Sofia Asgatovna Gubaidulina
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1931-10-24
https://musicbrainz.org/artist/fc69035e-f525-4648-9089-5943db021fc5
Sofia Asgatovna Gubaidulina Sofia Asgatovna Gubaidulina Sofia Asgatovna Gubaidulina Sofia Asgatovna Gubaidulina

Biography

Among the most striking attributes shared by the post-Shostakovich generation of avant-garde Soviet composers was the strong core of aesthetic values that enabled them to transcend the stylistic melting-pot that characterised the era. Of special note was their collective desire ...

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Andreas Borregaard & Sofia Asgatovna Gubaidulina
De Profundis
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De Profundis De Profundis De Profundis De Profundis
Sofia Asgatovna Gubaidulina & David Tanenbaum
Serenade for solo guitar
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Serenade for solo guitar Serenade for solo guitar Serenade for solo guitar Serenade for solo guitar
Sofia Asgatovna Gubaidulina, Barbara Kresnik, Gal Faganel, Martin Logar, Darja Vevoda, Slovenian Chamber Chorus, Matija Bizjan, Katarina Lenarcic & Kaspars Putniņš
Canticle of the Sun, for cello, chamber chorus, percussion and celesta
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Canticle of the Sun, for cello, chamber chorus, percussion and celesta Canticle of the Sun, for cello, chamber chorus, percussion and celesta Canticle of the Sun, for cello, chamber chorus, percussion and celesta Canticle of the Sun, for cello, chamber chorus, percussion and celesta
Sofia Asgatovna Gubaidulina & Rieko Aizawa, Kai Vogler, Mira Wang, Ulrich Eichenauer and Peter Bruns
Quintet for Piano, Two Violins, Viola and Violoncello
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Quintet for Piano, Two Violins, Viola and Violoncello Quintet for Piano, Two Violins, Viola and Violoncello Quintet for Piano, Two Violins, Viola and Violoncello Quintet for Piano, Two Violins, Viola and Violoncello
Gubaidulina
Hommage a Marina Tsvetayeva
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Hommage a Marina Tsvetayeva Hommage a Marina Tsvetayeva Hommage a Marina Tsvetayeva Hommage a Marina Tsvetayeva
Sofia Asgatovna Gubaidulina & Danish National Choir, Stefan Parkman (conductor), David Geringas (cello)
The Canticle of the Sun by St Francis of Assisi
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The Canticle of the Sun by St Francis of Assisi The Canticle of the Sun by St Francis of Assisi The Canticle of the Sun by St Francis of Assisi The Canticle of the Sun by St Francis of Assisi
Sofia Asgatovna Gubaidulina & Gidon Kremer and Octet
Hommage a T.S. Eliot
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Hommage a T.S. Eliot Hommage a T.S. Eliot Hommage a T.S. Eliot Hommage a T.S. Eliot
Sofia Asgatovna Gubaidulina, SWR Vokalensemble Stuttgart, Marcus Creed, Wakako Nakaso, Sabine Czinczel, Alexander Yudenkov & Mikhail Shashkov
Hommage a Marina Tsvetajeva - suite in 5 movements for chorus [1984]
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Hommage a Marina Tsvetajeva - suite in 5 movements for chorus [1984] Hommage a Marina Tsvetajeva - suite in 5 movements for chorus [1984] Hommage a Marina Tsvetajeva - suite in 5 movements for chorus [1984] Hommage a Marina Tsvetajeva - suite in 5 movements for chorus [1984]
Mei Yi Foo & София Асгатовна Губайдулина
Musical Toys - 13. The Drummer
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Musical Toys - 13. The Drummer Musical Toys - 13. The Drummer Musical Toys - 13. The Drummer Musical Toys - 13. The Drummer
Friedich Lips, Moscow Virtuosi, София Асгатовна Губайдулина, Mikhail Milman & Владимир Теодорович Спиваков
Seven Words for cello, bayan and strings; Verily I say unto thee; Today shalt thou be with me in Paradise
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Seven Words for cello, bayan and strings; Verily I say unto thee; Today shalt thou be with me in Paradise Seven Words for cello, bayan and strings; Verily I say unto thee; Today shalt thou be with me in Paradise Seven Words for cello, bayan and strings; Verily I say unto thee; Today shalt thou be with me in Paradise Seven Words for cello, bayan and strings; Verily I say unto thee; Today shalt thou be with me in Paradise

Seven Words for cello, bayan and strings; Verily I say unto thee; Today shalt thou be with me in Paradise

