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      Sofia Gubaidulina, Composer Who Provoked Soviet Censors, Dies at 93

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      Sofia Gubaidulina, a Tatar-Russian composer who defied Soviet dogma with her openly religious music and after decades of suppression moved to the West, where she was feted by major orchestras, died on Thursday at her home in Appen, Germany. She was 93. Carol Ann Cheung, of Boosey & Hawkes, Ms. Gubaidulina’s publisher, said the cause was cancer.Ms. Gubaidulina (pronounced goo-bye-doo-LEE-na) wrote many works steeped in biblical and liturgical texts that provoked censors at home and, beginning in the final decade of the Cold War, captivated Western audiences. She was part of a group of important composers in the Soviet Union, including Arvo Pärt, Alfred Schnittke and Edison Denisov, who found disfavor with the authorities but acclaim abroad.She explored the tension between the human and the divine, and sought to place her music in the service of religion in the literal sense of repairing what she believed to be the broken bond between man and God. Using musical terms, Ms. Gubaidulina often spoke of her work bringing legato, a sense of connected flow, into the fragmented “staccato of life.”Soloists who performed her work, among them the violinists Gidon Kremer and Anne-Sofie Mutter, often spoke of the emotional intensity that the music required. Conductors, including Valery Gergiev, Charles Dutoit and Kurt Masur, were strong advocates for her music.Folk traditions also fascinated Ms. Gubaidulina, who credited her Tatar roots with her love for percussion and shimmering sound colors. She favored soft-spoken or tenebrous instruments including the harp, the 13-stringed Japanese koto and the double bass.Ms. Gubaidulina in 2009 at a music festival in Berlin. She credited her Tatar roots with her love for using percussion in her compositions.Kai Bienert/ullstein bild, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sofia Gubaidulina Was Both Fully Modern and Sincerely Spiritual

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      Sofia Gubaidulina’s work, with its thorniness and religious themes, put her at odds with the Soviet government.The Russian composer Sofia Gubaidulina, who died on Thursday at 93, was that rare creature: an artist both fully modern and sincerely spiritual. “I am convinced that religion is the kernel of all art,” she said in a 2021 interview.That is hardly a universal worldview these days. The era of Palestrina and Bach, who aimed to glorify God with their work, is centuries past. Music that is adventurous, religious and great is unusual in our secular time, and some of the most significant was written by Gubaidulina.Hers was never a soothing or tuneful faith. Her music is darker and more bracing than that of, say, Arvo Pärt, whose minimalist spirituality has been co-opted for meditation playlists.Gubaidulina’s work is not the kind of thing you put on during morning yoga. She makes sounds of struggle and disorder; of awaiting some signal from beyond with hushed anxiety; of the strenuous attempt to bridge the gap between humans and the divine. Transcendence, if and when it arrives, is hard won.Inspired by Psalm 130, “De Profundis” (1978), a wrenching solo for the bayan, the Russian accordion she loved, begins in the instrument’s depths and rises to harshly radiant heights. Stark focus suffuses “The Canticle of the Sun” (1997), written for the cellist Mstislav Rostropovich, a small choir and percussion, and based on a song by St. Francis praising God. Her grand St. John Passion (2000) has apocalyptic force.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Ravel Work Premieres at the New York Phil After Nearly 125 Years

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      A prelude and dance by the French master recently surfaced in a Paris library. Gustavo Dudamel and the New York Philharmonic will give the world premiere.The conductor Gustavo Dudamel has premiered dozens of pieces in his career.But the score that he was giddily studying on a recent afternoon at Lincoln Center was different: a nearly 125-year-old piece by the French composer Maurice Ravel that had only recently surfaced in a Paris library.“Imagine more than 100 years later discovering a small, beautiful jewel,” Dudamel, the incoming music and artistic director of the New York Philharmonic, said in an interview at David Geffen Hall. “It’s precious.”On Thursday, Dudamel and the Philharmonic will give the world premiere of the five-minute piece as part of a program celebrating the 150th birthday of Ravel, one of the leading composers of the 20th century, whose works include “Boléro,” “Le Tombeau de Couperin” and “La Valse.”The newly found piece, “Sémiramis: Prélude et Danse,” was written sometime between 1900 and 1902, when Ravel was in his late 20s and sparring with administrators at the Paris Conservatory, where he studied piano and composition.The work, from an unfinished cantata about the Babylonian queen Semiramis, reveals a young musician still honing his voice and looking to others, like the Russian composer Rimsky-Korsakov, for inspiration. “Sémiramis” lacks some of the lush textures and rich harmonies for which Ravel would become known — he was a master of blending French impressionism, Spanish melodies, baroque, jazz and other music — though there are hints of his unconventional style.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      New York Philharmonic Announces Its 2025-26 Season

