大象传媒

Sofia Gubaidulina's process of self-discovery as a young composer led her to experiment with a diverse range of sounds and instruments. With Donald Macleod and Gerard McBurney.

To mark Sofia Gubaidulina鈥檚 ninetieth birthday, Donald Macleod and Gerard McBurney explore five different aspects of her progressive and distinctive music. Gubaidulina has been living in Germany since 1992 and is still busy composing today. When she was born in 1931 in Tatarstan, the Soviet Union was under Stalinist rule. Up until her emigration, she worked as a composer under the strictly regulated conditions determined by Soviet cultural policies. Across the week we get an insight into the life of a composer behind the Iron Curtain, as Gubaidulina developed her own creative path, unswayed by any hint of ideological pressure.

After completing postgraduate studies, Gubaidulina was free to consider what her own voice might be. At the same time she was learning what the Soviet authorities might expect of her.

Seven words for Cello, Bayan and Strings in seven movements
Est ist Vollbracht
Maria Kliegel, cello
Elsbeth Moser, Bayan
Kathrin Rabus, violin
Camerata Transsylvanica
Gyorgy Selmeczi, conductor

5 Etudes for harp, double bass and percussion
no 1: Largo
no 4: Allegro disperato
no 5: Andante
Elsie Bedleem, harp
Martin Heinze, double bass
Jan Schlichte percussion

Vivente 鈥� non vivente
Sofia Gubaidulina, synthesiser

Artyomov: Archipelagos of Sounds in the Ocean of Time (excerpt)
Astraea
Vyacheslav Artyomov
Sofia Gubaidulina,
Viktor Suslin,
playing various unidentified percussion

Sheptalki
Valentina Ponomareva, vocal

Concordanza for instrumental ensemble
Sinfonia Lahti Chamber Ensemble
Osmo V盲nska, director