chapter  4
28 Pages

Synoptic passions: Gubaidulina’s St John Passion in the post-Jungian era


Gubaidulina’s framing of her music as ‘not strictly theological’, but as having a catalytic and experiential function, indicates that she regards her creative impulse to be the facilitator of her own spirituality. The function of her musical output as religious experience can be seen to be, then, an essential aspect of her compositional philosophy. Her position as a mediator of her own spiritual experience has been echoed in a series of conversations between herself and Lukomsky, which reveal an aesthetic mindset that emerges from an independent spiritual philosophy combined with a profound Orthodox Christian faith. These conversations reflect Gubaidulina’s fascination with religious imagery, especially with that of the Eucharist, the Crucifixion, the Apocalypse and the Last Judgement.2