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born in Chistopol in the Tatar Republic of the Soviet
Union in 1931, after instruction in piano and composition at the Kazan
Conservato-ry, she studied composition with Nikolai Peiko at the Moscow
Conservatory (till 1959), pursuing postgraduate studies with Vissa-rion
Shebalin. She was active as an independent composer, based in Moscow since
1963. In 1975, together with Vyacheslav Artyomov and Victor Suslin, she
founded ‘Astrea’ Ensemble, which specialized in improvising on
rare Russian, Caucasian and Central Asian folk instruments. In 1992 she
emigrated to Germany and settled near Hamburg. She has received top awards
at composers’ competitions in Rome (1975, for the orchestral work
Stufen) and Monaco (1987). Her honours also include The Koussevitsky
International Record Award for cd recordings of the violin concerto
Offertorium and the Symphony Stimmen... verstummen... (1991), the Premio
Franco Abbiato (1991), the Heidelberg Künstlerinnenpreis (1991), the
Russian State Prize (1992), the Ludwig Spohr Prize of the City of Brunswick
(1995), the Japanese Praemium Imperiale (1998), the Prize of the Léonie
Sonning Music Foundation in Copenhagen (1999), and the Polar Music Prize in
Sweden (2002).
Sofia Gubaidulina is now regarded as one of the leading representatives of
new music. This is reflected in numerous prestigious commissions from the
bbc, the Berliner Festwochen, the Library of Congress, the Chicago Symphony
Orchestra, the New York Phil-harmonic and Radio France. Her music has been
released on the dg, Chandos, Philips, Sony Classical, bis and Berlin
Classics labels. She has broad literary interests. In her music she makes
ample use of ancient Egyptian and Persian poetry, as well as the verse by
Marina Tsvetayeva and the Chuvash poet Genadi Aiga, with whom she feels a
particular spiritual affinity.
Selected works (since 1982): Seven Words for cello, bayan
and strings (1982), Hommage ± Marina Tsvetayeva, suite in five movements
for
a cappella choir, set to poems by Tsvetayeva (1984), Quasi Hoquetus for
viola, bassoon (or cello) and piano (1984–85), In the Beginning there
was Rhythm for seven percussionists (1984), Et exspecto, sonata for bayan
solo (1985), Letter to the Poetess Rimma Dalos for soprano and cello (1985),
Stimmen... verstummen..., symphony in 12 movements (1986), String Quartet
No. 2 (1987), String Quartet No. 3 (1987), Hommage ± t. s. Eliot for
soprano and octet, set to t. s. Eliot’s Four Quartets (1987–91),
Witty Waltzing in the Style of Johann Strauss for soprano and octet (1987),
Two Songs on German Folk Poetry for (mezzo)-soprano, flute, harpsichord and
cello (1988), String Trio (1988), Answer without Question, collage for three
orchestras (1988), Jauchzt vor Gott for mixed choir and organ (1989), Pro e
contra for large orchestra (1989), Hallelujah for mixed choir, treble voice,
organ and large orchestra (1990), Aus dem Stundenbuch for cello, male choir
and female reciter (1991), Even and uneven for seven percussionists,
including one playing harpsichord (1991), Silenzio, five pieces for bayan,
violin and cello (1991), Can you hear us, Luigi? Look at the dance a simple
wooden rattle is performing for you for six percussionists (1991), Lauda for
alto, tenor, baritone, reciter, mixed choir and large orchestra (1991),
Night in Memphis, cantata for mezzo-soprano, male choir and chamber
orchestra set to ancient Egyptian texts (1968/88/92), Tatar Dance for bayan
and two double basses (1992), Meditation on the Bach chorale ‘Von
deinen Thron tret ich hiermit’ (bvw 668) for harpsichord, two violins,
cello and double bass (1993), And: The Festivities at their Height for cello
and orchestra (1993), String Quartet No. 4 (1993), ...Early in the morning,
right before walking... for three 17-stringed and four 13-stringed Japanese
kotos (1993), Now Always Snow for chamber ensemble and chamber choir, set to
poems by Genadi Aigi (1993), In Anticipation for saxophone quartet and six
percussionists (1994), Ein Engel... for alto and double bass to a poem by
Elsa Lasker-Schüler (1994), Aus den Visionen der Hildegard von Bingen for
alto (1994), Zeitgestalten for symphony orchestra (1994), Music for flute,
strings and percussion (1994), Concerto for Viola and Orchestra (1996),
Quaternion for four cellos (1996), Gallows Songs (a 3), 15 pieces for
mezzo-soprano, percussion and double bass set to poems by Christian
Morgenstern (1996), Gallows Songs (a 5), 14 pieces for mezzo-soprano, flute,
percussion, bayan and double bass set to poems by Christian Morgenstern
(1996), Sonnengesang for cello, chamber choir and percussion (1997), Ritorno
perpetuo for harpsichord (1997), In the Shadow of the Tree for koto, bass
koto, zheng and orchestra (1998), Two Paths (dedicated to Maria and Martha)
for two solo violas and orchestra (1998), St. John Passion for soprano,
tenor, baritone, bass, two mixed choirs, organ and large orchestra (2000),
Passion and Resurrection of Jesus Christ according to St. John for soprano,
tenor, baritone, bass, two mixed choirs, organ and large orchestra
(2000–01), Risonanza for three trumpets, four trombones, organ and six
string instruments (2001), Reflections on the theme b-a-c-h for string
quartet (2002), Mirage: The Dancing Sun for eight cellos (2002), On the Edge
of the Abyss for seven cellos and two waterphones (2002), The Rider on the
White Horse for large orchestra and organ (2002), The Light of the End for
large orchestra (2003).
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