Sofia Asgatovna Gubaidulina, (Tatar Saniya Äsğät qızı Ğobäydullina, Russian… Read Full Bio ↴Sofia Asgatovna Gubaidulina, (Tatar Saniya Äsğät qızı Ğobäydullina, Russian София Асгатовна Губайдулина) (born 24 October 1931) is a Soviet-Tatar composer.
Lives in Germany since 1991.
Gubaidulina was born in Chistopol, in the Tatar Republic. She studied composition and piano at the Kazan Conservatory, graduating in 1954. In Moscow she undertook further studies at the Conservatory with Nikolay Peyko until 1959, and then with Shebalin until 1963.
During her studies in Soviet Russia, her music was labeled "irresponsible" for its exploration of alternate tunings. She was supported, however, by Dmitri Shostakovich, who in evaluating her final examination encouraged her to continue down her "mistaken path".
In the mid-1970s Gubaidulina founded Astreja, a folk-instrument improvisation group with fellow composers Victor Suslin and Vyacheslav Artyomov.
In the early 1980s Gubaidulina became better known abroad through Gidon Kremer's championing of her violin concerto Offertorium. She later composed a homage to T. S. Eliot, using the text from the poet's spiritual masterpiece Four Quartets.
In 2000 Sofia Gubaidulina, along with Tan Dun, Osvaldo Golijov, and Wolfgang Rihm, was commissioned by the Internationale Bachakademie Stuttgart project to write a piece for the Passion 2000 project in commemoration of Johann Sebastian Bach. Her contribution was the Johannes-Passion. In 2002 she followed this by the Johannes-Ostern ("Easter according to John"), commissioned by Hannover Rundfunk. The two works together form a "diptych" on the death and resurrection of Christ, her largest work to date.
She was thrilled that her work The Light at the End followed Beethoven's Symphony No. 5 in the 2005 proms.
Gubaidulina's music is marked by the use of unusual instrumental combinations. In Erwartung, she combines percussion and saxophone quartet. She has written pieces for Japanese koto and Western orchestra.
In the early 1980s, she began to use the Fibonacci sequence as a way of structuring the form of the work. The sequence was especially appealing because it provides a basis for composition while still allowing the form to "breathe". It plays a prominent role in such pieces as Perception, Im Anfang war der Rhythmus, Quasi hoketus and the symphony Stimmen... Verstummen...).
Later the Lucas and Evangelist series, sequences derived from that of Fibonacci, were added to her repertoire.
Gubaidulina has received the Prix de Monaco (1987), the Premio Franco Abbiato (1991), the Heidelberger Künstlerinnenpreis (1991), the Russian State Prize (1992), the SpohrPreis (1995), the Praemium Imperiale in Japan (1998), the Sonning Prize in Denmark (1999), the Polar Music Prize in Sweden (2002), the Great Distinguished Service Cross of the Order of Merit of the Federal Republic of Germany (2002) and the Living Composer Prize of the Cannes Classical Awards in 2003.
In 2004, she was elected as a foreign honorary member of the American Academy of Arts and Letters.
Lives in Germany since 1991.
Gubaidulina was born in Chistopol, in the Tatar Republic. She studied composition and piano at the Kazan Conservatory, graduating in 1954. In Moscow she undertook further studies at the Conservatory with Nikolay Peyko until 1959, and then with Shebalin until 1963.
During her studies in Soviet Russia, her music was labeled "irresponsible" for its exploration of alternate tunings. She was supported, however, by Dmitri Shostakovich, who in evaluating her final examination encouraged her to continue down her "mistaken path".
In the mid-1970s Gubaidulina founded Astreja, a folk-instrument improvisation group with fellow composers Victor Suslin and Vyacheslav Artyomov.
In the early 1980s Gubaidulina became better known abroad through Gidon Kremer's championing of her violin concerto Offertorium. She later composed a homage to T. S. Eliot, using the text from the poet's spiritual masterpiece Four Quartets.
