Galina Ustvolskaya: Difference between revisions
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'''Galina Ivanovna Ustvolskaya''' ({{langx|ru|Галина Ивановна Уствольская}} {{Audio|Ru-Galina Ivanovna Ustvolskaya.ogg|listen}}, |
'''Galina Ivanovna Ustvolskaya''' ({{langx|ru|Галина Ивановна Уствольская}} {{Audio|Ru-Galina Ivanovna Ustvolskaya.ogg|listen}}, was a Russian composer of classical music. |
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Known as ‘the lady with the hammer’, her music has been described as demanding “everything from the performer"<ref>Cornish, Gabrielle. “She’s Rising From the Depths of Soviet Music History.” ''The New York Times'', 29 September 2019, <nowiki>https://www.nytimes.com/2019/09/27/arts/music/galina-ustvolskaya.html</nowiki>. |
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Born in [[Petrograd]], Ustvolskaya studied at the college attached to the [[Saint Petersburg Conservatory|Leningrad Conservatory]] (later renamed the Rimsky-Korsakov Conservatory) from 1937 to 1939, where she would later go on to teach composition. Her paternal grandfather was an influential priest in the Eastern Orthodox faith and his wife, Ksenia Kornilievna Potapova, was born into nobility. Although Ustvolskaya claims that her paternal grandmother grew up poor, her family status helped her access a good education. Nonetheless, Ustvolskaya lived an impoverished childhood.<ref>{{Cite book |last=Gladkova |first=Olga |title=Galina Ustvol'skaja, muzyka kaka navaždenie |publisher=Muzyka |year=1999 |isbn=978-5-85772-006-6 |location=Sankt-Peterburg}}</ref> In 1939 she was the only female student in [[Dmitri Shostakovich]]'s composition class at the Conservatory. Her composition teacher said of her: |
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{{blockquote|"I am convinced that the music of G. I. Ustvolskaya will achieve world fame, and be valued by all who hold truth to be the essential element of music."<ref>{{cite web|url=http://www.siue.edu/~aho/musov/ust/ust.html|title=The Lady with the Hammer - The Music of Galina Ustvolskaya|publisher=[[Southern Illinois University Edwardsville]]|website=siue.edu|access-date=8 March 2019}}</ref>}} |
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Fosler-Lussier, Danielle. “Music and Media in the Service of the State.” ''Music on the Move'', University of Michigan Press, 2020, pp. 48-120. ''JSTOR'', <nowiki>https://www.jstor.org/stable/10.3998/mpub.9853855.13</nowiki>.</ref>, uncompromising in her trademark textured homophonic blocks of sound.<ref>Bradshaw, Susan. “Galina Ustvolskaya in Focus: St Peter's Friend.” ''The Musical Times'', vol. 141, no. 1871, 2000, pp. 25-35. ''JSTOR'', <nowiki>https://www.jstor.org/stable/1004651</nowiki>.</ref> Ustvolskaya created her own unique style, characterized by unusual combinations of instruments that created highly specific tone clusters and textures and her large dynamic ranges. |
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| ⚫ | Shostakovich sent some of his own |
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A highly private person, she chose to live her life largely outside of the public eye, rarely conducting interviews as she found it unpleasant to talk about her own music. In her lifetime, she only approved 21 of her works for performance. |
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Ustvolskaya was a pupil of Shostakovich from 1939 to 1941 and from 1947 to 1948, but her works from the 1950s onwards retain little influence of his style. Until 1961 none of her true works were performed other than patriotic pieces written for official consumption. The middle of the 1960s witnessed greater tolerance for modernist music, and interest in Ustvolskaya grew – the Leningrad Union of Composers organized in the 1970s evenings of her music, which received high praise from listeners and critics. Widespread recognition came after her music was performed in several concerts of the 1989 Holland Festival. |
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| ⚫ | The exact nature of |
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Born in Petrograd (modern day St. Petersburg), Ustvolskaya’s mother was a school teacher and her father was a lawyer.<ref name=":1">Hogstad, Emily E. “Composer Galina Ustvolskaya: The Shostakovich-Trained Iconoclast.” 17 March 2024, <nowiki>https://interlude.hk/composer-galina-ustvolskaya-the-shostakovich-trained-iconoclast/#:~:text=Ustvolskaya%27s%20Childhood,and%20full%20of%20financial%20pressures</nowiki>.</ref> She loved music from a young age and, despite her impoverished childhood.<ref>{{Cite book |last=Gladkova |first=Olga |title=Galina Ustvol'skaja, muzyka kaka navaždenie |publisher=Muzyka |year=1999 |isbn=978-5-85772-006-6 |location=Sankt-Peterburg}}</ref> showed an exceptional gift after beginning to study music at the age of seven. |
