Sofia Gubaidulina: String Quartets Nos. 1-3

Цитата:

София Асгатовна Губайдулина

Sofia Asgatovna Gubaidulina, (Russian: София Асгатовна Губайдулина, Tatar Cyrillic: София Әсгать кызы Гобәйдуллина, Latin: Sofia Äsğät qızı Ğöbäydullina) (24 октября 1931, Чистополь, Татарская АССР) — российско-татарский композитор, с 1991 живёт в Германии.

Биография

София Губайдулина родилась в городе Чистополь, Татарская АССР. Отец — Губайдулин Асгат Масгудович, инженер-геодезист. Мать Губайдулина Федосия Федоровна, урождённая Елхова, педагог. Дед, Масгуд Губайдулин, был муллой. В 1932 г. семья переехала в Казань.

В 1935 София поступила в музыкальную школу. С 1946 по 1949 училась в казанской Музыкальной гимназии по фортепиано (класс М. А. Пятницкой) и композиции, а с 1949 по 1954 в Казанской консерватории по классу композиции у Альберта Лемана, а также по классу фортепиано у Григория Когана. В 1954 г. поступила в Московскую консерваторию, класс композиции Юрия Шапорина, а затем Николая Пейко, класс фортепиано Якова Зака. В 1963 г. окончила аспирантуру Московской консерватории по композиции у профессора Виссариона Шебалина. Важным было для неё в эти годы слово-напутствие, сказанное ей Дмитрием Шостаковичем: «Я вам желаю идти вашим „неправильным“ путем».

В 1969—1970 Губайдулина работала в Московской экспериментальной студии электронной музыки в музее имени А. Н. Скрябина и написала там электронную пьесу Vivente — non vivente (Живое — неживое, 1970). Губайдулина писала также музыку для кино. Всего она написала музыку к 25 фильмам, включая «Маугли» (мультфильм, 1971) и «Чучело» (реж. Р. Быков, 1983). С 1975 г. выступала с импровизациями в составе ансамбля «Астрея» вместе с композиторами Виктором Суслиным и Вячеславом Артемовым. В 1979 году на VI съезде композиторов в докладе Тихона Хренникова её музыка подверглась жёсткой критике, и Губайдулина попала в так называемую «хренниковскую семерку» — «черный список» 7 отечественных композиторов.

В 1991 году Губайдулина получила немецкую стипендию и полтора года находилась в Ворпсведе. Тогда же, в 1991 году, она заключает брак с Петром Мещаниновым, пианистом и теоретиком музыки, оказавшим значительное влияние на интерес композитора к числовым расчетам в процессе ее сочинения. В 1992 году они поселились в Германии, в Аппене под Гамбургом, сохранив российское гражданство.

Творчество

Губайдулина — один из самых крупных и глубоких композиторов второй половины XX века. По мнению многих, это самый выдающийся композитор современности[1]. В её творчестве чувствуется стремление к органичному объединению свойств искусства Запада и Востока, воздействие представлений духовно-религиозного порядка. Через веру она приходит и к смыслу творчества. Наряду с Альфредом Шнитке и Эдисоном Денисовым Губайдулина входит в так называемую «троицу» московских композиторов авангардного направления.

Избранные сочинения

Фацелия, вокальный цикл на слова М. Пришвина (1957)
Пять этюдов для арфы, контрабаса и ударных инструментов (1965)
Ночь в Мемфисе, кантата для меццо-сопрано, мужского хора и оркестра на древнеегипетские тексты (1968)
Рубайят, кантата на стихи Хакани, Хафиза и Хайяма (1969)
De profundis (Из глубины), пьеса для баяна соло (1978)
Семь слов Христа для виолончели, баяна и струнных (1982)
Offertorium (Жертвоприношение), концерт для скрипки с оркестром (1980/1982/1986)
Et exspecto (В ожидании), соната для баяна в 5 частях, посвящение Ф.Липсу (1986)
Слышу… Умолкло…, симфония в 12 частях под названием (1986)
Аллилуйя для хора, оркестра, органа, солиста-дисканта и цветных проекторов, 1990
Из Часослова, кантата на стихи Райнера Марии Рильке, (1991)
Теперь всегда снега, кантата на стихи Геннадия Айги (1993)
Музыка для флейты, струнных и ударных (1994)
Симфония Фигуры времени (1994)
Висельные песни (15 песен) на стихи К. Моргенштерна для голоса и ансамбля инструментов (контрабас, ударные и др., 1996).
Ночная песнь рыбы, концерт для альта с оркестром (1996), по заказу Чикагского симфонического оркестра, посвященный Ю. Башмету
Кватернион для четырех виолончелей (1996)
Страсти по Иоанну, для солистов, хора и оркестра, написанная по заказу города Штутгарта в ознаменование 250-летия со дня смерти И. С. Баха (2000).
Пасха по Иоанну, для солистов, хора и оркестра, (2001).

