Bulletin of the Transilvania University of Braşov

Series VIII: Performing Arts • Vol. 14(63) No. 2 – 2021

https://doi.org/10.31926/but.pa.2021.14.63.2.10

Interpretation versus Performance in the work

De Profundis by Sofia Gubaidulina
Gonçalo PESCADA1

Abstract: Sofia Gubaidulina's work introduces new sounds and an incessant search for
spirituality through sound. De Profundis, Et Expecto, Silenzio, Last seven Words, Fachwerk,
Under the sign of Scorpio are some of the composer's works inspired by the orthodox chants
that insert the Bayan (accordion) as a scholarly instrument and essential vehicle for
metamorphosis in musical language. The article is presented in three sections: general
notions about the composer and work, interpretive analysis and the interpreter's point of
view (interpretive practice).

Key-words: De Profundis; Sofia Gubaidulina; Interpretive Practices; Contemporary Music.

"Life reduces humanity to so many facets that I know of no more serious mission
than to help it through music to restore its spiritual integrity."
Sofia Gubaidulina

1. General notions about the composer and the work

De Profundis was the first piece written in 1978 by Sofia Gubaidulina (b. 1931) for
accordion, in collaboration with accordionist Friedrich Lips, who also participated in
its writing and arrangement (namely in terms of sound effects on the instrument).
The piece portrays the instrument in its maximum capacities, whether in
terms of sound, effects, timbres and interpretations. The composer uses various
effects, such as bellow shake, portamento, which consists of detuning a note to a
tone below the real level, and gives special emphasis to glissandos/clusters and the
use of air that enters and leaves the bellows as an effect sound.

1
Évora University - Portugal, gpescada@uevora.pt
98 Gonçalo PESCADA

Fig. 1.Sofia Gubaidulina2

“De Profundis” has an approximate duration of 11' and, in the 1982 edition of the
publisher Musikverlag Hans Sikorski, it has 212 bars (some parts with effects are
played in free time, with no bar indication). Religious thought, in the context of
Russian orthodoxy, is evident in all of Sofia Gubaidulina's works (Picón, 2005). De
Profundis is inspired by Psalm 130 of the Bible “From the bottom of the abyss I cry
unto you, Lord”, which remains symbolically present throughout the work3.

“It describes the spiritual journey of the human soul from the darkest and
deepest points of despair, struggling to find light and hope” (Picón, 2005).

The work creates an image of human suffering and portrays a hope that is born in
the midst of pain. The choral part of the piece reflects concepts of hope, trust and
mercy. Throughout the piece, growth from the depths is present. The darker side is
represented by the lower register and the divine by the higher register. The piece
presents a sharp contrast between the applied effects and the melody of the psalm
that appears throughout the work4.
Below is a schematic structure of the work De Profundis. Its general shape
can be condensed into three main elements5:

human suffering in the depths (A), almost always described by chromatisms;

choral sounds that symbolize hope in exiting the abyss (B1), trust in better
moments (B2) and mercy for the maleficence (B3);

and rising from the depths to light (C).
Regarding the presentation of the main elements, it is observed that the
choral theme (B) appears interspersed with the theme of human suffering in the

2
http://www.irene-zandel.de/view.php?cat=kuenstlerportraits
3
Booklet from CD Sofia Gubaidulina, Grammofon AB BIS, 1995
4
Booklet from CD Sofia Gubaidulina, Grammofon AB BIS, 1995
5
Booklet from CD Sofia Gubaidulina, Grammofon AB BIS, 1995
Interpretation versus Performance in the work De Profundis by Sofia Gubaidulina 99

depths (A), which occupies a large part of the work. The alternation with the ascent
to the light (C) only appears at the end of the work. The presentation pattern of the
main elements is represented in the figure below.