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She was enrolled in a music-orientated secondary school to study piano, and was later accepted to the Leningrad Conservatory in 1937. |
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| ⚫ | From 1947 till 1977 she taught composition at Leningrad Conservatory. She allegedly spent |
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== Middle Years == |
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Ustvolskaya studied at the college attached to the Conservatory (later renamed the Rimsky-Korsakov Conservatory) from 1937 to 1939; she was the only female student in Dmitri Shostakovich's composition class at the Conservatory. |
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| ⚫ | Shostakovich sent some of his own unfinished works to Ustvolskaya, attaching great value to her comments. Some of these pieces contain quotations from his pupil's compositions; for example, he employed the second theme of the Finale of her clarinet trio throughout the Fifth String Quartet and in the Michelangelo Suite (no. 9). |
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Ustvolskaya was a pupil of Shostakovich from 1939 to 1941 and from 1947 to 1948, with the six-year break coinciding with the war and the two-and-a-half-year siege of Leningrad (modern day St. Petersburg). |
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| ⚫ | The exact nature of her relationship with Shostakovich has been unclear. In an interview for the TV program ''Tsarskaya'' ''Lozha,'' which celebrated Ustvolskaya's 80th birthday, she said, "It is sad that Shostakovich and myself were not ‘soul mates’; I know that he liked me and always treated me with respect, but I never reciprocated his feelings." She has also revealed that her former teacher once proposed to her, but she did not accept.''<ref>‘Tsarskaya Lozha’ [The Queen’s Box], TV program on Channel ‘Kultura’ dedicated to Galina Ustvolskaya’s 80th birthday. 17 June 2004.</ref>'' |
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Despite this earlier proximity, she vehemently rejected Shostakovich’s impact on her later in her life and made it clear that she did not want any association with Shostakovich, calling his music “dry and lifeless” and writing to her publisher, “One thing remains as clear as day: a seemingly eminent figure such as Shostakovich, to me, is not eminent at all, on the contrary, he burdened my life and killed my best feelings.”<ref name=":1" /> |
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Ustvolskaya’s early works over the 1930s and 40s showed many similarities to the socialist realism and modernism prevalent in the Soviet Union at the time, necessitated through the Soviet Union’s systematic censorship of any music that failed to fully support the state from 1948 onwards. |
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After this, she composed propaganda pieces acceptable to the Soviet leadership while also secretly writing works she thought might never be heard in her own unique style. None of her own ‘true’ works were performed until 1961; previously, she worked to destroy all trace of anything she’d written, as in her earlier years her music had been featured for Soviet propaganda films. |
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| ⚫ | |||
The middle of the 1960s witnessed greater tolerance for modernist music, and interest in Ustvolskaya grew. As a result of this, the Leningrad Union of Composers organized performances of her music in the late 70s, which received high praise from listeners and critics. |
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During this period, she composed many works as part of the younger generation of composers that explored more Western techniques, such as aleatoric and 12-tone music. |
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| ⚫ | From 1947 till 1977 she taught composition at Leningrad Conservatory. She allegedly spent time working in a military hospital during this period as well.<ref>Regovich, Kathleen. “To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union.” Wellesley College, 2016.</ref> She taught her students to write [[Polyphony|polyphonically]] and [[Counterpoint|contrapuntally]], showing them works from [[Gustav Mahler|Mahler]], [[Igor Stravinsky|Stravinsky]], and her previous teacher Shostakovich. Her students were predominantly male, with many of them infatuated by her. Her teaching style was more focused on aesthetics and feeling instead of harmony or scientific technique, and often encouraged students to experiment with modes instead of the typical major or minor scales.<ref>17. Nalimova, Elena. “Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation.” Goldsmiths, University of London, 2012.</ref> |
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Widespread recognition came after her music was performed in several concerts of the 1989 Holland Festival. |
