Sofia Jubolina, the composer who sparked Soviet censorship, dies in 93

She died on Thursday at her home in Ibn, Germany. It was 93.

The cause is cancer.

Ms. Joo-Dy-Doo-LE-NA) wrote many of the works sunken in the biblical and atheistic texts that sparked censorship at home, and from the last decade of the Cold War, the families of the Western masses. It was part of a group of important composers in the Soviet Union, including Arvo Pärt, Alfred Schnittke and Edison Denisov, who found that there were no salads but satiated abroad.

She explored tension between man and divine, and sought to put her music in the service of religion in the literal sense to fix what he believes is the broken bond between man and God. Using musical terms, Mrs. Gubaidulina often talked about her work that brings Legato, a feeling of connected flow, to the fragmented “Staccato of Life”.

The individual players who did their job, among them violinists Gidon Kremar and Ann Sofi, often talked about the emotional density required by music. The conductors, including Valerie Girgiv, Charles Dotwette and Court Masour, were strong advocates of their music.

The popular traditions also fascinated Mrs. Jubidolina, who strengthened her roots in the Tatars with her love for rhythm and sparkling sound colors. She preferred soft or gentle tools including harp, 13 -chain -to -chain and dresses.

I collected tools of different cultures and established a group of artists, which was called Astreia, which she implied. Later, she developed interest in Japanese music and wrote books using both Western and Japanese tools.

Mrs. Jubidolina had a special rapprochement with Bayan, a Russian Accordion usually at home at popular weddings more than the concert hall. When she was 5 years old, she fell under the talisman of Accordion in her poor neighborhood in Kazan, the capital of the Soviet Soviet Republic of the Soviet Tatars. Her improvised dances on his music drew the attention of a neighbors and fell to her a place in a musician talented school.

Years later, I wrote music concerts – including “De Provundis” and “Seven words” – With parts of Bayan whose sound board expanded, which ranges from yellow death bells to bright sound threads. The hidden expressive capabilities took advantage of the observations in the pulmonary work of the trips of the instrument.

“Do you know why I love this monster so much?” I once asked, referring to Bian. “Because he breathes.”

The audience responded. Bian Elesbeth Mosser player said in an interview with this obituary in 2018 that “De Provundis” shows often reduce them from crying.

Mrs. Jopolina looks forward to the natural laws to create a form in her books. It was based on the Fibonacci sports series (in which the first two numbers 0 and 1 and each later number is the previous two of the two) to determine the proportions of the work components movements. I tried an alternative control systems rooted in the natural lumen chain and considered the Western Convention to divide Octav into 12 equal steps from the violation of nature. Sometimes, she had groups of tools that seized a quarter tone, in order to evoke the spiritual dimension hovering out of reach.

For Soviet critics, its accurate connections were “irresponsible” and Astreia improvisation was a form of “rioters”. The dark sound painting and the mystical spear of its music were inconsistent with the delicious optimism preferred by Soviet officials. In 1979, Tikhon Khrynikov, President of the Strong Composer Union, added Mrs. Jopolina to a black list.

Until the eighties of the last century, Mrs. Jubidolina has witnessed a few offers for her own music. I got money writing points for movies and cartoons. It was repeatedly rejected by permission to travel to festivals in Poland and in the West.

Followed by the watchful eye of KGB. After searching her home in 1974, she went to speak near foreign visitors. Almost at the same time, she was attacked in an elevator of her building in Moscow.

“He grabbed a throat and pressed slowly,” Mrs. Jubidolina later reminded of the aggressor. “My thoughts were racing: it’s over now – very bad, I can’t write Concerto Basun anymore – I was not afraid of death but violence. Then I told him:” Why very slowly? “At the police station, the officers ignored the attack as a” obsessed sex. “

Sophia Jobulina was born on October 24, 1931, in the city of Tatar Cestestopol. Her father, Asgad Gubaidulin, was a Geodis engineer on the Tatars and Ibn Imam. Her mother, Vidusia Fyodorovna Akhafa, is a teacher, Russian.

At home, Sofia and her two sisters have learned to play children’s large piano that a lot of family lived space. Girls also tried to put things on piano chains to draw strange sounds from him, which is a world away from the United States, where John Cage was writing his first Sonata for the prepared piano, which included the introduction of a variety of elements such as metal screws and erasing rubber between the instrument chains to change sound.

The scene of the Russian Orthodox icon on a farm sparked Sofia’s interest in religion, but in order not to be at risk, she learned to accommodate his spiritual side and mix it with music. Silence revealed his own charm, especially on scanning trips with her father, when the two walked without words along the tables and through the forests.

Mrs. Jubidolina studied piano and training at the Kazan Institute before registering at the Moscow Institute in 1954. Among her teachers was Yuri Shaporin and Nicolay Pico, Assistant Shostakovic. In 1959, Pico presented his student to Shostakovic. After hearing the music of Mrs. Jubidolina, Shostakovic told her: “Don’t be afraid to be yourself. My wish for you is that you must follow in your incorrect way.”

Mrs. Jubolina married Mark Lando, a geological scientist and poet, in 1956. They collaborated in a song course, “Pactia,” She has a daughter, Nadiza, who died due to cancer in 2004. The marriage ended in divorce, as did the second marriage, to the dissident poet and publisher of Samizdat Nikolai Bokov. In the nineties, Mrs. Jubidolina married Piotr Mishhaninov, a leader and music view, who died in 2006. She survived by two grandchildren.

The penetration of Mrs. Jopolina with the first violin congresso, came, “Offertorium,” This was completed in 1980, which is a dangerous beauty that loses brilliantly and rebuild the “royal topic” on which Bach established his “musical performances.”

The Christian foundations at work were a thorn on the side of the Soviet control. This did not help that the Latavian violinist Gidon Kareter, whom she wrote to him, disturbed the officials by bypassing an accredited trip to the West.

In the end, its Western German publisher, Juergen Kushil of Sikorski, smuggled the result and “Offertorium” received the first show at Wiener FestwoChen in Austria in 1981. “Stimmen … Verstummen” (“Voices … Silent”) reached a festival in West Berlin only because the Western German embassy in Moscow has sent the result by the diplomatic bag.

“Offertorium” was also an introduction to Mrs. Jubidolina’s music for many American listeners when the New York orchestra programmed with Mr. Kremar as a single player, in 1985.

In 1992, Mrs. Jubidolina moved to Germany and settled in the village of Ibn, outside Hamburg. The commissions began to intervene, including an invitation from the Bach International Stuttgart Academy to write its own version from “St. John’s passion” for the 250th anniversary of the death of Bach.

This work for 90 minutes, which was almost completely built from the decreasing secondary break, looks like a musical sigh. He was called “A fear of fear and calm.” Many critics have also found the length of some of the excessive work of Mrs. Jobinina.

Leader Joel Sachs, who invited her to visit New York in 1989, remembered that he was particularly struck by one of her work that was implemented there, “perception”, a 50 -minute piece for superrano, baritone and lines that display a dialogue on art and creation using texts by Francisco Tanzer, the Austrian. As in most of the works of Mrs. Jopolina, some argument is played in purely useful moments.

“It is really exciting in the way we assume West Kantata, but the voices that generate it are more important than actual notes,” said Mr. Sachs.