In 2000 Sofia Gubaidulina, along with Tan Dun, Osvaldo Golijov, and Wolfgang Rihm, was commissioned by the Internationale Bachakademie Stuttgart project to write a piece for the Passion 2000 project in commemoration of Johann Sebastian Bach. Her contribution was the Johannes-Passion. In 2002 she followed this by the Johannes-Ostern ("Easter according to John"), commissioned by Hannover Rundfunk. The two works together form a "diptych" on the death and resurrection of Christ, her largest work to date.
She was thrilled that her work The Light at the End followed Beethoven's Symphony No. 5 in the 2005 proms.
Gubaidulina's music is marked by the use of unusual instrumental combinations. In Erwartung, she combines percussion and saxophone quartet. She has written pieces for Japanese koto and Western orchestra.
In the early 1980s, she began to use the Fibonacci sequence as a way of structuring the form of the work. The sequence was especially appealing because it provides a basis for composition while still allowing the form to "breathe". It plays a prominent role in such pieces as Perception, Im Anfang war der Rhythmus, Quasi hoketus and the symphony Stimmen... Verstummen...).
Later the Lucas and Evangelist series, sequences derived from that of Fibonacci, were added to her repertoire.
Gubaidulina has received the Prix de Monaco (1987), the Premio Franco Abbiato (1991), the Heidelberger Künstlerinnenpreis (1991), the Russian State Prize (1992), the SpohrPreis (1995), the Praemium Imperiale in Japan (1998), the Sonning Prize in Denmark (1999), the Polar Music Prize in Sweden (2002), the Great Distinguished Service Cross of the Order of Merit of the Federal Republic of Germany (2002) and the Living Composer Prize of the Cannes Classical Awards in 2003.
In 2004, she was elected as a foreign honorary member of the American Academy of Arts and Letters.
Chaconne
Sofia Gubaidulina Lyrics
We have lyrics for 'Chaconne' by these artists:
Christophe Coin / Jordi Savall CHŒUR Chantons, qu’à nos voix tout réponde, Formons mille c…
ENHYPEN (Whoa 다시 chaconne now) (Yeah-eh-eh-eh) 태양 없이 그늘진 성 시들어도 농염한…
LADIES' CODE 내 맘 속에 있는 너라서 쉽게 너를 잊지 못할 것…
Ladies' Code (레이디스 코드) 내 맘 속에 있는 너라서 쉽게 너를 잊지 못할 것…
레이디스 코드 내 맘 속에 있는 너라서 쉽게 너를 잊지 못할 것…
레이디스 코드 (LADIES CODE) 내 맘 속에 있는 너라서 쉽게 너를 잊지 못할 것…
레이디스 코드 (LADIES' CODE) 내 맘 속에 있는 너라서 쉽게 너를 잊지 못할 것…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
andrew odber
What I love about this piece is that she will really elaborate on a particular motive and simultaneously have the courage to revel within it without being indulgent or verbose and therefore not only creating a rich tapestry of expressive forms but ultimately making the music completely direct and succinct (unlike this sentence).
gilles poilvet
I am really impressed by this piece which is catching you from the beginning to the end. A fantastic 20° Century piano work to play today !
Bert Carter
I thought I was not going to like this, but I was completely caught up in the piece and the playing. Absolutely stunning!
Marco Barbato
@Bert Carter kind of hypnotic
Marco Barbato
@Bert Carter me too!
Rodrigo Melsert
Very good! great piece The composer can communicate her emotional intentions so directly and clearly! thanks for posting!
pazdziochowaty
For me, this piece sounds very similar to Shostakovich's sonatas, both in expression and harmonies. I like it very much!
johnst66xx
It's sounds to me like a set of variations on the opening harmonic material, so I suppose that makes it a chaconne. I wonder if the return of the opening near the end is her nod to the return of Bach's aria at the end of the Goldberg Variations (the ultimate chaconne) . She does love Bach.
PicodeGuy
I just had a peak experience listening to this. It was like watching beautiful patterns emerge from the darkness, reaching ever newer, ever deeper, ever richer depths of experience. This might best be followed by a long silence.
johnst66xx
Wonderful! I think the pianist brings a wonderful radiance to this masterpiece -there's enough room out there for plenty of interpretations ;)