sofia Gubaidulina, ed. Enzo Restagno, 1991, Torino
2 A concept introduced by Karlheinz Stockhausen, according to which individual passages of a work are regarded as experimental units, whose specific ordering is decided upon by the conductor before the performance. Each unit, or moment, can potentially engage the listener's full attention, and can do so by exactly the same degree as its neighbours. Yet no single moment claims priority, and each one is equally dispensable (or conversely, indispensable) to the listener. The aesthetic commonality between the moment form of Gubaidulina and Stockhausen stems from the sense of open-endedness effected by such a series of independent units. The indeterminate aspect of Stockhausen's concept, however, has nothing in common with Gubaidulina's utilisation of the form, for whom moments appear as self-contained cells within a larger, determinate genetic scheme. For Stockhausen, structure is a perception-based phenomenon, shaped by the listener's involvement with spontaneous musical moments. The diversity of approach can be observed in the following commentary made by Stockhausen following the performance of Momente at the Donnaueschinger Musiktage (Oct. 1965):
It is not a closed work with unequivocally fixed beginning, unfolding and end, but a multi-faceted, variable composition of interdependent events. Unity and coherence result less from external similarities of forms than from an external, optimally-unbroken concentration on the process of formation...
3 Sofia Gubaidulina's Compositional Strategies in the String Trio and Other Works, p.15, Janice Hamer, City University of New York, 1994.
4 At this point the discussion becomes highly speculative. Since Gubaidulina herself acknowledges a preoccupation with a plurality of religious and philosophical concepts, however, (both in her cover notes and in her interviews) such speculation seems appropriate, and even necessary in this context.
5 De Docta Ignorantia, pp. 63-6, Nicolò Cusano.
6 Several parallels can be drawn between these concepts and specific philosophical theories. The non-religious concept referred to above has something in common with the 19th century positivist Auguste Comte, whose humanity-based religion denies the existence of a divine power. While Gubaidulina's self-acknowledged mysticism is clearly at odds with the secular foundation of Comte's theory, philosophical similarities can be drawn from a mutual faith in the human spirit, and a belief in spiritual advancement through struggle with adversity. A similar, secular-based philosophy is that of Bertrand Russell, whose essay Freedom of Man (1903) attributes to the term "stoicism" the notion of spirits striving in an otherwise dark world. The ultimate futility of Russell's depiction is clearly alien to Gubaidulina's belief in ultimate spiritual redemption, one that she expounds both in interview and by the religious content of her compositional output. The common-ground lies, again, in the importance attached to the human spirit, which derives its own meaning from its triumph over external opposition.
7 With regard to the religious interpretation outlined above, perhaps the most comprehensive philosophical counterpart to Gubaidulina's aesthetic creed can be found in the writings of Georg Hegel. Hegel's theory of objective idealism proposes that every phenomenon of the world can be analysed as a pair of mutually necessary contradictions. Any given entity, by virtue of being itself, automatically generates its opposite, and the confluence of these opposites opens up the way to something more perfect and more meaningful. Hence there exists a dichotomy of conflict and interdependence, which acts as a driving force to the spirit.
8 Sowjetische Musik im Licht der Perestroika, Sofia Gubaidulina in Conversation with Dmitri Kadanzev, Ogoniok 33/1989, translation from Russian: Ulrike Patow-Kamenskli.
© Fay Neary, 1999