Ivana Medić Gubaidulina, misunderstood UDK: 78.072.3(410):78.071.1Gubaidulina S.A. 783/789.072(470+571)“19/20“ DOI: 10.2298/MUZ120303014M Ivana Medić The Open University, United Kingdom
[email protected] GUBAIDULINA, MISUNDERSTOOD Abstract: Since the early 1980s Sofi a Gubaidulina has received numerous accolades, and her music has been performed and recorded worldwide. However, the critics’ reaction to her works has often been resoundingly negative. In particular, Western critics have been baffl ed by Gubaidulina’s penchant for long durations, the employment of seemingly literal musical symbolism verging on the kitch and, last but not least, the composer’s religious fervour. Starting from the reviews of two ambitious events that served as introductions of Gubaidulina’s music to British audiences, I will discuss the main objections directed towards her oeuvre and demonstrate that Gubaidulina’s idiosyncratic compositional method has been misunderstood by British critics. Keywords: Gubaidulina, BBC, Tsvetaeva, Offertorium, religious music Born in 1931 in Chistopol, in the Autonomous Tatar Republic, and educated in Kazan and Moscow, the remarkable contemporary composer Sofi a Asgatovna Gubaidulina belongs to the generation that stepped onto the Soviet creative scene in the early 1960s. This “generation of the sixties” (Rus.: шестидесятники) grew up under the infl uence of the public denunciation of Stalin’s crimes and his cult of personality. The works of the generation of the sixties were characterised by a quest for truth, rebellion against the establishiment, maverick creative curiosity and, most importantly, an urge to end the isolation and get to know the world on the other side of the “Iron Curtain”.