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==Style== |
==Style== |
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==Legacy and remembrance== |
==Legacy and remembrance== |
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Ustvolskaya stopped composing in 1991, and spent the last fifteen years of her life living an ascetic, monastic life, rarely leaving St Petersburg or Russia other than for performances of her work (1995 and 96 in Amsterdam, 1998 in Vienna, 1999 in Bern and 2004 in Bastad). She still remained extremely invested in her music, often delivering scathing critiques of performances that did not meet her standards. In 1998 she gave a description of her life to an interviewer that serves as a kind of thesis statement about her music: |
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“The works written by me were often hidden for long periods. But then if they did not satisfy me, I destroyed them. I do not have drafts; I compose at the table, without an instrument. Everything is thought out with such care that it only needs to be written down. I’m always in my thoughts. I spend the nights thinking as well, and therefore do not have time to relax. Thoughts gnaw [at] me. My world possesses me completely, and I understand everything in my own way. I hear, I see, and I act differently from others. I just live my lonely life.”<ref name=":1" /> |
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==Works== |
==Works== |
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Latest revision as of 01:56, 3 December 2024
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|
Galina Ustvolskaya | |
|---|---|
 Galina Ustvolskaya at the piano | |
| Born | June 17, 1919 |
| Died | December 22, 2006 (aged 87) Saint Petersburg, Russia |
Galina Ivanovna Ustvolskaya (Russian: Галина Ивановна Уствольская ⓘ, was a Russian composer of classical music.
Known as ‘the lady with the hammer’, her music has been described as demanding “everything from the performer"[1], uncompromising in her trademark textured homophonic blocks of sound.[2] Ustvolskaya created her own unique style, characterized by unusual combinations of instruments that created highly specific tone clusters and textures and her large dynamic ranges.
A highly private person, she chose to live her life largely outside of the public eye, rarely conducting interviews as she found it unpleasant to talk about her own music. In her lifetime, she only approved 21 of her works for performance.
Early Years
[edit]Born in Petrograd (modern day St. Petersburg), Ustvolskaya’s mother was a school teacher and her father was a lawyer.[3] She loved music from a young age and, despite her impoverished childhood.[4] showed an exceptional gift after beginning to study music at the age of seven.
She was enrolled in a music-orientated secondary school to study piano, and was later accepted to the Leningrad Conservatory in 1937.
Middle Years
[edit]Ustvolskaya studied at the college attached to the Conservatory (later renamed the Rimsky-Korsakov Conservatory) from 1937 to 1939; she was the only female student in Dmitri Shostakovich's composition class at the Conservatory.
Shostakovich sent some of his own unfinished works to Ustvolskaya, attaching great value to her comments. Some of these pieces contain quotations from his pupil's compositions; for example, he employed the second theme of the Finale of her clarinet trio throughout the Fifth String Quartet and in the Michelangelo Suite (no. 9).
Ustvolskaya was a pupil of Shostakovich from 1939 to 1941 and from 1947 to 1948, with the six-year break coinciding with the war and the two-and-a-half-year siege of Leningrad (modern day St. Petersburg).
The exact nature of her relationship with Shostakovich has been unclear. In an interview for the TV program Tsarskaya Lozha, which celebrated Ustvolskaya's 80th birthday, she said, "It is sad that Shostakovich and myself were not ‘soul mates’; I know that he liked me and always treated me with respect, but I never reciprocated his feelings." She has also revealed that her former teacher once proposed to her, but she did not accept.[5]
Despite this earlier proximity, she vehemently rejected Shostakovich’s impact on her later in her life and made it clear that she did not want any association with Shostakovich, calling his music “dry and lifeless” and writing to her publisher, “One thing remains as clear as day: a seemingly eminent figure such as Shostakovich, to me, is not eminent at all, on the contrary, he burdened my life and killed my best feelings.”[3]
Ustvolskaya’s early works over the 1930s and 40s showed many similarities to the socialist realism and modernism prevalent in the Soviet Union at the time, necessitated through the Soviet Union’s systematic censorship of any music that failed to fully support the state from 1948 onwards.
