et aliae

The USA-based composer Philip Glass (b. 1937) is one of today’s most renowned composers. His work spans a diverse range of ensembles and settings, including operas, symphonies, solo concertos, string quartets, and a substantial amount of film music, reaching audiences worldwide. Glass’ music, often characterised as minimalistic, is distinguished by a distinctive soundscape created from a few musical elements that are repeated and gently transformed. Glass’ unique musical language is evident in Opening, the first track of this album. Originally written for solo piano, and a piece that Glass himself also has on his repertoire, Opening was the first movement of Glassworks (1981), a forty-minute composition for flutes, saxophones, bass clarinet, French horns, viola, cello, synthesizer, and piano. Opening consists of three elements: quavers, triplets, and sustained tones, which are interwoven into three rhythmical voices. In Eva Beneke’s interpretation, the piece is adapted from piano to guitar, utilising both classical and electric guitars. Her arrangement places the sustained notes in a high register, giving Glass’ music a shimmering soundscape that contrasts with the gentle guitar strikes on quavers and triplets, propelling the music forward.

Petra Szászi (b. 1997) belongs to Hungary’s generation of young composers. She has written music for film and theatre, chamber music, and works for solo instruments. Szászi has so far composed three works for guitar: Hommage à Charles Bukowski (2019) for solo guitar, included in this album, Dyslexia (2020) for four guitars, and Ice (2022) for cello and guitar. In Hommage à Charles Bukowski, Szászi explores various types of glissandi, created by turning a tuning peg to re-tune the instrument and by sliding fingers on the fingerboard. Both techniques give the piece a swaying, almost unstable character. Rhythmically, the piece alternates between notes of different duration and even quavers, enhancing the music’s trembling quality. Szászi also employs flageolets and arpeggios and uses the guitar as a percussion instrument by letting the performer strike the wood with fingers and hand. The alternation between these different elements gives the piece a kind of rondo form. Additionally, it builds from a calm opening to an intense ending. The piece is a tribute to the American writer Charles Bukowski (1920-1994), known for his depictions of people in unstable life situations.

Guitare by the French composer Germaine Tailleferre (1892-1983) is a quiet piece lasting three minutes. The exact date of composition is uncertain, but some sources suggest is may have been written in the 1970s when Tailleferre was in her 80s. She is perhaps best known as one of the members of Les Six, a group of composers active in Paris in the early 1920s. However, Tailleferre composed throughout her long life, leaving behind an extensive list of works consisting of solo works, chamber music, concertos, operas, ballet music, and film music. Tailleferre herself was a skilled pianist and she wrote a considerable amount of music for piano - both solo works and chamber music. In addition to the solo piece Guitare, she composed a concerto for two guitars and orchestra (1964). Some sources also mention a Concertino for guitar and chamber ensemble, though this is unverified. Guitare features a melodic line in high register accompanied by chords in a steady tempo. Notated in a slow tempo, Très Lent, with the melodic line primarily moving stepwise and some chords containing fifths, which gives the music an open and quiet character.

The last two works in this album are by the Tatar-Russian composer Sofia Gubaidulina (1931-2025). Composed nine years apart, they are often presented together as both are written for solo guitar. Serenade (1960) was composed when Gubaidulina was in her late 20s, living in Moscow and establishing herself as a composer. The title refers to ‘evening music’, and the piece is a calm exploration of the guitar, almost like an improvisation on its sounds and range. It begins in a low register and ascends to the highest realms, like stars in a clear evening sky. Toccata contrasts with Serenade through its fast, intense character. Although the base tempo of Toccata is slower, it is filled with semiquavers, giving it a rapid and virtuosic temperament.

In addition to the two solo works presented in this release, Gubaidulina has composed two chamber works for guitar. One is Repentance (2008) for cello, double bass, and three guitars, each with different tunings. This piece also exists in two other versions: Ravvedimento for cello and four guitars, and Pentimento for double bass and three guitars. The other is Sotto Voce (2010/2013) for viola, double bass and two guitars.

During her long life, Gubaidulina demonstrated an exceptional creative power and became one of Europe’s most recognised composers. Her rich oeuvre includes orchestral works, chamber music, solo instrumental music, vocal works, and film music. She has collaborated with numerous musicians, contributing to the development of experimental playing techniques for various instruments, including the guitar. Many of her works feature unconventional instrument combinations, such as those in the low register, and she has also worked extensively with electronic music. Religious themes are central in many of her compositions. Gubaidulina resided in Germany from 1991 until her passing on March 13, 2025.

Gjertrud Pedersen

Recording session on 16. October 2024 at Ölbergkirche Berlin-Kreuzberg. Photography: Stefan Maria Rother