Награды

Премия князя Монако (1987),
Заслуженный деятель искусств РСФСР (1989),
премия имени Кусевицких, США (1990, 1994),
премия Франко Аббиато, Италия (1991),
премия на 7-м Международном фестивале композиторов-женщин в Гейдельберге (1992),
Государственная премия России (1992),
премия имени Людвига Шпора, Германия (1995),
Императорская Премия (Praemium Imperiale), Япония (1998),
премия фонда "Библия и культура", Германия (1999),
музыкальная премия Леони Соннинг, Дания (1999),
орден «Pour le merite» («За доблесть» в науке и искусстве"), Германия (2000),
медаль Гёте, Германия (2001),
«Polar Music Prize» (Премия Polar Music), Стокгольм (2002),
«Федеральный крест за заслуги», Германия (2002),
«Living Composer — 2003», Франция.
Премия "Триумф" за 2006

Библиография

В. Холопова, Э. Рестаньо. София Губайдулина. М., 1996 (на ит. яз. — Турин, 1991);
В. Ценова. Числовые тайны музыки Софии Губайдулиной. М., 2000 (на нем. яз. — Берлин, 2001);
В. Холопова. София Губайдулина. Путеводитель. М., 2001;
M. Kurtz. Sofia Gubaidulina. Stuttgart, 2001.

Цитата:

Sofia Gubaidulina

Sofia Asgatovna Gubaidulina, (Russian: София Асгатовна Губайдулина, Tatar Cyrillic: София Әсгать кызы Гобәйдуллина, Latin: Sofia Äsğät qızı Ğöbäydullina)[1] (born October 24, 1931) is a Russian composer of half Russian, half Tatar ethnicity.

Gubaidulina's music is marked by the use of unusual instrumental combinations. In In Erwartung, she combines percussion (bongos, güiros, temple blocks, cymbals, tam-tams,bayan among others) and saxophone quartet. She has written pieces for 17-stringed Japanese bass kotos and four 13-stringed Japanese kotos and Western orchestra and works for zheng.

Career

Gubaidulina was born in Chistopol, in the Tatar ASSR. In her youth she would spend much time praying in the fields near her home that she might one day become a composer. 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. Her music was deemed "irresponsible" during her studies in Soviet Russia, due to its exploration of alternative tunings. She was supported, however, by Dmitri Shostakovich, who in evaluating her final examination encouraged her to continue down her "mistaken path".[2] However, she was allowed to express her modernism in various scores she composed for documentary films, including the 1968 production, On Submarine Scooters, a 70mm film shot in the unique Kinopanorama widescreen format.

In the mid-1970s Gubaidulina founded Astreja, a folk-instrument improvisation group with fellow composers Viktor Suslin and Vyacheslav Artyomov. In 1979, she was blacklisted as one of the "Khrennikov's Seven" at the Sixth Congress of the Union of Soviet Composers for unapproved participation in some festivals of Soviet music in the West.

Gubaidulina became better known abroad during the early 1980s through Gidon Kremer's championing of her violin concerto Offertorium. She later composed an homage to T. S. Eliot, using the text from the poet's spiritual masterpiece Four Quartets. In 2000, 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. Her work The Light at the End preceded Beethoven's Symphony No. 9 in the 2005 proms. In 2007 her second violin concerto In Tempus Praesens was performed at the Lucerne Festival by Anne-Sophie Mutter. Its creation has been depicted in Jan Schmidt-Garre's film Sophia - Biography of a Violin Concerto.

Since 1992, Gubaidulina has lived in Hamburg, Germany.[3] She is a member of the musical academies in Frankfurt, Hamburg and the Royal Swedish Academy of Music.

Aesthetic

For Gubaidulina, music was an escape from the terrifying socio-political atmosphere of Soviet Russia.[4] For this reason, she associated music with human transcendence and mystical spiritualism, which manifests itself as a longing inside the soul of humanity to locate its true being, a longing she continually tries to capture in her works.[5] These abstract religious and mystical associations are concretized in Gubaidulina's compositions in various ways.

The influence of electronic music and improvisational techniques is exemplified in her unusual combination of contrasting elements, novel instrumentation, and the use of traditional Russian folk instruments in her solo and chamber works, such as De profundis for bayan, Et expecto- Sonata for bayan, and In croce for cello and organ or bayan. The koto, a traditional Japanese instrument is featured in her work In The Shadow of The Tree, in which one solo player performs three different instrument—Koto, Bass Koto, and Chang. The Canticle of the Sun is a cello concerto/choral hybrid, dedicated to Rostropovich. The use of the lowest possible registers on the cello opens new possibilities for the instrument while the limited use of chorus also adds a mystical ambience to the work.