After this, she composed propaganda pieces acceptable to the Soviet leadership while also secretly writing works she thought might never be heard in her own unique style. None of her own ‘true’ works were performed until 1961; previously, she worked to destroy all trace of anything she’d written, as in her earlier years her music had been featured for Soviet propaganda films.
Later Years
[edit]The middle of the 1960s witnessed greater tolerance for modernist music, and interest in Ustvolskaya grew. As a result of this, the Leningrad Union of Composers organized performances of her music in the late 70s, which received high praise from listeners and critics.
During this period, she composed many works as part of the younger generation of composers that explored more Western techniques, such as aleatoric and 12-tone music.
From 1947 till 1977 she taught composition at Leningrad Conservatory. She allegedly spent time working in a military hospital during this period as well.[6] She taught her students to write polyphonically and contrapuntally, showing them works from Mahler, Stravinsky, and her previous teacher Shostakovich. Her students were predominantly male, with many of them infatuated by her. Her teaching style was more focused on aesthetics and feeling instead of harmony or scientific technique, and often encouraged students to experiment with modes instead of the typical major or minor scales.[7]
Widespread recognition came after her music was performed in several concerts of the 1989 Holland Festival.
Style
[edit]Ustvolskaya developed her own style, of which she said, "There is no link whatsoever between my music and that of any other composer, living or dead."[8] Among its characteristics are the use of repeated, homophonic blocks of sound – which prompted the Dutch critic Elmer Schönberger to call her "the lady with the hammer"[9] – unusual combinations of instruments (such as eight double basses, piano and percussion in her Composition No. 2); use of extreme dynamics (as in her Piano Sonata No. 6); the employment of groups of instruments to introduce tone clusters; sparse harmonic textures; and the use of piano or percussion to beat out unchanging rhythms. Ustvolskaya's music has been described by critics and scholars as carrying “the bleakness of one who stares into the void on a regular basis”[10] and as evoking “visceral feelings of horror.”[11] Many have attributed influences to her work, all of which Ustvolskaya has denied.[12]
Despite being a highly private person, Galina Ustvolskaya commented publicly on the spiritual aspects of her music. She often incorporated religious texts, especially in her later works, though she insisted that none of her pieces conform to the beliefs of a specific religious sect. In an interview, her friend and publisher Viktor Suslin stated that her music is not liturgical and should not be labelled as religious, but rather that it “springs directly from the contact she feels with God.”[12] When discussing her compositional process, Ustvolskaya once said that she only composed when she “fell into a state of grace”[13] inspired by God and that “each work has a very long period of coming into being, after which she simply writes it down.”[12] When offered a commission, she wrote: “If God gives me the opportunity to compose something, then I will do it without fail.”[14] Although it is unclear whether Ustvolskaya was a member of a religious community, it is evident that she was greatly inspired by her spiritual connection to God and that it was integral to her compositional process.
The music of Galina Ustvolskaya was not openly censured in the USSR. However, she was accused of being unwilling to communicate and of "narrowness" and "obstinacy".
Though many who knew Ustvolskaya perceive the Western sentiment toward her compositions to be one of rebellion and grandiosity, with pianist Oleg Malov even calling her methods a totalitarian fight against Soviet Russia's totalitarian regime - resulting in 'double totalitarianism'. While her propensity for a grandiose attitude was seemingly present in her personal life, and noted by several students and colleagues, she never composed "for the table" (for money) and mainly thought of herself and her music as being misunderstood by those around her.