Performer
Friedich Lips, Moscow Virtuosi, София Асгатовна Губайдулина, Mikhail Milman & Владимир Теодорович Спиваков
София Асгатовна Губайдулина, London Symphony Orchestra
The Rider on the white horse for organ and orchestra
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The Rider on the white horse for organ and orchestra The Rider on the white horse for organ and orchestra The Rider on the white horse for organ and orchestra The Rider on the white horse for organ and orchestra
Sofia Asgatovna Gubaidulina
Musical toys for piano
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Musical toys for piano Musical toys for piano Musical toys for piano Musical toys for piano
Sofia Asgatovna Gubaidulina
String Quartet No.4
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String Quartet No.4 String Quartet No.4 String Quartet No.4 String Quartet No.4
Sofia Asgatovna Gubaidulina
String Quartet No. 4 with tape
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String Quartet No. 4 with tape String Quartet No. 4 with tape String Quartet No. 4 with tape String Quartet No. 4 with tape
Sofia Asgatovna Gubaidulina
The Canticle of the sun for choir, string ensemble and organ
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The Canticle of the sun for choir, string ensemble and organ The Canticle of the sun for choir, string ensemble and organ The Canticle of the sun for choir, string ensemble and organ The Canticle of the sun for choir, string ensemble and organ
Sofia Asgatovna Gubaidulina
Alleluia (Pt 7 – Da ispolnjatsja usta maja)
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Alleluia  (Pt 7 – Da ispolnjatsja usta maja) Alleluia  (Pt 7 – Da ispolnjatsja usta maja) Alleluia  (Pt 7 – Da ispolnjatsja usta maja) Alleluia  (Pt 7 – Da ispolnjatsja usta maja)
Sofia Asgatovna Gubaidulina
Vater, Ich Befehle Meinen Geist In Deine Hände Sieben Worte for cello, bayan & strings
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Vater, Ich Befehle Meinen Geist In Deine Hände Sieben Worte for cello, bayan & strings Vater, Ich Befehle Meinen Geist In Deine Hände Sieben Worte for cello, bayan & strings Vater, Ich Befehle Meinen Geist In Deine Hände Sieben Worte for cello, bayan & strings Vater, Ich Befehle Meinen Geist In Deine Hände Sieben Worte for cello, bayan & strings
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Biography

Among the most striking attributes shared by the post-Shostakovich generation of avant-garde Soviet composers was the strong core of aesthetic values that enabled them to transcend the stylistic melting-pot that characterised the era.

Of special note was their collective desire to reconnect with the music of the past, the symbolic importance of the Orthodox Church and the need to give due weight to the 'hidden' metaphysical aspect of their art. One of the most remarkable voices to emerge from this turbulent, difficult, yet incredibly fecund period was that of Sofia Gubaidulina.

Born to a Slavic mother and a Tatar father in Chistopol (Tatar Republic), Gubaidulina initially enrolled at the Kazan Conservatory before moving to Moscow in 1954 where she completed postgraduate studies with Shebalin. Together with Edison Denisov and Alfred Schnittke, she came to the forefront of the Moscow avant-garde in the 1960s when, following an early flirtation with 12-tone methods, she soon established her own unique compositional voice.

Resistant to any perfunctory stylistic categorisation and with a harmonic language that alternates freely between the diatonic, chromatic and micro-intervallic (quarter-tones, glissandos), she has tended to find the initial impulses for her works in religious, philosophical or other extra-musical concepts.

An exceptional colourist, she experimented widely in the 1970s with timbre and non-traditional methods of sound production as a member of the improvisation group Astreya. Beginning with the chamber work Perception (1981-3, rev. 1986), and developed in subsequent works including Now Always Snow (1993) and Zeitgestalten (1994), she has become increasingly fascinated by the concept of rhythmic proportion and, by drawing on the ratios of both the "Golden Section" and the Fibonacci sequence, has breathed a ludic spirit into her work. As the very titles of some of her compositions suggest - Vivente Ð non vivente (1970), Rumore e silenzio (1974), Light and Darkness (1976), The Garden of Joy and Sorrow (1980), Stimmen É verstummen É (1986) and Pro et contra (1989) - at the heart of Gubaidulina's aesthetic lies the creative tension generated by the clash of opposing forces and the attempt to reconcile those forces. ("Only connect" encapsulates perfectly her artistic credo.)

Similarly, the central importance of religious expression and its wealth of potential symbolism (the Cross, the Resurrection, the Transfiguration) are revealed in the titles of the piano concerto Introitus (1978), De profundis (1978), In croce (1979), the violin concerto Offertorium (1980, rev. 1982Ð6), Rejoice (1981, rev. 1988), the extraordinary Seven Words (1982), Alleluia (1990), the two cello concertos Aus dem Stundenbuch (1991) and And: the feasting at its height É (1993), and the vast Passion and Resurrection of Jesus Christ according to St John (2000-01). Writers to whom the composer feels particularly drawn - T. S. Eliot, Marina Tsvetayeva, Rainer Maria Rilke - tend to share this same openness towards religious inquiry and philosophical speculation.

A fascinating compound of intellect and intuition, Gubaidulina's singular output unfailingly engages both head and heart. The recipient of numerous prizes and awards, the composer has lived since 1992 in a small village outside Hamburg, Germany.

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