A B A A B A B A A B A C
Fig. 2.Sofia Gubaidulina, De Profundis (presentation of the main elements)

2. Interpretive Analysis of the Work

The introduction comes through a chord with two interspersed minor 2nd
intervals, in low range (the lowest notes on the right-hand keyboard), creating a
dark environment (E-F and G-Ab). With a pp sound and medium low register, it is
performed in a bellow shake in ad libitum tempo. In this image of the abyss, the
initial motif becomes more agitated and each new expansion is carried out in a
progressively more acute range, but always returning to the initial chord. There are
moments of rest between each new exposure of the initial subject.

Fig. 3. Sofia Gubaidulina, “De Profundis” (initial motif in bellow shake and in a low
register)

In the initial chord (two interspersed minor 2nd intervals), the low notes E and F
will be kept in a kind of bass line, while the upper 2nd minor of the chord will
progressively increase by half tones until the perfect 5th distance is reached,
returning to the first chord.

Fig. 4.Sofia Gubaidulina, “De Profundis” (development of the initial motif)

Then, a cluster executed in the initial E-Ab interval is expanded in glissando with
ascending / descending movements to the high region, interrupted by a sforzando
100 Gonçalo PESCADA

in very strong sound and sudden keyboard change with exposure of the initial
clustered motif in the left hand, in dynamic ppp.

Fig. 5. Sofia Gubaidulina, “De Profundis” (sforzando and keyboard change)

The cluster made in the left hand is extinguished and, in system 4 on page 3, a 3rd
major interval appears (E, G#) that will be chromatically expanded in a clearly
defined direction for the high register. In this exhibition of element A, which
intends to represent the first attempt to get out of the abyss, chaos will be created
by dissonant sounds complemented by clusters, executed in ascending motion on
the left-hand keyboard.

Fig. 6. Sofia Gubaidulina, “De Profundis”

(element A - chromatically expanded motif)

This dissonant sound will resolve into a sound of major chords, giving rise to the
choir played by long notes on the left-hand keyboard, in chromatic undulations.
This appearance of element B1 evokes the hope of exiting the abyss and is
performed in a brilliant register (medium/high). The chords that make up the choir
will be sustained by ascending and descending wanderings towards an increasingly
acute range.

Fig. 7. Sofia Gubaidulina, “De Profundis”

(element B1 - choral theme in the lower voice)
Interpretation versus Performance in the work De Profundis by Sofia Gubaidulina 101

The following vibrato construction corresponds to the presentation of

element A' (variation of element A) and reproduces a lament. In this chromatic
descent, the simultaneous chords are performed in a ppp sound with light
sforzandos. This is followed by a swirl of clusters in glissando, first assumed in an
ascending and then descending direction. The return to bass tessitura is
accompanied by a change of register.

Fig. 8. Sofia Gubaidulina, De Profundis (element A’ - vibratos)

Intervals of 5th diminished (tritone) performed in vibrato complete the A' element.
These intervals are shifted by glissandi to a lower minor 2nd and, in conclusion, to
wider and wider intervals.

Fig. 9. Sofia Gubaidulina, “De Profundis” (element A’ - vibrato)

In master register (all instrument voices activated), the next block corresponds to
element A'' (element A with variations) and gives us the image of the second
attempt to exit the abyss. Clusters executed on the right-hand keyboard are
expanded in ascending chromatic movements and emphasized in sforzando, always
towards a higher register. This is followed by a change to medium/low register,
with opposite movements performed by both hands and complemented with the
introduction of trills in the left hand in ascending chromatic movement.

Fig.10. Sofia Gubaidulina, “De Profundis” (element A'' - cluster expansion)

102 Gonçalo PESCADA

Fig. 11.Sofia Gubaidulina, “De Profundis”

(element A'' - opposite movement of voices)

The work returns to a choral theme (element B2), which describes a moment of
confidence in better moments. The descending chromatic motif (F, E, D#) is
presented in counterpoint with chromatic ambulations performed in sixteenth-
note quintines, presenting a motif that is repeated, although with inconsistent
rhythmic durations.