It has long been speculated that Ustvolskaya hid or destroyed compositions that did not meet the government's expectations of socialist realism for music, however she stated in an interview with biographer Olga Gladkova - whose book "Galina Ustvolskaya: Music as Obsession" seemingly has a controversial reputation amongst Ustvolskaya's contemporaries - that her main source of inspiration was God, claiming, "I begin to write when I enter a special state of grace. Music is born in me, and when the time comes, I record it. If the time doesn't come, I destroy it." But, when asked if she viewed her own compositions as Russian national (or nationalistic), Ustvolskaya noted that Da Vinci, Rembrandt, Bach, and Beethoven are not mainly associated with their nationalities and that their art is "higher" than such labels. She continued, "I only accept such work, meaning all types of art."[15]
Moreover, one of Ustvolskaya's contemporaries, pianist Tatyana Voronina, likened the former's compositional style to a prisoner's shackles. In an interview, Voronina said that Ustvolskaya's use of rhythmic, repeating crotchets expressed a ‘dark, somewhat schizophrenic worldview.’ This sentiment was echoed by Soviet musicologist Ekaterina Ruchevskaya, who claimed of Ustvolskaya's alleged mental instability, "Whether or not there were some mental problems, I cannot say for sure, but I knew of one suicide attempt [...] She also had two students, one of whom, Alesha Nikolaev, an incredibly gifted boy, committed suicide aged 18".[16]
In literature
[edit]Ustvolskaya's relationship with Shostakovich from her time as a student through the 1950s is fictionalized in William T. Vollmann's National Book Award-winning historical novel Europe Central.
Legacy and remembrance
[edit]Ustvolskaya stopped composing in 1991, and spent the last fifteen years of her life living an ascetic, monastic life, rarely leaving St Petersburg or Russia other than for performances of her work (1995 and 96 in Amsterdam, 1998 in Vienna, 1999 in Bern and 2004 in Bastad). She still remained extremely invested in her music, often delivering scathing critiques of performances that did not meet her standards. In 1998 she gave a description of her life to an interviewer that serves as a kind of thesis statement about her music:
“The works written by me were often hidden for long periods. But then if they did not satisfy me, I destroyed them. I do not have drafts; I compose at the table, without an instrument. Everything is thought out with such care that it only needs to be written down. I’m always in my thoughts. I spend the nights thinking as well, and therefore do not have time to relax. Thoughts gnaw [at] me. My world possesses me completely, and I understand everything in my own way. I hear, I see, and I act differently from others. I just live my lonely life.”[3]
Ustvolskaya died on the 22nd December, 2006 in Saint Petersburg, leaving behind her prolific and infamous legacy as the "Lady with the Hammer." Her manuscripts are stored in the archive of the Paul Sacher Stiftung since 1994.
Works
[edit]Ustvolskaya's oeuvre is small, with only 21 pieces in her characteristic style (i.e. excluding the public, Soviet-style works).
- Concerto for piano, full string orchestra and timpani (1946)
- Sonata for cello and piano (1946) (destroyed)
- Piano Sonata No. 1 (1947)
- The Dream of Stepan Razin (Сон Степана Разина – Son Stepana Razina) Bylina for bass and symphony orchestra (Russian folk text, 1949)
