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Photo © Japan Art Association, The Sankei Shimbun
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,
, 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. A major triumph was the premiere in 2002 of the monumental two-part cycle,
Passion and Resurrection of Jesus Christ according to St. John
, commissioned respectively by the International Bachakademie Stuttgart and the Norddeutschen Rundfunk, Hamburg.
Gubaidulina made her first visit to North America in 1987 as a guest of Louisville's "Sound Celebration." She has returned many times since as a featured composer of festivals — Boston's "Making Music Together" (1988), Vancouver's "New Music" (1991), Tanglewood (1997), Marlboro (2016) — and for other performance milestones. In May 2011, she was feted on the occasion of her 80th birthday in concerts presented by the California Institute of the Arts and the Los Angeles Philharmonic. 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 No. 4
by the Kronos Quartet (New York, 1994),
Dancer on a Tightrope
by Robert Mann and Ursula Oppens (Washington, DC, 1994), the
by Yuri Bashmet with the Chicago Symphony conducted by Kent Nagano (1997),
Two Paths ("A Dedication to Mary and Martha")
for two solo violas and orchestra, by the New York Philharmonic conducted by Kurt Masur (1999),
Light of the End
by the Boston Symphony Orchestra under Masur (2003), and
for violin, double bass, piano and two percussionists (2015) by Chicago’s Contempo Ensemble — the accolades of American critics have been ecstatic.
In January 2007, Gubaidulina was the first woman composer to be spotlighted by the BBC during its annual “composer weekend” in London. Among her most recent compositions are
Feast During a Plague
(2005), jointly commissioned by the Philadelphia Orchestra and the Pittsburgh Symphony Orchestra — and conducted in Philadelphia by Sir Simon Rattle and in Pittsburgh and New York by Sir Andrew Davis —
In Tempus Praesens
, a violin concerto unveiled at the 2007 Lucerne Festival by Anne-Sophie Mutter with the Berlin Philharmonic under the baton of Rattle, and
, a concerto for five solo percussionists and orchestra premiered in 2008 by Gustavo Dudamel and the Gothenburg Symphony Orchestra.
Gubaidulina is a member of the Akademie der Künste in Berlin, the Royal Music Academy in Stockholm and of the Accademia Nazionale di Santa Cecila in Rome. She has been the recipient of the Prix de Monaco (1987), the Premio Franco Abbiato (1991), the Heidelberger Künstlerinnenpreis (1991), the Russian State Prize (1992), and the SpohrPreis (1995). Recent awards include the prestigious Praemium Imperiale in Japan (1998), the Sonning Prize in Denmark (1999), the Polar Music Prize in Sweden (2002), the Living Composer Prize of the Cannes Classical Awards (2003), the Great Distinguished Service Cross of the Order of Merit with Star of the Federal Republic of Germany (2009), the ‘Golden Lion’ for Lifetime Achievement of the Venice Bieniale (2013), and the Prix de l’Académie Royale de Belgique (2014). In 2005, she was elected as a foreign honorary member of the American Academy of Arts and Letters. She is the recipient of honorary doctorates from Yale University (2009) and the University of Chicago (2011).
Her music is now generously represented on compact disc, and Gubaidulina has been honored twice with the coveted Koussevitzky International Recording Award. Major releases have appeared on the DG, Chandos, Philips, Sony Classical, BIS, Berlin Classics and Naxos labels.
Gubaidulina's music is published in North America by G. Schirmer, Inc.
— December 2016