Uploaded August 2023 | Updated September 2026, 2 hours ago
Sofia Gubaidulina - De profundis (1978)
Performer: Adrey Dikoev
Gubaidulina’s work De Profundis takes its title from Psalm 130 ’From the depths, O Lord, I cry to you’. In the 1970s, when Sofia Gubaidulina’s music was partially banned in the Soviet Union and she was not allowed to travel abroad, she joined an improvisation group (’Astreja’) with Russian colleagues, which especially used rare sounds of folk and ritual instruments from Russia and other countries. As a result of her work with this group, where she played, among other things, the Japanese koto, she wrote several compositions for the Russian button accordion ’Bayan’.
In De Profundis, Gubaidulina has tapped into the possibilities of an instrument previously mainly classified as a folk instrument, and she has created a new type of sound that impressively reflects the emotional and expressive tone of the psalm.
Sofia Gubaidulina - De profundis (1978)
Performer: Adrey Dikoev
Gubaidulina’s work De Profundis takes its title from Psalm 130 ’From the depths, O Lord, I cry to you’. In the 1970s, when Sofia Gubaidulina’s music was partially banned in the Soviet Union and she was not allowed to travel abroad, she joined an improvisation group (’Astreja’) with Russian colleagues, which especially used rare sounds of folk and ritual instruments from Russia and other countries. As a result of her work with this group, where she played, among other things, the Japanese koto, she wrote several compositions for the Russian button accordion ’Bayan’.
In De Profundis, Gubaidulina has tapped into the possibilities of an instrument previously mainly classified as a folk instrument, and she has created a new type of sound that impressively reflects the emotional and expressive tone of the psalm.