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      Our critics choose highlights from a lineup that includes Joshua Bell, Nathalie Joachim, Barbara Hannigan and more.Gustavo Dudamel does not officially take over as the New York Philharmonic’s music and artistic director until fall 2026. But he will be a fixture on the podium in the orchestra’s coming season, leading six weeks of concerts and several world premieres, the ensemble announced on Tuesday.Matías Tarnopolsky, the Philharmonic’s president and chief executive, said that the new season, which includes a celebration of the 250th birthday of the United States as well as a centennial tribute to the eminent French composer and conductor Pierre Boulez, “gives us a glimpse into a supremely exciting, joyful and embracing future with Gustavo Dudamel.”Dudamel will lead the world or local premieres of an oratorio by David Lang based on Adam Smith’s “The Wealth of Nations”; an orchestral reimagining of Frederic Rzewski’s “The People United Will Never Be Defeated”; and a choral work by Ellen Reid, which the Philharmonic commissioned with the Los Angeles Philharmonic, where Dudamel is the music and artistic director through the end of next season.At the opening night concert, in September, Dudamel will be on the podium with Yunchan Lim as the soloist in Bartok’s Piano Concerto No. 3. The cellist Sheku Kanneh-Mason will serve as the Philharmonic’s artist in residence; Barbara Hannigan will make her conducting debut with the ensemble; and stars like the violinist Joshua Bell, the pianist Jean-Yves Thibaudet and the violinist Nicola Benedetti will return.Here are 10 highlights of the coming season, chosen by critics for The New York Times. JAVIER C. HERNÁNDEZBoulez Centennial, Oct. 3-11The Philharmonic will celebrate the centennial of the composer and conductor Pierre Boulez, a former music director of the orchestra’s, with two programs. First, Pierre-Laurent Aimard will present some of the composer’s early Notations for piano, and Esa-Pekka Salonen will conduct Boulez’s later orchestral adaptations of those pieces, alongside works by Debussy. The following week, dancers choreographed by Benjamin Millepied will accompany Salonen and the orchestra in Boulez’s “Rituel in Memoriam Bruno Maderna.” SETH COLTER WALLSWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Inside the Detail-Obsessed, Essential World of Music Editing

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      When composers publish their scores or prepare them for performance, they need an editor — a role that rarely enjoys the classical music limelight.Editors of contemporary classical music are used to describing what they do through metaphors and comparisons.“I suppose you could say I was like a midwife bringing musical children into the world,” said Sally Cox, a former editor at the publisher Boosey & Hawkes.“What happens when Lady Gaga drops a record, and there are, like, 12 writers credited on it, where one guy simply massaged a synthesizer?” asked the freelance editor Ash Mistry. “Isn’t this like the same thing?”Not quite, but that’s a useful starting point. Just as we can understand Lady Gaga’s music as hers while acknowledging the many musical hands involved in its conception, so too can contemporary composition — at least the kind produced through major publishers — be understood as simultaneously the work of a sole composer and a product of group labor.Among those laborers — performers most visibly, but also commissioners, programmers and publishers — there are music editors, people who prepare manuscripts for performance. It’s a role away from the spotlight and rarely explored. “People don’t realize or don’t think about how the music gets onto their stand,” Cox said.This is true even for composers. “When someone says, ‘What does an editor do?,’ we tend to say, ‘We save the composer from themselves,’” said Elaine Gould, a former editor at Faber Music. “That can sound very arrogant, but quite often a lot of them have no idea how much we do.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Fashion? Rockets? Yachts? A Trump Ally Has Ideas for the Kennedy Center