- Trio for clarinet, violin and piano (1949)
- Piano Sonata No. 2 (1949)
- Octet for two oboes, four violins, timpani and piano (1950)
- Sinfonietta (1951) (destroyed)
- Piano Sonata No. 3 (1952)
- Violin Sonata (1952)
- Twelve Preludes for piano (1953)
- Symphony No. 1, for two boys' voices and orchestra (Text by Gianni Rodari, 1955)
- Suite for orchestra (1955)
- Piano Sonata No. 4 (1957)
- Symphonic Poem No. 1 (1959)
- Symphonic Poem No. 2 (1957)
- Grand Duet for piano and cello (1959)
- Duet for piano and violin (1964)
- Composition No. 1 Dona Nobis Pacem, for piccolo, tuba and piano (1971)
- Composition No. 2 Dies Irae, for eight double basses, piano and wooden cube (1973)
- Composition No. 3 Benedictus, Qui Venit, for four flutes, four bassoons and piano (1975)
- Symphony No. 2 - True and Eternal Bliss!, for male reciter and small orchestra (1979)
- Symphony No. 3 - Jesus Messiah, Save Us!, for male reciter and small orchestra (1983)
- Symphony No. 4 - Prayer, for contralto, piano, trumpet and tam-tam (1985/7)
- Piano Sonata No. 5 (1986)
- Piano Sonata No. 6 (1988)
- Symphony No. 5 - Amen, for male reciter, oboe, trumpet, tuba, violin and wooden cube (1989/90)
Discography
[edit]- Composition No. 1
- – Zoon / Oostendorp / Malov RN (Radio Netherlands)
- – Renggli / Le Clair / Schroeder Hat Art CD 6130
- – Tokarev / Arbuszov / Malov Megadisc MDC 7867
- – Members of the Schönberg Ensemble / de Leeuw* Philips 442 532-2
- – Osten/ Hilgers / Hagen Koch 31 170-2 H1
- Composition No. 2
- – Propischin / Kolosov / Goryachev / Vulik / Kovulenko / Peresipkin / Sokolov / Nefedov / Javmertchik / Sandovskaya / Malov Megadisc MDC 7867, Megadisc MDC 7858
- – Schönberg Ensemble / de Leeuw* Philips 442 532-2
- Composition No. 3
- – Amsterdam Wind Ensemble / Friesen RN (Radio Netherlands) Globe 6903
- – Danilina / Osipova / Rodina / Tokarev / Makarov / Shevchuk / Sokolov / Krasnik / Sandovskaya / Malov Megadisc MDC 7867
- – Schönberg Ensemble / de Leeuw* Philips 442 532-2
- – Jones / Coffin / Keen / Stevenson / O’Neill / Antcliffe / Newman / McNaughton / Stephenson / Stephenson Conifer 75605 51 194-2
- Concerto for Piano, String Orchestra and Timpani
- – Lubimov / Deutsche Kammerphilharmonie / Schiff Erato 0630 12 709-2
- – Seribryakov / Chamber Orchestra of the Leningrad Philharmonic / Malov. Musica Non Grata Series. Melodiya BMG 74321 49 956-2
- Duet for Violin and Piano
- – Beths / de Leeuw* Hat Art CD 6115
- – Shustin / Malov Megadisc MDC 7863
- – Rissin / Rissin-Morenova SST 30211
- Grand Duet for Violoncello and Piano
- – Stolpner / Malov ... (LP) Melodia C10 23283 007, Musica Non Grata Series. Melodiya BMG 74321 49 956-2
- – Vassiliev / Malov Megadisc MDC 7863
- – Uitti / Malov RN (Radio Netherlands)
- – Kooistra / Denyer* Etcetera KTC 1170
- – de Saram / Schroeder Hat Art CD 6130
- – Beiser / Oldfather Koch 37 301-2 H1
- – Rostropovich / Lubimov EMI 572016-2 *Ustvolskaya’s preferred recording
- Octet for 2 Oboes, 4 Violins, Timpani and Piano
- – Kossoyan / Tchinakov / Stang / Liskovich / Dukor / Soakov / Snamenski / Karandashova (LP) Melodia C10 0 715 152 Musica Non Grata Series. Melodiya BMG 74321 49 956-2
- – Neretin / Tosenko / Stang / Ritalchenko / Lukin / Tkachenko / Znamenskii / Malov Megadisc MDC 7865
- – Bohling / Tindale / Fletcher / Muszaros / Tombling /Iwabucchi / Cole / Stephenson* Conifer 75605 51 194-2
- Piano Sonata
- – Malov / Liss / Ural Philharmonic Orchestra (CD) Megadisc MDC 7856 (2000)
- Sonata for Piano No. 1
- – Malov(LP) Melodia C10 23 283 007, Megadisc MDC 7876
