Gubaidullin Sofia Asgatovna

Gubaidulina, Sofia Asgatovna (p. 1931), Russian composer. Born in Chistopol (Tatarstan) October 24, 1931 in intelligent Tatar-Russian family, she studied music in college and the conservatory in Kazan. After the Kazan Conservatory in 1954 (class of composition A. Lehmann, class piano, GM Kogan) entered the Moscow Conservatory, and graduated in 1959 and studied composition NI Pejkov, and then engaged in postgraduate study at VY . Shabalin. Prior to 1990 she lived in Moscow for the position of 'free artist', and in 1969-1970 worked in Moscow Experimental electronic music studio, collaborated with various studios. Since the early 1990's lived in Germany. Recipient of several foreign and Russian prizes, honorary member of the Berlin Academy of Arts.

Usually Gubaidulina placed in 'the first three of' Soviet avant-garde 1960-1980's, immediately after the Edison Denisov and Alfred Schnittke. The first representative of its composition was the cantata "Night in Memphis" for mezzo-soprano, male chorus and orchestra on the ancient Egyptian texts (1968). In the future, she preferred the instrumental forms a relatively small scale, often with the original instruments (except for a large symphony in 12 parts, entitled "I hear ... Hushed ...", 1986). Since the late 1980's in her work reappear vocal and instrumental compositions, among them "Alleluia for chorus, . Orchestra, . Body, . soprano soloist and color projectors ", . 1990; cantata "From Chasoslova" on poems by RM Rilke, . 1991; cantata "Now always snow on the verses Aigi G. (1993) and one of the most recent works - large-scale" St. John Passion "(2000), . commissioned by the city of Stuttgart to commemorate the 250 anniversary of the death of Johann Sebastian Bach,
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Critics point out in the work of Sofia Gubaidulina interaction of Western and Eastern traditions, her style is free, agile and does not belong to any particular direction. Characteristics of handwriting Gubaidulina - high spiritual concentration, the desire to architectonic perfection of form, sensitivity to timbre, the sound as such. In her own words, music 20 in. 'often refers to the intangible processes, sometimes reaching up to the threshold of silence'.