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      Paolo Zampolli, a Trump appointee on the center’s board, wants the institution to host Valentino fashion shows, send art into space and open a marina and a Cipriani restaurant.The businessman Paolo Zampolli has counted Donald J. Trump as a friend for decades. In the 1990s, when Mr. Zampolli ran a modeling agency, he played matchmaker for Mr. Trump, introducing him at a party to his future wife, Melania.Now Mr. Zampolli, 55, is helping Mr. Trump in another way: reshaping the John F. Kennedy Center for the Performing Arts in Washington.Mr. Zampolli has served on the center’s board since Mr. Trump appointed him toward the end of his first term. But things have changed rapidly since Mr. Trump began his second term with the stunning takeover of the historically bipartisan institution, firing all of the Biden appointees on its board and having himself elected chairman.Exactly what it all means is still coming into focus. A number of artists have canceled appearances there, and the musical “Hamilton” scrapped a planned tour there next year. Richard Grenell, whom Mr. Trump named as its new president, recently said that the center planned “a big, huge celebration of the birth of Christ at Christmas.”Mr. Zampolli, who shares Mr. Trump’s attention-grabbing instincts, has his own ideas. He wants the center to launch art into space with the help of Elon Musk, host Valentino fashion shows and to open a marina on the Potomac and a Cipriani restaurant.“We need to make the Kennedy Center a destination,” Mr. Zampolli, a special envoy for Mr. Trump who once served as a United Nations ambassador of Dominica, said in a recent interview. “It has the hugest potential ever.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: A New York Philharmonic Evening of Small Epiphanies

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      Marin Alsop led the orchestra in a program of works by Beethoven, Brahms and Stravinsky, as well as a new violin concerto by Nico Muhly.Near the end of the lullaby that gives way to the blazing finale of Stravinsky’s “Firebird” Suite, the music slows and thins to a whisper.In the ballet, this is the moment when an evil sorcerer and his minions fall into a deep sleep. In some renditions, it registers as little more than a pause. But at David Geffen Hall on Thursday, the New York Philharmonic, under the baton of Marin Alsop, restored fairy-tale mystery to that transition.Just moments earlier, she had coaxed some of the most opulently sensual playing of the evening from the ensemble, including a voluptuous bassoon solo and swooning strings. Then, as the texture tapered, she appeared to drain the music of its pulse with medicinal deliberation. An unnerving trance settled over the room. When the finale’s horn solo emerged — noble, transcendent — it felt as if it arose from a place deep inside the subconscious.There were small epiphanies like that throughout the concert, which also included works by Beethoven and Brahms, and a new violin concerto by Nico Muhly. Alsop has an ability to manipulate time to expressive effect, and the sound she drew from the Philharmonic was cohesive and malleable, the playing poised between discipline and individual dazzle.In Beethoven’s “Leonore” Overture No. 3, she leaned into the uncertainty of the opening phrase, shaping each swelling chord with its own gradient from quiet to louder, its own testy relationship to the beat. When the music erupted and rushed onward, the release felt all the more liberating for having gone through such visceral hesitation.Brahms’s work Variations on a Theme by Haydn requires forensic attention to balance with ever new iterations that often need to be adjusted and contained in such a way that they just barely shine through the finicky business of the rest of the score. Alsop led a transparent reading that patiently marshaled its forces for a majestic finale.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Why Composers Want to Write Operas for Children

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      This genre allows artists to tap into their inner child. But it’s absolutely serious work.A lonely schoolboy named Bertil makes a magical friend who goes by Nils in “Nils Karlsson Däumling,” a children’s opera by Thierry Tidrow based on a fairy tale by Astrid Lindgren. Nils teaches Bertil to change his size by singing a spell-like song.For contemporary classical composers, writing children’s opera can be similarly transfiguring — it’s like casting a spell that lets them be both big and small. Artists with highly experimental aesthetics get to embrace their silly sides and reconnect with the childlike urge to create.In their work, and especially in opera, composers often feel an “immense pressure,” Tidrow said in an interview, “to show that you’re being original, that you know everything else that has been done, and that what you’re doing is apart from that.”Writing for children, by comparison, can be liberating. As Tidrow often says, “They haven’t read Adorno.”“Nils Karlsson Däumling,” an unusually mobile children’s opera, is scored for a soprano and a speaking violinist, and can be performed on a set that fits in a van. Partly for that reason, it has been performed more than 300 times since its premiere in 2019. But more sprawling children’s operas are also a regular feature of musical life in Europe. Vienna leads the way: In December, the Vienna State Opera opened a second venue, the Neue Staatsoper — known by its contracted name, the Nest — dedicated entirely to opera productions for children, families and young adults.“It can be stressful being a living composer,” Bogdan Roscic, the State Opera’s general director, said in a phone interview. “And writing for children actually is very liberating, I think, simply because one can discover his inner child.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More