Gubaidulina, Sofia (1931–)

Russian composer. Name variations: Sofiya or Sofia Gubaydulina. Pronunciation: Goo-BUY-doo-LEEN-ah. Born Sofia Asgatovna Gubaidulina in Chsistopol, Tatar Soviet Socialist Republic, USSR, Oct 24, 1931; dau. of a Tatar and a mother of mixed Russian, Polish and Jewish blood; studied at Kazan Music Academy, Kazan Conservatory, and Moscow Conservatory; never married; no children.

Considered by some critics to be the most important woman composer of the 20th century and perhaps of all time, studied piano under Maria Piatnitskaya and theory under Nazib Zhiganov at Kazan Music Academy (1946–49); studied composition at the Kazan Conservatory with Albert Leman and piano with Leopold Lukomsky and Grigory Kogan (1949–54); studied at Moscow Conservatory with Nikolai Peiko and Vissarion Shebalin, beginning 1954; composed more than 20 film scores in order to support herself; after years of working in obscurity, began to gain international attention in the 1980s and to have her works played by major orchestras outside the Soviet Union; her "Offertorium" was performed by the New York Philharmonic (1984); was invited to hear her work performed at Boston's Symphony Hall (1988); major works include (orchestra) "Fazelija" (1956), (mezzo-soprano, male chorus, orchestra) "Night in Memphis" (1968), (piano) "Musical Tog," (B, small orchestra) "Rubaiyant" (1969), (orchestra) "Fairy Tale," (small orchestra) "Concordanza" (1971), (cello, small orchestra) "Detto II," (soprano, piano) "Roses" (1972), (percussion, harpsichord-cello) "Humore e silenzio" (1974), (soprano, alto, tenor, bass, two choirs, orchestra) "Laudatio pacis" (1975), (percussion, orchestra) "Percussio per Pekarsky," (orchestra, jazz band) Concerto (1976), (7 percussion) "Misterioso" (1977), (organ, percussion) "Detto I" (1978), (piano, small orchestra) "Introitus," (4 percussion) "Jubilatio," (cello, organ) "In croce" (1979), (3 trombone, 3 percussion, harp, harpsichord-cello, cello-piano) "Descensio," (cello, accordion, string orchestra) "The Seven Words" (1982), (soprano, bass, 2 violin, 2 viola, 2 cello, double bass, tape) "Perception" (1983), (viola, bassoon, piano) "Quasi Hoquetus," (7 percussion) "In the Beginning was Rhythm," (unaccom-panied chorus) "Homage to Marina Tsvetaeva" (1984), (orchestra) Stimmen … verstummen (1986), and (8 instruments) "Homage to T.S. Eliot" (1987).

See also Women in World History.