- – Denyer* Conifer 75605 51 262-2
- – Schroeder HEK Hat 6170
- – Hinterhäuser COL Legno WWE 20019
- Sonata for Piano No. 2
- – Malov Megadisc MDC 7876, Megadisc MDC 7858
- – Denyer Conifer 75605 51 262-2
- – Vedernikov* Teichiku TECC – 28170
- – Schroeder HEK HAT 6170
- – Hinterhäuser COL Legno WWE 20019
- Sonata for Piano No. 3
- – Malov Melodia C10 0715 152 (LP), Megadisc MDC 7876, Musica Non Grata Series. Melodiya BMG 74321 49 956-2
- – Denyer* Conifer 75605 51 262-2
- – Karlen ECM 449936-2
- – Schroeder HEK Hat 6170
- – Hinterhäuser COL Legno WWE 20019
- Sonata for Piano No. 4
- – Malov (LP) Melodia C10 23283 007, Megadisc MDC 7876
- – Denyer* Conifer 75605 51 262-2
- – Varsi Mediaphon 72. 158
- – Schroeder HEK Hat 6170
- – Hinterhäuser COL Legno WWE 20019
- Sonata for Piano No. 5
- – de Leeuw* Hat Art CD 6115
- – Denyer Etcetera KTC 1170, Conifer 75605 51 262-2
- – Malov Megadisc MDC 7876, MEGADISC MDC 7858
- – de Leeuw WD 02 (Wittener Tage für neue Kammermusik)
- – Karlen ECM 449 936-2
- – Schroeder HEK Hat 6170
- – Hinterhäuser COL Legno WWE 20019
- Sonata for Piano No. 6
- – Malov Megadisc MDC 7876 Megadisc MDC 8000
- – Denyer* Conifer 75605 51 262-2
- – Mukaiyama BVHAAST CD 9406
- – Arden Koch 37 301-2 H1, KOCH 37 603-2 H1
- – Schroeder HEK Hat 6170
- – Hinterhäuser COL Legno WWE 20019
- Sonata for Violin and Piano
- – Shustin / Malov Megadisc MDC 7865
- – Rissin / Rissin-Morenova SST 30211
- Symphony No. 1
- – Malov / Liss / Ural Philharmonic Orchestra (CD) Megadisc MDC 7856 (2000)
- Symphony No. 2 – True and Eternal Bliss
- – The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7854
- Symphony No. 3 – Jesus Messiah, Save Us!
- – The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7854
- – Symphonieorchester des Bayerische n Rundfunks / Stenz / Sherstanoi Megadisc MDC 7858
- Symphony No. 4 – Prayer
- – van Vliet / Konink / Denyer / Meeuwsen Etcetera KTC 1170, Megadisc MDC 8000
- – Marrs / Keemss / Miller / Sperber Mediaphon MED 72 115
- – The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7854
- Symphony No. 5 – Amen
- – Leiferkus / Fletcher / Bohling / Hultmark / Powell / Cole / Stephenson CONIFER 75605 51 194-2
- – The St. Petersburg Soloists / Malov / Liss MEGADISC MDC 7854
- Twelve Preludes for Piano
- – Schroeder Hat Art CD 6130
- – Malov Megadisc MDC 7867
- – Arden* Koch 37 301-2 H1
- Trio for Clarinet, Violin and Piano
- – Beths / de Boer / de Leeuw* Hat Art CD 6115
- – Keser / Anderson / Denyer* Etcetera KTC 1170
- – Shustin / Feodorov / Malov Megadisc MDC 7865
References
[edit]- ^ Cornish, Gabrielle. “She’s Rising From the Depths of Soviet Music History.” The New York Times, 29 September 2019, https://www.nytimes.com/2019/09/27/arts/music/galina-ustvolskaya.html. Fosler-Lussier, Danielle. “Music and Media in the Service of the State.” Music on the Move, University of Michigan Press, 2020, pp. 48-120. JSTOR, https://www.jstor.org/stable/10.3998/mpub.9853855.13.
- ^ Bradshaw, Susan. “Galina Ustvolskaya in Focus: St Peter's Friend.” The Musical Times, vol. 141, no. 1871, 2000, pp. 25-35. JSTOR, https://www.jstor.org/stable/1004651.
- ^ a b c Hogstad, Emily E. “Composer Galina Ustvolskaya: The Shostakovich-Trained Iconoclast.” 17 March 2024, https://interlude.hk/composer-galina-ustvolskaya-the-shostakovich-trained-iconoclast/#:~:text=Ustvolskaya%27s%20Childhood,and%20full%20of%20financial%20pressures.
- ^ Gladkova, Olga (1999). Galina Ustvol'skaja, muzyka kaka navaždenie. Sankt-Peterburg: Muzyka. ISBN 978-5-85772-006-6.
