Sofia Gubaidulina (1931-)

Quotation

I am a religious Russian Orthodox person and I understand religion in the literal meaning of the word, as re-ligio, that is to say the restoration of connections, the restoration of the legato of life. There is no more serious task for music than this.

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Biographical

Sofia Gubaidulina was born in Chistopol in the Tatar Republic of the Soviet Union in 1931. After instruction in piano and composition at the Kazan Conservatory, she studied composition with Nikolai Peiko at the Moscow Conservatory, pursuing graduate studies there under Vissarion Shebalin. Until 1992, she lived in Moscow. Since then, she has made her primary residence in Germany, outside Hamburg. Gubaidulina's compositional interests have been stimulated by the tactile exploration and improvisation with rare Russian, Caucasian, and Asian folk and ritual instruments collected by the "Astreia" ensemble, of which she was a co-founder, by the rapid absorption and personalization of contemporary Western musical techniques (a characteristic, too, of other Soviet composers of the post-Stalin generation including Edison Denisov and Alfred Schnittke), and by a deep-rooted belief in the mystical properties of music.

Her uncompromising dedication to a singular vision did not endear her to the Soviet musical establishment, but her music was championed in Russia by a number of devoted performers including Vladimir Tonkha, Friedrich Lips, Mark Pekarsky, and Valery Popov. The determined advocacy of Gidon Kremer, dedicatee of Gubaidulina's masterly violin concerto, Offertorium, helped bring the composer to international attention in the early 1980s. Gubaidulina is the author of symphonic and choral works, two cello concerti, a viola concerto, four string quartets, a string trio, works for percussion ensemble, and many works for nonstandard instruments and distinctive combinations of instruments. Her scores frequently explore unconventional techniques of sound production. Since 1985, when she was first allowed to travel to the West, Gubaidulina's stature in the world of contemporary music has skyrocketed. She has been the recipient of prestigious commissions from the Berlin, Helsinki, and Holland Festivals, the Library of Congress, the Chicago Symphony Orchestra, the New York Philharmonic, and many other organizations and ensembles. In 1991, she was the featured composer at Turin's Settembre Musica Festival, and festivals celebrating her music have been mounted throughout Europe, in Russia, and Japan. Gubaidulina made her first visit to North America in 1987 as a guest of Louisville's Sound Celebration.

She has returned nine times since as a featured composer of festivals - Boston's Making Music Together (1988), Vancouver's New Music (1991), Tanglewood (1997) - and for other performance milestones. From the retrospective concert by Continuum (New York, 1989) to the world premieres of commissioned works, Pro et Contra by the Louisville Orchestra (1989), String Quartet n. 4 by the Kronos Quartet (New York, 1994), Dancer on a Tightrope by Robert Mann and Ursula Oppens (Washington, DC, 1994), and the Viola Concerto by Yuri Bashmet with the Chicago Symphony conducted by Kent Nagano (1997) - the accolades of American critics have been ecstatic. Gubaidulina is a member of the Akademie der Kunste in Berlin and the Freie Akademie der Kunste in Hamburg. She has been the recipient of the Prix de Monaco (1987), the Premio Franco Abbiato (1991), the Heidelberger Kunstlerinnenpreis (1991), the Russian State Prize (1992), and the Spohr Preis (1995). Her music is now represented on compact disc generously; recordings devoted exclusively to her music have soared into the double digits. Gubaidulina has been honored twice with the coveted Koussevitzky International Recording Award; for Offertorium, recorded by Gidon Kremer and the Boston Symphony Orchestra under Charles Dutoit (1989), and for Stimmen ... Verstummen ... released with the Royal Stockholm Philharmonic Orchestra conducted by Gennadi Rozhdestvensky (1994). [Adapted from Karadar Dictionary]