Another influence of improvisation techniques can be found in her fascination with percussion instruments. She associates the indeterminate nature of percussive timbres with the mystical longing and the potential freedom of human transcendence.[6]

She was also preoccupied by experimentation with non-traditional methods of sound production, and as already mentioned, with unusual combinations of instruments, i.e. Concerto for Bassoon and Low Strings (1975), Detto- I – Sonata for Organ and Percussion (1978), The Garden of Joy and Sorrow for Flute, Harp and Viola (1980), and Descensio for 3 Trombones, 3 Percussionists, Harp, Harpsichord/Celesta and Celesta/Piano (1981).[7]

Gubaidulina notes that the two composers to whom she experiences a constant devotion are J.S. Bach and Webern. Among some non-musical influences of considerable import are Carl Jung (Swiss thinker and founder of analytical psychology) and Nikolai Aleksandrovich Berdiaev (Russian religious philosopher, whose works were forbidden in USSR, but nevertheless found and studied by the composer).

Discography

The Canticle of the Sun (1997) and Music for Flute, Strings, and Percussion (1994). The first performed by cellist and conductor Mstislav Rostropovich and London Voices conducted by Ryusuke Numajiri, the second by flutist Emmanuel Pahud and the London Symphony Orchestra conducted by Rostropovich. Gubaidulina attended the recording of both pieces.
St. John Passion (2000). Performed by Natalia Korneva, Soprano; Viktor Lutsiuk, Tenor; Fedor Mozhaev, Baritone; Genady Bezzubenkov, Bass; St. Petersburg Chamber Choir (dir. Nikolai Kornev); Choir of the Mariinsky Theatre St. Petersburg (dir. Andrei Petrenko); Orchestra of the Mariinsky Theatre St. Petersburg conducted by Valery Gergiev. World premiere recorded live at the European Music Festival in Stuttgart, 01.09.2000.

Цитата:
This CPO disc contains four pieces by Sofia Gubaidulina, a Russian-Tartar composer of singularly original and individualistic music. These are her three string quartets written up to 1993.
Gubaidulina's "String Quartet No 1" was written in 1971, what many would consider prior to her maturity as a composer. In a work primarily about isolation, the score contains prescribed pauses during which the musicians, who had begun the work sitting together in the centre of the stage, slowly move towards the four corners of the stage. The result is that each instrumentalist plays the last six pages of the score as if a solo musician. Unfortunately, a stereo cannot fully communicate this concept, and we miss out, just as a home listener cannot see the light show accompanying some other Gubaidulina pieces.

The "String Quartet No 2" was commissioned in 1987 by the Kuhmo Chamber Music Festival for the Sibelius Quartet. Sixteen years had passed since her first quartet and in that time her compositional technique had changed entirely. During the 1970s her work began to be deeply inspired by her Eastern Orthodox faith, and in the 1980s this religious inspiration was accompanied by a profound interest in "zahlenmystik", or the use of mystical mathematical formula such as the Fibonacci Sequence and Golden Ratio. This piece is related to her symphony "Stimmen ...Verstummen" of the previous year in its exhibition of musical forms which seem to be ultimately derived out of and subsequently returning into a divine silence, but whereas the symphony is centred around a D-major triad, the quartet takes as its basis a sustained G on which variations subsequently arise.

In contrast to the great gap between the first and second quartets, The "String Quartet No 3" followed closely after the previous. It finds inspiration in lines from T.S. Eliot's "The Waste Land", and is a single movement work divided evenly into an opening section of plucking techniques and a latter half where the bow is introduced and the sound is drastically transformed even though the same ideas are explored. I find this the least successful of Gubaidulina's quartets, but I admit I may be misunderstanding it entirely.

Track Listings

1. String Quartet No.1
2. O Quando In Cruce
3. String Quartet No.3

On this CD:
String Quartet No.1
Composed by Sofiya Gubaydulina
with Henrik Brendstrup, Arne Balk-Moeller, Tim Frederiksen, Danish Quartet, Claus Myrup

O Quando In Cruce
Composed by Anonymous
with Henrik Brendstrup, Arne Balk-Moeller, Tim Frederiksen, Danish Quartet, Claus Myrup

String Quartet No.3
Composed by Sofiya Gubaydulina
with Henrik Brendstrup, Arne Balk-Moeller, Tim Frederiksen, Danish Quartet, Claus Myrup

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