- ^ ‘Tsarskaya Lozha’ [The Queen’s Box], TV program on Channel ‘Kultura’ dedicated to Galina Ustvolskaya’s 80th birthday. 17 June 2004.
- ^ Regovich, Kathleen. “To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union.” Wellesley College, 2016.
- ^ 17. Nalimova, Elena. “Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation.” Goldsmiths, University of London, 2012.
- ^ Clements, Andrew (2014-10-01). "Ustvolskaya: Violin Sonata; Trio; Duet CD review – Kopatchinskaja projects sharply and ferociously". the Guardian. Retrieved 2018-07-06.
- ^ "The Lady With the Hammer – The Music of Galina Ustvolskaya". arcananewmusic.org. 12 February 2017. Retrieved 8 March 2019.
- ^ Bernstein, Tamara (October 24, 1995). ""Reviews in Brief Classical: Music of Galina Ustvolskaya"". Globe and Mail. ProQuest 385176646. Retrieved May 7, 2019.
- ^ Morrison, Simon (2018). "Galina Ustvolskaya Outside, Inside, and Beyond Music History". Journal of Musicology. 36 (1): 96–129. doi:10.1525/jm.2019.36.1.96. ISSN 0277-9269. JSTOR 26860178. S2CID 158644563.
- ^ a b c Derks, Thea; Ustvolskaya, Galina (1995). "Galina Ustvolskaya: 'Sind Sie mir nicht böse!' (Very Nearly an Interview)". Tempo (193): 31–33. doi:10.1017/S0040298200004290. ISSN 0040-2982. JSTOR 945561. S2CID 143681367.
- ^ de Groot, Rokus (2017). "Music and Belief: The Figure of Singularity in Galina Ustvolskaya's work," in Contemporary Music and Spirituality, ed. Robert Sholl and Sander van Maas (1st ed.). London: Routledge. p. 132. ISBN 9780367229481.
- ^ Viktor Suslin, “The Music of Spiritual Independence: Galina Ustvolskaya.” In “Ex oriente...” Ten Composers from the Former USSR, ed. Valeria Tsenova, trans. Carolyn Dunlop (Berlin: Verlag Ernst Kuhn, 2002), 108.
- ^ Gladkova, Olga. Galina Ustvolskaya: Music as Obsession. 1999.
- ^ Nalimova, Elena. “Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation.” Goldsmiths, University of London, 2012.
- Viktor Suslin: The music of Spiritual Independence: Galina Ustvolskaya in «Ex oriente...I» Ten Composers from the former USSR. Viktor Suslin, Dmitri Smirnov, Arvo Pärt, Yury Kasparov, Galina Ustvolskaya, Nikolai Sidelnikov, Elena Firsova Vladimir Martynov, Andrei Eshpai, Boris Chaikovsky. Edited by Valeria Tsenova (studia slavica musicologica, Bd. 25), Verlag Ernst Kuhn – Berlin. ISBN 3-928864-84-X pp. 207–266 (in English)
- Lemaire, Frans. Notes to Symphonies 2,3,4 and 5. Megadisc MDC 7854.
- Simon Bokman. Variations on the Theme Galina Ustvolskaya. Translated by Irina Behrendt. (studia slavica musicologica, Bd.40), Verlag Ernst Kuhn - Berlin,2007. ISBN 978-3-936637-11-3 (in English)
- Rachel Jeremiah-Foulds: 'An Extraordinary Relationship and Acrimonious Split - Galina Ustvolskaya and Dmitri Shostakovich' in Mitteilungen der Paul Sacher Stiftung, No. 23, April 2010.
- Rachel Jeremiah-Foulds: 'Spiritual Independence or a Cultural Norm? Galina Ustvolskaya and the Znamenny Raspev' in Church, State and Nation in Orthodox Church Music, Proceedings of the Third International Conference on Orthodox Church Music, University of Joensuu, Finland - 8–14 June 2009.
External links
[edit]- Official site
- "Composer Portrait: Ustvolskaya, Galina". Sikorski. Retrieved 27 June 2011.
- "Composers Works: Ustwolskaja, Galina". Sikorski. Retrieved 27 June 2011.
- Music under Soviet Rule:The Lady With The Hammer
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