Fig. 12. Sofia Gubaidulina, “De Profundis” (element B2 – choral theme)

Section A'' above is now repeated, but with greater amplitude in the intervals that
conclude the glissandi. This A'' element evokes the third attempt to rise from the
depths. The environment caused by the 2nd minor interval (D#, E) and ascending
clusters creates a state of tension.

Fig. 13. Sofia Gubaidulina, “De Profundis” (element A’’)

The canonical motif appears in an ascending impulse, the notes being consecutively
supported by chromatic passages (D, Eb, Hb, H, C, C#, D). This element B1' repeats
Interpretation versus Performance in the work De Profundis by Sofia Gubaidulina 103

material already presented in B1 and seeks to represent the hope of exiting the
abyss.

Fig. 14. Sofia Gubaidulina, “De Profundis” (element B1’ - canon)

Then, disconcerting trills appear in order to culminate the previously presented

canon, that is, chromatic motifs now appear simultaneously and at an 8th distance
between the keyboards. This block, intense in chromaticism, corresponds to the A'''
element and transmits inner agitation. In a tessitura crescendo, the speech
increases to the sound of fff.

Fig. 15. Sofia Gubaidulina, “De Profundis” (element A''' - disconcerting trills)

A short section presents a rhythmic game of clusters between the two keyboards.
At this point of great tension, performed in fff, the return to element A'' (to the
final exposition of section A'') seeks to describe a desperate attempt to rise from
the depths. There is a progression in the tessitura and the use of a bellow shake
cluster at the end, which will make the transition to a new section.

Fig. 16. Sofia Gubaidulina, “De Profundis” (element A'' - rhythmic play through the
action of clusters)
104 Gonçalo PESCADA

The B3 element gives us the image of a plea for mercy for the maleficence,
completed in a cry of agony (cry to the Lord) and an exhaust sigh. Major chords are
presented in ascending and descending chromatic movements in irregular tempo,
in counterpoint with an expanding motif (left-hand keyboard), in an fff sound. This
motif will lead to the climax of the work: a cluster at both ends of the high and low
keyboards, in an ffff sound. Both hands appear in contrast by the action of the
clusters presented in opposite movement. Breathing is immediately evidenced by
the action of the bellows.

Fig. 17.Sofia Gubaidulina, “De Profundis”

(element B3 - chromatic chords in fff sound)

Fig. 18. Sofia Gubaidulina, “De Profundis” (element B3 - cluster in glissando and
opposite movement)

Fig. 19. Sofia Gubaidulina, “De Profundis” (element B3 - bellows movement effect)

The element A' then reappears claiming to represent a lament. A chromatic motif is
highlighted by the use of a possible effect on the accordion, called portamento,
which consists of detuning a note to the maximum extent of a descending tone by
the action of the bellows and the balance of the pressed button. An environment
then appears with one voice that moves to the depths, in a register that grazes the
lowest note produced in the accordion (E1).
Interpretation versus Performance in the work De Profundis by Sofia Gubaidulina 105

Fig. 20. Sofia Gubaidulina, “De Profundis” (element A’ - portamento)

A melodic motif, with one voice, started in the low range is then expanded and
developed towards a high range, the chromatic movement being relevant. This is
the presentation of element C, which describes a long journey towards the light, in
legatto articulation, in a crescendo of dynamics up to fff and an opening of
tessitura.

Fig. 21. Sofia Gubaidulina, “De Profundis”

(element C - melodic motif starting in the lower range)

Fig. 22. Sofia Gubaidulina, “De Profundis”

(element C – conclusion of the melodic motif)

The material that follows begins with a major chord (right-hand keyboard) and
successive chords performed in tremulo, in counterpoint with a glissando cluster
that will expand upwards in the left hand. Then, the consonant chord progression
alternated with clusters expands in range and concludes with a major chord (E-Gl#-
H). This contrast culminates in an acute register, the change in sound being
intensified by a game of registers (master, musette). This section corresponds to
element C' and transmits the ultimate chromatic rise to the light, with rest at the
top.
106 Gonçalo PESCADA

Fig. 23. Sofia Gubaidulina, “De Profundis” (element C' - chromatic expansion in
counterpoint with cluster)

Fig. 24. Sofia Gubaidulina, “De Profundis” (C' element - game of timbres by the
action of registers)

Then, a re-exposure of the choir is presented, which takes up the previous E major
chord. This approaching final picks up elements from section B1 and hits the
highest pitches on the right-hand keyboard. Give us the image of light.

