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lower than the other. Gubaidulina (2001) describes, "in this way the potential of treating both halves as 'light' and 'shadow' emerges." She uses three chords, one major, one minor, and one whose third is exactly halfway between ("this triad possesses architectural significance, but also a symbolic
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meaning") being used at importance cadence points also determined by the five open strings of the higher orchestra section. The flute is in tune with this higher section, but through microintervals and glissandos also coincides with the lower section.
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conducted by
Rostropovich. Gubaidulina attended the recording of both pieces.
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Michael Kurtz, Malcolm
Hamrick Brown, and Christoph K. Lohmann (2007).
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The instruments are divided into two sections, one of which is tuned a
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53:(1994). The first performed by cellist and conductor
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25:in 1994 dedicated to
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207:(1967–1971)
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49:(1997) and
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212:Scarecrow
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69:and the
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247:Related
78:Sources
239:(2013)
231:(1988)
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215:(1984)
188:(2017)
182:(1997)
174:(1994)
166:(1986)
158:(1980)
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311:Music
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