Osvaldo Golijov

Osvaldo Golijov studied at University of Pennsylvania. The recorded working language is Spanish. Subjects and genres recorded for the work are opera. Employment is recorded with Boston Conservatory at Berklee and Tanglewood Music Center. Distinctions recorded are MacArthur Fellows Program, Grammy Awards, Vilcek Prize and Stoeger Prize.

Osvaldo Golijov was born and raised in La Plata, Argentina, to a Jewish family that immigrated to Argentina from Romania and USSR. His mother was a piano teacher, and his father was a physician. He studied piano in La Plata and studied composition with Gerardo Gandini. In 1983, Golijov emigrated to Israel, where he studied with Mark Kopytman at the Rubin Academy of Music in Jerusalem. Three years later, he studied with George Crumb at the University of Pennsylvania, where he earned his Doctor of Philosophy degree. In 1991, Golijov joined the faculty of the College of the Holy Cross in Worcester, Massachusetts, where he was named Loyola Professor of Music in 2007. During the 2012-2013 concert season, he occupied the Richard and Barbara Debs Composer's Chair at Carnegie Hall. As of 2016, Golijov lives in Brookline, Massachusetts. Golijov is married to author Leah Hager Cohen. He was previously married to architect and designer Neri Oxman, and he has three children with his first wife, Silvia, who is a Special Education teacher.

Golijov grew up listening to chamber music, Jewish liturgical and klezmer music, and the nuevo tango of Ástor Piazzolla. His Dreams and Prayers of Isaac the Blind was inspired by the writings and teachings of Rabbi Yitzhak Saggi Nehor. In 1996, his work Oceana was premiered at the Oregon Bach Festival. He composed La Pasión según San Marcos for the Passion 2000 project in commemoration of the 250th anniversary of the death of Johann Sebastian Bach. In 2010, he composed Sidereus for a consortium of 35 American orchestras, to commemorate Galileo. Golijov had a long working relationship with soprano Dawn Upshaw, who he called his muse. She premiered some of his works, often written specifically for her. These included Three Songs for Soprano and Orchestra and his popular opera, Ainadamar, which premiered at Tanglewood in 2003. Starting in 2000, Golijov composed movie soundtracks for documentaries and other films, including The Man Who Cried, Youth Without Youth, Tetro and Twixt. He also composed and arranged chamber music, including for the Kronos Quartet (Nuevo) and the St. Lawrence String Quartet. Golijov's song cycle "Falling Out of Time" was inspired by a novel by Israeli author David Grossman. Golijov composed the soundtrack to Francis Ford Coppola's "Megalopolis" which he subsequently developed into a symphonic work premiered by the Chicago Symphony Orchestra on November 8, 2024. Coppola was present at the world premier of this work.

Golijov came under scrutiny in 2011 for a series of commissions that were either delayed or cancelled. A violin concerto written for the Los Angeles Philharmonic was not completed in time, Golijov missed a second deadline the following year in Berlin, and a third composition missed its January 2013 premiere at Disney Hall. This followed a similar cancellation in 2010, when a scheduled song cycle had to be removed from the program when it was not completed in time. The March 2011 premiere of a new string quartet for the St. Lawrence Quartet was also postponed, though the work, Qohelet, was completed later that year and premiered by the quartet in October 2011. Around 2006, the Metropolitan Opera commissioned Golijov to compose an opera, to be performed in the 2018–19 season. In 2016, the Met cancelled the commission because of the composer's lack of progress. Tom Manoff, a composer and critic, and Brian McWhorter, a trumpeter, alleged that Golijov's Sidereus was largely copied from Michael Ward-Bergeman's composition Barbeich. Alex Ross of The New Yorker reviewed both scores and wrote, "To put it bluntly, 'Sidereus' is 'Barbeich' with additional material attached." Ross added that Ward-Bergeman knew of and did not object to Golijov's borrowings, having written, "Osvaldo and I came to an agreement regarding the use of 'Barbeich' for 'Sidereus.' The terms were clearly understood, and we were both happy to agree. Osvaldo and I have been friends and collaborators for years. I don’t have anything else to say about the matter." A consortium of 35 orchestras had paid Golijov $75,000, supplemented by a $50,000 grant from the League of American Orchestras, to write a 20-minute work. The work that Golijov produced was only 9 minutes long. Golijov had used that same musical material in his 2009 composition Radio. Golijov responded to these questions by explaining that he composed the original musical material jointly with Ward-Bergeman for a film score which in the end did not include the material, and that he used it by agreement with Ward-Bergeman, who did not comment publicly on the matter. Golijov cited Monteverdi, Schubert and Mahler as other composers who used existing musical material to create new music.

Ainadamar (2003), One act opera, libretto by David Henry Hwang

Last Round (1996) for string orchestra Tenebrae (2002) for string orchestra (also version for string quartet) Rose of the Winds (2007) for ensemble and orchestra Youth Without Youth Suite (2007/2011) for chamber orchestra ZZ's Dream (2008) for chamber orchestra (also version for piano) Sidereus (2010) Phoenix (2010) Megalopolis Suite (2024)

The Dreams and Prayers of Isaac the Blind (1994) for clarinet and string orchestra Azul (2006), Concerto for cello, obbligato group and orchestra Sign of the Leviathan (2015) for horn and string orchestra The Given Note (2024), Concerto for violin and chamber orchestra

Yiddishbbuk (1992) for string quartet The Dreams and Prayers of Isaac the Blind (1994) for klezmer clarinet and string quartet Fish Tale (1998) for flute and guitar Mariel (1999) for cello and marimba (also version for cello and orchestra) Lullaby and Doina (2001) for flute or soprano, clarinet and string quartet Tekyah (2005) for chamber ensemble Air to Air (2006) for ensemble Radio (2009) for hyperaccordion, laptop and string quartet Qohelet (2011) for string quartet Um Dia Bom (2021) for string quartet Ever Yours (2022) for string nonet (also version for string quartet and string orchestra) Laika (2024) for mixed ensemble Tintype (2024) for string quintet

Omaramor (1991) for solo cello Levante (2004) for piano Wasserfluth (2016) for piano The Last Moho Brachatus (2022) for solo cello

There Is Wind and There Are Ashes in the Wind (1991) for clarinet, piano and narrator Sarajevo (1993) for voice and ensemble Oceana (1996), Cantata for soloists, chorus and orchestra La Pasión según San Marcos (St. Mark's Passion) (2000) for soloists, chorus and orchestra Tenebrae (2002) for soprano, clarinet and string quartet Three Songs for Soprano and Orchestra (2002) (also version for soprano and string orchestra) Ayre (2004) for soprano and chamber ensemble Drag Down the Sky (2016) for baritone and string quartet Falling Out of Time (2019) for three singers and amplified ensemble

She Was Here (2008), an orchestration of four songs by Schubert Se Me Hizo Facil (2013) by Agustín Lara, arranged for string quartet Two Bagatelles (2016) by Beethoven, arranged for two violins