Fig. 25. Sofia Gubaidulina, “De Profundis” (final - re-exposure of the choral)

The piece ends in ppp, with the e-major chord in the lower voice as a pedal,
performed simultaneously with bright motifs in the upper voice that descend, rise
and conclude in tremors with the notes F#8 and G8.
Interpretation versus Performance in the work De Profundis by Sofia Gubaidulina 107

Fig. 26. Sofia Gubaidulina, “De Profundis” (final - final exposure and rest in the
acute tessitura)

3. Conclusions - The Interpreter's point of view

From the standpoint of the interpreter and the use of the accordion with
converter, it should be noted that Sofia Gubaidulina writes only for free basses and
portrays the left-hand keyboard in a similar way, in terms of importance, to the
right-hand keyboard. The notation used for the left hand is the notation used in
Russian writing for bayan.

– designation for free basses

– designation for two fixed rows of basses

Sofia Gubaidulina's writing was originally conceived for a button accordion

with converter. A characteristic that portrays this point is the fact that in De
Profundis some chords and textures that appear cannot be performed in accordion
with a piano keyboard.
With regard to the use of registers, the composer seeks to use a large part
of the available palette. In this particular piece, the bassoon register (bass), the
musette register for high voices (using the piccollo) and the master register when it
is necessary to create strong sonorities in more intense moments appears with
great frequency.
In terms of effects, Sofia Gubaidulina emerges as an innovative composer
for her time. In this piece, various possibilities of effects were explored to the limit
(vibratos, clusters, glissandos, bellow shake, portamentos, and effects with the air
button). All these effects are intended to be intentional, symbolically portraying
feelings, behaviours or emotions of the human soul in a religious context.
Regarding the dynamics used, the composer effectively took advantage of
the sensitivity of the bellows to achieve ppp, ffff, crescendos, decrescendo and
sforzandos sounds, often combined in a sudden way.
108 Gonçalo PESCADA

Despite the importance of a trustworthy interpretation of the score in the

work De Profundis by Sofia Gubaidulina, the aspect of performance becomes
essential to achieve an in-depth execution. Gesture, mime, contrast in dynamics
and symbiosis between instrumentalist and instrument contribute to a greater
impact on musical reproduction.

“Do you know why I love this monster [Accordion] so much? - It breathes!”

This aspect of the instrument has been used in all of Sofia Gubaidulina's works for
accordion.6

References

Boosey and Hawkes (ed.). 2014. Sofia Gubaidulina. Retrieved September 10, 2021,
from
http://www.boosey.com/pages/cr/composer/composer_main.asp?compose
rid=2710&ttype=BIOGRAPHY&ttitle=Biography
Draugsvoll, Geir et al. 1995. Sofia Gubaidulina [CD]. Grammofon AB BIS.
Kholopova, Valentina. 1992. Sofia Gubaidulina [booklet CD]. Grammofon AB BIS,
1995.
Lips, Friedrich (n.d.). 2020. De Profundis [CD], by Friedrich Lips.
Williams, Roland. 2004. Concert Review. Accordion World magazine
January/February 2004. Retrieved September 10, 2021, from
http://www.ksanti.net/free-reed/reviews/gubaidulina_scorpio.html
Zandel, Irene. (n.d.). Sofia Gubaidulina [photography]. Retrieved September 10,
2021, from http://www.irene-zandel.de/view.php?cat=kuenstlerportraits

6
http://www.ksanti.net/free-reed/reviews/gubaidulina_scorpio.html